Category Archives: Studio News

Concert featuring Asian composers

Ada Qian, a 2nd yr MMus in flute performance student, is giving her graduating recital this Monday 28 February at 8 pm (Pacific/Vancouver time). Ada, who completed her BMus at UVic in 2020, is presenting an innovative program that spotlights four contemporary Asian composers: Canadian Chinese composer Anlun Huang, Xiaoping Zhang, Korean born German composer Isang Yun and Japanese (based in Paris) female composer Yuko Uebayashi . I invite everyone to attend this exciting concert either in person at our PTY recital hall UVIc School of Music) OR via livestream at

Lovely coherence

I am finding my way back to daily yoga practice during this pandemic, and the overlap between the practices of yoga and flute is always striking to me. We often tell ourselves we do not have enough time for daily yoga practice because we need to attend to our flute practice…but yoga can be thought of as an excellent warm-up, as actually part of the flute practice itself. I find thinking about it this way helps me take the time to do it. In case you are up for trying it out and seeing how it can benefit your playing, I encourage you to consider this short (20 min) video “A little goes a long way” on the “Yoga with Adriene” series. This session in particular really resonated with me as a musician: “the sensation is the important thing, not the pose” (aka, the process is more important than the product)…and “you can be inspired by others, sure, but it really doesn’t matter what others are doing…” Check it out:

Spring term 2022 MC schedule

Draft schedule (subject to change). Per course syllabus, all flute students are expected to attend (in person or online) all degree-required flute recitals (29/1, 16/2, 28/2 and 1/3). Please note: details regarding mode of delivery for classes TBA (via email) as we proceed…

12 January Junior class only, via zoom (CM, AM, DJ, LD).Practice technical exam materials.

18 January Tuesday Music postponed (potentially 1 Feb; TBA by concert manager; keep an eye on email…)

19 January via zoom. Performers: VZ, CG, QZ?

26 January in PTY today. Performers: DJ, AM, LD

29 January (Saturday) Second term studio recital 4:30 pm in PTY. All students perform! Concert will be livestreamed.

*Reminder: (Tuesday) 1 February Reading summary #3 is due today

2 February Practice Technical exam for all undergraduates (via zoom) today

9 February in PTY today Performers:  HG, QZ, AQ

*Reminder: Technical Exams take place week of 14 February (during lessons)

POSTPONED 16 February Hao Guo recital; rescheduled to 5 April 12:30 pm in PTY

16 February Guest artist lecture “Jumpstart your teaching” by Bonnie Blanchard (Seattle based studio teacher)

23 February Reading break

(Monday) 28 February Ada Qian final (2nd yr) MMus graduation recital @ 8 pm in PTY

(Tuesday) 1 March Qinyue Zheng first year MMus recital @ 12:30 in PTY

2 March Guest artist lecture: Bonnie Blanchard “How to practice”

9 March Guest artist Clara Novakova via zoom (she is based in China: therefore later class today from 530 pm- 620 pm) Performers: AM, LD, QZ

11 March Woodwind Friday Music concert 12:30 pm in PTY

16 March Guest artist Bernard Blary (flute teacher at Langley Community Music School) Performers: CM, QZ, HG

23 March Performers:  DJ, PT, CG

30 March Guest artist Sabina Laurain via zoom (Professor of flute Mexico State Conservatory and Principal flute Mexico State Orchestra). All students: Please bring your Orchestral Audition book (excerpts with annotations by Walfrid Kujala) to class today. Performers: VZ, LD, AQ

5 April 12:30 Hao Guo MMus (first yr) recital in PTY recital hall

6 April No Class today

11 April Monday @ 2 pm Class party? TBD

12 April Juries (for all current undergrad flutists) in PTY recital hall Details TBA (from office).

Some thoughts on musical scales

I’m finding myself thinking about musicality and musicianship and how we usually think about practising scales and arpeggios. It is interesting to me how we musicians are often trained rather robotically, in the effort to develop evenness of fingers and tone. While of course we DO have to develop those technical abilities, it seems to me that there is an entire realm of unexplored possibility in the expressive potential of scales. If we divorce musicianship from scale practice, what are we actually developing? We do not want to play robotically in our solo repertoire, so why would we want to promote this sort of mechanical playing on a day-to-day basis? I am asking my current students to really explore these questions in their practice: what does it mean to play our scales musically? How do we shape a scale as a phrase? Why not approach them with as much commitment as a solo piece, since your solo piece is often necessarily comprised of scales and arpeggios? It seems so obvious… it’s astonishing I never thought about this more deeply before! There is very good company out there on these matters, and so I invite you to take a look at this, which is available on UK violinist and violin teacher Leo Phillip’s website. I have never met him but I was happy to meet his ideas on this. Great stuff, and easily applicable to the flute for the most part, especially the philosophical aspects! Thank you Leo!

Flute studio recital

Please join us at our UVic flute studio recital on Saturday 16th October at 4 PM in PTY concert hall at UVIC School of Music. This FREE concert will also be live streamed at

This program features many wonderful and unusual pieces, including El Bachiana by Pineda, Bati l’gani by Warschauer and the Suite for cello and flute by Uebayashi. Hope you can join us, either in person or virtually!

Fall term 2021-22 Studio schedule

UVic Flute Studio Fall term 2021-22

(Draft schedule; subject to change)

15 September 1:30 Assemble in person in PTY for information session with Kristy Farkas Concert manager; then at 1:50 meet on MC zoom link: Q/A, introductions, general feedback to audition materials, and syllabus review as time allows

22 September Guest artist: Gloria Huh Mexico State Symphony Assistant principal flutist (via zoom; link will be provided) Performers today: QZ (Telemann Fantasie in a minor), HG (TBA), AQ (Zhang Jiren’s Poem for solo flute),

29 September all students in PTY today Performers: LD (Tango etude #4 by Piazolla), CG (El Bachiano by Pineda), AQ

Thursday 30 September National Day of Reconciliation. No classes.

Friday 1 October Reading summary #1 due today

6 October Junior group class only (CM, LD, AM, DJ) meet in person in B037 and via MC link Practice technical session today. Be prepared to work on chromatic scales (be sure to always use your b flat lever in chromatic passages) and all major scales and arpeggios (two octave)

13 October all students in PTY today Performers: AM (Uebayashi Le Vent solo), LD (Piazolla Tango etude#4 and/or 5), Daisy Ji (? Prelude#2 Muczynski?) QZ (Warschauer Bati L’gani)

Saturday 16 October First term studio recital at 4 pm in PTY. Attend in person or online at Performers include: AM (Uebayashi Solo), LD (Piazolla Tango etude #4), CG (Pineda), AQ (Uebayashi Suite for flute and cello), HG (Karg-Elert Appassionata), QZ (Warschauer Bati l’gani).

20 October all students meet in B037 and via MC zoom link today Performers: CM (CPE Bach Sonata in a minor (slow mvt), VZ (Kuhlau Divertissement #5), PT (Fukushima Requiem)

27 October Guest artist: Paul Hung Vancouver Academy faculty member (all students attend remotely, via MC link today). Performers: LD (TBD), HG (Tadic Four Macedonian Pieces (#1) , AQ (Isang Yun Etude for solo flute)

29 October Woodwind Friday Music concert at 12:30 in PTY (performers TBA) All flute students expected to attend (live or virtually)

3 November Senior and Grad class (VZ, PT, CG, HG, QZ, AQ) Please meet in B037 (I will teach via MC link) Practice technical session. Be prepared to work on chromatic scales in quintuplets (p. 86-87 in Kujala book), all major and minor scales and arpeggios, 2 octaves and 3 octaves if beginning on B or C.

10 November Reading break

17 November Performance in support of “Five Days of Action, 365 Days of Commitment” (all students in PTY today) Performers: AM (Le Vent…by Uebayashi), CG (El Bachiano by Pineda), LD (Tango etude #5 by Piazolla), QZ (Bati l’gani with percussion improvisation), HG (Tadic 4 Macedonian Pieces), AQ (Poem by Chang Ji Ren)

24 November Guest artist: Lisa McCarthy Flute Instructor WWU-Bellingham, WA; all students attend remotely via MC link) Performers: AM (TBD), QZ (Bach Partita, Allemande movement) and HG (Takemitsu Air)

1 December Reminder: Deadline for Reading summary #2 and

1 December all students attend remotely via MC link today. Content TBA

Technical Exam Mid-Feb 2022

Perform using text:

  1. Machiavellian Exercises II. For junior class (AM, CM, DJ, LD) please perform with all repeats. For senior/ grad class (VZ, CG, EW, PT/ HG, QZ and AQ) please perform as a continuous study (i.e., without any repeats). See pp. 28, 29, 30 in Trevor Wye’s A Practice Book for the Flute volume 2: Technique (in Omnibus edition, please see p. 74)
  2. Chromatic scale patterns as shown on pp. 86- 87 in Kujala’s Vade Mecum. Suggested approximate eventual speeds: quarter note= 80 for junior class, quarter note= 90-94 for senior class, 94-98 for grad class.
  3. Octatonic scale patterns as shown on p. 94 in Kujala’s Vade Mecum (please note: articulations on some patterns, such as #36, should be carefully monitored and addressed)
  4. Arpèges p. 46, 47, 48 and 49 in 17 Daily Exercises by Taffanel and Gaubert, prepare all eight articulation patterns (as shown in text). For junior class memorisation is encouraged but not a requirement for this item.

Perform from memory:

  • All major scales and all minor scales in the most common articulation patterns (2sl, 2sl; 3sl,1t; 1t,3sl; all t; all sl, all DT) and different dynamics (pp, p, mp, mf, f, ff). Practice in two octaves, or three octaves when beginning on a b or c. Speed goals will be individually determined in consultation with instructor.
  • For senior class and grad class only: please memorise Arpèges p. 46, 47, 48 and 49 in 17 Daily Exercises by Taffanel and Gaubert. Please prepare all eight articulation patterns (as shown in text).

Some practice tips and ideas:

  • Start at whatever is an easy tempo for YOU, one you can play without unnecessary tension or strain. Only increase your speed at very small increments (no more than one click on metronome at a time) to maintain a physically and mentally relaxed approach.
  • Less is more with these sorts of intensive exercises. Keep your practice to small efficient packages for short durations (i.e., fifteen minutes of productive and thoughtful practice is worth far more than an hour of distracted or stressed practice) .
  • Choose a very small segment a day on which to focus (for example, just one pattern or even just a measure or two). After you have mastered one small segment start pulling short segments together into longer sections.
  • Use your EYES as well as ears to achieve evenness (use a mirror to check what your fingers are actually doing).
  • For technical passages it is usually helpful to focus on eliminating unnecessary motion (are your fingers rising higher than needed? are you “bouncing” unhelpfully on the beats?) Cultivate an easy efficiency for best results. Strive for a relaxed bodily position throughout your entire practice sessions.
  • Feel the horizontal movement (ie., think of note groupings for a forward and natural feel to the phrase and line) rather than emphasising the vertical (beat).
  • Always play with your very best tone! Think of cultivating a full and even tone between registers.
  • Vary your practice in dynamics and colours as well as articulations.
  • Think of this exam as a long term assignment best approached by reducing down to small (i.e., manageable) bits and pieces. To paraphrase the great French flutist Marcel Moyse, results are achieved through consistent, intelligent and patient daily work.

Syllabus 2021-22


Instructor: Dr. Suzanne Snizek


Office hour: first term Wednesday 2:30-3:20, second term TBD

Welcome to the UVic Flute Studio!  I will be your flute instructor and artistic mentor during your studies here at UVic. I am looking forward to working with each one of you! Please closely monitor your UVic email address AND the UVic flute studio blog; you will receive many important updates and details as we proceed through the academic year.


We will have two Studio recitals this coming year: 16 October at 4 pm and 29 January at 4:30 pm (please note start times). All flute students will be scheduled to perform in at least one of these recitals. Aspiring performance majors, declared performance majors and MMUS graduate students will be expected to perform in both recitals. All flute students are expected to attend (either virtually or in-person) both recitals.

Woodwind Friday music concerts (12:30 in PTY hall) will be 29 October and 11 March 2022. These concerts are intended to showcase the entire woodwinds section. Small ensembles rather than individual soloists are therefore prioritised in these concerts, in order to allow performance opportunities for as many wind students as possible.

In addition, school-wide Tuesday music concerts (also 12:30 in PTY) are planned for 1 March, 8 March, 15 March, 22 March, 29 March and 4 April. Students may request to perform and/or I may recommend that you perform in one (or more) of these concerts. Please note: all UVic concerts are now livestreamed with both audio and video. Please dress professionally for all of these important public events.

Office Hours and Advising

If you require flute-related advice outside of your lesson time, please “drop-in” on the zoom link during my weekly online office hour (first term Weds 2:30-3:20; second term TBA). IF you have a course during this time and require an alternative time/day please contact me via email.

If you are an undergrad student and require course or degree advising: please make an appointment with Ms. Sarah Riecken who oversees undergraduate advising for the music dept.

IF you are a graduate student and require advising: please make an appointment with either Benjamin Butterfield (Acting Graduate Advisor for 2021-22) or speak with me (I am your Graduate Supervisor) during my office hour.

Placement Auditions These will be assessed through recordings (due 20 August) submitted to the music dept. office. Students may stop recording between selections, but there should be no editing during selections. The required excerpts are posted on the UVic flute blog:

Lessons You will be given a weekly assigned time for your lesson. Potential private lesson slots will be offered (via email) prior to September. Please choose a time that fits around your class schedule. If you require a new lesson time for second term, please let me know in advance. Both the lesson and masterclass schedules (using student initials) will be posted on the blog early in each term. If you find you need to swap a lesson with another student at some point you can consult this schedule. Please note: the schedule will sometimes need to fluctuate or be adjusted as we proceed through the year. Thank you, in advance, for your flexibility.

Lessons are 50 minutes in length. All students are expected to be punctual, ‘warmed up’ and fully prepared, including having all necessary materials (music, pencil, metronome/tuner, lesson notebook or device for note taking). Keeping good records of lesson suggestions and observations will support your musical development. Organisation is also a key ingredient in overall student success.

Attendance policy

  1. Unexcused missed lessons will not be made up.
  2. If you know in advance you need to reschedule a lesson (for any reason) please arrange this directly with another willing student via email. After a change is confirmed with another student, inform me by email (while cc’ing the other student).
  3. If you must miss a lesson because of illness, please cancel with as much advance notice as possible at
  4. Generally, I require 24 hrs. advance notice in order to reschedule a lesson.
  5. If you feel unwell, please inform me via email. Do NOT attend your lesson or masterclass if you feel unwell.

Master Class meets Wednesdays from 1:30 to 2:20. Masterclass is an important time for the studio and all flute students are expected to attend flute masterclass. Master class is a wonderful opportunity to enhance your musical development. Participation, attitude, attentiveness and preparedness will be the determining factors in the assessment of your participation in master class. Specific repertoire and themes change every term; specifics will be detailed in a separate MC document. MC will often be divided into senior and junior class, in order to better address specific learning needs (flute studio members vary in experience from first year undergraduate through second year MMUS).

On rare occasions we might have master class at other times, either to accommodate visiting guest artists or to participate in a special campus wide event, such as Ideafest. However, these dates are set well in advance and will normally be listed in the Masterclass term schedule which you will receive by the second week of class each term. If you cannot attend an irregularly time-tabled guest MC’s, please simply inform me in advance.

Jury Exam

At the end of the school year, there will be a juried performance of 15 minutes duration for all performance stream students and 10 minutes for all other streams. Students will perform two contrasting works (drawn from repertoire covered within the lessons and as determined by instructor). In addition, materials from the technical exam will be included. In addition, there might be sight reading as part of the jury for performance majors.

A jury exam performance missed for any reason (other than a genuinely serious and unavoidable true emergency) cannot be rescheduled.

Private lesson mark will be determined as follows:

1/3 of mark: private lesson work (including assigned readings/summaries) AND master class work

Each lesson will be assessed on punctuality, preparedness, receptivity to guidance and musical/technical improvement.  For performance majors, this aspect of your lesson mark includes your work in IPS, which is a requirement for all undergraduate performance majors. IPS is strongly recommended to all MMUS students. IPS assessment is based on attendance and participation in the seminar as indicated by IPS attendance sheets and the performance notes completed by IPS faculty.

1/3 of mark: Technical materials , including an in-class exam (administered week of 14 February 2022, exact date TBD by lesson schedule)

Each student will be briefly assessed individually in each lesson (beginning in the third week of classes) on their technical materials. In addition, there will be an in-lesson technical exam. Fluency (20%), accuracy (20%), tonal homogeneity (20%), speed/breathing (20%) and degree of individual improvement (20%) will be assessed. Details regarding specific content and expectations can be found here: We will develop these materials through quick (~5 min) technical “check-ins” at the end and/or beginning of most lessons, and a more thorough monthly “practice-exam” during masterclass on 6 October, 3 November, 12 January and 2 Feb. However, most of this technical work needs to be carried out independently by the student in daily practice sessions. Improvement will be best attained by patient, consistent, attentive and intelligent daily work. Please note: All students will be expected to hone their technique to the best of their abilities. Major and minor scales and arpeggios form the backbone to all western music and are therefore essential tools for musical literacy.

1/3 of mark: Year-end jury or graduating recital

Readings and reflections Three short written reflections (between 250 and 300 words) on assigned readings are required as part of this course. 

You may complete your assigned readings/reflections in any order that works best for you, however the first is due by 1 October, the second by 1 December and the third by 1 February. Late work will generally not be accepted, however accommodations will be made for students with learning differences who are formally registered with the Centre for Accessible Learning. All students are invited to submit these assignments early. These pragmatic readings are intended to heighten your awareness of the context of performing and to expand your thinking about performance issues. I would like each student to apply the wisdom of these texts to their own musical practice. To that end, please address three specific examples of how you have applied information, sourced directly from the text, to your own practice. Important: Please submit your summary in an email with “(Student Name): 2021-22 Reading Summary # (1, 2 or 3)” in the subject line.  

Readings for 2021-22 

I encourage you to purchase the following titles for your own library and future reference. Please choose three readings from the lists below (according to your year of flute study).

For MUS140: 

  1. The Inner Game of Music by Barry Green
  2. Big Magic by Elizabeth Gilbert
  3. Playing (Less) Hurt by Janet Horvath
  4. Body Mapping for Flutists by Lea Parsons
  5. Six Weeks to Finals by Sharon Sparrow

For MUS240 and 245:

  1. The Creativity Habit by Twyla Tharp
  2. The Proper Flutist by Trevor Wye
  3. Music and the Flute by Thomas Nyfenger
  4. Casals and the Art of Interpretation by David Blum
  5. Mastering Creative Anxiety by Eric Maisel
  6. Art and Fear by David Bayles and Ted Orland

For MUS340 and 345:

  1. Kincaidiana by John Krell
  2. The Notation is Not the Music by Barthold Kuijken
  3. Making your Creative Mark: Nine Keys to Achieving your Artistic Goals by Eric Maisel
  4. The Early Flute by Rachel Brown
  5. Six Weeks to Finals by Sharon Sparrow

For MUS440 and 445:

  1. Body Mapping for flutists by Lea Parsons
  2. Big Magic by Elizabeth Gilbert
  3. Arrau on Music Performance by Joseph Horowitz
  4. The Proper Flutist by Trevor Wye
  5. Flute by James Galway
  6. On the Art of Playing the Flute by Quantz
  7.  Six Weeks to Finals by Sharon Sparrow

MMus students may choose any three selections from the above titles for their readings.


Thoughtful and patient daily practice is essential to your musical development. I suggest your daily practice be proportioned as follows:

25% tone

25% technique

25% etudes

25% repertoire

Attending concerts, performing, listening to recordings, reading relevant texts and physical exercise/stretching (yoga is excellent, as is swimming) are all important activities. These should constitute a regular part of your ‘out of the practice room’ practice. In addition, all flute students are expected to attend faculty and fellow flutist’s graduating solo recitals.


All flute students are required to obtain the following texts which we will use in lessons and/or masterclasses:

1. 24 Petite Melodies by Marcel Moyse

2. Taffanel and Gaubert “17 Daily Exercises”

3. Trevor Wye’s (be sure to get the Omnibus edition) “Practice Book for the flute”

4. “The Flutists Vade Mecum” by Walfrid Kujala (second edition)

5. Phillipe Bernold’s “Technique de L’embouchure”

6. Walfrid Kujala’s Orchestral Techniques for flute and piccolo: An Audition Guide:

7. Orchestral Excerpts for flute by Jeanne Baxtresser

In addition, I will be making individually tailored recommendations, and students will be expected to obtain additional music as determined by instructor.  Every first through third year student will prepare a weekly etude, in addition to tonal study, technical work and repertoire. Fourth year students will be guided individually regarding etude preparation, according to their individual career aspirations and pedagogical needs.

Graduate students will generally be expected to complete a greater volume of significantly more advanced repertoire more quickly. The focus of graduate lessons will necessarily be on preparing annual degree required recitals. This focus naturally shifts at the end of each academic year towards orchestral and festival audition preparation (following completion of recitals).

For all students: we will strive to cover all genres (early music, classical, Romantic/French salon, twentieth-century and avant-garde contemporary music) and address any perceived repertoire gaps or skill deficiencies. Piccolo, Alto and Bass study are all encouraged. We are fortunate to have an excellent new Burkhart professional piccolo, and a very recently purchased beautiful alto flute in addition to our existing alto and bass flutes. All of these instruments can be borrowed with instructor’s permission. Students who require these instruments for school ensemble use will have priority (please inform me if this is the case). Covid safety regulations will be stringently observed.

Please note: I will keep everyone informed of any COVID-related changes in my teaching approach. As always, my first priority is the safety and well-being of all of us.

Please note the following important information regarding online conduct for all students: The University of Victoria is committed to promoting critical academic discourse while providing a respectful and supportive learning environment. All members of the university community have the right to this experience and the responsibility to help create such an environment. The University will not tolerate racism, sexualized violence, or any form of discrimination, bullying or harassment. Please be advised that, by logging into UVic’s learning systems and interacting with online resources, you are engaging in a University activity. All interactions within this environment are subject to the University expectations and policies. Any concerns about student conduct may be reviewed and responded to in accordance with the appropriate University policy. To report concerns about online student conduct:

Studio policies

  1. I do not photocopy any music or lend any music (parts, scores or recordings) from my personal library to students. As with any academic course, all students are required to secure their own materials. If financially necessary, you may borrow materials from the MacPherson library. We have an outstanding and comprehensive existing collection! I can also request the library purchase new items if they do not happen to have an item we need. However, it is useful to develop your own music library for your eventual professional artistic practice.
  2. Performances represent the work we do together in the studio, as well as your own individual practice. Therefore, when I feel a work is ready to be performed, I will suggest either a concert venue/opportunity or a recording project to be posted online.
  3. I approve concert requests after I have heard the material successfully and confidently presented in a polished manner, and as it is to be presented publicly (i.e., in its entirety with all collaborative players). Performance permission slips will not be signed in anticipation of a student’s later work. Please plan ahead.
  4. Please consult with me before scheduling a degree-required solo recital. Please note that according to Wind section requirements, all graduating recitals must be presented before 7 March.
  5. Finally, please note the following additional point: I have sensitivities to artificial scents. Please avoid any scented products (perfume, hairspray, strongly scented shampoo or soap) for all FTF flute classes. Please note: most professional orchestras and other ensembles have a “no scent” policy. It is therefore wise to adopt a no-scent approach in your classes and student ensembles.

I am looking forward to a very productive and enjoyable musical journey with all of you! Please join me in extending a warm welcome to our many new students!

Supportive information and links

Undergraduate marks

Graduate marks

For UVic academic calendar:

UVic’s undergraduate academic policy:

UVic’s graduate student academic policy:

Academic supports available to all UVic students:

Please see below link for important Wellness and Safety information:

Counselling Services – Counselling Services can help you make the most of your university experience. They offer free, professional, confidential, inclusive support to currently registered UVic students.

 Health Services – University Health Services (UHS) provides a full-service primary health clinic for students, and coordinates healthy student and campus initiatives.

Centre for Accessible Learning – The CAL staff are available by appointment to assess specific needs, provide referrals and arrange appropriate learning accommodations. Please refer to below link for details. The sooner you let them know your needs, the quicker they can assist you in achieving your learning goals.

Elders’ Voices – The Office of Indigenous Academic and Community Engagement (IACE) has the privilege of assembling a group of Elders from local communities to guide students, staff, faculty and administration in Indigenous ways of knowing and being.

2021 fall placement audition

It’s that time of year again! This year we will be requesting recorded excerpts, as we did last year. Please use Walfrid Kujala’s book Orchestral Techniques for Flute and Piccolo: an Audition Guide in your preparation.

Detailed instructions for recording your audition will be outlined on the UVic School of Music website so keep a close eye on the website. This list is simply to get you started! Please note: IF you do not yet own a piccolo, you may simply omit the piccolo excerpt.

The excerpts for fall 2021 are:

  1. Mozart concerto in D major. 1st Movement exposition only. Please use whichever edition you prefer. This should be performed solo, i.e., without a collaborative pianist.
  2. Beethoven Leonore overture #3, primary solo from measure 328 to measure 360. See Kujala p. 13.
  3. Brahms Symphony No. 4, fourth movement major solo from measure 89 to measure 105 ( in Kujala see page 30).
  4. Mendelssohn Midsummer Nights Dream main solo from measure 338 to the end (in Kujala see page 39).
  5. Piccolo excerpt: Dvorak Slavonic dances Op. 46 #2. Begin at Piu Mosso (seventeen bars into Tempo I) where the sixteenth notes begin, and play until the Quasi Andante. There are 7 bars of rest within this excerpt. Please simply pause for a moment and then continue (no need to count these bars ) This excerpt can be viewed on IMSLP here: