ACCESS TESTS 23/24

BULLETIN BOARD

CALENDAR OF ACTIONS AND INFORMATION ABOUT THE PROCESS
 RESOLUTION of April 21, 2023

COURT SCHEDULES SPECIFIC EVIDENCE

RATINGS

ALLOCATION OF PLACES

FIRST PHASE OF ALLOCATION OF PLACES

SECOND PHASE OF ALLOCATION OF PLACES

SPECIFIC EXTRAORDINARY TESTS FOR ACCESS TO HIGHER ARTISTIC EDUCATIONS IN DRAMATIC ART, DESIGN AND MUSIC CORRESPONDING TO THE 2023/2024 ACADEMIC YEAR

COURT SCHEDULES SPECIFIC EVIDENCE

APPLICANTS ARE INFORMED OF THE EXTRAORDINARY ACCESS TESTS, BASED IN OUR CENTER, FOR THE SPECIALTIES OF COMPOSITION, JAZZ DOUBLE BASS, ORCHESTRA CONDUCTING AND SAXOPHONE, WHICH WILL BEGIN ON FRIDAY, OCTOBER 6 AT 9:30 AM. ALL EXERCISES WILL BE DONE ON THE SAME DAY.

REGISTRATION PROCEDURE

SUBMISSION OF APPLICATION BY TELEMATIC WAY

Applications for access tests will be submitted, preferably, electronically at the Virtual Secretariat of the educational centers of the Ministry of Educational Development and Vocational Training using the Andalusian Educational Identifier ( iANDe ), Cl@ve authentication, or digital certificate , to through the Virtual Secretariat of the Junta de Andalucía. People who wish to register in the iANDe (Andalusian Educational Identifier) ​​system to carry out this procedure may do so through the following link:
Registration User password iAnde (juntadeandalucia.es)

    • Application for admission to Higher Artistic Education. Ordinary Call.
      • Application for admission to Higher Artistic Education. Extraordinary Call.

      ADDITIONAL INFORMATION

        • It will also be necessary to present all those documents that are requested in each of the applications, as necessary for each specific case.
          • Large families will have a 50% or 100% reduction in the rate depending on their category. They must prove this condition by means of a copy of the document that proves it.
            • Applicants applying for more than one specialty will only have to pay the amount of a single fee, as long as they have established a common specific test.

              OTHER INFORMATION AND DOCUMENTS

              STRUCTURE AND CONTENT OF THE SPECIFIC TEST FOR ACCESS TO HIGHER ARTISTIC EDUCATIONS IN MUSIC
              COMPOSITION SPECIALTY

              Exercise 1: Presentation and oral defense of works and works carried out by the applicant for a maximum of fifteen minutes, being able to provide recordings of them.

              Exercise 2: Carrying out a harmonic-contrapuntal work, of an approximate length of sixteen bars with bass/treble given, the applicant having a time of three hours for its preparation.

              Exercise 3: Sight reading at the piano of a sixteen-bar fragment of a level equivalent to the contents of the complementary piano subject in professional music education.

              Exercise 4: Interpretation on the main instrument (voice, in the case of singing) for approximately fifteen minutes, of the works determined by the court of a presented report
              previously by the applicant, which includes at least three of the most representative styles of the literature of that instrument or voice.

              DIRECTION SPECIALTY (guidance on the development of the specific test)

              Exercise 1: Carrying out a harmonic-contrapuntal work, of an approximate length of sixteen bars with bass/treble given, the applicant having a time of three hours for its preparation.

              Exercise 2: Listening test, consisting of:
              For the Orchestra Conducting itinerary : Commented audition of an orchestral fragment that includes timbral, style and the written reproduction of a motif or phrase.

              For the Choir Conducting itinerary :

              1. Dictation in two voices.
              2. Identification of notes and chords from the fretboard.
              3. Solfe at first sight a choral part of medium difficulty.

              Exercise 3: Sight reading at the piano of a sixteen-bar fragment of a level equivalent to the contents of the complementary piano subject in professional music education.

              Exercise 4: Interpretation on the main instrument (voice, in the case of singing) for approximately fifteen minutes, of the works determined by the court of a presented report
              previously by the applicant, which includes at least three of the most representative styles of the literature of that instrument or voice.

              FLAMENCO SPECIALTY

              Flamenco Guitar Itinerary

              Exercise 1: Performance of a program lasting approximately twenty minutes uninterrupted, consisting of at least one author's work in time and another free rhythm work from different periods of flamenco guitar literature. A work of one's own creation may also be included. The works proposed in the list attached at the end of this annex will serve as a point of reference, and the students may present a different program of a similar level.

              Exercise 2: Accompaniment of a free song or a song in rhythm to be determined by draw.

              Exercise 3: Accompaniment of a dance by soleá, seguiriya, taranto or alegrías to be determined by draw.

              Exercise 4: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The level of difficulty will be the one reached at the end of the professional music education. For this exercise, applicants will have a maximum time of ninety minutes.

              Exercise 5: Recognition of the constituent elements of a characteristic genre from one or more auditions selected by the court.

              For exercises 2 and 3, applicants may contribute their singer and their dancer. In any case, the court will make available to the applicants a singer and a bailaor.

              Flamenco singing itinerary

              Exercise 1: Interpretation of a program lasting approximately twenty minutes, made up of at least three songs, one for soleá, one free and one in compás. The applicant must provide his/her accompanying guitarist.

              Exercise 2: Accompaniment of a dance by seguiriya, taranto or alegrías to be determined by the court.

              Exercise 3: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The level of difficulty will be the one reached at the end of the professional music education. For this exercise, applicants will have a maximum time of ninety minutes.

              Exercise 4: Recognition of the constituent elements of a characteristic genre from one or more auditions selected by the court.

              For exercise 2, the applicant may provide his or her guitarist and dancer. In any case, the court will make a guitarist and a dancer available to the applicants.

              The style performed in exercise 1 cannot be repeated in exercise 2.

              Flamencology Itinerary

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The level of difficulty will be the one reached at the end of the professional music education. For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Interpretation on the main instrument (voice, in the case of singing) for approximately fifteen minutes, of the works determined by the court from a list presented at the beginning of the test by the applicant, which includes at least three of the most representative styles of the literature of that instrument or voice.

              Exercise 3: Recognition of the constituent elements of a characteristic genre, based on one or several auditions selected by the court.

              INTERPRETATION SPECIALTY

              For all itineraries, except those for Clavier, Organ and Jazz Instruments.

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court.

              The degree of difficulty will be based on a first movement of a classical sonata, with those by Haydn or Mozart serving as a reference.

              For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Sight reading of a fragment appropriate to the level of the first two courses of professional music education with an approximate length of thirty-two measures. A prior time will be granted to prepare this five-minute test on the score without an instrument.

              Exercise 3: Interpretation, with the main instrument of the specialty to be taken, of a program, chosen by the applicant, lasting approximately thirty minutes uninterruptedly made up of works and/or studies, of different styles, of an appropriate difficulty to this level. The works proposed in the list attached at the end of this annex will serve as a point of reference, and the applicant may present a different program of a similar level.

              See the list of indicative works of the degree of difficulty and styles in each of the specialties.

              In the case of non-polyphonic instruments, the repertoire presented by the applicant must include a work with piano accompaniment. In the case of Percussion, at least one polyphonic work (four mallets) will be presented.

              Applicants must provide their accompanying pianist.

              The performance of a work and/or study of the repertoire presented by the applicant is required. When the work is made up of more than one movement, only one of them will be required to be interpreted from memory.

              Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              Key and Organ Itineraries

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The degree of difficulty will be based on a first movement of a classical sonata, with those by Haydn or Mozart serving as a reference. For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Improvised accompaniment of a melody by performing a continuo based on a coded bass given by the court.

              Exercise 3: Interpretation of a program, chosen by the applicant, lasting approximately thirty minutes, made up of works and/or studies, of different styles, of a difficulty appropriate to this level. The works proposed in the list attached at the end of this annex will serve as a point of reference, and the applicant may present a different program of a similar level.

              See the list of indicative works of the degree of difficulty and styles in each of the specialties.

              The performance of a work and/or study of the repertoire presented by the applicant is required. When the work is made up of more than one movement, only one of them will be required to be interpreted from memory. Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              Jazz Instruments Itinerary

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The applicant must demonstrate the use of basic Jazz vocabulary, carry out a harmonic-functional analysis of a piece that responds to the standard models of the Jazz repertoire proposed by the court, and carry out a melodic-harmonic analysis of a solo in which Notes of the chord, tensions and alterations of the chords must be indicated in relation to their corresponding cipher, as well as comment on detected improvisation techniques. For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Sight reading of a fragment appropriate to the level of the first two courses of professional music education with an approximate length of thirty-two measures. A prior time will be granted to prepare this five-minute test on the score without an instrument. The score provided by the court will contain a melody line with its corresponding harmonic code. The applicant will interpret the score with his instrument, first sight-reading the melodic line (rhythmically in Jazz Drums), and in a second round he will improvise on the harmonic cipher (according to the characteristics of his instrument) with an accompaniment background. that will be provided to you.

              Exercise 3: This test will consist of three parts:
              3.1. Solo interpretation. The applicant will perform a solo program of his or her free choice, lasting approximately 10 minutes, taking works from the repertoires that appear in the “guideline works” section:

              a) Solo arrangements of standards from the Jazz repertoire (own or others, published or not).
              b) Works or studies of the Jazz didactic literature of the instrument.
              c) Works or studies of the classical literature of the instrument.

              3.2. Interpretation of a transcript. The applicant, in a duration of approximately 10 minutes, will literally perform one or several solos transcribed from classical recordings by Jazz authors of recognized international prestige and of a difficulty in line with the professional level, and may opt for the presentation between three types of accompaniment:

              a) Accompaniment of a group. The applicant must provide his/her companions.
              b) Accompanied by the harmonic progression recorded in a sequence. The applicant will provide the corresponding sequence.
              c) Accompaniment of the original recording of the transcribed solo. The applicant will provide the corresponding original recording, which must be the original without modifications or alterations of any kind.

              In any case, the applicant will provide the score of the transcription made, as well as the original recording and the portable reproduction medium.

              3.3. Interpretation of a standard. The applicant will perform, for a duration of approximately 10 minutes, a piece chosen from among those listed in the list of indicative pieces, according to the following structure: First chorus: presentation of the theme ("head"); Second chorus: accompaniment; Third and Fourth choruses: improvised solo; Fifth chorus: restatement of the theme. For this presentation you can choose one of the following two modalities:

              a) Accompaniment of a group. The applicant must provide his/her companions.
              b) Accompaniment of a recording. In this case, the applicant will provide the corresponding sequence.

              II. QUALIFICATION OF THE SPECIFIC ACCESS TEST

              Each exercise will be graded from 0 to 10 points and will be expressed with two decimal places, rounded to the nearest hundredth, and in case of equidistance, to the nearest hundredth.

              The final grade for the specific test will be obtained by calculating the weighted average of the different exercises. This calculation will be carried out by assigning 20% ​​for Exercise 1 and 80% for the arithmetic mean of the rest of the exercises in the test.

              In the event of a tie in the final grade of the specific access test, preference will be given to the highest score obtained in Exercise 3.

              III.1. LIST OF GUIDANCE WORKS FOR THE DIFFERENT TESTS AND MODALITIES OF THE JAZZ ITINERARY

              For tests 3.1 and 3.2:

              ✔ Jazz Drum Mode:
              Transcriptions of classic drummers, such as Max Roach, Art Blakey, Elvin Jones, Roy Haynes, Philly Joe Jones, Jimmy Cobb, Art Taylor, Ben Riley, Frankie Dunlop, Billy Higgins, Paul Motian, Jack Dejohnette, Steve Gadd, Kenny Clarke, etc. ...

              Pieces from "The Art Of Bop Drumming" or “Beyond the Bop Drumming” methods by John Riley.

              Box studies where the applicant's skill with this instrument can be appreciated. Guidance study: “Rolling in Rhythm” by C. Wilcoxon or “Stick Control” by Lawrence Stone.

              ✔ Jazz Double Bass Modality:
              Some technical study or teaching literature on jazz bass, such as Richmond's "Modern Walking Bass Technique," John Patitucci's "60 Melodic Etudes," or Snidero's "Jazz Conception. Bass."

              Books of transcriptions by Rufus Reid or Ron Carter.
              Solos transcribed by the candidate, from performers such as Paul Chambers, Ron Carter, Charles Mingus, Larry Grenedier, John Patitucci, Oscar Pettiford or Ray Brown.

              ✔ Jazz Guitar Mode:
              Arrangements of Jazz standards for solo guitar, own or not.

              Some technical study or didactic literature on Jazz Guitar (J.Levitt, B.Galbraith...) or the classical guitar repertoire (some study by H. VillaLobos, or some sonata movement for violin or cello by Bach, where technical capabilities are appreciated).

              Transcribed solos from traditional performers, such as Wes Montgomery, Joe Pass, Jim Hall, Pat Martino, etc., and more modern performers such as Pat Metheny, Kurt Rosenwinkel, Peter Bernstein, and others.

              ✔ Jazz Piano Mode:
              Arrangements of Jazz standards for solo piano, own or not.

              Some technical study or study of the didactic literature of Jazz Piano or of the classical Piano repertoire where technical capabilities are appreciated.

              Transcribed solos by traditional players, such as Bud Powell, Thelonius Monk, Hank Jones, Red Gardland, Bill Evans or others.

              ✔ Jazz Saxophone Mode:
              Arrangements of Jazz standards for solo saxophone, whether own or not. Some technical or educational study of jazz saxophone literature (such as "vol.6 Developing a Jazz Language", by Jerry Bergonzi, "14 Jazz & Funk Etudes" by Bob Mintzer, or "Jazz Conception" by Snidero) or classical saxophone repertoire (such as "48 studies" by Ferling, "Estudios Variados" by Mule or "Estudios Variados" by JM Londeix).

              Books of transcriptions (such as Atlantic Music Corp.'s "Charlie Parker Omnibook" or similar)

              Solos transcribed by the applicant, from traditional performers, such as Charlie Parker, John Coltrane, Dexter Gordon or others.

              ✔ Jazz Trumpet Mode:
              Arrangements of Jazz standards for Trumpet alone, own or not. Some technical study or teaching literature of Jazz Trumpet such as: “Jazz Conception", by Jim Snidero; “Twenty-first Century Technique. Modern Technical Studies for Trumpet” by Chris Kase, or “Odd Meter Escapades: 14 jazz studies Advanced for Trumpet” by Chris Kase.

              Classical Trumpet Repertoire such as: "Douze Études Variées pour trompette” by PM Dubois, “12 Characteristic Studies” by JB Arban; “36 Etudes Transcendantes” by Theo Charlier; Modern Technical Studies for Trumpet by Chris Kase; Bach Cello Suites for Trumpet by David Cooper and Michael J. Gisond.

              Transcription books such as: “Artist Transcriptions Trumpet: Freddie Hubbard”, “Clifford Brown: The Complete Transcriptions”, “Miles Davis Omnibook”, “Wynton Marsalis Omnibook”, or similar.

              Solos transcribed by the applicant, from traditional players, such as Clifford Brown, Miles Davis, Chet Baker, Blue Michell, Lee Morgan, Freddie Hubbard, Thad Jones, Art Farmer or others.

              III.2. LIST OF STANDARDS FOR TEST 3.3:

              • All The Things You Are
              • Alone Together
              • Billie's Bounce
              • Blue Monk
              • Blues for Alice
              • Bluesette
              • Body & Soul
              • Caravan
              • confirmation
              • Cherokee
              • Days of Wine & Roses
              • Donna Lee
              • Footprints
              • Four
              • Have You Meet Miss Jones
              • How High the Moon/Ornithology
              • I Remember You
              • Impressions/So What
              • In a Sentimental Mood
              • Invitation
              • It Could Happen to You
              • Just Friends
              • Killer Joe
              • Lady Bird/Half Nelson
              • Like Someone In Love
              • Night & Day
              • On Green Dolphin Street
              • Out of Now
              • Scrapple from the Apple
              • Solar
              • Someday my Prince Will Come
              • Star Eyes
              • Stella By Starlight
              • Take the "A" Train
              • Tenor Madness
              • There Is No Greater Love
              • There Will Never Be Another You
              • You & The Night & The Music
              • You Don't Know What Love Is

              MUSICOLOGY SPECIALTY

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court.

              The degree of difficulty will be based on a first movement of a classical sonata, with those by Haydn or Mozart serving as a reference.

              For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Carrying out a harmonic-contrapuntal work, of an approximate length of sixteen bars with bass/treble given, the applicant having a time of three hours for its preparation.

              Exercise 3: Interpretation on the main instrument (voice, in the case of singing) for approximately fifteen minutes, of the works determined by the court of a presented report
              previously by the applicant, which includes at least three of the most representative styles of the literature of that instrument or voice.

              Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              PEDAGOGY SPECIALTY

              Exercise 1: Dictation for two voices, performed on the piano and with a maximum length of sixteen measures.

              Exercise 2: Sight reading at the piano of a sixteen-bar fragment of a level equivalent to the contents of the complementary piano subject in professional education.

              Exercise 3: Interpretation on the main instrument or voice (in the case of singing) for an approximate time of fifteen minutes, of the works determined by the court from the list previously presented by the applicant.

              The list of works for this exercise must include at least four works of medium difficulty (eight in the case of singing), belonging to the most representative styles of the instrument's literature, freely chosen by the applicant.

              Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              Exercise 4: Measured intonation of a musical fragment with piano accompaniment.

              PRODUCTION AND MANAGEMENT SPECIALTY

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The degree of difficulty will be based on a first movement of a classical sonata, with those by Haydn or Mozart serving as a reference.

              For this test, the applicant will have a maximum time of ninety minutes.

              Exercise 2: Interpretation on the main instrument or voice (in the case of singing) for an approximate time of fifteen minutes, of the works determined by the court from the list previously presented by the applicant.

              Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              Exercise 3: Writing a simulated project based on predetermined conditions established by the court, to which unexpected circumstances can be added and the justification for the decisions made can be developed.

              The maximum time to perform this exercise is two hours.

              The applicant's ability to organize tasks, to analyze the data offered, to react skillfully to unforeseen situations and to express their decisions in writing will be valued.

              Exercise 4: The applicant must develop in writing and defend orally a topic linked to an issue related to the management of cultural policies established in Agenda 21 for Culture. You may choose a topic from two proposed by the court who, in turn, may request, in the oral defense, an expansion of the concepts and approaches of the written exercise.

              The maximum time to carry out this exercise is one hour and thirty minutes for the writing, and a maximum of fifteen minutes for the defense.

              The applicant's ability to gather information on current issues linked to the specialty, to analyze the environment from a global perspective, to understand music as a complex and multidimensional phenomenon, to argue and organize a speech, will be valued. as well as expressing oneself correctly in writing.

              SONOLOGY SPECIALTY

              Exercise 1: Formal and aesthetic analysis of a work or musical fragment proposed by the court. The degree of difficulty will be based on a first beat of a classical sonata.

              For this test the candidate will have a maximum of ninety minutes.

              Exercise 2: Listening test. Dictated for two voices, performed on the piano and with a maximum length of twenty-four measures.

              Exercise 3: Sight reading at the piano, of a sixteen-bar fragment of a level equivalent to the contents of the complementary piano subject in professional music education.

              Exercise 4: Interpretation on the main instrument or voice (in the case of singing), for an approximate time of ten minutes, of the works determined by the court, of the report previously presented by the applicant.

              Applicants must submit to the court in triplicate a copy of the scores of the program they have chosen for this test. The materials will be returned at the conclusion of the same.

              Exercise 5: Personal proposal. Presentation and oral defense of a sound recording or production work (wav format) lasting approximately ten minutes and accompanied by a written description. For this exercise the candidate will have a maximum of fifteen minutes.

              QUALIFICATION OF THE SPECIFIC ACCESS TEST

              Each exercise will be graded from 0 to 10 points and will be expressed with two decimal places, rounded to the nearest hundredth, and in case of equidistance, to the nearest hundredth.

              The final grade for the specific test will be obtained by calculating the weighted average of the different exercises. Said calculation will be carried out differently depending on the specialty:

              - Interpretation, Pedagogy, Flamenco (flamenco singing and flamenco guitar itineraries): 50% for the interpretation exercise and 50% for the arithmetic average of the rest of the exercises in the specific test.

              - Flamenco (Flamencology itinerary) and Musicology: 50% for the analysis exercise and 50% for the arithmetic average of the rest of the exercises of the specific test.

              - Composition and Direction: 66% for the arithmetic mean of exercises 1 and 2 and 34% for the arithmetic mean of exercises 3 and 4.

              - Production and Management: 15% for exercise 1, 15% for exercise 2, 35% for exercise 3 and 35% for exercise 4.

              - Sonology: 30% for exercise 2 and 70% for the arithmetic mean of the rest of the exercises in the test.

              The final grade of the test will be expressed with two decimal places, rounded to the nearest hundredth, and in case of equidistance, to the nearest hundredth.

              In the event of a tie in the final grade of the specific access test, preference will be given to the highest score obtained in the following exercises:

              - Musicology, Flamenco: Exercise 1.
              - Composition, Direction and Sonology: Exercise 2.
              - Interpretation, Pedagogy and Production and Management: Exercise 3.

              LIST OF GUIDANCE WORKS FOR ACCESS TESTS

              HARP
              • “Cinquante Études, Op. 34” 1st. cahier, by N. Ch. Bochsa (Edit. LEDUC).
              • Harp Concerto in Bb major, Op. 4, no. 6, by Handel (Edit. BARENREITER).
              • Studies by A. Zabel (Ed. ZIMMERMANN).
              • La Source, Op. 44. By Hasselmans (Edit. LYRA MUSICAL CIA).
              • “Seven Progressive Sonatinas” by Naderman (Edit. LEDUC) no. 6 and 7.
              • Sonata in C minor, by Dussek (Ed. SCHOTT).
              • Variations on a theme by Mozart, by M. Glinka.

              SINGING
              Sopranos:
              • OPERA: Le Nozze di Figaro by Mozart.
              Puccini's La Boheme.
              • ZARZUELA: The Tavern of Puerto de Sorozábal.
              Play with Fuego de Barbieri.
              • ORATORY: Handel's Messiah.
              Bach's Christmas Oratorio
              • LIEDER/SONGS: Romance by Debussy.
              Poem in the form of Turina songs
              Mezzo-sopranos and contraltos:

              • OPERA: Le Nozze di Figaro by Mozart.
              Carmen by Bizet.
              • ZARZUELA: Chapí's Barquillero.
              The Tempranica of Giménez.
              • ORATORY: Handel's Messiah.
              Bach cantatas.
              • LIEDER/SONGS: Black Songs by Montsalvatge.
              Love and a Woman's Life (Fravenlive und Leben) by Schumann.
              Tenors:

              • OPERA: D. Giovanni by Mozart.
              Verdi's Rigoletto.
              • ZARZUELA: The Tabernera of the Port of Sorozábal.
              Luisa Fernanda de Moreno-Torroba.
              • ORATORIO Handel's Messiah.
              Stabat Mater by Rossini.
              • LIEDER/SONGS: Poet's Love (Dichterlibe) by Schumann.
              The Beautiful Miller Girl (Die Schöne Müllerin) by Schubert.
              Baritones:

              • OPERA: Il Barbieri di Seviglia by Rossini.
              Verdi's Traviata.
              • ZARZUELA: Los Gavilanes de Guerrero.
              That of Soto del Parral de Soutullo and Vert.
              • ORATORY: Fauré's Requiem.
              Brahms Requiem.
              • LIEDER/SONGS: Seven popular Falla songs.
              Poet's Love (Dichterlibe) by Schumann.
              Low:

              • OPERA: D. Pasquale de Donizetti.
              D. Giovanni by Mozart.
              • ZARZUELA: The Tabernera of the Port of Sorozábal.
              Luna's Jewish boy.
              • ORATORY: Handel's Messiah.
              Bach cantatas.
              • LIEDER/SONGS: Seven popular Falla songs.
              Poet's Love (Dicheterlibe) by Schumann.

              CLARINET
              • Adagio and Tarantella by Cavallini.
              • Capricho for solo clarinet by Sutermeister.
              • Concerto for clarinet and orchestra no. 1 in Weber's Fam.
              • Concerto for clarinet and orchestra no. 2 by Weber.
              • Fantasy Pieces, Op. 73 by Schumann.
              • Rhapsody for solo clarinet by Miluccio.
              • Poulenc Sonata.
              • Sonata no. 2 Op. 73 by Brahms.

              CLUE
              • Aria detto Balleto by Frescobaldi.
              • More Palatino by Sweelinck.
              • Preludes and Fugues from Bach's Well-Tempered Clavier.
              • Sonata no. 89 in F major by Soler.
              • Prussian cassock no. 1 in F major by C. Ph. E. Bach.
              • Suite no. 1 in D minor by Jacquet de la Guerre.
              • Bach's French Suites.
              • Tiento XXIX by Correa de Arauxo.

              DOUBLE BASS
              • “Vocalise” by Rachmaninof.
              • Andante and Rondo by Dragonetti.
              • Aprés un rêve by Fauré.
              • Sad song by Kousevitzky.
              • Capuzzi concert.
              • Concerto in E major (complete) by Dittersdorf.
              • Intermezzo by Goyescas de Granados.
              • Vivaldi Sonatas.

              BASSOON
              • Concerto (Andante and Hungarian Rondo) by Weber.
              • Concerto in C by Koceluh.
              • Concerto in C major by Vanhal.
              • Concerto KV 191 by Mozart.
              • Hindemith Sonata.
              • Saint-Saëns Sonata.
              • Sonata in F by Telemann.
              • Sonata no. 5 by Boismortier.

              PEAK FLUTE

              RENAISSANCE:
              • Ricercate for solo flute by Bassano (Edit. LONDO PRO MUSICA REP10)
              • Frais et gaillard with reductions by Bassano for soprano flute and harpsichord or lute by Clemens non Papa (Edit. LONDON PRO MUSICA).

              BAROQUE:
              • Sonata in G m. for soprano flute and bc by Cima (Edit. LONDON PRO MUSICA CS8.
              • Sonata 6 from “Il Pastor Fido” for alto and bc flute by Vivaldi (Edit. Bärenreiter HM135.

              MODERN OR CONTEMPORARY:
              • Amarilli mia bella for solo flute by Linde (20th century) (Edit. SCHOTT OFB 133)
              • Sonata in ES.dur for alto flute and piano by Staeps (20th century) (Edit. Universal Edition 12603.

              STUDIES:
              • 5 studies for finger-control, nº 2 and 3 by Brüggen (Edit. BROEKMANS & VAN POPPEL 712.
              • 8 Melodisches Studies Vol. I by Collete (Edit. XYZ 727.

              TRANSVERSE FLUTE
              • 1 Bach Sonata.
              • Cantabile and presto from Enesco.
              • Concerto in D major by Devienne.
              • Concerto in G major K313 by Mozart.
              • Fantasy for flute and piano by Fauré.
              • Hungarian Pastoral Fantasy for flute and piano by Doppler.
              • Nocturne and Allegro Scherzando by Gaubert.
              • Solo in Bb for flute and piano by Arrieta.

              GUITAR
              • 12 Studies (from no. 1 to 6) by Villalobos (Edit. LEMOINE).
              • 4 Purcell Pieces.
              • Praise of Beouwer's Dance.
              • Study no. 20 Brouwer.
              • Dowland's Fantasy VII.
              • Introduction and variations on the theme of Malboroug de Sor.
              • Scarlatti Sonatas.
              • Variations Op. 107 and 112 by Giuliani.

              FLAMENCO GUITAR
              • Album “Toques flamencos” by Paco Peña.
              • Joys “I Remember Patiño” by Paco de Lucía.
              • Bulerías “Aires de Triana” by Sabicas.
              • Fandangos “Punta Umbría” by Paco de Lucía.
              • seguiriyas “Duel of bells” by Sabicas.
              • Soleares “Gypsy Bronze” by Sabicas.
              • Tarantas “Echoes of the mine” by Sabicas.
              • Tientos “Llanto a Cádiz” by Paco de Lucía.

              PRUISED STRING INSTRUMENTS OF THE RENAISSANCE AND BAROQUE
              RENAISSANCE:
              • Fantasies 15, 16 30 by Francesco da Milano (Ed. BY AJ NESS).
              • Differences about “Guard me the cows” by Luys de Narváez.
              • Fantasies of consonances and rolls from the first book (10 to 18) by Luys Milan.
              • Gallarda “Can she excuse”, pavane “La mia Barbara” by J. Dowland.

              BAROQUE:
              • Prelude & Allemande from Suite V in D minor from ms. from Dresden by SL Weiss.
              • Ciaconna for theorbo by A. Piccinini.
              • Any toccata for theorbo by G. Kapsperger.
              • Marionas, for five-course guitar by F. Guerau.

              OBOE
              • 2 Studies of Ferling's 48 Studies.
              • Concerto in C major KV314 by Mozart.
              • Concerto for oboe and orchestra by Haydn.
              • Bozza's pastoral fantasy.
              • Six Metamorphoses on Ovid Op. 49 by Britten.
              • Poulenc Sonata.
              • Sonata in F major, KV 370 (Quartet) by Mozart.
              • Sonata Op. 166 by Saint-Saëns.

              ORGAN
              • Choral (no. 1 or 2) by C. Franck.
              • Differences on an issue of Falla by M. Castillo.
              • Messiaen's Le Banquet celeste.
              • Cabezón Italian Pavan.
              • Prelude, fugue and chaconne in C major by Buxtehude.
              • Sonata no. 6 by Mendelssohn.
              • Tiento of the VI tone (no. XXIII).
              • Toccata and Fugue in D minor “Doric” (BWV 538) by Bach.

              PERCUSSION

              BOX:
              • Trommel Suite by S. Finf
              • The Whiper by M. Markovich

              MARIMBA:
              • Frogs by Keiko Abe
              • Meditation and dance by D. Steinquets.

              MULTIPERCUSSION:
              • French Suite by W. Kraff.

              TYMPANS:
              • Sonata for Timpani by J. Beck.
              • Figments by A. Russell.

              VIBRAPHONE:
              • Viridiana by W. Schluter.

              PIANO
              • Bach's Italian concerto.
              • Sonata Op. 2 no. 2 by Beethoven.
              • Sonata Op. 31 No. 2 by Beethoven
              • Scherzo 1 or 2 by Chopin.
              • Ballad No. 1 by Chopin.
              • Impromptu no. 1 or 2 by Chopin.
              • Rhapsody Op. 79 No. 1 or 2 by Brahms.
              • Concert studies: “Un sospiro”, “La Leggierezza” by Liszt.
              • Ravel's antique menuet
              • Spanish pieces (Aragonese or Andalusian) from Falla
              • The Port of Albéniz

              SAXOPHONE
              • Amalgam by JM Laborda (Edit. MUSICA MUNDANA).
              • Ibert's Chamber Concertino
              • Glazounov concert.
              • Eclipse by J. Villarojo.
              • Parable for Sax. Alto solo by Persichetti.
              • Phases against phases of P. Arma (Edit. LEMOINE).
              • Hindemith Sonata.
              • Tableaux de Provence by P. Maurice.

              TROMBONE
              • Concertino by Larsson.
              • Concertino in Eb major (1st movement) by David.
              • Grondahl Concerto.
              • Concerto No. 2 by Reiche.
              • Trombone Concerto by Rimsky Korsakov.
              • Jorgensen Romance
              • Sonata in F major by Marcello.
              • Sonata for trombone and piano by Sulek.

              TRUNK
              • Concerto No. 1 KV 412 by Mozart.
              • Concerto No. 1 by R. Strauss.
              • Mozart's Concerto No. 3.
              • Concerto for horn by F. Strauss.
              • Concerto No. 2 by Haydn.
              • La Chase de Saint-Hubert, Op. 49.
              • Sonata in F major by Beethoven.
              • Villanelle de Dukas.

              TRUMPET
              • Andante and Scherzo by Busser.
              • Concertpiece No. 1 by Brandt.
              • Concerto in Bb by Albinoni.
              • Nordicsche Fantasie by T. Hoch.
              • Bozza Rustiques.
              • Hindemith Sonata.
              • Viviani's First Sonata.
              • Second Sonata by Viviani.

              TUBA
              • “Effie Suite”. Suite No. 1 for tuba and piano by Wilder.
              • Bozza concertino.
              • Concert by Pérez Casas.
              • Concerto in a single movement by Lebeden.
              • Gregson tuba concerto.
              • Monologue No. 9 for solo tuba by Kock.
              • Sonata in C major by Marcello.
              • Gotkovsky Suite.

              VIOLA
              • Sonatas for viola da gamba and harpsichord by Bach (transcription for viola and piano).
              • Glazounov Elegy.
              • Hoffmeister studies.
              • Suites 1, 2 and 3 for solo viola by Bach.
              • Hummel's fantasy.
              • Glanka Sonata.
              • Concerto in D major by Stamiz.
              • Campagnoli studies.

              VIOLA DA GAMBA
              • Sonata in D major for viola da gamba and obligatory harpsichord by Bach.
              • Sonata G minor for viola da gamba and obligatory harpsichord (1st movement) by C. Ph. E. Bach.
              • Two pieces by Forqueray.
              • Division in D major (Pages 60 and 61 of the Facsimile of “The Division Viol” by Ch. Simpson.

              FIDDLE
              • Concert by M. Bruch.
              • Concerto in E minor (1st movement. With cadenza) by Mendelssohn.
              • KV Concerts. 207, 211, 216, 218 and 219 by Mozart.
              • Op. 10 and Op. 18 by Wieniawsky.
              • Bach Partitas.
              • Beethoven's romances and sonatas.
              • Spanish Symphony (1st movement) by Laló.
              • Bach Sonatas.

              CELLO
              • Saint-Saëns concert.
              • Concerto in C M. (1st movement) by Haydn.
              • Studies of Popper's 40 Studies.
              • Studies No. 1 in F major and 9 in D minor of Duport's 21 Studies.
              • Suites for solo cello by Bach.
              • Popper's tarantella.
              • Concerto in B major by Boccherini (Grutzmacher).
              • Sonata in A minor Op. 36 by Grieg.

              GUIDELINES FOR THE MATURITY TEST IN RELATION TO THE OBJECTIVES OF THE BACCALAUREATE

              1. Purpose and characteristics of the test .

              a) The purpose of the test is to verify the maturity of the applicant in relation to
              high school objectives.

              b) The test is common for access to higher artistic education in music, dance and dramatic art.

              c) The test is unique and will be carried out on the same day and at the same time in the
              higher centers determined by the General Directorate of Planning and
              Educational evaluation.

              2. Participants .

              People over 19 years of age who want to access higher artistic education may take this test, without having a high school diploma or having passed the university entrance test for people over 25 years of age.

              3. Supervision .

              The tests will be carried out under the supervision and advice of the Inspection Service
              of Education.

              4. Evaluation commissions.

              a) For the evaluation and grading of the maturity test, an evaluation commission composed of an Education inspector will be established in each of the centers where the tests are carried out, who will act as president and, as members, two teachers or secondary school teachers, specialists in the subjects that make up the tests, with the youngest member acting as secretary.

              b) The members of the evaluation commissions will be appointed by the General Directorate of Educational Planning and Evaluation, at the proposal of the corresponding Provincial Delegation of Education. A substitute will be appointed for each member of the evaluation committees.

              c) The actions of the evaluation commissions will be coordinated by the General Directorate of Educational Planning and Evaluation.

              5. Contents and structure of the test .

              The test will consist of two exercises and will be based on the contents of the following high school subjects:

              a) Spanish Language and Literature. The exercise will consist of a text comment, with a series of questions around it.

              b) History of Spain. The exercise will consist of a general question related to this subject, based, especially, on social, artistic and cultural aspects of the history of Spain in the 19th and 20th centuries.

              The duration of each of the exercises will be one and a half hours.

              6. Test qualification .

              Each exercise will be graded from 0 to 10.

              The final grade will be the arithmetic mean of the grades obtained in each of the exercises and will be expressed using a numerical scale from zero to ten with one decimal. To pass the test it is necessary to obtain a minimum final grade of 5 points.

              Once the test is over and within forty-eight hours, the evaluation committee will draw up the corresponding minutes, in duplicate, which will be signed by all its members. A copy will be published on the notice board of the higher center where the test has been carried out and another copy will be sent to the General Directorate of Educational Planning and Evaluation through the center's management, for publication on the Ministry's website. of Education.

              7. Claims.

              a) Interested persons may present any claims they deem appropriate against said qualifications, within a period of two days from the day following their publication. Said claims, addressed to the president of the evaluation commission, will be presented at the Center where it has had its headquarters.

              b) In the following 24 hours, the evaluation committee will resolve the claims presented, publishing them on the center's notice board. Said publication will serve as notification to interested parties. A copy of said resolution will be sent to the General Directorate of Educational Planning and Evaluation.

              c) Claims that have been estimated will be reflected, through diligence, in the corresponding minutes.