Entrance exam parts and their description:
1. Specialty programme (polyphony, large form, a piece, 2 études)
2. Interview (motivation to study at the Heino Eller Music College, previous education, readiness to dedicate time to the specialty, relationship with music, concert visits, plans, etc)
3. Scale 0–2 signatures (split scale, short arpeggio, long arpeggio with turning chords, split its basic shape, chromatic scale in parallel, chords, if possible V7 and >VII7 short arpeggio and long arpeggio basic shape, cadence)
4. A prima vista
The preparation time for a piece played based on the scale and sheet music is 30 minutes; the student will be provided with a classroom for practicing. This follows the performance of the specialty programme.
Point 1 accounts for 80% of the exam grade.
Points 2–4 account for 20%.
Evaluation criteria:
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Accuracy of sheet music | 20% | 2 |
Technical performance, sound culture | 20% | 2 |
Musical expressiveness | 20% | 2 |
Rhythm, metre | 20% | 2 |
Artistry | 20% | 2 |
Maximum final score 10
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
1.Speciality examination*
One part of a large form
One to two pieces
Two études with different character
A scale
*the level of difficulty of the programme must correspond to the final programme of the music school in grade 7.
WIND INSTRUMENTS
1. Speciality exam
two pieces with different characters (preferably a part of a large form + small form)
scales with 0 to 2 key signatures
an étude
a prima vista
2. Illustrative solfeggio test
PERCUSSIONS
1. Speciality exam
two pieces with different character on different instruments
s cales with 0 to 2 key signatures
a snare drum étude
a prima vista (snare drum and xylophone/marimba)
Parts of the admission examination and their description
Speciality examination:
One to two classical songs or a folk song
One poem of your choice
An acting étude on a given topic
an interwiev on music and theatre and motivation to study.
Evaluation criteria:
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Performance of songs (vocal material, musicality, content) | 70% | 7 |
A poem | 10% | 1 |
An acting étude | 10% | 1 |
Interwiev | 10% | 1 |
Maximum final score 10
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
General requirements:
One set of admission programme notes on paper to be submitted to the examination committee before the exam
For arrangements, the author of the arrangement must be included
Playing the elements of the scale, if necessary, to check the technical level in accordance with the requirements of each specialty
The specialty exam programme is presented by heart
Parts of the entrance exam and their description by discipline
CLASSICAL GUITAR
1.Speciality exam
Polyphony: a piece of Renaissance or Baroque lute music (examples: J. A. De Logy „Capriccio“ or J. Dowland „Sick Tune“ or G. Fr. Händel „Prelude in C“)
Guitar piece from the Classical-Romantic era (examples: M. Carcassi Valss, op. 23 nr. 9 or M. Giuliani Divertimento, op. 40 nr. 23)
Etude or character piece (examples: A. Carlevaro Microstudy n. 1 or F. Sor Andante, op. 44 nr. 15)
Small form by 20th-21st century composers (examples: J. Mirtenbaum Zenamon „Bossa“ or N. Kraft „Reminiscence“)
2. Illustrative solfeggio test
ACCORDION
Three études with a different character:
A piece from the Renaissance or Baroque periods (examples: J S Bach’s Inventions, Sinfonias, or BWV, sonatas by D Scarlatti, harpsichord pieces by F Couperin and others; when playing on instruments with standard bass, smaller forms and preludes are acceptable)
A technical piece (examples: M Moszkowski: ‘Tarantella’; I Albeniz: ‘Asturias’; F Schubert: ‘The Bee’. A suitable repertoire can also be found, for example, in the repertoire of études, scherzos, and tarantellas. This piece must show a general mastery of keyboard technique and, at best, include some specific accordion playing techniques)
One piece of your choice
For players of accordion with melody bass, it is also recommended to present one large form from a 20th–21st century author (examples: N V Bentzon: ‘In the Zoo’; V Zolotarjov: ‘Children's Suites’; T Lundqvist: ‘Botany Play’)
2. Illustrative solfeggio test
ESTONIAN ZITHER
1. Speciality exam
part of a large form or polyphony (both if possible)
a piece
Scales—if necessary, to check the technical level, with up to four signatures, the requirements are specified in the curriculum.
Examples of pieces that meet the requirements of the specialty exam:
M. Grandjany – „Petite suite classique“
J S Bach: ‘Prelude from Cello Suite No. 1 in G major, BWV 1007’
A. Männik – „Jäälilled“ from the cycle „Aastaring“
L. Brouwer – „Estudio XII“
J. L. Dussek – Sonata c-minor
J. Vanhall – „Andante cantabile“
R. Pajusaar – „Vastuolu“
V. Kotov – Etüüd
G Ph Telemann: ‘Fantasia in D minor’
G. Fr. Händel – Fugetta D-major
U Sisask: ‘Veomehetäht’ from the cycle ‘Tähistaevatsükkel lastele’ or ‘Vähk’ from the cycle ‘Sodiaak’
P Tchaikovsky: ‘Nanny's Story’ from the cycle ‘Children's Album’, op. cit. 39 No 19
2. Illustrative solfeggio test
HARP
Erialaeksam
Shorter and simpler polyphonic and other pieces can be played alongside an extensive large form, and vice versa—alongside a large-form part or a technically easier large form, other pieces must be technically more complex and extensive.
Large form, cycle, or theme and variations (examples: J A Kirchhoff ‘Musikalische Hand-Stücken für die Harfe’: suite of choice, N Bochsa Rondo, M Grandjany: ‘Petite suite classique’)
A polyphonic work from the Baroque period (examples: G F Händel’s ‘Sonata in B major’; J S Bach’s ‘Wohl mir, dass ich Jesum beard’ from the cantata BWV 147; J S Bach’s ‘BWV I Prelude in C major’; D Scarlatti’s ‘Sonate en do’, ad. D Bouchaud)
A piece with a singing character and a small form by a composer from the 20th to 21st centuries (examples: Cl Kuhn’s pieces from the cycles ‘Ebbe und Flut’; C Pampuch’s ‘Blaue Diamanten’; Schiff ‘am Horizont’; U Sisask’s pieces from the cycle ‘Kapella’; Irish and other folk music arrangements for the harp; pieces from B Andrès' cycle ‘Aquatintes’)
2. Illustrative solfeggio test
Evaluation criteria:
Each criterion is evaluated on a scale of 1 to 10
The score is divided into 5, the final result is provided on a scale of 1 to 10. Decimal points 0–4 are rounded down, 5–9 are rounded up.
The threshold for admission is 6, but due to the limited number of study places, candidates with a higher score are accepted
If candidates have an equal score, the final decision is made based on decimal points
Playing the elements of the scale, if necessary, to check the technical level in accordance with the requirements of each specialty
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Level of difficulty of the programme* | 20% | 10 |
Technical performance | 20% | 10 |
Musical expressiveness, sound culture | 20% | 10 |
Rhythm, metre | 20% | 10 |
Artistry | 10% | 5 |
Motivational interview | 10% | 5 |
*The degree of difficulty of the programme is assessed on the basis of the number of years of study in the specialisation.
The maximum points are divided by 5 and the final result is expressed as a whole number in a 10-point system.
Parts of the entrance exam and their description
Conducting a prepared piece, playing a score, and singing the parts—stage presence, self-expression skills, interpretation, and musicality are considered.
The following are important: expressiveness, dynamics, and accuracy of the sheet music when playing and singing. In singing, intonation and enunciation as well.
Performance of a piano piece—musicality, technical ability, self-expression skills, accuracy in following sheet music.
Singing a prepared piece—intonation, voice control, self-expression, enunciation.
Interview regarding the choice of specialty—the reasons and motivation for choosing the specialty, knowledge about Estonian choral culture and its importance today and in our cultural history in general.
Evaluation criteria:
Evaluation criterion | Coefficient of the evaluation criterion | Maximum points for the evaluation criterion |
Conducting a prepared piece, playing a score, and singing the parts | 50 | 5 |
Performance of a piano piece | 20 | 2 |
Singing a prepared piece | 20 | 2 |
Interview regarding the choice of specialty | 10 | 1 |
Maximum points of the final score 10
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
COMPOSITION
Parts of the entrance exam and their description:
1. Letter of motivation (approx. 150 words, bring to the entrance exam) concerning questions:
What is your previous exposure to composing music?
Who are your role models in music?
Why this specialty in particular?
Similar topics are covered by the admissions interview.
2. Playing a piece requested on the piano (in both disciplines):
A polyphonic work (if the student candidate has not previously studied the piano or has studied it very briefly, the requested work may be a simple two-voice invention, etc)
Part of a large form (a particularly easy part of a sonatina can also be chosen, if necessary).
A (decent) level of playing the piano is expected because a large part of the subsequent studies will be piano-based. If the level is too low, the student will likely not be able to achieve the required outcomes in harmony, reading the score, etc.
3. Introduction of previously written works. The following are evaluated:
The existence of the work and ideas in general
Execution, formalisation
Technical skills acquired by the time of admission
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Musical ideas—realisation and formalisation | 40 % | 4 |
Letter of motivation + interwiev/test | 40 % | 4 |
Piano | 20 % | 2 |
Lõpphinde maksimumpunktid 10
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
MUSIC THEORY
Parts of the entrance exam and their description:
1. Letter of motivation (approx. 150 words, bring to the entrance exam) concerning questions:
Previous exposure to thinking and writing about music
Research topics the candidate is interested in
Why this specialty in particular?
Similar topics are covered by the admissions interview.
2. Playing a piece requested on the piano (in both disciplines):
A polyphonic work (if the student candidate has not previously studied the piano or has studied it very briefly, the requested work may be a simple two-voice invention, etc)
Part of a large form (a particularly easy part of a sonatina can also be chosen, if necessary).
A (decent) level of playing the piano is expected because a large part of the subsequent studies will be piano-based. If the level is too low, the student will likely not be able to achieve the required outcomes in harmony, reading the score, etc.
3. Introduction of previously written works. The following are evaluated:
The existence of the work and ideas in general
Execution, formalisation
Technical skills acquired by the time of admission
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Letter of motivation + interwiev | 40 % | 4 |
A short essay written on-site (about one page) | 40 % | 4 |
Piano | 20 % | 2 |
If possible, a previous research paper or report written at school. | The percentage of the criterion coefficient is undetermined. It gives extra points. | |
Maximum points of the final score 10
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
Evaluation criteria of the speciality exam
Pop-jazz instrumentalist
Technical execution—25%
Musicality, expressiveness, musical memory—25%
Sight-reading—25%
Rhythmic accuracy—25%
Parts of the speciality exam and their description
Two pieces with different characters, one of which is from a list of mandatory pieces determined by the department. In addition, the most common grooves on percussion (swing, bossa nova, rock and roll, funk).
Scales with up to four key signatures
Sight-reading (incl. knowing the chord symbols)
Playing/imitating by ear
Interview
The solfeggioo test must be passed with a positive result. Study groups are formed based on the results.
REPERTOIRE
Wind instruments (Aebersold phonograms/sheet music available)
Perdido (J. Tizol)
Cantaloupe Island (H. Hancock)
Satin Doll (D. Ellington/B. Strayhorn)
A Foggy Day (G. Gershwin)
Blue Bossa (K. Dorham)
Guitar
Summertime (G. Gershwin)
Autumn Leaves (J. Kosma)
Blue Bossa (K. Dorham)
Cissy Strut (The Meters)
Chameleon (H. Hancock)
Jessica (The Allman Brothers)
Bass guitar
“Bass Aerobics” (Jon Liebman)
Palad 1, 12, 14
Percussion
Garden Party (Mezzoforte)
Smooth Criminal (M. Jackson)
September (Earth, Wind & Fire)
Piano
Summertime (G. Gershwin)
Watermelon Man (H. Hancock)
Evaluation criteria:
Technical execution – 25%
Stage presence, expressiveness – 25%
Rhythmic accuracy – 25%
Musicality, musical memory – 25%
Parts of the entrance exam and their description
Perform three different songs—1 a cappella, 1 jazz standard, 1 song of your choice. The a cappella song must be chosen from two Estonian songs. Bring your own phonogram/accompaniment for songs of your choice (tracks designated by the department have a phonogram on site).
Sight-reading (incl. knowing the chord symbols)
Singing/imitating by ear
Interview
Solfeggio test must be passed with a positive result. Study groups are formed based on the results.
REPERTOIRE
Nature Boy (E. Ahbez)
Angel Eyes (M. Dennis)
But Not For Me (G. Gershwin)
Muinaslugu muusikas (R. Valgre) - a cappella
Must Mees (U. Naissoo) - a cappella
1. Letter of motivation (150 words, bring to the entrance exam), which covers the following topics:
Previous contact with traditional Estonian music
Role models in music
Why folk music?
The admissions interview may cover the same topics, expansions on them, or additional questions.
2. Playing by ear:
Playing an Estonian folk piece by ear at the exam with the goal of demonstrating the willingness to master a repertoire by ear. The purpose of this part of the exam is not to learn the whole piece, but to see how the candidate finds the basic stages, a few phrases, or skips on their instrument. The points in this regard are divided as follows:
1 point: the student finds the keynote of the key and a few steps/functions
2 points: the student is able to imitate the rhythm and some phrases of the piece
3 points: the student is able to imitate longer phrases of a couple of beats up to entire part(s) of the piece
3. Prepared pieces to be performed—two different pieces, with at least one from the Estonian folk music repertoire. The pieces must be performed by heart, unaccompanied, and on the instrument in which the student wishes to specialise The compliance of the programme with the requirements and interpretation is assessed.
A selection of traditional Estonian songs (recordings, sheet music, references):
https://www.folk.ee/opi/valjaanded/noodikogu
Evaluation criteria:
Evaluation criterion | Coefficient of the evaluation criterion (%) | Maximum points for the evaluation criterion |
Interview+letter of motivation | 30% | 3 |
Playing/imitating by ear | 30% | 3 |
Prepared pieces (compliance of the programme with the requirements, interpretation) | 40% | 4 |
Maximum final score 10
The solfeggio test must be passed with a positive result. Study groups are formed based on the results.
Conduct the song ‘Priiuse hommikul’ by K Türnpu (mixed choir) or a choral work of equivalent difficulty for any type of choir
Play the specified song on the piano with the option of transposing it up or down within a second
Conduct a prepared song on the spot
Sing a voice part of the specified song
Present your vision and motivation to commence studies at this level of study
A speciality examination which involves the candidate presenting a 15–20 minute programme similar to the fourth level final examination in their speciality. The programme is performed by heart. Playing from sheet music is only allowed by prior agreement with the head of the respective department at the Heino Eller Tartu Music College.
Interview and colloquium
An essay on the topic ‘Why I want to become an instrument or singing teacher’. The essay should be sent to the email address vastuvott@tmk.ee no later than May 7, 2024 (first admissions round) or June 24, 2024 (second admissions round). Please do not forget to include your name.
Note! The 2024 graduates of the vocational training or vocational secondary education curricula at Heino Eller Tartu Music College do not have to take the entrance examination, but they must submit the required essay by the specified deadline and participate in the interview which takes place at the same time as the speciality test.