Admission Requirements for Graduate Diplomas

50-minute program of contrasting repertoire including arias and art songs.

The audition repertoire must include works from four (4) contrasting styles, to be played from memory.

Program of 50 to 60 minutes of music, including at least three contrasting styles. You may submit works from the suggested repertoire below or equivalent:

1. Baroque: A Suite by Bach or SL Weiss
2. Classical or Romantic: Great Solo, Sonatas or Variations by Sor or Guiliani
3. 20th century:
Ponce – Variations or Suite
Berkley – Theme and Variations or Sonata
Brouwer – The Decameron engro, variations on a theme by Django Reindhart
M. Torroba – Sonatina, Characteristic Pieces
F. Martín – 4 short pieces Lauro – Barrios Venezuelan Suite – Brindle Cathedral – Henze Gold Polyphemus – Three tientos

Violin
1. Two (2) movements from one of the Sonatas and Partitas for solo violin by JS Bach
2. One (1) Paganini whim
3. The first movement with cadenza of a concerto for violin and orchestra to choose from one of the following:
Mozart no. 5, Mendelssohn E minor, Saint-Saens no. 3, Wieniawski no. 2, Tchaikovsky, Brahms, Sibelius, Beethoven D major.

Viola
1. A complete concert of the standard repertoire (examples: Stamitz, Hoffmeister, Walton, Bartok)
2. Three contrasting movements from a Bach suite, sonata or partita for solo viola.
3. One additional piece selected by the candidate (examples: Romanza by Bruch, Sonatas by Brahms, Hindemith)
The entire repertoire must be played from memory.

Cello
1. First movement to choose from one of the following Concertos or equivalent:
Dvorak B minor Op. 104
Haydn D Major Hob.VIIb:2 Op.101
Schumann A minor Op.129
Shostakovich No. 1 E-Flat Major Op.107
2. A Prelude and another movement to choose from the 6 Suites of JS Bach
3. A study by Popper (40 High School Studies Op.73) to choose from the following: No. 9, 12, 26, 27, 29

Double bass
1. Major and minor scales of 3 octaves.
2. Any of the following concerts: Dragonetti, Vanhal, Dittersdorf, Koussevitzky.

Harp
Recital program including works from the suggested repertoire below or equivalent:
Respighi, O./Grandjany, M. -Siciliana
Pescetti, GB-Sonata in C minor
Selection of 2 Images of Suites 1-‐3 by Marcel Tournier

These three pieces or their equivalents must be presented from memory.

Flute
Recital program of no less than 50 minutes of music in a variety of styles. Each piece in said recital must be representative of the baroque, classical or French/modern style. The program may include:

1. Sonata by JS Bach, BWV 1035 in E Major, or BWV 1034 in E Minor.
2. Mozart Concerto in D Major K. 314 or in G Major K. 313
3. A piece from the Collection: FluteMusicBy French Composers (forFlute& Piano). Edited by Louis Moyse. (G. Schirmer #ED2699) Published by G. Schirmer (HL.50331090).

A recital piece must be memorized. The recital must be accompanied on the piano.

Oboe
Two complete works from the oboe repertoire (baroque, classical or 20th century period). Four orchestral excerpts from his selection.

Clarinet
1. Concerto for Clarinet and Orchestra Mozart K. 622, first movement
2. One movement from a piano work, to be chosen from the following list or equivalent: Sonata, Poulenc
Rhapsody, Debussy Sonata #1 or #2, Brahms Sonata in A minor, Delano Sonata, Horowitz
3. A work for solo clarinet, to choose from the following or equivalent: Cinco Bocetos, Roberto Sierra ThreePieces, Stravinsky Capriccio, Sutermeister
4. Orchestral passages (available in the Admissions Office):

Brahms, Sinf. #3; Schubert, Sinf. Unfinished; Rimsky-Korsakov, Capriccio Español; Beethoven, Sinf. #4, 6, 8; Rossini, Semiramide Overture; Shostakovich, Symphony #1; Mendelssohn, Scherzo; Rimsky-Korsakov, Scheherezade; Ravel, Daphnis & Chloe Suite #2.

Bassoon
1. Bassoon Concerto by WA Mozart, movements I & II
2. Orchestral Fragments:
The Marriage of Figaro, introduction and recapitulation, WA Mozart Symphony No. 4, Second Movement solo, P. Tchaikovsky Scheherezade, Second Movement solo and cadenzas, Rimsky-‐Korsakov Bolero, M. Ravel
3. Scales - All major and minor

Saxophone
50-minute program including works from the suggested repertoire below or equivalent: Partita in A minor, JS Bach
Concertino (w/AeolianSong), W. Benson Concertino da Camera, J. Ibert Scaramouche, D. Milhaud Sonata, R. Muczynski Improvisation I, R. Noda Elegieet Rondeau, K. Husa Mai, R. Noda

Orchestral excerpts
Pictures at an exhibition – M.Mussorsky
An American in Paris – G. Gershwin

Trumpet
The candidate must present two contrasting solos, an etude and at least two contrasting orchestral style passages. These can be from the following list:

alone
Concertos – Haydn, Hummel, Telemann, Neruda, Arutunian
Sonatas – Kennan, Hindemith, Stevens
Enesco – Legend
Honneger – Intrada
Bozza – Caprice
Bozza – Rustiques

Studies
Arban Characteristic Studies
Charlier Etudes no. 1, 2, 4 or 6

Orchestra Passages
Beethoven – Leonore Overture no. 2 or 3, (offstage calls)
Respighi – Pines of Rome, (offstage only)
Mussorgsky/Ravel – Pictures at an Exhibition, Promenade
Mahler – Symphony no. 5, opening
Stravinsky – Petrouchka, “Ballerina's Dance”

Trombone
1. A standard concert that reflects musical depth and technical mastery on the instrument. Examples: Grondahl, Gordon Jacob, Nino Rota, Henri Tomasi, Paul Creston, Ferdinand David; or musically comparable piece.

2. A sonata or standard work from the piano trombone repertoire. Examples: Hindemith, Casterede, Sulek, Ewazen, Gaubert, Saint-Saens, Salzedo, Ropartz, or a musically comparable piece.

3. A Latin American or Puerto Rican work written after 1960. This piece must be of a musical depth consistent with a graduate level audition. Examples:
Puerto Rico: Alfonso Fuentes, Mariano Morales, Alberto Rodríguez.
Latin Americans: Carlos Chávez, Alfredo del Mónaco.

Bass Trombone Candidates, consult Doug Yeo's list of possible works to present.
yeodoug.com/resources/text/repert.html

French Horn
The program must contain 3 contrasting works, chosen from this list, or of equivalent difficulty:

Arnold, Malcolm: Fantasy for Horn and Piano (Op. 88)
Beethoven, Ludwig van: Sonata in F M for Horn and Piano (Op. 17) Bissill, Richard: “Lone Call & Charge” for Horn Solo (1994)
Brahms, Johannes: Trio in Eb for Violin, Horn and Piano (Op. 40) Bozza, Eugène: “En Forêt” for Horn and Piano (Op. 40)
Buyanovski, Vitali: “Spain” (2007) from “Pieces for Horn Solo: Four Improvisations (from traveling impressions)”.
Cherubini, Luigi: Sonatas (Concert Studies) No. 1 and No. 2 in F M for Horn and Piano (1804) Dukas, Paul: “Villanelle” (1905)
Ewazen, Erik: Sonata for Horn and Piano (1997)
Gliére, Reinhold: Concerto in Bb for Horn and Orchestra (Op. 91)
Haydn, Franz Joseph: Concerto No. 1 in D M for Horn and Orchestra [Hob.VIId:3] Haydn, Franz Joseph: Concerto No. 2 in D M for Horn and Orchestra [Hob.VIId:4] Heiden, Bernard: Sonata for Horn and Piano (1939)
Hindemith, Paul: Sonata in F for Horn and Piano (1939)
Hindemith, Paul: Sonata in Eb for Onóbeno (Alto Horn) and Piano (1943) Larsson, Lars Erik: Concertino for Horn and String Orchestra [Op. 45, No. 5-‐1953] Mozart, Wolfgang Amadeus: Quintet in Eb for Horn and Strings (K. 407)
Mozart, Wolfgang Amadeus: Concerto No. 4 in Eb for Horn and Orchestra (K. 495) Nielsen, Carl: “Serious Song” for Horn and Piano [FS 132 -‐ 1913]
Poulenc, Francis: “Elegie” for Horn and Piano [FP 168 -‐1957] Reynolds, Verme: 48 Etudes for French Horn (1961)
Choose one among studies No. 3, 6, 8, 10, 12, 16, 18, 22, 25, 30 38, 39, 44.
Saint‐Saëns, Camille: Romanze in E M for Horn and Piano (Op. 67)
Saint-Saëns, Camille: “Morceau de Concert” for Horn and Orchestra (Op. 94) Schubert, Franz: “AufdemStrom” for Soprano, Horn and Piano [D. 943 -‐1828] Schumann, Robert: Adagio & Allegro [Op. 70 -1849]
Sierra, Roberto: “Evocative Concerto” for Horn and Orchestra (1990) Strauss, Franz: Fantasia for Horn and Orchestra (Op. 2)
Strauss, Franz: Fantasy for Horn and Orchestra (Op. 6)
Strauss, Franz: Nocturne in D Major for Horn and Piano (Op. 7) Strauss, Franz: Concerto in C for Horn and Orchestra (Op. 8)
Strauss, Franz: Introduction, Theme and Variations for Horn and Piano (Op. 13)
Strauss, Richard: Concerto No. 1 in Eb for Horn and Orchestra [Op. 11 – TrV117 – 1883] Strauss, Richard: Concerto No. 2 in Eb for Horn and Orchestra [Op. Posthumous – TrV 283 – 1942] Strauss, Richard: Andante in C M for Horn and Piano [Op. Posthumous –TrV 155–1888] Telemann, Georg Philip: Concerto in D for Horn and Orchestra [TWV 51: D8]
Turner, Kerry: Sonata for Horn and Piano (1995)
Vinter, Gilbert: “Hunter'sMoon” for Horn and Piano (1942)
Weber, Carl Maria von: Concertino in E m for Horn and Orchestra [J. 188/Op. 45 – 1815] Wilder, Alec: Sonata for Horn and Piano No. 1 (1954)
Wilder, Alec: Sonata for Horn and Piano No. 2 (1957) Wilder, Alec: Sonata for Horn and Piano No. 3 (1970) Wilder, Alec: Suite for Horn and Piano (1956)
Williams, John: Concerto for Horn and Orchestra [2003]

Tuba
1. Tuba Concerto, R. Vaughn-Williams
2. Concertino for Tuba, Gregson
3. Concerto in One Movement, A. Lebedev
4. Technical exercises: a) Theo Charlier: No. 2 of the 32 Improvement Studies
5. Excerpts: a) Mastersingers, R. Wagner b) Symphony no. 5, Prokofiev c) Symphony no. 1 (3rd movement), G. Mahler d) Valkyries, R. Wagner

Mallet-Keyboard Instruments
1. Variations on Japanese Children's Song, Keiko Abe
2. Blues for Gilbert, Mark Glenthworth
3. Small Piece for Marimba, José Rodríguez Alvira
4. Vibraphone and Marimba Concerts, NeyRosauro
5. Preludes, NeyRosauro
6. Concertino for Marimba, Paul Creston
7. Orchestral Repertoire

Snare Drum and/or Drums
1. 12 Studies, Kreisleiriana, Etude Method 20 to 25, Jacques Delecluse
2. NYSD, Anthony Cirone
3. Recital Piece for Snare Drum, Guy G. Gauthreaux
4. Excerpt Etude for Snare Drum, Mathew Beck
5. Concerto for Snare Drum and Orchestra, Masson
6. Orchestral Repertoire

Timpani
1. 8 Pieces for Timpani, Elliot Carter
2. Sonata for Timpani -John Beck
3. Classic African-Joseph Aiello
4. Three Movements for 5 Timpanis-‐John Beck
5. Concerto for Timpani, Tharichen-‐Werner
6. Orchestral Repertoire

Percussion or multiple drums
Solo at the Level and/or Equivalent of Solos by composers such as: Cangelosi Hollinden, Kraft, W. Ortiz, Veray, Stravinsky.

Wind instruments, bass, guitar, piano and drums

1. A memorized repertoire of a minimum of 15 pieces (including at least two ballads, two be-bop pieces, two Latin pieces, and two modal or postmodal pieces) and the panel will choose up to five pieces that represent contrasting styles with improvisation on form. The 15 pieces to be presented will be chosen from a list of 70 works authorized by the Department of Jazz and Caribbean Music indicated below.

2. An original piece with sight improvisation selected by the audition panel.

3. A Big Band style sight reading piece selected by the audition panel.

4. Knowledge of scales, modes, progressions and improvisation techniques related to jazz improvisation, including: (Does not apply to drum candidates)

to. Modes of the major scales (Ionic, Doric, Phrygian, Lydian, Mixolydian, Aeolian, Locrian), in all keys, with their respective chords and their extensions up to the 13th.
b. Major and minor pentatonic scales, Major Be-bop, Dominant Be-bop and Blues Scale in all keys.
c. Modes of the melodic minor scale (Minor/major 7th, Dom sub9, augmented Lydian, dominant Lydian, Locrian #2, altered etc.) in all keys, with their respective chords and their extensions up to the 13th.
d. Whole Tone Scales, diminished, auxiliary diminished, b3 Pentatonic, b6 Pentatonic, augmented scale in all tones, with their respective chords and extensions.
and. Scales and modes of the harmonic minors and the harmonic majors.
F. Coltrane Changes Progression – in II-VI in all keys.
g. Blues progression in all tones.

5. Additional requirements per instrument:

to. Piano – Demonstrate accompaniment skills in different styles. For this we request at least three pieces from the list in trio format or sequence that emulates piano, bass and drums format, which includes improvisation in swing and Latin styles. The format of the presentation should be: Playing the melody with chords in the left hand, improvising two turns to the harmonic progression of the piece and accompanying the bassist solo. Play a standard piece from the suggested list in solo piano with reharmonization.

b. Electric guitar – Demonstrate accompaniment in different styles. Play a standard piece from the suggested listing in style
Chord-study.

c. Drums – Demonstrate accompaniment in different styles and tempos, including: bebop, jazz waltz, bossa nova, samba, Latin and Afro-Cuban rhythms, funk, rock, R & B, shuffle, ballads. Knowledge of the rudiments of percussion. Demonstrate knowledge of the form of compositions in any time, and knowledge of irregular keys with fluid improvisation. The candidate will present a transcription of a drum solo by the great masters of jazz or Latin percussion (minimum 32 measures).

Latin percussion

1. Demonstrate accompaniment skills in several of the styles to choose from the following:

to. Rumba and its three main aspects: yambú, güagüancó and columbia (accompaniment and improvisation).
b. The bomb and its three main aspects yubá, sicá and holandé (accompaniment and improvisation).
c. The full
d. The mambo, son montuno, danzón and the cha-cha-chá.
and. Reading syncopated to binary and in compound and irregular measures (linear: Syncopation type and musical arrangement).
F. Execution in irregular keys, such as 7/4, 5/4, 9/8 among others
(accompaniment and improvisation and application of the 40 rudiments published by the PAS).
g. Knowledge of the rudiments and their application to percussion.
h. Transcription of a solo (of a minimum of 32 bars) by one of the great masters, such as Tito Puente, Manny Oquendo, Mongo Santamaría, Cándido, Armando Peraza, Patato, Cortijo, Tata Güines, Changuito, Giovanni, among others.

2. The candidate in the Latin percussion specialty will demonstrate accompaniment and improvisation skills on form with a repertoire that represents contrasting styles of a minimum of fifteen pieces (including at least one mambo, one piece in 6/8, a cha- cha-chá, a danzón, a piece in any of the aspects of thebomba, a plena, a piece in any of the aspects of the rumba and the panel will choose four pieces that represent contrasting styles. The fifteen pieces to be presented will be chosen from the following list of 70 works authorized by the Department of Jazz and Caribbean Music.