2025 CCEA AS-Level Music 7010 Practice Paper with Answers

The motif reappears as a melodic sequence, transposed up one step from D–F♯–A to E–G♯–B [1], retaining its original dotted rhythm [1]; it is then extended by a rapid descending scalic flourish added immediately after the motif [1].
Final answer: the motif is repeated as a rising sequence (a step higher, E–G♯–B) and extended with an added descending scale passage.

[3] 1 mark: correctly identifies transposition/sequence up a step; 1 mark: correct new pitch level (E–G♯–B) or correct reference to the dotted rhythm being retained; 1 mark: identifies the added descending scalic flourish as the extension/development.

1. The motif is decorated with double-stopping, the soloist adding thirds beneath the melody notes, thickening the texture and adding virtuosic brilliance [1–2 marks depending on detail].
2. The final note of the motif is sustained/held rather than moving straight on, creating a sense of arrival or climax at this point in the extract [1 mark].
Final answer: the motif is developed by (1) adding double-stopped thirds beneath the melody, and (2) ending with a sustained/held final note that creates a sense of arrival.

[3] Up to 2 marks for identifying and describing the double-stopping in thirds (1 mark for double-stopping identified, 1 further mark for detail e.g. in thirds/adding textural richness); 1 mark for identifying the sustained/held final note and its effect (sense of arrival/climax).

Bar 20: the notes D, F♯, A form a D major triad (root D, third F♯, fifth A); with D in the bass, this is root position.
Bar 21: the notes G, B, D form a G major triad; with G in the bass, this is root position (chord IV in D major).
Bar 22: the notes A, C♯, E, G form an A major triad (A–C♯–E) with an added minor seventh (G), i.e. A dominant seventh (A7, chord V7 in D major); with the root A in the bass, this is root position.
Bar 23: the notes F♯, A, D are the same pitch classes as the D major triad (D, F♯, A); with F♯ (the third) in the bass, this is first inversion.
Final answer: Bar 20 = D major, root position; Bar 21 = G major, root position; Bar 22 = A7 (dominant 7th), root position; Bar 23 = D major, first inversion.

[8] Marked as 2 marks per bar (1 for the correct chord name, 1 for the correct position/inversion): Bar 20 – D major [1], root position [1]; Bar 21 – G major [1], root position [1]; Bar 22 – A7/A dominant seventh [1], root position [1]; Bar 23 – D major [1], first inversion [1]. Accept enharmonic/alternative correct labelling of chord quality.

The dominant seventh chord (V7) resolving to the tonic chord (I) is a perfect cadence (also called an authentic cadence).
Final answer: perfect cadence.

[2] 1 mark: perfect cadence (accept 'authentic cadence'); 1 mark: correct reference to V7 (or V) moving to I / dominant to tonic.

All four chords (D major, G major, A7, D major) belong to the key of D major, the home key of the movement.
Final answer: D major.

[1] D major.

This dotted-rhythm, folk-dance character is described as alla zingarese, meaning 'in the gypsy (Hungarian) style' — a style Brahms used in several works, including this concerto's finale, partly through his association with the Hungarian-influenced violinist Joseph Joachim.
Final answer: alla zingarese (Hungarian/gypsy style).

[2] 1 mark: reference to gypsy/Hungarian style; 1 mark: the term 'alla zingarese' given, or a clear correct description of the style.

The third movement is in rondo form, built around the recurring theme heard at the opening of this extract, alternating with contrasting episodes.
Final answer: rondo (form).

[1] rondo (form).

1. The melody opens with a rising broken-chord (arpeggio) figure outlining the tonic triad.
2. It is played staccato.
3. It closes with a stepwise descending scale passage back to the tonic.
Final answer: rising arpeggio/broken-chord opening; staccato articulation; closing stepwise descending scale.

[3] 1 mark each for any three of: rising broken-chord/arpeggio figure; outlines the tonic triad; staccato articulation; closing stepwise/scalic descent back to the tonic. All other valid features credited.

The opening idea is restated in essentially the same form, keeping its rising arpeggio shape and staccato character [1–2], but is now decorated with the addition of a turn ornament on the third note [1]; rather than closing with the same descending scale back to the tonic, the phrase now ends with a rising sequence, avoiding a return to the tonic and creating forward momentum into the next section [1].
Final answer: the idea is restated with the same basic shape, decorated with a turn ornament on the third note, and its ending changed to a rising sequence instead of resolving back to the tonic.

[4] Up to 2 marks: correctly identifies the phrase is restated/repeated in a similar shape; 1 mark: identifies the added turn ornament on the third note; 1 mark: identifies the changed ending (rising sequence instead of returning to the tonic).

Bar 9: the notes C, E, G form a C major triad; with C in the bass, this is root position (chord I).
Bar 10: the notes F, A, C form an F major triad; with F in the bass, this is root position (chord IV).
Bar 11: the notes G, B, D, F form a G major triad (G–B–D) with an added minor seventh (F), i.e. G dominant seventh (G7, chord V7); the fifth of the chord, D, is in the bass, so this is second inversion.
Bar 12: the notes C, E, G form a C major triad again; with C in the bass, this is root position (chord I).
Final answer: Bar 9 = C major, root position; Bar 10 = F major, root position; Bar 11 = G7 (dominant 7th), second inversion; Bar 12 = C major, root position.

[8] Marked as 2 marks per bar (1 for the correct chord name, 1 for the correct position/inversion): Bar 9 – C major [1], root position [1]; Bar 10 – F major [1], root position [1]; Bar 11 – G7/G dominant seventh [1], second inversion [1]; Bar 12 – C major [1], root position [1].

All four chords (C major, F major, G7, C major) belong to the key of C major.
Final answer: C major.

[1] C major.

Chord V7 (or V) moving to chord I is a perfect cadence (authentic cadence), regardless of the inversion in which the dominant chord appears.
Final answer: perfect cadence.

[1] perfect cadence (accept 'authentic cadence').

A melodic figure that outlines the notes of a chord one after another, rather than sounding them together, is called an arpeggio (or broken chord).
Final answer: arpeggio (broken chord).

[1] arpeggio / broken chord.

The graceful, moderately paced triple-metre dance character described is typical of a minuet [1]. Other typical features of a minuet include its moderate tempo and elegant, graceful character, and the fact that a minuet is often paired with a contrasting Trio section, together forming a minuet and trio structure [1].
Final answer: minuet; also typically has a moderate tempo/elegant character and is often paired with a contrasting Trio section (minuet and trio form).

[2] 1 mark: minuet (menuet) correctly named; 1 mark: any other valid typical feature, e.g. moderate tempo, elegant/graceful character, paired with a Trio in minuet-and-trio form, regular phrase structure.

(a) Harmony and tonality: Zadok the Priest is written in D major, a bright, festive key well suited to the natural trumpets of Handel's Baroque orchestra, maximising the brilliance of the ceremonial sound. The famous 22-bar orchestral introduction is built on a slow harmonic rhythm, largely alternating tonic and dominant harmony through rising arpeggiated figures, creating mounting tension and anticipation rather than presenting a memorable independent melody; this tension is dramatically released with the fortissimo entry of the choir on the tonic chord at the words 'Zadok the Priest'. The choral writing that follows is built mostly on diatonic, functional harmony (tonic, dominant and subdominant), giving clarity and grandeur appropriate to a coronation anthem, with occasional suspensions adding expressive weight at cadence points.
Instrumental scoring and texture: the work is scored for a large Baroque orchestra including strings, oboes, bassoons, trumpets and timpani, typical of ceremonial/festive works of the period. The introduction is scored for strings alone, using rising arpeggiated figures passed between the parts to build texture and tension gradually, before the full orchestra and choir enter together in a sudden, dramatic tutti. The choir sings in multiple parts in a predominantly homophonic (chordal) texture, giving maximum clarity to the text and a sense of grandeur, contrasted with occasional brief imitative entries; trumpets and timpani add a bright, ceremonial fanfare quality, especially at climactic cadence points.
Final answer (a): Handel builds tension in D major through a slow-moving tonic–dominant harmonic introduction before resolving dramatically to the tonic at the choir's entry, using largely diatonic, homophonic choral harmony; the work is scored for a ceremonial Baroque orchestra (strings, oboes, bassoons, trumpets, timpani), moving from a strings-only introduction that builds texture gradually to a grand, predominantly homophonic full tutti, giving the work its celebrated ceremonial grandeur.

Level of response marking (15 marks). Level 1 (Basic, 1–5 marks): limited, fragmented comments on harmony/tonality and/or scoring/texture, with little specialist terminology or specific reference to the chosen work. Level 2 (Good, 6–10 marks): competent selection of technical points covering both required domains, with organised structure and some accurate specialist terminology and reference to the work. Level 3 (Excellent, 11–15 marks): comprehensive, well-organised coverage of both domains, with precise, accurate reference to the chosen work and confident, accurate use of specialist musical terminology throughout.
Indicative content for (a) Zadok the Priest: harmony/tonality — D major (suited to Baroque trumpets); slow harmonic rhythm / tonic-dominant pedal in the introduction; dramatic resolution to the tonic at the choral entry; diatonic, largely homophonic choral harmony; suspensions at cadences. Instrumental scoring/texture — Baroque orchestra (strings, oboes, bassoons, trumpets, timpani); strings-only opening building texture via arpeggios; sudden full tutti entry; homophonic multi-part choral texture with brief imitation; ceremonial fanfare role of trumpets/timpani.
Indicative content for (b) Hear My Prayer: melody/word-setting — lyrical, often stepwise or arching Romantic vocal lines (including the famous soprano solo 'O for the Wings of a Dove'); largely syllabic word-setting with some expressive melisma on key words; text-expressive phrasing. Vocal scoring/texture — originally for soprano soloist, SATB choir and organ/orchestra; contrast between intimate solo passages and fuller choral tutti; predominantly homophonic choral writing with some imitative/contrapuntal moments for variety. All other valid, work-specific responses will be credited according to the level descriptors.

(a) Melody and rhythm: in the Quintet, each character or group is given their own distinct, independent melodic line that reflects their individual perspective and mood about the coming night — Tony and Maria's lines are lyrical and soaring, reflecting their romantic anticipation, while the Jets' and the Sharks' lines are more clipped, rhythmically driven and syncopated, reflecting the tension and aggression ahead of the rumble. Bernstein's jazz-influenced compositional style is evident throughout in the syncopated rhythms and irregular accents used across the different vocal lines.
Texture: the number is built on a dense, polyphonic (contrapuntal) texture, with the separate melodic lines and lyrics for each character or group combined and overlapping simultaneously, so the audience hears several independent musical and dramatic ideas at once. This layered texture musically represents the dramatic situation of the different groups of characters converging, with conflicting motivations, on the same night; the texture increases in density and dynamic level as more voices are added and combined, building toward the climax of the number.
Final answer (a): Bernstein gives each character/group a distinct, contrasting melodic and rhythmic identity (lyrical/soaring for the lovers, syncopated/clipped for the rival gangs), combined in a dense polyphonic texture that layers these independent lines together and builds in density toward a dramatic climax.

Level of response marking (15 marks). Level 1 (Basic, 1–5 marks): limited, fragmented comments on melody/rhythm and/or texture, with little specialist terminology or specific reference to the chosen number. Level 2 (Good, 6–10 marks): competent selection of technical points covering both required domains, with organised structure and some accurate specialist terminology and reference to the work. Level 3 (Excellent, 11–15 marks): comprehensive, well-organised coverage of both domains, with precise, accurate reference to the chosen number and confident, accurate use of specialist musical terminology throughout.
Indicative content for (a) Tonight (Quintet): melody/rhythm — distinct melodic line per character/group; lyrical/soaring lines for Tony and Maria; clipped, syncopated lines for the Jets/Sharks; jazz-influenced syncopation and irregular accents. Texture — dense polyphonic/contrapuntal combination of independent simultaneous lines; overlapping text and melody representing converging dramatic perspectives; texture and dynamic build toward the climax.
Indicative content for (b) Ol' Man River: melody/word-setting — broad, dignified, largely stepwise/scalic melody with a wide range building to a climax on the recurring title phrase; mostly syllabic, direct word-setting suited to the weighty subject matter. Structure — verse/refrain (strophic) structure, with the title phrase recurring as a refrain; contrast between quieter verse material and the more powerful, sustained refrain. All other valid, work-specific responses will be credited according to the level descriptors.