Teacher Audition Guide

The SAA Teacher Development Program is in-depth pedagogical study for professional musicians. To qualify as a Participant in the courses, you must submit and pass an audition.

When a course is taken and completed as a participant, it will be registered with the SAA. Participants need to have met all guidelines below, and fulfill all course requirements.

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Training Eligibility Requirements

(For Latin American training, please check with festival coordinator.)

  1. Minimum age of 18 and a high school diploma
  2. SAA Active membership
  3. Every Child Can! course (pre-requisite for Unit 1; no audition required)
  4. Video audition accepted by SAA
  5. Units 1, 2, and 3 must be taken and registered in order. (NOTE: See Viola Requirements)

Audition Requirements

Audition Levels

Audition Deadlines and Fees

Auditions for All Unit Training Courses (US and Canada)

All audition materials must be submitted no later than 14 days before the start of the course.
The Audition Fee is ($65 USD).

Audition processing takes approximately 2 weeks. Auditions submitted early have the advantage of an optional retry (with fees) if the first audition is not accepted.

It is highly recommended that you plan ahead and send your audition video early. This will give you the best opportunity to pass the audition before the start of a course, and ensures that any minor issues can be resolved in advance. Having your audition in on time will ensure the ability to register the course you are taking.

Preparing and Submitting Your Audition

  • Prepare a well-polished performance. Any edition of the required piece(s) is acceptable. Memorization and accompaniment are not required.
  • No written or oral comments—performance only.
  • Home filming is usually adequate.
  • Make sure your video is shot in a horizontal/landscape orientation. (Hold your phone sideways)
  • Use a tripod or set your camera on a stead surface.
  • Camera must focus on player’s hand position and show entire body if possible.
  • Each piece must be one continuous take—no video splicing.
  • Please review your recording for good video and audio quality before submitting.
  • Audition must be submitted online (most video format will work).

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Evaluation Criteria

  • Areas that will be evaluated in your audition include: physical balance, ease of movement, tone production, note accuracy, rhythmic accuracy, intonation, maintaining steady pulse, playing with appropriate tempo, dynamic variation, appropriate and consistent articulation, creation of motion in melodic line and phrase shaping and consistency with stylistic conventions.

  • Individuals who are submitting audition material above the Basic Audition level should be aware that higher expectations of quality and preparation are expected with each successive audition level.

Basic: For Training in Units 1-4

For training in Units 1-4: Submit an audition of both specified pieces below to SAA. Roman numerals indicate the movement. Edition is your choice. An accepted basic audition qualifies the applicant to register as a participant in Units 1-4.

Bass: Marcello Sonata No. 2 in e minor, Adagio and Allegro

Cello: Breval Sonata in C Major, Allegro and Tchaikovsky, Chanson Triste

Euphonium: Twinkle Theme and Variations A, B, C, E, Galliard Sonata No.5 movements I and II.

Flute: Blavet Sonata No. 2 in d minor, Sarabande and Finale

French Horn: Twinkle Theme and Variations A, B, C, E, Saint-Saens Morceaux de Concert movement 1, W.A. Mozart Horn Concerto 3 movement I bar 1-112.

Guitar (Classical): Mozart Bourree and R. Vidali La Folia Variations.

Harp: Godefroid, Etude and Haydn Theme and Variations (Both these pieces need to be from Suzuki Harp Volume 4.)

Organ: Bach Preludes in C M/m, BWV 553 (from 8 Kleine Preludien & Fugen) and BWV 549 (Peters IV)

Piano: Beethoven Sonata Op. 49 No. 2, movement I and Minuet I from Bach Partita in B-Flat

Recorder: See recorder requirements below.

Trombone: Twinkle Theme and Variations A, B, C, E, Guilmant Morceau Symphonique Andante Sostenuto and the first Allegro Moderato, J.A. Hasse Hasse Suite movement III.

Trumpet (Bb): Twinkle Theme and Variations A, B, C, E, Balay Petite Pièce Concertante bar 1-35, Boyce Trumpet Voluntary bar 1-25.

Tuba: Twinkle Theme and Variations A, B, C, E, Lebedew Concerto in One Movement bar 1-73.

Violin: Seitz Concerto No. 5, movement I and Vivaldi Concerto in a minor, movement III *

Viola: Seitz Concerto No. 5, movement I and Vivaldi Concerto in d minor, movement III *

Voice: See special voice requirements for Units 1-4 below.

*Violin and viola auditions are interchangeable through Unit 2.

*The Basic Viola audition allows the applicant to take Viola Units 1-4 and Violin Units 1-2.

*The Basic Violin audition allows the applicant to take Violin Units 1-4 and Viola Units 1-2.

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Intermediate: For Training in Units 1-7/9

For training in the middle units: This audition may be used as an initial audition (as an alternate choice to the others), or after an accepted Basic Audition to continue training beyond Unit 4. Submit an audition of the specified pieces below to SAA. Roman numerals indicate the movement. Where two pieces are specified, both must be performed (except flute, where it is a choice of movements noted). Edition is your choice.

Bass: See Comprehensive Audition

Cello: Faure Elegie (for approval through Unit 8)

Flute: Mozart Concerto No. 2 in D Major, K. 314, movement I or II (for approval through Unit 9)

Guitar (Classical): both Bach Gavottes 1 & 2 (located in Suzuki Guitar Book 5) and J. Guimares Sound of Bells (for approval through Unit 7)

Harp: See Comprehensive Audition

Piano: See Comprehensive Audition

Recorder: See recorder requirements below.

Violin: Bach Concerto in a minor, movement I, BWV 1041 (for approval through Unit 8)

Viola: J.C. Bach Concerto in c minor, movement I (Bach/Casadesus) (for approval through Unit 8)

Voice: See special voice requirements for Units 4 and higher below.

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Comprehensive: For All Training Courses

For training in All Units: This audition may be used as an initial audition (as an alternate choice to the others), or after an accepted Basic or Intermediate Audition for training beyond the level of the previous audition. Submit an audition of the specified pieces below to SAA. Roman numerals indicate the movement. Where two pieces are indicated, choose one. Edition is your choice. Play all cadenza sections (alternate cadenzas are allowed).

Bass: Dittersdorf Concerto No. 2 in E Major or D Major, movement I

Cello: Haydn Concerto in C Major, movement I or Boccherini Concerto in B-Flat, movement I

Flute: Chaminade Concertino

Harp: Hindemith Sonata, movement I

Guitar (Classical): Sor Variations on a Theme by Mozart

Piano: Mozart Sonata K. 330, movement I or Sonata K. 331, movement I

Recorder: See recorder requirements below.

Violin: Mozart Concerto No. 4, movement I or Concerto No. 5, movement I—must include cadenza

Viola: Schubert Arpeggione, movement I

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Recorder Requirements


Submit an audition of specified piece below to SAA. An accepted pre-basic audition qualifies the applicant to register as a participant in Recorder Unit 1.

Folk Song “The Flowers are Sleeping” (J. Brahms; “The Sandman” / “Sandmannchen”); Suzuki Recorder School Vol. 2—performed on soprano (in G Major) OR Alto (C Major)


Attrib. Bach “Bist du bei mir” BWV 508, “(Aria”) Suzuki Recorder School Vol. 2 for SOPRANO ( in C Major) AND Handel Sonata in F Major : Larghetto (mvt. 1); Suzuki Recorder School Volume 2 for ALTO (for training in Units 1 and 2)


Telemann Suite in A Minor for Alto: Menuet II (for training in Units 1 through 4)


Telemann “Rejouissance” from the Suite in a minor (for training in Units 1 through 8 or All Training Units)

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Voice Requirements

The Suzuki Voice Teacher Development courses are closed to auditors. Only approved candidates may participate in the teacher training classes.

Suzuki Voice teachers transferring from ESA/PPSA coursework, please inquire directly to the SAA Voice Committee for applicable “Reciprocity of Training” guidelines. As permitted by the ISA, some amount of additional coursework, submission of Curriculum Vitae, and demonstration of performance competency may apply in order to qualify for SAA coursework. [Committee Contacts: Mary Hofer OR Amelia Seyssel

Voice Units 1-4

Requirements to obtain participant teacher-training status for Voice Units 1-4:

  1. Bachelor of Music Vocal Performance, Bachelor of Music Education, or a Bachelor of Arts degree with significant private voice study or the equivalent.

  2. SAA introductory course “Every Child Can!” OR “Filosofía”.

  3. Submit all transcripts of vocal and musical studies.

  4. Record and submit the following video recordings:

    1. Unaccompanied (two pieces total; one verse each):
      1. Flies, Bernhard.:Wiegenlied (Schlafe mein Prinzchen, schlafe ein) (sung in German) (can be found in Pathways of Song, Vol. 1 or Mozart Lieder K. 350, Peters Edition)
      2. Twinkle Twinkle Little Star, sung in the applicant’s native language
    2. Accompanied and in original language (six pieces total; all verses):

      1. Scarlatti, Alessandro:Giâ il sole dal Gange (1680) [standard Parisotti realization; i.e., Schirmer edition]
      2. Schumann, Robert: Marienwürmchen, Op. 79 No.13 (1849)
      3. Revueltas, Silvestre: El Caballito, No. 1 ‘Cinco canciones para niños’ (1939)
      4. Massenet, Jules: Bonne Nuit, Op. 2 No. 1 (1868)
      5. Copland, Aaron: Simple Gifts, No. 4 ‘Old American Songs First Set’ (1950)
      6. An Aria of the applicant’s choice (in original language)
    3. Piano Proficiency Skills:

      1. Flies, B.: Wiegenlied—Your choice of either:
        • The original piano score (as written) OR
        • Right Hand melody with improvised Left Hand accompaniment (no interlude required; extensive harmony not required; we are looking for the ability to accompany the RH melody with simple basic LH harmony)

Voice Units 5 and higher

Requirements to obtain participant teacher-training status for Voice Unit 5 and higher:

      1.  Satisfactory completion of all of the above.

      2.  Recitative Audition choices (sing both recitatives listed under your voice):

Haydn, F. J.:   “And God said” with “Verdure Clad” from The Creation
Mozart, W. A.:  “Giunse alfin il momento” from Le Nozze di Figaro

Handel, G. F.:  “Then shall the eyes of the blind be opened” from The Messiah
Mozart, W.:    “Ah! scostati” from Cosi fan tutti

Handel, G. F.:  “Thy rebuke…behold and see” from The Messiah
Mozart, W. A.:  “Amici miei” from Don Giovanni

Mozart, W. A.:  “Bravo, signor padrona!” from Le Nozze di Figaro
Handel, G. F.:  “For behold, darkness shall cover the earth” from The Messiah

Rossini, G:  “Ma vedi il mio destino!” from Il Barbiere di Siviglia
Purcell, H.:  “Ye twice ten hundred deities” from The Indian Queen

      3.  Choose one song from each language + one early song:

Brahms, J.:  Ständchen
Schumann, R.:  Der Nussbaum
Schubert, F.:  Wohin?
Wolf, H.:  Auf ein altes Bild
Mozart , W. A.: Das Veilchen

Barber, S.:  Sure on This Shining Night
Copland, A.:  The Little Horses
Vaughn Williams, R.:  Silent Noon
Bowles, P:    The Heavenly Grass
Carpenter J. A.: When I Bring You Colored Toys
Argento, D: Spring

de Falla, M.:  Asturiana
Ginastera, A.:  Zamba
Granados, E.:  El mirar de la maja
Kilenyi, E. (Arranged by):  La paloma blanca
Lorca, F.G.:  Los reyes de la baraja
Monsalvatge, X.:  Canciôn de cuna para dormir a un negrito
Obradors, F.:  Del cabello mâs sutil
Guastavino,C.:  La Rosa y el Sauce
Guastavino,C.:   El Melodía

Debussy, C.:  Beau soir
Faurê, G.:  Ici bas
Faurê, G.:  En Priére
Poulenc, F.:  Voyage â Paris
Duparc, H.:  Chanson Triste

Early Songs:
Purcell, H.:  Hark! The Echoing Air from The Fairy Queen
Purcell, H.:  I’ll Sail Upon the Dogstar
Carissimi, G.:  Vittoria, mio core
Arne, T.:  Blow, Blow, Thou Winter Wind
Scarlatti, A.:  Cara e dolce from Tigrane
Frescobaldi, G.:  Se l’aura spira

Questions? Please contact SAA Suzuki Voice Teacher Trainer Mary Hofer at [javascript protected email address]

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