1 Do you consider a u r a l t ra in ing of any benefit to bandsmen? 2 Descr ibe the "non-pressure" sys tem of playing brass instruments? 3 Name some of the essentials w h i c h go to make " t e c h n i q u e " 4 W h a t is " a r t i c u l a t i o n " and how is "good a r t i c u l a t i o n " ach ieved? 5 Descr ibe some different w a y s of " tongueing" 6 W h a t actions are used in producing tone on a brass i n s t r u m e n t ? 7 W h a t are the three m a i n things in music ? 8 H o w do you know in w h a t key a piece of music is w r i t t e n ? 9 W h a t would guide you in picking a player for E flat soprano?

10 H o w would you expla in the figures of t ime s ignatures to a pupil ? 11 S ignif icance in p laying does not ent i re ly depend on the amount

of w i n d pressure, w h y ? 12 W h a t is necessary before ar t i s t ry is achieved ? 13 W h a t are the causes of " s p l i t notes"? 14 Descr ibe " l ight and shade" 15 W h a t ins t ruments form the "backbone" of a brass band ? 16 W h y is a 2nd baritone player usual ly untuneful in his higher

reg i s te r? 17 W h a t is the difference in effect between f and f t i m e s in quick

tempos? 18 N a m e a common faul t w h e n two players double a melody in unison

or in octaves . 19 I s " tonic so l fa " of any benefit to bandsmen ? 20 W h y are s lurs in music so often mis- interpreted ? 21 W h a t are the essent ials of " f inger technique" ? 22 W h a t are " n u a n c e s " ? 23 H o w would you help a bandsman w h o w a s unable to correct ly

p i tch his notes ? 24 E x p l a i n "embouchure" 25 W h y do p layers experience more trouble in ar t i cu la t ing soft t h a n

loud music ? 26 E x p l a i n " e n s e m b l e " . 27 W h a t is genera l ly the cause of f a u l t s in p laying ? 28 W h e n is a r i t . effective even though not m a r k e d in the score ? 29 W h a t is a " c l i m a x " ? 30 N a m e a common faul t w h e n bands work up a c r c s c , and con­

verse ly in m a k i n g a dim ? 31 N a m e a common faul t w h e n players enter af ter s e v e r a l bars res t? 32 Name a general defect i n " f lugel p l a y e r s " ? 33 E x p l a i n " d y n a m i c s . " 34 I f a player produced a poor tone—what would you do to improve it? 35 W h a t considerations would govern your decision as to w h a t

instrument to give a l e a r n e r ? 36 N a m e a common faul t w i t h trombone players ? 37 H o w would you t r y to get chordal balance and blend in a band ? 38 H o w would you teach a baritone p layer the positions of the tenor

t rombone? 39 W h a t is the difference between "cadence" and " c a d e n z a , " ? name

var ious cadences . 40 W h a t are " sequences , " ? name two k inds . 41 W h a t is meant by " r e s o l u t i o n " ? 42 W h a t is meant by " p h r a s i n g " ? 43 S ight reading is a dif f iculty to some bandsmen—how would y o u

help them ? 44 W h a t is meant by the " r h y t h m i c a l cons t ruc t ion" of a phrase or

sentence ?

45 E x p l a i n " coda" and "codet ta" 46 N a m e the t ime signatures of the f o l l o w i n g : - polonaise, gavotte,

t a rante l la , bourree. 47 H a r m o n i c knowledge helps in phras ing—why ? 48 H o w is sound produced on a brass i n s t r u m e n t ? 49 H o w would you teach a player to perform a " t r i l l " ? 50 W h a t is "modula t ion" and w h e n does it o c c u r ? 51 W h a t is meant by "equal temperament" ? 52 P h r a s i n g in music has i t ' s counterpart in l i t e ra ture—expla in th is . 53 W h a t consti tutes " tona l contro l " and how is it achieved? 54 H o w can the durat ion of a p l a y e r ' s breath be extended and

developed ? 55 T o w h a t f a m i l y does the flugel horn belong ? 56 W h y are s lurred passages diff icult in the lower register of

t rombones? 57 W h a t are the advantages of compensat ing pis tons? 58 W h a t are musica l punctuat ion m a r k s ? 59 N a m e three k inds of motion. 60 W h a t are the fundamenta ls of m u s i c ? 61 E x p l a i n (a) diatonic, (6) chromat ic and (c) enharmonic . 62 W h a t are related k e y s ? 63 W h a t is the difference between b inary and t e r n a r y f o r m ? 64 W h y should y o u avoid the t e r m " b l o w i n g an i n s t r u m e n t " to a

learner ? 65 A cornet player produces a wheezy tone—what would you do to

overcome i t ? 66 H o w would you teach " p i t c h d i s c r i m i n a t i o n " ? 67 W h i c h k ind of minor scale would you teach f i rs t , and w h y ? 68 Upon what chords is the harmonic minor scale formed ? 69 E x p l a i n " chorda l ornamenta t ion . " 70 W h a t is a t rans i t ion? 71 W h y is w r i s t f reedom essential in trombone p l a y i n g ? 72 W h y should a player be taught f r o m the f irst to l isten c r i t i c a l l y

to himsel f ? 73 H o w is the most br i l l iant tone produced ? 74 H a r d tone is often caused by tenseness of the art iculator—how-

would you remedy it ? 75 W h a t is often the cause of " s t i c k y v a l v e s " ? 76 W h e n s tar t ing a learner on the cornet in w h a t register would

you begin, and w h y ? 77 I n addition to " m u s i c i a n s h i p " other qual i t ies are needed to make

a good bandmaster—name t h e m . 78 W h a t is meant by the "mood of a piece" ? 79 W h a t physiological fac tors would you weigh up before al lott ing

an instrument to a l e a r n e r ? 80 E x p l a i n the difference between " t i m e " and " tempo. " 81 W h a t is an anacrus is ? 82 T o w h a t f a m i l y does the monster bass belong ? 83 W h a t is meant by " t r a n s p o s i n g i n s t r u m e n t s , " and w h i c h are

they in a brass band ? 84 H o w would you teach a player to acquire a steady even tone of

good qual i ty ? 85 B a n d s m e n often approach music from the phys ica l instead of

the mental aspect—explain t h i s . 86 W h a t is the re lat ionship between technique and interpretat ion?

87 W h a t would you suggest to a p layer whose tone w a s dul l in t imbre ?

88 W h y should a bandmaster s tudy psychology? 89 W h a t is the difference in pitch between E flat saxhorn and

E f l a t bass? 90 W h e n tenor trombone is w r i t t e n for in treble clef how do the

notes sound ? 91 W h a t is a resonant tone ? 92 W h a t is the cause of over-b lowing—how would you remedy it ? 93 Should a player put his l ips to the mouthpiece or the mouthpiece

to the lips ? 94 A player fa i l s to get the t ime patterns of a piece c o r r e c t — h o w

would you help h im ? 95 W h a t is the difference between the "sound producing m e d i u m "

and the " i m p e l l i n g force" in p lay ing? 96 Suggest , as to a p layer , how to get speed and smoothness in a

t r i l l . 97 W h a t is " r u b a t o , " and in what type of music is it most suitable ? 98 Of w h a t benefit is a knowledge of harmony to a p l a y e r ? 99 A player fa i l s to interpret correct ly a cantabile passage—how-

would you help h im ? 100 D i s c u s s the tonal registers of brass ins t ruments . 101 W h a t often causes the tone of a band to sound thin ? 102 H o w would you teach legato a t t a c k ? 103 W h a t is usual ly the cause of a heavy , cumbrous style of p laying? 104 H o w would you teach a player to mould and control his tone? 105 H o w is v a r i e t y of tone colour obtained on a brass ins t rument ? 106 R e a l a r t i s t r y has a mechanica l bas is—expla in th is . 107 Of w h a t use are bar l ines? 108 W h a t makes the difference in tone qual i ty between the different

ins t ruments ? 109 Descr ibe fu l ly " h a r m o n i c se r ies . " 110 N a m e those notes of the harmonic ser ies w h i c h are out of tune. 111 N a m e some of the chief fau l t s of brass ins t rumenta l i s t s . 112 N a m e a formula for remember ing the in terva ls of the harmonic

chromat ic scale . 113 W h a t is a thetic r h y t h m ? 114 R h y t h m is a fundamenta l of mus ica l in terpretat ion—expla in th is . 115 E x p l a i n feminine and mascul ine r h y t h m s . 116 I s m e t r i c a l accent w h o l l y displaced by r h y t h m i c a l accents? 117 W h a t are the disadvantages of the use of the s lur in m u s i c ? 118 Of what use is the p laying of scales and arpeggios? 112 H o w would you teach sight reading to a p l a y e r ? 120 E x p l a i n the difference between pulse and beats. 121 W h a t is meant by m u s c u l a r lip control ? 122 W h y is it good to teach a trombone player to read the tenor clef ? 123 D o you consider it of benefit to a bandmaster to get a knowledge

of other branches of mus ic—if so w h y ? 124 H o w would you teach a player to mainta in an even tone through­

out the sca le . 125 E x p l a i n feminine and mascul ine cadences. 126 H o w would you teach a player the tenor c l e f ? 127 W h a t is the difference in pitch between euphonium and bass

trombone ? 128 W h a t is the difference in pitch between E flat soprano cornet and

B flat bass ?

129 Of w h a t use is the blackboard in teaching a band ? 130 H o w do the w r i t t e n notes of soprano cornet sound ? 131 W h a t causes faul ty a r t i cu la t ion in trombone p l a y i n g ? 132 W h a t menta l process is necessary before a player produces a

good tone ? 133 A pupil w i t h a knowledge of notation comes for h is f i rs t lesson

on the cornet—state how you w o u l d proceed to teach h i m . 134 H o w m a n y f a m i l i e s of ins truments are there in a brass band? 135 H o w would you help a player w h o had diff iculty in f ingering a

a piece of m u s i c ? 136 A f t e r tuning a band you find some ins t ruments out on cer ta in

notes—what would you do ? 137 H o w is tone produced on a brass i n s t r u m e n t ? 138 W h y are ins t ruments cal led B f l a t or E f l a t i n s t r u m e n t s ? 139 Of what use are harmonic posit ions to a trombone p l a y e r ? 140 W h a t is the tess i tura of an i n s t r u m e n t ? 141 E x p l a i n the funct ions of the 4th v a l v e ? 142 C l a s s i f y the brass ins t ruments under the fol lowing headings,

v iz :- 4 f e e t ; 8 f e e t ; 16 feet . 143 C e r t a i n notes in the high register of tenor trombone are diff icult

to produce in tune—name them and how to remove the dif f icult ies .

144 I s t i m e easier to teach than tune? 145 H o w would y o u teach key s ignatures? 146 Descr ibe a method of teaching t ime sub-divis ions . 147 W h a t is the difference between form and style ? 148 Descr ibe m e t r i c a l , r h y t h m i c a l and express ive accent , 149 W h a t are the causes of untuneful p lay ing? 150 W h a t is meant by sca l i c and harmonic f ingering and their

advantages . 151 G i v e a method by w h i c h a v a l v e player could remember bass

trombone positions ? 152 W h e r e should the mouthpiece be placed against the l i p s ? 153 I s there any difference in tongueing high and low notes? 154 H o w are pedal notes produced—have they any value ? 155 W h a t is the difference between voluntary and involuntary

tongue control ? 156 I s breath pressure at a l l responsible for tonal p i t ch? 157 W h a t is meant by a player " m o u t h i n g his notes" and how is it

remedied ? 158 N a m e some of the essent ials to good technique. 159 W h y are s lurs so often mis - in terpreted? 160 W i l l scale pract ice remedy faul t s caused by lack of tongue

control ? 161 H o w would you teach a player to s lur up the harmonic s e r i e s ? 162 W h a t is the difference between tremolo and v ibra to? 163 Do you recommend either of these ? 164 W h a t section of a brass band general ly tends to unbalance a

crescendo ? 165 I n tuning bass trombone to E flat bass, w h a t notes would you

ask each to play ? 166 W h a t is the compass of the brass band in concert pi tch sounds? 167 W h i c h ins t rument would you use as the tuning fork of the band? 168 W h y is r h y t h m a fundamenta l of in terpreta t ion? 169 I f a piece of music w a s in | and f s imultaneously , how would

you conduct these ?

170 W h a t is responsible for the charac ter i s t i c "cornet tone" ? 171 E x p l a i n the funct ions , etc . of v a l v e s . 172 A t w h a t speed do you consider double tongueing more effective

t h a n single tongueing ? 173 W h a t is the bore of t rombones? 174 A tenor trombone player is given a copy in tenor c l e f — w h a t

would you tel l h i m to do w i t h i t ? 175 E x p l a i n how to tune a cornet to a piano. 176 W h y is a bass trombone cal led a " G " t rombone? 177 E x p l a i n how music appeals to the emotion. 178 W h a t is the f irst essential of p l a y i n g ? 179 H o w would you beat for | t ime ? 180 E x p l a i n " t o n a l i t y . " 181 E x p l a i n the use of " c l e f s " as to a pupi l . 182 W h i c h ins t ruments form the " t u b a " f a m i l y ? 183 W h a t are the charac ter i s t i cs of a good tune ? 184 D u r i n g performance how can a p layer make temporary adjust ­

ments of tun ing? 185 Upon w h a t does the pitch of a note on a brass instrument depend? 186 W h a t in terva l separates 1st position f rom 7th position on the

trombone ? 187 W h a t causes the difference in the qual i ty of a mus ica l sound ? 188 E x p l a i n the differences in tone intensity of brass ins t ruments . 189 H o w does the compass of a brass band compare w i t h the

orchestra ? 190 H o w should the l ips be placed for the embouchure ? 191 E x p l a i n phrase contract ion and extension. 192 W h a t is the origin of r h y t h m ? 193 W h a t is the di l ference in pi tch between E fiat soprano and

E flat B o m b a r d o n ? 194 Descr ibe some methods of phrase-extension. 195 W h a t makes r h y t h m i c i r regular i t i es in m u s i c ? 196 H o w do m u s i c a l sounds d i f fer? 197 Do y o u believe in flat tongueing ? G i v e reasons for a n s w e r . 198 W h a t do you consider is the f irst thing a learner should be

t a u g h t ? 199 W h a t is a bar of music ? 200 E x p l a i n some of the causes of accent on other than normal ly

accented beats. 201 W h a t is a " r o s a l i a " ? 202 W h a t is the difference between a modulat ion and a t rans i t ion ? 203 G i v e a rule for the proper accentuat ion of r h y t h m i c sect ions. 204 Of w h a t use is a l ternat ive f ingering ? 205 Descr ibe your method of reading a score . 206 E x p l a i n as to a pupil the invers ions of i n t e r v a l s . 207 Descr ibe feminine and mascul ine r h y t h m s . 208 W h a t is an i c t u s ? 209 H o w would you teach rubato? 210 H o w does r h y t h m i c a l accent differ f rom metr i ca l a c c e n t ? 211 E x p l a i n the pr inc iples upon w h i c h muscles act and the effect

upon the embouchure 212 Should r h y t h m i c sect ions be emphasized in quick tempos? 213 T h e l ips are the p layer ' s reeds—comment on this to a pupi l . 214 W h a t is the effect of accent on t ime ? 215 W h i c h method of breathing do you recommend, c l a v i c u l a r or

d iaphragmat ic?—give reasons for your answer=

216 A r e two success ive bars of m u s i c a l w a y s equal ly s trong ? 217 W h y is r h y t h m the basis of intel l igence in musica l interpre­

tat ion ? 218 S o m e teachers insist on a player holding his chest high when

p l a y i n g - d o you agree w i t h t h i s ? G i v e your reasons. 219 I n how many w a y s can E 4th space treble clef be f ingered.

A r e a l l the notes thus produced of the same pitch as the open E ?

220 H o w would you test the tuning of any sect ion of a band ? 221 W h a t is often the cause of untuneful playing ? 222 W h a t is often the cause of faul ts occuring during performance ? 22;i I s it possible for a player to play in tune even if his i n s t r u m e n t

is out of tunc ? 224 I f a learner has diff iculty in remember ing the tenor clef, could

you invent a r h y m e to help h i m ? 225 W h a t is the difference in act ion of the a ir in a tube w h e n pro­

ducing a fundamenta l and one of its harmonics . 226 W h a t is usually the cause of unsteady tone, and how remedied ? 227 D o you believe in the use of the metronome ?—give reasons for

y o u r a n s w e r . 228 H o w would you instruct a pupil to gain a pure tone ? 229 W h e n m a y a breath be taken in performance ? 230 C a n a fu l ler tone be produced without greater w i n d pressure? 231 I n w h a t 3 w a y s is tone affected?—describe the production of

each w a y . 232 H o w should the raddoppiato be performed ? 233 W h a t is the difference between flexibility and agil i ty ? 234 W h a t determines the qual i ty of a mus ica l sound ? 235 G i v e another name for the saxhorn f a m i l y . 236 W h a t is often the cause of the t r e m o l o ? 237 H o w would you teach free production of tone in the higher

reg i s ter? 238 W h a t is the difference between contrapuntal music and that of

a purely harmonic t e x t u r e ? 239 W h a t is it that makes the difference in sound between (a) horn ,

(6) trombone, (c) flute, (d) v i o l i n , (e) t in w h i s t l e ? 240 P l a y e r s often mis-read recurr ing accidentals , how would you

help them ? 241 W h a t is the difference between a prelude and an introduction ? 242 W h a t was the trombone former ly ca l led? 243 W h o invented pistons for brass ins t ruments and what effect

had t h e y ? 244 W h a t is a suite and what did it lead up to ? 245 W h a t is a ground bass? 246 W h y were the t rumpet parts of H a n d e l and B a c h w r i t t e n so high ? 247 Descr ibe a normal musica l sentence and how formed and var ied . 248 W h a t is a fugue—name its chief essent ia ls . 249 W h a t are whole tube and half tube instrunients ? 250 I s there more than one kind of staccato—if so, name them ? 251 W h a t is syncopation ? 252 E x p l a i n (a) c l i m a x ; (6) abstract music ; (c) programme mus ic . 253 W h a t is meant by phras ing of music ? 254 C a n every piece of music be said to have a form ? 255 B y the use of " s i m i l e " expla in " o v e r b l o w i n g . " 256 W h y is ease essent ial to a r t ? 257 W h a t is the m a i n essent ial of good tone ?

258 W h a t is necessary before p laying a brass ins t rument? 259 E x p l a i n " o v e r t u r e , " naming the different k inds and f o r m s . 260 E x p l a i n (fl) exposition ; (6) developnient ; (c) recapi tulat ion. 261 JExplain subject and answer in relat ion to a fugue. 262 W h a t is augmentat ion and diminut ion and how are they used? 263 N a m e and comment on the charac ter i s t i c s of the var ious dance

forms . 264 E x p l a i n (a) f antas ia ; (6) pastorale ; (c) t a rante l la ; {d) toccata ;

(e) i d y l l . 265 W h a t is a rondo, is there more than one kind ? 266 I n tuning E flat bass to bass trombone, w h a t notes would you

ask each to play ? 267 How does the compass of the brass band compare w i t h that of

the orches t ra? 268 W h i c h notes of the harmonic ser ies are out of tune ? 269 W h a t is the difference in pitch between tenor and bass t rom­

bones? 270 H o w would you beat for f t ime ? 271 W h i c h ins t ruments in a brass band possess the least powers of

crescendo ? 272 W h a t is an episode ? 273 H o w would y o u teach a player to play legato ? 274 C o m m e n t on the tone intensi ty of different brass i n s t r u m e n t s . 275 S ta te the rule w i t h regard to the durat ion of acc identals and

their appl icat ion. 276 H o w can good logical expression in performance be attained ? 277 A new player comes for a t r i a l — h o w would you test his capa­

bi l i t ies ? 278 C h r o m a t i c scales are often a s tumbl ing block to a player - how

would you help h i m ? 279 H u m a n feel ing is the basis of a l l a r t—expla in th is . 280 Should playing an ins t rument be a menta l or a physica l process ? 281 I s there a difference between p lay ing in t ime and playing

r h y t h m i c a l l y ? 282 W h a t is the cause of bumpy, unsteady tone? 283 H o w does the method of a t tack influence the emotion of tone ? 284 H o w would you teach the correct performance of mus ica l or­

naments ? 285 Do you consider it necessary for a bandmaster to have a know­

ledge of other branches of m u s i c in addition to his o w n ? I f so, w h y ?

286 W o u l d you give a learner any p r e l i m i n a r y teaching before handing h i m an i n s t r u m e n t ?

287 I s there any advantage in t ra in ing the imaginat ion in regard to m u s i c ?

288 W h a t is a canon-- is there more than one kind ? 289 W h a t is the " f o r m " of a fugue ? 290 W h a t is the essent ial difference in beating a s low and a fas t

tempo ? 291 W h a t is meant by v a r i e t y of tone colour ? 292 W h a t is expression ? 293 P e r f o r m i n g music is like paint ing a p i c ture—expla in w h y . 294 I s big tone essent ia l ly a c a r r y i n g tone ?—give reasons for your

a n s w e r . 295 T i m e is order and r h y t h m is progress—explain th is . 296 W h a t lies at the root of good interpretat ion ?

297 I s a k n o w l e d g e of t o n i c - s o l f a of a n y u s e in s c o r e - r e a d i n g ? 298 D o y o u c o n s i d e r t h e g r a m o p h o n e of a n y u s e i n m u s i c - t r a i n i n g ? 299 W h a t is t h e d i f f e r e n c e b e t w e e n p o l y p h o n i c a n d h o m o p h o n i c

m u s i c ? 300 W h a t is k n o w n a s t h e " m u s i c a l s a n d w i c h " ? 301 E x p l a i n i n d e t a i l ' ' l e i t m o t i f . " 302 H o w d o e s a c o m p o s e r d e v e l o p h i s i d e a s ? 303 . M u s i c a l e x p r e s s i o n is of t w o k i n d s — n a m e t h e m . 304 W h a t w o u l d y o u do to i n c r e a s e t h e m u s i c a l i n t e r e s t of

b a n d s m e n ? 305 D o y o u c o n s i d e r it a d v i s a b l e to b e a t a s f e w b e a t s to a b a r or a s

m a n y a s p o s s i b l e ? 306 W h a t is m e a n t by p r i m a r y a n d s e c o n d a r y a c c e n t s ? 307 W h a t is t h e t e n d e n c y w i t h a b a n d w h e n t h e t o n e is l i g h t e n e d ?

308 N a m e t h e c h i e f f a u l t s of w i n d i n s t r u m e n t a l i s t s . 309 W h a t is t h e c a u s e of t h e t y p i c a l c l a r i n e t t o n e ? 310 E x p l a i n t h e d i f f i c u l t i e s i n p l a y i n g t h e o b o e . 311 W h y is a B flat c l a r i n e t p r e f e r a b l e to one in C . 312 N a m e s o m e s h a k e s to be a v o i d e d o n t h e b a s s o o n . 313 N a m e t h e s a f e o r c h e s t r a l r e g i s t e r s of a l l w o o d w i n d i n s t r u m e n t s . 314 W h i c h i n s t r u m e n t s f o r m t h e b a s i s of t h e w o o d w i n d h a r m o n y ? 315 W h a t is t h e d i f f i c u l t y in p l a y i n g t h e s a x o p h o n e ? 316 I n o l d m u s i c w h e n h o r n p a r t s a r e i n b a s s c l e f h o w do t h e y s o u n d ? 317 W h a t a r e t h e d i f f i c u l t i e s in p l a y i n g t h e F r e n c h h o r n ? 318 N a m e a r h y m e f o r r e m e m b e r i n g t h e a l to c l e f . 319 E x p l a i n t h e c o m p a s s a n d f e a t u r e s of t h e m o d e r n h a r p . 320 W h a t is t h e f u n d a m e n t a l d i f f e r e n c e b e t w e e n p l a y i n g t h e c l a r i n e t

a n d t h e s a x o p h o n e ? 321 G i v e t h e r e g i s t e r s of t h e c l a r i n e t a n d n a m e t h e f e a t u r e s of e a c h

r e g i s t e r . 322 W h a t is t h e c o r a n g l a i s e a n d w h a t is i ts p i t c h ? 323 O f w h a t b e n e f i t is t h e B o e h m s y s t e m to w o o d w i n d p l a y e r s ? 324 N a m e s o m e s p e c i a l f e a t u r e s of E l g a r ' s t r o m b o n e p a r t s . 325 E x p l a i n t h e fingering of s t r i n g e d i n s t r u m e n t s . 326 H o w is t o n e p r o d u c e d o n a v i o l i n ? 327 E x p l a i n t h e f o l l o w i n g b o w i n g t e r m s : (a) m a r t e l e ; (&) s a u t i l l e ;

(c) c o l l e g n o . 328 W h y is m e t h o d i n b o w i n g so i m p o r t a n t w i t h t h e s t r i n g s ? 329 I f y o u w a n t e d s t r i n g s to p l a y l e g a t o — w h a t w o u l d y o u s u g g e s t ? 330 W h i c h is t h e m o s t a g i l e o r c h e s t r a l i n s t r u m e n t ? 331 W h a t is r e s p o n s i b l e for t h e c h a r a c t e r i s t i c h o r n t o n e ? 332 W h a t is m e a n t b y " f a k i n g " a d d i t i o n a l l o w n o t e s o n t h e t u b a ? 333 H a r p m u s i c is o f t e n w r i t t e n i n a d i f f e r e n t k e y t o t h a t of t h e

v i o l i n s , e x p l a i n w h y ? 334 W h a t is t h e p r i m a r y c o n s i d e r a t i o n w h e n w r i t i n g w i n d p a r t s ? 335 D o e s t h e u s e of t h e h a r p p e d a l s h a v e a n y effect o n t h e r e s o n a n c e

of t h e s t r i n g s ? 336 N a m e s o m e s h a k e s w h i c h s h o u l d be a v o i d e d in w r i t i n g for w o o d

w i n d . 337 N a m e s o m e good o r c h e s t r a l c o m b i n a t i o n s i n a m e l o d i c l i n e . 338 W h i c h i n s t r u m e n t s f o r m t h e f o u n d a t i o n of t h e o r c h e s t r a — w h y ? 3,39 O n w h a t s t r i n g s a r e h a r m o n i c s p o s s i b l e o n t h e h a r p ? 340 O n w h i c h i n s t r u m e n t s is s i n g l e , d o u b l e a n d t r i p e t o n g u e i n g

p o s s i b l e ?