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Repertoire for Auditions

The information below will help you prepare for your Crane School of Music audition. The works listed below are examples of acceptable repertoire. Prospective students are encouraged to consult with their instructors to select works that best represent your level of achievement. Prospective graduate students who don’t see specific repertoire recommendations below should reach out to professors for your instrument. Additional questions should be directed to the relevant faculty member(s) for your area of study.

Bassoon

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:


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.

 

Cello

Please prepare two contrasting works (one lyrical in style, showing legato playing, and one faster piece, showing your technical abilities), including one movement of a concerto. You must be prepared to perform a randomly selected three-octave scale in both major and melodic minor, as well as a short sightreading excerpt. Appropriate repertoire examples include:

Concerti: Haydn in C, Boccherini in B-Flat Major, Lalo, Goltermann No. 5, Saint-Saëns No. 1, Romberg No. 2 and Boëllmann Symphonic Variations.

Sonatas: Boccherini, Brahms in E Minor, Prokofiev, Shostakovich and Vivaldi.

Contrasting pieces: The Swan, Vocalise, Prayer, Intermezzo by Granados, or any “showpieces” by Popper. Bach Solo Cello Suites I, II or III only (Prelude, Allemande, Courante or Gigue preferred).

For questions about repertoire, please contact Dr. Marie-Élaine Gagnon at gagnonmc@potsdam.edu.

 

Clarinet

Clarinet candidates should prepare:

  • One Level 5 or 6 NYSSMA solo (such as Mozart or Weber Concertos, Weber Concertino, Poulenc Sonata, or equivalent repertoire)
  • Two contrasting etudes (fast/slow; Rose: 32 Etudes is recommended)
  • All major scales, in 16th notes, quarter note = 80 (three octaves for E, F, F# and G octaves, two octaves for all others).

Bass clarinet candidates should prepare:

  • One Level 4 to 6 NYSSMA solo (such as Kibbe Sonata, Bozza Ballade, Bennett Deepwood or similar; B-flat works played on bass are also acceptable)
  • Two contrasting etudes (fast/slow, Rose: 32 Etudes is recommended)
  • All major scales, in 16th notes, quarter note = 80 (full range)

In addition, sightreading is required during all clarinet auditions. If you have any questions about repertoire selections, please contact the clarinet studio faculty.

Double bass

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

Marcello, Sonata in E Minor, Sonata in G Minor, Sonata in F Major, or 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 or Sonata No. 5 in E Minor; Galliard, Sonata in F Major; Weinstein, Contemporary Modal Solos.

Euphonium

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

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.

Flute

Please prepare 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 sightreading. Example works include:

Sonatas: J.S. Bach, Handel, Hindemith, Marcello, Poulenc, Telemann.

Concerti: Boccherini, Devienne, Haydn, Ibert, Mozart, Nielsen, Pergolesi, Quantz, Telemann.

Other solo pieces: Bloch, Suite Modale; Chaminade, Concertino; Debussy, Syrinx; Donjon, Offertoire; Doppler, Hungarian Fantasie; Fauré, Fantasie (or other French Conservatory pieces); Honegger, Danse de la Chèvre; He, Serenade; Kennan, Night Soliloquy.

Suites and fantasies: Telemann, J.S. Bach. Other pieces of comparable difficulty also are acceptable.

Classical Guitar

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 fifth position. In addition to the sightreading, students 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)
  • A 20th-century work at the difficulty level of a Villa-Lobos prelude

Note: Works learned from tablature or by ear will not be accepted.

 

Harp

Undergraduate candidates should prepare:

  • A representative etude such as Bochsa, Quarante Etudes Faciles, Op. 318
  • Two contrasting solo works, illustrating different styles and techniques
  • Students applying for the degree in Performance must perform at least one of the works from memory
  • Sight reading is also a required part of all harp auditions

Graduate candidates should prepare:

  • One orchestral cadenza
  • Three contrasting solo works or movements of works, illustrating different styles and techniques
  • Students applying for the degree in Performance must perform at least one of the works from memory
  • Sight reading is also a required part of all harp auditions

Horn

Undergraduate candidates:

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical.

Example works include:
Mozart, Concertos Nos. 1, 2, 3, 4; Corelli, Sonatas; F. Strauss, Concerto; Beethoven, Sonata; Bozza, En Foret; Hindemith, Sonata; Jacob, Concerto; Gliere, Concerto; R. Strauss, Concertos Nos. 1, 2; Dukas, Villanelle; Wilder, Sonata No. 4; Schumann, Adagio-Allegro; Heiden, Sonata.

Graduate candidates should prepare:

  • Two solos (or movements from a larger work) of contrasting styles
  • Two contrasting etudes that show mastery in lyrical and technical styles
  • Three to five standard excerpts from orchestral repertoire

 

Oboe

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

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.

 

Percussion

Percussion candidates should prepare:

  • One snare or multiple percussion solo (examples include works by Colgrass, Gauger, Petercsak, Firth, Albright, Cirone, Payson Pratt)
  • One mallet solo for keyboard percussion instruments (examples include works by Bach, Musser, Stout, Peters, Abe)
  • One timpani solo (examples include works by Beck, Tcherepnine, McKenzie, Jones, Bergamo, Williams, Carter)

Piano

Undergraduate music performance* candidates must perform four solo works from memory, including:

  • A three-part invention or a prelude and fugue from the Well-Tempered Klavier of J.S. Bach
  • The first movement of a classical sonata by Haydn, Mozart, or Beethoven
  • A Romantic or Post Romantic work. Possible composers include Chopin, Schumann, Mendelssohn, Liszt, Brahms, Rachmaninoff, or Scriabin
  • An Impressionistic, Modern, or Post-Modern work

All other undergraduate program candidates must perform three solo works from memory, including:

  • A three-part invention or a prelude and fugue from the Well-Tempered Klavier of J.S. Bach
  • The first movement of a classical sonata by Haydn, Mozart, or Beethoven
  • One of the following:
    - A Romantic or Post Romantic work. Possible composers include Chopin, Schumann, Mendelssohn, Liszt, Brahms, Rachmaninoff, or Scriabin, OR
    - An Impressionistic, Modern, or Post-Modern work

Graduate music performance candidates must prepare a program of 50 to 60 minutes, including three style periods. All works should be performed from memory and prepared in their entirety, and the program should include:

  • One complete classical sonata
  • One major Romantic work
  • One virtuosic etude
  • Additional works of your choice

* Piano students who are auditioning for two or more majors, one of which is the Bachelor of Music degree in musical performance, should prepare only the undergraduate performance-level audition.

 

Saxophone

Students should prepare one Level 5-6 NYSSMA solo, exhibiting both technical and lyrical playing, such as Sonata by Paul Creston, Concerto in Eb by Alexander Glazunov, Sonata by Bernhard Heiden, or Tableaux de Provence by Paule Maurice. 

Students should also prepare all major, harmonic minor and chromatic scales from memory. For scale expectations, please see here.

Candidates should play their audition on the saxophone they are most comfortable with, but understand that they will be expected to play alto saxophone for at least the first four semesters of study at Crane.

Trombone

Tenor trombonists should perform:

  • A lyrical etude from the Bordogni/Rochut "Melodious Etudes" Book I
  • A solo of a comparable level to these examples: 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 perform:

  • A lyrical etude from the Bordogni/Rochut "Melodious Etudes" Book I (with the option of playing the selection at an octave lower)
  • A solo of a comparable level to these examples: 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.

Trumpet

Undergraduate candidates:

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

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.

Graduate candidates will perform:

  • One representative movement from three major works in the trumpet repertoire, representing contrasting styles
  • Five orchestral excerpts from the following list:
    Bach: Christmas Oratorio (part VI - solo in common time
    Beethoven: Symphony No. 9 (2nd movement)
    Bizet: Carmen (prelude - low solo)
    Gershwin: An American in Paris (solo - rehearsal 45)
    Mussorgsky (Ravel): Pictures at an Exhibition (“Samuel Goldenberg”)
    Ravel: Piano Concerto (opening solo)
    R. Strauss: Ein Heldenleben (E-flat solo)
    Stravinsky: Firebird (“Danse Infernale” - beginning to rehearsal 3, rehearsal 9-14)
    Stravinsky: Pulcinella (finale - measure 117 to end)
    Wagner:  Parsifal  (prelude - solo)

Tuba

Please prepare two contrasting movements or pieces, one fast/technical and the other slow/lyrical. Example works include:

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.

Viola

Please prepare two contrasting works (one showing legato playing, and one faster). You must be prepared to perform a randomly selected three-octave scale in both major and melodic minor, as well as a short sightreading excerpt. Appropriate repertoire examples include:

Concertos by J.C. Bach, Bartok, Bloch, Handel, Hindemith, Hoffmeister, Hummel, Stamitz, Vaughan Williams or Walton.

Sonatas and shorter works/showpieces by Bloch, Brahms, Bruch, Enesco, Hindemith, Hummel, Marcello, Marais, Milhaud, Shostakovich, Vieuxtemps, or Vivaldi.

Any movement (except the Minuet/Bourrée) of a solo suite by J.S. Bach.

Please note that the Telemann Viola Concerto is not acceptable repertoire for the audition.

For questions about repertoire, please contact Dr. Shelly Tramposh at tramposh@potsdam.edu.

Violin

Please prepare two contrasting works (one showing legato playing, and one faster). You must be prepared to perform a randomly selected three-octave scale in both major and melodic minor, as well as a short sightreading excerpt. Appropriate repertoire examples include:

Concerto movements at the level of Haydn, Kabalevsky, Mozart, Barber, Bruch, Mendelssohn, or Lalo.

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 contact Prof. Liesl Schoenberger Doty at dotyls@potsdam.edu or Dr. Sarah Hersh at hershss@potsdam.edu

Voice

Undergraduate music performance* candidates must perform five memorized pieces from the standard classical vocal literature, including:

  • Pieces in English and at least two other languages
  • Age-appropriate pieces of varying styles and/or tempi
  • Up to one musical theatre song is permitted, with no restrictions on style or time period. However, accompanying music be written out; lead sheets are not permitted
  • Note: With the exceptions of up to on musical theatre song, jazz and pop styles are not accepted

All other undergraduate program candidates must perform three memorized pieces from the standard classical vocal literature, including:

  • Pieces in English and at least one other language
  • Age-appropriate pieces of varying styles and/or tempi
  • Up to one musical theatre song is permitted, with no restrictions on style or time period. However, accompanying music be written out; lead sheets are not permitted
  • Note: With the exception of up to one musical theatre song, jazz and pop styles are not accepted

Graduate music performance candidates must perform five memorized pieces from the standard classical vocal literature, including:

  • Pieces in English, French, German and Italian
  • Two arias of contrasting styles and periods (could include works from opera, operetta, oratorio, cantata or concert arias)
  • Note: Musical theatre, jazz and pop styles are not accepted

Accompanist information:

Accompanists are provided for all voice auditions (both on- and off-campus). There is a $30 non-refundable fee, which must be paid when the audition is scheduled. Please review these recommendations for providing music for our accompanists.

* Voice students who are auditioning for two or more majors, one of which is the Bachelor of Music degree in musical performance, should prepare only the undergraduate performance-level audition.