Guidelines for Pre-Screening Recordings 

• Recordings must be genuinely performed by you 
• You are required to upload your files in a Video format. Acceptable file types include: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv 
• Each of your required pieces should be uploaded to your application as a separate file 
• Clearly label each of the uploaded files with the name of the composer and work/movement
• Recordings must not be edited, nor should any effects such as “reverb” be added 
• Review your recordings before uploading to ensure that they are of good quality and represent your best work to date 
• Upload your recordings to your application in advance of the application deadline (December 15, 2023)

Please note that all Master of Music programs require you to submit a pre-screening recording as part of your application. Faculty will review the recordings and, if you pass the pre-screening round, you will be invited to a final audition.

In addition to your pre-screen repertoire, please also record an informal self-introduction video no more than 3 minutes in length. Please use this as an opportunity to share something that we don't already know from your application. This could be an interesting story about yourself, music or non-music related. Use it as an opportunity to share your personality and let us get to know you better! Please record this video in English.

Final auditions will take place in Tianjin and at select regional locations. Applicants unable to travel to a live audition location must contact the Office of Admission at admissions@tianjinjuilliard.edu.cn to discuss the circumstances and reasons they cannot audition live, and to request approval of an alternative audition modality.

• The live audition dates and locations are listed below

Memorization

• Unless otherwise specified, all works except for sonatas and orchestral excerpts must be performed from memory. 

Auditions for percussionists are only available at locations designated with * 

Pre-Screening Requirements

1. One movement from an unaccompanied Bach sonata or partita for violin
2. First movement with cadenza of a concerto from the 19th, 20th or 21st century, such as: Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, or Walton, played with piano
3. First movement of a sonata from a contrasting musical period as the selected concerto, played with piano
4. The following orchestral excerpts:
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 17-99
   • Mozart: Symphony No. 39, 4th movement: beginning to m. 78
   • Strauss: Don Juan, 1st page 

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. Two contrasting movements of an unaccompanied Bach sonata or partita or the complete Bach Chaconne
2. First movement with cadenza of a concerto from the 18th, 19th, 20th or 21st century, such as: Mozart, Haydn, Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, Walton.
3. The following orchestral excerpts:
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 17-99
   • Strauss: Don Juan, 1st page
   • Mozart: Symphony No. 39, 4th movement: beginning to m. 78
   • Prokofiev: Classical Symphony, 1st movement: beginning to m. 86
   • Brahms: Symphony No. 3, 1st movement: beginning to m. 23 and mm. 57-90
   • Debussy: La Mer, No. 2 "Jeux de vagues": Rehearsal Nos. 19 to 20 and Rehearsal Nos. 33 to 39

Note: All works except for orchestral excerpts must be performed from memory.

 

Pre-Screening Requirements

1. First movement and cadenza of a standard viola concerto from 18th, 20th or 21st century, played with piano
2. One movement from J.S. Bach: Suites for unaccompanied cello, or sonatas and partitas for unaccompanied violin
3. The first movement of a 19th century (romantic) or early 20th century sonata (such as Clarke, Hindemith Op. 11 no. 4, Bowen, etc.), played with piano
4. The following orchestral excerpts:
   • Mozart: Symphony No. 35 "Haffner", 1st movement: beginning to m. 29
   • Mozart: Symphony No. 35 "Haffner", 4th movement: m. 134 to m. 181
   • Mendelssohn: A Midsummer Night's Dream: m. 17 to m. 40 and Letter [C] to [D]
   • Strauss: Don Juan, first page

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. The first movement and cadenza of an 18th, 20th or 21st century concerto
2. One or more movements of a solo sonata or suite from the 19th, 20th, or 21st centuries, totaling at least 8 minutes
3. Two movements from J.S. Bach: Suites for unaccompanied cello, or sonatas and partitas for unaccompanied violin
4. The following orchestral excerpts:
   • Mozart: Symphony No. 35 "Haffner", 1st movement: beginning to m. 29
   • Mozart: Symphony No. 35 "Haffner", 4th movement: m. 134 to m. 181
   • Mendelssohn: A Midsummer Night's Dream: m. 17 to m. 40 and Letter [C] to [D]
   • Strauss: Don Juan, first page
   • Beethoven: Symphony no. 5, 2nd movement: mm. 1- 10 and mm. 49- 59 and mm. 98-106
   • Prokofiev: Symphony no. 1 "Classical", 1st movement: beginning to m. 46 and fourth movement: m. 43-93
   • Brahms: Variations on a Theme by Haydn: Nos 5, 7 and 8

Note: All works except for sonatas and orchestral excerpts must be performed from memory. 

 

Pre-Screening Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please submit the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns concerto, please submit the whole concerto), played with piano
2. One movement from an unaccompanied Bach Suite
3. One movement of a substantial sonata for cello and piano such as Beethoven Op. 69, 1st or 3rd movement, Brahms's Op. 38, 1st or 3rd movement, Brahms's Op. 99, 1st or 4th movement, Prokofiev Op. 119, 1st or 3rd movement; Strauss Op. 6, 1st or 3rd movement,  played with piano
4. Choose two of the following orchestral excerpts:
   • Mozart: Symphony No.35, 4th movement: beginning to m.37 and mm. 134-181 
   • Beethoven: Symphony No.5, 2nd movement: beginning to m. 10 and mm. 49-59 and 98-106 and 114-123 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: [C] to [D] and [N] to [O] 
   • Brahms: Symphony No.2, 2nd movement: beginning through m. 15 
   • Debussy: La Mer: No. 1 "De l'aube à midi sur la mer" Two measures before Rehearsal No. 9 to six measures after Rehearsal No. 9 (top line only) 
   • Strauss: Ein Heldenleben: beginning to five measures after Rehearsal No.5

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please play the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns's concerto, please play the whole concerto)
2. Prelude and another movement of an unaccompanied Bach Suite
3. A lyrical piece; such as Saint-Saëns's The Swan, Fauré Après un Rêve, 3rd movement of Chopin’s sonata for cello and piano, Dvořák Silent wood or Mendelssohn Songs without Words
4. All of the following orchestral excerpts:
   • Mozart: Symphony No.35, 4th movement: beginning to m.37 and mm. 134-181 
   • Beethoven: Symphony No.5, 2nd movement: beginning to m. 10 and mm. 49-59 and 98-106 and 114-123 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: [C] to [D] and [N] to [O] 
   • Brahms: Symphony No. 2, 2nd movement: beginning through m. 15 
   • Debussy: La Mer: two measures before Rehearsal No. 9 to six measures after Rehearsal No. 9 (top line only) 
   • Strauss: Ein Heldenleben: beginning to five measures after Rehearsal No. 5

Note: All works except for sonatas and orchestral excerpts must be performed from memory. 

 

Pre-Screening Requirements

1. The first movement of a standard double bass concerto, played with piano
2. The following orchestral excerpts:
   • Mozart: Symphony No. 40, 1st movement: mm. 114-138 
   • Beethoven: Symphony No. 5, 3rd movement: beginning to m. 100  

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. The first movement of a standard double bass concerto with cadenza if applicable
2. One movement from an unaccompanied Bach Cello Suite, or one movement from Hans Fryba Suite in the Olden Style for Double Bass 
3. All of the following orchestral excerpts:
   • Mozart: Symphony No. 40, 1st movement: mm. 114-138 and 191-225 
   • Beethoven: Symphony No. 5, 3rd movement: beginning to m. 100 and mm. 140-218 
   • Brahms: Symphony No. 2, 1st movement: mm. 118-156 

Note: All works except for sonatas and orchestral excerpts must be performed from memory.
 

Pre-Screening Requirements

1. C. P. E. Bach: Sonate in G Major WOTQ 139 (2nd movement Allegro only)
2. A large work, such as Impromptu Op. 86 by Gabriel Fauré or Variations on a Theme in ancient style by Carlos Salzedo
3. The following excerpts:
   • Ravel: Cadenza from Tzigane
   • Berlioz: Symphonie Fantastique, 2nd movement: “Un Bal”. Harp 1st part, beginning to Reh 29 

Note: All works except orchestral excerpts must be performed from memory.

Final Audition Requirements

1. C. P. E. Bach: Sonate in G Major WOTQ 139 (2nd movement Allegro only)
2. A large work such as Impromptu Op. 86 by Gabriel Fauré or Variations on a Theme in ancient style by Carlos Salzedo
3. A 20th century Sonata such as the Paul Hindemith or Germaine Tailleferre harp sonatas
4. Debussy: Danses Sacrée et Profane.
5. The following orchestra excerpts:
   • Ravel: Cadenza from Tzigane
   • Berlioz: Symphonie Fantastique, 2nd movement “Un Bal”. Harp 1st part, beginning to Reh 29 
   • Britten: The Young Person’s Guide to the Orchestra, Variation I (harp cadenza) 
   • Bruch: Scottish Fantasy
     • 3rd movement, 4 mm. after [B] to downbeat of [C]
     • 4th movement, beginning to downbeat of [D]

Note: All works except for orchestral excerpts must be performed from memory.

Pre-Screening Requirements

1. Two contrasting movements of an unaccompanied Sonata, Partita or Suite by J. S. Bach (may be original or a transcription), or from the Solo Sonata in A minor by C. P. E. Bach 
2. The first movement of one of the Mozart concerti (with cadenza). Must be performed from memory, played with piano
3. One of the following solo works:
   • Karg-Elert: Sonata Appassionata
   • Karg-Elert: Chaconne
   • Bozza: Image
   • Hindemith: Eight Pieces
   • Ibert: Pièce
   • Dubois: Incantation and Dance
   • Lipatti: Introduction and Allegro
   • Dohnányi: Passacaglia
   • A virtuoso etude or capriccio (at least two pages in length) of the applicant’s choice 
4. The following orchestral excerpts:
   • Bach: Mass in B minor, Domine Deus, beginning to measure No. 20
   • Beethoven: Symphony No. 3 (Eroica), last movement, mm. 172–200
   • Ravel: Boléro, beginning to Rehearsal No. 1

Final Audition Requirements

Note: At least one work from group 1, 2, or 3 must be performed from memory. 

1. Two contrasting movements from one of the following works by J.S. Bach:
   • E minor Sonata BWV 1034; E Major Sonata BWV 1035; A Major Sonata BWV 1032
2. One slow and one fast movement from a concerto by Mozart (with cadenzas).
3. One of the following solo works:
   • Doppler: Airs valaques
   • Reinecke: Concerto 1st mov, or 2nd & 3rd mov
   • Karg-Elert: Sinfonische Kanzone
   • Ibert: Concerto 3rd mov
   • Dutilleux: Sonatine
   • Casella: Sicilienne & Burlesque
   • Martin: Ballad
   • Jolivet: Chant de Linos
   • Note: You can consult with our faculty through the Office of Admissions about choosing a piece of similar difficulty but not included in this list.
4. A contemporary solo work composed after World War II. (avant-garde style and extended techniques are preferable)
5. Choose three of the following excerpts:
   • Bach: "Aus Liebe will mein Heiland sterben" from St. Matthew's Passion: beginning to m. 13 
   • Beethoven: Leonore Overture No. 3, Op. 72b: mm. 1-36 and mm. 328-360
   • Brahms: Symphony No. 4, 4th movement: mm. 93-105 
   • Dvořák: Symphony No. 8, 4th movement: [D]-[E] 
   • Prokofiev: Peter and the Wolf, “The Bird”
   • Ravel: Daphnis et Chloé, Suite No. 2 (solo only)
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo (solo only)
   • Debussy: Prélude à l’après-midi d'un faune: Rehearsal Nos. 1-3
6. Applicants will be asked to sight read material provided at the audition.

Pre-Screening Requirements

1. Mozart Concerto first movement (with cadenza), played with piano
2. One slow and one fast etude from Ferling opus 31 
3. The following orchestral excerpts:
   • Bach: Cantata No. 140, aria no. 6: soprano/bass duet, "Mein Freund ist mein!" (My friend is mine!) first 8 measures 
   • Rossini: La Scala di Seta: Pickup to Rehearsal No. 2 to the downbeat of Rehearsal No. 3 (articulations are at the discretion of the performer)
   • Shostakovich: Symphony No. 1, 3rd movement: Beginning to m. 16

Final Audition Requirements 

1. Mozart Concerto first and second movements (with cadenzas)
2. A 19th or 20th century work of at least 6 minutes in length
3. One slow and one fast etude from Ferling opus 31
4. The following orchestral excerpts:
   • Bach: Cantata No. 140, aria no. 6, soprano/bass duet: " Mein Freund ist mein!" mm. 1-8 
   • Rossini: La Scala di Seta: Pickup to Rehearsal No. 2 to the downbeat of Rehearsal No. 3  
   • Shostakovich: Symphony No. 1, 3rd movement: Beginning to m. 16

Note: Oboe repertoire does not need to be performed from memory. 
 

Pre-Screening Requirements

1. Mozart: Concerto K. 622: 1st movement, mm. 53-154 and 2nd movement, mm. 1-59, played with piano
2. A fast etude demonstrating the applicant’s technique
3. The following orchestral excerpts:
   • Beethoven: Symphony no. 6, 1st movement: mm. 474-492 and 2nd movement: mm. 68-77 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 1-48

Note: Only the concerto needs to be performed from memory.

Final Audition Requirements 

1. A complete standard concerto
2. A major solo work of the applicant’s choice. This work should be in contrasting style from the concerto
3. An unaccompanied work composed after 1900
4. The following orchestral excerpts:
   • Beethoven: Symphony No. 6, 1st movement: mm. 474-492 and 2nd movement: mm. 68-77 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 1-48 
   • Brahms: Symphony No. 3, 1st movement: mm. 36-46 and 2nd movement: mm. 1-22 
   • Rimsky-Korsakov: Capriccio Espagnol, 1st movement: [A] to [B], and [C] to the end and 3rd movement: 11 measures after K to the end
   • Respighi: Pines of Rome, 3rd movement: pickup to Rehearsal No. 13 until 4 measures before Rehearsal No. 14 
   • Shostakovich: Symphony No. 9, 2nd movement: mm. 1-32 and 3rd movement: mm. 1-17

Note: Only the concerto needs to be performed from memory. 

Pre-Screening Requirements

1. Mozart: Bassoon Concerto, 1st, 2nd, and 3rd movements (with cadenzas), played with piano
2. The following orchestral excerpts:
   • Stravinsky: Rite of Spring, opening solos: m. 1 until the third bar of Rehearsal No. 3; and Rehearsal No. 12 until Rehearsal No. 13
   • Ravel: Boléro, solo: Rehearsal No. 2 until Rehearsal No. 3 
   • Rimsky Korsakov: Scheherazade, 2nd movement solo and cadenzas: m. 5 until Rehearsal [A]; and the second bar of Rehearsal [L] until Rehearsal [M] 
   • Tchaikovsky: Symphony No. 4, 2nd movement solo: m. 274 to the end of the movement 
   • Mozart: Le Nozze di Figaro, Overture: mm. 139-171
   • Smetana: Verkaufte Braut Overture: mm1-8; mm 98-111; mm168-176.

Final Audition Requirements 

1. Mozart: Bassoon Concerto, 1st, 2nd and 3rd movements (with cadenzas)
2. A 19th or 20th century work of the applicant’s choice (duration 5 to 20 minutes)
3. The following orchestral excerpts:
   • Stravinsky: Rite of Spring, opening solos: m. 1 until the third bar of Rehearsal No. 3; and Rehearsal No. 12 until Rehearsal No. 13
   • Ravel: Boléro, solo: Rehearsal No. 2 until Rehearsal No. 3 
   • Rimsky Korsakov: Scheherazade, 2nd movement solo and cadenzas: m. 5 until Rehearsal [A]; and the second bar of Rehearsal [L] until Rehearsal [M] 
   • Tchaikovsky: Symphony No. 4, 2nd movement solo: m. 274 to the end of the movement 
   • Mozart: Le Nozze di Figaro, Overture: mm. 139-171
   • Smetana: Verkaufte Braut Overture: mm1-8; mm 98-111; mm168-176.

Note: Bassoon repertoire does not need to be performed from memory.

Pre-Screening Requirements

1. A Solo work or movement of major concerto/sonata of the applicant's choice (for example, Böhme/Haydn/Hummel/Tomasi concerti, Brandt Concertpiece No. 1 or 2, etc.) For Haydn or Hummel concerto, exclude 1st movement. May be played with or without piano 
2. The following excerpts:
   • Mussorgsky/Ravel: Pictures - Promenade: beginning to Rehearsal 2  
   • Mahler: Symphony No. 5: beginning to m. 24  
   • Ravel: Piano Concerto in G, 1st movement: Rehearsal 2-3 and Rehearsal 34 to the end of the movement

Final Audition Requirements 

1. Haydn Concerto, 1st movement (no cadenza), or Hummel Concerto, 1st movement
2. Charlier Etude No.2 (Du Style)
3. All of the following orchestral excerpts:
   • Bartók: Concerto for Orchestra, 2nd movement: mm. 90-147
   • Donizetti: Don Pasquale: Act 2, Prelude, solo starting bar 5 until 4 bars after number 1
   • Handel: Messiah, The Trumpet Shall Sound, first 28 bars
   • Mahler: Symphony No. 5, beginning to m. 24 
   • Stravinsky: Petrushka (1947 version), Ballerina's Dance (rehearsal no. 134-139) and Waltz (rehearsal no. 140-151) 
   • Rimsky-Korsakov: Scheherazade; IV. Festival at Baghdad, 1 bar before Rehearsal [C] to Rehearsal [D] and Rehearsal [T] to [U] 

Note: Trumpet repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

Pre-Screening Requirements

1. Choose one of the following:
   • Mozart: Concerto No. 2 1st and 2nd movement
   • Mozart: Concerto No. 4 1st movement (with or without cadenza)
2. Choose one of the following:
   • Richard Strauss: concerto No. 1 1st movement
   • Richard Strauss: concerto No. 2 1^st movement
   • R. Glière: concerto 1st movement (with or without cadenza)
   • Jacob: concerto for Horn and Strings 1^st movement
3. The following excerpts:
   • Brahms: Sym. No. 3. 3rd movement 1^st Horn in C. one measure before Rehearsal [F] until m. 110
   • Richard Strauss: Till Eulenspiegel 1^st Horn in F opening solo: m. 6 through m. 20
   • Brahms: Piano Concerto No. 2. 1^st Horn 1st movement opening m. 1 through m. 6. 3^rd Horn. 1st movement. m. 188 until 198

Note: Horn repertoire does not need to be performed from memory. All concertos may be played with or without piano.

Final Audition Requirements:

1. Mozart: No. 4. 1st movement exposition only
2. R. Strauss: No. 1. 1st movement exposition only
3. The following excerpts:
   • Brahms: Sym. 2. 2nd movement 1^st Horn in H. m. 17 until m. 31.
   • J. S. Bach: Mass in b minor Horn in D. opening to the end. (m. 1 to m. 53)
   • Beethoven: Sym. No. 8. 3rd movement 2^nd Horn in F m. pick up to 45 through m. 78
   • Beethoven: Sym. 7, 1st movement 2^nd Horn in A: m. 89 until m. 106
   • Beethoven: Sym. 9, 3rd movement 4^th Horn pick up to m. 83 until m. 98
   • Anton Bruckner: Sym. No. 4, 1st movement 1^st Horn m. 3 until m. 52
   • César Franck: Sym. in d minor 2nd movement 1^st Horn in F, m. 32 until 49
   • Mahler: Sym. 9, 1st movement 1^st Horn in F. pick up to m.382 until m. 391
   • Tchaikovsky: Sym. 5, 2^nd movement 1^st Horn in F. m. 8 until 28
   • Wagner: Lohengrin 3^rd Act Horn (1-4) in D. m. 16 until 48
   • Wagner: Götterdämmerung, 1^st Horn in F: Siegfried’s Act 1 Short Call, m. 37 through the downbeat of m. 55. (No need to play this one if you choose to play optional excerpt No.1)

Optional extra excerpts (subject to applicant’s own choice):

1. Richard Wagner: Siegfried 2ndAct, 1^st Horn long call
2. Richard Strauss: Ein Heldenleben, 1^st Horn in F. m. 1 until m. 17

Note: Horn repertoire does not need to be performed from memory. All concertos may be played with or without piano.

Pre-Screening Requirements

1. David: Concertino, Op.4,1st movement. May be played with or without piano 
2. One Etude From Melodious Etudes Book 1 by Joannes Rochut
3. The following excerpts:
   • Mozart: Requiem, "Tuba mirum", second trombone solo
   • Ravel: Bolero, 1st Trombone:  2nd measure. of Rehearsal [10] to Rehearsal [11]
   • Rossini: 'La Gazza Ladra' (one trombone version): mm. 115-135 and mm. 275-291 and mm. 432-442

Final Audition Requirements

1. Hindemith: Sonata for trombone and piano (complete) OR another complete work from the 20th or 21st centuries.
2. Choose one of the following:
   • David: Concertino, Op. 4, 1st movement 
   • Albrechtsberger: Concerto, complete
3. The following excerpts:
   • Mozart: Requiem, "Tuba mirum", second trombone solo
   • Ravel: Bolero,1st Trombone:  2nd measure of Rehearsal [10] to Rehearsal [11]
   • Rossini: 'La Gazza Ladra' (one trombone version): mm. 115-135 and mm. 275-291 and mm. 432-442
   • Saint-Saëns: Symphony No. 3, 1st Trombone: Rehearsal [Q] to Rehearsal [R]
   • Bartok: Miraculous Mandarin, second trombone: Rehearsal [71] until one measure after Rehearsal [74]
   • Hindemith: Symphonic Metamorphoses, 1st Trombone: "Turandot": Rehearsal [H] to Rehearsal [J] and "Marsch" Rehearsal [G] to the end

Note: Tenor trombone repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

 

Pre-Screening Requirements

There are no pre-screening requirements for bass trombone.

Final Audition Requirements 

1. Lebedev: Concerto in One Movement
2. One major solo work of applicant's choice
3. J.S. Bach: Suite No. 5 for unaccompanied cello, Sarabande
4. The following excerpts:
   • Wagner: Das Rheingold, Scene 4: last 15 measures
   • Wagner: Ride of the Valkryries
     • Pick-up to Rehearsal [3] to 3 mm. after Rehearsal [6]
     • Pick-up to 5 mm. after Rehearsal [10] to downbeat of Rehearsal [12]
   • Haydn: The Creation, Rehearsal [26] to [C]
   • Berlioz: Hungarian March, 6 mm. before Rehearsal [4] to 2 mm. after Rehearsal [5]
   • Strauss: La Bourgeois Gentilhomme
     • 3rd movement: beginning to Rehearsal [38]
     • 4th movement: Rehearsal [46] to 5 mm. after Rehearsal [52]
     • 4th movement: Rehearsal [72] to Rehearsal [75]
   • Kodaly: Hary Janos, 4th movement
     • Beginning to 7 mm. after Rehearsal [11]
     • Poco meno mosso before Rehearsal [6] to fermata
   • Schumann: Symphony No. 3, 4th movement: mm. 1-18 

Note: Bass trombone repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.
 

Pre-Screening Requirements 

1. Ralph Vaughan Williams: Concerto for Bass Tuba, Movement 1: Beginning to Reh. 11
2. Hector Berlioz : Hungarian March, Reh. 20 to 3^rd measure of Reh. 21
3. Richard Wagner: Prelude to Die Meistersinger, Reh. J to Reh. L
4. Respighi: Fontane di Roma, La Fontana di Trevi: pickup to Reh. 11 to downbeat Reh. 14

Final Audition Requirements 

1. Vaughan Williams: Concerto for Tuba, 1st and 2nd movements only
2. A complete solo work for tuba of the candidate's choice
3. All of the following orchestral excerpts:

• Berlioz: Hungarian March from The Damnation of Faust, rehearsal 4 through second bar of rehearsal 5
• Stravinsky: Petrouchka (1947) Peasant with Bear, rehearsal 188-192
• Mahler: Symphony No. 1, 3rd movement, four bars before rehearsal 3 to 4
• Wagner: Prelude to Die Meistersinger, rehearsal J to L
• Prokofiev: Symphony No. 5, 1st movement, rehearsal 3 to 6
• Gershwin: An American in Paris, rehearsal 67 to 68

Note: Tuba repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

. 

Pre-Screening Requirements 

Mallets:

1. Two mallets – any 2 mallet movement from J.S. Bach Sonatas and Partitas for solo violin or Suites for solo cello – no repeats
2. Four mallets – 3-4 minute excerpt from a work of your choice 

Snare Drum:

1. Long Roll ♩=80       

     2. Delecluse – Etude No. 1 from 12 Etudes pour caisse claire. Play beginning to downbeat of m. 46 ♩. = 76 

     3. Rudimental solo or etude of your choice: (e.g. Pratt, Tompkins or Wilcoxon)

Timpani:

1. Long Roll ♩=80

     2. Solo or etude of your choice (e.g. Goodman, Firth, Delecluse, Hochrainer or Woud)

Final Audition Requirements

Mallets:

1. Two-mallet work of your choice
2. Four-mallet work of your choice
3. 4 standard orchestral excerpts (Xylophone & Glockenspiel)
4. Knowledge of all major and minor scales and arpeggios 
5. Sight reading

Snare Drum:

1. Solo of concert etude of your choice (e.g. Delecluse, Peters, Cirone, Macarez or equivalent)
2. Rudimental solo or etude of your choice (e.g. Pratt, Tompkins, Markovich, Wilcoxon or equivalent)
3. 3 standard orchestral excerpts
4. Long Roll (same as in pre-screening)
5. Sight reading

Timpani:

1. Solo or etude of your choice (e.g. Goodman, Firth, Hochrainer, Woud, Delecluse or equivalent)
2. 3 standard orchestral excerpts
3. Sight reading 

Note: Percussion repertoire does not need to be performed from memory.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.