Women's Choir
The women's choir is open to all interested singers. There is an emphasis on the development of vocal and musical skill.
Men's Choir
The women's choir is open to all interested singers. There is an emphasis on the development of vocal and musical skill.
Chamber Singers
CSUB Chamber Singers is a mixed ensemble of up to 24 singers selected by competitive audition from among the members of the University Singers.
Opera Workshop
Open by audition to all qualified singers, these workshops produce scenes and full-length operas. Students work on all aspects of the production from set design and construction to starring and leading roles.
University Singers
Open by audition to all University students, faculty, staff, and members of the community, this is the University's principle concert choir. Repertoire includes music from all periods and styles with special emphasis on "classical" music from the Sixteenth Century to the present.
Vocal Jazz Ensemble
Open to competitive audition to all members of the University community. This is a highly select ensemble of approximately 6 to 8 voices plus an instrumental rhythm section. The group specializes in a variety of jazz styles.
Voice Class
Voice classes are offered to all interested singers. There is an emphasis on the development of vocal and musical skill.
- Individual instruction in voice, piano, and other instruments.
- Singing techniques classes.
- Vocal coaching and workshops.
- A full range of courses in Music Theory, History, Conducting, Music Education, and Performance.
Singing Techniques Classes
MUS227, MUS228, MUS229
(MW 11 - 12:30)
DESCRIPTION:
Men's Choir
MUS251, Section 2
(TR 11 - 12:30)
Women's Choir
MUS251, Section 3
(TR 1 - 2:30)
DESCRIPTION: The only requirement for participation in these classes is a desire to sing and develop your vocal and musical skills. The emphasis is on fun and the development of solid vocal and musical skills. The Men's and Women's Choirs share a concert each quarter while the members of the voice class present four solos per term in the classroom.
CSUB University Singers
MUS251, Section1
(MWF 2 - 3:30)
DESCRIPTION: This is our concert and touring choir. It specializes in all areas of choral repertoire from classical to ethnic, and partsongs to oratorio. Singers present a full concert each term and conduct annual tours both locally and internationally, Recently the Singers traveled to Australia for a festival performance of the Verdi Requiem in the Sydney opera house; we hope to travel to New York in late Spring or early Summer for a concert in Carnegie Hall. The "audition" for this choir is a 20 minute mini-music lesson, folks leave the audition having learned a few things and learning a good deal about their own technical knowledge of music and their potential conductor/teacher. The lesson involving music reading, ear training, and vocal development.
CSUB Opera Theatre Workshop
MUS258, MUS458
(TBA)
DESCRIPTION: Singers in the opera workshop participate in all aspects of opera production from singing leading roles to chorus, and tech design to procurement of props, sets, and costumes. The emphasis is on performing scenes from the great operas, but musical theater and Spanish Zarzuela are also common themes. Annually the workshop presents to evenings of scenes and a full production with orchestra is planned for every third year.
CSUB Jazz Singers
MUS250, MUS450
(TBA)
DESCRIPTION: This is one-on-part ensemble of jazz specialists requiring a high degree of musical independence and superb reading and improvisational skills. In addition to occasional performances in the community and with the CSUB Jazz Ensemble (big band), the Jazz Singers perform at the twice-quarterly Jazz Coffeehouses. The group is open by audition or invitation only.
CSUB Chamber Singers
MUS452
(M 6 - 9)
DESCRIPTION: This is our most sophisticated concert, touring, and recording choir. The Chamber Singers includes advanced music students, graduate students, and music professionals. It specializes in all areas of choral repertoire from classical to ethnic, and partsongs to oratorio. The Chamber Singers is open by audition or invitation only and the rigorous audition for this choir involves music reading, ear training, vocal development, and singer's diction in German, English, and Latin. The Chamber Singers present a quarterly concert often in conjunction with the University Singers, they perform for special University Functions and have appeared at a number of prestigious invitational festivals, conferences, and competitions. This group also participates in our bi-annual summer tours which have taken us from San Francisco to New York, and Reno, Nevada to Sydney, Australia.
MUS227, MUS228, MUS229
(MW 11 - 12:30)
DESCRIPTION:
Men's Choir
MUS251, Section 2
(TR 11 - 12:30)
Women's Choir
MUS251, Section 3
(TR 1 - 2:30)
DESCRIPTION: The only requirement for participation in these classes is a desire to sing and develop your vocal and musical skills. The emphasis is on fun and the development of solid vocal and musical skills. The Men's and Women's Choirs share a concert each quarter while the members of the voice class present four solos per term in the classroom.
CSUB University Singers
MUS251, Section1
(MWF 2 - 3:30)
DESCRIPTION: This is our concert and touring choir. It specializes in all areas of choral repertoire from classical to ethnic, and partsongs to oratorio. Singers present a full concert each term and conduct annual tours both locally and internationally, Recently the Singers traveled to Australia for a festival performance of the Verdi Requiem in the Sydney opera house; we hope to travel to New York in late Spring or early Summer for a concert in Carnegie Hall. The "audition" for this choir is a 20 minute mini-music lesson, folks leave the audition having learned a few things and learning a good deal about their own technical knowledge of music and their potential conductor/teacher. The lesson involving music reading, ear training, and vocal development.
CSUB Opera Theatre Workshop
MUS258, MUS458
(TBA)
DESCRIPTION: Singers in the opera workshop participate in all aspects of opera production from singing leading roles to chorus, and tech design to procurement of props, sets, and costumes. The emphasis is on performing scenes from the great operas, but musical theater and Spanish Zarzuela are also common themes. Annually the workshop presents to evenings of scenes and a full production with orchestra is planned for every third year.
CSUB Jazz Singers
MUS250, MUS450
(TBA)
DESCRIPTION: This is one-on-part ensemble of jazz specialists requiring a high degree of musical independence and superb reading and improvisational skills. In addition to occasional performances in the community and with the CSUB Jazz Ensemble (big band), the Jazz Singers perform at the twice-quarterly Jazz Coffeehouses. The group is open by audition or invitation only.
CSUB Chamber Singers
MUS452
(M 6 - 9)
DESCRIPTION: This is our most sophisticated concert, touring, and recording choir. The Chamber Singers includes advanced music students, graduate students, and music professionals. It specializes in all areas of choral repertoire from classical to ethnic, and partsongs to oratorio. The Chamber Singers is open by audition or invitation only and the rigorous audition for this choir involves music reading, ear training, vocal development, and singer's diction in German, English, and Latin. The Chamber Singers present a quarterly concert often in conjunction with the University Singers, they perform for special University Functions and have appeared at a number of prestigious invitational festivals, conferences, and competitions. This group also participates in our bi-annual summer tours which have taken us from San Francisco to New York, and Reno, Nevada to Sydney, Australia.
| New York - Carnegie Hall | Summer 2005 |
| | The Runner: Three CSUB choirs get ready for debut at Carnegie Hall |
| Australia - Sydney Opera House | Summer 2003 |
| The Runner: (Australia Tour) SARS changes plans for the CSUB Singers | |
| Australia Video Clip (Length: 2:04 minutes) | |
| New York - Carnegie Hall | Summer 2001 |
Community Concert Band*
Open to all students and members of the community with consent of the instructor, this ensemble performs music from various periods of repertoire. There are four regularly scheduled concerts plus additional performances in competitions and at celebrations. The Guest Composer concert series has featured 43 composers in residence in the past 8 years. Works by student and local composers are encouraged and performed. The class includes a minimum of three class hours per week.
Chamber Music
The Chamber Music Class focuses on the study of small ensemble performance. Students will have the opportunity to perform in a variety of instrumental ensembles in which they will develop both performance and listening skills as they learn to play one-on-a-part with their peers.
Chamber Orchestra*
Open to all students and members of the community with consent of the instructor, this ensemble performs music from various periods of repertoire. There are three regularly scheduled concerts. Student guest conductors are encouraged and student concerto soloists are regularly featured. The 2011-2012 concert series featured 9 student concerto soloists and 2 student conductors. Two works by student and local composers were performed as well. The class includes a minimum of three class hours per week.
Guitar Ensemble
Open by audition to all University students, faculty, staff, and members of the community, this ensemble focuses on the performance of music composed or arranged for multiple guitars. Program selections may include a variety of duets, trios and quartets.
CSUB Jazz Ensemble*
Open by audition to all University students, faculty, staff, and members of the community, the CSUB Jazz Ensemble specializes in performance of representative big band repertoire, Latin Jazz, and world music. Individual creative projects are encouraged, performed, and digitally recorded. Five annual performances are scheduled with additional performances at community concerts and celebrations, including the Bakersfield Jazz Festival. Over 40 guest soloists and composers have been featured at the annual Jazz Jam and other concerts of this ensemble. (Former members have won Downbeat awards, Betty Carter Kennedy Center awards, Chamber Music of America grants. highest awards at competitive jazz festivals, and selection to the California Collegiate All-State Big Band.)
Small Jazz Ensemble
These combos are open by audition to all University students, faculty, staff, and members of the community, instrumentalists and vocalists alike. This course focuses on performance of traditional and contemporary jazz styles in ensembles ranging from trios to septets. There are quarterly performances at the CSUB Jazz Coffeehouse Concerts, and the creation and performance of original works is strongly encouraged.
* Denotes large ensembles that may be used to fulfill the requirement for Music Majors and Minors enrolled in applied instruction.
Open to all students and members of the community with consent of the instructor, this ensemble performs music from various periods of repertoire. There are four regularly scheduled concerts plus additional performances in competitions and at celebrations. The Guest Composer concert series has featured 43 composers in residence in the past 8 years. Works by student and local composers are encouraged and performed. The class includes a minimum of three class hours per week.
Chamber Music
The Chamber Music Class focuses on the study of small ensemble performance. Students will have the opportunity to perform in a variety of instrumental ensembles in which they will develop both performance and listening skills as they learn to play one-on-a-part with their peers.
Chamber Orchestra*
Open to all students and members of the community with consent of the instructor, this ensemble performs music from various periods of repertoire. There are three regularly scheduled concerts. Student guest conductors are encouraged and student concerto soloists are regularly featured. The 2011-2012 concert series featured 9 student concerto soloists and 2 student conductors. Two works by student and local composers were performed as well. The class includes a minimum of three class hours per week.
Guitar Ensemble
Open by audition to all University students, faculty, staff, and members of the community, this ensemble focuses on the performance of music composed or arranged for multiple guitars. Program selections may include a variety of duets, trios and quartets.
CSUB Jazz Ensemble*
Open by audition to all University students, faculty, staff, and members of the community, the CSUB Jazz Ensemble specializes in performance of representative big band repertoire, Latin Jazz, and world music. Individual creative projects are encouraged, performed, and digitally recorded. Five annual performances are scheduled with additional performances at community concerts and celebrations, including the Bakersfield Jazz Festival. Over 40 guest soloists and composers have been featured at the annual Jazz Jam and other concerts of this ensemble. (Former members have won Downbeat awards, Betty Carter Kennedy Center awards, Chamber Music of America grants. highest awards at competitive jazz festivals, and selection to the California Collegiate All-State Big Band.)
Small Jazz Ensemble
These combos are open by audition to all University students, faculty, staff, and members of the community, instrumentalists and vocalists alike. This course focuses on performance of traditional and contemporary jazz styles in ensembles ranging from trios to septets. There are quarterly performances at the CSUB Jazz Coffeehouse Concerts, and the creation and performance of original works is strongly encouraged.
* Denotes large ensembles that may be used to fulfill the requirement for Music Majors and Minors enrolled in applied instruction.
Non-majors should audition for their entry and placement in all of the CSUB music ensembles. Contact the director in charge to set up an introductory audition and "Welcome" to the music program. Applied music lessons for credit are not available to non-music majors or minors.
Audition for entrance into the music major: Instrumentalists and pianists should be prepared to perform 3 major scales and chromatic scale in two octaves and two solo pieces in contrasting styles or a longer work or movement for a total time of up to 10 minutes.
Music majors have an honored place in the life of our campus. Their creativity, talent, and enthusiasm for making music, plus the discipline and dedication to improving their skills and expressivity, are a valued inspiration to our campus community and the pride of this department. Every instrumental music major is required to take private applied music lessons in their primary instrument each quarter of residency as a music major. This applied study is considered the primary, foundational study of all music majors. Although it is only one unit of academic credit, the applied music study should remain a primary focus of each music major and each quarter of study culminates in a performance jury for the music faculty.
Goals on completion of Lower Division Applied Study: (Music 123 and 223)
The instrumentalist should have basic technical command as demonstrated by the performance of all major and minor scales as well as triads and seventh chords in sixteenths spanning two octaves (4 octaves with both hands for pianists) ascending and descending at an appropriate speed to show facility (from 80 to 144 beats per minute) depending on the instrument. The instrumentalist should have gained a good understanding of appropriate technical issues such as bowing, articulation, breath, support, posture, balance, embouchure, alignment, position, sticking, and tuning. Repertoire requirements are approximately one hour of music with representative works from the Baroque, Classical, Romantic, Impressionistic, Early 20th Century, Music since 1945, and music by presently living composers. He/she should have the ability to perform a half recital.
Goals on completion of Upper Division Applied Study: (Music 323 and 423)
The instrumentalist should have excellent technical command as demonstrated by the performance of scales and all chords at an increased speed with a consistency and evenness of tone throughout the instruments range. Depending on the instrument and the specific technique or articulation, the speed of sixteenth notes at a quarter-note equals 100 to 160 beats per minute should be sufficient. The repertoire should be expanded to two hours of music of appropriate variety and difficulty selected from all style and historical periods, including works by living composers. At least two of the works should be 8 to 10 minutes long. The student now has the literature to perform a full classical recital.
The musician should have developed a keen understanding of musical phraseology and function and its effect on rhythmic nuance and accent. Knowledge gained from the study of music should allow the student to identify and evaluate the needs of the musical moment in performance and communicate his or her understanding to others with clarity.
Audition for entrance into the music major: Instrumentalists and pianists should be prepared to perform 3 major scales and chromatic scale in two octaves and two solo pieces in contrasting styles or a longer work or movement for a total time of up to 10 minutes.
Music majors have an honored place in the life of our campus. Their creativity, talent, and enthusiasm for making music, plus the discipline and dedication to improving their skills and expressivity, are a valued inspiration to our campus community and the pride of this department. Every instrumental music major is required to take private applied music lessons in their primary instrument each quarter of residency as a music major. This applied study is considered the primary, foundational study of all music majors. Although it is only one unit of academic credit, the applied music study should remain a primary focus of each music major and each quarter of study culminates in a performance jury for the music faculty.
Goals on completion of Lower Division Applied Study: (Music 123 and 223)
The instrumentalist should have basic technical command as demonstrated by the performance of all major and minor scales as well as triads and seventh chords in sixteenths spanning two octaves (4 octaves with both hands for pianists) ascending and descending at an appropriate speed to show facility (from 80 to 144 beats per minute) depending on the instrument. The instrumentalist should have gained a good understanding of appropriate technical issues such as bowing, articulation, breath, support, posture, balance, embouchure, alignment, position, sticking, and tuning. Repertoire requirements are approximately one hour of music with representative works from the Baroque, Classical, Romantic, Impressionistic, Early 20th Century, Music since 1945, and music by presently living composers. He/she should have the ability to perform a half recital.
Goals on completion of Upper Division Applied Study: (Music 323 and 423)
The instrumentalist should have excellent technical command as demonstrated by the performance of scales and all chords at an increased speed with a consistency and evenness of tone throughout the instruments range. Depending on the instrument and the specific technique or articulation, the speed of sixteenth notes at a quarter-note equals 100 to 160 beats per minute should be sufficient. The repertoire should be expanded to two hours of music of appropriate variety and difficulty selected from all style and historical periods, including works by living composers. At least two of the works should be 8 to 10 minutes long. The student now has the literature to perform a full classical recital.
The musician should have developed a keen understanding of musical phraseology and function and its effect on rhythmic nuance and accent. Knowledge gained from the study of music should allow the student to identify and evaluate the needs of the musical moment in performance and communicate his or her understanding to others with clarity.
Melvin Baldwin - French Horn
M.M. in Horn performance from University of Arkansas
B.Mus. Ed., Atlantic Union College
Principal horn, CSUB Concert Band
Audrey Boyle - Flute
Master of Education, UCLA; B.A. Music Ed. & Performance, UCLA
Flute/Piccolo, Bakersfield Symphony Orchestra
Ernest Cervantes - Percussion, Percussion Pedagogy
M.A. in Education; B.A. in Music, CSUB
Principal Timpanist/Percussionist, Bakersfield Symphony Orchestra,
Flagstaff Summer Festival Orchestra, Musica da Camera, Sanctuary
Ron Christian - Trombone, Euphonium
B.A. in Music, CSUB; Diploma from the Dick Grove School of Music
Principal Trombone, New Orleans Symphony
Performed in the big bands of: Ray Charles, Woody Herman, and Stan Kenton
Brett Clausen - Oboe
M.M and B.M. from University of Southern California
Principal Oboe, Bakersfield Symphony Orchestra
Musica da Camera
Roger Allen Cope - Guitar
B.A. in Music, summa cum laude, Florida State University
Former Director of Guitar Studies at Brevard College, Brevard, NC
President, Classical Guitar Society of Carolinas
Doug Davis - Composition
Ph.D. and M.A. in Music Composition, Harvard University
B.M in Composition, summa cum laude, University of Tennessee
Woodrow Wilson Fellow, Contemporary Recording Society Award,
CSUB Outstanding Professor, Wang Award Winner
Director of the Bakersfield Jazz Festival
Julia Lawson Haney - Violin, Viola
B.M., Violin Performance, Magna cum laude, St. Olaf College
M.M. in Violin, Indiana University-Bloomington
Assistant Concertmaster, Greater Bridgeport Symphony and New Haven Symphony before joining the Bakersfield Symphony Orchestra
Sal Panelli - Trumpet, Brass Pedagogy
B.A. in Music, California State University Bakersfield
Kern County Music Educators Outstanding Band Director,
CSUB Alumnus of the Year,
Trumpet, Bakersfield Symphony Orchestra
Paul Perez – Saxophones, Jazz Combos
B.S. in Psychology, cum laude, CSUB
Sax soloist for Tower of Power, Smokey Robinson, and Donna Summers
Studio work for Showtime and Lifetime Networks, Cannonball sax endorser
Peter Scaffidi - Double Bass
B.A. in Music Performance, CSU Fresno
Double Bass, Bakersfield Symphony Orchestra, Fresno Symphony
Jazz Studies with John Clayton at University of Southern California
Karen Blockley - Cello
Violoncello, Bakersfield Symphony Orchestra
Kristi Van Kopp - Clarinet
B.A in Music, B.S. in Geology from Stanford University
Principal Clarinet, CSUB Concert Band, Musica da Camera Orchestra
M.M. in Horn performance from University of Arkansas
B.Mus. Ed., Atlantic Union College
Principal horn, CSUB Concert Band
Audrey Boyle - Flute
Master of Education, UCLA; B.A. Music Ed. & Performance, UCLA
Flute/Piccolo, Bakersfield Symphony Orchestra
Ernest Cervantes - Percussion, Percussion Pedagogy
M.A. in Education; B.A. in Music, CSUB
Principal Timpanist/Percussionist, Bakersfield Symphony Orchestra,
Flagstaff Summer Festival Orchestra, Musica da Camera, Sanctuary
Ron Christian - Trombone, Euphonium
B.A. in Music, CSUB; Diploma from the Dick Grove School of Music
Principal Trombone, New Orleans Symphony
Performed in the big bands of: Ray Charles, Woody Herman, and Stan Kenton
Brett Clausen - Oboe
M.M and B.M. from University of Southern California
Principal Oboe, Bakersfield Symphony Orchestra
Musica da Camera
Roger Allen Cope - Guitar
B.A. in Music, summa cum laude, Florida State University
Former Director of Guitar Studies at Brevard College, Brevard, NC
President, Classical Guitar Society of Carolinas
Doug Davis - Composition
Ph.D. and M.A. in Music Composition, Harvard University
B.M in Composition, summa cum laude, University of Tennessee
Woodrow Wilson Fellow, Contemporary Recording Society Award,
CSUB Outstanding Professor, Wang Award Winner
Director of the Bakersfield Jazz Festival
Julia Lawson Haney - Violin, Viola
B.M., Violin Performance, Magna cum laude, St. Olaf College
M.M. in Violin, Indiana University-Bloomington
Assistant Concertmaster, Greater Bridgeport Symphony and New Haven Symphony before joining the Bakersfield Symphony Orchestra
Sal Panelli - Trumpet, Brass Pedagogy
B.A. in Music, California State University Bakersfield
Kern County Music Educators Outstanding Band Director,
CSUB Alumnus of the Year,
Trumpet, Bakersfield Symphony Orchestra
Paul Perez – Saxophones, Jazz Combos
B.S. in Psychology, cum laude, CSUB
Sax soloist for Tower of Power, Smokey Robinson, and Donna Summers
Studio work for Showtime and Lifetime Networks, Cannonball sax endorser
Peter Scaffidi - Double Bass
B.A. in Music Performance, CSU Fresno
Double Bass, Bakersfield Symphony Orchestra, Fresno Symphony
Jazz Studies with John Clayton at University of Southern California
Karen Blockley - Cello
Violoncello, Bakersfield Symphony Orchestra
Kristi Van Kopp - Clarinet
B.A in Music, B.S. in Geology from Stanford University
Principal Clarinet, CSUB Concert Band, Musica da Camera Orchestra
General
The four-year curriculum of guitar study is a progressive development of technical skills combined with a balance of related performance repertoire. The first year is spent understanding the principals of classic style, developing tone, and learning tiered etudes & estudios. Most students rapidly cultivate a higher standard of playing during this period. The second year adds more complicated studies, scale and arpeggio development, velocity, and introduces literature of diverse styles. The third and fourth year is spent learning standard literature and preparing academic recitals.
All students have the opportunity to perform in the Guitar Ensemble, learn chamber music with other instruments, and prepare for their professional life by studying guitar pedagogy (the art of teaching). The result of this experience is a well-rounded musician prepared for advancement to graduate school or to engage one of the many roles in a professional community music life. The following information will help the student prepare for their study experience and anticipate necessary library acquisitions.
Additional Information
A Freshman Music Major with guitar as principal instrument is expected to have command of basic musical concepts. This includes accurate tuning, ability to read contemporary staff notation, understand basic key signatures, knowledge of fingerboard through the fifth position, realization of sixteenth notes, dotted figures and tied notes, ability to analyze complex rhythm, and formation of root position chords. Familiarity with or ability to read contemporary tablature, or "tabs" as found in popular magazines and some scores, is not an equivalent skill.
All students of the guitar curriculum must use a nylon string or classical guitar as the principal study instrument. The object of the guitar curriculum is classic or finger style playing, and repertoire. It is not possible to use steel string acoustic, "F" hole, hollow body or jazz style, or folk or electric guitars for study. However, students with an interest in any of these music styles are welcome to pursue courses in the Jazz curriculum or in conjunction with history, composition or theory classes, and may still take applied instrument lessons.
Motivated students with obvious talent who otherwise lack sufficient pre-college training or study in instrument technique may still be admitted to the curriculum under a provisional course listing. This designation allows one term of study to reinforce and strengthen any areas of weakness. The student may then apply to be admitted as a Music Major upon successful re-audition at the end of term.
The four-year curriculum of guitar study is a progressive development of technical skills combined with a balance of related performance repertoire. The first year is spent understanding the principals of classic style, developing tone, and learning tiered etudes & estudios. Most students rapidly cultivate a higher standard of playing during this period. The second year adds more complicated studies, scale and arpeggio development, velocity, and introduces literature of diverse styles. The third and fourth year is spent learning standard literature and preparing academic recitals.
All students have the opportunity to perform in the Guitar Ensemble, learn chamber music with other instruments, and prepare for their professional life by studying guitar pedagogy (the art of teaching). The result of this experience is a well-rounded musician prepared for advancement to graduate school or to engage one of the many roles in a professional community music life. The following information will help the student prepare for their study experience and anticipate necessary library acquisitions.
Additional Information
A Freshman Music Major with guitar as principal instrument is expected to have command of basic musical concepts. This includes accurate tuning, ability to read contemporary staff notation, understand basic key signatures, knowledge of fingerboard through the fifth position, realization of sixteenth notes, dotted figures and tied notes, ability to analyze complex rhythm, and formation of root position chords. Familiarity with or ability to read contemporary tablature, or "tabs" as found in popular magazines and some scores, is not an equivalent skill.
All students of the guitar curriculum must use a nylon string or classical guitar as the principal study instrument. The object of the guitar curriculum is classic or finger style playing, and repertoire. It is not possible to use steel string acoustic, "F" hole, hollow body or jazz style, or folk or electric guitars for study. However, students with an interest in any of these music styles are welcome to pursue courses in the Jazz curriculum or in conjunction with history, composition or theory classes, and may still take applied instrument lessons.
Motivated students with obvious talent who otherwise lack sufficient pre-college training or study in instrument technique may still be admitted to the curriculum under a provisional course listing. This designation allows one term of study to reinforce and strengthen any areas of weakness. The student may then apply to be admitted as a Music Major upon successful re-audition at the end of term.
Guidelines
1) Play choice of major & minor scale forms of at least two octaves.
2) Perform two prepared pieces of contrasting style drawn from any of the composers listed below. At least one should be performed from memory. Transfer students and/or those with performance background or advanced training should submit a complete list of their repertoire with application and perform selections meeting audition criteria from that list.
3) Applicants auditioning for Jazz Studies should prepare two representative pieces; a) a medium swing blues or jazz standard (such as One O' Clock Jump, Sonnymoon For Two, All The Things You Are, Have You Met Miss Jones) and b) an even-eighths tune (e.g. St. Thomas, Wave, Blue Bossa). Demonstration of scales as stipulated above. Advanced players should be prepared to demonstrate Dorian, Mixolydian and Locrian modes, and diminished (half step first), whole tone, and major and minor Pentatonic scales.
4) In addition to these guidelines applicants are welcome and encouraged to perform other music which will more fully display their talents.
Everyone is strongly urged to audition live on scheduled audition dates. If that is not possible, audio tape, mp3 files, CD or DVD may be submitted. A recorded audition should arrive not later than the published date of on-campus auditions.
Composer/Works
Fernando Sor: Estudios from Op. 6 or Op. 35
J. S. Bach: preludes or movements from the cello suites
Manuel Ponce: 24 Preludes (Tecla) or 12 Preludes (Schott)
Matteo Carcassi: 25 Melodic and Progressive Studies, Op. 60
Francisco Tarrega: Preludes, studies & brief character pieces
Leo Brouwer: Vol. I & II of Estudios Sencillos or any character pieces.
Francis Kleynjans: LE COIN DE L'ENFANCE, Op. 97, choose from No's 10 through 18.
1) Play choice of major & minor scale forms of at least two octaves.
2) Perform two prepared pieces of contrasting style drawn from any of the composers listed below. At least one should be performed from memory. Transfer students and/or those with performance background or advanced training should submit a complete list of their repertoire with application and perform selections meeting audition criteria from that list.
3) Applicants auditioning for Jazz Studies should prepare two representative pieces; a) a medium swing blues or jazz standard (such as One O' Clock Jump, Sonnymoon For Two, All The Things You Are, Have You Met Miss Jones) and b) an even-eighths tune (e.g. St. Thomas, Wave, Blue Bossa). Demonstration of scales as stipulated above. Advanced players should be prepared to demonstrate Dorian, Mixolydian and Locrian modes, and diminished (half step first), whole tone, and major and minor Pentatonic scales.
4) In addition to these guidelines applicants are welcome and encouraged to perform other music which will more fully display their talents.
Everyone is strongly urged to audition live on scheduled audition dates. If that is not possible, audio tape, mp3 files, CD or DVD may be submitted. A recorded audition should arrive not later than the published date of on-campus auditions.
Composer/Works
Fernando Sor: Estudios from Op. 6 or Op. 35
J. S. Bach: preludes or movements from the cello suites
Manuel Ponce: 24 Preludes (Tecla) or 12 Preludes (Schott)
Matteo Carcassi: 25 Melodic and Progressive Studies, Op. 60
Francisco Tarrega: Preludes, studies & brief character pieces
Leo Brouwer: Vol. I & II of Estudios Sencillos or any character pieces.
Francis Kleynjans: LE COIN DE L'ENFANCE, Op. 97, choose from No's 10 through 18.
Required Texts
Ricardo Iznaola, On Practicing, Mel Bay Publications MB99418, ISBN 0-7866-5873-8
The Hal Leonard Pocket Music Dictionary, Hal Leonard Corporation, HL00183006
Study Materials and Scores
On entry into the program:
Andres Segovia, Diatonic Major and Minor Scales, Columbia Music CO CO 127
Julio S. Sagreras, Guitar Lessons, Books 1-3, Mel Bay #MB96580
Ferdinando Carulli, 24 Preludes Op. 114 (any edition)
All second term and transfer applied guitar students must acquire the following:
Leo Brouwer, Estudios Sencillos Vol. I & II (ME 7997 & 7998)
Matteo Carcassi, 25 Studi Op. 60, Chanterelle Verlag (ECH 470)
Peter Nuttall, Twelve Inventions for Solo Guitar (Holley Music 1984, Oxford)
Fernando Sor, 20 Studies for Guitar, Segovia editiona (HL 6363)
The following are strongly recommended for repertoire and technical development.
Abel Carlevaro, MICROESTUDIOS Vol. I, II & III (ECH 791, 792, 783) if available
Luigi Legnani, Capricci Op. 20 complete (GA 35 & 36)
100 Graded Classical Guitar Studies (AMSCO 38597)
Mauro Giuliani, Studi Per Chitarra, Chiesa (SZ 6630)
Mario Castelnuovo-Tedesco, Apunti Op. 210 (Book I, SZ 6725)
Heitor Villa-Lobos, Solo Guitar Collection, Eschig (ME 6679)
Masters of the Guitar Series: Andres Segovia - repertoire (Schott GA 520)
J. S. Bach, Six Sonatas & Partitas for unaccompanied Violin
J.S. Bach, Six Suites for unaccompanied Cello
The complete studies and exercises of Giuliani and Sor are available through Tecla: #TECLA 105, and #TECLA 101.
The following anthologies by Frederick M. Noad contain solo guitar repertoire including a limited number of duets which are excellent additions to the student library. All are published by Music Sales, Inc, and are excellent for technical development and sight-reading.
Renaissance, Music w/Audio CD, 120 pages (MS.AM968066)
Baroque, Music w/Audio CD, 128 pages (MS.AM968044)
Classical, Music w/Audio CD, 144 pages (MS.AM968055)
Romantic, Music w/Audio CD, 128 pages (MS.AM968077)
Ricardo Iznaola, On Practicing, Mel Bay Publications MB99418, ISBN 0-7866-5873-8
The Hal Leonard Pocket Music Dictionary, Hal Leonard Corporation, HL00183006
Study Materials and Scores
On entry into the program:
Andres Segovia, Diatonic Major and Minor Scales, Columbia Music CO CO 127
Julio S. Sagreras, Guitar Lessons, Books 1-3, Mel Bay #MB96580
Ferdinando Carulli, 24 Preludes Op. 114 (any edition)
All second term and transfer applied guitar students must acquire the following:
Leo Brouwer, Estudios Sencillos Vol. I & II (ME 7997 & 7998)
Matteo Carcassi, 25 Studi Op. 60, Chanterelle Verlag (ECH 470)
Peter Nuttall, Twelve Inventions for Solo Guitar (Holley Music 1984, Oxford)
Fernando Sor, 20 Studies for Guitar, Segovia editiona (HL 6363)
The following are strongly recommended for repertoire and technical development.
Abel Carlevaro, MICROESTUDIOS Vol. I, II & III (ECH 791, 792, 783) if available
Luigi Legnani, Capricci Op. 20 complete (GA 35 & 36)
100 Graded Classical Guitar Studies (AMSCO 38597)
Mauro Giuliani, Studi Per Chitarra, Chiesa (SZ 6630)
Mario Castelnuovo-Tedesco, Apunti Op. 210 (Book I, SZ 6725)
Heitor Villa-Lobos, Solo Guitar Collection, Eschig (ME 6679)
Masters of the Guitar Series: Andres Segovia - repertoire (Schott GA 520)
J. S. Bach, Six Sonatas & Partitas for unaccompanied Violin
J.S. Bach, Six Suites for unaccompanied Cello
The complete studies and exercises of Giuliani and Sor are available through Tecla: #TECLA 105, and #TECLA 101.
The following anthologies by Frederick M. Noad contain solo guitar repertoire including a limited number of duets which are excellent additions to the student library. All are published by Music Sales, Inc, and are excellent for technical development and sight-reading.
Renaissance, Music w/Audio CD, 120 pages (MS.AM968066)
Baroque, Music w/Audio CD, 128 pages (MS.AM968044)
Classical, Music w/Audio CD, 144 pages (MS.AM968055)
Romantic, Music w/Audio CD, 128 pages (MS.AM968077)
Expectations
Guitar students attend private and public performances of their peers. Support of and a volunteer role in a local or regional classical guitar society is strongly encouraged. Attendance at major area guitar concerts is expected. The student is advised to budget time for these activities, and expenses equal to the periodic purchase of new scores and replacement strings during each term. The Performance major should prepare a budget for master class study at major classical guitar festivals during the year. Advanced players should prepare for expenses related to festivals and competitions.
Performance and Recitals
Always consult supplementary department policies and publications regarding the junior and senior academic recital. Extracurricular performance opportunities in the community are abundant and encouraged. In addition to periodic guitar repertoire class, solo and ensemble performance opportunity is available every month in area churches and periodic on-campus functions, and as may be organized in the community.
Guitar students attend private and public performances of their peers. Support of and a volunteer role in a local or regional classical guitar society is strongly encouraged. Attendance at major area guitar concerts is expected. The student is advised to budget time for these activities, and expenses equal to the periodic purchase of new scores and replacement strings during each term. The Performance major should prepare a budget for master class study at major classical guitar festivals during the year. Advanced players should prepare for expenses related to festivals and competitions.
Performance and Recitals
Always consult supplementary department policies and publications regarding the junior and senior academic recital. Extracurricular performance opportunities in the community are abundant and encouraged. In addition to periodic guitar repertoire class, solo and ensemble performance opportunity is available every month in area churches and periodic on-campus functions, and as may be organized in the community.
General
Study and performance of chamber music literature in various small-ensemble combinations. Improvement of ensemble skills and broadening of chamber music repertory.
Note: Music 220/420 is the required major ensemble for piano and string majors. All
other instrumental music majors are required to take Music 220/420 if enrolled in
only one other ensemble.
Study and performance of chamber music literature in various small-ensemble combinations. Improvement of ensemble skills and broadening of chamber music repertory.
Note: Music 220/420 is the required major ensemble for piano and string majors. All
other instrumental music majors are required to take Music 220/420 if enrolled in
only one other ensemble.
Objectives
To enhance students’ capacities for musical perception and expression.
To familiarize students with the dynamics of working in a chamber ensemble in supervised and non-supervised situations.
To address specific problems of ensemble coordination, rhythm, intonation, articulation, balance, blend, and creative interpretation in chamber music.
To expand students’ chamber music repertories in a variety of styles and ensemble settings.
To develop communication skills that will enable students to interact successfully on a musical and personal level with other ensemble members.
To enhance students’ capacities for musical perception and expression.
To familiarize students with the dynamics of working in a chamber ensemble in supervised and non-supervised situations.
To address specific problems of ensemble coordination, rhythm, intonation, articulation, balance, blend, and creative interpretation in chamber music.
To expand students’ chamber music repertories in a variety of styles and ensemble settings.
To develop communication skills that will enable students to interact successfully on a musical and personal level with other ensemble members.
Rehearsal Reports
Among the most valuable skills taught by the chamber music experience are cooperation and responsible self-governance. Rehearsals will not be supervised by an instructor but must be interactive and productive. For every rehearsal, each group must fill out one Rehearsal Report, where students will sign in and describe what was worked on during that rehearsal (which pieces/movements, passages, and specific problems such as ensemble, rhythm, balance, dynamic contrast, articulation, etc.) The Rehearsal Report must be submitted to the instructor at the following coaching session, for which it will serve as a point of departure. Failure to do so will result in zero attendance credit for the corresponding rehearsal.
Among the most valuable skills taught by the chamber music experience are cooperation and responsible self-governance. Rehearsals will not be supervised by an instructor but must be interactive and productive. For every rehearsal, each group must fill out one Rehearsal Report, where students will sign in and describe what was worked on during that rehearsal (which pieces/movements, passages, and specific problems such as ensemble, rhythm, balance, dynamic contrast, articulation, etc.) The Rehearsal Report must be submitted to the instructor at the following coaching session, for which it will serve as a point of departure. Failure to do so will result in zero attendance credit for the corresponding rehearsal.
CSUB Jazz Ensemble*
Open by audition to all University students, faculty, staff, and members of the community, the CSUB Jazz Ensemble specializes in performance of representative big band repertoire, Latin Jazz, and world music. Individual creative projects are encouraged, performed, and digitally recorded. Five annual performances are scheduled with additional performances at community concerts and celebrations, including the Bakersfield Jazz Festival. Over 40 guest soloists and composers have been featured at the annual Jazz Jam and other concerts of this ensemble. (Former members have won Downbeat awards, Betty Carter Kennedy Center awards, Chamber Music of America grants. highest awards at competitive jazz festivals, and selection to the California Collegiate All-State Big Band.)
Small Jazz Ensemble
These combos are open by audition to all University students, faculty, staff, and members of the community, instrumentalists and vocalists alike. This course focuses on performance of traditional and contemporary jazz styles in ensembles ranging from trios to septets. There are quarterly performances at the CSUB Jazz Coffeehouse Concerts, and the creation and performance of original works is strongly encouraged. (Former members have recorded with Jason Moran, Tower of Power, Betty Carter, Greg Osby, Vinnie Golia, Eddie Money, and Smokin' Armadillos among others. Seven-time winner of the top jazz combo at the Pacific Coast Collegiate Jazz Festival at UC Berkeley.)
Vocal Jazz Ensemble
This ensemble is open by competitive audition to all members of the University and community. This is a highly select ensemble of approximately 6 to 8 voices plus an instrumental rhythm section. The group specializes in a variety of jazz styles and performs at the CSUB Jazz Coffeehouse Concerts and final combined jazz ensembles concert in addition to festivals, clubs, and concert series. (Members selected to the California Collegiate All-State Vocal Jazz Ensemble four times.)
* Denotes large ensembles that may be used to fulfill the requirement for Music Majors and Minors enrolled in applied instruction.
Open by audition to all University students, faculty, staff, and members of the community, the CSUB Jazz Ensemble specializes in performance of representative big band repertoire, Latin Jazz, and world music. Individual creative projects are encouraged, performed, and digitally recorded. Five annual performances are scheduled with additional performances at community concerts and celebrations, including the Bakersfield Jazz Festival. Over 40 guest soloists and composers have been featured at the annual Jazz Jam and other concerts of this ensemble. (Former members have won Downbeat awards, Betty Carter Kennedy Center awards, Chamber Music of America grants. highest awards at competitive jazz festivals, and selection to the California Collegiate All-State Big Band.)
Small Jazz Ensemble
These combos are open by audition to all University students, faculty, staff, and members of the community, instrumentalists and vocalists alike. This course focuses on performance of traditional and contemporary jazz styles in ensembles ranging from trios to septets. There are quarterly performances at the CSUB Jazz Coffeehouse Concerts, and the creation and performance of original works is strongly encouraged. (Former members have recorded with Jason Moran, Tower of Power, Betty Carter, Greg Osby, Vinnie Golia, Eddie Money, and Smokin' Armadillos among others. Seven-time winner of the top jazz combo at the Pacific Coast Collegiate Jazz Festival at UC Berkeley.)
Vocal Jazz Ensemble
This ensemble is open by competitive audition to all members of the University and community. This is a highly select ensemble of approximately 6 to 8 voices plus an instrumental rhythm section. The group specializes in a variety of jazz styles and performs at the CSUB Jazz Coffeehouse Concerts and final combined jazz ensembles concert in addition to festivals, clubs, and concert series. (Members selected to the California Collegiate All-State Vocal Jazz Ensemble four times.)
* Denotes large ensembles that may be used to fulfill the requirement for Music Majors and Minors enrolled in applied instruction.
MUS 105 Appreciation of Jazz (5 units)
Introduction and examination of characteristics, techniques, styles, terms, and methods found in the jazz tradition. This examination will include critical issues related to the social and cultural history of African-Americans and how that history influenced the creation of the music.
MUS 221 Jazz Improvisation Workshop (1)
Courses devoted to the study and performance of the jazz language. Minimum of 3 performance exams a quarter. Workshop offered every quarter and may be taken up to 12 units.
MUS 272 Jazz Improvisation (5)
Performance of basic major, dorian, mixolydian, and bebop dominant patterns, basic voicing of major and minor ii-V-I as well as associated melodic patterns, blues progressions, rhythmic changes, chord substitutions, basic chromatic embellishments, turnarounds, drum and bass patterns for traditional, Latin, and world beat grooves. Prerequisite: MUS 122 or permission of instructor. [modular study] [F,S]
MUS 372 Jazz Improvisation II (5)
Performance of patterns derived from ascending melodic minor modes and pentatonic groupings, performance of transcribed blues solos, chromatically embellished ii-V-I patterns in both major and minor, transcription of solos for your instrument, and concepts of solo construction. Prerequisite: MUS 272 or satisfactory score on placement exam. [modular study] [W]
MUS 472 Jazz Improvisation III (5)
Performance of patterns derived from Coltrane substitutions, abstract intervallic patterns, concepts of free improvisation, performance of transcribed blues and other solos, harmonic embellishment and substitution, quartal voicing of ii-V-I progressions, advance pentatonic concepts, blues heads and standards in all 12 keys, transcription of solos for your instrument. Prerequisite: MUS 372. [modular study] [S]
Jazz Improvisation Minor: (20 units)
Music 120: Materials and Structure of Music or Music 122: Theory I
Music 272: Jazz Improvisation
Music 372: Jazz Improvisation II
Music 472: Jazz Improvisation III
Special Minors in General Music Emphasis
Jazz Studies: Music 105 (Jazz Appreciation), Music 272, 372, 472 (Improv. I,II, III), (possibly substituting Music 390, Film Music or Music 395, American Music for Music 472, Improvisation III).
Introduction and examination of characteristics, techniques, styles, terms, and methods found in the jazz tradition. This examination will include critical issues related to the social and cultural history of African-Americans and how that history influenced the creation of the music.
MUS 221 Jazz Improvisation Workshop (1)
Courses devoted to the study and performance of the jazz language. Minimum of 3 performance exams a quarter. Workshop offered every quarter and may be taken up to 12 units.
MUS 272 Jazz Improvisation (5)
Performance of basic major, dorian, mixolydian, and bebop dominant patterns, basic voicing of major and minor ii-V-I as well as associated melodic patterns, blues progressions, rhythmic changes, chord substitutions, basic chromatic embellishments, turnarounds, drum and bass patterns for traditional, Latin, and world beat grooves. Prerequisite: MUS 122 or permission of instructor. [modular study] [F,S]
MUS 372 Jazz Improvisation II (5)
Performance of patterns derived from ascending melodic minor modes and pentatonic groupings, performance of transcribed blues solos, chromatically embellished ii-V-I patterns in both major and minor, transcription of solos for your instrument, and concepts of solo construction. Prerequisite: MUS 272 or satisfactory score on placement exam. [modular study] [W]
MUS 472 Jazz Improvisation III (5)
Performance of patterns derived from Coltrane substitutions, abstract intervallic patterns, concepts of free improvisation, performance of transcribed blues and other solos, harmonic embellishment and substitution, quartal voicing of ii-V-I progressions, advance pentatonic concepts, blues heads and standards in all 12 keys, transcription of solos for your instrument. Prerequisite: MUS 372. [modular study] [S]
Jazz Improvisation Minor: (20 units)
Music 120: Materials and Structure of Music or Music 122: Theory I
Music 272: Jazz Improvisation
Music 372: Jazz Improvisation II
Music 472: Jazz Improvisation III
Special Minors in General Music Emphasis
Jazz Studies: Music 105 (Jazz Appreciation), Music 272, 372, 472 (Improv. I,II, III), (possibly substituting Music 390, Film Music or Music 395, American Music for Music 472, Improvisation III).
The Bakersfield Jazz Festival with its audience of 5000 to 7000, extensive community and corporate support, and its scholarship support of over 50 CSUB students in more than 10 different academic disciplines every year is unique for any music department of any size. The annual list of festival artists is as prestigious and extensive as almost any festival anywhere and certainly any festival sponsored by a college or university music department.
The Bakersfield Jazz Festival is a two-day community celebration that features Grammy and poll winning jazz artists as well as the best CSUB/local jazz groups. Thirteen jazz groups perform on two stages at the CSUB Amphitheater and over 50 scholarships are given to deserving CSUB students. Go to bakersfieldjazz.com to see the last festival lineup. Here are some pictures of our 25 year history.
The Bakersfield Jazz Festival is a two-day community celebration that features Grammy and poll winning jazz artists as well as the best CSUB/local jazz groups. Thirteen jazz groups perform on two stages at the CSUB Amphitheater and over 50 scholarships are given to deserving CSUB students. Go to bakersfieldjazz.com to see the last festival lineup. Here are some pictures of our 25 year history.