Select Page

Music Admissions

BM, BA, Minor Application Information

HOW TO APPLY

Bachelor of Music: First Year Applicants

Fall Admission Only

Rutgers University Application: December 1
Mason Gross Supplemental Application: January 15

Bachelor of Music: Transfer Applicants

Fall Admission Only

Rutgers University Application: February 1 (we recommend applying by January 1 to secure your first-choice audition date)
Mason Gross Supplemental Application: February 10 (we recommend submitting by January 15 to secure your first-choice audition date)

Bachelor of Music: Current or Former Rutgers Students

Fall Admissions Only

Email admissions@mgsa.rutgers.edu: January 1
Mason Gross Supplemental Application: January 15
Decision posted by: June 30

Current or former Rutgers students interested in the bachelor of music should start the process by emailing admissions@mgsa.rutgers.edu. In your email include your full name, RUID, current or former school enrolled, year, and program you are interested in. 

To be considered for admissions applicants are reviewed both artistically and academically. After contacting admissions@mgsa.rutgers.edu, applicants will be emailed the Mason Gross supplemental application to schedule an audition.

If recommended artistically by the Music Department faculty, applicants will be granted access via RUID to the Rutgers School to School Transfer Application or the Rutgers Re-Enrollment Application. The appropriate university application will be reviewed by the Mason Gross Dean of Students academically. 

Admission Requirements

From another Rutgers–New Brunswick school:

  • 12 graded degree credits, excluding remedial courses
  • A Rutgers cumulative grade-point average of at least 2.000
  • Expository Writing (01:355:101) or an acceptable equivalent course with a grade of C or better

From another Rutgers–Camden or Rutgers–Newark school:

  • At least two semesters, including the current semester, as a student in your present school or college at Rutgers University, also including at least 12 graded degree credits, excluding remedial courses
  • A Rutgers cumulative grade-point average of at least 2.000
  • English Composition I and II (Camden 50:350:101 and 50:350:102) (Newark 21:355:101 and 21:355:102) with grades of C or better
Bachelor of Arts and Minor in Music

Currently enrolled Rutgers School of Arts and Science students are welcome to declare the bachelor of arts in music or the minor in music, with no audition no supplementary application required. All Rutgers music ensembles are open, by audition, to all Rutgers–New Brunswick students. Visit the ensembles page for more information.

Rutgers University Application

All applicants must complete and submit the Rutgers University Application. The university application requires the following:

  • $70 Rutgers application fee
  • Self-Reported Academic Record (SRAR) – for current high school students
  • Official high school transcript or GED results – recommended for all transfer applicants, required for transfer applicants who, after high school graduation, have completed fewer than 24 college credits.
  • SAT or ACT scores – use code 2765 for the SAT and 2592 for the ACT
  • English proficiency test scores international applicants

Mason Gross Supplemental Application

Five business days after submitting the Rutgers University application, applicants will be emailed a link to submit a Mason Gross supplemental application.

  • $75 music audition fee
  • Music questionnaire
  • Music audition date selection
  • Composition portfolio—for composition applicants only

Audition Dates

Fall 2021 audition dates will be posted by September 1, 2020.

Audition Requirements

All undergraduate applicants will complete an aural skills assessment on the day of their audition. Applicants will be evaluated through a simple pitch-matching ear training and rhythm assessment. If submitting a recorded audition, applicants will be scheduled to complete the aural skills via a live interview remotely.

Brass

Euphonium

  • Any slow melody that will demonstrate the quality of your tone and sound (i.e., lyrical air, operatic aria, etc.)
  • Any fast technical solo that will show off your technical development

Horn

  • Two contrasting solo/concerto movements from standard works
    Examples: Strauss concerti, Hindemith sonata, Mozart concerti, Franz Strauss concerto, etc.
  • Two contrasting etudes from Kopprasch, Maxime-Alphonse, Gallay or Kling
  • Choose three of the following excerpts **Performance Only**

Tenor Trombone

  • Two etudes in contrasting styles by Kopprasch, Blazhevich, Bordogni/Rochut, or similar methods
  • A prepared solo of your choice
    Examples: Hindemith “Sonata for Trombone,” Guilmant, “Morceau Symphonique” or one of equal difficulty

Bass Trombone

  • A technical etude (such as Blazhevich, Grigoriev or Kopprasch) and a lyrical etude (such as Bordogni/Rochut or Concone)
  • A prepared bass trombone solo or transcription of a tuba solo

Trumpet

  • Three solos or etudes of your choice
    Examples: sonatas by Kennan, Stevens, Hindemith, or Hubeau; solos by Ropartz, Bozza, Gaubert, Balay, Boutry; etudes by Goldman, Laurent, Petit, Kopprasch, or Charlier
  • Three orchestral excerpts representative of the applicant’s level of proficiency

Tuba

  • Two etudes from the studies of Kopprasch, Blazhevich, Rochut or equivalent
  • A prepared solo of your choice

Note: Solos should include slow and fast movements equal to Vaughan Williams “Concerto for Bass Tuba,” Hindemith “Sonata for Bass Tuba,” Hartley “Suite for Unaccompanied Tuba,” Wilder “Suite #1 (Effie) for Tuba,” or Persichetti “Serenade for Solo Tuba.” No transcripts, please. Contact directly with any questions.

Composition

All composition applicants should submit a composition portfolio with their supplemental application. The composition portfolio should include three written scores of original compositions (no arrangements) along with either live or high quality MIDI recordings. The compositions should reflect an array of genres (i.e. voice, instrumental, varying instrumentation). Composition faculty will interview each composition applicant and discuss the submitted portfolio of work.

In addition to the composition portfolio and interview, all composition applicants must complete a voice or instrumental audition as well. Refer to the appropriate area section for audition requirements.

Harp
  • One etude by Bochsa, Pozzoli or Naderman
  • Two contrasting solos (i.e., “Feerie” by Tournier, “Sonatina” by Natra)
  • Two major orchestral excerpts that reflect the applicant’s proficiency
Jazz

Note: piano/guitar, bass and drum accompanists will be provided at live auditions. Pre-recorded backing tracks are not needed nor permitted.

Please prepare both Parts I and II of the jazz audition requirements listed below.

Part I

The following requirements apply to all instruments:

  • Scales, in twelve keys, two octaves as possible
  • Major, harmonica minor, and melodic minor scales
  • Chromatic scale, full range
  • Arpeggios, all in root position, in twelve keys, two octaves as possible
  • Major, minor, augmented and, diminished triads
  • Major 7th, dominant 7th, minor 7th chords
  • Major scale-modes, in twelve keys, two octaves as possible (Ionian to Locrian)
  • Aural recognition of four-note chords, intervals, and modes, based on above criteria

The following additional requirements apply to the respective Individual Instruments:

Jazz Saxophone
  • One etude from Ferling 48 Studies
Jazz Piano
  • Aural recognition and performance of chords and intervals
  • Triads: major, minor, augmented, and diminished
  • Four-note chords: major 7th, dominant 7th, minor 7th
Jazz Bass
  • Acoustic upright and electricbBass applicants may audition
  • Acoustic players may be asked to demonstrate some requirements arco
  • A bass amp will be provided. Bassists must bring their own patch cable
Jazz Drums and Percussion (supersedes above requirements)
  • Perform the following time feels: swing in 4/4 and 3/4 (slow, medium, and up-tempo, with sticks and brushes), bossa nova, samba, and shuffle
  • Interchange time feels with solos as requested: 4 bars time, 4 bars solo, 8 bars time, 8 bars solo, etc.
  • Sight-read charts and/or lead sheets; outline melodic content and hits while keeping time
  • 26 standard N.A.R.D. rudiments
Jazz Guitar
  • A guitar amp will be provided. Guitarists must bring their own patch cable.

Part II

Prepare two  songs, one each from lists A and B below, both memorized (melody chords). Play the melody (acoustic bass players must play melody arco), comp one chorus (guitar and piano only), walk one chorus (bass only), improvise one chorus, and play the melody again. Drummers must outline melodic content and hits while keeping time. Tune selections cannot be substituted and must be chosen from Lists A and B only.

List A

List B

Blue for Alice Airegin
Ceora Along Came Betty
I Hear A Rhapsody Bird Like
I’ll Remember April Countdown
Jordu Monk’s Dream
Speak No Evil Recorda Me
Up Jumped Spring Stablemates

Note: If you wish to apply as a music education major and study a jazz instrument, please also review the audition information for the music education program.

Music Education

Undergraduate classical applicants applying as a music education major

Students auditioning for classical performance who wish to enter as a music education major must complete a classical audition and a brief interview at the time of the audition.

Undergraduate jazz applicants applying as a music education major

If you wish to apply as a music education major (for K-12 public school teaching) and study a jazz instrument, you will select the music education option and the jazz option on your supplemental application. For applicants in jazz bass, jazz guitar, and jazz piano, you will be required to do a modified classical ensemble audition for the classical area faculty on the audition day. You may choose any classical piece played on any orchestral instrument. Sight-reading may be required.

If you choose the choral track, you will be preparing to teach choir in K-12 public schools. If you choose the instrumental track, you will be preparing to teach band or orchestra (or both) in K-12 public schools. The opportunity to teach jazz in public schools may also be an option, but we do not train students to teach exclusively jazz.

Admissions will be based on the jazz audition and studio space. If admitted, you will study your jazz instrument with a member of the jazz faculty, perform in one of the jazz ensembles, and also perform in one of the classical ensembles as assigned by the department each semester. You will not receive a lesson in the classical instrument/voice.

This program takes five years to complete, and  upon graduation you will able to teach both jazz and classical music. All of the music education requirements and all of the jazz requirements must be completed.

Percussion

Snare Drum

  • Standard rudiments, slow to fast
  • One solo piece or etude in orchestral style
  • One solo piece or etude in rudimental style
  • Sight-reading

Keyboard percussion – Marimba and Xylophone

  • All major and minor scales and arpeggios (three octaves)
  • One solo piece with two mallets (xylophone or marimba)
  • One solo piece with four mallets (marimba)
  • Sight-reading

Timpani

  • Rolls
  • One solo piece or etude

Please bring your own sticks and mallets to the auditions. Sticks and mallets will not be provided for you. Only instruments are provided.

Piano

Piano Performance

Applicants to the piano performance program must prepare the following for a live audition:

  • A prelude and fugue by J.S. Bach from the Well-Tempered Clavier
  • A piano sonata by Mozart, Haydn, Beethoven, or Schubert
  • A substantial work from a major Romantic Era composer (Chopin, Schumann, Brahms, Liszt, Mendelssohn, etc.)
  • A work by a 20th or 21st century composer that illustrates post-romantic compositional techniques
  • Sight-reading and other musicianship skills may be examined as part of the audition process
  • All repertoire must be performed from memory, except music composed after 1945.

Music Education and Composition

Applicants to the music education and composition programs with specializations in piano must prepare the following for a live audition and at least one from memory:

  • A work by J.S. Bach
  • A sonata-allegro movement of a piano sonata by Mozart, Haydn, Beethoven, or Schubert
  • A work from a major Romantic Era composer (Chopin, Schumann, Brahms, Liszt, Mendelssohn, etc.) that is not shorter than five minutes in duration
  • A work by a 20th or 21st century composer that illustrates post-romantic compositional techniques
  • Sight-reading skills and other musicianship skills may be examined as part of the audition process
Organ
  • A prelude and fugue by J.S. Bach
  • A movement from a 19th century organ work
  • A work written after 1900
  • Sight-reading of a hymn
Strings

Note: It is suggested, but not required, that auditions be performed by memory.*

Violin

  • One movement of an unaccompanied partita orsSonata of J.S. Bach
  • One movement of a concerto from the standard repertory with cadenza, if applicable.
    (Examples: Mozart, Kabalevsky, Bruch, Lalo, Saint-Saens, Barber, Dvorak)
  • One etude or caprice, such as those by Dont, Rode, or Paganini
  •  

Viola

  • One etude, such as those by Kreutzer or Rode
  • One movement from the solo “Cello Suites” of J.S. Bach
  • One movement of a contrasting work, such as a movement from a concerto, a movement from a sonata, or a short piece

Cello

  • One movement from an unaccompanied “Cello Suite” by J.S. Bach
  • One movement from a standard concerto, or equivalent work
  • One etude or caprice, such as those by Dotzauer, Duport, Popper, or Piatti

Double Bass

  • A major/minor scale of the applicant’s choice (at least two octaves)
  • Two contrasting movements of a baroque sonata
  • One etude from Bille, Simandl, Storch-Hrabe or Sturm
  • Die Meistersinger overture by Wagner
Voice

Applicants should be prepared to perform, by memory, a total of four selections.

  • All selections must be from the standard classical repertoire (art song, opera and/or oratorio arias)
  • At least one song should be in English and one in Italian, German, or French
  • No a cappella or pre-recorded music accompaniment allowed; an accompanist will be provided
  • The songs should be of contrasting style and show potential, interpretative ability and musicianship
  • No Broadway songs, popular music, choral arrangements, or jazz (we do not have a vocal jazz or non-classical voice degree at this time)

Note: If you do not plan to present an aria, you must substitute another art song for the fourth selection.

On the day of your audition, a brief ear test and interview will be conducted by one of the voice professors. You will be requested to match notes and note patterns as well as repeat rhythm examples. Music education applicants will have a separate interview with the music education faculty on the day of the audition.

Woodwinds

Bassoon

  • Major and minor scales
  • Chromatic scale, full range
  • One standard orchestral excerpt of the student’s choice
  • An etude from Weissenborn “Fifty Advanced Studies”
  • Two contrasting movements from a concerto or sonata; one must be from the Baroque or Classical era, the other can be from any period

Clarinet

  • All major scales
  • Any etude at the level of Rose 32 Studies
  • Two contrasting selections from the concerto, sonata, and/or solo literature

Flute

  • Major, minor and chromatic scales
  • An etude at the level of Andersen, Op. 33
  • A Baroque sonata or classical concerto
  • A 19th or 20th century piece

Oboe

  • Major and minor scales
  • Two contrasting etudes from Barret or Ferling
  • Two contrasting movements of a sonata or concerto (one must be from the Baroque of Classical era)
  • Possible sight-reading

Saxophone

Students interested in auditioning on soprano saxophone at the Undergraduate level should contact Paul Cohen directly to discuss repertoire choices.

Alto Saxophone (Classical)

  • Major and minor scales
  • Two prepared etudes (one slow, one fast) from Voxman “Selected Studies for Saxophone”
  • Two complete works (all movements) from the following:
    • Creston sonata
    • Lunde sonata
    • Jacobi sonata
    • Eccles sonata (arr. Rascher)
    • Handel “Sonata #3” (arr. Rascher)

Tenor Saxophone (Classical)

  • Two selections (one slow, one fast) from Voxman “Selected Studies”
  • Two complete works (all movements) from the following:
    • Galliard “Sonata No. 4”
    • Telemann “Sonata in C Minor”
    • Tuthill sonata
    • Schmidt sonatina
    • Hartley “Poem”

Baritone Saxophone (Classical

  • Two selections (one slow, one fast) from Voxman “Selected Studies”
  • Two complete works (all movements) from the following:
    • Caravan sonata
    • Presser prelude
    • Spears “Ritual and Celebration”
    • “Sonata #3” Handel (arr. Rascher) or Fasch sonata (arr. Rascher)

Learn about the BM program

Learn about the BA and Minor programs