Audition Repertoire Guidelines

Suggestions regarding the repertoire that may be used for your audition are listed below according to instrument type. Applicants should be prepared to perform two pieces (except for Piano, Voice and Strings who should be prepared to perform three pieces).  

Accompanists are not be provided - Vocalists are required to provide an accompanist for their audition, other applicants are strongly recommended to have an accompanist.  Applicants are encouraged to supply their own accompanist.  If this is not possible please contact one of the following at least two weeks prior to the audition.

Julia Haager <julia.haager@gmail.com>
Ami Longhi <alonghi@telus.blackberry.net> (woodwinds and brass)
Karen Neary <kmneary@shaw.ca> (area of interest: strings)
Akiko Tominaga<akiko_tominaga@yahoo.com>
Susanne Ruberg-Gordon <susruberggordon@yahoo.com>
Julie Jacques <julieplays@shaw.ca>
Edward Choi <edwardjinchoi@hotmail.com>

Please note these are guidelines, and you may select comparable material for your audition.

Woodwinds

Brass

Strings and Guitar

Percussion, Keyboard, Voices

WOODWINDS

Flute

One work from the Baroque or Classical period:

• JS Bach Sonatas
• Telemann Fantasias
• Quantz Concerto in G Major
• CPE Bach Sonatas

One work from the Romantic or Contemporary period:

• Poulenc Sonata
• Hindemith Sonata
• Any piece from the Flute Music by French Composers book
• Harry Somers "Etching" from the Vollard Suite

Oboe

Etudes:

• One complete Barrett Grande Etude
• Ferling Studies

Solos:

• Cimarosa Oboe concerto
• Nielsen Two Fantasy Pieces
• Saint-Saens or Hindemith Sonata

Clarinet

• Handel - Sonata No. 1 in G minor (for oboe)
• J. Tartini - Concertino (mvts 1, 2 or 3 only)
• Mozart - Concerto K. 622 (Adagio), Divertimento No. 17 (Minuet)
• Schumann - Fantasy Pieces Nos. 1, 2, 3 (A clarinet)
• Jean-Jean - Second Andantino
• Aubert - Aria and Presto
• Guilhaud - Concertino No. 1

Alto Saxophone

• Eccles Sonata
• Reuff Chanson et passepied
• Tcherepnine Sonatine sportive
• Jacobi Sonata for Eb Alto Saxophone and Piano
• Benson Cantilena
• Glazanov Concerto

Tenor Saxophone

• Hartley Poem
• Galliard Sonata No.4

BRASS

Two contrasting pieces or etudes:

Horn

• Baroque or Classical:

Mozart: Concertos No. 2 or 3,
Haydn: Concerto No. 2, Beethoven: Sonata, Op. 17

• Romantic or Contemporary:

Richard Strauss: Concerto No. 1,
Franz Strauss: Nocturne
Saint- Saens: Romance or Concertpiece, 
Bernhard Heiden: Sonata, 
Malcolm Arnold: Fantasy for Horn 

• Etudes:

Kopprasch: Sixty Selected Studies (Bk. 1)exercises 3-33;
Concone: Lyrical Studies;
Maxime Alphonse: Bks 3 or 4

Trombone

Etudes:

• Bordogni/Rochut Melodious Etudes for Trombone bk I
• Kopprash Sixty Studies for Trombone bk I, Fink Legato Studies
• Fink Legato Studies

Solos:

• Galliard or Marcello Sonatas
• Smith Solos for the Trombone Player
• de la Nux Concert Piece

Tuba

Etudes:

• Gower-Voxman Advanced Method for Tuba
• Rubank Studies
• Bell Complete Method
• Bordogni-Roberts 43 Bel Canto Studies,
• Getchell Practical Studies

Solos:

• Bach-Bell - Air and Bourree
• Haddad - Suite for Tuba
• Holmes - Lento

STRINGS (including Guitar)

Violin, Viola, Cello

• A three octave scale(own choice) in whole notes, slurred quarter notes, four to a bow and spicatto, --4 bounces on each note
• A movement from an unaccompanied Bach suite, sonata or partita
• A movement of a concerto from the standard repertoire
• A selection (not a sonata - exception: the Baroque period) from any musical period excluding the musical period represented by the own choice concerto movement

Auditions will be unaccompanied.
Applicants may request a change of the repertoire requirements.

Bass

Studies:

• Storch Hrabe 57 Studies
• Simandl 30 Etudes
• Gradus ad Parnassum
• Bille New Method for Bass

Concertos:

• Dragonetti
• Capuzzi
• Koussevitsky

Sonatas:

• Eccles
• Vivaldi
• Marcello

Orchestral excerpts:

• Beethoven - No. 5 (2nd, 3rd mvt)
• Beethoven - No. 9 (4th mvt recitative)
• Mozart - No. 40 (1st or 4th mvts)
• Brahms - No. 4
• Dvorak - New World
• Wagner - Die Meistersinger Overture

Harp

• Corelli - Giga
• Dussek - Sonata in C minor
• Unknown - XVIth century Pavane
• Durand - Chaconne
• Grandjany - Et ron ron ron, Le Bon Petit Roi d’Yvetot
• Debussy - Clair de Lune,La Fille aux Cheveux de Lin, En Bateau
• Salzedo - Variations on a Theme by Haydn

Classical Guitar

• Classical guitarists are required to prepare three selections not exceeding a combined length of fifteen minutes. Although no minimum grade level is required, a high degree of instrumental proficiency is expected.
• We will not audition applicants on electric guitar. 
• One work by J.S. Bach and one Etude by Heitor Villa-Lobos are required.

PERCUSSION, KEYBOARD, VOICE

Percussion

All applicants should perform three solo works that represent the areas of Snare Drum, Keyboard Percussion and Timpani.   Suitable works may be selected from the following list.

Snare drum: 

• Anthony Cirone - Portraits in Rhythm 
• Morris Goldenberg - Modern Method for Snare Drum
• Traditional - The Downfall of Paris

Marimba/Xylophone: 

• J.S. Bach, Violin concerto in A minor (1st or 3rd mvt.)
• Morris Goldenberg - Modern Method for Marimba and Vibraphone
• George Hamilton Green - Ragtime Solo
• Major & minor scales, two octaves

Timpani: 

• Mitchell Peters - Timpani Method - No. 45, 57 or 58
• Vic Firth - The Solo Timpanist - No. 1, 7, 10 or 11
• Tunings from the reference pitch of A=440

Keyboard

Note: All pieces to be of Grade X level

• Bach - any Prelude and Fugue, Suite, or Toccata OR Scarlatti - sonata OR Handel - suite
• Mozart, Haydn, or Beethoven - A sonata, 1st mvt, or 2nd and 3rd mvts
• A work from the Romantic period, Impressionist, 20th or 21st Century work

Organ

• Bach: one chorale prelude from Orgelbuechlein
• A work (including pedals) written after 1800

Voice

• Three languages are preferable.
• Pieces chosen should be from three different style periods (e.g., Baroque, Romantic lieder and Twentieth Century).