Jazz Arts

Undergraduate (BM) & Master’s (MM)

Jazz bass applicants are required to submit a video recording for either acoustic or electric bass to be considered for an invitation to a live audition. Applicants wishing to be considered for both acoustic and electric should submit two applications and submit separate recordings for each.

The audition repertoire should demonstrate the applicant’s ability to improvise and play with a rhythm section, using a live band. Recordings must include the repertoire listed below and be uploaded directly to the application.

Professional or studio recordings are not required, but the sound quality should be as good as possible. Original compositions should not be included. Recordings of live performances are acceptable only if they are edited to feature the applicant.

Undergraduate (BM)

On all tunes we want to hear you play the melody, walk (or “tune/style appropriate” accompaniment”), and solo. End your solo with the last few bars of the melody so it feels like a complete piece of music.

• Billie’s Bounce
  • Quarter Note = 145–160
• Three additional selections in different jazz styles, moods, keys, and tempos (minimum of two improvised choruses for each selection).
  • One of the additional selections must be a ballad. One improvised chorus will be sufficient for the ballad. Two choruses of appropriate bass lines on each selection.
  • You are welcome to use the Graduate requirements for tune suggestions.
• OPTIONAL:
  • Slama 66 Etudes, Acoustic Bass, #5 or #6
    • #5 Quarter Note = 92
    • #6 Quarter Note = 112
    • Can be played pizzicato
  • OR
  • Transcription of a jazz solo of 16-32 bars

Master’s (MM)

On all tunes we want to hear you play the melody, walk (or “tune/style appropriate” accompaniment”), and solo. End your solo with the last few bars of the melody so it feels like a complete piece of music.

• Billie’s Bounce
  • Quarter Note = 145-160
• Choose Between:
  • Stablemates (Preferred)
    • Quarter Note = 160-184
  • Invitation
    • Quarter Note = 160-184
  • Along Came Betty
    • Quarter Note = 160-184
• Choose Between:
  • Old Folks (Preferred)
    • Quarter Note = 70-80
  • Body and Soul
    • Quarter Note = 70-80
• Optional
  • Slama 66 Etudes, Acoustic Bass, #5 or #6
    • #5 Quarter Note = 92
    • #6 Quarter Note = 112
    • Can be played pizzicato
  • OR
  • Transcription of a jazz solo of 16-32 bars

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Undergraduate (BM):

On all tunes we want to hear you play the melody, walk (or “tune/style appropriate” accompaniment”), and solo. End your solo with the last few bars of the melody so it feels like a complete piece of music.

• I’m Getting Sentimental Over You
  • Key of Eb
  • Quarter Note =155-168
• Choose Between:
  • Little Niles – Randy Weston (Preferred)
    • Key of G
    • Quarter Note = 126-152
  • Someday My Prince
    • Key of choice
    • Quarter Note = 126-152
  • Bluesette
    • Key of choice
    • Quarter Note = 134-154
• Choose Between:
  • Oleo
    • Key of Bb
    • Quarter Note = 225-265
  • Rhythm-A-Ning
    • Key of Bb
    • Quarter Note = 225-265
• Old Folks
  • Key of F
  • Quarter Note = 76
• Slama 66 Etudes, Acoustic Bass
  • Etude #6
  • Quarter Note = 112
  • Can be played pizzicato
• Optional
  • Storch/Hrabe 57 Studies Volume 1 #8
  • Quarter Note = 100

Master’s (MM):

On all tunes we want to hear you play the melody, walk (or “tune/style appropriate” accompaniment”), and solo. End your solo with the last few bars of the melody so it feels like a complete piece of music.  

• Stablemates
  • Key of Db
  • Quarter Note = 176
• Misterioso
  • Key of Bb
  • Quarter Note = 60-80
• Alone Together
  • Medium Swing
• Bach Suite for Cello Transcribed for String Bass
  • Suite #1, Prelude
  • Key of C and in Bass Clef
• Optional
  • Slama 66 Etudes, Acoustic Bass, #5 or #6
  • #5 Quarter Note = 92
  • #6 Quarter Note = 112
  • Can be played pizzicato

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Master’s (MM)

Composition Review Requirements
Jazz composition applicants must submit a portfolio of scores and edited recordings of at least four compositions for large ensembles. At least one of these selections should be for studio orchestra or an ensemble of less than 10 members. At least one of the four pieces must include a vocal part or a vocal ensemble. Live recordings are preferred, but if they are not available, MIDI-realized recordings are acceptable.

A single 10- to 12-minute edited audio file containing recordings of the works included in the portfolio should be uploaded to the application. The recordings should include only the written (composed) portions of the work: if improvised sections are included in the recording, they should feature composed background information. PDF files for each of the scores represented should also be uploaded to the application. You may submit other scores as well.

Performance Review Requirements
Jazz composition applicants must also upload a video of their playing to their application including the following:

• Billie’s Bounce by Charlie Parker in medium tempo (minimum of four improvised choruses).
• Two additional pieces in contrasting styles, feels, tempos, and keys.

Professional or studio recordings are not required, but the sound quality should be as good as possible. Original compositions may be included as an optional submission, but they may not replace other requirements. Recordings of live performances are acceptable only if they are edited to feature the applicant.

The audition consists of an exam and an interview. There is no performance component of the live audition.

Exam
Composition applicants will take a written entrance examination on various theoretical and practical matters pertaining to musical composition.

Interview
An interview will be scheduled following the written examination. Applicants should be prepared to present their composition assignment from the written exam as well as a selection of their compositions. These selections may be the same pieces submitted for prescreening. All scores should be presented in hard copy. Recordings of the selected compositions should be presented alongside the scores using either a CD or a device that can be patched into a stereo system (iPhone, MP3 player, laptop, etc.).

Undergraduate (BM) & Master’s (MM)

All applicants are required to submit a video recording in order to be considered for an invitation to a live audition.

The recording must include the 12-Bar Blues piece, Billie’s Bounce in medium tempo (minimum of four improvised choruses) and three other selections (one must be a ballad) in different jazz styles, moods, keys, and tempos (minimum of two improvised choruses for each selection). Repertoire for the prescreening recording must demonstrate the ability to improvise and play with a rhythm section using a live band.

Original compositions should not be included. Recordings must be uploaded directly to your application. Professional or studio recordings are not required, but the sound quality should be as good as possible. Recordings of live performances are acceptable only if they are edited to feature the applicant.

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Undergraduate (BM):

• Three different selections (one must be a ballad) in different jazz styles, moods, keys, and tempos.
  • Applicants are encouraged to submit diverse repertoire including but not limited to works by people from historically underrepresented racial/ethnic groups, genders, and/or cultures. Choosing works that represent the applicant’s own cultural background is also welcomed.
• OPTIONAL: Original compositions may be included as an additional submission, but they may not replace other requirements
• Demonstrate ability to improvise and play with a rhythm section.
• Sight-reading

Master’s (MM):

• Five different selections (one must be a ballad) in different jazz styles, moods, keys, and tempos.
  • Applicants are encouraged to submit diverse repertoire including but not limited to works by people from historically underrepresented racial/ethnic groups, genders, and/or cultures. Choosing works that represent the applicant’s own cultural background is also welcomed.
• OPTIONAL: Original compositions may be included as an additional submission, but they may not replace other requirements.
• Demonstrate ability to improvise and play with a rhythm section.
• Sight-reading

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Undergraduate (BM) & Master’s (MM)

Jazz drum set applicants are required to submit a video recording that includes the repertoire below.

Recordings must be uploaded directly to your application. Professional or studio recordings are not required, but the sound quality should be as good as possible. Repertoire for the prescreening recording must demonstrate the ability to improvise and play with a rhythm section using a live band.
Sticks and brushes should be clearly distinguishable on the recording. Original compositions should not be included. Recordings of live performances are acceptable only if they are edited to feature the applicant.

• Required piece (must be first on the recording): the 12-Bar Blues piece, Billie’s Bounce in medium tempo. Must include playing time for at least four choruses behind a soloist and at least two choruses of drum solo.
• A medium tempo selection or a ballad demonstrating ability to perform with brushes.
• Two additional selections in different jazz styles, moods, and tempos. Each selection must include at least three choruses of playing time behind a soloist and at least two choruses of trading fours, eights, and/or soloing.

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

General Information

Auditions are approximately 15 minutes in length. You will choose a first work and the faculty will choose a second and possibly third work from the repertoire you have prepared.

Drum set (without cymbals) will be provided for the auditions. Applicants must bring their own cymbals, drumsticks, and hi-hat clutch. Rhythm section players will be provided to accompany the live audition. Applicants must provide music for the bass and piano players. Play-along recordings are not acceptable for the live auditions.

Undergraduate (BM)

• Three different selections (one must be a ballad) in different jazz styles, moods, and tempos.
• Demonstrate ability to improvise and play with a rhythm section.
• Sight-reading.

Master’s (MM)

• Ten selections (including two ballads) in different jazz styles, moods, and tempos performed from memory.
• Demonstrate ability to improvise and play with a rhythm section at a graduate level of advancement.
• Sight-reading.

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Undergraduate (BM) & Master’s (MM)

All jazz piano applicants are required to submit a video recording to be considered for an invitation to a live audition.

Professional or studio recordings are not required, but the sound quality should be as good as possible. Original compositions may be included as an optional submission, but they may not replace other requirements. Recordings of live performances are acceptable only if they are edited to feature the applicant.

Prescreening repertoire:

• Billie’s Bounce by Charlie Parker in medium tempo including the following:
  • Two choruses of comping.
  • Two improvised choruses.
• Two additional selections (one must be a ballad) in different jazz styles, feels, keys, and tempos (minimum of two improvised choruses for each medium and up tempo selection, one improvised chorus on the ballad will suffice).
• One recording without a band or play-along track of a creative arrangement of a standard or original composition of your choice in the jazz piano style.

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Undergraduate (BM):

• Three different selections (one must be a ballad) in different jazz styles, moods, keys, and tempos.
  • Applicants are encouraged to submit diverse repertoire including but not limited to works by people from historically underrepresented racial/ethnic groups, genders, and/or cultures. Choosing works that represent the applicant’s own cultural background is also welcomed.
• OPTIONAL: Original compositions may be included as an additional submission, but they may not replace other requirements
• Demonstrate ability to improvise and play with a rhythm section.
• Sight-reading

Master’s (MM):

• Five different selections (one must be a ballad) in different jazz styles, moods, keys, and tempos. 
  • Applicants are encouraged to submit diverse repertoire including but not limited to works by people from historically underrepresented racial/ethnic groups, genders, and/or cultures. Choosing works that represent the applicant’s own cultural background is also welcomed. 

• OPTIONAL: Original compositions may be included as an additional submission, but they may not replace other requirements. 
• Demonstrate ability to improvise and play with a rhythm section.  
• Sight-reading 

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Master’s (MM)

All Jazz Voice applicants are required to submit a video recording in order to be considered for an invitation to a live audition.

Professional or studio recordings are not required, but the sound quality should be as good as possible. Original compositions may be included as an optional submission, but they may not replace other requirements. Recordings of live performances are acceptable only if they are edited to feature the applicant.

Prescreening Repertoire

• Three Scales
  • Diatonic major scale
  • Harmonic minor scale
  • Whole tone scale
• One standard ballad; first eight bars sung a cappella, then in a ballad tempo (accompanied)
• One jazz standard (medium or up tempo); perform two choruses, with the first eight bars of the second chorus to be improvised, using either scat syllables or altering the melody by choosing notes that demonstrate an awareness of the harmony (standards should be selected from the songbooks of composers such as Gershwin, Ellington, Fields, Strayhorn, Arlen, Rodgers & Hart, Kern, Berlin, etc.)
• One contemporary jazz composition from 1970 – today, sung without lyrics (can be an original)
• One original composition and/or lyric by the applicant (this could also be a vocalese)

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information 

Master’s (MM)

• Prepare 10 songs of different styles, tempi, keys and origin. Six selections must be from the traditional Jazz Repertoire. Two selections must be ballads from memory. Please include:
  • One standard ballad
    • At least 8 bars of a capella somewhere in the arrangement
  • One jazz standard (medium or up tempo)
    • Perform two choruses, with the first eight bars of the second chorus to be improvised, using either scat syllables or altering the melody by choosing notes that demonstrate an awareness of the harmony (standards should be selected from the songbooks of composers such as Gershwin, Ellington, Fields, Strayhorn, Arlen, Rodgers & Hart, Kern, Berlin, etc.)
  • Eight additional works of contrasting nature
    • Aside from the traditional jazz repertoire, you can also choose:
      • Original material (self-accompaniment on a piece is encouraged and welcomed)
      • A contemporary modern jazz composition with or without lyrics from 1970 – today
      • A creatively personal arrangement of a composition that lies outside the jazz idiom (such as a pop, classical or world music piece)
• An improvisation over rhythm changes
• Sight-reading

Doctoral Jazz Arts Advancement Program (DMA) 

Click here for more information