Study options & audition requirements

A student playing the guitar, sat in front of a covered harpsichord
We understand that auditions are a significant milestone on every conservatoire applicant’s journey. The guidance below will help you prepare to the best of your abilities and make you aware of what will happen at your Royal College of Music audition.

Your experience will depend on your specialism and your chosen audition location. 

Most candidates audition at the RCM in London. We also offer auditions at a number of venues overseas. The audition process differs between venues. If you are unable to attend in person, you have the option to audition by video. You are advised to read the information below carefully.

Principal studies

Every student undertakes principal study in their main specialism, which lies at the heart of their RCM experience. You can audition for the following principal studies. Please note that research degrees have their own set of requirements.

Expand the options below to find out the audition requirements for each principal study. 

Harpsichord audition requirements

Undergraduate & taught postgraduate

Applicants should prepare:

  • A varied programme of 20 minutes to include two or three contrasting pieces that show a command of both 17th- and 18th-century repertoire.
  • The programme must include one major work by JS Bach (eg a prelude, a toccata, a fugue or movements from a suite).
  • Applicants may also perform a contemporary work.

The audition panel will choose around 15 minutes for performance in audition. You will also be given short sight reading and figured bass tests.

What to expect at audition

Fortepiano audition requirements

Undergraduate

Applicants should prepare both of the following:

  • CPE Bach Fantasia no 1 in F major or no 3 in C major from Clavier-Sonaten nebst einigen Rondos fürs Forte-Piano für Kenner und Liebhaber
  • The first movement of a substantial sonata by Haydn, Mozart or Beethoven (up to op 31 only)

Taught postgraduate

Applicants should prepare all of the following:

  • JN Hummel Sonata in F minor op 20 (first movement, allegro moderato)
  • A contrasting lyrical slow movement of a substantial sonata by Haydn, Mozart or one of their contemporaries that demonstrates historically aware ornamentation and extemporisation skills

What to expect at audition

Historical violin audition requirements

Undergraduate

Applicants should prepare all of the following:

  • JS Bach Partita no 2 (Allemanda)
  • A 17th-century sonata by either Cima, Fontana, Uccellini or Castello
  • Corelli Sonata op 5 no 8 (Preludio, Sarabanda and Giga)

Taught postgraduate

All applicants should prepare:

  • Marais La Maresienne

And a movement of their choice from any of the following:

  • JS Bach Violin Sonata no 1 in G minor (Adagio)
  • Muffat several sections from Sonata
  • Corelli op 5 no 5 (Adagio with own ornamentation and Vivace)

What to expect at audition

Historical viola audition requirements

Undergraduate & taught postgraduate

Applicants should prepare all of the following:

  • JS Bach One Prelude from the Cello Suites (selected from the first 4 Suites)
  • First movement of a Galante-style sonata (eg CPE Bach, Brunetti, Giardini, etc)
  • Campagnoli any Caprice 

What to expect at audition

Historical cello audition requirements

Undergraduate & taught postgraduate

Applicants should prepare two contrasting movements from one of the sonatas listed below, two movements from one of the solo pieces and one movement from a concerto.

Solo

  • Movements from Bach Suites 1-5
  • Ricercari by Gabrielli, or Degli Antonii
  • Sonatas by Galli (Trattenimento musicale)

Sonatas with basso continuo (cello, harpsichord or piano)

  • Vivaldi 9 sonatas
  • Geminiani op 5
  • Barriere op 1 and 2
  • JCF Bach A major
  • Berteau Sonata in G (used to be called 'Sammartini G major')

Concertos

  • Vivaldi (eg  G minor RV 416)
  • Leonardo Leo F minor
  • CPE Bach A major
  • Stamitz C major (no 3)

What to expect at audition

Historical bass audition requirements

Undergraduate

Applicants should prepare:

  • A complete transcribed Baroque cello sonata (eg by Vivaldi or Telemann)

Plus two orchestral excerpts:

  • JS Bach St John Passion, no 24 'Eilt, ihr'
  • Haydn Symphony no 6 'Le Matin' (solo from the trio)

Taught postgraduate

Applicants should prepare all of the following:

  • A complete transcribed Baroque cello sonata
  • First movement from a Classical concerto (performed in either Viennese or orchestral tunings)

What to expect at audition

Viola da gamba audition requirements

Undergraduate

Applicants should prepare all of the following:

  • Christopher Simpson Prelude in D major (Division viol page 53) 
  • GP Telemann Fantasia for solo viola da gamba no 6 in G major
  • One short free choice piece

Taught postgraduate

Applicants should prepare all of the following:

  • GP Telemann Fantasia for solo viola da gamba no 10 in E major 
  • Antoine Forqueray La Clement (no repeats) 
  • One short free choice piece

What to expect at audition 

Lute audition requirements

Undergraduate

Applicants should prepare all of the following:

  • A fantasia by John Dowland
  • Two contrasting pieces

Taught postgraduate

Applicants should prepare all of the following:

  • Three contrasting pieces, including one dance movement and one contrapuntal piece

The audition can be performed on either Renaissance or Baroque lute.

What to expect at audition

Recorder audition requirements

Undergraduate

Applicants should prepare all of the following:

  • Frans Brüggen One study from Five studies for finger control (excluding No. 4) or one Linde Recorder Virtuoso Solo Pieces
  • Telemann One complete Fantasia or two contrasting movements from a Baroque sonata
  • Any piece or excerpt (total length: 3-4 minutes) composed before 1700 or after 1960

Taught postgraduate

Applicants should prepare all of the following: 

  • Kees Boeke one Study complete or Frans Brüggen No.2 or 3 from Five studies for finger control
  • A free programme with a duration of 8-10 minutes featuring two stylistically contrasting compositions (not necessarily complete)

What to expect at audition

Historical flute audition requirements

Undergraduate

Applicants should prepare all of the following:

  • Telemann Methodical Sonata (own choice, first and second movements)
  • Hotteterre Suite in E minor (Premier Livre, Quatriéme Suitte, three movements)

Taught postgraduate

Applicants should prepare all of the following:

  • Quantz Sonata in B minor no 267 QV 1:169 or Quantz Sonata in A major no 351 QV 1:143 (two movements)
  • Couperin Concert Royal no 2 in D (two or three movements depending on timing)

What to expect at audition

Historical oboe audition requirements

Undergraduate

Applicants should prepare two movements from one of the following:

  • Geminiani Sonata in E minor
  • Handel Sonata (own choice)
  • Vincent Sonata in A minor

Plus:

  • JS Bach Sinfonia from Cantata 156 

Taught postgraduate

Applicants should prepare all of the following:

  • Two contrasting movements from Couperin Concerts Royaux or Les Gout-reunis
  • Two movements from a Sonata by Handel, Vincent or Sammartini
  • A Bach Aria of own choice

What to expect at audition

Historical clarinet audition requirements

Undergraduate

Applicants should prepare all of the following:

  • Xavier Lefèvre Sonata no 2 – from Five Sonatas ed John Davies and Paul Harris, OUP
  • John Mahon Clarinet Concerto no 2 (second movement) – keyboard reduction ed Elaine Thomas, Novello

Taught postgraduate

Applicants should prepare all of the following:

  • Anton Stadler Three Caprices for solo clarinet, no 1 – ed Höly, Kunzelmann
  • John Mahon Clarinet Concerto no 2 (first movement, without cadenza) – keyboard reduction ed Elaine Thomas, Novello

What to expect at audition

Historical bassoon audition requirements

Undergraduate & taught postgraduate

Applicants should prepare all of the following:

  • One caprice by Braun or Ozi
  • One sonata by Galliard or Merci

What to expect at audition

Natural horn audition requirements

Undergraduate

Applicants should prepare all of the following:

  • Haydn Concerto no 1 in D (first movement) or Concerto no 2 in D (first movement) – also known as Michael Haydn Concerto à 5
  • Mozart Concerto in E flat K495 (first movement) or Concerto in E flat K447 (first movement)
  • Gallay Study no 1 from 12 Studies op 57

Taught postgraduate

Applicants should prepare all of the following:

  • Gallay Caprice no 1 from 12 Caprices
  • De Krufft Sonata in E (third movement) or Ries Sonata in F (third movement)
  • Saint-Saëns Romance in E

What to expect at audition

Related studies

Related study allows instrumentalists to receive tuition on an instrument closely associated with their principal study. Uniquely, students in other faculties are able to take Historical Performance specialisms as their related study.

Likewise, Historical Performance students can take one of our principal options as their related study, as long as a clear relationship exists. For example, a historical violinist can choose historical viola, or a recorder player could choose historical flute.

The following instruments are also available as related study options:

  • Clavichord
  • Basso continuo
  • Violone
  • Viola d’amore
  • Cello continuo
  • Historical harp
  • Archlute
  • Theorbo
  • Baroque guitar
  • Natural trumpet or cornett (as related study to modern trumpet)
  • Sackbuts

Related studies are approved by the relevant Head of Faculty once a student has started their course. No audition is required and you do not need to let us know about your interest in related study before you arrive at the RCM.

Second study

Most undergraduates on the BMus course and postgraduates studying for MPerf, MComp, MMus(Perf) or MMus(Comp) have the option of undertaking a second study specialism. Second study allows students to receive tuition in a second specialism, taught and assessed at a lower intensity than their principal study, in an area that does not qualify for related study.

Second study specialisms are subject to successful audition and the agreement of the relevant Head of Faculty. Auditions take place during the first few weeks of the course, and students will have the opportunity to register for these auditions shortly before the start of the academic year. There is no need to inform the RCM at the point of application.

What to expect at audition

What to bring

In most cases you only need to bring your instrument and music for you and your accompanist (if applicable). Please remember to bring anything you need for your instrument.

What not to bring

You cannot bring a page-turner, your teacher or a translator into your audition. The only people in your audition room will be you, your accompanist and the audition panel. As our courses are taught in English we expect you to be able to communicate in English at your audition.

Historical Performance auditions in London

The time shown on UCAS Conservatoires is your audition time. You should plan to arrive at the RCM at least 30 minutes before this, to allow time to check in and warm up. We advise allowing plenty of extra time for travelling into or across London.

If you are caught in an unavoidable delay, please telephone the Admissions team on +44 (0)20 7591 4362 immediately so that, wherever possible, alternative arrangements can be made.

When you arrive at the RCM, you should find out from the steward in the entrance hall where your audition will take place.

Candidates auditioning for harpsichord or fortepiano will be assigned a specific warm-up time. You should plan to arrive at the RCM before this so you are available to warm-up when the time comes.

Historical Performance auditions last approximately 20 minutes. Candidates will be directed by the panel to perform their audition pieces or particular extracts. We cannot say in advance which extracts you might be asked to perform, so you should prepare all of the materials in full. You may be required to take a sight-reading test and there will be a short interview. Typical questions may include:

  • Why do you want to study at the RCM?
  • What are your musical interests?
  • What do you think you need to do most to improve your playing?

In some cases you may also be asked to perform scales, arpeggios or other technical exercises.

You will have 20 minutes of warm-up time with your accompanist prior to your audition. We are not able to provide practice rooms for you to use before this.

You are welcome to bring your own accompanist. Alternatively, the RCM will have accompanists available on the day of your audition. We usually have several accompanists working on each audition day. We are unable to provide the name or contact details of our accompanists in advance.

If you require an RCM accompanist you do not need to tell us in advance; just inform the steward for your audition panel when you arrive.  

You do not need to tell us what you are performing in your audition and please do not send copies of the music in advance.  Our accompanists are very experienced and are familiar with most standard repertoire.

Candidates auditioning for harpsichord or fortepiano

In order to ensure appropriate instruments are available, all candidates auditioning for harpisichord or fortepiano will be assigned a specific warm-up slot of 30 minutes. You will be notified of the warm-up time via UCAS Conservatoires. Please note, all of these warm-up slots are in the morning of the audition day. The auditions themselves will take place later in the day.

Historical Performance auditions overseas

Overseas auditions for 2025 entry

We are planning on holding auditions for most principal studies at some of our overseas locations. Please check our Choosing where to audition page for updates.

Choosing Where To Audition

Please note that we are unable to audition for lute, harpsichord or fortepiano at our overseas audition venues.

Audition by video

Applicants who cannot travel may submit a video audition instead. This option is open to all Principal Study specialisms, except Conducting, for which we will hold final round auditions live in London in Spring 2025. Candidates auditioning by video will automatically be considered for scholarship.

The deadline to submit applications for video auditions is 2 October 2024. Videos must be submitted by 28 October 2024. 

More information about auditioning by video

Scholarships

Every student who applies for a place on one of the RCM's performance or composition courses commencing in 2025 will be considered for a scholarship, whether you have applied by video or attended an audition or interview in person.

There is no separate application process.

Eligibility for scholarships is based on merit, which is determined by performance at audition (or by submission of video) or the strength of portfolio and interview for composers.

If you are offered a scholarship or study award you will receive a letter, normally sent by email, confirming this and the conditions of your award.

In exceptional circumstances, an applicant may be offered a scholarship on the day of their audition.

After your audition

You will be informed of the result of your audition as soon as possible. The RCM cannot enter into correspondence over the results of auditions. 

Find out more

Audition queries

Please double-check that you are available at the time and date of your audition. If there are any special circumstances the RCM needs to be aware of before your audition, please let us know in advance.

Find out more

If you have any questions about auditions or the application process please contact our Admissions team.

Admissions

Admissions and general audition enquiries

+44 (0)20 7591 4362

admissions@rcm.ac.uk

Back to top