Repertoire for Auditions
NOTE: Unless otherwise noted below, the audition should consist of two contrasting movements or pieces, one fast/technical and the other slow/lyrical.
The works listed below are merely examples of acceptable repertoire and represent only a small number of the possible pieces that would be appropriate for an audition. Prospective students are encouraged to consult with their private teachers and select works that best represent their level of achievement. Additional questions should be directed to the appropriate Crane faculty member found on the Crane faculty page.
These repertoire lists are for incoming undergraduate students. Graduate applicants should go to this webpage.
Besozzi, Sonata; Galliard, Six Sonatas; Fasch, Sonata; Telemann, Sonata in F Minor; Hurlstone, Sonata in F; Mozart, Concerto; Rosetti, Concerto in B Flat; Saint-Saëns, Sonata in G; Vivaldi, Concerti; Weber, Concerto in F, Weber, Hungarian Fantasy; Hummel, Concerto.
Handel, Sonata in C Major, Sonata in G Major, Sonata in E Minor; J.S. Bach, Suites for Cello; Saint-Saëns, Concerto; Boccherini, Concerto in B Flat; Fauré, Elegy.
All candidates on clarinet must prepare one Level 5-6 NYSSMA solos such as Mozart or Weber Concertos, Weber Concertino, Poulenc Sonata, or equivalent repertoire, two contrasting etudes (fast/slow; Rose: 32 Etudes is recommended), and all major scales, in 16th notes, quarter note = 80. (E,F,F#, & G - 3 octaves, all others - two octaves). In addition, sightreading will be a part of the audition. If you have any questions about repertoire selections, please contact the clarinet studio faculty.
Marcello, Sonata in E Minor, Sonata in G Minor, Sonata in F Major, Sonata in A Minor; Simandl, Tempo de Polacca; Capuzzi, Concerto in D Major; Corelli, Sonata in D Minor; Vivaldi, Sonata No. 3 in A Minor, Sonata No. 5 in E Minor; Galliard, Sonata in F Major; Weinstein, Contemporary Modal Solos.
Barat, Andante and Allegro; Fasch, Sonata; Frackenpohl Sonata; Marcello, Sonatas; Telemann, Fantasies or Sonatas; Capuzzi, Andante and Rondo; Clinard, Sonata; David, Concertino; Horovitz, Concerto; White, Lyric Suite
Students should be prepared to perform a minimum of two contrasting sections or movements from two contrasting styles or periods of music. In addition, students may be asked major and chromatic scales as well as an example of sight-reading. Repertoire: sonatas by J.S. Bach, Handel, Hindemith, Marcello, Poulenc, Telemann; concertos by Boccherini, Devienne, Haydn, Ibert, Mozart, Nielsen, Pergolesi, Quantz, Telemann; other solo pieces such as Bloch, Suite Modale; Chaminade, Concertino; Debussy, Syrinx; Donjon, Offertoire; Doppler, Hungarian Fantasie; Fauré, Fantasie or other French Conservatory pieces; Honegger, Danse de la Chèvre; Hüe, Serenade; Kennan, Night Soliloquy; suites and fantasies by Telemann and J.S. Bach. Other pieces of comparable difficulty also are acceptable.
The audition must be played on a nylon-string classical guitar. Good music reading skills are essential. You will be asked to sight read single-line melodies up through the 5th position. In addition to the sight reading you should prepare the following: two major or minor Segovia scales, three octaves, using rest strokes and free strokes; a work by Bach, Weiss or Scarlatti; an etude by Sor (selected from the Segovia edition); and a 20th-century work at the difficulty level of a Villa-Lobos prelude. Works learned from tablature or by ear will not be accepted.
A representative etude such as Bochsa, Quarante Etudes Faciles, Op. 318. Two contrasting solo works illustrating different styles and techniques, at least one work to be performed from memory. Sight reading.
Mozart, Concertos Nos. 1, 2, 3, 4; Corelli, Sonatas; F. Strauss, Concerto; Beethoven, Sonata; Bozza, En Forêt; Hindemith, Sonata; Jacob, Concerto; Glière, Concerto; R. Strauss, Concertos Nos. 1, 2; Dukas, Villanelle; Wilder, Sonata No. 4; Schumann, Adagio-Allegro; Heiden, Sonata.
Telemann, Six Partitas; Handel, Sonatas and Concertos; Cimarosa, Concerto; Marcello, Concerto in C Minor; Nielsen, Romance; Schumann, Three Romances; Mozart, Concerto; Haydn, Concerto; Telemann, Concerto in D Major; Hindemith, Sonata.
Prepare audition materials for snare solo/multiple percussion solo, mallets, and timpani.
- Snare solos and multiple percussion solos: Colgrass, Gauger, Petercsak, Firth, Albright, Cirone, Payson Pratt, etc.
- Mallet solos for keyboard percussion instruments: Bach, Musser, Stout, Peters, Abe, etc.
- Timpani solos: Beck, Tcherepnine, McKenzie, Jones, Bergamo, Williams, Carter, etc.
- Substitutions can be made from the Grade V and VI lists in the NYSSMA Manual for all areas of percussion.
Students auditioning for the Bachelor of Music in Performance* degree will perform from memory four works for solo piano including: 1) a Three Part Invention or a Prelude and Fugue from the Well Tempered Clavier of J.S. Bach, 2) the first movement of a classical sonata by Haydn, Mozart, Beethoven or Clementi 3) any work of Chopin, Liszt, Brahms, Rachmaninoff, or Scriabin 4) a work by an impressionist or 20th century composer.
Students auditioning for all other degree programs* will perform from memory three works for solo piano including: 1) a Two or Three Part Invention or a Prelude and Fugue from the Well Tempered Clavier of J.S. Bach, 2) the first movement of a classical sonata by Haydn, Mozart, Beethoven or Clementi, 3) any work of Chopin, Liszt, Brahms, Rachmaninoff, Scriabin OR a work by an impressionist or 20th century composer.
Please be prepared to play one (1) lyrical and one (1) technical musical selection. Also, please be prepared to play all major, harmonic minor, and chromatic scales. The audition should display a level of technical and musical difficulty comparable to the following works:
J. Ibert: Concertino da Camera
W. Benson: Aeolian Song
P. Creston: Sonata
E. Bozza: Aria
B. Heiden: Sonata
A. Glazounov: Concerto
P. Maurice: Tableaux de Provence
Tenor trombonists should select a lyrical etude from the Bordogni/Rochut "Melodious Etudes" Book I and a solo of a comparable level of the solos listed below: Guilmant, Morceau Symphonique; Galliard, Six Sonatas; Marcello, Sonatas; Barat, Andante and Allegro; White, Sonata; Giffels, Sonata; Serocki, Sonatina; Fasch, Sonata; Shostakovich, Four Preludes; Hindemith, Sonata; Davison, Sonata; Jacob, Concerto.
Bass Trombonists should also select a lyrical etude from the Bordogni/Rochut "Melodious Etudes" Book I (with the option of playing the selection an octave lower) and a solo of a comparable level of the solos listed below:
Jacob, Cameos; Lebedev, Concerto in One Movement; Galliard Six Sonatas; Ewazen, Concertino; Grantham, Sonata in One Movement; Gregson, Concerto; Hidas, Rhapsody; McCarty, Sonata; Mueller, Praeludium, Chorale, Variations and Fugue; Sache, Concertino; Semler-Collery, Barcarolle et Chanson; Wilder, Sonata.
Corelli, Sonata No. 8; Balay, Prelude et Ballade; Albonini, Sonata in C; Handel, Sonata for Trumpet; Kennan, Sonata; Hartley, Sonatina; Hummel, Concerto; Haydn, Concerto; Hindemith, Sonata.
Hindemith, Sonate; Vaughan Williams, Concerto; Capuzzi, Andante and Rondo; Gregson, Concerto; Lebdev, Concerto in One Movement; Marcello, Sonatas; Wilder, Suite No. 1; Hartley, Suite; Persichetti, Sernade No. 12; Vivaldi, Sonatas
Please prepare two contrasting works (one showing legato playing, and one faster), and be prepared to perform a randomly selected three-octave scale in major and melodic minor and a short sight-reading excerpt. Appropriate repertoire includes concertos by J.C. Bach, Bartok, Bloch, Handel, Hindemith, Hoffmeister, Hummel, Stamitz, Vaughan Williams or Walton, sonatas by Bloch, Brahms, Clarke, Hindemith, Hummel, Marcello, Marais, Milhaud, Shostakovitch, or Vivaldi, or any movement EXCEPT the minuet/bourree of a solo suite by J.S. Bach. Note that the Telemann viola concerto is not acceptable repertoire for the audition. For questions about repertoire, please contact Dr. Tramposh at firstname.lastname@example.org.
Please prepare TWO contrasting works (one showing legato playing, and one faster) and be prepared to perform a randomly selected three-octave scale in both major and melodic minor as well as a short sight-reading excerpt. Appropriate repertoire includes a concerto movement at the level of Haydn, Kabalevsky, Mozart, Barber, Bruch, Mendelssohn, or Lalo; or any movement from a Solo Sonata or Partita by J. S. Bach EXCEPT the Gigue from the E Major Partita. Other solo pieces, sonatas, or concerti of comparable difficulty are also acceptable. Choosing two works from the vast violin repertoire can be tough, so if you have any questions please be in touch with Professor Doty at email@example.com or Dr. Hersh at firstname.lastname@example.org.
Bachelor of Music in Performance*: Candidates must present five (5) memorized pieces from standard classical vocal literature. Repertoire must include pieces in English and two different foreign languages. Candidates should perform age-appropriate pieces of varying styles and/or tempi. Do not include music theater, jazz or 'pop' styles.
All other degree programs*: Candidates must present three (3) memorized pieces from standard classical vocal literature. Repertoire must include pieces in English and at least one foreign language. Candidates should perform age-appropriate pieces of varying styles and/or tempi. Do not include music theater, jazz or 'pop' styles.
Voice Applicants: Accompanists are available for both on and off-campus (voice auditions only) for a $30.00 fee which must be paid when the audition is scheduled. For recommendations about providing music for our accompanists, please click here.
* Voice or piano students who are auditioning for two or more majors, one of which is the Bachelor of Music in Performance degree, should prepare only the Bachelor of Music in Performance audition.