Every string player knows the feeling...
Walking into the audition room, case in hand, heart racing, bow just a little less steady than it was in the practice room. Whether you are trying out for an orchestra, preparing for a summer festival, or applying to a conservatory program, auditions often feel like high stakes moments where everything is on the line.
Yet auditions are more than pass or fail tests. They are opportunities to show your preparation, resilience, and musical voice. With thoughtful planning and the right mindset, you can transform auditions from nerve wracking hurdles into milestones that move you forward in your journey as a musician.
Build a Confident Mindset
Nerves are part of every audition. Even experienced players feel their bow hand tremble at times. The goal is not to eliminate nerves, but to manage them so they fuel focus instead of fear.
- Reframe the panel: imagine the jury as musicians eager to hear your interpretation, not critics waiting for mistakes.
- Use physical resets: loosen shoulders, check your bow hold, and take one slow breath before you play.
- Visualize success: picture yourself entering, playing with focus, and leaving proud of your preparation.
- Practice pressure: run your program for peers, family, or on video until the feeling of being observed becomes normal.
- Simulate the room: rehearse walking in, setting up, and beginning within thirty seconds.
- Anchor with technique: focus on a resonant first note or a smooth bow change to ground your attention.
- Reflect after runs: note one strength and one adjustment for next time to keep growth continuous.
Research Repertoire Requirements
Requirements vary across schools, competitions, and ensembles. Start early. Build a simple comparison chart for the places that interest you, then choose repertoire that meets those lists and shows your strengths. Below are examples from top institutions and a selective national youth ensemble. Use these as benchmarks, then confirm your exact list on each official page.
Violin
Conservatory Example: Juilliard — Bachelor of Music
- Prescreening: slow and fast movements from a nineteenth to twenty first century concerto, one movement from an unaccompanied Bach sonata or partita, and one Paganini caprice.
- Live audition: two concerto movements, two contrasting Bach movements, one brilliant concert piece, plus one virtuosic unaccompanied work by Bartók, Ernst, Milstein, Paganini, or Wieniawski. If the concerto is pre 1960, at least one other work must be post 1960.
Selective Ensemble Example: NYO USA
- Bartók: Concerto for Orchestra, fifth movement: fugue, measures 265–317, top line (second violin).
- Brahms: Symphony No. 1, second movement, rehearsal E–F.
- Mozart: Symphony No. 39, fourth movement, beginning–downbeat of measure 41.
- Price: Symphony No. 3, third movement (Juba), measures 62–93.
Viola
Conservatory Example: Juilliard — Bachelor of Music
- Prescreening: two contrasting movements from solo Bach or from transcribed violin sonatas or partitas, plus either a sonata movement or short work, or a substantial portion of a concerto. Examples include Telemann slow and fast pair, Stamitz D, Hoffmeister D, Walton, Bartók, and Hindemith Der Schwanendreher.
- Live audition: same core categories with memorization encouraged. One non Bach work must be a twentieth or twenty first century composition.
Selective Ensemble Example: NYO USA
- Jessie Montgomery: Strum, measures 37–44.
- Shostakovich: Symphony No. 5, first movement, 2 measures after rehearsal 15–rehearsal 17.
- Tchaikovsky: Symphony No. 6, first movement, measures 19–63 and 86–88.
Cello
Conservatory Example: Juilliard — Bachelor of Music
- Prescreening: one concerto movement from the standard repertoire (special movement requirements apply for works such as Saint-Saëns, Elgar, Shostakovich, Haydn C, Rococo Variations, and Schelomo), plus a Bach prelude and another movement from the same Suite.
- Audition: one concerto movement (same rules as above), a Bach prelude and another movement from the same Suite, one virtuoso piece (e.g. Popper, Paganini, Piatti, Tchaikovsky), one short lyrical piece (e.g. Saint-Saëns The Swan, Fauré Après un Rêve), one Classical or Romantic sonata movement (special rule for Beethoven Op. 5), and one work composed after 1945 (6–8 minutes).
Selective Ensemble Example: NYO USA
- Beethoven: Symphony No. 5, third movement, measures 1–79.
- Brahms: Piano Concerto No. 2, third movement, opening–downbeat of measure 9 (solo line only).
- Felix Mendelssohn: A Midsummer Night’s Dream, Scherzo, rehearsal C–rehearsal D.
Double Bass
Conservatory Example: Juilliard — Bachelor of Music
- Prescreening: one Baroque work or movement, one solo work of choice, and two excerpts of contrasting style and/or periods.
- Live audition: one Baroque work or movement, one solo work of choice, and two standard orchestral excerpts of contrasting style and/or period. Works with piano require an accompanist.
Selective Ensemble Example: NYO USA
- Beethoven: Symphony No. 5, third movement, Trio, pickup to measure 141–218 (no repeat).
- Brahms: Symphony No. 1, first movement, measures 157–189.
- Haydn: Symphony No. 31, fourth movement, Variation VII (top line, no repeat).
- Jessie Montgomery: Coincident Dances, beginning–measure 12 and measures 17–20.
Tip: When selecting your repertoire, try to choose pieces that can satisfy multiple requirements across different schools, competitions, and ensembles. This way, your program stays concise and polished, and you can focus your preparation on performing a smaller set of works at a higher level.
Practice with Purpose
Great auditions do not come from random hours in the practice room. They come from intentional, focused preparation. Smart practice sharpens your playing and builds the confidence you will need when the audition clock is ticking.
Structure Your Time
Instead of endless run throughs, break your sessions into clear phases:
- Warm up: scales, arpeggios, or bow exercises to get centered.
- Focused work: slow practice on tricky passages, intonation drills, or phrasing experiments.
- Performance runs: play your piece or a set of excerpts as if you are on stage.
Even short daily sessions are more effective than last minute marathons. Consistency compounds.
Record and Reflect
Recording yourself is one of the fastest ways to improve. What feels great under your fingers may sound different on playback. Keep a weekly recording journal. Write down one strength and one thing to adjust. Over time, you will see patterns and real progress.
Run Mock Auditions
Simulate the real thing. Walk into the room, tune, announce your piece, and begin within thirty seconds. Ask a teacher, friend, or your phone camera to act as the panel. Mix up the format:
- Run your full program without stopping.
- Let the panel stop you and request another piece.
- Start in the middle of a movement or at a marked rehearsal letter.
You will learn to adapt calmly no matter what happens.
Practice in Real Conditions
Audition nerves are often triggered by the unexpected. Train for this by rehearsing in performance clothes, playing in different rooms with varied acoustics, or asking someone to shuffle papers or cough while you play. The more distractions you face in practice, the less they will rattle you on the day.
Build Stamina
Auditions can be long. Prepare by running your entire program back to back without long breaks. This builds both physical endurance and mental focus, so you will not be caught off guard if the panel asks for multiple excerpts or movements in one sitting.
Track Your Growth
Keep a simple checklist: which pieces feel performance ready, which need polishing, and which are still in the woodshed stage. Review it weekly with your teacher or coach. This helps you prioritize and shows you how far you have come.
Tip: Treat one weekly session as a full dress rehearsal. Wear concert clothes, record the entire run, and write a short reflection right after. This ties your practice to the exact conditions you will face in the audition.
On the Day of Your Audition
Audition day can feel overwhelming, but a calm routine and clear plan will help you bring your best playing into the room. Think of it as the moment to share what you have been building in your practice, not as a test of perfection.
Arrive Early and Be Prepared
Get to the venue with enough time to check in, find the warm up space, and settle in. Bring backups: extra strings, rosin, bow, and printed music. Eat something light, stay hydrated, and avoid rushing. A calm arrival sets the tone for everything that follows.
Warm Up with Intention
Your goal in the warm up room is to feel centered, not to practice everything one last time. Focus on slow scales, long bows, and one or two difficult spots. Do not overplay. Save your best sound for the panel.
Mental Focus Before Walking In
A few deep breaths, a mental image of a successful performance, or a quiet reminder of your preparation can shift nerves into energy. Remind yourself that the panel wants to hear music, not just notes.
In the Audition Room
Walk in with confidence, greet the panel if appropriate, and take a steady moment before you begin. Tune quickly and efficiently. The panel may stop you mid piece or request something different. Respond calmly and take it as an opportunity to show versatility.
Tip: Tune carefully in the warm up space before you enter the room. That way, when you tune for the panel, you only need a few quick adjustments. This makes you look professional and keeps the focus on your playing.
Handling the Unexpected
Strings break, bows slip, or memory lapses happen. Take a breath, reset, and continue with poise. Panels know auditions are stressful and will respect a musician who recovers gracefully.
Ending the Audition
Once you reach the end of the audition, continue to hold yourself with confidence, no matter how the performance went. Stage presence goes a long way in how you're perceived by others.
After the Audition: Growth and Reflection
Auditions do not end when you walk out of the room. How you process the experience matters just as much as the preparation.
Process the Results with Perspective
Acceptance, rejection, or waitlist, every outcome is part of the journey. Panels are not only evaluating your playing but also looking for fit, balance, and potential. A result of “not this time” does not mean failure. It means “not this place” or “not yet.”
Seek Out Feedback
If you receive written or verbal comments, take the time to review them with your teacher or mentor. Feedback, even if brief, can highlight strengths you may not have noticed and areas where small adjustments can make a big difference.
Keep Your Momentum
Do not let the end of one audition season mark the end of your growth. Keep your repertoire fresh, continue performing for others, and reuse the same works for competitions or festivals. Each repetition strengthens your confidence and deepens your interpretation.
Adopt a Growth Mindset
Auditions are not only about winning a spot. They are practice in resilience, adaptability, and self expression. Every audition gives you a chance to test your preparation, manage nerves, and refine your artistry.
Tip: Write down one strength and one goal after every audition. Over time you will see how each experience builds on the last.
Grow with Radda Rise
If you are looking for a structured way to apply these ideas, the Radda Rise International String Competition and the String Achievement Festival offer detailed feedback, encouragement from experienced musicians, and opportunities designed for growth.
Radda Rise International String Competition
Built on the belief that every applicant deserves meaningful feedback and chances to grow. All participants receive constructive comments and support, while top performers compete for over $12,000 in prizes.
- Detailed evaluations: feedback from musicians outside the jury and video comments from jurors.
- Resubmission opportunities: refine and improve your recordings after initial feedback.
- Personalized support: custom biography and a one on one mentorship session with the competition director.
- Cash prizes: awards for top performers that recognize artistry and preparation.
String Achievement Festival
Compete against yourself rather than against others. Measure progress, set new goals, and build confidence in a supportive environment that recognizes improvement.
- First round submissions: send solo repertoire, orchestral excerpts, and technical exercises that reflect your current stage.
- Detailed video feedback: receive clear suggestions on what to improve from experienced musicians.
- Six week improvement window: practice with purpose and apply the feedback.
- Evaluation round resubmission: submit the same materials to measure growth and receive next step guidance.
- Recognition for growth: custom awards for strong performances and clear improvement between rounds.
- Audition readiness: a safe place to practice presenting repertoire in multiple formats before prescreenings and auditions.