I copied this from http://www.teresawong.hk/2011/08/29/dipabrsm-examples-of-viva-voce-questions/
it looks as if it might be helpful.
This page contains viva-voce questions that have been asked in diploma examinations. Any answers given are those written by the candidate and are not intended to represent good (or bad) answers to the questions: they are simply the answers the candidate gave. All viva-voces end with the question “Is there anything you would like to add?”, it is not necessary to answer this question (with anything other than no) but if you do want to say something then this is the time to do so.
The questions as appearing here have been (lightly) edited for consistency throughout the page and to better reperesent the way that examiners are likely to word questions.
Scriabin Préludes Op. 11 Numbers 9 and 16
Beethoven Sontata in C Minor, Op. 13 ‘Pathetique’
Szymanowski Etude in Bb Minor, Op. 4 No. 3
Bach Prelude and Fuge No. 16 in G Minor, WTC Book 1
Debussy General Lavine Eccentric No. 6 from Préludes Book II (own-choice work)
How did you choose your programme?
What were the technical challenges you faced when playing the Scriabin preludes?
Where do the opus 11 preludes fit into Scriabin’s compositional output?
You say the First Movement of the Pathetique is in Sonata form. What is the structure of Sonata form?
What influence did Beethoven’s contemporaries have on this piece? In particular, Dussek (Dussek’s influence mentioned in programme notes)
You mention that it was written in Beethoven’s early period; what characterises his early period?
How many piano sonatas did Beethoven write?
You said that in his early period, Szymanowski was influenced by Chopin. In what way can Chopin’s influence be seen in this piece?
What did Bach mean by ‘Well Tempered’ when he wrote the Well -Tempered Clavier?
How should one approach playing Bach on a piano?
What are stretti?
What sort of answer does the Fugue have?
I noticed that you played from memory today; what effect does that have on the performance?
What does one have to bear in mind when playing the dynamics in, for example, the Debussy, compared to the Beethoven?
Edwin Roxburgh – Moonscape
Bach – Prelude and Fugue in F, from WTC II
Schubert – Sonata in A, Op. 120
Rachmaninoff – Etude-Tableaux in C minor op. 33 no. 3 (off syllabus work)
Ginastera – Tribute to Aaron Copland (off syllabus work)
How did you go about putting your programme together?
What else did Ginastera write?
What other works did Rachmaninoff write?
What works is Schubert most famous for? Did he write any other chamber works?
Who else was writing sonatas/piano music at the same time as Schubert? Name a sonata they wrote at that time.
Talk about the development of the piano from Bach’s time to modern day.
What other works/composers feature in Spectrum?
In what ways is Ginastera’s prelude similar to Aaron Copland’s music?
Do you feel that the cross-rhythmns and bi-tonality in Ginastera work against each other?
Bach – Toccata in D major, BWV 912
Mendelssohn – Prelude and Fugue, Op. 35 No. 5
Ravel – Sonatine
Prokofiev – Visions Fugitives, Op. 22 Nos. 8, 14, 19, 20
Ogdon – Prelude No. 9 in E from ’25 Preludes’ (off syllabus work)
What determined your choice of programme? Does it have a theme?
How does a fortepiano differ from a modern piano?
Who else other than Bach and Mendelssohn wrote Preludes and Fugues?
What performing difficulties are there in the Mendelssohn prelude?
Is Mendelssohn’s fugue like a Bach fugue? Show me in the music the subject, and the countersubject.
What other piano music did Mendelssohn write? Did he write a concerto?
What traditional harmonies and forms can you point out in Ravel’s Sonatine?
What other piano music did Ravel write?
What other piano music did Prokofiev write?
Why did you choose the John Ogdon piece to finish with?
Is there anything further you would like to tell us?
Bach – Prelude and Fugue No.5 in D major from Book II of WTC
Beethoven – Sonata in C# Minor, Op. 27 No. 2, “Moonlight”
Brahms – Romance in F, No. 5 from Six Piano Pieces, Op. 118
Gerswhin – Preludes 2 and 3 from Preludes for Piano
How did you choose your program?
What is stretto? Point it out in the music.
How can a pianist play Bach on the piano?
Explain the melody of the Moonlight sonata’s first movement.
Where is the chromatically descending bass line of the third movement?
What is sonata form?
Which movement uses sonata form?
In the Brahms, the melody is doubled in the alto and tenor. How does this affect the way you play it?
How do you play the melody of the Gershwin prelude 2?
Where is the walking bassline in the third prelude?
What were Gershwin’s other 4 preludes?
How did Ravel influence Gershwin?
Why do people like Gershwin’s more popular music more than his piano music?
Chopin – Nocturne No.18 in E Major, Op.62 No.2
Beethoven – Sonata in F Minor, Op.2 No.1
Debussy – Sarabande from the suite ‘Pour le Piano’
Schumann – Novelette No.1 in F Major, Op.21
What is the nocturne? (Candidate mentions ABA form)
What do you mean by ABA form?
Is it more a day or a night piece?
What is rubato?
Would you as a performer use rubato in left, right, or both hands?
How different was the piano of Chopin from that of Mozart, and how could that have affected Chopin’s composing?
Did Chopin compose anything else that was for piano and orchestra?
What were Beethoven’s style periods? How many were there?
How big of an influence was Haydn on Beethoven?
Did Beethoven compose anything for piano and other instruments?
Have you played any other sonatas by Beethoven?
What was the Sarabande?
What was Impressionism in music?
Was there Impressionism in art?
Name any other Impressionist artists?
I see you played from music. Why did you choose to do this?
But could there be any advantages in playing from memory?
What was Schumann’s disability in his hand that you talk about?
Did Schumann compose anything for piano and orchestra?