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Norwegian Academy of Music
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Home > English > Study > Study programmes > Bachelor's Level > Music Performance > Repertoire for Auditions > Repertoire for Auditions for the Bachelor's Level Programmes in Performance

Repertoire for Auditions for the Bachelor's Level Programmes in Performance

Published: 01. January 2010
Accordion (Piano accordion / classical accordion)

Accordion (diatonic; Nordic)
Bassoon
Bass trombone
Cello
Clarinet
Double Bass
Euphonium
Fiddle (Nordic traditional)
Flute
Guitar
Harp
Harpsichord
Horn
Oboe
Percussion
Piano
Recorder
Saxophone
Traditional singing (Nordic)
Trombone
Bass trombone
Trumpet
Tuba
Viola
Violin
Vocal Studies
Principal study requirements for applicants with jazz / improvised music background
For auditions for the 2nd part Bachelor's programmes and the Supplementary Performance Programme many instruments the first set work for the audition is replaced by a different set work. The candidates must also play the other audition repertoire as listed. (see list below).
 
Both set works and chosen works must be entered on the application form. It will not usually be possible to alter your repertoire after it is entered on the application form.
 
At stage 3 of auditions for the first year of Bachelor programmes, all instrumental candidates will in addition be given a quick study exercise and sight-reading.
 

Accordion (Piano accordion / classical accordion)

  1. Set work: A technical work whose degree of difficulty corresponds to e.g. Frosini: Jolly Caballero
  2. One or more chosen works whose degree of difficulty corresponds to e.g. Lundquist: Sonatina piccola
  3. All major and minor scales and arpeggios over three octaves in both hands
     

Accordion (diatonic; Nordic)

Contact Norwegian Academy of Music for details
 

Bassoon

  1. Set work: Two movements from one of Vivaldi’s concertos
  2. Two studies, medium difficulty
  3. A chosen work
Bassoon -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Two movements from a bassoon concerto by Mozart or Weber
     

Bass trombone

See under trombone
 

Cello

  1. Set work: J.S. Bach: Solo Suite No 1 in G major, 1st and 2nd movements
  2. A movement from a Romantic work
  3. A chosen piece
Cello -  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Two movements from one of Haydn’s cello concertos
     

Clarinet

  1. Set work: Weber: Concertino
  2. N.W. Gade: Ballade for clarinet and piano, op. 43, or a movement from Schumann’s Fantasistücke, op. 73
  3. A chosen work
Clarinet -  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Weber: Concerto No 1 in F minor for clarinet and orchestra, 1st movement
     

Double Bass

  1. Set work: H. Eccles: Sonata in G minor, 1st movement
  2. A study of medium difficulty (e.g. by Gulbrandsson, Simandl, Hegner)
  3. A chosen work
Double Bass -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Koussevitsky: Concerto for Double Bass, 1st movement
  2. Set work: Dittersdorf: Concerto for Double Bass, 1st movement
     

Euphonium

  1. Set work: Joseph Horowitz: Concerto for Euphonium, 1st and 2nd movements or Rolf Wilhelm: Concertino for Euphonium, 1st and 2nd movements
  2. Two contrasting movements from a baroque sonata
  3. A chosen work or a study / étude
  4. Knowledge of bass clef in C and treble clef in B flat
 
Euphonium -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: B. Bowen: Euphonium Music, 1st and 2nd movements
     

Fiddle (Nordic traditional)

Contact Norwegian Academy of Music for details
 

Flute

  1. Set work: Handel: Sonata in G major, 1st and 2nd movements; or J.S. Bach: Largo e dolce from Sonata No 1 in B minor, BWV 1030
  2. P. Gaubert: Nocturne and allegro scherzando or G. Enescu: Cantabile et Presto or Louis Ganne: Andante et Scherzo
  3. A fast movement from a Classical flute concerto
  4. A chosen work
 
Flute  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: P. Gaubert: Nocturne and allegro scherzando or Ibert: Flute concerto, 3rd movement

Guitar

  1. Two studies from op. 6 or op. 29 by F. Sor, or M. Carcassi’s op. 60
  2. A movement from one of J.S. Bach’s suites or sonatas for lute, violin or cello
  3. A prelude by Villa-Lobos (no. 2, 4 or 5) or A. Carlevaro (Preludios americanos no. 1, 2 or 5)
  4. One or more chosen works totalling about 10 minutes in duration
 

Harp

  1. An earlier work, e.g. Handel: Passacaglia, Chaconne, Tema con variazione
  2. A work by M. Tournier, e.g. Au Matin or La Source. Alternatively, a work by A. Hasselmans
  3. A chosen work
  4. Technical exercises’
These requirements may be waived if the candidate demonstrates a high standard on another instrument, preferably piano. Harp applicants will not be required to play at sight in the 3rd stage of auditions.
 

Harpsichord

  1. Set work: J.S. Bach: Prelude from Partita in B major, BWV 825
  2. A relatively difficult work of Couperin or D. Scarlatti
  3. A chosen work
 

Horn

  1. Set work: 1st and 2nd movements from Mozart: Concerto in E flat major, K417 or K495
  2. A movement from a Romantic work
  3. A chosen work
  4. Transposition exercise
 
Horn  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: W.A. Mozart: Horn concerto in E flat major, K495 (entire work)
 

Oboe

  1. Set work: Haydn: Concerto in C major, 1st movement
  2. Marcello: 1st movement of Oboe Concerto in C minor or D minor, or Handel: Concerto in G minor, 1st and 2nd movements
  3. A chosen work from the Romantic or later periods
  4. Ferling: from 48 études, op. 31: No 6, 8, 10, 12 or 14
 
Oboe  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Mozart: Oboe concerto, 1st movement, or Kvandal: Oboe Concerto, 1st movement
 

Percussion

  1. The applicant prepares a chosen program of up to 20 minutes in duration. The programme should include:
    1. A work for snare drum
    2. A work for timpani
    3. A work for melodic percussion
    4. If you wish, a work for multiple percussion
  2. Set works for snare drum, timpani, melodic percussion and small combination will be sent to the applicant about 4 weeks before auditions.
 

Piano

  1. Set work: Prelude and Fugue from The Well-Tempered Clavier
  2. A fast and a slow movement from a Classical sonata (NB not Beethoven op. 49, no. 1 or 2)
  3. A Romantic or Impressionist work
  4. A chosen work
It is expected that parts of the programme are performed by heart (without music)
 
Piano  -  2nd part Bachelor's programme and the Supplementary Performance Programme
Requirements as for auditions for 1st year
 

Recorder

  1. Set work: A sonata for alto recorder and continuo by Handel or Telemann
  2. A work for solo soprano recorder by J. van Eyck
  3. A chosen work from the more modern repertoire
 

Saxophone

  1. Set work: Glazunov: Concerto, from the opening to figure 22; or Bernhard Helden: Sonata for Saxophone and Piano, 1st movement (Schott)
  2. A study of medium difficulty (Ferling or similar)
  3. A chosen work
 
Saxophone  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: Glazunov: Concerto; or Lars-Erik Larsson: Konsert (Gehrmans)
  2. Handel: Sonata No. 3 (op. 1 no. 12)
  3. A chosen work
 

Traditional singing (Nordic)

Contact Norwegian Academy of Music for details
 
 

Trombone

  1. Set work: A. Guilmant: Morceau symphonique, op. 88
  2. One of the following: J.E. Gaillard: Sonata No 5; or L.E. Larsson: Concertino, op. 45 no. 7; or Saint-Saëns: Cavatine, op. 144; or Rimsky-Korsakov: Concerto (edition for trombone and piano)
  3. A chosen work
  4. Knowledge of bass and tenor clefs
 
Trombone -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: F. David: Concertino for Trombone in E flat major, op. 4, 1st and 2nd movements
 

Bass trombone

  1. Set work: A. Lebedev: Concerto in one movement
  2. One of the following: McCarty: Sonata; or E. Bozza: Allegro et Finale; or W. Hartley: Sonata Breve; or Frescobaldi: Canzonas (edition for bass trombone and piano)
  3. A chosen work
 

Trumpet

  1. Set work: Haydn: Concerto, 1st and 2nd movements on B flat trumpet
  2. Set work: Purcell: Sonata in D major, played in original key on D trumpet or piccolo trumpet
  3. A chosen work from the Romantic or later periods
  4. Transposition test
 
Trumpet  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: J.N. Hummel: Trumpet Concerto in E major, 1st and 2nd movements, played on C trumpet
 

Tuba

  1. Set work: E. Gregson: Concerto, 1st and 2nd movements; or A. Lebedev: Concerto (Hofmeister)
  2. A study from M. Bordogni: 43 Bel Canto Studies
  3. A chosen work
  4. Scales and arpeggios in major and minor keys (over two octaves)
 
Tuba  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: R. Vaughan Williams: Concerto for Bass Tuba, 1st and 2nd movements
 

Viola

  1. Set work: Telemann: Concerto in G major, 1st and 2nd movements. Played by heart (without the music)
  2. A fast movement from a Romantic work
  3. A chosen work, played by heart
  4. A study / étude
  5. Scales and arpeggios over three octaves, in several major and minor keys (Flesch, Galamian or similar)
 

Violin

  1. Set work: 1st movement with cadenza from a violin concerto by Mozart or Haydn. Played by heart (without music)
  2. A movement from one of Bach’s solo sonatas. Played by heart
  3. A chosen work of a technical character, preferably from the Romantic or later periods. Played by heart
  4. R. Kreutzer: Etude no. 12 in A minor, or no. 8 in E minor
  5. Scales and arpeggios over three octaves in several major and minor keys (Flesch, Galamian or similar)
 
Violin  -  2nd part Bachelor's programme and the Supplementary Performance Programme
  1. Set work: 1st movement with cadenza from a violin concerto by Mozart or Haydn. Played by heart (without music)
 

Vocal Studies

  1. A Baroque song or aria
  2. A song or lied in German, French or English from the Romantic period
  3. Two chosen works by Nordic composers, including one work composed after 1950
  4. An opera or oratorio aria
  5. An unaccompanied song
  6. Recital of a chosen poem
1st stage of auditions: 2 songs to be performed, one from group 3 and one from group 4. Indicate on the application cover which two songs will be performed on the first day
 
Vocal Studies -  2nd part Bachelor's programme and the Supplementary Performance Programme
See requirements for 1st year auditions.
In the first stage of auditions the applicant must perform a German or French song, a Nordic song and an opera or oratorio aria. Indicate on the application cover which songs will be performed. The audition panel decides which works will be performed in the 2nd stage of auditions.
 
A: Piano playing
·     A piano piece with level of difficulty equivalent to e.g. Grieg’s Lyric Pieces
·     Sight-reading: Piano accompaniment to a German lied, e.g. Schubert: Frühlingtraum or Schumann: Wenn ich in deine Augen seh’
 
B: Reciting
The applicant recites a chosen poem
 
Vocal Studies - 2nd part prorgamme in Opera
  1. Four opera arias/scenes from at least two different periods
    (indicate on your application form which song you wish to perform in the 1st stage)
  2. A longer recitation
  3. Tree songs/lieder, of which one is in a Nordic language
  4. Reciting a self-chosen poem or monologue

One of the works must have been written after 1950. The repertoire must include works in the following languages: German, French and Italian.
 

Principal study requirements for applicants with jazz / improvised music background

 
Please note: only the principal study audition is different for applicants in jazz / improvised music. The remaining requirements are the same as those for the respective degree courses.
 
The principal study audition will mostly be carried out together with a rhythm section (which will be provided by the Academy), but there will also be the opportunity to perform parts of the chosen repertoire as solos. It is obligatory to play with the Academy’s band in the first stage of auditions.
 
In the third stage of auditions, it is possible for the candidate to use his/her own band. This group must comprise not more than five players, including the candidate. In this case the candidate must cover all the costs for the group; the Academy will provide the following for external bands: bass amplifier, guitar amplifier, piano, drum kit and PA with microphones.
 
If you decide to bring your own band, you will not be able to use private equipment or drum kit. Rigging time is minimal and there will be no opportunity for sound checks. We therefore recommend that candidates have as simple a set-up as possible.
 
Please note that there will be no opportunity to alter in any way the rehearsal schedule for auditions. If the given schedule makes it difficult for the candidate’s own band to take part, the candidate must use the band that the Academy provides.
 
General requirements
(See also special requirements for drummers below)
 
Chosen programme
The candidate prepares a programme of 15-20 minutes for the audition. The candidate is encouraged to select repertoire that she best enjoys playing, regardless of genre. The programme can also include own compositions. Four copies of the music (e.g. figured melody line) must be sent; we ask the candidate to take especial care over this, and to ensure that the music is easily legible.
 
Improvisation
If this skill is not covered reasonably well in the chosen programme, the panel may ask the candidate to demonstrate her skills in different types of improvisation, for example:
·     Improvisation on a given chord progression and / or melody
·     Motivic improvisation
·     Improvisation on rhythmic patterns
·     Free improvisation
·     Mixed improvisation
 
Sight-reading
This exercise will consist of reproducing a melody and possibly a chord sequence / rhythmic pattern from written music.
 
Quick study test
The candidate will be given one of the following tests:
·     Create a mini-composition or improvisation from one or more of the following elements: motive - chord sequence - melody - rhythmic pattern - structural description
·     Melody with chord progression from which to create a simple arrangement and improvise over this
 
The quick study test can be taken solo or together with one or more other instruments from the available rhythm section. Candidates on chordal instruments, bass and drums must also be able to demonstrate their abilities as both soloist and accompanists in all the above tests.
 
Special requirements for drummers
The tests described above will be adapted for drum kit. Candidates will also be tested in playing different musical styles within jazz / improvised music. Parts of the tests must be carried out without accompaniment.
 
Sight reading
This test consists of reading and performing common rhythmic figures / drum parts both solo and with accompaniment.
 
Quick study test
As for the other instruments, but with the focus on drum kit as solo instrument.
 
Other
It is an advantage if the candidate can document knowledge and experience of melodic percussion instruments (vibraphone, xylophone, etc.)

 


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