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

1. 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)

2. the first movement of a viola concerto (without cadence) from the Classical period (e.g. F. A. Hoffmeister, C. Stamitz, F. W. Benda)

3. 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

1. 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

2. Sight-reading

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Recorder major

1. one adagio and one allegro movement from a recorder sonata from the 18th century (e.g. by Telemann, Händel, Marcello etc.)
2. a piece/movement from another era (e.g. an early baroque or contemporary piece)
3. Sight-reading

During the exam, the student should use both a descant and alto (or tenor) recorder.

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Clarinet major

1. Three pieces from different eras, including at least one adagio and one allegro movement
2. Sight-reading
3. 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. 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

2. 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

1. Compulsory piece (from Mule, Marcel: 18 exercices ou études d’aprés Berbiguer)
2. Compulsory piece (from Flemming, Fritz: 33 Concertante Studies for Oboe)
3. A transcription of a piece by J. S. Bach
4. A short piece of your choice
5. Scales up to four sharps or flats

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Horn major

1. 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. 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”

2. Sight-reading

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Vocals major

1. 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

2. Recital of a short piece of prose or poetry
3. Sight-singing

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Guitar major

1. 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.

2. 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. 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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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
  1. Naming notes in the treble and bass clefs, specifying the octave position
  2. Notating music in the treble and bass clefs
• Intervals of up to a tenth
  1. Classifying the intervals into perfect, minor/major
  2. Naming intervals and specifying the quality (perfect, minor/major, augmented, diminished)
  3. Notating intervals
• Scales
  1. Notating a major and a minor scale (natural, harmonic or melodic), identifying the half or whole-tone steps
• Triads / tetrads
  1. Forming a major/minor triad
  2. Notating major and minor triads
  3. Forming a dominant seventh chord
  4. Notating a dominant seventh chord
• Cadence
  1. 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