Saxophone 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.) Ferling/Mule: 48 Etudes Nr. 25 (sheet music)
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 original composition chosen from the saxophone core repertoire
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.) Writing down an 8-12-bar piece in baroque or Viennese classical style containing equally elaborated parts after dictation (Played 9-10 times).
4.) Dictation of a sequence including twelve to sixteen intervals, triads and seventh-chords and their inversions. The chords should also be named. (Played 3-4 times).
5.) Notation of the dictated rhythm by ear.
6.) 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 harmonic progressions based on classical harmony after dictation.
2.) Sight-singing of two song excerpts from:
a) the 18th century,
b) the late 19th century or 20th century
with a maximum of 12 bars.
3.) Identification and singing of intervals, triads and chords of four notes, as well as their inversions from the given notes.
4.) Clapping or tapping of short rhythmic patterns by sight or by ear.
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.