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Woodwind

Please choose one piece from the recommended repertoire list, and for your second piece please choose a song of approximately 3-4 minutes that represents your interest(s) in music.  This 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.

Applicants should play two pieces of their choice.  If students are looking for specific recommended works, any piece from the RCM grades 4 through ARCT syllabus would be acceptable; however, students are not limited to music from the RCM syllabus (you may choose a work in a different style of equivalent level).

Select one work from each group. Possible repertoire:

  • Bach, J.S.: Sonata in E flat major, 1st and 2nd movements
  • Handel, G.F.: Sonata in C major, Two contrasting movements
  • Pergolesi: Concerto in G major, 1st and 2nd movements
  • Gluck, G.: Minuet and Dance of the Blessed Spirits
  • Godard, B.: Suite op. 1661st and 2nd movements
  • Mozart, W.A.: Andante in C major

Works which may be substituted for above choices (any two movements)

  • Chaminade, C.: Concertino
  • Doppler, F.: Hungarian Pastoral Fantasy
  • Fauré, G.: Fantaisie
  • Hindemith, P. Sonata for Flute and Piano
  • Mozart, W.A.: Concerto in G major
  • Poulenc, F.: Sonata

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 choose one piece from the recommended repertoire list, and for your second piece please choose a song of approximately 3-4 minutes that represents your interest(s) in music.  This 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.

Select one work from each group. Possible repertoire:

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

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.

Select two contrasting movements from the following repertoire:

Please play two contrasting items.  One should be chosen from the lists below; the second may be chosen from the lists below or may be an alternate item that fits the specifications of the Woodwind area (a song that represents your interests in music).
If choosing two pieces from the list below, please choose one from Group A and one from Group B.  There will also be a sight-reading component to the 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.

 

 

 

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
  •  Pierné Piece in G minor
  • Poulenc Sonata
  •  Nielsen Two Fantaisiestücke
  • Saint-Saens Sonata
  • Schumann Romances

 

 

Technical Studies:  Barrett Progressive Studies: select from #14, #16, #19, or #25”

 

For substitution requests, or to have a lesson in addition to your audition, email elizabeth.eccleston@queensu.ca. Lessons also available in Toronto.

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.

Repertoire chosen should show candidates 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 Jazz idioms. 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. 
 
To have a lesson in addition to your audition, email legerek@queensu.ca. Lessons are available virtually if desired.
Suggested repertoire (although note you are also welcome to select works other than those on this list):  

Classical:

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

 
Baroque:

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

 
20th Century

  • Ermanno Wolf-Ferrari Suite-concertino in F major for Bassoon and small orchestra, Op. 16

 
Canadian *1

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

 
Jazz Influences:

  • Ken Cooper: Jazz Suite
  • Bill Douglas: Partita for bassoon and piano”

*Heavy jazz influences with contemporary composers.

Or any of the Wiessenborn Advanced Studies

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.

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 scales and arpeggios in all major and (harmonic) minor keys
· Prepare a substantial musical work that clearly demonstrates proficiencies in lyrical playing and technical ability on the instrument – the provided Repertoire Lists can be used as a reference
· As outlined by the Woodwind Area audition requirements: prepare a second piece of approximately 3-4 minutes that represents the candidate’s interest(s) in music. This 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

Repertoire Lists:
Refer to the following lists for etude and repertoire suggestions, but they serve as a guide only. Teachers preparing students for an audition should use discretion and make appropriate choices that best reflect the candidate’s level, strengths, and musical interests.

Possible etudes
· Selected Studies (Voxman)
· 25 Daily Exercises (Klosé, arr. Mule OR McAllister)
· 48 Studies after Ferling (Arr. Mule)
· 18 Studies after Berbiguier (Arr. Mule)

Possible repertoire (listed by instrument)

Eb Alto or Baritone Saxophone Repertoire:
· Aria (Eugene Bozza)
· Sonata (Henri Eccles)
· Concerto (Alexander Glazunov)
· Tableaux de Provence (Paule Maurice)
· Hiraeth for baritone saxophone (Cait Nishimura)
· Romance (William Grant Still)

Bb Tenor or Soprano Saxophone Repertoire:
· Fantasie (Denis Bedard)
· Piѐce en forme de habanera (Maurice Ravel, arr. Viard)
· Sixiѐme Solo de Concert, op. 92 (Jean-Baptise Singelee)
· Two contrasting movements from Sonata in G Major (Giovanni Platti, arr. Rousseau)
· One selection from Solos for the Tenor Saxophone Player (Larry Teal)

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

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