Notate compositions accurately using staff notation or other suitable means.

AO3 – Composing: Notating Compositions Accurately (Cambridge IGCSE Music 0410)

Assessment Objectives (AO3) – What You Are Being Marked On

AO3 Statement (as in the syllabus)
Demonstrate musical inventiveness and originality in the ideas presented.
Use an appropriate structure and medium for the chosen brief.
Communicate the composer’s intent clearly through accurate and idiomatic notation (including any required commentary or legend).

Marking Overview – Weightings & Descriptors

Criterion	Maximum Marks	Descriptor (5 → 0)
Ideas (originality, development)	5	5 = Highly original, fully developed; 3 = Some originality, partial development; 0 = No clear ideas.
Structure (form, coherence)	5	5 = Clear, appropriate form; 3 = Form evident but imperfect; 0 = No recognisable structure.
Use of Medium (instrumentation, idiom)	5	5 = Fully idiomatic, correct range/technique; 3 = Generally appropriate; 0 = Incorrect or missing medium.
Compositional Technique (motif work, harmony, texture)	5	5 = Sophisticated use of techniques; 3 = Basic techniques applied; 0 = No technique evident.
Score Presentation & Commentary (notation accuracy, legend, brief)	5	5 = Clear, accurate, fully explained; 3 = Mostly clear, minor errors; 0 = Unclear or missing.

---

1. The Full Composing Process (What the Syllabus Expects)

• Generate musical ideas – melody, harmony, rhythm, texture.
• Choose a structure – binary, ternary, rondo, through‑composed, or any form that fits the brief.
• Select the medium – instrument(s) or voice(s). Remember: Composition 1 and Composition 2 must use **different instrument families or vocal/ensemble types**.
• Apply compositional techniques – motif development, sequence, variation, counter‑melody, harmonic progression, appropriate ornamentation, etc.
• Document the work – write a clear score (standard or alternative notation) and a brief commentary (max 150 words) that explains the brief, main ideas, and any non‑standard symbols.

Link to AO3

Each bullet maps directly onto one of the AO3 criteria listed above, providing a quick reference for self‑assessment.

---

2. Standard Staff Notation – Core Skills

2.1 Setting Up the Stave

1. Write the correct clef (treble, bass, alto, tenor, percussion, or specialised clef for non‑Western traditions).
2. Insert the key signature immediately after the clef.
3. Insert the time signature after the key signature.
4. Indicate the tempo (e.g., Allegro, metronome marking ♩=120) at the start of the piece.
5. If the piece changes key or meter, write the new signatures at the point of change.

2.2 Pitch & Rhythm

Note value	Symbol	Relative duration
Whole note	𝅘𝅥𝅮	1
Half note	𝅘𝅥𝅯	½
Quarter note	𝅘𝅥𝅰	¼
Eighth note	𝅘𝅥𝅱	⅛
Sixteenth note	𝅘𝅥𝅲	⅟₁₆
Rests (matching values)	𝄽 𝄾 𝄿 𝄾 𝄿	Same as notes above

2.3 Dynamics, Articulations & Expression Marks

• Dynamics (below the staff): pp, p, mp, mf, f, ff, sfz and crescendo/decrescendo wedges.
• Articulations (above or below the note head):
  • Staccato – dot (·)
  • Accent – >
  • Tenuto – horizontal line (–)
  • Marcato – ^
  • Fermata – 𝄐
• Expression marks (text above the staff): legato, marcato, dolce, con brio, etc.

2.4 Repeats, Codas & Navigation Symbols

Use the standard symbols shown below. (Insert clear line‑drawings or printable icons in the classroom hand‑out.)

2.5 Idiomatic Writing for the Chosen Medium

• Range – stay within the comfortable pitch range of the instrument/voice.
• Technical idioms – e.g., arpeggiated figures for piano, open strings for violin, breath marks for wind, pizzicato or col legno for strings, glissando for guitar, pitch‑bend for electric guitar or synth.
• Articulation conventions – slurs for legato, staccato dots for short notes, tremolo signs for strings, etc.

2.6 Score‑Reading Skills (Often Tested in the Exam)

• Identify intervals (e.g., a written C to E is a major third).
• Recognise simple transpositions (e.g., a melody written in C major but performed in B♭ major).
• Read and count simple rhythmic patterns, including dotted notes and tuplets.
• Spot key‑signature changes and relate them to accidentals in the melody.

---

3. Alternative Notation Methods (When the Syllabus Allows)

3.1 Chord Symbols & Lead‑Sheet Notation (Area 5 – Jazz, Pop & Latin)

• Root + quality: Cmaj7, G7, Am, Dm7♭5.
• Place symbols directly above the staff at the point of harmonic change.
• Provide a short key‑scale legend if you use non‑standard symbols (e.g., ♭9, #11).

3.2 Cipher Notation for Hindustani Music (Area 6 – Silk & Bamboo Ensembles)

Use the Indian “Sa‑Re‑Ga‑Ma‑Pa‑Dha‑Ni” system. Accidentals are shown with # (sharp) and b (flat). Example:

Sa   Re   Ga   Ma   Pa   Dha   Ni   Sa'
S    R    G    M    P    D     N    S

• Write the tāla cycle (e.g., 8‑beat teentaal) above the staff and mark the sam (first beat) with a vertical bar.
• Include a legend for any ornament symbols (e.g., ~ for meend, ^ for kan).

3.3 Tablature (Tab) for Stringed Instruments (Area 4 – Strings)

• Six‑line staff for guitar, four‑line for ukulele, etc.
• Numbers indicate fret; string order shown on the left.
• Timing is shown either by rhythmic symbols above the tab or by a parallel standard staff.

3.4 Graphic Notation (Area 7 – Electronic & Experimental)

• Use simple, unambiguous symbols (e.g., thick line = “percussive strike”, wavy line = “glissando”).
• Provide a **complete legend on the first page** (see Legend Checklist below).
• Combine with a conventional staff if pitch information is required.

3.5 Non‑Western Traditional Notation (Area 6 – Silk & Bamboo)

• Chinese Jianpu – numbers 1‑7 represent scale degrees; dots above/below indicate octave.
• Arabic Maqam – Arabic letter names (e.g., Rast, Hijaz) with micro‑tone accidentals: half‑flat ♭½, half‑sharp #½. Include a legend for these symbols.

Legend Checklist (Required for Any Non‑Standard Notation)

Item	What to Include
Symbol list	All graphic, cipher, or micro‑tone symbols used.
Meaning	Clear, one‑sentence description of each symbol.
Placement guide	Where the symbol appears (above staff, on staff, in tablature, etc.).
Key / scale reference	If using cipher or numbered notation, state the tonic and mode/raga/maqam.

---

4. Composition 1 & Composition 2 – Syllabus Requirements

4.1 Composition 1 (Fixed Brief)

• Write a piece for a solo instrument/voice **or** a small ensemble in a style from one of the prescribed Areas of Study (1‑7).
• Length: “reasonable” – typically 8–16 measures (≈30 seconds) but the exact number may vary according to the chosen tempo and style.
• Must include: key signature, time signature, tempo marking, dynamics, articulation, and any required style‑specific symbols.
• Submit a handwritten or typed score **plus** a commentary (max 150 words) that identifies the style, main musical ideas, and any non‑standard symbols.

4.2 Composition 2 (Candidate‑Defined Brief)

• Choose a brief that relates to Areas 4–7 (e.g., music for dance, stage, film, multimedia, or experimental).
• Use a **different medium** from Composition 1 (different instrument family, voice type, or ensemble).
• Length: “reasonable” – usually 16–32 measures (≈1 minute), but adjust for tempo and texture.
• Allowed notation: standard staff, chord symbols, cipher, tablature, graphic symbols – **any non‑standard system must be explained with a legend**.
• Submission options (as per the syllabus):
  1. Score + commentary (max 150 words).
  2. Score + separate brief (max 150 words) + audio/video recording (if the school provides the facility).

4.3 Avoiding a Zero Mark for “Use of Medium”

Ensure the two compositions differ in instrument family or ensemble type. Examples:

• Composition 1 – solo flute (Western staff notation).
• Composition 2 – tabla‑driven piece with cipher notation for bansuri (Indian ensemble).

---

5. Marking Criteria – Detailed Mapping to AO3

Criterion	What Examiners Look For
Ideas	Original melodic/harmonic material, clear development, effective use of motifs.
Structure	Appropriate form for the brief, logical sections, clear repeats/ending signs.
Use of Medium	Range, technique and idiom suited to the chosen instrument(s) or voice(s); different medium for each composition.
Compositional Technique	Use of sequence, variation, counter‑melody, appropriate harmony (including non‑Western modal or raga concepts), texture.
Score Presentation & Commentary	Correct clef, key, time, tempo, dynamics, articulations; legible layout; legend (if needed); concise commentary that explains the brief and any special symbols.

---

6. Common Errors to Avoid

Error	Impact on Mark
Omitting key or time signature	Score presentation loses marks; performer cannot interpret the piece.
Wrong clef for the instrument	Incorrect pitch reading; penalised under “Use of Medium”.
Mis‑placed notes (wrong line/space)	Pitch errors; affects “Pitch Accuracy”.
Inconsistent spacing of notes/rests	Rhythmic ambiguity; loss of “Rhythmic Accuracy”.
Dynamics or articulations not aligned with intended notes	Reduces expressive clarity; lowers “Score Presentation”.
Missing legend for graphic or non‑standard symbols	Breaks the “Score Presentation” requirement (0 marks for that criterion).
Using the same medium for both compositions	0 marks for “Use of Medium” in Composition 2.
Over‑long or under‑short pieces that are unreasonable for the brief	May be penalised under “Structure” or “Ideas” for lack of coherence.

---

7. Self‑Check Checklist (Linked Directly to AO3)

1. Is the clef correct for the chosen instrument/voice?
2. Are the key and time signatures present and accurate?
3. Do all notes and rests reflect the intended rhythm (including ties, dots, tuplets)?
4. Are dynamics, articulations and expression marks placed logically?
5. If alternative notation is used, is a clear legend or explanation provided?
6. Does the score demonstrate idiomatic writing (range, technique) for the chosen medium?
7. Is the overall layout clean, well‑spaced and easy to read (no overlapping symbols)?
8. For Composition 2, does the brief differ from Composition 1 and is the medium different?
9. Have you included a short commentary (≤150 words) that covers the brief, main ideas, and any special symbols?

---

8. Practice Activities (Designed for the Syllabus)

Activity 1 – Composition 1 (Western Classical Style)

Task: Write a 12‑measure melody for solo violin in the style of Mozart’s Quintet (Area 2).

• Key: D major, 3/4 time.
• Include at least one ornament (trill or turn) and a dynamic contour (e.g., p – mf – f).
• Write a 100‑word commentary identifying the Mozart‑style features you have used.

Activity 2 – Composition 2 (Mixed Media, Non‑Western Influence)

Task: Create a 24‑measure piece for a small ensemble of tabla, bansuri (Indian bamboo flute) and synth pad.

• Use cipher notation for the bansuri melody, indicating the raga (e.g., Raga Yaman – Sa Re Ga♯ Ma Pa Dha Ni♭).
• Provide a legend for any graphic symbols (e.g., circle = drone, zig‑zag = pitch‑bend).
• Write chord symbols above the synth part (e.g., Cmaj7, B♭9).
• Write a 150‑word brief explaining the brief, the chosen raga, and any special notation.

Activity 3 – Score‑Reading Drill

1. Given a short 4‑measure excerpt in G major (4/4), identify:
   • All intervals between successive notes.
   • The rhythmic pattern (including any dotted values).
   • Any key‑signature accidentals that are altered by accidentals.
2. Transpose the same melody up a perfect fourth and rewrite the key signature.

Activity 4 – Legend Creation

Design a graphic‑notation fragment for a percussion ensemble (Area 7). Include at least three unique symbols and produce a complete legend following the checklist in Section 3.5.

---

9. Quick Reference Tables

Key Signature Cheat‑Sheet (Common Keys)

Key	Sharps	Flats
C major / A minor	0	0
G major / E minor	1 ♯ (F♯)	–
D major / B minor	2 ♯ (F♯, C♯)	–
A major / F♯ minor	3 ♯ (F♯, C♯, G♯)	–
E major / C♯ minor	4 ♯ (F♯, C♯, G♯, D♯)	–
F major / D minor	–	1 ♭ (B♭)
B♭ major / G minor	–	2 ♭ (B♭, E♭)
E♭ major / C minor	–	3 ♭ (B♭, E♭, A♭)

Common Time Signatures & Their Feel

Signature	Typical Use
4/4	Most pop, rock, classical – steady pulse.
3/4	Waltz, dance, many folk styles.
2/4	Marches, quick dance rhythms.
6/8	Compound duple – jig, folk, some ballads.
12/8	Slow compound duple – blues, gospel.

---

10. Final Tips for Success

• Start each composition on a fresh sheet of staff paper – neatness counts.
• Draft a short sketch first (melodic contour, chord progression) before committing to full notation.
• Always double‑check the legend: a reviewer should understand every non‑standard symbol without guessing.
• Read back your score aloud (or tap the rhythm) to spot misplaced rests or unclear groupings.
• Use the self‑check checklist as a final proof‑read before submission.