1. The general and specific objectives of the subject are:

Teachers’ training is not the musical or technical difficulty of the pieces to be learned, but the multiplicity of the musical expression elements and the musical elements can be used to give the learned knowledge to the students as much as possible and more comfortably. Many times, of course, the heavier pieces bring to the surface the more complex problems, so development is also a factor in this aspect.

Of course, the further development of the acquired musical and technical knowledge that has been learned so far is essential for progress. The music, the piano are the simplest elements of the performance (melody, rhythm, harmony, articulation, form, tempo, sound training, pedaling, style knowledge, etc.) should also be reinterpreted from time to time and understood and accomplished at an increasing level.

Particular attention should be given to awareness: the understanding of the elements and forms of music (analysis) and its practical implementation possibilities. This is an indispensable aspect of teaching activity.

It is important to draw the student’s attention to the unity of the pedagogical (see the Methodology of the instrument) and the main subject literature: there are not two separate repertoires, the different pieces of an author can be found here or there.

Teacher training does not primarily focus on concerts, but it is essential for the student to become a kind of complete performance. Of course, everybody else has the shortcomings elsewhere, but as far as possible, developing them with a sense of fullness can be interpreted as an interpreter.

It is an important goal to develop the student’s abilities in the direction of self-sufficiency, since the four years for most of the students complete their studies. Looking ahead to the future, especially from the 7-8. semester – plays a key role in core education.
So one of our goals is to develop the spirit of self-development and lifelong learning. It is important for our students to start their career as a career starter with solid, well-founded ideas, self-confidence and professional careers. At the same time, this autonomy should be prudent, well-meaning, careful.

We must emphasize the importance of practice and public participation (solo, chamber) after graduation. It is worth drawing the attention of the student to the present of the profession: find out about the latest professional novelties and results (studies, books, phonograms). It is important to focus attention on the importance of music media (newspapers, radio, sound recordings, internet), local professional communities, cultural institutions, and possible participation in their organization later on.

  1. Content of the course

Admission requirements:

  • J. S. Bach: 1 Preludium and Fugues from Das Wohltemperierte Klavier
  • 1 1 classical sonata
  • 1 romantic composition;
  • 1 20th century or contemporary composition.
  • 1 virtuose etude

Content of the course:

To be able to properly develop children’s beauty, imagination, and hearing, the prospective teacher needs to interpret the works with the highest level of demand, differentiated tune-up and experience. The teaching of the undiveded teacher courses is based on the foregoing considerations, of course based on the skills acquired so far. Main courses are the most important stages of the repetitive processing of the repertoire (without completeness):

  • Creating a correct artistic interpretation (analytical aspects: form, tempo, metrum, rhythm, harmony, melody, articulation, dynamics, emphasis, characters, etc.)
  • Widening and differentiating your style knowledge
  • Continuous development of the tune culture required to achieve the right sound and desirable proportions
  • Improving the motoric components of the piano playing (scales, etudes, fingerprints)
  • Improved hearing-controlled pedaling
  • The problem of fingerprints
  • To improve the student’s memory, sight- reading and transposing skills
  • Preparing for a concert – today it is also a basic requirement for music school teachers to take regular action on concerts
  • Teacher-student relationship is fundamental to the teaching of children
  • Involving self-reflection (for example: lessons learned without teaching support)
  • A tantárgy tartalmának szemeszterenkénti bontása, az ellenőrzés módja

Exam Program

  1. semester

1 preludium and fugue  (W.K. I-II.)
1 etude
1 piece from the XX. or XXI. century

  1. semester

1 classical sonata
1 Chopin etude
1 piece from the romanticism

  1. semester

1 preludium and fugue  (W.K. I-II.)
1 classical sonata or variations
1 Rachmaninov/Szkrjabin/Debussy etude


baroque suite
1 piece from the romanticism
1 freely choosen piece


1  preludium and fugue  (W.K. I-II.)
1 classical sonata
1 piece from the XX. or XXI. century
1 Chopin etude 

  1. semester

1 baroque piece
piece from the romanticism
2 freely choosen piece

  1. semester

Freely choosen program

  1. semester – Final Exam

At least three different styles of solo piano, one of which is a complete Viennese classical sonata, and a chamber work (or one of its movements).Duration:30-35 minutes.

Control method:

Beside main course is in classical concerts and public performances. At least one public action is mandatory for each semester.

From the second semester up to the seventh, students are required to play a 5-10 minute period program from memory at the beginning of each semester, thus ensuring the possibility of commencement of teaching. On the other hand, this also increases their knowledge of self-study. At the hearing, the main subject teachers attend. Those who fail to do so will receive 1 full note from the core of the semester final exam.

4.List of compulsory or recommended literature

In addition to the more comprehensive repertoire management, one of our aims is to acquire carefully selected, yet larger pieces of development. The student is supposed to learn the hardest works in his four years. Their understandable acquisition and solution is a very important aspect. In addition, from time to time we can make contact with the music repertoire by learning more pieces, and we would like to ask these works with the highest quality expectations. It is recommended that the content of the curriculum be equally represented by the piano works of the authors of different style ages.

Recommended repertoire:

The piano literature is so rich that it is preferable to designate certain directions that can be modified by a teacher and a student by common accord or limited to a particular piece:

Keyboard in front of J. S. Bach (FitzwilliamVirginalBook, Parthenia stb.)

Francia clavecinisták darabjai (F. Couperin, J.-Ph. Rameau); D. Scarlatti sontas; G. F. Händel suites

J. S. Bach and C. Ph. E. Bach pieces
Viennese classic sonata, variationsRomanticism cyclic works

The XX. century piano literature (C. Debussy, M. Ravel, A. Schönberg, A. Berg, A. Szkrjabin, I. Sztravinszkij, Sz. Prokofjev, O. Messiaen, W. Lutosławski stb.; – Bartók B., Kodály Z., Dohnányi E., Weiner L., Ligeti Gy., Kurtág Gy., Durkó Zs., Orbán Gy. stb.)

Etudes: F. Chopin és Liszt F. , C. Debussy, A. Szkrjabin, Sz. Rachmaninov, I. Sztravinszkij, Bartók B., Ligeti Gy. stb.