Eduqas A-Level Music: The Western Classical Tradition and the symphony overview quiz quiz

Beethoven Symphony No. 5 (Fate) and Brahms Symphony No. 1 (Beethoven's Tenth)

Mozart Symphony No. 40 in G minor and Schubert Symphony No. 8 (the Unfinished)

Haydn Symphony No. 104 (the London) and Mendelssohn Symphony No. 4 (the Italian)

Haydn Symphony No. 94 (the Surprise) and Mendelssohn Symphony No. 3 (the Scottish)

The Baroque concerto and the rise of opera, roughly 1600 to 1750

Twentieth and twenty-first century orchestral music, 1900 to the present day

The flowering of Renaissance sacred polyphony, roughly 1450 to 1600

The development of the symphony 1750 to 1900

Fast (often with a slow introduction, in sonata form), slow, minuet and trio, fast finale

Slow song-form opening, fast scherzo, lyrical slow movement, then a quiet hushed close

Minuet and trio first, then a fast sonata-form movement, a slow movement, a fugal finale

Fast fugal opening, a second fast movement, a stately slow movement, a slow chorale finale

The tonic

The dominant

The subdominant

The relative minor only

An exposition that presents no recognisable thematic material whatsoever to the listener

An exposition that modulates straight to the relative minor for its contrasting subject

One where the second subject reuses the first subject's material in the new key

One built on three wholly separate contrasting subjects in three different related keys

A strict four-part fugue built on a chromatic subject in the relative minor key

A slow hymn-like chorale for muted strings, gradually building to a triumphant close

An extended solo violin cadenza accompanied only by sustained pedal notes in the cellos

A folk-like tune over a drone (a sustained tonic and dominant, a bagpipe effect)

Although the symphony is in A major, the saltarello finale stays in A minor

It is a slow, reflective movement that ends the symphony in a mood of calm repose

It dispenses with melody altogether, relying instead on rhythm and orchestral colour

It is performed entirely unaccompanied by a single solo woodwind instrument throughout

It uses a vast late-Romantic orchestra and freely atonal harmony throughout, dissolving any sense of a home key across every single movement of the work

It keeps a Classical four-movement frame and modest orchestra but adds lyricism, colour, a sense of place and a cyclic touch

It abandons sonata form entirely in favour of free through-composed structures across all movements

It is written for solo piano with an optional accompaniment for a small string orchestra

A continuo harpsichord directing the ensemble alongside two natural horns, paired oboes and a modest body of divided strings

Paired oboes and bassoons doubling the string lines, with two horns and a single timpanist

Expanded woodwind (piccolo, cor anglais, bass clarinet, contrabassoon), larger brass, harp and more percussion

A single pair of timpani tuned to the tonic and dominant, played throughout by one performer

A single solo instrument plays a melodic line above sustained accompanying chords

The string section plays with mutes fitted to soften and veil their overall tone colour

The music drops to a very quiet, hushed dynamic across the whole orchestral texture

The full orchestra plays together

With reference to a printed skeleton score, locating features by bar and stave

Entirely from memory, with no printed score or any other reference materials provided

By performing the relevant extract from the work live on your principal instrument

As a short multiple-choice listening test taken under timed examination conditions

A simple chronological list of dates and composers with no supporting musical evidence at all

A clear line of argument (the symphony grew in scale, expression and colour) supported by named features of the set works

A long, detailed description of only one of the set-work symphonies, ignoring entirely how the genre itself changed in scale and style across the period

An account that deliberately avoids any historical or social context for the set works studied

Shorter, simpler private pieces written purely for an aristocrat's small household ensemble to play in the salon

A gradual decline and eventual end of the symphony as a serious large-scale orchestral genre

Grander, more immediately appealing works for paying audiences (such as Haydn's London symphonies)

Smaller orchestras and quieter scoring better suited to intimate private chamber performance