ANNUAL EXAMINATIONS: 1900.

FIRST YEAR.

FACULTY OF MUSIC.

HARMONY.

FIRST PAPER.

Examiner: S. P. WARREN.

[TIME-THREE HOURS.]

1. Name the intervals in the following succession of notes:

2. Write (a) the scale of G sharp major, and (b) the scale of A flat minor.

3. In a succession of chords of the sixth, how would you dispose or place the three parts above the bass? Give reasons, and write an example.

4. Write the seventh chords of the scale of G major, preparing and resolving each. Specify those that may need exceptional treatment. Which of them may be used without preparation ?

5. (a) What is an enharmonic change?
(b) Enharmonically change this chord
as many times as possible. Figure
the bass, and give each chord
(along with its root and key) its.
resolution.

[OVER.]

6. What is the difference between a passing, and the Cadence Chord? Give examples.

7. What are the chords. Give their roots and keys.

ANNUAL EXAMINATIONS: 1900.

FIRST YEAR.

FACULTY OF MUSIC.

HARMONY.

SECOND PAPER.

Examiner: S. P. WARREN.

[TIME-THREE HOURS.]

1. Harmonize the following Basses according to the figuring:

2) open position)

2. Harmonize the following melody in four parts. Vary the harmony in the reiteration of the first motive. Employ all chords and harmonic devices-suspension, retardation sequence, etc., you think desirable.

(a) Write four measures in time, modulating from C to D major.

(b) Write four measures in time, modulating from D to F

major.

(c) Write four measures in time, modulating from F major to A minor, with plagal cadence.

(d) Write four measures in time, modulating from A minor to D flat.

In (a) and (b) employ only triads and their inversions; in (c) a dominant 9th and a diminished 7th chord; in (d) an 6th chord, with suspensions, etc., at option.

4. Point out errors in the following harmonies:

augmented

Re-write them, with such changes as you think necessary.

ANNUAL EXAMINATIONS: 1900.

FIRST YEAR.

FACULTY OF MUSIC.

COUNTERPOINT.

Examiner: S. P. WARREN.

[TIME THREE HOURS.]

TWO VOICE.

1. To the following Cantus Firmus :

Write (a) a Counterpoint in the second species for Alto. (b) a Counterpoint in the third species for Bass.

(c) & Counterpoint in the fourth species for Soprano.

2. To this Cantus Firmus:

2

Write (a) a Counterpoint in the first species for Tenor. (b) a Counterpoint in the fourth species for Bass. (c) placing the Cantus Firmus in the Bass in a suitable key, write a Counterpoint in the fifth species for Soprano.

[OVER.]