Strings

Advanced Instrumental Studies
Candidates prepare the following:

• two contrasting movements of unaccompanied Bach 
• a complete concerto from the standard repertoire 
• a complete duo sonata (with piano) written after 1800

The audition panel will select portions of the prepared works. 

Harp and guitar applicants should prepare three substantial works from which the panel will choose portions. 

Orchestral Training
Candidates prepare three contrasting pieces of their own choice.

Wind, Brass and Percussion

Candidates will be required to play the set piece plus one contrasting piece of the candidate’s choice, the orchestral excerpts as prescribed and a short extract from sight. A special leaflet listing the Guildhall’s orchestral excerpts will be sent to the candidates with the acknowledgement of their application.

There is an opportunity to discuss different postgraduate pathways at the audition.

Click here for a list of set works and orchestral excerpts (PDF, 16Kb)

Keyboard

Advanced Instrumental Studies

Candidates prepare a varied recital programme of 60 minutes, from which the audition panel will choose extracts.

A repertoire list of the works played in the last two years is required.

Piano Accompaniment

The audition includes both vocal and instrumental work with soloists engaged by the Guildhall School. For entry to the course in September 2013, candidates should prepare all of the following:

• Short solo piece of your own choice 

• Set works (the Guildhall School will provide soloists): 

 - Beethoven Sonata for piano and violin Op 30 No 1 in A major, 1st mvt:  Allegro
 - Debussy En sourdine (Verlaine) in B major (high voice) from Fêtes galantes
 - Barber The Monk and His Cat in F major (high voice) from Hermit Songs

• Sight-reading 

• Short interview 

For further details about the course, contact Pamela Lidiard, Deputy Head of Keyboard Studies: pamela.lidiard@gsmd.ac.uk

Vocal Studies

Candidates prepare six items as follows:

• a seventeenth-century or eighteenth-century Italian song or aria
• a German Lied 
• a French mélodie 
• a song set to English Language text by a composer of the twentieth-century 
• an oratorio aria 
• an opera or operetta aria in the original key and preferably in the original language.

At the audition, the first item performed will be the candidate’s own choice.  The audition panel will then select a further one or three more items. Candidates who wish to be considered for both the Vocal Studies course and the Opera Studies course should prepare for audition the six items listed above plus an additional operatic aria.  One of the two operatic arias must be in English, either original or in translation. 

Opera Course

The audition comprises of two rounds – candidates who are successful in the first round will be invited to sing again in the second round.

First Round

Candidates should prepare two contrasting operatic arias. Those whose first language is not English must offer one aria, either originally composed in, or translated into English.

Second Round

Candidates invited to sing in the second audition should prepare two contrasting operatic arias, one of which must be different from those offered in the first round.

Repetiteur Studies

Candidates will be required to:

• play and sing two contrasting operatic excerpts of their own choice. At least one extract must be an ensemble 
• sight-read from opera vocal scores 
• follow a conductor’s beat 
• take pronunciation tests in French, German and Italian

Historical Performance

Your audition panel will be listening for a sense of appropriate variety in your playing.  This is perhaps best illustrated by choosing repertoire that includes a range of styles. If you are focusing on baroque music, for example, try to include works by early and late composers of different nationalities (e.g., Hotteterre; Locatelli; CPE Bach). Candidates submitting a recorded audition must meet all of the requirements below (singers should therefore include six items on their recording). 

Singers: Be prepared to sing three or four items from a varied list of six, which should include: a sixteenth-century song; an opera aria from the first half of the eighteenth century; an extended recitative or monody. At least one item to be in English and one in Italian.

Woodwind and Brass: Three contrasting pieces appropriate to your instrument, which may include contemporary repertoire if you wish. 

Violin, Viola and Cello: At least two movements from an unaccompanied work by JS Bach; a seventeenth-century sonata plus a piece of your own choice. 

Viols: Three contrasting pieces of your choice, to include contrasting national styles.

Lute: Three contrasting pieces appropriate to your instrument(s).  Candidates should be familiar with French and Italian tabulature, and expect to undertake figured-bass tests at sight.  Candidates submitting a recording must include examples of their continuo playing.

Harpsichord: Three or four pieces to include French and Italian styles. Your programme should include works in contrapuntal and variation form.  You should expect to undertake figured-bass tests at sight.  Candidates submitting a recording must include examples of their continuo playing. 

Fortepiano: A complete sonata by Haydn; Mozart; Beethoven or Clementi; a nocturne by John Field plus a piece of your own choice. 

Composition

Selection is by the submission of a portfolio of compositions and interview. Candidates must include photocopies of three recent compositions with their applications. Where possible, a recording of the scores submitted should also be enclosed. Please note that only candidates whose scores are of an appropriate standard will be invited to audition, but they may also bring with them scores of works in progress. All scores will be returned to the applicant.

Jazz

The audition, consisting of a 20 minute session, for which a rhythm section is provided, consists of:

• a piece of the candidate's choice 
• a 12-bar blues (key to be chosen by the panel) 
• the candidate's choice from:

                I Got Rhythm 

                Stella by Starlight 

                All the Things You Are 

• sight-reading 
• a basic harmony test on the piano 
• improvisation by ear 
• an interview 

At the audition the panel is looking for musicianship and potential, although candidates are expected to have reached a reasonable level of proficiency in harmony and rhythm skills as a performer and/or writer.