- Sight reading: all the notes of the Béla Bartók Secondary School of Music, performed on side drum; playing a difficult rhythm piece written for full drum set – solo and accompaniment. Knowledge of the 1st and 2nd volumes of Kőszegi: Drum works and the 1st, 2nd and 3rd volumes Nesztor: Rhythm Playing and Jazz Drumming, reading any material of the same difficulty.

- Short solo drum improvisation - 2-3 minutes.

- Drumming the following materials in the general styles and rhythms of jazz with piano and piano-double bass accompaniment:

     - Swing accompaniment and solo interlude (in 4 or 8 beats) with triplet and eighth note rhythm, in 4/4, 3/4 and 6/8

     beats, with stick and wire brush. Solo performance in 4, 8, 12, 16 and 32 beats.

     - Accompaniment of a jazz ballade with stick and wire brush.

     - Accompaniment of Latin and Afro-American pieces - bossa-nova, samba, rumba, Afro-Cuban etc. - of different

     tempo (slow, middle and fast) with solo interludes.

     - Accompaniment of jazz-rock pieces with solo interludes.

     - Ad hoc accompaniment of a rubato piano piece.

Special theoretical admission requirement for jazz drummers: rhythm notation – notation of  drum accompaniment and drum solo performed on full drum set by ear.

General admission requirements - jazz

I.                   Piano compulsory:

• Knowledge and playing the basic jazz accords on piano.  
• Four types of triads and their classical inversion (sixth, six-four chord), major and minor jazz sixth chord,  major7, dominant7, minor major7, minor7, extended fifth major7, extended fifth dominant7, diminished major7, half diminished and diminished seventh chord, dominant 76, major and minor69, major and minor79, dominant 7b10 jazz chord for any root position.
• 8+1 chord of four notes (major7, dominant7, minor major7, minor7, extended fifth dominant7, extended fifth major7, diminished fifth major7, half diminished and diminished seventh chord), their classical inversions on any note.
• Playing all moduses (21 scales) of the major and harmonic minor tonal systems.
• Playing the five types of pentatonic moduses, the full-tone, half-full, and full-half scales from any note.
• Playing the cadence chord lines (I-IV-V-I; I-V-IV-I; I-VI-II-V-I; I-III-VI-II-V-I) with two hands, in four parts, in three registers, with classical lines until 6 crosses, 6 flat keys.
• Playing jazz II-V-I cadences with chord transformations (II: m79; V: dom769; I: maj79 or dúr69), until 6 crosses, 6 flat keys.

II. Solfège and music theory

Solfège written exam

Duration of the exam: 2 hours

No complimentary material may be used during the exam.

• Recognition and notation of the four types of triads and their inversions after listening to them twice.
• Recognition and notation of the 8+1 chord of four notes (major7, dominant7, minor major7, minor7, extended fifth dominant7, extended fifth major7, diminished fifth major7, half diminished and diminished seventh chord) in root position. – played twice
• Recognition and notation the classical inversions of major7, dominant7, minor major7, minor7 and half diminished seventh chords – played 3 times.
• Recognition and notation of pentatonic moduses (5 scales) – played twice.
• Recognition and notation of all moduses of the major, harmonic minor and the melodic minor tonal system (21 scales), the full-note, half-full and full-half scales – played three times.
• Notation of a jazz rhythm of medium difficulty – played 6 times.
• Notation of a one-part melody of 4-8 beats, which modulates simply – played 8 times.
• Notation of a two-part, 4-8 beat melody of medium difficulty – played 8 times.
• Classical harmonic analysis until the inversion of chord of four notes.