5. Score this for the ordinary modern band: Strings, 2 Flutes, 2 Hautboys, 2 Clarionets, 2 Bassoons, 2 Horns, 2 Trumpets, and Drums.

6. Complete this March for Pianoforte; modulate through A minor to C major, finishing the First Part with a Codetta of two or four bars in that key. End the Second Part parallel to this; the whole consisting of 32 to 40 bars.

PRELIMINARY EXAMINATION FOR THE DEGREE

OF BACHELOR OF MUSIC AND SPECIAL EXAMINATION IN MUSIC FOR THE B.A. DEGREE.

THURSDAY, May 29, 1884. 10 A.M. to 1 P.M.

1. DESCRIBE the nature of a sound-wave in air. What are the 'amplitude,' the 'phase,' the 'wave-length'? How does an individual particle of the air move? 2. Has a sound of given loudness, pitch and quality a definite wave-form? Draw a wave figure for a fundamental note and its second overtone, supposed to be of equal loudness but in different phases.

3.

What are vibration-fractions? Why is the fraction corresponding to the sum of two intervals obtained by multiplying together the fractions corresponding

to the intervals?

4. Which is the greater, three major thirds or an octave, and by how much? 5. State, approximately, the number of vibrations per second which give rise to the note and deduce those of the other notes of the diatonic scale

of which this note is the Fourth.

Would you

6. What is meant by the 'partials' or 'overtones' of a note? prefer to call the octave of a note its second partial tone or its first upper partial tone, and for what reason?

7. Which of the notes of the diatonic scale of C are found among the overtones of C?

8. What are the nature and cause of the phenomenon of Resonance ?

The dampers of middle C on a pianoforte are raised; and the Eb next below is struck sharply. What note or notes will be heard by resonance?

9. What is the physical difference between a note sounded on a tuning-fork and a pianoforte respectively? Why are the hammers of a piano covered with felt; and what has determined the place on the wire at which the hammers are made to strike it?

10. Two precisely similar tuning-forks are thrown very slightly out of unison. Describe and explain the phenomenon heard; and state how it changes as the difference between the forks is gradually increased.

11. What is meant by 'combination-tones,' or 'resultant-tones,' and their 'orders'? Determine their positions in the case of the following two simple primaries

12. What is 'equal temperament'? State its advantages and disadvantages.

THURSDAY, May 29, 1884. 2 to 5 P. M.

COUNTERPOINT.

I. WRITE a Counterpoint in the Fifth Species, for Tenor, below the following

Canto Fermo. Figure the Bass.

II. Write a Counterpoint, three notes against one, for Alto, above the following Canto Fermo. Figure the Bass.

33 2

III. Write a Counterpoint in the Fourth Species for Soprano above the following Canto Fermo. Figure the Bass.

IV. Write a Counterpoint in the Second Species for Soprano, and one in the Third Species, four notes against one for Tenor above the following Canto Fermo, the score to consist of three parts. Figure the Bass.

V. Write Double Counterpoint in the 15th against the following fragment, the Counterpoint to consist entirely of quavers. Write the Counterpoint both above and below the subject and figure the Bass in each instance.

VII. State the distinction between the Second and Fourth Species of Counterpoint, and give a reason why the two should not be regarded as a single Species.

VIII. State the restrictions which govern the interval of a 3rd in two-part writing.