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Undergraduate Audition Information

Updated November 9, 2021

Sections on this page:
Performance Audition Repertoire
Additional Academic Area Reqirements
Audition Location
What To Expect On Audition Day
Prescreen Audition Video Guidelines

In-person auditions for Fall 2022 will be held on Saturday, February 5, 2022 (for all areas) and on Saturday, February 26 (for all areas except Vocal Jazz).


Audition sign-ups will be open from November 15, 2021 to February 25, 2022.


Instrumental Jazz, Vocal Jazz, Brass Studies, and Woodwind Studies all require video auditions in addition to a live 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 Undergraduate FAQ.

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Performance Audition Repertoire

Please select your instrument area below for specific repertoire and requirements.

If you have additional questions about your audition, please contact the Area Director of your instrument directly using the email address provided.

Brass Studies Audition Requirements

*Brass Studies requires you to submit a prescreen audition in video format.

Brass Studies will accept Audition Video Links between November 15, 2021 and January 15, 2022 @ 11:59pm only.

Submit your prescreen audition video using this Audition Form (opens in a new page):

All instrumentalists (both undergraduate and graduate) 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.

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Audition Repertoire

Applicants for admission should perform:

  • One or more selections from the standard repertoire that reflect both lyrical and technical proficiency

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Instrumental Jazz Audition Requirements

*Instrumental Jazz requires you to submit a prescreen audition in video format.

Instrumental Jazz will accept Audition Video Links between November 15, 2021 and January 15, 2022 @ 11:59pm only.

Submit your prescreen audition video using this Audition Form (opens in a new page):

All instrumentalists (both undergraduate and graduate) 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.

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Audition Repertoire by Instrument

Wind Players

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.

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Jazz Vibraphone Audition Repertoire

Frist-Year Students

  1. 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.
  2. Comp the chord changes to both tunes using two or four mallets.
  3. 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.
  4. 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

  1. 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.
  2. Comp the chord changes to both tunes using four mallets.
  3. 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.
  4. 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.

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Additional Resources

Is "Jazz At The Beach" right for you?

Undergraduate and Graduate 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.

Vocal Jazz Audition Requirements

*Vocal Jazz requires you to submit a prescreen audition in video format.

Vocal Jazz will accept Audition Video Links between November 15, 2021 and January 15, 2022 @ 11:59pm only.

Submit your prescreen audition video using this Audition Form (opens in a new page):

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.

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Audition Repertoire

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.

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If Offered a Callback Audition

  1. You will be given a sightreading excerpt to read, a cappella
  2. You will be asked to repeat a random series of pitches played on the piano
  3. You may also be asked to present the following. Please be prepared to sing:
    1. 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)
    2. One medium or up-tempo swing piece (from standard jazz repertoire)
    3. One jazz ballad or bossa nova (from standard jazz repertoire)
    4. Improvise on at least one of your jazz selections

Please Note

  • You will be notified in advance if you will be asked to sing any songs in addition to the sightreading and pitch repetition
  • 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 your audition is strictly prohibited

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If Accepted Into The Conservatory

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.

Transfer Students begin jazz lessons right away.

If you have any questions, please contact: Christine Guter christine.guter@csulb.edu

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Keyboard Studies Audition Requirements

*Keyboard Studies requires you to submit a prescreen application to be considered for the program.

Keyboard Studies will accept this application between November 15, 2021 and January 15, 2022 @ 11:59pm only.

Submit your prescreen applicaiton using this Audition Form (opens in a new page):

All instrumentalists (both undergraduate and graduate) 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.

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Audition Repertoire

Piano

Bachelor of Music (including performance, composition, history/literature, and education)

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

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Organ

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
  • J.S. Bach: Toccata and Fugue in D Minor
  • J.S. Bach: Chorale: Wachet Auf
  • Mendelssohn: Sonata #6
  • Franck: Piece Heroique

Seniors

  • J.S. Bach: 18 Great Choral Preludes (selected)
  • J.S. Bach: Catechism Choral Prelude
  • J.S. Bach: Passacaglia and Fugue in C Minor
  • J.S. Bach: Trio Sonatas
  • Franck: Fantasia and Chorale II
  • Vierne: Symphony (movements)
  • Widor: Symphony (movements)
  • Handel: Concertos
  • Liszt: Prelude and Fugue on B.A.C.H.
  • Bender: (larger forms)
  • Piston: (larger forms)

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Juries

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.

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Percussion Studies Audition Requirements

*Percussion Studies is accepting both video and in-person auditions for Fall 2022 matriculation, though a live audition is preferred.

This form will remain open for video submissions and audition sign-ups until February 25th, 2022.

Submit your application using this Audition Form (opens in a new page):

Applicants for admission should bring sticks, mallets, music, and any instruments beyond a marimba, vibraphone, snare drum, timpani and drum set.

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Audition Repertoire

Pieces or études should be chosen from the following categories and need not be memorized:

Required Areas

Mallet Keyboard

  1. Demonstrate 2 Octave Major Scales, Arpeggios and Chromatic Scale
  2. 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.
  3. 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

  1. 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
  2. Perform a rudimental style piece, example: 14 Modern Contest Solos for Snare Drum by John Pratt
  3. Demonstrate the 40 Percussive Arts Society Standard American rudiments, sight reading

Timpani

  1. 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
  2. Demonstrate rolls, tuning, sight reading

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Optional Areas

Excerpts

  1. Perform excerpts form the standard orchestral repertoire on Xylophone, Snare Drum, Cymbals, Tambourine, Triangle, etc.

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String Studies Audition Requirements

*String Studies is accepting both video and in-person auditions for Fall 2022 matriculation, though a live audition is preferred.

This form will remain open for video submissions and audition sign-ups until February 25th, 2022.

Submit your application using this Audition Form (opens in a new page):

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Audition Repertoire

Please note: if you wish to audition with a different set of pieces, please email the Area Director.

Violin

Applicants for admission on violin should be prepared to perform the following:

Violin Repertoire

  1. An Etude or a Caprice (or a self-chosen piece)
  2. One movement of Unaccompanied Bach Sonata or Partita
  3. A movement of a Concerto

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Viola

Applicants for admission on viola should be prepared to perform the following:

Viola Repertoire

  1. An Etude or a Caprice (or a self-chosen piece)
  2. One movement of Unaccompanied Bach Cello Suite, or Violin Sonata or Partita
  3. A movement of a Concerto

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Cello

Applicants for admission on cello should be prepared to perform the following:

Cello Repertoire

  1. An Etude or a Caprice (or a self-chosen piece)
  2. One movement of Unaccompanied Bach Suite
  3. A movement of a Concerto

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Harp

Applicants for admission on harp should be prepared to perform the following:

Harp Repertoire

  1. Two pieces of contrasting styles

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Bass

Applicants for admission on bass should be prepared to perform the following:

Bass Repertoire

  1. Baroque: One movement of a Sonata (Vivaldi, Eccles, Corelli…) or one movement of a Bach Cello Suite
  2. Solo of choice from Classical, Romantic or Contemporary
  3. Two excerpts from the following list (Wagner counts as 2):
    (Download sheet music here)
    • Bach: Brandenburg #3 first mov.
    • Mozart: 40 First
    • Beethoven: 5 Trio
    • Beethoven: 3 End of first mov.
    • Beethoven: 9 6/8 fugue
    • Berlioz: Symphony Fantastique (IV)
    • Tchaikovsky: 4 first page
    • Brahms: 1 first and last mov.
    • Dvořák: 8 last mov.
    • Wagner: Meistersinger prelude
    • Strauss: Don Juan first page
    • Prokofiev: Lt. Kije solo

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Voice Audition Requirements

*Voice is accepting both video and in-person auditions for Fall 2022 matriculation, though a live audition is preferred.

This form will remain open for video submissions and audition sign-ups until February 25th, 2022.

Submit your application using this Audition Form (opens in a new page):

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Audition Repertoire

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.

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Woodwind Studies Audition Requirements

*Woodwind Studies requires you to submit a prescreen audition in video format.

Woodwind Studies will accept Audition Video Links between November 15, 2021 and January 15, 2022 @ 11:59pm only.

Submit your prescreen audition video using this Audition Form (opens in a new page):

All instrumentalists (both undergraduate and graduate) 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.

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Audition Repertoire

Bassoon

Applicants for admission on bassoon should be prepared to perform the following:

Bassoon Repertoire

  • 1st and 2nd movements from a Concerto or solo piece of your choice, demonstrating lyrical and technical proficiency.
  • One Weissenborn étude or One Milde Scale/Chord study from Op. 24
  • Two Orchestral Excerpts of the applicant’s choice
  • Major Scales and a chromatic scale covering your range on the instrument

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Clarinet

Applicants for admission on clarinet should be prepared to perform one or more selections from the standard repertoire that reflect both lyrical and technical proficiency.

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)
  • Klose: Scales and Exercises
  • Stark: Daily Staccato Studies, Daily Arpeggio Studies
  • Stievenard: Practical Study of the Scales
  • Baermann: Book III, Snavely ed.
  • Kroepsch: 416 Etudes
  • Jeanjean: Vade-Mecum
  • Opperman: Modern Daily Studies

Etudes

  • Hendrickson: Book 2
  • Rose: 32 Etudes
  • Rose: 40 Etudes (two books)
  • Baermann: Book IV, Book V
  • Cavallini: 30 Caprices
  • Rose: 20 Grand Studies
  • Uhl: 48 Studies (two books)
  • Polatchek: Advanced Studies
  • Jeanjean: 18 Etudes, 16 Modern Etudes

Solo Repertoire

  • Arnold: Sonatina
  • Berg: 4 Pieces
  • Bernstein: Sonata
  • Brahms: Sonatas No. 1 and 2
  • Copland: Concerto
  • Debussy: Premiere Rhapsodie
  • Finzi: 5 Bagatelles
  • Hindemith: Sonata
  • Krenek: Suite
  • Lefevre: Sonata No. 7
  • Lutoslawski: Dance Preludes
  • Martinu: Sonata
  • Messiaen: Abyss of the Birds
  • Milhaud: Duo Concertant
  • Mozart: Concerto, K. 622
  • Nielsen: Concerto
  • Osbourne: Rhapsody
  • Poulenc: Sonata
  • Rabaud: Solo de Concours
  • Rossini: Introduction, Theme and Variations
  • Rozsa: Sonatina
  • Saint-Saëns: Sonata
  • Schumann: Fantasy Pieces
  • Stamitz: Concerto No. 3
  • Stravinsky: Three Pieces
  • Sutermeister: Capriccio
  • Vaughan Williams: 6 Studies in English Folksong
  • Weber: Concertino
  • Weber: Concerto No. 1, Concerto No. 2
  • Weber: Grand Duo Concertant
  • Weber: Variations, Op. 33

Orchestral Studies

  • Orchestral Excerpts (International ed.), Volumes I, II, VIII
  • Hadcock: Orchestral Studies for the E-flat Clarinet
  • Drapkin: Symphonic Repertoire for the Bass Clarinet

Additional Reading

  • The Clarinet, Quarterly Publication of Intl. Clarinet Assoc.
  • Bonade: Clarinetist Compendium
  • Brymer: Clarinet
  • Stein: The Arts of Clarinet Playing

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Flute

Applicants for admission on flute should be prepared to perform several movements from a Mozart concerto, Bach sonata, or a selection of equal difficulty.

Repertoire may include:

First-Year Students

Embouchure study, exercises, dynamics, articulation, tuning, note endings, breath control, vibrato, posture and hand position.

  • Andersen: Etudes, Opus 33
  • Berbiguier: 18 Etudes
  • Boehm: Etudes, Opus 37
  • Taffanel-Gaubert: Daily Exercises
  • Wummer: 12 Daily Exercises for the Flute
  • Blavet: Sonatas
  • Bloch: Suite Modale
  • Debussy: Syrinx
  • Handel: Sonatas
  • Ibert: Aria
  • Krenek: Suite
  • Loeillet: Sonatas
  • Southern: 24 Short Concert Pieces
  • Telemann: Fantasias
  • Telemann: Sonatas

Sophomores

Refinement of technical aspects of performance

  • Andersen: Etudes, Opus 30
  • Andersen: Etudes, Opus 33
  • C.P.E. Bach: Sonatas and Concerti
  • J.S. Bach: Sonatas
  • Boehm: Caprices, Opus 26
  • Boehm: Etudes, Opus 37
  • Honegger: Danse de la Chèvre
  • Kuhlau: Duets
  • Martinu: Sonata
  • Mozart: Concerti
  • Pergolesi: Concerti
  • Saint-Saëns: Air de Ballet
  • Schirmer: Flute Music by French Composers

Juniors

Refinement of technical aspects of performance

  • Andersen: Opus 15
  • Andersen: Etudes, Opus 30
  • Boehm: Caprices, Opus 26
  • Copland: Duo
  • Doppler: Hungarian Fantasy
  • Genzmer: Modern Studies, Book II
  • Hindemith: Sonata
  • Hue: Fantasy
  • Ibert: Concerti
  • Karg-Elert: 30 Caprices
  • Khulau: Sonatas and Divertissements and Duets
  • Nielsen: Concerto
  • Poulenc: Sonata
  • Schirmer: Flute Music by French Composers
  • Tulou: Grand Solos

Seniors

Refinement of technical aspects of performance

  • Borne: Carmen Fantasy
  • Bozza: Agrestide, Image
  • Dutilleux: Sonatine
  • Griffes: Poem
  • Piston: Sonata (selections involving "new music" techniques)
  • Prokofieff: Sonata
  • Rienecke: Sonata "Undine"

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Oboe

Applicants for admission on oboe should be prepared to play two contrasting selections from the standard repertoire.

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
  • T. Albinoni Concerti: Op. 7, No. 3 / Op. 9, No. 2 / Op. 9, No. 8
  • D. Cimarosa-Benjamin: Concerto for Oboe
  • B. Marcello: Concerto in C Minor
  • G.P. Telemann: Concerto in F minor (Southern Music Co.)
  • G.P. Telemann: Concerto in C minor
  • F.J. Haydn: Concerto in C major (Breitkopf)
  • B. Martinu: Concerto for Oboe
  • W. Mozart: Concerto in C Major
  • E. Goossens: Concerto en un Mouvement (Leduc)
  • R. Strauss: Oboe Concerto (Boosey and Hawkes)
  • V. Bellini: Concerto in Ebli

Chamber Works

  • W. Mozart: Oboe Quartet K.370
  • B. Britten: Phantasy Quartet Op.2
  • Ludwig van Beethoven: Trio in C major Op. 87 for oboe trio
  • Viet Cuong: Suite for oboe trio
  • F. Poulenc: Trio: Oboe, Bassoon, and Piano
  • Thea Musgrave: Take Two Oboes

Orchestral Studies

  • E. Rothwell: Difficult Passages for Oboe and Cor Anglais (3 Volumes)
  • E. Rothwell: J. S. Bach Difficult Passages
  • W. Heinze: Bachstudien für Oboe (2 Volumes)
  • A. Andraud: Vade Mecum of the Oboist

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Saxophone

Applicants should prepare two contrasting selections (lyrical & technical) from the standard classical saxophone repertoire totaling at least 10 minutes in length. Please use the list below to help you select a work that best showcases your abilities, they are only suggestions. Feel free to choose a work not on this list. Etudes are not appropriate to play for this audition.

Selections marked with * are appropriate for transfer students.

Repertoire may include:

Alto Saxophone

  • Schumann/Hemke: Three Romances
  • Jeanine Rueff: Chanson et Passepied
  • Eugene Bozza: Aria
  • Robert Planel: Prelude Et Saltarelle
  • Paul Creston: Sonata *
  • Bernhard Heiden: Sonata *
  • Paula Maurice: Tableaux de Provance *
  • Darius Milhaud: Scaramouche *
  • Alaxander Glazunov: Concerto *
  • Jaques Ibert: Concertina da Camera *

Tenor Saxophone

  • William Schmidt: Sonatina
  • William Schmidt: Sonata
  • Garland Anderson: Sonata *
  • Gretry: Suite Rococo *
  • James Di Pasquale: Sonata *
  • Frank Martin: Ballade *

Baritone Saxophone

  • Singelée: Septième Solo de Concert
  • William Schmidt: Sonata
  • Garland Anderson: Sonata *
  • Jan Krzywicki: Fable *

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Additional Academic Area Requirements

All BA students and students interested in the following academic areas must still pass a Performance Audition. Please make sure you have prepared your audition material using the repertoire from the area of your instrument and schedule an audition.

Please make sure you direct all Audition related questions to the Area Director of your instrument.


Composition Audition Requirements

All Composition Studies majors must pass a Performance Audition on an instrument or voice in addition to applying to the composition program. Do not contact the area director of Composition Studies for an audition.

First-Year Students

Composition majors entering as First-Year Students do not need to submit a composition portfolio. Once a student passes the performance audition, they may be offered admission to the Conservatory for instrumental or vocal study.

Freshmen who wish to enter the composition major only need to advance in the theory curriculum with a GPA of at least 2.5 and enroll in 244A and 244B. The composition faculty will evaluate the creative work you have completed in 244A and 244B as well as your GPA in Music Theory and Musicianship courses for acceptance into the composition option.

Classical Guitar

Undergraduate Composition Majors cannot audition on classical guitar.

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Transfer Students

In addition to the audition requirements stated above, Transfer students intending to enroll as Juniors should contact Raymond Torres-Santos regarding required portfolio materials.

Composition Portfolio

Composition Transfer students must submit a portfolio of their creative work as part of their audition. The portfolio should contain three to five recent original notated works that show your awareness of 20th-21st century practices in composition. These scores should be accompanied by live recordings (preferred); however, electronic versions are acceptable. Composition applicants should also include a complete list of works including title, duration, instrumentation, and performances for each piece. Portfolios should be submitted ahead of the audition day, or turned in (at the latest) on the audition day itself. Online submissions (iCloud, Google Drive, Dropbox, etc.) are preferred. Please ensure you give us access to all files submitted (no user restrictions).

Once a student passes the performance audition, they must be offered admission to the conservatory for instrumental or vocal study. Acceptance to the Composition major, however, will only be offered after the portfolio has been reviewed by the composition faculty.

Classical Guitar

Undergraduate Transfer Students in Composition may audition on classical guitar, but need to contact Raymond Torres-Santos ahead of time to arrange that audition.

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The Music Education Major

*All Instrumental Music Education interviews will be held online.

**Choral Music Education interviews will be held online if your audition was submitted online.

If you scheduled your Choral Music Education audition in-person, you do not need to schedule a separate interview; you will be interviewed in-person at the same time as your audition.

Students wishing to become teachers in K-12 public schools should audition and interview as Music Education majors.

Students who wish to be studio teachers or who plan to go directly to graduate school after their undergraduate studies would be better served with a performance degree.

Instrumental Music Education Requirements

Instrumental Music Education auditions require an audition on your primary instrument AND an interview with the Director of Music Education.

Please follow the Performance Audition Requirements for your instrument above and direct all audition questions to the Area Director of your instrument.

Once you schedule your Audition you should immediately schedule your Online Interview.

Choral Music Education Requirements

Choral Music Education auditions require a voice or piano audition AND an interview with the Director of Choral Music Education.

Please follow the Performance Audition Requirements for Voice or Keyboard above and direct all audition questions to the Area Director of your instrument.

If you schedule an in-person Audition your interview will take place at the same time as your audition. If you submit an Audition video, you should immediately schedule an Online Interview.

Specialized Music Education Pathway

Students whose musical backgrounds do not align with the tracks currently offered at the Bob Cole Conservatory of Music can audition for a Specialized Music Education Pathway. Please follow the information below:

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Specialized Music Education Pathway

In addition to completing and submitting an application to CSULB via CalStateApply, potential candidates must submit a Prescreen Audition Video using the Audition Form and adhering to the Prescreen Audition Video Guidelines section.

Based on this recording, you will be notified if you have been selected to perform a live audition.

If Offered A Live Audition

Live Audition Requirements for First-Year and Transfer Students

Instrumentalists

  1. If your primary qualification is instrumental without singing, prepare two pieces of contrasting styles in your special genre. Your preparation should include "comping" and improvisation in the genre/style, which may be accompanied by live musicians or pre-recorded accompaniment (on a device that can be plugged into an external speaker system).
  2. Part of the audition process will require you to sight-read an excerpt (either standard or iconic notation) to determine your reading ability. You may be asked to accompany chord changes to evaluate your rhythmic feel and accuracy in a consistent time feel.
  3. Keyboards, bass amps, drum kits are provided for the audition. If you have other needs, please ask for clarification and whether or not we can provide what is needed.

Vocalists

  1. Prepare to sing two pieces in contrasting style (your choice): one up-tempo and one slow song. Also, in order to be selected as a music education major, you must possess an acceptable level of classical voice proficiency and technique.
  2. Part of the audition process will require you to sight-read an excerpt (either standard, iconic notation, or lead sheet) to determine your reading ability. You will be expected to repeat random series of pitches played on the piano.
  3. Please bring examples of appropriate sheet music, lead sheets, or other devices used to notate and read your music.
  4. You may bring your own accompanist, or pre-recorded accompaniment (on a device that can be plugged into an external speaker system).

If Accepted Into The Conservatory

First-Year Students

  • First-Year Students will be expected to gain and demonstrate an acceptable level of traditional musicianship in voice or instrumental by the end of the sophomore year (4th semester).
  • Semesters 1–4 will include private lessons in your area.
  • Semesters 1–4 will include enrollment in a traditional ensemble to build musical knowledge and performance skills necessary for the degree and credential.
  • Junior level status is achieved by examination—the upper division screening exam at end of your 4th semester.
  • Upper division standing marks the beginning of semester 5–8 studies in your identified genre.
  • One-hour lessons begin in the junior year, which prepare you for your Junior Recital.

Transfer Students

  • Must be transfer eligible (60 units)
  • Send in pre-screen video, then if accepted...
  • Sign up for department audition
  • A preliminary theory placement will be given at audition
  • At end of your first year, the Upper Division Screening Exam determines junior status
  • In your first year, you will receive 2 semesters of ½ hour lessons, followed by 2 semesters of 1 hour lessons

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What To Expect On Audition Day

Parking

When you arrive for auditions you’ll be greeted by a student volunteer in the parking lot who will provide you with a parking pass, 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 Map + Directions PDF format (1.1m) cole_directions.pdf

Registration

The Registration tables are in the lobby of Daniel Recital Hall. Student volunteers will check you in by area, ensure that you have an audition form, answer any questions, and offer a map of the department to you. You’ll also get a name tag.

Opening Session

You’ll start your day with a 20-minute orientation in Daniel Recital Hall. Then you’ll hear about what it means to be a student at the Bob Cole Conservatory and also about what to expect if you are accepted to the conservatory and the university.

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 provide 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.

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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:

  1. At the beginning of the recording, state clearly:
    • Your full name
    • The name of each piece and respective composer names
  2. Recordings must be unedited and without artificial enhancement such as reverb or pitch correction.
  3. 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.
  4. 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.
  5. Watch your video all the way through to check the quality, playability, and completeness of your recording before you upload it.
  6. 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

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