Admission requirements for BA and part time studies - Classical guitar

 

 Classical Guitar

1. Three movements chosen by the candidate from a Bach cyclical piece - composition ( suite, sonata, partita, etc).

 

2. Two movements chosen by the candidate from Luigi Legnani's 36 Caprices Op. 20 

 

3. Two pieces at the choice of the candidate, from different musical eras to that of the compulsory pieces.

 

4. Recommended, but not compulsory: two movements from a concerto  (1.+2. or 2.+3. movements - Vivaldi, Carulli, Giuliani, Tedesco, Rodrigo, etc.)

 

 

 

 

 

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

 

 

A. SOLFEGE, MUSIC THEORY

 

General requirements: in-depth understanding of the theory of classical harmony (diatonic and chromatic triads and seventh-chords). Writing and playing of four-part harmonic progressions in closed position with appropriate voice-leading (see rules of keyboard harmony); knowledge of Baroque and Viennese classical forms and genres.

 

Written examination

 

1. Dictation of a short chorale excerpt by J. S. Bach. Expectations: notation of the outer parts (soprano and bass); indication of the harmonic progression with figures above or below the bass line (figured bass)

2. Writing out, in close voicing, of a four-part harmonic progression (Roman and Arabic numerals of keyboard harmony are used)

3. Dictation of a tonal two-part musical excerpt.

4. Dictation of an atonal twentieth-century musical excerpt.

5. Dictation of a two- three- and four-part harmonic progression series (ca. 10 intervals, triads or seventh chords).

6. Dictation of the rhythm of an atonal musical excerpt (ca. 6 measures). 

 

Oral examination

 

1. Playing (on the keyboard) of four-part harmonic progressions in closed position with appropriate voice-leading.

2. Assessment of the applicant’s knowledge of form on the basis of a detailed formal analysis of the musical pieces performed at the instrumental audition. Extra copies of the scores have to be provided by the applicant.

3. Sight-singing of a tonal melody in unison.

4. Recognition and singing of intervals, triads and seventh-chords on a given pitch.

 

B. PIANO AS COMPULSORY SUBJECT

 

1. Bach: a short prelude of higher difficulty level or a two-part invention.

2. A movement from a classical sonata, or a sonatina movement of the same difficulty level.

3. Bartók: one piece from ”Microcosmos III” or from the 2nd edition of ”For Children”.

4. A solo piece of the above difficulty level.

 

C. FOLK MUSIC

 

Informal conversation about the folk music of the candidate's country.

  
Please allow me that, apart from my regrettable ignorance of the Hungarian language, I remain Magyar in my heart and soul from birth to the grave. As a consequence, I earnestly wish to further the progress of Hungarian music. (Liszt to Antal Augusz)