Jazz Auditions

At the start of the audition, you will be expected to provide lead sheets in concert pitch and instruct the band. The panel are looking for your capacity to communicate and operate in an ensemble context, and to observe how you interact with the other musicians to lead a session. The panel do not expect a polished ensemble performance, but hope to observe the collaborative process.

Perform two jazz standards*, one as a medium or medium/up swing and the other in a contrasting tempo/feel. 

• You should bring concert pitch lead sheets** for both pieces (four copies, for the band and audition panel). This is especially important if you are presenting lesser-known tunes. 
• Both should involve improvisation.
• We would be interested in hearing rhythm section candidates comping as well as soloing.
• We encourage you to perform from memory if possible.

* “Jazz standard” is a collective term which refers to a wide range of repertoire, including ‘Great American Songbook’ (e.g. “There Will Never Be Another You” – Harry Warren), compositions by jazz musicians (e.g. “In Walked Bud” – Thelonius Monk, “Lawns” – Carla Bley), Bossa Novas (e.g. “Wave” – Antonio Carlos Jobim) and blues heads (e.g. “Now’s The Time” – Charlie Parker, “Blues for Herb” – Emily Remler).

** Examples of “lead sheets” can be found in publications such as the various volumes of “The New Real Book” (Sher Music). Heavily notated arrangements are discouraged, as we are primarily interested in hearing improvisation and ensemble interaction. 

Performance of an excerpt (minimum 32 bars) of a solo you have transcribed. 

• Vocalists and pitched instrumentalists should perform this along with the original recording – please bring this on a device such as a smart phone, tablet or laptop. We will have audio connectors for 3.5mm jack, Lightning and USB-C. 
• Drummers should perform their transcription unaccompanied.
• We encourage you to perform from memory if possible.

Submit one of the following:

• A score or lead sheet of a piece you have composed, together with some notes about it. These notes should describe features of your composition (such as the harmony, or how you developed your melodic/rhythmic ideas etc.)
• Notation of your transcription (see 2 above) together with a short analysis of it.

Hand-written music or computer notation are both acceptable. 

Please submit these as PDFs at least one week before your audition to jazz@gsmd.ac.uk, quoting your application reference number and full name. 

• We would like to talk about your musical experiences, ambitions and what you would like to get out of the course. If you play a second instrument, we would like to know about it.
• You may also be asked to sightread and/or demonstrate aural ability.

You should upload two short videos of yourself performing your chosen repertoire (no more than four minutes each). These should both be jazz standards*, one as a medium or medium/up swing, and the other with a contrasting tempo/feel.

You could record in a studio, at home with accompanist(s)/live band, use a backing track or select excerpts from a live gig. The recorded sound quality is not of primary importance – a phone recording is perfectly adequate, as long as we can clearly hear what you are playing.

• Both should involve improvisation;
• Rhythm section players should include comping as well as soloing.
• We encourage you to perform from memory if possible.

* “Jazz standard” is a collective term which refers to a wide range of repertoire, including ‘Great American Songbook’ (e.g. “There Will Never Be Another You” – Harry Warren), compositions by jazz musicians (e.g. “In Walked Bud” – Thelonius Monk, “Lawns” – Carla Bley), Bossa Novas (e.g. “Wave” – Antonio Carlos Jobim) and blues heads (e.g. “Now’s The Time” – Charlie Parker, “Blues for Herb” – Emily Remler).

Upload a video of yourself performing an excerpt (minimum 32 bars) of a solo you have transcribed.

• Vocalists and pitched instrumentalists should perform this along with the original recording.
• Drummers should perform their transcription unaccompanied
• We encourage you to perform from memory if possible.

Submit one of the following:

• A score or lead sheet of a piece you have composed, together with some notes about it. These notes should describe features of your composition (such as the harmony, or how you developed your melodic/rhythmic ideas etc.)
• Notation of your transcription (see 2 above) together with a short analysis of it.

Hand-written music or computer notation are both acceptable. 

Please submit these in PDF format no later than 30 November to jazz@gsmd.ac.uk, quoting your application reference number and full name. 

If you are making a late application, please submit your work to jazz@gsmd.ac.uk by the date provided to you when you made your enquiry.

Following your recorded audition, we may ask to meet with you virtually (via video conferencing) for a follow-up interview. We would like to talk about your musical experiences, ambitions and what you would like to get out of the course. If you play a second instrument, we would like to know about it.

Live jazz auditions take place in December, and panels will make final admissions decisions for recorded and live auditions concurrently. Therefore, you can expect to hear from us about the outcome of your audition by 20 December.