Instrumental music training A - ear module

The aim of teaching musical training is :

• bringing fundamental solfeggio knowledge and practice up to standard, in relation to other aspects of higher education, in particular analysis and instrumental sight-reading ;
• the ability to apply all the theoretical elements of basic solfeggio training in ensemble practice.

The teaching of musical training is divided into three training modules, in relation to the aforementioned objectives.

Module A: Ear training (written)

Helps to develop horizontal and vertical hearing of tonal and atonal music, and thus to encourage critical listening to a given text.

Exemption examination (September)

After admission to the Conservatoire, students are required to sit an exemption examination in music training, which takes place in September. The syllabus for this exemption is identical to that for the certificate. Students may be exempted completely (all three modules), partially (one or two modules) or not at all (no modules).

Module A: Ear training (written)

6 tests, all played on the piano

Marked out of 60 points

Module passed with a minimum mark of 42/60

A1 - Recognition of cadences and keys

Marked out of 10 points

Audition of four short musical phrases comprising a principal key and a cadence, each phrase being played three times, preceded by A.

A2 - Ear training on a Bach chorale

Marking out of 20 points

Detection of errors, recognition of missing parts and analysis of extraneous notes in a Bach chorale (each period comprises only one type of test). The text of the chorale written on two staves must be accurate. The chorale will be played in its entirety once, then each period will be played three times, followed by a rereading of the whole chorale once.

A3 - Dictation in one then two voices

Marking out of 10 points

Dictation in two voices (on two staves) played in full and then in fragments of two bars.

A4 - Bass given in figures

Marking out of 10 points

In a musical fragment for 4 voices, consisting of two phrases with a given bass, indicate :

• the numbers (three-tone chords, dominant sevenths with root, including inversions, species sevenths and diminished sevenths in the root state) ;
• degrees
• keys ;
• cadences.

The fragment is first played in its entirety, slowly, then each phrase is played twice, before the whole is played again.

A5 - Dictation of chords

Marking out of 6 points

Dictation of six four-tone chords (4 cyphers, 2 aggregates); each chord is played four times preceded by A.

A6 - Dictation of two fragments of atonal music

Marking out of 4 points

One of the fragments is rather disjoint, the other rather conjoint, one in treble clef, the other in bass clef; the first note is given; each fragment is played four times; only the notes are to be written down, not the rhythms.

1 to 3 years