ATARMAxxing · Music Studies
SACE Music Studies Practice Exams with Worked Solutions
20 full-length papers · worked solutions for every question
The 20 practice exams inside the SACE Music Studies Mastery Pack, each set out like the real paper with a separate worked-solution guide. Open any paper to see what it covers.
- Q7 score: constructed string-quartet nocturne in D minor (cello pedal, chord naming in alto and bass clefs, textures by bar)
- Q8 aural-only: constructed folk-rock piece moving 4/4 to 7/8 with guitar riff and arpeggio roles
- Q9 arrangement: 'Frère Jacques' for brass quintet in 6/8, horn transposition
- Q10 compare: constructed minuet and constructed blues shuffle
- Q13 A cadential six-four + dominant 7th; B two secondary dominants in F major
- Q11 three-part string accompaniment in B-flat with a Gm9 extension; Q12 re-barring a 12-beat rhythm in 4/4 and 3/4
- Q7 score: constructed clarinet-and-piano sonatina in C minor (form, secondary dominant function, plagal close)
- Q8 aural-only: constructed found-sound and electronic piece in four episodes
- Q9 arrangement: 'Greensleeves' for wind quintet, clarinet to concert pitch
- Q10 compare: theme and three variations for marimba and vibraphone (modes per variation)
- Q13 A passing six-four; B modulation to the relative minor
- Q11 brass-trio accompaniment in D major (3/4) with 7th extensions; Q12 regrouping rhythms in 6/8 and 3/4
- Q7 score: constructed oboe-and-piano romance in E-flat (circle progression, passing modulation, climax)
- Q8 aural-only: constructed piece fusing tango and drum-and-bass (form, texture, style fusion)
- Q9 arrangement: 'Amazing Grace' for saxophone quartet
- Q10 compare: theme and three variations for string trio (tempo, tonality, thematic material)
- Q13 A dominant 7th in inversions; B altered dominants in a minor key
- Q11 vocal (SATB "oo") arrangement in A minor over a lament bass; Q12 adding bar lines and compound beaming in 6/8
- Q7 score: constructed brass-quintet chorale prelude in G major (cadences, scale degrees, articulation)
- Q8 aural-only: constructed Afro-Cuban son excerpt (clave, montuno, call and response)
- Q9 arrangement: 'Ode to Joy' (Beethoven theme) for jazz combo in swing
- Q10 compare: constructed Baroque-style fughetta and constructed minimalist piano piece
- Q13 A cadential six-four in a minor key; B ii-V-I chains with b9
- Q11 wind-trio accompaniment in G major in 6/8 (clarinet, bassoon, double bass); Q12 the same 12-quaver rhythm barred in 6/8 and in 3/4
- Q7 score: constructed piano trio scherzo in A minor (hemiola, imitation, modulation to C major)
- Q8 aural-only: constructed film-cue excerpt (ostinato, orchestral layering, tonality shift)
- Q9 arrangement: 'Scarborough Fair' (Dorian) for flute, guitar and cello
- Q10 compare: constructed chorale and constructed fughetta
- Q13 A smooth part-writing with a secondary dominant; B two modulations
- Q11 string-quartet accompaniment in A major with a B7 secondary dominant; Q12 rewriting 6/8 as 2/4 with triplets
- Q7 score: constructed wind-quintet march in B-flat (horn and clarinet transposition, sequence)
- Q8 aural-only: constructed reggae excerpt (offbeat skank, bass role, dub effects)
- Q9 arrangement: 'Twinkle, Twinkle, Little Star' as a 5/4 tango for string quartet
- Q10 compare: constructed Classical-style rondo and constructed swing-band chart
- Q13 A cadential six-four + dominant 7th in G; B secondary dominants in E-flat
- Q11 three parts under a melody in F major (Dm9 and Fmaj7 extensions)
- Q12 a 12-beat rhythm regrouped in 4/4 and 3/4
- Q7 score: constructed flute-and-guitar serenade in E minor (binary form, Picardy third)
- Q8 aural-only: constructed gamelan-influenced piece for tuned percussion (heterophony, pentatonic)
- Q9 arrangement: 'Londonderry Air' for horn and string orchestra
- Q10 compare: theme and variations for saxophone quartet (rhythm/meter, scale or mode, melody instrument)
- Q13 A passing six-four + imperfect cadence; B modulation to IV
- Q11 three parts under a melody in G major (Cmaj7, G6)
- Q12 regrouping a wrongly beamed 4/4 rhythm
- Q7 score: constructed cello-and-piano elegy in F minor (diatonic harmony, interrupted cadence)
- Q8 aural-only: constructed bluegrass excerpt (banjo roll, fiddle breaks, form of the solos)
- Q9 arrangement: 'Swing Low, Sweet Chariot' for vocal quartet
- Q10 compare: theme and three variations for clarinet choir
- Q13 A V7 resolution and inversions in A major; B passing modulation to ii
- Q11 three parts under a D minor melody (Bbmaj7, Em7b5)
- Q12 bar lines and beaming for a 3/4 rhythm
- Q7 score: constructed string-orchestra pavane in A Dorian (modal harmony, double stops)
- Q8 aural-only: constructed funk excerpt (slap bass, horn stabs, 16th-note groove)
- Q9 arrangement: 'Simple Gifts' for concert-band woodwinds
- Q10 compare: constructed art song and constructed music-theatre ballad
- Q13 A cadential six-four in D; B secondary dominants with a #5 alteration
- Q11 three parts under a 3/4 melody in B-flat major
- Q12 one rhythm regrouped in 6/8 and in 3/4
- Q7 score: constructed saxophone-quartet ballad in D-flat (transposed parts, extended chords)
- Q8 aural-only: constructed waltz-to-march transformation (meter change, orchestration)
- Q9 arrangement: 'Auld Lang Syne' for brass band
- Q10 compare: theme and variations for piano (texture, register, tonality)
- Q13 A smooth part-writing in B-flat; B ii-V into the relative minor
- Q11 three parts under an A major melody (F#7 as V7/ii)
- Q12 regrouping a 6/8 rhythm written as if in 3/4
- Q7 score: constructed piano-quintet allegretto in G minor (ostinato, alto-clef transcription)
- Q8 aural-only: constructed Celtic reel set (jig to reel meter change, drone)
- Q9 arrangement: 'Drunken Sailor' (Dorian) for percussion ensemble and marimba
- Q10 compare: constructed lullaby and constructed toccata
- Q13 A cadential six-four + dominant 7th in E minor; B secondary dominants in C
- Q7 score: constructed trumpet-and-organ voluntary in D major (ritornello, sequence)
- Q8 aural-only: constructed ambient electronic piece (loops, FX processing, drones)
- Q9 arrangement: 'Shenandoah' for horn quartet
- Q10 compare: theme with variations in different modes for guitar ensemble
- Q13 A passing six-four in F; B two modulations in G
- Q7 score: constructed violin-and-piano barcarolle in B-flat (6/8, climax, passing modulation)
- Q8 aural-only: constructed K-pop-style track (form, texture, style blend)
- Q9 arrangement: 'When the Saints Go Marching In' for New Orleans band
- Q10 compare: theme and variations for string quartet (tempo, tonality, thematic material)
- Q13 A dominant 7th inversions in D minor; B altered chords in B-flat
- Q7 score: constructed wind-trio divertimento in F (canon, scale degrees, tenuto/staccato)
- Q8 aural-only: constructed flamenco-influenced guitar piece (Phrygian, 12-beat compás)
- Q9 arrangement: 'Morning Has Broken' (Bunessan) for choir and piano
- Q10 compare: constructed Baroque gigue and constructed jazz waltz
- Q13 A cadential six-four in C minor; B extended chords over a pedal
- Q7 score: constructed clarinet-quartet fugato in E minor (subject, answer, stretto)
- Q8 aural-only: constructed soul ballad (backing vocals, modulation up a semitone)
- Q9 arrangement: 'Early One Morning' for string trio
- Q10 compare: theme and three variations for brass quintet
- Q13 A secondary dominant in four parts; B modulation to the relative major
- Q7 score: constructed string-quartet tango in A minor (habanera rhythm, pizzicato, chord naming)
- Q8 aural-only: constructed West African-influenced drumming piece (polyrhythm, call and response)
- Q9 arrangement: 'Lavender's Blue' for flute choir
- Q10 compare: constructed sarabande and constructed blues ballad
- Q13 A cadential six-four + dominant 7th in D; B secondary dominants in A-flat
- Q11 three parts beneath a flute melody in E-flat major with chord symbols
- Q12 re-barring a 12-beat rhythm in 4/4 and 6/8
- Q7 score: constructed horn-and-piano nocturne in E-flat (horn in F transposition, plagal cadence)
- Q8 aural-only: constructed chiptune game-music loop (square waves, arpeggios, loop form)
- Q9 arrangement: 'Sakura' (traditional, Japanese in-scale) for koto-style harp and flute
- Q10 compare: theme and variations for vibraphone and piano
- Q13 A passing six-four in G minor; B modulation by demand
- Q11 three saxophone parts beneath a melody in F major, 3/4
- Q12 regrouping an incorrectly beamed 4/4 rhythm
- Q7 score: constructed guitar-trio bossa nova in D (extended chords, syncopation)
- Q8 aural-only: constructed minimalist piece for mallets (phasing, additive process)
- Q9 arrangement: 'Alouette' for wind quintet in 7/8
- Q10 compare: theme and three variations for string orchestra
- Q13 A dominant 7th and inversions in E major; B b9 and #5 alterations on dominants
- Q11 brass-quartet parts on the minor-key circle-of-fifths progression in D minor
- Q12 adding bar lines and beams to a 3/4 rhythm
- Q7 score: constructed brass-trio fanfare and chorale in C (ternary, triplets, articulation)
- Q8 aural-only: constructed heavy-rock excerpt (power chords, drop tuning, half-time feel)
- Q9 arrangement: 'Hot Cross Buns' developed as a jazz-waltz for piano trio
- Q10 compare: constructed Classical minuet and constructed Romantic waltz
- Q13 A cadential six-four in F minor; B secondary dominants in D
- Q11 string-quartet parts beneath a 6/8 melody in A major
- Q12 re-barring a 9-beat rhythm in 3/4 and 9/8
- Q7 score: constructed string-quartet passacaglia in C minor (ground bass, variation of texture)
- Q8 aural-only: constructed hip-hop beat with sampled strings (loops, meter, texture)
- Q9 arrangement: 'Yankee Doodle' as a Baroque-style canon for recorders
- Q10 compare: constructed chorale and constructed swing ballad
- Q13 A smooth part-writing with V7d; B two modulations and an altered dominant
- Q11 jazz horn-section parts with secondary dominants in G major
- Q12 regrouping an incorrectly beamed 6/8 rhythm
Included in the SACE Music Studies Mastery Pack
20 full-length practice exams with worked solutions, 20 revision notes, 64 practice questions and 200 flashcards.
Preview a sample note and question free on the SACE Music Studies hub →