Naming only the root note in a chord identification question, without stating the chord's quality or inversion, for example writing 'B' instead of 'B7, second inversion'.

Work every chord grid in three steps: name the root, then the quality (major, minor, dominant seventh, diminished), then the inversion.

Confusing plagal (IV to I) cadences with perfect (V to I) or imperfect cadences under aural conditions.

Listen specifically to the bass line's final two chords rather than the general sense of resolution.

Writing generic stylistic description in the 15-mark essays instead of citing bar numbers, named instruments or specific harmonic devices.

Cite bar numbers and named technical devices, sequence, inversion, diminution, stretto, rather than describing the mood of a passage.

Developing only one of the two bulleted domains in a 15-mark essay, for example writing at length on melody with only a sentence on harmony.

Draft a plan with one column per bulleted domain before writing, and check both columns are equally developed.

Assuming a Classical symphony's first movement is fast throughout, missing a slow introduction.

Check the opening tempo marking of the set work; Mozart's Symphony No. 39 opens Adagio before its Allegro begins.

Assuming a musical theatre number keeps one metre and texture throughout.

Listen across the whole extract for metre changes, for example alternating 4/4 and 2/4, or a shift into a dance rhythm.

Listing several contradictory answers to a single-mark identification question, hoping one of them is correct.

Commit to one answer per question. The mark scheme penalises listing multiple options rather than rewarding the correct one among them.

Leaving the inversion column blank, or guessing it, in score analysis tables.

Work out the bass note's interval from the chord root systematically before filling in the inversion column.

CCEA AS-Level · เคล็ดลับการสอบ

Music 7010 เคล็ดลับการสอบ

AS Music examiners do not usually catch students mishearing a chord. They catch students naming the root and stopping there. Here is where the 140 marks sit across both papers, and what a full chord answer actually needs.

อ่าน 4 นาทีอัปเดตเมื่อ: 3 ก.ย. 2569

ภาพรวมข้อสอบ

จำนวนฉบับ

คะแนนเต็ม

140

เวลาสอบ

3ชม.

ประเภทคำถาม

ฉบับ	เวลา	คะแนน	จำนวนข้อ	น้ำหนักคะแนน	ประเภทคำถาม
Paper 1: Test of Aural Perception	1ชม.	70	5	17.5%	Short-answer identification on unfamiliar and set-work extracts, heard by ear
Paper 2: Written Examination	2ชม.	70	4	17.5%	Score-based short-answer analysis (set work: Music for Orchestra), Score-based short-answer analysis (unfamiliar extract), Extended essay (Sacred Vocal Music: Anthems), Extended essay (Secular Vocal Music: Musicals)

เกณฑ์เกรด

ABCDEU

ข้อกำหนดเครื่องคิดเลข

This is a non-calculator subject. Both papers test aural, score-reading and written analysis skills; no calculator is required or permitted.

AO1: AO1: interpret musical ideas with technical and expressive control and an understanding of style and context (27.5%)
AO2: AO2: create, develop and refine musical ideas with technical control and expressive understanding, making creative and coherent use of musical devices, conventions and resources (27.5%)
AO3: AO3: use analytical, evaluative and reflective skills to make critical judgements about music (27.5%)
AO4: AO4: demonstrate knowledge and understanding of musical elements, musical contexts and musical language (17.5%)

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1highคะแนนที่เกี่ยวข้อง: 4Harmonic identification
Naming only the root note in a chord identification question, without stating the chord's quality or inversion, for example writing 'B' instead of 'B7, second inversion'.
วิธีหลีกเลี่ยง: Work every chord grid in three steps: name the root, then the quality (major, minor, dominant seventh, diminished), then the inversion.
2mediumคะแนนที่เกี่ยวข้อง: 2Cadences
Confusing plagal (IV to I) cadences with perfect (V to I) or imperfect cadences under aural conditions.
วิธีหลีกเลี่ยง: Listen specifically to the bass line's final two chords rather than the general sense of resolution.
3highคะแนนที่เกี่ยวข้อง: 5Extended essays (Anthems and Musicals)
Writing generic stylistic description in the 15-mark essays instead of citing bar numbers, named instruments or specific harmonic devices.
วิธีหลีกเลี่ยง: Cite bar numbers and named technical devices, sequence, inversion, diminution, stretto, rather than describing the mood of a passage.
4mediumคะแนนที่เกี่ยวข้อง: 4Extended essays (Anthems and Musicals)
Developing only one of the two bulleted domains in a 15-mark essay, for example writing at length on melody with only a sentence on harmony.
วิธีหลีกเลี่ยง: Draft a plan with one column per bulleted domain before writing, and check both columns are equally developed.
5mediumคะแนนที่เกี่ยวข้อง: 2Music for Orchestra, 1700-1900
Assuming a Classical symphony's first movement is fast throughout, missing a slow introduction.
วิธีหลีกเลี่ยง: Check the opening tempo marking of the set work; Mozart's Symphony No. 39 opens Adagio before its Allegro begins.
6mediumคะแนนที่เกี่ยวข้อง: 2Secular Vocal Music (Musicals)
Assuming a musical theatre number keeps one metre and texture throughout.
วิธีหลีกเลี่ยง: Listen across the whole extract for metre changes, for example alternating 4/4 and 2/4, or a shift into a dance rhythm.
7mediumคะแนนที่เกี่ยวข้อง: 1Short-answer identification
Listing several contradictory answers to a single-mark identification question, hoping one of them is correct.
วิธีหลีกเลี่ยง: Commit to one answer per question. The mark scheme penalises listing multiple options rather than rewarding the correct one among them.
8mediumคะแนนที่เกี่ยวข้อง: 2Score analysis
Leaving the inversion column blank, or guessing it, in score analysis tables.
วิธีหลีกเลี่ยง: Work out the bass note's interval from the chord root systematically before filling in the inversion column.

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