Kodály's method of teaching music is brilliant …. All good music-making begins with the voice.

Sir Georg Solti

Saxophone admission requirements for BA and non-degree studies

In-person entrance examination requirements
(online entrance examination requirements are below it)

Main subject:

1.) Ferling/Mule: 48 Etudes Nr. 25 and 26 (sheet music to download)

2.) One etude chosen from one of the following volumes:

  • Eugene Bozza: 12 Etudes-Caprices
  • Guy Lacour: 28 Etudes sur les modes a transpositions limitées d’Olives Messiaen
  • Sigmund Karg-Elert: 25 Capricen

3.) One standard saxophone piece or a few movements of the piece chosen by the candidate, with equal difficulty level to the following pieces: Planel: Prelude et Saltarelle, Maurice: Tableaux de Provence, Decruck: Sonata, etc.

4.) One piece written after 1970 (solo or with accompaniment)

 

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 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 

Four piano pieces of different styles, performed in good style, expressively, without sheet music.

  • One piece by J. S. Bach (e.g. a two- or three-part invention, Wohltemperiertes Klavier, French Suite).
  • An opening movement in a sonata-form from a classical sonata.
  • A romantic piece or a piece by Bartók.
  • Sight-reading sheet music received on the spot.

 

C. FOLK MUSIC

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

 

Online entrance examination requirements

Main subject:

1.) Ferling/Mule: 48 Etudes Nr. 25 and 26 (sheet music to download)

2.) One etude chosen from one of the following volumes:

  • Eugene Bozza: 12 Etudes-Caprices
  • Guy Lacour: 28 Etudes sur les modes a transpositions limitées d’Olives Messiaen
  • Sigmund Karg-Elert: 25 Capricen

3.) One standard saxophone piece or a few movements of the piece chosen by the candidate, with equal difficulty level to the following pieces: Planel: Prelude et Saltarelle, Maurice: Tableaux de Provence, Decruck: Sonata, etc.

4.) One piece written after 1970 (solo or with accompaniment)

 

GENERAL ADMISSION REQUIREMENTS - ONLY FOR FULL-TIME BA STUDIES

A. SOLFEGE, MUSIC THEORY

The examination is held as a video conference (oral examination only, see below).

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:
  • Singing of triads and seventh-cords and their inversions built on a given bass note. The cords should also be named.
  • 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).
  • Recognizing and naming of four-part harmonic progressions after aural perception.
  • Indication of the parts of simple and compound binary and ternary forms of a musical excerpt chosen from the musical material of the main subject. Indication of proper keys, modulations, cadences and functions are also needed. Providing and uploading the sheet music of pieces are the applicants’ responsibility.

Sheet music examples are available in the original crossed out section below.

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 the 2nd edition of "For Children".
  • A solo piece of the above difficulty level from the Romantic era up to the present day.

 

C. FOLK MUSIC

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