N.B.-Honours candidates may omit questions 2 and 4.

FORM AND ANALYSIS.

FIRST YEAR.

Professor Franklin Peterson.

FOR PASS AND HONOUR CANDIDATES.

N.B.-Value will be given for the names of the works from which the quotations in questions 1, 2, 3, 4, and 6 are taken.

1. Bar and phrase the following:

2. Articulate the following, showing three joints :

3. A well-known melody is phrased in some editions thus

in others thus

Etc.

Etc.

Give a justification for the latter, and state, giving your reason, which you consider correct.

4. Phrase the following, and say what is peculiar about the rhythm :—

b3

5. What are the distinctive features of (a) the Sarabande, and (b) the Gigue forms? Illustrate your answer by quotation or reference.

6. M. Saint Säens has published an effective transscription of what he calls "Bach's Gavotte in B minor," beginning as follows:

Show what mistake the French composer or his editor has made in the title.

7. Analyze the first movement of Mozart's Eighth Sonata.

Additional for Honours.

(Honours Candidates must answer at least one of the following questions.)

8. Give from memory a general analysis of Mozart's Slow Movement, beginning

6

or that beginning-

€

or any other slow movement by Mozart or Beethoven you know better.

L

;

9. (a) Write a short essay on the Variation form referring to the obvious necessity for, and the importance of, some such form in the early stages of the History of Form; the forms of Passacaglia, Chaconne, Ground Bass; gradual development and use made of the form by Bach, Handel, Mozart, Haydn, and Beethoven.

Or,

(b) Compare and contrast the Suite and the Sonata, describing each fully, and explaining the terms Binary and Ternary as applied to the latter.

FORM AND ANALYSIS.

SECOND AND THIRD YEAR.

Professor Franklin Peterson.

1. Describe the Ternary form in its simpler form (e.g. as shewn in a smaller Sonata of Mozart), and the development of the same form in the hands of Beethoven, specifying the new features he introduced.

2. What have you to say about Haydn's use of Second Subject (cf. La Reine de France Symphony in Bb).

Or,

In Beethoven's Sonata Op. 10, No. 2 (D Major), some authorities consider as the Second Subject the passage beginning in Bar 23; others "the passage beginning in Bar 53. Give reasons for both, and say which you think the better reasons.