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Undergraduate programs

The information below will allow you to properly prepare your audition according to your instrument and the study program selected. For full details on admission to the undergraduate program in the Université de Montréal Faculty of Music, visit this section.

Bachelor’s in instrumental composition

  • Classical audition (two own-choice pieces, with or without score) or jazz audition (one jazz standard and one improvisation in a blues structure).

Bachelor’s in mixed composition

  • Classical audition (two own-choice pieces, with or without score) or jazz audition (one jazz standard and one improvisation in a blues structure).

Bachelor’s in music writing

  • Classical audition (two own-choice pieces, with or without score) or jazz audition (one jazz standard and one improvisation in a blues structure).

Bachelor’s in performance – Classical singing

  • An opera or oratorio excerpt
  • A French art song or a German lied
  • An own-choice piece

The works must be performed from memory.

Bachelor’s in performance – Classical instruments

Strings (violin, viola, cello and double bass)

  • A scale
  • A study
  • A movement from a solo work by J.S. Bach
  • An own-choice piece

Guitar

  • Three own-choice pieces of varied styles

Harp

  • Three own-choice pieces of varied styles for an audition lasting 15 to 20 minutes, two of those pieces presented from memory

Percussion

Snare drum

  • Knowledge of the 26 rudiments, including the closed roll
  • Three own-choice studies illustrating basic technical skills on the instrument

Timpani

  • Knowledge of basic technique
  • Two own-choice studies

Keyboards

  • Major and minor scales and arpeggios over two octaves, with two sticks
  • Two own-choice pieces, including a transcription from the baroque or classical repertoire
  • An own-choice piece on the vibraphone
  • A sight reading test

Piano

  • A work from the baroque repertoire or an Allegro movement from a classical sonata or an equivalent work from the same period
  • A study or a virtuosic piece demonstrating technical skills
  • A lyrical piece from the romantic repertoire

Concertos and chamber music are not permitted, and works must be performed from memory.

Winds (woodwinds and brass)

Recorder

  • 20 minutes of repertoire illustrating different recorder styles and including one of the preludes from L’Art de préluder by Hotteterre

Other wind instruments

  • Scales and arpeggios
  • Two contrasting studies
  • Two own-choice pieces

Bachelor’s in jazz performance

You must provide your accompaniment in a plug-in (1/8-inch jack) audio support medium, except for jazz singing, where a bassist, drummer and pianist will accompany the audition.

For each instrument, the studies or pieces are own-choice from the suggested repertoire or the equivalent.

For admission to the jazz program, you must complete the Profil-Jazz form and submit it with your application on the document filing site.

Exceptionally for reasons of COVID-19 and health measures in effect, instrumental accompaniment is not mandatory, although preferable. Sight reading tests are suspended.

Electric bass – Double bass

Technique

  • Major, minor (harmonic and melodic), pentatonic, blues and diminished scales, modes and arpeggios

Repertoire

  • A piece in the “standard” genre
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”

Improvisation

  • An improvisation in a bebop blues, funk or Latin structure (reference: Fake Book)
    Examples: “Au Privave,” “Straight, No Chaser,” “No Blues”

Sight reading

  • A sight reading test in the bebop swing and/or fusion style containing a subdivided beat in sixteenth notes

Drums

Technique

  • An own-choice snare drum study demonstrating a sound knowledge of rudiments
    Examples: Benjamin Podemski, Jacques Delécluse, Charley Wilcoxon

Repertoire

  • A piece in the “standard” genre
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”

Improvisation

  • Demonstrate ability to improvise in a bebop blues, funk or Latin structure
    Examples: “Au Privave,” “Straight, No Chaser,” “No Blues”

Sight reading

  • A sight reading test in bebop swing and/or fusion style
    It is essential to possess a sound knowledge of the principal styles (bebop swing, Latin, fusion, samba, etc.).

Jazz singing

A bassist, drummer and pianist will accompany the audition. No accompanying soundtrack will be accepted. You must provide three scores (photocopies) to the musicians, and two to the jury members for each of the pieces performed. These must be transposed, if needed.

Repertoire

  • A ballad, in quarter-note equals ±66 tempo
    Examples: “Misty,” “Body and Soul,” “You Don’t Know What Love Is”
  • A swing piece, in quarter-note equals ±138 tempo
    Examples: “Fly Me to the Moon,” “Mack the Knife,” “The Lady Is a Tramp”

Improvisation

  • Trading fours with piano in blues form
  • Spelling chords: singing a capella the spellings of major, minor or dominant chords (1-3-5-7) in the circle of descending fifths (C – F – B-flat, etc.) by naming the notes, one chord per bar, in 4/4, in quarter-note equals 108 tempo

Sight reading

  • Melodic and rhythmic sight reading (swung eighth notes). snapping your fingers on the 2nd and 4th beats

Jazz guitar

Technique

  • Scales: major, minor (harmonic and melodic), bebop, pentatonic, blues, diminished and whole-tone over two octaves, performance in quarter-note equals 120 tempo
  • Arpeggios: major, minor, major7, minor7, dominant7, minor7b5, diminished7 and augmented over two octaves, performance in sixteenth notes in quarter-note equals 120 tempo

Transcription

  • A 64-bar written jazz solo (transcription made by the candidate) played simultaneously with the original recording by one of the following guitarists: Wes Montgomery, Kenny Burrell, Pat Martino, Emily Remler, Joe Pass, Barney Kessel, Jimmy Raney, Grant Green or Tal Farlow

Improvisation

  • Demonstrate improvising skills on two memorized jazz standards
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”
  • Demonstrate improvising skills on the following progressions and chord types in all keys:
  • Circle of fifths: C7, F7, Bb7, Eb7, Ab7, etc.
  • Major progressions: Dm7, G7, Cma7, etc.
  • Minor progressions: Dm7b5, G7alt., Cm7, etc.
  • Altered chords: G7#9#5, C7#9#5, F7#9#5, etc.
  • Minor 7b5 chords: Cm7b5, Fm7b5, etc.
  • A sight improvisation test on progressions and chords mentioned above taken from Jamey Aebersold’s recordings, volumes 3 and 21

Sight reading

  • A sight reading test in the bebop swing or fusion style

Jazz piano

Technique

  • Major and minor scales, Mixolydian-mode with chromatic transitional note, diminished and whole-tone over four octaves, performance in sixteenth notes at a tempo of quarter-note equals 120
  • Major7, minor7, minor7b5 and diminished7 arpeggios
  • All the closed-chord qualities with three and four tones, as well as open chords with four, five and six tones, will have to be played in the way mentioned above

Repertoire

  • A 64-bar written jazz solo (transcription generally done by the candidate) of one of the following pianists: Bud Powell, Red Garland, Wynton Kelly, Bill Evans
  • A study or classical piece (C. Czerny, a prelude and fugue by J.S. Bach, etc.) or a piece from the classical, romantic or contemporary repertoire or an equivalent written jazz piece (Bill Evans or Oscar Peterson collections)

Improvisation

  • Demonstrate improvising skills in a “standard” played at a moderate tempo
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”
    A be-bop blues
    Examples: “Au Privave,” “Straight No Chaser,” “No Blues”
  • A piece in the Latin jazz genre
    Examples: “Blue Bossa,” “Black Orpheus,” “On Fire,” “Recorda-Me,” “Armando’s Rhumba”
  • A harmonized piece in the jazz ballad genre
    Examples: “Darn That Dream, “I Can’t Get Started,” “’Round Midnight”

The above standards must be performed according to the following structure: theme, improvisation, accompaniment (“comping”) and theme.

Sight reading

  • A sight reading test in bebop swing and/or fusion style

Jazz saxophone

Technique

  • Major, minor (harmonic and melodic) and blues scales in the 12 keys
  • Major7, minor7, dominant7 and diminished7 arpeggios in the 12 keys

Repertoire

  • A classical study
    Example: Franz Wilhelm Ferling
  • A transcribed jazz solo
    Examples: Dexter Gordon, Charlie Parker
    A piece in the “standard” genre
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”

Improvisation

  • Demonstrate improvising skills in a bebop blues structure
    Examples: “Au Privave,” “Straight, No Chaser,” “No Blues”

Sight reading

  • A sight reading test in the bebop swing and/or fusion style

Jazz trombone

Technique

  • Major, minor (harmonic and melodic) and blues scales in the 12 keys
  • Major7, minor7, dominant7, diminished7 arpeggios in the 12 keys

Repertoire

  • Two classical studies: a study by Rochut or one of the Studies in Legato by Fink and a study by Arban, by Kopprasch, by Hering or by Bleger
  • A piece in the “standard” genre
    Examples: “I’m Getting Sentimental Over You,” “Body and Soul,” “Sophisticated Lady”
  • A transcribed jazz solo by J.J. Johnson, Kai Winding, Urbie Green or Bill Watrous

Improvisation

  • Demonstrate improvising skills in a bebop blues structure
    Examples: “Georgia on My Mind,” “Blue Monk”

Sight reading

  • A sight reading test in the bebop swing and/or fusion style

Jazz trumpet

Technique

  • Major, minor (harmonic and melodic) and blues scales in the 12 keys
  • Major7, minor7, dominant7, diminished7 arpeggios in the 12 keys

Repertoire

  • A classic study (characteristics of Arban or Saint-Jacome)
  • A transcribed jazz solo
    Examples: Modern Jazz Trumpet Solos by Ken Slone, by Clifford Brown, by Chet Baker
  • A piece in the “standard” genre
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “In Your Own Sweet Way”

Improvisation

  • Demonstrate improvising skills in a bebop blues structure
    Examples: “Au Privave,” “Straight, No Chaser,” “No Blues”

Sight reading

  • A sight reading test in the bebop swing and/or fusion style

Jazz violin

Technique

  • Major, minor (harmonic and melodic) and blues scales over two octaves in the 12 keys
  • Major7, minor7, dominnant7 and diminished7 arpeggios over two octaves in the 12 keys

Transcription

  • A 64-bar written jazz solo (transcription made by the candidate) played simultaneously with the original recording

That solo can come from jazz violinists like Didier Lockwood, Jean-Luc Ponty, Christian Howes, or other jazz instrumentalists.

Improvisation

  • Demonstrate improvising skills in a “standard” played at a moderate tempo
    Examples: “Stella by Starlight,” “Autumn Leaves,” “What Is This Thing Called Love,” “All of Me,” “Honeysuckle Rose”
  • A bebop blues
    Examples: “Au Privave,” “Straight, No Chaser,” “No Blues”
  • A piece in the Latin jazz genre
    Examples: “Blue Bossa,” “Black Orpheus,” “Armando’s Rhumba”
  • A harmonized piece in the ballad genre
    Examples: “Misty,” “I Can’t Get Started,” “’Round Midnight”

Sight reading

  • A sight reading test in the bebop swing and/or fusion style

Bachelor’s in musicology

  • Classical audition (two own-choice pieces, with or without score) or jazz audition (one jazz standard and one improvisation in a blues structure).

Bachelor’s in music

  • Classical audition (two own-choice pieces, with or without score) or jazz audition (one jazz standard and one improvisation in a blues structure).

Bachelor’s in digital music

  • An audition is required (classical or jazz audition) only for students wanting to take instrument courses:

    • Classical audition : two own-choice pieces, with or without score
    • Jazz audition : one jazz standard and one improvisation in a blues structure