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Audition Requirements

Admissions Contact

Department of Enrollment Management

300 Nassau Rd
Huntington, NY 11743


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The Live Audition Phase is composed of a Solfeggio Test, Music Theory Test (only for Conducting and Composition Program applicants) and a brief interview. 

Live Audition

For the applicants who passed the evaluation of Phase I, they will be invited via email to participate in a live audition. The audition can happen in-person or via Zoom depending on the applicant’s location. Details will be explained in the invitation email.

Details about live audition requirements per program is at the bottom of this page. The applicant must list the repertoire that (s)he will be playing during the audition in the application form.

Solfeggio Test

The core curriculum for all students include eight semesters of aural skills training through the solfeggio course. All applicants must take a solfeggio test during Phase II. Students will be tested on sight-singing and dictation on basic rhythms, meters, melodic patterns, and chord progressions. 

Music Theory Test

Applicants for the Conducting (Choral/Orchestral) or Composition Program need to show their proficiency in music theory. Students will take a written test on scales, intervals, triads and four-parts. 

Live Interview

As part of the audition process, students will have a brief interview with an audition jury member. The interviewer will evaluate the student’s communication skills, mindset, and attitude.


  • Choose 2 songs with different languages and tempi

  • Opera & Oratorio, sing in the original key

  • One fast movement of sonata by Beethoven

  • One étude from Liszt, Rachmaninoff, Scriabin

  • One movement of Bach's solo Sonata or Partita

  • Two contrasting movements of a standard concerto including cadenza (if applicable)

  • One movement of an unaccompanied Bach partita or suite

  • Two contrasting movements of a standard concerto including cadenza (if applicable)

  • One movement of Bach's suite for solo cello

  • Two contrasting movements of a standard Concerto including cadenza (if applicable)

Double Bass
  • Two contrasting movements from a concerto post 1830

  • One solo work from a different style and time period, i.e. Baroque suites or sonatas

  • Two contrasting movements of Mozart's Flute Concerto in G or in D.

  • One piece from the Flute Music by French Composers for flute and piano (ed. Louis Moyse)

  • One virtuoso piece of choice

  • Two contrasting movements of a concerto from a standard repertoire (such as Mozart, Marcello, Strauss, etc.)