Music Audition Requirements—Graduate

Professor Cobus du Toit, @email

Approximately 30 minutes of contrasting repertoire showcasing an understanding of balanced programming.

Remote Audition: Applicants unable to attend a live audition on flute must prepare a video of the audition requirement outlined above. A 15-minute follow-up interview for qualified candidates on Zoom will also be required.

Professor Fredric T. Cohen, @email, (413) 545-4688

A. Repertoire

• Three contrasting musical selections that demonstrate technical, lyrical, and articulation abilities, as well as a command of different historical styles
• Three contrasting orchestral excerpts

B. Technique
Major and minor scales, arpeggios, and chromatic scales slurred and with standard articulation

Professor Romie de Guise-Langlois, @email

Three solo selections (concerti, sonatas, solo works) from various composers, styles, historical periods, etc. that demonstrate lyrical, technical, articulation, and style skills at an advanced level

Three contrasting major orchestral clarinet solos

Knowledge and proficiency in all major and minor scales and chords and chromatic scales (full range both slurred and with typical articulations)

Professor Rémy Taghavi, @email

Repertoire

• Two contrasting movements from a work (or works) for solo bassoon, bassoon and piano, or bassoon and orchestra. The movements need not come from the same piece.
• Two etudes, one fast and one slow, selected from a major etude book (Milde, Jancourt, etc.)
• Two contrasting orchestral excerpts

Technique

Major and minor scales, arpeggios, and chromatic scales slurred and with standard articulation throughout the practical range of the instrument

REMOTE OPTION: Graduate bassoon applicants who cannot audition live on campus may prepare a video of the audition requirements above and submit a link to the video with their Music Application. YouTube is the recommended video platform, and raw video files are not acceptable.

Professor Jonathan Hulting-Cohen, @email, (413) 545-2810

For graduate classical saxophone auditions, please prepare the following:

• Three contrasting musical selections demonstrating technical, lyrical, and articulation abilities, as well as a breadth of historical and contemporary performance styles.
• Full range major and minor scales, arpeggios and chromatic scales slurred and with standard articulation. We will also check your intonation response to a piano and electronic tuner.
• Share your aspirations and goals regarding your musicianship for your MM degree and beyond.

Professor Eric Berlin, @email

1. Etude #2 from 36 Etudes Transcendantes by Theo Charlier
2. One of the following:
   1. Georges Enesco Legend
   2. Arthur Honeggar Intrada
3. One contrasting selection of the candidate's choice
4. Orchestral Excerpts
   1. Beethoven Leonore Overture #3 (offstage call)
   2. Mahler Symphony Number 5 (first movement opening)
   3. Moussorgsky Pictures at an Exhibition (Promenade)
   4. Rimsky Korsakov Scheherezade (Movement 3 G-I, Movement 4 P-U)
   5. Respighi Pines of Rome (Offstage Solo)
   6. Stravinsky Petrouchka (ballerina's dance and waltz)

Professor Greg Spiridopoulos, @email

Tenor Trombone:

1. Two contrasting solo works from the standard repertoire
2. Choose at least three from the following orchestral excerpts: Berlioz: Hungarian March (Trombone 2); Mahler: Symphony No. 3 (1st movement); Mozart: Requiem-Tuba Mirum; Ravel: Bolero; Wagner: Ride of the Valkyries

Bass Trombone:

1. Two contrasting solo works from the standard repertoire
2. Choose at least three from the following orchestral excerpts: Berlioz: Hungarian March; Haydn: The Creation; Schumann: Symphony No. 3 (4th movement); Wagner: Ride of the Valkyries; Wagner: Das Rheingold-Entry of the Gods

REMOTE OPTION: Graduate trombone applicants who cannot audition live on campus may prepare a video of the audition requirements above and submit a link to the video with their Music Application. YouTube is the recommended video platform, and raw video files are not acceptable.

Studio Site
Professor Josh Michal, @email

A. Repertoire

• Two solo works from the standard repertoire and three to five standard orchestral excerpts

B. Technique
Major, minor, and chromatic scales to demonstrate range and facility

Professor John Bottomley, @email

All graduate applicants should prepare:

A melodious etude (to demonstrate good sound, solid intonation, and musicianship) and a study (to demonstrate technical facility), selected from such collections as Arban's Conservatory Method; Marcel Bitsch, 20 études pour trompette; Bordogni/Rochut, Melodious Etudes for the Trombone (down an octave); Charlier, 36 études transcendantes pour trompette; and Clarke's Technical Studies for the Cornet;

All scales;

Several of the major band excerpts; and

A solo of your choice, such as Jan Bach, Concert Variations; James Curnow, Symphonic Variants; Joseph Horovitz, Concerto; Simone Mantia, All Those Endearing Young Charms; Ponchielli, Concerto; Walter Ross, Capriccio furioso; and Alec Wilder, Sonata.

Professor John Bottomley, @email

All graduate applicants should be able to demonstrate both the CC and F (or Eb) tubas at the advanced level.

Prepare: Two contrasting solos and several of the major orchestral excerpts

Suggested Solo List:

• Sonata (Concerto) by Bruce Broughton (Masters Music Publications)
• Sonatine by Jacques Casterede (Alphonse Leduc)
• Sonate fur Tuba & Klavier by Zoltan Gardonyi (Edition Walahll)
• Sonata by Paul Hindemith (European American-Schott)
• Sonata for (F) Tuba and Piano, Op. 34 by Trygve Madsen (Musikk-Huset A/S)
• Sonata for Tuba and Piano by Alec Wilder (Mentor Music)
• Concertino by Eugene Bozza (Alphonse Leduc)
• Three Miniatures by Anthony Plog (Editions BIM)
• Tuba Concerto by Martin Ellerby (Maecenas Music, Ltd.)
• Concerto for Tuba or Bass Trombone by Eric Ewazen (Southern Music Company)
• Concerto for Tuba and Strings by Arild Plau (Ovation)
• Concerto for Tuba and Orchestra by John Williams (Hal Leonard Corporation)
• Three Furies by James Grant (Grantwood Music Press)
• Alarum by Edward Gregson (Intrada Music Publishing)
• Encounters II by William Kraft (MCA Music/Editions BIM)
• Midnight Realities by Morgan Powell (Brass Music, Ltd)
• Salve Venere, Salve Marte by John Stevens (Editions BIM)

Suggested Orchestral Excerpt List:

• Prelude to Die Meistersinger von Nurnberg by Richard Wagner
• The Ride of the Valkyries by Richard Wagner
• Benvenuto Cellini by Hector Berlioz
  • Rehearsal #15 through the third measure of rehearsal #17
  • Rehearsal #18 through the fifth measure of rehearsal #19
• The Damnation of Faust by Hector Berlioz
• Symphonie Fantastique by Hector Berlioz
• Symphony No. 2 by Johannes Brahms
  • Mvt. IV: Rehearsal "O" to the end
• Symphony No. 7 by Anton Bruckner
  • Mvt. IV: Rehearsal "P" to rehearsal "S"
• Symphonic Metamorphoses by Paul Hindemith
  • Mvt. II: Turandot, Scherzo: complete
• Symphony No. 1 by Gustav Mahle
  • Mvt. III: complete
• Symphony No. 2 by Gustav Mahler
  • Mvt. V: Chorale, From the second measure of rehearsal #10 through rehearsal #11
• Symphony No. 5 by Gustav Mahler
  • Part II. Mvt. 3: Scherzo, from the sixteenth measure of rehearsal #15 through rehearsal #17
• Symphony No. 5 by Serge Prokofiev
  • Mvt. I: complete
• Romeo and Juliet, Suite No. 2 by Serge Prokofiev
  • Mvt. V: From the fourth measure of rehearsal #49 through rehearsal #51
• Fountains of Rome by O. Respighi
• Sensamaya by Silvestre Revueltas
  • Rehearsal #2 to rehearsal #11
  • Rehearsal #33 to rehearsal #41
• Symphony No. 8 by Dimitri Shostakovich
  • Scherzo
• Ein Heldenleben by Richard Strauss
• Till Eulenspiegel by Richard Strauss
  • From rehearsal #13 to two measures before rehearsal #14
  • From rehearsal #25 to seven measures before rehearsal #26
  • From three measures before rehearsal #37 to four measures before
• Petrouchka by Igor Stravinsky
  • Peasant with Bear: From rehearsal #189 through rehearsal #191
  • Masqueraders: From rehearsal #240 through three measure before rehearsal #242

Professor Elizabeth Chang, @email, (413) 545-0023

• One movement from a major violin concerto
• Two contrasting movements from the unaccompanied Bach Sonatas and Partitas (a dance movement and its double constitute one movement)
• An etude or caprice by Paganini, Wieniawski, Gavinies, Rode or Dont Op. 35

Ronald Gorevic, instructor
Questions, please contact: @email
Viola Studio

• Two contrasting movements from the Bach Cello Suites
• One movement from a major concerto, such as Walton, Bartok, or Hindemith
• An etude by Hoffmeister, Kreutzer or Fuchs

Professor Edward Arron, @email

• The first movement of a major concerto
• Two movements of a Bach Suite for Solo Cello
• An etude by Popper or Piatti

Professor Salvatore Macchia, @email

1. One movement of a major concerto
2. A twentieth century unaccompanied solo piece
3. Several contrasting orchestral excerpts

Professor Ayano Kataoka, ayano@music.umass.edu

The audition for the graduate percussion program at UMass Amherst consists of a pre-screening and a live audition round.

Pre-screening procedure:

Deadline: The priority deadline for all graduate percussion audition materials, including pre-screening video, repertoire list, and Music Application, is December 15, 2022.

1. Applicants must prepare a video performance of the following pieces:

• 1 substantial piece for keyboard percussion
• An orchestral excerpt AND an advanced solo/etude for timpani
• An orchestral excerpt AND an advanced solo/etude for snare drum
• A multiple percussion solo or chamber music that preferably consists of multiple percussion setup in your performance that demonstrates your advanced technical and musical level

2. Applicants must submit a Music Application and include the video link when prompted.

3. When filling out the Music Application, applicants will select an audition date. Should an applicant pass the pre-screening round, they will be invited to the live round on the selected date.

• Students unable to attend a live audition date may request a remote audition. Please email @email before submitting a Music Application to request approval for a remote audition.

4. Additionally, applicants must create a list of repertoire that they have learned/performed in the past, including:

• Solos (mallets/multi-percussion/snare drum/timpani)
• Percussion ensembles (duo, trio, and more)
• Mixed chamber ensembles (if any)
• Orchestra (if applicable, please identify the percussion part that you performed, e.g., timpani, snare drum, xylophone, etc.)

5. Once the repertoire list is complete, please attach it as a PDF to an email addressed to @email.

Live Audition procedure:

Applicants invited to a live audition will be notified in early January 2023 (no later than January 15). Live round applicants must be prepared for the following:

• Prepare and present all Graduate Percussion Audition Requirements listed below
• Sight-read on percussion instruments of all types
• Interview with the percussion faculty of UMass Amherst

Applicants who opt to perform a remote audition will have similar procedures as a live audition, conducted live-stream via Zoom.

Graduate Percussion Audition Requirements

Mallets:

1. Two significant solo works for marimba or vibraphone (at least one must be 4-mallets)
2. Two xylophone orchestral excerpts

Snare Drum:

1. One concert solo or etude demonstrating your advanced technical and musical level, AND
2. Two orchestral excerpts (one required and one selected)

• Required: Rimsky-Korsakov : Scheherazade (3rd and 4th movements)
• Selected: Choose one from the following four excerpts:

1. Nielsen: Concerto for Clarinet and Orchestra
2. Prokofiev: Lt. Kije Suite (1st Mvt., 1 to 2 & 13 to end)
3. Rimsky-Korsakov: Capriccio espagnol (4th Mvt., beg. to M)
4. W. Schuman: Symphony No. 3 (Toccata)

Timpani:

1. One solo or etude demonstrating your advanced technical and musical level
2. Three orchestral excerpts in contrasting styles (two required excerpts plus one selected excerpt)

Required (two excerpts):

    1. Mozart: Symphony No. 39 (1st Mvt., beg. to A, 1 bar after K to fine)
    2. Beethoven - all of "i" or "ii" below:
              i. Symphony No. 7

• 1st Mvt., 20 bef. C to 2 aft. C
• 4th Mvt., 7 bef. K to end

              ii. Symphony No. 9

• 1st Mvt., beg. to A & 18 bef. S to end (m 513 to fine)
• 2nd Mvt., F to downbeat of H
• 4th Mvt., M to fine (m 594), m 849 to fine (m 940)

Selected (one excerpt)
     3. One excerpt of your choice from Romantic-era or later (e.g. Bartok, Brahms, Hindemith, Mahler, Sibelius, Strauss, Tchaikovsky)

If you have concerns of your repertoire choice or difficulties of accessing instruments, please contact Professor Kataoka (@email) for consultation and assistance.

Coordinator: Prof. Gilles Vonsattel, @email
Other faculty: Steven Beck, @email, Collaborative Piano

MM PIANO PERFORMANCE—Audition Requirements

Pre-Screening
For Graduate MM Piano Performance applicants: Pre-screening materials are required.

Pre-screening videos should be accessible via weblink (e.g., YouTube). Please copy and paste the link in the Music Application when prompted.

Pre-screening video audition requirements:

1. A complete Classical sonata (e.g. music by Beethoven, Haydn, Mozart, Schubert, or others)

2. A substantial Romantic work (e.g. music by Chopin, Schumann, Brahms, Liszt, Mendelssohn, or others)

Please have your pre-screening video(s) submitted at least 3 weeks prior to your requested audition date for review. You will then be notified as to whether the faculty would like you to perform a live audition.

Final Audition
Applicants invited to the final round of auditions are recommended to prepare 3 pieces using the following guidelines. Appropriate substitutions are accepted.

1. Bach (i.e. French or English Suite, Partita, Toccata, Italian Concerto, or Prelude & Fugue with four-part Fugue) OR a complete Classical Sonata by Haydn, Mozart, or Beethoven

2. A representative Romantic work by Chopin, Schubert, Schumann, Mendelssohn, Liszt, or Rachmaninoff

3. A representative work from the Twentieth Century or Contemporary work by Debussy, Ravel, Fauré, Scriabin, Prokofieff, Shostakovich, Bartók, Stravinsky, Ligeti, Copland, or Ginastera

MM COLLABORATIVE PIANO—Audition Requirements

Prospects for the graduate collaborative piano program are encouraged to contact the faculty listed above during the application process.

Collaborative Piano applicants should prepare the following (suggested repertoire; appropriate substitutions are accepted):

1. A movement from a Sonata, Piano Trio, Quartet, or Quintet
2. One or two songs from the French Art Song repertoire
3. Two songs from the German Lied repertoire (i.e., Schubert, Schumann, Brahms, and Strauss)
4. One technically difficult Opera Aria or piece from the Oratorio literature

Coordinator: Professor William Hite, @email
Other Voice faculty: Jamie-Rose Guarrine, @email and
Marjorie Melnick, @email

For Graduate Voice applicants: Pre-screening materials are required.
Pre-screening videos should be accessible via weblink (e.g., YouTube). Please copy and paste the link in the Music Application when prompted.

Please have your pre-screening video submitted at least 3 weeks prior to your requested audition date for review. You will then be notified as to whether the faculty would like you to perform a live audition.

Pre-screening materials for Graduate Voice: Three accompanied songs and/or arias in contrasting languages and styles.

REGULAR AUDITION REQUIREMENTS:
Please prepare five contrasting songs and/or arias in four of the following languages:
French, English, German, Italian, Latin, Spanish
Taken from four of the following periods:
Baroque, Classical, Romantic, Twentieth Century, Contemporary

An accompanist will be provided during the audition (not during the warm-up). Please provide music for the accompanist only during the audition; music cannot be submitted in advance and extra copies are not desired by the audition panel.

Graduate applicants in Jazz Composition and Arranging are not required to audition, but are encouraged to do so. While the portfolio is the primary focal point of the Composition/Arranging application and subsequent degree, a sample CD or live audition of the applicant's performing abilities is encouraged, as is the participation in large and small jazz ensembles while pursuing the master's degree. A particular performing strength can sometimes compensate for a smaller writing portfolio as an initial foray into the Master's in Jazz Composition/Arranging.

AUDITION GUIDELINES: JAZZ COMPOSITION AND ARRANGING MASTERS PROGRAM

Writing:
Submit a portfolio of at least 4 selections that are varied in style and/or instrumentation in the Jazz and Contemporary music genres. Please provide scores and/or lead sheets with an accompanying CD, and identify your playing on the CD as well, if applicable. It is recognized that writing backgrounds vary.

Performing:
A playing audition is not required for the writing program. However, if an applicant would like the opportunity, then an audition can be scheduled, preferably on the department's audition dates, or by arrangement with Professor Holmes. A CD is acceptable as well (see writing criteria above).

Insight into an applicant's playing aptitude can help foresee participation in ensembles and potential Teaching Assistantship (TA) duties.

Further questions can be addressed to Professor Jeffrey W. Holmes, Director, Jazz & African-American Music Studies, @email

Ensemble auditions are always required for placement in departmental ensembles. Graduate jazz applicants should contact Program Director and Professor Jeffrey W. Holmes, @email, (413) 545-6046, for additional details about the program and audition information.

Masters in Performance, Jazz Track: Audition Requirements

All candidates are encouraged to audition live and submit their repertoire in advance, including parts, to assure proper accompanying rhythm section preparation. In case of impossibility of a live audition, the candidate can either schedule a Zoom audition or submit a prerecorded video audition with all repertoire played live, with no edits, that shows them performing the repertoire by memory with a live rhythm section, if possible.

Horns, piano, guitar, bass (acoustic or electric):

The candidate should prepare 5 pieces from the jazz repertoire to be played by memory at the audition, which should include 5 of the following options:

• ballad
• bebop tune
• rhythm changes (above 240 bpm)
• blues
• contemporary tune (1980s–present)
• modal tune
• Afro-Cuban or Brazilian tune
• An Odd-Meter piece or Odd-Meter arrangement of a standard
• A solo piece (unaccompanied)—standard or original
• A medium tempo standard

*Acoustic bassists are encouraged but not required to play at least one of the above tunes on electric bass.

Questions? Contact JAAMS Director Jeffrey W. Holmes, jwholmes@music.umass.edu

Masters in Performance, Jazz Track: Audition Requirements

All candidates are encouraged to audition live and submit their repertoire in advance, including parts, to assure proper accompanying rhythm section preparation. In case of impossibility of a live audition, the candidate can either schedule a Zoom audition or submit a prerecorded video audition with all repertoire played live, with no edits, that shows them performing the repertoire by memory with a live rhythm section, if possible.

Drums:

The candidate should prepare 5 pieces from the jazz repertoire to be played by memory at the audition, which should include 5 of the following options:

• A ballad
• Medium Swing
• Uptempo Swing
• Afro-Cuban 6/8
• Afro Cuban Songo
• Samba
• A "contemporary” Backbeat piece (rock or funk)
• An Odd-Meter piece or Odd-Meter arrangement of a standard
• A 70’s era fusion piece
• New Orleans Second Line

Drumset applicants may also be asked to briefly demonstrate any or all of the following styles without a rhythm section. Styles covered with the rhythm section will not be asked for again.

• Jazz ballad
• Brush Skills
• Afro-Cuban 6/8
• Afro Cuban Songo
• Samba
• Contemporary Backbeat groove playing
• Odd Meter playing
• 70’s era fusion style playing
• New Orleans Second Line

Drumset audition questions? Contact Prof. Thomas Giampietro, thomasg@music.umass.edu

Masters in Performance, Jazz Track: Audition Requirements

All candidates are encouraged to audition live and submit their repertoire in advance, including parts, to assure proper accompanying rhythm section preparation. In case of impossibility of a live audition, the candidate can either schedule a Zoom audition, or submit a prerecorded video audition with all repertoire played live, with no edits, that shows them performing the repertoire by memory with a live rhythm section, if possible.

Vocal Jazz—Pre-screening:

A pre-screening video should be submitted. Songs need to be sung “live” (i.e., in a single take). Can be sung with play along (Band-in-a-Box, iReal Pro, etc.) or a rhythm section. Content of video:

1. The following scales sung in any key, one octave sung to the ninth ascending and descending. Sing with applicable syllables.
   • Diatonic major scale (swing feel)
   • Harmonic minor scale (swing feel)
   • Lydian Dominant (straight or swung)
   • Chromatic Scale (straight or swung)
2. One jazz standard (medium or uptempo); perform two choruses with measures 1–8 or 1–16 of second chorus improvised. This can be instrumental style with scat syllables or alter the lyric melody by choosing notes that demonstrate an awareness of the harmony.
3. A Jazz Ballad.
4. ONE Tune chosen from following list:
   • A bebop tune (with or without lyrics)
   • A blues (12 bar or extended)
   • A contemporary tune (1980s–present)
   • A Brazilian or Afro Cuban tune
   • An arrangement of a standard that “modernizes” the tune

Invited Vocal Live Audition

Create a balanced program of 5 memorized pieces chosen from the following styles:

1. A ballad
2. A med. Tempo jazz standard
3. A bebop tune (with or without lyrics)
4. A blues (12 bar or extended)
5. A contemporary tune (1980s–present)
6. A Brazilian tune (med. or up tempo)
7. An Afro Cuban tune
8. An arrangement of a standard that “modernizes” the tune
9. A rubato verse (duo with bass or piano) leading to standard (in any medium/up tempo feel)
10. An uptempo jazz standard

Questions about Vocal Jazz audition requirements? Contact Prof. Catherine Jensen-Hole, jensen-hole@music.umass.edu