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: 2fec45e634dd61aff6a4c0eb14ca77b3 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

1. 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 44e1b95f6b032693eba01ce51273905c 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: b57b003e619b89dcea672ffa48d14811

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

University of North Texas:

1st Mvt of concerto, 2 orchestral excerpts from major literature, approx. 10-15 min. music