Audition programme Music courses

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1 Audition programme Music courses Audition programme Music courses Audition Instrument / singing Bachelor General Music Theory... 2 Aural test... 2 Practical: Instrument test... 5 Woodwinds... 5 Brass instruments... 6 Violin and low strings... 7 Keyboard instruments... 7 Plucked instruments... 8 Percussion and marimba... 9 Voice Audition Music Theory Bachelor Aural test Practical Audition Harmonisation Audition Supporting Instrument Audition Practical Harmony on a harmony instrument Audition Speciality Composition Optional choice courses with preliminary test Auditions for B2, B3, M1 and M Audition master conducting Master in Wind Band Conducting Master in Orchestral Conducting Master in Choral Conducting Audition postgraduate Audition Jazz/Popular Music Bachelor Test of theoretical knowledge, aural test and sight-reading skills Interview and/or questionnaire on previous education, motivation and general culture Audition Instrument or Singing Auditions for B2, B3, M1 en M2 jazz/ popular Music

2 1. Audition Instrument / singing Bachelor General Music Theory Aural test rhythmic/ melodic tonal dictation in soprano and bass; a test with two intervals (within the octave), two triads (major and minor), two scales (major and minor archaic, harmonic and melodic) a short range of notes in free rhythm to be notated by heart after three playings (max. seven notes both in soprano and bass,); triads: major minor augmented diminished. 2

3 Practical: 3

4 Contact the administration for the score of compulsory works Questions about the entrance exam General Music Theory? Contact 4

5 1.2. Instrument test Piano accompaniment: the Conservatoire does not provide a piano accompanist. Prospective students are expected to bring their own accompanists with them. Woodwinds Bass clarinet - only in the master two studies (different techniques) two contrasting studies Cor anglais only in the master two studies (different techniques) two contrasting studies Bassoon a study, e.g. Ludwig Milde (Studies in Scales and Chords Op. 24); a movement from a Baroque sonata or concerto, e.g. Vivaldio (concerto) or Telemann-Gaillard-Boismortier (sonata) or a movement from a classical concerto or sonata e.g. Stamitz-Danzi (concerto) or Devienne (sonata); a recital piece from the 20th century, solo or with piano. Clarinet two studies (melodic & technical); one (movement from a) concerto from the classical or romantic period; a recital piece from the 20th century. Flute two contrasting studies; one classical work (sonata or concerto, two contrasting movements); two contrasting recital pieces. Oboe two studies, e.g. S. Singer (Metodo V or VI), E. Loyon, F. Fleming, W. Ferling, W. Heinze (Bachetuden); a (movement from a) concerto or sonata from the Classical or Romantic period; a recital piece from the 20th century. Piccolo - only in the master two studies Antonio Vivaldi : piccoloconcerto of your own choice one recital piece of your own choice Saxophone two contrasting studies; two contrasting recital pieces; 5

6 Questions about entrance exams for Woodwinds: Brass instruments Bass trombone only in the master two studies: one technical and one melodic, two recital pieces from different style periods. Euphonium one melodic study; one technical study; one recital piece of your own choice. Horn two studies, e.g. Maxime-Alphonse part 3 or Kopprasch parts 1+2; two recital pieces from different style periods. Saxhorn Choose Soprano of Eb-Cornet N. Bousquet study Nr. 3 Demelza (Hugh Nash) one piece of your own choice Cornet Aria (Georg Goltermanr) N. Bousquet study Nr. 3 one piece of your own choice Bugel or Flugel Aria (Georg Goltermanr) N. Bousquet study Nr. 3 one piece of your own choice Alto or Eb-Horn Demelza (Hugh Nash) N. Bousquet study Nr. 3 one piece of your own choice Bariton Aria (Georg Goltermanr) N. Bousquet study Nr. 3 one piece of your own choice Small Tuba or Euphonium Aria (Georg Goltermanr) N. Bousquet study Nr. 3 one piece of your own choice Trombone two studies: one technical and one melodic, e.g. Kopprasch, Bitsch, Boutry, Pederson (tenor trombone), Pederson, Smits (bass trombone); two recital pieces from different style periods. 6

7 Trumpet (modern) two studies, one technical and one melodic, e.g. Arban, Charlier; two recital pieces, preferably one on a C trumpet and one on a B flat; one recital piece from the Baroque and one from another style period. Trumpet (historical) only in the master two studies, one technical and one melodic two recital pieces from different style periods Tuba scales; a study, e.g. Kopprasch, Kitzer; two recital pieces from different style periods, level Lebedev no.1. Questions about entrance exams for Brass: ivo.hadermann@ap.be or Ivo.hadermann@skynet.be Violin and low strings Cello two studies each in a different style e.g. Dotzauer (113 etudes volume 2+3), J. Stutschewsky (Etüdensammlung volume 2), J. Merk (Melodische und Progressive Etüden volume 1+2); two recital pieces from different style periods, e.g. G. Fauré (Elégie),C. Saint-Saëns (Allegro appassionato), W. de Fesch (6 sonatas), A. Vivaldi (6 sonatas), G. Goltermann (concerto no. 4). Double bass a slow movement from a suite by J.S. Bach; two different styles of studies, at least one by Simandl; a recital piece of your own choice. Viola two studies; two recital pieces from different style periods. Violin two studies each in a different style; two recital pieces from different style periods. Questions about entrance exams for violin: guido.deneve@ap.be Questions about entrance exams for low strings: leo.deneve@ap.be Keyboard instruments Accordion Students must have an instrument with three manuals (i.e. free bass) 7

8 knowledge of scales; a work in which M2 and M3 are combined/alternated; a polyphonic work; a cyclical work; a recital piece of your choice, played from memory. Fortepiano only in the master Representative works in different styles from different periods and with different character, which give an impression of the candidate s abilities; length of proposed programme: 20 minutes. Harpsichord Representative works in different styles from three different periods, which give an impression of the candidate s abilities; length of proposed programme: 20 minutes. Organ At the entrance exam students use their repertoire to give an impression of their musical and technical qualities. Most important here is that candidates demonstrate a level considered adequate to embark successfully on studies at a professional level. A selection will be made from the candidate s proposed repertoire in consultation with the lecturer. This could be a varied programme from the different style periods or a more selective choice in function of the candidate s specific interests. Specifications on the organs > see Appendix Piano to be played from memory (without score): a prelude and fugue from Das wohltemperierte Klavier by J.S. Bach or a polyphonic work of an equivalent standard; a movement from a classical sonata by Haydn, Mozart, Beethoven,...; an study by Czerny (opus 636 or 699), Chopin, Moszkowki, Scriabin, Rachmaninov, Liszt, Cramer,...; a recital piece from another style period. Questions about entrance exams for keyboard instruments: eliane.rodrigues@ap.be and aaron.wajnberg@ap.be Plucked instruments Guitar two different styles of studies, e.g. F. Sor, M. Coste, H. Villa-Lobos; a work from the Renaissance or the Baroque, e.g. J.S. Bach (prelude from the first cello suite), L. Weiss (Fantasie); two recital pieces from different style periods. Harp a study, e.g. Bockson (50 etudes Op. 34), Dizi (48 studies), Bach-Grandjany (12 etudes), Demose (30 etudes); first movement of a sonata, e.g. Naderman, Dussek, Mortari; a recital piece of your own choice. 8

9 Mandoline two different styles of studies two recital pieces from different style periods. Questions about entrance exams for plucked instruments: Percussion and marimba Percussion a work or study for snare drum, level Theo Coutelier; a work or study for timpani, level Theo Coutelier; a work or study for vibraphone or marimba, level prelude 1 for vibraphone by Louis Cauberghs; a work or study for xylophone, level 39 etudes by Goldenberg Morris; a work or study for drums or drum set, level drum studies 1-4 by Louis Cauberghs. Marimba - vanaf master 3 works for marimba solo in diferrent styles and from different composers (for dvd audition it is also possible to add concerti for marimba (with piano or orchestral accompaniment ) and works for marimba solo and percussion. Questions about entrance exams for percussion and marimba: mailto:koen.wilmaers@ap.be Voice Prospective students will present three prepared pieces of their own choice in different languages and style periods including at least one aria (opera/oratorio) and at least one art song. These should be sung from memory. How candidates deal with expression will also be tested with a poem or short test. This will be delivered from memory and attention will be paid to accuracy of pronunciation and delivery. Texts in Dutch, French, English and German will be provided at registration. Candidates will choose one in the language that suits them best. Questions about entrance exams for singing: mailto:luc.anthonis@ap.be 9

10 2. Audition Music Theory Bachelor Aural test rhythmic/ melodic tonal dictation in soprano and bass; a test with two intervals (within the octave), two triads (major and minor), two scales (major and minor archaic, harmonic and melodic) a short range of notes in free rhythm to be notated by heart after three playings (max. seven notes both in soprano and bass); triads: major minor augmented diminished Practical Compulsory works from: Luc De Smet: notenleerlessen part 4: nos. 1, 2, 3, 6, 8, 14; Doe je mee AMV part 4 (revised edition nos.: 32, 34, 35, 36, 38). Old edition nos. 31, 33, 34, 35, 36, 38; At the exam a selection will be made from these exercises (including singing the names of the notes at sight). Contact the administration for the score of the compulsory works (mailto:yannicke.belis@ap.be) 2.3. Audition Harmonisation Harmonisation of one given soprano, one bass or one combined exercise based on the following elements: knowledge of triads and inversions; chord progressions; cadenzas; simple modulations; simple ornaments Audition Supporting Instrument Candidates who do not play a keyboard instrument, are obliged to follow piano as their supporting instrument during the course. This will be assessed at the audition with one polyphonic piece and one work of your choice during the practical harmony audition. Supporting instrument: level DKO middelbare graad 3. A programme lasting ten minutes should be prepared by the candidates, containing two representative pieces from two different style periods. Supporting instrument voice : the candidate presents three prepared pieces of his own choice in different languages containing at least one aria (opera or oratorio) and at least one art song. These works should be performed from memory. The conservatory does not provide a pianist, so the candidate is expected to bring his own. Supporting instrument 'accordion': the candidate should have an instrument with three manuals (i.e. free bass). 10

11 2.5. Audition Practical Harmony on a harmony instrument the candidate should play a well-structured improvisation based on a given theme on the piano in either a free atonal style, a broadly tonal style, or a modal style; the candidate should harmonize the given melody using a chordal accompaniment in a tonal style. If the candidate wishes to do audition on another chord instrument (not piano), he/ she must contact mailto:alain.craens@ap.be During the entrance examination we will assess the candidate's keyboard skills by setting him/her a number of tests of his/her keyboard proficiency. These tests are designed to demonstrate the candidate's ability to assimilate new musical material Audition Speciality Composition The candidate is expected to demonstrate musical creativity, to have a good knowledge of music theory and to be willing to explore the history and music of the twentieth century. Audition: the candidate should bring a portfolio of his own compositions (at least two works with different instrumentation); the candidate will be interviewed about his motivation and expectations from the course. Questions about entrance exams for Music Theory: mailto:alain.craens@ap.be 11

12 3. Optional choice courses with preliminary test The student can opt either for a broadly based or for a more specialized course of study Admission to the following courses requires a preliminary test and/or interview: Main study Music Theory, Elementary Composition, Elementary Wind Band Conducting, Electronic Composition, Elementary Choral Conducting, Supporting Instrument, Main study Analysis. Secundary Instrument: (except piano for students of Music Theory, see point 2.3) Medium level is required.candidates present a programme lasting ten minutes, containing two representative works from two different style periods. 4. Auditions for B2, B3, M1 and M2 Students joining in in Bachelor 2 or 3 or Master 1 or 2 should present a programme at the standard of the year preceding that for which he wishes to enrol. There will be a viva voce interview or written questionnaire to assess the candidate s previous studies, his motivation and all round cultural knowledge. Details on the programme can be obtained at the secretariat mailto:muziek@ap.be The committee may also see fit to test the candidate s skills in music theory, aural abilities and practical musical knowledge in order to advise the candidate at which level of study he should enrol. The exam programmes for instruments only accessible in the masters are mentioned in

13 5. Audition master conducting 5.1. Master in Wind Band Conducting Candidates should conduct a work of maximum length fifteen to sixteen minutes, of minimum honours level and maximum superior level according to the Belgian system of Wind Band classification. The candidate should use a baton and conduct from a full score, Works and their classification can be found on the VLAMO repertoire list of works to be conducted. ( The candidate should bring at least one copy of the full score for the jury and a CD recording of the work to be conducted. Aural tests will be given and and analytical skills assessed. The candidate is expected to demonstrate a good general knowledge of instrumentation, transposition and the range of the various instruments Master in Orchestral Conducting Interested candidates should get in touch with Koen Kessels via koen.kessels@ap.be and Ivo Venkov via ivo.venkov@ap.be Audition: concert aria by Mozart with singer and piano (singer and pianist to be found by candidate) ; Histoire du Soldat, Stravinsky; aural test and analytical skills; interview; practical test with the Jeugd en Muziek Orchestra Antwer, Symphony no. 7, L. van Beethoven Master in Choral Conducting Aural test: intervals and chords; sight-singing; error analysis. Conducting: giving chords using a tuning fork; at sight: exercise in Jan Eelkema s style exercise book; prepared choral work: Gloria from the Missa Brevis for mixed choir by Knut Nystedt with quartet of singers. Theory test: includes assessment of cultural background; candidate s goal in choosing choral conducting. Piano playing: play chorale (Bach chorale with preparation time); choral work with preparation time. Questions about entrance exams for master Conducting: mailto:luc.anthonis@ap.be 13

14 6. Audition postgraduate Concert soloist Instrument / Concert soloist Singing: the candidate prepares a programme of half an hour with representative works from at least two different style periods. Pianists play from memory. Orchestral: Candidates prepare a programme lasting twenty minutes containing representative works from at least two different style periods and four orchestral excerpts. Chamber music and accompaniment: the candidate prepares a programme lasting half an hour with representative works from at least two different style periods containing at least one solo work and one piece of chamber music. The candidate is expected to organise his own chamber music ensemble (whether it be piano trio, string quartet or whatever). Composition: Candidates bring their portfolio and motivate their candidacy in an interview with the jury. 14

15 7. Audition Jazz/Popular Music Bachelor Test of theoretical knowledge, aural test and sight-reading skills Written test (group) Recognition on hearing and notation of: a melodic dictation; a rhythmic dictation; scales (major and minor), pentatonic (major and minor), blues scale; simple intervals (major, minor, perfect, diminished, augmented); triads with inversions (major, minor, diminished, augmented); four note chords in root position (major, dominant, minor, minor major, half diminished, diminished) as harmony and broken simple progressions (I-VI-II-V/II-V-I); test of theoretical knowledge of treble and bass clefs, note values, rests, rhythms, keys (major and minor), key and time signatures, triads and seventh chords. Aural test (individual) sight-singing of a melody in treble and bass clefs, using note names or solfège; reproducing a rhythm at sight with the voice or the hands, (preparation time ca. 10 minutes) Interview and/or questionnaire on previous education, motivation and general culture All candidates fill in a questionnaire assessing general cultural knowledge and specific knowledge of the subject of their chosen course. This is followed by a short in-depth interview regarding motivation, previous music education, perception of the course, etc Audition Instrument or Singing Recital: prospective students will perform three prepared compositions of their choice from the jazz repertoire. These compositions should have different tempos. Candidates will be accompanied by a rhythm section that will be provided (piano, bass and drums) and must bring the instrumental scores with them (melody + chord scheme is sufficient). Sight-reading: candidates must play a simple excerpt from a work in the jazz idiom (preparation time 5-10 ). Technique: the admission committee may ask the candidate to do a short technique test. The candidate is therefore requested to bring recently studied literature. Aural test on the instrument: reproducing a melodic line or rhythmical pattern on the instrument or vocally. Using instrument to recognize chords or chord progressions that will be played to candidates. Set work: candidates can collect the set work from the student office one week prior to the entrance exam. Trumpet, Trombone, Saxophone, Flute Recital: one blues, one ballad and one piece of the candidate s own choice (swing or Latin); melody + improvisation on each of these pieces; blues or piece of the candidate s own choice in medium or fast tempo; 15

16 sight-reading: fragment of a melody; improvisation on a short chord scheme; technique: major scales, broken chords, studies (for saxophone for example Klosé, Etudes Journaliers, Niehaus, Vizutti or Clarke and one Bach study), major and minor scales, broken chords (arpeggios) in twelve keys; aural test (see general entry requirements 7.1.); set work. Guitar Recital: one swing piece, one Latin piece and one piece of the candidate s own choice. For each of these pieces: melody, improvisation and one chorus accompaniment of a piano solo; sight-reading: fragment of a melody, short chord scheme (chords), improvisation on a short chord scheme; technique: major and minor scales (in different finger settings), chords, broken chords (one or two octaves) in four note chords and in twelve keys; aural test (see general entrance requirements 7.1.); set work. Double bass, Bass guitar Recital: one swing piece, one even-eights piece (pop or Latin), one piece of the candidate s own choice. Candidates must incorporate the following elements into their playing: one theme, at least one improvisation, two-beat and walking bass. Sight-reading: fragment of written bass part (5-10 minutes preparation). Technique: major and minor scales (one octave), broken chords (one octave). Aural test (see general entry requirements 7.1.). Set work. Drums Recital: two swing pieces (one piece or fragment of one with brushes), one Latin piece. Improvisation: at least once 4/4 or 8/8 (alternated with piano solo). Sight-reading: one fragment for snare drum, one fragment for the whole drum set. Technique: study for snare drum (for example N.A.R.D. Drum solos or Wilcoxon, Modern rudimental swing solos for the advanced drummer). Aural test (see general entrance requirements 7.1). Set work. Piano Recital: one swing piece, one ballad and one piece of the candidate s own choice; swing piece or piece of candidate s choice in medium or fast tempo. For each of these pieces: melody, improvisation and one chorus accompaniment of a bass solo. Sight-reading: fragment of a part consisting of melody + chord symbols (two-handed); improvisation on a short chord scheme. Technique: major and minor scales, chords, broken chords, study (e.g. Cramer-Bülow, 60 ausgewählte Etuden; Czerny, faster or slower tempo; Bach, 2 and 3 part Inventions, 24 Short Preludes). Aural test (see general entrance requirements 7.1.). 16

17 Vocal Recital: one blues (theme with or without text, improvisation), one ballad (theme with text, improvisation not compulsory), one standard (swing or Latin, medium fast tempo, theme with text, improvisation with or without text). Sight-reading: fragment of a melody with short improvisation. Technique: major and minor scales using names of notes, arpeggios in twelve keys. Aural test (see general entrance requirements 7.1.); Set work. 8. Auditions for B2, B3, M1 en M2 jazz/ popular Music Students joining us in Bachelor 2 or 3, or Master 1 or 2 the candidate should present a programme at the standard of the year preceding that for which he wishes to enrol. There will be a viva voce interview or written questionnaire to assess the candidate s previous studies, his motivation and all round cultural knowledge. The committee may also see fit to test the candidate s skills in music theory, aural abilities and practical musical knowledge in order to advise the candidate at which level of study he should enrol. Questions about entrance exams for jazz/ popular music: Els.smedts@ap.be 17