Undergraduate Audition Requirements

Your audition at the Cali School of Music is an opportunity to show us what you can do!

The Cali faculty want to hear your current level of accomplishment on your instrument, as well as assess your potential for growth. Choose well-prepared audition repertoire that demonstrates how well you play and where your musical interests lie. You’re also welcome to share musical materials “outside the box” of a traditional audition – something that shows how you see yourself as a complete musician. This should be in addition to the requirements listed below for your primary instrument.

Toggle Drawer: Brass

Trumpet, French Horn, Trombone, Euphonium, Baritone Horn, Tuba

Music Education, Music Therapy, Theory/Composition concentrations

All major scales – one/two octaves, ascending & descending
- Live Auditions – applicants may or may not be asked to play any combination of scales chosen by faculty
- Video Auditions – applicants should record three (3) scales: one major, one minor, one chromatic
A solo work or movement of a multi-movement work
A contrasting work, movement of a multi-movement work, or etude
Possible sight reading for live auditions

Performance concentration (in addition to the above)

An additional solo work, movement, etude or excerpts from the standard orchestra or wind band repertoire.

Toggle Drawer: Guitar

Performance, Music Education, Music Therapy, Theory/Composition concentrations

Guitar—Classical (please audition on a nylon string guitar)

Music Education, Music Therapy, Music Theory and Composition

Scales: C and G Major, D melodic minor (Segovia fingerings or equivalent)

Two contrasting pieces from the classical guitar repertoire (renaissance, baroque, classical, romantic, modern) Memorization preferred
Sight-reading
OPTIONAL- Perform/present any other musical achievements that illustrate the value you can provide to your chosen music profession
(e.g., a fingerstyle song, an original song with or without vocals, videos, recordings, etc.)

Performance Majors:

Scales: C, G, E Major; D and A melodic minor (Segovia fingerings or equivalent)
Three contrasting pieces from the classical guitar repertoire. Selections should contain a Bach piece or excerpt and one 20th century piece. Memorization preferred
(e.g., works by Milan, Dowland, Aguado, Carcassi, Carulli, Giuliani, Sor, Tarrega, Brouwer, Ponce, Tisserand, Villa-Lobos, York)
Sight-reading

*Jazz Guitar should review the repertoire listed for the Jazz programs

Toggle Drawer: Keyboard

Piano

Music Education, Music Therapy, Theory/Composition

Candidates must prepare three pieces, one each from list A, B, C, or D. One of the three pieces must be memorized.

Performance

Candidates must prepare four pieces, one each from Lists A, B, C, and D. At least two pieces must be memorized.

LIST A J.S. Bach, Rameau, Scarlatti, Soler or another Baroque composer

LIST B Beethoven, Haydn, Mozart or another Classical composer

LIST C Brahms, Chopin, Liszt, Mendelssohn, Rachmaninoff, Schubert, Schumann or another Romantic composer

LIST D Bartók, Copland, Debussy, Fauré, Granados, Kabalevsky, Poulenc, Prokofiev, Ravel, Scriabin, Stravinsky, Tcherepnin, Villa Lobos or another composer born since 1874

Organ

All applicants to the organ program should prepare three pieces of repertoire from the major periods of organ composition

One Baroque piece, ideally a major work by J.S. Bach or one of his contemporaries (ie. Prelude & Fugue)
Two pieces by Romantic or Contemporary composers, one of which being lyrical and the other virtuosic
Additionally, the applicant should prepare a hymn as if one were playing for an assembly. The hymn should include all stanzas preceded by an introduction

A short diagnostic keyboard skills exam will also be conducted.

Any questions may be directed to Prof. John Miller – millerjoh@montclair.edu.

Harpsichord

Music Education, Music Therapy, Theory/Composition

Candidates must prepare three pieces, one each from Lists A, B, C, or D. One piece must be memorized.

Performance concentration

Candidates must prepare four pieces, one each from Lists A, B, C, and D. One piece must be memorized.

LIST A Couperin, F.; Couperin, L.; Rameau; Rebel; or another French composer

LIST B Froberger; Bach, J.S.; Bach, C.P.E.; Sweelinck; or another German or Flemish composer

LIST C Scarlatti; Pasquini; Soler; Coelho; or another Italian or Iberian composer

LIST D Gibbons; Byrd; Bach, J.C.; Blow; or another English composer

Toggle Drawer: Percussion

Music Education, Music Therapy, Theory/Composition concentrations

All candidates auditioning are required to perform an etude demonstrating the highest personal level of proficiency in each of the three areas of study: Snare Drum, Timpani, and Mallet Percussion (marimba, xylophone or vibraphone).
Some suggestions include:
- Snare Drum – Anthony Cirone Portraits in Rhythm, Jacques Delecluse 12 Etudes or Keiskleiriana 1 or 2.
- Timpani – Saul Goodman Method Book Etudes, Jacques Delecluse 20 Etudes, Elliot Carter 8 Pieces for Timpani.
- Mallet Percussion – Morris Goldenberg Modern Method for Xylophone Etudes, J. S. Bach Sonatas and Partitas for Violin or Cello Suites, G.F. Handel Sonatas.

Performance concentration

Two contrasting solo pieces from the standard repertoire, in each of the three areas of study: snare drum, timpani and mallet percussion.

Contact Professor Centanni at Bcentanni@aol.com if you have any questions.

Toggle Drawer: Strings

Violin

All Concentrations

Prepare one (1) major and one (1) minor scale with corresponding arpeggios, two – three octaves (three octave preferred, but not required)
Two contrasting works from the standard violin repertoire (one memorized preferred, but not required)
A technical etude of your choice (examples: Kayser, Fiorillo, Dont, Gavines, Paganini, or suitable equivalents)

Viola

All Concentrations

Two (2) contrasting works from the standard viola repertoire that best displays the applicant’s current musical and technical abilities
One (1) technical study or etude ( examples: Kayser, Mazas, or a suitable equivalent)

Cello

All concentrations

Two (2) contrasting works from the standard cello repertoire that best displays the applicant’s current musical and technical abilities
One (1) technical study or etude (examples: Dotzauer, Popper, Schroeder, or a suitable equivalent)

Double Bass (non-jazz majors)

All concentrations

One (1) scale of the applicants choice and corresponding arpeggio – major or minor, two or three octaves
One (1) Technical Study (Etude)
Two (2) contrasting pieces (for example: a concerto, sonata, or a single movement work)

Toggle Drawer: Woodwinds

Flute, Oboe, Clarinet, Bassoon, Saxophone

Music Education, Music Therapy, Theory/Composition concentrations

All major scales – one/two octaves, ascending & descending
- Live Auditions – applicants may or may not be asked to play any combination of scales from faculty choice
- Video Auditions – applicants should record three (3) scales: one major, one minor, one chromatic
A solo work or movement of a multi-movement work
A contrasting work, movement of a multi-movement work, or etude
Possible sight reading for live auditions

Performance concentration (in addition to the above)

An additional solo work, movement, etude or excerpts from the standard orchestra or wind band repertoire.

Toggle Drawer: Voice

Music Education, Music Therapy, Theory/Composition Concentrations

Three (3) pieces chosen from the solo voice literature including

One art song in English
One art song in a foreign language
One additional song or aria of the candidate’s choice. May be from any genre or style of music that shows the candidate’s strengths
Possible sight-reading

All audition pieces must be memorized. An accompanist will be provided for you. Please bring copies of your sheet music.

Performance:

Four (4) pieces chosen from the solo voice literature including

One art song or aria from the 16th-18th century
One 19th c. German or French art song
One 20th c. art song in English
One additional art song or aria of the candidate’s choice. May be in any language, style, or genre that shows the candidate’s strengths
Possible sight-reading

All audition pieces must be memorized. An accompanist will be provided for you. Please bring copies of your sheet music.

Toggle Drawer: Jazz Studies and Jazz Education

Applicants who choose to submit audition videos may record with a backing track, live musicians, or without accompaniment.

Applicants who choose to audition live will be provided with musicians from the Cali School. Please bring three (3) copies of sheet music to your audition.

Jazz Voice

Scales – one octave ascending & descending on solfege, numbers, letters, or a vowel of your choice. Please sing evenly.

One (1) major scale in any key
One (1) harmonic minor scale in any key

Repertoire – Scat singing (vocal improvisation) is encouraged but not required. All melodies should be sung with your own interpretation, but using the correct pitches.

One (1) song from the Great American Songbook (Rodgers & Hart, Gershwin, Cole Porter, Irving Berlin, etc.) Sung in a swing feel, at a medium or medium-up tempo. Please sing three choruses with improvisation or an embellished melody on the second chorus.
One (1) jazz ballad
One (1) of the following:

1. 1. A blues song in a jazz/swing feel, performed at medium tempo. Please include 2-3 choruses of improvisation or embellished melody.
  2. A song with a straight-eighth feel – Latin, Samba, or Bossa Nova. Please improvise or sing an embellished version of the melody on the second chorus.
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Saxophone, Clarinet, or Flute

Scales – please play for the full range of the instrument. Please play evenly.

C Major (up to high F and down to low B)
Eb Major (up to high F and down to low Bb)
Gb Major (up to high F and down to low Bb)

Repertoire

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
One (1) jazz ballad with an improvised chorus
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Trumpet

Scales – two octaves. Please play evenly

E Major
B Harmonic Minor

Repertoire

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
One (1) jazz ballad with an improvised chorus
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Trombone

Scales – two octaves. Please play evenly

F Major
Bb Major

Repertoire

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo with 4-5 improvised choruses
One (1) jazz ballad with an improvised chorus
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Guitar

Scales – two octaves. Please play evenly

G Mixolydian
C Dorian
F Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing guitar.

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
One (1) solo version of a jazz ballad (chorded melody)
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Bass

Scales – two octaves. Please play evenly

G Major
Ab Major

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing bass.

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo – 1 chorus of melody, 2 choruses of walking bass lines, 2 choruses of improvisation
One (1) jazz ballad – improvised chorus
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 1 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)
  4. Acoustic Bass applicants only – a short classical etude that demonstrates your ability to play pizzicato & arco

Jazz Piano

*If you are submitting videos, please position the camera to show the piano keys and yourself

Scales – two octaves, hands together. No mistakes, at a fast tempo

B Major
G Harmonic Minor
Ab Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing piano.

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
One (1) jazz ballad with an improvised chorus – please play unaccompanied for a portion of the performance
One (1) of the following:

1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
  2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
  3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Vibraphone

Scales – two octaves, hands together. No mistakes, at a fast tempo

B Major
G Harmonic Minor
Ab Melodic Minor

Repertoire – may record with a track or a live rhythm section. If using a track, be sure to mute the existing piano.

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo, 2 choruses of comping followed by 4 choruses of improvisation
One (1) jazz ballad with an improvised chorus – please play unaccompanied for a portion of the performance
One (1) of the following:

1. 1. 1. An up-tempo song (quarter note = 250bpm or faster) – minimum of 2 improvised choruses
    2. A song with straight-eighth feel (Latin, Bossa Nova, ECM) – minimum of 1 improvised chorus
    3. A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Jazz Drum Set

Repertoire – may record with a track or a live rhythm section & soloist. If using a track, please be sure to mute the existing drum set.

Billie’s Bounce by Charlie Parker OR Straight No Chaser by Thelonious Monk: played at a medium tempo. Please include:
- - 1 chorus of the melody on either sticks or brushes
  - 2 choruses of playing time and comping behind a soloist
  - 2 choruses of an improvised drum solo
One (1) up-tempo song (quarter note = 250bpm or faster). Please include:
- - 2 choruses of playing time and comping behind a soloist
  - 2 choruses of trading eighths
One (1) of the following:
- - a jazz ballad demonstrating the ability to play with brushes
  - a song with a straight-eighth feel (Latin, Bossa Nova, ECM)
  - A song that exhibits your unique musical personality (such as a contrasting genre or an original composition)

Once you have reviewed the repertoire for your primary instrument/voice, you can click below if you’d like to return to the main audition info page.

Audition Information