Music at the Juilliard School

Woodwinds audition information

Bassoon (MM)

Prescreen Repertoire

Mvts. 1 and 2 of a concerto by Mozart, Weber, or Hummel (expositions only; with accompaniment)

1. Two of the following orchestral excerpts:
• Ravel, Piano Concerto (Mvt. 1, rhl. 9-10, and Mvt. 3, rhl. 14-16)
• Shostakovich, Symphony No. 9 (solo from Mvts. 4-5)
• Firebird (Berceuse solo)
• Beethoven, Symphony No. 4 (Mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Scheherazade (Mvt. 2, solo and cadenzas)
• Rite of Spring (opening solos)
• Bolero (solo)
• Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
• Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
• Marriage of Figaro Overture (mm. 139-171)

Live Audition Repertoire

Two complete works of contrasting styles and periods; one must be a concerto by Mozart, Weber, or Hummel

1. Four of the following orchestral excerpts:
• Ravel, Piano Concerto (Mvt. 1, rhl. 9-10, and Mvt. 3, rhl. 14-16)
• Shostakovich, Symphony No. 9 (solo from Mvts. 4-5)
• Firebird (Berceuse solo)
• Beethoven, Symphony No. 4 (Mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Scheherazade (Mvt. 2, solo and cadenzas)
• Rite of Spring (opening solos)
• Bolero (solo)
• Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
• Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
• Marriage of Figaro Overture (mm. 139-171)

Bassoon (DMA)

Prescreen Repertoire

Two complete, contrasting solo works (with accompaniment where necessary)

1. The following orchestral excerpts:
• Scheherazade (Mvt. 2, solo and cadenzas)
• Beethoven, Symphony No. 4 (Mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Rite of Spring (opening solos)
• Marriage of Figaro Overture (mm. 139-171)

Live Audition Repertoire

A full recital program which should reach a minimum of 60 minutes.

1. All of the following excerpts:
• Ravel, Piano Concerto (Mvt. 1, rhl. 9-10, and Mvt. 3, rhl. 14-16)
• Shostakovich, Symphony No. 9 (solo from Mvts. 4-5)
• Firebird (Berceuse solo)
• Beethoven, Symphony No. 4 (Mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
• Scheherazade (Mvt. 2, solo and cadenzas)
• Rite of Spring (opening solos)
• Bolero (solo)
• Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
• Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
• Marriage of Figaro Overture (mm. 139-171)

Callbacks

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.

• You must be available for all portions of the audition process in order to be considered for admission.
• 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.
• If you are not invited to the interview, you may reasonably conclude that you are no longer under consideration for admission.
• 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.

Clarinet (MM)

Prescreen Repertoire

Two contrasting etudes showing the applicant’s level of technical and musical ability.

1. One major solo of the applicant’s choice. Must be performed from memory.
2. One movement of a complete concerto from the standard repertoire. Must be performed from memory.
3. A work composed since 1970. This may be a concerto, a work with piano, or one for solo clarinet.
4. Two contrasting (one fast and one lyrical) standard orchestral excerpts.

Live Audition Repertoire

Two contrasting etudes showing the applicant’s level of technical and musical ability.

1. At least one major solo of the applicant’s choice. Must be performed from memory.
2. A complete concerto from the standard repertoire. Must be performed from memory.
3. A work composed since 1970. This may be a concerto, a work with piano, or one for solo clarinet.
4. A representative number of standard orchestral excerpts.

Clarinet (DMA)

Prescreen Repertoire

1. Two contrasting etudes showing the applicant’s level of technical and musical ability.
2. One major solo of the applicant’s choice. Must be performed from memory.
3. One movement of a complete concerto from the standard repertoire. Must be performed from memory.
4. A work composed since 1970. This may be a concerto, a work with piano, or one for solo clarinet.
5. Two contrasting (one fast and one lyrical) standard orchestral excerpts.

Live Audition Repertoire

1. Two contrasting etudes showing the applicant’s level of technical and musical ability.
2. At least one major solo of the applicant’s choice. Must be performed from memory.
3. A complete concerto from the standard repertoire. Must be performed from memory.
4. A work composed since 1970. This may be a concerto, a work with piano, or one for solo clarinet.
5. A representative number of standard orchestral excerpts.

Flute (MM)

Prescreen Repertoire

Repertoire must be presented in this order:

Mozart – Exposition of 1st and 2nd movements of Concerto in G Major or D Major, accompanied.

1. Two contrasting movements selected from works of different styles or periods, accompanied (excluding Mozart).
2. One of the following pieces, in its entirety:
• Prélude et Scherzo (Henri Büsser)
• Concertino, Op. 107 (Cecile Chaminade)
• Concertino, Op. 45 (Alphonse DuVernoy)
• Cantabile et Presto (Georges Enesco)
• Fantasie, Op. 79 (Fauré)
• Andante et Scherzo (Louis Ganne)
• Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert)
• Ballade (Périlhou)
• Andante Pastoral et Scherzettino (Paul Taffanel)
3. Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
4. Two orchestral excerpts selected from the following choices:
• Beethoven Eroica Symphony – Last movement – measures 172–200.
• Beethoven Leonore Overture No. 3 – measures 328–360.
• Brahms Symphony No. 4 – Last movement – measures 93–105.
• Debussy Afternoon of a Faun – measures 1–4.

Live Audition Repertoire

At least one of Nos. 2, 3, or 4 must be performed from memory in its entirety.

A complete Bach sonata.

1. A complete Mozart concerto.
2. A complete 20th or 21st-century concerto.
3. Two additional complete works of contrasting styles and periods.
4. One of the following pieces, in its entirety:
• Prélude et Scherzo (Henri Büsser)
• Concertino, Op. 107 (Cecile Chaminade)
• Concertino, Op. 45 (Alphonse DuVernoy)
• Cantabile et Presto (Georges Enesco)
• Fantasie, Op. 79 (Fauré)
• Andante et Scherzo (Louis Ganne)
• Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert)
• Ballade (Périlhou)
• Andante Pastoral et Scherzettino (Paul Taffanel)
5. Six standard orchestral excerpts displaying a balance of technical and lyrical playing.

Callbacks

You may be asked to participate in a callback round with the faculty on the same date as your live audition. If called back, you should be prepared to stay at The Juilliard School until 10 p.m. If you are not called back, you may reasonably conclude that you are not under consideration for admission.

Flute (DMA)

Prescreen Repertoire

Repertoire must be presented in this order:

Mozart – Exposition of 1st and 2nd movements of Concerto in G Major or D Major, accompanied.

1. Two contrasting movements selected from works of different styles or periods, accompanied (excluding Mozart).
2. One of the following pieces, in its entirety:
• Prélude et Scherzo (Henri Büsser)
• Concertino, Op. 107 (Cecile Chaminade)
• Concertino, Op. 45 (Alphonse DuVernoy)
• Cantabile et Presto (Georges Enesco)
• Fantasie, Op. 79 (Fauré)
• Andante et Scherzo (Louis Ganne)
• Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert)
• Ballade (Périlhou)
• Andante Pastoral et Scherzettino (Paul Taffanel)
3. Mendelssohn Scherzo from A Midsummer Night’s Dream – 2 measures before P to the end.
4. Two orchestral excerpts selected from the following choices:
• Beethoven Eroica Symphony – Last movement – measures 172–200.
• Beethoven Leonore Overture No. 3 – measures 328–360.
• Brahms Symphony No. 4 – Last movement – measures 93–105.
• Debussy Afternoon of a Faun – measures 1–4.

Live Audition Repertoire

• At least one of Nos. 2, 3, or 4 must be performed from memory in its entirety.

A complete Bach sonata.

1. A complete Mozart concerto.
2. A complete 20th or 21st-century concerto.
3. Two additional complete works of contrasting styles and periods.
4. One of the following pieces, in its entirety:
• Prélude et Scherzo (Henri Büsser)
• Concertino, Op. 107 (Cecile Chaminade)
• Concertino, Op. 45 (Alphonse DuVernoy)
• Cantabile et Presto (Georges Enesco)
• Fantasie, Op. 79 (Fauré)
• Andante et Scherzo (Louis Ganne)
• Fantasie, Nocturne at Allegro Scherzando (Philippe Gaubert)
• Ballade (Périlhou)
• Andante Pastoral et Scherzettino (Paul Taffanel)
5. Six standard orchestral excerpts displaying a balance of technical and lyrical playing.

Callbacks

• You may be asked to participate in a callback round with the faculty on the same date as your live audition. If called back, you should be prepared to stay at The Juilliard School until 10 p.m. If you are not called back, you may reasonably conclude that you are not under consideration for admission.
• If you were invited for a performance callback, the rest of the DMA audition process will take place on the following day. 
• You must be available for all portions of the audition process in order to be considered for admission.
• Upon the strong recommendation of the audition panel, you would be required to interview with members of the Doctoral Governance Committee. Interviews are scheduled daily by the Admissions Office as audition results become available. This interview is, in effect, your callback.
• If you are not invited to the interview, you may reasonably conclude that you are no longer under consideration for admission.
• 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.

Oboe (MM)

Prescreen Repertoire

Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

Two etudes showing the applicant’s level of technical and musical ability.

1. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
2. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
3. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

Live Audition Repertoire

Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

Two etudes showing the applicant’s level of technical and musical ability.

1. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
2. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
3. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

Oboe (DMA)

Prescreen Repertoire

Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

Two etudes showing the applicant’s level of technical and musical ability.

1. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
2. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
3. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

Live Audition Repertoire

• Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

Two etudes showing the applicant’s level of technical and musical ability.

1. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
2. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
3. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

Callbacks

• 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.
• You must be available for all portions of the audition process in order to be considered for admission.
• 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.
• If you are not invited to the interview, you may reasonably conclude that you are no longer under consideration for admission.
• 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.

                                                                                                                                                           Updated on 03/21/2019