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Strings

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. 

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 Gisèle Dalbec-Szczesniak gd9@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston.  

One three-octave scale and arpeggio of your choice. 

One Etude or Caprice of your choice (eg. Kreutzer, Campagnoli, Rode) 

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 

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 Gisèle Dalbec-Szczesniak gd9@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston. 

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. 

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 Wolf Tormann, wt2@queensu.ca. These may be scheduled in advance of your audition and done virtually, unless you are visiting Kingston. 

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 

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 Eric Lee, bassic_lee@hotmail.com. These may be scheduled in advance of your audition and done virtually.  

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, Any one movement of similar difficulty from a Lute Suite 
  • Dowland, John: Queen’s Elizabeth’s Galliard, Any Galliard or Fantasia of similar difficulty 
  • Guiliani, Mauro: Adagio from the Sonata in C major, Op. 15 
  • Lobos, Villa: Prelude 1, 3 or 4 
  • Mangoré, Barrios: Julia Florida, Andante Religioso from ‘La Catedral’ 
  • Sor, Fernando: Any one of Etudes 10-20 from the Twenty Selected Studies by André Segovia 

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) 

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. 

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