Create music which develops musical ideas, showing a sense of structure and style.

2 – Composing: Creating Music that Develops Ideas, Shows Structure & Style

1. How Composing Fits into the IGCSE Music 0410 (2026‑28) Syllabus

The IGCSE Music course is divided into three equally‑weighted components. The composing component (34 %) is assessed against the three Assessment Objectives (AOs) and the specific marking‑scheme descriptors shown in the AO3 checklist.

2. Assessment Objectives (AOs) – What Examiners Expect

AO3 Checklist – Ensure Every Descriptor Is Covered

3. Notation Conventions Required for IGCSE Compositions

• Key signatures: up to four sharps or four flats (including natural minor).
• Time signatures: simple (2/4, 3/4, 4/4) or compound (6/8, 12/8). Uncommon metres (e.g., 5/4) are permissible only if justified in the commentary.
• Bar‑line & repeat signs: clearly indicate repeats, first and second endings, and any codas.
• Tempo & metronome markings: give a precise BPM (e.g., ♩=120) and an expressive term (Allegro, Andante, etc.).
• Dynamics & articulation: pp‑ff, cresc., decresc., stacc., leg., marcato, accents.
• Ornamentation symbols: trills (tr), mordents (mord), turn (turn), grace notes.
• Electronic production symbols (if used): “loop”, “sample”, “reverb”, “delay”, “synth pad”, “drum machine”.
• Micro‑tonal indications (optional): quarter‑tone up/down (↑¼, ↓¼) or “+50 c” for pitch‑bending; include in commentary if employed.

4. Key Terminology – Quick Reference (Syllabus Vocabulary)

5. Understanding Musical Ideas

A musical idea is a short, recognisable fragment that can be transformed and recurred throughout a piece. It may belong to one (or more) of the following categories:

• Melodic motif – a concise pitch pattern (e.g., three‑note stepwise figure).
• Rhythmic cell – a distinctive rhythm (e.g., syncopated eighth‑note pattern).
• Harmonic progression – a chord sequence that creates direction (e.g., I–IV–V–I).
• Textural idea – a specific combination of instruments, a particular articulation texture, or a distinctive timbral effect (e.g., pizzicato strings + woodwind drone).

Examples from Syllabus Focus Works

• Baroque – Vivaldi’s Spring concerto: opening ritornello figure (melodic + rhythmic idea).
• Classical – Mozart’s String Quartet K. 458: first‑movement primary theme (balanced phrase) and its development.
• Romantic – Beethoven’s “Pastoral” Symphony, 1st movement: “scene by the brook” – flowing arpeggiated texture as a textural idea.
• Music & Words – “Yesterday” (The Beatles): simple four‑chord loop as harmonic idea.
• Dance – Argentine tango “La Cumparsita”: characteristic 2/4 syncopated rhythm cell.
• Small Ensemble – Jazz combo “Blue Bossa”: ii‑V‑I progression with extended chords.
• Stage & Screen – John Williams’ “Imperial March”: leitmotif (melodic idea) with orchestral colour.

6. Development Techniques – Choose at Least Three

When you develop your primary idea, apply a minimum of three of the techniques listed below. Combine them for greater variety.

1. Repetition – exact restatement.
2. Sequence – repeat at a higher or lower pitch level.
3. Inversion – turn intervals upside‑down.
4. Retrograde – play the material backwards.
5. Rhythmic augmentation – lengthen note values.
6. Rhythmic diminution – shorten note values.
7. Fragmentation – use only a part of the original idea.
8. Ornamentation – add trills, mordents, grace notes, etc.
9. Change of texture – shift from homophonic to polyphonic, or vary instrumentation.
10. Dynamic shaping – use crescendi/decrescendi, sforzandi, or sudden dynamic contrast.
11. Modal/scale alteration – change from major to minor, introduce modal mixture.
12. Micro‑tonal or pitch‑bending treatment – apply quarter‑tones, glissandi, or electronic pitch‑shift.
13. Electronic production – loop, sample, add reverb/delay, layer synth pads.

7. Form & Structure – Choosing a Framework

Even a short 8‑16‑bar sketch needs a clear plan. The most common short‑form structures for IGCSE compositions are listed below with typical bar‑length suggestions.

Tip: In the planning stage write a simple bar‑by‑bar map (e.g., “1–4 A: tonic, 5–8 B: dominant, 9–12 A’: tonic with ornamentation”).

8. Style & Genre – Aligning with the Seven Study Areas

Choose a genre that matches one of the seven syllabus areas. The table below links each genre to its characteristic features and to a recommended focus work (or a typical example) that you can reference in your commentary.

World‑Music & Micro‑tonal Elements (Optional but Syllabus‑Relevant)

• Indian raga‑based melody – use drone (e.g., tanpura) and specific ornamentation (meend, gamak).
• Arabic maqām – quarter‑tone intervals, characteristic melodic patterns.
• Latin percussion idioms – clave patterns, salsa tumbao bass.
• Electronic production – sampling, looping, synthesiser pads, side‑chain compression.

9. Use of Medium – Instrumentation, Idiom & Technology

• Instrument‑specific idioms: write within the natural range, use typical articulations (e.g., pizzicato for strings, slap‑tongue for woodwinds, double‑stops for violins).
• Different medium for Composition 2: the second piece must use a different instrument family, voice type, or a distinct electronic texture from Composition 1. Identical scoring results in a loss of marks in the “Use of medium” descriptor.
• Electronic tools (allowed for both pieces): DAW sequencing, MIDI mock‑up, sample libraries, or notation software with playback. Clearly label any electronic processes in the score (e.g., “Synth pad – filter sweep”).
• World‑music timbres: tabla, djembe, sitar, oud – include a brief note in the commentary about the cultural context and any special notation used.

10. Composer’s Commentary – Required for Both Pieces

The commentary (150‑200 words) must address the following points:

1. Chosen genre and the focus work(s) that inspired you.
2. Key, metre, tempo, and overall form.
3. Presentation of the primary musical idea(s).
4. Which development techniques you have used (name at least three) and why.
5. How the instrumentation/electronic medium supports the style.
6. Any modulation or micro‑tonal treatment and its expressive effect.

Use the terminology from the “Key Terminology” table throughout the commentary – this demonstrates AO1 and AO2.

11. Compositional Planning Checklist

12. Common Pitfalls & How to Avoid Them

• Missing AO3 descriptors – Use the checklist as a rubric; tick each item before finalising.
• Identical medium for both pieces – Plan Composition 2 early; choose a contrasting ensemble (e.g., strings vs. electronic synths) or a different voice type.
• Insufficient development – Ensure you have at least three distinct techniques; label them in the commentary.
• Notation errors – Keep key signatures within the allowed range; double‑check repeat signs and bar counts.
• Commentary too brief or vague – Use specific terminology (e.g., “the opening motif is developed by sequence up a fifth and rhythmic augmentation”).
• Over‑reliance on one style – Even within a genre, show awareness of the focus work’s characteristic features (e.g., terraced dynamics for Baroque, rubato for Romantic).

13. Quick Reference Summary (One‑Page Cheat Sheet)