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By pateceramics · Posted
Perfect pitch is rare.Β Solfege is the thing that will guide you to sight sing something like this... once you learn how to do it.Β They want to see if you can do it already or if you need to learn it while you are at conservatory.Β Being able to sight read well up to tempoΒ is a skill that separatesΒ professionals from good amateurs, so they want to see how much of that skill you already have.Β If you are an instrumentalist, they won't be too worried if you can't do this thing well, because normally you would be sight reading with your instrument in front of you, not singing solfege syllables.Β If you are applying as a singer it becomes more important and is worth some practice time.Β Β -
By Monarcheon · Posted
I almost want to backpedal and just say do fixed Do, but there is a pretty clear tonic change in section 2 of the excerpt, so it's probably worth asking still.Β I'm not a professor, but using that as an entrance exam seems like one of those things they do just to see if anyone can do it well, as opposed to actual quality. This is easily (at least in North America) stuff you would be doing in Year 2 or maybe late Year 1. You're right: it is hard. Take the metric modulation at the tempo change. Most musicians don't even know what that is, let alone use it for an entrance exam. So either they're asking as a diagnostic exam, or they're being pretentious, and I give them the benefit of the doubt. -
Interesting piece, thank you for sharing. I like the contrapuntal stuff you do with the strings, for example m. 4-9 and m. 32-34. I wanted to ask what your intention was on some of the metre throughout the piece. There are several places where, as a listener, I feel the time signature to be 6/8, but in the score it's in 4/4. For example, m. 48-52. The feel of 6/8 is so strong here it would make sense to me to write the score in 6/8. Was your intention for the piece to feel this way, or am I missing something?Β There are several spots like this where I think the notation would confuse the musicians, m. 62-63 is a notable example. I would try to write this so the rhythmic emphasis occurs on the beat, instead of the second note of a set of sixteenth notes - see below. I might redo the scale at the beginning as a "ten-tuplet" so the E falls on beat 2. Also there are several spots where respelling the accidentals would make it easier to read. For example the horn solo in m. 82-90 - I would spell all of these accidentals as sharps instead of flats.Β Thanks again for sharing, are there any more movements to the symphony? -
Yes but the difficulty of what they gave is pretty high. There is no way I can sing that well because I don't have perfect pitch or anything that guides me.Β -
By pateceramics · Posted
Definitely ask someone at the conservatory which system they prefer.Β They will be delighted that you care enough to ask and that you are asking so that you can practice.Β Wanting to practice is a GOOD thing.Β Conservatories like that.Β π
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