EN

Trombone admission requirements for BA and non-degree studies

Admission requirements are the same for in person and online applicants unless indicated otherwise.

Main subject:

  1. C. Kopprasch : Etude No. 35.
  2. V. Blazhevich: Etude No. 22 or one etude of similar difficulty from Bordogni: Vocalises.
  3. A slow and a fast movement of a Baroque sonata or a solo piece at the choice of the candidate.
  4. One romantic piece or one 20th century piece.

One piece chosen in Point 3 or 4 has to be played from memory.

 

GENERAL ADMISSION REQUIREMENTS – ONLY FOR FULL-TIME BA STUDIES:

SOLFEGE, MUSIC THEORY - for applicants for the online entrance examination

A. SOLFEGE, MUSIC THEORY

General requirements: in-depth understanding of the theory of classical harmony (diatonic triads and seventh-chords, their inversions; double dominant; sharpened subdominants with diminished seventh [#IIo7, #IVo7] and their inversions), knowledge of simple and complex forms (incl. compound ternary form [Trio form]).
 
Written examination:
1.) Dictation of a four-part harmonic progression (max. 15 chords), notation of all parts; indication of the harmonic progression with figures above or below the bass line (figured bass) or with Roman and Arabic numerals. (Played 6 times.)
2.) Writing out, in close voicing, of two four-part harmonic progressions (max. 11 chords) from Roman and Arabic numberals.
3.) Dictation of a Baroque imitative polyphonic excerpt (max. 8 bars, 4/4 time signature, generally moving in quavers; played 10 times).
4.) Dictation of a sequence including ten triads and seventh-chords (and their inversions) built on common bass note. The chords should also be named. (Played 3 times.)
5.) Indication of the parts of simple and compound binary and ternary forms of a musical excerpt given on the spot. Indication of proper keys, modulations, cadences and functions are also needed.
 
Oral examination:
1.) Playing (on the keyboard) of four-part harmonic progressions in close voicing (max. 11 chords) with appropriate voice-leading (after dictation).
2.) Sight-singing of the vocal part of a German romantic song – selected first of all from the works of Schubert, Schumann and Brahms (max. 12 bars).

 

B. PIANO AS COMPULSORY SUBJECT

  • J. S. Bach: a short prelude of higher difficulty level or a two-part invention.
  • A movement from a classical sonata, or a sonatina movement of the same difficulty level.
  • Bartók: one piece from "Microcosmos III" or from "For Children II".
  • A solo piece of the above difficulty level.

 

C. FOLK MUSIC

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