Music Edexcel GCSE

Binary Form

(AB):

A (tonic → dominant) then B (dominant → tonic); common in Baroque dances; no exact return of A.

Ternary Form

(ABA):

A (tonic) → B (contrasting key/material) → A (return, exact or varied); common in Romantic piano and vocal solos.

Rondo Form

(ABACA…):

Main theme A (always tonic) alternates with contrasting episodes B, C…; often final movements in Classical works.

Sonata form

• Exposition

• Development

• Recapitulation

Sonata Exposition

1st subject in tonic; 2nd subject in dominant (or relative major); sets up contrasting themes.

Sonata Development

Fragments and manipulates themes; modulates through multiple keys; creates tension.

Sonata Recapitulation

1st and 2nd subjects both return in tonic; often ends with a coda.

Theme & Variations

Theme (A) followed by variations A1, A2… altering rhythm, harmony, instrumentation; look for clear opening theme.

Minuet & Trio / Scherzo & Trio (ABA)

A = minuet/scherzo (tonic); B = trio (contrasting); A returns; scherzo is faster/more dramatic.

Strophic Form (AAA…)

Same music for each verse; common in hymns, folk songs, ballads, pop.

Through-Composed (ABCDE…)

New music for each section; no exact repeats; used in art-songs and storytelling.

Verse–Chorus Form

Verse (new lyrics, same melody) alternates with repeated chorus (hook); may include intro, bridge, middle 8.

Straight Rhythm

Notes align exactly on main beats/subdivisions; steady, predictable pulse (e.g., marches, pop).

Syncopated Rhythm

Accents on weak beats or off-beats (e.g., the “and” in 1-and-2…); creates rhythmic surprise; common in jazz, funk.

Metre

Underlying beat grouping (duple, triple, quadruple); gives music its pulse (march-like, waltz-like).

Time Signature

Notation of metre (e.g., 3/4, 4/4); top number = beats per bar; bottom = note value that equals one beat.

Modal

Uses Church modes (Dorian, Phrygian, Lydian, Mixolydian…); alters scale patterns from major/minor.

Pentatonic Scale

Five-note scale; lacks semitones; common in folk music.

Atonal Music

No tonal centre; avoids traditional harmony and key relationships.

Perfect Cadence

V–I; strong, conclusive ending.

Plagal Cadence

IV–I; “Amen” cadence; softer resolution.

Imperfect Cadence

Any chord → V; sounds unresolved, creates tension.

Interrupted Cadence

V–vi; deceptive resolution; surprise ending.

Extended Chords

Triads with added 7ths, 9ths, 11ths, 13ths for richer harmony.

Pedal

Sustained or repeated note (often bass) under changing harmony.

Inverted Pedal

Sustained note in an upper voice against changing harmony.

Suspension

Note held from previous chord creating dissonance before resolution.

Ground Bass

Repeated bass pattern underpinning a piece (common in Baroque).

Cross-Rhythm

Two conflicting rhythms heard simultaneously (e.g., 3 against 2).

Monophonic

Single unaccompanied melodic line.

Homophonic

Melody with chordal or harmonic accompaniment.

Polyphonic (Contrapuntal)

Multiple independent melodic lines interweaving.

Antiphonic

• What: A type of call and response with two groups or choirs alternating (which may or may not be imitative).

• Texture: Often spatial (e.g. one choir vs another).

• Where found: Renaissance choral music, church music.

• Key Tip: Usually group-to-group; more formal than regular call & response.

Imitation

• What: A melodic idea is repeated in another part, often at a different pitch.

• Texture: Builds polyphonic layers.

• Where found: Baroque fugues, Classical, Romantic.

• Key Tip: Same musical idea passed around parts, but not at the same time.

Parallel Motion

• What: Two or more parts move in the same direction with the same interval between them.

• Texture: Can be homophonic or layered.

• Where found: Film music, pop, early organum.

• Key Tip: Parts move together like a mirror — same rhythm, same direction.

Layered Texture

Successive addition of parts, building texture gradually.

Conjunct Movement

Melody moves predominantly by step (small intervals).

Disjunct Movement

Melody includes larger leaps between notes.

Sequence

Melody or motif repeated at different pitch levels.

Melisma

Multiple notes sung on a single syllable.

Ornamentation

Decorative notes (trills, mordents, grace notes).

Passing Note

Non-chord note filling the gap between two chord tones by step.

Baroque Style

Functional harmony (I, IV, V); ground bass; terraced dynamics; ornamentation; contrapuntal texture.

Classical/Romantic Style

Balanced phrases; sonata form; homophonic texture; greater dynamic range; expressive contrast.

Popular Music Features

Verse–chorus structure; electronic production; multi-tracking; use of effects (reverb, delay).

Fusion Music Features

Blends traditional instruments with pop/electronic; sampling; digital manipulation; cultural hybridisation.

Musical Dictation Steps

1. Identify key & time signature

2. Count beats

3. Notate rhythm first

4. Track melodic direction & intervals

5. Spot repeated patterns.

Describing Features Technique

State instrument/voice; use precise musical terms; explain feature’s effect or function.

Analyzing Unfamiliar Music

1. Identify instruments

2. Note rhythms

3. Determine texture

4. Detect key/tonality

5. Spot structure markers (intro, chorus)

6. Note distinctive techniques.