How to Prepare for Graduate School Auditions in Music Performance and Choose the Right Program

Choosing a graduate program in music performance is one of the most consequential decisions you will make in your career. The right program connects you with a teacher who transforms your playing, puts you in an orchestra that challenges you weekly, and positions you in a network that opens doors for decades. The wrong program can mean two years of expensive stagnation. I have seen both outcomes, and the difference almost always comes down to how thoroughly the student researched their options before applying.

If you are a string player considering graduate school, this guide walks you through every step of the process, from selecting programs to nailing your audition to making your final decision.

Choosing Programs: It Is About the Teacher, Not the Name

The single most important factor in your graduate school experience is your private teacher. A prestigious school name on your resume helps, but it pales in comparison to two years of weekly lessons with a teacher whose approach clicks with your playing style and career goals.

Start by making a list of teachers you admire. Listen to their recordings, watch masterclasses online, and if possible attend their students’ recitals. The students’ playing tells you everything about a teacher’s method. If every student in a particular viola studio sounds the same, that teacher likely imposes a rigid approach. If the students sound distinct but all play at a high level, that teacher probably develops each student’s individual voice.

Reach out to current students in the studios you are considering. Ask them directly: how often do you get lessons? Does your teacher attend studio class regularly? How accessible are they for extra help before competitions or auditions? What orchestral opportunities does the school provide? These conversations will reveal more than any website or brochure.

Preparing Your Audition Repertoire

Most graduate string auditions require a concerto movement, a Bach solo sonata or suite movement, and one or two contrasting pieces that demonstrate range. Some programs also require orchestral excerpts or sight reading. Check each school’s specific requirements well in advance, as they vary significantly.

Choose repertoire that shows your strengths while demonstrating musical maturity. If you are a violinist with a gorgeous lyrical tone, the Brahms Violin Concerto first movement might serve you better than the Paganini First, even if the Paganini is flashier. Graduate admissions panels are listening for potential and musicianship, not just technical fireworks.

For your Bach, choose a movement you genuinely love and have lived with for a long time. The Chaconne from Partita No. 2 is an obvious choice for violinists, but it is also one of the most frequently performed and therefore most critically evaluated. If your Chaconne is outstanding, it can be a powerful audition piece. If it is good but not exceptional, consider a less common movement where you can stand out.

Start preparing your audition repertoire at least four months before your first audition date. The first month should be devoted to learning notes and solving technical problems. The second month to musical interpretation and memorization. The third month to performance practice through mock auditions and recordings. The fourth month to polishing and maintaining peak readiness.

The Campus Visit: An Audition in Both Directions

If a school offers a campus visit or trial lesson, take it. This is your opportunity to evaluate the teacher and the program just as much as they are evaluating you. Pay attention to the culture of the music school. Are students collaborative or competitive? Are the practice rooms well maintained? Is the main performance hall acoustically suitable for your instrument?

During your trial lesson, notice how the teacher communicates. Do they demonstrate on their instrument? Do they use metaphors and imagery or purely technical language? Do you leave the lesson feeling inspired and clear about what to work on, or confused and demoralized? Trust your gut reaction. You will be working with this person every week for two or more years.

Attend an orchestra rehearsal if possible. The quality of the school orchestra is a reliable indicator of the overall level of the program. If the strings are out of tune and the ensemble is sloppy, the program may not push you to grow. If the orchestra sounds professional and polished, you know you will be surrounded by players who take their craft seriously.

Financial Considerations You Cannot Ignore

Graduate school in music is expensive, and the financial return on investment is not guaranteed. Before accepting any offer, calculate the total cost including tuition, fees, living expenses, and opportunity cost of two years out of the workforce. Then compare this against the scholarship and assistantship offers you receive.

Most competitive music programs offer significant scholarships to attract top students. Do not be afraid to negotiate. If School A offers you a full scholarship and School B offers you half tuition, tell School B about the competing offer. Programs have flexibility in their financial aid packages, and they expect students to advocate for themselves.

Teaching assistantships are valuable not just for the stipend but for the experience. If you plan to teach at any point in your career, having graduate-level teaching experience on your resume is essential. Ask about the teaching load: how many students, how many hours per week, and whether the assistantship includes tuition remission.

Making Your Final Decision

After auditions, visits, and offers are in, the decision comes down to fit. Where did you feel most inspired? Which teacher made you want to go home and practice? Which school’s orchestra and chamber music program will push you to the next level?

Talk to your current teacher and trusted mentors about your options. They have perspective on the profession that you may not yet have. But ultimately, this is your decision. Choose the program where you believe you will grow the most as a musician and as a person. The name on the diploma matters less than the transformation that happens inside those practice rooms and lesson studios.

Graduate school is not a destination. It is a launchpad. Choose your launchpad wisely, prepare your audition thoroughly, and walk into every audition room knowing that you deserve to be there.

Ethan Kim is the founder of Orchestra Kingdom, helping string players win auditions and move up in their sections. Follow him on Instagram, TikTok, and YouTube for daily tips.