5. Contents of tests & Simulacrum

5. Contents of tests & Simulacrum

Exam contents

 

The specific access exam consists in two parts (A and B), plus an exercise for candidates who don’t accredit the Professional Degree of Music. The final grade, expressed in the scale of 0 to 10 with three decimal places, is the arithmetic mean of the marks obtained in the two parts (A and B) of the exam.

The access exam is considered to have been exceeded if a score equal to or greater than 5 has been obtained in each of the parts. Part A aims to verify the possession, to a sufficient degree, of the knowledge and skills adequate to access the Superior Artistic Studies.

 

 

· PART A

 

Contents Part A  (Interpretation & Sonology)

 

• Auditory perception (60 minutes) / (Interpretation: 35%) – (Sonology: 30%)

· Dictation Rythm-Melodic (Interpretation: 15%) – (Sonología: 15%).

· Harmonic dictation (Interpretation: 20%) – (Sonología: 15%).

 

• Musical analysis (90 minutes) / (Interpretation: 20%) – (Sonology: 25%)
Analysis of a score for band. Harmonic analysis, recognition of styles and related socio-cultural aspects, knowledge of terminology, jargon and justification of the responses will be assessed.

 

• Auditory analysis (60 minutes) / (Interpretation: 15%) – (Sonology: 25%).
Listening to a musical fragment. The applicant must answer a questionnaire on structure, harmony, instrumentation, etc.

 

• Instrumental exam

 · Interpretation (5 minutes / 30%)
Interpreting a technical song*. The candidate must choose one of the two studies proposed by the center (see list TECHNICAL STUDIES below).

 · Sonology (10 minutes / 20%)
Interpretation of a repertoire* of 10 minutes where mastery of an instrument is demonstrated. If the instrument is melodic, will have to be accompanied by a harmonic instrument.

* For this proof the use of backing tracks is allowed and should bring him the aspirant.

 

IMPORTANT:  The center will provide mp3 players for the realization of Part A. We recommend that the candidate bring his own headphones.

 


 

· PART B

 

Part B aims to ascertain that they possess the necessary skills to pursue such studies.

 

Contents Part B  (Interpretation)

 

• Interpretation (35%):

Interpretation of five songs of different styles and times in which the aspirant demonstrates his mastery of the instrument. For guidance, the center publishes a list of reference works. In any case, the repertoire is free and even the applicant can present own compositions that are at a level equivalent to those proposed by the center. If the applicant decides to present a composition of his own, he must send to superior@jamsession.cat the scores and the audio for his revision the same day that he completes the inscription form. The stylistic diversity will be valued.

The interpretation of the repertoire will be with musicians sought by the aspirant.

 

 

• Improvisation (25%):

 

  • Improvisation on base (20%)

 Improvisation on a rhythmicarmonic base given by the examining court. Creativity in improvisation, variety in instrumental technique, rhythmic variety, language control and the application of materials on standard harmonic progressions will be valued.

Example of a base for improvisation: Listen

* Candidates for voice be heard singing the introduction of the following songs and improvising on a loop.

· For men:

James Blake “Retrograde” from the album Overgrown.

From 0:00 to 2:05. (Lead voice of James Blake).

· For women:

Björk “The Pleasure Is All Mine” from the album Medulla.

From 0:00 – 2:00 minutes. (Lead voice of Björk).

  • Free improvisation (5%)

Unaccompanied improvisation.

 

 

• Working session (40%):

 

  • Technique (25%):

Reference materials for the Working session:

1. Scales and arpeggios

· Modal scales.

· Minor melodic scale and important modes (altered and Lydia b7).

· Minor harmonic scale and important modes (Mixolidia b9 b13).

· Symmetrical diminished scale.

· Tonal scale.

· Arpeggios Maj7, 7, 6, m7, m7b5, m6, dim7, 7su4, 7b5, 7#5, mMaj7, Maj7#5.

2. Harmony

· Triads major, minor, diminished, augmented (groups of three strings). Position fundamental and two investments.

· Quatriads chords (6432 and 4321 for guitar) and investments (Maj7, 7, m7, 6, m7b5, m6, dim7 i 7sus4) + chords with tensions (6432 for guitar). Ex: Gmaj7#11, G7#5, G7#11, Cm7(9)…

· DROP 2 chords (4321 for guitar) with 1 or/and 2 tensions Ex: GMaj7(9), G7(9,13), G7(b9, 13)…

· Quatriads chords (5432 for guitar) and investments (Maj7, 7, m7, m7b5, Maj7b5, Maj7#5, m7#5, 7b5, 7#5, 7sus4, mMaj7, 6, m6).

· Diatonic triads of minor melodic scale.

 

• Sight reading (15%)

Examples of sight reading:

Voice / Drums / Guitar

 

Interview:

The candidate must answer a series of general questions, formulated by the court, to assess their maturity. Once the interview is conducted, the court may decide the applicant’s access regardless of the results obtained in Part A and B.

 


 

Contents of Part B (Sonology)

 

• Analysis (60 minuts / 45%)
The applicant shall make an analysis of a sound fragment from hearing thereof and the corresponding score. The exercise is completed with a five-question quiz.

 

• Audio Treatment (30 minutes / 55%)
Handling a sound fragment with the specifications defined by the examiner. Agility in implementing the solutions provided by the applicant will be assessed.

* The software used for this proof is Logic Pro.

 


Specific exam for applicants who don’t prove the Professional Degree of Music:

 

• Analysis (120 minutes)
Exercise written on a topic of 4 or 5 minutes. The applicant shall have the audio and sheet music for an issue that must be analyzed. Structure, melody, harmony, instrumentation and general aspects such as context specific aspects of the subject are valued.


 

TECHNICAL STUDIES (Practical exercise of Part A)

Only for the specialty of Interpretation

This exercise is required and the applicant must choose one of the two proposed by the center:

 

Technical Studies for drums

1. Transcription of Matt Garstka (VF Jams Live) until page 6 (Change of tempo).
2. Technical study – book Level 8 of drums (Escola de Música Jam Session).

 

Technical Studies for piano

1. “La Villa Strangiato” by Geddy Lee, Alex Lifeson, Neil Peart; Music Core Publishingedició piano.
2. “Four, Three” and “Forcing the Pace” – the 2nd accompanied by corresponding backing track; Christopher Norton (Boosey & Hawkes).

 

Technical Studies for guitar

1. “Glasgow Kiss” (John Petrucci) to 2:05 minutes; John Petrucci: Suspended Animation ed.Alfred Music.

2. “Lazy” (Deep Purple). Intro and guitar solo of 1:40 to 3:03 (approx); Hal Leonard Deep Purple Machine Head Tab Book ed.Hal Leonard.

 

Technical Studies for bass

1. “Living Sin” (Emerson, Lake & Palmer). Trilogy – 1972.
2. “Iceta Dance” – Estudi #1. Rafa Escoté.

 

Technical Studies for voice

1. Blues for the Bean. Blues scattitudes by Bob Stoloff.
2. II-V pattern cantado a capella. Page 42 of Scat! By Bob Stoloff.

 

Technical Studies for sax

1. Bob Mintzer  (14 Jazz & Funk Etudes) – Start with the blues.
2. Bob Mintzer  (14 Blues & Funk Etudes) – Shuffle de-funk.

 

Technical Studies for violin

For this instrument the candidate must interpret the following 5 songs:

  1. Lenny Niehaus – Jazz Conception Vol.2 – Intermediate – Try Publishing Company.
  2. Altamiro Carrilho – Chorinhos didácticos.
  3. Astor Piazzolla – Tango Études – Editions Henry Lemoine.
  4. Bob Stoloff-Blues Scatitudes – Gerard and Sarzin Publishing Company.
  5. R.Kreutzer – 42 Studies for Violin – Schimer’s Library.

 


 

Reference Repertory – Part B

Only for the specialty of Interpretation

 

 

Reference repertoire for drums

Between the Buried and Me – Voice of Trespass

Nigel Hall – Swagism

The Dereck Truck Band Version – Afro Blue

The Pineaple Thief – Alone at Sea

Staton Moore – Everything I Do Gone Be Funk

Oz Noy Version – Come together

The Heavy – Since you been gone

Kamaad Williams – Broken Theme

 

Reference repertoire for piano

Britney Spears (Dirty Loops version) – Circus

Adele (Dirty Loops version) – Rolling in the Deep

Esbjörn Svensson Trio (e.s.t.) – Seven Days of Falling

Mongo Santamaria (Robert Glasper-Black Radio) – Afro Blue

Hiatus Kaiyotes – Molasses

Ibrahim Maalouf – Free Spirit

Ibrahim Maalouf – Essentialles

Bruce Springsteen (Aaron Parks version) – I’m on Fire

The Doors (Medeski, Martin, Wood and John Scofield version) – Light My Fire

Cory Henry – Gotcha Now Doc

Brad Mehldau – Blackbird

Brad Mehldau – Exit music (for a film)

Roy Hargrove – Strasburg St. Denis

 

Reference repertoire for electric bass

Freak Kitchen – Hateful little people

Alien Ant Farm – Movies

Quite Sane – Stop

KitflusKuartet (Rafa Escoté)  – El Boig

Emerson, Lake & Palmer – Living Sin

Red Hot Chili Peppers – Dark Necessities

Vulfpeck – Cory Wong

Pegasus – A reveure

Richard Bona – Playground

 

Reference repertoire for electric guitar

Rick Lollar Band – I`ve Been Driving

Andy Timmons – Pink Champagne Sparkle

Robben Ford and The Blue Line – The Brother

Mark Lettieri – Little Minx

The Aristocrats – Bad Asteroid

Nick Johnston – Poison Touch

Joe Satriani – Premonition

 

Reference repertoire for voice

Glenn Hansard – When Your Mind´s Made Up

Gnarls barkley – Crazy

Imogen Heap – Hide and Seek

Florence + The machine – Hunger

Björk – Human Behaviour

Amy Winehouse – Body and Soul

Jamie Cullum – Save your Soul

Cyrille Aimée (Loop versión / Live at Birdland)  – Nuit Blanche

Tom Misch – Losing my Way

Seal – Crazy

India Carney – Ain´t No Sunshine Cover

Beth Hart – I´ll Take Care of You

Imelda May – Black Tears

Erykah Badu – Time´s a Wastin

Lady Gaga – I´ll Never Love Again

Rihanna – Love on the Brain

Scary Pockets/Sarah Dugas (Adele cover) – Rolling in the Deep

Cécile McLorin – Sam Jone´s Blues

Lauryn Hill – Tell Him

The Reign of kindo – The Moments in Between

 

Reference repertoire for sax/transverse flute

Sax:

Ben Wendel – Soli

David Binney – Arlmy Trangent

Bob Mintzer  (Yellowjackets) – Boomtown

Bob Reynolds – Down South

Bob Sheppard – Gazelle

Chris Potter – Snake Oil

Kamasi Washington – Desire

Michael Brecker – Slang

Miguel Zenon – Colobó

Rudresh Mahanthappa – On the DI

Steve Coleman – The Tao of Mad Phat

Steve Lehman – Post-Modern Pharoahs

Transverse flute:

Ali Ryerson – Sarah’s Touch

Ali Ryerson – Lydian Grin

Ali Ryerson – Não Está Colando

Althea Rene – Gypsy Soul

Dave Valentin – Cat Man

Karl Denson – Flute Down

Marc Adler – If My Heart Could Sing

Nestor Torres – Serenade to a Cuckoo

Nicole Mitchell – Curly Top

 

Reference repertoire for violin

The applicant will present 5 pieces of free choice, preferably from different eras and styles.
The proposed technical studies (practical exercises of Part A) will reference of the required level.

 

 

* Notes:

· The works of this list are approximate.

· You can also provide original songs in a similar technical reference. Will be evaluated a creative proposal.

· It’s mandatory to bring scores of all songs that are interpreted, including technical exercises.

· It is mandatory identified with DNI/NIE or Passport in the entrance examinations.

 



 5. Contents of tests & Simulacrum



 

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