Music at the Juilliard School

Keyboards Audition information

Piano (MM)

Prescreen Repertoire

Applicants' hands and feet should be clearly visible.

• All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.
• Applicants whose programs do not meet the following requirements will not be scheduled for an audition. Any changes to the audition program made after submitting the application must be approved by the department chair.

- One Etude by Chopin.

1. - One of the following:
• - An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or
• - One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or
• - One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or
• - One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
2. - A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. (Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable.) *No individual movements or partial works will be permitted in this category.

Live Audition Repertoire

All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.

• The entire audition program should reach a minimum of 60 minutes. Shorter programs may be subject to approval by the piano faculty.

- Bach: Any major work. A prelude and fugue is acceptable. (No transcriptions permitted.)

1. - One of the following:
• - An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or
• - One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or
• - One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or
• - One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
2. - A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. (Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable.) *No individual movements or partial works will be permitted in this category.
3. - One virtuosic etude by Chopin.
4. - A substantial work, or a collection of shorter works, of the applicant’s choice which is:
• --- in a different style and by a composer not listed in the previous requirements, and
• --- not less than six minutes.

Piano (Graduate Diploma)

Prescreen Repertoire

Applicants' hands and feet should be clearly visible.

• All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.
• Applicants whose programs do not meet the following requirements will not be scheduled for an audition. Any changes to the audition program made after submitting the application must be approved by the department chair.

- One Etude by Chopin.

1. - One of the following:
• - An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or
• - One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or
• - One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or
• - One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
2. - A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. (Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable.) *No individual movements or partial works will be permitted in this category.

Live Audition Repertoire

All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.

• The entire audition program should reach a minimum of 60 minutes. Shorter programs may be subject to approval by the piano faculty.

- Bach: Any major work. A prelude and fugue is acceptable. (No transcriptions permitted.)

1. One of the following:
• - An entire sonata by Beethoven (excluding Opp. 14, 49, and 79), or
• - One of the following Haydn sonatas: Hob. 20, 23, 32, 46, 49, 50, 52, or
• - One of the following Mozart sonatas: K. 281, 284, 310, 332, 333, 457, 533, or 576, or
• - One of the following Schubert sonatas: D. 568, 664, 784, 845, 850, 894, 958, 959, 960, or the Wanderer Fantasie, D. 760.
2. - A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. (Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable.) *No individual movements or partial works will be permitted in this category.
3. One virtuosic etude by Chopin.
4. --- A substantial work, or a collection of shorter works, of the applicant’s choice which is:
• --- in a different style and by a composer not listed in the previous requirements, and
•     not less than six minutes.

Piano (DMA)

Prescreen Repertoire

Applicants' hands and feet should be clearly visible.

• All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.
• Applicants whose programs do not meet the following requirements will not be scheduled for an audition. Any changes to the audition program made after submitting the application must be approved by the department chair.

- Choose one of the following:

• - Beethoven sonatas Op. 2, Nos. 2 or 3; Op. 7; Op. 10, No. 3; Op. 22; Op. 28; any sonata later than Op. 28, excluding Op. 49 and 79.
    OR
• - Schubert sonatas: Op. 42, Op. 78, Op. 53, Op. 143, any of the three post­humous sonatas, Wanderer Fantasie.
1. - Two substantial works by different composers: one from Group A, the other from Group B.
• - Group A: Chopin, Schumann, Brahms, Liszt, Mendelssohn.
• - Group B: A work written in the late 19th or early 20th century. This includes, but is not limited to, the following composers: Tchaikovsky, Mussorgsky, Scriabin, Rachmaninoff, Busoni, Fauré, Debussy, Ravel, and Grieg. (Composers from Group A are not permitted for this requirement.)

Live Audition Repertoire

All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.

• The entire audition program should reach a minimum of 60 minutes. Shorter programs may be subject to approval by the piano faculty.

- Any major work by Bach. Preludes and Fugue are permitted. (No transcriptions permitted.)

1. Choose:
• - One of the following Beethoven sonatas Op. 2, Nos. 2 or 3; Op. 7; Op. 10, No. 3; Op. 22; Op. 28; any sonata later than Op. 28, 
•   excluding Op. 49 and 79. 
•   OR
• - One of the following Schubert sonatas: Op. 42, Op. 78, Op. 53, Op. 143, any of the three post­humous sonatas, Wanderer Fantasie.
2. - Two substantial works by different composers: one from Group A, the other from Group B.
• - Group A: Chopin, Schumann, Brahms, Liszt, Mendelssohn.
• - Group B: A work written in the late 19th or early 20th century. This includes, but is not limited to, the following composers: 
• Chaikovsky, Mussorgsky, Scriabin, Rachmaninoff, Busoni, Fauré, Debussy, Ravel, and Grieg. (Composers from Group A are not permitted for this requirement.)
3. - A substantial 20th or 21st-century work by a composer post-dating Impressionism.

Callbacks

       ü  The DMA audition process will take at least two days. In general, you should plan to be available for the entire day following the scheduled 

       audition date.

ü  You must be available for all portions of the audition process in order to be considered for admission.

        ü  Upon the strong recommendation of the audition panel, you may be invited to a required interview with members of the Doctoral Governa            nce Committee, usually on the day following your audition. Interviews are scheduled daily by the Admissions Office as audition results beco            me available. This interview is, in effect, your callback.

ü  If you are not invited to the interview, you may reasonably conclude that you are no longer under consideration for admission.

        ü  You must also take a written exam in music theory and music history. Exams are given Monday through Friday during the audition week an           d include exercises in harmonization and counterpoint, as well as a music history component. In general, only those invited to interview nee           d write the exam; however, it may be written on any date that it is offered.

Piano (Artist Diploma)

Prescreen Repertoire

Applicants' hands and feet should be clearly visible.

• All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.
• Applicants whose programs do not meet the following requirements will not be scheduled for an audition. Any changes to the audition program made after submitting the application must be approved by the department chair.

Choose one of the following:

• Beethoven sonatas Op. 2, Nos. 2 or 3; Op. 7; Op. 10, No. 3; Op. 22; Op. 28; any sonata later than Op. 28, excluding Op. 49 and 79.
  OR
• Schubert sonatas: Op. 42, Op. 78, Op. 53, Op. 143, any of the three post­humous sonatas, Wanderer Fantasie.
1. Two substantial works by different composers: one from Group A, the other from Group B.
• Group A: Chopin, Schumann, Brahms, Liszt, Mendelssohn.
• Group B: A work written in the late 19th or early 20th century. This includes, but is not limited to, the following composers: Tchaikovsky, Mussorgsky, Scriabin, Rachmaninoff, Busoni, Fauré, Debussy, Ravel, and Grieg. (Composers from Group A are not permitted for this requirement.)

Live Audition Repertoire

All pieces must be performed from memory. Exceptions may be permitted only in the case of some 20th and 21st-century pieces. Permission must be granted by the Juilliard piano faculty upon request.

• The entire audition program should reach a minimum of 60 minutes. Shorter programs may be subject to approval by the piano faculty.

- Any major work by Bach. Preludes and Fugue are permitted. (No transcriptions permitted.)

1. Choose:
• - One of the following Beethoven sonatas Op. 2, Nos. 2 or 3; Op. 7; Op. 10, No. 3; Op. 22; Op. 28; any sonata later than Op. 28, excluding Op. 49 and 79.
  
  
• OR
• - One of the following Schubert sonatas: Op. 42, Op. 78, Op. 53, Op. 143, any of the three post­humous sonatas, Wanderer Fantasie.
2. - Two substantial works by different composers: one from Group A, the other from Group B.
• - Group A: Chopin, Schumann, Brahms, Liszt, Mendelssohn.
• - Group B: A work written in the late 19th or early 20th century. This includes, but is not limited to, the following composers: 
• - Tchaikovsky, Mussorgsky, Scriabin, Rachmaninoff, Busoni, Fauré, Debussy, Ravel, and Grieg. (Composers from Group A are not         permitted for this requirement.)
3. - A substantial 20th or 21st-century work by a composer post-dating Impressionism.

Callbacks

You may be required to do a callback interview by phone on a date TBD. You must be available for a phone interview to be considered for admission.

Organ (MM)

Prescreen Repertoire

Prescreening is not required for this major. 

Live Audition Repertoire

Organ auditions will take place on The Juilliard School’s Holtkamp organ in Paul Hall. A complete list of stops and specifications can be accessed here.

1. - A major work of J. S. Bach.
2. - An organ composition by a representative Romantic composer.
3. - A work composed since 1930.
4. - Applicants may be asked to sight-read.

Organ (DMA)

Prescreen Repertoire

Prescreening is not required for this major. 

Live Audition Repertoire

Organ auditions will take place on The Juilliard School’s Holtkamp organ in Paul Hall. A complete list of stops and specifications can be accessed 

here.

A major work of J. S. Bach.

1. An organ composition by a representative Romantic composer.
2. A work composed since 1930.
3. Applicants may be asked to sight-read.

Callbacks

ü  The DMA audition process will take at least two days. In general, you should plan to be available for the entire day following the scheduled audition date.

       ü  You must be available for all portions of the audition process in order to be considered for admission.

ü  Upon the strong recommendation of the audition panel, you may be invited to a required interview with members of the Doctoral Governance Committee, usually on the day following your audition. Interviews are scheduled daily by the Admissions Office as audition results become available. This interview is, in effect, your callback.

        ü  If you are not invited to the interview, you may reasonably conclude that you are no longer under consideration for admission.

        ü  You must also take a written exam in music theory and music history. Exams are given Monday through Friday during the audition week and include exercises in harmonization and counterpoint, as well as a music history component. In general, only those invited to interview need write the exam; however, it may be written on any date that it is offered.

Organ (Artist Diploma)

Prescreen Repertoire

Prescreening is not required for this major. 

Live Audition Repertoire

If you are invited to an audition, you must submit your dossier containing documentation of professional accomplishments, after receiving your official audition invitation, no later than February 16. Your dossier must be uploaded and submitted through your application status page. Please note that a resume does not fulfill this requirement. 

Your dossier should include the following, as appropriate: 

a program bio

• a representative repertoire list from the past two years
• press clippings/reviews
• a list of recordings
• a link to your website 
• a press kit

Pre-Audition Forms

As part of the online application, you are required to submit your proposed live audition repertoire for review. Should you need to update your repertoire after you submit your online application, you can do so by submitting a form on your application status page.

Insufficient or incomplete audition repertoire may affect consideration for admission

• Where specific works are required, substitutions are not allowed
• Audition requirements which state a complete piece or work are indicating all movements must be prepared

You should first consult with your private teacher to determine the suitability of your proposed repertoire. If there is any concern regarding the appropriateness of a particular piece, submit your questions through this form.

Harpsichord (MM)

Prescreen Repertoire

Prescreening is not required for this major. 

Live Audition Repertoire

       l  Harpsichordists will have two audition instruments available:

• Flemish style, two manuals, 2x8’ and 4’ and buff stops; GG to f''' by Bruce Kennedy, at A=415 in Neidhardt kleine Stadt 1732
• Italian style, single manual by John Philips after Grimaldi, 2x8’, A=440, meantone

l  For bass-line instruments, continuo and orchestral repertoire (e.g., excerpts for double bass and bassoon) may be accompanied by a faculty member.

1. - A pavan and galliard or fantasia by William Byrd, John Bull, or other major composer of virginal repertoire.
2. - A 17th century Italian toccata.
3. - A French suite from the 17th or 18th century (D'Anglebert, Marchand, Louis or François Couperin, Rameau, etc.).
4. - A complete major work of J.S. Bach (partita, suite, Chromatic Fantasy and Fugue, etc.).
5. - Two complete sonatas of Domenico Scarlatti.
6. - Auditioners advancing to the callback round will be given a short continuo excerpt of two contrasting movements of a Baroque sonata to be sightread accompanying faculty members.

Harpsichord (DMA)

Prescreen Repertoire

Prescreening is not required for this major. 

Audition Repertoire

As part of the online application, you are required to submit your proposed live audition repertoire for review. Should you need to update your repertoire after you submit your online application, you can do so by submitting a form on your application status page.

• Insufficient or incomplete audition repertoire may affect consideration for admission
• Where specific works are required, substitutions are not allowed
• Audition requirements which state a complete piece or work are indicating all movements must be prepared

You should first consult with your private teacher to determine the suitability of your proposed repertoire. If there is any concern regarding the appropriateness of a particular piece, submit your questions through this form. 

                                                                                                                                                              Updated on 03/14/2019