Instrumental Jazz, Vocal Jazz, and Voice Transfer Applicants all require prescreen video auditions in addition to a live audition.
Prescreen Audition Video submissions will be accepted from November 15, 2023 to January 22, 2024.
Composition applicants are not required to audition.
Please read this entire page carefully. Audition processes, requirements, and repertoire differ depending on your instrument and area of study. If something is unclear, additional questions pertaining to auditions can be found in the Graduate FAQ.
Please read this entire page carefully. Audition processes, requirements, and repertoire differ depending on your instrument and area of study. If something is unclear, additional questions pertaining to auditions can be found in the Undergraduate FAQ.
Live auditions will be held Saturday, February 10, 17, and 24, 2024.
All instrumentalists who are interested in becoming Brass Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.
Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to perform one or more selections from the standard repertoire that reflect both lyrical and technical proficiency.
Applicants for admission on brass instruments should be prepared to play one or more selections that best represent the applicant’s level of lyrical and technical proficiency, selected major scales, and a chromatic scale that demonstrates your range on the instrument.
Please see the "Bachelor of Music, Option in Composition" section on the Admissions Page for portfolio submission requirements. If you are offered an interview, interviews will be held on February 17, 2024.
Live auditions will be held on Saturday, February 17, 2024.
All instrumentalists who are interested in becoming Jazz Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.
Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to sightread a jazz étude or excerpt. During this portion of the audition, we evaluate rhythmic and note accuracy in a consistent time feel.
Your Audition Video will be reviewed to determine your advancement in the audition process. The audition repertoire is outlined above by the area of your instrument. In addition to preparing your repertoire, make sure you meet the following criteria:
At the beginning of the recording, state clearly:
Your full name
The name of each piece and respective composer names
Recordings must be unedited and without artificial enhancement such as reverb or pitch correction.
Be sure that it is clear that you are playing your instrument live. This means make sure your instrument and your fingers, mouth, embochure, diaphragm (if you are a singer), drum kit, etc. are clearly visible while you are playing.
Be sure that you can be heard clearly. If you are playing with accompaniment, be sure you can be heard above the accompaniment/rhythm section.
Watch your video all the way through to check the quality, playability, and completeness of your recording before you upload it.
Upload your audition video to YouTube, and be sure to make it UNLISTED (not private).
Additionally, it will be helpful if you use the following best practices for video:
Find a quiet location without background distractions
Adjust lighting so that you are well lit and not in shadows
If possible, use a microphone for better quality audio
Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune and improvise to the chord changes accompanied by live musicians or accompaniment tracks provided by you.
Saxophonists should be prepared to demonstrate woodwind-doubling skills on a jazz or classical étude or excerpt. Alto saxophonists should be prepared to play soprano sax and flute. Tenor saxophonists should be prepared to play clarinet and flute. Baritone saxophonists should be prepared to play bass clarinet and flute.
Guitar and Piano
Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune, perform a chord melody (guitar only), "comp" the chord changes, and improvise on the chord changes accompanied by live musicians or accompaniment tracks provided by you. Guitarists will be asked to play the written melody line; Pianists will be asked to play the written melody while comping the chord changes in the left hand.
Bass
Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the melody of the tune, provide a bass line (comp), and improvise to the chord changes accompanied by live musicians or accompaniment tracks provided by you.
The Jazz Studies area does not admit candidates who play electric bass only.
Drums
Prepare two medium-tempo or up-tempo jazz standards/études in contrasting styles. Be prepared to perform the tunes accompanied by live musicians or accompaniment tracks provided by you. Candidates who advance to the second part of the audition will be asked to sight read a portion of a big band chart to demonstrate your ability to play a consistent groove in the style, play set-up figures, and accurately play notated ensemble cues.
**All drum candidates are required to bring your own cymbals to the audition.
Play the melody of, and improvise over the chord changes to two jazz standards of contrasting styles accompanied by live musicians or pre-recorded accompaniment tracks which you are required to provide.
Comp the chord changes to both tunes using two or four mallets.
Prepare an 8 measure "chord melody" of any jazz standard or one of the first 5 pieces from Vibraphone Technique: Dampening and Pedaling by David Friedman.
As part of the audition process, you will be required to sightread a jazz étude or excerpt, with a consistent time feel to evaluate rhythmic and note accuracy.
Transfer Students
Play the melody of, and improvise over the chord changes to two jazz standards of contrasting styles accompanied by live musicians or pre-recorded accompaniment tracks which you are required to provide.
Comp the chord changes to both tunes using four mallets.
Prepare a "chord melody" of an entire jazz standard and one of the first 20 pieces from Vibraphone Technique: Dampening and Pedaling by David Friedman.
As part of the audition process, you will be required to sightread a jazz étude or excerpt, with a consistent time feel to evaluate rhythmic and note accuracy.
Undergraduate jazz studies degree programs are designed to put the finishing touches on your previously acquired jazz skills. Collegiate jazz programs are not designed to accommodate those with little or no jazz background and/or those with undeveloped music notation reading skills. Here are some general guidelines and prerequisite skills that indicate whether the Jazz Studies degree programs at "Jazz At The Beach" are a good fit for you:
Bachelor of Music in Jazz Studies Candidates
Successful candidates have a history of excellence in high school and/or community college academics, have 4-6 years of experience as leading players in their secondary school and/or community college jazz ensembles, listen to jazz regularly, are building a repertoire of jazz standards, and are able to sight read musical notation at a collegiate level.
The Jazz Studies Handbook
The Jazz Studies Handbook was compiled and is updated annually to publicize jazz area policies, offer helpful advice, and answer frequently asked questions from prospective and current Bob Cole Conservatory jazz majors. If you have any further questions specific to the Jazz Studies area that are not covered in this handbook, please e-mail the area director at jeff.jarvis@csulb.edu.
All of us at "Jazz At The Beach" are eager to help you realize your goals.
Live auditions will be held on Saturday, February 17, 2024.
For acceptance into the Bob Cole Conservatory of Music as a Jazz Voice Major, undergraduate students must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.
Audition Video Guidelines
Your Audition Video will be reviewed to determine your advancement in the audition process. The audition repertoire is outlined above by the area of your instrument. In addition to preparing your repertoire, make sure you meet the following criteria:
At the beginning of the recording, state clearly:
Your full name
The name of each piece and respective composer names
Recordings must be unedited and without artificial enhancement such as reverb or pitch correction.
Be sure that it is clear that you are playing your instrument live. This means make sure your instrument and your fingers, mouth, embochure, diaphragm (if you are a singer), drum kit, etc. are clearly visible while you are playing.
Be sure that you can be heard clearly. If you are playing with accompaniment, be sure you can be heard above the accompaniment/rhythm section.
Watch your video all the way through to check the quality, playability, and completeness of your recording before you upload it.
Upload your audition video to YouTube, and be sure to make it UNLISTED (not private).
Additionally, it will be helpful if you use the following best practices for video:
Find a quiet location without background distractions
Adjust lighting so that you are well lit and not in shadows
If possible, use a microphone for better quality audio
Your Audition Video must include two jazz standards in contrasting styles. One must be a medium or up-tempo swing. On of the pieces must include vocal improvisation.
Based on your prescreen video, you will be notified if you have been selected to advance to the next step—an in-person audition.
One classical selection. (In order to be accepted as a jazz voice major, you must possess an acceptable level of classical vocal proficiency and technique)
One medium or up-tempo swing piece (from standard jazz repertoire)
One jazz ballad or bossa nova (from standard jazz repertoire)
Improvise on at least one of your jazz selections
Sightreading one jazz excerpt (a cappella)
Repeat a random series of pitches played on the piano
Please Note
For live auditions, an accompanist will be provided. You may also use backing tracks or bring your own accompanist to play for your audition
Recording yourself during your live audition is strictly prohibited
First-Year students must complete one year of classical voice lessons, and complete a "Sophomore Hearing" in classical voice at the end of your first year. Once the Sophomore Hearing has been passed, private jazz lessons will begin. Jazz lessons usually begin at the start of sophomore year.
Live auditions will be held on Saturday, February 10 and 24, 2024.
All instrumentalists who are interested in becoming Keyboard Studies majors must submit a Prescreen application as the first step in the audition process. Based on your application, you will be notified if you have been selected to advance to the next step—an in-person audition.
Three (3) works in contrasting styles demonstrating lyrical and technical accomplishment appropriate for Conservatory admission. At least one of the works must be from the Baroque or Classical era. For the performance option, the total duration must be at least twelve (12) minutes.
Additional Notes for Piano Applicants
All music must be performed by memory
Single movements of larger works (e.g. sonatas) are allowed; several selections from a larger group (e.g. Chopin Preludes) may be counted as one work
Transcriptions, arrangements and concert paraphrases are acceptable; no simplified arrangements.
Sample Programs, representing MINIMUM level of difficulty
1. Bachelor of Music (piano performance)
J.S. Bach: Prelude and Fugue in C-sharp Major from Well-Tempered Clavier, Book 1
Liszt: Concert Etude "Un Sospiro"
Ravel: Sonatine, first movement
Haydn: Sonata in E-flat Major, Hob. XVI/49, first movement
Chopin: Ballade No. 3 in A-flat Major, Op. 47
Prokofiev: Sonata No. 3 in A Minor, Op. 28
2. Bachelor of Music (1st year non-performance degrees)
J. S. Bach: Two-Part Invention No. 8 in F Major
Mendelssohn: Song Without Words, Op. 19, No. 4
Debussy: Le petit Nègre
Clementi: Sonatina in D Major, Op. 36, No. 6, first movement
Robert Schumann: From Foreign Lands and Peoples from Scenes from Childhood, Op. 15
Kabalevsky: Variations in D Major, Op. 40
3. Bachelor of Music (junior transfer, non-performance degrees)
Beethoven: Sonata in C Minor, Op. 10, No. 1, first movement
Chopin: Polonaise in C-sharp Minor, Op. 26, No. 1
Copland: The Cat and The Mouse
J. S. Bach: French Suite No. 5 in G Major
Schubert: Impromptu in E-flat Major
Debussy: La Fille aux cheveux de lin from Preludes, Book 1
Applicants for admission on organ should be prepared to perform a work demonstrating both musical registration and technique. This may be done with one composition or with two contrasting works. Playing from memory will be considered as denoting serious preparation.
Repertoire may include:
First-Year Students
Early baroque works, some without pedal
Bach: Little Eight Preludes and Fugues
Rheinberger: Ten Trios
Bach: Orgelbuchlein
Faulkner: Sonatas
Guilmant: Sonatas
Mendelssohn: Sonata (movements)
Dupre: Antiphons (selected)
Bingham: hymn settings
Walcha: Chorale Preludes
Wood: Folk Tune Sketches
Sophomores
Dunstable: Agincourt Hymn
Pachelbel: Toccatas
Buxtehude: Fugues and Chorales
Mendelssohn: Sonatas
Franck: Andantino or Cantabile
J.S. Bach: Swiss Fugue or Cathedral or Fantastie and Fugue
Hindemith: Sonatas I and III (movements)
Jacobi: Preludes
Walcha: Chorale Preludes
Weinberger: Bible Poems
Manz: Chorale Settings
Juniors
Baroque works of Marcello, Sweelinck, Couperin, and Daquin
Schumann: Canons
Reger:(selected pieces)
Langlais: Epilogue
Karg-Elert: Chorale Preludes
J.S. Bach: Preludes and Fugues in C Minor and F Minor
Following each semester of required private study the student must pass a performance examination before a jury composed of the studio instructor and Conservatory of Music faculty members.
Additional Organ Jury Requirements
All or portions of a work from each of the periods in music history studied during the semester. Registration, pedal dexterity, finger legato, manual changes and use of the expression pedals are essential achievements.
Pieces or études should be chosen from the following categories and need not be memorized:
Required Areas
Mallet Keyboard
Demonstrate 2 Octave Major Scales, Arpeggios and Chromatic Scale
Perform one 2-mallet solo work or étude to demonstrate musicianship, such as: Tambourin Chinois by Fritz Kriesler (arranged for xylophone by George Hamilton Green), Two: A Collection of Concert Pieces for Two-mallet Marimba Solo by Gene Koshinksi, Sonatas & Partitas for Violin or Six Suites for Cello by J.S. Bach or equivalent.
Perform one 4-mallet piece from the contemporary marimba literature, such as: A Cricket Sang and Set the Sun by Blake Tyson, Meditation and Dance by David Steinquest, Mexican Dances by Gordon Stout or similar.
Snare Drum
Perform a piece or étude in concert style from either: Tributes for Snare Drum by Ted Atkatz or 12 Etudes for Snare Drum by Jacques Delécluse
Perform a rudimental style piece, example: 14 Modern Contest Solos for Snare Drum by John Pratt
Demonstrate the 40 Percussive Arts Society Standard American rudiments, sight reading
Timpani
Perform a representative piece or étude, example: Eight Pieces for Timpani by Elliot Carter, 20 Studies for Timpani by Jacques Delécluse, Etudes & Solos for Timpani or Saul Goodman’s Modern Method for Timpani or equivalent
Live auditions will be held Saturday, February 10, 17, and 24, 2024.
Voice Transfer Students
Voice Transfer Students must submit a prescreen audition in video format. Voice will accept Audition Video Links between November 15, 2023 and January 22, 2024.
Your Audition Video will be reviewed to determine your advancement in the audition process. If you are offered a live audition they will be held Saturday, February 10, 17, and 24, 2024.
You should be prepared to sing two selections of contrasting styles. One piece must be in a language other than English. Your repertoire must be performed from memory.
An accompanist will be provided. If you have any additional questions, please don’t hesitate to contact the area directors.
Live auditions will be held Saturday, February 10, 17, and 24, 2024.
All instrumentalists who are interested in becoming Woodwind Studies majors must submit a Prescreen Audition Video as the first step in the audition process. Please refer to the Audition Video Guidelines section when preparing your Audition Video.
Based on the video, you will be notified if you have been selected to advance to the next step of the audition—an in-person audition where you will be expected to perform one or more selections from the standard repertoire that reflect both lyrical and technical proficiency.
Applicants for admission on clarinet should be prepared to perform one or more selections that best represent the applicant’s level of lyrical and technical proficiency. Please use the list below to help you select a work that best showcases your abilities. These are only suggestions, feel free to choose a work not on this list.
Representative material: the student should perform works at least the equivalent of material found in Lazarus (Parts II and III), Klose, Baermann (Parts I and II), and Magnani (Parts I and II).
Repertoire may include:
Scales and Technical Studies
Chromatic Scale (from memory)
Major Scales (from memory)
Natural, Harmonic, and Melodic Minor Scales (from memory)
Applicants for admission on flute should be prepared to play one or more selections that best represent the applicant’s level of lyrical and technical proficiency and are approximately a total of 10 minutes of music. Please use the list below to help you select a work that best showcases your abilities. These are only suggestions, feel free to choose a work not on this list.
Applicants for admission on oboe should be prepared to play two contrasting selections that best represent the applicant’s level of lyrical and technical proficiency. Please use the list below to help you select a work that best showcases your abilities. These are only suggestions, feel free to choose a work not on this list.
Repertoire may include:
Method and Exercise Books
A.M.R. Barrett: Complete Oboe Method, Original Edition (Boosey and Hawkes)
H. Brod: Études et Sonates pour Hautbois, 2nd Volume (A. Leduc)
W. Ferling: 48 Famous Studies (Southern Music Co.)
G. Gillet: Studies for the Advanced Teaching of the Oboe (A. Leduc)
A. Andraud: Vade Mecum of the Oboist (Southern Music Co.)
Sonatas and Solo Works
F. Poulenc: Sonata for Oboe and Piano (Southern Music Co.)
C. Saint-Saëns: Sonata for Oboe and Piano
G. Handel: Sonata No. 1 in C minor, No. 2 in G minor
A. Vivaldi: Sonata in C minor
G.P. Telemann: Sonata in G minor
G.P. Telemann: Twelve Fantasias
E. Paladihle: Solo
E. Lutyens: Presages Op. 53
G. Guilhaud: Premiere Concertino
C. Nielsen: Romance and Humoresque
R. Gipps: The Piper of Dreams for solo oboe
M. Maxwell: Pibroch for solo oboe and drone
P. Hindemith: Sonate für Oboe und Klavier (Schott)
M. Dranishnikova: Poem for oboe and piano
K. Hoover: Sonata Op. 44
F. Onovwerosuoke: Six Sketches for Oboes and Piano
H. Dutilleux: Sonata pour Hautbois et Piano (Leduc)
B. Britten: Six Metamorphoses after Ovid
J. Brandon: Three Desert Fables
A. Morris: Four Personalities
A. Morris: Six Collision Etudes
E. Bozza: Fantasie Pastorale
W. Piston: Suite for Oboe and Piano
W.G. Still: Incantation and Dance
R. Schumann: Three Romances for oboe and piano
M. Dring: Italian Dance
M. Dring: Three Piece Suiteli
Concerti
A. Vivaldi Concerti: A minor RV 461, D Major RV 453, D minor RV 454
Applicants for admission on saxophone should prepare two contrasting selections that best represent the applicant’s level of lyrical and technical proficiency and are approximately a total of 10 minutes of music. Please use the list below to help you select a work that best showcases your abilities. These are only suggestions, feel free to choose a work not on this list. Etudes are not appropriate for this audition.
Selections marked with * are appropriate for transfer students.
When you arrive for auditions you’ll be greeted by a student volunteer in the parking lot who will orient you towards the Bob Cole Conservatory and, if necessary, help you unload large instruments. They will direct you to Registration. All of our student volunteers, staff, and faculty will be wearing name tags.
Parking is $10 and is required. You must first purchase a timed permit via ParkMobile App using your mobile device or pay at the yellow kiosk. Download the app and use Parking Lot G12 for the appropriate zone number. More info at ParkMobile App. Please note, daily permits are only valid in the lot purchased.
The Registration tables are in the lobby of Daniel Recital Hall. Student volunteers will check you in by area, answer any questions, and offer a map of the department to you. You’ll also get a name tag.
Waiting Rooms
A student volunteer will walk you to a room where you and your family can wait until it is your turn to audition. A volunteer will come to get you from the waiting room when it is your turn to warm up.
Warm-Up
A volunteer will walk you to a practice room to warm up. You’ll get about 10-15 minutes to warm up.
Audition
A student volunteer will walk you to your audition. Excellent accompanists are provided for voice auditions.
Meet & Greet
Several faculty members will be available to answer your questions about specific programs.
Campus Tour
Student volunteers will take small groups on campus tours. They’ll answer any questions you might have as they show you some of the 322 acres of campus. If you plan to take a tour, bring walking shoes.
Your Audition Video will be reviewed to determine your advancement in the audition process. The audition repertoire is outlined above by the area of your instrument. In addition to preparing your repertoire, make sure you meet the following criteria:
At the beginning of the recording, state clearly:
Your full name
The name of each piece and respective composer names
Recordings must be unedited and without artificial enhancement such as reverb or pitch correction.
Be sure that it is clear that you are playing your instrument live. This means make sure your instrument and your fingers, mouth, embochure, diaphragm (if you are a singer), drum kit, etc. are clearly visible while you are playing.
Be sure that you can be heard clearly. If you are playing with accompaniment, be sure you can be heard above the accompaniment/rhythm section.
Watch your video all the way through to check the quality, playability, and completeness of your recording before you upload it.
Upload your audition video to YouTube, and be sure to make it UNLISTED (not private).
Additionally, it will be helpful if you use the following best practices for video:
Find a quiet location without background distractions
Adjust lighting so that you are well lit and not in shadows
If possible, use a microphone for better quality audio
Use this link for prescreen video submissions, to fill out your prescreen application, or to schedule your live audition. After you submit, you will receive a confirmation email.
You will have the ability to cancel or re-schedule your audition time using your confirmation email.
