Side drum:
- Balázs Juhász: Introduction and Variations – only the Variations movement

Timpani:
- István Láng: 7 studi per 4 timpani – 2nd Danza Neoclassica
- Carter:  Eight pieces for Four Timpani - Improvisation.

Marimba:
- Musser:  Prelude in G major, Op 11 No 3
- Creston: Concertino for Marimba, 3rd movement
- J.S. Bach: Suite in E flat major - Prelude, Courante

Set-up:
- William Kraft: French Suite - Courante, Gigue

 
Sight reading will be tested at the entrance examination.
 
One piece at the choice of the candidate.

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 and chromatic triads and seventh-chords). Writing and playing of four-part harmonic progressions in closed position with appropriate voice-leading (see rules of keyboard harmony); knowledge of Baroque and Viennese classical forms and genres.

Written examination

1. Dictation of a short chorale excerpt by J. S. Bach. Expectations: notation of the outer parts (soprano and bass); indication of the harmonic progression with figures above or below the bass line (figured bass)

2. Writing out, in close voicing, of a four-part harmonic progression (Roman and Arabic numerals of keyboard harmony are used)

3. Dictation of a tonal two-part musical excerpt.

4. Dictation of an atonal twentieth-century musical excerpt.

5. Dictation of a two- three- and four-part harmonic progression series (ca. 10 intervals, triads or seventh chords).

6. Dictation of the rhythm of an atonal musical excerpt (ca. 6 measures). 

Oral examination

1. Playing (on the keyboard) of four-part harmonic progressions in closed position with appropriate voice-leading.

2. Assessment of the applicant’s knowledge of form on the basis of a detailed formal analysis of the musical pieces performed at the instrumental audition. Extra copies of the scores have to be provided by the applicant.

3. Sight-singing of a tonal melody in unison.

4. Recognition and singing of intervals, triads and seventh-chords on a given pitch.

B. PIANO AS COMPULSORY SUBJECT

1. Bach: a short prelude of higher difficulty level or a two-part invention.

2. A movement from a classical sonata, or a sonatina movement of the same difficulty level.

3. Bartók: one piece from ”Microcosmos III” or from the 2nd edition of ”For Children”.

4. A solo piece of the above difficulty level.

C. FOLK MUSIC

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