Graduate Audition Guidelines and Dates

Below you will find each studio listed, with Audition Date and Repertoire requirements.

Please note: each studio will contact you regarding any additional communication they may wish to have with you, such as an interview or sample lesson.

Any questions regarding audition repertoire should be directed to the studio.  A list of faculty is on our website here (click on the person’s name to see their contact email):  https://www.stonybrook.edu/commcms/music/people/index.php

The Master of Music (MM)

Masters applicants (except Voice MM applicants) who live more than 250 miles from New York City may submit a video recording with decent audio quality for their audition, which would be uploaded to your application.  Voice MM applicants who pass the pre-screen are expected to audition live.  See Audition Requirements below for the specific repertoire requirements for each instrumental or vocal area.

The Doctor of Musical Arts (DMA)

All doctoral auditions are live.  A recorded audition video with decent audio quality may be considered only in exceptional circumstances and with permission of the faculty.  All live auditions are to be held at Stony Brook University.

Pre-Screening Video Recordings

Pre-Screening video recordings with decent audio quality are required for these areas: Bassoon, Clarinet, Flute, Jazz, Viola, Violin and Voice.   Piano does not have a pre-screen requirement.  See Audition Requirements below for the specific repertoire requirements for each instrumental or vocal area.  

Pre-screen video recordings must be uploaded to your application by December 10, 2024.  

Please go to our Application page to access the application link.

Audition Requirements 

• Bass

  February 21, 2025

  Repertoire:

  DMA Level:
  1. One full recital program that you will perform on the audition date.  Please take care to develop a compelling program that displays your strengths.  We will hear 30 minutes of our choice from your program.

  2. At the audition, submit two additional printed full recital programs to be handed in at your live audition in order to demonstrate your ability to conceptualize compelling programming that highlights who you are as a performer. 

  
  MM Level:
  Two contrasting pieces from the standard repertoire

  OR

  Two contrasting movements* from one piece from the standard repetoire

  *Please note that in the case of Bach Bouree/Menuets: I & II will count as ONE movement.

  Recorded audition guidelines:

  1) You can have one recording that contains all pieces, or have separate recordings for each piece.  It is okay if you do not use a piano accompanist if the piece normally calls for one.  Editing within a movement is not acceptable.

  2) If you have one recording with all pieces, name the file this way: “audition.”  If you have recordings for each piece, name each file this way: “audition_name of piece.”

  3) Upload the recording to the Digital Portfolio of your application.  Be sure to upload this by February 15, 2024.

• Bassoon

  February 21, 2025

  Pre Screening:
  A recording must be received from all applicants (MM and DMA). The recording should include applicant's choice of approximately 3 samples of the live audition repertory listed below, totaling around 15 minutes. At least one example must be with accompaniment. The recording should be accompanied by the Audition Form and a one-page resume.
  
  Live Audition Requirements:
  MM Level: 
  1. Three complete, contrasting solo works: At least one must be a major concerto (e.g., Mozart, Weber, Hummel, Vivaldi). One work may be unaccompanied.
  2. Four contrasting, standard orchestral excerpts.
  
  DMA Level:
  1. At least one complete bassoon concerto from the following list: Mozart Concerto K191, Weber Concerto, Hummel Concerto, Jolivet Concerto
  2. Three additional complete, contrasting works, one may be unaccompanied.
  3. Be prepared to discuss (including, but not limited to): Each work's place in bassoon repertoire, the composer, performance practice, the edition used as compared to other editions of that work, etc.
  4. At least eight contrasting, standard orchestral excerpts.
  
  Piano accompaniment is recommended. Substitutions for the above requirements will be considered on a case by case basis. These substitutions must be reviewed by Frank Morelli. He welcomes any questions via e-mail: morbassoon@gmail.com 

   
• Cello

  February 17 and 18, 2025

  Repertoire: 
  DMA Level:
  1. A standard concerto (complete)
  2. A Bach Suite (complete)
  3. A contemporary piece
  4. 1st Movement from any standard sonata with piano
  
  MM Level: 
  1. 1st movement of a standard concerto
  2. 2 movements from any Bach Suite
  3. A piece of the student's choice.

   
• Clarinet

  February 21, 2025

  Pre-screening:
  1. One selection of a work for clarinet and piano, with piano accompaniment: this can be a movement from a multi-movement piece (i.e., Brahms, Poulenc, Muczynski, Weber Grand Duo, etc.) or a one-movement work (i.e., Messager, Chabrier, Bozza "Bucolique," Debussy Rhapsody, etc.)
  2. A concerto movement of the applicant's choosing, with piano accompaniment.
  3. A movement of an unaccompanied work OR a reasonably challenging etude.

  DMA Level
  1. One standard work for clarinet and orchestra (i.e., concertos by Mozart, Weber, Nielsen, Copland, Françaix, Tomasi; the Rossini Variations; the Debussy Prémière Rhapsodie; the Weber or Busoni Concertinos. The Debussy work may be used as the second category work below).  Memorization is recommended but not required.
  2. One work for clarinet and piano (i.e., sonatas by Brahms, Poulenc, Bernstein, Reger; the Muczynski Time Pieces, Schumann Fantasy Pieces, Françaix Variations, Weber Grand Duo Concertante).
  3. One unaccompanied 20th or 21st Century work (i.e., Stravinsky Three Pieces, Carter Gra, Sutermeister Capriccio, Messaien Abyss of the Birds, Widmann Fantasie)
  4. Two contrasting etudes (i.e., by Rose, Jeanjean, Cavallini, Jettel)
  5. Five standard orchestral excerpts
  
  MM Level (Live preferred; CD submission acceptable)
  1. One standard work for clarinet and orchestra (i.e., concertos by Mozart, Weber, Nielsen, Copland, Françaix, Tomasi; the Rossini Variations; the Debussy Prémière Rhapsodie; the Weber or Busoni Concertinos. The Debussy work may be used as the second category work below.)
  2. One work for clarinet and piano (i.e., sonatas by Brahms, Poulenc, Bernstein, Reger; the Muczynski Time Pieces, Schumann Fantasy Pieces, Françaix Variations, Weber Grand Duo Concertante).
  3. Two contrasting etudes (i.e., by Rose, Jeanjean, Cavallini, Jettel)
  OR
  One etude (examples given above) AND one unaccompanied 20th or 21st Century work (i.e., Stravinsky Three PIeces, Carter Gra, Sutermeister Capriccio, Messaien Abyss of the Birds)
  4. Three standard orchestral excerpts 

   
• Flute

  Date TBD

  Pre-screening:
  Pre-screening recording should not to exceed 25 minutes. Recording must have accompaniment if the work is accompanied.
  1. The expositions of the first and second movement of either the Mozart G
  Major or D Major Flute Concerto, with accompaniment
  2. Two different movements of two different works from two contrasting periods of the standard flute solo repertoire. (may include a concerto movement or solo sonata; selection may or may not be with accompaniment)
  3. Three standard orchestral excerpts , one of which must be Mendelssohn Midsummer's Night Dream Scherzo, including the 4 bar introduction and solo; other two of applicant's choice of contrasting styles.

  Repertoire for the Live Audition:
  1. An entire Mozart concerto of the applicant's choice (D or G Major)
  2. Three complete and contrasting works for flute, one of which may be for unaccompanied flute from the major flute repertoire
  3. Five standard contrasting orchestral excerpts of applicant's choice, one
  which must be the Mendelssohn Midsummer's Night Dream Scherzo (with 4 bar introduction as well as the solo) 
  4. For DMA Level: Be prepared to discuss (including but not limited to): Each work's place in the flute repertoire, the composer, performance practice, the edition used as compared to other editions of that work, and why you chose that work.

   
• Guitar

  Date TBD

  Repertoire:
  DMA Level:
  1. Two studies by Heitor Villa-Lobos
  2. One major twentieth century work (complete) from the following list:
  Alberto Ginastera-Sonata for Guitar Op.47
  Michael Tippet-The Blue Guitar
  Lennox Berkeley-Sonatina Op.52
  Edino Krieger-Ritmata
  Sergio Assad-Aquarelle, Fantasia Carioca, Sonata for Guitar

  Ronaldo Miranda-Appassionata
  Marlos Nobre-Rememórias, Momentos I-IV
  Frank Martin-Quatre Pieces Breves
  Leo Brouwer-any guitar Sonata, La Ciudad de Las Columnas
  Manuel Ponce-Variations on Folias de España, Tema Variado y Final
  Benjamin Britten-Nocturnal Op. 70
  Willian Walton-5 Bagatelles
  Carlos Guastavino-any guitar Sonata
  Egberto Gismonti-Central Guitar
  Richard Rodney Bennet-Guitar Sonata, Impromptus
  Joan Manén-Fantasia Sonata
  Antonio José-Sonata para Guitarra

  Nuccio D'Angelo-Due Canzoni Lidie
  Joaquin Rodrigo-Tres Piezas Españolas
  Dusan Bogdanovich-Jazz Sonata
  Federico Mompou-Suite Compostelana

  3. One complete Suite, Sonata, or Partita by J.S. Bach (for Lute, violin, or cello)
  4. One major work by Sor, Giuliani, Aguado, Regondi, Mertz, or Coste
  5. Sight-reading

  MM Level:
  1. One Fantasia by any of the following composers:
  John Dowland, Francesco Da Milano, Robert Johnson

  2. One major twentieth century work (complete) by one of the following composers:
  Leo Brouwer, Federico Moreno-Torroba, Joaquin Turina, Castelnuovo-Tedesco, Agustin Barrios, Antonio Lauro, Sérgio Assad, Nikita Koshkin, Dusan Bogdanovich, Carlos Guastavino, Heitor Villa-Lobos, Joaquin Rodrigo, Camargo Guarnieri, Alexandre Tansman, Radames Gnattali, Astor Piazzolla, Francisco Mignone, Toru Takemitsu.

  3. One movement from any Suite, Sonata, or Partita by J.S. Bach (for lute, violin, or cello)

  Please submit any questions regarding repertoire substitution to prof. João Luiz at: joao.rezendelopes@stonybrook.edu

   
• Harp

  Please contact Nancy Allen (nancyallenharp@gmail.com ) to arrange an audition.

  Repertoire:

   

  MM Level:

  2 Contrasting Sonatas by D.Scarlatti

  Concerto C Major for Harp and Flute

  By Mozart ,  1st movement only 

  One major Sonata for Harp : any period ( Hindemith, 

  A short work (any style)

  Two orchestral excerpts of choice

   

  DMA Level: 

  All the above plus: 

  Parish Alvars Variations on “Norma”

  Or Salzedo Variations or work of this level.

  A short contemporary work 

   
• Harpsichord

  Date TBD

  Repertoire:
  1. A contrapuntal work of J.S. Bach
  2. Two short French dances from either the 17th or 18th centuries
  3. Choice of either early 17th century Italian, English virginalist, or contemporary piece. 
  
  In addition, a short example of continuo realization will be provided to assess the candidate's skill level.  Your choice of repertoire should reflect both your musical knowledge of different period and national performance practice styles as well as technical fluency.  Memorization is not required.  The audition will last approximately 15-20 minutes..

  Applicants are invited to sit in on Baroque Ensemble class which meets 10-1 on Thursday mornings in Room 0111.

• Jazz Studies (all instruments)

  Date TBD

  Here is a list of things we would like you to play at your audition. You do not have to do all of them. The purpose of the audition is to see if the program is a good fit for you. We invite you to show us the breadth and scope of your music.  

  1. Perform one or two works from the Jazz/African-American music composition and improvisation tradition. These can be your version of work by Ellington or Monk or Mingus, for example, and your take on an American Songbook work that jazz artists have often used as an improvisational springboard. The blues is always welcome.
  2. Perform one or two original works, which reflect your individual approach, and which present ways that you highlight your expressive voice.
  3. Create an in-the-moment work with Professor Anderson and Ehrlich at the audition, reflecting your engagement with collective music making.
  4. Perform a solo improvisation.

  We presume you have posted recordings of your music on the website, but we welcome any additional materials (CDs, scores, etc.) you wish us to have.

  NOTE: the pre-screen is essentially a miniature of the audition. Please post some examples from #1 above, as well as any original works.

  A rhythm section will be provided for this audition. If you are a drummer or bassist, Professors Anderson and Ehrlich will join in to play your compositions as needed.

• Oboe

  February 18, 2025

  Repertoire:

  MM Level:

  1. One complete sonata or concerto from each of the Baroque, Classical and Romantic eras
  2. Four standard, contrasting orchestral excerpts
  3. Optional: one contemporary work for oboe (unaccompanied or accompanied)

  DMA Level:

  1. One complete Baroque sonata or concerto
  2. One standard work for Oboe and orchestra (i.e. Mozart, Strauss, Martinu, Vaughan-Williams)
  3. One standard work for Oboe and piano (i.e. Schumann Romances, Poulenc, Saint-Saens or Hindemith Sonatas, Britten Temporal Variations, etc.)
  4. One work for unaccompanied oboe from the 20th or 21st Centuries (Britten Metamorphoses, Carter Inner Song, Berio Sequenza, Dorati Five Pieces for Solo Oboe, etc.)
  5. Five standard, contrasting orchestra excerpts 

• Percussion

  Date TBD

  Repertoire: 
  1. Mallet solo (approximately 10 minutes long, Marimba or Vibes)
  2. Multiple percussion solo (approximately 10 minutes long, applicant may bring own instruments or use the percussion studio equipment)
  3. Timpani (any of the Carter Etudes)
  4. Own choice of work that well represents applicant's musical interests (hand drumming, theater percussion, electronics, etc.)
  5. Sight reading (rhythmic and melodic, 2 and 4 mallet) 
  
  Contact Eduardo Leandro for any questions regarding choice of repertoire and to schedule the audition: eduleo@mac.com

• Piano

  February 22, 24, and 25, 2025

  A reminder that Piano does NOT have a pre-screen requirement.

  Repertoire: 
  Both DMA and MM applicants will be expected to have prepared a full and representative program. No other repertoire instructions are given by the faculty. 

• Trumpet, Trombone, Horn and Tuba

  Date TBD

  Repertoire: 
  1. Two contrasting movements from a piece or two contrasting solo pieces 
  2. Several standard orchestral excerpts 

• Viola

  February 6, 2025

  Pre-Screening:

  1.  A movement of Bach
  2.  A movement of either a standard sonata or concerto

  Repertoire: 

  DMA Level:
  1. 1st movement of a concerto by Bartok, Walton or Hindemith
  2. Two contrasting movements from a Bach Suite 
  3. A contemporary work for solo viola or viola and piano (after 1945)
  4. 1st movement from any standard sonata with piano

   
  MM Level:
  1. 1st movement of any standard concerto
  2. Two contrasting movements from a Bach Suite 
  3. Any piece of the applicant's choice

• Violin

  February 11 and 12, 2025

  Violinists who choose to come to Stony Brook University enjoy a wonderful and unique opportunity to study with more than one member of our violin faculty. All violin students study with multiple teachers; if you have a preference for the teacher of record who would become your main advisor, we will try to honor that choice, but should expect to see other members of the violin faculty for at least some of your lessons. This arrangement is particularly well-suited to graduate education at the level of the Department of Music at Stony Brook University.

  Repertoire:
  Repertoire requirements for the Pre-Screening recording and the Live Audition are the same. Applicants may choose to play different pieces at the Live Audition from those submitted on the Pre-Screen recording. For those who do pass the pre-screen, the violin faculty will ask each applicant to submit repertoire for approval to the violin faculty at least one month before the auditions, to ensure that the repertoire presents enough stylistic contrast.

  MM and DMA Audition Requirements:

  1. First movement of a major violin concerto written after 1800 (with the exception of Shostakovich First Concerto, which is not allowed).  *If you choose Bruch's Scottish Fantasy, prepare the first two movements.

  2. Two contrasting movements, OR the Chaconne, from the J.S. Bach Sonatas and Partitas for solo violin.  *If you chose the B minor partita, the doubles do not count as a contrasting movement, so you should pick two movements from the Allemanda, Corrente, Sarabande, and Tempo di Borea

  3. The first movement of one of the following Mozart Sonatas for Violin and Piano:

  Sonata in E minor, K. 304
  Sonata in B-flat Major, K. 378 
  Sonata in B-flat Major, K. 454

  4. A piece of your choice from a musical style and time period that contrasts from the first three categories.  Pick a piece that best conveys your musical convictions and personality, and will present a well-rounded program!

• Voice

  February 10, 2025

  Pre-Screening Repertoire:
  The recording should include three pieces: 
  1. One (1) operatic aria in any language 
  2. One (1) oratorio aria in any language 
  3. One (1) selection from the other live audition requirements (see below)

  Repertoire for the Live Audition (Note: all auditions for the Voice studio are live and in-person.)

  1. One (1) opera aria
  2. One (1) oratorio aria
  3. One (1) Lied
  4. One (1) melodie
  5. One (1) English song 
  6. One (1) piece of singer's choice
   
  The audition will be approximately 15 minutes long.  One of these pieces, or the additional sixth one, should have been composed in the last 50 years.  Four languages must be represented and the repertoire should cover a variety of styles.  A student may petition to modify these requirements if they have a specialized interest (early or new music, for example).  Applicants to the MM program should have sung at least one solo recital.