OCR A-Level Music: the prescribed works and Section B overview quiz quiz

An unfamiliar Classical extract heard for the very first time during the listening examination itself

A named Classical piece studied from the score in advance and examined in Section B

A composition you devise and submit as part of your own coursework folio

A performance piece you prepare and record for the performing component

It is fixed permanently and never varies from one year to the next

It is freely chosen by each student from any Classical composer

OCR sets it on a published cycle, so it changes

It is kept secret by the board until the morning of the examination

Mozart, Piano Sonata in C major, an early Classical keyboard sonata in three movements

Beethoven, an early string quartet from the Op. 18 set, an early Romantic chamber work

Bach, a fugue in four voices from the Well-Tempered Clavier, a late Baroque keyboard work

Haydn, Symphony No. 103 in E flat (the Drum Roll), a late Classical symphony

The solo timpani roll that opens the slow introduction

A drum kit that plays continuously throughout every movement

An extended snare drum solo near the close of the fast finale

A military side-drum march that forms the main theme

Title, composer, date of composition, home key and overall duration in minutes

Structure and key scheme, themes, instrumentation, harmony, distinctive devices

Tempo marking, dynamic range, articulation, prevailing mood and the sung lyrics

Performer, concert venue, size of audience, the printed programme and press reviews

It has no slow introduction at all and plunges straight into the fast exposition

It is a strict four-voice fugue rather than a movement in sonata form

The slow introduction returns later in the otherwise fast sonata-form movement

It remains in the tonic minor key from the first bar to the very last

A simple ternary form with a clear A-B-A pattern and a central contrasting section

A strict fugue built on a single subject answered in turn by each instrumental voice

A continuous through-composed movement with no repetition of earlier thematic material

A set of double variations on two alternating themes

Complete missing melody, rhythm or chords on a printed extract from the work by ear

Write an extended essay comparing the set work with another Classical symphony you know

Perform an excerpt of the prescribed work on your own first-study instrument from memory

Translate the German title and tempo markings of the work into English for the examiner

Guess the rhythm randomly and hope the durations happen to fill the bar correctly

Fix the metre, tap the pulse and subdivide each beat, then count the bar

Write down only the loudest accented notes first and leave the quieter ones blank

Ignore the printed time signature and notate whatever rhythm sounds nicest to you

Blank answers actually score more highly than a wrong note, because incorrect guessing is penalised quite heavily

The examiner fills in any gaps you leave empty, so it makes no real difference whether you answer

There is no penalty for wrong answers and partial credit is given for correct contour, rhythm or chord

It only saves time in the exam and has no bearing whatsoever on the marks you finally receive

It is simply played again in Section A, so the same audio extract is examined twice over

It replaces Section A entirely, meaning there are no unfamiliar extracts to study at all

It has no relevance whatsoever to Section A, which draws only on a completely separate set of listening skills

It is a secure reference point for recognising, describing and comparing unfamiliar Classical extracts

Typical features are shared with Classical music generally; distinctive features are special to the work

There is no real difference; the two terms mean exactly the same thing in the mark scheme

Typical features are always the louder passages of the work, while distinctive features are simply the quieter ones

Distinctive features appear only in the printed score, never in the sound the listener hears