GCE Music Teachers Guide A2

GCE A2 MUSIC Teachers' Guide 1
Contents
GCE A2 Music
Teachers’ Guide
Page
1. Introduction 2
1.1 Rationale 3
1.2 Overview of New A2 Specification 4
1.3 Changes for teaching from September 2009 5
2. Delivering the specification 8

2.1 Pathways through the Specification 8
2.2 Examples of Approaches 8
3. Support for Teachers 19

3.1 Generic Resources 19
3.2 General Websites 19
4. Unit Guides 20
4.1 MU4 Performing 20
4.2 MU5 Composing 22
4.3 MU6 Listening and Appraising 42
5. Assessment Guidance 46
5.1 MU4 Performing 46
5.2 MU5 Composing 48
5.3 MU6 Listening and Appraising 63
Appendices
Contributors to the Teachers’ Guide 64
Issued July 2009

1. INTRODUCTION
The WJEC A2 Music specification has been modified and updated for delivery from
September 2009. The first A level awards will take place in summer 2010. For the
first availability of units, see page 2 of the specification. The specification can be
delivered and assessed in centres throughout the UK.
This guide is one of a number of ways in which WJEC provides assistance to

teachers delivering the new specification. Also essential to its introduction are the
Specimen Assessment Materials (question papers and marking schemes) and
professional development (INSET) conferences.
Other provision which you will find useful includes:
1 Examiners’ reports on each examinations series

2 Free access to past question papers via WJEC’s secure website
3 Easy access to specification and other key documents on main website
4 Regular INSET delivered by Chief Examiners
5 Easy access to both the Subject Officer and to administrative sections
Contact Points for GCE Music are as follows:
Catherine Webster (Subject Officer)

catherine.webster@wjec.co.uk
Tel: 029 2026 5316
Sara Evans / Catrin Budd (Administrative Support Officers)

sara.evans@wjec.co.uk / catrin.budd@wjec.co.uk
Tel: 02920 265142
Subject page www.wjec.co.uk/music
INSET Section inset@wjec.co.uk

www.wjec.co.uk/professionaldevelopment
1.1 Rationale
The GCE AS/AL specification in Music builds upon the National Curriculum and
GCSE, whilst, at the same time, accommodating the needs of candidates who may
not have studied music at these levels. It promotes progression through the AS and
AL and provides a suitable foundation for the study of Music or a related area of
study at further or higher education, and/or preparation for future employment and
the world of work. The specification provides a coherent, satisfying and worthwhile
course of study broadening and intensifying candidates' musical experiences,
regardless of whether they wish to progress to study further in the subject or not.
Candidates are provided with opportunities to develop their aural perception skills
and their appreciation of, and participation in, music. They are also encouraged to
make connections between different aspects of musical activities and to apply their
knowledge and understanding to unfamiliar music.
The specification will develop skills that can be transferred to other subjects and
enrich candidates' cultural development, involvement in and enjoyment of music
throughout their lives.
1.2 Overview of the Specification

This specification is divided into a total of 6 units, 3 AS units and 3 A2 units. Weightings
noted below are expressed in terms of the full A Level qualification.
AS (3 units)
MU1 Performing (AO1) 15 % External Assessment
Solo and/or ensemble performance
 Performance should last between 8 and 10 minutes
 One piece should reflect a chosen area of study
 Assessed by visiting examiner
MU2 Composing (AO2) 15% Internal Assessment
Two contrasting compositions
 Compositions should last between 4 and 8 minutes
 One composition demonstrating the musical techniques and conventions associated with the Western Classical
Tradition
 One free composition
 Teacher assessed and externally moderated
MU3 Appraising (AO3) 20% External Assessment
One listening examination in two parts
 Part 1: (12%):1 hour appraising test based on extracts of music (set works) taken from the two Areas of Study selected
for study by the centre
 Part 2: (8%): 1 hour aural perception (melodic dictation, keys, chords, cadences) based on unprepared musical
extracts
A LEVEL (the above plus the following 3 units – 2 units at 15% and 1 at 20%)
Either MU4(A) Performing (AO1) 15 % External Assessment
 One piece should reflect the new area of study (Music in the 20th and 21st centuries)
Or MU4(B) Performing (AO1) 20 % External Assessment
 One piece should reflect the new area of study (Music in the 20th and 21st centuries)
 One piece to reflect a further area of study
Either MU5(A) Composing (AO2) 15% Internal Assessment
Two contrasting compositions
 One composition demonstrating the musical techniques and conventions associated with the Western Classical
Tradition (area of study continued from AS)
 One composition reflecting the new area of study (Music in the 20th and 21st centuries)
 Teacher assessed and externally marked
Or MU5(B) Composing (AO2) 20% Internal Assessment
Three contrasting compositions
 A composition demonstrating the musical techniques and conventions associated with the Western Classical Tradition
 One composition reflecting the new area of study (Music in the 20th and 21st centuries)
 One free, innovative composition
 Teacher assessed and externally marked
Either MU6(A) Appraising (AO3) 15% External Assessment
One written examination in two parts (2 ¼ hours)
 Part 1: (6%) : ¾ hour listening examination based on extracts of unfamiliar 20th / 21st century music (new area of study)
 Part 2 : (9%): 1½ hour listening / written examination requiring candidates to analyse a set work and place the work
within a broader musical perspective
Or MU6(B) Appraising (AO3) 20% External Assessment
One written examination in three parts (3 hours)
 Part 1: (6%) : ¾ hour listening examination based on extracts of unfamiliar 20th / 21st century music (new area of study)
 Part 2 : (9%): 1½ hour listening / written examination requiring candidates to analyse a set work and place the work
within a broader musical perspective
 Part 3 : (5%): ¾ hour written examination requiring candidates to demonstrate knowledge and understanding of the
overall musical style and output of one of the set work composers
1.3 Changes to the A2 specification for delivery in September 2009
The new A level specification includes an A-Z of Musical Ingredients, outlining

compositional styles, devices, forms and a range of musical elements that candidates
should study during the course.
There are six units in total, three at AS and a further three units at A2. Candidates
will choose two units at 15% and one unit at 20% at Advanced Level.
A2 UNITS
Candidates must choose two units at 15% and one unit at 20%
FURTHER
UNIT CHANGES
GUIDANCE
MU4 (A)  The title of the unit has changed from MU6 to MU4(A). Exemplar
Performing  The method of assessment is still the same and as in the performances,
(15%) previous specification, one of the pieces must be linked to marked according to
th st
the new area of study (music of the 20 and 21 centuries). the new criteria
 The mark scheme has changed significantly. 10 marks are can be found here.
awarded for each of the following categories: accuracy;
technical control and overall performance.
 The total mark out of 30 is then multiplied as outlined Guidelines on how to
below, depending on the standard of the piece. This enable pupils to
standard is based on graded music exams (GME) create a good
performance
Grade 6 x 3; Grade 5 x 2.7 and Grade 4 x 2.4 can be found here.
 Candidates will receive one extra raw mark out of 30, if
they perform a piece at a Grade 7 or above standard.
 Candidates cannot be awarded more than the maximum
mark of 30.
 MU4 will be marked out of 90. MU4A is worth 15% of the
A level.
 There is no viva voce.
MU4 (B)  There was no equivalent to this unit option in the old
Performing specification. The same points apply as in MU4(A) but the
(20%) performance time is longer. Performance should last
between 16 and 18 minutes.
 In addition to one piece reflecting music of the 20 and 21 
th st
centuries, another piece must reflect a further area of study.


FURTHER
UNIT CHANGES
GUIDANCE
MU5 (A)  As in the previous specification, candidates must submit Exemplar
Composing two contrasting compositions lasting between six and ten compositions,
(15%) minutes. marked according to
 All candidates should submit a score (lead sheet, tablature, the new criteria
or any other formats are acceptable) and a recording can be found here.
 One of the compositions must reflect the Area of Study
selected from the Western Classical Tradition in MU3, and
must be in a tonal idiom. The other composition must
th st
reflect the new area of study, music of the 20 and 21
centuries.
 Both compositions must be based on a different
commission as outlined on page 24 of the specification.
 Candidates are required to complete a form outlining the Guidelines on how to
process of composition, as in the current specification. In enable pupils to
addition, they will complete a composition log which will be create good
checked by the teacher at least three times during the compositions
composition process. can be found here.
 Compositions are now assessed using the following criteria:
 development of musical ideas;
 an understanding of balance, form and structure;
 appropriate use of voices, instruments and/or synthesised
sounds;
 sensitivity in relation to timbre and texture;
 consistency of style;
 an understanding of appropriate harmonic procedures.
Each heading is marked out of a total of 10

 As in the old specification, this unit is externally assessed
 MU5(A) will be marked out of 120 and is worth 15% of A
level.
Composing specification . The same points apply as in MU5(A) but the
(20%) time is longer. Compositions should last between twelve
and eighteen minutes.
 In addition to the two compositions outlined above in
MU5(A), candidates must submit another free and
innovative composition.
 MU5(B) will be marked out of 180 and is worth 20% of the
A level.

MU6 (A) PART ONE

Listening Guidelines on how to
and  The aural examination will be ¾ hour long and will consist deliver this aspect
Appraising th st
of extracts of music from the 20 and 21 centuries. In and examiner’s
(15%) th st
addition to the 20 /21 century styles of music outlined in guidance
the previous specification, candidates will be required to can be found here
study minimalism; electronic music; aleatoric music; and here.
musical theatre and jazz, rock and pop. This exam is worth
6% of the A Level
 Candidates will be required to:

 make connections between music and its context;
 make connections between different areas of knowledge
and different aspects of musical activities;
 complete a short section of a skeleton score with regard to
pitch and rhythm;
 recognise chords and cadences;
 name modulations;
 locate and correct up to four errors of pitch and rhythm.
PART TWO
 Candidates will study one set work. Either:

 Ravel: Concerto in G major for piano;
 Shostakovich: String Quartet no. 8
 Mathias: This Worlde’s Joie (Parts One, Three and Four)
 The work will be assessed by a 1 ½ hour written
examination, which will be worth 9% of the A Level.
 For the first question, candidates will hear excerpts from

the set works on a CD and will answer them by referring to
an unmarked score which they will take into the
examination.
 The second question will require candidates to write an
essay on the development of the form and on a recognition
of the influences which maintain continuity and cause
change, placing the set work within a broader musical
perspective.
 MU6 (A) will be marked out of 125 and is worth 15% of the
A level.
Listening specification . The same points apply as in MU6(A) above.
and
Appraising In addition to the two papers above, candidates will sit an extra
(20%) ¾ examination. This will be based on the entire output of one
of the composers of the selected set work.
 MU6(B) will be marked out of 150 and is worth 20% of the
A level.
2. DELIVERING THE SPECIFICATION
2.1 Pathways through the specification

Each teacher will have their own individual approach to delivering this specification.
It is important that candidates realise the links between the AS and A2 units. The
pieces they study in MU3 will influence their compositions, as they study techniques
and devices used in the set works. As they research other compositions written by
the composers of the set works, they may find solo and/or ensemble pieces which
they could play for their MU1 examination. The set work and/or the 20th/21st century
styles studied in MU6 will influence the second MU5 composition. Equally, students
must perform a 20th/21st century piece in the MU4 performance examination.
2.2 Examples of Approaches

A Level Music (MU4, MU5, MU6)
A holistic approach to the teaching of the A Level units is to be encouraged.

The following pages outline an example of a way to approach the teaching of the set
works in a holistic manner.
1. Ravel: Piano Concerto in G major

2. Shostakovich: String Quartet no. 8 in C minor
3. Mathias: This Worlde’s Joie
For each set work, there is a score which may be used for ensemble performance,
individual parts, midi files (to adapt parts), ideas for composition tasks and an aural
question based on the format of PART TWO of MU6.
PIANO CONCERTO IN G MAJOR: RAVEL
TASK METHOD RESOURCES

Perform the extract as a  Give pupils a copy of their piece to practise Whole score
class ensemble at least four weeks before attempting a Individual parts
whole class performance Midi file
 Listen to movement II of the concerto and Recording of work
discuss initial impressions/ideas
 Before the first performance, discuss issues
relating to ensemble performance (timing,
balance, etc.)
 Rehearse and prepare for a recording of
the performance
 Self and peer evaluation of performance,
using the MU4 criteria.
Composition tasks  Listen to the piece several times, whilst Score

reading the score Recording
 Discuss and analyse sections of the score Other movements from
 Brainstorm ideas that could be used as a the Concerto. Ravel’s
basis for composition orchestral and piano
 A list could include some of the following: music. Works by other
- slow waltz with subtle interplay of cross- Impressionistic
rhythms composers.
- simplistic counter-melodies to
complement main theme
- colourful use of orchestra
- mild harmonic dissonance
- parallel ninths
- long phrased singing melody
- rhythmic ostinato
 Pupils to consider Ravel’s and other
Impressionistic composers’ use of these
devices in other works
 Pupils to select at least three aspects from
the list to explore in a composition
Listening  Pupils will need to revise chord patterns Worksheets and

and practise how to recognise these aurally revision notes
 They will need to practise melodic and Recording
rhythmic dictation Aural question
 Pupils will need to revise key signatures
and work on recognising modulations
 Listening to a performance of a piece of
music, they will need to work on recognising
errors in pitch on a score
 When the preparatory work is complete
pupils should complete the aural task,
which is based on the type of question they
can expect in the MU6 Part One paper.
AURAL QUESTIONS
You will hear an extract from Ravel’s Piano Concerto in G major, Movt. II. The extract
will be played five times.
(a) Identify the key signature. [2]
(b) Insert the missing pitch and rhythm at:

(i) bars 8 – 9
(ii) bars 13–15 [10]
(c) There are two errors in pitch contained in bars 11- 16. Ring the notes which
are incorrectly played and above each one write the letter name that you
actually hear. [4]
(d) Describe the chords played in the piano accompaniment in bar one. [2]
ANSWERS
You will hear an extract from Ravel’s Piano Concerto in G major, Movt. II. The extract
(a) Identify the key signature. E major [2]

(iii) bars 8 – 9
(iv) bars 13–15 [10]
(c) There are two errors in pitch contained in bars 11 - 16. Ring the notes which
actually hear. [4]
(d) Describe the chords played in the piano accompaniment in bar one. [2]
Tonic chord. No fifth.

STRING QUARTET NO. 8 IN C MINOR: SHOSTAKOVICH

 Listen to movement I of the quartet and Recording of work
balance, etc.)
 Rehearse and prepare for a recording of the
performance

 Brainstorm ideas that could be used as a the Quartet.
basis for composition Shostakovich’s other
 A list could include some of the following: quartets. Quartets by
- motivic development other composers
- arch structure including Prokofiev.
- quoting and developing ‘borrowed’
themes
- fugato/use of counterpoint
 Pupils to consider Shostakovich’s and other
composers’ use of these devices in other
works
Listening  Pupils will need to revise chord patterns and Worksheets and
practise how to recognise these aurally revision notes
pupils should complete the aural task, which
is based on the type of question they can
expect in the MU6 Part One paper.
AURAL QUESTIONS
You will hear an extract from Shostakovich’s String Quartet no. 8, Movt. I. The extract
(a) Identify the key signature. [2]
(i) bars 9 – 11
(ii) bars 15 – 16 [10]
(c) There are two errors in pitch contained in bars 6 and 7. Ring the notes which
actually hear. [4]
(d) Describe the chords played in the accompanying instruments throughout the
extract. [2]
ANSWERS
You will hear an extract from Shostakovich’s String Quartet no. 8, Movt. I. The extract
(a) Identify the key signature. C minor [2]
(i) bars 9 – 11
(ii) bars 15 – 16 [10]
(c) There are two errors in pitch contained in bars 6 and 7. Ring the notes which
actually hear. [4]
(d) Describe the chords played in the accompanying instruments throughout the
extract. [2]
Tonic chord. Third omitted.

THIS WORLDE’S JOIE: MATHIAS

 Listen to movement I of the cantata and Recording of work
balance, etc.)
 Rehearse and prepare for a recording of the
performance

 Brainstorm ideas that could be used as a the cantata. Mathias’s
basis for composition other works. Works by
 A list could include some of the following: Hoddinott and Bax.
- exploration of modes including
combining more than on mode
- use of tritone as a melodic and harmonic
device
- developing different scale types including
th
the diminished 7
- modulations over held pedal notes
- use of diminished fifths and successive
minor thirds
 Pupils to consider Mathias’s and other
composers’ use of these devices in other
works
Listening  Pupils will need to revise chord patterns and Worksheets and
practise how to recognise these aurally revision notes
pupils should complete the aural task, which
is based on the type of question they can
expect in the MU6 Part One paper.
AURAL QUESTIONS
You will hear an extract from Movt I of This Worlde’s Joie by William Mathias. The extract
(a) Identify the time signature. [2]
(i) bars 9 – 11
(ii) bars 23- 24 [10]
(c) There are two errors in pitch contained in bars 15 to 22. Ring the notes
which are incorrectly played and above each one write the letter name that
you actually hear. [4]
(d) Describe the recurring intervals heard in the accompaniment from bar 6 to 18.
[2]
ANSWERS
You will hear an extract from Movt I of This Worlde’s Joie by William Mathias. The extract
(a) Identify the time signature. 6/8 [2]
(i) bars 9 – 11
(ii) bars 23- 24 [10]
(c) There are two errors in pitch contained in bars 15 to 22. Ring the notes
which are incorrectly played and above each one write the letter name that
you actually hear. [4]
(d) Describe the recurring intervals heard in the accompaniment from bar 6 to 18.
Successive descending (upper register) and ascending (lower register) minor
thirds. Also recurring major 7th interval upper register. [2
3. SUPPORT FOR TEACHERS
The resources indicated below may assist you in teaching the A level Music
specification. The resources are suggested and the list is not definitive. If you wish
to recommend some resources that you have found useful, please let Sara/Catrin or
Catherine know and we will add them to this guide. INSET courses will be organised
periodically, usually in the autumn term to support teachers in delivering the
specification and to provide feedback on the examination process. The INSET
courses will be advertised on the website via the Professional Development link on
www.wjec.co.uk/professionaldevelopment. You can apply for courses using the
online form.
Further advice and support can be offered by the subject team at WJEC. Catherine
Webster (Subject Officer: 029 2026 5316 catherine.webster@wjec.co.uk) and Sara
Evans / Catrin Budd (Administrative Support Officers : 02920 265142
sara.evans@wjec.co.uk / catrin.budd@wjec.co.uk).
3.1 Generic Resources for the Specification as a whole
3.1 Suggested textbooks include:
A-Level Music Study Guide by David Ventura ISBN: 978 1 84489 618 9
Heinemann Advanced Music: Teacher Resource File ISBN: 9780435812591
Heinemann Advanced Music: Student Book ISBN: 9780435812584
Heinemann Advanced Music: CD Pack ISBN: 9780435812607
3.2 General Websites
www.wjec.co.uk
WJEC’s website offers recent information on courses and INSET.
The following websites are a good source of resources for teachers:
www.themusicland.co.uk/ (subscription)
http://www.musicatschool.co.uk/
www.mtrs.co.uk/ (subscription)
http://www.naxos.com/education/glossary.asp
4. UNIT GUIDES
4.1 Performing (MU4)

Tips for Performing
1. Pupils should plan their performances in advance, bringing in their music to check
that it is of the correct standard
2. It is important that candidates check the timing of their pieces to allow for the
minimum time of 10 minutes for A2. Candidates must also ensure that they do
not exceed the maximum limit of 12 minutes for A2. If candidates are taking unit
MU4(B) then the minimum performance time is 16 minutes and the maximum, 18
minutes.
3. The grade level (GME) should be checked. You will find a list of pieces for
different instruments at different grades on the following website:
http://www.edexcel.org.uk/VirtualContent/48910/web_version.pdf.
4. Candidates should be encouraged to play pieces that will ensure they gain as
many marks as possible, which may not necessarily be the pieces they are
currently studying.
5. Candidates should be encouraged to perform as often as possible at various
occasions throughout the school year and in extra curricular settings. This can
only help them to build up confidence and improve their standard of performing.
6. There are no marks offered for diversity. Therefore, pupils should be encouraged
to specialise on one instrument. If a candidate is equally good on two
instruments, then they may perform on each.
7. If possible, it is always best if solo pieces for orchestral or other single-line
instruments can be accompanied. Unless the candidate is exceptionally good, an
unaccompanied piece can be quite difficult to perform, particularly if the candidate
is nervous on the day. That it is not to imply that unaccompanied pieces are
unacceptable. It is vital that the candidate is comfortable with their accompanist
and that ample time has been allocated to rehearse. Some accompanists need
reminding that they are accompanying, and balance needs to be carefully
considered! Backing tracks are also acceptable and are to be encouraged
particularly with more modern, upbeat pieces that candidates play, such as those
from the Rockschool repertoire. Again, the issue of balance needs to be carefully
considered when using backing tracks and sorted prior to the examination.
8. Ensemble performances: it would be difficult to assess an ensemble performance
where there are more than eight performers. You are reminded that it is always
best to contact the subject officer at WJEC if you are unsure about the choice of
repertoire for an ensemble performance. Pieces where the candidate’s line is
doubled are not acceptable for the purpose of this examination.
9. It is good practice to get candidates involved in the assessment process and
familiarise themselves with the assessment criteria. If possible candidates should
perform at least once per term, whilst the other candidates use the assessment
criteria to mark their work and discuss it in a plenary session after the
performance. This should help to raise standards and to focus candidates’ minds
on the importance of the assessment criteria.
10. For MU4 (A) and (B) options, candidates must select one piece which reflects
music of the 20th and 21st centuries. For those candidates taking the MU4 (B)
option, one piece must reflect an Area of Study in MU3. This does not
necessarily need to be an area of study that the candidate studied at MU3.
11. Candidates will receive one extra raw mark out of 30, if they perform a piece at
a Grade 7 or above standard. However, it should be noted that candidates cannot
be awarded more than the maximum mark of 30.
Suggested textbooks:
Author Year of Title

Publication
John Rink 2002 Musical Performance: A Guide to
Understanding ISBN 978-0521788625
Jonathan Dunsby 1995 Performing Music Shared Concerns ISBN
978-0198166429
Kate Jones 2001 Keeping Your Nerve: FABER Music
Websites
Web Address Description

www.abrsm.org/resources/theseMusicExams0607.pdf ABRSM guide to
practical music
examinations
www.abrsm.org/?page=students/advice/practiceTips.html Tips on how to
practise
www.expertvillage.com/videos/voice-lessons-vocal- Tips on vocal
performance.htm performing
Film and video that may be of interest:
Title Description
The Ultimate Practice Guide A DVD assisting vocal students in how to practise
for Vocalists DVD
Developing your Voice for A DVD that assists students in developing good
Performance vocal technique
4.2 MU5 Writing a Composition in the style of the 20th/21st century

This composition requirement in MU5 is designed to encourage candidates to
familiarise themselves with the stylistic characteristics and conventions peculiar to
the ‘modern’ age. The composition must demonstrate the knowledge and
understanding of musical techniques gained from the chosen analysis and
associated listening work in MU6. It may also reflect personal interest and
involvement in genres such as rock, pop, musical theatre and film music.
There is no need for candidates to produce pastiche in the style of a particular

composer; intention is that candidates learn from modern composers. Through an
increased depth of study in the chosen set works for MU6, along with the general
preparation for paper 1 of the appraising test, candidates must identify relevant
schools of composition, compositional devices and techniques which then
may be incorporated and developed in their own compositions to produce an
imaginative, substantial and consistent result.
Candidates are well advised to experiment with compositional devices and

techniques they encounter through their studies. These should be used as starting
points for their individual presentation and development of musical ideas.
In MU2, the list of possibilities was long - but the modern era is an explosion of
styles; indeed, the diversity can appear overwhelming! Conventional musical
ingredients, techniques and devices have already been identified in the A-Z of
Musical Ingredients and in study of the Western Classical Tradition. Many of these
will still be extremely useful in this context, though they may be utilised in new and
imaginative ways.
Features new to the 20th / 21st century:
 Instrumentation - extended, more contrasted, unusual groupings

 Timbres – experimental effects, with meticulous performance instructions
 Textures – at times broad, and expansive; in contrast, often complex,
antiphonal, polyphonic
 Harmony – extreme dissonance and chromaticism, with linear type movement
replacing chordal conceptions, modal features sometimes incorporated, new
conceptions of harmony include polychords, polytonality, atonality
 Melody – angular and motivic, with extreme ranges, intervallic ideas and
patterns
 Rhythm – complex, irregular, shifting accents, syncopation.
As always, the use of music technology is to be encouraged in MU5. However, it is

crucial that unoriginal, pre-recorded music samples are avoided. If used, they must
be clearly indicated by the candidate on the accompanying notes. Full details of the
equipment and computer packages must be given. The WJEC has the right to
contact the centre if any details are obscure.
THE ASSESSMENT CRITERIA
A very important consideration is the fact that the composition has to satisfy the examination
assessment criteria. As stated in the specification, this is divided into six main strands:
1. Understanding of balance, form and structure

2. Development of musical ideas
3. Appropriate use of voices, instruments and / or synthesized sounds
4. Control of texture
5. Understanding of appropriate harmonic features
6. Consistency of style
(More detailed criteria can be found in the A Level syllabus, p. 49/50)
COMPOSING TOOLS
Through extended practical activities associated with their appreciation, analyses and
listening, candidates should establish and identify the ‘composing tools’ at their disposal. A
good place to start is to establish what devices and techniques are associated with the
various styles and schools. Teachers may decide to teach composition by example through
existing models, but it is also possible to utilise and combine devices and ideas from a
number of different 20th century styles. The link is still with the 20th century; the candidate
simply needs to ensure that the resulting composition is consistent and shows a strong
overall awareness of style. Indeed, this could be their own personal style!!
Let’s take a look at some useful identifying musical characteristics of the main styles. Note
that there are common features.
Styles Compositional Features / Devices

Impressionism  Use of non-diatonic scales (e.g. whole tone, chromatic, modal)
 Parallel chords
Listen to works by:  7th, 9th and 11th chords
Debussy  Open 5ths and 4ths
Ravel  Unresolved dissonances
Delius  Complex rhythms and cross rhythms to blur the metrical lines
 Use of free rhythm and tempo changes
 Contrasting rhythms
 Alternating dynamics
 Subtle syncopation and hemiolas
 Vague and hazy outlines of melody
 At times, an ‘improvisatory’ feel to the music
 Colourful and rich orchestration (e.g sometimes pp by the
whole orchestra)
 Exploitation of timbral effects (e.g. glissandi, mutes, pizzicato,
harmonics, use of the sustaining pedal in piano pieces), and
inclusion of more unusual instruments (e.g. celesta,
glockenspiel, castanets)
 Small-scale programmatic forms
 Use of forms evolving from a single unit or musical idea
 Tendency to write music in short phrases
 Manipulation of small ‘blocks’ and patterns
 Use of contrary and similar motion to enhance timbral effects
 Use of infinitely varied repetition and associated devices to
transform the themes
 Textural contrasts to produce highly atmospheric and
evocative results
 Inspired by native folk traditions and exotic music
Nationalism  Patriotic and cultural reflections

 Influence of folklore and folk songs in melodies and use of
Listen to works by: instruments
Bartok  Use of modes, pentatonic and exotic scales
Grace Williams  Important character of the thematic and motivic work
Shostakovitch  New concepts of harmony
Poulenc  Employment of accents, cross-rhythms and syncopation
Rachmaninoff  Use of strong rhythmic patterns and dance rhythms
Delius  Changing time signatures to create rhythmic interest
Ralph Vaughan  Freer rhythms in slower music
Williams  Use of drones (open 4ths and 5ths)
Aaron Copland  Ostinati patterns and use of varied repetition
 Pedal notes
 Use of ornaments such as acciaccaturas and appoggiaturas
 Variety of orchestral timbres and techniques (e.g. pizzicato,
‘scotch-snap’, percussive colourings, imaginative sonorities)
 Extreme dynamics
 Contrasting textures
 Programmatic forms and ideas
Neo-Classicism  Influenced by the Baroque and Classical eras
 Use of ‘absolute’ music - detached, objective and often lacking
Listen to works by: in emotion
Hindemith  Incorporation of devices such as imitation, sequence, alberti
Prokofiev bass, countermelodies, pedal notes, inversion, augmentation,
Stravinsky diminution and antiphonal work
Tippett  Attention to craftsmanship
Poulenc  Clear textures and timbres, colourful and sometimes
Bartok unconventional orchestration
 Rhythmic regularity
 Use of conventional forms e.g. sonata, symphony, ritornello,
concerto, scherzo etc
 Balance with forms and structure
 Employment of contrapuntal and fugal techniques.
 Functional harmony often used (cadences, progressions etc)
 Bitonality sometimes a feature
 Dissonant and chromatic, with ‘deliberate’ wrong notes
 Unexpected shifts of key and harmonies
Expressionism  Adoption of serial techniques (dodecaphony)
 Use of the twelve tone scale
Listen to works by:  A mathematical approach / complex patterns, symmetry,
Schoenberg retrograde ideas, transposition, palindromes etc
Berg  Atonality
Webern  Dissonant harmonies
 Irregular rhythms and meters
 Angular and discordant melodies
 Use of small motifs and intervals
 At other times, extended phrases
 Wide range of dynamics and textures
 Extreme registers of instruments used
 Highly contrasted orchestral writing could be subtle, or rich
 Use of contrasting timbres (Klangfarbenmelodie)
 Small combinations of instruments often used
 Structural freedom often evident
 Reflection of extreme emotions
 Experimentation with vocal techniques (Sprechstimme)
Minimalism  Overall coherence

 Repetitive ostinato patterns
Listen to works by:  Drones
Terry Riley  Additive melodies
Steve Reich  Rhythmic interplay / polyrhythmic textures
Philip Glass  Accent displacement
John Adams  Phasing
 Competent and imaginative manipulation of melodic cells.
 Gradual harmonic changes
 Modal and diatonic idiom
 Consonant harmonies
 Multi-textured layering
Jazz  Syncopation
 Improvisatory styles
Listen to works by:  ‘Blues’ and ‘Ragtime’ features
Gershwin  ‘Blue’ notes
Duke Ellington  ‘Enclosures’ i.e. the device of approaching a main note from
Miles Davis pitches either side
Charlie Parker  Chromatic approach notes
Louis Armstrong  Complex jazz chords (e.g. added 6th chords, ¨7 chords, higher
dischords)
 Homophonic ‘stab’ chords
 Contrast of mode i.e. maj/min
 Chords over a dominant pedal
 Swing rhythms, triplets, 12/8 time
 Stylistic bass lines
 Rhythm tracks
 Suitable ‘fills’
 Countermelodies and layering
 Extension, development and displacement of a short motif
 Question and answer techniques (call and response)
 Busy polyphonic textures
 Swing band and jazz instrumental line-up, with rhythm section
and front line instruments
 Instruments in unison
 Short chords in cross-rhythm with the tune
 Backing ideas / sustained chords
 Contrasting textures
 Idiomatic writing
Rock / Pop ROCK
Listen to any works  Catchy motifs

from the Beatles to  Hard-driving beats
present day: e.g.  Lead singer
The Who  Backing vocals
Frank Zappa  Unison or part-singing
Bruce Springsteen  Strong rhythm section
Nirvana  Sometimes guitar and kit based
Oasis  Use of synthesizers
Queen  Use of riffs
Any favourite groups  Strong, distinctive bass lines
 For the most part, clearly defined structures
 Use of lyrics
 Additional sections/devices (e.g. riff / hook, intro, outro, bridge,
instrumental, modulation etc)
 Mainly consonant harmonies but also use of higher dischords
and chromatic work
 Blues influences
 Some rock styles are aggressive and fast
 Progressive pieces include elements of classical, jazz and
world music
POP
 A lighter alternative to rock

 The standard format is a song
 Instrumentation ranges from an orchestra to a cappella
material
 Typical instruments are lead guitar, bass guitar, synthesizers,
keyboard, drum machine, sequencer, sampler + vocals
 Marked by a consistent and noticeable rhythmic element
 Focus on catchy melodies and hooks
 Use of a chorus that contrasts with the verse
 Lyrics often about love, relationships and life experiences
 Conventional structures (e.g. verse-chorus; 32 bar form etc)
Musical Theatre/Film MUSICAL THEATRE
Listen to works by:  Relevance of music to story line

Gershwin  Use of lyrics consistent with the plot
Bernstein  Characters reflected in the musical content
Sondheim  Use of a set structure (such as ABA, verse and chorus, da
Andrew Lloyd- capo etc)
Webber  Strong thematic ideas
 Use of devices such as repetition, variation, imitation, layering
John Williams  Use of motives to represent an idea or feeling (leitmotif)
James Horner  Carefully constructed harmonic progressions including
Ennio Morricone modulation
Howard Shore  Supportive and distinctive accompaniment patterns
Alan Silvestri  Use of devices such as chordal patterns, arpeggios, repeated
John Barry notes, scalic / conjunct movement, countermelodies,
sequences, inversion etc
 Textural contrasts
 Writing for solo, duet, trio, quartet or chorus
FILM MUSIC (in addition to the above, where applicable)
 Music to support the visual images (i.e. no lyrics)

 Use of rhythmic and harmonic devices to create anticipation,
excitement and an increased sense of drama (e.g.
syncopation, pedal notes)
 Expansive and exciting orchestrations
 Extreme dynamics
 Use of intervals as motifs – particularly semitones, tritones,
diminished intervals
 Use of bitonality
 Highly charged chromatic harmonies (e.g. augmented and
diminished chords, higher dischords, minor chords with added
notes)
 Use of chromatic motifs (scalic and otherwise)
For the candidate:
MAKING CHOICES 1
Choose the link with Area of Study 3. Remember that a

general link with the 20th century is perfectly acceptable.
Identify the compositional devices to be used. At this stage

candidates should only choose a few ideas!
Select a commission. Details of these are given in the

specification.
SUGGESTED METHOD OF COMPOSING

Some candidates are highly inventive and talented in composition. Many others need
support and guidance on suitable methods and practices. Even though there are so many
different types of styles and genres in the modern era, the following basic procedures may
be useful. Candidates should start with what they know, and understand. The opening ideas
should then be explored, polished and refined before moving on.
For the candidate:
Task 1 Listen to different pieces of music by composers representative of the

particular school of your choice. Jot down all the interesting features and
devices that you can identify. Make sure that you cover all elements of music
in your observations.
Task 2 Choose a stimulus or commission. List the additional requirements that this
may suggest (e.g. words, work with intervals, portraying moods, emotions or
events, contrasting sections etc.)
Task 3 Using appropriate scales linked to the chosen style, create a MELODIC BANK
of ideas / motifs. This should consist of at least 10 short ideas, though you can
always return to this and add a few more! Play them, then write them down.
Task 4 Create a RHYTHMIC BANK, of at least 16 short patterns, ranging from simple
to more complex and interesting ideas. Play them, then notate.
Task 5 Create a HARMONIC BANK, again based on the chosen scales. Remember,
in the 20th / 21st century, the harmonic content is more complex and
experimental, with lots of added notes and unresolved dissonances. Be
inventive! At this stage, present single chords consisting of three or more
notes. Work with a keyboard or guitar, and experiment fully before notating
your ideas.
Task 6 List the compositional devices and textures you intend to include in the piece.
Task 7 Formulate your initial ideas, which need to be planned carefully before
presenting them in a piece. These should be kept in a composition note-pad,
or sketch book.
Encouraging students to keep a composition sketch book will assist in the writing of the
required composition log. In this way, the teacher is able to offer constructive advice, and
appreciate the source and ultimate development of the final piece.
For the candidate:
MAKING CHOICES 2
Decide on the instrumentation, and research the

instrumental range and techniques.
Decide on the structure, and draw an outline plan

including details of textural ideas.
Decide how the composition will be notated.
Task 1 List the devices and ideas to be used in the opening section of your piece.
Task 2 Choose either the rhythmic, harmonic or melodic bank of ideas, and select a
few of the motifs/cells for presentation. Choose ideas that will fit well together,
to ensure a consistent result at this stage.
For example:
 Extend a melodic idea, build up layers and add an accompaniment,
fitting in suitable chords beneath the melody.
 Create a progression of chords from your harmonic bank, and devise
an accompanying pattern from this progression. This could be left as a
chordal feature, or a second thematic group could be created to fit in
above the chords.
 Create several rhythmic layers from the rhythm bank. The pitches for
these should still be taken from the chosen scales, or fit around one or
more of the chords in the ‘bank’.
Task 3 Present the extended ideas through the compositional textures and devices
planned for the opening section. Be prepared to be flexible and amend your
ideas.
Task 4 Listen and evaluate this opening section, discussing targets with your teacher.
Make any changes.
Task 5 Plan and create a contrasting second section. This could include completely
contrasting musical ideas and textures; alternatively, it could be an ongoing
development and experimentation of those ideas presented in the opening
section. (All selected ideas should still obviously be complicit with the 20th / 21st
century style).
Task 6 Listen and evaluate the second section, discussing targets with your teacher.
Make any changes.
The candidate should continue to build up the composition in this way, fulfilling the demands
of the chosen structure and style, and always noting progress in the composition log.
The following material is given as an example of the procedure as may be applied to

Impressionism.
LINK: IMPRESSIONISM/20th century
MAKING
MAKINGCHOICES
CHOICES1 1
Style: Impressionism
Devices / Ideas:
 whole tone scale

 parallel chords
 7th, 9th and 11th chords
 unresolved dissonances
 use of free rhythm and tempo changes
 Syncopation
 manipulation of small ‘blocks’ and patterns
 Use of contrary and similar motion
Commission: ‘A movement using conventional forms or styles’.
Starter Activities: A
For the candidate:
Task 1: Listen to examples of composers’ work from this school, noting the way that
they use the devices that you have selected. Suggestions for listening:
Debussy – Prélude à “L’après-midi d’un faune”

Debussy – La Cathedrale Engloutie
Debussy - Ibéria
Debussy – La Mer
Ravel – Asie from Shéhérazade
Ravel – Daphnis and Chloe
Delius – On hearing the First Cuckoo in Spring,
Delius – A Song of Summer
Task 2:
Choose a commission / picture or poem as your stimulus. Identify the emotion, mood and
atmosphere, and list what instrumentation and compositional devices would best represent
these emotions.
Task 3: Melodic
Notate a version of a whole tone scale, starting on any note you wish. This is a whole tone
scale starting on C:
Create a bank of ten short motifs. Play them, then notate. Some of these could be
completely conjunct, others could be more intervallic or feature a particular interval. Use a
variety of time signatures, if you wish.
Task 4: Rhythmic
Create a bank of ten short rhythmic patterns, using at least two time signatures. These may
vary from basic note-values to more complex and imaginative patterns.
Task 5: Harmonic
Based on the whole-tone scale used in Task 1:
Create a bank of triads
Create a bank of 7th, 9th and 11th chords

Starter activities: B:
It is now important to extend some of the ideas already presented.
Task 1: Melody
Choose a few of your favourite melodic motifs from the bank of ideas.
Still basing your ideas on the whole-tone scale,
 Extend one of them into a longer melody of at least 10 bars (e.g. manipulate the
generative cell through devices such as additional conjunct movement, inversion,
retrograde, echo).
 Choose two other motifs, and create a section of musical dialogue, through question
and answer phrases and imitation.
 Select a fourth motif and present it in sequence.
Task 2: Rhythm
Experiment with pattern building techniques and layering, alternating time signatures,
syncopation and repetition to extend your rhythmic ideas. These could be used to vary and
develop the existing melodic material from the previous task, or could be used to create a
completely different section.
Task 3: Harmony – create a progression of 7/8 chords
 Write two harmonic phrases which are based on the more basic triads.
 Write two harmonic phrases based on 7ths, 9ths and 11ths
 Write two harmonic phrases which show a mix of basic triads and higher dischords
 Pick one of your favourite chords and extend by parallel movement descending, or
ascending.
MAKING CHOICES 2
Instrumentation: This piece will be scored for full orchestra.

Structure: I am going to use ABA – Ternary Form.
Notation: Sibelius 4.
With sufficient composing ‘sketches’ or ideas in place, consideration must then be given to
their presentation. Candidates should be encouraged to tackle composing challenges
systematically; they need to manage their own learning and planning, and work with
increasing independence. It is important to bear in mind that composers often only present
one or two ideas initially; once set up, these ideas are then explored.
For the candidate:
 Create a draft plan of the piece by sketching out the overall structure
 Estimate how long it should take to complete the overall task; set achievable targets
for each section
 Brainstorm ideas that could be used in the composition
 Within each section of the structure, identify the main themes / devices /techniques
that will be used
 Decide how to get from one section to another; remember the importance of marking
out main structural divisions
 Plan contrasting sections carefully –either use ‘opposite’ devices (e.g. see some
suggestions in MU2 composition ideas) or develop thematic content further (e.g.
difference key centres, different textures, more complex imitation, augmentation,
diminution, differing emotive content etc.)
 Find out about writing for the chosen types of instruments.
Compose the first section of your piece by selecting from the various ideas in your
composition ‘sketch book’. Show your work to the teacher on a regular basis. Targets
may then be reviewed, and your composition log book kept up to date.
Some suggestions for further tasks:
(a) Work out suitable harmonic support for one of the melodic sections already completed. Plan
the accompaniment style in short score, before arranging (e.g steady crotchet chords,
repeated notes, separated quavers, repetition of one chord with some neighbour note
harmonies for variation, parallel chords, syncopated patterns, descending chordal patterns
etc).
(b) Devise a basic accompanying pattern using one of the other harmonic phrases as a base.
This could be useful as a link in the structure, or could provide support for further melodic
ideas. Experiment with different timbral effects (e.g. pizzicato / high registers / low sustained
chords).
(c) Construct a rhythmic section based on a variety of motifs, both rhythmic and melodic. Try
alternating time signatures, and more complex rhythmic patterns.
(d) Complete some of the earlier tasks using modal, or chromatic scales.
(e) Compose a slow moving homophonic section based on the more adventurous and
chromatic type chords.
(f) One effective way to impress in coursework is to include contrapuntal or fugal textures.
(g) Develop a bass ostinato line from one of the harmonic progressions completed. This could
provide a basis for a further section.
(h) Choose one of the chords. Decorate / manipulate in different ways. This may then be used
purely for timbral effects; alternatively it could provide a link or bridge idea.
(i) Change the textures – build up to a point of tension (by an increase of pace and rhythmic
activity, more scales, louder dynamics, moving higher in pitch addition of extra parts in the
texture, strong chords, extra percussion). Then change these features to release the
tension.
For example, note how one chord derived from some notes of a whole tone scale may be
manipulated:
All this from just one chord!! This type of exercise should provide the candidate with plenty of ideas
on how to decorate and enhance the score.
DEVELOPING MUSICAL IDEAS
As with MU2, one of the main weaknesses often noted by examiners is the over-
dependence on basic repetition in many candidates’ compositions. To ensure, therefore,
that credit is given for ‘the development of musical ideas’, candidates must consider a variety
of ways in which their initial musical material can be varied and manipulated. The candidates
should identify motifs and patterns for development, be decisive, and avoid random note-
placing at all costs.
For the candidate:
The following suggestions for developing ideas may be useful:
(a) Encourage exploration through rhythm – so often neglected. Try a few different
rhythmic elements (syncopation, triplets, continuous semiquaver movement)
(b) Remember the value of devices such as imitation, sequence, inversion,
augmentation, diminution, modulation, retrograde etc
(c) Textural change and contrast – at points where a phrase or passage of music is
repeated / for a new section, or sudden change of mood
(d) Include a contrapuntal section
(e) Add variety to repetition (by changing instrumentation / adding layers /
countermelodies etc)
(f) Swap parts around
(g) Transpose ideas
(h) Vary the harmonic rhythms
(i) Introduce new types of accompaniment texture (this may coincide with a change in
harmony which is a powerful combination)
(j) Develop dialogue and interplay between instruments
(k) Explore timbral possibilities (e.g. tremelando, pizzicato, glissandi)
(l) Explore a wider dynamic range
(m) Split the instrumental lines between more than one player
(n) Re-score the initial ideas
(o) Re-space harmonies
(p) Further elaboration of cadence points /phrase endings
(q) Modulate to related keys or different tonal centres
(r) Use more chromatic harmonies, added notes or appoggiaturas and make these a
feature to further enhance the atmosphere and mood.
(s) Develop and transform the themes by adding ideas, taking away from the original,
changing pitch , dynamics, texture, instrumentation etc.
Choose no more than five of the above suggestions. Plan how these may be applied
to the composition.
When the first draft of the composition is complete, candidates should evaluate their work
and following discussion with the teacher, refine and develop their ideas until they are
satisfied that all bands of the assessment criteria are fulfilled to the best of their ability.
Candidates wishing to compose in other styles may follow the format outlined above, but
adapt the material as necessary. The following suggested considerations for the other 20th /
21st century styles may be useful.
LINK: NATIONALISM/20th century
Some suggested listening:

Bartok – Dance Suite, no.3; Sonata for Two Pianos and Percussion; Concerto for
Orchestra
Sibelius – Symphony no.5 in E¨; Tapiola
Ralph Vaughan Williams – The Lark Ascending; Fantasia on a Theme by Thomas
Tallis
Copland – Rodeo; Appalachian Spring
Grace Williams – Sea Sketches; Penillion; Fantasia on Welsh Nursery Tunes
(etc.)
Identify the Nationalistic features which will be the stimulus e.g. Welsh music, Welsh folk
songs, Welsh folklore, Welsh celebrations etc. (Of course, this link could be with any
country!)
Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks. Use the
appropriate scales and harmonies (e.g. diatonic chords with added chromatics / modal
scales).
Follow the process of composition as outlined earlier.
LINK: NEO-CLASSICISM/20th century

Prokofiev – Classical Symphony;Romeo and Juliet (suites 1 & 2)
Stravinsky – Gavotta (con due variazioni) from Pulcinella; Symphony of Psalms
Hindemith – Mathis der Maler (Symphony)
Tippett – Concerto for Double String Orchestra; Triple Concerto
Bartok – Sonata for Two Pianos and Percussion
Shostakovitch – Symphony no.5
Poulenc – Organ Concerto
(etc.)
Identify the Neo –classical features which will be the stimulus e.g. the structure, the
compositional devices, the textures etc.
Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks. Use the
appropriate scales and harmonies (e.g. dissonant harmonies, frequent change of key, fugal
textures, unusual scales).

LINK: EXPRESSIONISM/20th century

Schoenberg – Pierrot Lunaire; Verklärte Nacht; String Quartet no.2
Zemlinsky – Lyric Symphony
Berg – Wozzek; Lulu; Violin Concerto; Chamber Concerto
Webern – String Quartet, op.28; Variations for Orchestra; Cantata no.2 for soprano,
bass, choir and orchestra
Strauss – Salome
Varese - Ionisation
(etc.)
Identify the Expressionistic features which will be the stimulus e.g. serialism, atonality, the
expression of ‘suffering through extreme dissonance, rhythmic and textural complexity.
Use the 12 tone scale, and complete a grid of all the tone rows possible i.e. the original tone
row, the transposed versions and the retrograde. Prepare the appropriate composing ‘tools’:
create the melodic, rhythmic and harmonic banks based on the grid.
LINK: MINIMALISM /20th century:

Reich – Different Trains; Variations for Orchestra; City Life
Riley – In C; Salome Dances for Peace
Glass – Strung Out; Einstein on the Beach; Music in the Shape of a Square;
Glassworks
Górecki – Symphony No.3
Taverner – Song for Athene
Michael Nyman – The Piano (film); Love Counts (opera)
Mike Oldfield – Tubular Bells (etc.)
Identify the commission and the minimalistic features which will be the stimulus for this piece
e.g. the structure, compositional devices, the textures etc.
Prepare the composing ‘tools’: create the melodic cells, rhythmic patterns and harmonic
banks.
It is very important to remember in choosing this style that the most important issue for the
candidate is to create a piece of 20th / 21st century music which fulfils the assessment
criteria. Minimalistic music (a term actually disliked by Philip Glass, who referred to himself
as a composer of “music with repetitive structure”) is hypnotic and repetitive, with static
consonant harmonies and subtle changes and shifts. To obtain a top grade mark in the MU5
examination, candidates must show excellent and interesting control of harmonies, with
creative application of texture and imaginative development of ideas. It is therefore a good
idea to enrich this genre and inject with imaginative and inventive individual ideas!!

LINK: JAZZ, ROCK AND POP /20th century:
Some suggested listening for Jazz:

Joplin – Maple Leaf Rag; The Entertainer
Strayhorn – Take the A Train
Gershwin – Piano Prelude no.1; An American in Paris; Rhapsody in Blue
Gillespie / Parker – A Night in Tunisia;
Duke Ellington – Ko-ko; Black and Tan Fantasy
Miles Davis - Four
Louis Armstrong and his Hot Five – West End Blues
Listening for Rock and Pop should include a variety of examples from Beatles to the present
day. There are so many sub-genres here that this really is a matter of individual interest and
style! As with the other examples, candidates should identify
which features will guide their musical ideas e.g. the structure, the words of a song, the
arrangements and the textures.
Prepare the composing ‘tools’: create the melodic and rhythmic riffs, and harmonic banks
(maj/min chords, and more ‘jazzy’ complex chords of 7ths, 9ths and higher dischords). It
may be a good idea to compose a few jazz choruses then extend the material. If the
candidate is not able to perform all parts through multi-tracking, then it would be advisable to
use ICT to input all tracks.
Candidates who show a particular interest in this field must also remember that the
composition must satisfy the assessment criteria. The coursework is individual, and the
candidate must be wholly responsible for the composition. It isn’t always necessary to
produce a fully realised score, but a recording in this case is essential. It is worth noting the
following:
 The lead guide sheets for each instrument / voice must be submitted.
 The words of the song must always be included.
 Harmonies need to be explained (chords could be included on the lead sheet)
 Guitar parts should indicate the rhythm to be strummed, and all licks notated if not
played by the candidate.
 The bass line should be notated.
 Details of the drum part should be given i.e. what instructions and guidelines were
given to the performer, or details of software and editing if the track was generated
electronically.
 All performance instructions should be given.
 The candidate must write the music for all performers, or generate a backing track
using a program such as Cubase or Sibelius.
 Where possible, the candidate is well advised to sing their own song (the words need
not be original).
Avoid submitting any work that depends on sampled sounds or material improvised or input
by someone else - this is not your own work. It is also worth bearing in mind that rock pieces
are marked against the same criteria as other 20th / 21st century pieces, so candidates are
well advised to include more complex harmonies, develop musical ideas, and present
contrasting textures.
LINK: MUSICAL THEATRE/FILM/20th century
Kern – Show Boat

Gershwin – Porgy and Bess
Bernstein – West Side Story
Sondheim – A Little Night Music; Sweeney Todd; Into the Woods
Andrew Lloyd Webber – Jesus Christ Superstar; Phantom of the Opera; Sunset
Boulevard
C.M. Schonberg – Les Miserables
Other classic musicals include: Chicago; Cabaret; Oklahoma; The Producers;
Thoroughly Modern Millie; Beauty and the Beast; The Lion King; Joseph
(etc. etc.)
Some famous film soundtracks include: Star Wars, Indiana Jones, E.T., Jaws (John
Williams), Harry Potter (John Williams, Patrick Doyle, Nicholas Hooper), James Bond
(John Barry et al), The Lord of the Rings trilogy (Howard Shore), Back to the Future
trilogy (Alan Silvestri), Star Trek TV Series and films (James Horner, Jerry Goldsmith
et al), Titanic (soundtrack) (James Horner).
Any favourite soundtrack!
Identify the features which will be the stimulus e.g. the plot, characters, structure, words,
compositional devices, textures.
Prepare the composing ‘tools’: create the melodic, rhythmic and harmonic banks, and
follow the process of composition and development as outlined in earlier guidelines.
For a musical theatre piece, candidates may present a solo, group or ensemble piece. When
doing so, it is important to check that the melodies sit comfortably with the natural accents of
the lyrics. Alternatively a composition intended for dance could be submitted (such as the
Dance at the Gym from West Side Story), or the overture to a show.
Remember that film music is intended for the observer, as it is meant to enhance the
audience’s understanding and perception of the action and drama. It is worth keeping this in
mind, as what is required has to be representative of what is going on. It will usually be
thought-provoking, full of tension or anticipation, terrifying, incredibly exciting, full of fun or
desperately sad! The writing needs to be powerful in its effect.
In each case, the examiner will expect details of the characters and plot so as to fully
understand the meaning of the music.
Encourage candidates to:
(a) Think about the balance in larger scores, taking care to ensure that the main parts
are not obliterated by less important lines.
(b) Review, re-draft and refine as appropriate.
(c) Ensure that the writing for chosen instruments is idiomatic.
(d) Avoid excessive repetition, insufficient variety / development, lack of tension and
release, or too much diversity.
(e) Ensure that certain pieces fulfil examination requirements (e.g. minimalism which
tends to be static in nature, and also jazz/rock which naturally extends from group
performance. Rarely is this entirely the work of one person in professional circles.)
(f) Check progress with the teacher on a regular basis.
(g) Keep copious notes in the composition sketch book, as each composition must be
accompanied by a summary of the initial stimulus, and a description of the
compositional process and musical techniques /devices.
(h) Remember: where a conventional score is not available, candidates must present a
detailed lead sheet explaining the full process, and including the harmonic and
textural details.
(i) An explanation of the recording process should also be included, and the candidate’s
contribution clearly stipulated (please see specification and the Chief Examiner’s
annual report).
Author Year of Title

Publication
Hugh Benham and 2005 Student's Guide to Harmony and
David Bowman Counterpoint ISBN 1-904226-31-0
Christopher Binns 1996 Composing - a student's guide ISBN:
0174360886
Anna Butterworth 1999 Harmony in Practice ISBN 978-1854728333
Alfred Blatter 1997 Instrumentation and Orchestration

ISBN978-0028645704
Rikky Rooksby 2004 How to write Great Tunes ISBN 978-
0879308193
Reginald Smith Brindle 1986 Musical Composition ISBN 978-
0193171077
Walter Piston 1955 Orchestration ISBN 978-0393097405
Bruce Cole 1996 The Composer's Handbook ISBN 978-
0946535804
Russo 1998 Composing Music: A New Approach ISBN
978-0226732169
4.3 MU6 Listening and Appraising
4.4.1 General Points
1. MU6 (option A) is worth 15% of A2. MU6 (option B) is worth 20% of A2.
2. MU6 (option A) is divided into 2 parts: Part 1 (aural perception) worth 6% and
Part 2 (historical and analytical study) worth 9%. MU6 (option B) is divided
into 2 parts: Part 1 (aural perception) worth 6%, Part 2 (historical and
analytical study) worth 9% and Part 3 a written examination requiring
candidates to demonstrate knowledge and understanding of the overall
musical style and output of one of the set work composers worth 5%
3. For the historical and analytical paper (Part 2) candidates must choose to
study one of the set works listed in the specification. They should study the
entire work, with the exception of This Worlde’s Joie, where only Parts One,
Three and Four are required.
4. The assessment will be based on listening to aspects of the music, in addition

to answering questions requiring knowledge of other parts of the work.
5. Candidates will also be expected to place the set work in a broader context by
considering the development of the genre. For the Ravel, that would require
an in depth study of the solo concerto. For Shostakovich, a study of the string
quartet and for Mathias, a study of the cantata.
6. The study of the genre should be based on the music itself and not just the
historical context. Candidates should listen to a wide variety of music from
various periods that signpost aspects of change, development and continuity
within the genre.
7. For the aural perception paper (Part 1) candidates should have a knowledge
of a range of 20th and 21st century styles of music, including:
 Nationalism
 Impressionism
 Neo-classicism
 Expressionism
 Minimalism
 Electronic music
 Aleatoric music
 Musical Theatre
 Jazz, Rock & Pop
4.4.2 Guidance for Teachers on Part 1 of MU6
Teach aural skills regularly throughout the year
1. Develop aural skills in all aspects of the specification
2. Concentrate on developing students’ interval recognition skills
3. Encourage students to write out bass lines for identifying chords and
cadences, etc.
4. Encourage the use of musical terminology. Refer to the A to Z in the

specification
5. In order to construct longer answers, encourage students to refer back

to the elements of music and also rhythm and harmony
6. Take advantage of the use of aural training software which can be

purchased or downloaded from the internet
4.4.3 Guidance for Teachers on Part 2 of MU6
Students should aim at compiling a set of notes. These should include:
1. A log of the terms learned (key words – relate to the A to Z in the

specification)
2. Instrumentation/Voices used
3. Structure – identify main sections – make links when possible to

compositions
5. Texture – identify and play other examples from all sorts of music
6. Melody – trace motifs and their development – possible practical

exercise leading to composition (see * below)
7. Rhythm
8. Harmony – identify basic chords before moving onto more

complicated harmony
9. Tonality
10. Other general notes/points of interest including performing context
Students should learn the exact locations of musical features so they can find
them easily under more stressful examination conditions
*Analysing Set works – a suggested integrated approach maybe to:

Identify one or two key ideas in the set work and then use these as a basis of
a series of short (possibly improvised) creative tasks:
(e.g.) take a motif, invert it. Play the original and inverted versions in
sequences then improvise further phrases which use the characteristics of the
original motif. Repeat this process with further motifs from the work. Note the
phrase lengths, structure of the set work and use this to guide the structuring
of the improvised work. This can provide the basis for a student’s
composition.
When studying the set works, pupils should be encourage to consider the
following:
1. Score reading – including transposing instruments, the use of a single
stave for a pair of instruments, doubling of cello by double bass (or
not, as the case may be) not forgetting the DB as a transposing
instrument
2. Textural changes
3. Chords, keys and modulations
4. Tonality and the structural process
5. Form
Publisher Year of Title/ISBN

Publication
University of Wales Press 1978
William Mathias by Malcolm Boyd
[for] the Welsh Arts Council
ISBN: 9780708306727
Cambridge University Press 2000
The Cambridge Companion to Ravel
ISBN: 9780521648561
Ashgate 2004
Shostakovich: String Quartet No.8
(Landmarks in Music Since 1950)
ISBN: 978-0754606994
Schott & Co Ltd 1994
Aural Matters in Practice: Advanced
Tests in Aural Perception Based on
"The Essential Hyperion" CD
ISBN: 978-0946535231
Aural Matters: A Student's Guide to
Aural Perception at Advanced Level
ISBN: 978-0946535224
Sound Matters: Anthology of
Listening Material for General
Certificate of Secondary Education
Music ISBN: 978-0946535132
Websites
Web Address Description

http://www.ngfl-cymru.org.uk/ Notes on the three set works
http://www.scribd.com/doc/249761/Ravel-Piano- Score of Ravel Piano
Concerto-in-G-Orchestral-Score Concerto
www.dolmetsch.com/musictheory43.htm on line ear tests and drills
http://www.philharmonia.co.uk/thesoundexchange/ lots of sound samples and
some dictation exercises
aimed at A Level students
http://nyphil.org/programNotes/Ravel_PianoConcer Programme notes for Ravel’s
toinG.pdf Piano Concerto
http://www.bbc.co.uk/wales/now/ Information from BBC NOW
Film and video that may be of interest:
Title Description
Borodin Quartet: Includes the Shostakovich String Quartet no 8.
Tchaikovsky/Shostakovich -
String Quartets [1987] [DVD]
5. ASSESSMENT GUIDANCE
5.1 MU4 Performing
You can listen to the following performances by clicking on the audio file. Following
each performance, there is a brief commentary and a breakdown of the marks
awarded for each aspect of the assessment criteria. The total has been multiplied by
the difficulty level giving an overall mark and grade. It must be noted that these
performances were not assessed under examination conditions, and scores were not
available, this may effect the accuracy mark awarded. Also, each candidate is only
performing one piece, and not a range of pieces as would occur in an MU4
Performing examination.
Track One
Track Two
Sonata in D KP535: Scarlatti
There are many inaccuracies in this performance that are not always detected just by
listening. The tone is sometimes uneven and on the whole the performance is rather
monochrome with few dynamic contrasts. On the whole it is a competent
performance showing some understanding of the style. The tempo is a little slow.
A7 TC 8 P7 + 1 as piece is above grade VI standard = 23x 3 = 69 (B)
Track Three
The Bag-pipe Player: Wieniawski
Overall, this is an accurate performance but many details were lost, especially the
rests. Not all expression and tempo marks on the music were present in the
performance with occasional incorrect notes. However, on the whole the
performance was fluent and secure. There were some intonation issues. The
bowing was generally secure, projecting melody in double stops. There was a sense
of style but inattention to detail not always serving the mazurka rhythm well. The pizz
was a little unconvincing and too fast. A good attempt made to project and engage
within the overall performance of the piece.
A7 TC 7 P7 + 1 as piece is above grade VI standard = 22x 3 = 66 (C)

Track Four
Sonata for clarinet and piano: Poulenc (linked to music of the 20th and 21st
century)
There are slips and errors in this performance. The rhythmic errors compromise the
fluency at times. On the whole the candidate responds well to the performance
directions on the score. There were technical problems around the break, with busier
moments and also with the tone control in the higher register. The breath control is
excellent on the whole. There is an attempt to engage and to demonstrate a sense
of period and style. However, the overall performance lacks detail.
A4 TC 4 P5 + 1 as piece is above grade VI standard = 14x 3 = 42 (D)
Track Five
Traumerei: Schumann
An unstable tempo presented in this performance as the candidate searches for the
notes. Many errors and rhythmic misreadings and a limited response to direction.
There is a fair attempt to project the melody but tonally it is uneven and the voicing is
weak. The preoccupation with the notes precluded a sense of performance. Poor
stylistic awareness.
A3 TC 4 P3 + 1 as piece is above grade VI standard = 11x 3 = 33 (U)

5.2 MU5 Composing

Track One: View West
MU5 (ii) as submitted by student
Composition 2 (Style Composition / 20th/21stcentury – Title: VIEW WEST
Commission (as specification p 24) A movement in a chosen contemporary style

Stimulus (to be completed by candidate)
.
To compose in a 20th/21st century style for a brass ensemble

...........................................................................................................................................................................................................................................................................................................................................................................................................
General details of composing (to be completed by candidate. Details of the exact nature
of the contribution of all software must be included.)
The work stems from taking part in a Young Composers’ competition. This gave me access to a
professional brass ensemble and to discuss how my ideas would work with individual
instruments, etc. This experience was invaluable. I decided very early on that during this
composition I wanted to explore a personal musical language which comes from my playing
experience in jazz ensembles. I think that my music is a synthesis of jazz and classical
idioms. A brass ensemble seemed a perfect genre in which to exploit this style.
I decided to incorporate the following devices from the Western Classical tradition into my piece:
 melodic balance and phrases
 Imitation
 Sequence
 syncopation
 layered musical ideas
 contrast of ideas
 motivic development
 textural variety
expansion of material
 modulation
 chromatic harmonies
 suspensions
 extended chords
 a variety of instrumental devices and techniques
In addition to the above I decided to include the 20th/21st century features such as:
 improvisatory styles
 complex chords
 stab chords
 syncopation
 references to modes
 contrast in textures
 dissonant harmonies
 complex rhythms with shifting accents and metre
I wrote the composition using Sibelius linked to a keyboard.
SUPERVISION AND MONITORING: Style Composition 2

The following three sections are to be completed by the candidate and countersigned
by the teacher.
CHECK 1
Describe the planning and opening draft, including any advice received during the initial
stages of the composition.
I began my composition by improvising with some chord patterns and scales and modes on the
piano. Out of that work came my main ideas. I used a keyboard that allowed me to record layers of
sound together and so I began laying down a chordal track. I included some extended chords with
‘jagged’ unpredictable rhythms. After that I experimented with various fragments of melody which
retained an improvisatory feel, using grace notes and syncopation in keeping with the jazz idiom.
I also wanted to have some focal points and worked on developing some sequential passages to add
some unity. I altered these as I went along as I didn’t want the sound to be too predictable.
At this stage I was happy with the basic idea and so I started to think about how this would work
with a brass ensemble. I decided to write for a brass quintet as this would be the line-up of the
professional ensemble that would perform my work, if successful in the competition. I started to put
my ideas on to Sibelius. When I had entered the main melodic and harmonic features, I decided to
start experimenting with the texture. I began to move the melodic ideas around the various
instruments and started to develop little motives which I then repeated and developed in other lines.
As I extended some of my initial work, I began experimenting with the rhythms too, trying to create
an unpredictable pattern. I showed this to my teacher and we discussed the way forward.
Teacher signature: XXXXXX Date: XX/XX/XXXX
CHECK 2
Explain the process of composition during the developmental stages of the piece, including the
nature of any help or advice received.
With the main ideas created for my composition, I started to consider how I could create greater
variety within the other musical elements. I think my first draft showed a lot of textural variety
but many of the ideas were quite similar. Although I had a lot of variety in the dissonant and
consonant harmonies I had created and in the use of extended chords, the piece was still fixed on one
central key. I began to consider ways I could create more variety and so I began to work on a
contrasting section. I began to create a more lyrical melody based on some of the ideas from my
main melody but more simplistic. I thought that a basic homophonic accompaniment would work
with this to create a more straightforward sound. I wrote this in a different key, choosing Db major.
I still wanted to make the harmonies sound interesting and used dissonance to keep it within the
style of the other section. I also decided to make the bass line more simplistic using pedal notes.
Again I worked out my basic ideas on the piano and then started to put it into Sibelius. For the
second part of this new section, I put the melodic interest into the trombone.
I listened to both sections and decided to begin with the more simplistic idea and then to put my
main section after this. The move between the two sections seemed a little too sudden and so I
worked on a bridge passage linking the two sections. I developed some of the main motives in this
transition section which I think made a successful link from one mood to the other. At this stage I
was preparing to work with the professional players and so I started to add in some performance
directions.
Staff Signature: XXXXXX Date: XX/XX/XXXX

CHECK 3
Describe the final stages of the compositional process, including details of presentation
and advice received.
I found working with professional musicians invaluable to the entire composition process. They
played my piece and we discussed how the individual parts could be altered to accommodate the
players so that it wasn’t impossible to perform.
When I listened to the piece I was not happy about the way it started, it didn’t seem to have
enough impact. I looked again at the main motives in my piece and created a short
introductory section which introduced the main ideas. I decided to write this based on a
different key (Gb major) to add further variety. During this final stage, I tried to work on
creating more subtlety in the texture, and kept developing ideas and motives using repetition
imitation, augmentation and diminution to create a more satisfactory piece.
I really enjoyed the process of composition and learned much from working with ‘real’
instruments. The piece sounded very impressive when played live. For my submission for this
examination, I just made an audio recording of the Sibelius file. During the process I wanted
the sound of the quintet to be homogenous but I did attempt to bring out the subtle difference of
each individual character in the ensemble. I think the piece succeeds and is interesting to the
listener with its multi-timbral effects.
VIEW WEST / SUGGESTED ASSESSMENT
CENTRE: Composition 1 (Western Classical Tradition)

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10)
10 10 10 10 10 10 60
Comment:
This is an excellent composition demonstrating a very mature approach to the
work. The piece shows an impressive understanding of a range of musical
devices. It is well structured and succeeds in fusing together the classical and
jazz genres as intended by the candidate. The work is outstanding, in every
respect.
This composition falls into category: GRADE A

Track Two: Diweddara
Composition 2 (Style Composition / 20th/21stcentury – Title: Diweddara

Commission (as specification p 24) A setting of words
.
To compose a piece, setting words to music for a special occasion in a conventional style.
...........................................................................................................................................................................................................................................................................................................................................................................................................
I decided to compose a song for the ‘Song for Wales’ competition. This was the special occasion
that I chose.
As this was in a conventional style, but written in popular idiom, I decided to include the
following aspects in my piece
 strophic form
 Imitation
 Sequence
 syncopation
 layered musical ideas
 melodic balance of phrases
expansion of material
 modulation
 major tonality
 passing and auxiliary notes
I used Sibelius 3 programme to write my composition and I recorded it using a mini disc and
an 8 track machine which belongs to my school.

The following three sections are to be completed by the candidate and
countersigned by the teacher.
CHECK 1
I started by writing the words for my song. I find it easier to work like that when composing a
song. I thought of a theme before thinking about many words and ideas that befitted the idea I
had. When I was happy with the general plan of the words, using the strophic format I started to
compose the melody to go with them. When I write a melody, I also consider the chords at the
same time, so the melody and harmony happened at the same time. I worked this out on my
acoustic guitar while I sang the melody.
CHECK 2
Explain the process of composition during the developmental stages of the piece,
including the nature of any help or advice received.
My next step was to put the melody and chords on to Sibelius to create a backing track for my
song. I decided to use acoustic guitar, string synthesizer, drums and bass guitar for this. I
then worked on the melody of the song. I put the strings playing chords throughout the piece
which I think helped the piece to flow easily and to strengthen and thicken the texture. I put the
other instruments then playing harmonies to enrich the sound. I wanted to layer the sounds
and not have everything playing at the same time in each verse. So I added the drums to join in
the second verse. I wanted to have an original sound to my piece so I went for an African drum
to play when the full set of drums is not playing.
I then worked on the verses and chorus, the chorus being repeated I felt added a unity to the piece
which was appropriate to the style. I added sequences also to give unity and kept working to
enrich the harmonies. My teacher was pleased with the work but advised me to try to add a bit
more variety at this stage.

CHECK 3
I took on board my teacher’s advice and I thought that it would be a good idea to change the key
at some point of the song. I decided to add a modulation at the end of the piece, as is often the
case in music of this style. I also added another voice to harmonise in the chorus to give the
piece more variety. At this stage I was pleased with the overall result. I used the Sibelius 3
programme to set and treat the instruments. I then recorded it all by using an 8 track machine
which belonged to the school. Finally I presented my final recording on mini disc.
DIWEDDARA / SUGGESTED ASSESSMENT

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10)
9 6 9 7 5 10 46
Comment:
A clear and simple yet effective. structure . The element of developing
musical ideas is restricted along with the harmonic range of the piece, however,
it is appropriate to the style which is consistent throughout the piece.
This composition falls into category: GRADE B

Track Three: Skat
Composition 2 (Style Composition / 20th/21stcentury – Title: SKAT
Commission (as specification p 24) A movement in a chosen contemporary style

.
To compose an a capella scat vocal jazz piece for SATB choir.
General details of composing (to be completed by candidate. Details of the exact

nature of the contribution of all software must be included.)
Being a singer, I have experience of singing with various choirs and ensembles, so I tried to
incorporate this knowledge into my piece.
I decided to incorporate a variety of features and devices into my composition. Some of these
are from the Western Classical Tradition, others from jazz and a large number of them are
common to both genres.
I aimed to use imitation and use of ostinato throughout the piece with balanced phrases. I have
layered several musical ideas and although I have only created a piece for unaccompanied
voices, I have worked to experiment with timbres , using scat words and clicking. I have used
‘blue’ notes in my piece and have worked on extended chords. I have also tried to capture an
improvisatory style as this is what scat singing is really about. I have included swing and
syncopated rhythms and have added several countermelodies.
The piece is structured as: Introduction, ABCD reverse A. I decided to end the piece in reverse to
the opening A section to give it a unique sort of arch form.
I wrote the piece using Sibelius score writing software, made it into an audio file then burnt it
onto a CD.

CHECK 1
I started my composition by working on various melodies in the key of B minor, using the
blues scale. When I had completed a melody I put it into Sibelius and I layered all of the
melodies together to see if they would work at the same time. This was the beginning of
developing what would become the ostinato pattern for each voice. In my A section. At this
stage I hadn’t considered voices or words. I tried to vary the rhythms of each melody so that it
would create interest in the composition, so that something interesting was happening on every
beat. When I was happy with the various patterns I started to assign them to different voices. I
found that difficult without adding in the words, and so I did some research on the various
types of ‘scat’ sounds. The use of scat words gives the opportunity for them to sound like
instruments. I started to add lyrics to each of the melodic lines and I found that as a result I
was altering the rhythms to match the words. This worked very effectively as it created even
more syncopation and an almost percussive sound with some of the melodies. I thought it
would work well if I started with just the tenors and then introduce the other voices in staggered
entries to vary and build up different textures. I liked the effect of each voice having a different
ostinato that worked well. I then added some performance directions and stylistic features like
the accents and the glissando in the soprano lines. I showed my A section to my teacher and
she was quite pleased.
CHECK 2
I thought that my B section should have some different ideas. I still wanted a lot of different
ostinati performed at the one time, but this time I decided against layering the texture. I
switched around the styles of the melodic lines – so that for example the alto lines had a more
lyrical style melody in contrast to the more percussive pattern they had in the A section. I used
some of the motives from the original patterns and developed those to create the new lines. I then
went on to develop these further for my C section. Here I wanted to create a more homophonic
idea with the main melodic interest being heard in the soprano line and the accompaniment
creating more harmonic support. For the D section I thought I would try to vary the texture a
little more by adding in the clicking sound. I think this is quite stylistic and helps with the
timbral contrast. In the other sections I had worked on either layering sounds or creating
melody and accompaniment. I thought that it would work well for this section if I just had each
voice harmonising around the same melody. I harmonised the main idea in thirds and made
the clicking more complex as I went along. When I listened back to it I felt that it was not
interesting enough and so I added a more interesting and syncopated bass line and extended
the percussive ideas by adding clapping in addition to the clicking. I then went back to my A
section.

CHECK 3
My teacher asked me to reconsider a few ideas. She suggested that I should look at the final A
section and try to add more variety, and to consider an introduction. I then realised that I
could put my A section in reverse as it were, so it moved from the thicker texture to the thinner
texture, thus creating the arch effect. I think that this worked really well. This led me to
creating the final bar where everyone vocalised Ah at the end on a B minor chord, which I think
is a good conclusion to the piece. I added the introduction and here I tried to make the chords
sound a little interesting as the harmony is a little static and predictable in the rest of the piece.
This was my intention however, as I think it is correct given the style of the piece I have created.
In the introduction I layered the vocal entries which are vocalising on oohs, dos and ahs,
creating some dissonance with semitone clashes, added notes and a suspension. I also worked
on making a smooth transition between the B and C sections via a ‘walking bass’ line , which I
then reflected just before the reverse A section.
I am pleased with my overall composition, but I don’t like the recording. Because of the limited
Sibelius sample sounds, the midi voices are obviously artificial and don’t sound authentic. A
real choir would do justice to the piece and embrace a general feel. Techniques and nuances
within it, as well as being able to articulate the scat words effectively and use the dynamics,
accents and other techniques that I have written in the score.
SKAT/ SUGGESTED ASSESSMENT

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10)
6 5 7 7 6 7 38
Comment:
There is a clear sense of structure demonstrated in this composition and the
possibilities of the commission are generally exploited. The piece demonstrates
textural control and includes rhythmic variety but there is insufficient
harmonic variety.
This composition falls into category: GRADE C

Track Four: Alleluia
Composition 1 (Style Composition / Western Classical Tradition – Title: ALLELUIA
Commission (as specification p 24) A setting of words for a specified occasion

.
To compose a piece a choral piece for a church service.
I decided to write my piece for a female choir, as I wasn’t sure how to write for male voices. I sing
in female choirs myself and know that sometimes it is difficult to keep the line if there are too
many voices. I decided to write just in two parts, soprano and alto, to make it easier to sing but
also as I wanted the piece to sound clear and simplistic and not too overly complicated. My
teacher thought that an organ accompaniment would be suitable for this piece. I decided to base
my composition on a choral piece by Randall Thompson called ‘Alleluia’. I chose this piece for my
model as I had previously sung it in my choir.
I decided to include the following features in my composition:

 Imitation
 repetition
 plagal cadences
 modulation to related keys including the relative minor
 diatonic harmonies
 suspensions
 expansion of material
 motivic development
 canon
As well as being influenced by the Thompson piece, I also considered the features of vocal music
from the AS set works such as Zadok the Priest and Nelson Mass. However, I didn’t want to
write a pastiche of this type of work, so I created a piece in a 20th.21st century style just using the
features of the music that I have studied.
I composed my piece firstly on manuscript paper and then I entered it onto Sibelius without a
keyboard, as I find it hard to keep the rhythm accurate.

The following three sections are to be completed by the candidate and countersigned
by the teacher.
CHECK 1
I started my composition by sketching some different rhythmical patterns based on the word
‘Alleluia’. When I had worked out some rhythmic motives, I then started working on a basic
melody. I began with simple patterns, based on the scale and arpeggios in A major. When I had
my first melody I then started to harmonise that using mainly thirds and sixths.
For my second main melody, I wanted to add some contrast to the texture and not just have the
vocal parts working homophonically throughout the piece. I decided to add some interest by
adding a canon. I also modulated to a related key. At this stage I was quite happy with the
progress of my piece. I showed the work to my teacher.
CHECK 2
Explain the process of composition during the developmental stages of the piece, including
the nature of any help or advice received.
My original intention was just to have an unaccompanied piece, but my teacher suggested that I
needed to add something to the texture. We agreed that an organ accompaniment would be
suitable as it would provide a thicker texture and a greater sense of harmony. I went back over the
section that I had completed up to now and I put in suitable chords to go with my melody. I
thought that the organ should just provide harmony mainly and leave the melodic interest in the
voices. I was pleased with the outcome.
To add more interest to the piece, I put in a modulation to the relative minor key and I experimented
with more melodies, working on different harmonies, homophonic in thirds/sixths and other
intervals, and also using imitation and canon. I also looked to widen the tessitura of the voices to
create more interest.. I also decided to finish the piece using ‘Amen’ as in the Thompson piece. I
thought about a plagal cadence but then decided on a perfect one to finish the piece.

CHECK 3
Describe the final stages of the compositional process, including details of presentation and
advice received.
I looked at the organ part, and wasn’t really happy about it playing block chords all the way
through, so I in the right hand I created a bit more interest by putting the melody in octaves at an
important part (bar 60) to match the soprano and alto parts. After that I put in some quavers to
give the organ a little more to do in the piece. I also added some dynamics and tempo marks as I
put the piece into Sibelius. It was good to hear the piece through, so I changed some bars as I
thought the harmonies could have worked better.
ALLELUIA SUGGESTED ASSESSMENT

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10)
5 6 5 4 5 5 30
Comment:
A simply structured piece with appropriate if somewhat static harmony. The
piece, on the whole, lacks variety and shape. The texture is underdeveloped.
There is some simple development of ideas.
This composition falls into category: GRADE D

Track Five: Smashed Glass
Composition 2 (Style Composition / 20th/21st century– Title: Smashed Glass
Commission (as specification p 24) A movement in a chosen contemporary

.
To compose a piece in a minimalist style.
General details of composing (to be completed by candidate. Details of the exact

nature of the contribution of all software must be included.)
I chose to compose a piece in a minimalist style as I enjoyed studying that type of music. I
listened to many minimalist composers and I decided to base my music on that of Philip
Glass, as I believe he writes a more melodic form of minimalism. I also chose percussion
instruments because I am a percussionist, and so I know what instruments would be best in
an ensemble.
I decided to include typical features of minimalist music in my composition such as
repetition, layered musical ideas, textural variety and diatonic harmonies. I also created some
polyrhtyms in the piece and worked on having a simple hypnotic melody throughout the piece.
I composed my on Sibelius linked to a Roland keyboard.


CHECK 1
I began my piece by just working out the hypnotic melody that I wanted to create which would
form the basis of the entire piece. I decided to create a melody based on the broken chords of A
minor and E minor. I then moved to G major chord to add a little development. When I was
happy with the effect of the melody, I then started to input my ideas into Sibelius. I decided to
work with melodic percussion instruments and I put in the gong too. I decided that the gong
would play on the first beat of every cycle and that would also be reminiscent of gamelan
music. I had read that many of the minimalist composers were influenced by world music. I
started to harmonise the melody with chords and a bass part moving mainly in crotchets. I
listened and thought that the melody was getting a bit lost, so I doubled the melody in the
marimba part and I also outlined it but used a different rhythm in the vibraphone part. I
thought that this worked well and gave me the polyrhythmic feel I wanted for the piece. I
repeated the ideas several times as minimalist composers do, before the change to the G major
chord. I wanted the changes to be subtle.
CHECK 2
I reviewed what I had already written and added in another subtle change. I put in some rests
to the vibraphone part. For next changes I decided to add in G minor and D minor chords and
to change the bass part . As I thought the harmony was bit static I added in more frequent
chord changes, and some chromatic notes.
CHECK 3
I listened to my piece and thought that the texture needed some variety. I added in a new
section using some of the material I had already written and I added a small solo section for
each player so that they got to play a line of melody. After that I thickened the texture again
so that the full ensemble played. I added in some repeats. Then I started to work on the
conclusion. At this stage I added some dynamics.
I printed out my score and created an audio version of my Sibelius file.

SMASHED GLASS SUGGESTED ASSESSMENT

a) (10) b) (10) c) (10) d) (10) e) (10) f) (10)
4 4 5 4 5 5 27
Comment:
A basic understanding of minimalism displayed. The piece however, is too
static and repetitive and lacks motivic development and manipulation of cells.
A more imaginative outcome to the composition task would be expected at his
level.
This composition falls into category: GRADE E

5.3 MU6 Listening and Appraising

Part 1 – Unprepared Extracts (Aural Perception)
The types of questions set for Part 1 of the examination will include:
1 Identifying time signatures, tonality, texture, instruments and voices and
related techniques
2 Describing musical features.
3 Completion of a skeleton score: identifying keys, chords, cadences and
texture; completion of pitch and rhythm; location of errors in pitch and rhythm
Part 2 : Set Works (Historical and Analytical Study)

1. Initial questions will focus on the extracts played. Candidates will have
approximately ten minutes to complete their answers.
2. A question requiring a more extended answer will deal with the whole work or
movement and will not be accompanied by an audio extract. Candidates will
have approximately 15 minutes to complete this question.
3. Centres will have chosen the set works to be studied and therefore will
choose which tracks of the CD will be played on the day of the examination.
4. Candidates should take an unmarked copy of the set work they have studied
into the examination. They may pencil in bar numbers to assist them in the
exam.
For questions in both Part 1 and Part 2 of the paper please note that:
Consideration is being given to the number of hearings, the gaps between the
hearings and the amount of time given for completion of the question
The marks allocated to each part of the question will be clearly indicated and may
serve as an indication of the number of answers required
As is usual, the number of lines provided in the answer booklet will give an indication
of the length of answer required
Part 3 : Optional Extended Study (MU6 (B))

For candidates choosing this option (5%), they will be expected to write an essay in
which they will demonstrate knowledge and understanding of the overall musical
style and output of one of the three set work composers. They will have 45 minutes
to complete this essay.
Contributors to the Teachers’ Guide

Mr Eric Phillips, Head of Music, Whitchurch High School
Mrs Janice Richards, Head of Performing Arts, Stanwell School
Mr Richard Whitehead, Chief Examiner A Level Music
Ms Elaine Carlile, Subject Officer Music, Drama and Performing Arts
GCE Music - Teachers' Guide (A2)/ED

8-7-09

GCE Music Teachers Guide A2

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GCE A2 MUSIC Teachers' Guide 1

2. Delivering the specification 8

3. Support for Teachers 19

Contributors to the Teachers’ Guide 64

Issued July 2009

This guide is one of a number of ways in which WJEC provides assistance to

Other provision which you will find useful includes:

1 Examiners’ reports on each examinations series

Contact Points for GCE Music are as follows:

Catherine Webster (Subject Officer)

Sara Evans / Catrin Budd (Administrative Support Officers)

Subject page www.wjec.co.uk/music

INSET Section inset@wjec.co.uk

1.2 Overview of the Specification

1.3 Changes to the A2 specification for delivery in September 2009

The new A level specification includes an A-Z of Musical Ingredients, outlining

centuries, another piece must reflect a further area of study.

Each heading is marked out of a total of 10

MU6 (A) PART ONE

 Candidates will be required to:

 Candidates will study one set work. Either:

 For the first question, candidates will hear excerpts from

2. DELIVERING THE SPECIFICATION

2.1 Pathways through the specification

2.2 Examples of Approaches

A holistic approach to the teaching of the A Level units is to be encouraged.

1. Ravel: Piano Concerto in G major

PIANO CONCERTO IN G MAJOR: RAVEL

TASK METHOD RESOURCES

Composition tasks  Listen to the piece several times, whilst Score

Listening  Pupils will need to revise chord patterns Worksheets and

(a) Identify the key signature. [2]

(b) Insert the missing pitch and rhythm at:

(a) Identify the key signature. E major [2]

(b) Insert the missing pitch and rhythm at:

Tonic chord. No fifth.

STRING QUARTET NO. 8 IN C MINOR: SHOSTAKOVICH

TASK METHOD RESOURCES

Composition tasks  Listen to the piece several times, whilst Score

(a) Identify the key signature. [2]

(b) Insert the missing pitch and rhythm at:

(a) Identify the key signature. C minor [2]

(b) Insert the missing pitch and rhythm at:

Tonic chord. Third omitted.

THIS WORLDE’S JOIE: MATHIAS

TASK METHOD RESOURCES

Composition tasks  Listen to the piece several times, whilst Score

(a) Identify the time signature. [2]

(b) Insert the missing pitch and rhythm at:

(a) Identify the time signature. 6/8 [2]

(b) Insert the missing pitch and rhythm at:

3. SUPPORT FOR TEACHERS

Heinemann Advanced Music: Teacher Resource File ISBN: 9780435812591

Heinemann Advanced Music: Student Book ISBN: 9780435812584

Heinemann Advanced Music: CD Pack ISBN: 9780435812607

3.2 General Websites

The following websites are a good source of resources for teachers:

4.1 Performing (MU4)

Author Year of Title

Web Address Description

Film and video that may be of interest:

4.2 MU5 Writing a Composition in the style of the 20th/21st century

There is no need for candidates to produce pastiche in the style of a particular

Candidates are well advised to experiment with compositional devices and