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 (B.Mus.), Minor Subject

Music Performance (B.A.)

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 (B.Mus.), School

Music (B.Ed.), Church Music (Diploma)

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 (B.Mus.)

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)

Applicants for Musicology (B.A.)

Applicants need to recognise and name scales, intervals, and triads (with inversions) in the aural
skills section of the test. Applicants will be asked to recognise various cleffings, octave ranges, the
structure of major, minor scales and church modes, intervals, and triads (including inversions) in
the music theory section. The music theory/aural skills test is taken as a written paper, and will last
about 40 minutes.

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