Classical profile, placement in first semester
Written (60 minutes)
- Music theory: determine intervals and triads (including inversions) in a given score
- Ear training: determine intervals (up to the octave) and triads (including inversions); melodic and bass dictation
- Harmony / Counterpoint: Provide a harmonic analysis of a short section (with roman numerals, figured bass numbers or functional symbols); complete a given section (roman numerals, figured bass) in a four-part SATB style
Oral (10 minutes)
- Sing intervals (up to the octave) and triads (including inversions)
- Tonal sight-singing
- Piano: prepared cadenzas and short figured bass example
Examples
Classical profile, placement in higher semester
Written (150 minutes, individual with iPod)
- Ear training: three melodic and harmonic dictations of increasing difficulty
- Harmony / Counterpoint: three tasks of increasing difficulty
- Analysis of a movement from the Viennese Classical period in the form of a short text
Oral (30 minutes)
- Atonal and tonal sight-singing of increasing difficulty
- Three rhythm examples (incl. melody with simple pitches) of increasing difficulty
- Three harmonic sequences at the piano of increasing difficulty
Examples
Jazz profile
Written
- There is no written examination in the Bachelor Profile Jazz.
Oral
- Harmony
- Knowledge and understanding of the use of Roman numerals for harmonic function analysis (VI-7, VII-7b5, IVmaj7, etc.)
- Knowledge of what a secondary dominant is (also called an intermediate dominant)
- Confidence in determining degrees in the simpler keys of C major, F major, G major, D major (what is which degree in which key?)
- Ear training
- Sing scales up and down the octave (phonetically, i.e. with note names, numbers or freely selectable syllables)
- Sing interval functions to a drone note (with absolute note names)
- Sing intervals
- Sing chords (up and down) with note names
- Sight-sing II-V-I phrase
- Rhythm
- 6/8: clap the text with counting to 6: «123456»
- Swing (ternary): scat (vocalising) the text with a quarter pulse in one foot and 2&4 clapping or finger clicking in one hand.
- Binary: clap the text with an eighth-note pulse with the foot, count sensible if possible
- Make the polyrhythms 3 over 2 and 2 over 3 audible (either by tapping with both hands, hands and feet, hand and voice, etc.)
- Example: Theory Bachelor Jazz oral
Folk Music profile
There is no separate theory examination for the Bachelor of Arts in Music with Folk Music profile. The first year of study must be spent completing the modules Music Theory Basic I and Music Theory Basic II in the Classical or Jazz profile. Accordingly, the theory examination will take place in one of the two profiles specified at the time of application.
Bachelor of Arts/Music and Movement (all profiles)
Written (30 minutes) (example)
- Transcribe a pop/rock song from iPod
- Read and write intervals and triads (in treble and bass clef)
- Transpose a melody
- Notate a cadence (triads of steps the scale degrees I, II, IV, V, VI)
Oral (20 minutes) (example)
- Sight-sing a song (to piano accompaniment)
- Sing, listen to and determine intervals and triads
- Cadence on the piano: a simple bass line (length: 8-12 notes) is provided. Play this bass line with the left hand and add triads with the right hand. The bass note in the left is always the fundamental root of the respective triad
- Sight-reading rhythm
Theoretical aspects in the context of group improvisation
- Rhythmic coordination
- 8 (or 16) bars of a song/instrumental in 4/4 time: giving the beat with the left hand, tap the rhythm with the right hand on the body and walk in half or quarter notes (e.g. to What a Wonderful World by G.D. White)
- Play a rhythm of the piece alternating left/right on the body with simultaneous steps in quarter or half notes. The lengths (pauses) should be clearly played/visible in the movement flow of the arms
- Play a minuet (or invention) with the hands and feet (making movements around the room)