Testing Programm
A. String instruments
Violin major
Two pieces from different eras:
- a classical concerto (e.g. W.A. Mozart Concerto No. 2 in D major KV 211 or J. Haydn Concerto No. 4 in G major, Hob. VII a, 4)
- an étude (e.g. Mazas, Kreutzer, Dont op.37, Rhode)
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Viola major
- a movement of your choice (transcribed for the viola) from:
- J. S. Bach: Partitas for violin solo (BWV 1001-1006) or
- J. S. Bach: Suites for cello solo (BWV 1007-1012)
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the first movement of a viola concerto (without cadence) from the Classical period (e.g. F. A. Hoffmeister, C. Stamitz, F. W. Benda)
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a piece from the Romantic era (19th century) of your choice
The performance should include a lyrical piece of music.
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Cello major
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Three pieces or movements from three different eras
- J.S. Bach: two movements from a suite (adagio and allegro)
- the first movement from a classical or romantic cello concerto
- a piece of your choice (not an étude, preferably composed after 1960)
- the performance should last at least 15 minutes
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Sight-reading
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B. Woodwind instruments
Recorder major
- one adagio and one allegro movement from a recorder sonata from the 18th century (e.g. by Telemann, Händel, Marcello etc.)
- a piece/movement from another era (e.g. an early baroque or contemporary piece)
- Sight-reading
During the exam, the student should use both a descant and alto (or tenor) recorder.
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Clarinet major
- Three pieces from different eras, including at least one adagio and one allegro movement
- Sight-reading
- Scales up to 3 sharps or flats
Examples:
- Danzi, F.: Sonata
- Fromm-Michaels, Ilse: Stimmungen eines Fauns
- Gade, N. W.: Phantasiestücke
- Hindemith, P.: Sonata
- Kozeluch L.: Clarinet Concerto
- Osborne, W.: Rhapsody
- Pleyel, I.: Clarinet Concerto
- Saint-Saëns, C.: Sonata
- Stamitz, C.: Concerto No 3
- Weber, C. M.: Concertino
Flute major
- 1. Three pieces or movements from three different eras
- The performance should include at least one adagio and one allegro movement
- The performance should last a maximum of 15 – 20 minutes
- Sight-reading
Examples:
- Telemann, G. P.:12 Methodical Sonatas for Flute or Violin and Basso Continuo
- Händel, G. F.: Eleven Sonatas for Flute and Basso Continuo
- Mozart, W.A.: Sonata in C major KV 14 for flute and piano
- Enescu, G.: Cantabile et Presto
- Honegger, A.: Danse de la chèvre
- Fukushima, K.: Requiem for solo flute
Saxophone major
- Compulsory piece (from Mule, Marcel: 18 exercices ou études d’aprés Berbiguer)
- Compulsory piece (from Flemming, Fritz: 33 Concertante Studies for Oboe)
- A transcription of a piece by J. S. Bach
- A short piece of your choice
- Scales up to four sharps or flats
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C. Brass instruments
Horn major
- 1. Two pieces from two different eras, e. g. (it is also possible to play other pieces):
- Beethoven, Ludwig van: Horn Sonata, Op. 17
- Dukas, Paul: Villanelle
- Haydn, Franz Joseph: Horn Concerto No. 1 in D Major, Hob. VIId:3, or Horn Concerto No. 2 in D Major, Hob. VIId:1
- Hindemith, Paul: Horn Sonata
- Krol, Bernhard: Laudatio for Solo Horn
- Mozart, Wolfgang Amadeus: Horn Concerto No. 2 in E-flat major, K. 417, or Horn Concerto No. 3 in E-Flat major, K. 447, or Horn Concerto No. 4 in E-Flat major, K. 495
- Neuling, Hermann: Bagatelle
- Poulenc, Francis: Elégie
- Saint-Saëns, Camille: Morceau de Concert, op. 94
- Strauss, Franz: Horn Concerto, Op. 8, or Introduction, Theme and Variations, Op. 13
- Strauss, Richard: Horn Concerto No. 1, Op. 11
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Trumpet major
- 1. Three pieces or movements (a concerto, a sonata and an étude) from three different eras. They should have the same level of difficulty as the following pieces:
- Concerto: e. g. by A. Arutjunian; A. Goedicke; J.N. Hummel, 1st movement; J.G.B. Neruda, 1st movement
- Sonata: e. g. by E. Bozza, “Badinage”; T. Hansen, “Sonata for Trumpet and Piano”; P. Hindemith, Sonata, 1st movement; A. Goedicke, “Concert Etude”
- Étude: e. g. by J. B. Arban, from “14 Characteristic Studies”; T. Charlier, from “Etudes Transcendantes”
- Sight-reading
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D. Vocals, guitar, piano
Vocals major
- A minimum of three pieces from three different eras
- including a lied, an aria (opera or oratorio), at the very least
- Performance should last between 10 – 20 minutes
- Recital of a short piece of prose or poetry
- Sight-singing
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Guitar major
- 1. A minimum of two pieces from two different eras
- e.g.: Luys de Narváez: Diferencias sobre „Guardame las Vacas“; Silvius Leopold Weiss: Fantasie; Mauro Giuliani: Folies d’Espagne; Antonio Lauro: Suite Venezolana; Heitor Villa-Lobos: 5 Préludes / Choro Nr.; Léo Brouwer: Canción de Cuna / Ojos Brujos / Danza Caracteristica
(at least equal to intermediate level II as per the “Guitar lesson plan“ for VdM
(Verband deutscher Musikschulen, Association of German Music Schools) / EGTA-D)
- Performance should last between 10 – 20 minutes.
- Sight-reading: a simple piece from the Renaissance, Baroque, Classical or Romantic period
(similar to Heinz Teuchert: My First Guitar Pieces)
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Piano major
- 1. Three pieces or movements from three different eras, or in three different styles
- J. S. Bach: part Inventions or a fugue from The Well-Tempered Clavier. Alternatively, another piece of Baroque music or a Scarlatti Sonata
- A sonata (1st movement) from the era of Viennese Classicism (Beethoven, Mozart, Haydn)
- A virtuoso piece of music. Either an étude by Czerny, Chopin or Liszt, or a virtuoso piece of romantic music by Liszt, Chopin, Brahms, among others.
- Performance should last between 15 – 20 minutes
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E. Minor subjects
Piano minor
Applicants should prepare two pieces in different styles which are appropriate for their current level of proficiency. The pieces chosen for the exam should be of a similar difficulty to the following pieces:
- J.S. Bach, Little Preludes & Fugues
- M. Clementi, F. Kuhlau or the like, Sonatina or an allegro sonatina movement
- R. Schumann, Album for the Young
Duration: approx. 10 minutes
Musical theory aptitude test
- Reading music
- Naming notes in the treble and bass clefs, specifying the octave position
- Notating music in the treble and bass clefs
- Intervals of up to a tenth
- Classifying the intervals into perfect, minor/major
- Naming intervals and specifying the quality (perfect, minor/major, augmented, diminished)
- Notating intervals
- Scales
- Notating a major and a minor scale (natural, harmonic or melodic), identifying the half or whole-tone steps
- Triads / tetrads
- Forming a major/minor triad
- Notating major and minor triads
- Forming a dominant seventh chord
- Notating a dominant seventh chord
- Cadence
- Notating a perfect cadence in major or minor
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Ear training aptitude test
- Simultaneous and successive intervals in octave designation
- Triad in root position: major, minor, diminished, augmented
- Rhythm dictation
- Melody dictation