【Andante行板爱乐】【茱莉亚博客故事】2018学年茱莉亚音乐学院招生面试须知

Bassoon

One complete solo work (a sonata or concerto).

A complete solo work of a different style or period from No. 1 above OR two contrasting etudes showing the applicant’s level of technical and musical ability.

Three or more standard orchestral excerpts.

Brass (Bass Trombone and Tuba, Tenor Trombone, Trumpet)

Bass Trombone and Tuba

Two etudes showing the applicant’s level of technical and musical advancement.

At least one major solo of the applicant’s choice.

Four contrasting standard orchestral excerpts.

Bass Trombone only, Major and minor scales.

Tenor Trombone

Pre-Screening Repertoire：

The repertoire for pre-screening is the same as the live audition repertoire below.

Live Audition Repertoire：

B-flat, C, and D Major and minor (harmonic) scales, played in two octaves (detached), starting from low B-flat, C, and D, all in the staff in bass clef.

Two etudes showing the applicant’s level of technical and musical advancement.

At least one major solo of the applicant’s choice.

The following orchestral excerpts:

MOZART: Requiem, K. 626 (“Tuba mirum”)

ROSSINI: La Gazza Ladra

RAVEL: Bolero

MAHLER 3: 3 measures after #13 to #17.

Trumpet

Pre-Screening Repertoire：

Piano accompaniment is preferred but not required.

One movement of a standard solo work (concerto or sonata) or five to eight minutes from a single-movement work.

One etude of the applicant's choice.

Three standard orchestral excerpts.

Live Audition Repertoire：

Applicants are required to perform their auditions on B-flat and/or C trumpets exclusively.

For No. 2 below, please select one piece from the following list: Concerto by Arutunian, Haydn, or Hummel; Sonata by Hindemith or Kennan.

Two etudes showing the applicant’s level of technical and musical advancement.

At least one major solo of the applicant’s choice.

Three to five standard orchestral excerpts.

Cello

Pre-Screening Repertoire：

For pre-screening, applicants must submit No. 1 and No. 2 from the live audition repertoire.

Live Audition Repertoire：

One movement of a concerto from the standard cello repertoire, such as Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich, Barber, Herbert, Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns. If Saint-Saëns is chosen, please play the 2nd and 3rd movements; if Elgar is chosen, please play either the 1st and 2nd movements or the 3rd and 4th movements; if Shostakovich Concerto #1 is chosen, please play the 1st and 2nd movements. 

A Bach prelude and one other movement from any Bach suite (the prelude and movement should come from the same suite). 

One virtuoso piece such as those listed: Popper Spinning Song or Elfentanz, Paganini Moto Perpetuo, Faure Papillons, Boccherini Sonata L’Imperatrice, Piatti Caprices or Popper Etudes, Davidoff At the Fountain, Schubert Arpeggione Sonata (1st movement), or Tchaikovsky Pezzo Capricioso.

One work composed after 1945 such as works by Carter, Sessions, Dutilleux, Lutoslawski, Penderecki, Shapey, etc. which is 6-8 minutes in length. (The work may be either a complete short piece or a complete movement from a larger work.)

A short lyrical piece such as Saint-Saëns The Swan, Fauré Après un Rêve, Chopin/Popper Nocturne No. 2 in E flat major, Op. 9, No. 2, Mendelssohn Songs Without Words, Chopin Sonata slow movement, Schumann Five Pieces in Folk Style, 2nd movement, Schumann Fantasy Pieces, 1st movement, or the choice of the applicant.

First movement of a Classical or Romantic sonata.

Clarinet

Major and minor scales.

Two contrasting etudes showing the applicant’s level of technical and musical ability.

At least one major solo of the applicant’s choice. Must be performed from memory.

A representative number of standard orchestral excerpts.

Collaborative Piano

Graduate and Post-Graduate levels only. Undergraduate programs are not available in this department.

Composition

Pre-Screening Requirements：

Two scores of contrasting styles composed within the last two years. Each score should be circumscribed to present up to five minutes of music which represents your best, most accomplished work (two five-minute selections, for a total of approximately ten minutes).

Audio recordings which are cued to the same section of music should accompany the scores. (Recordings are in support of the scores and may be live music or digital realizations of your works.)

A short written statement which describes the scores or the process of composing the scores.

A complete listing of the applicant’s compositions with orchestrations and dates of performances.

Live Audition Procedures：

Selected applicants will be scheduled for personal interviews with the faculty.

Interviews will include a discussion of the scores submitted for the pre-screening.

Applicants must bring scores and CD recordings of the works submitted for pre-screening AND two additional works (scores with CD recordings) to the interviews. Do not bring audio files on flash drives or any other storage method requiring a computer for playback.

All applicants will complete musicianship testing in score analysis, rhythmic dictation, harmonic analysis, counterpoint, and score identification.

Double Bass

Pre-Screening Repertoire：

For pre-screening, applicants must submit the following from the live audition repertoire:

No. 1,

No. 2, with piano accompaniment if appropriate, and

One excerpt from No. 3.

Live Audition Repertoire：

One movement from the Bach Cello Suites.

A movement from the standard solo literature or the 1st movement of a standard concerto (Dragonetti, Vanhal, Bottesini, Dittersdorf, Koussevitzky) including published cadenza, if applicable.

Two standard orchestral excerpts of the applicant's choice.

One 3-octave scale and arpeggio of the applicant's choice.

Flute

Pre-Screening Repertoire：

Repertoire must be in this order:

The 1st and 2nd movements of a Classical concerto of the applicant's choice.

Two contrasting movements selected from works of different styles or periods, accompanied (excluding Mozart).

One of the following pieces, in its entirety:

Prélude et Scherzo (Henri Büsser) 

Concertino, Op. 107 (Cecile Chaminade)

Concertino, Op. 45 (Alphonse DuVernoy) 

Cantabile et Presto (Georges Enesco) 

Fantasie, Op. 79 (Fauré)  

Andante et Scherzo (Louis Ganne) 

Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert) 

Ballade (Périlhou) 

Andante Pastoral et Scherzettino (Paul Taffanel)

Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.

Two orchestral excerpts selected from the following choices:

Beethoven Eroica Symphony – Last movement – measures 172–200. 

Beethoven Leonore Overture No. 3 – measures 328–360. 

Brahms Symphony No. 4 – Last movement – measures 93–105. 

Debussy Afternoon of a Faun – measures 1–4.

Live Audition Repertoire：

At least one of Nos. 2 or 3 must be performed from memory in its entirety.

A complete Baroque sonata.

Two complete major works of contrasting styles and periods.

A complete Classical concerto.

One of the following pieces, in its entirety:

Prélude et Scherzo (Henri Büsser) 

Concertino, Op. 107 (Cecile Chaminade)

Concertino, Op. 45 (Alphonse DuVernoy) 

Cantabile et Presto (Georges Enesco) 

Fantasie, Op. 79 (Fauré)  

Andante et Scherzo (Louis Ganne) 

Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert) 

Ballade (Périlhou) 

Andante Pastoral et Scherzettino (Paul Taffanel)

Four standard orchestral excerpts displaying a balance of technical and lyrical playing.

Guitar

All compositions must be performed from memory.

Two contrasting movements of a J.S. Bach suite, partita, or sonata (includes Prelude, Fugue & Allegro BWV998).

Two etudes by Heitor Villa-Lobos.

A complete work of any period.

Two contrasting works:

One Renaissance, Classical (e.g. Sor, Giuliani, Regondi, Mertz, etc.), or 19th-century.

One by a 20th-century composer of any style.

Harp

All auditioning students may use The Juilliard School harps to practice (during Audition Week only) and audition. Juilliard harps:

Lyon-Healy (style 23)

Lyon-Healy (style 85)

Memorization is required.

Both of the following two studies:

No. 1 by Bochsa (Op. 34), any edition.

Tournier Etude- "Au Matin" OR "Vers la Source dans le Bois".

A composition of the degree of difficulty of the Fantasy on a Theme of Haydn or Aria in Classic Style by Grandjany.

Two contrasting short works:

One Classical.

One by a 20th-century composer, such as the Largo from the Violin Sonata No. 5 by Bach by Grandjany, or the Toccata from Sarabanda e Toccatta by Nino Rota.

Horn

Pre-Screening Repertoire：

Please choose one from each group (for a total of two selections):

Group A

Kopprasch Book 1, No. 3

Kopprasch Book 1, No. 17

Kopprasch Book 1, No. 29

Group B

Kopprasch Book 1, No. 15

Kopprasch Book 1, No. 22

Live Audition Repertoire：

Two etudes, of the applicant's choice, showing the applicant’s level of technical and musical advancement. (It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials.)

At least one major solo of the applicant’s choice.

Three to six standard orchestral excerpts.

Additional evaluation such as sight-reading, ear-training, range/register exploration, and scales might be required during the audition.

Jazz Studies

Pre-Screening Repertoire：

Applicants must submit one selection from each of the four "Categories and Options" below, for a total of four tunes.

Applicants must record with either instrumental accompaniment or a sounding metronome (see above).

Please see the "Additional Pre-Screening Requirements by Instrument" section below.

Categories and Options

Choose one option from each category (for a total of four tunes); perform as prescribed under "Additional Pre-Screening Requirements by Instrument."

1. Slow Tempo (quarter = 60 - 98):

"Amazing Grace" by John Newton (Any key)

"Swing Low, Sweet Chariot" traditional spiritual song (Any key)

"Sophisticated Lady" by Duke Ellington (Concert A-flat)

2. Medium Tempo (quarter = 108 - 131):

"All the Things You Are" by Jerome Kern/Oscar Hammerstein (Concert A-flat)

"Fee-Fi-Fo-Fum" by Wayne Shorter (starts on a Concert E-flat seven)

3. Medium, Up Tempo (quarter = 132 - half note = 132):

"Confirmation" by Charlie Parker (Concert F)

"King Porter Stomp" by Jelly Roll Morton (Any key)

The last 16 bar strain is as follows*:

∥∶ G  G∘⁷∣ DMaj/A  Db⁷∣ G  G∘⁷∣ DMaj/A  D⁷∣

G  G∘⁷∣ DMaj/A  Bb⁷∣ E⁷      ∣ A⁷      ∣

G  G∘⁷∣ DMaj/A  D⁷∣ G  G∘⁷∣ DMaj/A  D⁷∣

G  G∘⁷∣ DMaj/A  B⁷∣ E⁷  A⁷∣ D      ∶∥

*For further clarification please reference the original recording. 

4. Afro-Hispanic/Latin (half note = 52 - 120):

"Mambo Inn" (mambo) by Mario Bauza/Grace Sampson/Bobby Woodlen (Concert A-flat)

"Besame Mucho" (bolero) by Consuelo Velazquez (Concert D minor)

Additional Pre-Screening Requirements by Instrument：

Brass and Woodwind Instruments (e.g., Saxophone, Trombone, and Trumpet)
Applicants should perform the melody and a single chorus improvisation on their chosen selection from each category, and in so doing, demonstrate all the instruments they can play (i.e. flute and/or clarinet for saxophonists). Applicants are encouraged to utilize timbre and vocal effects (i.e., plunger mute for trumpet and trombone).

Double Bass
Applicants should perform a single chorus improvisation (broken into a walking half chorus and a solo half chorus) on their chosen selection from each of the four categories, utilizing both plucked and bowed techniques. For two of the four selections, applicants should perform the melody. Solo and bass line accompaniments should be appropriate for each selection (i.e., walking bass line, two feel, groove, etc.).

Drums
Applicants must demonstrate use of sticks and brushes and choose a rhythm pattern per category to demonstrate.

1. Slow Tempo: Play your selection in 2, referencing your knowledge of the difference between a gospel, country, or modern jazz 2 groove.
2. Medium Tempo: Play your selection in both 4 and in 2. For those sections in 2, choose between either (a) an Eastern Seaboard 2 à la Miles Davis 1950s groups or (b) a Kansas City 2 à la Count Basie with Jo Jones. For those in 4, use a Bebop 4 (à la Kenny Clarke and Max Roach) and a modern 4.
3. Medium, Up Tempo: Play your selection in 4 as differentiated above.
4. Afro-Hispanic/Latin: Play your selection using the appropriate rhythmic patterns (i.e., Bolero, Bossa Nova, Mambo, etc.).

Guitar
Applicants must first demonstrate a three-octave triad arpeggio at a quarter = 120 on a major chord of their choosing in quarter notes, followed by the same thing in eighth notes. On their chosen selection from each category, they should perform a chorus of melody (single string/chord melody/or combination thereof), followed by a half chorus of improvisation and a half chorus of accompanying using a rhythm appropriate to the style.

Piano
Applicants should perform a melody chorus, a half chorus of accompanying, and a half chorus of melodic improvisation on their chosen selection from each category.

Vibraphone
Applicants should perform a melody chorus, a half chorus of accompanying, and a half chorus of melodic improvisation on their chosen selection from each category. They must demonstrate use of dampening technique on melodies and improvised choruses. If possible, demonstrate the use of 4 mallets with chord inversions.

Live Audition Procedures

If invited to audition live in New York, you may be asked to perform the same repertoire selections you submitted for pre-screening, in addition to Big band excerpts which you will be expected to prepare in advance and an etude (see below). You will also be required to complete a creative project approximately two weeks before your audition. Further instructions regarding Big band excerpts and project will be provided to auditioning applicants.

A rhythm section, knowledgeable of all the pre-screening selections, will accompany the audition.

All pre-screening repertoire must be performed from memory and in standard arrangements.

Musicianship assessments will occur for all those invited to the second round.

Applicants should be prepared to stay at The Juilliard School until 10 p.m. on the day of the scheduled audition, in the event that they are called back. Applicants who are not called back may reasonably conclude that they are not under consideration for admission.

1. For the first-round auditions, applicants will:

Play the etude listed for their instruments (see "Live Audition Repertoire" below),

Play the Big band excerpts, which will be provided after pre-screening and

Play the repertoire from the pre-screening requirements, as specified.

2. Callbacks will be scheduled on the same day as the first round and will consist of:

A written and aural musicianship assessment administered in a group setting

In a separate room, individual applicants will:

Play repertoire from the pre-screening requirements, as specified, with a professional rhythm section

Sight read and improvise on a new composition

Discuss the original creative project submitted in advance of the audition.

Live Audition Etudes by Instrument

Please be sure to carefully review the live audition procedures above.

In addition to the pre-screening repertoire, applicants must present the etude as noted below. (Please note: etudes are required so that applicants can demonstrate their technical proficiency, not their knowledge of any particular style of classical music.)

Applicants invited to audition live should bring two copies of their chosen etude to the audition.

Brass and Woodwind Instruments (e.g., Saxophone, Trombone, and Trumpet)

Saxophone:
Etude No. 1 from "48 Etudes for Saxophone" by Franz Willhem Ferling

Trombone:
Etude No. 22 from "Melodious Etudes for Trombone" by Joannes Rochut 

Trumpet:
Etude No. 11 from "14 Characteristic Studies" by Jean Baptiste-Arban

Double Bass
Etude No. 21 in F minor by Franz Simandl

Drums
Play a rudimental snare drum solo by Pratt, Wilcoxon, Tompkins or Markovitch; applicants must also have knowledge of the 26 basic rudiments and be able to play them open and closed

Guitar
Bb Melodic Minor from “Daily Exercises” by Barry Galbraith pg 34

Piano
Choose one of the following:

J.S. Bach Invention #1 in C Major, BWV772

J.S. Bach Invention #8 in F Major, BWV779

Vibraphone
J.S. Bach A minor Violin Concerto, 1st movement, measures 1 - 80.

Oboe

Two etudes showing the applicant’s level of technical and musical ability.

A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).

A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.

Three orchestral excerpts demonstrating slow, fast, and articulated passages.

Organ

Organ auditions will take place on The Juilliard School’s Holtkamp organ in Paul Hall. A complete list of stops and specifications will be sent with the audition schedule letter. This information can also be accessed here.

A prelude and fugue for organ by J. S. Bach.

An organ composition by a 19th-century composer.

An organ composition by a representative 20th/21st-century composer.

Applicants may be asked to sight-read.

Percussion

Pre-Screening Repertoire：

1. Mallets

Two Mallets – Any 2 mallet movement from J.S. Bach's Sonatas and Partitas for solo violin or Suites for solo cello – no repeats.

Four Mallets – Georg Neumark – Chorale no repeats. = 100 (do not roll).

If low A instrument is not available, please play entire piece up one octave.

2. Snare Drum

Long Roll = 80.

Wilcoxon – Rhythmania from Modern Rudimental Swing Solos.

Play beginning to downbeat of m. 16 = 100.

Delecluse – Etude No. 1 from 12 Etudes pour caisse claire.

Play beginning to downbeat of m. 46 = 76.

3. Timpani

Please tune exclusively with a tuning fork, and without the use of gauges.

Long Roll = 80.

Goodman – Modern Method for Timpani – Etude #57 = 92.

Live Audition Repertoire：

If invited to a live audition, applicants should bring three copies of all materials.

Mallets

Two-mallet solo of your choice.

Four-mallet solo of your choice.

Knowledge of scales and arpeggios.

Sight-reading.

Snare Drum

Etudes from Cirone Portraits in Rhythm or Delecluse 12 Etudes or the equivalent.

Knowledge of rudiments and ornaments.

Ability to roll at all dynamic levels.

Sight-reading.

Timpani

Etudes from Goodman method, Firth, Delecluse, or Hochrainer books or the equivalent.

Ability to tune accurately.

Ability to roll at all dynamic levels.

Sight-reading.

Piano

Pre-Screening Repertoire：

For pre-screening, applicants must submit No. 2 and No. 3 from the live audition repertoire, as well as one etude by Chopin.

Live Audition Repertoire：

The entire audition program should reach a minimum of 45 minutes. Shorter programs may be subject to approval by the piano faculty.

Bach: A prelude and fugue from The Well-Tempered Clavier or another work containing a fugue. (No transcriptions permitted.)

One of the following:

An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or

One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or

One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or

One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.

A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. (Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable.)

Two virtuosic etudes:

one by Chopin, and

one by Bartók, Debussy, Ligeti, Liszt, Prokofiev, Rachmaninoff, Scriabin, or Stravinsky.

A substantial work, or a collection of shorter works, of the applicant’s choice which is:

in a different style and by a composer other than those represented in the previous requirements, and

not less than six minutes.

Viola

Pre-Screening Repertoire：

For pre-screening, applicants must submit:

No. 1 and,

Either No. 2 OR No. 3 from the live audition repertoire.

Live Audition Repertoire：

Of Nos. 2 and 3, one must be a 20th or 21st-century composition.

Two contrasting movements from any Bach solo suite (originally for cello) or sonata or partita (originally for violin).

A sonata movement or short work, solo or with piano.

A representative substantial portion of a concerto. Examples include (but are not limited to):

A slow-fast pair of movements of the Telemann.

First movement with cadenza of the Stamitz D Major, Hoffmeister D Major, Rolla E-flat Major or Vanhal C Major.

First or second movement of Walton.

First or second and third movements of Bartok.

Any movement of Hindemith Der Schwanendreher.

A substantial fast movement of any 20th or 21st-century concerto.

Violin

Pre-Screening Repertoire：

A slow and fast movement from a 19th-, 20th-, 21st-century concerto.

One movement from an unaccompanied Bach sonata or partita.

One Paganini caprice.

Live Audition Repertoire：

Of Nos. 1 and 4 below, one must be a work composed since 1960.

Memorization of music since 1960 is encouraged but optional. All other compositions must be performed from memory.

Please minimize piano accompaniment interludes.

A slow and fast movement from a 19th-, 20th-, 21st-century concerto.

Two contrasting movements from an unaccompanied Bach sonata or partita. No repeats please, unless ornamented. A dance movement and its double constitute one movement. The Chaconne from Partita No. 2 in d minor will satisfy this requirement.

One Paganini caprice.

One brilliant concert piece. If the concerto in No. 1 was composed before 1960, this work must be post-1960.

Voice

Pre-Screening Repertoire：

The repertoire for pre-screening is the same as the live audition repertoire below.

Bachelor of Music and Diploma Live Audition Repertoire：

Faculty may ask applicants to sing several scales to check vocal range.

All compositions must be performed from memory.

An Italian art song or aria from 18th century or before.

An art song in English (not a translation).

A third selection in any language. Please note: An aria from an opera or oratorio is welcome, though not required.

If English is not your native speaking language, please prepare an additional song in your native language.