1. Medium-tempo blues
2. Up-tempo rhythm changes tune
3. Latin, rock or funk tune
4. Ballad

For live auditions: you will be playing with a combo. Please bring three concert key copies of your selections. Auditions will also involve sight-reading and scales.
For recorded auditions: you may use a live combo or backing tracks.

With questions regarding audition preparation, please contact Professor Patrick Langham at plangham@pacific.edu.

• Two contrasting solo selections from standard repertoire: these can be individual movements from sonatas, concertos, or other solo works. One selection can be an étude. Works should represent contrasting styles, technical demands, tempo, and time period.
• Bassoon excerpt from Florence Price's Symphony No. 1 in E Minor, bars 1-22.
• Scales: 3 major and 3 minor scales displaying full range.
• Sight reading will be included.

For questions regarding audition preparation, please contact Professor Nicolasa Kuster at nkuster@pacific.edu.

Music Performance

1. Two pieces of contrasting style; concerto and solo work should be memorized.
   1. A movement of a standard concerto such as Saint Saëns, Elgar, Haydn, Schumann, Lalo, Shostakovich, Kabalevsky, or Dvorák.
   2. A movement/short piece in contrasting style.
2. An étude from Popper Op. 73 or Duport 21 Études.
3. A major or minor scale and corresponding arpeggio. 3 - 4 octaves. 

All Other Majors

1. One piece/movement; concerto and solo work should be memorized.
2. A second piece in contrasting style is optional but recommended. 
3. An étude from Popper Op. 73, Op. 76, Duport 21 Études, or Schroeder Foundation Studies. 
4. A major or minor scale and corresponding arpeggio. 2 - 4 octaves.

Possible works to include in the audition repertoire:

• J.S. Bach: Suite for Cello Solo
• David Baker: Sonata for Cello and Piano
• Nadia Boulanger: 3 pieces for Cello and Piano
• Yi Chen: Memory for Solo Cello
• Rebecca Clark: Epilogue, Rhapsody for Cello and Piano
• Gabriel Fauré: any piece
• Louise Farrenc: Cello sonata, Op. 46
• Sofia Gubaidulina: Ten Cello Preludes
• Fanny Mendelssohn: Fantasie in g minor for Cello and Piano
• Astor Piazzolla: Le Grand Tango
• David Popper: any piece
• Saint Saëns: Allegro Appassionato, Swan
• Robert Schumann: Fantasiestücke, Op. 73
• Bright Sheng: Seven Tunes Heard in China
• Dimitry Shostakovich: Cello Sonata
• Mark Summer: Julie - O

For questions regarding audition preparation, please contact Dr. Vicky Wang at ywang5@pacific.edu.

• Two contrasting solo selections from standard repertoire: these can be individual movements from sonatas, concertos, or other solo works. One selection can be an étude. Works should represent contrasting styles, technical demands, tempo and time period.
• Clarinet Excerpt from Samuel Coleridge Taylor’s Quintet for Clarinet and String Quartet, Movement II, prepare entire page. If you do not have an A clarinet, you may play as written on the Bb.
• Scales: 3 major and 3 minor scales of the applicant’s choice and chromatic scale displaying full range.

For questions regarding audition preparation, please contact Dr. Patricia Shands at pshands@pacific.edu.

Music Performance (Freshman & Transfer)

Scales: Three (3) two-octave major scales of the applicant’s choice.

One study for solo double bass of the applicant’s choice.

Two contrasting solo selections: these can be individual movements from sonatas, concertos, or any other solo works. Works by underrepresented and/or living composers are encouraged. 

Two contrasting excerpts from the orchestral repertoire. 

All Other Majors (Freshman & Transfer)

Scales: Three (3) two-octave major scales of the applicant’s choice.

One study for solo double bass of the applicant’s choice. 

One solo selection: this can be an individual movement from a sonata, concerto, or any other solo work. The selection should represent the applicant’s current level of musical development. Works by underrepresented and/or living composers are encouraged.

For questions regarding audition preparation, please contact Professor Kathryn Schulmeister at kschulmeister@pacific.edu.

1. Solo: One selection from standard euphonium solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work
2. One Etude
3. Major Scales 2 octaves and Chromatic Scale for entire range

For questions regarding audition preparation, please contact Professor Bruce Chrisp at bchrisp@pacific.edu.

• Two contrasting solo selections: these can be individual movements from sonatas, concertos, or other solo works. Works should represent the applicant’s current level of development via contrasting styles, technical demands, and time periods. One selection can be an étude.
• Flute excerpt from Samuel Coleridge-Taylor's Ballade, op. 33, pick up to square 13 to nine measures after square 15 (pick up to mm. 213-249)
• Scales: 3 major, 3 minor scales of the applicant’s choice and a chromatic scale displaying full range. 

All woodwind auditions will include some sight reading. 

For questions regarding audition preparation, please contact Professor Brittany Trotter at btrotter@pacific.edu.

Music Performance

1. Perform from memory, two pieces from two of the groups listed below. If you have other repertoire that is similar in technical and musical difficulties to the pieces shown below, it may be possible to substitute. We highly encourage choosing a work by a composer from an underrepresented group. 
2. Perform from memory, one three octave major scale and one three octave melodic minor scale.

First-year and Sophomore Transfer

• A pavane or elementary fantasia by Milan, Dowland, or Narvaez
• A movement from a suite by Visee or Roncalli
• A study or movement from a sonatine by Sor, Carcassi, Giuliani, Aguado, or Carulli
• A study from 20 Estudios Sencillos by Leo Brouwer, or a prelude from 24 Preludios Para Guitarra by Manuel Ponce

Junior Transfer

• A more advanced fantasia by Dowland or da Milano
• Two movements from a lute suite or sonata by Bach or Weiss
• A movement from a work by Villa Lobos, Ponce, Brouwer, or other contemporary composers
• An arrangement of a piece of music from any genre that matches the level of the previous repertoire examples listed

All Other Majors

Perform from memory, one solo piece of music from any genre that adheres to the items below. 

1. The piece must be performed without any accompaniment
2. You cannot accompany yourself singing. 
3. The piece must be played fingerstyle. 
4. The piece must be more fleshed out than just a single line melody

Perform from memory any chord progression using bar chords only. The progression must include at least:

1. One major chord with the root on the 6^th and 5^th string
2. One minor chord with the root on the 6^th and 5^th string
3. One dominant 7 chord with the root on the 6^th and 5^th string

For questions regarding audition preparation, please contact Professor Guy Powell at gpowell1@pacific.edu.

1. Exposition of a Mozart Concerto (No. 2, 3, or 4)
2. Contrasting Solo piece (one movement) of your choice
3. Orchestral Excerpts:

• Beethoven Symphony No 3, Mvmt 3, Measures 171-205, Horn 2 in Eflat
• Amy Beach Symphony in E Minor, Op. 32, Mvmt 2, Measures 1-4
• R. Strauss Till Eulenspiegel, op. 28, Beginning to Rehearsal 1

For questions regarding audition preparation, please contact Professor Sadie Glass at sglass@pacific.edu.

• Two contrasting solo selections: these can be individual movements from sonatas, concertos, or other solo works. One selection can be an étude. Works should represent the applicant’s current level of development via contrasting styles, technical demands, and time periods.
• Oboe excerpt: Valerie Coleman’s Roma – measures 88-117 
• Scales: 3 major, 3 minor scales of the applicant’s choice and a chromatic scale displaying the applicant’s current full range.  

For questions regarding audition preparation, please contact Professor Kyle Bruckmann at kbruckmann@pacific.edu.

• Concert snare drum solo or étude
• Two-mallet and/or Four-mallet keyboard solo, transcription or étude
• Timpani solo or étude

For questions regarding audition preparation, please contact Professor Jonathan Latta at jlatta@pacific.edu.

For Freshman Students

Music Performance

Select one work from each time period listed below. All must be memorized.

1. Baroque: A work such as a prelude and fugue or similar.
2. Classical: An Allegro movement from a sonata of at least moderately advanced difficulty
3. Romantic: A work of appropriate difficulty
4. Impressionistic or Contemporary: A work of appropriate difficulty

Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

Music Education

Select one work from each period listed below. All must be memorized.

1. Baroque: A work such as a two-part or three-part invention.
2. Classical: An allegro movement of a sonata.
3. Romantic or Contemporary: A work of appropriate difficulty

Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

All Other Majors

Be prepared to play at least two pieces in contrasting styles (Baroque, Classical, Romantic, Contemporary). Memorization is preferred. Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

For questions regarding audition preparation, please contact Dr. Sonia Leong at sleong@pacific.edu.

For Transfer Students

Music Performance - Entering Sophomore

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as a prelude and fugue.
• Classical: One of the easier complete sonatas (Beethoven Opus 49 excepted)
• A composition from the Romantic, Impressionist, or Contemporary repertoire

Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

Music Performance - Entering Junior

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as a prelude and fugue or selections from a dance suite.
• Classical: A complete sonata of moderately advanced difficulty.
• Romantic: A work of appropriate difficulty
• Impressionistic or Contemporary: A work of appropriate difficulty.

Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

Music Education - Entering Sophomore

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as a 2- or 3-part invention.
• Classical: An allegro movement (first or last movement) of a sonata.
• Romantic, Impressionist, or Contemporary: A work of appropriate difficulty

Works by women composers and Black, Indigenous, or composers of color are strongly
encouraged.*

Music Education - Entering Junior

Select one work from each time period listed below. All must be memorized.

• Baroque: A work such as a prelude and fugue.
• Classical: An allegro movement (first or last movement) of a sonata of moderate difficulty.
• Romantic, Impressionist, or Contemporary: A work of appropriate difficulty

Works by women composers and Black, Indigenous, or composers of color are strongly
encouraged.*

All Other Majors

Be prepared to play at least two pieces in contrasting styles. Memorization is preferred.

Works by women composers and Black, Indigenous, or composers of color are strongly encouraged.*

*Examples include (but are not limited to) Joseph Boulogne, William Grant Still, Samuel
Coleridge Taylor, Florence Price, Margaret Bonds, George Walker, Zenobia Powell Perry.

For questions regarding audition preparation, please contact Dr. Sonia Leong at sleong@pacific.edu.

• Prepare three major and three harmonic minor scales of your choice full-range and corresponding arpeggios 
• Full-range chromatic scale 
• Three contrasting selections of applicant’s choice including movements, from etudes, sonatas, concertos, or other solo pieces such as works by Ferling, Creston, Still, Maurice, Glazunov, Piazzolla, Ibert, and Tomasi. Works should represent the applicant’s current level of development via contrasting styles, technical demands, tempo, and time period. 

For questions regarding audition preparation, please contact Professor Ricardo Martinez at rmartinez1@pacific.edu.

Tenor Trombone

1. Solo: One selection from standard tenor trombone solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work
2. Rochut Melodious Etudes: One etude from book 1
3. Major Scales 2 octaves and Chromatic Scale for entire range

Bass Trombone

1. Solo: One selection from standard bass trombone solo repertoire: this can be an individual movement from a sonata, concerto, or other solo work
2. Rochut Melodious Etudes: One etude from book 1 down a 4^th or down an octave
3. Major Scales 2 octaves and Chromatic Scale for entire range

For questions regarding audition preparation, please contact Professor Bruce Chrisp at bchrisp@pacific.edu.

For Freshman Students

Music Performance 

Two contrasting selections from the following list or substitute works of similar technical and musical difficulty. Selection can be individual movements from sonatas, concertos or other solo works. One selection can be an etude.

Recommended repertoire list:

• Haydn Concerto
• Hummel Concerto
• Adolphus Hailstork Sonata for Trumpet and Piano
• Ulysses Kay “Tromba”
• Libby Larsen “Fanfare for the Women”
• Corelli Sonata No. 8
• Any solo by Clarke, Bellstedt or Arban
• Goedicke Concert Étude

All Other Majors
Two contrasting selections from the list above or substitute works of similar technical and musical difficulty. Selection can be individual movements from sonatas, concertos or other solo works. One selection can be an etude. See recommended repertoire list above.

For Transfer Students

Music Performance

• Major and minor scales and arpeggios
• Chromatic scale, full range
• Two contrasting selections from the following list of substitute works of similar technical and musical difficulty. Selection can be individual movements from sonatas, concertos or other solo works. One selection can be an etude.

Recommended repertoire list:

• Haydn Concerto
• Hummel Concerto
• Adolphus Hailstork Sonata for Trumpet and Piano
• Ulysses Kay “Tromba”
• Libby Larsen “Fanfare for the Women”
• Corelli Sonata No. 8
• Any solo by Clarke, Bellstedt or Arban
• Goedicke Concert Etude

All Other Majors

• Major and minor scales and arpeggios
• Chromatic scale, full range
• Two contrasting selections from the following list of substitute works of similar technical and musical difficulty. Selection can be individual movements from sonatas, concertos or other solo works. One selection can be an etude.

For questions regarding audition preparation, please contact Professor Leonard Ott at lott@pacific.edu.

1. All major scales, 2 octaves, chromatic scale or entire range
2. One Etude
3. One movement from a Concerto, Sonata, or similar type of work

For questions regarding audition preparation, please contact Professor Bruce Chrisp at bchrisp@pacific.edu.

1. Play two pieces of contrasting style; one from memory. Ideally, one should be a movement of a concerto or a single-movement work for viola and orchestra.
2. Also, choose one major and minor scale with corresponding arpeggio to prepare for the audition.

We highly encourage choosing a work by a composer from an underrepresented group. Lists of possible works are below. Feel free to substitute a work of similar technical and musical difficulty.

Music Performance
Concerto (choose one movement):

• Bloch Suite Hebraique
• Gražyna Bacewicz Viola Concerto J.C. Bach-Casadesus Concerto in C Minor, First Movement
• Handel-Casadesus Concerto in B Minor, First Movement
• Stamitz Concerto in D Minor, First Movement
• Vaughan Williams Suite (Select from Group 1, 2, or 3)

All Other Majors
Concerto (choose one movement):

• All concertos listed above plus:
• Telemann Concerto in G Major
• Seitz Student Concerto No. 2, (Trans. For Viola, First Movement)
• Accolay-Doty Concerto No. 1, (Trans. for Viola, First Movement)
• Pleyel Concerto in D, Op. 31, First Movement
• Handel-Barbirolli Concerto for Viola, First Movement

Contrasting work:
(Possible works to consider for all majors)

• J.S. Bach 6 Cello Suites (arranged for viola); choose one movement
• Rachmaninov Vocalise
• One of Two Romances by A. Hailstork
• One of Three Romances by Clara Schumann, Op. 22
• One étude by Bruni, Characteristic studies by Lillian Fuchs, Kreutzer, Dont, Mazas, Campagnoli

For questions regarding audition preparation, please contact Professor Igor Veligan at iveligan@pacific.edu.

1. Play two pieces of contrasting style; one from memory. Ideally, one should be a movement of a concerto or a single-movement work for violin and orchestra.
2. Also, choose one major and minor scale with corresponding arpeggio to prepare for the audition.

We highly encourage choosing a work by a composer from an underrepresented group. Lists of possible works are below. Feel free to substitute a work of similar technical and musical difficulty.

Music Performance
Concerto (choose one movement):

• Samuel Barber Violin Concerto
• Joseph Bologne de Saint-Georges Concerto for Violin Op. 7, No. 1 or No. 2
• Max Bruch Concerto in G Minor
• Ernest Chausson Poeme
• Edouard Lalo Symphonie Espagnole
• Felix Mendelssohn Concerto
• W. A. Mozart Concerto No. 3, 4 or 5
• Florence Price Violin Concerto No. 1 or No. 2
• Camille Saint-Saens Introduction and Rondo Capriciosso
• Pablo de Sarasate Ziguenerweisen
• Henri Vieuxtemps Concerto 4 or 5
• Henryk Wieniawski Concerto No. 2

All Other Majors
Concerto (choose one movement):

• Concertos listed above
• Jean-Baptiste Accolay Concerto
• J. S. Bach Concerto in A Minor
• Joseph Bologne de Saint-Georges Concerto for Violin Op. 7, No. 1 or No. 2
• Antonio Vivaldi Concerto in A Minor

Contrasting work for all majors:

• Bach Solo Sonatas and Partitas: choose one movement
• Amy Beach Romance for Violin and Piano
• Beethoven Sonata or Mozart Sonata: choose one movement
• Scott Joplin: 6 rags (choose one) arranged by Itzhak Perlman
• Fritz Kreisler: any piece
• Massenet Meditation from Thais
• Any Paganini caprice
• Florence Price Andante Con Espressione for Violin and Piano
• Bright Sheng The Stream Flows
• William Grant Still Suite for Violin and Piano
• Ellen Taaffe Zwilich Sonata in 3 movements or Fantasy for Solo Violin

With questions regarding audition preparation, please contact Dr. Ann Miller at amiller1@pacific.edu.

Please note: All voice auditions, live and video-recorded, must include live or a pre-recorded piano accompaniment. A pianist will be provided, but you are also welcome to bring your own. Please bring a copy of all your music, preferably neatly organized in a three ring binder.

For Freshman Students

Music Performance and Music Education

Please prepare two selections from memory, choosing repertoire in contrasting tempi/styles from the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period - Choose from composers such as, but not limited to, Handel, Duke, Head, Haydn, Barber, Copland, Purcell, Rorem, Britten, Vaughan Williams, Carpenter, or Quilter.
• Song of America - Choose from composers such as, but not limited to, Roland Marvin Carter, Jacqueline Hairston, Talib Rasul Hakim (Stephen Chambers), Carman Moore, Dorothy Rudd Moore, James Furman, Adolphus Hailstork, Wendell Logan, Olly Wilson, Hall Johnson, Florence Price.

All Other Majors

Please prepare two selections from memory, choosing repertoire in contrasting tempi/styles from two of the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period (See list above)
• Jazz standard
• Musical theater
• Song of America (See suggestions above.)

Tonal Memory Evaluation

At the end of your audition, you will be given a tonal memory exercise. This exercise consists of a series of five pitches, which you will hear played on the piano twice. You will then be expected to sing those pitches back to us.

For questions regarding audition preparation, please contact Professor Daniel Ebbers at debbers@pacific.edu.

For Transfer Students

Music Performance and Music Education

Please prepare three selections from memory, choosing repertoire in contrasting tempi/styles from the following categories. One selection must be from category #1: Italian; no more than one selection per category.

• Italian song or aria from the 17th or 18th centuries
• German Lied or French Chanson
• English or American art song from any period Choose from composers such as, but not limited to, Handel, Duke, Head, Haydn, Barber, Copland, Purcell, Rorem, Britten, Vaughan Williams, Carpenter, or Quilter)
• Song of America - Choose from composers such as, but not limited to, Roland Marvin Carter, Jacqueline Hairston, Talib Rasul Hakim (Stephen Chambers), Carman Moore, Dorothy Rudd Moore, James Furman, Adolphus Hailstork, Wendell Logan, Olly Wilson, Hall Johnson, Florence Price.

All Other Majors

Please prepare two selections from memory, choosing repertoire in contrasting tempi/styles from two of the following categories (no more than one selection per category):

• Italian song or aria from the 17th or 18th centuries
• English or American art song from any period
• Jazz standard
• Musical theater
• Song of America (See suggestions above.)

Tonal Memory Evaluation

At the end of your audition, you will be given a tonal memory exercise. This exercise consists of a series of five pitches, which you will hear played on the piano twice. You will then be expected to sing those pitches back to us.

For questions regarding audition preparation, please contact Professor Daniel Ebbers at debbers@pacific.edu.