The audition consists of two parts: a practical part and a theoretical part. The Classical Music department holds a pre-audition selection before the actual audition takes place.

Musical ear (solfège)

  • repeat (by singing) a simple melodic fragment
  • transpose a melodic fragment
  • repeat (by singing) a bass line
  • pick out mistakes in a notated melody
  • repeat (by singing) the parts of a chord (two, three and four-note)
  • name chords played aloud (two, three and four-note)
  • localize changes within a chord (two, three and four-note)
  • sight-singing
  • read/beat a rhythm
  • notate a played melody

Theoretical knowledge

  • musical notation: read notes in treble and bass clefs (for composers, choral and orchestral conductors: also read notes in alto and tenor clefs)
  • scales and keys: knowledge of all major and minor scales (harmonic, melodic, authentic), name and write down scales from any chosen tonic, knowledge of the signature of all major and minor scales, sing and recognize scales
  • intervals: knowledge of the intervals within the octave, name or write down intervals from any chosen tone (both ascending and descending), sing and recognize intervals
  • chords: know all major, minor, diminished and augmented chords; name, sing and recognize chords from any chosen tonic; know and recognize the different positions of the above-mentioned chords
  • seventh chords: knowledge of seventh chords (major, minor, dominant, diminished)
  • name and write down seventh chords from any tonic
  • general music theory: knowledge of time signatures, tempo, dynamics and articulation


  • candidates are required to submit three own works (scores and/or tapes), at least one of them written in traditional notation; these works must demonstrate sufficient talent in composition

Music theory

  • possess a sufficiently developed analytical ear for music
  • with the aid of an instrument, demonstrate a feel for melody and harmony
  • submit one or more dissertations, essays or analyses about a musicological subject of the candidate’s own choice, which can demonstrate theoretical motivation (analyses where appropriate)
  • possess knowledge of the elementary principles of music

Instrumental and vocal programmes
The following applies to all programmes:

  • sufficient affinity to the instrument and its repertoire
  • sufficient development possibilities
  • apparent eagerness to learn and enthusiasm for music and instrument.


  • technique: scales and broken chords in three octaves, Violin school: Sevcik op. 1,2,3,8; double fingering, playing vibrato, developed right wrist, finger strokes
  • etudes: two etudes of contrasting character and tempo, e.g. Dont, Mazas – Etudes spéciales, Dancla op. 73 and Kreutzer
  • pieces: two pieces or movements from a sonata or concerto, of different character and tempo


  • technique: scales over three octaves (C to G, major and minor thirds), other scales over two octaves, first to fourth playing positions and various bowings
  • etudes: two etudes of contrasting character and tempo from e.g. Moravec part 2, Hoffman op. 87, Kreutzer and Mogill (Selected etudes for viola)
  • pieces: two contrasting movements from a sonata or concerto


  • Bach suites 1, 2 or 3: one movement of choice
  • A recital piece, for example Van Goens – Scherzo, Popper – Gavotte 2, Fauré – Elegie
  • An etude, for example: Duport or Popper (High school or Preparatory)
  • One movement of a concerto or sonata

Cello (Master)

  • Bach Suites 4, 5 or 6: two movements of choice or the preludes
  • One contemporary piece (for example Lutoslawsky, Berio, Britten or Sollima) or one recital piece (for example Popper – Hungarian Rhapsody, Schumann – Adagio and Allegro or Beethoven variations)
  • Two movements of a concerto or sonata

Double bass

  • technique: scales and chords over at least two octaves in all keys, also thumb position
  • etudes: choose from Storch-Hrabe; 57 studies, Sturm op. 20; 110 studies; Kreutzer-Simandl; 18 studies
  • pieces: A. Capuzzi – Concerto in F; Cimador – concerto; W. Pichl – concerto or a piece of the candidate’s own choice

Flute Both BA and MA
See dowload below.


  • etudes: two etudes by Luft or Pasculli
  • pieces: one sonata or concerto and one free choice of piece from the classical period or later

See download below.


  • technique: all scales and chords
  • etudes: two etudes from Weissenborn, etudes op. 8 no.2 (second half), two etudes from Vaulet, 20 studies
  • pieces: three performance pieces of the candidate’s own choice

French horn

  • technique: all major and minor scales and broken chords
  • etudes: some etudes of contrasting technical character, e.g. Kopprasch and/or Oscar Franz
  • pieces: at least one composition such as Cherubini – 1st sonata or 3rd horn concerto by Mozart (part 2)


  • technique: major and minor scales, broken chords joining natural notes over the whole range of the instrument
  • etudes: etudes from Werner (no. 3 and/or no. 7), Duhem – 24 etudes (no. 17 and/or no. 19) or etudes of an equivalent grade
  • pieces: a performance piece of the candidate’s own choice


  • technique: all major and minor scales over at least two octaves, joining natural notes
  • etudes: some etudes of contrasting technical character, e.g. from Vobaron, Kopprasch, Lafoss-Méthode complète
  • pieces: choose from such pieces as Larsson – Concertino for trombone, Rimsky Korsakov – Trombone concerto, Weber – Romance

Bass trombone

  • technique: all major and minor scales over at least two octaves, joining natural tones
  • etudes: some etudes of contrasting technical character, e.g. from Vobaron, Kopprasch, Lafoss-Méthode complète
  • pieces: a performance piece of the candidate’s own choice


  • technique: scales and broken chords
  • etudes: choices from Robert Kietzer, Bas Tuba School
  • pieces: a performance piece of the candidate’s own choice


  • Some etudes, for instance from: H. Knauer – Paukenschule nr. 34; R. Hochrainer -Etüden für Timpani nr. 15, The Friese Lepak (tune by yourself), Nick Woud -Symphonic studies for timpani no.1, G. Whaley – Scherzo for timpani. Possibly Beethoven’s First Symphony, movements 3 and 4 (with CD is allowed).
  • Playing from sight-reading.
  • Rolls and technical exercises.

Small drum

  • Etudes, e.g. M. Peters – Intermediate Snare Drum Studies; Zegalsky – from no. 35, A. Cirone – Portraits in Rhythm; C. Wilcoxon – All American Drummer; ’26’ Rudiments,Heating the rudiments. Gerard van der Kolk- Mix for Max.
  • Playing from sight-reading.
  • Technical exercises from M. Peters – Developing Dexterity for Snare Drum; G.L. Stone – Stick Control.

Marimba and/or vibraphone

  • Performance pieces or etudes with a level of e.g. M. Peters – Yellow after the rain, C.O. Musser – Etude in C, B. Molenhof – Music of the day, D. Friedman – Vienna and Keiko Abe – Michi.
  • Playing from sight-reading.
  • All major and minor scales.
  • Various triads and seventh chords.
  • Solfège on the instrument (leading and repeating).


  • technique: scales over the entire harp with different accents, three part closely played broken chords, four part closely played broken chords with varying accents, arpeggio in seventh chord over the entire harp
  • etudes: One etude by Pozzoli, Studi di media difficolta per arpa, one etude by Bochsa or one sonata by Naderman, Sept sonates progressives
  • pieces: free choice, at least at the level of A. Hasselmans, Feuilles d’automne; J.L. Dussek, from Six Sonatines; M. Grandjany: Automne
  • one work should preferably be played from memory


  • etudes: two etudes of different technical character, minimum level of difficulty Czerny op. 299, part 4
  • pieces: one composition of J.S. Bach with a minimum level of difficulty of a two-part invention, one classical sonata, one piece from the Romantic period, one piece composed since 1900
  • repertoire list of works studied over the previous two years


  • etudes: choose from J.S. Bach – 8 short preludes and fugues, one composition from a contemporary or predecessor of J.S. Bach
  • pieces: one or more works from after 1750
  • some proficiency in sight-reading
  • repertoire list of all works studied

See download below.

Wind band conducting

  • the candidate should preferably have qualified in the general subjects, or have an equivalent theoretical knowledge (comparative level, second or third year)
  • the candidate will preferably perform on one of the instruments which belong to wind band, and should be familiar with the wind band repertoire
  • conduct the 2nd Suite by G. Holst or an equivalent composition of the candidate’s own choice (with or without two pianos), with one or two movements from memory
  • only for students with professional experience: rehearse a work of own choice (in 20 min.) with the wind band

Choral conducting

  • candidates are required to submit a repertoire list
  • rehearse a work of the candidate’s own choice (preferably from the submitted list); the choir will be made up of the students studying choral conducting and the entrance examination candidates
  • sing a fragment from the choir pieces; attention will be paid to phrasing, word treatment, clarity and sight singing
  • play an instrumental work of the candidate’s own choice, on piano or other instrument
  • take an aural test within the scope of choral conducting, to evaluate aspects such as reading ability, knowledge of chords, recognition of mistakes and rhythmic skills
  • conduct a work of own choice from memory, with or without piano accompaniment

Orchestral conducting

  • candidates should be able to transmit the musical requirements through physical expression
  • conduct and rehearse Van Beethoven Symphony no. 1 until the development, Tchaikovsky, Symphony 5 part 2 or Symphony 6 part 4, Strawinsky, Petroushka 1947 until 30
  • part of the examination is an interview about knowledge of the repertoire and motivation
  • an excellent musical ear is required for the main subject orchestral conducting; part of the examination is the separately held solfège test, where candidates need to be able to notate polyphonic melodic dictations and chords