During placement auditions, we can also arrange for auditions for the Bachelor of Music programs for current students wishing to move into a BM program.  See Auditions for Studio Placement.

New Student Auditions:  Bachelor of Music program 

All potential students are required to audition in order to qualify for the Bachelor of Music program.  Auditions are approximately10 minutes in length. Students should select material for the audition which best demonstrates their abilities, following the guidelines for repertoire below. 

A. Prepare an Audition Document 

1. Name, Bronco ID, Major, Expected Term and Year of Graduation 
2. A list of repertoire studied during the past 3 years 
3. Prior musical training (list, or present a resume) 
4. Performance experience (solo and ensemble-list, or present resume) 
5. If transferring:  From which school are you transferring? 

B. At the Audition 

1. Student will be asked to perform two pieces of contrasting styles, musical periods and tempos. The selections need to demonstrate the student’s musical and technical abilities. Students will be evaluated for their command of tone, phrasing, rhythmic accuracy, articulation, stylistic appropriateness and for their interpretation. Students need to be prepared to play any Major scale, 4 octaves, up and down. Students 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.

During placement auditions, we can also arrange for auditions for the Bachelor of Music programs for current students wishing to move into a BM program.  See Auditions for Studio Placement.

New Student Auditions:  Bachelor of Music program

All potential students are required to audition in order to qualify for the Bachelor of Music program.  Auditions are approximately10 minutes in length. Students should select material for the audition which best demonstrates their abilities, following the guidelines for repertoire below.

A. Prepare an Audition Document

Email Kendra Vuk, klynch@cpp.edu, before the audition.

Students should prepare the material as detailed below. Please provide the following information on a typed document for the audition committee. If you receive an on-line audition form from the department, you should provide the information through that process.

• Name, Bronco ID, Major, Expected Term and Year of Graduation
• A list of repertoire studied during the past 3 years
• Prior musical training (list, or present a resume)
• Performance experience (solo and ensemble-list, or present resume)
• If transferring:  From which school are you transferring?

B.  At the Audition

Student will sing two memorized songs in contrasting styles and tempi. Student 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.
• Student will provide sheet music for the accompanist in the correct key for in-person auditions, or a background track* for each song.
• Student will be expected to demonstrate tonal memory skills.
• Student may be asked to sight-read a melodic excerpt.

* Tracks: If you are bringing tracks to in-person auditions, you must email Dr. Ali no later than 2 weeks prior to the audition to communicate what you are bringing (phone? CD?)/electronic needs.  klynch@cpp.edu 

You are required to concurrently enroll in Performance Seminar (MU 2700), and a voice- related ensemble while in Studio Voice. 

Contact Kendra Vuk for information about the voice area - klynch@cpp.edu 

Flute

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

Clarinet

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

Oboe

The student will be asked to perform two contrasting piecesof his/her choice, one from solo works in contrasting style periods and 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

The student will be asked to perform two contrasting pieces. Suggested works include a concerto by Mozart or Weber; excerpts from Milde’s Concert Studiesor Weisenborn’s Advanced Studies. The student should be able to perform all major, minor, and chromatic scales.

Saxophone 
The student should be able to perform all major, minor, and chromatic scales and performtwo 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

The student 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), and one etude from either the Preparatory Melodies by Pottag, Book I or II by Maxime Alphonse or from a comparable book. The student should be able to perform all major, minor, and chromatic scales.

Trumpet

The student should be able to perform all major, minor, and chromatic scales. Two contrasting pieces: an etude from Arban’s Characteristic Studies and/or Bousquet’s Celebrated Studies; and a movement from Haydn and/or Hummel; (optional) sonata or concerto movement of applicant’s choice or two or three orchestral excerpts.

Trombone

The student 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. The student should be able to perform all major, minor, and chromatic scales.

Tuba/Euphonium

The student should be able to perform all major, minor, and chromatic scales. 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:

The auditioner should prepare:

1) Two scales in the keys of the candidate’s choice, in 2 or 3 octaves with arpeggios. Cello and Viola are encouraged to play a 3-octave C major scale and arpeggio, and violin is encouraged to play a 3-octave G major scale and arpeggio as one of their choices. Scales/arpeggios should be memorized.

2) Any two contrasting works by two different composers, which demonstrate the student’s ability to show their musical skills, commitment and ideas through their instrument. The selections can consist of movements of sonatas, concertos, concert pieces, showpieces, or etudes. 

Consult with your teacher, and you may choose what best demonstrates your thoughts and skills. 

Candidates may bring an accompanist if they wish, but playing with an accompanist is not required.

You may contact Dr. Janine Riveire for examples of acceptable repertoire: jhriveire@cpp.edu

Prepare two solo works in contrasting styles demonstrating lyrical and technical accomplishment. The player 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 applicants may make their own comparable selections from the range of music for the guitar.

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

Applicants should also be prepared to perform a two-octave major scale of their choice, and a brief sight-reading example.

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 students a general idea of the music level expected for acceptance to the Cal Poly Pomona Department of Music.

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 the applicant 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

The prospective student 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 Drummerby Garwood Whaley, Intermediate Snare Drum Studiesby 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 Malletsby Garwood Whaley, Modern School for Xylophone, Vibraphone and Bellsby 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 Timpaniby Saul Goodman, Fundamental Method for Timpani by Mitchell Peters, Musical Studies for the Intermediate Timpanistby 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 Rhythmby Anthony Cirone, Advanced Snare Drum Studiesby Mitchell Peters, Contemporary Studies for Snare Drumby Fred Albright, various rudimental studies by Pratt, Wilcoxon or others. Also be prepared to sight-read.

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

TIMPANI: Modern Method for Timpaniby Saul Goodman, Fundamental Method for Timpani  by Mitchell Peters, Musical Studies for the Intermediate Timpanistby 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. Vallejo (jmvallejo@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. Vallejo (jmvallejo@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. Vallejo (jmvallejo@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. Vallejo (jmvallejo@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. Vallejo (jmvallejo@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. Vallejo (jmvallejo@cpp.edu), including those about something that may be new to you (e.g., sight-reading sheet music).