AQA

GCSE Music 8271

Component 1

Understanding Music.

Practice Paper 3

Time allowed: 1 hour 30 minutes hours

Instructions
• Use black ink or black ball­point pen. You may use pencil for music notation.
• Fill in the boxes at the top of this page. • Answer all questions in Section A.
• Answer Question 9 in Section B.
• Answer one question from questions 10 to 12 in Section B.
• You must answer the questions in the spaces provided. Do not write outside the box around each
page or on blank pages.
• Do all rough work in this book. Cross through any work you do not want to be marked.
• If you need extra paper, use the Supplementary Answer Sheets. Information
• The marks for questions (or part questions) are shown in brackets.
• The maximum mark for this paper is 96.
• You have three minutes to read through the paper before the CD is played.
• There will be suitable pauses for you to read and answer the questions.

Question Mark
1
2
3
4
5
6
7
8
Haydn
Set works
Total 96
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Question 1: Area of study 3 Traditional music 8 marks

This excerpt will be played three times.

You may find it helpful to tick a box each time you hear the excerpt.

Here are the opening lyrics:

1. Ten thousand pounds the price was set

2. To find the Northwest Passage . . . go down.

0 1 . 1 On the opening words `Ten thousand` what is the interval between the two
notes on the word `thousand` ? Underline your answer: [1 mark]

tone 4th 5th 7th

0 1 . 2 On which word in the first two lines is there a melisma? [1 mark]

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0 1 . 3 How many different chords are used in this excerpt? [1 mark]

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0 1 . 4 Which of the following is a feature of the harmony in this excerpt? Tick the
empty box next to your answer. [1 mark]

Harmonic feature Tick one

mostly chromatic
perfect cadence
tonic pedal

minor key
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0 1 . 5 Which of the following best matches the rhythm of the bass drum?
Tick the empty box next to your answer. [1 mark]

0 1 . 6 Describe the two phrases played by the bass guitar. [1 mark]

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0 1 . 7 This excerpt is a fusion of which two musical styles? [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Question 2: Area of study 1 Western classical tradition 1650 - 1910 9 marks

This excerpt will be played four times.

You may find it helpful to tick a box each time you hear the excerpt.

Here is a score of this excerpt:

0 2 . 1 What is the key of this extract? [1 mark]

...............................................................

0 2 . 2 To which key has the music modulated at the beginning of bar 4? Underline
one of the following: [1 mark]

relative minor subdominant tonic minor dominant

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0 2 . 3 Give the bar and beat numbers where one example of each of the following
musical features can be found in the score (eg 63 means bar 6, beat 3). [3 marks]

Features Bar and beat number

a trill

a chord of E minor in root position (chord VI)

an appoggiatura

0 2 . 4 Describe the articulation of the bass line through the whole of this extract. [1 mark]

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0 2 . 5 Describe the relationship between Violin I and Violin II in bars 1 to 5. [1 mark]

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0 2 . 6 (i) From which movement of a longer work has this excerpt been taken?
Underline your answer. [1 mark]

1st 2nd 3rd 4th

(ii) Give one reason for your choice of movement. [1 mark]

...............................................................

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Question 3: Area of study 2 Popular Music 9 marks

This excerpt will be played four times.

You may find it helpful to tick a box each time you hear the excerpt.

Here are the lyrics for the first three lines of the extract:

1. Since you been gone, since you been gone. I`m, out of my head can`t take it.

2. Could I be wrong? But since you been gone, You cast a spell, so break it.

3. Oh_____ Oh_____ Oh_____ Since you been gone.

0 3 . 1 In these three lines, three different notes are used in the lead vocal melody.
The lowest of the three notes is the tonic (G). Name the other two notes used. [2 marks]

1. …………...…..……………………

2. ……………………………………..

0 3 . 2 Name the type of cadence used at the end of the third line . . . on the words
`you been gone` [1 mark]

type of cadence ………………………………………………………

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0 3 . 3 Describe two performing techniques used in the guitar solo in the middle 8
which follows the opening vocals. Tick two of the boxes in the table below: [2 marks]

guitar techniques tick two

pick scrape
vibrato
tapping
muting
harmonics
string bending

0 3 . 4 In the drum kit, describe the change in the rhythm of the kick and snare pattern
at the start of the guitar solo (and through the following vocals).

You may wish to use the following blank stave of drum score in your answer. [2 marks]

. . . .. .. . .. . .. . .. ... . .. .. ... .. . . .. .. . .. . .. . .. .. . .. . .. . .. ... ... ..

...............................................................

. . . .. .. . .. . .. . .. ... . .. .. ... .. . . .. .. . .. . .. . .. .. . .. . .. . .. ... ... ..

Here are the lyrics for the last line of the vocals:

If you will come back, ba-by you know you`ll ne-ver do wrong

0 3 . 5 On the line of lyrics above, draw a square bracket beneath the

words where a triplet group (triplet crotchets) is used in the vocal melody. [1 mark]

0 3 . 6 Describe the use of backing vocals in this line. [1 mark]

...............................................................

. . . .. .. . .. . .. . .. ... . .. .. ... .. . . .. .. . .. . .. . .. .. . .. . .. . .. ... ... ..

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Question 4: Area of study 1 Western classical tradition 1650 - 1910 9 marks

This excerpt will be played four times.

You may find it helpful to tick a box each time you hear the excerpt.

There are two sections in this excerpt. These are the three bars that link the first
section into section two:

end of section 1 start of section 2

0 4 . 1 Which of the following best describes the key change between these two
sections? Underline your answer: [1 mark]

anacrusic pentatonic chronic enharmonic

0 4 . 2 Describe some of the differences between the two sections. [2 marks]

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0 4 . 3 Decide if each of these statements is true or false. Circle your answer. [4 marks]

(i) There is a monophonic passage in this excerpt. True / False

(ii) There is a repeated tonic pedal note through the final bars. True / False

(iii) There is a sequence in the melody line. True / False

(iv) The use of rubato is a feature of this performance. True / False

0 4 . 4 This excerpt is taken from what type of piece? Underline your answer. [1 mark]

waltz polonaise prelude concerto

0 4 . 5 Which of the following is the composer of this music? Underline your

answer. [1 mark]

Chopin Beethoven Schumann Brahms

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Question 5: Area of study 4 Western classical tradition since 1910 7 marks

You will hear three excerpts all taken from the same piece of music: Excerpt A,
Excerpt B and Excerpt C.

You will hear each excerpt twice, in the following order: A - A - B - B - C - C

Excerpt A.

You may find it helpful to tick a box each time you hear this excerpt.

0 5 . 1 Which instrument plays the melody line in Excerpt A? [1 mark]

..........................................................

0 5 . 2 The accompaniment to the melody uses just two notes. One of the two
notes is the tonic . . . what is the other? [1 mark]

..........................................................

0 5 . 3 Which of the following best describes this type of accompaniment?

Underline your answer. [1 mark]

ground bass riff walking bass drone

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Excerpt B.

You may find it helpful to tick a box each time you hear this excerpt.

0 5 . 4 Which of the following are features of Excerpt B? Tick two empty boxes
next to your choices: [2 marks]

Features Tick two

rhythmic diminution

fugue

rhythmic augmentation

dotted rhythms

ostinato

pedal

syncopation

Excerpt C.

You may find it helpful to tick a box each time you hear this excerpt.

0 5 . 5 Which of the following best describes the contribution of the French horns
in this excerpt? Underline your answer: [1 mark]

chords countermelody imitation octaves

0 5 . 6 All three excerpts are taken from the same piece. How would you describe
the structure / form of this type of piece? [1 mark]

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Question 6: Area of study 3 Traditional music 10 marks

This excerpt will be played three times.

You may find it helpful to tick a box each time you hear the excerpt.

Here is a score of the main theme - played by the horn section:

0 6 . 1 On the score, complete the melody in bars 2 to 4, using the given rhythm. [6 marks]

.................................................................
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0 6 . 2 This music is a fusion of several styles. Identify the musical styles of

two different cultures that have influenced this music.

In each case, identify one characteristic feature that is typical of the

chosen cultural style. [4 marks]

Style 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Supporting feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Style 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Supporting feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.................................................................
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Question 7: Area of study 4 Western classical tradition since 1910 6 marks

This excerpt will be played three times.

You may find it helpful to tick a box each time you hear the excerpt.

0 7 . 1 Which instrument plays the opening rhythm? Underline your answer: [1 mark]

bass drum side drum conga timpani

0 7 . 2 Describe the texture of the passage for piano and strings which follows
the opening drum solo. [1 mark]

..........................................................

0 7 . 3 From which type of longer work has this excerpt been taken? Underline
your answer: [1 mark]

sonata concerto symphony oratorio

0 7 . 4 Which of the following is the best description of this style of music? Tick
the empty box next to your choice: [1 mark]

Stylistic type Tick one

Neo classical

Minimalist

Romantic

Fusion
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0 7 . 5 Identify two features of this excerpt that are typical of Twentieth Century
orchestral music. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

...............................................................

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2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Question 8: Area of study 2 Popular Music 10 marks

You will hear two different performances of the same passage of music:
Performance A and Performance B.

Each excerpt will be played three times in the following sequence: A - B - A - B - A - B

You may find it helpful to tick a box each time you hear an excerpt.

0 8 . 1 This question refers to the music in the introduction - before the voice enters.

Write `A` or `B` in the box after each statement to show which performance
most closely matches that statement. Remember - this question is about the
music of the introduction only. [6 marks]

Musical features of the introduction `A` or `B`?

Uses only a solo violin

Uses mostly the lower range of the violin

Uses an fp chord

Uses some double stopping

Uses stronger accents in the violin playing

Uses fast, running scale passages

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0 8 . 2 This question refers to the accompaniment and the vocals in the verse
section which follows the introduction.

Describe differences in the accompaniment and the vocals / use of voice

in these two performances. This includes the use of different instruments
and the music they play.

Do not refer to the solo violin in your answer.

Make two points about Performance A and two points about Performance B.

Accompaniment and vocals in Performance A (verse only). [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

...............................................................

2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Accompaniment and vocals in Performance B (verse only). [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

...............................................................

2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Section B: Contextual Understanding 30 minutes 28 marks

ANSWER Question 9

Question 9: Area of study 1 Western classical tradition 1650 - 1910

0 9 . 1 Describe the meaning of the following two terms, which are used at the
start of two sections in this movement. [2 marks]

1. Minore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.................................................................

2. Maggiore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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0 9 . 2 Describe two features of the music written for the brass instruments in this
movement. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

0 9 . 3 Explain the meaning of the following phrases, which are features of the
music in this movement. [2 marks]

1. terraced dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.................................................................

2. periodic phrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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0 9 . 4 Describe Haydn`s use of rhythm and metre and / or articulation in this movement.

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Answer ONE question from Questions 10 - 12

Question 10: Area of study 2 Popular Music

1 0 . 1 Which of the three songs by The Beatles: [2 marks]

1. ends with background crowd noise?

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2. has changes of key signature?

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1 0 . 2 Describe two features of the string playing (violin, cello and dilruba) in
Within You Without You` which give an Indian feel to the music. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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1 0 . 3 Who is the lead singer on `Lucy in the Sky With Diamonds`?

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Who is the lead singer on `Within You Without You`?

................................................................. [2 marks]
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1 0 . 4 Describe the use of texture and / or structure in the three Beatles songs.
You may refer to any OR all of the songs in your answer.

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Question 11: Area of study 3 Traditional Music

1 1 . 1 Which of the three songs by Santana: [2 marks]

1. uses a syncopated bass drone?

...........................................................

2. is based around the chord progression I - VI - V7 ( Am - F - E7)?

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1 1 . 2 Describe two features of the vocal line and use of vocals in `Migra`. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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1 1 . 3 In `Love of My Life` the chords G/F and Cm7 are used. [2 marks]

1. explain the chord symbol G/F .................................

.................................................................

2. Cm7 contains the notes C / E flat / G and which other note? . . . . . . . .

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1 1 . 4 Describe how texture and / or changes of instrumentation are used in these

three Santana songs. You may refer to any OR all of the songs in your answer.

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Question 12: Area of study 4 Western classical tradition since 1910.

1 2 . 1 Describe two features of the piano part in ` Hoe-down`. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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1 2 . 2 Which keys are used most in these two movements? [2 marks]

main key of Saturday Night Waltz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

main key of Hoe-down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 2 . 3 Identify two percussion instruments used in `Hoe-down`. [2 marks]

1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1 2 . 4 Describe how Copland achieves contrasts in `Saturday Night Waltz` .

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