2025 CCEA GCSE Music 7010 Practice Paper with Answers

(a) Allegretto (a moderate, march-like tempo).
(b) Ominous and menacing.
(c) The sudden loud chord represents the fall of the guillotine blade and the moment of the artist's execution, abruptly cutting off his final thought of his beloved (the idee fixe).
(d) Brass and percussion (e.g. timpani) are used prominently.
(e) Minor.

(a) B1 for Allegretto.
(b) B1 for ominous and menacing.
(c) A2 for a full, correct explanation referencing the execution/fall of the blade ([1] for a partial reference, e.g. just 'something bad happens').
(d) B1 for each correctly named family (brass; percussion), up to [2].
(e) B1 for minor.

(a) Fife (a type of small flute).
(b) Jig or reel.
(c) The texture is essentially monophonic/melody-led: the fife carries the tune while the drums provide rhythmic, non-pitched accompaniment rather than adding harmony, keeping a strong, steady pulse.
(d) Ornamentation, such as grace notes, rolls or cuts, is commonly used to decorate the melody.
(e) The tempo is typically fast, which suits the lively marching and dancing traditionally associated with fife-and-drum music.

(a) B1 for fife.
(b) B1 for jig or reel.
(c) A2 for a full, correct description of the melody-led/rhythmic accompaniment texture ([1] for a partial description).
(d) B1 for a valid ornamentation technique (e.g. grace notes, rolls, cuts).
(e) B1 for 'fast'; B1 for a valid, correct reason (e.g. suits marching/dancing).

(a) Underscore is background music played under dialogue and on-screen action in a film, supporting and reflecting the mood or emotion of a scene, often without the audience being consciously aware of it.
(b) Leitmotif.
(c) Soft/quiet dynamics are most likely, since they reflect the intimate, personal and reflective nature of a young character's emotional moment, rather than the loud dynamics associated with an action sequence.
(d) A composer might use a solo instrument, such as solo piano or solo strings, rather than full orchestral tutti, to create a delicate, intimate timbre that suits a youthful, vulnerable character.

(a) A2 for a full, correct definition referencing background music supporting mood/scene ([1] for a partial definition).
(b) B1 for leitmotif.
(c) B1 for soft/quiet; B1 for a valid, correct reason.
(d) A2 for a valid, developed example (e.g. solo piano/strings, with reasoning) ([1] for a basic/vague answer).

(a) Rock/pop-punk.
(b) Any two of: electric guitar, bass guitar, drum kit (vocals also acceptable as a named part of the line-up).
(c) Verse-chorus.
(d) The tempo is fast and the energy level is high, which suits the upbeat, energetic character of the rock/pop-punk style and creates an exciting, driving feel for the listener.
(e) Ash; they are from Downpatrick, Northern Ireland.

(a) B1 for rock/pop-punk.
(b) B1 for each correctly named rock band instrument, up to [2].
(c) B1 for verse-chorus.
(d) B1 for fast tempo/high energy; B1 for a valid, correct reason linking to style.
(e) B1 for Ash and Northern Ireland/Downpatrick (both required for the mark).

(a) Homophonic texture (melody with chordal accompaniment).
(b) Cadenza.
(c) Modulation (a change of key).
(d) Contrast could be created through dynamics, with the soloist playing softer, more delicate passages against louder orchestral tutti sections; through texture, with the soloist playing virtuosic, ornamented, decorative passages while the orchestra provides simpler, sustained harmonic support; or through register, with the soloist often playing in a higher register than the accompanying strings.
(e) Coda.

(a) B1 for homophonic.
(b) B1 for cadenza.
(c) B1 for modulation.
(d) A2 for each of two valid, developed points of contrast (e.g. dynamic, textural, registral), up to [4] ([1] each for a basic/undeveloped point).
(e) B1 for coda.

(a) Bodhran.
(b) Heterophonic/unison texture (effectively monophonic, since both instruments play essentially the same melodic line together).
(c) Jig, since 6/8 compound time with a lively, lilting rhythm is characteristic of a jig (a reel is typically in simple duple/quadruple time, such as 2/4 or 4/4).
(d) The fiddle player might add ornamentation such as rolls, cuts or grace notes to decorate and embellish the melodic line.

(a) B1 for bodhran.
(b) B1 for heterophonic/unison/monophonic.
(c) B2 for jig (with correct reasoning referencing 6/8 compound time, if given) ([1] for jig identified without correct reasoning).
(d) A2 for a valid, developed ornamentation technique ([1] for a basic/vague answer).

(a) Fast and driving.
(b) Ostinato (a short, persistently repeated rhythmic/melodic pattern).
(c) Dynamics would likely build gradually through a crescendo, moving from a moderate level to very loud (fortissimo) as the chase reaches its climax, reflecting the rising tension and intensity.
(d) Brass and percussion.
(e) A sudden, loud orchestral 'stinger' chord, often using dissonant harmony and a sharp accent, could be used to musically depict a moment of shock or sudden danger.

(a) B1 for fast and driving.
(b) B1 for ostinato.
(c) A2 for a full, correct description referencing a crescendo building to a loud climax ([1] for a partial description).
(d) B1 for each correctly named family (brass; percussion), up to [2].
(e) A2 for a valid, developed technique (e.g. sudden loud/dissonant stinger chord) ([1] for a basic/vague answer).

(a) Melody-dominated homophony.
(b) Chorus (or 'hook').
(c) The synthesiser contributes a bright, electronic, modern timbre distinct from purely acoustic instruments; it might sustain pad-like chords to fill out the harmony, or play a distinctive electronic riff or hook, both common features of pop production from the 1980s to the present day.
(d) Any one of: reverb (adding space/depth to a sound); double-tracking (recording a vocal or instrumental part twice for a fuller sound); auto-tune (a pitch-correction effect on vocals).
(e) The song most likely follows a verse-chorus structure, often including an intro, verses, choruses, a contrasting bridge or middle-8 section, and a final chorus or outro to conclude.

(a) B1 for melody-dominated homophony.
(b) B1 for chorus/hook.
(c) A2 for a full, correct description of the synthesiser's contribution ([1] for a partial/vague description).
(d) A2 for a valid, named production technique with correct explanation ([1] for naming the technique only).
(e) A2 for a correct, developed description of verse-chorus structure with named sections ([1] for a partial/vague description).

Melody: (1) The main march theme is bold, confident and majestic in character. (2) It is built largely from simple, memorable, singable phrases. (3) It features dotted rhythms typical of march music, giving it a strong, marching character. (4) The contrasting 'trio' theme is broad, lyrical and sweeping, providing a memorable, song-like melody that is very different in character from the opening march theme.

Instrumentation/Timbre: (1) The piece is scored for full orchestra, in the tradition of the British light-music march. (2) Brass instruments (for example trumpets, trombones and horns) are prominent, giving the piece a bold, heroic, military character. (3) Woodwind instruments carry the melody at times, providing a lighter timbral contrast to the brass-dominated sections. (4) Percussion, particularly the side drum, reinforces the strong, regular march rhythm throughout the piece.

Structure: (1) The piece follows the traditional form of a British march, opening with a bold march theme. (2) A contrasting, more lyrical 'trio' section follows, in a different (related) key, providing contrast to the opening theme. (3) The opening march theme returns after the trio, giving the piece an overall ternary-like (ABA) structure typical of marches. (4) The piece ends with a strong, confident, conclusive final statement, reinforcing its triumphant character.

1 mark for each valid, accurate point made about each element, up to 4 marks per element (12 marks total: Melody 4 + Instrumentation/Timbre 4 + Structure 4). Points must be specific and clearly relevant to March (The Dam Busters); generic or vague statements not tied to the piece should not be credited.
Quality of written communication is assessed across four levels:
Level 1: Basic, list-like points with limited use of musical vocabulary; frequent errors in spelling/grammar that may obscure meaning; limited coverage of the three elements.
Level 2: Adequate coverage of at least two elements with some relevant musical vocabulary; generally understandable, with some errors.
Level 3: Good coverage of all three elements with accurate use of specialist musical vocabulary; clear, well-organised answer with minor errors only.
Level 4: Thorough, detailed and accurate coverage of all three elements, fully grounded in the specific characteristics of the set work; confident, precise use of specialist musical vocabulary throughout; fluent, well-structured, near error-free writing.