Bachelor of Music Audition Information - Classical Stream

Please prepare three contrasting pieces or movements from standard Classical repertoire (two études and one piece). You will also need to play some technical patterns in various keys and articulations, and you will be asked to sight-read a short piece.

Technique: A major and A minor (harmonic, melodic, and natural) scales and arpeggios (two octaves).

Études: Two contrasting études that demonstrates your highest level of technical achievement.

Repertoire: Select one accompanied solo. Suggestion of repertoire:

• Anderson: A Trumpeter’s Lullaby
• Balay: Petite Piece Concertante
• Bissell: Little Suite
• Corelli: Sonata VIII (Arr. Fitzgerald)
• Fitzgerald: English Suite
• Fitzgerald: Gaelic Suite
• Haydn: Concerto
• Lavallée: Méditation
• Kennan: Sonata
• Ropartz: Andante and Allegro
• Any solo repertoire by Clarke or Arban

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

Please prepare three contrasting pieces or movements from standard Classical repertoire (one étude and two pieces), and you will be asked to sight-read a short piece.

Technique: Major and natural minor scales, to 3 flats and 3 sharps, minimum one octave and after one octave, in your comfortable range.

Études: One étude that demonstrates your highest level of technical achievement.

Repertoire: Select two solos, contrasting in style and tempo. Possible repertoire:

• Barat: Andante and Allegro (tenor trombone)
• Guilmant: Morceau Symphonique
• Rousseau: Piece Concertante
• Max: Concert Piece
• Galliard: Sonatas (transcribed for tenor trombone)
• Marcello: Sonatas
• Boutry: Tubaroque (bass trombone)
• Lieb: Concertino Basso
• Galliard: Sonata No. 5 (transcribed for bass trombone)
• Vivaldi: Cello Sonata

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

Prepare an etude and two contrasting pieces or movements from standard repertoire at a minimum RCM Grade 8 level, and you will be asked to sight-read a short piece.

Technique: Major and natural minor scales, to 3 flats and 3 sharps, minimum one octave and after one octave, in your comfortable range.

Études: One étude that demonstrates the highest level of technical achievement.  

Repertoire: Select two solos contrasting in style and tempo. Possible repertoire for tuba and euphonium is listed below. 

TUBA 

• Masso: Suite for Louise, by Kendor 
• Beethoven/Bell: Variations on a Theme from Judas Maccabeus (Handel), by C. Fisher 
• Troje-Miller: Sonatina Classica, by Belwin 

EUPHONIUM 

• Prepare any two contrasting movements from a Galliard or Marcello Sonata, by International 

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths. 

Please prepare three contrasting pieces or movements from standard Classical repertoire (one étude and two pieces).

Technique: Major and natural minor scales, to 3 flats and 3 sharps, minimum one octave and after one octave, in your comfortable range.

Études: One étude that demonstrates your highest level of technical achievement.

Repertoire: Select two solos, contrasting in style and tempo. Possible repertoire:

• Mozart: Concerto # 3 – any movement
• Handel: I See a Huntsman (arr. Mason Jones in Solos for the Horn Player)
• Saint - Saens: Romance Op. 36
• Krol: Laudatio
• Cooke: Rondo in B flat
• Marais: La Basque
• Mendelssohn: Andante (arr. Mason Jones in Solos for the Horn Player)
• Mozart Concert # 1 – movement 2

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

Please prepare a 15-minute audition consisting of three works of contrasting style/period that demonstrate your technical skill and musical understanding. Students applying for Organ as a major must also be at a minimum Grade 8 Piano level. 

Repertoire: Repertoire may be drawn from lists published by the Royal Conservatory of Music in Toronto or Conservatory Canada (or similar institutions). There is a wide range of repertoire, and the following selections are just some examples. 

Baroque/Classical  

• Bach, Johann Sebastian: Fantasia in C major, BWV 570 Prelude and Fugue in E minor, BWV 533 
• Buxtehude, Dietrich: Praeludium in F major, BuxWV 144 Praeludium in G major, BuxWV 147 
• Couperin, François: Benedictus (Messe pour les paroisses) 
• Daquin, Louis-Claude: Noël VIII, IX, or XII 
• Frescobaldi, Girolamo: Fiori musicali 
• Krebs, Johann Ludwig: Fantasia a gusto Italiano 
• Pachelbel, Johann: Ricercar in C minor 
• Sweelinck, Jan Pieterszoon: Echo Fantasia No. 2 or 3 

19^th Century 

• Boëllmann, Léon: Prière à Notre Dame (from Suite gothique, Op. 25) 
• Franck, César: Andantino in G minor 
• Mendelssohn, Felix: Sonata in D major, Op. 65, No. 5, 2^nd or 3^rd movement 
• Rheinberger, Josef: Cantilena (Sonata No. 11 in D minor, Op. 148) 
• Schumann, Robert: Fugue No. 3 in G minor from Six Fugues on B-A-C-H, Op. 60 

20^th and 21^st Century 

• Bales, Gerald: Intermezzo (Petite Suite) 
• Bédard, Denis: Postlude No. 4 from Quatre pièces en forme de messe 
• Bridge, Frank: Allegro ben moderato (Six Organ Pieces) 
• Cabena, Barrie: Improvisation, Op. 440 (in Te Deum Laudamus 1, RCCO) 
• Dupré, Marcel: Antiphon V (15 Pieces Founded on Antiphons, Op.18) 
• Howells, Herbert: Sarabande for the Morning of Easter 
• Messiaen, Olivier: Desseins éternels (La nativité du Seigneur) 
• Whitlock, Percy: Folk Tune (Five Short Pieces) 
• Willan, Healey: Prelude and Fughetta (Five Pieces); Matins (Two Pieces) 

Please prepare a 15-minute audition consisting of three works of contrasting style/period that demonstrate your technical skill and musical understanding.   

Repertoire may be drawn from Grade 9 or above lists published by the Royal Conservatory of Music in Toronto, Conservatory Canada, or similar institutions. 

Repertoire: The following lists offer suggested works at the requisite level.  

Baroque  

• Bach, J. S.: Sinfonia (3-part invention) 
• Bach, J.S. Prelude and Fugue, Well-Tempered Clavier  
• Daquin,  Le Coucou  

Viennese-Style Classical Sonata  

• Haydn,  Sonata, one or two movements (e.g., Hob XVI/ 13, 23, 34, or 37)  
• Mozart,  Sonata, one or two movements (e.g., K. 283, K. 570) 
• Beethoven, Sonata, one movement (e.g., Op. 79) 

19^th Century  

• Chopin, Nocturnes, Op. 32, No.1 or Op.70, Nos.1, 3 
• Chopin, Waltzes, Op. 64, No. 2, 3, or Op. 70, No. 1, 3 
• Chopin, Mazurka, Op. 6, No.1 or Op. 68, No. 1 
• Farrenc, Louise,  Impromptu  
• Hensel, Fanny,  Mélodie, Op.4, No.2  
• Schumann, Clara,  Mazurka from Soirées musicales 
• Schumann, Robert,  Fantasy Pieces, Op. 12, No. 1 or 4  

20th Century and Beyond  

• Burge, John: Twenty-Four Preludes, Nos. 1, 2, 7  
• Chee, Connor: Sand Paintings (Eastern Clouds, Western Mountains)  
• Debussy,  Préludes (La Fille aux cheveux de lin, Canope)  
• Dett, Nathaniel, In the Bottoms (Juba) 
• Hill-Duncan, Martha, Isla Vista Suite (Monarchs, Santa Vista Winds)  
• Fiala,  Sonatina  
• Gershwin,  Gershwin at the Keyboard   
• Ibert,  Le Petit Ane Blanc (The Little White Donkey)  
• Louie, Alexina,  Music for Piano (Changes)  
• Joplin, Piano Rags   
• Kabalevsky,  Six Variations on a Ukrainian Folk Song, Op.5, No. 5  
• Kosenko, Viktor,  24 Children’s Pieces, Op.25 (Nos. 10,12,15,22)  
• Pépin, Le Nez (The Nose)  
• Peterson, Oscar,  Canadiana Suite (Land of the Misty Giants)  
• Shearing, George,  Interpretations for Piano (“Over the Rainbow”)  
• Still, William Grant,  Blues on Lenox Avenue   

If you have questions about your repertoire choices, please contact the Area Coordinator, Cynthia Tormann.

We’re glad that you planning to audition for percussion at the DAN School! If you’d like any more information on the percussion program, want to visit our facilities or schedule a trial lesson, please get in touch with Dr. Jamie Drake at j.drake@queensu.ca

Please note that the audition requirements and repertoire below are a suggested guide. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths. We acknowledge that there may be potentially qualified candidates who may not yet be able to play some of the requirements listed below because of access issues or other circumstances. Should you have any questions about audition repertoire or substitutions, please contact Dr. Jamie Drake at j.drake@queensu.ca

For your audition, please prepare the following: 

• two contrasting snare drum solos (one using closed rolls, one using open rolls) 
• one timpani solo (including initial tuning of the timpani)
• two mallet solos – one two mallet solo and one four mallet solo
• sight reading on mallets and/or snare drum
• Students may also demonstrate drum set proficiency. Applicants should be prepared to demonstrate the following grooves: 
  • swing – slow, medium, fast 
  • rock – eighth note 
  • funk – sixteenth note 
  • Latin – basic Latin grooves 

Snare Drum

Prepare two contrasting Snare Drum solos. Études contained in these method books would be acceptable as audition pieces: 

• Closed roll/concert etudes:
  • Cirone, Anthony: Portraits in Rhythm 
  • Goldenberg, Morris: Modern School for Snare Drum 
  • Podemski, Benjamin: Podemski’s Standard Snare Drum Method 

• Open roll/rudimental etudes: 

  • Pratt, John: 14 Modern Contest Solos 
  • Wilcoxon, Charles: Modern Rudimental Swing Solos for the Advanced Drummer, All American Drummer 

Timpani

Prepare one timpani solo for two, three or four drums.  Any of the études contained in these method books would be acceptable as audition pieces: 

• Beck, John: Concepts for Timpani 
• Friese, Alfred and Lepak, Alexander: The Complete Timpani Method 
• Goodman, Saul: Modern Method for Timpani 
• Whaley, Garwood: Primary Handbook for Timpani 
• Any timpani solos by Mitchell Peters, Raynor Carrol, Elliott Carter (“March”) and John Beck are also acceptable.

Mallet Solos

Two Mallet Solo:

These mallet books contain some basic pieces for marimba or xylophone. Any example from these methods could be an effective audition piece. If you are unable to find music created for the mallet instruments, you may substitute a transcription of any Grade 6/8 woodwind or string solo.

• Goldenberg, Morris: Modern School for Xylophone, Marimba and Vibraphone 
• Green, George Hamilton:  Xylophone Rags
• Hatch, Earl: My Marimba and I 
• Jolliff, Art: Music for Marimba (Volume I, II, III), Seventy-Eight Solos for Marimba (Volume I, II), Solos for Marimba, Xylophone or Vibes 
• McMillan, Thomas:  Masterpieces for Marimba

Four Mallet Solo:

Any four mallet solo that can be played confidently is acceptable as an audition piece.  There are many excellent solos available.  The following are some commonly performed beginner/intermediate four mallet pieces:

• Gomez, Alice:  Rain Dance
• Hopper, Adam:  Ghost Garden
• Peters, Mitchell:  Sea Refractions
• Peters, Mitchell:  Yellow After the Rain

Audition Requirements:

One three-octave scale and arpeggio of your choice.

Possible repertoire: pick 3 contrasting categories.

• A work of candidate’s own choice, from a musical period not represented in the selections below. Could be contemporary, folk, jazz, popular, own arrangement/ composition.
• One movement from any one of the Bach Sonatas and Partitas for Solo Violin
• One movement from a Classical or Romantic concerto
• One movement of a sonata
• One movement from a Canadian composer...examples include, Gena Branscombe, John Burge, Marjan Mozetich, Michel Szczesniak etc...All of their music is available from the Canadian Music Centre, and much more can be found there as well.

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition can use their discretion and make choices that best reflect the candidate’s level, achievement and strengths. Questions regarding repertoire are welcomed.

To have a complimentary lesson in addition to your audition, email Gisèle Dalbec-Szczesniak, gd9@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston.

Audition Requirements:

1. One three-octave scale and arpeggio of your choice.
2. One Etude or Caprice of your choice (eg. Kreutzer, Campagnoli, Rode)
3. Two of the following pieces or movements:
   • A work of candidate’s own choice, from a musical period not represented in the selections below. Could be contemporary, folk, jazz, popular, own arrangement/ composition.
   • One movement from a standard Concerto or Sonata (Handel, J.C. Bach, Hummel)
   • One movement from the Solo Suites for Violoncello by J.S. Bach

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition can use their discretion and make choices that best reflect the candidate’s level, achievement and strengths. Questions regarding repertoire are welcomed.

To have a complimentary lesson in addition to your audition, email Gisèle Dalbec-Szczesniak, gd9@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston.

Audition Requirements:

Possible repertoire... pick 3 contrasting categories.

• A work of candidate’s own choice, from a musical period not represented in the selections below. Could be contemporary, folk, jazz, popular, own arrangement/ composition.
• One or two movements from the Solo Suites or Viola Da Gamba Sonatas by J.S. Bach or the Six Sonatas by Vivaldi
• A movement from a classical or romantic cello sonata.
• A movement from a concerto (Klengel, Haydn, Saint Saens, Lalo, etc.)
• Own choice from the 19th or 20th Century.

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition can use their discretion and make choices that best reflect the candidate’s level, achievement and strengths. Questions regarding repertoire are welcomed.

To have a complimentary lesson in addition to your audition, email Wolf Tormann, wt2@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston.

Audition Requirements:

Select one sonata and one etude (two contrasting movements, one fast and one slow). Plus an additional own choice selection, if you wish.

Possible repertoire:

• A work of candidate’s own choice, from a musical period not represented in the selections below. Could be contemporary, folk, jazz, popular, own arrangement/ composition.
• Marcello, B.: Six Sonatas for Double Bass and Piano (originally violoncello)
• Vivaldi, I.: Five Sonatas for Double Bass and Piano (originally violoncello)
• Simandl: 30 Etudes for Double Bass

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition can use their discretion and make choices that best reflect the candidate’s level, achievement and strengths. Questions regarding repertoire are welcomed.

Please prepare three contrasting songs. 

Repertoire: Selections may be chosen from the following genres: 

• Italian Songs and Arias (any key, any edition) 
• French mélodie  
• German Lieder 
• English Art Song 
• Opera/Operetta 
• Oratorio 
• Musical Theatre

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the singer’s level, achievement, and strengths.

Please prepare two pieces. For your first piece, choose one work from the recommended repertoire list for your instrument and for your second piece, choose one piece (approximately 3-4 minutes) that represents your interest(s) in music. Your second piece could include any other type of music you have experience with, such as pop music, classical, jazz, folk, various world music traditions, experimental music, a personal composition, an improvisation, or anything that inspires your creativity. 

In addition to the recommended repertoire list for each instrument, any piece from the RCM Grades 4 through ARCT syllabus would be acceptable; however, you are not limited to music from the RCM syllabus (you may choose a work in a different style of equivalent level). 

All accompanied works should be accompanied whether doing a live or recorded audition.

Please choose two (2) or three (3) pieces total:

• one or two pieces from the standard repertoire list from RCM Syllabus.
• one piece approximately 3-4 minutes that represents your interest(s) in music.  This could include many other types of music you have experience with such as pop music, classical, jazz, folk, various world music traditions, experimental music, a personal composition, an improvisation, or anything that inspires your creativity.

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

*There will also be a sight-reading component to the audition. 

Please prepare two pieces in accordance with the Woodwind Audition guidelines. The first piece should be chosen from the lists below; the second may be chosen from the lists below or may be an alternate piece that represents your interest(s) in music.

Repertoire: If choosing two pieces from the list below, please choose one from Group A and one from Group B.

Group A:

• Albinoni: Concerto in D minor 
• Bellini: Concerto in E-flat major 
• Cimarosa: Concerto  
• Handel: Sonata No.2 in G minor  
• Marcello: Concerto in C minor 
• Mozart: Concerto 
• Telemann: Sonata in A minor  
• Vivaldi: Concerto in C minor    

Group B:

• Arnold: Fantasy for Oboe and Piano 
• Britten: Temporal Variations  
• Hindemith: Sonata 
• Nielsen: Two Fantaisiestücke 
• Pierné: Piece in G minor 
• Poulenc: Sonata 
• Saint-Saens: Sonata 
• Schumann: Romances   

Technical Studies: Select from Barrett Progressive Studies #14, #16, #19, or #25.

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

*There will be a sight-reading component to the audition. 

Please prepare two pieces in accordance with the Woodwind Audition guidelines. For your first piece, choose one work from the recommended repertoire list, and for your second piece, choose one piece (approximately 3-4 minutes) that represents your interest(s) in music. Your second piece could include any other types of music you have experience with, such as pop music, classical, jazz, folk, various world music traditions, experimental music, a personal composition, an improvisation, or anything that inspires your creativity. 

Recommended Repertoire: 

• Brahms: Sonata Op. 120 No. 1 or Op. 120 No. 2, 1st movement 
• Finzi: Five Bagatelles I, II, or IV, two movements 
• Glick: Suite Hebraique I, II, III, VI, any two contrasting movements 
• Mozart: Concerto A major, 1st movement 
• Saint Saens: Sonata Op. 167, 1st and 2nd movements 
• Stamitz: Concerto in B flat major, 1st or 2nd movement 
• Tartini-Jacob: Concertino, any two contrasting movements 
• Vanhal: Sonata in B flat major, 1st movement 
• Weber: Concertino 
• Weber: Grand Duo Concertante, 2nd and 3rd movements 

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths.

*There will also be a sight-reading component to the audition.

Please prepare two pieces in accordance with the Woodwind Audition guidelines: one work from the recommended repertoire list and a second piece from the list or an alternate piece that represents your interest(s) in music. Repertoire chosen should show your ability to play the range of the bassoon from low Bb to the C in the treble staff. Ideally, repertoire should also demonstrate the ability to read tenor clef and interpret diverse musical styles, including baroque, classical, and/or jazz idioms.

Repertoire: Suggested repertoire is listed below, although you are also welcome to select works other than those on these lists.

Classical

• Mozart: Bassoon Concerto K191 
• Vivaldi: any of the Bassoon concerti 
• Weber: Bassoon Concerto in F major 

Baroque

• Fasch: Sonata in C major 
• Galliard, J. E.: any Sonata 
• Merci, Luigi: any Sonata 

20th Century

• Wolf-Ferrari, Ermanno: Concertino in F major for Bassoon and Small Orchestra, Op. 16 

Canadian  

• Lussier, Mathieu: Bassango 
• Coulthard, Jean: Lyric Suite 
• Archer, Violet: Sonatina for Bassoon and Piano 
• Sexton, Brian: Newfoundland Suite 

Jazz Influences

• Cooper, Ken: Jazz Suite 
• Douglas, Bill: Partita for Bassoon and Piano. 
• Or any of the Weissenborn Advanced Studies 

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths. 

*There will also be a sight-reading component to the audition. 

To have a lesson in addition to your audition, email legerek@queensu.ca. Lessons are available virtually if desired. 

Candidates may audition on any saxophone of their choice, but their main course of study will be on the alto saxophone through the undergraduate program. A student’s experience on the other saxophone(s) will supplement their work in solo, chamber music, and large ensemble (wind ensemble, jazz ensemble) settings. Please direct questions to Dr. Jeffrey Leung (jeffrey.leung@queensu.ca). 

Audition Requirements: 
 Prepare the following:  

• Scales and arpeggios in all major and (harmonic) minor keys. 
• One substantial musical work that clearly demonstrates proficiencies in lyrical playing and technical ability on the instrument. The recommend repertoire lists provided below can be used as a reference. 
• One piece (approximately 3-4 minutes) that represents your interest(s) in music. This piece could include many other types of music, such as pop music, classical, jazz, folk, various world music traditions, experimental music, a personal composition, an improvisation, or anything that showcases their creativity. 

Recommended Études: 

• Voxman: Selected Studies  
• Klosé: 25 Daily Exercises (arr. Mule OR McAllister) 
• 48 Studies after Ferling (arr. Mule) 
• 18 Studies after Berbiguier (arr. Mule) 

Recommended Repertoire for Eb Alto or Baritone Saxophone: 

• Bozza, Eugene: Aria  
• Eccles, Henri: Sonata  
• Glazunov, Alexander: Concerto  
• Maurice, Paule: Tableaux de Provence  
• Nishimura, Cait: Hiraeth for Baritone Saxophone  
• Still, William Grant: Romance  

Recommended Repertoire for Bb Tenor or Soprano Saxophone: 

• Bedard, Denis: Fantasie  
• Ravel, Maurice: Piѐce en forme de habanera (arr. Viard) 
• Singelée, Jean-Baptiste: Sixiѐme Solo de Concert, Op. 92 
• Platti, Giovanni: Two contrasting movements from Sonata in G Major (arr. Rousseau) 
• Teal, Larry: One selection from Solos for the Tenor Saxophone Player  

All accompanied works should be accompanied whether doing a live or recorded audition.

 This is a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, achievement, and strengths. 

 *There will also be a sight-reading component to the audition. 

Audition Requirements:

Prepare three contrasting pieces or movements (one of which may be a study) from standard repertoire.

Suggested repertoire:

• Bach, J.S.: Prelude in D major, BWV 1007, Prelude in D minor, BWV 999, or any one movement of similar difficulty from a suite for lute, violin or cello.
• Sor, Fernando: Any of Etudes 10-20 from the Twenty Selected Studies by André Segovia
• Carcassi, Matteo: Any of Etudes 15-25 from the 25 Melodic and Progressive Studies, Op. 60
• Paganini: Romance from the Grand Sonata
• Villa-Lobos: Preludes 1, 3 or 4
• Mangoré, Barrios: Julia Florida or Preludio saudade from ‘La Catedral’
• Merlin: Joropo from Suite del recuerdo

Non-classical repertoire:

You may choose to audition on an acoustic instrument in a non-classical style. The following options are suitable. It is highly recommended to bring some type of sheet music to the audition for the adjudicators to follow. For example, a lead sheet or a tablature will suffice.

• A fingerstyle chord solo arrangement of a jazz standard
• An intermediate to advanced flamenco piece
• An acoustic fingerstyle piece (in the style of Andy Mckee, Don Ross or Calum Graham)

All accompanied works should be accompanied whether doing a live or recorded audition.

This is a guide only. Teachers preparing students for an audition can use their discretion and make choices that best reflect the candidate’s level, achievement and strengths. Questions regarding repertoire are welcomed.

*There will also be a sight-reading component to the audition.

To have a complimentary lesson in addition to your audition, email Jeff Hanlon, hanlonj@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston.