How do you compare two pieces of music in the exam?
Comparing pieces of music, including identifying similarities and differences across the elements, structuring a comparison answer, comparing a set work with an unfamiliar extract, and using comparative language to gain extended-answer marks.
A focused answer to comparing pieces of music in the AQA GCSE Music listening exam, covering how to find similarities and differences across the elements and structure a strong comparison answer.
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What this dot point is asking
AQA wants you to compare two pieces of music, finding similarities and differences across the elements and writing a clear, balanced comparison. Often you compare an unfamiliar extract with one of your set works, so you must use comparative language and accurate vocabulary to earn the extended-answer marks. Comparison questions carry the largest tariffs in Section B, so a dependable structure is essential.
A method for comparison
Plan before you write. A quick grid in the margin, with the elements down one side and the two pieces across the top, lets you jot a feature for each piece and immediately see where the comparisons lie. Aim for a balance of similarities and differences, and choose the elements where the contrast is clearest, rather than forcing a point on every single element.
Comparing a set work with an unfamiliar extract
You will know your set works in detail, so use that knowledge as the anchor. Identify a feature in the set work, then listen for whether the unfamiliar extract does the same thing or something different. For example, both might be homophonic, but one uses a clear perfect cadence in a major key while the other modulates and uses more dissonance instead. Because you can recall the set work precisely, you can be confident about that half of every comparison and concentrate your listening on the unfamiliar extract.
Comparative language
Use signpost words that make the comparison explicit:
- Similarities: "both pieces", "similarly", "like the set work", "in the same way".
- Differences: "whereas", "in contrast", "however", "unlike", "on the other hand".
Building each point around one of these signals guarantees the examiner sees a genuine comparison rather than two descriptions. Aim to start almost every sentence of a comparison answer with one of these words, so the comparison is explicit throughout.
Exam-style practice questions
Practice questions written in the style of AQA exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
AQA 20186 marksSection B, extended response. Compare this unfamiliar extract with the set work you have studied, describing two similarities and two differences across the musical elements. Use comparative language and musical vocabulary.Show worked answer →
A 6 mark levels marked comparison (AO3). Top band answers balance similarities and differences, cover several elements, and use explicit comparative language for each point.
Plan two similarities and two differences across different elements. For example, a similarity in texture (both are largely homophonic) and a similarity in metre (both in ); a difference in harmony (the set work cadences clearly in a major key, whereas the extract modulates and uses more dissonance) and a difference in instrumentation (a Baroque continuo versus a modern band).
For each point, name the feature in both pieces and use a comparative signal: "both", "similarly", "whereas", "in contrast". Markers reward genuine comparison of the two extracts, not two separate descriptions placed side by side, and reward coverage of more than one element.
AQA 20218 marksSection B, extended response. Compare the use of melody, rhythm and instrumentation in these two extracts, explaining how the differences relate to their contrasting styles. Use musical vocabulary.Show worked answer →
An 8 mark levels marked comparison (AO3) across three named elements. Top band answers address all three elements in both pieces, link differences to style, and use sustained comparative language.
Melody. Compare contour and movement, for example "Extract A has a conjunct, balanced melody typical of the Classical period, whereas Extract B uses disjunct, riff based ideas typical of rock".
Rhythm. Compare metre and devices, for example "both use a steady pulse, but Extract B is heavily syncopated with a backbeat, in contrast to the even rhythms of Extract A".
Instrumentation. Compare forces, for example "Extract A uses an orchestra, whereas Extract B uses an amplified band with drum kit". Markers reward the link from each difference to the style or area of study, and balanced coverage of both pieces, not a full description of one then the other.
Related dot points
- Analysing unfamiliar music, including identifying the elements at work, recognising the area of study and likely period or style, reading from a skeleton score, and answering short, dictation and extended listening questions in the exam.
A focused answer to analysing unfamiliar music in the AQA GCSE Music listening exam, covering how to identify the elements, place the area of study, read a skeleton score and answer each question type.
- Using musical vocabulary accurately, including the technical terms for each element, Italian tempo and dynamic markings, and how to write precise extended answers that name features and give evidence rather than vague description.
A focused answer to using musical vocabulary in the AQA GCSE Music listening exam, covering technical terms for each element, Italian markings and how to write precise, evidenced answers.
- Structure and form, including binary, ternary, rondo, theme and variations, strophic and through-composed forms, verse and chorus, sonata form ideas, and devices such as repetition, contrast, ostinato and call and response across the four areas of study.
A focused answer to the structure and form strand of the AQA GCSE Music elements, covering binary, ternary, rondo, theme and variations, strophic, verse and chorus and other structural devices.
- Harmony and tonality, including chords and their qualities, primary and secondary triads, cadences, consonance and dissonance, major, minor, modal and atonal tonality, keys, modulation and the use of pedals and drones.
A focused answer to the harmony and tonality strand of the AQA GCSE Music elements, covering chords, primary triads, cadences, consonance and dissonance, major and minor tonality, modulation and pedals.
- Texture and dynamics, including monophonic, homophonic and polyphonic textures, unison, octaves, layering, dynamic levels and Italian markings, articulation, and how texture and dynamics are used across the four areas of study.
A focused answer to the texture and dynamics strand of the AQA GCSE Music elements, covering monophonic, homophonic and polyphonic textures, layering, dynamic markings, articulation and how they shape music.
Sources & how we know this
- AQA GCSE Music (8271) specification — AQA (2016)