{"_about":"Music Audition Practice: the approved public wording (intake/2026-10-13-audition-strategy/x/MASTER_HANDOFF_READ_FIRST.md section 3, used without rewriting) and the pathways. A pathway lists skills that may be relevant, from the institution's own published pages, with the date they were checked. Add a pathway only after reading its official pages. Six pathways researched from official pages on 2026-10-13 (owner's list: Berklee, Texas All-State, UK conservatories, youth orchestras, musical theater, Juilliard and peers). Shown openly as cards with one responsibility line. Owner approved 2026-10-13: visible text shortened (opening shows the first lead line; About shows aboutShort with the full approved statement under 'Read the full statement'). Links may name the instruments they serve ('for': instrument ids); the page shows the general links and those for the student's instrument (UK strings pages checked 2026-10-13). 'reach': the written range (MIDI, before the octave 'shift' an instrument reads in) of intermediate and advanced sight-reading on that instrument: first to third position on violin, through the break on clarinet, the positions a trombonist reads at that level.","copy":{"title":"Music Audition Practice","about":["The Music Stem is an independent educational platform. Our exercises are designed for learning and practice. They are not official audition materials and do not guarantee admission, selection, or scholarships.","Institution-specific recommendations are based on publicly available information and may not cover every requirement. Many institutions provide their own audition instructions, repertoire lists, and practice materials. We encourage students to consult those resources directly.","The Music Stem is not affiliated with, sponsored by, or endorsed by the institutions listed unless expressly stated."],"lead":["Prepare for music auditions with focused exercises, simulated performances, and constructive feedback.","Choose an instrument, develop your skills, and practice at your own pace. You can also select an institution or audition pathway to find exercises that may be relevant to your preparation."],"context":"Independent learning and practice resource. This is not an official audition or admissions assessment. Review the institution’s current audition instructions and any materials it provides.","feedback":"Automated feedback can help identify differences in pitch, timing, rhythm, and other measurable performance features. Musical expression, interpretation, and overall audition readiness also require human judgment. Automated assessments should be used as learning aids, not as official audition scores.","mapping":"Selecting an institution suggests practice skills that may be relevant based on its published information. It does not mean these exercises reproduce, fulfill, or predict the institution’s audition requirements.","responsibility":"This is general guidance for practice. Each institution sets its own requirements, changes them from year to year, and may provide its own materials. Always follow its current official instructions.","pathways":"Choose a pathway to see what it publishes and which practice may help.","aboutShort":"An independent practice resource. It is not official audition material. It does not guarantee admission and is not affiliated with the institutions listed."},"instruments":[{"id":"piano","name":"Piano","ready":true,"input":"keys","sound":0,"shift":0,"reach":{"intermediate":[60,81],"advanced":[57,84]}},{"id":"voice","name":"Voice","ready":true,"input":"mic","sound":0,"shift":0,"octaveFree":true,"family":"voice","reach":{"intermediate":[60,77],"advanced":[57,79]}},{"id":"guitar","name":"Guitar","ready":true,"input":"mic","sound":-12,"shift":0,"family":"guitar","note":"Guitar sounds an octave lower than written.","reach":{"intermediate":[57,79],"advanced":[55,84]}},{"id":"bass","name":"Bass","ready":true,"input":"mic","sound":-12,"shift":-12,"family":"bass","note":"Bass sounds an octave lower than written.","reach":{"intermediate":[55,74],"advanced":[52,77]}},{"id":"violin","name":"Violin","ready":true,"input":"mic","sound":0,"shift":0,"family":"bowed strings","reach":{"intermediate":[55,81],"advanced":[55,86]}},{"id":"cello","name":"Cello","ready":true,"input":"mic","sound":0,"shift":-12,"family":"bowed strings","reach":{"intermediate":[48,74],"advanced":[48,79]}},{"id":"flute","name":"Flute","ready":true,"input":"mic","sound":0,"shift":0,"family":"woodwind","reach":{"intermediate":[62,84],"advanced":[62,88]}},{"id":"clarinet","name":"Clarinet in B♭","ready":true,"input":"mic","sound":-2,"shift":0,"family":"woodwind","note":"Written for clarinet in B♭: it sounds a major second lower.","reach":{"intermediate":[55,79],"advanced":[55,86]}},{"id":"altosax","name":"Alto saxophone","ready":true,"input":"mic","sound":-9,"shift":0,"family":"woodwind","note":"Written for alto saxophone in E♭: it sounds a major sixth lower.","reach":{"intermediate":[60,81],"advanced":[58,86]}},{"id":"trumpet","name":"Trumpet in B♭","ready":true,"input":"mic","sound":-2,"shift":0,"family":"brass","note":"Written for trumpet in B♭: it sounds a major second lower.","reach":{"intermediate":[57,79],"advanced":[55,82]}},{"id":"trombone","name":"Trombone","ready":true,"input":"mic","sound":0,"shift":-12,"family":"brass","reach":{"intermediate":[52,74],"advanced":[52,80]}},{"id":"percussion","name":"Drums and percussion","ready":true,"input":"tap","family":"percussion","skills":["rhythm","ear","interview","prepared","mock"]}],"pathways":[{"id":"general","name":"No specific institution","skills":["sight","rhythm","ear","improv","prepared","interview","mock"],"links":[],"region":"","summary":"Practice the skills most auditions ask for, without a particular institution in mind.","components":[],"tag":""},{"id":"berklee","name":"Berklee College of Music","checked":"2026-10-17","summary":"Berklee’s published audition has a prepared piece of three to five minutes and improvisation over a short progression or drum beat. Be ready for a I–IV–V blues. It also has sight-reading and ear training: call and response, intervals, chord qualities and pitch matching. The interview, with an admissions representative, covers your goals, community and why Berklee.","skills":["prepared","sight","improv","ear","rhythm","interview","mock"],"links":[{"name":"Audition guidelines","url":"https://college.berklee.edu/admissions/undergraduate/audition"},{"name":"Additional guidelines by instrument","url":"https://college.berklee.edu/admissions/undergraduate/additional-guidelines-instrument"},{"name":"Practice exercises (play-along tracks and lead sheets)","url":"https://college.berklee.edu/admissions/undergraduate/practiceexercises"},{"name":"Interview guidelines","url":"https://college.berklee.edu/admissions/undergraduate/interview"},{"name":"Online audition and interview questions","url":"https://college.berklee.edu/admissions/undergraduate/online-audition-and-interview-faqs"}],"region":"United States and international","components":["Prepared piece of three to five minutes, performed live","Improvisation over a I–IV–V blues","Sight-reading","Ear training: call and response, intervals, chord qualities, pitch matching","Interview"],"note":"Berklee’s pages do not say how long the audition lasts or the order of the parts. Some departments may also ask for technique. Check the current guidelines for your instrument.","tag":"US · International · Undergraduate","mock":{"_about":"The Berklee-style mock audition (owner, 2026-10-17: build a true Berklee mock). Every part and line is from Berklee’s own pages checked on the date above (audition, additional guidelines by instrument, interview, online audition FAQ). Where the pages are silent, the mock says so. Offered on the Berklee pathway instead of the classical mocks, for the instruments listed in \"for\". It is the free mock audition for each instrument on this pathway.","for":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone","percussion"],"title":"Berklee-style mock audition","lead":"The parts Berklee’s audition page lists, run in that order, with the interview at the end. Each part is performed once. The music you read and hear is new to you, and nothing is marked until the end.","silent":"Berklee’s pages do not give the audition’s length, the order of the parts or how long you may look at the sight-reading. Here the parts follow the order of the audition page, and the timings are ours.","parts":[{"id":"prepared","name":"Prepared piece","line":"A piece of your choice, three to five minutes long, performed live. Bring your own backing track or accompanist. Berklee does not provide one."},{"id":"improv","name":"Improvisation","line":"Improvise over a I–IV–V blues with the band. Berklee may use another short progression or a drum beat."},{"id":"sight","name":"Sight-reading","line":"A passage you have not seen, played with the right pitches and note lengths. Berklee’s examples range from basic to complex."},{"id":"ear","name":"Ear training","line":"Call and response with a rhythm and a melody, an interval and a chord quality to identify, and a series of pitches to match."},{"id":"technique","name":"Technique, if asked","line":""},{"id":"interview","name":"Interview","line":"A conversation with an admissions representative about your motivation, community and why Berklee."}],"family":{"piano":"piano","voice":"voice","guitar":"guitar","bass":"bass","violin":"strings","cello":"strings","flute":"woodwind","clarinet":"woodwind","altosax":"woodwind","trumpet":"brass","trombone":"brass","percussion":"percussion"},"technique":{"piano":"You may be asked to play major scales with both hands, ascending and descending, up to two octaves, in various keys.","woodwind":"You may be asked for scales, arpeggios and tone exercises that show your dynamic range, your registers and your articulations.","brass":"You may be asked to play at different dynamic levels in different registers, with good sound and intonation, through scales, arpeggios and tone exercises.","bass":"You may be asked to play bass lines in jazz two-feel, walking, pop-rock straight eighths, samba, bossa and funk over standard chord progressions.","percussion":"On drum set you may be asked to play grooves such as swing in 4/4 and in 3/4, jazz shuffle, funk, rock, bossa nova, mambo, calypso or soca, and reggae."},"notech":{"voice":"Berklee lists no technical exercises for voice. You may sing with a backing track, with an accompanist you bring, or accompany yourself.","guitar":"Berklee lists no technical exercises for guitar. Choose a prepared piece in the style you play most.","strings":"Berklee lists no technical exercises for strings."},"_interview":"The interview topics are added by tools/build_auditions.py from tools/audition_interviews.json.","interview":[{"id":"BQ-1","source":"berklee","title":"What motivates you","question":"What motivates you to pursue a career in music or the performing arts?","explores":"Where your commitment to music comes from, and what keeps you working at it now. Answers built on your own experience say much more than a general love of music.","develop":["Start from something that happened: a band you joined, a teacher, a song you kept working out by ear, a session where something clicked.","Move to the present. Describe what you do about it now: how you practice, what you write or record, who you play with.","Finish with a direction. It can be a field such as performing, scoring or producing. If you are undecided, say what you want to find out."],"example_by":"A bassist who plays in a church band and a school funk band","example":"I started on bass at thirteen because our church band needed one. What kept me going was the feeling of locking in with the drummer. When the kick drum and the bass line sit together, the whole room moves. These days I transcribe a bass line every week, mostly James Jamerson and Pino Palladino. I also play in a funk band at school, and I’ve started writing the parts for our originals. So what motivates me is that groove. I want to understand it well enough to do it for a living, as a session player or in a touring band.","why":["It begins with a real situation, the church band, so the motivation has a source.","The detail about locking in with the kick drum shows the student listens like a bassist.","Weekly transcription shows that the interest has turned into regular work.","The career direction is clear without pretending everything is decided."],"weak":["Saying you have loved music since you were small, with nothing that shows what you did about it.","Talking about fame or success with no musical content.","Listing every instrument and genre you like with no thread connecting them."],"review":[{"check":"I described where my interest came from with a real moment, person or group.","fix":"If you opened with a general line such as “music is my life,” replace it with the moment or person that got you started."},{"check":"I said what I do about music now, such as practicing, writing, recording or playing with others.","fix":"If your answer stayed in the past, add what you work on each week and what you are learning from it."},{"check":"I said where I want this to lead, or what I want to find out.","fix":"If you ended without a direction, add the kind of work you picture yourself doing. If you are undecided, say which areas you want to explore."},{"check":"My reason was about the music itself and how I make it.","fix":"If your reason was mostly success or recognition, add what draws you to the music itself: a sound, a feel, a way of working."}],"retry":"Answer again with the same starting moment, told in fresh words. A minute to ninety seconds is a comfortable length for this question.","prep":30,"answer":[60,90]},{"id":"BQ-2","source":"berklee","title":"You as an artist","question":"Who are you as an artist, and what excites you about the music or performing arts industry?","explores":"Your musical identity: what you make, how it sounds and what shapes it. The second part asks what draws you to music as work today.","develop":["Describe your music as you would to a new bandmate: the style, the sound, your instrument or tools, and what you are aiming for.","Talk about influences through what you hear in them. A voicing, a production choice or a way of phrasing a lyric says more than a famous name.","For the industry part, choose something real that interests you, such as how artists release music, live work, writing for media or teaching. Say why it interests you.","Being early in your development is normal. Describe the artist you are now and the one you are working toward."],"example_by":"A singer-songwriter who records at home","example":"Right now I’m a singer-songwriter who produces my own demos in my bedroom. My songs sit somewhere between folk and R&B. I write on acoustic guitar, then rebuild the track in Logic with programmed drums and stacked vocal harmonies. I listen a lot to Bon Iver and Frank Ocean. From Frank Ocean I took the idea that a song can move into a new section without going back to the chorus. On the industry side, I’m excited that writers can release music themselves and find listeners directly. I want to learn how to do that well, and how to write for other artists too.","why":["The student describes the music itself: the genre blend, the instrument used for writing and the production tools.","The influence is explained through a technique the student has tried, an unusual song form.","The industry interest is a current development, and the student connects it to what they want to learn."],"weak":["A list of favorite artists with no explanation of what you hear in their music.","Labels such as “unique” or “versatile” with nothing that shows them.","Answering the artist part and skipping the industry part, or the other way around.","Industry talk about streams, followers or fame that leaves out the music."],"review":[{"check":"I described what my music sounds like and how I make it.","fix":"If you used labels such as “versatile” or “eclectic,” describe a recent song or performance in their place: tempo, groove, instrumentation or lyric subject."},{"check":"I explained an influence through something I hear in it.","fix":"If you listed artists, keep one and say what you took from them: a chord sound, a rhythm, a vocal approach, a mixing choice."},{"check":"I answered the second part, about what excites me in the industry.","fix":"If you left out the industry part, add an area of music work that interests you and say why."},{"check":"I described where I am now and where I am heading as an artist.","fix":"If you described yourself as finished, add what you are working on next."}],"retry":"Answer again and describe a different song or project of yours this time. About ninety seconds is a suggested length, since the question has two parts.","prep":30,"answer":[75,105]},{"id":"BQ-3","source":"berklee","title":"Community","question":"What does community mean to you, and what can the Berklee community learn from you?","explores":"Your experience of working and living alongside other people, in music and outside it, and what you would give to a community of students.","develop":["Choose a group you have belonged to: a band, choir, studio class, worship team, online collaboration or a group outside music.","Describe what you did in it. Organizing rehearsals, teaching a part, mixing a friend’s track and helping a new member settle in all count.","Berklee’s guidelines also ask why being part of a safe and welcoming environment is important to you. Be ready to speak about it from your own experience.","For what others could learn from you, choose something concrete: a musical tradition you know, a skill, a way of working."],"example_by":"A tabla player who also plays drum set","example":"For me community started at the Sunday music school where I learned tabla. Older students taught the younger ones, and later I did the same. In my high school jazz band I’m the drummer, and I’ve shown our rhythm section some tabla patterns. We tried a groove in seven, counted like Rupak tala, under one of our tunes. People felt safe trying it because nobody was laughed at for getting lost. I think that matters a lot. What I could bring is that mix of Hindustani rhythm and a jazz drummer’s ears, and the habit of teaching what I know.","why":["Community is shown through a place and a practice, students teaching students, with no abstract definition.","The musical detail is accurate: Rupak tala is a seven-beat cycle in Hindustani music.","The safety question gets a brief answer drawn from a real rehearsal.","What the student offers is specific and modest: a tradition, a set of ears, a teaching habit."],"weak":["Defining community in general terms that could come from any brochure.","Claims of leadership with nothing that shows what you did.","Repeating Berklee’s own statement about its community back to the interviewer."],"review":[{"check":"I described a real group I belonged to.","fix":"If you spoke about community in general, choose the group you know best and describe a rehearsal, class or session from it."},{"check":"I said what I did for the group, beyond being a member.","fix":"If you described the group without your part in it, add something you organized, taught, fixed or started."},{"check":"I spoke to why a safe, welcoming setting matters to me.","fix":"If you left this out, think of a time you felt free to take a musical risk, or felt unable to. Describe it briefly."},{"check":"I said what others could learn from me, in concrete terms.","fix":"If you said “my energy” or “my perspective,” replace it with a skill, tradition or way of working that others could learn."}],"retry":"Answer again with the same group and add the part you left out. About ninety seconds gives room for each part of the question.","prep":30,"answer":[75,105]},{"id":"BQ-4","source":"berklee","title":"Why Berklee","question":"Why Berklee? What about Berklee’s programs and activities speaks to your career goals?","explores":"What you know about Berklee and how it connects to what you want to learn. The question asks about programs and activities, so general reputation does not answer it.","develop":["Start from your own musical work and what you need next: deeper harmony, studio skills, writing to picture or playing with stronger musicians.","Connect that need to something Berklee offers. Its majors include Songwriting, Film and Media Scoring, Music Production and Engineering, Contemporary Writing and Production, and Performance.","Berklee lists ensembles in styles from big band and bebop to bluegrass, Afro-pop and hip-hop. Check anything you mention on Berklee’s current pages.","A program name alone does not explain the fit. Say what you would learn there that you cannot learn now.","Career goals can be broad. Wanting to work in film music, or to make a living as a player, is enough if you explain the connection."],"example_by":"A pianist interested in film scoring","example":"I’ve played piano since I was eight, mostly classical, and lately I’ve been scoring short films for friends at school. I’m teaching myself orchestration from scores and from mockups in Logic. I’ve reached the limit of what I can figure out alone. I’d like to study Film and Media Scoring, because it would teach me to write to picture properly, with deadlines and with live players. I’m also drawn to Berklee because I’d be around songwriters, producers and jazz players. A lot of film music now mixes orchestra with electronic sound, and I want to learn from people who work in those styles.","why":["The student starts from real work, scoring friends’ films, and explains the current limit.","The program is a real Berklee major, and the reason for it is specific: writing to picture with deadlines and players.","The second reason is particular to Berklee’s mix of styles and connects to how film music sounds now.","Reputation and rankings never come up, and the answer loses nothing."],"weak":["Answering with Berklee’s reputation, famous alumni or location, with no link to what you want to study.","Listing several programs without saying how any of them fits you.","Repeating phrases from the website word for word.","Mentioning a program, course or ensemble without checking it on Berklee’s current pages."],"review":[{"check":"I explained why Berklee in particular, with reasons that would not fit any music school.","fix":"If you mentioned Berklee’s reputation and did not explain what interests you academically, identify a specific program or learning opportunity. Then explain its relevance to you."},{"check":"I described my own musical interests and current work.","fix":"If the answer was all about the school, add what you are making or practicing now and where you have reached a limit."},{"check":"Each program or activity I mentioned is on Berklee’s current pages, and I said why it fits.","fix":"If you listed programs without reasons, keep the best fit and say what you would learn there that you cannot learn now."},{"check":"I connected the choice to a direction, even a broad one.","fix":"If you were unsure about a career, say which kinds of work you want to try and how Berklee would help you choose."}],"retry":"Answer again and keep only the reasons that are yours. Leave out anything you could say about every music school. Around ninety seconds is a comfortable suggested length.","prep":45,"answer":[75,105]}]}},{"id":"texas","name":"Texas All-State Ensembles","region":"Texas, United States","checked":"2026-10-13","summary":"Texas high school students audition each fall through their Texas Music Educators Association (TMEA) region; the top players advance to area and then to one of the All-State band, orchestra and choir ensembles. Band and orchestra students prepare etudes from a list published for the year; choirs prepare set pieces and are tested on sight-reading.","components":["Prepared etudes (band and orchestra)","Orchestral excerpts and recording cuts (orchestra)","Set choral pieces by voice part (choir)","Sight-reading (choir)","Region, area and state rounds"],"skills":["prepared","sight","rhythm","mock"],"links":[{"name":"TMEA All-State overview","url":"https://www.tmea.org/allstate/"},{"name":"Band audition material","url":"https://www.tmea.org/band/audition-material/"},{"name":"Orchestra audition material","url":"https://www.tmea.org/orchestra/audition-material/"},{"name":"Vocal audition material","url":"https://www.tmea.org/vocal/audition-material"},{"name":"Eligibility","url":"https://www.tmea.org/all-state/eligibility/"}],"note":"Music lists change every year and differ by instrument and voice part. Some excerpts are available only through member directors.","tag":"Texas"},{"id":"uk","name":"UK Conservatoires","region":"United Kingdom and international","checked":"2026-10-13","summary":"Applicants apply through UCAS Conservatoires and give a live audition in the late autumn, or a recorded one where offered. Most of the audition is a performance of contrasting pieces chosen for the instrument; sight-reading and a short interview are common, and some schools add scales, aural tests or a coached session.","components":["Contrasting prepared pieces (some from set lists)","Sight-reading","Scales and technical work (some schools)","Aural tests (some courses)","Interview or panel discussion","Recorded audition or pre-screen where offered"],"skills":["prepared","sight","ear","interview","mock"],"links":[{"name":"Royal College of Music: what to expect at audition","url":"https://www.rcm.ac.uk/apply/auditions/whattoexpect/"},{"name":"Royal College of Music: strings audition requirements","url":"https://www.rcm.ac.uk/strings/auditionrequirements/","for":["violin","cello"]},{"name":"Royal Academy of Music: Violin BMus","url":"https://www.ram.ac.uk/courses/violin-bmus","for":["violin"]},{"name":"Royal Academy of Music: Cello BMus","url":"https://www.ram.ac.uk/courses/cello-bmus","for":["cello"]},{"name":"Royal Academy of Music: Piano BMus","url":"https://www.ram.ac.uk/courses/piano-bmus","for":["piano"]},{"name":"Guildhall: strings, harp and guitar auditions","url":"https://www.gsmd.ac.uk/study-with-guildhall/music/music-auditions-interviews/strings-harp-guitar-auditions","for":["violin","cello","guitar"]},{"name":"Guildhall: keyboard auditions","url":"https://www.gsmd.ac.uk/study-with-guildhall/music/music-auditions-interviews/keyboard-auditions","for":["piano"]},{"name":"Guildhall: vocal studies auditions","url":"https://www.gsmd.ac.uk/study-with-guildhall/music/music-auditions-interviews/vocal-studies-auditions","for":["voice"]},{"name":"Guildhall: wind, brass and percussion auditions","url":"https://www.gsmd.ac.uk/study-with-guildhall/music/music-auditions-interviews/wind-brass-percussion-auditions","for":["flute","clarinet","altosax","trumpet","trombone","percussion"]},{"name":"Guildhall: music auditions and interviews","url":"https://www.gsmd.ac.uk/study-with-guildhall/music/music-auditions-interviews","for":["bass"]},{"name":"RNCM: your audition","url":"https://www.rncm.ac.uk/study-here/make-an-application/your-audition/"},{"name":"Royal Conservatoire of Scotland: BMus Strings","url":"https://rcs.ac.uk/courses/bmus-strings","for":["violin","cello"]}],"note":"Requirements are set by each department and instrument and change each year.","tag":"UK · International"},{"id":"youth","name":"National Youth Orchestras","region":"United States, United Kingdom and international","checked":"2026-10-13","summary":"National youth orchestras select players by recorded audition: a solo piece and the orchestral excerpts set for the instrument that year, often with a spoken introduction. Some then hold an in-person final round with the same material.","components":["Orchestral excerpts set for the year","Solo piece","Video submission, one unedited take per item","Spoken introduction or short video essay (some)","In-person final round (some)"],"skills":["prepared","rhythm","sight","mock"],"links":[{"name":"NYO-USA application (Carnegie Hall)","url":"https://www.carnegiehall.org/Education/Programs/National-Youth-Ensembles/NYO-USA/Apply/Orchestra"},{"name":"NYO-USA audition excerpts","url":"https://www.carnegiehall.org/Education/Programs/National-Youth-Ensembles/NYO-USA/Apply/Audition-Excerpts"},{"name":"NYO-USA video guidelines","url":"https://www.carnegiehall.org/Education/Programs/National-Youth-Ensembles/NYO-USA/Apply/Audition-Video-Guidelines"},{"name":"National Youth Orchestra of Great Britain","url":"https://nyo.org.uk/how-to-apply"}],"note":"Excerpt lists change every year and differ by instrument. Age and residency rules apply.","tag":"US · UK"},{"id":"mt","name":"Musical Theater Admissions","region":"United States, United Kingdom and international","checked":"2026-10-13","summary":"US degree programs usually begin with a video pre-screen of two contrasting songs, monologues and a short dance clip, with a live audition by invitation. UK drama schools hold audition rounds with contrasting songs, contrasting speeches and a dance class, followed by recalls.","components":["A pair of contrasting songs (song cuts of set lengths)","Monologues or speeches","Dance video or dance class","Slate or introduction video","Recall or interview"],"skills":["prepared","ear","interview","mock"],"links":[{"name":"University of Michigan: pre-screening and auditions","url":"https://smtd.umich.edu/admissions/undergraduate/requirements-for-pre-screening-portfolios-auditions-interviews/"},{"name":"CCM: pre-screenings, auditions and interviews","url":"https://www.ccm.uc.edu/admissions-and-aid/admissions/auditions.html"},{"name":"ArtsEd: auditions","url":"https://artsed.co.uk/courses/auditions/"},{"name":"Mountview: what to prepare","url":"https://www.mountview.org.uk/what-to-prepare/"}],"note":"Song eras, cut lengths and speech dates differ between schools. Acting and dance are not practiced here; singing, ear and interview are.","tag":"US · UK"},{"id":"conservatory","name":"Juilliard and Peer Conservatories","region":"United States and international","checked":"2026-10-13","summary":"Leading conservatories such as Juilliard, Curtis, Eastman and New England Conservatory ask for a recorded pre-screen with the application, then a live audition by invitation. Repertoire is set for each instrument and often names concerto movements, unaccompanied Bach, etudes, orchestral excerpts or scales.","components":["Recorded pre-screen, unedited","Required repertoire for the instrument","Etudes","Orchestral excerpts (winds and brass)","Scales and arpeggios (some instruments)","Live audition by invitation"],"skills":["prepared","sight","ear","mock"],"links":[{"name":"Juilliard: music admissions","url":"https://www.juilliard.edu/music/admissions"},{"name":"Juilliard: clarinet requirements (an example)","url":"https://www.juilliard.edu/arm/music/college/clarinet/bachelor-music"},{"name":"Curtis Institute of Music: audition","url":"https://www.curtis.edu/apply/audition/"},{"name":"Eastman: violin requirements (an example)","url":"https://www.esm.rochester.edu/portfolio/violin/"},{"name":"New England Conservatory: audition requirements","url":"https://necmusic.edu/admissions/audition-requirements/"}],"note":"Repertoire is set per instrument and updated every year. The links include example instrument pages.","tag":"US · International"}],"skills":{"sight":{"name":"Sight-reading","line":"Read a passage you have not seen and play it with the right notes and note lengths."},"rhythm":{"name":"Rhythm","line":"Tap a written rhythm at a steady pulse, rests included."},"ear":{"name":"Ear skills","line":"Intervals, chord qualities, short melodies and rhythms, heard and named."},"prepared":{"name":"Prepared performance","line":"Studies to shape, record and review."},"interview":{"name":"Interview","line":"Questions to answer aloud and record, with guidance for reviewing your answer."},"mock":{"name":"Mock audition","line":"A full session in order, with fresh material and feedback at the end."},"improv":{"name":"Improvisation","line":"Improvise over a 12-bar blues with a band, and hear what worked."}},"interviewCopy":{"skillLine":"Questions to answer aloud and record, with guidance for reviewing your answer.","listIntro":"Practice answering aloud, as you would in an interview. Each question comes with preparation guidance, a recording you can play back, and points for reviewing your answer.","recNote":"Recordings stay in this browser tab until you leave or reload the page. Nothing is uploaded or saved.","berkleeHead":"Berklee’s interview topics","berkleeIntro":"Berklee’s interview guidelines list these areas. Every applicant has an interview, in English, in person or online. For the Bachelor of Music, you talk with an admissions representative about your goals and aspirations.","berkleeMore":"Music Industry Leadership and Innovation applicants interview online through the Kira Talent portal. Berklee does not publish a length for answers, so the timings here are suggestions.","practiceHead":"More interview practice","practiceNote":"These practice questions are written by The Music Stem. They are not official questions from any school.","kickBerklee":"From Berklee’s interview guidelines","kickPractice":"Practice question","explores":"What this question explores","develop":"How to develop your answer","timing":"Suggested timing: about {prep} seconds to prepare, then {lo} to {hi} seconds to answer. These are practice suggestions.","prepare":"Prepare first","prepClock":"Preparing · {t} left","record":"Record your answer","recording":"Recording. Answer aloud, then stop.","suggested":"suggested length {lo} to {hi} seconds","stop":"Stop recording","noMic":"The microphone is not available. Allow it in the address bar, or answer aloud without recording.","noRec":"Answer without recording","finished":"I have finished","silent":"The recording was silent. Check the microphone and record again.","reviewHead":"Review your answer","reviewIntro":"This is a self-assessment. The site does not transcribe or score your answer. Play it back and tick each point your answer covered.","reviewNoRec":"This is a self-assessment. Think back over your answer and tick each point it covered.","checks":"Points to listen for in your answer","play":"Play your answer","takeAt":"Answer recorded at {time}","earlier":"Earlier answers to this question","showFixes":"Show what to work on","allCovered":"Your answer covered each point. Answer again in fresh words so it stays natural.","fixHead":"What to work on next","example":"An illustrative answer","exampleNote":"Written for practice by The Music Stem. It shows one way to answer and is not an official model answer. Use your own experience and your own words.","why":"Why this answer works","weak":"Common weaknesses","againHead":"Answer again","again":"Answer again","keepNote":"Your earlier recordings stay on this page, under Earlier answers, until you leave it.","mockPart":"Answer an interview question aloud and record it, as you would with a panel.","mockDone":"Answered aloud and recorded.","mockDoneNoRec":"Answered aloud."},"sight":[{"id":"SR-001","level":"foundation","title":"C major reading study 1","explain":"The phrase tests stepwise line ending on tonic. Keep the quarters even; hold E for two beats.","correct":"Clap the rhythm first and find every accidental. Play it twice at half tempo, then read it once more at the original pulse. Keep the quarters even; hold E for two beats.","key":"C major","meter":"4/4","tempo":72,"look":30,"bars":[[["C4",1.0],["D4",1.0],["E4",1.0],["G4",1.0]],[["E4",2.0],["D4",1.0],["C4",1.0]]]},{"id":"SR-005","level":"intermediate","title":"A minor reading study 5","explain":"An intermediate reading in A minor, 4/4. The widest leap is a fourth in bar 4.","correct":"Clap bar 3 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 4 and hear it in your head before you play it. Then read the whole passage once at the marked pulse.","key":"A minor","meter":"4/4","tempo":84,"look":40,"bars":[[["A5",2],["G5",1],["D5",1]],[["C5",2],["B4",1],["C5",1]],[["B4",1],["C5",1],["B4",0.5],["A4",0.5],["B4",1]],[["C5",1],["F5",0.5],["E5",0.5],["D5",2]],[["C5",2],["D5",1],["E5",1]],[["D5",1],["C5",1],["A4",2]]],"by":{"voice":{"bars":[[["A4",1],["B4",0.5],["C5",0.5],["A4",2]],[["B4",1],["D5",1],["C5",1],["D5",1]],[["C5",2],["D5",1],["C5",1]],[["D5",0.5],["A4",0.5],["B4",1],["C5",1],["D5",1]],[["C5",1],["D5",1],["E5",1],["D5",1]],[["C5",1],["C5",1],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. The widest leap is a fourth in bar 4.","correct":"Clap bar 4 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 4 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"guitar":{"bars":[[["E5",1],["D5",1],["C5",1],["D5",1]],[["E5",1.5],["F5",0.5],["C5",1],["D5",1]],[["B4",1.5],["C5",0.5],["B4",1],["C5",1]],[["D5",3],["E5",1]],[["D5",1],["C5",0.5],["B4",0.5],["D5",2]],[["C5",1],["C5",1],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. The widest leap is a fourth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"bass":{"bars":[[["C4",1],["G#3",1],["A3",1],["B3",1]],[["E4",2],["F4",1],["C4",1]],[["D4",1],["B3",1],["C4",1],["B3",1]],[["C4",2],["B3",1],["C4",1]],[["D4",1],["G4",1],["F4",1],["F4",1]],[["A4",4]]],"explain":"An intermediate reading in A minor, 4/4. The widest leap is a fourth in bar 5. Bar 1 has the raised seventh, G♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"violin":{"bars":[[["C4",1],["E4",1],["D4",1],["C4",1]],[["B3",3],["C4",1]],[["B3",1],["A3",1],["G#3",1],["A3",1]],[["B3",1],["C4",0.5],["B3",0.5],["A3",2]],[["B3",3],["C4",1]],[["C4",2],["A3",2]]],"explain":"An intermediate reading in A minor, 4/4. Bar 3 has the raised seventh, G♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"cello":{"bars":[[["C5",1],["A4",1],["B4",0.5],["A4",0.5],["B4",1]],[["C5",2],["A4",1],["G4",1]],[["E4",1],["F4",1],["D4",1],["E4",1]],[["D4",1.5],["C4",0.5],["A3",1],["B3",1]],[["C4",2],["E4",1],["D4",1]],[["C4",2],["A3",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 4: hold the dot, then place the short note late.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"flute":{"bars":[[["C5",1],["D5",0.5],["E5",0.5],["D5",2]],[["C5",2],["B4",1],["C5",1]],[["D5",3],["A4",1]],[["B4",1],["C5",1],["B4",0.5],["C5",0.5],["D5",1]],[["C5",1.5],["B4",0.5],["A4",1],["B4",1]],[["B4",2],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 5: hold the dot, then place the short note late. The widest leap is a fourth in bar 3.","correct":"Clap bar 4 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"clarinet":{"bars":[[["E5",1],["F5",1],["D5",0.5],["E5",0.5],["D5",1]],[["C5",1.5],["B4",0.5],["C5",1],["B4",1]],[["A4",3],["F4",1]],[["G4",1],["F4",1],["C4",0.5],["D4",0.5],["C4",1]],[["F4",2],["E4",1],["A4",1]],[["G#4",2],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. The widest leap is a fourth in bar 5. Bar 6 has the raised seventh, G♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"altosax":{"bars":[[["A5",2],["G5",1],["D5",1]],[["C5",2],["B4",1],["C5",1]],[["B4",1],["C5",1],["B4",0.5],["A4",0.5],["B4",1]],[["C5",1],["F5",0.5],["E5",0.5],["D5",2]],[["C5",2],["D5",1],["E5",1]],[["D5",1],["C5",1],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. The widest leap is a fourth in bar 4.","correct":"Clap bar 3 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 4 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trumpet":{"bars":[[["E5",1],["D5",1],["C5",1],["D5",1]],[["E5",1.5],["F5",0.5],["C5",1],["D5",1]],[["B4",1.5],["C5",0.5],["B4",1],["C5",1]],[["D5",3],["E5",1]],[["D5",1],["C5",0.5],["B4",0.5],["D5",2]],[["C5",1],["C5",1],["A4",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. The widest leap is a fourth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trombone":{"bars":[[["E4",1],["C4",1],["D4",1],["E4",1]],[["D4",1],["G4",0.5],["F4",0.5],["E4",2]],[["D4",1.5],["E4",0.5],["D4",1],["F4",1]],[["E4",1],["F4",1],["E4",1],["D4",1]],[["C4",0.5],["B3",0.5],["A3",1],["B3",1],["C4",1]],[["B3",1],["B3",1],["A3",2]]],"explain":"An intermediate reading in A minor, 4/4. Dotted rhythms start in bar 3: hold the dot, then place the short note late. The widest leap is a fourth in bar 2.","correct":"Clap bar 5 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."}}},{"id":"SR-009","level":"advanced","title":"E major reading study 9","explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. A sixteenth note in bar 6 comes quickly after its dotted eighth. The rest in bar 1 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 1.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 1 and hear it in your head before you play it. Then read the whole passage once at the marked pulse.","key":"E major","meter":"4/4","tempo":96,"look":60,"bars":[[["E4",1],["R",0.5],["C#5",0.5],["B4",1],["C#5",1]],[["D#5",0.5],["G#4",0.5],["A4",1.5],["C#4",0.5],["D#4",1]],[["E4",0.5],["D#4",0.5],["F#4",1.5],["E4",0.5],["A4",1]],[["G#4",1.5],["F#4",0.5],["E4",0.5],["C#4",0.5],["D#4",1]],[["E4",1.5],["F#4",0.5],["G#4",1],["A4",1]],[["B4",0.75],["C#5",0.25],["G#4",1],["A4",1],["B4",1]],[["F#5",1.5],["E5",0.5],["F#5",1],["E5",1]],[["A5",1],["G#5",1],["E5",2]]],"by":{"voice":{"bars":[[["E5",1.5],["D#5",0.5],["C#5",1],["F#4",1]],[["G#4",0.75],["A4",0.25],["G#4",1],["F#4",1],["B4",1]],[["A4",1.5],["G#4",0.5],["C#4",1],["D#4",1]],[["C#4",1.5],["E4",0.5],["D#4",0.5],["E4",0.5],["F#4",1]],[["G#4",1.5],["A4",0.5],["B4",0.5],["E5",0.5],["D#5",1]],[["G#4",0.5],["F#4",1],["G#4",0.5],["B4",2]],[["A4",1],["R",0.5],["C#4",0.5],["D#4",1],["G#4",1]],[["F#4",0.5],["C#5",0.5],["C#5",1],["E5",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 2 comes quickly after its dotted eighth. The rest in bar 7 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"guitar":{"bars":[[["E5",1],["R",0.5],["F#5",0.5],["G#5",1],["F#5",1]],[["A5",1.5],["G#5",0.5],["E5",0.5],["F#5",0.5],["B4",1]],[["A4",0.75],["B4",0.25],["A4",1],["G#4",1],["A4",1]],[["G#4",1.5],["F#4",0.5],["E4",0.5],["D#4",0.5],["C#4",1]],[["A4",0.5],["B4",0.5],["E5",1.5],["D#5",0.5],["E5",1]],[["F#5",0.75],["B4",0.25],["A4",1],["B4",1],["C#5",1]],[["E5",1],["D#5",0.5],["C#5",0.5],["R",1],["D#5",1]],[["E5",0.5],["D#5",0.5],["D#5",1],["E5",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. A sixteenth note in bar 3 comes quickly after its dotted eighth. The rest in bar 1 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 5.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"bass":{"bars":[[["E4",1.5],["B4",0.5],["A4",1],["B4",1]],[["C#5",0.75],["F#4",0.25],["G#4",1],["A4",1],["G#4",1]],[["C#4",0.5],["D#4",1],["E4",0.5],["F#4",2]],[["D#5",1.5],["C#5",0.5],["B4",0.5],["A4",0.5],["B4",1]],[["A4",1.5],["G#4",0.5],["F#4",1],["D#4",1]],[["E4",1.5],["G#3",0.5],["A3",1],["G#3",1]],[["C#4",0.5],["D#4",1],["C#4",0.5],["D#4",2]],[["C#4",0.5],["B3",0.5],["C#4",1],["E4",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 2 comes quickly after its dotted eighth. The widest leap is a sixth in bar 4.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 4 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"violin":{"bars":[[["G#4",0.75],["F#4",0.25],["B4",1],["A4",1],["G#4",1]],[["B3",0.5],["C#4",1],["G#4",0.5],["A4",2]],[["E5",1.5],["D#5",0.5],["C#5",1],["A4",1]],[["B4",0.5],["A4",0.5],["G#4",1.5],["B4",0.5],["A4",1]],[["G#4",1.5],["B4",0.5],["A4",1],["G#4",1]],[["A4",0.75],["G#4",0.25],["D#5",1],["C#5",1],["B4",1]],[["F#5",0.5],["E5",1],["F#5",0.5],["E5",2]],[["G#4",1],["G#4",1],["E4",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 1 comes quickly after its dotted eighth. The widest leap is a sixth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"cello":{"bars":[[["G#4",1.5],["A4",0.5],["G#4",0.5],["A4",0.5],["G#4",1]],[["A4",0.5],["E5",0.5],["D#5",1.5],["E5",0.5],["G#4",1]],[["F#4",1],["R",0.5],["E4",0.5],["A4",1],["G#4",1]],[["A4",1],["B4",0.5],["C#5",0.5],["R",1],["E5",1]],[["D#5",1.5],["C#5",0.5],["B4",0.5],["A4",0.5],["G#4",1]],[["B3",1],["R",0.5],["C#4",0.5],["D#4",1],["F#4",1]],[["E4",1],["R",0.5],["B3",0.5],["C#4",1],["E3",1]],[["F#3",1],["F#3",1],["E3",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. The rest in bar 3 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"flute":{"bars":[[["E4",0.75],["D#4",0.25],["G#4",1],["F#4",1],["A4",1]],[["G#4",1],["A4",0.5],["E4",0.5],["R",1],["F#4",1]],[["G#4",0.5],["D#5",0.5],["E5",1.5],["D#5",0.5],["G#4",1]],[["A4",0.75],["G#4",0.25],["A4",1],["B4",1],["G#4",1]],[["A4",0.5],["B4",0.5],["A4",1.5],["G#4",0.5],["A4",1]],[["B4",0.5],["C#5",0.5],["B4",1.5],["F#4",0.5],["G#4",1]],[["A4",1.5],["B4",0.5],["G#4",1],["A4",1]],[["C#5",0.5],["B4",0.5],["C#5",1],["E5",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 1 comes quickly after its dotted eighth. The rest in bar 2 is part of the rhythm: lift, then come back in on time. The widest leap is a fifth in bar 3.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"clarinet":{"bars":[[["G#4",0.75],["F#4",0.25],["B4",1],["A4",1],["G#4",1]],[["B3",0.5],["C#4",1],["G#4",0.5],["A4",2]],[["E5",1.5],["D#5",0.5],["C#5",1],["A4",1]],[["B4",0.5],["A4",0.5],["G#4",1.5],["B4",0.5],["A4",1]],[["G#4",1.5],["B4",0.5],["A4",1],["G#4",1]],[["A4",0.75],["G#4",0.25],["D#5",1],["C#5",1],["B4",1]],[["F#5",0.5],["E5",1],["F#5",0.5],["E5",2]],[["G#4",1],["G#4",1],["E4",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 1 comes quickly after its dotted eighth. The widest leap is a sixth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"altosax":{"bars":[[["G#4",1.5],["A4",0.5],["B4",1],["A4",1]],[["G#4",0.5],["D#4",0.5],["E4",1.5],["G#4",0.5],["F#4",1]],[["B4",0.75],["A4",0.25],["F#4",1],["G#4",1],["B4",1]],[["A4",1],["R",0.5],["F#5",0.5],["E5",1],["D#5",1]],[["G#4",1],["A4",0.5],["F#4",0.5],["R",1],["G#4",1]],[["E4",1],["F#4",0.5],["E4",0.5],["R",1],["F#4",1]],[["D#5",0.75],["C#5",0.25],["E4",1],["F#4",1],["D#5",1]],[["C#5",0.5],["A5",0.5],["G#5",1],["E5",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 3 comes quickly after its dotted eighth. The rest in bar 4 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trumpet":{"bars":[[["G#4",1.5],["A4",0.5],["B4",0.5],["G#5",0.5],["F#5",1]],[["A5",0.5],["G#5",0.5],["F#5",1.5],["E5",0.5],["F#5",1]],[["E5",1.5],["D#5",0.5],["F#4",1],["E4",1]],[["F#4",1.5],["C#5",0.5],["B4",1],["A4",1]],[["G#4",1.5],["C#5",0.5],["B4",0.5],["A4",0.5],["G#4",1]],[["A4",0.75],["G#4",0.25],["A4",1],["B4",1],["E4",1]],[["F#4",0.5],["E4",0.5],["F#4",1.5],["E4",0.5],["D#4",1]],[["E4",0.5],["A3",0.5],["C#4",1],["E4",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 1: hold the dot, then place the short note late. A sixteenth note in bar 6 comes quickly after its dotted eighth. The widest leap is a sixth in bar 3.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trombone":{"bars":[[["G#4",1],["R",0.5],["A4",0.5],["F#4",1],["G#4",1]],[["A4",0.75],["B4",0.25],["C#5",1],["E4",1],["F#4",1]],[["D#4",1],["E4",0.5],["D#4",0.5],["R",1],["C#4",1]],[["D#4",1],["R",0.5],["E4",0.5],["F#4",1],["E4",1]],[["F#4",1],["R",0.5],["G#4",0.5],["F#4",1],["D#4",1]],[["E4",0.75],["F#4",0.25],["C#5",1],["B4",1],["A4",1]],[["G#4",0.75],["D#4",0.25],["E4",1],["D#4",1],["C#4",1]],[["D#4",0.5],["C#4",0.5],["C#4",1],["E4",2]]],"explain":"An advanced reading in E major, 4/4. Dotted rhythms start in bar 2: hold the dot, then place the short note late. A sixteenth note in bar 2 comes quickly after its dotted eighth. The rest in bar 1 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 2.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."}}},{"id":"SR-002","level":"foundation","title":"G major reading study 2","explain":"The phrase tests tonic arpeggio and descending response. Do not shorten the half note in bar two.","correct":"Clap the rhythm first and find every accidental. Play it twice at half tempo, then read it once more at the original pulse. Do not shorten the half note in bar two.","key":"G major","meter":"3/4","tempo":72,"look":30,"bars":[[["G4",1.0],["B4",1.0],["D5",1.0]],[["C5",2.0],["B4",1.0]]]},{"id":"SR-006","level":"intermediate","title":"D major reading study 6","explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 3.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse.","key":"D major","meter":"6/8","tempo":84,"look":30,"bars":[[["F#5",1.5],["G5",1.5]],[["D5",1],["E5",0.5],["F#5",1],["E5",0.5]],[["B4",1.5],["C#5",1.5]],[["C#5",1.5],["D5",1.5]]],"by":{"voice":{"bars":[[["F#4",0.5],["B4",0.5],["A4",0.5],["B4",1.5]],[["G4",1.5],["A4",1.5]],[["E4",0.5],["F#4",0.5],["E4",0.5],["E4",1.5]],[["D4",3]]],"explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 3.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"guitar":{"bars":[[["A4",1.5],["C#5",1.5]],[["B4",0.5],["C#5",0.5],["B4",0.5],["C#5",1.5]],[["B4",0.5],["A4",0.5],["D5",0.5],["C#5",1.5]],[["D5",3]]],"explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 3.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"bass":{"bars":[[["A4",1],["F#4",0.5],["G4",1],["D4",0.5]],[["E4",1],["F#4",0.5],["D4",1.5]],[["E4",1.5],["F#4",1.5]],[["F#4",1.5],["D4",1.5]]],"explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 1.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 1 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"violin":{"bars":[[["A4",1.5],["G4",1.5]],[["F#4",1.5],["G4",1.5]],[["A4",1.5],["B4",1.5]],[["B4",1.5],["D5",1.5]]],"explain":"An intermediate reading in D major, 6/8.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"cello":{"bars":[[["D3",1.5],["E3",1.5]],[["F#3",1.5],["G3",1.5]],[["A3",1.5],["G3",1.5]],[["F#3",1.5],["D3",1.5]]],"explain":"An intermediate reading in D major, 6/8.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"flute":{"bars":[[["F#4",1],["G4",0.5],["A4",1.5]],[["B4",0.5],["C#5",0.5],["D5",0.5],["C#5",1.5]],[["D5",1],["E5",0.5],["E5",1.5]],[["D5",3]]],"explain":"An intermediate reading in D major, 6/8.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"clarinet":{"bars":[[["D5",0.5],["E5",0.5],["D5",0.5],["E5",1.5]],[["F#5",1],["E5",0.5],["D5",1.5]],[["C#5",1.5],["B4",1.5]],[["B4",1.5],["D5",1.5]]],"explain":"An intermediate reading in D major, 6/8.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."},"altosax":{"bars":[[["F#5",1.5],["G5",1.5]],[["D5",1],["E5",0.5],["F#5",1],["E5",0.5]],[["B4",1.5],["C#5",1.5]],[["C#5",1.5],["D5",1.5]]],"explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 3.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trumpet":{"bars":[[["A4",1.5],["C#5",1.5]],[["B4",0.5],["C#5",0.5],["B4",0.5],["C#5",1.5]],[["B4",0.5],["A4",0.5],["D5",0.5],["C#5",1.5]],[["D5",3]]],"explain":"An intermediate reading in D major, 6/8. The widest leap is a fourth in bar 3.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 3 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trombone":{"bars":[[["A4",1],["B4",0.5],["C#5",1.5]],[["B4",0.5],["A4",0.5],["G4",0.5],["E4",1.5]],[["F#4",1],["G4",0.5],["A4",1],["G4",0.5]],[["F#4",1.5],["D4",1.5]]],"explain":"An intermediate reading in D major, 6/8.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Then read the whole passage once at the marked pulse."}}},{"id":"SR-010","level":"advanced","title":"G minor reading study 10","explain":"An advanced reading in G minor, 6/8. The rest in bar 4 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 5.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse.","key":"G minor","meter":"6/8","tempo":96,"look":60,"bars":[[["Bb4",0.5],["A4",0.5],["G4",0.5],["A4",1.5]],[["G4",1],["C4",0.5],["D4",1],["C4",0.5]],[["A4",0.5],["G4",0.5],["Bb4",0.5],["A4",1.5]],[["G4",1.5],["R",0.5],["C4",0.5],["D4",0.5]],[["C4",1],["A4",0.5],["G4",1],["A4",0.5]],[["C5",1.5],["R",0.5],["Bb4",0.5],["C5",0.5]],[["G4",0.5],["A4",0.5],["G4",0.5],["D5",1.5]],[["C5",1],["Bb4",0.5],["G4",1.5]]],"by":{"voice":{"bars":[[["G5",1],["F5",0.5],["Eb5",1],["F5",0.5]],[["Eb5",0.5],["F5",0.5],["A4",0.5],["Bb4",1.5]],[["C5",1.5],["D5",0.5],["A4",0.5],["Bb4",0.5]],[["C5",1.5],["D5",0.5],["C5",0.5],["D5",0.5]],[["C5",1.5],["A4",0.5],["Bb4",0.5],["D4",0.5]],[["Eb4",1.5],["F4",0.5],["Eb4",0.5],["C4",0.5]],[["D4",1.5],["A4",0.5],["G4",0.5],["F4",0.5]],[["C5",1],["Bb4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The widest leap is a sixth in bar 5.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"guitar":{"bars":[[["G5",1.5],["Bb4",0.5],["A4",0.5],["Bb4",0.5]],[["Eb5",1.5],["D5",0.5],["Eb5",0.5],["D5",0.5]],[["A4",1],["Bb4",0.5],["A4",1],["D4",0.5]],[["Eb4",1.5],["R",0.5],["D4",0.5],["C4",0.5]],[["Bb3",1],["F4",0.5],["Eb4",1],["D4",0.5]],[["C4",1.5],["R",0.5],["Bb3",0.5],["G4",0.5]],[["A4",0.5],["C4",0.5],["D4",0.5],["A4",1.5]],[["G4",1],["A4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 4 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"bass":{"bars":[[["D4",1.5],["Eb4",0.5],["D4",0.5],["C4",0.5]],[["D4",1.5],["R",0.5],["Bb4",0.5],["A4",0.5]],[["Bb4",0.5],["F#4",0.5],["G4",0.5],["F4",1.5]],[["C5",0.5],["Bb4",0.5],["A4",0.5],["D4",1.5]],[["Eb4",1],["C5",0.5],["Bb4",1],["G4",0.5]],[["A4",0.5],["Bb4",0.5],["G4",0.5],["A4",1.5]],[["Bb4",1],["C5",0.5],["Bb4",1],["C5",0.5]],[["Bb4",1],["Bb4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 2 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 5. Bar 3 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 5 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"violin":{"bars":[[["D5",1.5],["Eb5",0.5],["Bb4",0.5],["C5",0.5]],[["Bb4",1.5],["D5",0.5],["C5",0.5],["A5",0.5]],[["G5",1],["Eb5",0.5],["F5",1],["Eb5",0.5]],[["D5",1.5],["R",0.5],["C5",0.5],["Bb4",0.5]],[["A4",1.5],["R",0.5],["D5",0.5],["C5",0.5]],[["Bb4",1.5],["R",0.5],["A4",0.5],["G4",0.5]],[["A4",0.5],["Bb4",0.5],["C5",0.5],["D5",1.5]],[["A5",1],["A5",0.5],["G5",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 4 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"cello":{"bars":[[["G5",0.5],["F5",0.5],["Eb5",0.5],["D5",1.5]],[["Eb5",1.5],["F5",0.5],["Eb5",0.5],["C5",0.5]],[["D5",0.5],["Eb5",0.5],["D5",0.5],["C5",1.5]],[["D5",1.5],["F#4",0.5],["G4",0.5],["A4",0.5]],[["D5",0.5],["C5",0.5],["Bb4",0.5],["A4",1.5]],[["G4",0.5],["D4",0.5],["Eb4",0.5],["C5",1.5]],[["Bb4",1.5],["A4",0.5],["C4",0.5],["D4",0.5]],[["C4",1],["Bb3",0.5],["G3",1.5]]],"explain":"An advanced reading in G minor, 6/8. The widest leap is a sixth in bar 7. Bar 4 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"flute":{"bars":[[["D6",0.5],["A5",0.5],["Bb5",0.5],["D5",1.5]],[["Eb5",1.5],["F5",0.5],["Eb5",0.5],["F5",0.5]],[["A4",1.5],["R",0.5],["Bb4",0.5],["C5",0.5]],[["A4",1],["Bb4",0.5],["G5",1],["F5",0.5]],[["C6",1],["Bb5",0.5],["A5",1],["Bb5",0.5]],[["D5",1.5],["C5",0.5],["G5",0.5],["F5",0.5]],[["Eb5",0.5],["C6",0.5],["Bb5",0.5],["A5",1.5]],[["G5",1],["F#5",0.5],["G5",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 3 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7. Bar 8 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"clarinet":{"bars":[[["D5",1.5],["Eb5",0.5],["Bb4",0.5],["C5",0.5]],[["Bb4",1.5],["D5",0.5],["C5",0.5],["A5",0.5]],[["G5",1],["Eb5",0.5],["F5",1],["Eb5",0.5]],[["D5",1.5],["R",0.5],["C5",0.5],["Bb4",0.5]],[["A4",1.5],["R",0.5],["D5",0.5],["C5",0.5]],[["Bb4",1.5],["R",0.5],["A4",0.5],["G4",0.5]],[["A4",0.5],["Bb4",0.5],["C5",0.5],["D5",1.5]],[["A5",1],["A5",0.5],["G5",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 4 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 2.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"altosax":{"bars":[[["Bb5",0.5],["F#5",0.5],["G5",0.5],["F5",1.5]],[["Eb5",1.5],["G4",0.5],["A4",0.5],["F5",0.5]],[["Eb5",1.5],["R",0.5],["F5",0.5],["A5",0.5]],[["G5",1.5],["R",0.5],["F#5",0.5],["G5",0.5]],[["C5",1],["D5",0.5],["G4",1],["A4",0.5]],[["F#4",1],["G4",0.5],["C4",1],["D4",0.5]],[["C4",1],["Bb3",0.5],["C4",1],["Bb3",0.5]],[["C4",1],["Eb4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 3 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 2. Bar 1 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 1 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 2 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trumpet":{"bars":[[["Bb5",1.5],["R",0.5],["D5",0.5],["Eb5",0.5]],[["F5",0.5],["Bb5",0.5],["A5",0.5],["D5",1.5]],[["C5",0.5],["Bb4",0.5],["C5",0.5],["A5",1.5]],[["G5",1.5],["F#5",0.5],["G5",0.5],["C5",0.5]],[["Bb4",0.5],["F#4",0.5],["G4",0.5],["A4",1.5]],[["Bb4",1.5],["R",0.5],["C5",0.5],["D5",0.5]],[["F#4",0.5],["G4",0.5],["F4",0.5],["D5",1.5]],[["C5",1],["Bb4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 1 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 7. Bar 4 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 7 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."},"trombone":{"bars":[[["G3",1.5],["R",0.5],["F#3",0.5],["G3",0.5]],[["A3",0.5],["Bb3",0.5],["C4",0.5],["D4",1.5]],[["C4",1.5],["Bb3",0.5],["C4",0.5],["Bb3",0.5]],[["C4",1.5],["D4",0.5],["Bb4",0.5],["A4",0.5]],[["D4",1.5],["R",0.5],["Eb4",0.5],["D4",0.5]],[["A3",1.5],["Bb3",0.5],["F4",0.5],["Eb4",0.5]],[["D4",1.5],["R",0.5],["G4",0.5],["F4",0.5]],[["A4",1],["A4",0.5],["G4",1.5]]],"explain":"An advanced reading in G minor, 6/8. The rest in bar 1 is part of the rhythm: lift, then come back in on time. The widest leap is a sixth in bar 4. Bar 1 has the raised seventh, F♯: it leads up to the tonic.","correct":"Clap bar 2 with the beats counted aloud, then play it at half tempo twice. Find the leap in bar 4 and hear it in your head before you play it. Then read the whole passage once at the marked pulse."}}}],"rhythm":[{"id":"RY-001","level":"foundation","title":"Rhythm study 1: a bar of even quarters, then half, quarter, quarter","explain":"This study assesses four even quarters then half-quarter-quarter. Clap four attacks in bar one, then three in bar two. Keep every note its full written length; count through the long values rather than clapping early.","correct":"Speak a subdivision grid, tap only the attacks, then repeat while counting bar beats. Clap four attacks in bar one, then three in bar two.","meter":"4/4","tempo":72,"pattern":"Q Q Q Q | H Q Q","onsets":[[0.0,1.0,2.0,3.0],[0.0,2.0,3.0]]},{"id":"RY-005","level":"intermediate","title":"Rhythm study 5: even subdivisions","explain":"This study assesses even subdivisions. Accent the bar line, not every eighth. Keep every note its full written length; count through the long values rather than clapping early.","correct":"Speak a subdivision grid, tap only the attacks, then repeat while counting bar beats. Accent the bar line, not every eighth.","meter":"4/4","tempo":72,"pattern":"E E Q H | Q E E Q Q","onsets":[[0.0,0.5,1.0,2.0],[0.0,1.0,1.5,2.0,3.0]]},{"id":"RY-009","level":"advanced","title":"Rhythm study 9: asymmetric meter","explain":"An advanced rhythm in 5/4. Bar 1 has a syncopation: a note starts off the beat and holds across the next one. The dotted quarter in bar 2 holds through the next beat. Feel the uneven grouping of the bar, and keep it the same every time.","correct":"Count the subdivision aloud and tap bar 1 alone until it is steady, then tap the whole pattern twice without stopping.","meter":"5/4","tempo":72,"pattern":"E Q E Q RQ Q | DQ E Q Q Q","onsets":[[0.0,0.5,1.5,2.0,4.0],[0.0,1.5,2.0,3.0,4.0]]},{"id":"RY-002","level":"foundation","title":"Rhythm study 2: half-note length in triple time","explain":"This study assesses half-note length in triple time. Sustain the half note from beat two through beat three. Keep every note its full written length; count through the long values rather than clapping early.","correct":"Speak a subdivision grid, tap only the attacks, then repeat while counting bar beats. Sustain the half note from beat two through beat three.","meter":"3/4","tempo":72,"pattern":"Q H | Q Q Q","onsets":[[0.0,1.0],[0.0,1.0,2.0]]},{"id":"RY-006","level":"intermediate","title":"Rhythm study 6: compound pulse","explain":"This study assesses compound pulse. Group six eighths as 3+3, then hold each dotted quarter for its full beat. Keep every note its full written length; count through the long values rather than clapping early.","correct":"Speak a subdivision grid, tap only the attacks, then repeat while counting bar beats. Group six eighths as 3+3, then hold each dotted quarter for its full beat.","meter":"6/8","tempo":72,"pattern":"E E E E E E | DQ DQ","onsets":[[0.0,0.5,1.0,1.5,2.0,2.5],[0.0,1.5]]}],"ear":[{"id":"ET-001","level":"foundation","title":"Ascending interval recognition 1","explain":"The second tone is 2 semitones above the first, giving an ascending major second. Interval identification depends on distance, not on absolute starting pitch.","correct":"Sing both notes. Then sing a major second up from C and compare.","kind":"interval","tempo":72,"midi":[60,62],"answer":"major second","semis":2,"dir":""},{"id":"ET-007","level":"intermediate","title":"Ascending interval recognition 7","explain":"The second tone is 8 semitones above the first, giving an ascending minor sixth. Interval identification depends on distance, not on absolute starting pitch.","correct":"Sing both notes. Then sing a minor sixth up from C and compare.","kind":"interval","tempo":72,"midi":[62,70],"answer":"minor sixth","semis":8,"dir":""},{"id":"ELM-001","level":"foundation","title":"Melodic dictation 1","explain":"Track contour first, then interval distance.","correct":"Sing the contour on one syllable, identify each leap from the preceding pitch, then transcribe a new unfamiliar pattern.","kind":"dictation","tempo":72,"midi":[60,62,64,67],"answer":"C4 D4 E4 G4"},{"id":"ELH-001","level":"foundation","title":"Harmonic quality recognition 1","explain":"Listen to the third for major/minor quality and the fifth for diminished quality. The root may change without changing the quality.","correct":"Play/sing each chord tone from low to high, compare a second quality with the same root, then identify an unfamiliar chord.","kind":"chord","tempo":72,"midi":[60,64,67],"answer":"major"},{"id":"ELR-001","level":"foundation","title":"Rhythm dictation 1","explain":"Locate beat one, count subdivisions, and mark silence as a written rest instead of silently inserting extra attacks.","correct":"Clap with an audible beat-count, tap subdivisions separately, and transcribe a different four-beat example.","kind":"rhythm","tempo":64,"pattern":"Q Q Q Q","answer":"a bar of four even quarters","meter":"4/4"},{"id":"ET-013","level":"advanced","title":"Ascending interval recognition 13","explain":"The second tone is 8 semitones above the first, giving an ascending minor sixth. Interval identification depends on distance, not on absolute starting pitch.","correct":"Sing both notes. Then sing a minor sixth up from C and compare.","kind":"interval","tempo":72,"midi":[67,75],"answer":"minor sixth","semis":8,"dir":""},{"id":"ET-002","level":"foundation","title":"Ascending interval recognition 2","explain":"The second tone is 3 semitones above the first, giving an ascending minor third. Interval identification depends on distance, not on absolute starting pitch.","correct":"Sing both notes. Then sing a minor third up from C and compare.","kind":"interval","tempo":72,"midi":[64,67],"answer":"minor third","semis":3,"dir":""},{"id":"ET-008","level":"intermediate","title":"Ascending interval recognition 8","explain":"The second tone is 9 semitones above the first, giving an ascending major sixth. Interval identification depends on distance, not on absolute starting pitch.","correct":"Sing both notes. Then sing a major sixth up from C and compare.","kind":"interval","tempo":72,"midi":[60,69],"answer":"major sixth","semis":9,"dir":""}],"interview":[{"id":"IN-001","level":"foundation","source":"practice","title":"Why you chose your piece","question":"Why did you choose this piece, and which passage in it is hardest for you?","explores":"How much thought went into your repertoire, what the piece shows about your playing, and how you handle its difficulties.","develop":["Give a musical reason for the choice. The style may suit you, or it shows your tone, time feel, range or a technique you have worked on.","Locate the passage and say what happens there, such as the run into the recapitulation or a key change in the bridge.","Say what makes it hard and how you practice it. A method, such as slow practice with a metronome or isolating a shift, shows how you work."],"example_by":"A violinist playing Bach","example":"I chose the Gavotte en Rondeau from Bach’s third Partita because it shows my bow control and my sense of dance rhythm. It has to feel like a gavotte, with a lift into each downbeat. The hardest part for me is an episode with string crossings in the middle. My bow gets heavy there and the dance feel disappears. I’ve been practicing the crossings on open strings at sixty, and then putting the left hand back. It’s much lighter now, though I still have to think about it.","why":["The reason for the choice is musical: bow control and the character of the dance.","The passage is located, and the problem is described as a sound, a heavy bow.","The practice method fits the problem, with the crossings on open strings first.","The last sentence admits the work is ongoing, which sounds credible."],"weak":["Saying your teacher assigned the piece, and stopping there.","Calling the whole piece hard with no passage identified.","Describing the difficulty with no way of practicing it."],"review":[{"check":"I gave a musical reason for choosing the piece.","fix":"If your reason was “my teacher picked it” or “I like it,” add what the piece shows: tone, time, range, style or a technique."},{"check":"I located the hard passage so a listener could find it.","fix":"If you said “the fast part,” describe where it falls and what happens there: a shift, a run, a key change or a rhythm."},{"check":"I explained how I practice the passage.","fix":"If you described the problem only, add your method: the tempo, what you isolate, and how you put it back together."}],"retry":"Answer again and give more detail about your practice method. About a minute is a suggested length.","prep":30,"answer":[45,75]},{"id":"IN-007","level":"intermediate","source":"practice","title":"When your teacher hears a phrase differently","question":"Your teacher wants a phrase shaped differently from the way you play it. How do you decide what to do?","explores":"How you take feedback and test a musical idea with care and some independence.","develop":["Describe how you try the teacher’s version fairly: playing it both ways, recording both, listening back.","Explain what you listen for: where the phrase peaks, how it follows the harmony, how it fits the style.","Say how you reach a decision, and how you talk about it with your teacher."],"example_by":"A clarinetist","example":"This came up in the slow movement of the Mozart Clarinet Concerto. I was making a big crescendo to the top note of a phrase, and my teacher wanted the peak later, on the appoggiatura. I recorded it both ways. Listening back, her version let the dissonance resolve much better, and mine sounded like I was rushing to the high note. So I took hers. Another time I kept my own idea and explained why in the next lesson. She was fine with it because I had a reason.","why":["The student tests both versions by recording them, which is a fair method.","The reason is musical. The peak moves to the appoggiatura, a dissonant leaning tone resolving by step.","The answer shows openness and independence, with an example of each."],"weak":["Saying you always do what the teacher says.","Saying you keep your own way with no reason.","Describing the disagreement as a conflict between people more than a question about the music."],"review":[{"check":"I described how I test both versions.","fix":"If you went straight to a decision, add how you try both: recording, playing for someone, listening the next day."},{"check":"I gave a musical reason for the choice.","fix":"If you decided by who suggested it, add what you heard: where the peak falls, what the harmony does, how it fits the style."},{"check":"I described a respectful way of talking it through.","fix":"If you said nothing about the conversation, add how you would raise your view in a lesson."}],"retry":"Answer again with a phrase from your current repertoire. About a minute is a suggested length.","prep":30,"answer":[45,75]},{"id":"IN-016","level":"advanced","source":"practice","title":"Planning a contrasting program","question":"You have about twelve minutes. What program would you choose, and why in that order?","explores":"Building a program that shows your range, planned as a single performance from first note to last.","develop":["Choose pieces you play, with approximate timings. Contrast can come from era, style, tempo, character or technique.","Explain the order: what opens well, where the most demanding piece sits, how it ends.","Check the requirements of the place you are auditioning for. Many schools set their own repertoire rules."],"example_by":"A flutist","example":"I’d open with the first movement of the Poulenc Sonata, about four and a half minutes. It’s lyrical but it moves, and it lets me settle my sound. Then the Telemann Fantasia in A minor, about three minutes. It’s a different style, and it shows my articulation alone. I’d close with the Ibert Pièce, about four minutes and the most virtuosic of the three. Ending with the fastest piece means the panel hears my technique when I’m warmed up.","why":["The pieces are real flute repertoire with realistic timings.","The order has reasons: settle the sound, contrast the style, finish with technique once warmed up.","The contrast covers era, accompaniment and character."],"weak":["Choosing pieces only because they are hard.","Ignoring the time limit.","No reason for the order."],"review":[{"check":"I chose real pieces with approximate timings that fit the limit.","fix":"If your total ran long or you gave no timings, add rough lengths and cut or swap a piece."},{"check":"I explained the kind of contrast the program shows.","fix":"If you listed pieces only, say what each one shows that the others do not."},{"check":"I gave a reason for the order.","fix":"If the order seemed random, say what you open with and why, and where the hardest piece sits."}],"retry":"Answer again with your own current repertoire. About ninety seconds is a suggested length for a program this size.","prep":45,"answer":[75,105]}],"prepared":[{"id":"PP-001","level":"foundation","title":"Phrase endings","explain":"Connect the ascent; taper the last two attacks without shortening them. Performance should be judged against both written events and the stated expressive task.","correct":"Record it once with no dynamic shape, then again with a controlled taper. Compare the two.","area":"prepared_performance","family":"any","task":"Shape the two bars as one phrase. Connect the rising line, then taper the last two notes without shortening them.","staves":[{"label":"Melody","key":"C major","meter":"4/4","bars":"C4:1 D4:1 E4:1 G4:1 | F4:1 E4:1 D4:1 C4:1"}],"listen":["The rising notes join into one line","The last two notes soften but keep their full length","The pulse stays the same through the taper"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"PP-004","level":"intermediate","title":"Dynamic arrival","explain":"Peak near the high D, rather than accenting every ascending note. Performance should be judged against both written events and the stated expressive task.","correct":"Play it at a slow pulse and listen for where the peak lands.","area":"prepared_performance","family":"any","task":"Build gradually toward the high D, then let the energy fall away as the line comes down.","staves":[{"label":"Melody","key":"D minor","meter":"4/4","bars":"D4:1 F4:1 A4:1 D5:1 | C5:1 A4:1 F4:1 D4:1"}],"listen":["The loudest moment is the high D","The rise is gradual, not an accent on each note","The descent relaxes without slowing"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"PP-012","level":"advanced","title":"Final audition take","explain":"Judge pitch, pulse, articulation and recovery separately; one error should not end the take. Performance should be judged against both written events and the stated expressive task.","correct":"Record one uninterrupted take and find the exact slip. Fix it slowly on its own, then play the whole phrase once more.","area":"prepared_performance","family":"any","task":"Play all eight bars as one complete take. If you slip, keep going without restarting.","staves":[{"label":"Melody","key":"D minor","meter":"4/4","bars":"F4:1 C#5:0.5 D5:0.5 R:1 Bb4:1 | C5:0.75 E4:0.25 F4:1 A4:1 G4:1 | A4:0.75 D5:0.25 C5:1 Bb4:1 A4:1 | F5:0.5 E5:1 A4:0.5 Bb4:2 | A4:0.75 D5:0.25 C5:1 Bb4:1 C5:1 | A4:1.5 Bb4:0.5 A4:0.5 Bb4:0.5 A4:1 | G4:0.75 D5:0.25 E5:1 D5:1 F4:1 | G4:1 F4:1 D4:2"}],"listen":["The take runs from start to finish without a restart","After any slip the pulse continues","Pitch, rhythm and articulation each hold up"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"PP-002","level":"foundation","title":"Balanced accents","explain":"Give beat one mild weight, not a harsh accent; maintain note lengths. Performance should be judged against both written events and the stated expressive task.","correct":"Alternate a neutral version with a gently weighted one until the difference is clear but small.","area":"prepared_performance","family":"any","task":"Give beat one a little weight without a harsh accent. Keep every note its full length.","staves":[{"label":"Melody","key":"G major","meter":"4/4","bars":"G4:1 G4:1 D5:1 G4:1 | C5:2 B4:1 G4:1"}],"listen":["Beat one leans slightly and never punches","No note is clipped after the weighted beat","The pulse stays even across the bar line"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"PP-005","level":"intermediate","title":"Independent hands preparation","explain":"Do not let right-hand activity alter left-hand pulse. Performance should be judged against both written events and the stated expressive task.","correct":"Play each hand alone while counting aloud. Then put them together slowly.","area":"prepared_performance","family":"any","task":"On keyboard, play the melody in the right hand over steady half notes in the left hand. Keep the left-hand pulse unchanged when the right hand moves.","staves":[{"label":"Right hand","key":"C major","meter":"4/4","bars":"C4:2 G4:2 | E4:1 F4:1 G4:2"},{"label":"Left hand","key":"C major","meter":"4/4","bars":"C3:2 G2:2 | C3:2 G2:2"}],"listen":["Left-hand half notes fall exactly on beats one and three","The quarter notes in bar two do not push the left hand","Both hands land together on beat three of each bar"],"fits":["piano"]},{"id":"GUI-005","level":"advanced","title":"Cross-string arpeggio separation","explain":"The main criterion is: Independent notes ring without accidental adjacent-string noise. A typical failure is: Left-hand release cuts prior arpeggio notes.","correct":"Keep common notes held between chords. Practice one string crossing at a time.","area":"instrument_specific","family":"guitar","task":"Play each arpeggio and let the notes ring into each other across the strings.","staves":[{"label":"Guitar","key":"A minor","meter":"4/4","bars":"A3:1 C4:1 E4:1 A4:1 | F3:1 A3:1 C4:1 F4:1 | G3:1 B3:1 D4:1 G4:1 | C4:1 E4:1 G4:1 C5:1"}],"listen":["Each note keeps ringing as the next one sounds","No noise from neighboring strings","Each new chord starts cleanly on beat one"],"fits":["guitar"]},{"id":"PP-003","level":"foundation","title":"Articulated contrast","explain":"Legato joins neighboring notes; detached notes retain full rhythmic spaces. Performance should be judged against both written events and the stated expressive task.","correct":"Play each bar both ways. Then play it as written, legato then detached.","area":"prepared_performance","family":"any","task":"Play the first bar legato and the second bar detached.","staves":[{"label":"Melody","key":"C major","meter":"4/4","bars":"C4:1 E4:1 G4:1 E4:1 | D4:1 F4:1 A4:1 F4:1"}],"listen":["Bar one sounds joined, with no gaps between notes","Bar two notes are separate but still fill their beats","The tempo does not change when the touch changes"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"PP-006","level":"intermediate","title":"Breath and bow planning","explain":"Choose a feasible breath, bow change or (on piano) a slight hand lift at the barline; take its time from the end of B4, not from the next downbeat, and preserve the tempo. Performance should be judged against both written events and the stated expressive task.","correct":"Mark the one breath or bow change in your music. Record two takes and compare where the break falls.","area":"prepared_performance","family":"any","task":"Plan one breath, bow change or small hand lift at the bar line. Take its time from the end of bar one so bar two starts on the beat.","staves":[{"label":"Melody","key":"E minor","meter":"4/4","bars":"E4:1 G4:1 A4:1 B4:1 | A4:2 G4:1 E4:1"}],"listen":["A single clear break at the bar line and nowhere else","Bar two starts exactly on time","The tempo stays the same before and after the break"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"GUI-006","level":"advanced","title":"Dynamic and tone color comparison","explain":"The main criterion is: Document timbral change while pitch contour and rhythm stay fixed. A typical failure is: Attack location change disturbs timing.","correct":"Play four-beat patterns in each picking position with a metronome running.","area":"instrument_specific","family":"guitar","task":"Play eight bars of your own melody in E minor pentatonic. Pick near the fingerboard for bars one to four and near the bridge for bars five to eight.","staves":[],"listen":["A clear change of tone color at bar five","The melody and rhythm keep their character after the change","No timing slip when the picking hand moves"],"fits":["guitar"]},{"id":"PIA-001","level":"foundation","title":"Balancing a phrase between the hands","explain":"The main criterion is: Keep RH melody audible over even LH half notes. A typical failure is: Left hand masks melody.","correct":"Play the left hand alone very softly and the right hand alone at a medium level. Combine them at half speed with the left hand still softer.","area":"instrument_specific","family":"piano","task":"Keep the right-hand melody singing over even left-hand half notes.","staves":[{"label":"Right hand","key":"C major","meter":"4/4","bars":"C5:1 D5:1 E5:2 | G5:1 F5:1 E5:2"},{"label":"Left hand","key":"C major","meter":"4/4","bars":"C3:2 G3:2 | F3:2 C3:2"}],"listen":["The melody is clearly on top","Left-hand half notes are soft and even","Both hands stay together on beats one and three"],"fits":["piano"]},{"id":"PP-007","level":"intermediate","title":"Subtle rubato","explain":"Expressive timing must retain recognizable phrase duration and beat relation. Performance should be judged against both written events and the stated expressive task.","correct":"Play it strictly in time first. Then add one measured delay and compare the two takes.","area":"prepared_performance","family":"any","task":"Linger slightly on the high E, then recover the pulse by the end of the phrase.","staves":[{"label":"Melody","key":"A minor","meter":"4/4","bars":"A4:1 C5:1 E5:2 | D5:1 C5:1 B4:1 A4:1"}],"listen":["A small, deliberate stretch near the high E","The beat returns in bar two","The phrase lasts about as long as a strict version"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"BAS-005","level":"advanced","title":"Funk displacement without lost downbeat","explain":"The main criterion is: Offbeat entries stay in metrical position. A typical failure is: Upbeat E2 interpreted as downbeat.","correct":"Count eight eighth notes per bar aloud. Feel beat one strongly while you rest.","area":"instrument_specific","family":"bass","task":"Play the Em7 groove four times. It starts after an eighth rest, so keep the downbeat in your body.","staves":[{"label":"Bass","key":"E minor","meter":"4/4","bars":"R:0.5 E2:0.5 G2:0.5 B2:0.5 R:1 D3:1 | R:0.5 E2:0.5 G2:0.5 B2:0.5 R:1 D3:1 | R:0.5 E2:0.5 G2:0.5 B2:0.5 R:1 D3:1 | R:0.5 E2:0.5 G2:0.5 B2:0.5 R:1 D3:1"}],"listen":["The first E falls on the \"and\" of one, not the downbeat","The rest on beat three is real silence","The groove sits in the same place in all four bars"],"fits":["bass"]},{"id":"PIA-002","level":"foundation","title":"Legato change with a written rest","explain":"The main criterion is: Release RH cleanly on beat four while LH continues. A typical failure is: Hands both release at RH rest.","correct":"Practice hands separately. Then hold the left-hand C through beat four while the right hand lifts deliberately.","area":"instrument_specific","family":"piano","task":"Lift the right hand cleanly for the rest on beat four while the left hand keeps holding its C.","staves":[{"label":"Right hand","key":"C major","meter":"4/4","bars":"E4:1 F4:1 G4:1 R:1 | A4:1 G4:1 F4:1 E4:1"},{"label":"Left hand","key":"C major","meter":"4/4","bars":"C3:4 | C3:4"}],"listen":["Right-hand silence on beat four of bar one","The left-hand C keeps sounding through the rest","Bar two starts exactly on time"],"fits":["piano"]},{"id":"PP-008","level":"intermediate","title":"Repeated-note clarity","explain":"Each G requires a separate onset; avoid an accidental sustained G. Performance should be judged against both written events and the stated expressive task.","correct":"Tap the rhythm of the opening first. Then play it without speeding up.","area":"prepared_performance","family":"any","task":"Make each of the three opening Gs a separate, clear attack.","staves":[{"label":"Melody","key":"G major","meter":"4/4","bars":"G4:0.5 G4:0.5 G4:1 D5:2 | C5:1 B4:1 A4:1 G4:1"}],"listen":["A fresh start on each of the three Gs, not one long note","The eighth notes do not rush","The pulse holds steady into bar two"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"BAS-006","level":"advanced","title":"Walking approach-tone choice","explain":"The main criterion is: Voice-leading arrives on next chord root as intended. A typical failure is: Approach tone overshoots target or clashes unresolved.","correct":"Write the line first, four quarter notes a bar. Make beat four a half step above or below the next root, or a scale step, then play it.","area":"instrument_specific","family":"bass","task":"Walk four bars over Dm7, G7, Cmaj7 and A7 in quarter notes. Put the root on beat one and approach the next root from a half step or a scale step away.","staves":[],"listen":["Each chord root lands on beat one","Beat four leads into the next root","Quarter notes stay even"],"fits":["bass"]},{"id":"VOI-001","level":"foundation","title":"Pitch center after silent breath","explain":"The main criterion is: Begin G4 within comfortable intonation and avoid scooping. A typical failure is: Approach from below rather than singing target immediately.","correct":"Hear the G first, breathe in silently, then start the note cleanly at a moderate volume.","area":"instrument_specific","family":"voice","task":"Take a silent breath, then start right on G with no scoop. Sing on a neutral vowel.","staves":[{"label":"Voice","key":"C major","meter":"4/4","bars":"G4:2 A4:1 G4:1 | E4:4"}],"listen":["The first G starts in tune, not from below","The breath before it is silent","The long E holds its pitch for all four beats"],"fits":["voice"]},{"id":"PP-009","level":"intermediate","title":"Color at harmonic change","explain":"Communicate the change of harmony by tone color and a fresh dynamic level at the barline, not by a tempo break. On piano, let each bar sound as one chord (finger legato or pedal) and change cleanly at the barline. Performance should be judged against both written events and the stated expressive task.","correct":"Play each bar as a blocked chord to hear the two sounds. Then return to the broken form and keep one color per bar.","area":"prepared_performance","family":"any","task":"Play the two arpeggios so the change from C major seventh to F major seventh is heard. Change the color at the bar line, not the tempo.","staves":[{"label":"Melody","key":"C major","meter":"4/4","bars":"C4:1 E4:1 G4:1 B4:1 | F4:1 A4:1 C5:1 E5:1"}],"listen":["Each bar sounds as one harmony","A fresh color and dynamic at the bar line","No pause or slowing before bar two"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]},{"id":"STR-006","level":"advanced","title":"Double-stop balance","explain":"The main criterion is: Both pitches sound simultaneously without crushing either string. A typical failure is: Bow angle favors one string.","correct":"Start each double stop slowly with a steady bow angle and light pressure.","area":"instrument_specific","family":"bowed strings","task":"Play four double stops as half notes in 2/4: D with A, E with B, F-sharp with C-sharp, then G with D.","staves":[],"listen":["Both notes sound at once in every pair","Neither string is crushed","Each pair is in tune"],"fits":["violin","cello"]},{"id":"VOI-002","level":"foundation","title":"Breath through a two-bar phrase","explain":"The aim is a supported phrase with no catch breath in the middle of the bar. A common slip is a breath after the long E, which breaks the phrase.","correct":"Count the rhythm aloud on one breath, then hum the shape on one breath. Breathe before the phrase, not after the long E.","area":"instrument_specific","family":"voice","task":"Sing both bars on one breath, on \"oo\".","staves":[{"label":"Voice","key":"C major","meter":"4/4","bars":"C4:1 D4:1 E4:2 | F4:1 E4:1 D4:1 C4:1"}],"listen":["No breath in the middle of the phrase","The long E carries straight into bar two","The final C is in tune"],"fits":["voice"]},{"id":"PP-010","level":"intermediate","title":"Asymmetric phrase grouping","explain":"Count five in each bar and choose 3+2 as the primary grouping. Performance should be judged against both written events and the stated expressive task.","correct":"Try a two plus three grouping as well and hear how the stresses move. Then return to three plus two.","area":"prepared_performance","family":"any","task":"Count five beats in each bar and group them three plus two. Shape the phrase so the grouping is clear.","staves":[{"label":"Melody","key":"A major","meter":"5/4","bars":"A4:1 C#5:1 E5:1 F#5:1 E5:1 | C#5:2 B4:1 A4:2"}],"listen":["Every bar has five even beats","A light stress on beats one and four","The long notes in bar two keep their full value"],"fits":["piano","voice","guitar","bass","violin","cello","flute","clarinet","altosax","trumpet","trombone"]}],"mock":[{"id":"MK-001","level":"foundation","title":"Classical piano mock audition 1","explain":"This mock assesses simple clean pulse and pitches. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"piano","task":"Run a 14-minute uninterrupted general classical audition simulation for piano. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on piano. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original C major excerpt in 4/4: C4:1 D4:1 E4:1 G4:1 | A4:2 G4:1 E4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-002","level":"intermediate","title":"Classical voice mock audition 1","explain":"This mock assesses controlled phrase shape and one interpretive change. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"voice","task":"Run a 14-minute uninterrupted general classical audition simulation for voice. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and sing it. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, clap the rhythm, then sing this original D minor excerpt in 3/4 in a comfortable octave: D4:1 F4:1 A4:1 | G4:1 E4:1 D4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then sing its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your singing."}]},{"id":"MK-003","level":"advanced","title":"Classical guitar mock audition 1","explain":"This is a short general mock, not a full advanced audition. The unseen excerpt is a two-bar entry-level reading, so it checks calm first-sight accuracy and pulse, not advanced reading. Use it to rehearse the running order and recovery under time. The prepared piece is not pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"guitar","task":"Run a 14-minute uninterrupted general classical audition simulation for guitar. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on guitar. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original G major excerpt in 4/4, read as written in treble clef (guitar sounds an octave lower): G4:0.5 A4:0.5 B4:1 D5:1 B4:1 | A4:2 G4:2."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-004","level":"foundation","title":"Classical bass mock audition 1","explain":"This mock assesses simple clean pulse and pitches. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"bass","task":"Run a 14-minute uninterrupted general classical audition simulation for bass. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on bass. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original E minor excerpt in 6/8, written in bass clef (sounds an octave lower): E3:0.5 G3:0.5 B3:0.5 A3:0.5 G3:0.5 E3:0.5 | F#3:1.5 E3:1.5."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-005","level":"intermediate","title":"Classical violin mock audition 1","explain":"This mock assesses controlled phrase shape and one interpretive change. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"violin","task":"Run a 14-minute uninterrupted general classical audition simulation for violin. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on violin. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original C major excerpt in 4/4: C4:1 D4:1 E4:1 G4:1 | A4:2 G4:1 E4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-006","level":"advanced","title":"Classical cello mock audition 1","explain":"This is a short general mock, not a full advanced audition. The unseen excerpt is a two-bar entry-level reading, so it checks calm first-sight accuracy and pulse, not advanced reading. Use it to rehearse the running order and recovery under time. The prepared piece is not pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"cello","task":"Run a 14-minute uninterrupted general classical audition simulation for cello. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on cello. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original D minor excerpt in 3/4: D4:1 F4:1 A4:1 | G4:1 E4:1 D4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-007","level":"foundation","title":"Classical flute mock audition 1","explain":"This mock assesses simple clean pulse and pitches. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"flute","task":"Run a 14-minute uninterrupted general classical audition simulation for flute. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on flute. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original G major excerpt in 4/4: G4:0.5 A4:0.5 B4:1 D5:1 B4:1 | A4:2 G4:2."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-008","level":"intermediate","title":"Classical clarinet mock audition 1","explain":"This mock assesses controlled phrase shape and one interpretive change. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"clarinet","task":"Run a 14-minute uninterrupted general classical audition simulation for clarinet. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on clarinet. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original excerpt in 6/8, given at written pitch for B-flat clarinet (concert E minor): F#4:0.5 A4:0.5 C#5:0.5 B4:0.5 A4:0.5 F#4:0.5 | G#4:1.5 F#4:1.5."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-011","level":"intermediate","title":"Classical saxophone mock audition 1","explain":"This mock assesses controlled phrase shape and one interpretive change. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"saxophone","task":"Run a 14-minute uninterrupted general classical audition simulation for saxophone. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on saxophone. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original excerpt in 4/4, given at written pitch for alto saxophone (concert G major): E5:0.5 F#5:0.5 G#5:1 B5:1 G#5:1 | F#5:2 E5:2. Tenor players read A4:0.5 B4:0.5 C#5:1 E5:1 C#5:1 | B4:2 A4:2."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-009","level":"advanced","title":"Classical trumpet mock audition 1","explain":"This is a short general mock, not a full advanced audition. The unseen excerpt is a two-bar entry-level reading, so it checks calm first-sight accuracy and pulse, not advanced reading. Use it to rehearse the running order and recovery under time. The prepared piece is not pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"trumpet","task":"Run a 14-minute uninterrupted general classical audition simulation for trumpet. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on trumpet. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play this original excerpt in 4/4, given at written pitch for B-flat trumpet (concert C major): D4:1 E4:1 F#4:1 A4:1 | B4:2 A4:1 F#4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-TB1","level":"intermediate","title":"Classical trombone mock audition","explain":"A short general classical mock for trombone. The scale checks slide accuracy and smooth slurs without glissando: E-flat 3 is in third position and A3 in second. The unseen excerpt checks calm first-sight accuracy and pulse.","correct":"After the session, take the weakest measured section. Practice its hardest two bars slowly, with a tuner for the slide positions, then repeat that section with fresh material.","instrument":"trombone","task":"Run a 14-minute uninterrupted classical audition simulation on trombone. Complete the sections in order.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on trombone. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, play an unseen excerpt in bass clef at concert pitch."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Play a one-octave B-flat major scale from B-flat 2 at 72 beats a minute, slurred up and tongued down. Then say which slide positions you used for E-flat 3 and A3."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]},{"id":"MK-010","level":"foundation","title":"Classical percussion mock audition 1","explain":"This mock assesses simple clean pulse and pitches. A strong result requires observable musical evidence in each section. The prepared piece is not numerically pitch-scored unless a valid reference is available.","correct":"After completion, choose the lowest-scoring section with observable evidence. Practice its hardest two bars or skill for ten minutes; repeat that section with fresh sight-reading material, then record the change.","instrument":"percussion","task":"Run a 14-minute uninterrupted general classical audition simulation for percussion. The examiner may stop the prepared performance early. Complete sections in order and do not rehearse unseen material between exposure and assessment.","sections":[{"name":"prepared_performance","duration_minutes":4,"task":"Choose 2–3 minutes of prepared repertoire (none is supplied here) and play it on percussion. Open with a short introduction of about 15 seconds that states the style and one interpretive priority. The examiner may stop you early."},{"name":"sight_reading","duration_minutes":3,"task":"After 40 seconds of silent review, clap the rhythm, then play this original D minor excerpt in 3/4 on a mallet keyboard (marimba, xylophone or glockenspiel): D4:1 F4:1 A4:1 | G4:1 E4:1 D4:1."},{"name":"aural_rhythm","duration_minutes":2,"task":"The examiner claps a one-bar rhythm in 4/4 twice; clap it back. Then the examiner plays two rising notes; sing them back in a comfortable octave and identify the interval."},{"name":"musicianship","duration_minutes":3,"task":"Choose one phrase ending from your prepared excerpt. Explain how it closes, then play its final two bars with two different dynamic shapes you can justify."},{"name":"interview","duration_minutes":2,"task":"Describe one practice decision from the past week and what it changed in your playing."}]}],"free":true,"more":{"sight":["foundation","intermediate","advanced"],"rhythm":["foundation","intermediate","advanced"],"ear":["foundation","intermediate","advanced"],"interview":["foundation","intermediate","advanced"],"prepared":{"foundation":["altosax","bass","cello","clarinet","flute","guitar","percussion","piano","trombone","trumpet","violin","voice"],"intermediate":["altosax","bass","cello","clarinet","flute","guitar","percussion","piano","trombone","trumpet","violin","voice"],"advanced":["altosax","bass","cello","clarinet","flute","guitar","percussion","piano","trombone","trumpet","violin","voice"]}}}