Undergraduate Audition Requirements

Trumpet, French Horn, Trombone, Euphonium, Baritone Horn, Tuba

Music Education, Music Therapy, Theory/Composition concentrations

• All major scales – one/two octaves, ascending & descending
  • Live Auditions – applicants may or may not be asked to play any combination of scales chosen by faculty
  • Video Auditions – applicants should record three (3) scales: one major, one minor, one chromatic
• A solo work or movement of a multi-movement work
• A contrasting work, movement of a multi-movement work, or etude
• Possible sight reading for live auditions

Performance concentration (in addition to the above)

• An additional solo work, movement, etude or excerpts from the standard orchestra or wind band repertoire.

Performance, Music Education, Music Therapy, Theory/Composition concentrations

Guitar—Classical (please audition on a nylon string guitar)

Piano

Music Education, Music Therapy, Theory/Composition

• Candidates must prepare three pieces, one each from list A, B, C, or D. One of the three pieces must be memorized.

Performance

• Candidates must prepare four pieces, one each from Lists A, B, C, and D. At least two pieces must be memorized.

LIST A J.S. Bach, Rameau, Scarlatti, Soler or another Baroque composer

LIST B Beethoven, Haydn, Mozart or another Classical composer

LIST C Brahms, Chopin, Liszt, Mendelssohn, Rachmaninoff, Schubert, Schumann or another Romantic composer

LIST D Bartók, Copland, Debussy, Fauré, Granados, Kabalevsky, Poulenc, Prokofiev, Ravel, Scriabin, Stravinsky, Tcherepnin, Villa Lobos or another composer born since 1874

Organ

All applicants to the organ program should prepare three pieces of repertoire from the major periods of organ composition

• One Baroque piece, ideally a major work by J.S. Bach or one of his contemporaries (ie. Prelude & Fugue)
• Two pieces by Romantic or Contemporary composers, one of which being lyrical and the other virtuosic
• Additionally, the applicant should prepare a hymn as if one were playing for an assembly. The hymn should include all stanzas preceded by an introduction

A short diagnostic keyboard skills exam will also be conducted.

Any questions may be directed to Prof. John Miller – millerjoh@montclair.edu.

Harpsichord

Music Education, Music Therapy, Theory/Composition

• Candidates must prepare three pieces, one each from Lists A, B, C, or D. One piece must be memorized.

Performance concentration

• Candidates must prepare four pieces, one each from Lists A, B, C, and D. One piece must be memorized.

LIST A Couperin, F.; Couperin, L.; Rameau; Rebel; or another French composer

LIST B Froberger; Bach, J.S.; Bach, C.P.E.; Sweelinck; or another German or Flemish composer

LIST C Scarlatti; Pasquini; Soler; Coelho; or another Italian or Iberian composer

LIST D Gibbons; Byrd; Bach, J.C.; Blow; or another English composer

Music Education, Music Therapy, Theory/Composition concentrations

• All candidates auditioning are required to perform an etude demonstrating the highest personal level of proficiency in each of the three areas of study: Snare Drum, Timpani, and Mallet Percussion (marimba, xylophone or vibraphone).
• Some suggestions include:
  • Snare Drum – Anthony Cirone Portraits in Rhythm, Jacques Delecluse 12 Etudes or Keiskleiriana 1 or 2.
  • Timpani – Saul Goodman Method Book Etudes, Jacques Delecluse 20 Etudes, Elliot Carter 8 Pieces for Timpani.
  • Mallet Percussion – Morris Goldenberg Modern Method for Xylophone Etudes, J. S. Bach Sonatas and Partitas for Violin or Cello Suites, G.F. Handel Sonatas.

Performance concentration

• Two contrasting solo pieces from the standard repertoire, in each of the three areas of study: snare drum, timpani and mallet percussion.

Contact Professor Centanni at Bcentanni@aol.com if you have any questions.

Violin

All Concentrations

• Prepare one (1) major and one (1) minor scale with corresponding arpeggios, two – three octaves (three octave preferred, but not required)
• Two contrasting works from the standard violin repertoire (one memorized preferred, but not required)
• A technical etude of your choice (examples: Kayser, Fiorillo, Dont, Gavines, Paganini, or suitable equivalents)

Viola

All Concentrations

• Two (2) contrasting works from the standard viola repertoire that best displays the applicant’s current musical and technical abilities
• One (1) technical study or etude ( examples: Kayser, Mazas, or a suitable equivalent)

Cello

All concentrations

• Two (2) contrasting works from the standard cello repertoire that best displays the applicant’s current musical and technical abilities
• One (1) technical study or etude (examples: Dotzauer, Popper, Schroeder, or a suitable equivalent)

 Double Bass (non-jazz majors)

All concentrations

• One (1) scale of the applicants choice and corresponding arpeggio – major or minor, two or three octaves
  
• One (1) Technical Study (Etude)
• Two (2) contrasting pieces (for example: a concerto, sonata, or a single movement work)

Flute, Oboe, Clarinet, Bassoon, Saxophone

Music Education, Music Therapy, Theory/Composition concentrations

• All major scales – one/two octaves, ascending & descending
  • Live Auditions – applicants may or may not be asked to play any combination of scales from faculty choice
  • Video Auditions – applicants should record three (3) scales: one major, one minor, one chromatic
• A solo work or movement of a multi-movement work
• A contrasting work, movement of a multi-movement work, or etude
• Possible sight reading for live auditions

Performance concentration (in addition to the above)

• An additional solo work, movement, etude or excerpts from the standard orchestra or wind band repertoire.

Music Education, Music Therapy, Theory/Composition Concentrations

Three (3) pieces chosen from the solo voice literature including

• One art song in English
• One art song in a foreign language
• One additional song or aria of the candidate’s choice. May be from any genre or style of music that shows the candidate’s strengths
• Possible sight-reading

All audition pieces must be memorized. An accompanist will be provided for you. Please bring copies of your sheet music.

Performance:

Four (4) pieces chosen from the solo voice literature including

• One art song or aria from the 16th-18th century
• One 19th c. German or French art song
• One 20th c. art song in English
• One additional art song or aria of the candidate’s choice. May be in any language, style, or genre that shows the candidate’s strengths
• Possible sight-reading

All audition pieces must be memorized. An accompanist will be provided for you. Please bring copies of your sheet music.

Scales – one octave ascending & descending on solfege, numbers, letters, or a vowel of your choice. Please sing evenly.

• One (1) major scale in any key
• One (1) harmonic minor scale in any key

Repertoire – Scat singing (vocal improvisation) is encouraged but not required. All melodies should be sung with your own interpretation, but using the correct pitches.

• One (1) song from the Great American Songbook (Rodgers & Hart, Gershwin, Cole Porter, Irving Berlin, etc.) Sung in a swing feel, at a medium or medium-up tempo. Please sing three choruses with improvisation or an embellished melody on the second chorus. 
• One (1) jazz ballad
• One (1) of the following:

1. 1. 1. A blues song in a jazz/swing feel, performed at medium tempo. Please include 2-3 choruses of improvisation or embellished melody.
      2. A song with a straight-eighth feel – Latin, Samba, or Bossa Nova. Please improvise or sing an embellished version of the melody on the second chorus.
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Saxophone, Clarinet, or Flute

Scales – please play for the full range of the instrument. Please play evenly.

• C Major (up to high F and down to low B)
• Eb Major (up to high F and down to low Bb)
• Gb Major (up to high F and down to low Bb)

Repertoire

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
• One (1) jazz ballad with an improvised chorus
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Trumpet

Scales – two octaves. Please play evenly

• E Major
• B Harmonic Minor

Repertoire

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
• One (1) jazz ballad with an improvised chorus
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Trombone

Scales – two octaves. Please play evenly

• F Major
• Bb Major

Repertoire

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
• One (1) jazz ballad with an improvised chorus
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Guitar

Scales – two octaves. Please play evenly

• G Mixolydian
• C Dorian
• F Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing guitar.

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
• One (1) solo version of a jazz ballad (chorded melody)
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

 Jazz Bass

Scales – two octaves. Please play evenly

• G Major
• Ab Major

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing bass.

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo – 1 chorus of melody, 2 choruses of walking bass lines, 2 choruses of improvisation
• One (1) jazz ballad – improvised chorus
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 1 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)
      4. Acoustic Bass applicants only – a short classical etude that demonstrates your ability to play pizzicato & arco 

Jazz Piano

*If you are submitting videos, please position the camera to show the piano keys and yourself

Scales – two octaves, hands together. No mistakes, at a fast tempo

• B Major
• G Harmonic Minor
• Ab Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing piano.

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
• One (1) jazz ballad with an improvised chorus – please play unaccompanied for a portion of the performance
• One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
      2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
      3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Vibraphone

Scales – two octaves, hands together. No mistakes, at a fast tempo

• B Major
• G Harmonic Minor
• Ab Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing piano.

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
• One (1) jazz ballad with an improvised chorus – please play unaccompanied for a portion of the performance
• One (1) of the following:

1. 1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
         2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
         3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Drum Set

Repertoire – may record with a track or a live rhythm section & soloist. If using a track, please be sure to mute the existing drum set.

• Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo. Please include:
  • • 1 chorus of the melody on either sticks or brushes
    • 2 choruses of playing time and comping behind a soloist
    • 2 choruses of an improvised drum solo
• One (1) up-tempo song (quarter note = 250bpm or faster). Please include:
  • • 2 choruses of playing time and comping behind a soloist
    • 2 choruses of trading eighths
• One (1) of the following:
  • • a jazz ballad demonstrating the ability to play with brushes
    • a song with a straight-eighth feel (Latin, Bossa Nova, ECM)
    • A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)