Audition Repertoire 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.

Music Education, Music Therapy, Music Theory and Composition

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

Scales: C and G Major, D melodic minor (Segovia fingerings or equivalent) 

1. Two contrasting pieces from the classical guitar repertoire (renaissance, baroque, classical, romantic, modern) Memorization preferred
2. Sight-reading
3. OPTIONAL- Perform/present any other musical achievements that illustrate the value you can provide to your chosen music profession
   (e.g., a fingerstyle song, an original song with or without vocals, videos, recordings, etc.)

 Performance Majors: 

1. Scales: C, G, E Major; D and A melodic minor (Segovia fingerings or equivalent) 
2. Three contrasting pieces from the classical guitar repertoire. Selections should contain a Bach piece or excerpt and one 20th century piece.  Memorization preferred
   (e.g., works by Milan, Dowland,  Aguado, Carcassi, Carulli, Giuliani, Sor, Tarrega, Brouwer,  Ponce, Tisserand, Villa-Lobos, York)  
3. Sight-reading

*Jazz Guitar should review the repertoire listed for the Jazz programs

Piano

Music Education, Music Therapy, Theory/Composition

• Candidates must prepare three (3) pieces total, chosen from list A, B, C, or D below. You may only choose one piece from each list, meaning you cannot choose two pieces from the same list. One of your three pieces must be memorized.

Performance

• Candidates must prepare four (4) 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 Eric Borghi at borghie@montclair.edu 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
• Musicianship Placement: Applicants who audition in person will complete the placement immediately following their vocal audition. Applicants who audition via video submission will be contacted to schedule a time to complete the placement over zoom.

All audition pieces must be memorized. An accompanist will be provided for those completing a live audition. Please bring paper copies of your sheet music to provide to the accompanist. 

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
• Musicianship Placement: Applicants who audition in person will complete the placement immediately following their vocal audition. Applicants who audition via video submission will be contacted to schedule a time to complete the placement over zoom.

All audition pieces must be memorized. An accompanist will be provided for those completing a live audition. Please bring paper copies of your sheet music to provide to the accompanist. 

Applicants who choose to submit audition videos may record with a backing track, live musicians, or without accompaniment.

Applicants who choose to audition live will be provided with musicians from the Cali School. Please bring three (3) copies of sheet music to your audition.
 

Jazz Voice

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. 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. 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. 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. 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. 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. 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. 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. 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)

Theory/Composition

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

• Chromatic and all major scales – prepared to play at the discretion of faculty
  *video applicants should record three (3) scales: one major, one minor, one chromatic – keys of your choice
• Two contrasting pieces from the standard solo repertoire (one may be an etude) totaling 10 minutes of music
• Sight-reading (live auditions only)

Artist Diploma, Performance

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

• A complete solo work, such as a concerto or sonata
• A contrasting solo work, solo movement, or etude
• Excerpts from the orchestra or wind band repertoire

Classical Guitar (must audition on a nylon string guitar)

Theory/Composition, Performance, Artist Diploma

• Scale study (choose one) – Matteo Carcassi, Op. 60, no. 1 or 14
• Chord study (choose one) – Fernando Sor, Op. 31, no. 20 or 23
• Perform three pieces in contrasting styles, from memory, originally written for the classical guitar from the 19th century to the present (please – NO transcriptions).
• Sight-reading (1st, 2nd, 5th, 7th, and 9th positions)

For more information contact: Oren Fader, Coordinator of Guitar Studies: fadero@montclair.edu 

*Jazz guitarists should review the requirements listed under the Jazz Studies program

Theory/Composition

• An etude of your choice (Rolscha, Pizoli, Salzedo)
• Two pieces from the concert repertoire in contrasting style (e.g. Naderman or Krumpholtz: Sonatas; Grandjany: Two French Folksongs; Pratt: Little Fountain)
• Sight-reading

Performance, Artist Diploma (in addition to above)

• One additional piece from the concert repertoire, 20 minutes of music, total, from memory

Piano

Composition MA

• Candidates must prepare three (3) pieces total, chosen from list A, B, C, or D below. You may only choose one piece from each list, meaning you cannot choose two pieces from the same list. One of your three pieces must be memorized.

Performance MM & Artist Diploma

• Candidates must prepare four (4) pieces, one each from Lists A, B, C, and D. Selections must be significant works from the repertoire, suitable for a graduate-level recital. All four pieces must be memorized. Candidates will also be expected to sight-read at the audition.

Repertoire List

LIST A Bach, J.S.; 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, A.; Villa Lobos; or another composer born since 1874

Organ

All MA & MM Graduate Programs

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 at this email address: millerjoh@montclair.edu.

Harpsichord

Theory/Composition

• Candidates must prepare three (3) pieces total, chosen from list A, B, C, or D below. You may only choose one piece from each list, meaning you cannot choose two pieces from the same list. One of your three pieces must be memorized. Candidates will also be expected to sight read or realize a figured bass.

Performance MM & Artist Diploma

• Candidates must prepare four (4) pieces, one each from Lists A, B, C, and D. One piece must be memorized. Candidates will also be expected to sight-read or realize a figured bass at the audition.

Harpsichord MA & MM Repertoire List

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

Theory/Composition

• All auditionees 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). Mallet Percussion solo can be for two or four mallets.

Performance, Artist Diploma

• Two contrasting solo pieces, at least 10 minutes of music, in each of the three areas of study: Snare Drum, Timpani, and Mallet Percussion (marimba, xylophone or vibraphone). Mallet Percussion solos must include one four-mallet solo and would be best to include one four-mallet and one two-mallet solo.

Some audition repertoire 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
• Two orchestral excerpts on each of the following instruments
  • Snare Drum
  • Timpani
  • Xylophone
  • Orchestra Bells
  • Tambourine
  • Triangle
  • Crash Cymbals
  • Bass Drum

Violin

All Concentrations & Artist’s Diploma

• Two (2) scales — one major and one minor — with corresponding arpeggios, 3 octaves (memorized is preferred but not required)
• One (1) concerto from the standard violin repertoire — first movement with cadenza (memorized is preferred but not required)
• Two (2) contrasting movements from a solo Bach Sonata or Partita
• One (1) virtuosic piece (example: Paganini Caprice or similar equivalent)
• One (1) technical etude of your choice (examples: Kreutzer, Rode, Dont, Gavinies, Paganini, or similar equivalent)

Viola

All Concentrations & Artist’s Diploma

• Two (2) contrasting movements of a Bach Cello Suite
• One (1) movement of a concerto from the standard viola repertoire, or a suitable equivalent
• One (1) etude or short work of the applicant’s choice (example: a contemporary work, or a piece that showcases the applicant’s technical abilities)

Cello

All Concentrations & Artist’s Diploma

• Two (2) contrasting movements of a Bach Cello Suite
• One (1) movement of a concerto from the standard cello repertoire, or a suitable equivalent
• One (1) etude or short work of the applicant’s choice (example: a contemporary work, or a piece that showcases the applicant’s technical abilities)

Double Bass (non-jazz majors)

All Concentrations & Artist’s Diploma

• One (1) scale, major or minor, with corresponding arpeggios — 3 octaves
• Two (2) movements of a concerto from the standard repertoire — must be the 1st and 2nd movement of the chosen work (examples: Dittersdorf, Vanhal, Bottesini, Koussevitzky, or similar equivalent)
• Two (2) orchestral excerpts from the standard repertoire — choices must represent different eras

Theory/Composition MA

Flute, Oboe, Clarinet, Bassoon, Saxophone

• Chromatic and all major scales
  • Live Auditions – applicants may be asked to play any combination of scales chosen by faculty
  • Video Auditions – applicants should record three (3) scales: one major, one harmonic minor, one chromatic
• Two contrasting pieces from the standard solo repertoire (one may be an etude) totaling 10 minutes of music
• Possible sight-reading

Performance MM & Artist Diploma

Flute, Oboe, Clarinet, Bassoon, Saxophone

• All Scales
  • Live Auditions – applicants may be asked to play any combination of scales chosen by faculty
  • Video Auditions – applicants should record three (3) scales: one major, one harmonic minor, one chromatic
• One complete solo work, such as a concerto or sonata
• One contrasting solo work – i.e. one solo movement, or etude
• Two (2) excerpts from the standard orchestra or wind band repertoire
• Possible sight-reading

Woodwind Doubling MM

This degree is set up for a combination of the following instruments: flute, clarinet, saxophone, oboe, bassoon. Students are required to audition on a minimum of 3 out of the 5 instruments offered within the program. Students may opt to include a 4th instrument on their audition if they choose.

Including a double reed in your audition is not required, but it is strongly encouraged.

The audition will be a total of 15-20 minutes with the following requirements:

• Primary Instrument (5 minutes): All scales – major, harmonic minor and chromatic (at faculty discretion). One etude & one movement of any major sonata or concerto.
• Secondary Instrument (5 minutes): All major & chromatic scales (at faculty discretion). One etude & one movement of any major sonata or concerto.
• Third Instrument (3 minutes): One etude – OR – a movement of any major sonata or concerto.
• Fourth Instrument (3 minutes): One etude – OR – a movement of any major sonata or concerto.
• Possible sight-reading on all instruments

The repertoire below will be used for both the pre-screen requirements, as well as the invited, formal audition. Please be sure to review the pre-screen information in full to best prepare.

All audition pieces must be memorized. An accompanist will be provided for applicants who are completing a live, formal audition. Please bring paper copies of your sheet music to provide for the accompanist.

MM Composition

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 from any genre or style of music that shows the candidate’s strengths

MM Performance & MM Vocal Performance + Pedagogy

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

• One Italian aria or art song
• One German or French art song
• One 20th or 21st century aria or art song in English
• One additional selection of the candidate’s choice. May be in any language, style, or genre that shows the candidate’s strengths

Artist’s Diploma

Five (5) pieces chosen from the solo voice literature including:

• At least four pieces must be from the standard operatic, art song, and/or oratorio repertoire.
• Candidates must perform at least one selection each in Italian, French, German, and English.
• A variety of styles, periods, and tempos should be presented.
• At least two pieces must be operatic arias.
• A fifth selection may be of the candidate’s choice in any language, style or musical tradition (i.e. spiritual, American Song Book, contemporary classical, operetta, Zarzuela, musical theater, native language art song or aria, etc.)

An accompanist will be provided for you. Please bring copies of your sheet music.

Applicants who choose to submit audition videos may record with a backing track, live musicians, or without accompaniment.

Applicants who choose to audition live will be provided with musicians from the Cali School. Please bring three (3) copies of sheet music to your audition.

Jazz Voice

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. 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, Flute, Trumpet, Trombone

• One (1) jazz standard or blues, played at a medium tempo – If selecting jazz standard: 1 chorus of melody, 2 choruses of improvisation. If selecting blues: 2 choruses of melody, 4 choruses of improvisation.
• One (1) jazz ballad with an improvised chorus
• One (1) of the following:

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

• One (1) jazz standard or blues, played at a medium tempo – If selecting jazz standard: 1 chorus of comping, 2 choruses of improvisation. If selecting blues: 2 choruses of comping, 4 choruses of improvisation.
• One (1) solo version of a jazz ballad (chorded melody)
• One (1) of the following:

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

• One (1) jazz standard or blues, played at a medium tempo – If selecting jazz standard: 1 chorus of melody, 1 choruses of walking bass, 2 choruses of improvisation. If selecting blues: 2 choruses of melody, 2 choruses of walking bass, 4 choruses of improvisation.
• One (1) jazz ballad – please include an improvised chorus
• One (1) of the following:

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 – an additional short classical etude that demonstrates your ability to play pizzicato & arco

Jazz Piano

• One (1) jazz standard or blues, played at a medium tempo – If selecting jazz standard: 1 chorus of melody, 1 chorus of comping, 2 choruses of improvisation. If selecting blues: 2 choruses of melody, 2 choruses of comping, 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. 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

• One (1) jazz standard or blues, played at a medium tempo – If selecting jazz standard: 1 chorus of melody, 1 chorus of comping, 2 choruses of improvisation. If selecting blues: 2 choruses of melody, 2 choruses of comping, 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. 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

• One (1) medium-temp song. Please include:
  • 1 chorus of playing time and comping behind a soloist (2 choruses if you select a blues)
  • 1 chorus of an improvised drum solo (2 choruses if you select a blues)
• 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:

1. A jazz ballad demonstrating the ability to play with brushes
2. A song with straight-eighth feel (Latin, Bossa Nova, ECM)
3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

The Conducting MM is a small, specialized program separated into three concentrations: Orchestral Conducting, Wind Conducting, and Choral Conducting. Each concentration will operate individualized auditions, outside of our advertised audition dates. Please review the information for your chosen concentration below:

Orchestral Conducting

It is requested that interested students reach out directly to the coordinator of this program to inquire about open spots, program information, and audition information.

Kyle Ritenauer – ritenauerk@montclair.edu

Wind Conducting

It is requested that interested students reach out directly to the coordinator of this program to inquire about open spots, program information, and audition information.

Dr. Tom McCauley – mccauleyt@montclair.edu

Choral Conducting

Interested applicants should download and review the word document linked below for all program & audition requirements. It is also requested that interested students reach out directly to the coordinator of this program, prior to submitting all materials, to inquire about open spots and program information.

Dr. Heather Buchanan – buchananh@montclair.edu

MM Performance (Choral Conducting) – Audition Requirements & Information