1. All minor and major scales performed in legato and staccato.
2. Etude:
Option 1:
Andersen Op.15.G Major etude – etude nr. 9 from
“Concerto Etudes for Flute, ED Musica Z.12652"
and
Fürstenau: Preludio and Allegro – etude nr. 4 from “Concerto Etudes for Flute”
Both Etudes are to be performed in this group!
Option 2:
Andersen: Op.60/1 etude in C major
3. One Baroque sonata – excluding Bach sonatas.
4. One concerto for flute played from memory from a style before Mozart. Flute concertos by Mozart are excluded.
5. One 20th century piece at the choice of the candidate.
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.
