Scan 27
Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
110 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
1leaders? What art form was specially cultivated by them?
24. Whose works by their emotional character prepared the way for the invention of the opera?
35. Mention similarities and the principal difference between the earliest operas and the oratorios.
46. What nation took the lead in the development of instrumental music?
57. Why was the organ the first instrument to claim the careful attention of composers of instrumental music?
68. Which characteristic, the dramatic or musical, predominated during the first seventy-five or hundred years of opera?
79. Give a list of twelve or more composers born during the lifetime of Beethoven.
810. Give a list of American composers, past and present. Mention works.
10PIANO DEMONSTRATIVE EXAMINATION.
11The demonstrative examination consisted of test exercises in touch, technique, reading at sight, transposition, and the performance of selections, at the discretion of the examiners, from the list of works given in the prospectus for associateship examination (see prospectus, page 12), supplemented by original lists handed in by the candidates.
13Special Theoretic Examination.
141. Position at the piano.
15Describe or diagram the proper position for a player at the instrument with regard to the following particulars:
16(a) General position of the body, including relation to the keyboard and height of chair or stool.
17(b) Position of the fingers—2, 3, 4, 5, from the tips to the metacarpal (knuckle) joints.
18(c) Position of the thumb. (1)
19(d) Position from the second joints of the fingers to the wrist.
20(e) Position from the metacarpal joints to the elbow.
21(f) Position from the elbow to the shoulder.
232. TOUCH.
24(a) Define the clinging legato touch, and mention the particular class of passages to which it is adapted.
25(b) Define the legato touch and give a general idea of the position, action and condition which each of the members mentioned in the preceding section, from the finger tips to the shoulder, should assume in this touch.
26(c) Which kind of touch should be used by the right hand and which by the left in order to attain artistic expression in the following example?
27Give also the reasons for your conclusions.
29CHOPIN, Op. 32. No. 1.
30Andante sostenuto.
31etc.
33(d) Define the staccato touch. Describe in detail all the variations of staccato known to you, comprising (1) finger action, (2) wrist action and (3) arm action, alike singly or combined.
34(e) Describe the kinds of touch best adapted for playing effectively the following passages:
361.
37etc.
392. Presto.
40etc.
423.
43etc.
45(f) Suggest some exercise suitable to the correction of the prevalent faulty staccato habit.
473. OCTAVE PLAYING.
48(a) Describe or diagram the proper position and action of the hand in octave playing.
49(b) Describe the wrist movement in playing the following passage: 1. As regards the right hand, what different touches are used by the thumb and fifth finger? 2. As regards the left hand, what should be the position of the fifth finger and the function of the wrist in delivering with a full round tone the first bass note in each measure? What should be the wrist motion throughout the rest of the measure.
51Animato. SCHUMANN, (from Op. 9.)
52etc.
54(c) Describe the wrist movement of the left hand in the following passage:
55etc.
57(d) Is the execution of octaves from a light forearm, with an inflexible hand, ever permissible? And if so, under what conditions? What, if any, are the advantages of such a mode of execution as applied to octaves?
58(e) Describe the movements of the wrist in order to connect approximately tones beyond the reach of the hand, without using the damper pedal, for example:
59etc.
61(f) Suggest some exercises suitable for cultivating freedom of the wrist while imparting energy to the fingers; in other words, of concentrating the muscular effort in the fingers, while maintaining a limber wrist.
62(g) What are the movements of the thumb, fourth finger, and wrist in arpeggio passages like the following?
644. PEDALS. Their proper use.
65(a) For what purpose is the damper pedal, and how should it be used?
66(b) For what purpose is the soft pedal, and how should it be used?
67(c) What is the origin and meaning of the Italian expressions, "una corda," "due corde," "tre corde" or "tutte le corde?"
68(d) For what purpose is the "sostenuto pedal," and how used?
705. APPOGGIATURA AND MORDENT.
71(a) Does either one of the subjoined examples show the proper way of executing the appoggiature in Mendelssohn's op. 54, Var. 4?
72thus: or,
73In the original.
75(b) How should the mordent be played in the following measures from Bach?
76thus: or, In the original.
78(c) How should the grace notes be played in the following measure by Grieg?
79In the original.
81(d) Is the rule for the playing of grace notes invariable in orchestral music? Does the rule vary in piano music of different epochs and styles? Can you formulate general rules for the correct execution of similar embellishments in the works respectively of Bach, Mozart, Beethoven, Chopin, Schumann, Liszt?
836. Give your ideas as to the best general method of laying the foundations of artistic piano playing. Make special reference to the kind of exercises, studies and pieces, and the methods of studying and practice which, on general principles, will most speedily contribute to such a result.
847. Give a list of the compositions of Bach, Clementi, Beethoven, Schubert, Chopin, Schumann, Liszt, and other composers of ability, past or present, which you have studied.
858. Supply the fingering, phrasing, dynamic signs, and use of pedals in the preceding examples and in the accompanying selection.
87ORGAN ASSOCIATE EXAMINATION PAPER.
881. Describe the different qualities of tone in the various manuals of a three bank organ.
892. How would you proceed to tune the following registers: The oboe in the swell, the trumpet in the great and the stopped diapason in the great or choir?
903. What are your ideas as to the amount of time an organist should give in looking over the various parts of his instrument and keeping the same in good condition and in tune?
914. What is your method of performing hymn tunes with regard to the inner vocal parts?
925. Describe the various methods of giving out a hymn tune.
936. Are you acquainted with the English system of chanting?
947. In performing an anthem, how would you proceed with regard to the preludes, interludes and afterludes, as contrasted with the purely accompanying portions of the work?
958. Describe the method of accompanying "I know that my Redeemer liveth," from Händel's "Messiah."
969. To what great composer are we indebted for most of the figure work in Händel's "Messiah?"
9710. In arranging for the organ works with orchestral accompaniment, what is the best position for the left hand?
9811. What stops would you use in imitating violin figures on the organ, as, for instance, forte and piano figures?
9912. What combination of stops would you use in imitating a quartet of French horns, as in Rossini's "Stabat Mater?"
10013. How would you proceed in simplifying a passage in the bass too difficult to execute with the feet?
10114. Give a list of organ works of the following composers that you have studied: Bach, Mendelssohn, Rink, Hesse, Merkel, Best, Guilmant, Widor.
10215. Give a short history of the organ in England and in this country.
10316. Make a rough plan of the interior of a two manual organ, showing the respective positions of the great organ swell organ, bellows and keyboard, as well as the tracker action connecting the keyboard with the valves and the drawstop action.
10417. Make a specification of an organ with three keyboards and forty speaking stops, with appropriate couplers and mechanical pedals.
10518. Make a specification as above for a two manual organ of twenty speaking stops.
10619. Should the pedal part of an anthem or hymn be played invariably where written in the vocal score?
10720. What are mutation stops? What are mixture stops?
10821. What is the proper compass for an organ keyboard?
10922. Indicate the rhythm of a long meter tune; a short meter; a common meter; an 8s and 7s.
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