<p>Yes, I would definitely alphabetize by last name. Check out the rep lists online for major international soloists. They are alphabetized by last name.</p>
<p>I am going to throw something in here heard when someone from Juilliard’s admission office was talking about admissions to Juilliard and even general questions about getting admitted.</p>
<p>What I took out of it was what others have written, that the idea of the repertoire list is to try and show where the person is in terms of what they have done both musically and technically, that the idea is to paint a picture of breadth of experience and so forth (how well you play comes out in the audition itself). One of the things she strongly recommended was not putting every little thing in the repertoire list but rather those things that painted the picture in as few colors as possible, so to speak. I have seen some kids reportoire lists and if I was an admissions person and had to wade my way through what looked like hundreds of lines of “did a recital on 10/26/xx at church of YYY” and the like I would go blind.</p>
<p>I am going to throw something in here heard when someone from Juilliard’s admission office was talking about admissions to Juilliard and even general questions about getting admitted.</p>
<p>What I took out of it was what others have written, that the idea of the repertoire list is to try and show where the person is in terms of what they have done both musically and technically, that the idea is to paint a picture of breadth of experience and so forth (how well you play comes out in the audition itself). One of the things she strongly recommended was not putting every little thing in the repertoire list but rather those things that painted the picture in as few colors as possible, so to speak. I have seen some kids reportoire lists and if I was an admissions person and had to wade my way through what looked like hundreds of lines of “did a recital on 10/26/xx at church of YYY” and the like I would go blind.</p>
<p>The point from Juilliard is a good one. Thank you, I just dont really have anything more than what I have posted already. This is because Ive only just started with a new teacher 5 months ago and before him I didn’t truly study anything properly. So what is on my list is mostly what I am playing currently for my auditions to the different music colleges. That is why I want to include the two etudes as pieces; also because they are quite melodic and often performed in concerts. </p>
<p>Another question: I have studied Schradieck, The School of Violin- Technics, Book 1 and Sevcik Op. 8 Shifting the Position and Scale-Studies. Are those a respectable enough level to put on the list of Etudes and Methods Studied? I want to avoid looking like a remedial violinist simply because I haven’t properly studied etudes that in the last year or two. I have improved tremendously in this time and would now be able to study much more difficult etudes so I don’t want to put something on their that doesn’t correctly represent who i am as a violinist now. </p>
<p>I have eliminated the first names of the composers on my list to alphabetize by last name. Does this look alright?</p>
<ul>
<li> Bach, Partita No. 1 in B minor, Corrente and Double</li>
<li> Bruch, Violin Concerto No. 1 in G minor, I, II, III</li>
<li> Fiorillo, Etude No. 28</li>
<li> Hubay, Hejre Kati</li>
<li> Kreisler, Sicilienne and Rigaudon</li>
<li> Mozart: Concerto No. 3 in G major, I</li>
<li> Wieniawski, Etude No. 4 Op. 18</li>
</ul>
<p>Thank you for your help!</p>
<p>I think your list is fine. Thanks for explaining your circumstances a bit. I would not include Sevcik or Schradieck for the reasons you’ve stated. Did you happen to study Flesch or Galamian scale books? That would be OK to include - but don’t worry if you haven’t studied those.</p>
<p>Again, understand how your “repertoire list” is likely to be used - that may take care of some of your concerns! Caveat - I don’t know where you are applying.</p>
<p>1) If the repertoire list is asked for on the application, it may not even be seen by teachers or those auditioning you. It will just be reviewed by the admissions dept. It gives the admissions people an idea of your depth of study - like asking how many years of private lessons. A potential teacher may not be given or need the information - the playing in the audition will speak for itself. </p>
<p>2) Some applications will have a second place to list audition repertoire. This the teachers/audition panel may get a copy of - or you will be asked at the time of audition to write it down or tell them what you have. </p>
<p>I think you understood this - but I also think you may be overly concerned with the general repertoire list described in (1). It’s nice to have a clear list, but isn’t going to factor hugely in any admissions decisions. </p>
<p>3) If you are auditioning at smaller places or for one teacher, the audition may include some discussion of repertoire or your background and the teacher might even have a copy of your full application. Fine - you can discuss your background and everything will be considered along with the playing you demonstrate at the audition.</p>
<p>4) When you are admitted and begin with a new teacher, (s)he will likely want a full repertoire list or discuss repertoire with you. Now is the time to indicate the extent and circumstances of your etude study (Sevcik, Schradieck) and any other solo/concerto/sonata work that you did with previous teachers. The new teacher will know how to set you up with appropriate technical and solo material. Many teachers don’t want to immediately repeat works previously studied, so they ask about past study. </p>
<p>Good luck to you!</p>
<p>My son needs to have a repertoire for his college music auditions. He is a tuba player. He has never written one nor have I …can anybody give us some advice?</p>
<p>At the beginning of this thread, there are some internal thread links. As a couple of the referenced external links to formats no longer work, here are a few from the web:</p>
<p><a href=“http://www.hornsociety.org/en/horn-call/hornzone/267-prepare-for-success-a-college-audition-guide[/url]”>Prepare for Success: A College Audition Guide - IHS Online; (scroll to page bottom, there’s both rep and resume pdf samples)
[The</a> Definitive Guide to Building and Maintaining a Repertoire List | Chamber Musician Today](<a href=“chambermusiciantoday.com”>chambermusiciantoday.com)</p>
<p>An internal thread that may not have been previously linked <a href=“http://talk.collegeconfidential.com/music-major/1015261-flute-repertoire.html[/url]”>http://talk.collegeconfidential.com/music-major/1015261-flute-repertoire.html</a></p>
<p>tubamaster,</p>
<p>Probably just follow pretty much what the 25 post before yours suggested. If your tuba player is like my trumpet player, he probably doesnt have a huge list of fancy solos and whatnot. I suspect that a lack of a significant repertoire is probably typical of music students who study wind instruments. Just from reading posts on here by string, piano and voice students, they seem to be a lot more sophisticated about such, and are far more likely to have taken years of private lessons.</p>
<p>My son is auditioning on trumpet and piano but was a late comer to both. While a heck of a lot of piano players stated at ages 4-8, my son never started trumpet until he was going into the 9th grade, so private lessons at the begining were essential (he only had 4 months of trumpet experiance before his first public marching band performance). Anyhow, he has taken private trumpet lessons on and off, and he started piano lessons two years ago but has had to frequently discontinue lessons for a few months due to schedule issues.</p>
<p>My son listed just a few pieces on his repertoire, nothing extensive at all. Since much of his music experiance has been with ensembles, I really dont think that a small repertoire is that big of a deal. Most surely the auditioners will understand that he has not had a lot of time to work on a solo repertoire because he has been involved with marching band, concert band, jazz band, indoor percussion ensembles (keyboard), pit orchistra for the school play, drum corps, etc. I really cant see that a wind player would have as much fancy high falluten stuff on their repertoire as a piano or string student.</p>
<p>I concur with imagep: For brass players and most woodwinds (although not necessarily flutes), the rep list doesn’t need to be huge or full of gigantic works. </p>
<p>For any player (including the strings, piano etc.), the rep list is not a big factor in admissions. How the student plays is the all-important factor. If they play well, they get in; if they play poorly, no rep list is going to help them get in. </p>
<p>Part of the reason that little or no weight is placed on the rep list is that there is no universal standard as to how well something needs to have been played in order to be admitted to the list–some students’ lists are huge and full of works that they never played well (because they don’t play well) and other lists are small but every work has been played well. The evaluators can’t know the difference between the two. Ultimately, most schools probably use the rep list in the same way they use information like the one’ s private teacher, high school attended etc.: to provide some background on the student.</p>
<p>A huge rep list full of difficult works could be a liability; if one’s audition makes it clear that one never should have tackled so many tough pieces, then it can be a sign that many bad habits are present or a sign that one doesn’t learn quickly (i.e. the student has played tons of repertoire but clearly has not learned much from it).</p>