5. Exam contents

5. Exam contents


Due to the exceptional situation we are experiencing, the dates that we give you are provisional and subject to change.




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 (220 minutes)


CONTENTS OF PART A (Performance and Sonology: 50%)


● Auditory perception (Performance: 35% / Sonology: 30%)



  1. A certain auditory domain that allows the recognition of musical parameters of sound and time.
  2. Sufficient knowledge to make a correct written musical transcription.
  3. Knowledge of harmony and musical forms, according to the musical style.
  4. Abilities to recognize various aspects and constitutive elements of a musical work (instruments, form, harmony, rhythm, etc.).
  5. Sufficient knowledge of the history of music and its contextualization, according to style.

Exercises and evaluation items:

  • Rhythmic-melodic dictation (Performance: 15% / Sonology: 15%)

    • Melody (60%)
    • Rhythm (30%)
    • Writing (10%)
  • Harmonic dictation (Performance: 20% / Sonology: 15%)

    • Chord species (60%)
    • Bass line (30%)
    • Writing (10%)

● Musical analysis (Performance: 35% / Sonology: 50%)



  1. Sufficient knowledge of the history of music and its contextualization, according to style.
  2. Knowledge and recognition of technical and theoretical aspects associated with a work or musical fragment (form, melody, harmony, texture, etc.).
  3. Competences to schematize and organize information.
  4. Competences to argue and observe.
  5. Consistency in the use of analytical tools and musical terminology.

Exercises and evaluation items:

  • Analysis of a score (Performance: 20% / Sonology: 25%)
    • Structure (20%)
    • Harmonic analysis (20%)
    • Instrumentation (20%)
    • Analysis of a fragment (20%)
    • Style (10%)
    • Language and expression (10%)
  • Auditory analysis (Performance: 15% / Sonology: 25%)
    • Structure (20%)
    • Bar analysis (20%)
    • Instrumentation (20%)
    • Transcription (20%)
    • Style (10%)
    • Language and expression (10%)

 Applicants must bring a cell phone or tablet and headphones to listen to the audios of Part A and the specific Professional Grade exercise. The same day of the exams some links will be provided to access the audios.


● Instrumental exam (Performance: 30% / Sonology: 20%)



  1. Sufficient instrumental domain in musical performance.
  2. Sufficient musical understanding and communication of this understanding in musical performance.

Evaluation items:

  • Use of dynamics (33,3%)
  • Voice balance (33,3%)
  • Mastery of technique (33,3%)

· Performance:

The candidate must interpret one of the two studies proposed by the center (see list of TECHNICAL STUDIES below).

· Sonology:

Interpretation of a 10-minute repertoire demonstrating mastery of an instrument. If the instrument is melodic it will have to be accompanied by a harmonic instrument.


For this exam, the use of backing tracks is allowed, which the applicant must bring in a pen drive.



PART B (90 minutes)


CONTENTS OF PART B (Performance: 50%)



  1. Interpretative competence and domain of the instrument in instrumental performance.
  2. Expressive and communication skills.
  3. Technical control of the instrument.
  4. Understanding of works and stylistic characterization.
  5. Capacity of reaction and assimilation to new musical and technical indications.
  6. Ability in the proper application of musical language, tempo, sound technique, scales used, formal sense and general coherence.
  7. Creative ability and imagination in improvisation.
  8. Capacity of conjunction with the group.

Exercises and evaluation items:

● Performance -5 songs- (35%)
    • Melody control (20%)
    • Accompaniment quality (20%)
    • Communication (20%)
    • Harmony control (20%)
    • Interpretive decisions according to style (20%)

Interpretation of five songs of different styles and times in which the applicant demonstrates her mastery of the instrument. As a guide, the center publishes a list of reference works. In any case, the repertoire is free and even the applicant can present their own compositions that are at a level equivalent to those proposed by the center. If the applicant decides to submit their own composition, they must send the scores and the audio to superior@jamsession.cat for their review the same day that they fill out the registration form. Stylistic diversity will be valued.


ⓘ Due to the exceptional situation we are experiencing, this part may be performed with musicians procured by the applicant or with backing tracks that must be carried the same day of the test in a pen drive, in wav or mp3 format.

● Improvisation (25%):


  • Improvisation on base (20%)
    • Style techniques (33,3%)
    • Solo quality (33,3%)
    • Creativity (33,3%)

Improvisation on a rhythmic-harmonic base given by the examining tribunal. 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 improvisation base: Listening


Voice applicants should sing the introduction of the following songs by ear and improvise on a loop.

· For men:

James Blake “Retrograde” from the album Overgrown.

From 0:00 to 2:05 minutes. (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%)
    • Creativity (33,3%)
    • Sound quality (33,3%)
    • Technical resources (33,3%)

Improvisation without accompaniment.

● Work session (40%):


  • Technique (25%)
    • Use of musical language (50%)
    • Instrument technical resources (50%)

Reference materials for the working session:

1. Scales and arpeggios

  • Modal scales.
  • Melodic minor scale and important modes (Altered and Lidia b7).
  • Harmonic minor scale and important modes (Mixolydian b9 B13).
  • Symmetric scale decreased.
  • Tonal scale.
  • Arpeggios Maj7, 7, 6, m7, m7b5, m6, dim7, 7su4, 7b5, 7#5, mMaj7, Maj7#5.

2. Harmony

  • Triads, major, minor, diminished, increased (groups 3 strings). Fundamental position and two investments.
  • Quadratic chords (6432 and 4321 for guitar) and inversions (Maj7, 7, m7, 6, m7b5, m6, dim7 and 7sus4) + chords with tension (6432 for guitar). Ex: Gmaj7 # 11, G7 # 5, G7 # 11, Cm7 (9)…
  • DROP 2 chords (4321 for guitar) with one and / or two voltages. Ex: GMaj7 (9), G7 (9,13), G7 (b9, 13)…
  • Quadratic chords (5432 for guitar) and inversions (Maj7, 7, m7, m7b5, Maj7b5, Maj7 # 5, m7 # 5, 7b5, 7 # 5, 7sus4, mMaj7, 6, m6).
  • Diatonic triads of the minor melodic scale.


  • Sight reading (15%)
    • Use of musical language (100%)

Examples of sight reading:

Voice / Drums / Guitar


CONTENTS OF PART B (Sonology: 50%)



  1. Ability to observe and analyze a sound situation.
  2. Ability to reflect on the sound phenomenon broadly understood.
  3. Ability to translate and extrapolate auditory perception to a new context.
  4. Ability to reason and justification.
  5. Knowledge and proper use of terminology related to music technology.
  6. Creative and imaginative ability in the use and manipulation of sound.
  7. Ability to connect and apply musical knowledge and skills in a new context.
  8. Ability to explain and communicate.
  9. Self-learning ability and overcoming conceptual and material limitations.
  10. Ability to formulate adequate information demands.

Exercises and evaluation items:

● Sound analysis (45%)


  • Audio process recognition -five files- (25%)
  • Timbral analysis in the mix (20%)
    • Instrument recognition (50%)
    • Analysis of sound planes (50%)
  • Description of MIDI tools and music transcription (20%)
    • Description of MIDI tools (50%)
    • Musical transcription of MIDI events (50%)
  • MIDI event recognition (20%)
  • Recognition of audio processes on the doorbell -three files- (15%)

● Audio treatment ( 55%)


Manipulation of a sound fragment with the specifications defined by the examiner. The agility in the application of the solutions provided by the applicant will be valued.

  • Edition and creation of musical phrases in audio (20%)
    • Edition and creation of musical phrases in audio (50%)
    • Audio Phrase Creation (50%)
  • Audio editing (15%)
  • Audio Processing: Space Effects (15%)
  • Audio Processing: Ring Effects (10%)
  • Extraction of audio samples through editing -four samples- (20%)
  • MIDI sequencing from score (20%)

ⓘ The software that the applicant will use for this test will be Logic Pro.

● Interview  (Performance and Sonology):


The applicant must answer a series of general questions, asked by the court, to assess their maturity.

This part doesn’t score but can be decisive. After the interview, the tribunal may decide the applicant’s access regardless of the results obtained in Part A and B.



Specific exercise for applicants who don’t have the title of Professional Music Degree (120 minutes)
Performance and Sonology



  1. Cultivate the capacity for analysis and evaluation of musical quality.
  2. Forge your own artistic criteria, based on knowledge, listening and musical practice.
  3. Develop musical sensitivity as a means of personal enrichment, and extract the most suitable aspects for growth itself.
  4. Understand and know how to express musical concepts in their specific terminology.
  5. Know and master the fundamental aspects of musical language, its characteristics, terminology, functions and transformations in the various historical contexts.

Exercise and evaluation items:

● Auditory and musical analysis
    • Structure (20%)
    • Harmonic analysis (20%)
    • Instrumentation (20%)
    • Musical language issues (20%)
    • Style (10%)
    • Language and expression (10%)

ⓘ This exam is graded separately.



 TECHNICAL STUDIES (Practical exercise of Part A)
Only for the specialty of Performance


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 & keyboards

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 Performance



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 & keyboards

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


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.