• Two selections of contrasting styles: one that demonstrates technical facility and the other that demonstrates beauty of tone. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted.
  • One or more movements from a standard concerto (e.g., Bruch, Mozart, Haydn, Lalo)
  • Sonata movement (e.g., solo sonatas and partitas by Bach, Beethoven, Grieg)
  • Etudes by Kreutzer, Dont, Rode
• Major and minor scales in three octaves
• Sight-reading

• Two selections of contrasting styles: one that demonstrates technical facility and the other that demonstrates beauty of tone. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted.
  • One or more movements from a standard concerto (e.g., Telemann, J.C. Bach, Handel, Hoffmeister, Stamitz)
  • One or more movements from a standard sonata (e.g., Marcello, Eccles, Schubert)
  • One or more movements from a standard concert piece (e.g. Bloch Suite Hebraique, Bruch Romanze, Hindemith Trauermusik)
  • A movement from a Bach Suite for solo viola (cello)
• Major and minor scales, preferably three octaves
• Sight-reading

• Two selections of contrasting styles: one that demonstrates technical facility and the other that demonstrates beauty of tone. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted.
  • Etudes by Popper, Gruetzmacher, Piatti, Duport
  • One or more movements of a standard concerto (e.g., concerti by Haydn, Boccherini, Saint-Saens, Lalo, Elgar)
  • One or more movements of Bach (solo suites or gamba sonatas)
  • Appropriate single movement works (e.g., Spinning Song or Elfentanz by Popper, Elegy by Faure, or Kol Nidre by Bruch)
• All major and minor scales and arpeggios, at least three octaves (preferably four octaves)
• Sight-reading

• Two selections of contrasting styles: one that demonstrates technical facility and the other that demonstrates beauty of tone. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted.
  • One or more movements of a concerto (e.g., Dittersdorf, Van Hal, Dragonetti)
  • One or more movements of a Baroque sonata (e.g., Bach, Marcello, Vivaldi)
  • Etudes by Simandl, Hrabe, Storch
• Scales
• Sight-reading

• Two selections of contrasting styles. Choices may include an etude (e.g., Bach, ed. Grandjany, Naderman, or Salzedo); solo work for harp; or a concerto movement. These should be performed from memory.
• An orchestral cadenza (e.g., Britten Young Person’s Guide; Ravel Tzigane; Tchaikovsky Nutcracker or Swan Lake).

• Two selections of contrasting styles: one that demonstrates technical facility and the other that demonstrates beauty of tone. The compositions listed below are suggestions, and repertoire of equal or more advanced difficulty may be substituted.:
  • Etude, e.g. Carcassi, Op. 60
  • One piece from Noad, Solo Guitar Playing, Vol. 1 from p. 120 to the end
• 2-octave major scales using rest-strokes and free strokes demonstrating good technique for both hands.
• Sight reading

• Three contrasting selections from the following:
  • Movement of a major concerto (e.g., Beethoven, Dvorak, Sibelius)
  • Solo sonata movement (e.g., Bach, Ysaye)
  • Concert piece (e.g., Tzigane by Ravel, Sarasate, Wieniawski)
  • Caprices by Rode, Dont, Gavinies, Paganini
• Major and minor scales in three octaves
• Sight-reading

• Two contrasting movements from a Bach Suite
• One movement of a standard concerto
• One movement of a work of the applicant’s choice

• Two contrasting movements from a Bach suite
• One memorized movement of a standard concerto, or Tchaikovsky's Variations on a Rococo Theme: theme, variations 1, 2, 3, & 7
• One etude of Piatti, Popper, or Duport

• One or more movements of a concerto (e.g., Bottesini No. 2, Van Hal)
• Character piece or sonata (e.g., Sonata by Hindemith, cello suites or gamba sonatas by Bach)
• Orchestral excerpts (e.g., any symphony by Beethoven or Brahms, tone poems by Strauss)
• Etude by Simandl (e.g., Gradus ad Parnassum)

Contact Professor Jacquelyn Davis for information.