Page 13 Advertisements Column 1

Otago Witness, Volume 11, Issue 2159, 11 July 1895, Page 13

''" SENIOR DIVISION. PASS SECTION. Time— Two Hours. Qaestion I.— Add Treble, Alto, w . t^ r~&—~\ T~37 I _JT~|T <-? — T g? I ~T — r ll' fend Tenor, according to the IJLLI^L--^: :: L£l-fg-I -gy-^JI Jf—&2. it— -Crr.^ J ~1 I'lZ^H:: fi « urin e« • "^— Pig— \— tzzt l^: i1"""li 1 """ l~ ff ~n — — \ — r~~sHi — g-rsl-ad-j-~r^3i ~6 14 64 -7 '7 716677 1 667 4 h 3 fIU 4 H It II 0 _ J.] . U4-r— Uj-r-J-- 1-t-H -r -r -r rr ' ( lh\& — j-pg-gT-^CTpg=^=f -51-gg.i-q — 1 t — , t^ — _t. ijt. tfeqrg^ :ip_p.: -pfl^- -^~o>- :j~^tp-&-}: j~^tp-&-} t3-&-\~z) —^4 := H1 : i\ -^aj^j jj jAJUAj 1 , "3 f>. *> —rp%(=>\ si &- V &-^ L T & -p^ff r — T-<g-g)-T-^ -IT b— a— —^ f« G? — 3*s~l & r^ — — ii? h Qaestion 2— Add Treble, Alto, SlM^._g T^ZZj^ZZiqTZZII | v i_ztaZlll|l Tenor, and figure tho Bass : -/-# ft r~P~sr-~^ ? " ~^r ~S^sH~^T~^~\ ■^ — -sr H 1 H'-^i T-<g r-^rit ji j- _L rr 1 j=> |=> -^ Answer 2. J I I 111 1 v LJ 1 LI fi±l L.p._^ I £? IJL QI4 I I 3d 0 _ .. „ ... „. _ Answer 3. Question 8. — Add Alto and . Tenor, according to tho figuring _ IJ. 1 1 1 . . J_ J,,J \ J _| I (Treble aad Bass given) ; rra^3==Zljlli=n==ljq^ B\ "1. .'j 1 /«5 S—lS — I H — £f JJ — ft — is. I <n /f W J . 1j j j v j. JJJ jiJ A~ 4i — ti'T^— — — I—h1 — h^ — — i~r~^ rTTgrr l —^ — t „ — t l — i'i — r 46 6 G' 46 fl4 6007 3 4 « I 3 2 Qaestion 4. — In the two Minor • _« I.^ _fi_fT_]Ju keys whose signatures are here / -JZ—IJ2 , I '. — J/Z^JJrllg & — £?__ 1 1 given write, as Semibreves, tho -^Wp— h— j--K^-j-g?~ - ~~sF\ —^"TTfT • - Second inversion of the Dominant "v"J7 v ngp~l gp II vjT" l TT~s<<^~l~'^"Tr" 7th, resolving each with the Bass " *•* (a) *^ (6) moving upwards one degree ; each Answer 4. / -gg- -^. rr> example to form four-part har- "&~ "^ Ii 11* ft ~^~ "^ V 4 6 X 0 0 3 4 • i 3 Question 6.-Briefly describe the- Questions 12 3 4 5 6 7 8 errors in the following, referring to /_fi U !— 1 \~t 1 I-t-1 1111 — 1 n- a «• the chords by the numbers: -S^K^-S^-^^-Tk^-^^-k-J-i htF n ™? , * t, 1 * -/WF~hrt —^^"i~?d -Q<^”" ::g M i>^> vt& ITT~ Consecutive sths between Bass and yjp — £~~l*2 "'" ppT^gr^Tf' "fw\~ < %\ TTenor, 1-2; Consecutive octaves bele/ I l~| | I ' M I twecn Tenor and Soprano, 5-6 ; Con- „ x I 1114 1 secutive sths between Tenor and Alto, J] , JLI L I 5-6 ; Leading note Soprano 7 should ] T^t. VGL Vf 2 -&■ rise to Tonic in 8. - 1 d? 1 <*£ I "gg — r~ n • founded, (b) elaborated, (c) and \ w J.,p~2i I~f f P I V -|~^ttF Answer G. perfected the form of the Sonata P-JTa~~P~"' ' I r"^ — \~j \\~ (a) Haydn, (&) Mozart, (c) Beethoven. and the Symphony ? I " f~ A correspondent signing himself "Chorister" point* out one or two inaccuracies in the above, and Mr Ttmaon replies: — "Cborisler" is right stout tbe chant in intermediate paper. The transposition should liave teen to E flat nißJor, the mistake occurring in copying the questions from the oiigiual printed copy. The correction is quite easily made, and if " Chorister" will follow out the following the chant can be played without being rewritten :— Take away the key signature of E major (four sharps) and substitute that of E flab major (three flats), change the accidentals — in »lto part substitute F aharp for the piesent F double sharp, and in ttnor for B share and B natural substitute B natural and B flat. The error in answer 4- was due to the printer.