• You will be asked to perform two pieces of contrasting styles, musical periods and tempos
• The selections need to demonstrate your musical and technical abilities
• You will be evaluated for your command of tone, phrasing, rhythmic accuracy, articulation, stylistic appropriateness and for your interpretation
• You need to be prepared to play any Major scale, 4 octaves, up and down
• You will need to show good control of key signatures and fingerings
• Pieces must be from the classical repertoire for BM Classical
  • from two DIFFERENT eras, from Baroque to present day contemporary classical
• For Commercial pianists, perform two contrasting pieces from classical, jazz, or pop repertoire

• You will sing two memorized songs in contrasting styles and tempi
• You will be expected to demonstrate vocal performance potential as shown through tone quality, clear diction, rhythmic aptitude, and the ability to communicate emotion
• At least one song must be from the classical repertoire for BM Classical
  • Pre-1980 Musical theatre is acceptable for the second selection
• For Commercial singers, sing two contrasting selections from classical, musical theatre, jazz, folk, or pop repertoire
• You will provide sheet music for the accompanist in the correct key for in-person auditions, or a background track for each song
  • All sheet music or background tracks need to be emailed to dpuentes@cpp.edu by Friday, 1/17/25.
• You will be expected to demonstrate tonal memory skills
• You may be asked to sight-read a melodic excerpt

Flute

• You will be asked to perform 2 contrasting pieces
  • One should be a piece from the standard repertoire
  • One should be an etude by Andersen, Kohler or Garibaldi
• You should be able to perform all major, minor, and chromatic scales

Clarinet

• You will be asked to perform two contrasting pieces
  • One should be an etude (from 32 Etudes, by Camille Rose)
  • The other an excerpt/movement from standard repertoire such as the Weber Concerto, or a work of similar difficulty
• You should be able to perform all major, minor, and chromatic scales

Oboe

• You will be asked to perform two contrasting pieces of your choice
  • One from solo works in contrasting style periods
  • One etude (e.g. Barret, Ferling, Sellner) that demonstrates articulation and technical ability
• All Major scales, chromatic scale from low Bb to high Eb
• Some suggested solo repertoire includes
  • Concertos by Cimarosa, Marcello, Haydn, Eichner, Vivaldi, or Fischer
  • Sonatas by Telemann, Handel, Saint-Saens, or Hindemith 

Bassoon

• You will be asked to perform two contrasting pieces
• Suggested works include
  • A concerto by Mozart or Weber
  • Excerpts from Milde’s Concert Studies
  • Weisenborn’s Advanced Studies
• You should be able to perform all major, minor, and chromatic scales

Saxophone 

• You should be able to perform all major, minor, and chromatic scales
• You will be asked to perform two contrasting pieces
  • Piano accompaniment is not required
• Suggested works include:
  • Creston or Heiden, Sonata
  • Maurice, Tableaux de Provence
  • Glazunov, Concerto
  • Mule, 18 Exercises after Berbiguier
  • Voxman studies
  • Ferling, 48 Studies
  • Works of similar difficulty will be accepted

French Horn

• You will be asked to perform two contrasting pieces
  • A movement from Mozart, Concerto No. 2, 3 or 4, or Strauss, Concerto No. 1 (or a comparable work)
  • One etude from either the Preparatory Melodies by Pottag, Book I or II by Maxime Alphonse or from a comparable book
• You should be able to perform all major, minor, and chromatic scales

Trumpet

• You should be able to perform all major, minor, and chromatic scales
• You will be asked to perform two contrasting pieces
  • An etude from Arban’s Characteristic Studies and/or Bousquet’s Celebrated Studies
  • A movement from Haydn and/or Hummel
  • Optional: sonata or concerto movement of your choice or two or three orchestral excerpts

Trombone

• You will be asked to perform one excerpt from the Melodious Etudes for Trombone, book 1 by Joannes Rochut and a movement from standard solo repertoire
• Suggested works
  • Guilmant-Morceau Symphonique, Barat: Andante et Allegro or Introduction and Dance, Rimsky-Korsakov Concerto
• You should be able to perform all major, minor, and chromatic scales

Tuba/Euphonium

• You should be able to perform all major, minor, and chromatic scales
• You will be asked to perform
  • One etude
  • A legato study (such as Rochut)
  • A movement from solo literature or orchestral excerpts such as Wagner Overture to Die Meistersinger, Stravinsky Dancing Bear tuba solo in Petrushka

Violin, Viola, Cello, Bass:

• You should prepare:
  • Two scales in the keys of your choice, in 2 or 3 octaves with arpeggios
    • Cello and Viola are encouraged to play a 3-octave C major scale and arpeggio
    • Violin is encouraged to play a 3-octave G major scale and arpeggio as one of your choices
    • Scales/arpeggios should be memorized
  • Any two contrasting works by two different composers, which demonstrate your ability to show your musical skills, commitment and ideas through your instrument
    • The selections can consist of movements of sonatas, concertos, concert pieces, showpieces, or etudes
      • One of the two works should be a solo piece in the Baroque, Classical or Romantic styles
      • The other may be an etude, or in jazz or fiddle style

• Major scales from C to E
• Two pieces that demonstrate two-hand coordination and musicality

• Prepare two solo works in contrasting styles demonstrating lyrical and technical accomplishment
• You should have something to share about the music and should show creative and controlled use of the instrument to express it
• Below are repertoire possibilities, though you may make your own comparable selections from the range of music for the guitar
• You should also be prepared to perform a two-octave major scale of your choice, and a brief sight-reading example

Freshmen

• A Renaissance dance or fantasia
  • Luis de Milán
  • Luys de Narvaez
• A movement from a Baroque suite
  • Robert de Visée
  • J.A. Logy
  • Gaspar Sanz
• Heitor Villa-Lobos: Preludes
• An original composition

Transfer applicants should also consider additional works comparable to:

• Heitor Villa-Lobos: Etudes
• A movement of a suite by J.S. Bach
• A Spanish work by Isaac Albeniz, Joaquin Turina, or F. Morena Torroba
• A fantasia or dance piece by John Dowland
• Works by Dusan Bogdanovich, Theodore Norman, Andrew York
• An original composition

It is recommended that you seek assistance of your private teacher or your school music director when selecting and preparing material for your audition.  The following list of music is intended to serve as a guide to give you a general idea of the music level expected for acceptance to the Cal Poly Pomona Music Department.

Audition Expectations for Freshmen:

• You must play well at least ONE major percussion instrument to gain entrance.
• The four areas from which to choose are Drumset, Snare Drum, Keyboard Percussion, and Timpani.
• You should prepare a substantial non-original solo to demonstrate your capabilities.
• Appropriate etudes and exercises may also be used instead of a solo.
  • See Material Suggestions below

DRUMSET: Jazz Drumset auditions consist of you being able to demonstrate rhythmic and “groove” competency in the following musical styles:

• 4/4 swing at a variety of tempos
• Shuffle
• Funk, Hip Hop and Rock styles at a variety of tempos
• Samba and Bossa Nova
• Mambo, Songo etc.
• Afro-Cuban 6/8

Additional skills assessed during the Jazz Drumset audition:

• Brush technique
• Knowledge of Form and Repertoire
• “Trading Fours” in each of the above styles
• Solo based on the Form of a Jazz "Standard"
• Sight-reading “Big Band” charts

You should be prepared to discuss previous performance experience, teachers, and method books used in study.

Substantive etudes/exercises may be used to enhance your audition. See Materials Suggestions below. 

Suggested Material for the Entering Freshman:  

• The following is a list of books that are highly recommended for use in auditioning
• You are not limited to this list
• You may use anything comparable in level and content
• Note: You are not necessarily expected to play all of the materials listed below.

SNARE DRUM:

• Musical Studies for the Intermediate Snare Drummer by Garwood Whaley
• Intermediate Snare Drum Studies by Mitchell Peters
• Various rudimental studies by Pratt, Wilcoxon or others
• Also be prepared to play rudiments and to sight-read

KEYBOARD PERCUSSION:

• Fundamental Studies for Mallets by Garwood Whaley
• Modern School for Xylophone, Vibraphone and Bells by Morris Goldberg
• Fundamental method for Mallets Book 1 by Mitchell Peters
• Also be prepared to demonstrate major scales and sight-read

TIMPANI:

• Modern Method for Timpani by Saul Goodman
• Fundamental Method for Timpani by Mitchell Peters
• Musical Studies for the Intermediate Timpanist by Garwood Whaley
• Also be prepared to demonstrate tuning capabilities and to sight-read

Suggested Material for the Junior Transfer:

• As a junior transfer you are expected to perform on at least two instruments
• The areas from which to choose are Snare Drum, Keyboard Percussion, Timpani and Drumset
• The following is a list of books that are recommended for use in auditioning
• You are not limited to this list
• You may use anything comparable in level and content

SNARE DRUM:

• Portraits in Rhythm by Anthony Cirone
• Advanced Snare Drum Studies by Mitchell Peters
• Contemporary Studies for Snare Drum by Fred Albright
• Various rudimental studies by Pratt, Wilcoxon or others
• Also be prepared to sight-read

KEYBOARD PERCUSSION:

• Musical Studies for the Intermediate Mallet Player by Garwood Whaley
• Fundamental Method for Mallets Book 2 by Mitchell Peters
• Masterpieces for Marimba by Thomas McMillan
• Or solos works similar to:
  • Yellow After the Rain by Mitchell Peters
  • Contemporary Etudes for 3 or 4 Mallets by Karen Ervin
• Also be prepared to demonstrate major/minor scales and to sight-read

TIMPANI:

• Modern Method for Timpani by Saul Goodman
• Fundamental Method for Timpani  by Mitchell Peters
• Musical Studies for the Intermediate Timpanist by Garwood Whaley, or something comparable.
• Also be prepared to demonstrate tuning capabilities and to sight-read

For Percussion (drumset) and Voice (commercial and classical), please also consult their specific lists of requirements. 

Performing: The Cal Poly Pomona Music Department values the best music of any genre. You should prepare pieces that you are comfortable with and that display your strengths as a musician. Those may be, but are notlimited to:

• An original song or composition
• A tune from a well-known artist or band (any style)
• A standard or jazz tune with your own improvisation
• A composition from a traditional instrumental/voice repertoire or an aria or musical theater selection (A pianist will be provided if you bring a written part. Sorry, no lead sheets.)
• A transcription of a well-known artist's solo
• An aria or song from traditional classical literature

You should have two contrasting pieces of about 3-5 minutes each ready to perform.

If composing or songwriting is your primary focus, one of your two pieces should be an original work (still within the 3-5 min. time limit).

If you have any questions regarding what kind of work to perform, please contact us in advance of your audition.

Sight Reading:

• To gauge your reading ability, examples will be provided ranging from basic to complex
• You will have 15 minutes before your audition to warm up on your instrument and review the reading material before being asked to play the examples in the audition

Ear Training:

• You will be asked to participate in call-and-response exercises
• The audition team will play short rhythms and melodies, which you will either sing back or play back on your instrument
• You may also be asked to identify intervals and chord qualities
• The audition team will also gain a sense of your ability to match pitch during this section of the audition

You may also be asked to demonstrate your range and technical facility via typical practice routines and exercises (scales, arpeggios, etc.).

• While each component of the audition is important, we know it is common for students to have imbalances in their abilities
• We take a “big picture” approach in our evaluation process
• Each component of the audition – including a short interview – helps us assess your overall potential as a musician
• Many applicants may not have advanced skills in harmony, sight reading, ear training, or even multiple musical styles, but our curriculum will help students build skills in these areas

DRUMSET: Refer to drumset audition requirements above, under Percussion.

Mariachi students auditioning for Cal Poly Pomona may bring additional musicians to accompany them, but playing with accompanying musicians is not required. Theyshould prepare the following:

VOICE

• Three songs, preferably memorized: (1) a bolero; (2) a fast tempo ranchera; and (3) a slower ranchera
• Also, prepare the Audition Requirements for Commercial Voice, above.
• To join one of the mariachi ensembles, all vocalists will be required to play an instrument. See requirements below. You may also direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu)

VIOLIN

• Major and minor scales in two or three octaves with arpeggios
• Three songs or pieces, preferably memorized: (1) a son jaliscience; (2) a ranchera; (3) a bolero
• Sight-read a short excerpt from a page of sheet music
• To join one of the mariachi ensembles, all instrumentalists will be required to sing. At the audition, you will be asked to sing at least a scale or sing back melodic fragments played for you. You may also sing during one of the songs you play. Please direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music).

TRUMPET

• Major and minor scales in two octaves with arpeggios.
• Three songs or pieces, preferably memorized: (1) a son jaliscience; (2) a ranchera; (3) a bolero
• Sight-read a short excerpt from a page of sheet music
• To join one of the mariachi ensembles, all instrumentalists will be required to sing. At the audition, you will be asked to sing at least a scale or sing back melodic fragments played for you. You may also sing during one of the songs you play. Please direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music).

GUITAR / VIHUELA

• Major and minor scales in two octaves.
• Play and transpose chord progressions: (1) Círculo/Circle of 5ths (I-vi-ii-V7-I); and (2) Secuéncia (I-ii-iii-biii-II-I)
• Three songs or pieces, preferably memorized: (1) a son jaliscience, huapango, or joropo; (2) a ranchera; (3) a bolero
• Sight-read a short excerpt from a page of sheet music
• To join one of the mariachi ensembles, all instrumentalists will be required to sing. At the audition, you will be asked to sing at least a scale or sing back melodic fragments played for you. You may also sing during one of the songs you play. Please direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music).

GUITARRÓN

• Major and minor scales in one octave with arpeggios
• Three songs or pieces, preferably memorized: (1) a son jaliscience orhuapango; (2) a ranchera; (3) a bolero
• Sight-read a short excerpt from a page of sheet music
• To join one of the mariachi ensembles, all instrumentalists will be required to sing. At the audition, you will be asked to sing at least a scale or sing back melodic fragments played for you. You may also sing during one of the songs you play. Please direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music). 

HARP

• Major and minor scales in three octaves with arpeggios
• Two songs or pieces, preferably memorized: (1) a son jaliscience orson jarocho; and (2) a ranchera
• Sight-read a short excerpt from a page of sheet music
• To join one of the mariachi ensembles, all instrumentalists will be required to sing. At the audition, you will be asked to sing at least a scale or sing back melodic fragments played for you. You may also sing during one of the songs you play. Please direct any questions you have to Dr. Kopplin (dfkopplin@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music).