General guidelines

In addition to the guidelines on this page, be sure to follow the music audition guidelines for all students.

Audition guidelines for woodwinds

Perform two works of contrasting style, chosen from these categories: Baroque period composition; a composition or sonata movement from the Classical or Romantic period; a composition from post-1990.

  • One work should be technical, such as an etude
  • One work should be melodic
  • At least one work must include piano accompaniment

Repertoire suggestions

The following lists are provided to represent sample repertoire only and are not meant to be exclusive listings of acceptable works that may be performed. Please contact your personal music instructor if you need additional help in choosing acceptable audition material. Popular songs are not an accepted form of audition repertoire.


  • First movement of a standard repertoire concerto or sonata, such as:
    • Mozart: Flute Concerti in either G Major (K.313) or D Major (K.314)
    • Bach: Sonata in A Major (BWV 1032) or Partita in A minor (BWV 1013)
    • Poulenc: Sonata for Flute and Piano
    • Chaminade: Concertino for Flute in D Major, Op. 107
    • Quantz: (select 1 of the following):
      • Concerto for Flute in G minor, QV5:196 (No. 262)
      • Concerto for Flute in D Major, QV5:74 (No. 70)
      • Concerto for Flute in C Major, QV5:15 (No. 188)
      • Concerto to Flute in G Major, QV5:174 (No. 161)


  • First movement of a standard repertoire concerto or sonata, such as:
    • Mozart: Oboe Concerto in C Major, K. 314
    • Vivaldi: Oboe Concerto in F Major, RV 455
    • Cimarose: Oboe Concerto in C minor: (I. Introduzione or II. Allegro will be accepted)
    • Schumann: (select 1 from) Romance No. 3, Op. 94


  • First movement of a standard repertoire concerto or sonata, such as:
    • Mozart: Bassoon Concerto in B-flat, K. 19: (I. Allegro or III. Rondo di menuetto will be accepted)
    • Weber: Bassoon Concerto in F Major, Op. 75
    • Galliard: (select 1 from) Six Sonatas for Bassoon
    • Milde: (select 1 from) Concert Studies for Bassoon


  • First movement of a standard repertoire concerto or sonata, such as:
    • Mozart: Clarinet Concerto in A Major, K. 622
    • Weber: Clarinet Concertino in E-flat Major, Op. 26
    • Cavallini: Adagio and Tarantella
    • Jeanjean: Arabesque
  • Rose: 32 Etudes for Clarinet

Bass Clarinet

  • Bozza: Ballade for Bass Clarinet and Piano
  • Gipps: Prelude for Unaccompanied Bass Clarinet
  • Galliard: Adagio and Allegro for Bass Clarinet and Piano
  • Diethe: Romanze for Bass Clarinet and Piano

Alto Saxophone

  • Bozza: Concertino for Alto Saxophone
  • Debussy: Rhapsodie for Alto Saxophone
  • Handel/Rascher: Sonata No. 3
  • Creston: Sonata, Op. 19

Tenor Saxophone

  • Bach/Gateau: Deuxiéme Sonate BWV 1031
  • Bach/Gee: Sonata No. 4
  • Handel/Londeix: Sonata No. 1

Baritone Saxophone

  • Davis: Variations on a Theme of Robert Schumann
  • Gurewich: Fantasy in F minor
  • Vince/Wain: Sonata No. 1, Adagio and Allegro

Audition tips


  • Prepare for sight-reading by sight-reading.
    • Set a metronome.  Don’t stop. 
    • Record it, don’t evaluate as you go; or have someone else evaluate. 
    • Slow, steady tempo
  • Practice major scales up to 5 flats and 4 sharps comfortable (You may not be asked for these but it’s good to be ready.)
    • Two octaves where possible, tongued up, slurred down; quarters and eighths;
    • Chromatic scale in full range of instruments in triplets, as quickly as is comfortable
  • Listen to several versions of recordings of your piece to assist with style and familiarize yourself with accompaniment.


  • You may want to play a few warm-up notes at the beginning of your audition to acquaint yourself with the acoustics of the audition room. 
  • Be sure to tune with the pianist.
    • Let them know ahead of time what tuning notes you need. 
    • Are you confident about how to adjust the tuning if the tone is flat or sharp? (Don’t depend on the accompanist to tell you--practice this!)
  • Be sure to let the stage crew know prior to your entrance if you will be seated or if you will stand so that chairs may be placed and stand heights can be set. 
  • Make any adjustments to the stand and chair, regard spacing and heights before starting. 
  • Be sure to position yourself so that your accompanist can see you breathe.