Topic 2 – Composing (Cambridge IGCSE Music 0410)
1. Assessment Objectives (AOs) linked to composing
AO1 – Listening & analysing
• Use correct musical terminology when planning, writing and justifying your composition.
• Show how the techniques you choose relate to at least one focus work studied in class.
AO2 – Performing
• Choose techniques, ranges and transpositions that are realistic for the intended performers.
• Include appropriate performance‑related markings (dynamics, articulation, tempo).
AO3 – Composing
• Write two contrasting original pieces (different instrumentation, media or style).
• Demonstrate understanding of melody, harmony, rhythm, texture, form, timbre and notation.
• Apply **at least three** compositional techniques from the list below and explain their purpose in a written commentary.
2. Contextual Anchor – Mapping techniques to the Seven Areas of Study
Use the table to see how each technique can be linked to a focus work. When you write your brief, indicate the Area of Study you are addressing.
| Area of Study |
Focus work (example) |
Key compositional technique(s) you could explore |
| Baroque |
Vivaldi – Spring (The Four Seasons) |
Sequence, rhythmic motif, ornamentation, tonal cadences |
| Classical |
Mozart – Symphony No 40, 1st movement |
Sonata‑form structure, thematic development, balanced phrasing |
| Romantic |
Wagner – “Ride of the Valkyries” |
Chromatic harmony, leitmotif transformation, orchestral colour |
| Music & Words |
Britten – “The Young Person’s Guide to the Orchestra” (vocal excerpt) |
Text‑setting, word‑painting, timbral contrast |
| Dance |
Bizet – “Carmen” (Habanera) |
Syncopated clave pattern, modal cadence, characteristic rhythm |
| Small Ensemble |
Beethoven – String Quartet No 4, Op. 18 No 4 (first movement) |
Counter‑point, imitation, voice leading |
| Stage/Screen |
John Williams – “Star Wars Main Theme” |
Motivic development, orchestration for drama, modulation |
Brief‑writing checklist (choose ONE area)
- State the chosen Area of Study and the focus work you are referencing.
- Define the purpose (exam piece, concert, film‑score, etc.) and intended audience.
- Specify the primary musical resources (instrumentation, key, meter, any non‑Western elements).
- Identify the three (or more) compositional techniques you will employ.
- Indicate how the two pieces you will write will contrast (e.g., acoustic vs. electronic, solo vs. ensemble, different timbral families).
3. Core Compositional Techniques (syllabus‑derived)
3.1 Melody
- Motivic development: repeat, vary, invert, retrograde, augment, diminish, fragment.
- Sequence: repeat a motif at a higher or lower pitch level (diatonic or chromatic).
- Contour & range: plan arches, peaks, stepwise motion; respect the comfortable range of each instrument.
- Non‑Western pitch material: pentatonic, modal (rāga, maqām), quarter‑tone scales.
3.2 Harmony
- Primary progressions – tonic‑dominant‑tonic, circle of fifths, modal cadences.
- Functional harmony – I, IV, V and secondary dominants.
- Extended chords – sevenths, ninths, added‑tone chords for colour.
- Modulation – up a fifth, relative major/minor, mode change, or distant key (use accidentals correctly).
- World‑music harmony – drone‑based harmony, micro‑tonal intervals.
3.3 Rhythm
- Meter – simple (2/4, 3/4, 4/4), compound (6/8, 9/8) or mixed.
- Syncopation – accent weak beats or off‑beats.
- Rhythmic motifs – short patterns for repetition and variation.
- Polyrhythm – overlay two different groupings (e.g., 3 against 2).
- Non‑Western cycles – Indian tala (e.g., 16‑beat teen‑tala), Arabic iqā’āt.
3.4 Form
- Binary (AB), ternary (ABA), rondo (ABACA), sonata‑allegro, theme‑and‑variations.
- Through‑composed – continuous development without exact repeats.
- Sectional contrast – change texture, dynamics, key, or timbre between sections.
- Programmatic form – link sections to a narrative or visual idea (Stage/Screen).
3.5 Texture
- Monophonic – single line.
- Homophonic – melody with accompaniment.
- Polyphonic – independent lines (counter‑point, imitation).
- Layered – combine two or more textures simultaneously.
3.6 Timbre & Orchestration
- Instrument families – strings, woodwinds, brass, percussion, voice.
- Register – high, middle, low ranges for colour.
- Extended techniques – col legno, flutter‑tongue, slap‑bass, vocal fry, etc.
- Doubling & divisi – reinforce or split parts for richness.
- World‑music timbres – sitar, oud, tabla, gamelan, etc.
3.7 Dynamics & Articulation
- Dynamic shape – gradual cresc/decresc, sudden sforzando, hairpin markings.
- Articulation – staccato, legato, marcato, accents, tenuto.
- Expression marks – “dolce”, “fermo”, “con brio”, “senza tempo”.
3.8 Motivic Development Techniques (expanded)
- Inversion – flip contour upside‑down.
- Retrograde – play the motif backwards.
- Retrograde‑inversion – combine both.
- Augmentation – lengthen note values (e.g., double).
- Diminution – shorten note values (e.g., halve).
- Fragmentation – isolate a short segment.
- Stretching & compression – alter rhythmic density without changing pitch.
3.9 Counterpoint
- Species counterpoint – first‑species (note‑against‑note) to fifth‑species rules for two‑voice writing.
- Free counterpoint – more flexible voice leading used in many styles.
- Imitation – successive entries of the same material at different pitch levels.
- Canon – strict imitation at a fixed interval.
4. Musical Resources (your compositional palette)
- Acoustic instruments: orchestral, concert band, folk, traditional (e.g., Irish fiddle, African djembe).
- Electronic instruments: synthesiser, sampler, computer‑based sound libraries.
- Human voice: solo, choir, spoken word, rap.
- Technology: notation software (Finale, Sibelius, MuseScore), DAWs (GarageBand, Ableton Live, Audacity).
- Notation formats: staff notation, lead sheets, graphic scores, cipher/tab (for plucked or non‑Western instruments).
5. Notation Essentials (what the examiner will check)
| Concept |
Exam requirements |
Quick reminder |
| Key signatures |
Original key – maximum of 4 sharps or 4 flats. Modulations may introduce additional accidentals, but each new key must be clearly notated. |
♯ : F‑C‑G‑D ♭ : B‑E‑A‑D |
| Transposition (B♭/E♭ instruments) |
Write parts a major second (B♭) or a major sixth (E♭) higher than concert pitch; adjust the key signature accordingly. |
Concert C → B♭ clarinet part D |
| Clefs |
Treble, Bass, Alto, Tenor – use the clef appropriate to each instrument’s range. |
Viola = Alto clef; Tenor sax = Treble clef + “+8 va” if written an octave higher. |
| Time signatures |
Simple, compound and mixed metres are permitted. Any change must be shown at the start of a bar. |
4/4 → 3/8 on the down‑beat of the next measure. |
| Bar lines & repeats |
Double bar lines for section ends, repeat signs for exact repeats, first/second ending notation for partial repeats. |
||: … :|| for full repeat; [1] [2] for first/second endings. |
| Dynamics & articulation symbols |
Standard symbols (p, mf, f, <, >, sforz., stacc., ten., marc.) plus any extended‑technique symbols must be clear. |
ff + marcato on the first beat of the climax. |
| World‑music notation |
Use appropriate symbols for quarter‑tones (half‑sharp/flat), rhythmic cycles (e.g., “|: 4 3 2 :|” for a 9‑beat tala), and modal alterations (♭III, ♯VII). |
Quarter‑tone: 𝄞 + ½♯ Tala example: “| Dha Dhin Dha Tin | Dha Dhin Dha Tin |”. |
| Non‑staff notation (cipher, graphic) |
If you employ cipher or graphic scores, attach a legend and a short translation for the moderator. |
Example legend: “1 = C, 2 = D, … ; ⧫ = accent”. |
6. Planning a Composition – Step‑by‑Step Worksheet
- Define the brief – purpose, audience, Area of Study, and the focus work you are referencing.
- Choose a central idea or mood – story, image, emotion, or extra‑musical concept.
- Select musical resources – instrumentation, key (≤ 4♯/♭ for the original), meter, any non‑Western elements.
- Sketch a core motif – melodic, rhythmic or harmonic idea that will drive the piece.
- Decide on form – binary, ternary, rondo, sonata‑allegro, etc.; map section headings (A, B, C…).
- Develop the motif – apply at least three techniques from Section 3 (e.g., inversion + modulation + texture change).
- Plan contrast (second piece) – change at least two of the following:
- Instrumentation / timbral family (acoustic vs. electronic, strings vs. brass).
- Key area or mode.
- Form or texture.
- Media (written score only vs. score + electronic backing track).
- Orchestrate – assign material to instruments, consider register, timbre, and any extended techniques.
- Write the score – use correct clefs, key & time signatures, bar lines, repeats, dynamics, articulation and any special symbols.
- Complete the Technique Log – a table that records where each technique is used and its musical effect (see below).
- Draft the written commentary – follow the checklist in the next box.
- Review & revise – check balance, contrast, logical progression and technical accuracy.
Technique Log (fill in while you compose)
| Technique |
Where it appears (section/measures) |
Musical effect / purpose |
| e.g., Inversion |
A – mm 8‑12 |
Creates contrast while keeping recognisable material. |
Written Commentary Checklist (minimum content required)
- Brief – purpose, audience, Area of Study, focus work referenced.
- Form – description of overall structure and any sectional labels.
- Techniques – list the three (or more) techniques used, with brief justification of how each supports the musical idea.
- Resources – instrumentation, key, meter, any non‑Western elements, and why they were chosen.
- Reflection – what worked well, any challenges, and how the piece meets the assessment criteria.
Terminology Box (AO1 & AO2 evidence)
Complete one sentence for each of the following:
- Form – “I have used a sonata‑allegro form because …”
- Texture – “The opening is homophonic, providing a clear melody‑accompaniment relationship.”
- Instrumentation – “The flute part is written an octave lower to stay within its comfortable range.”
- Dynamics – “A gradual crescendo leads into the climactic B‑section, heightening tension.”
7. Assessment Checklist (AO3 – Composing)
| Criterion |
Evidence Required |
Achieved (✓/✗) |
| Clear musical idea |
Identifiable motif or theme presented within the first 4‑8 bars of each piece. |
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| Two contrasting compositions |
Different instrumentation/media, contrasting timbre or style, and a brief statement of contrast. |
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| Use of at least three compositional techniques |
Technique Log shows where each technique occurs and its effect. |
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| Effective use of musical resources |
Instrumentation, timbral contrast and feasibility for intended performers. |
|
| Logical form and structure |
Sections clearly marked (A, B, C…) with purposeful transitions; form matches brief. |
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| Dynamic and expressive detail |
Dynamics, articulation, tempo and expression marks throughout both scores. |
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| Technical accuracy of notation |
Correct clefs, key signatures (≤ 4♯/♭ for original key), time signatures, bar lines, repeats, and any special symbols. |
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| Link to AO1 & AO2 |
Terminology Box completed; instrumental choices realistic for performers. |
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8. Suggested Classroom Activities
- Motif transformation workshop: Students create a 4‑measure motif and produce inversion, retrograde, augmentation and diminution versions. Record each version in the Technique Log.
- Form‑mapping exercise: Analyse the form of a focus work, then compose a new piece using the same structural template but with a different musical idea.
- Orchestration lab: Provide a simple melody; each group assigns it to a different instrument family and discusses colour, range and possible extended techniques.
- World‑music notation practice: Using the appendix examples, students notate a short phrase in a rāga or a 16‑beat tala, then add it to a staff‑based score.
- Contrast planning session: In pairs, students outline how their two pieces will differ (instrumentation, media, key area, texture) and present a “Contrast Planner” poster.
9. Appendix – Sample World‑Music Notation
9.1 Quarter‑tone accidentals (Western staff)
Half‑sharp (↑) raises a pitch by a quarter‑tone; half‑flat (↓) lowers by a quarter‑tone. Example: C ↑ = C + ½♯.
𝄞 C↑ D♭ E↓ F
9.2 Indian tala (16‑beat teen‑tala) on a 4/4 staff
Each beat is a quarter note; the cycle is shown with a bracket and the “tala” name.
|: 1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16 :|
Dha Dhin Dha Tin Dha Dhin Dha Tin
9.3 Arabic iqā’āt (Maqsum, 4/4)
Symbols: “dum” = strong beat, “tak” = weak beat.
| dum tak dum tak |
| 1 2 3 4 |
9.4 Cipher notation example (guzheng)
Legend: 1 = C, 2 = D, 3 = E, 4 = F, 5 = G, 6 = A, 7 = B. “–” = hold, “>” = slide up.
1 – 3 > 5 – 7 – 6 – 4 – 2 – 1
Attach this legend to any cipher or graphic score you submit.