Érettségi Ének-zene study plan

Notate from dictation all diatonic and chromatic intervals within an octave, and sing them back from a given starting pitch.

Build the four main triads (major, minor, diminished, augmented) and their inversions on any degree of a key, and identify them by ear in short cadences.

Write out the key signatures of all 15 major and minor keys from memory and name the relative and parallel keys for each.

Transcribe the rhythm and melody of two short tonal excerpts (4–8 bars) in simple and compound metre, marking the beat and subdivision.

Analyse the formal structure (period, sentence, binary, ternary, sonata exposition) of four short instrumental movements using a score excerpt you can read without a recording.

Map the harmonic skeleton (tonic–subdominant–dominant–tonic, cadence types) of each of those four movements bar by bar.

Identify the instrumentation and texture (monophonic, homophonic, polyphonic, heterophonic) of six listening examples in under 30 seconds each.

Compare two recordings of the same short work and describe three concrete differences in tempo, articulation or balance.

Classify at least ten Hungarian folk songs by genre (sirató, regölés, lakodalmas, táncnóta, párosító, ballad) and by their characteristic rhythm and scale (pentatonic, diatonic, dudanóta).

Transcribe the first phrase of five folk melodies into solfège with correct bar lines and identify the cadence degrees of each.

Explain the difference between the old-style and new-style Hungarian folk song using two notated examples of your own choosing.

Describe the role of the táncház movement and name two living or recent folk-music ensembles and one region each represents.

Identify the eight church modes by their finalis and reciting tone and sing two psalm tones from memory.

Outline the development of polyphony from organum through the motet and the mass, naming one representative work for each stage.

List the main Baroque genres (opera, cantata, oratorio, concerto grosso, fugue, suite) with one composer and one work for each.

Trace the main forms of Viennese Classicism (sonata form, theme and variations, minuet and trio, rondo) and label their sections in a short piano movement.

Compare a Baroque and a Classical treatment of the same formal idea using two short listening examples.

Analyse the first movement of a Haydn or Mozart symphony or string quartet: mark the exposition, development, recapitulation and coda and label the keys of each.

Identify the three Beethoven style periods and name two works from each with one defining characteristic of the style.

Build a chord-progression reduction (Roman numerals) of a 16-bar Classical theme and describe how the phrase structure creates tension and release.

Sing the main themes of five Classical works from memory with correct rhythm and phrasing.

Match eight Romantic works to their composers, national schools and characteristic genres (Lied, character piece, symphonic poem, opera, programme symphony).

Explain how Romantic harmony expanded beyond Classical function, citing three concrete devices (chromaticism, modal mixture, extended chords) from works you can name.

Analyse the structure and text-setting of one Lied or one character piece and describe how the music reflects the text or title.

Place the national schools (Hungarian, Czech, Russian, Nordic) on a map of influence and name one composer and one work for each.

Describe the main currents of twentieth-century music (impressionism, expressionism, neoclassicism, folklorism, serialism, minimalism, electronic) with one composer and one work for each.

Explain the role of Bartók and Kodály in Hungarian musical life and name two works each that demonstrate their folk-music research.

Analyse a short twentieth-century movement for its scale, metre, texture and form, and state which traditional assumptions it breaks.

Name three Hungarian composers or performers active in the last 30 years and describe one contribution each to concert life, education or recording.

Sing a set folk song, a Gregorian psalm tone and one Classical theme from memory with correct intonation, rhythm and text.

Conduct or tap a 4/4 and a 6/8 excerpt, marking the beat pattern and the entry points of each part.

Identify by ear 20 short excerpts drawn from all earlier weeks and name composer, era and genre for each.

Assemble and rehearse a 15-minute mock oral exam answer covering one free-choice topic from each domain.

Review your weakest two domains from the week 4 and week 7 self-checks and redo the corresponding exercises.