Pearson Edexcel Level 3 GCE Music Technology Advanced COMPONENT 3: Listening and Analysing 2025 VERIFIED QP AND MS

Pearson Edexcel Level 3 GCE Music Technology Advanced
COMPONENT 3: Listening and Analysing 2025 VERIFIED QP AND
MS

Candidate


Centre Number Candidate Number




Afternoon (Time: 1 hour 30 minutes) Paper
reference 9MT0/03
 


Advanced



Total Marks




Instructions
• Use black ink or ball-point pen.
• Fill in the boxes at the top of this page with your name, centre number and
candidate number.
•• Answer all questions.
Answer the questions in the spaces provided
– there may be more space than you need.

• Access to music production software or the internet is not permitted.
Information
• The total mark for this paper is 75.
• The marks for each question are shown in brackets
– use this as a guide as to how much time to spend on each question.

Advice

• Read each question carefully before you start to answer it.
• Try to answer every question.
• Check your answers if you have time at the end.

Turn over

,P72987A
©2025 Pearson Education Ltd.

,Y:1/1/1/1/1

, SECTION A
Answer ALL questions in this section. Write your answers in the spaces provided.




DO NOT WRITE IN THIS AREA
1 The Weeknd: Is There Someone Else? (2022)
Track 1
(a) Identify two different pitch-based effects heard on the vocal in the introduction
(0:00–0:28).
(2)

1 . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. .................



2 . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. .................


(b) Identify three tracks or instrument lines heard in the introduction (0:00-0:28) that
are not present in the first half of the verse (0:29–0:42).
(3)

1 . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. .................




DO NOT WRITE IN THIS AREA
2 . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. .................



3 . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. .................


(c) Describe how panning is used on the vocal repeats of the lyric ‘fighting’
between 0:46–0:49.
(1)

. . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. ......................



. . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . .. .. . . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. . . . . . . . .. . . . . . . . .. . . . . . .. . . . . . . . . .. .. ......................




DO NOT WRITE IN THIS AREA




2
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