Audition Requirements

We also publish a regularly updated list of professional auditions. You can access this list through the following link:

http://doublebassblog.org/category/auditions

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The following is a list of audition requirements for schools of study. Although the list currently includes only schools in the United States, we are interested in expanding this list to include all major schools of study. Please fill out the form at the bottom of this page with audition information from any school you’d like to see added to the list.

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Audition Requirements (schools listed alphabetically):

Berklee College of Music

The Audition
Prepared Piece: Berklee embraces and values all music styles so you should
prepare a piece that you are comfortable with and displays your strengths as a
musician. It should be approximately 3-5 minutes in length, in any style, which
demonstrates your instrumental proficiency and your overall musicianship. Do not
choose a piece or a style of music you think the audition team wants to hear.
Rather, select a piece that puts your “best foot forward” and highlights what
you feel represents your best playing. Ultimately, the audition is a discovery
process and we want to find out what you do well.

It is recommended to seek the guidance of your private instructor and/or
musical mentor when selecting your prepared piece. Here are some examples and
additional guidelines that may help when selecting your prepared piece:

A tune from a well-known artist or band (any style)
A standard or jazz tune (which may include blues and rhythm changes) with your
own improvisation
A composition from the instrumental/voice repertoire or a movement, sonata,
concerto or etude
A transcription of a well-known artist’s solo
If composing or songwriting is your primary focus, you may choose to play an
original piece that showcases your individual style. However, the original
piece should be no longer than three (3) minutes, and you should also prepare a
second piece from the above listing (no longer than 3 minutes).

If you require accompaniment for your prepared piece you may bring an
accompanist, play-a-long CD or MP3 player. It is not recommended to use the
original tracks of artists or bands as play-a-longs. If you are playing to a
track, it is preferred that you use standard play-a-long/music-minus-one or
karaoke tracks so that you are not playing your part along with the part on the
recording. For example, we would prefer a bass player use a play-a-long track
that does not have the bass part on the track rather than playing along with an
artist’s original recording.

Improvisation: We would like to hear you improvise over a short progression to
gauge where you are in your instrumental development. Your prepared piece may
include improvisation, but it is not required.

Blues: You should be prepared to play over a standard I-IV-V blues
progression.
Reading: The examples range from basic to complex in order for the audition
team to gauge your reading ability. You will have 15 minutes before your
audition to warm-up on your instrument and review the reading material before
being asked to play the examples in the audition.

Ear Training: You will be asked to participate in call-and-response exercises.
The audition team will play short rhythms and melodies, which you will either
sing back or play back on your instrument. You may also be asked to identify
intervals and chord qualities. The audition team will also gain a sense of your
ability to match pitch during this section of the audition.

You may also be asked to play some bass lines in different styles (two-feel,
walking, pop/rock, samba, bossa, funk) on standard chord progressions. You may
also be asked to demonstrate your technical facility via typical practice
routines and exercises (scales, arpeggios, etc.).

Some valuable things to remember

Applicants accepted to Berklee will be taking core music classes including
harmony, ear training and arranging classes, in addition to private
instrumental studies and ensembles, so the audition is formatted to assess
students’ overall musicianship. In addition, we are also interested in seeing
how you function in an ensemble setting.

We take a holistic approach in our evaluation process where each component of
the audition helps the audition team assess your overall abilities as a
musician. While each component is important, we recognize it is common for
applicants to have imbalances in their playing abilities. We realize many
applicants may not have advanced skills in improvisation, reading, ear training
or multiple musical styles, but our curriculum materials are designed to help
students build skills in these areas.

The Interview
Each applicant will also participate in a 15-minute interview with our
Admissions representative. Here you will have an opportunity to discuss your
goals and aspirations and why you have chosen Berklee as a possible path in the
pursuit of your music career. We are interested in finding out what has inspired
you to pursue music and what you will bring to the Berklee community. The
interviewer may refer to your online application for further information during
the interview. You are invited to bring samples of your creative work to share
with the interviewer that will be returned to you at the end of the interview.

Checklist

The following checklist will help to remind you of items you may need for your
audition:

All acoustic and electric bass are required to bring their instrument to the
audition.
Bass players are reminded to bring a tuner, an instrument cable(s) and any
effects needed for their prepared piece.
Amplifiers for bass players will be provided.

Berliner Philharmoniker Orchestra Academy (2 year study program)

A classical concerto according to choice together with some other concerto or solo work as well
Recitative from Beethoven’s 9th Symphony
Scherzo-Trio from Beethoven’s 5th Symphony
Scherzo from Beethoven’s 3rd Symphony

Boston University

MusB

The applicant should be prepared to perform at least two solo works, one from memory. One of the works should include a sonata or a concert movement that demon strates cantilena style (slow tempo, legato melodic line, sustained phrasing, singing tone quality), and the other work should demonstrate technical facility (fast tempo, variety in rhythm, correct phrasing, tone quality, finger agility). Each applicant also should be prepared to play an étude or study written expressly for his or her instrument and all scales and arpeggios that demonstrate the applicant’s knowledge and command of the fingerboard. The following are examples of literature appropriate for the audition:

Movements from sonatas by Eccles, Vivaldi, Hindemith, etc.; movements of concerti by Dragonetti, Koussevitsky, Bottesini, Dittersdorf, etc.; studies and/or études by Nanny, Kreutzer, Simandl, Sturm, Ries, etc.; examples of solo literature selected from Baroque, Classical, Romantic, Impressionistic, and Contemporary eras or music. The candidate also should be able to play any two-octave scale and arpeggio between E and A.

MusM

Applicants seeking to enter the MusM program in string performance must perform the first movement of a standard bass concerto, a movement from an unaccompanied Bach Cello suite transcribed for Bass, any solo piece of the applicant’s choosing, and standard orchestral excerpts of contrasting tempi and styles. Pieces need not be memorized.

MusAD

String applicants should prepare material equivalent to a master’s level recital program.

Application Deadlines:
January 1 for Undergraduate Applicants
January 15 for Graduate and Post-Graduate Applicants

Cincinnati College-Conservatory of Music:

One movement from a Baroque sonata

Two contrasting works of the applicant’s choice

Cleveland Institute of Music:

All major and minor scales and arpeggios in two octaves.
Study by Simandl, Bille, or Kreutzer.
Solo from the double bass repertoire.

Colburn Conservatory of Music:

1st two mvts of a standard double bass concerto, 2 mvts of solo bach
one exerpt from beethoven, brahms, mozart, strauss

Curtis Institute:

Application Deadline: December 11^th

Double bass. Applicants will play from memory: (1) a three-octave B-flat major and B-flat melodic minor scale with arpeggios;
(2) a movement from one of the six cello suites by J. S. Bach
(transcriptions permitted) or a solo work of the applicant’s choice; and (3) the first two movements (with appropriate cadenzas included) of any one of the following concertos: Dragonetti, Koussevitzky, Dittersdorf (E major), Bottesini No. 2, or Vanhal. In addition two prepared excerpts from the standard orchestral literature will be required (music may be used for this portion). Applicants must be under twenty-three.

AUDITION ACCOMPANIST
Curtis will provide an accompanist for auditions in flute, opera, viola, violin, violoncello, and voice. All other auditions are played without piano. The applicant must supply Curtis’s accompanist with the appropriate piano scores at the time of audition; it is up to the discretion of the audition committee whether the audition will be heard if no music is provided. Photocopied music is not acceptable in place of a score. No pre-audition rehearsal with Curtis’s accompanist is permitted.

DePaul University:

String Bass Auditions

Undergraduate
- An etude by Simandl, Nanny, or Bille’
- One movement from a Bach cello suite
- One movement from a standard bass concerto

Graduate
- An etude by Simandl, Nanny, or Bille’
- Two contrasting movements from a Bach cello suite
- A standard bass concerto
- Two contrasting excerpts from the standard orchestral repertoire

Prospective Jazz Studies string bass majors or students wishing to participate in jazz performing groups at DePaul University should be prepared to sight-read two selections of contrasting tempos and styles from the Jamey Aebersold Play-A-Long Series, with the accompaniment of the compact disc recording. For each selection you are to (A) perform/embellish the melody for one chorus, (B) provide appropriate accompaniment for one chorus, and (C) improvise for two choruses. Also, sight-read a portion of a big band chart or jazz etude, at tempo, with the use of a metronome.

Please note, graduate jazz performance applicants do not need to perform a classical audition.

Q: When is the application deadline?
A: The last date to submit an application is January 15th, but we urge you to submit your application as soon as possible so that you’ll have more time to prepare for your audition.

Eastman School of Music:

Each of the following:

One movement from one of the following double bass concerti: Bottesini, Capuzzi, Dittersdorf, Dragonetti, Koussevitsky, or Vanhal
One contrasting solo work of the applicant’s choice
One orchestral excerpt of the applicant’s choice from the standard repertoire
Two scales (one major, one melodic minor) of the applicant’s choice in two or three octaves.

Guildhall School of Music ( England )

1. A study of the candidate’s own choice from 57 Studies – Book 1 by Storch-Hrabe (International Music Co. – Kalmus)
2. Two contrasting movements from a baroque sonata (e.g. Marcello, Vivaldi, Eccles etc.)
3. One piece of the candidate’s own choice.

Indiana University:

Double Bass

Applicants should prepare the following, either for a recording or on-campus audition:

Two works from the standard solo literature contrasting in both tempo and style;and
Two standard excerpts representing two different composers selected from the following list: Mozart: Symphony No. 35, 1st or 4th movements; Mozart: Symphony No. 39, 1st or 4th movements; Mozart: Symphony No. 40, 1st or 4th movements; Beethoven: Symphony No. 5, 3rd movement; Beethoven: Symphony No. 7, 1st movement; Beethoven: Symphony No. 9, last movement (not the Recitative or Ode to Joy theme, however); Brahms: Symphony No. 1, 1st or 4th movements; Brahms: Symphony No. 2, 1st or 4th movements; Strauss: Don Juan; Strauss; Ein Heldenleben.

Audition Dates:

Fall 2008 Audition Dates

January 11-12, 2008

February 1-2, 2008

February 29 -March 1, 2008

The application deadline for fall admission consideration is December 1. The deadline for spring admission consideration is September 1, and the deadline for second summer session admission consideration is April 1. Materials need to be received by the deadline date.

Ithaca College:

Double Bass Requirements for B.M. degrees in performance and performance/music
education:

* Two contrasting movements from a sonata, suite, or concerto
(transcriptions are permitted)
* One other complete composition, or two orchestral excerpts from the
standard literature
* One technical etude
* Major scales in three octaves, minor scales in two octaves

Requirements for all other music degrees:

* Two contrasting movements of a sonata, suite, or concerto
(transcriptions are permitted)
* One technical étude
* Major and minor scales in two octaves

Juilliard School of Music:

E M/m, F M/m, G M/m scales, etude (listed below), 2 mvts. From Baroque sonata (listed below)

Vivaldi
Handel
Corelli
Bach Viola de Gamba sonatas

Orchestral Exerpt (choose one listed below)

Kreutzer (18 studies: #1 CM, #9 GM)
Simandl (Book II, E-flat M etudes)
Storch-Hrabe Vol II

Manhattan School of Music

Undergraduate Audition Requirements

1. A major/minor scale of applicant’s choice, at least two octaves.

2. Two contrasting movements of a sonata.

3. One etude from Bille, Simandl, Storch-Hrabe, or Sturm.

4. One orchestral excerpt of the applicant’s choice.

New England Conservatory

Double Bass:

Two contrasting works or movements from the standard repertoire (e.g.,
movement(s) of unaccompanied Bach and/or other virtuosic solo piece)
A movement from a sonata or concerto
Also, applicants should be prepared to play an etude.
One or more of these chosen selections should be memorized.

Northwestern University:

Jan 1^st.

Double bass

Please note that these requirements were recently altered. Applicants who have prepared their audition repertoire based upon previously published information are welcome to continue with their planned program.

Applicant should be prepared to play one major scale, one harmonic minor scale, and one melodic minor scale of their choice in two or three octaves.

Additional required repertoire includes:

One solo piece of applicant’s choice
A total of three orchestral excerpts. Choose no more than one excerpt from any composer from the following list:
- Bach
  - Orchestral Suite in D Major
    Double
  - Orchestra Suite in D Major
    Badinerie
  - Violin Concerto in E Major
    2nd Movement, measures 1 – 10
- Mozart
  - Symphony #39
    1st movement, measures 13 – 21
  - Symphony #39
    1st movement, 14 measures before letter A to letter C
  - Symphony #39
    2nd movement, 6 measures before letter A to 5 measures after letter A
  - Symphony #39
    4th movement, double bar after letter B to letter C
  - Symphony #40
    1st movement, the pick up to 19 measures before letter C to 5 measures after letter C
  - Symphony #40
    1st movement, 32 measures after letter D to letter E
- Beethoven
  - Symphony #5
    3rd movement, beginning of Scherzo to 5 measures after letter A
  - Symphony #5
    3rd movement, beginning of trio to letter B
  - Symphony #9
    4th movement, the pick up to measure 9 to 33 measures before letter A
- Brahms
  - Symphony #1
    1st movement, letter E to 8 measures before letter F
  - Symphony #1
    2nd movement, 8 measures after letter B to 3 measures before letter C
  - Symphony #2
    1st movement, 33 measures after letter K to letter L
- Strauss
  - Don Juan
    Letter A to 4 measures after letter B
  - Don Juan
    Letter F to 4 measures before letter G
  - Ein Heldenleben
    Number 9 to number 11
  - Ein Heldenleben
    9 measures after number 15 to number 16
  - Ein Heldenleben
    Number 77

Sight reading not required; memorization not required.

Oberlin:

two movements from a baroque sonata by a composer such as Eccles or Antoniotti, or a work of comparable difficulty
one etude to demonstrate applicant’s level of technical ability
orchestral excerpts from a symphony by Beethoven, Mozart, or Haydn
major and minor scales and arpeggios in two octaves

Peabody Conservatory:

Undergraduate:
Contrasting movements of a concerto or sonata

Two excerpts from the standard orchestra audition literature

Graduate:
Peabody’s Graduate audition repertoire is patterened after a typical
undergraduate senior recital. In order to provide some latitude, the
requirements are not dictated. However, you must prepare “sufficient material
to perform a full solo recital containing works which show a diversity of
periods and styles.”

Website: peabodydoublebass.blogspot.com

Rice University

Complete and submit the Shepherd School Audition Form by January 2, 2008. Mail your completed audition form to:

Audition Coordinator
Shepherd School of Music – MS 532
Rice University
P.O. Box 1892
Houston, TX 77251-1892

Attention Double Bass, Flute and Violin applicants: Due to limited availability within studios, a preliminary audition recording is required from all applicants for Double Bass, Flute, and only those Violinists whose preferred teacher is Mr. Goldsmith. The preliminary recording is due by January 2, 2008 with your audition form.

Double Bass: Preliminary DVDs are due January 2, 2008.
The Shepherd School Office of Music Admissions will contact double bass applicants invited for a live audition upon review of the preliminary recordings. Live auditions will be scheduled individually on a date and time in January or February that is mutually convenient to the applicant and faculty.
Required undergraduate audition repertoire:

Preliminary DVD required (DVD may include live audition repertoire)
Two contrasting movements of a standard double bass concerto or comparable works from the standard double bass solo repertoire
Three orchestral excerpts from the standard orchestral repertoire
Two movements of a solo Bach Suite in any key

Roosevelt University:

Double Bass (All solo selections to be performed from memory. Music may be used for etudes and excerpts. All string auditions will be presented with piano accompaniment.)

Undergraduate and Graduate: An etude; two additional pieces of contrasting style, preferably including a fast movement from a concerto or a work of similar difficulty. Graduate

Performance Diploma:

Three major works with piano accompaniment, including a complete sonata or concerto. At least two stylistic periods must be represented.

See this link for audition dates
Application Priority Deadline January 15
Contact The Music Conservatory