Edexcel GCSE Music Practice Exam Questions (AoS 1)

Practice Examination Questions
For Pearson Edexcel GCSE Music (9-1)

2016 Specification
Area of Study 1: Instrumental Music (1700-1820)

Practice Examination Questions
For Pearson Edexcel GCSE Music (9-1)
2016 Specification
Practice Examination Questions for Pearson Edexcel GCSE (9-1) in Music (2016 Specification) 1
Area of Study 1: Instrumental Music (1700-1820) Copyright © 2016 Sean Young
Also in this series…
Practice Examination Questions for Pearson Edexcel GCSE Music (9-1)

2016 Specification
Area of Study 2: Vocal Music
0M @SeanYoung_Music
Contents
How to Use This Resource 4
Set Work Listening 6
Musical Dictation 26
Unfamiliar Listening 32
Mark Scheme 36
Details of Recordings 44
Dictation Scores for Teacher 47
Student Mark Record Sheet 48
How to Use This Resource
This resource contains a compilation of questions for the Component 3: Appraising exam for
the new Pearson Edexcel GCSE (9-1) Specification. The questions in this collection are
tailored specifically towards the set works in Area of Study 1: Instrumental Music (1700-820).
What is included?
This resource includes five practise questions from the first part of the examination paper for
each set work in the area of study. Additionally, there are six musical dictation questions, and
two unfamiliar listening questions. No questions from Section B of the exam are included.
Is it a mock exam?
No. It is not recommended that this resource be treated for mock internal assessment, and
the official past papers and sample assessment resources from Edexcel should be reserved
for this purpose. These questions are written in the same style of those found in the exam;
however, the collection contains questions that all relate to one of the two set works found in
the area of study, rather than across the entire specification, as would be the case in the
exam. Furthermore, the total number of marks do not add to the number of marks available
for the relevant section of the exam. Each individual question is rather taken to be
representative of just one question from the exam paper.
How should I use the questions?

This resource is designed to provide ongoing listening practise throughout the course, in
order to better prepare students for official mock examinations, and the final examination.
One suggested use of the resource may be to get students to complete one to two questions
per lesson, whilst learning the content for this area of study. Alternatively, you may choose to
teach all of the content for the area of study, and then have a lesson specifically for listening
practise, and work through multiple questions in a single session. Regular on-going exam
practise may be considered more successful in order to familiarise students with the structure
of exam questions, and slowly build their confidence.
How are the questions laid out?

Each question is formatted to look similar to that which would be found in the actual
examination, and are based on questions taken from older specifications and specimen
papers. This will allow students to become familiar with the requirements of each of the
different types of question the exam will ask.
Audio tracks
Unfortunately, for reasons of copyright, this resource does not have an accompanying audio
CD or sound files. Each question, on both the question paper and the mark scheme,
indicates the piece of music, the number of times it should be played, and the timings that
should be used for the extract. Most of the audio clips are taken from the set works, as will be
the case in the exam, so these recordings should be readily available in most classrooms.
The timings of each audio clip relate to those from the specific recordings listed in the
specification. You may wish to edit the specific sound clips and mix them into one track, to
replicate the exam as accurately as possible. Full details of the recording used can be found
in the ‘Details of Recordings’ section.
Dictation Scores
In the exam student will be required to complete a short dictation question worth between 6
and 10 marks. The question will relate to one of the set works, so it is worthwhile for students
to memorise the main themes from each of the set works. There are no audio tracks for the
questions included in this book, but the score for the melody for each question is provided,
which the teacher may either play live, or pre-record.
Student Mark Record Sheet

In addition to the questions and mark scheme, there is a student mark record sheet included,
which you may wish to print for students to keep on file, in order to track the progress they
have made whilst using this resource.
Disclaimer
The makers of this resource are not affiliated, in any way, with Pearson Edexcel, or any
partners involved in the provision of the GCSE specification. The resource has neither been
endorsed or verified as accurately representative of the actual examination that students will
sit. It cannot be too strongly recommended that this be used strictly as listening and
appraising practise, and the past paper and sample assessment materials be reserved for
actual preparation.
PRACTICE QUESTIONS FROM SECTION A
Write your answers in the spaces provided.
Some questions must be answered with a cross in a box . If you change your mind about
an answer, put a line through the box and then mark your new answer with a cross .
J.S. Bach: Brandenburg Concerto no. 5 in D major (3rd movement) (0.00-0.48)
1 Listen to the following extract which will be played three times.
(a) Which word best describes the texture of the opening four bars?
Put a cross in the correct box.

(1)
A Monophonic
B Homophonic
C Canonic
D Heterophonic
(b) List two rhythmic features of the opening theme.

(2)
1……………………………………………
2……………………………………………
(c) What is the tonality of the extract?

(1)
……………………………………………..
(d) List the first three instruments to play the theme.
(3)
1……………………………………………
2……………………………………………
3……………………………………………
(Total for Question 1 = 7 marks)

______________________________________________________________________________
(a) Which two of the following ornaments does the violin play?
Put crosses in the two correct boxes.

(2)
A Trill
B Mordent
C Turn
D Appoggiatura
E Acciaccatura
(b) What is the tonality of the extract?

(1)
……………………………………………..
(c) What is the time signature of the extract?

(1)
……………………………………………..
(d) How many different notes are played by the bass part in the opening
six bars of the extract?
(1)
……………………………………………..
(e) What is the role of the harpsichord?
(3)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Which of the following best describes the bass line at the beginning?

(1)
A Ascending scale
B Ascending broken chord
C Descending scale
D Descending broken chord
(b) Name the cadence heard at the end of the extract.

(1)
……………………………………………..
(c) Which word best describes the tempo of the extract?

(1)
A Andante
B Moderato
C Allegro
D Vivace
(d) The extract starts in D major.
Name the key of the music at the end of the extract.

(1)
……………………………………………..
(e) List three characteristics of the concerto grosso.
(3)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Compare the first theme at the start of the extract, with the second theme
at the end of the extract.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(b) (i) Name the first instrument to play the second theme.
(1)
……………………………………………..
(ii) What family is this instrument from?

(1)
……………………………………………..
(c) Describe the tonality of the extract.

(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
THIS PAGE HAS BEEN INTENTIONALLY LEFT BLANK
(a) Which two of the following compositional devices are heard in the violin part?

(2)
A Suspension
B Trill
C Inverted Pedal
D Sequence
E Pedal
(b) In which bar does the harpsichord enter?

(1)
……………………………………………..
(c) Identify the musical interval between the first two notes of the theme the first
time it is played.
(1)
………………………………………………………………………………………………......
(d) Identify the musical period in which this piece was composed.
(1)
………………………………………………………………………………………………......
(e) Describe the harpsichord part at the end of the extract.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
Beethoven: Sonata in C minor (Pathétique), first movement (0.00-0.53)
(a) Which word best describes the texture of the opening four bars?

(1)
A Monophonic
B Homophonic
C Heterophonic
D Contrapuntal
(b) Which two of the following are used in the extract?

(2)
A Glissando
B Pizzicato
C Tremolo
D Legato
E Sustain Pedal
(c) Describe the use of dynamics in the extract.

(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Which two of the following are used in the extract?

(2)
A Tremolo
B Pedal Note
C Hemiola
D Sequence
E Slide
(b) What is the time signature of the extract?

(1)
……………………………………………..
(c) Name the two ornaments heard towards the end of the extract.
(2)
1……………………………………………
2……………………………………………
(d) The extract starts in C minor.

(1)
……………………………………………..
(e) Compare the first subject, heard at the beginning of the extract, with the second
theme, heard at the end of the extract.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) How does the composer make the beginning of the extract different from the rest
of the extract?
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(b) Name the ornament used in the extract

(1)
………………………………………………………………………………………………......
(c) (i) What happens to the dynamics at the end of the extract?
(1)
………………………………………………………………………………………………......
(ii) Suggest a suitable word for the texture at the end of the extract.
(1)
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Identify two differences and two similarities between the first two phrases of
the extract.
(4)
Differences
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
Similarities
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
(b) Identify the musical interval between the notes of the right hand at the end of the
extract.

(1)
A Unison
B Perfect Fourth
C Perfect Fifth
D Octave
(c) The extract starts in C minor.

(1)
……………………………………………..
(d) What is the time signature of the extract?

(1)
……………………………………………..

______________________________________________________________________________
(a) Complete the following sentence:

(3)
The extract is taken from the …………………………………… section of sonata
form. The other two sections are the …………………………………… and
……………………………………. .
(b) (i) Identify the musical interval between the repeated notes of the right hand at the
beginning.
(1)
………………………………………………………………………………………………......
(ii) Which of the following terms best describes these repeated notes?

(1)
A Tremolo
B Trill
C Hemiola
D Glissando
(c) Explain how the composer achieves a sense of drama and excitement in the
extract?
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
Musical Dictation
11 Listen to the following melody which will be played four times.
(a) Add the missing rhythm on the score below.

(3)
(b) Add the missing pitches on the score below.

(3)

______________________________________________________________________________
Musical Dictation

(4)

(3)

______________________________________________________________________________
Musical Dictation

(4)

(2)

______________________________________________________________________________
Musical Dictation

(3)

(4)

______________________________________________________________________________
Musical Dictation

(3)

(3)

______________________________________________________________________________
Musical Dictation
(c) Add the missing rhythm on the score below.

(4)
(d) Add the missing pitches on the score below.

(4)

______________________________________________________________________________
Unfamiliar Listening
A skeleton score is provided below.
(a) Name the melodic device used in bar 4, beat 1 to bar 4, beat 3.
(1)
……………………………………………………………………………………………….....
(b) Describe the texture in bar 7, beat 2 to bar 8, beat 1.

(1)
……………………………………………………………………………………………….....
(c) Identify the key and cadence at bar 8, beat 2 to bar 8 beat 3.
(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………
(d) Name the instrument(s) that play at bar 9, beat 2, to bar 9, beat 3.
(1)
……………………………………………………………………………………………….....
(e) Identify the key and cadence at bar 15, beat 2 to bar 15 beat 3.
(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………

______________________________________________________________________________
Unfamiliar Listening
A skeleton score is provided below.
(a) Describe the use of dynamics in the extract in bars 1 to 4 of the extract.
(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(b) Compare the left-hand and right-hand parts in bars 11 to 13.

(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(c) Identify the key and cadence at bar 19, beat 4 to bar 20 beat 1.
(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………
(d) Describe the overall texture of the extract

(1)
……………………………………………………………………………………………….....

______________________________________________________________________________
Marking Guidance
General Guidance
The mark scheme specifies the number of marks available for each question, and teachers
should be prepared equally to offer zero marks or full marks as appropriate. In instances
where a response does not directly meet the criteria of a specific level or indicator, a best fit
approach should be adopted.
Mark schemes should be applied positively. Students must be rewarded for what they have
shown they can do rather than penalized for omissions.
Brackets around parts of words/phrases in this mark scheme indicate words or phrases that
might be included in an answer but are not required for credit. Credit must not be awarded
twice for the same bullet point.
Underlined words must be included in the answer to gain credit
Crossed-out work should be marked unless the replaced it with an alternative answer.
For the questions that are worth more marks, this mark scheme should not be considered to
be exhaustive, and teachers should use their judgment in awarding marks for additional
answers not in the mark scheme.
Practice Set Work Listening Questions

Question Correct Answer Mark
Number
1 (a) C Canonic 1
(b) Any two of:
• Dotted rhythms
• Triplets
• On the beat 2
(c) Major 1
(d) • Violin
• Flute
• Harpsichord 3

Number
2 (a) A Trill
B Apoggiatura 2
(b) Minor 1
(c) 2/4 (accept duple time) 1
(d) 1 1
(e) Any three of:
• Part of the continuo/accompaniment
• Provides the harmony/realizes the figured bass
• Leads the ensemble
• Plays solo passages
• Provide the bass line 3

Number
3 (a) A Ascending Scale 1

(b) Perfect 1
(c) C Allegro 1
(d) B minor/relative minor 1
(e) Any three of:
• For orchestra/ripieno
• Multiple soloists/concertino
• Three movements (1), fast-slow-fast (1)
• Continuo section
• Solos based on a theme 3
Number
4 (a) Any four of:

• Some of the rhythms are the same
• Less notes in second theme
• Appoggiatura in second theme
• First theme has wider range of notes
• Second theme starts and ends on same note (1) First
theme does note (1)
• Second theme is longer 4
(b) (i) Flute 1
(b) (ii) Woodwind 1
(c) Starts (D) major
Ends (B) minor 2

Number
5 (a) C Inverted Pedal

D Sequence 2
(b) 9 1
(c) (Perfect) fourth/4th 1
(d) (Late) Baroque (Allow 1600-1750) 1
(e) Any four of:
• Solo part
• Ascending scales in left hand
• Descending scales in right hand
• Alternating/antiphonal texture
• Semiquaver rhythms
• (Scales are in) sequence 4

Number
6 (a) B Homophonic 1
(b) D Legato
E Sustain Pedal 2
(c) Any four of: 1
• Sudden dynamic changes
• Gradual dynamic changes/crescendo/decrescendo
• Use of forte-piano/fp
• Use of sforzato/sf
• Wide dynamic range/pp-ff
• Dynamics change with each phrase
• Ends piano/p
Number
7 (a) A Tremolo
B Pedal Note 2
(b) 2/2 or 1
(c) Acciaccatura (reject grace note)
(Upper) Mordent 2
(d) Eb minor 1
(e) Any four of:
• Both themes are based on a rising melody
• Both themes are played staccato
• Second theme is more lyrical
• Tremolo octaves accompany first theme (1) compared with
crotchet chords in second theme (1)
• First theme made up of chords in right hand
• Second theme is a single melody line
• Second theme uses longer note lengths
4
• Both themes in a minor key

Number
8 (a) Any four of:

• Left hand plays melody
• Tremolo in right hand (1) previously used in left hand (1)
• Single melody line/doesn’t use chords
• Left hand bar of silence between phrases
• Legato (staccato is used towards end)
• Melody slurred across barlines (1) displaces rhythmic
accent (1) 4
(b) Trill 1
(c) (i) (Become suddenly) piano/fp 1
(c) (iI) Monophonic 1
Number
9 (a) Differences (up to 2 marks)

• First chord of first phrase is a minor chord, second is a
diminished chord/second phrase more chromatic (1)
• Left hand of second phrase is simpler/doesn’t use chords (1)
• Left hand of second phrase is descending scale (1) first
phrase descends and ascends (1)
• Second phrase is higher (1)
Similarities (up to 2 marks)

• Same rhythm (1)
• Same dynamics (1)
• Same melodic shape (1) 4
(b) D Octave 1
(c) Eb major 1
(d) or 4/4 1

Number
10 (a) The extract is taken from the development section of sonata form.
The other two sections are the exposition/recapitulation and
exposition/recapitulation. 3
(b) (i) Octave 1
(b) (ii) A Octave 1
(c) Any four of:
• Fast/energetic tempo (1) creates a sense of pace (1)
• Rapidly changing dynamics (1) surprises listener (1)
• Use of tremolo (1) which is associated with suspense (1)
• Constant crotchet and quaver rhythms (1) maintains pace
and energy (1)
• Wide ranging ascending melodies (1) creates sense of
running out of control (1)
• Chromaticism/dim7 chord (1) associated with tension (1) 4
Practice Musical Dictation Questions
Musical Dictation - J.S. Bach: Brandenburg Concerto no. 5 in D major (3rd movement)
Number
11 (a) Rhythm correct (3)
11 (b) Pitches correct (3)
Number
Number
Musical Dictation - Beethoven: Sonata in C minor (Pathétique), first movement
Number

Number

Number
Practice Unfamiliar Listening Questions
J.S. Bach: Brandenburg Concerto no. 3 in G major (1st movement) (0.00-0.48)

Number
17 (a) (Descending) Sequence 1

(b) Octaves 1
(c) Key: G Major
Cadence: Perfect (allow V-I) 2
(d) Viola 1
(e) Key: D Major
Haydn: Piano Sonata in D major, Hob. XVI:51 (1st movement) (0.00-0.38)

Number
18 (a) First phrase piano/first two bars piano

Second phrase piano/second two bars forte 2
(b) Left hand (up to 2 marks)
• Broken chords (1)
• Triplet rhythms (1)
• Mainly chords I and V/tonic and dominant (1)
• Legato (1)
• Accompaniment (1)
Right hand (up to 2 marks)

• Plays melody (1)
• (Doubled in) octaves (1)
• Legato in bar 11 and 12 (1) Staccato in bar 13 (1)
• Limited range/range of a fifth (1)
• Conjunct/diatonic melody (1) 4
(c) Key: D Major
(d) Homophonic (allow melody and accompaniment) 1
Details of Recordings
Below is a list of recordings that should be used in order to ensure the timings given in each
question are correct. For those questions that relate directly to a set work, the recording is
the same as that recommended by the exam board, so in most cases, should be easily
accessible. For best results that mirror the experience of the exam, you may wish to edit
these tracks into the correct timings specified in the question.
1. J.S. Bach, Brandenburg Concerto no. 5 in D major, BWV, 1050, III. Allegro
CD: Bach: Six Concertos for The Margrave of Brandenburg
Directed by: Trevor Pinnock
Label: Avie Records, 2008
Track: Disc 1, 10
Timings: 0.00-0.48
Track: Disc 1, 10
Timings: 1.18-2.00
Track: Disc 1, 10
Timings: 0.40-1.21
Track: Disc 1, 10
Timings: 0.50-1.30
Track: Disc 1, 10
Timings: 0.00-1.01
6. Ludwig van Beethoven, Piano Sonata No. 8 in C minor (“Pathétique”), I. Grave - Allegro di
molto e con brio
CD: Beethoven Piano Sonatas: Pathetique, Moonlight and Appassionata
Performed by: Alfred Brendel
Label: Brilliant Classics, 2012
Track: 4
Timings: 0.00-0.53
molto e con brio
Track: 4
Timings: 1.58-2.37
molto e con brio
Track: 4
Timings: 6.05-6.41
molto e con brio
Track: 4
Timings: 0.00-0.53
molto e con brio
Track: 4
Timings: 6.05-6.41
11. Dictation question, no recording. See score in next section.
17. J.S. Bach, Brandenburg Concerto no. 3 in G major, BWV, 1048, I. Allegro
Track: Disc 1, 5
Timings: 0.00-0.48
18. Franz Joseph Haydn, Keyboard Sonata in D Major, Hob. XVI:51, I. Andante,
CD: HAYDN: Piano Sonatas Nos. 59-62
Performed by: Jenő Jandó
Label: Naxos, 1993
Track: 7
Timings: 0.00-0.38
Dictation Scores for Teacher
In the exam, students will be expected to complete short dictation exercises relating to the set
works. The melodies below correspond to each of the six practise questions in this book, and
should each be played to students four times, with a pause between each playing. You may
wish to clap the beat of one bar before playing.
11.
12.
13.
14.
15.
16.
Student Mark Record Sheet
It may be useful to track your progress by recording the date and marks you achieved in each
practise question. This will enable you to trace your progress throughout the course, and allow
you to determine areas that require more practise.
Breakdown of Marks
Total Max
Question Type of Question Marks Marks
Date
(a) (b) (c) (d) (e)
1 Set Work 7
2 Set Work 8
3 Set Work 7
4 Set Work 8
5 Set Work 9
6 Set Work 7
7 Set Work 10
8 Set Work 7
9 Set Work 7
10 Set Work 9
11 Dictation 6
12 Dictation 7
13 Dictation 6
14 Dictation 7
15 Dictation 6
16 Dictation 8
17 Unfamiliar 7
18 Unfamiliar 9

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Practice Examination Questions

For Pearson Edexcel GCSE Music (9-1)

Area of Study 1: Instrumental Music (1700-1820)

Area of Study 1: Instrumental Music (1700-1820)

Practice Examination Questions for Pearson Edexcel GCSE Music (9-1)

Area of Study 2: Vocal Music

Set Work Listening 6

Dictation Scores for Teacher 47

Student Mark Record Sheet 48

How should I use the questions?

How are the questions laid out?

Student Mark Record Sheet

Write your answers in the spaces provided.

J.S. Bach: Brandenburg Concerto no. 5 in D major (3rd movement) (0.00-0.48)

1 Listen to the following extract which will be played three times.

Put a cross in the correct box.

(b) List two rhythmic features of the opening theme.

(c) What is the tonality of the extract?

(Total for Question 1 = 7 marks)

2 Listen to the following extract which will be played three times.

Put crosses in the two correct boxes.

(b) What is the tonality of the extract?

(c) What is the time signature of the extract?

(Total for Question 2 = 8 marks)

3 Listen to the following extract which will be played three times.

Put a cross in the correct box.

B Ascending broken chord

D Descending broken chord

(b) Name the cadence heard at the end of the extract.

(c) Which word best describes the tempo of the extract?

Put a cross in the correct box.

(d) The extract starts in D major.

Name the key of the music at the end of the extract.

(Total for Question 3 = 7 marks)

4 Listen to the following extract which will be played three times.

(ii) What family is this instrument from?

(c) Describe the tonality of the extract.

(Total for Question 4 = 8 marks)

5 Listen to the following extract which will be played three times.

Put crosses in the two correct boxes.

(b) In which bar does the harpsichord enter?

(Total for Question 5 = 9 marks)

6 Listen to the following extract which will be played three times.

Put a cross in the correct box.

(b) Which two of the following are used in the extract?

Put crosses in the two correct boxes.

(c) Describe the use of dynamics in the extract.

(Total for Question 6 = 7 marks)

7 Listen to the following extract which will be played three times.

(a) Which two of the following are used in the extract?

Put a cross in the correct box.

(b) What is the time signature of the extract?

(d) The extract starts in C minor.

Name the key of the music at the end of the extract.

(Total for Question 7 = 10 marks)

8 Listen to the following extract which will be played three times.

(b) Name the ornament used in the extract

(Total for Question 8 = 7 marks)

9 Listen to the following extract which will be played three times.

Put a cross in the correct box.