Hochschule für Musik Franz Liszt Weimar Music Theory and Aural Training (Minors) General Requirements for the entrance examination The entrance examination in music theory and aural skills as minor subjects consists of two written papers of 45 minutes each, separated by a break of roughly 5 minutes. The difficulty of the papers depends on the chosen subject. The following skills will be examined. Applicants for Majors in Instrumental or Vocal Performance 1. Music Theory

familiarity with octave ranges; treble, bass, and c-clefs notation and recognition of various scales: major, minor (natural, harmonic, melodic),

church modes knowledge of intervals notation and recognition of triads and tetrads four-part notation of triads, resolution of dissonant chords basic figured-bass terminology notation of simple and extended cadences (four-part score and piano notation) in major

and minor, including functional/scalar terminology tonal analysis, e. g. of a simple classical piano piece (functional/scalar theory) invention of a second part to a folk song melody

2. Aural Training

aural recognition of intervals (successive and simultaneous) aural recognition and notation of scales: major, minor (natural, harmonic, melodic),

church modes aural recognition of triads, including inversions recognition and notation of dominant-seventh chords (played in succession) in various

inversions aural recognition of metres rhythmic dictation, including dotted rhythms, syncopations, tied notes, triplets single-line melodic dictation, for example of the theme of a classical symphony of sonata aural recognition of harmonic contexts: standard functions (T/t, D, S/s), dominant-seventh,

six-four suspensions, double dominants, relative minor chords Applicants for Majors in Conducting, Opera Coaching, Composition, School Music, Church Music The same areas as listed for instrumental or vocal performance majors apply, though with a higher level of expectation; in addition, we will examine three areas of music theory to a higher standard:

complex tonal analysis, e. g. a Romantic piano piece (functional/scalar analysis) invention of a second voice (melody or accompaniment), e. g. a Baroque dance

movement extension of a cadence (four-part choral or piano notation, functional/scalar notation)

with seventh-chords, intermediary dominants, deceptive cadences

Applicants for a Major in Jazz The same areas as listed for instrumental or vocal performance majors apply; in addition, the following areas will be examined:

familiarity with typical jazz chords familiarity with common chord symbols basis of jazz-related harmonic theory aural recognition and notation of typical jazz phrases prima vista rhythm performance (clapping)

Recommended Literature 1. In order to prepare for the entrance examination in the music theory and ear training minors, the following literature is recommended:

Hermann Grabner | Harmony, Figured Bass Exercises, General Music Theory Diether de la Motte | Melody, Counterpoint, Harmony Clemens Kühn | Music Theory

2. Literature specifically for the major in jazz:

Mark Levin: The Jazz Theory Book Wolf Burbat: Jazz Harmony Frank Haunschild: The New Harmony Sigi Busch: Jazz & Pop Music Theory, Ear Training Joe Viera: Fundamentals of Jazz Rhythm Eddy Marron: Rhythm R. Graf / B. Nettles: The Chord Scale Theory and Jazz Harmony Tom van der Geld: Ear Training