Edexcel GCSE Music Practice Exam Questions (AoS 2)

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

2016 Specification
Area of Study 2: Vocal Music

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 2: Vocal Music Copyright © 2016 Sean Young
Also in this series…
Practice Examination Questions for Pearson Edexcel GCSE Music (9-1)

2016 Specification
Area of Study 3: Music for Stage and Screen
0M @SeanYoung_Music
Contents
How to Use This Resource 4
Set Work Listening 6
Musical Dictation 26
Unfamiliar Listening 32
Mark Scheme 38
Details of Recordings 47
Dictation Scores for Teacher 50
Student Mark Record Sheet 51
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 2: Vocal Music.
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 .
Henry Purcell: Music for a While (0.00-0.57)
1 Listen to the following extract which will be played three times.
(a) Which two of the following are used in the extract?
Put crosses in the two correct boxes.

(2)
A Sequence
B Ground Bass
C Melisma
D Fanfare
E Drone
(b) In which bar does the voice enter?

(1)
……………………………………………..
(c) Describe the vocal melody at the end of the extract.

(1)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) The extract starts in A minor.
Identify the key and cadence at the end of the extract.

(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………
(e) State three purposes of the introduction.

(3)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(Total for Question 1 = 9 marks)

______________________________________________________________________________
(a) What type of voice is heard in the extract?

(1)
………………………………………………………………………………………………......
(b) Describe the melody of the harpsichord part at the beginning of the extract.
(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(c) How does the composer emphasise the word snakes at the beginning of
the extract?
(1)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) Which of the following statements is true of the relationship between the voice
and the continuo part?
Put a cross in the correct box.

(1)
A The continuo plays an accompaniment to the voice part.
B The continuo doubles the voice part.
C The continuo plays in dialogue with the voice part.
C The continuo only plays when the voice has rests.
(e) Explain how the composer sets the repeated word drop.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Suggest a suitable word to describe the texture at the beginning of the
extract.
(1)
………………………………………………………………………………………………......
(b) Which statement describes how the harpsichord and bass viol are played?

(1)
A The strings of both are plucked.
B One is plucked and one is bowed.
C The strings of both are bowed.
(c) The word ‘music’ is repeated twice at the beginning of the song.
What is the musical interval between the first and second time?
(1)
………………………………………………………………………………………………......
(d) Describe the rhythm of the bass part.

(1)
………………………………………………………………………………………………......
(e) Compare the melodies of music for a while with shall all your cares beguile at
the beginning of the extract.
Give two differences and two similarities.
(4)
Differences
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
Similarities
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....

______________________________________________________________________________
(a) Suggest a suitable word to describe the texture between the harpsichord and
the voice part at the beginning of the extract.
(1)
………………………………………………………………………………………………......
(b) Which one of the following compositional devices is heard at the beginning of
the extract?

(1)
A Retrograde
B Glissando
C Sequence
C Pedal
(c) The extract starts in A minor.
Identify the key and cadence at the end of the extract.

(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………
(d) Describe and explain how the composer sets the word eternal at the end of the
extract.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
(a) Name two instruments playing the continuo part in this extract.
(2)
1……………………………………………
2……………………………………………
(b) Which one of the following is heard in the vocal part at the end of the extract?

(1)
A Trill
B Upper mordent
C Note of anticipation
D Appoggiatura
(c) What is the time signature of the extract?

(1)
………………………………………………………………………………………………......
(d) Which word best describes the vocals in this extract?

(1)
A Live
B Sampled
C Sequenced
D Spoken
(e) Music for a While is a lament. Which two of the following are features of the
lament?
Put crosses in the two correct boxes.

(2)
A Regular beat
B Falling phrases
C Rising phrases
D Scalic passages
E Slow tempo

______________________________________________________________________________
Queen: Killer Queen (0.00-0.50)
(a) What is the time signature of the extract?

(1)
………………………………………………………………………………………………......
(b) Suggest a suitable word to describe the texture of the extract.

(1)
………………………………………………………………………………………………......
(c) Describe how the piano part changes from the line Caviar and cigarettes.
(3)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) Describe how the vocal part changes during the first chorus, which begins with
the line She’s a killer queen.
(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

______________________________________________________________________________
THIS PAGE HAS BEEN INTENTIONALLY LEFT BLANK
(a) What type of voice is heard at the beginning of the extract?

(1)
………………………………………………………………………………………………......
(b) Describe how the harmonic rhythm changes after the first six bars.
(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(c) The song opens with the following lines:
She keeps a Motët et Chandon,

In her pretty cabinet.
‘Let them eat cake,’ she says,
Just like Marie Antoinette.
Describe and compare the vocal melody of these lines.

(4)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) Which one of the following words best describes the rhythm of the vocal melody?

(1)
A Straight
B Dotted
C Syncopated
D Hemiola
(e) Which one of the following best describes the section heard at the end of the
extract?

(1)
A Chorus
B Instrumental
C Introduction
D Verse

______________________________________________________________________________
(a) Describe the bass line at the beginning of the extract.

(1)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(b) List three guitar techniques that are used in the extract.
(3)
1………………………………………………………
2………………………………………………………
3………………………………………………………
(c) Brian May was the only electric guitarist to record in the version heard in this
extract.
Explain why his part could not have been performed in a single take.
(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) Describe the rhythm of bass line at the end of the extract.
(1)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(e) Which one of the following best describes the section heard in the extract?

(1)
A Chorus
B Instrumental
C Introduction
D Verse

______________________________________________________________________________
(a) Which one of the following techniques is heard in the guitar part at the beginning
of the extract?

(1)
A Tremolo
B Wah-wah
C Flanger
D Vibrato
(b) The chorus opens with the following lines:
She’s a killer queen,

Gunpowder, gelatine,
Dynamite with a laser beam.
Guaranteed to blow your mind.
Describe how the vocals of the last line differ from the first three.
(2)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(c) The chorus begins in the dominant key of Bb major. Which one of the following best
describes the harmony of the chorus?

(1)
A The music passes through various keys before returning to Bb major.
B The music modulates to the tonic key, Eb major.
C The music stays in the same key throughout.
(d) Which one of the following best describes the texture at the end of the extract?

(1)
A Monophonic
B Homophonic
C Antiphonal
D Canonic
(e) Compare how the composer sets the last two lines of the song, wanna try? and you
wanna try? to music.
Give two differences and two similarities.
(4)
Differences
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
Similarities
1 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....
2 ……………………………………………………………………………………………......
……………………………………………………………………………………………….....

______________________________________________________________________________
(a) Name the technique heard in the drums at the beginning of the extract.
(1)
………………………………………………………………………………………………......
(b) Which one of the following statements best describes the bass guitar part in the
opening two bars of the extract?

(1)
A It plays the same note in both bars.
B It plays one note higher in the second bar.
C It plays one note lower in the second bar.
D The bass guitar does not play.
(c) Name the effect heard in when the word ‘laser beam’ is sung, and describe how
this is an effective text-setting strategy.
(3)
Effect…………………………………………
Explanation………………………………………………………………………………..
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
(d) Describe how the texture changes in the extract.
(3)
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......
………………………………………………………………………………………………......

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

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

(4)

______________________________________________________________________________
Musical Dictation

(4)

(4)

______________________________________________________________________________
Musical Dictation

(5)

(4)

______________________________________________________________________________
Musical Dictation

(4)

(4)

______________________________________________________________________________
Musical Dictation

(5)

(3)

______________________________________________________________________________
Musical Dictation

(4)

(4)

______________________________________________________________________________
Unfamiliar Listening
A skeleton score is provided below.
(a) Name the instrument that plays the melody in bars 1 to 4.
(1)
……………………………………………………………………………………………….....
(b) Give two differences between the music of bars 1 to 4, and the music of bars
5 to 8.
(2)
……………………………………………………………………………………………….....
……………………………………………………………………………………………….....
……………………………………………………………………………………………….....
……………………………………………………………………………………………….....
(c) Name the ornament heard in bar 13, beat 3.

(1)
……………………………………………………………………………………………….....
(d) What type of voice is heard in the extract?

(1)
……………………………………………………………………………………………….....
(e) What is the melodic interval sung to the words double in bar 31?
(1)
……………………………………………………………………………………………….....
(f) Identify the key and cadence at bar 33, beat 3 to bar 34 beat 3.
(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………

______________________________________________________________________________
THIS PAGE HAS BEEN INTENTIONALLY LEFT BLANK
Unfamiliar Listening
A skeleton score is provided below.
(a) Describe how the composer creates contrast in the instrumental introduction.
(2)
……………………………………………………………………………………………….....
……………………………………………………………………………………………….....
……………………………………………………………………………………………….....
(b) Name the type of voice that sings the solo vocal part.
(1)
……………………………………………………………………………………………….....
(c) Name the melodic device heart at bar 9, beat 1 to bar 9, beat 4.
(1)
……………………………………………………………………………………………….....
(d) Identify the key and cadence at bar 19, beat 3 to bar 20 beat 1.
(2)
Key………………………………………………………………………………………….
Cadence……………………………………………………………………………………
(e) Describe the texture of the vocal parts.

(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) B Ground Bass

C Melisma 2
(b) (Bar) 4 1
(c) (Descending) Scale/Scalic
(Reject melismatic) 1
(d) Key: A minor
Cadence: Perfect (allow V-I) 2
(e) Any three from:
• To establish the key/tonality.
• To introduce the ground bass.
• To help the performer start on the correct pitch.
• To establish the mood of the song.
• To draw attention to the start of the song. 3

Number
2 (a) Soprano 1
(b) Any two from:
• (Descending) Scale/Scalic
• Conjunct
• Sequence
• Ornamented/(upper) mordent
• Range of an octave 2
(c) With harmony in a major key. 1
(d) A The continuo plays an accompaniment to the voice part. 1
(e) Any four from:
• Word painting (1) the melody descends like a falling drop
(1)
• Off beat rhythms (1) add to the drama/the drops are
unexpected (1)
• Short notes lengths/quavers (1) onomatopoeic, sounds like
the word drop (1) 4
Number
3 (a) Homophonic 1
(b) A The strings of both are plucked. 1
(c) Perfect Fifth/5th 1
(d) Steady/equal/straight quavers 1
(e) Differences (up to 2 marks)
• Second phrase has wider range (1)
• First phrase is more conjunct (1)
• Longer note values in first phrase (1)
• More notes in second phrase
Similarities (up to 2 marks)

• Start on the same note (1)
• Both contain (some) scalic passages (1)
• Both are diatonic/not chromatic (1)\
• Both sung legato (1)
4

Number
4 (a) Imitative 1
(b) C Sequence 1
(c) Key: C major
(d) Any four from:
• Word painting (1) the setting of the word is drawn out over
more than a bar/gives the impression of continuing
‘eternally’ (1)
• The second setting is longer and higher (1) enforces the
drawn out nature of the word and its meaning.
• Set as a melisma (1) allows the composer to emphasise
the word as important (1) and extend it over more than a
bars length (1)
• Alternates largely between two notes (1) repetitive, again
gives the impression of lasting for a long period of
time/word painting of eternal (1) 4

Number
5 (a) Any two from:

• Harpsichord
• Lute
• Bass viol 2
(b) C Note of Anticipation 1
(c) 4/4 1
(d) A Live 1
(e) B Falling phrases
E Slow tempo 2
Number
6 (a) 12/8 1
(b) Homophonic (allow melody and accompaniment) 1
(c) Any three from:
• Before line piano plays staccato chords (1) on the beat (1)
• After the line, plays in a triplet/swung rhythm (1)
• Octaves in the bass after the given line (1) no/limited bass
before (1) 3
(d) Before the chorus (up to 2 marks)
• Single vocal line
• Limited backing vocals
• Backing vocals are harmonized
During the chorus (up to 2 marks)

• Vocal melody is harmonized
• Harmonies are created by overdubbing parts
• No backing vocals until the end of chorus
• Main vocal goes back to a single part when the
harmonized backing vocals return
• Inconsistent number of notes in the harmony/3 to 4 notes
in the harmony
4

Number
7 (a) Tenor 1
(b) First six bars has one chord per bar (1) bars after that have
mainly/two or more chords per bar (1) 2
(c) Any four from:
• First and third line have same melody
• Second and fourth line have same starting note
• Second line has smallest range (of a minor third)
• Last line has a higher melody than others
• Second and final line more conjunct/no leaps
• Last line based on rising scale 4
(d) C Syncopated 1
(e) B Instrumental 1
Number
8 (a) Ascending scale 1

(b) Any three from:
• String bend
• Slide
• Vibrato
• Pull-off 3
(c) There are multiple guitar parts (1) that could not have been played
at the same time/have been recorded separately and overdubbed
(1) 2
(d) Straight rhythms/dotted crotchets/played on the beat 1
(e) B Instrumental 1

Number
9 (a) B Wah-wah 1
(b) Any two from:
• The main vocal melody is sung by only one vocalist on the
last line (1) compared to harmonized by multiple vocalists
for the opening lines (1)
• The last line is accompanied by backing vocals (1) that
sing in harmonies (1) 2
(c) A The music passes through various keys before returning
to Bb major. 1
(d) B Antiphonal 1
(e) Differences (up to 2 marks)
• Smaller melodic range for setting of wanna try.
• Wanna try is harmonized by 4 voices (1) You wanna try? is
sung by a single voice. (1)
• The word ‘try’ is sustained for longer in the first setting.
• Different starting note/melody.
Similarities (up to 2 marks)

• The word ‘try’ is set melism atically in both lines (1) as a
falling phrase (1)
• Neither line starts on the first beat of the bar.
• ‘Wanna’ is set syllabically in both lines.
• Similar rhythm. 4
Number
10 (a) (Snare and/or cymbal) roll 1

(b) A It plays the same note in both bars. 1
(c) Effect: flanger (1)
Explanation (up to 2 marks):

• Word painting (1)
• Creates a ‘whooshing’ sound (1)
• Uses a technological effect to depict something scientific
(1) 3
(d) The extract starts homophonic (1), becomes polyphonic in the
middle during the second half of the verse (1), and ends
homophonic (1). 3
Practice Musical Dictation Questions
Musical Dictation - Henry Purcell: Music for a While

Number
11 (a) Rhythm correct (4)
11 (b) Pitches correct (4)

Number

Number
Musical Dictation - Queen: Killer Queen
Number

Number

Number
Practice Unfamiliar Listening Questions
Henry Purcell, ‘Come if you Dare’ from King Arthur (0.00-0.37)

Number
17 (a) Trumpet 1
(b) Any two from:
• Only the trumpets play in bars 5 to 8/the continuo does not
play in bars 5 to 8
• The dynamics in bars 5 to 8 are piano/quieter (not forte)
• The second trumpet in bars 5 to 8 plays different
rhythms/does not play the same part 2
(c) Trill 1
(d) Tenor 1
(e) (Perfect) 4th 1
(f) Key: G major
Gilbert and Sullivan, ‘When a Felon's Not Engaged in his Employment’ from The Pirates of
Penzance (0.00-0.46)
Number
18 (a) First half of introduction is played staccato (1) second half is

played legato (1)
(Ignore references to arco and pizzicato) 2

(b) Bass 1
(c) Sequence 1
(d) Key: C major
(e) Antiphonal/call and response 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. Henry Purcell, Oedipus, Z. 583: Music for a While

CD: Purcell: Victorious Love
Performed by: Carolyn Sampson (soprano)
Label: BIS Records, 2007
Track: 8
Timings: 0.00-0.57

Track: 8
Timings: 2.08-2.48

Track: 8
Timings: 0.00-0.57

Track: 8
Timings: 0.56-2.13

Track: 8
Timings: 2.48-4.01
6. Queen, Killer Queen

CD: Sheer Heart Attack
Performed by: Queen
Label: Elektra Records
Track: 2
Timings: 0.00-0.50
Performed by: Queen
Track: 2
Timings: 0.00-0.50

Performed by: Queen
Track: 2
Timings: 1.21-2.00

Performed by: Queen
Track: 2
Timings: 2.00-2.59

Performed by: Queen
Track: 2
Timings: 0.50-1.24
11. Dictation question, no recording. See score in next section.
17. Henry Purcell, Come if you Dare, from King Arthur

CD: Henry Purcell: King Arthur
Directed by: Trevor Pinnock
Label: Deutsche Grammophon, 1992
Track: Disc 1, 9
Timings: 0.00-0.37
18. Gilbert and Sullivan, When a Felon's Not Engaged in his Employment from The Pirates of
Penzance
CD: The Pirates of Penzance
Performed by: The D'Oyly Carte Opera Company and Royal Philharmonic Orchestra
Label: Decca, 1968 and 2003
Track: Disc 2, 17
Timings: 0.00-0.46
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) (f)
1 Set Work 9
2 Set Work 9
3 Set Work 8
4 Set Work 8
5 Set Work 7
6 Set Work 9
7 Set Work 9
8 Set Work 8
9 Set Work 9
10 Set Work 8
11 Dictation 8
12 Dictation 8
13 Dictation 9
14 Dictation 8
15 Dictation 8
16 Dictation 8
17 Unfamiliar 8
18 Unfamiliar 7

Edexcel GCSE Music Practice Exam Questions (AoS 2)

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Edexcel GCSE Music Practice Exam Questions (AoS 2)

Uploaded by

Copyright:

Available Formats

Practice Examination Questions

For Pearson Edexcel GCSE Music (9-1)

Area of Study 2: Vocal Music

Area of Study 2: Vocal Music

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

Area of Study 3: Music for Stage and Screen

Set Work Listening 6

Dictation Scores for Teacher 50

Student Mark Record Sheet 51

How should I use the questions?

How are the questions laid out?

Student Mark Record Sheet

Write your answers in the spaces provided.

Henry Purcell: Music for a While (0.00-0.57)

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

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

Put crosses in the two correct boxes.

(b) In which bar does the voice enter?

(c) Describe the vocal melody at the end of the extract.

Identify the key and cadence at the end of the extract.

(e) State three purposes of the introduction.

(Total for Question 1 = 9 marks)

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

(a) What type of voice is heard in the extract?

Put a cross in the correct box.

A The continuo plays an accompaniment to the voice part.

B The continuo doubles the voice part.

C The continuo plays in dialogue with the voice part.

C The continuo only plays when the voice has rests.

(Total for Question 2 = 9 marks)

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

Put a cross in the correct box.

A The strings of both are plucked.

B One is plucked and one is bowed.

C The strings of both are bowed.

(d) Describe the rhythm of the bass part.

Give two differences and two similarities.

(Total for Question 3 = 8 marks)

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

Put a cross in the correct box.

(c) The extract starts in A minor.

Identify the key and cadence at the end of the extract.

(Total for Question 4 = 8 marks)

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

Put a cross in the correct box.

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

(d) Which word best describes the vocals in this extract?

Put a cross in the correct box.

Put crosses in the two correct boxes.

(Total for Question 5 = 7 marks)

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

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

(b) Suggest a suitable word to describe the texture of the extract.

(Total for Question 6 = 9 marks)

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

(a) What type of voice is heard at the beginning of the extract?

(c) The song opens with the following lines:

She keeps a Motët et Chandon,

Describe and compare the vocal melody of these lines.

Put a cross in the correct box.

Put a cross in the correct box.

(Total for Question 7 = 9 marks)

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

(a) Describe the bass line at the beginning of the extract.