admission requirements

classical bachelor

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Main subjectEar training and music theoryPiano

About the main subject examination

The entrance examination consists of an audition in a main subject and tests in general subjects. For some main subjects, there will be secondary main subject tests. If the applicant fails to pass his/her audition in the main subject, he/she will not be tested in the general subjects.

The audition in main subject is evaluated by:

  • 1 internal head of examiners – the principal or his/her deputy
  • 1 external examiner
  • 1 internal teacher from the department of the main subject.

Duration:
Unless otherwise indicated the audition takes approximately 30 minutes including evaluation.

Evaluation of the audition:
The candidate is given three individual grades on a scale of 7 for:

A: chosen piece, etudes and scales
B: forwarded assignment
C: Prima Vista

For the test in main subject, the applicants will have to bring along their own ensemble. If required, the academy may assist in finding accompanists.

The test is only considered “passed” if the applicant has achieved a minimum of 02 in each of the three disciplines.

SPECIFIC INSTRUMENT REQUIREMENTS

ACCORDEON

The entrance examination consists of the following elements:

  • Principal study audition
  • Supporting subject: aural studies / theory test

PRINCIPAL STUDY

A list of repertoire for the entrance examination must be enclosed with the application form.

  1. All major and minor scales and triads played with both hands to the full range of the instrument (unisono)
  2. Transcription chosen by the applicant, e.g. J.Ph. Rameau: "La Livri" or Domenico Scarlatti: Sonata K. 169.
  3. Original piece from the 20th century chosen by the applicant with a degree of difficulty similar to e.g. W. Solotarjow: "Monastere de Firaponte", or L. Kayser: Arabesque No. 10, or N. Bartow: ”Barn Dance”
  4. A proposed task which is which is emailed to the admission candidate 7 days before the entrance examination takes place.
  5. Sight reading of a not too difficult composition.

The chosen pieces must contain slow as well as faster varieties of movements.

BASSOON

  1. All scales and triads in major and minor keys in two octaves must be played legato (slowly) and staccato (fast).
  2. L. Milde: 50 Concert Studies for Bassoon, Op. 26, No. 1 (Book 1).
  3. G.P. Telemann: Sonata for Bassoon and Continuo, 1st and 2nd Movements.
  4. An assignment of the degree of difficulty as, for instance, E. Elgar: Romance for Bassoon and Piano. TO BE PLAYED BY HEART
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading in the bass and tenor clefs.

CLARINET

  1. All scales and triads in major and minor keys in two octaves must be played legato (slowly) and staccato (fast).
  2. C. Rose: 40 Studies, No.1.
  3. Niels W. Gade: Fantasy Piece No. 2.
  4. An assignment, chosen by the applicant, of the same degree of difficulty as, for instance, Weber: Concertino. TO BE PLAYED BY HEART
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading.

DOUBLE BASS

  1. 8 scales and triads in two octaves, chosen by the applicant, of which 4 in major, 2 in harmonic minor and 2 in melodic minor.
  2. 2 studies, chosen by the applicant, where the compass reaches at least thumb position (octave G).
  3. 1 st movement of a double bass concerto of the same degree of difficulty as Dragonetti, Pichl, Capucci, Hoffmeister, Cimador or a piece of an equivalent degree of difficulty (with piano accompaniment).
  4. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination. The forwarded assignmentmay include examples from theorchestral literature.
  5. Sight-reading.

FLUTE

  1. All scales and triads in major and minor keys in two octaves must be played legato (slowly) and staccato (fast).
  2. Two of Joachim Andersen’s »Instructive Exercises«.
  3. J.S. Bach: Sonata in E Major, 1st and 2nd Movements.
  4. An assignment, chosen by the applicant, of the same degree of difficulty as, for instance, Philip Gaubert: Introduction et Allegro Scherzando, Gabriel Fauré: Fantaisie Op. 79 or Georges Enesco: Cantabile et Presto. TO BE PLAYED BY HEART.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading.

GUITAR

  1. All scales in two octaves.
  2. An assignment, chosen by the applicant, from the Renaissance or Baroque of the same degree of difficulty as, for instance, J.S. Bach: Prelude in D Minor, BWV 999, or L. Milan: 6 pavanes.
  3. An assignment, chosen by the applicant, from the classical or romantic period of the same degree of difficulty as, for instance, F. Sor: Minuets, F. Tárrega: Estudio en forma de minueto or M. Giuliani: Rondo, C Major from Sonatina, Op. 71, No. 1.
  4. An assignment, chosen by the applicant, from the 20. cent. of the same degree of difficulty as, for instance, from H. Villa-Lobos: Preludes or Vagn Holmboe: 5 Intermezzi.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading of a not too difficult composition notated in the G clef such as F. Sor: Studies, Op. 60 No. 12.

The options under items 2-4 must include slow as well as fast movement types.

The examinations under items 1-4 must have a total duration of 15-20 min.

HARMONIKA

The entrance examination consists of the following elements:

  • Principal study audition
  • Supporting subject: aural studies / theory test

PRINCIPAL STUDY

A list of repertoire for the entrance examination must be enclosed with the application form.

  1. All major and minor scales and triads played with both hands to the full range of the instrument (unisono)
  2. 1 etude chosen by the applicant
  3. 2 pieces – one of them original composition for harmonika - from the classical repertoire between baroque and the 20th century chosen by the applicant with a degree of difficulty similar to e.g. N. Bartow: “Three characteristic Dances” or G. Katzer: “Toccata”
  4. A proposed task which is which is emailed to the admission candidate 7 days before the entrance examination takes place.
  5. Sight reading of a not too difficult composition.

The chosen pieces must contain slow as well as faster varieties of movements.

HARP

  1. All triads and scales to the full range of the harp.
  2. Bochsa: Quarante Etudes Faciles, O. 318, Book 2, one of following etudes: No. 31, 37 or 38.
  3. F.J. Naderman: Sonatina No. 7 Prelude and first movement.
  4. Piece chosen by the applicant with a degree of difficulty similar to e.g. Sergiu Natra: Sonatinia for harp
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight reading.

HORN

  1. All scales and triads in major and minor keys in one octave must be played legato and staccato.
  2. A study by C. Kopprasch.
  3. C. Saint-Saëns: Romance, F Major.
  4. An assignment of the same degree of difficulty as, for instance, L. Cherubini: 1st Sonata.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading and transposition in Eb

OBOE

  1. All scales and triads in major and minor keys in two octaves must be played legato (slowly) and staccato (fast).
  2. W.B. Ferling: Study No. 19.
  3. C.Ph.E. Bach: Sonata, 1st and 2nd Movements.
  4. An assignment, chosen by the applicant, of the same degree of difficulty such as J. Haydn: Concerto, 1st Movement. TO BE PLAYED BY HEART.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading.

ORGAN

  1. An assignment, chosen by the applicant of the same degree of difficulty as, for instance:
    • Buxtehude: Præludium, fuga og ciacona C-dur, BuxWV 137. 
    • V. Lübeck: Præludium E-dur.
    • J.S. Bach: Præludium og fuga C-dur, BWV 545.
    • F. Mendelssohn: Sonate c-mol.
    • C. Franck: Prélude, fugue et variation.
    • P. Hindemith: Sonate II.
    • J. Langlais: fra Hommage à Frescobaldi: Fantaisie eller Thème et variations.
  2. a list of 5 minor works from different  stylistic periods (e.g. chorale with melismatic c.f., simpler trio movement). The examiners select  1 piece of which the admission candidate is notified 3 weeks prior to the entrance examination.
  3. A previously preperred  chorale with pedal from Den danske Koralbog played with prelude and performed as: a. Choral playing (1 manuar + pedal) b. Melody playing (2 manuals + pedal)
  4. A proposed task which is send to the admission candidate 10 days before the entrance examination takes place . Same degree of difficulty as Franz Tunder: Præludium i g (Bechmann 2), Buxtehude: Ein feste Burg, BuxWV 184 eller J.S. Bach: Præludium og fuga c-mol, BWV 533. 
  5. Sight-reading: An organ composition without pedal, and one of the more easy chorales with pedal
  6. Prima Vista harmonization: The applicant is given a 2-period chorale, the first period with 4-part harmonization, the second with melody alone which must be harmonized on the spot (with pedal)

If the applicant passes the first main subject test, he/she must take a supplementary written theory test: 4-part harmonization of a simple modulating chorale in four periods. The examination lasts 2 hours with piano

PERCUSSION

  1. All scales and triads in major and minor keys over 2 octaves must be played on a key instrument (xylophone, vibraphone or marimba).
  2. An assignment for snare drum, chosen by the applicant, e.g. Børge Ritz: Dansk Tapto (Danish Tattoo) (not published), Gert Mortensen: March Cadenza (Southern Percussion), Einar Nielsen: Etude Classique (not published) (all three may be played in extracts).
  3. An assignment for timpani, chosen by the applicant, e.g. selected movements from Robert Muczynski: Three Designs for Three Timpani or a work for multipercussion, chosen by the applicant.
  4. An assignment for a key instrument, chosen by the applicant, for example Paul Creston: Concertino for Marimba, 1st Movement (G. Schirmer), Mitchell Peters: Yellow After the Rain (Mitchell Peters), Povl Smadbeck: Rhythm Singing (Mallet Arts)
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination. The forwarded assignment may include examples from the orchestral literature.
  6. Sight-reading for snare drum and key instrument.

PLEASE NOTE: Due to the setting up of percussion, the duration of the examination is extended to 45 min., including the discussion of the examinee’s performance/ setup.

PIANO

  1. Scales and broken triads and tetrads in all major and minor keys.
  2. A study, chosen by the applicant.
  3. A polyphonic composition by J.S. Bach (e.g. Prelude and Fugue from The Well- Tempered Clavier).
  4. A fast and a slow movement from a sonata from the Viennese Classical period.
  5. A romantic work or a work from the 20th century.
  6. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  7. Sight-reading of the degree of difficulty as, for instance, Robert Schumann: Album für die Jugend, No. 11 ’Sizilianisch’.

The works under items 1-5 must have a total duration of 15-20 min.

RECORDER

  1. All scales and triads (major and minor) unsing the instrument to its fullest range.
  2. An etude from Frans Brüggen: 5 Etudes for Finger Dexterity.
  3. A sonata from the High Baroque eriod chosen by the applicant with a degree of difficulty similar to e.g. G. Ph. Telemann: Sonate in C major from Der getreue Musikmeister.
  4. A modern piece chosen by the applicant similar in difficulty to e.g. Hans Martin Linde: Music for a Bird.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight reading.

SAXOPHONE

  1. All scales and triads in major and minor keys in two octaves must be played legato (slowly) and staccato (fast).
  2. W.B. Ferling: Study No. 16.
  3. J. Ibert: Aria.
  4. An assignment of the same degree of difficulty as, for instance, A. Caplet: Légende. TO BE PLAYED BY HEART
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading.

TROMBONE, BASS

  1. All scales and triads in major and minor keys in one octave must be played legato and staccato.
  2. Lew Gillis: 70 Progressive Studies for the Modern Bass Trombonist, Nos. 51 and 52.
  3. Lebedev: Concerto, up to and including cadenza.
  4. An assignment, chosen by the applicant, of the same degree of difficulty as, for instance, one or several move-ments from a sonata by J.E. Galliard.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading in the bass clef.

TROMBONE, TENOR

  1. All scales and triads in major and minor keys in one octave must be played legato and staccato.
  2. Robert Müller: Technical Studies, Vol. 3, No. 10, G Minor.
  3. 1 st and 2nd Movement from N. Rimsky Korsakov: Trombone Concerto.
  4. An assignment, chosen by the applicant, of the same degree of difficulty as, for instance, Alexandre Guilmant: Morceau Symphonique.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading in the bass and tenor clefs.

TRUMPET

  1. All scales and triads in major and minor keys in one octave must be played legato and staccato.
  2. From P.-Fr. Clodomir: 70 Little Studies, Op. 158 (IMC 13 89), one of the following studies: No. 63, 64, 65 or 66.
  3. Hummel: Concerto in E Flat Major, 1st Movement, the exposition (bar 63 till bar 146) played on a B trumpet.
  4. An assignment, chosen by the applicant.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading and transposition in A and C.

TUBA

  1. All scales and triads in major and minor keys in two octaves must be played legato and staccato.
  2. 2 studies, one from each of the following collections: M. Bordogni (Roberts): 43 Bel Canto Studies and C. Kopprasch: 60 Selected Studies, Vol. 1, Nos. 1-30.
  3. Edward Gregson: Tuba Concerto, 1st Movement.
  4. An assignment, chosen by the applicant, of the same degree of difficulty as , for instance, Troje-Miller: Sonatina Classica.
  5. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination.
  6. Sight-reading.

VIOLA

  1. 8 scales and triads in three octaves, chosen by the applicant, of which 4 in major, 2 in harmonic minor and 2 in the melodic minor keys
  2. 2 studies:
    a) one from B. Campagnoli: Caprices, Op. 22
    b) one from R. Kreutzer: Studies Nos. 5-42 or another study of at least an equivalent degree of difficulty.
  3. 1 st movement of a viola concerto of at least the same degree of difficulty as Hoffmeister or K. Stamitz: Viola Concerto in D Major or a concert piece of an equivalent degree of difficulty.
  4. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination. The forwarded assignment may include examples from the orchestral literature.
  5. Sight-reading.

VIOLA DA GAMBA

  1. 8 scales and triads in three octaves, chosen by the applicant, of which 4 in major, 2 in harmonic minor and 2 in melodic minor.
  2. 1 study of the same degree of difficulty as Simpson
  3. 2 pieces in tablature of the same degree of difficulty as Hume, Corkine, Manchester Gamba book
  4. 2 movement of a gamba sonata of the same degree of difficulty as Bach Sonata in G Major or a piece of a similar degree of difficulty of G.P. Telemann, C.Hoffler, J. Schenck, A. Kühnel, D. Buxtehude (with harpsichord accompaniment).
  5. A short french suite for viola sola or with b.c. of the same degree of difficulty as Marais, Caix d'Ervelois, De Machy, Du Buisson, Morel, Cappus
  6. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entranc examination. The forwarded assignment may include examples from the orchestral literature.
  7. Sight-reading.

VIOLIN

  1. 8 scales and triads in three octaves, chosen by the applicant, of which 4 in major, 2 in harmonic minor and 2 in melodic minor.
  2. 2 studies of at least a degree of difficulty as R. Kreutzer: Study No. 6-42. One study must include double-stopping such as R. Kreutzer: No. 28-42.
  3. 1st movement of a violin concerto of at least a degree of difficulty as Mozart: G major or a concert piece of an equivalent degree of difficulty.
  4. A forwarded assignment which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination. The forwarded assignment may include examples from the orchestral literature.
  5. Sight-reading.

VIOLONCELLO

  1. 8 scales and triads in three octaves, chosen by the applicant, of which 4 in major, 2 in harmonic minor and 2 in melodic minor.
  2. 1 study of the same degree of difficulty as D. Popper or Duport.
  3. 1st movement of a cello concerto of the same degree of difficulty as Haydn: Cello Concerto in C Major or a piece of a similar degree of difficulty (with piano accompaniment).
  4. A forwarded assignment, which is usually sent to the applicant’s e-mail 7 days prior to the entrance examination. The forwarded assignment may include examples from the orchestral literature.
  5. Sight-reading.

VOCALS

  1. An aria.
  2. A German lied.
  3. A song by a Danish composer with Danish text.
  4. Two assignments selected by the applicant him/herself.
  5. A forwarded assignment handed to the applicant after the exam. The applicant will have 40 min. for preparations with piano and relevant dictionaries.
  6. Sight singing of a not too difficult vocal composition with accompaniment (with or without text).

The works under items 1-4 must be sung from memory and must have a total duration of 15-20 min.

Other Principal Subject Examinations for Singers:

After test 1-6 an indicative examination is given in German and Italian with a view to proficiency assessment: Examination at an elementary level consisting of recitation and translation of a 10-20 line text in each of the two languages.

Ear training and music theory:

The test consists of a collective written part including ear training as well as theory, and an individual oral test in ear training.

WRITTEN TEST

Duration: Approx. 2½ hours

Purpose

The test consists of three parts: The first part is an auditive test, where the applicant must answer a number of listening comprehension questions. The second part is a test of dictation and correction where a recorded piece of music must be compared to the score. The third part is a visual test including score reading and harmonization.

The purpose of the test is to identify how far your aural and orientation abilities as well as your musical knowledge carry. Because of this, the tasks of all three parts of the test range in difficulty from relatively simple to more complicated levels.

The test can be taken in Danish, English or German.

Aural training/theory test

Auditive test

  • identification of style periods (e.g. renaissance, baroque, romanticism)
  • identification of ensemble of the composition (e.g. chamber music, solo concert)
  • identification of tonality types (e.g. minor/major, modal)
  • identification of time/metres (e.g. duple metre, tripel metre)
  • identification of texture types (e.g. homophonic, polyphonic)
  • identification of musical form (e.g. AA, AABA)
  • identification of instruments (e.g. oboe, bassoon, viola)
  • identification of chords (i.e. minor/major/diminished/augmented triads, seventh chords, clusters)
  • identification of chord types in musical contexts
  • identification of intervals
  • identification of key from stated starting tone
  • notation of bass part and identification of chord functions in a four part chorale with stated soprano part

Visual test

  • identification of chords incl. C clefs and transposing instruments
  • identification of style period
  • identification of tonality types
  • identification of modulating course of a melody
  • identification of texture types
  • identification of musical form
  • identification of chord types
  • identification of intervals
  • notation of the first 10 notes of the harmonic series from a given fundamental note
  • localising errors in a 4-part chorale movement
  • notation of middle parts in a 4-part chorale
  • harmonic analysis of a 4-part chorale

Dictation and correction test

  • correction of a short melody
  • notation of a melody where the rhythm has been given beforehand
  • notation of the rhythm of a melody where the notes have been given beforehand
  • notation of the upper voice in a score
  • correction of a score compared to a recording

The auditive test has a duration of approx. 40 minutes, the dictation- and correction test approx. 30 minutes and the visual test 60 minutes. There is a 10 minute break between each of the tests.

Download

Here you can download an example of the entrance examination:

As pdf:

As mp3:


Oral test:

The 15-20 minutes oral test consists of:

Aural test:

  • Imitation of short melodic phrases
  • Imitation of triads and seventh chords (singing the chords broken)
  • Imitation of the bass part as played in a short harmonic progress
  • Imitation of short rhythmic phrases

Sight singing:

  • Sight singing of melodies (major and minor, a cappella as well as with accompaniment).  Difficulty gradually increasing.
  • Singing intervals upwards from a given tone within an octave 

Sight reading of rhythms:

  • Sight reading of rhythmic phrases notated on one staff line using syllables of the applicant's choice. Time signatures might include: 2/4, 3/4, 4/4, 3/8, 4/8 and 6/8

Download examples of the oral tests here

    Piano

    PIANO AS GENERAL SUBJECT

    Piano, guitar and accordeon are exempt from the examination in piano playing as a general subject.

    • One or two piano pieces of a level of difficulty corresponding to:
      - An allegro movement from a sonatina by F. Kuhlau or M. Clementi
      - J. S. Bach: A 2-part invention
      - Béla Bartók: Romanian Carols
      -Oscar Peterson: Jazz Exercises, Vol. 2

      If only one such piano piece is played, the applicant furthermore has to play a self-chosen song/melody with own accompaniment from the chord symbols written at a level of difficulty corresponding to a folksong, e.g. “Greensleves” or similar.
       
    • 4-part chorale (from a Scandinavian chorale Book or a Bach chorale)
    • Major and minor scales and arpeggi up to 4 accidentals (all three types: melodic, harmonic and natural) played over two octaves with both hands together
    • Cadences with up to 4 accidentals in three positions (see examples below)
    • Sight reading (piano piece or melody with accompaniment from the chords written)

    The test in piano as a general subject is evaluated by 2 internal teachers from the piano department.

    Evaluation is given on a scale of 7

    See example of cadence in G major.

    Applicants with the main instrument recorder can, instead of piano, choose to take test in cembalo as a general subject.

    CEMBALO AS GENERAL SUBJECT

    • Two cembalo pieces in different styles e.g. a movement from J.S. Bach: ”Kleine Präludien und Fughetten”, and a shorter piece by Purcell, Händel eller Haydn.
    • 4-part chorale (from a Scandinavian Chorale Book or a Bach chorale)
    • Major and minor scales and arpeggi up to 4 accidentals (all three types: melodic, harmonic and natural) played over two octaves, played with both hands together
    • Cadences with up to 4 accidentals in three different positions (see below)
    • Sight reading (examples are found in Maria Boxall: Harpsichord Method).

    See example of cadence in G major.