COmmercial Music Ensemble - Spring 2026 Auditions
General Instructions (for all auditionees)
Read All Guidelines and follow all instructions to ensure your best chances
Prepare your materials in advance
Auditions will include both prepared material and some kind of improvisation or demonstration of versatility.
Choose contrasting styles where appropriate so we see range.
Register for the class at Pre-registration
Role-by-Role Guidelines
1. Vocalists (Lead / Background / Rap) — up to 5 spots
Prepared material
• Prepared Pieces
o Two Songs of your choice in a contrasting styles (e.g., one ballad, one up-
tempo/pop/rock/funk).
o One piece should include improvisation — can be melodic/scatting or lyrical
variation.
• For lead vocalist applicants: emphasize strong melodic presence, phrasing, stylistic
versatility, stage confidence.
• For background vocalist applicants: show ability to sing harmonies, blend, stack
vocals, support a lead. If you can do both singing and background work (or transition
between both), make that clear.
• Tip: Demonstrating ability to switch between lead and background, or to work in
harmonies, will score well.
2. Keyboard
Prepared material
• Prepared Pieces
o Two Songs of your choice in a contrasting styles (e.g., one ballad, one up-
tempo/pop/rock/funk).
o One piece should include some improvisation (e.g., solo section, variation).
o Demonstrate both rhythmic playing (comping/chords) and melodic playing (fills,
hooks).
Focus: versatility in style (pop/rock/funk/R&B), ability to support the band, ability to
step into melodic/solo space.
Tip: Show you can adapt to supporting parts (comping, pads, textures) as well as front-
line keyboard solos.
3. Electric Guitars (up to 2 positions)
Prepared material
o Two Songs of your choice in a contrasting styles (e.g., one ballad, one up-
tempo/pop/rock/funk).
o One piece should include a solo/lead guitar section and improvisation (show
lead playing ability).
• Demonstrate melodic playing and rhythmic playing (both lead and comping).
• If the guitarist is also a vocalist: indicate that in a separate audition slot for vocal work
or show singing/playing simultaneously
• Tip: Be prepared to show both rhythm guitar chops (supporting the ensemble) and solo
lead chops (standing out when required).
4. Electric Bass
Prepared material
• Four prepared bass grooves (cover three, one may be original).
• Demonstrate a variety of styles (e.g., rock, funk, R&B, pop, maybe a Latin groove) —
show ability to “play in the pocket”.• Show versatility: maybe one groove is melodic, another is driving root-based, another
more syncopated, etc.
Focus: Solid time feel, good tone, ability to lock with drums, ability to step out when
needed (fills, short solos).
Tip: Demonstrate you can serve the rhythm section as well as step into the spotlight
when the arrangement requires.
5. Drumset
Prepared material
• Two prepared pieces plus 2-4 additional grooves (various styles).
• Demonstrate a variety of groove styles: e.g., rock, pop, funk, hip-hop, Latin, maybe odd
meter if relevant.
• Must show ability to play along with a recording and switch between groove types when
the piece changes sections.
Focus: Solid time, good transitions (fills), dynamic control, ability to change feel (e.g.,
from big chorus to quieter verse).
Tip: Show you can lead a groove but also adapt to supporting the band, listen, and
respond musically.
6. Brass/Woodwinds (Alto Sax, Tenor Sax, Bari Sax, Trumpet, Trombone)
Prepared material
• Two prepared pieces (contrasting styles if possible) that demonstrate both lead and
supporting roles.
• Should include an improvisatory section (solo or wind-style improvisation).
• Encouraged: Create a simple arrangement of yourself playing background parts over a
chord progression (e.g., improvising fills, comping, and then stepping into a lead line).
Backing track or karaoke track acceptable.
• Can be over a backing track
• Focus: Style versatility (e.g., pop, funk, soul, maybe big-band background
arrangements), tone, articulation, improvisation skills.Tip: Show you can play both as part of a horn section (blending, support) and as a
featured soloist.
7. Virtual Instruments (Live Electronic/Controller/Sample/Looping)
Prepared material
• One prepared piece performed live (not pre-recorded) that showcases what you uniquely
bring (e.g., live looping, finger drumming, synthesizer performance, sample triggering,
effects processing).
• Then an improvisational exercise: demonstrate your ability in areas such as clip
launching, live synth playing, finger drumming, live effects processing, looping/loop-
variation.
Focus: Live performance capability, musicality, creativity, adaptability in a commercial
ensemble setting.
Tip: Choose a piece that highlights your best live performance ability — originality,
flair, but also reliable execution. Show you can integrate into a band context (not just solo
ambient looping for 10 mins).
8. Playback Engineer
Audition criteria
While this role is not strictly “musical performance” in the same sense, we still need to evaluate
your ability to support the ensemble technically and musically.
Prepared material:
• Submit a portfolio or demo of previous live playback work (set-ups, cueing,
programming tracks, managing syncs).
• Statement of intent on how you intend to integrate playback into the ensemble and why
you are the correct choice for the role.
Focus: Attention to detail, reliability, ability to troubleshoot under pressure, musical
sensitivity (understanding where in a song the clicks/tracks come in), communication
with musicians.
9. Sound Engineer
Audition criteria
This role requires both technical skill and situational awareness of live performance.
Prepared material:
• Provide a short demo recording (or live mix video) of a performance you’ve mixed
(ideally live band).
• Statement on how you intend to enhance the ensemble through sound reinforcement both
in rehearsal and live performances. Why you are the correct choice for the role?
• Portfolio of work is preferred. If no live mixes are available, studio mixes will be
accepted.
Focus: Clarity of mix, good balance (vocals, guitars, drums, keys, horns), ability to adapt
quickly, ear for commercial ensemble sound (e.g., defined vocals, punchy drums, clean
horns).
Tip: Demonstrate you understand live context (monitoring, stage bleed, acoustics) and
that you can work as part of the team (musicians + playback engineer + front-of-house).
10. Manager
Audition criteria
This is a leadership/organizational role rather than a musical performance role, but it is key to the
ensemble’s success.
Prepared material:
• Resume
• Provide a short cover letter or statement outlining your vision for the ensemble, your
experience in management, and how you plan to support rehearsals, gigs, logistics,
promotion, communication. Note: This ensemble will play an integral role in tiger tempo
and should play a larger role in the community.
• How will this role benefit you, your career aspirations, and why are you the best choice to
be the manager for the ensemble.
• Focus: Organizational skill, leadership, communication, problem-solving, understanding
of commercial ensemble context (gigging, rehearsal logistics, contracts, scheduling).
Tip: Show you can work with both musicians and technical staff, and that you are
proactive, structured, and prepared.
11. Marketing Coordinator
Audition criteria
success.
This is a promotional role rather than a musical performance role, but it is key to the ensemble’sPrepared material:
• Resume
• Provide a short cover letter or statement outlining your vision for the ensemble, your
experience in marketing and promotions and how you plan to integrate this into this
ensemble
• A portfolio of works including but not limited to graphic designs, videos, photos, blog
posts, press releases, etc that you have done.
• A concise marketing plan that you would implement for the ensemble.
• Focus: marketing, communication, problem-solving, promotion of commercial ensemble
context within the campus and broader scale community.
Tip: Show you can work collaboratively with artists, campus members, and community
members to grow an audience and event attendance
Additional Notes
• Contrasting styles means you should pick two pieces that are sufficiently different (e.g., a
ballad vs. up-tempo, or funk vs. rock) so we see range.
• Improvisation doesn’t need to be wild — it could be a short solo section, variation, or
change in texture; what matters is you show flexibility and creative thinking.
• Backing tracks: If your role requires one (vocals, guitar, keyboard, bass, drums maybe),
bring your own and make sure it is set up for quick plug-in. You can also use a stem
splitter to help remove your specific part. This can be found in logic or other free
versions online
• Ensemble fit: While technical skill is crucial, we also look for musicality, collaboration,
presence, and how you might fit into the ensemble’s aesthetic and workflow.