AUDITION REQUIREMENTS
Applicants must submit a prescreening recording along with their conservatory application by January 1. Prescreening and final audition requirements can be found below. Prescreening recordings may be submitted online as either audio or video.SPRING 2023 AUDITION DATES
Auditions for the Undergraduate Double Degree Program will be held on the following dates:
All final auditions are by invitation only, and shortlisted applicants will receive an invitation to either schedule an audition or submit new recordings by mid-January.
-
Live In-Person AuditionsFriday, February 3
Voice
Sunday, February 12
Bassoon, Composition, Horn, Piano*
Friday, February 17
Percussion, Tuba
Sunday, February 19
Bass, Cello, Clarinet, Oboe
Thursday, February 23
Trumpet
Friday, February 24
Trombone (NYC)
Sunday, February 26
Flute, Harp, Viola, Violin
*Please note date change for pianoLive In-Person Auditions
Q: Will there be space for me to warm up before my audition?
A: Yes, we will have practice rooms reserved for everyone auditioning.
Q: What materials will I need the day of my audition?
A: Just bring yourself, your instrument, and your music!
Q: Who listens to the auditions?
A: The audition panel is made up of Bard Conservatory faculty members.
Q: Is an accompanist provided for the audition?
A: We do not provide an accompanist for in-person auditions at Bard. While you are welcome to bring an accompanist, most applicants play their audition unaccompanied.
Q: What should I wear?
A: We recommend wearing clothes that are comfortable to play in and that are also appropriate for a conservatory audition, i.e. a nice shirt and pants/skirt or dress. There is no need for formal concert attire.
Q: Will I have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting.
Q: Is one of the audition types weighed more heavily?
A: Equal consideration is be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live in-person or live-remote audition.
-
Live Remote AuditionsSunday, February 12
Composition
Friday, February 17
Tuba
Monday, February 20
Bass, Bassoon, Cello, Clarinet, Flute, Harp, Horn, Oboe, Percussion, Piano, Trombone, Viola, Violin, Voice
Thursday, February 23
TrumpetLive Remote Auditions
Q: Do I need to perform with an accompanist?
A: No. We do not require any instrumental audition to be performed with an accompanist.
Q: I am a pianist. What can I do if I do not have access to a high quality piano?
A: We will not exclude anyone auditioning due to the quality of their instrument. Upright pianos, slightly out of tune pianos, and keyboards with weighted keys are acceptable.
Q: I do not have access to any high quality recording equipment. Is this a problem?
A: While external microphones do enhance the sound quality of recordings, you do not need any high quality recording equipment for your pre-screening or final audition recordings. The audition committee will certainly accept recordings made on your mobile device or laptop, as long as you can be clearly seen and heard.
Q: What if I do not have a stable internet connection or a quiet space to hold my audition?
A: If you are concerned about the stability of your internet connection or household interruptions, you may submit a recorded final audition in conjunction with a virtual interview with faculty via Zoom. If you do opt to perform a live-remote audition and your internet connection is unstable, this is okay--we understand that this is a risk and there will be no penalty.
Q: What should I wear?
A: We recommend wearing clothes that are comfortable to play in and that are also appropriate for a conservatory audition, i.e. a nice shirt and pants/skirt or dress. There is no need for formal concert attire.
Q: When will I be notified about my pre-screening results?
A: Pre-screening recordings will be reviewed during the first two weeks of January. You should expect to hear from the Conservatory admissions office by mid-January with your pre-screening results. You will be able to schedule your final audition with our faculty at this time, as well.
Q: Will I still have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting.
Undergraduate Voice Specific FAQ’s:
Q: Do I need to record my pre-screening and final audition recordings with accompaniment?
A: It is preferred that all pre-screening and final audition recordings include accompaniment. Acceptable accompaniment options include:- In-person accompanist with proper social distancing protocols
- A high-quality piano accompaniment app
- Pre-recorded accompaniment tracks, ideally from a pianist you have worked with previously
- Self-accompaniment at the piano
-
Recorded AuditionsAll applicants who choose to submit a final audition recording will receive instructions for how to upload your new videos to the applicant portal. Only video recordings will be accepted for the final round, and applicants must include all required final audition repertoire. Final audition video recordings are due on Friday, February 3.
Equal consideration will be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live in-person or live-remote audition.Recorded Auditions
Q: I do not have access to any high quality recording equipment. Is this a problem?
A: While external microphones do enhance the sound quality of recordings, you do not need any high quality recording equipment for your pre-screening or final audition recordings. The audition committee will certainly accept recordings made on your mobile device or laptop, as long as you can be clearly seen and heard.
Q: Should all selections for my final audition be recorded in one take?
A: Each selection for your final audition may be recorded separately. Please begin each selection by introducing the piece and the date it was recorded. All tracks should be unedited.
Q: When are final audition recordings due?
A: Final audition recordings should be uploaded to your application portal by Friday, February 4. If you are granted a final audition, you will receive instructions for uploading your final audition recording.
Q: Will I still have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting.
Bassoon
Prescreening Requirements:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- A work of your choice
Cello
Prescreening Repertoire:
- A movement from an unaccompanied Bach suite
- A movement of a concerto
- A work of your choice
- Two contrasting movements from an unaccompanied Bach suite
- A movement of a standard concerto
- A work of your choice
Clarinet
Prescreening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- 2 orchestral excerpts of your choice (example, Beethoven - Symphony No. 6, Mendelssohn - Scherzo from Midsummer Night's Dream)
- A work of your choice
Chinese Percussion
Pre-screening and Final Audition Repertoire:
- A traditional piece
A new (contemporary) work
Composition
Prescreening:
- A portfolio of scores that best represent the applicant's creative potential
- Recordings of the works submitted (preferably not in MIDI format)
- A recording of the applicant playing an instrument or singing
Final Interview:
Composition applicants who pass prescreening will be invited to campus for a live interview/audition with Professors Tower and Tsontakis. They will be asked to bring with them their portfolio of works and will be asked to play a piece on the instrument of their choice. International students, and those for whom travel to the Bard campus presents a hardship, may have a skype interview.
Dizi
Pre-screening and Final Audition Repertoire:
- A traditional piece
A new (contemporary) work
Double Bass
Undergrad Prescreening Repertoire:
- An étude
- A movement from a Bach solo suite
- A work of your choice
- A movement of solo Bach (6 cello suites) of your choice
- The exposition from one of the standard double bass concertos
- Mozart Symphony #39, first movement, Allegro to letter C
- Brahms Symphony #2, first movement, E to F
- A movement of solo Bach (6 cello suites) of your choice
- A work of your choice
- Mozart Symphony #39, first movement, Allegro to letter C
- Brahms Symphony #2, first movement, E to F
Erhu
Pre-screening and Final Audition Repertoire:
- A traditional piece
A new (contemporary) work
Flute
Prescreening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- A work of your choice
Guqin
Pre-screening and Final Audition Repertoire:
- A traditional piece
- A new (contemporary) work
Guzheng
Pre-screening and Final Audition Repertoire:
- A traditional piece
- A new (contemporary) work
Harp
Prescreening Repertoire:
Two pieces of the following level of difficulty:
- Bach/Grandjany études
- Marcel Tournier: Feerie
- Nina Rota: Sarabande and Toccata
- Handel: Concerto in B-Flat Major
1. Two contrasting solos of the following level of difficulty:
- Handel: Concerto in B-flat Major
- Faure: Impromptu
- Britten: Suite for Harp
2. Two orchestral excerpts of student's choice, such as:
- Wagner: Liebestod
- Berlioz: Symphonie Fantastique
- Ravel: Tzigane
- Britten: Young Person's Guide to the Orchestra
- Stravinsky: Symphony in 3 Movements, 2nd mvt
Horn
Prescreening and Final Audition Repertoire:
- An étude
- A concerto movement
- Wagner: Short Call from Siegfried's Rheinfahrt
- Ravel: Pavane pour une infante défunte
- Shostakovich: Low tutti from Symphony No. 5 (1st movement)
- Brahms: Symphony No. 3 (3rd movement)
- Strauss: Ein Heldenleben (opening)
Konghou
Pre-screening and Final Audition Repertoire:
- A traditional piece
- A new (contemporary) work
Oboe
Prescreening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- A work of your choice
Percussion
These are our typical audition requirements, but we welcome anyone to audition with this or similar types of repertoire - or anything that best represents you as a player. Please reach out to the Conservatory Admissions office ([email protected]) to discuss your plans for audition - we will make auditions work for everyone who wants to apply!
Prescreening Repertoire:
- Marimba: Mallet solo (5-12 minutes)
- Timpani: An étude of choice. The following are recommended: Elliott Carter Eight Pieces for Solo Timpani, Richard Hochrainer Etuden Für Timpani, Jacques Delecluse Vingt Etudes
- Snare Drum: An étude of choice. The following are recommended: Cirone Portraits in Rhythm, Delecluse Douze Etudes, Smith Publications' The Noble Snare Collection
- Something Else (optional): Send us something else that makes you a unique musician. Possibilities could include orchestra excerpts, steel drum playing, multiple percussion solo, drumset, even another instrument
- Marimba:
- Four mallet solo (5-12 minutes in length)
- Two mallet solo (transcription of J.S. Bach or other substantial work)
- Two mallet sight-reading may be asked at live audition
- Timpani:
- An étude of choice. The following are recommended: Elliott Carter Eight Pieces for Solo Timpani, Richard Hochrainer Etuden Für Timpani, Jacques Delecluse Vingt Etudes
- Interval knowledge and basic tuning may be examined
- Snare Drum:
- An étude of choice. The following are recommended: Cirone Portraits in Rhythm, Delecluse Douze Etudes, Smith Publications' The Noble Snare Collection
- Sight-reading may be asked
- Chamber Music:
- Candidate will be asked to sight-read an excerpt from the chamber music repertoire with members of the percussion faculty. Music and instruments will be provided
- Something Else (optional): Please feel welcome to bring in something else that makes you a unique musician. Possibilities could include orchestra excerpts, steel drum playing, multiple percussion solo, drumset, even another instrument.
Piano
Prescreening Repertoire:
- A work by J. S. Bach
- A movement of a classical sonata
- A movement or work from the romantic era
- A work by J. S. Bach
- A movement of a classical sonata
- A movement or work from the romantic era
- A work composed in the 20th or 21st century
- A work of your choice
Pipa
Pre-screening and Final Audition Repertoire:
- A traditional piece
- A new (contemporary) work
Ruan
Pre-screening and Final Audition Repertoire:
- A traditional piece
A new (contemporary) work
Trombone
Precreeening Repertoire:
- An étude
- A concerto or sonata movement
- A work of your choice
- An etude
- A concerto or sonata movement
- A 20th-century work
- A work of your choice
Trumpet
Precreeening Repertoire:
- An étude
- A concerto or sonata movement
- A work of your choice
- An etude
- A concerto or sonata movement
- A 20th-century work
- A work of your choice
Sheng
Pre-screening and Final Audition Repertoire:
- A traditional piece
A new (contemporary) work
Suona
Pre-screening and Final Audition Repertoire:
- A traditional piece
- A new (contemporary) work
Tuba
Precreeening Repertoire:
- An étude
- A concerto or sonata movement
- A work of your choice
- An etude
- A concerto or sonata movement
- A 20th-century work
- A work of your choice
Viola
Prescreening Repertoire:
- A movement from an unaccompanied Bach suite (originally for cello) or partita or sonata (originally for violin)
- A sonata or concerto movement
- A work of your choice
- Two contrasting movements from an unaccompanied Bach suite (originally for cello) or partita or sonata (originally for violin)
- A concerto movement or étude
- A work of your choice
Violin
Prescreening Repertoire:
- A movement from an unaccompanied Bach partita or sonata
- A movement of a standard concerto
- A work of your choice
- Two contrasting movements from an unaccompanied Bach partita or sonata
- A movement of a standard concerto
- A work of your choice
Voice
Pre-screening Requirements:
Three pieces in varying musical styles, in at least two different languages, one of which must be English. Non-native speakers of English are encouraged to include one piece in their native language. If possible, all recordings should be made with piano accompaniment, however there is no penalty if pieces are recorded a capella.
Final Audition Requirements:
Same requirements as pre-screening round. Applicants may present the same repertoire as during the pre-screening round or new repertoire, as long as it meets all requirements.