400 Questions On Ru 00 Simp

Digitized by the Internet Archive
in
2012 with funding from
Brigham Young University
http://archive.org/details/400questionsonru00simp
Augener's Edition, No. 10133.
55^
400
fZQ
UESTIONS
ON THE
BASED ON THE SYLLABUS FOR THE
RUDIMENTS OF MUSIC
LOCAL CENTRE EXAMINATIONS
OF
The Associated Boakd

OF
THE ROYAL ACADEMY OF MUSIC

AND
THE ROYAL COLLEGE OP MUSIC

COMPILED BY
JAMES SIMPSON
EIGHTEENTH IMPRESSION
AUGENER
LONDON
Ltd.
Printed in England
by
AUGENER
Ltd.
287 Acton Lane, London,
W.
4.
PREFACE
These questions on the Rudiments of Music are based
on the Syllabus for the Local Centre Examinations of
the Associated Board of the Royal
Academy
of Music
and the Royal College of Music.
They
which
are not copied questioi
but they lead up to
the standard of requirements in ^sh part of the subject

in
all
candidates must prove themselves efficient
before the double certificate (Practical and Theoretical)
can be secured.
The
questions are written in conformity with tests
which have been used at previous examinations covering

a long period of years
the
;
the author therefore feels that
work
will
prove both useful and helpful, and he
hopes that the definiteness of his method
may
lead to
good
results.
One hundred supplementary

of
tests
appear at the end

the
teacher's
the
book,
which may be used at
discretion.
INDEX
PAGE
Notes, Dots, and Rests
Sharps, Flats, and Natukals
12
Staves and Clefs,
including the C Clef as used for

-
Alto and Tenor

Scales and
13
Key Signatures
the Technical Names for

-
the Degrees of the Scale

Intervals and their Inversions
Time, Time Signatures,
17
-27
37
and Barring of Given Passages

-
The Meanings of Terms and Signs

Triads
Transposition
--------------
49
61
64 68
73
One Hundred Supplementary Tests

Hints to Candidates
-
QUESTIONS ON THE
RUDIMENTS OF MUSIC
NOTES, DOTS,
1.
AND RESTS
of
Explain the difference between a tone and a note.
2.
How
are the
?
length values
musical sounds
represented
3.
Write and name seven
different kinds of notes in
the order of length, beginning with the longest.

4.
Rearrange the following notes according to their
time values, beginning with the shortest
5.
How many
?
semiquavers are there
in
each of the
following notes
MJ
6.
(6)
J>
are
(b)
W
there in
I
(<*)
How many
?
crotchets
(a)
each of the
following notes
7.
How many
demisemiquavers are there

?
in
each of
the following notes
W
8.
(*) to J" J J How many quavers are

?
Wo
there
in
(a)
J*
the
each
of
following notes
(*)
(&)
(c)
J
?
9.
How many
minims are equal
to this note
8
10.
QUESTIONS, RUDIMENTS OF MUSIC

Taking the semibreve as a whole
(b)
note,
name
(d)
(a)
a half note,
(e)
an eighth,
(c)
sl
sixteenth,
quarter,
a thirty-second.
11.
In what
way does
?
a dot placed after a note or
rest affect its value
12.
How many
?
(>
semiquavers are there in each of these
dotted notes
J:
(*)
J.
J.
(<*)
13.
How many
?
crotchets are there in each of these
dotted notes
14.
How many
J.
(&)

?
in
each of
these dotted notes

()
J?
o-
<
d>
(e)
cJ-
15.
How many
?
quavers are there in each of these
dotted notes
(*)
J.
(*)
J.
are
W
there
o
in
this
16.
How many
o*
minims
dotted
note
17.
Divide the value of this dotted note

parts,
(6)
o
(c)
(a)
in
two equal
parts.
in
three equal parts,

(e)
in
four
equal parts, (d) in six equal parts,
in eight equal
18. In
what way does

its
a double dot placed after a

?
note or rest affect
value

19.
How many
jr.

?
in each of
the following double-dotted notes

()
J..
w
?
J..
(d)
omm
20.
How many
(a)
quavers are there in each of the
following double-dotted notes
^
?
(6)
21.
How many
semiquavers are there in each of the
following double-dotted notes
wj..
22.
(*)
o-.
c)
<
J..
How many
?
crotchets are there in this double-
dotted note
23.
o.
Add
a note to each of the given notes, so that

will be equal
when added together each group of notes

in value to a
semibreve
()
&)
ci-
w Jdots
24.
Will any
its
number
?
of
placed after a note
double
25.
value
Write the following notes, substituting a note for

:
each dot respectively
w o>
26.
(6)
J?.
c)
<
J.is
<
J-
j?.
Name
the note which
equal to one-third of a
dotted quaver.
27.
Name
the note which
is
equal to one-fourth of a
quaver.
10
28.
Name
the note or dotted note which
is
equal in
value to each of the following groups of notes
w a
J333
w q J333
<*
w j j2 JJ3
w
"*
j
29.
J353
**
As
notes represent sounds, what signs are used as

silence
?
marks of
30.
Rearrange these rests
in
the
order of length,
=-r
beginning with the shortest

r
31.
-_
1}
Write
after each of the following notes a rest of

:
corresponding value
32.
of a
Show by examples the ways by which note or rest may be prolonged.
the value
Write one note or dotted note equal each of the following groups of rests
33.
(a)
in value to
-- -
(d)
(b)
|-
f-
(c)
p. i
(a)
i q q
(/)
r. i
34.
Write two equal
rests,
which added together are
equal in value to each of the following notes

(a)
J*
(b)
J
(e)
(c)
J*
(d)
(e)
35.
Write four equal
equal in value to (a)

breve, (d) a crotchet,
which added together are a minim, (b) a quaver, (c) a semirests,
a semiquaver.
11
36. Write beside each of the following rests the noce
or notes, which together with the rests value of a semi breve

:
make up
(d)
the
(a)
(b)
-
-
(c)
r-
Write after each of the following groups of notes the rest or rests, which together with the notes make
37.
up the value of a dotted minim
J J2
38.
{h)
J*
(c)
J J"
{d)
J3
<>
J*
What
rest
may
?
be used for a whole bar,
irre-
spective of signature
39. 40.
How
What
are rests of
more than one bar indicated

is
kind of rest
denoted by this sign
to-
41.
Write a breve,
it
also
two notes which added
gether equal
12.
in value.
What
is
meant by
(a)
(e)
a duplet,
(b)
a triplet,
?
(c)
quadruplet,
13.
(d)
a quintolet,
a sextuplet
Give the name
to each of the following
groups
J3
w JJ2
w J7J2
6
w JJJJJJ
44.
Write two notes equal

:
in value to
each of the
following triplets
WJ73
3
<
>JJo)
3
wjjj
3
wJ39
3
12
45.

Write one note equal
in
value to each
of
tfee
following triplets
<
>JJJ WJ72
46.
JB
MJJcJ w
Write
(a) a
(b) (c)
duplet equal to three quavers,
a triplet equal to two semiquavers,
a quadruplet equal to three quavers,

a quintolet equal to four semiquavers, a sextuplet equal to four quavers.
?
(d)
(e)
47.
What
is
a tie or bind
Write a note or dotted note equal each of these groups of notes

48.
in value to
wjj;
49.
wjj^
:
<c
>oj
wjj*
Name
the equivalent in semiquavers of these tied
notes in each case
SHARPS, FLATS,
50.
AND NATURALS
:
Name
the following signs

fc>
#
51.
to
(rz)
tt
What
(/>>)
is
the effect of
a sharp written before a

?
note,
52.
flat
written before a note
What
is
the effect of
(b)
(a)
a double sharp written
before a note,
a double
flat
written before a note ?

53.
13
flat,
When
a sharp, double sharp,

in
is it
flat,
double
in
or
natural
occurs
piece
?
which
is
not
the
key
signature,
54.
what
called
For how long does the effect of an accidental
last?
55.
To which keys on
t|
the pianoforte (white or black)
does this sign
apply
STAVES AND CLEFS

INCLUDING THE C CLKF AS USED FOR ALTO AND TENOR
56.
What
is
meant by pitch
57. (a)
How many
?
lines are there
in the
treble or
bass stave
(b)
Name
the
number
of spaces between
the lines of the stave.

58.
What
is
meant by the Great Stave
59.
60.
Name
What
the letters of the alphabet used in music.

is
a clef
61.
Write the treble and bass
clefs
upon a
stave, with
the clef note in each case.

f>2.
Name
both notes.
lines of the treble
(a)
Give the letter-names of the

(b)
stave, beginning with the lowest,
Give the
letter-
names of the spaces of the

63. (a)
treble stave.
stave,
Give the letter-names of the lines of the bass beginning with the lowest, (b) Give the letterstave.
names of the spaces of the bass
14
64.
What
rule
?
is
generally observed in writing the
stems of notes
65.
Name
the kinds o notes which are usually joined
together by bands instead of separately hooked.
Write in semibreves these notes on the treble E, A, F, C, B, G, D. stave

66.
:
67.
Write
in
minims these notes on the bass stave:
D, G, B, C, F, A, E.
68.
What
are leger lines
69.
Write the following notes

(a)
G, C, A, D, B, F,
in crotchets.
above the treble stave

the treble stave
(/>)
D, A, G, B, E, F,
in semibreves.
C below
(c)
E, F, B, D, A, C,
in
G
D
above the bass stave
minims.
(d)
C, F, E, B, G, A, in quavers.
below the bass stave
70.
Write the note called middle C

(b)
(a)
Using the
treble clef,
using the bass
clef.
71.
Name
the following notes
w
<M
i
:fi*3*
m
M
its
^n^T^fai w

72.
15
What
is
an
enharmonic
change
Give
an
example.
73.
Change the names

:
of the following notes enhar-
monically
G#
74. (a)
Db
F#
Bb
D#
Fb
A#
Cb
E#
What
note on the pianoforte can be expressed
by only two names ? (b) Name all the other notes which can have three distinct names.
75.
In addition to the treble or

clef,
G
?
clef,
and the bass
or
what other
clef is in use
alto
76.
clef
Write on a stave the note in each case,
and tenor
clefs with the
77. (a)

(b)
lines of the alto
stave, beginning with the lowest,
Give the
letter-
names of the spaces of the

78. (a)
alto stave.
lines of the tenor

(/>)
stave, beginning with the lowest.
Give the
letter-
names of the spaces of the tenor

79.
stave.
To which
(a)
staves do these line notes belong
F,
A, C, E, G.
(b)
D, F, A, C, E.
?
80.
To which
(a)
staves do these space notes belong

(b)
G, B, D, F.
in
E, G, B, D.
81.
Write these notes

(a)
(b)
semibreves
F, C, G, E, B, D, A, on the alto stave.
A, D, B, E, G, C, F, on the tenor stave
16
&2.

Write these notes at the same pitch
On
the Alto Stave.
:
^>
On
(h)
^ ^
the Tenor Stave.
O
On
(a)
IT*
r>
-&>
&
-^
the Alto and Tenor Staves.
i=*
On
I!
(d)
U_
the Treble and Tenor Staves. jC2_ -&#.
;:rz
&
#s>
On
the Treble and Alto Staves.
T2
J
,
(a)
^ /
r>
i
'
<^ r
br^ L^
L/
101
CJ
i '
*-*
n r*
On
(/)
the Tenor and Bass Staves.
$*>?+
On
the Alto and Bass Staves
(g)
^^
4f7--i
ZZ
8^
On
Z2:
Z21
the Alto and Tenor Staves.
(h)
m
^F
4=^
&
tt^
ftg;
C2
0-
On
the Treble, Alto, and Tenor Staves.
(*')

83.
17
What
does the figure 8 signify when placed under

?
certain notes
84.
Explain the meaning of the sign Sve
(a)
when
written
stave.
above the stave,
(/>)
when
written below the
SCALES AND KEY SIGNATURES

THE TECHNICAL NAMES FOR THE DEGREES OF THE
SCALE
85.
How many
What
is
kinds of scales are there
Name
them.
86. 87.
a key signature
Name
the order in which the sharps follow each
other in a key signature.

88.
Name
the order in which the flats follow each
other in a key signature.
Write the names of the major keys represented by these key signatures
89.
:
(a)
(b)
(c)
(d)
(e)
tf:
=*
?
(*)
(*')
it
if)
(y)
(?)
11=1?
90.
*A.: llL^b th 9-
= {~ytt
I;
Write (a) on the treble stave the key signatures of C| and Gb Major (b) on the bass stave the key signatures of F$ and Cb Major.
;
18
91.
92.
What
is
meant by a
relative
minor key
Name
the
number
of semitones between a major
keynote and
93.
its relative
minor keynote.
Why
?
is
the key of
E Minor
related to the key of
Major
94.
Write above the following the names of the major keys, and below the names of the relative minor keys, which these signatures represent
the major key in which Djf is the last (b) the minor key in which sharp in the key signature
95.
(a)
;
Name
C$
in
is
the last sharp in the signature
(c)
the major key

;
which Ab is the last flat minor key in which Eb is the

96.
in the signature
(d)
the
last flat in the signature.
Give the technical name of each note of the
diatonic scale.
97. (a)
starting
last
What is from C ?
the order of major keys with sharps

(b)
sharp in
Give the technical name of the a major key signature.

98.
(a)
19
starting
What from C
is ?
the order of major keys with flats

(b)
Give the technical name of the
last flat in
a key signature.
Give the technical name of the note which determines whether a piece is written in the major or minor key. (b) State in which key (major or minor) it appears as an accidental.
99.
(a)
100.
is
Name
What
three minor keys in which tne leading note
represented by a double sharp.

101. 102.
is
meant by a
the key of
relative
major key
Why
?
is
Major related
to the
key
of
Minor
103.
(b)
Name
Minor,
the relative major keys of

(c) (g)
(a)
F Minor,
Minor,
G
104. 105.
Minor,
(d)
Minor,
(e)
(/)
C# Minor,
D#
Minor,
(//)
Eb Minor,
G# (i) A#
?
Minor.
What
is
meant by a
tonic
minor key
Write after each of the following major key signatures its tonic minor key signature.
F
Major.
Major.
B[>
Major.
106.
107.
What
is
meant by a tonic major key
Write after each of the following minor .key signatures the tonic major key signature.
Minor.
F$ Minor.
E|j
Minor.
1^=
--
EH
20

108. Rearrange in correct order the sharps and flats
in the following
key signatures
E(j
A^ Major. F$ Major.
Major.
Major.
Dj? Major.
Major.
F=3tt>
te?
fc*
%: pag^gga
key signatures
of
109. Write on the alto stave the
Major,
110.
C Minor, B Major, and
Minor.
Write on the tenor stave the key signatures of Ab Major, F# Minor, Bb Major, and Cf Minor.
111.
Name
the key of each example
(a)
N^jelTeEf
^
w
-4-^ge*
3==
Jftcz
^
::**
W
()
-*
^=Tr~r=F=
SI"
P
*
.t>*
=F
'I*
*>
Jf^f-
(/)
^=zi

No.
Ill
21
Continued from p. 20
(?)
9 4-a-fr ^=^
%.
4.
&
ipi^
?
(h)
d
is
?.
112. 113.
What
a diatonic scale
Name two
kinds of diatonic scales.
Between which notes of the major scale are the semitones ? (b) Between which notes are the whole
114. (a)
tones
115.
Name
a succession of white notes on the pianoscale.
forte
upon which can be played a complete major
116.
Why
?
is
the
sharpened in the scale of
G
?
Major
117.
118.
Why
Write
is
the
flattened in the scale of
F Major
stave
in
semibreves on the treble

(a)
(e)
the
ascending scales of
Major,
Major.
(b)
Major, (d)
natures and
119.
Major,
Bb Major, (c) G Prefix the key sig-
mark
the semitones with slurs.
Name
the two forms of the minor scale
now
in general use.
120.
Between which notes of the harmonic minor

?
scale are the semitones
121.
scale
Between which notes of the harmonic minor is there a step of a tone and a half ?
22

122. Write in
minims on the treble stave the ascending scales of (a) A Harmonic Minor, (b) D Harmonic Minor, (c) G Harmonic Minor. Prefix the key signatures and mark the semitones.
123.
Between which notes of the melodic minor

?
scale
are the semitones

124.
Give the techu ascending melodic min

accidentals.
cal
>r
names
of the notes of the
scale
which are indicated by
Write in crotchets on the treble stave the ascending and descending scales of (a) E Melodic Minor, (b) G Melodic Minor, (c) B Melodic Minor. Prefix the key signatures and mark the semitones.
125.
126. Write in quavers on the treble stave the ascend-
ing scales
(c)
of
(a)
Major,
(b)
F$ Harmonic Minor,
Db Major.
Prefix the key signatures and
mark
the
semitones.
127.
Write
(c)
in
semibreves on the
(a)
alto
stave
(b)
the
ascending scales of
Major,
tures and
128.
B Harmonic
Minor.
X)nes.
Minor,
Ab
E Harmonic
mark
the sei
Prefix the key signa-
Write
in
(a)
minin
ing scales of
E Ma
r,
on the bass stave the descend(b) G Harmonic Minor, (c) F$
Major.
tones.
Prefix the key signatures and
mark
Minor.
the semi-
Model Answer. Scale
of
B Harmonic
22^-
Si
jg
go
t,
, -"
,
&
23
129. Write in crotchets on the tenor stave the ascend-
ing scales
(c)
of
(a)
F Harmonic Minor,
C Melodic Minor. mark the semitones.

130.
Eb Major, Prefix the key signatures and

(b)
semibreves on the alto stave the ascending and descending scales of (a) A Melodic Minor, (b) D
in
Write
Melodic Minor,
signatures and
131.
(c)
F# Melodic Minor.
the semitones.
Prefix the key
mark
in
minims on the bass stave two forms of the scale of E Minor (ascending and descending), stating which is the harmonic and which is the melodic form. Prefix the key signatures and mark the semitones.
Write
132. Write in crotchets on the bass stave the ascend-
ing tonic major
scale
of the
minor scale named
in
Question 131, omitting the key signature. Prefix the necessary accidentals and mark the semitones.
133. Write
in
semibreves on the treble stave the

(a)
ascending scales of
Eb Harmonic Minor, (6) Eb Melodic Minor, (o) the Tonic Major scale. Omit the key signatures, but prefix the necessary accidentals and
mark the semitones.

134.* Convert the
following notes into the scales

signatures, but prefix the neces-
named.
Omit the key
sary accidentals.
Scale of
Do
not alter the position of any note.
Major, beginning and ending on the Subdominant.
(a)
&
|
XX
-^ XX
the Dominant.
Scale of
C Harmonic Minor, beginning and ending on
gi
:
o^^
" "I
Then
* Hint Write out each scale fully, beginning and ending on the tonic. piek out the accidentals and write them in their correct places in the
above examples.
24
135.
scale
tonic.

minims on the tenor stave the ascending of D Major, beginning and ending on the superOmit the key signature, but prefix the necessary
Write
in
accidentals.
on the alto stave the descending scales of (a) F Melodic Minor, and (b) its relative major scale. Prefix the key signatures and mark the
136.
in crotchets
Write
semitones.
137.
Write
in
semibreves on the treble stave the

(a)
ascending scales of
six flats major, (b) four sharps
Omit the key signatures, but the necessary accidentals and mark the semitones.
melodic minor.
138.
prefix
Name
(a)
the following
The major
mediant.
scale,
which has EH for which has

Cjf
its
(b)
The minor
dominant.
scale,
for
its
(c)
The major
mediant.
scale,
which has F for which has
its
sub-
(d)
The minor
The major
scale,
Afl for its
supertonic.
(e)
scale,
which has F$ for
its
sub-
dominant.
(f)
The minor
for
its
scale,
which has C double sharp
leading note.
139.
Name
(a)
the following
The minor
mediant.
scale,
which has Db for
its
(b)
The major
dominant.
scale,
which has F$ for
its

No. 139
25
Continued
(c)
from
p.
24
The minor
mediant.
scale,
which has
for
its
sub-
(d)
The major
tonic
scale,
which has F for
its
super-
(e)
The minor
scale,
which has Ab for
its
sub-
dominant.
(f)
The major
scale,
which has A# for
its
leading note.
140.
Make each
of the following notes the dominant

in
of a major
case.
key by prefixing a key signature

each key.
(a)
(b)
(c)
each
Name
m
141.
(a)
&&
m-
tla-
Write the signatures of the following keys and the leading note in each case
:
to
to
Gjt Minor.
(d)
A^ Minor.
D#
Minor.
Aj Minor.
142.
Show by example
the difference between a
dia-
tonic
and a chromatic semitone.
Write in semibreves the following notes on the treble stave, and above each write a note which is a diatonic semitone higher
143.
:
(a)
(b)
G#
(c)
{d)
Eb
(e)
A#
(/)
Db
(g)
26
144.
Write in minims the following notes on the bass stave, and below each write a note which is a diatonic semitone lower
:
(a)
(6)
(c)
(d)
Ab
(e)
(/)
Db
(g)
Eb
145. Write in crotchets the following notes on the

treble
and after each write a note which chromatic semitone higher

stave,
:
is
(a)
(b)
(c)
(d)
Eb
(e)
(/)
G#
?)
Ab
Write in quavers the following notes on the bass stave, and after each write a note which is a chromatic
146.
semitone lower
(a)
(/>)
F#
(c)
(d)
A#
(e)
C
?
(/)
(6)
B#
(g)
Eb
147. (a)
is
What
is
a chromatic scale
What
rule
to be observed in the writing of a chromatic scale in
the harmonic
148.
form
in
Write
semibreves chromatic scales of one

:
octave in the harmonic form

(a)
(b)
(c)
Beginning on the note C. Beginning on the note Gr. Beginning on the note D.
crotchets
149.
Write
octave in
one the melodic form, ascending and descending

in
chromatic
scales
of
(a)
(b)
(c)
Beginning on the note C Beginning on the note F. Beginning on the note Bb.
?
150. 151.
What
is
a tetrachord
Between which notes of a tetrachord do whole tones and a semitone occur ?

152.
Ti
Write
in separate
groups the notes which form
two tetrachords
153.
in the scale of
Major.
The upper tetrachord
of the scale of
C Major
scale.
forms the lower tetrachord of another major Name the key of this scale.
154.
The upper tetrachord
of the scale of
Major
scale.
forms the lower tetrachord of another major Name the key of this scale.
155.
The lower tetrachord
of the scale of
C Major
scale.
forms the upper tetrachord of another major Name the key of this scale.
156.
Name two
:
major scales
in
which the following
tetrachord occurs
h2
te=*3
INTERVALS AND THEIR INVERSIONS

157. 158.
What
is
an interval
in
Are the notes downwards ?

159.
160.
an interval counted upwards or
What
What
What
is
a melodic interval
is
a harmonic interval a diatonic interval

?
161.
162.
163.
in
is
What
?
is
a chromatic interval
How many
Name
different kinds of intervals are there
use
them.
28

164. Into
how many
?
classes can the various kinds of
intervals be divided
165.
166.
What
is
a consonant interval
a dissonant interval
classes of
?
What
is
167.
How many
Name
consonant intervals are
there
them.
(b)
four kinds of perfect intervals, kinds of imperfect intervals, all consonant.

168.
(a)
Name
four
Are the seconds, sevenths, and all diminished and augmented intervals consonant or dissonant ?
169. 170.
Write above the following notes the intervals

:
named
(a)
(b)
to
^^
Perfect 4th.
^
Perfect 5th.
(b)
(c)
^
Perfect 8ve.
(d)
171.
Write above the following notes the imperfect
intervals
named
(a)
-&Major
3rd.
^
Minor
3rd.
:
^
Major
6th.
Minor
6th.
172.
Write above the following notes the dissonant
intervals
named
(a)
(b)
f /L
f(W \s\)
&
Major 2nd.
~&Major
7th.
29

173.
Name
(a)
the following intervals, stating in
each
case whether major, minor, or perfect

(b)
(c)
(d)
174.
Write above the following notes the dissonant
intervals
named
(a)
(b)
(c)
(d)
1
(e)
-m
v
XL
<^
Minor 2nd.
-&Augmented
5th.
1=
FDiminished
4th.
i
]
^
Minor
7th.
()
o
Augmented
6th.
(/)
(-7)
(h)
(i)
W,
-&II
-&Augmented
2nd.
ODiminished
7th.
^
Augmented
4th.
&
Diminished
3rd.
Diminished
5th.
175.
Name
()
the
following intervals, and state

contains
(c)
:
how
many semitones each one

(b)
(d)
(e)
ct
9&
(!)
((I)
&
(?)
(ft)
(*')
vm
~jCT
^
X2I
hn:
h21
30

i
No. 175 Continued from

(*)
p.
29
(0
1_
()
irn
w J
/L
\)
jo^ ^
9#o
fri+C-i
'
tf/TJ
-%-^k
HV^*
W>
u.'
*n
Jr--Vl>
(2)
1 1
(f)
()
/?iY ((J.
bo
L/C-^
*--'
\^
*^
E"
ff
-.
rj
r*
Q
(d)
176.
Write below the following notes the intervals

:
named
(c)
(*)
9&
Major
6bh.
&
Perfect 5th.
Minor
3rd.
Diminished
4th.
Minor
7tfe.
(/)
(9)
(*)
(*)
(?)
o
(ft)
kz
Diminished
(I)
->
32:
5th.
Perfect 4th.
Minor
6th.
Major 2nd.
(n)
Major 3rd.
(o)
(m)
^
Augmented
5th.
#q
7th.
6^
Diminished
7th.
S^
Augmented 6tk
Major
Augmented
2nd.
(?)
m
177.
178.
9&-
3-
Diminished
3rd.
Minor 2nd.
Augmented
4th.
What
is
meant by the inversion of an
interval ?
interval
Give a rule for finding out what an becomes when inverted.

179.
31
What
?
does a perfect
interval
become
when
inverted
180.
What
?
does
major
interval
become
when
inverted
181.
What
?
does
minor
interval
become
when
inverted
182.
What
?
does an augmented interval become when
inverted
183.
What
?
does a diminished interval become when
inverted
184.
What
does
(a)
a perfect fourth,
(/>)
a perfect
?
fifth, (c)
a perfect unison
become when inverted

(/>)
185.
What
What
does
(a)
a major third,
?
minor second
become when inverted

186.
does
(a)
an
augmented
?
fourth,
(b)
diminished third become when inverted

187.
Name
(a)
the following intervals, and state what

:
each becomes when inverted

(b)
(c)
o&
188.
fch
kz
^
intervals,
(d)
ZbT
32:
Write the inversion of these what each becomes when inverted

:
and
state
(a)
(b)
(c)
(d)
.
?: icl
W^>
^JL
B=%g
te
32
189.
Name these intervals, and state what each becomes

:
when inverted
(a)
(b)
(c)
(d)

190.
:
intervals,
and
state
(a)
(b)
(o)
H2J -o-
'&ftcr
#cr
-6
^JUL
fr
^ ^
(d)
191.
Name these intervals, and state what each becomes

:
when inverted
(a)
(*)
tf)
m
192.
icx
^
tf
*^
Eî
and
state
(rf,

:
intervals,
(a)
<fi)
(<0
Jt_
jxz
22:
p^g
:
so
fe193.
Name
(a)
these intervals, and state which are con-
sonant or dissonant in each case

(b)
&
S^
J22=z:
~i?GT
: :

Write these intervals, and sonant and which are dissonant
194.
:
33
state
which are con-
w
9&
Perfect 5th below.
w
iq:
Diminished
7th below.
(d)
to:
II
Minor 6th
above.
Augmented 2nd above.
Write the following intervals, and are consonant and which are dissonant
195.
(a)
(b)
(c)
state
which
(d)
s
196.
m
zz
Major 6th
below.
-Tiizn
Minor 3rd
below.
Augmented
5th above.
Diminished
4th above.
Name
the following intervals, and state which
are consonant and which are dissonant

(V)
IZ
^ &&
J
:
^ m tex
id)
197. Correct these intervals

Eore one of the
(a)
by placing an accidental
two notes given

'(b)
(c)
ICZ
-&
~&
Diminished
7th.
ZZ
Augmented
5th.
32:
Minor
6th.
î
Major
3rd.
(d)
34
198.
By
placing a sharp or
flat
before either of the
following notes, convert each into a perfect interval.
Name
each interval.
()
()
(d)
^ m
199.
B=s&
ZJl
Z2I
m
_2_
Write these intervals

(a)
(b)
in the
key of
E Minor
(d)
(c)
m
l
consonant
interval.
dissonant
interval.
diatonic
Give an example
of a tritone.
interval.
200. Invert the intervals in Question 199, stating in
each case
whether
they are
major,
minor,
perfect,
augmented, or diminished.
Write on the alto stave these intervals, which must be found in the scale of G Harmonic Minor
201.
(a)
(c)
(e)
Augmented
second.
(b)
Minor
third.
Major sixth. (d) Perfect fifth. Diminished seventh. (f) Augmented fifth. (g) A tritone, or augmented fourth.
Write a note above each of those given which will form the intervals named, and state the key of the passage formed
202.
:
&
Minor
3rd.
fc*
Diminished
7th.
O
Perfect
5th.
^
Minor
6th.
J2L
Augmented
4th.
Oi
Major
6th.
35
203. Write a note above each of those given which
form the intervals named, and passage formed

will
:
state the
key of the
\J
/L
l(X\ \s\)
CJ
Minor
3rd.
^"~ C_-^
<J
Major
3rd.
J
Major
6th.
Minor
6th.
Perfect
4th.
Minor
7th.
204.
scale
?
How many
minor seconds are there
in a
major
in
Give the technical name of the lower note

Question 204
each case.
Model answer
(2)
to
Two,
(1)
mediant,
leading note.
minor seconds are there in the harmonic minor scale ? Give the technical name of the
205.
How many
lower note in each case.

206.
An augmented
scale.
second occurs in the harmonic
minor
207.
Give the technical name of the lower note.

instances are there of an
scale, (h)
How many
(a)
fourth in
major
augmented a harmonic minor scale ?

in each case.
Give the technical name of the lower note

208.
How many
major
instances are there of a diminished
fifth in (a)
scale, (b)
harmonic minor scale
Give
the technical
209.
name
of the lower note in each case.

fifth
An augmented
scale.
occurs
in
the
harmonic
minor
note.
Give the technical name of the lower
diminished seventh occurs in the harmonic minor scale. Give the technical name of the lower
210.
note.
36

211. Write all the
vals which are to
augmented and diminished interbe found in the scale of A Harmonic

its
Minor between the tonic and

212.
octave.
major thirds are there in the harmonic minor scale ? Write out these intervals in the key of D Minor, using the alto clef.
213.
in the
How many
How many
instances are there of a major sixth
harmonic minor scale ? Write the notes which form this interval in the key of E Minor.
214.
Name
r
the notes which form the interval of the
diminished fourth in the scale of
C Harmonic
Minor,
and
state
w hat the
interval
would become when inverted.
215.
Name
(a)
the following intervals and the harmonic
minor scales
-&-
in
which these notes occur

(b)
(c)
(d)
w
1
%&
&&
bo>er
7"g>
zz
(
6 ):
gQ
216.
Name two
intervals
on the note
FJf,
each of
which contains four semitones.

217.
Name two
Make
intervals on the note D, each of which
contains eight semitones.
consonant intervals dissonant by prefixing an accidental to one or both of the notes. Name the intervals after changing the notes, and say
218.
these
how many
semitones are contained in each.

219.
37
Name the
(a)
(b)
notes in
formed between the following the ascending melodic minor scale

intervals
:
Tonic and submediant. Tonic and leading note.
220.
Name
(a)
(b)
the intervals formed between the following

:
notes of the descending melodic minor scale
Tonic and the seventh degree of the Tonic and the submediant.
is
?
scale.
221.
What
pound interval
meant by (a) simple interval, Give an example of each.
(b)
com-
TIME, TIME SIGNATURES,

222. Define the
AND BARRING
OF GIVEN PASSAGES
meaning of the word " accent."
?
223. 224.
225.
What
What
What What
is
meant by rhythm
are bar lines, and

is
what
is
their use
a double bar, and in
what way
is
it
used
226.
is
a time signature
(a)
227. Explain
(b)
why
times
are
called
" simple,"
why times
228.
are called " compound."

figure, the
Which
upper or the lower,

the
in simple
time
signatures
denotes
?
number
of
beats
to
be
counted in each bar

229.
Which
figure in a time signature applies to the

?
value of the beats
38
230.
QUESTIONS, RUDIMENTS OF MUSI
What
is
the standard note to which the lower

?
figure as a fraction applies
231.
(a)
Taking the semibreve as a whole

(b)
note,
what are
?
half notes,
232.
eighths,
(c)
quarters, (d) sixteenths
Name
(c)
the time signatures which represent the

:
following bars of notes

quavers,
(a)
Two
(d)
crotchets,
(b)
three
(e)
three crotchets,
four crotchets,
six
quavers,
(/*)
nine crotchets,
(g)
twelve quavers.
meaning of the following time signatures, stating the number and kind of notes which each represents. Also say which are simple duple, simple triple, and simple quadruple.
233. Explain the
(a) I
(b) g
(c)
or %
(d)
(e)
(/)
(9)
(//) J,
or
(A) I
Model answer:
time.
234.
three crotchets, simple triple
What
is
meant by compound time

figures
employed in time signatures State which of these figures are are 2, 3, 4, 6, 9, 12. used in simple times and which in compound times.
235.
236.
The upper
How
Name
(a) I
are the figures
multiplied in order to
derive a
237.
compound time
the
:
signature from
them
compound forms
(c) %
of
the following
time signatures
(b) I
{d) I
(e) i
(1)
(/) \
(g) I
(h) I
Model answer : (It) 1 compounded becomes i96 compound triple time, three dotted quavers in a bar.

238.
39
How
are the upper and lower figures in
com-
pound time signatures divided in order to obtain the simple time signatures from which they are derived ?
239.
Name
(a) %
the simple times
from which the following

:
compound time signatures

(b) 1
i
are derived
\l
(c)
(d) I
(*) i
(e)
if)
240.
to
6 6
(g)
16
Change the following bars of notes from simple compound time by adding a dot to each note. Make
the necessary alteration to the time signatures.

(a)
^=?E
4
(<*)
s
f>
:
(6)
to
H*=PE
&
to
:
fJ
T*
PR
Change the following bars of notes from compound to simple time, making the necessary alteration
241.
to the time signatures
242.
Add
time signatures to the following examples

(a)
(b)
(c)
40
No. 242
Continued
(d)
from
p.
39
(e)
(/)
zz
T*
(h)
(")
(9)
T^
r^w~w
S^l
(c)
243.
Add
time signatures to the following examples

(a)
^=7W^
(d)
W
(?)
(b)
CI* CJ
()
(/)
t
T^PPP
>
*
(*)
^S
fnrBT
244.
Write a bar of notes
in
each of the following

:
times,
naming the kind

(a) l
(6)
of time of each example
to
(g) \
(d)
16
to
(0
(/)
12
4
or
(h)
Model answer
=6=
:
(b)
Compound
HS
duple time.
41
24b. Correct the following incorrectly grouped bars

of notes, but do not alter the value of the notes
:
-^^^ 4^^^^"-\t Trrr

m
m o
i \
246. Correct the following incorrectly grouped bars
of notes, but do not alter the value of the notes

(a)
(b)
ss
247.
zix
Complete each of the following bars of notes by adding one note or dotted note at the end of each bar
:
(a)
(b)
(c)
/r
f> r
H~B
m
(e)
M W=5=WA &
(/)
5 Tf~W^rr
& g^B^
(d)
2:
'*-*
42
248.

Complete each of the following bars of notes
:
with a rest or rests

(a)
(b)
(c)
249.
Add
(a)
the lower figure to each of the following

:
time signatures
(b)
(c)
Ijl feg-P-g
(d)
1=
W P'P
'
P
(/)
P i r~W a ^
250.
Egg
(b)
ia t >> f >m t >* PP
Add
the upper figure to each of the following

:
time signatures
(a)
(c)
&
Compound
Duple.
A
Compound
Triple.
ifi
Compound
Quadruple.
251. Write a note or dotted note of the value of a

single beat in each of the following time signatures,
carefully observing the signatures which have dotted
note beats
(a)
(b)
(c)3
(d)
2
Mi
(A)i
(/) 16
(?)0
or

252.
43
Write a note or dotted note of the value of a whole bar which each of the following time signatures
represents
(a)
12
(6)
8
(c)
or
(d)
<)
Write a bar of quavers in each of the following times, paying particular attention to the grouping of notes. Use slurs to denote the beats.
253.
() l
(b)
(o)
(d)l
w
in
(/) ^
254.
Write a bar of semiquavers
each of the fol-
lowing times
(a) !
(b) I
(c) 1
(<Z)
(e) 3
(/)
*,
255. Write a bar of notes in each of
these times,
beginning each bar with a dotted note

()
(6) 1
(c) I
(d)
(e)
(/) \
times,
25(3.
Write a bar
in
each
of
the
following:
:
beginning with a crotchet and ending with rests

(a) I
(b) %
(c)
(d)
(e) |
(/)
257. Prefix the time signatures to these examples
44

p.
No. 257 Continued from

()
43
p^p^S
(?)
(^
##
^-=^=g
&
&mm
258. Write and group the following notes according
to the time signatures without altering the position of
the notes
(a)
-*--
^3t
IS
(&)
if

259.
45
Regroup these notes

:
so as to
form a bar of each
f the following times

plete bar
;
incomthe value of the notes must not be changed.

i, i-
Add
rests to each
H=S=
260.
=F
Write time signatures of the three kinds which contain twelve semiquavers in each bar.
261. Explain the difference
between these time sig-
natures
(J)
262. Place between each of these
two notes the
rests
necessary to complete each bar

(a)
(b)
(c)
fpri
263. (a)
i
Name
the kind of time which has the same

(b)
accent as
length.
264.
4,
but notes of half the length
also the
time which has the same accent, but notes of double the
Write a
tied note
which represents a sound of
the value of five quavers in | time.

265.
Write a tied note which represents a sound of

|
the value of five quavers in

266. Write in
4
time.
time a bar beginning with a crotchet

;
and ending with a quaver also write between these two notes the necessary rests to complete the bar.
267.
What
is
the simple
form of
\%
time
46

268. Correct the following mistakes in respect of the
arrangement of rests and the grouping of notes. rests may be changed if necessary.
The
(a)
(6)
W
b
J~M JJ J
*i
r -^1 ^L
?2^p
II
-P-=l-
^-^H^-
Write a note of the value of nine quavers in each of the following times, and complete each bar with rests. Tied notes may be used.
269.
(a)
(b)
(c)
a a
:
B
Wa
â
ft:
270. Rewrite this phrase in | time
by regrouping and
by using tied notes
5
is
s-^
syncopation
?
-n-^--
271.
What
Give an example.
some of the repeated notes by which this passage may be syncopated, and place stress marks over
272. Tie
the strongly accented notes
^tti

273. Rewrite the following passage in % time,
47
making
:
the necessary alteration to the value of each note
* 2:
^ggigiiî^
melody
in | time,
274. Rewrite the following
making
:
the necessary alteration to the value of each note
m
276.
5=^g
?
a^zat
S3
27 5. In slow
compound time may
a count be given to
each third of a beat
Mark
S.,
the notes in the following passages with

M., W., according to whether the accent
T
:
the letters
is
strong,
medium, or w eak
()
2E^
(6)
w
(d)
p 1
^^^
Mark
(a) | (6) 1
(<)
P-f^f-P
in
:
S
W
5
277.
Write one bar of notes
each of the following
times.
the accented notes

(d)
12
8
(/)
48
278.
Add
(a)
bar lines to the following extracts in accord:
ance with the time signatures
mmffrz^g^
(b)
Clementi.
Clementi.
E
(c)
oi
-fe-
\r
Dussek.
W&
(d)
fe^
3
mshBî
279.
(a)
F^ffi-^
^^^B^
Dussek.
49
Beethoven.
Beethoven.
TERMS AND SIGNS

Give the meanings of the following terms:
281. A.
282. Amorevole.
A cappella. A poco a poco. A tempo.

A piacere. Ad libitum,
or ad lib. Accelerando, or accel. Acciaccatura. Adagietto.
Affettuoso.
Amoroso. Ancora. Andante. Andantino.
Animando.
Animate
Appenato. Appassionato. Appoggiatura.
Ardito.
Affettuosamente. Affrettando. Agitato. Al, or alia.
Arioso. Arpeggio. Assai.
Alia mar da. Allargando.

Allegretto.
Amabile. Amarevole.
Attaca subito. Barcarola. Ben, or bene. Ben marcato.
Ben
sostenuto.
50

285.
283. Bis. Burlesco. Brillante. Brioso.
Con passione. Con sordini. Con spirito. Con tenerezza.

Crescendo,
cres.,
Cadenza. Calcando. Calmato.

Colore.
or
Da.
Calando.
Cantabile.
Da capo, or D.C. Da capo al fine. Da capo al segno. Da capo senza repetiDal.

Deciso.
[zione.
Cantando.
Cantilena. Capriccioso. Col, or colla.
Dal segno, or D.S.

Decrescendo, decres., or
Delicatamente.
Delicato.
Col arco. Col canto. Colla parte, Colla voce.
Desto.
Come.
Di.
Come prima.
284.
Di
286.
bravura.
grado. peso, or dipoHa.
Come
Con.
sopra.
Comodo.
Di Di
Diluendo.
affetto.
Con Con Con Con Con Con Con Con Con Con Con Con Con Con Con Con
Diminuendo, dim., or
Divisi.
amore.
anima.
bravura.
brio.
Dolce.
Dolcemente. Dolcissimo.
Dolente.
delicatezza.
dolor e.
duolo.
energia.
espressione.
Dolor e. Dolor oso. Doppio movimento. Ed.

Energico.
fuoco.
forza.
poi.
grazia.
gusto.
Estinto.
Espressivo.
Feroce.
maesta. moto.
Fieramente.

287. Finale. Fine.
Forte, or
/.
51
289.
Lunga pausa.
Lusingando.
Ma.
Forte piano, or f.p. Fortissimo, or ff. Forza. Forzando. Forzato, or f.z. Fuoco. Furioso. Giocosamente.
Giocoso.
Giojoso.
Ma
non troppo.
Maestoso.
Mancando.
Mano Mano
Meno.
or M.D. sinistra, or M.S.

dritta,
Marcato.
Martellato.
Meno
mosso.
Glissando.
Giusto.
Mesto. Mezzo.
Grave. Grandioso. Grazioso. Gusto.
Mezzo forte, or m.f. Mezzo piano, or m.p. Mezzo voce.

Moderato.
Morendo.
288. Gustoso.
11.
290. Motto, or
Di
molto.
Mosso, or moto.
Nel, or nei.
Impetuoso. Incalzando La. La prima.
Non.
Non tanto. Non troppo.

0.
Obbligato.
Langrimoso
Lamentevole.
Languido.
Opus.
Ossia.
Larghetto.
Largo. Legatissimo.
Liegato.
Ostinato.
Ottava.
Leggieramente. Leggier o. Lentamente. Lento. Uistesso tempo. Loco.
Ottava bassa. Parlando. Parlante.

Pastorale,
Patetica.
Perdendo.
Perdendosi.
52

293. Ritenuto, riten., or
rit.
291. Pesante.
Piacevole.
Rococo.
Piangevole. Piano, or p.
Rubato.
Pianissimo, or p.p.
Pietoso.
Piii.
Scemando,.
Scherzo.
Scherzando.
allegro.
Piu
Scherzoso.
Se.
Piii lento.
Piii mosso.
Secondo.
Sciolto.
Piii tosto.
Pizzicato.
Pochettino.
Segue.
Poco.
Semplice.
Poco a poco. Poco forte. Poco presto.

Poi.
Sempre.
Senza.
Senza replica. Senza sordini.

Serioso.
Pomposo.
292. Portamento.
Precipitoso.
Presto.
294. Sforzando,
Sforzato.
.?./.,
;> or A
Presto assai. Prestissimo.
Simile.
Sino.
Prima.
Slargando.
volta.
Prima
Quasi.
Slentando.
Quasi recitativo. Quasi una fantasia.

Questo.
Smorzando.
Soave.
Solo.
Raddolcendo. Rallentando, or
Recitativo.
Sonore.
rail.
Sorda.
Sospirando.
rinf.,
Rinforzando,
r.f.
or
Sostenuto.
Soito voce.
Replica. Risoluto.
Risvegliato.
Spianato.
Spiritoso.
rit.
Ritardando,ritard,OT
Staccato, or stacc.

295. Strepitoso.
Stretto.
53
296. Tranquillo,
Tre corde.
Trio.
String endo. Sul, or sulla.
Sul
ponticello.
Troppo. Tutta forzu.

Tutte, or tutti.
Svegliato.
Tacet.
Un.
Tanto.
Una
cor da.
Tempo comodo. Tempo giusto. Tempo ordinario. Tempo primo. Tempo rabato.
Tenerezza.
Un
pochettino.
Veloce.
Vellutata
Vigoroso.
Teneramente. Tenuto, tenute, or

Tosto.
ten.
Vivace. Vivacissimo. Vivo, or con vivacita. Volante.

Volta.
Tranquillamente.
Volti snbito, or V.S.
Give Italian words in

297. Detached.
full
which indicate:
299. Reinforcing.
Dying away,
Enlarging.
Forcing.
Smoothly.
Suddenly quicker.
Suddenly slower.
Sustained.
Sweetly, softly.
softer.
Gradually louder. Gradually

Gradually quicker.
298. Gradually slower.
Tenderly.
Gradually
quicker.
louder
and
300.
Very quick.
Very slow.
Very loud.
Gradually softer and

slower.
Heavy. Hurrying. In a singing
Very
With
style.
soft.
fire.
Well marked.
Lightly, easily.
With
spirit.
54

Give the musical sign or abbreviation
for:
staccato,
301. Accent.
304.
Mezzo
Accelerando.
Mezzo
Pause.
Piano.
voce.
Ad
libitum.
Alia breve.
Crescendo.
Pianissimo.
Rallentando.
Da
302.
capo.
Dal segno.
Decrescendo.
305. Right hand.
Repeat.
Diminuendo.
Forte.
Rinforzando.
Ritardando.
Ritenuto.
Forte, piano.
Fortissimo.
Sforzando.
303. Forzato.
306. Slur.
Staccatissimo.
Staccato.
Held down.
Left Jiand.
Legato.
Mezzo forte. Mezzo piano.
Tie, or bind.
Turn
over quickly.
307. Give the Italian
words which the following signs
indicate
pp. mf.
D.C.
D.S.
M.D.
M.S.
V.S.
cres.,
mp.
ft.
rit.
or
sf.,
or
decres., or
ten.
rail.
55
308. Write the following exactly as each should be
played
(a)
(h)
(<:
-o2:
'&(6)
(c)
(d)
(e)
HHIS
(d)
s -J*
309.
(a)
m
310.
(a)
(b)
-P-
^f^l
(c)
:
311.
(a)
^=^ ^ffl
(6)
|~ g
3
312.
(a)
mi-t firta
(*>
=*=
IIL
(c)
t>
(d)
3
313.
(a) (V)
(<)
i
(d)
$
r~j
(a)
ii
g==n=^^
J
ii
(b)
314.
56

(a)
(b)
s
315.
a=&
(a)
(6)
st:
316.
^
317,
^
(a)
/r
tr
/&
IZ
ZZ
41
?=
W
/r
/r
a
2t
318.
(a)
e*^
?ÊE
(e)
T*
* 40-JP 4i)
r r r
i
i
Iv
(&)
w w 2 C -J ./ LJ
-1 j-f
L-J
319.
s^
(a)
(a)
3-r
(&)
320.
^^P
-3
^P
321.
^
a)
0>)
(o)
zi
"
57
322.
323. Write the following chord as
it
should be played.
Tied notes
may
be used
nu
324. Explain
the meaning of the word " tremolo

:
written over two notes as follows

Tremolo.
<&
Abbreviate the following, using the necessary signs for the ornaments
:
(a)
(c)
325.
m
mLJ
(d)
(a)
(b)
326.
^=*
(a)
(b)
()
327.
58

(a)
(b)
(c)
328.
-^ JJJiJb jgggj
5&a
329.
(a)
(6)
330.
Abbreviate the following, using the necessary signs for repeated notes and groups of notes
:
(a)
(1)
331.
WW
(a)
gPgP
(6)
332.
^g^rp'^s^-tbgP-gE
(a) (6)
^
1
333.
ffgJ&E
td-

334. Explain the following signs
(a)
:
59
Ped.
(6)
(c)
335.
What
is
the effect of a slur
r under two notes of different
when written over names as follows ?
*=*
336.
What
does a slur indicate when written over or

?
under several notes as follows
I
337.
case
^
in
Give the name of the staccato sign
each
338.
What
is
the meaning of a short horizontal line

?
written over notes as follows

(a)
rrrr
339.
rrrr
by dots placed after and
What
is
indicated
?
ief ore a double bar
60

MO. What
is
meant by
(a)
J=72,
(b)
s ^ =104
341. Explain the
meaning of bars being marked as
follows
1st time
(Ima
volta).
2nd time (2da

volta).
1
\
1 1
r m P r
i
!
m m ^ m r
1 '
m m P ^p m m
i
r>
>
342. Prefix the proper clef to each of the following
phrases, so that they will be in the keys indicated
Major.
(a)
3^=^-^ #
Jji
wG
Minor.
(b)
p=
"sat
E|? Major.
(c)
P^^
E
Minor.
mi
e=JD
(d)
#*
t:
D
Major.
()
*s
A
Minor.
^=r=ir
(/)
|=
J=i^SL

343. Define
(c)
61
the terms
(a)
modulation,
(b)
melody,
harmony.
344.
What
score.
is
meant by
(a)
short score,
(b)
vocal score,
{c) full
TRIADS
345.
What
What
What
is
common chord
34G.
347.
348.
is
meant by a major common chord
is
meant by a minor common chord
Write on the treble stave the common chords of Major, C Minor, and A Major.
349.
Write on the
alto stave the
common
chords of
Minor,
350.
Ab Major, and
Minor.
Write on the tenor stave the common chords of E Major, Ffl Minor, and Eb Major. Write on the bass stave the common chords of B^ Minor, B Major, and E Minor.
351.
352.
Name
(a)
the following chords

(b)
(c)
(d)
m
(0
(J) 9i
(k)
(I)
:m=Zis
H
62
353.

Write the following chords on the treble stave:
(a) (b)
(c)
(d)
(e)
A major chord on the tonic of C Major. A minor chord on the tonic of A Minor. A major chord on the dominant of D Major. A minor chord on the snpertonic of Gr Major.
A
major chord on the submediant of
Minor.
(/*)
A
is
minor chord on the subdominant of

Minor.
354.
What
a triad
355.
356. 357.
What
is
an augmented triad
a diminished triad
?
What
Form
is
the following into the triads indicated hv

:
prefixing the necessary accidentals

(a)
(b)
An augmented
358.
triad.
diminished
triad.
Name
()
these triads and the minor kev in which

:
each
may
be found
(6)
-%.
(d)
te ^Ffg3=f
whkh
359.
Name
these triads and the minor keys in

:
each
mav
be found

360. (a)
in
63
and
which each the minor keys
Name these may be found,

(b)
triads
(c)
:
and the minor key Name this triad and

(c)
in
which
it
occurs
(b)
(a)
fmm
361.
m
:
S8
of
Write
(a)
in
semibreves as follows
An augmented triad on the mediant B Minor, using the treble clef.
(b)
diminished triad on the leading note of C Minor, using the alto clef.
triad
(c)
An augmented
F Minor,
on the mediant of
clef.
using the tenor
(d)
diminished triad on the supertonic
of
(e)
F$ Minor, using the bass clef. An augmented triad on the mediant of C# Minor, using the treble clef.
(f)
diminished triad on the leading

of
;ote
Minor, using the alto
clef.
Write on the treble stave the following Prefix the kev signature in each case.
362.
(a)
(b)
triads.
An augmented
triad in the
diminished triad in
key of Bb Minor. the key of F Minor.
363.
in
Name
these triads and the minor key or keys
which each may be found. Write the technical name of the lower note in each case.
(h)
(c)
(d)
S=R ft=#
21
64
364.
Write on the treble stave all the major, minor, augmented, and diminished triads in the following keys
(a)
(b)
A D
Harmonic Minor. Harmonic Minor.
TRANSPOSITION
365. Explain the
366. 367.
meaning of
clef transposition.
?
What
Write
(a)
(b)
(c)
is
meant by key transposition

melody
:
this
An octave higher. An octave lower on the bass stave. Two octaves lower on the bass stave.
368.
Write
(a)
(b) (c)
this
melody
An octave lower. An octave higher on the treble stave. Two octaves higher on the treble stave.
ct
& -O#=2:
Z3I
r^ <& &
*->
369. Write this

(a)
(b)
(c)
melody
An octave lower on the alto stave. An octave lower on the tenor stave. Two octaves lower on the bass stave.
p r f

370. Write this
(a)
(b)
(c)
65
melody
(d)
An octave higher on the tenor stave. An octave higher on the alto stave. An octave higher on the treble stave. Two octaves higher on the treble stave.
371. Write the upper part of this extract on the alto

stave,
at
and the lower on the tenor the same pitch.
stave.
Keep the
notes
m
Bite
372. Write
treble stave,
-<*
Mendelssohn.
=F= J P -
p*
m
on the
stave.
the upper part of this
extract
the notes at
and the lower on the bass the same pitch.
Keep
Dussek.
fcH>
ft^
I
I
s
L
â
VI
Ns-=l-
" s 8
fr
66
373.

Write
this
melody
pitch, (b)
staves at the
same
on the alto and tenor on the bass stave an octave

(a)
lower
P^H
374.
^*fr
a*-
i^l
and bass
Write this phrase on the staves at the same pitch

:
treble, tenor,
e^
w^
*fl
375. Transpose this extract into the
diatonic semitone higher.
key which is a Prefix the key signature in

Haydn.
the transposed version.
2:
BE
melody
into the
376. Transpose this
key which
is
diatonic semitone lower.
Prefix the key signature.

I 1 1 i 1
(ftv \S\)
/'JL k
n u. b i)
4
i
\ 4-
m IP
m
CJ
4SJ
A ^
1
lh_
r*
^1
^ r
m m r
(
>
377. Transpose this
melody
into the
key which
is
whole tone higher.

378. Transpose this extract into the key
67
is
which
minor third lower.
^2Z^
M^
Dussek.
= ^
379. Transpose this
melody
into the
key which
is
minor third higher.
5^^ 3
380.
Transpose this melody into the key which

Prefix the
is
tone lower.
key signature.
381. Transpose this
melody
into the
key which
is
major third higher.
S&
382. Transpose this
signature.
&
melody
%*- CJL
^=W-
into the
key which
is
minor sixth higher, using the
clef.
Prefix the key
68

383. Transpose this
melody
into the
key which
is
minor third lower.
^^
3 ^
*-
3?
3
key which
is
384. Transpose this
melody
into the
perfect fourth lower, using the tenor clef.
Prefix the
key signature.
t2*
tf*
i^
=*
SCALES AND INTERVALS

ONE HUNDRED SUPPLEMENTARY TESTS
Write the following scales. and mark the semitones.
385. (a)
Prefix the key signatures
Cj Major
stave.
in semibreves, ascending,
treble
(b)
Bb Harmonic Minor
alto stave.
in
minims, ascending,
crotchets, ascending
stave.
(c)
G# Melodic Minor
in
and descending, treble

386. (a)
Ct Harmonic Minor
ing, alto stave.
in semibreves, descend-
(b)
Bb Melodic Minor
bass stave.
in
minims, descending,

387. (a)
69
tenor
Cb Major
stave.
in
crotchets,
descending,
(b)
G# Harmonic Minor
ing, treble stave.
in
semibreves, ascend-
388. (a)
D Melodic Minor
stave.
in
minims, ascending, alto
(b)
Ab Harmonic Minor
treble stave.
in crotchets, descending,
389. (a)
A# Melodic Minor
Dft
in semibreves,
ascending
and descending, bass

(b)
stave.
Harmonic Minor
in
minims, ascending,
tenor stave.
390. (a)
Ab Melodic Minor
bass stave.
in crotchets,
descending,
(b)
A$ Harmonic Minor
ing, treble stave.
in semibreves,
descend-
391.
Write the following

but prefix the
scales,
omitting the key
signatures,
necessary accidentals
and
mark the semitones.

(a)
C Melodic Minor
in
minims, descending and
ascending, treble stave.

(b)
F$ Melodic Minor in crotchets, descending and ascending, tenor stave.
(c)
Melodic Minor in semibreves, descending and ascending, bass stave.
70
392.
Name
:
the following intervals, stating in each
case
whether
major,
minor,
perfect,
augmented, or
diminished
(a)
(b)
(c)
id)
00
(/)
(9)
(h)
^gqib&^
(%)
zz:
zz
&
9&
m
(m)
.
DZZJZ
&&
(n)
,
&E^
(o)
m^&
^
(J)
(h)
(l)
(p)
zz
tex
0<5>
rz
S^zz
:o:
te>
#Q
?^-
<^
::q:
Write the following intervals on the alto stave, stating in each case whether major, minor, perfect, augmented, or diminished
393.
:
(a)
(b)
(c)
(d)
(/)
<9)
W
8^ $&
m
394.
&^
ter
9&
^ ^
9&
fc*^ ~TX
t2ZI
bCT
Write the following intervals on the tenor stave, stating in each case whether major, minor, perfect, augmented, or diminished
:
(a)
(b)
to
id)
to
jQ_ 4JL
X3L
tz:
Z2:
eb

395.
71
Write below the following notes the intervals

:
named
(a)
Q>)
(c)
(d)
(e)
(/)
(g)
(h)
&&
Min.
2nd.
Per. 4th.
fez
Dim.
3rd.
$&
Aug.
6th.
9&
Dim.
4th.
:;zz
Maj.
6th.
9&
Min.
7th.
^s
Per. 4th.
396.
Write above the following notes the intervals

:
named
(a)
(6)
(c)
(d)
(e)
(/)
(g)
(h)
-&Maj.
3rd.
&T^
Min.
7th.
&&
Aug.
6th.
::zz:
321
bCT
Dim.
4th.
fc*
Dim.
5th.
Per. 5th.
Per.
5th.
Aug.
2nd.
(i)
(j)
(k)
(I)
(m)
(n)
(o)
(p)
XZ
fc*
S^
Min. 2nd.
Per.
4th.
&&
Maj.
3rd.
Z21
#S>
Per.
5th.
$&
Dim.
7th.
tez
Aug.
4th.
Aug.
5th.
Dim.
3rd.
397. Write below the following notes the intervals
named
(a)
(b)
(c)
(d)
(e)
(/)
(g)
(h)
xz
Maj.
2nd.
I2Z2I
9&
Min.
7th.
&<E>
S^
Per. 5th.
Maj.
6th.
Aug.
4th.
Maj.
3rd.
Maj. 2nd.
Dim
7th.
72
398.
Write the following intervals an octave higher on the treble stave, stating in each case whether major, minor, perfect, augmented, or diminished
:
(a)
'
(b)
(c)
(d)
(e)
(f)
(g)
(h)
teg^
KZq:
^
state
:
s^
q:
s
32:
-&
ZQI
399. Write above the following notes the intervals
named, and
below what each interval becomes
when
inverted
(a)
(b)
(d)
w
Min.
3rd.
(/)
W
Maj.
6th.
Min.
7th.
Maj.
6th.
Dim.
4th.
Per. 4th.
Aug.
5th.
Aug.
4th.
PS^
400.
&
-::^3i
3fcz
8^
-^
KZ
Name
scale.
the
following intervals in the Melodic

first-named note should be the lower
Minor
The
note in each case.

(a)
Between the mediant and the submediant

of the ascending scale.
(b)
Between the dominant and

degree of the descending
the
seventh
scale.
(c)
Between the subdominant and the leading

note of the ascending scale.
(d)
Between the supertonic and the submediant

of the descending scale.
73
HINTS TO CANDIDATES
PRIOR TO THE EXAMINATION.
Commit
to
memory the whole
of the major and minor key signa(see list below).
tures, including the
enharmonic keys
Also
memorize the construction of the following major and minor

scales,
with the leading note in each case

Scales.
Major
MONIC AND Melodic Minor Scales.
A
F
G D A
E
B
E
B
D G
C F
By
Efr
n
Ctf
At?
n
Cff
W
Gt>
G#
I>S
Att
W
At?
a>
AT THE EXAMINATION.
Read your examination paper,
Write
first
carefully noting every detail.
of
all
the answers to the questions which you feel you

correctly,
are
capable of answering quite
then turn your

little
attention to the questions which
may
require a
thought,
and do the best you can.

Write
legibly,
and take care to place
all
clefs
on the correct
lines.
Be
careful,
in writing
key signatures, to place the sharps and
Hats in correct order on the lines and in the spaces.
Remember
the rule as to writing the stems of notes
upward
stems on the right of the notes which are below the third
line of the stave,
and downward ones on the

line.
left
of the notes
which are above the middle
74

and naturals should without exception be written in front of the notes to which they apply.
flats,
Accidental sharps,
Semi breve, minim, crotchet, and quaver rests should occupy their correct positions between the third and fourth lines of the
stave, whilst special care should also be given to the writing of
semiquaver, demisemiquaver, and semidemisemiquaver
rests.
Never write a dot on a line. A dotted note on a line has its dot in the space above if the following note is higher than the dotted note, but place the dot in the space below the dotted note if the note following is lower than the dotted note.
Quavers, semiquavers, and demisemiquavers in simple and com-
pound times should be most

Use a lead them
carefully grouped.
pencil for writing the answers,

in.
Finish by erasing
all
and when complete ink pencil marks with rubber
(provided by yourself).
T/12/1945
MUSICAL TEXT BOOKS

IN
AUGENER'S EDITION
ENGLISH PRINTING & PAPER
9171
ALEXANDER,
J.
"ConAmore."
...
10123
10124
10125
Poetical Introduction to Musical Instruction ANTCLIFFE, H. The Successful Music Teacher.
How to Pass Music

The Amateur
BACH,
J. S.
Third Impression. Examinations. The Successful Candidate. Words of Advice. Third Impression.
Singer.
Words
of Advice.
9205 9206 9210
Second Impression. Analysis of J. S. Bach's "48 Preludes and Fugues" (Wohltemperites Clavier). By Dr. H Riemann Part I. 24 Preludes and Fugues. Seventh Impression. Bound Part II. 24 Preludes and Fugues. Fifth Impression. Bound
.
:
BEETHOVEN PIANOFORTE SONATAS.

Letters to a Lady, by Dr. C. Reinecke, translated bv E. M. Trevenen Dawson
10091
BLOCKSIDGE, KATHLEEN M. Percussion and Pipe Bands CARSE, ADAM. Summary of the Elements
Music,
of
10092 10093
10085 10086
with Exercises and Instructions on "How to Write Music." Seventh Impression. ... ... Paper Key to the above ... ... Practical Hints on Orchestration. Fourth Impression. Paper Harmony Exercises. Figured basses, melodies and unfigured basses for harmonization. Book I Seventh Impression. Paper
Book II.
...
Paper
Paper
Counterpoint Exercises. 51 Examples and 291 Exercises in two, three and four-part Counterpoint Orchestral Conducting.
textbook for Students
and Amateurs. The Technique of Conducting. I. II. The Instruments of the Orchestra. III. A Short History of Conducting Vocabulary
;
Bibliography. iv-fl00 pages. Third Impression. Bound What Mr. Carse's book does is to state in admirably direct language the nature of the conductors art and the problems that face him and to define the procedure of conducting. On Conducting School Orchestras ... Paper
;
of Orchestral
Terms
COCKING,
F.
The Composer's Vade-Mecum.
English-Italian Dictionary of Musical Terms... COLERIDGE-TAYLOR, SAMUEL. Musician. His Life and Letters, by W. C. Berwick Sayers. With
an
J.
Appendix of Compositions compiled by H. Smither Jackson. Second Edition, revised
Printed in England.
9215 9199
10097
CROKER, NORRIS. Handbook
for Singers.
DANNREUTHER,
the Opera
E.
Bound Wagner and the Reform of Bound with Portrait

Ninth Impression.
DAUGHTRY, 0. Ear-Tests and How to prepare for Them. Seventh Impression EVETTS, EDGAR T. The Vocal Student's Practice
Register with Vocabulary Modulator for use of Students
of the
Numeral and
With
Rhythmic Methods
9179
(Vocal)
Illustra-
GOODWIN,
tions.
A.
Practical Hints on the Technique

of Pianoforte Playing.
and Touch
10112
10117
Sixth Impression Bound HEALE, H. A Short Treatise on the Rudiments of Music. 16mo
HULL, A. EAGLEFIELD. Organ Playing Its Technique and Expression. 7th Impression. Bound
:
10118
10119 10113 10120
Modern Harmony:
Its
explanation and application.
Seventh Impression Bound 250 Questions on Musical Form, in 25 tabulated papers, with appendix 2nd Imp. 300 Questions on Pianoforte Teaching. Harmony for Students. 2nd Impression ...
Also in 3 parts Part I. Simple
II.
10120a
Harmony up
to the
Dominant
Seventh. Modulation, Suspension, Passing-Notes, Essential Discords and Pedals. 10120c Part III. Chromatic Harmony and Hints on Composition with appendices on Ear-Training and Musical Caligraphy. 10111 HUNT, E. M. Scale & Arpeggio Fingering classified 10110 KNOWLES, C. H. G. Rhymes on the Rules of Harmony, founded on Dr. Prout's "Harmony." 2nd Impression. Bound 9177 LA MARA. Thoughts of Great Musicians. 2nd Impression. Paper 10122 LIN DO, ALGERNON H. Pianoforte Study for Teachers and Students ... Bound. Paper 10140 McEWEN, JOHN B. The Principles of Phrasing and Articulation in Music. Third Impression. MACPHERSON, C. Harmonic Thought. Past and Present 9214 MATTHEWS, J. A Handbook of the Organ. Bound Seventh Impression 10114 100 Examination Questions for Organ Students 10100 MOZART. Practical Elements of Thorough Bass, with examples of Harmony and Counterpoint ... MUSIC AND ITS MASTERS. A Conversation by 9193 Bound A. Rubinstein. Third Impression. MUSICAL CARDS for learning to read the notes quickly at sight Price per set in case ... 9180 NIECKS, PROF. F. A Concise Dictionary of Musical Terms to which is prefixed an Introduction to the Elements of Music. Eleventh Impress. Bound 9180a Introduction to the Elements of Music. Third Impression. Bound Mottoes for 82 34a PAUER, E. Harmonious Ideas. Mendelssohn's " Songs without words"
10120& Part
PETERSON, FRANKLIN.
Elements of Music, Fifteenth Impression. An Introduction to the Study of Theory Seventh Impression.
Bound
Bound
10103 10101
10116
Theoretic Companion to Praotice. Fourth Impression. Bound A Handbook of Musical Form. Eighth Impression. Bound Bound Catechism of Music. Eighth Impression. The Student's Handbook of Musical Knowledge. Bound Second Impression. POCH HAMMER, A. Popular Handbook of Musical Information. (H. Heale.) Bound PRACTICE RECORD and Mark Register for Music Pupils. Arranged for three terms The same, arranged for one term ...
9182 9182e 9183
PROUT, PROF. EBENEZER: Harmony: Its Theory and Practice

Analytical
Key
:
Forty-fifth Impression. to the Exercises in the
Bound
same.
Counterpoint
Seventh Impression. Strict and Free.
Bound
Fifteenth Impression. Bound 9183a Additional Exercises to "Counterpoint" with Melodies and Unfigured Basses for harmonizing. Tenth Impression. Bound 9184 Double Counterpoint and Canon. 8th Imp. Bound 9185 Fugue Tenth Impression Bound 9186 Fugal Analysis ... Sixth Impression. Bound 9187 Musical Form. Fourteenth Impression. Bound 9188 Applied Forms Bound ... Eleventh Impression. The Orchestra 9189 I. Technique of the Instruments. Eleventh Impression. Bound 9190 II. Orchestral Combination. Nieth Impression. Bound 9181 PROUT, LOUIS B. Harmonic Analysis. Second Edn. 10106 Sidelights on Harmony 10107 Time, Rhythm and Expression. Third Impression 9210 REINECKE, Pianoforte C. The Beethoven Sonatas. Letters to a Lady. Translated by E. M. Trevenen Dawson 9198 RIEMANN, Dr. H. Harmony Simplified or, The Theory of the Tonal Functions of Chords. Trans, from the German. Third Impression. Bound 10115 L'Harmonie simplifiee, ou Th6orie des fonctions tonales des accords. Translated by Prof. Georges
: ;
Humbert
9201
...
9202
9203
9204
9207 9209
Musical Instruments (Guide to In...Bound Third Impression. Catechism of Musical History Part I. History of Musical Instruments, and History of Tone Systems and Notations. Third Impression. Bound Part II. History of Musical Form with Biographical Notices. Third Impression ...Bound Catechism of Pianoforte Playing. Third Impression. Bound Catechism of Musical Esthetics. Bound Second Impression Catechism of Orchestration Bound
of
Catechism
strumentation).
cm
9208 9205 9206
9193
Dr. H.(Contd.) ..Bound Introduction to playing from Score ... Analysis of J. S. Bach's "48 Preludes and Fugues." Part I. 24 Preludes and Fugues. Seventh Impression. Bound Part II. 24 Preludes and Fugues. Fifth Impression. Bound RUBINSTEIN, A. Music and its Masters. A Con...Bound versation. Third Impression ... SCHROEDER, C. Handbook of Violin & Viola ... ...Bound Playing. Fourth Impression Handbook of Violoncello Playing. Fifth Impression. Bound Handbook of Conducting. (J. Matthews.) Seventh Impression. Bound
R1EMANN,
9212
9211
9213
9194 10146
SCHUMANN. Advice to Young Musicians SHEDLOCK, J. S. Beethoven's Pianoforte Sonatas. The Origin and Respective Values of Various
Headings
... ...
...
...
Paper
SHINN,
10148 10149
I.
Dr.
F.
G.
Elementary
Ear-Training.
Bound Fourth Impression ... Harmonic and Contrapuntal. Fourth Impress. A Method of Teaching Harmony based upon
Melodic.
II.
10150 10151 10152 10153
2nd Impression. Bound Chromatic Harmony and Exceptional Bound Progression. Second Impression ... Bound Musical Memory and its Cultivation... Examination Aural Tests and how to study them
II.
Ear-Training I. Diatonic Harmony.

:
in preparation for the tests given in the Examination of the Associated Board, and in the Diploma Examinations of the R.A.M. and the R.C.M.
Fourth Impression
10131
...
Bound
SIMPSON,
Music.
J.
300 Questions on the
Grammar
of
10132 10133 10134 10135 10109
Based on the Syllabus of the Associated Board of the R.A.M. and R.C.M. Eighteenth Imp. Key to the above. Seventh Impression 400 Questions on the Rudiments of Music.
Seventeenth Impression above Fifth Impression A concise textbook on the Rudiments of Music. Thirteenth Impression. WARREN, J. Catechism of the Harmonium WEST, G. F. Hints to Young Teachers of the
Key
to the
Pianoforte
WHITEMORE, CUTHBERT. Commonsense

Pianoforte Playing
in
WHITTINGHAM,
A.
...Fourteenth Impression 200 Questions and Exercises

of
on F. Davenport's "Elements
Music"
WOODHOUSE, GEORGE.
artists in general
Creative Technique. For
and pianists in particular. Second Impression. The Mutano System. A new path for pianists. The Mutano (mute piano) System employing mechanized music for the cultivation of personal performance ...
AUGENER
18
Ltd.
1.
GREAT MARLBOROUGH STREET,

LONDON, W.
AUGENER'S EDITION No
10091
ADAM CARSE
SUMMARY OF THE
ELEMENTS of MUSIC
With EXERCISES
Also
KEY
to above, 1/6
net
one of the most practical and concise books for the use of Students and Teachers.
Specially
as
recommended
AUGENER
LONDON
Ltd.
AUGENER'S EDITION
No. 6300
EXAMINATION
SCALES
&
ARPEGGIOS
SPECIALLY ARRANGED FOR THE
REQUIREMENTS OF THE VARIOUS
Local Examinations
COMPRISING
SCALES AND ARPEGGIOS IN ALL KEYS AND USUAL FORMo
AND
IN
VARIOUS COMPASSES AND RHYTHMS
COMPILED AND ARRANGED BY
GEORGE LANGLEY
Haro
B.
Lee
Library
3 1197 22858 2141

Utah Bookbinding Co. SLC,
UT
5/8/08
316
Date Due
A" librae
iUmm mbiKt torec|Ui
^^
Brigham Young Univeuity

400 Questions On Ru 00 Simp

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

400 Questions On Ru 00 Simp

Uploaded by

Copyright:

Available Formats

Digitized by the Internet Archive

2012 with funding from

Brigham Young University

Augener's Edition, No. 10133.

The Associated Boakd

THE ROYAL ACADEMY OF MUSIC

THE ROYAL COLLEGE OP MUSIC

287 Acton Lane, London,

and the Royal College of Music.

are not copied questioi

but they lead up to

the standard of requirements in ^sh part of the subject

candidates must prove themselves efficient

before the double certificate (Practical and Theoretical)

questions are written in conformity with tests

which have been used at previous examinations covering

the author therefore feels that

prove both useful and helpful, and he

hopes that the definiteness of his method

One hundred supplementary

appear at the end

which may be used at

Notes, Dots, and Rests

Sharps, Flats, and Natukals

Staves and Clefs,

including the C Clef as used for

Alto and Tenor

the Technical Names for

the Degrees of the Scale

and Barring of Given Passages

The Meanings of Terms and Signs

One Hundred Supplementary Tests

Explain the difference between a tone and a note.

Write and name seven

different kinds of notes in

the order of length, beginning with the longest.

Rearrange the following notes according to their

time values, beginning with the shortest

semiquavers are there

demisemiquavers are there

the following notes

(*) to J" J J How many quavers are

minims are equal

QUESTIONS, RUDIMENTS OF MUSIC

a dot placed after a note or

rest affect its value

semiquavers are there in each of these

crotchets are there in each of these

demisemiquavers are there

these dotted notes

quavers are there in each of these

Divide the value of this dotted note

three equal parts,

equal parts, (d) in six equal parts,

what way does

a double dot placed after a

note or rest affect

QUESTIONS, RUDIMENTS OF MUSIC

demisemiquavers are there

the following double-dotted notes

quavers are there in each of the

following double-dotted notes