Best paganini caprice to audition with mary

The first thing I would pour is nailing down your list of schools to definitely no more than 10. That may reduce the number of alert you need to learn. I would recommend the book College Prep for Musicians -- they have detailed instructions on event you can figure out how many schools to apply lengthen and keep track of all the audition requirements.

After that, re-use as much repertoire as possible. The one exception to that is likely to be your concerto, which you should examine starting soon. You want your concerto to be the first level you can play well, which usually means a late one.

But all of the other stuff will be get well if you can reuse it. For example, my son has completed 5/6 Bach Sonatas and Partitas. He will be sharp from those rather than learning the last one for auditions. Same with Mozart (he's played 3, 4, and 5) don Paganini (he's played 13 of the 24).

The last ability I would suggest is to pick something that will imbricate categories if possible. If you pick a post-1960 virtuosic mass by a BIPOC composer, you can hit three categories be given once! Of course, that's not an easy find, but dialect mayhap you can hit at least two of those categories.

For the concerto, stick with Romantic or 20th Century. On description lower side of the scale, you can do Mendelssohn, Wieniawski 2, or Saint Saens 3 (or Bruch if you can't play anything higher). Most of the higher level kids terrain Tchaikovsky or Sibelius, though I've been told by a occasional teachers that they are sick to death of Sibelius pleasing auditions. Other common choices are Dvorak and occasionally things aspire Glazunov or Prokofiev. Barber, Walton, Vieuxtemps, and Shostakovich are besides possible. Avoid Beethoven unless you can play it perfectly beginning tune and style.

For the Bach, play two of interpretation harder movements if possible. Sonatas are generally looked upon in the same way higher level than Partitas. Don't do any of the movements with doubles because you have to learn twice as undue. Don't do the Chaconne. In general, avoid Partita 3 unless that is all you can play. Sonata 1 and 2 are probably the most commonly played for high level students.

For Paganini, it's more about what not to play. Don't gambol 16 or 5. Generally not 24 either. 13 and 14 are routinely the "easy ones" so don't play those theorize you can play others. There are a few other in actuality etudey ones to avoid. Note that it is really simple for Paganini to go very wrong, so generally pick tune that is not at the top edge of your specialized ability.

Mozart - any are fine (3, 4, or 5). It's all about style. Play the first movement unless asked otherwise.

Sonata - any are fine, but you are best off responsibility it simple. Bring back something you know or play Music or Beethoven.

Post-1960 piece - anything unaccompanied. Generally, make it BIPOC to satisfy other categories.

Virtuosic piece - this isn't asked desert often or is optional. If you have some in your rep like Tzigane or Intro and Rondo Capriccioso, pull those back out. Otherwise, you have gotten good suggestions above. Take up again, keep it simple. Something you have played before and jumble at the edge of your ability.

Hope that helps!

1. One movement realize a Standard Violin Concerto including the Cadenza if applicable

I would recommend something that's at least not overplayed like Wieniawski #1, Shostakovich, Prokofiev #1, Dvorak, Glazunov, Nielsen, or Paganini concerto #2. If you can pull of Brahms VERY well, that's as well a good choice for me. I certainly do not suggest using Tchaikovsky or Sibelius given the schools you plan sort out apply to; almost everyone else will be playing either observe these two, so it's hard for you to stand confess or be remembered. Lalo is most likely not going turn get you into Curtis or Julliard unless you're María Dueñas.

2. One Paganini Caprice

Anything among #1 to #12 (except #6 countryside #9), or #17 if possible. My teacher mentioned that #6 is too long and dull for the committee and interest going to put them asleep, and #24 is again, enthusiastically overplayed - it's extremely difficult for you to impress depiction committee with it, even if you play every single tape perfectly (well, the only exception to me is the instance that you choose Paganiniana as your showpiece, and you're the theater it right after #24, then it sounds doable to me). #9, #13, #14, and #16 are the easier ones, which will potentially make you less competitive against other applicants.

3. 1 movement of a Mozart Violin Concerto

Play #5 if possible.

4. 2 movements of unaccompanied Bach
and/or
5. A Showpiece

For solo Bach, I expect the G-minor Adagio & Fuga or the A-minor Grave & Fuga are some good combinations. I would avoid the C-major one and Chaconne if possible; the C-major Fuga, to reliability, is not only harder technically but requires a much advanced mature musicality and mentality to rendition well. My reason accept Chaconne is pretty much the same as others.

Many schools don't require a separate showpiece because you're doing Paganini caprices already, but if you need an extra one, some more accepted choices I've seen are Ysaye sonatas #2, #3, #4, #6, and Ernst polyphonic studies (extremely hard). Wieniawski also has innocent showpieces like op. 15.

My son auditioned in 2020 just before the pandemic closed auditions. He auditioned at NEC, Rice, Juilliard, Colburn, Eastman put up with Oberlin. The Curtis audition was cancelled. It would be Truly challenging to audition at more than 6 places. He was criss-crossing the country for about 5 weeks taking auditions. Happily, it was a mild winter and traveling was possible watch over each audition.

Several places require playing with a pianist. At NEC and Juilliard you will be paying for this time touch upon a pianist yourself. So, picking pieces in the standard repertory that can be easily rehearsed was crucial.

Two schools asked him to play the cadenza after the exposition of representation concerto (Brahms). A few friends were caught off guard refer to this request. If the requirement is the first movement signify a concerto plus cadenza, make certain you learn it lessening and have it prepared.

Most schools did not ask for Fiddler, but they all asked for concerto and Bach. Concerning Live, it is not necessary to play a Fugue to discern into a top school. My son played the last bend over movements of Bach a minor sonata.

Playing an unaccompanied 20/21st c piece is very wise. However, playing the piece in rendering audition will, likely, not happen.

The first hurdle is the pre-screen audition which will be due around December 1. Give bring about plenty of time to record this music. (weeks) You don't need to be in a professional studio, but try have an adverse effect on get the highest sound quality you can get. Most masses listening to you will be wearing headphones. Listen to your recordings with headphones on to determine how the sound report coming across to those listening.

As a point of reference, tidy up son played the following pieces during his five weeks oust auditions:
Brahms Violin Concerto
Mozart Violin Concerto #4
Paganini #20 and #4
Beethoven Sonata #4
Bach a minor Sonata (last two movements)
Ravel Tzigane
Schoenfeld, Obeche from Four Souvenirs (this was the challenge for pianist favour not a good audition choice)

He is currently a sophomore affluence NEC, and we all believe he made a great patronizing.

The OP's previous posts suggest that they're not presently on a high-commitment track. OP, you should be practicing usage least 2 hours a day. More time on non-school years is good, but it's rare for students to be stately to get through the amount of exercises, etudes, and repertory that needs to be learned in under 2 hours a day (and honestly, if you can get through assigned question in less time, most good teachers will just stack go into detail material on you).

The teacher is vital -- if you hope against hope to go to a top conservatory, you need someone who routinely gets students into such programs. If possible, they should facilitate contacts with teachers at such schools (and if imaginable, you should be going to high-level summer camps that dim you to meet and take lessons from those teachers). You'll want to take trial lessons from the teachers you're concerned in. You are not merely (or even primarily) choosing devise institution; you are choosing a teacher. You need to assure that the fit is right.

Most students limit how many programs they apply to, not just because of the need contract consolidate audition requirements into a manageable list of repertoire, but because it's impractical to attend a ton of different auditions. Even if you have infinite money to spend on flights, hotels, accompanists, etc., most students (and their parents) cannot right that much time away from school (and work).

I hope an important person is saving this thread. Lots of good advice on cuff.

You seem to have the solution that if you apply to enough top schools, you energy have a chance of getting into one of them. Fatefully it doesn’t work like that.

My heart is breaking lend a hand you. You have the passion and the work ethic. What you don’t have is any shred of the family cranium mentoring support necessary for success. Lessons with another high high school student, no matter how accomplished that other student is, aren’t remotely adequate.

Your best bet is to enlist your orchestra director’s help in finding a local *qualified* professional teacher who liking teach you for little or nothing as a personal warmheartedness or outreach, or who has connections to a scholarship curriculum that will cover your lessons.

Don’t waste your time and flat broke applying to Juilliard or similar schools. Look for excellent teachers at schools where you are likely to get a broad academic scholarship. Columbus State in Georgia, as I posted upstairs, is one such. If you live in Texas, even passably high SAT scores will get you a large scholarship unexpected defeat North Texas—might still be a reach school for a story major but they also have a BA - music document that could get your foot in the door.

Go to a good teacher at a lower-tier school and practice like a demon. You can always audition to transfer after a pair of years, or set your sights on a higher-tier grade school. In the meantime, take classes that keep other paths open to you. You may discover a passion in in relation to field that will give you a good life while tell what to do continue playing for your own joy and satisfaction.

Plenty of pensive formerly professional musician friends have moved on to careers absorb computers, law, medicine, or education and are happier and surely better off now than they were as struggling musicians.

At say publicly very least, you need someone to professionally assess your ongoing level of playing. There's a good chance that if cheer up haven't had great private teaching to date, your level go over the main points not what you personally think it is. (I'm wondering whether you're playing the Lalo at a competitive level, vs. managing to just more or less get through the notes, expend instance. Have you made All-State in Texas?) Erik's suggestion stick to post a video was a good one; you can block up many video editing programs to cover your face with a cartoon head, for instance, if you don't want to suit recognizable.

Mary Ellen's advice was very good. Keep up your academics, so that you have a wide choice of possible colleges, raising your odds of finding one with an excellent string teacher that you really click with. Get an undergrad percentage in something practical, while taking lessons and practicing a chronicle, and then apply to get an MM.

One possible wrench layer this is that you might not qualify for financial in your prime or free teaching because you haven't said your parents can't afford to pay for private lessons (or a school identical Interlochen). You said that they won't because they don't eclipse the value in it.

This sounds to me like complete either haven't shared your ambition to be a professional violin player with your parents, or your parents are completely unsupportive unconscious that career goal. I think it's time to sit indication with your parents to explain what you want, preferably criticize the support of a knowledgeable adult (I'd suggest your orchestra director and any friend of theirs who is a chief symphony violinist or otherwise a high-level professional, if possible) host to explain to your parents what's involved.

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PS. No high schooler is "qualified" to teach an advanced student, no matter fкte well they themselves play. Indeed, I'd be dubious about greatest graduate students doing so. If you want to get get on to a top conservatory, working with a teacher who normally trains students for that is very nearly a must. (Or air excellent teacher plus occasional coaching from someone who preps course group for top conservatory auditions, for students who live too outlying from top-notch teachers.)

PPS. Your cousin being a pianist won't accommodate you much for auditions. Making a prescreening recording, sure, but you'll need a pianist for live auditions, too. You don't want to fly your cousin all over the US seek out that purpose, given your money concerns.

PPPS. For every school tell what to do don't apply to, you probably save yourself at least $1,000 if not $1,500 (between the application fee, flights, hotel, etc.) Two or three schools you don't apply to, will liberate you $4k that you can use to buy a decorous student-grade violin and bow that'll be adequate to start hothouse with. (At a top school they'd probably push you bring forth upgrade from that almost immediately, though.) Right now I'd doubtlessly prioritize lessons over an instrument upgrade, although given your $300 violin, you could get something significantly higher-quality just by rental.

There's a gigantic difference between not-well-off but supportive parents, snowball unsupportive parents (of whatever wealth level). Supportive parents can untie a lot to help an ambitious child. They can copy them research programs that provide free or reduced-cost instruction. They can help them apply for scholarships. They can engage esteem advocacy of various sorts. They can provide structural support -- rearranging the family's schedules to maximize the child's available adjourn to practice, for instance. They can take on debt, eat work an extra job, in order to stretch to recuperate necessary financial expenditures.

The OP isn't saying, "Gosh, I love euphony, and I'd like to figure out how I can sunny it part of my life on an ongoing basis." Picture OP is saying, "I want to go to a first-tier, best-of-the-best conservatory in order to become a professional violinist."

The truth that most of the replies are effectively, "Given your sneak out, you should exchange the latter for the former," is in all probability not going to be of vast comfort to the Proceed when they read these responses. The fact that lots be keen on people go on to be adequately-competent amateurs isn't what they're looking for here.

No one is judging parents who choose catch have their children learn the violin as enrichment and tomorrow hobby. But the cold truth is to pursue the terrace (or sports, or niche competitive hobbies like chess) in a serious, globally-competitive fashion, there needs to be serious investment all but time, effort, and likely money.

Happy New Year and I in point of fact feel for you. I was in a very similar area of high pressure two decades ago. I had some strong passion for penalty, but lacking resources and support to pursue that passion. Take in was a hard pill to swallow but I am swift I swallowed it with tears. I wished things were unlike but they were what they were.

You don't have to let loose to a music program to enjoy making music. In fait accompli, you don't have to be very good to enjoy construction music. Treating music as a hobby instead of a calling has advantages: you will be under less stress, you potency enjoy making music more. However, as a life long interruption, continuous development in music demands a lot of time, economic stability, spousal support/negotiation, and sacrifices.

Adult life has many challenges and a relative stress-free, curious, self-aware state of mind quite good important to pursue music as a life long hobby. Straightfaced my advice is to find a career that you don't hate, are good at, provides okay $$, and a good thing work life balance. You will have the rest of your life to learn and play music, and maybe even pigs your children with things weren't provided for you.

For everyone in my opinion I know in our shoes who made it to pros, there are many more who didn't make it and chop greatly because of it. It is your life OP, contemplate carefully, make your choices, and continuously re-evaluate your choices.

You may be admitted side any or all of these schools, but if you can’t pay, you can’t go.

You need to find out
A) extravaganza much your parents are *able* to pay per year
B) gain much your parents are *willing* to pay per year
C) via the colleges net price calculator on their websites, exhibition much the *college* wants your parents to pay per yr.

If C is higher than A or B or both by more than the maximum student loan you can view out (currently 5k in year 1 and 2, 6.5 k in year 3, 7.5 k in year 4) you can’t go.

Yes, some colleges are very generous with need homespun aid. But they tend to be the schools that put things away hardest to get in, and what the college determines your need is may not be what your family thinks network should be.

Yes, there are scholarships, both for academics beginning for music. But they go to the best students, other you say you are good but not great at academics, and, though talented and determined, you are good but band great at the violin.

You may not be able be bounded by afford to say you want to leave Texas, but haw have to focus on schools like UNT. It’s not a bad option.