Free AQA GCSE Music (8271) Exam Questions and Answers
AQA GCSE Music (8271) is AQA's GCSE Music qualification, specification 8271, taken in England. The questions here come from AQA's published question papers from November 2020 to June 2025, plus its specimen papers, with answers and marking guidance taken from AQA's own mark schemes. Written-answer questions let you work out your answer and then reveal what the mark scheme accepts; diagrams, graphs and source material appear with the questions that use them.
If you searched for AQA GCSE Music (8271) dumps, an ExamTopics discussion or a free PDF, this is the question bank for it: practice questions with verified answers and explanations, a timed practice test and updates whenever AQA changes the exam.
Last updated: October 12, 2026
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Question #1
Area of study 1: Western Classical Tradition 1650–1910 Mozart: Clarinet Concerto in A major, K. 622, 3rd movement, Rondo. Identify two ways in which the horns are used in the movement.
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Correct answer: Any two of: pedal notes (tonic or dominant pedal); emphasising cadence points; doubling viola/cello; some unison; some octaves; long/sustained notes.
Explanation
One mark each for any two of: pedal (notes), tonic pedal, dominant pedal, to emphasise cadence points, doubles viola/cello, (some) unison, (some) octaves, long/sustained notes. Any other valid point is accepted.
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Question #2
Area of study 1: Western Classical Tradition 1650–1910 Mozart: Clarinet Concerto in A major, K. 622, 3rd movement, Rondo. Identify two ornaments used by the clarinet in the movement.
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Correct answer: Any two of: acciaccatura (crushed note/grace note), appoggiatura, trill.
Explanation
One mark each for two of acciaccatura/crushed note/grace note, appoggiatura, trill. Any order.
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Question #3
Area of study 1: Western Classical Tradition 1650–1910 Mozart: Clarinet Concerto in A major, K. 622, 3rd movement, Rondo. Identify two keys used in the second episode of the movement.
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Correct answer: F# minor (relative minor) and D major (subdominant)
Explanation
One mark for F# minor/F#m/relative minor. One mark for D (major)/subdominant. Any order.
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Question #4
Area of study 1: Western Classical Tradition 1650–1910 Mozart: Clarinet Concerto in A major, K. 622, 3rd movement, Rondo. Explain how Mozart has used harmony, melody, rhythm and/or sonority (timbre) to make the music appeal to an audience.
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Correct answer: Extended response (8 marks). Indicative content: Harmony: mainly diatonic, primary triads, perfect/imperfect cadences (expected by audiences of the time); occasional chromatic harmony for interest; augmented/Neapolitan/Italian/German 6th in Episode 1; diminished 7ths; circle of 5ths. Melody: memorable returning rondo theme; clear melodic lines defining sections; balanced/periodic phrasing; conjunct and disjunct writing; arpeggiated/triadic writing showing off the player's skill; mainly diatonic with some chromaticism; trills. Rhythm: rhythmic contrast between sections; semiquavers/quavers/dotted crotchets; repeated rhythms in melody and accompaniment; longer notes in woodwind; compound (lilting) rhythm; syncopation (bar 40). Sonority: clarinet a new instrument of the time; audience wanted to see and hear it with the orchestra; fast/virtuosic playing contrasting with slower sections; contrast of soloist and orchestra/tutti/accompanying role; chalumeau (low), clarino (middle) and altissimo (upper) registers.
Explanation
Level 4 (7–8): comprehensive, consistently coherent, logically structured. Level 3 (5–6): wide-ranging, mostly coherent and well structured. Level 2 (3–4): relevant despite some inaccuracy/omission and weaknesses in coherence and structure. Level 1 (1–2): limited, significant inaccuracy/omission, lack of clarity. 0: nothing worthy of credit. Do not repeat points across different elements. Refer only to the four given elements. Give credit for accurate notation. Any other valid point under these headings is credited.
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Question #5
Area of study 2: Popular Music Little Shop of Horrors 1982 off-Broadway version: Prologue/Little Shop of Horrors (overture), Mushnik and Son, Feed Me. Identify two textures used in verse 1 of Mushnik and Son, which starts with the lyrics, “How would you like to be my son?”.
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Correct answer: Any two of: monophonic/single melodic line; melody and accompaniment; call and response/antiphonal/question and answer.
Explanation
One mark for each correct texture, in any order, up to 2. Do not allow 'unison' or 'octaves'.
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Question #6
Area of study 2: Popular Music Little Shop of Horrors 1982 off-Broadway version: Prologue/Little Shop of Horrors (overture), Mushnik and Son, Feed Me. Identify two melodic features of the bass guitar part in the 12/8 (6/8) section of the song Feed Me.
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Correct answer: Any two of: triadic/arpeggiated/uses notes of the chord; mainly rises; sequences/sequential; some chromatic notes; passing notes; starts on root note of the chord; disjunct; repetitive; short/2-bar phrases; balanced phrases.
Explanation
One mark for each of any two melodic features. Do not allow 'ostinato', 'riff' or 'syncopation'. Any other valid point is credited.
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Question #7
Area of study 2: Popular Music Little Shop of Horrors 1982 off-Broadway version: Prologue/Little Shop of Horrors (overture), Mushnik and Son, Feed Me. Identify two musical styles which are used in the song Feed Me, from when the plant sings “Feed Me”.
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Correct answer: Any two of: blues; gospel (or 'gospel blues' for 2 marks); Motown; rock.
Explanation
One mark for each style, up to 2. 'Gospel blues' earns both marks. Do not accept '12 bar blues' or 'rock n' roll'.
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Question #8
Area of study 2: Popular Music Little Shop of Horrors 1982 off-Broadway version: Prologue/Little Shop of Horrors (overture), Mushnik and Son, Feed Me. Explain how melody, rhythm, sonority (timbre) and/or tonality are used to create a sense of excitement in the song Little Shop of Horrors. Your answer should refer to the song only and not the opening Prologue.
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Correct answer: Extended response (8 marks). Indicative content: Melody: descending minor 3rd 'hook' that the audience remembers; repetition giving forward momentum; short phrases and longer phrases in the middle section for contrast; bass riff; repeated notes; melisma at the end of the song, contrasting with earlier syllabic singing and adding suspense; pentatonic vocal harmonies; chromatic notes e.g. on 'you better'; alternating disjunct and conjunct; piano right-hand ostinato. Rhythm: catchy repeated calypso/tresillo/3+3+2 rhythm in the bass; some syncopation; some regular rhythms for contrast; continuous driving quavers in the accompaniment; drum fill; piano right-hand ostinato. Sonority: piano; second keyboard/synth; electric guitar; bass guitar; drum kit; three female backing singers; mixture of solo/duet/trio singing. Tonality: G major home key; bright key emphasising the happy nature of 'bubble gum' pop; unusual ending on Cm/E♭, not the tonic, which adds suspense and keeps interest for the next song.
Explanation
Level 4 (7–8): comprehensive, consistently coherent, logically structured. Level 3 (5–6): wide-ranging, mostly coherent, well structured. Level 2 (3–4): relevant despite some inaccuracy/omission and weaknesses. Level 1 (1–2): limited, significant inaccuracy, lack of clarity. 0: nothing worthy of credit. Credit 'ostinato' only once unless qualified. Do not credit a drum fill/roll at the start or any Prologue features. No repetition of points across elements. Refer only to the four given elements. Credit accurate notation. Any other valid point is credited.
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Question #9
Area of study 3: Traditional Music Paul Simon: Graceland, Diamonds on the Soles of Her Shoes, You Can Call Me Al. Identify two woodwind instruments used in the song You Can Call Me Al.
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Correct answer: Penny whistle and saxophone (baritone/bass sax).
Explanation
One mark for each: penny whistle; sax/saxophone/saxes (baritone/bass). Any order.
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Question #10
Area of study 3: Traditional Music Paul Simon: Graceland, Diamonds on the Soles of Her Shoes, You Can Call Me Al. Towards the end of the song You Can Call Me Al there is a two-bar bass guitar solo. Identify two features of this solo.
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Correct answer: Any two of: mainly palindromic/reversed; regular rhythms; repeated rhythm; semiquavers; slap bass style; descending; ascending; syncopated; improvised style; conjunct/steps; sequence; retrograde; diatonic; monophonic.
Explanation
One mark for each of any two features. Do not allow just 'repetitive', 'scalic' or 'inversion'.
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