2023 CCEA AS-Level Music 7010 Practice Paper with Answers

The Eroica Symphony (and its finale) is written in the key of E♭ major; the pizzicato bass theme outlines the E♭ major tonic triad.

[1] E♭ major.

The dominant of E♭ major is B♭ major, a perfect fifth above the tonic.

[1] B♭ major.

A dominant-function chord (here a dominant seventh) resolving to the tonic is a perfect cadence. In E♭ major, B♭7 is chord V7 and E♭ major is chord I, giving V7-I.

[1] perfect cadence; [1] V7-I (accept V-I).

The extract is described as opening with the soprano soloist's melody set in G minor.

[1] G minor.

The relative major of G minor is B♭ major (three semitones above the tonic, sharing the same key signature). A minor-key passage that closes on a major tonic chord, as described, is called a tierce de Picardie (Picardy third).

[1] B♭ major; [1] tierce de Picardie / Picardy third.

A chord on the fourth degree (subdominant) moving directly to the tonic, without the dominant, is a plagal cadence: IV-I.

[1] plagal cadence; [1] IV-I.

The extract is described as resolving back to a shared tonic of D♭ major for the climactic final bars.

[1] D♭ major (award 2 if key and 'climactic close/final bars' both correctly referenced; otherwise 1).

A dominant-function chord (however extended, here a dominant thirteenth) resolving to the tonic is classed as a perfect cadence: V-I.

[1] perfect cadence; [1] V-I.

The finale of the Eroica Symphony is a set of variations, including a central fugato, on the 'Prometheus' bass theme — i.e. variation form. It is not a sonata, rondo or simple ternary structure.

[3] C.

The Quintet combines several independent melodic and textual strands simultaneously in contrapuntal ensemble writing. It is not a strict canon (no fixed imitative interval/delay), not antiphony (not alternating call-and-response), and clearly not unison doubling, since the parts are melodically independent.

[3] B.

Two devices used include a fugato passage, where the theme is treated imitatively between different instrumental parts, and a gradual accumulation of texture as instruments are added one by one above the bass theme.

[1] each for any two of: fugato/fugal imitation of the theme; gradual accumulation/thickening of texture as instruments are added; canonic entries; contrapuntal countermelodies added above the bass (max 2).

As the variations progress, Beethoven gives prominence to the woodwind, in melodic and contrapuntal roles, and to the brass, particularly the horns, in the more triumphant later variations.

[1] each for any two of: woodwind; brass/horns; timpani/percussion (max 2).

The choir provides homophonic, chordal support beneath the soprano's melody, and at points echoes or responds antiphonally to phrases first presented by the soloist.

[1] each for any two of: homophonic/chordal accompaniment beneath the soloist; choir echoes/responds antiphonally to the soloist's phrases; choir doubles the soloist's melody in harmony; contrast between solo and full-choir textures (max 2).

Word-painting devices include melismatic setting of key expressive words, stretching a syllable over several notes for emphasis, and rising melodic phrases used to depict pleading or aspiration in the text.

[1] each for any two of: melisma on expressive words; rising melodic phrases reflecting pleading/aspiration; dissonance/suspensions on words of anguish; sudden dynamic changes reflecting textual meaning (max 2).

The accompaniment provides sustained, held chordal support beneath the voices, and also has brief independent countermelodies or interludes filling gaps between vocal phrases.

[1] each for any two of: sustained/held chordal support; independent countermelody or interludes between phrases; doubling of vocal lines; dynamic swells underlining climaxes (max 2).

Throughout West Side Story, Bernstein uses syncopated Latin-American dance rhythms to characterise the Sharks, reflecting their Puerto Rican identity.

[1] syncopated Latin(-American) rhythm (accept mambo/habanera-style rhythm).

The Jets' music uses syncopated, jazz-influenced rhythms typical of their brash character, while Tony and Maria's love theme is set in smoother, more sustained note-values and a lyrical rhythmic style, contrasting with the more angular writing for the other groups.

[1] each for any two of: Jets' syncopated/jazz-influenced rhythm; Sharks' syncopated Latin-style rhythm; Tony and Maria's smoother, sustained, lyrical rhythm; layering of contrasting rhythms performed simultaneously (max 2).

The extract opens with a monophonic, unaccompanied texture as the bass theme is stated alone in octaves. When the woodwind counter-melody enters, the texture becomes contrapuntal/two-part, with two independent melodic lines heard together. As further instruments are added, the texture continues to thicken, building towards a fuller orchestral sound.

[1] each for any three of: opens as monophonic/unaccompanied single-line texture; becomes contrapuntal/two-part when the counter-melody enters; texture thickens progressively as more instruments are added; overall trajectory is from sparse to full/thick texture (max 3).

The extract opens with a solo vocal melody over a light, sparse accompaniment. When the choir enters, the texture becomes fuller and homophonic, with the choir's chordal writing supporting the soprano. There is an alternation between solo-dominated and full-choir (tutti) textures across the extract, creating dramatic contrast.

[1] each for any three of: opens as solo melody with light/sparse accompaniment; choir entry creates a fuller homophonic texture; alternation/contrast between solo and tutti textures; choir texture is largely chordal/homophonic (max 3).

The extract begins with the different characters' melodic ideas introduced one at a time in separate layers. As the number progresses, further layers are added, building to a dense, multi-layered texture. By the climax, several independent melodic lines are heard simultaneously, creating a genuinely polyphonic texture.

[1] each for any three of: melodic layers/ideas introduced separately at first; texture progressively thickens as more layers are added; climax features a dense, multi-layered/polyphonic texture; several independent melodic lines heard simultaneously (max 3).

The extract description states the melody is played in 3/4 time.

[1] 3/4.

The extract description identifies this as a Romantic-period piano piece.

[1] Romantic.

The extract description states the extract is in a minor key.

[1] Minor.

The extract description states this is vocal music from the twentieth century.

[1] Twentieth century / 20th century.

The bass plays a walking bass line, and the drummer uses brushes to keep a swung ride-cymbal pattern, as stated in the extract description.

[1] walking bass; [1] brushes/swung ride-cymbal pattern (accept 'swing feel').

Improvising with nonsense syllables is called scat singing (scatting); the piano's sparse, syncopated chordal accompaniment style is known as comping.

[1] scat/scatting; [1] comping.

The extract description states a prominent diminished seventh chord occurs shortly before the modulation to the relative major.

[2] B.

The extract description states the singer is accompanied by piano, double bass and drum kit — a jazz trio.

[2] C.

Features include a lyrical, singing (cantabile) right-hand melody, a broken-chord (arpeggiated) left-hand accompaniment, and the use of rubato for expressive effect.

[1] each for any three of: lyrical/cantabile right-hand melody; broken-chord/arpeggiated left-hand accompaniment; use of rubato; chromatic harmony (max 3).

Harmonic features include a minor tonic key, chromatic harmony throughout, a prominent diminished seventh chord, and modulation to the relative major for the middle section.

[1] each for any three of: minor tonality; chromatic harmony; diminished seventh chord; modulation to the relative major (max 3).

The rhythm section's role includes a walking bass line outlining the underlying harmony, and sparse, syncopated chordal comping from the piano, together with a swung ride-cymbal pattern from the drums.

[1] each for any two of: walking bass line; sparse/syncopated piano comping; swung ride-cymbal pattern from the drums (max 2).

Vocal features include a syncopated melody, a major tonic key, and the use of scat singing later in the extract.

[1] each for any three of: syncopated melody; major tonality; scat singing/improvised nonsense syllables; repeated two-bar chord progression underpinning the scat section (max 3).

The texture is melody-dominated homophony, with a single melodic line in the right hand supported by a broken-chord accompaniment in the left hand. This accompaniment spans a wide range of the keyboard, giving a full, resonant texture beneath the melody.

[1] each for any two of: melody-dominated homophonic texture; broken-chord accompaniment spans a wide keyboard range; texture thins/thickens with dynamic changes (max 2).

The accompaniment has a layered rhythm-section texture, with the bass, piano and drums each performing a distinct, complementary role rather than doubling one another. Overall the texture is fairly sparse, leaving space for the vocal line.

[1] each for any two of: layered rhythm-section texture with each instrument in a distinct role; sparse, uncluttered texture leaving space for the voice; walking bass and comping piano interlock rhythmically (max 2).

The opening presents a minor-key melody over a wide-ranging broken-chord accompaniment. In the middle section, following the modulation to the relative major, the mood becomes more lyrical, with the accompaniment continuing to support the melody but in a brighter, major-key harmonic context.

[1] each for any two of: contrast between the minor-key opening and more lyrical major-key middle section; accompaniment continues to support the melody throughout in broken-chord style; overall homophonic texture maintained across both sections with harmonic (not textural) contrast (max 2).

The description states the second subject group is presented in B♭ major.

[1] B♭ major.

The first clarinet presents the melody, described as 'graceful, mostly stepwise'.

[1] clarinet; [1] stepwise/conjunct motion.

The description states the melody is 'doubled at the octave below by the first violins'.

[1] doubling/doubles the melody; [1] octave (below).

The cellos and basses play a simple, regular bass line in crotchets, and this bass line outlines the root of each of the chords shown in the harmonic scheme (bars 56-63).

[1] simple crotchet-note bass line; [1] outlines the root of each underlying chord.

From the given harmony: bar 57 is E♭ major (IV) in root position; bar 58 is F major (V) in root position.

[1] bar 57 = E♭ major/IV, root position; [1] bar 58 = F major/V, root position.

From the given harmony: bar 60 is G minor (vi) in root position; bar 61 is C minor (ii) in root position.

[1] bar 60 = G minor/vi, root position; [1] bar 61 = C minor/ii, root position.

F major's first inversion has its third, A, in the bass. Bar 63 returns to root-position B♭ major, so B♭ is in the bass.

[1] A in the bass at bar 62; [1] B♭ in the bass at bar 63.

A root-position V chord moving to a root-position I chord is a perfect cadence.

[1] Perfect cadence.

G minor is built from G, B♭ and D, forming a minor triad.

[1] Minor triad.

The second subject group heard for the first time, not yet developed or recapitulated, occurs within the exposition of the movement's sonata form.

[1] Exposition.

(a) In a Classical sonata-form movement in a major key, the second subject returns in the recapitulation in the tonic key — here, E♭ major. (b) Typical features of the recapitulation include: the melodic material of the second subject remains largely recognisable/similar to its exposition statement; it is transposed into the tonic key rather than the dominant key used in the exposition; it may be reorchestrated or given to different instruments; and the tonic-key statement resolves the key contrast established between the first and second subjects in the exposition.

[1] E♭ major (tonic) correctly stated; [1] each for any three of: melodic material remains largely the same/recognisable; transposed into the tonic key (rather than the dominant); may be reorchestrated/re-scored; resolves the exposition's key contrast between first and second subjects (max 3) — total 4 marks.

From the given harmony: bar 2 is G minor (iv) in root position; bar 3 is A major (V, using the raised leading note of harmonic minor) in root position.

[1] bar 2 = G minor/iv, root position; [1] bar 3 = A major/V, root position.

From the given harmony: bar 5 is B♭ major (VI) in root position; bar 6 is E diminished (ii°) in root position.

[1] bar 5 = B♭ major/VI, root position; [1] bar 6 = E diminished/ii°, root position.

Bar 7's chord is A major (V), so the sustained pedal note is A, the 5th (dominant) scale degree — a dominant pedal.

[1] A / 5th degree; [1] dominant pedal.

Bar 8 is D major, the tonic major of D minor — this unusual major-key close to a minor-key passage is called a tierce de Picardie (Picardy third).

[1] D major (tonic major) correctly named; [1] tierce de Picardie/Picardy third.

Bar 1 is given as D minor (i), the tonic key.

[1] D minor.

The relative major of D minor is F major, sharing the same key signature of one flat.

[1] F major.

Bar 8 resolves to D major, the tonic major, as a result of the Picardy third.

[1] D major.

The harmony briefly touches F major (the relative major) at bars 5-6 before returning to D for the final cadence — a brief tonicisation rather than a permanent modulation.

[1] correct description: briefly touches/tonicises the relative major before returning to the home key.

E-G-B♭ comprises two stacked minor thirds, forming a diminished triad.

[1] Diminished.

Simple quadruple time is notated as 4/4: four crotchet beats per bar, each divisible by two.

[1] 4/4.

The texture is predominantly homophonic across the extract, with the first violin carrying the main melodic line above chordal support from the second violin, viola and cello. The lower three instruments largely move together rhythmically, reinforcing the underlying harmony, and the cello's sustained pedal note in bar 7 briefly creates a drone-like texture beneath the upper parts.

[1] each for any three of: predominantly homophonic texture; first violin carries the main melody; lower three parts provide chordal/harmonic support, moving together rhythmically; cello's pedal note in bar 7 creates a drone-like effect beneath the upper parts (max 3).

For most of the extract, the harmony changes once per bar, giving a regular, moderate harmonic rhythm that provides steady forward momentum. At bar 7, the harmonic rhythm effectively slows, as the dominant is prolonged over a sustained pedal, creating a sense of anticipation before the final cadence. The resolution to D major in bar 8 provides a clear, satisfying sense of harmonic arrival.

[1] each for any three of: regular, one-chord-per-bar harmonic rhythm for most of the passage; harmonic rhythm slows/is prolonged at bar 7 over the dominant pedal; this prolongation creates a sense of anticipation/tension before the close; resolution to D major (bar 8) provides a clear sense of arrival (max 3).

Exemplar response for Mendelssohn's 'Hear my Prayer': Melody — lyrical, arching melodic phrases in the soprano solo (for example the 'O for the wings, for the wings of a dove' melody), rising stepwise to a climactic high point before descending, with occasional wide leaps for expressive emphasis and melismatic word-setting on key expressive words. Harmony — predominantly diatonic Romantic harmony, with expressive use of chromaticism and suspensions at climactic moments, use of secondary dominants to intensify the approach to cadences, and occasional Picardy-third resolutions bringing warmth to minor-key passages. Tonality — alternation between minor-key passages associated with pleading and anguish in the text (for example 'Hear my prayer, O God') and more consoling major-key passages; modulations to related keys such as the relative major or dominant mark changes of textual mood; choral sections often close with clear perfect cadences confirming the prevailing tonality. A candidate choosing a different anthem should be credited equivalently for accurate, well-supported points about melody, harmony and tonality in that work.

Level-of-response marking, max 15 marks, assessed holistically across melody, harmony and tonality, incorporating quality of written communication. Indicative content (Mendelssohn, 'Hear my Prayer'; equivalent credit for any of the four prescribed anthems): Melody — lyrical, arching soprano solo phrases; occasional wide expressive leaps; melismatic setting of key words. Harmony — predominantly diatonic Romantic harmony; suspensions and secondary dominants at climactic moments; occasional Picardy third. Tonality — alternation between minor (anguish/pleading) and major (consolation) passages; modulation to related keys marking changes in textual mood; clear perfect cadences confirming key areas. Level 4 (12-15): comprehensive, well-supported coverage of melody, harmony and tonality with specific musical detail, accurate specialist terminology, coherent and well-structured written expression. Level 3 (8-11): good coverage of at least two of the three elements, appropriate supporting detail, mostly accurate terminology, clear organisation. Level 2 (4-7): some relevant knowledge but insufficient musical detail, narrative gaps, limited specialist vocabulary. Level 1 (1-3): superficial knowledge, lack of coherent structure, significant omissions. Level 0 (0): no creditable content.

Exemplar response for Bernstein's 'Tonight (Quintet)': Rhythm — syncopated, jazz-influenced rhythms distinguish the Jets; syncopated Latin-American-style rhythms characterise the Sharks; Tony and Maria's love theme uses smoother, more sustained rhythmic values, contrasting with the surrounding syncopation; layered cross-rhythms occur as the different groups' music is combined. Metre — predominantly simple quadruple time, providing a stable rhythmic frame against which the syncopated surface rhythms are heard, with brief cross-accents at points of dramatic tension. Thematic presentation — each group or character is given a distinct, recognisable musical theme; themes are introduced successively then combined contrapuntally in the ensemble climax; dynamic and textural build reflects the mounting dramatic tension leading into the rumble scene; the combination of contrasting themes symbolises the opposing forces (Jets versus Sharks, love versus conflict) central to the drama. A candidate choosing a different musical number should be credited equivalently for accurate, well-supported points about rhythm, metre and thematic presentation in that work.

Level-of-response marking, max 15 marks, assessed holistically across rhythm, metre and thematic presentation, incorporating quality of written communication. Indicative content (Bernstein, 'Tonight (Quintet)'; equivalent credit for any of the four prescribed numbers): Rhythm — contrasting syncopated styles for each group (jazz-influenced for the Jets, Latin-American for the Sharks); smoother, sustained rhythm for Tony and Maria; layered cross-rhythms at the climax. Metre — predominantly simple quadruple time providing a stable frame; occasional cross-accents at moments of tension. Thematic presentation — distinct themes for each character/group; successive introduction followed by contrapuntal combination; thematic combination symbolising the drama's central conflict. Level 4 (12-15): comprehensive, well-supported coverage of rhythm, metre and thematic presentation with specific musical detail, accurate specialist terminology, coherent and well-structured written expression. Level 3 (8-11): good coverage of at least two of the three elements, appropriate supporting detail, mostly accurate terminology, clear organisation. Level 2 (4-7): some relevant knowledge but insufficient musical detail, narrative gaps, limited specialist vocabulary. Level 1 (1-3): superficial knowledge, lack of coherent structure, significant omissions. Level 0 (0): no creditable content.