1. Scales
2. Two etudes - one is chosen by the candidate, the other one handed out to the candidate one month prior to the entrance exam.
3. One slow and one fast movement of a sonata.
4. One slow and one fast movement of a concerto.
5. Sight-reading of an orchestral part extract (chosen by the panel on the day of the examination)..
The sonata and the concerto should be of different style.
Compulsory etude in 2011:
Hrabe II, No. 63 Etude in G major
Recommended material:
Etude: Storch I, Hrabe I, Simandi, Streicher, Montag, etc.
Sonata: Fesch, Galliard, Vivaldi, Marcello, etc.
Concerto: Pichl, Capuzzi, Cimador, 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.
