89. What is the mental effect of the "sol chord"?

90. Play these two triads, tonic and dominant, consecutively, sounding the tones comprising them together, in different keys and as broken chords. 91. When should the practice of "beating time" be begun?

92. Describe "beating time" in two, three, and four-pulse measure.

93. Define six-pulse measure.

CHAPTER V.

What accents?

94. Describe the two ways of beating time in six-pulse measure. What collateral reading is suggested?

95. Explain the form in music of the chant.

CHAPTER VI.

96. Define the subdominant triad, or "fa chord."

97. It comprises what intervals? What mental effect?

98. Name the three principal triads, and compare them with each other. 99. Play them consecutively in different keys.

100. What collateral reading is suggested?

IOI. Name three kinds of bars and their significance.

CHAPTER VII.

102. What represents a half-pulse silence when the lower figure is 4? When it is 8? When it is 2?

103. Explain a pulse divided into two quarter-pulse tones and a half-pulse tone. Write examples.

104. Explain a pulse divided into a half-pulse tone and two quarter-pulse tones. Write examples.

105. Explain a pulse divided into a three-quarter pulse tone and a quarterpulse tone. Write examples.

(Do not speak of a divided “beat." It is the pulse which is divided.)

CHAPTER VIII.

106. What is chosen as the unit of thought in tones?

107. How are numerals used?

108. How are syllables used?

109. Define relative pitch. Absolute pitch.

110. How are the letters used, and how are the different octaves of a seven

and a quarter octave pianoforte named?

III. Describe the staff. What are lines and spaces called?

112. What does the staff represent?

113. What are clefs for? Describe three clefs.

114. Give two definitions of an interval.

115. Name the scale intervals.

116. Explain sharps and flats as forming a key signature.

CHAPTER IX.

117. Explain the dominant seventh chord (sol seventh chord).

118. What intervals does it comprise?

119. Is it dependent or independent?

120. Explain the cadence resolution; the minor resolution.

121. What arbitrary signs are used to mark the four qualitative names of intervals?

122. What collateral reading is suggested?

CHAPTER X.

123. What does the upper figure show?

124. What does the lower figure show?

125. What is meant by simple measures? Name them.

126. What is meant by compound measures? Name them.

127. What collateral reading is suggested?

128. What is the difference in pitch between men's and women's voices? 129. Classify men's voices.

130. Classify women's voices.

131. What is the difference between the words treble and soprano?

132. What is the difference between alto and contralto?

133. Describe the tenor clef. What clefs are used for the tenor part? 134. Name the compass of all voices.

CHAPTER XI.

135. Give rules for articulating and pronouncing distinctly and correctly. 136. Name the simple and compound vowels, and the diphthongs. 137. Give rules for sounding "r" and pronouncing “the."

CHAPTER XII.

138. Define a sharp. A flat. A double sharp. A double flat.

139. Define the major scale.

140. How are sharps and flats used in writing the scale?

141. Explain key signatures.

142. Select a tone, giving its letter name, and state seven places it fills in as many different keys.

CHAPTER XIII.

143. How many tones in the major scale? Give the order of intervals. 144. How great is a major second? A minor second?

145. What is a tetrachord? How many in the scale, and their names?

CHAPTER XIV.

146. Explain incidentals. Why not call them accidentals?

147. In what two ways are they used?

148. When are they essential and when chromatic?

149. Explain the natural.

150. How far do incidentals or accidentals have effect?

151. What is meant by transposition?

152. Define transposition by sharps.

153. Define transposition by flats.

154. What is meant by enharmonic change?

155. Name all the key tones, with their accompanying signatures. 156. Define the word coda.

157. Define the minor mode.

CHAPTER XV.

158. How does it differ from the major mode?

159. Define the minor scale. Begins where?

160. What relations exist between the minor and major scales? 161. What are parallel keys?

162. Which tone decides between a major and a minor scale?

163. Name and describe three forms of the minor scale.

164. What is the numerical name and syllabic name of the first tone of the minor scale?

165. What is the interval from 6 to 7 of the minor scale in the harmonic form?

166. How great is an augmented second?

167. Define the tonic triad, or "la chord," of the minor scale, and name its intervals. Compare it with the same triad in the major scale.

168. Do the same with the dominant triad, or "mi chord," and the subdominant triad, or "re chord."

169. Define the dominant seventh chord, or "mi seventh chord," in the minor mode.

170. How does it compare with the same chord in the major mode? 171. Define the cadence resolution. The interrupted resolution. The tetrachords in minor mode. Which tetrachord is variable?

CHAPTER XVI.

172. Name twelve Italian words indicating force of tones.

173. Name twenty-two Italian words indicating movement and style.
174. Name six Italian words indicating miscellaneous.
175. What collateral reading is suggested?

176. Define form in music.

177. What is a motive?

CHAPTER XVII.

178. What is a sentence? How divided?

179. What are sub-sections?

180. What is the nature of the first section (antecedent) and of the responsive section (consequent)?

181. What collateral reading is suggested?

CHAPTER XVIII.

182. Define the chromatic scale. Name its tones.

183. Give syllabic names.

184. Give letter names in three different keys.

185. What collateral reading is suggested?

186. What form is used in harmony?

187. What reference is given for further explanation?

CHAPTER XIX.

188. Define modulation.

189. How is a change of key indicated?

190. What are the most common modulations in major mode?

191. How may the place where the change of key takes place be found? 192. What is a passing modulation (transition)?

193. What is a cadence modulation?

194. What are the most common modulations in minor mode?

195. What is the difference between modulation and transition?

CHAPTER XX.

196. What are the harmonic names of the tones of the scale?
197. What is meant by the root of a chord?

198. Name all the triads of the major scale and analyze them.
199. Name all the triads of the minor scale and analyze them.
200. What collateral reading is suggested in this chapter?
201. State the different positions in which chords may appear.

CHAPTER XXI.

202. Give two definitions of an interval.

203. Define a half step.

204. Define a step.

205. State the general names of intervals.

(Numerical.)

206. Name the different species of intervals. (Qualitative.)
207. How are intervals represented to the eye?

208. Tell how each scale interval is represented by the staff.
209. Are intervals reckoned downward or upward?
210. Name and define the different kinds of primes.
211. Name and define the different kinds of seconds.
212. Name and define the different kinds of thirds.
213. Name and define the different kinds of fourths.
214. Name and define the different kinds of fifths.
215. Name and define the different kinds of sixths.
216. Name and define the different kinds of sevenths.
217. Name and define the different kinds of octaves.
218. Name and define the different kinds of ninths.
219. Name and define the different kinds of tenths.
220. Name and define the different kinds of elevenths.
221. Name and define the different kinds of twelfths.
222. Name and define the different kinds of thirteenths.

223. Name intervals which are the same on the keyboard, but differ in other respects.

224. Define and name the concords, or consonances, per. and imp.

225. Define and name the discords, or dissonances.

226. Why so called?

227. What is understood by inversion of intervals?

228. State the law of inversion.

229. What books are suggested for collateral study?

CHAPTER XXII.

230. Define thirds of a pulse.

231. Define sixths of a pulse.

232. What are such groups called?

233. Define triplets. Also sextolets.

234. What is a double triplet? Compare it with a sextolet. 235. What collateral study is suggested?

236. Define syncopation.

CHAPTER XXIII.

237. How should syncopated tones be performed?

238. Write several examples of syncopation.

239. Write exercises similar to Nos. 141 to 148, inclusive.

N. B. For further study of time forms reference is made to Elements of Notation, by James M. McLaughlin, published by Ginn & Co. This is also a most excellent book for a complete study of theory in connection with musical notation.