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Department of Music

Audition Requirements


Choral Conducting

Candidates will be required to send a résumé, three letters of recommendation and complete an on-campus audition. Please arrange an audition and send resume and letters to the Director of Choral Activities (

On-Campus Audition
On-campus auditions will be scheduled with the Director of Choral Activities. See Audition Process/Requirements below. If a candidate is unable to come to campus for a live audition, they may submit video recordings for the panel to evaluate. Please see Video Audition Requirements below.

Audition Process/Requirements
The candidate will conduct the Fresno State Concert Choir through 2 pieces in the audition and lead the ensemble through a brief warm-up. Candidates are encouraged to choose warm-ups/choral exercises that help to set up the pieces they will be conducting. The candidate will audition for a panel of faculty.

Piece #1: Title to be assigned by the Director of Choral Activities. The candidate will conduct straight through the work (or movement), giving the audition panel an opportunity to see the candidate's artistry and physical communication skills as a conductor. The candidate may not coach the choir verbally.

Piece #2: Title to be decided upon by the candidate in conjunction with the Director of Choral Activities. The candidate will choose a piece or portion of a piece to rehearse for approximately 15 minutes. The aim is to make as much difference in the performance of the piece/excerpt as possible in the allotted time.

Video Audition Requirements
Your video should include approximately 10 minutes of rehearsal (this may include warm-ups) and 10 minutes of performance recordings of your conducting. The camera should face the conductor. Video submissions should be a link to a video file. Once received, the DCA will distribute the links to the faculty panel for final consideration.

For further information, contact Dr. Cari Earnhart (

Instrumental Conducting

• Applicants must meet with Dr. Gary Gilroy for a one-on-one interview to discuss the applicants experience and the graduate instrumental conducting program.

• Applicants must submit a video recording (at least 20 minutes in length) of the applicant conducting an instrumental ensemble in either a performance or rehearsal setting.

For further information, contact Dr. Gary Gilroy (

Orchestral Conducting

• Applicants for the MA in conducting should have some conducting/teaching experience prior to application. In addition to the other items required for admission to the Department of Music, applicants should have a pre-audition video representative of their work in conducting as follows:

• A rehearsal video recording of approximately 30 minutes’ duration from a single rehearsal; this recording should show a frontal view of the conductor and verbal directions should be clearly audible.

• A performance video recording including several contrasting selections; this video may be made from the audience’s position, but should clearly show the conductor’s gestures.  Although the performance video may consist of a number of selections recorded at various times, individual performances should be intact and technologically unaltered.

• All videos must be of high visual and aural quality.

• If the pre-audition video recordings are acceptable, the graduate orchestral conducting professor, Dr. Thomas Loewenheim, may invite the applicant to schedule a live audition.  For that audition, please prepare two contrasting pieces from the standard literature and make sure you have a piano reduction for both pieces.

For further information, contact Dr. Thomas Loewenheim (

Instrumental Performance


For audition information, contact Prof. Larry Gardner (


• Two solos of contrasting nature from the standard literature.

For audition information, contact Prof. Bruce Bransby (


All applicants to the cello studio are expected to prepare the following audition requirements:

• One movement of a concerto from the standard cello repertoire, such as Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich, Barber, Herbert, Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns.

• A Prelude and one other movement from any Bach Cello Suite (the prelude and movement should come from the same suite).

• One virtuoso piece such as those listed:

              - A showpiece such as Tchaikovsky Pezzo Capriccioso, Popper Elfentanz, or Davidoff At      the Fountain

              -  An Italian sonata by Boccherini, Valentini or Locatelli

              - A Popper Etude or Piatti Caprice

• A solo piece of the applicant's choice

For further information, contact Dr. Thomas Loewenheim (


Music Education or Music Performance degree with applied clarinet as the major instrument; 4 years (8 semesters of college applied clarinet lessons). Completion of a Senior recital (1/2 recital for Music Education; 1 full recital for Music Performance) Be prepared to successfully demonstrate B.A. in Music Education; B.A. in Music Performance requirements from Department of Music at California State University, Fresno.

• Prepare and perform all major and minor scales full range of the instrument (low e 1 octave below treble clef, and high c two octaves above the treble clef staff; scales for three octaves - E, F, F#/Gb, A, Bb, B, and C). Tempo marking qtr - 100, scales played as 16th notes. See Baerman Bk. 3.

• Prepare and Etude from Jean Jean 16 Etudes or Jean Jean 16 Etudes; Jettel Etudes Bk.3 Preliminary Studies to the Accomplished Clarinetist, or Jettel Etudes Bk. 1 or Bk. 2 or Bk. 3 of The Accomplished Clarinetist.

• Prepare and perform all movements of one of these major concertos by - Francaix, Spohr (no.1, no.2, no. 3, or no.4), Tomasi, Nielsen, Weber Concerto no. 2.

• Submit a performance resume that includes all repertoire studies (technical studies, etudes, solo repertoire - concertos and sonatas, as well as unaccompanied works).

• Names of references that may be contacted upon completion of the audition (they may include the same people who are submitting letters of recommendation).

For further information, contact Dr. Miles Ishigaki (


• One movement from either the Mozart Concerto in G Major, K. 313 or the Mozart Concerto in D Major, K. 314;

• One movement/piece from a Baroque period work of choice;

• One movement/piece from a Romantic era or 20th/21st century work of choice.     

During graduate studies, M.A. students in flute will study in-depth the breadth of repertoire from Baroque to contemporary music. Students will become adept at performing a variety of styles (including the use of extended techniques) within solos, orchestral excerpts, and chamber music.

For further information, contact Dr. Elisa Moles (


• Performance of two contrasting works not to exceed 20 minutes, with a minimum time requirement of 12 minutes.

• Demonstration of any major scale in two and three octaves, and the same for any melodic minor scale.

For further information, Dr. Corey Whitehead (


• Perform a solo from the list below or something similar.  Selections should include music that demonstrates the applicant's technical and lyrical ability. 

              - W.A. Mozart, Concertos 2 & 4

              - F.J. Haydn, Concerto No. 1

              - P. Dukas, Villanelle

              - E. Bozza, En Foret

              - R. Gliere, Concerto

              - F. Strauss, Concertos 1 & 2

              - P. Hindemith, Sonata or Concerto

• Expectations for graduate-level applied horn lessons:  Through study and practice of performance techniques as well as stylistic conventions, covering a wide variety of solo and ensemble musical literature, students will be expected to develop their musicality, technical mastery and their knowledge of repertory to a high level. 

For further information, contact Dr. Thomas Hiebert (


•  Mozart C Major Concerto, first movement

• Two contrasting standard repertory solos

• Three orchestral excerpts

For further information, contact Prof. Rachel Aldrich (


The candidate shall perform works/etudes that demonstrate an aptitude and skill level required for graduate work. Choose works or select your own representative works from each section below: I/A, I/B; II/A, II/B; III/A, III/B; IV/A, IV/B.

I. Snare Drum:

              A. Solo or Etude (1)

                           1. Twelve Studies for Snare Drum, Jacques Delecluse

                           2. The Solo Snare Drummer, Vic Firth

                           3. Portraits in Rhythm, Anthony Cirone (selected)

              B. Excerpts (2)

                           1. Orchestra Repertoire for the Snare Drum, Raynor Carroll

II. Mallet Keyboards:

              A. Solo or Etude, 4 mallet (1)

                           1.Time for Marimba, Minoru Miki

                           2. Two Mexican Dances, Gordon Stout

                           3. Suite for Marimba, Alfred Fissinger

                           4. Works for Marimba (collection), Keiko Abe

                           5. Sonata in ‘B’ Minor, J.S. Bach

                           6. Looking Back, David Friedman (Vibes)

                           7. My Lady White, David Maslanka

                           8. Nancy, Emmanuel Séjourné

                           9. Children’s Corner, Claude Debussy (trans. L. H. Stevens)

                           10. Land, Tagatsugu Muramatsu

                           11. Concerto for Marimba and Orchestra, Robert Kurka

                           12. Ilijas, Nebojsa Zivkovic


B. Excerpts (2)

1. Orchestral Repertoire for the Glockenspiel, Vol. I and II, R. Carroll

2. Orchestral Repertoire for the Xylophone, Vol I and II, R. Carroll

3. Modern School for Xylophone, Marimba, and Vibraphone, M. Goldenberg

III. Timpani

A. Solo or Etude (1)

1. Eight Pieces for Four Timpani, Elliott Carter

2. Studie 1, Michael Bump

3. 3 Movements for Five Timpani, John Beck

4. Theme and Variations, John Floyd

5. Four Verses for Timpani, Murray Houllif

B. Excerpts (2)

1. 20th Century Orchestral Studies for Timpani, Alan Abel (ed.)

2. Exercises, Etudes, and Solos for the Timpani, Raynor Carroll

3. Classic Symphonies for Timpani, Morris Goldenberg (ed.)

4. Classic Overtures for Timpani, Morris Goldenberg (ed.)

5. Orchestral Excerpts for Timpani, Randy Max

6. The Working Timpanist’s Survival Guide, John Tafoya

IV. Multiple Percussion*

A. Solos (1)

1. Anvil Chorus, Lang

2. Concerto for Percussion and Orchestra, Milhaud

3. Rebonds ‘A’ or ‘B’, Xenakis

4. Canned Heat, Kopetski

5. Inspirations Diabolique, Ricky Tagawa

6. South of Jupiter, Thomas Hasenpflug (with tape)

7. Songs I-IX, Stuart Saunders Smith

8. Therapy, John Serry

9. To the Earth, Frederic Rzewski

10. Garage Drummer, James Campbell

*Video of multiple percussion work from Senior Recital will suffice if access to instruments/equipment is restricted.

V. Additional Requirements

              A. Sight reading on snare and mallets

              B. Ear training skills on timpani

For further information, contact Dr. Matthew Darling (


• Performance of at least 20' of repertoire from memory including:

              1.  The first movement of a classical Sonata (Haydn, Mozart, or Beethoven excluding          Op.49).

              2. One larger work or a group of smaller pieces from the Romantic period (Schubert,        Schumann, Brahms, Mendelssohn, Chopin, Liszt, Rachmaninoff).

              3. One or two works of choice representing other eras such as Baroque, Impressionism,             or 20th and 21st centuries.

For further information, contact Prof. Andreas Werz (


• Prospective students should prepare three works of contrasting styles.  Audition repertoire does not need to be performed from memory.  The program must include one of the following works:

              - Paul Bonneau:  Piece en Forme de Valse

              - Jacques Ibert:  Concertino da Camera

              - Robert Muczynski:  Sonata for Alto Saxophone and Piano, Op. 29

              - Ryo Noda:  Phoenix

For further information, contact Dr. Alan Durst (


• Contrasting etudes and or solo movements from the standard repertoire, as well as contrasting excerpts from the standard orchestral trumpet repertoire.   

• Demonstration of ability on varied trumpets is a plus (piccolo, C trumpet, etc.).

• Examples below are intended to provide guidance but are not limiting, you may choose other works of comparable difficulty.

              - Etude Books: Charlier 36 etudes, Brandt 34 etudes, Bitsch 20 etudes, Bousquet 36    etudes

              - Solos: Halsey Stevens Sonata for Trumpet and Piano, Tomasi, Trumpet Concerto,          Honegger Intrada 

              - Orchestral Excerpts: Moussorgsky/Ravel, Pictures at an Exhibition- opening     promenade, Stravinsky Petrouchka- ballerina dance, Respighi Pines of Rome- off stage               solo 

For further information, contact Dr. Nathan Soberalski (


• For audition information, contact Prof. Ed Hull (


•  Etude or Caprice
• J. S. Bach: one movement from Sonatas and Partitas for Violin Solo or from the Suites for Cello Solo
• One movement of a viola concerto or sonata for viola and piano from the standard repertoire 

For further information, contact Dr. Limor Toren-Immerman (


• Etude or Caprice

• J. S. Bach: one movement from Sonatas and Partitas for Violin Solo 

• One movement of a violin concerto or sonata for violin and piano from the standard repertoire

For further information, contact Dr. Limor Toren-Immerman (

Vocal Performance

The Master of Music Degree in Vocal Performance at California State University, Fresno is a degree that specializes in the study and performance of vocal music in the Western Tradition. It is a continuation of academic inquiry into vocal music performance, literature and pedagogy from the completion of a Bachelor of Arts Degree in Music or Bachelor of Music degree in Vocal Performance. The aim of the master's degree is to foster, from a posture of intellectual curiosity, connections and original conclusions in the area of vocal music in performance. 

Prospective master's degree students are expected to already have studied and performed in great detail, the music written for the voice over approximately the last 800 years in Europe, Scandinavia and more recently North and South America. The prior acquisition of at least a functional knowledge of at least five Latin/Germanic/Slavic derived languages is essential, as is the ability to sing in these languages. Familiarity with the International Phonetic Alphabet is an asset, as is the knowledge of the significant historical trends in repertoire for the voice since 1600 CE. Also, a working knowledge of current thought in teaching methods and pedagogy for solo voice is desirable. If the student lacks experience in any of these areas the faculty can require the student, as a condition of acceptance to the degree, the undergraduate courses in diction, vocal pedagogy or vocal literature to remedy to any academic deficiency in these subjects.

For the audition we require an applicant to prepare five contrasting solo pieces in at least four different languages and from three different musical historical periods. One of the songs must be in English. A live audition in Fresno is preferred and an accompanist will be provided. However, in some cases a video audition will be accepted. The video must be unedited and the recording must show the student performing the songs with a clear audio of both the singer and a live acoustic piano. Videos that are edited or are not clear will not be accepted and a live audition will be required for consideration and admittance.

For further information, contact Dr. Anthony Radford (