Below is a list of set pieces and audition requirements for the entrance auditions for the undergraduate courses commencing September 2012. Auditions will commence early November 2011.

Principal Study: candidates will be asked to perform the items as listed. Editions, where quoted, are for guidance and identification only; any acceptable and reliable edition may be used. You may also be asked to perform a short piece of sight-reading at your audition.
Requirements for other instruments (Harpsichord, Fortepiano, Lute) can be obtained from the Music Office.

Voice (Classical)
Candidates will be required to offer three contrasting pieces of their own choice, to be sung from memory. In addition, candidates should prepare a short poem or piece of prose to perform at the audition; this need not necessarily be from memory.

BMus Vocal Studies auditions take place in two rounds, so candidates should keep morning and afternoon of their audition day free:

First Round:
All candidates will be scheduled for a First Round audition to take place in the morning: two items will be heard in the First Round, the first chosen by the candidate, the second chosen by the panel from the candidate’s three pieces. Candidates will be informed immediately whether or not they will progress to the Second Round.

Second Round:
Candidates who progress to the Second Round will be invited to return in the afternoon to take part in a short Text & Movement workshop (no prepared material required but loose clothing recommended), followed by a second audition at which all three pieces will be heard, the poem/prose will be offered and a short piece of Sight-Singing will be given.

Piano 
Three contrasting pieces of the candidate's own choice to be played from memory.

Violin
1. All major and minor (harmonic and melodic) scales; all major, minor, diminished and dominant 7th arpeggios in 3 octaves; one key each of 3rds, 6ths and 8ves over two octaves
2. One study by Kreutzer (no.26 onwards) or Rode or Fiorillo, or a more difficult study at the discretion of the candidate
3. The 1st and 2nd movements from a concerto in the standard repertory
4. One contrasting piece of the candidate's own choice

Viola
1. All major and minor (harmonic and melodic) scales; chromatic scales; all major, minor, diminished and dominant 7th arpeggios in 3 octaves: one key each of 3rds, 6ths and 8ves over a span of two octaves
2. One study by Kreutzer (no.26 onwards) or Rode or Campagnoli or a more difficult study at the discretion of the candidate
3. The 1st and 2nd movements from a concerto in the standard repertory
4. One contrasting piece of the candidate's own choice

Cello
1. All major and minor (harmonic and melodic) scales and major and minor arpeggios in 3 octaves
2. One study by Popper. Select one from Popper High School of Cello Playing no. 10, 21 or 34
3. The 1st movement from a concerto in the standard repertory
4. One contrasting piece of the candidate's own choice.

Double Bass
1. A study of the candidate's own choice from 57 Studies - Book 1 by Storch-Hrabe (International Music Co. - Kalmus)
2. Two contrasting movements from a baroque sonata (e.g. Marcello, Vivaldi, Eccles etc.)
3. One piece of the candidate's own choice.

Harp
1. Two contrasting pieces of the candidate's own choice.
2. Scales and arpeggios in all major and minor keys.
3. Sightreading
 
Guitar (classical)
Two contrasting pieces of the candidate's own choice from the classical repertoire.

Baroque Stringed Instruments
Two contrasting pieces of the candidate's own choice.

Baroque/Classical Wind Instruments
(not recorder - for recorder please see below)
Two contrasting pieces of the candidate's own choice.

Composition
1) With Application:
Candidates should send photocopies of three compositions to arrive no later than 1 October. This material should be sent to the Curriculum Manager (Music) and should be securely bound and marked clearly with the candidate's name. Where possible, recordings of the scores submitted should also be enclosed on CD. In no circumstances will a recording of a purely instrumental work be accepted without a score, but purely electronic pieces may be accompanied by a short textual commentary. 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.

2. Audition:
a) Written test (about 1 hour)
The written test comprises Techniques of Composition (harmony and counterpoint) exercises of approximately Grade 6 Theory standard, and structured questions based on recorded extracts of music designed to test aural and analytical skills. We regret that we are unable to supply sample papers.
b) Interview (about 25 minutes)
 

Electronic Music
1. Perform a creative exercise in the Electronic Music Studio
2. At the practical audition, candidates are required to:
a) perform two contrasting pieces on an instrument of their own choice
b) discuss electronic work to date
c) present results of studio exercise
In addition to making an application by the deadline, Electronic Music candidates are required to submit a recording of their own studio work and a résumé of their own electronic experience at least one week in advance of their audition. Both the recording and its case should be clearly labelled with the candidate's name and sent to the Curriculum Manager (Music).

Jazz Voice
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
N.B. A P.A. system will be available although candidates may bring their own microphone. Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Piano
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
N.B. Candidates will perform the jazz pieces with a Guildhall School student band

Jazz Violin
1. A jazz standard of the candidate’s choice, played from memory and to including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Double Bass
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will be expected to demonstrate a variety of jazz grooves and feels in jazz performance, including walking lines and straight 8s
N.B. Candidates may play electric bass on all audition requirements and may be offered a place as a ‘first study’ electric bassist - on the understanding that successful candidates must have access to a double bass prior to the commencement of the course. Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece. An amplifier will be available.  

Jazz Guitar
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece (on classical guitar) of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
N.B Candidates may play all audition requirements on electric guitar on the understanding that successful candidates must have access to a classical guitar prior to the commencement of the course. Candidates will perform the jazz pieces with a Guildhall School student band. An amplifier will be available.

Jazz Flute
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band.
An accompanist will be available for the classical piece.

Jazz Clarinet
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Saxophone
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
N.B. Candidates may play soprano, alto, tenor or baritone saxophone for audition, on the understanding that successful candidates must have access to an alto saxophone prior to the commencement of the course. Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Trumpet
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Trombone
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Tuba
1. A jazz standard of the candidate’s choice, played from memory and including improvisation
2. Improvisation on a 12 bar blues in C, F or Bb major (concert, key to be chosen by the audition panel)
3. One classical piece of candidate’s choice
4. Sight-reading (chords and/or notation) if felt to be relevant in the audition
Candidates will perform the jazz pieces with a Guildhall School student band. An accompanist will be available for the classical piece.

Jazz Percussion
1. On drum kit, the candidate will be asked to demonstrate a variety of jazz skills - different tempos, feels and grooves to, include swing in 4/4 and 3/4, ballad feel, latin, bossa nova, and funk / straight 8’s.
2. One piece of the candidate’s choice on tuned percussion
3. One study of the candidate’s choice on timpani
4. Snare drum sight reading rudiments to include:
five stroke roll, long roll, flam tap and triple ratamacue
Candidates should be prepared to use sticks and brushes and will perform with a Guildhall School student band
N.B.  A Guildhall School drum kit will be available at the audition although candidates are advised to bring their own sticks, cymbals and any other appropriate equipment.   

Jazz Composition
Candidates should send photocopies of three compositions to arrive no later than 1st November. This material should be sent to the Curriculum Manager (Music) and should be securely bound and marked clearly with the candidate's name.
If possible, a recording of the scores submitted should also be enclosed. In no circumstances will a recording be accepted without scores. Candidates are invited to bring to interview scores of works in progress. Scores will be returned to the applicant.

Wind, Brass and Percussion (not Jazz)
Entrance auditions in the department of Wind Brass and Percussion are designed to be a friendly and constructive experience. As well as assessing your current level we are interested in your potential and in  how your potential may develop, and how you respond to working with our teachers. We also want you to get a taste of what the Guildhall is like, and to get to know some of the Professors.  Your audition is therefore organised in two parts:

• Part 1 – a short individual audition when, according to your instrument, you will play a study and an unaccompanied solo piece/ or an accompanied duo piece, followed by some sight-reading; an accompanist is provided for this audition.
• Part 2 – a workshop with approximately10 candidates playing the same instrument, where you will be given the opportunity to perform your own choice piece in a friendly and supportive workshop environment. Guildhall professors will work with each one of you in turn on your chosen piece, developing aspects of communication, instrumental control, sound production and musical awareness. This should provide a positive learning experience for everyone, where you have a chance to learn lots, have fun, and get to know other players of your instrument as well as the Guildhall professors. You will be encouraged to take risks, ask questions, make connections and join in. A professional accompanist is provided for this workshop.

The whole audition procedure will take either a morning or an afternoon.
Please note: you should also allow an extra hour after the end of the workshop, so that you are available for interview with the head or deputy head of department. This is not always necessary, but we will tell you at the end of the workshop.

Flute
Part 1:  individual audition
Bourgeois – Fantasy Piece No.7
and
Honegger – Danse de la Chèvre 
and                                   
Sight reading
Part 2: workshop
A piece of your own choice for flute and piano

Oboe
Part 1:  individual audition
One piece chosen from the list below: a) Movts 1 & 2 from Sonata by Saint-Saëns (Peers/Durand)                                                      
b) Oboe concerto in E flat by Bellini (Ricordi) 
c) Movts 1 & 2 from Oboe Concerto in D minor by Marcello [ornaments by JS Bach]  (Musica Rasa)
and
Study no nos 18 & 27 of 48 Etudes op. 31 by Ferling (Billandot)
and
Sight reading
Part 2: workshop
A piece of your own choice for oboe and piano

Clarinet
Part 1:  individual audition
One piece chosen from the list below:                                                                 
Movt 1 from Sonata in F minor by Brahms
Solo de Concours by Messager
and
Study no 5 or no 14 from 48 Studies Book by Alfred Uhl(Schott)
and
Sight reading
Part 2: workshop
A piece of your own choice for clarinet and piano

Bassoon
Part 1:  individual audition
An unaccompanied piece of your own choice
and
Own choice of study from Concert Studies op.26 vol.1 by Milde (any edition)    
and
Sight reading
Part 2: workshop
A piece of your own choice for bassoon and piano

Recorder
Part 1:  individual audition
One of the following two pieces:
a) Italian Air from Suite in A minor by Telemann (Hinrichsen/Peters)
or
b) Movts 1 & 2 from sonata in C by Barsanti (Hinrichsen/Peters)
and
One of the following two studies:
a) Study for finger control no.3 by Bruggen (Peters)
or
b) No. 16 from 36 studies by Bousquet
and
Sightreading
Part 2: workshop
One of the following:
a) Sonatina by Berkley
b) Last movement of Recorder Concerto by Sammartini
c) Meditation by Hirose

Alto Saxophone
Part 1:  individual audition
Swelling Storm by Rachel James (Guildhall Young Composers Series)
and
One of the following:
a)Meditation - no.11 of 20 Modern Studies for Solo Saxophone by James Rae (Universal)
b)No.6 from 12 Etudes Caprices by Eugene Bozza (Leduc)                         
and
Sight reading
Part 2: workshop
A piece of your own choice for saxophone and piano

Horn
Part 1:  individual audition
One piece from the following list:
a) Nocturno op. 7 by Franz Strauss (Universal)
b) Alla Caccia by Abbott (Boosey & Hawkes)
c) Movt 1 of Concerto no.3 K447 by Mozart with a cadenza (Bärenreiter)
and                                                                                                                                                   Study No. 20 Oskar Franz Studies and Concert Etudes (Kalmus) – first repeat only
and
sight reading
Part 2: workshop
A piece of your own choice for horn and piano

Trumpet
Part 1:  individual audition
A piece of your own choice for trumpet and piano
and
One of the following:
a) Vocalise no.2 by Bordogni
b) Study no.22 by Kopprasch (any edition)  
and
Sightreading                                                                                                                                       Part 2: workshop
A piece of your own choice for trumpet and piano (Not the same piece as in the individual audition)

Tenor Trombone
Part 1:  individual audition
One piece chosen from the list below:
a) Movt 1 of Sonata (1942) by Hindemith (Schott)
b) Movt 2 of Sonatine by Casterède (Leduc/IMP)                                      
c) Cavatine op.144 by Saint-Saëns (Durand/UMP) 
d) Movts 1 & 2 of Sonata no.5 by Galliard (Hinrichsen/Peters)
and 
No.7.5 of 'How Trombonists Do It'  (Brass/Wind Educational Supplies Ltd)
and
Sight reading
Part 2 workshop
A piece of your own choice for trombone and piano

Bass Trombone
Part 1:  individual audition
A piece of your own choice for bass trombone and piano
and
No.7.6 from 'How Trombonists Do It' (Brass/Wind Educational Supplies Ltd)
and
Sight reading
Part 2: workshop
A piece of your own choice for bass trombone and piano (Not the same piece as in the individual audition)

Euphonium
Part 1:  individual audition
A piece of your own choice for euphonium and piano
and
No.10 of 14 Grand Studies by Arban (Boosey & Hawkes)
and
Sight reading
Part 2: workshop
A piece of your own choice for euphonium and piano (Not the same piece as in the individual audition)

Tuba
Part 1:  individual audition
An unaccompanied piece of your own choice
and
One of the following
a)No.21 from 70 Studies for B flat Tuba by Blazhevich - Vol 1 (King)
b)No. 24 from 70 Studies for B flat Tuba by Blazhevich - Vol 1 (King)
c)No.26 from 70 Studies for B flat Tuba by Blazhevich - Vol 1 (King)
and
Sight reading
Part 2: workshop
A piece of your own choice for tuba and piano

Timpani & Percussion
Part 1:  individual audition
Doublethink by Joby Talbot (Guildhall Young Composers Series) for percussion solo: suspended cymbal, tambourine, woodblock, snare-drum, 4 concert tom-toms, bass drum and xylophone
and
One study for three timpani from Saul Goodman's Modern Method for Timpani (exx 60-69) (Belwin-Mills)
and
Snare-drum sight-reading to include the following rudiments:
a) 5-stroke roll
b) long roll
c) flam tap and triple ratamacue
and
Tuned percussion
a) JS Bach Two-part Invention in D minor BWV775 for solo xylophone (available from Deputy Head of Wind Brass & Percussion, tel: 020 7382 7258 or email: richard.benjafield@gsmd.ac.uk)
b) Sight reading
and
An aural test
Part 2: workshop
Percussion ensemble and African drumming for all
Note: Candidates should bring their own sticks and practice pads to the audition