COUNTERPOINT.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

TWO-PART COUNTERPOINT.

1. (a) Write two notes against the one of the given C.F. above it; (b) and four notes against one beneath it.

2. (a) Write free florid Counterpoint above the given C.F.; (b) ditto below it.

3. Write free florid Counterpoint (a) above and (b) beneath the following melody:

H

THREE-PART COUNTERPOINT.

4. Above the C.F. write a part of four notes against one, and below it a free florid part.

5. Below the following subject write a free florid Tenor part against four notes in the Bass:

6. Add two free florid parts above the following C.F.:

For Honour, Candidates only.

(a) Add two free florid parts below the following melody:

(b) Write not more than Twenty, nor less than Ten bars of free florid Three-part Counterpoint, to a florid subject of your own selection.

N.B.-Beauty and Character in the melody of the Counterpoint will be considered more worthy than a pedantic attention to elementary rules.

FORM AND ANALYSIS.

Professor Marshall-Hall.

FOR PASS AND HONOUR CANDIDATES.

1. Compare briefly the main outlines of Beethoven's conception of Form as embodied in Sonata No. 8, Op. 13 (Pathetic), with that of Shakespeare in his tragedies.

2. What is the emotional significance of key? Why are the chief subjects of a Beethoven tone-poem enunciated in different keys, and for what reason does he generally avoid the dominant for his second chief subject?

3. What is an episode, and what its emotional significance, and that of the discontinuity of key which it generally involves?

4. Show briefly the connecting links between Primary, Fugue, Variation, Rondo, and Binary Forms.

5. Analyse the first movement of Beethoven's Op. 13, pointing out the different moods therein, their intimate connection, and the mode of transition one to another.

6. Make a brief and merely pedantic analysis of the Andante un poco Adagio of Sonata No. 8, C maj. of Mozart.

7. Comment on the spirit in which the Form of the Allegretto of Beethoven's Op. 10, No. 2, is conceived.