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3. Write parts for 2nd violin, 2 violas and violoncello to accompany the following melody. Figure the bass.

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4. Score the following for full orchestra without trombones, but using any of the other instruments. Prefix the Italian names of the instruments.

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5. Give some account of the different theories in existence concerning the derivation and treatment of Chords of the 9th, of the 11th, and of the 13th ; and state your reasons for adopting any one of those theories in preference to another.

6. At what period was it customary to place the principal melody of a Psalm Tune in the Tenor part ? Name any collection of Tunes in which it is so placed, and say when the custom ceased.

PRELIMINARY EXAMINATION FOR THE DEGREE OF BACHELOR OF MUSIC AND SPECIAL EXAMINATION

IN MUSIC FOR THE B.A. DEGREE.

THURSDAY, June 4, 1885. 9—12.

ACOUSTICS. 1. DEFINE wave motion. What are the elements which determine a wave ? If the velocity of a wave be constant how does the length depend upon the time of vibration of its component particles ?

In the case of wave motion caused by particles vibrating at right angles to a straight line; if the time of vibration be doubled, the velocity of the wave remaining the same, draw the altered wave. If the time of vibration remain the same but the velocity of each particle be doubled, draw the wave.

2. What is the nature of a sonorous wave ? Upon what does the velocity of sound depend? State Mariotte's law. Why does the velocity of sound in air of different densities remain the same if the temperature be unaltered ?

3. Explain the action by which a tuning fork at rest is set in vibration by the excitement of another which is accurately in unison with it.

4. Which overtones of a fundamental tone correspond accurately to notes of its diatonic major scale? Which approximate most nearly to the remaining notes of the scale ? Supposing the fundamental tone to correspond to 264 vibrations per second, determine for each instance the differences alluded to within the compass of the same octave.

5. State the laws which govern the vibrations of stretched strings according as their length, weight and tension are varied.

What must be the relative thicknesses of the first two strings of a tuned violin in order that their tension may be the same ?

6. Give an explanation of the motion of the air in a pipe closed at one end. What overtones are absent, and why?

What is the length of a stopped organ pipe resounding to a note of which the vibration number is 100 per second ?

7. Two tuning forks, one a fifth higher in pitch than the other, are set in vibration of equal intensity at the same instant. . Draw the “ associated wave" corresponding to the composite sound. Upon what does quality of sound depend ? How do differences of phase affect the quality of a clang”?

State Fourier's Theorem.

8. Describe and give an explanation of the effect produced by turning a vibrating tuning fork round close to the ear.

9. What are “beats”? Explain how they arise and how their number may be calculated. What is meant by the “beating distance” between two notes ?

Draw the “associated wave” representing a beat caused by two notes differing in pitch by a tone.

10. Explain what is meant by saying that the octave is the only perfect concord.

11. Determine the vibration fractions representing the intervals between the successive notes of the diatonic scale.

What is a Comma?

What is meant by “equal temperament”? Point out in what parts of the scale the method is most defective.

THURSDAY, June 4, 1885. 2–5.

COUNTERPOINT.

Two hours are allowed for the uninterrupted working of this paper. At and after 4 o'clock,

candidates will be called successively for vivâ voce, and those who have not then finished their paper-work have the option of continuing it until the whole have been

catechised. In all examples, the candidates must figure the bass. The figuring must denote the prevailing

harmony, and not specify the particular intervals that appear in the written parts. Passing-notes must not be figured.

1. May a complete chord be used in Triple or Quadruple Counterpoint ? State the reason for or against its employment.

2. State a rule for finding the increased number of inversions with the increased number of parts from Double to Triple, Triple to Quadruple, and Quadruple to Quintuple, Counterpoint.

3. Define the distinction between Plain, or Simple, and Florid Counterpoint.

4. Write a Counterpoint of the Third Species for Bass, with three notes against each harmony, below the following Subject. Include some specimens of “ changing notes."

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FRIDAY, June 5, 1885. 9-12.

HARMONY

Two hours are allowed for the uninterrupted working of this paper. At and after

11 o'clock, candidates will be called successively for vivâ voce, and those who have not then finished their paper-work have the option of continuing it until the whole

have been catechised. · In all examples in which the bass has to be written candidates must figure the bass. The

figuring must denote the prevailing Harmony and not specify the particular intervals that appear in the written parts. Passing-notes must not be figured.

1. ADD parts for 2nd Treble and Tenor according to the figuring, between the following two, using rests at discretion, and writing the words in each part.

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