THURSDAY, December 4, 1884.

Paper Work, 2 to 4.

Viva Voce on Counterpoint, 4 to 5 [during which hour Candidates who have not finished their Papers have the option to continue them].

HARMONY.

1. ADD parts for Alto and Tenor to the following. Write the words under each part.

4

Near Woodstock town, in Ox-ford-shire, As I walk'd forth

to take the

air,

Near Woodstock town, in Oxfordshire, As I walk'd forth to take the

To view the fields and meadows round, Methought I heard a dreadful sound.

air,

To view the fields and meadows round, Methought I heard a dreadful sound.

2. Add parts for Soprano, Alto and Tenor, each in its proper Clef, to the following Bass.

3. Add the Right-hand part to the following accompaniment, using Arpeggios and occasional Passing-notes.

4. Write parts for Second Treble and Bass to accompany the following Tune. Figure the Bass.

5. Add the Bar lines, and (when wanting) the Time Signatures to the following extracts. Name the works from which the passages are taken.

6

Α

B

C

Ꭰ

E

F

6. Add parts according to the figuring, for two Trebles and Tenor, above the following. Insert occasional passing-notes in any of the parts. All discords except passing-notes to be prepared. State into what key the music modulates, and where it returns to the primary key.

FRIDAY, December 5, 1884. 9 to 12.

ACOUSTICS.

1. WHAT is the essential character of wave-motion ? State the connexion between wave-length and period of particle-vibration.

Draw a complete wave due to uniform transverse vibrations.

2. State Mariotte's law and describe the transmission through the air of pulses. of condensation and rarefaction.

In what sense can we speak of the 'form' of a sound-wave?

3. Distinguish between absolute and relative pitch, and explain how each can be measured by means of the Syren.

Calculate the vibration-number of the note produced at a 12-hole row while a 16-hole row on the same Syren is giving middle C (vib-no. 264).

4. Show how, by experiments made with the pianoforte, we can analyse its sounds into their constituent partial-tones.

Two sounds are so related that the eighth partial-tone of one coincides with the ninth partial-tone of the other. Determine the interval between the two

sounds.

5. Find the vibration-fraction of the interval between the seventh partial-tone of a key-note and the corresponding Minor Seventh of its scale. Which is the higher note of the two?

6. State Helmholtz's theory of musical quality.

How many sounds of different quality, but of the same pitch, can be formed with the first four partial-tones by variations of number and order only?

7. What is meant by segmental vibration? Draw figures showing what modes of such vibration are possible in a stopped organ-pipe.

Given 1125 feet per second as the velocity of sound in air, determine the length of a stopped pipe having middle C for its fundamental tone.

8. Under what conditions does the phenomenon called 'interference' occur? Describe an experiment showing it.

9. Illustrate roughly by a figure the beats of two simple tones differing slightly in pitch.

What becomes of beats when they are too rapid for separate recognition?

10. State Helmholtz's theory of consonance and dissonance for composite sounds, and deduce from it the general necessity for greater accuracy in the tuning of Octaves and Fifths than of Thirds and Sixths.

11. What law assigns the two given simple primaries? specially prominent.

pitch of the first-order combination-tone for any State on what instrument combination-tones are

12. How does the necessity for 'tempering' arise? Describe the system of equal temperament, and state for which of the consonant intervals the tuning is,

in its scale, the least perfect.