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.Changes to Spring 2021 Audition Process
Due to the COVID-19 pandemic, we will not be able to host live in-person auditions at the Bard College Conservatory campus. Instrumental applicants invited for a final audition will be given the options to audition "live" via Zoom or another similar platform or to submit a final audition recording. Composition applicants will interview with our faculty via Zoom or another similar platform. Vocal applicants will submit a final audition recording and interview with our faculty via Zoom or another similar platform. There are no changes to the pre-screening audition process.
Please continue to visit this webpage for updates as more details become available.
Changes to Spring 2021 Audition Process
Q: Will there be any live auditions as a part of this year’s audition process?A: No, undergraduate applicants can either schedule a live audition to be coordinated over Zoom, or they can submit a recorded audition. The live Zoom auditions wil be in real time.
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 January 15 with your pre-screening results. You will be able to schedule your final audition with our faculty at this time, as well.
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 12. If you are granted a final audition and interview, 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 conservatoryadmission@bard.edu 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
There is no change to the prescreening process. Final auditions are held via zoom or submit a rec.
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General InformationAll live-remote final auditions and final audition recordings/interviews are by invitation only, and shortlisted applicants will receive an invitation to either schedule a Zoom audition or submit new recordings by January 15.
All 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 February 1.
Composition applicants will have their interviews conducted via Skype or Zoom.
Vocal applicants will submit both a final audition recording and schedule a Zoom interview with the voice faculty.
Questions regarding the final audition process may be sent to the Conservatory Admissions Office at conservatoryadmission@bard.edu. -
Recorded Auditions Vs. Live-Remote AuditionsDue to the continuing pandemic, there will be no live, in-person auditions as part of the process for admission in fall 2021. All applicants invited for a final audition will either submit final audition recordings or schedule a "live" audition via Zoom. Equal consideration will be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live-remote audition.
Dates for the live-remote auditions will be announced shortly. Please continue to visit this webpage for updates. -
Virtual Audition DatesSaturday, February 6
Viola, Harp, Tuba, Trumpet
Sunday, February 7
Oboe, Trombone, Horn
Friday, February 12
Bassoon, Flute
Saturday, February 13
Bass, Violin, Cello
Friday, February 19
Composition, Percussion
Saturday, February 20 and Sunday, February 21
Undergraduate Voice Interviews
Saturday, February 27 and Sunday, February 28
Piano
Clarinet applicants must submit a final audition recording and
are encouraged to reach out to our faculty to schedule an interview.
Please contact us to do so.
More audition dates will be announced shortly.
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
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/melodic piece
- A technique piece (or part of a concerto)
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/melodic piece
- A technique piece (or part of a concerto)
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
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)
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 (conservatoryadmission@bard.edu) 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/melodic piece
- A technique piece (or part of a concerto)
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
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 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
- 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.