AS composition checklist

Assessment criteria for the composition

Holistic (AO2)
3640
Outstanding Impressive and imaginative in style, ideas and development.
Complete (or almost complete) control of compositional methods
and techniques used.
Sense of musical wholeness with no passage sub-standard.
3135
Excellent
Convincing throughout in style, ideas and development.
Good control of compositional methods and techniques used.
Any errors and/or misjudgements are marginal.
2630
Confident
Convincing for most of the time in style, ideas and
development.
Some control of (perhaps a narrow range) compositional
methods and techniques.
Some errors and/or misjudgements, but too few to have a big
impact.
2125
Competent
Generally secure in style and ideas, but development may be
limited.
Some effective control of (probably a narrow range)
compositional methods and techniques.
Some errors and misjudgements, but the piece still has some
direction and flow.
1620
Adequate
A serious attempt but probably some inconsistent/immature
handling of style and ideas.
Some effective use of (probably a narrow range) compositional
methods and techniques.
Errors, misjudgements and technical problems begin to be
obtrusive, but much of the piece still holds together.
1115
Basic
Positive features are fairly few with inconsistent/immature
handling of style and ideas.
Basic use of (perhaps just a few) compositional methods and
techniques.
Errors, misjudgements and technical problems are obtrusive.
610
Limited
Positive features are few.
A few encouraging signs, but considerable difficulties with a
weak end product in most areas. Perhaps under the required
length.
15
Poor
Positive features are very few indeed, being heavily
outweighed by errors, misjudgements and technical problems. In
practice, a mark in the 15 band is appropriate only for work
which is seriously under the required length and/or difficulty or
too incomplete to be marked using the five detailed assessment
criteria.
0
No positive features can be clearly identified.

Melody
Try different combinations of scales made up of tones and semitones

1:2 semitone tone semitone tone semitone tone semitone tone

2:1 (opposite of the above scale) this scale and the scale above create unstable and
tense atmospheres (heard in Lux Aeterna in John Rutters Requiem and used in lots of
film music)
Try to base your piece on that melody and its various developments
o Doubled the rhythm

o Halved the rhythm

o Up an octave

o Down an octave

o Different timbres

o Syncopated

o Tripletised

o Dupletised

o Metric displacement

o Fragmented

o Inverted

o Retrograded

o Metamorphosis

o A mix of two/some/all of the above

Ostinati based on an arpeggio or first 3 degrees of the chosen scale creates sense
of motion

Passing notes use most of the notes in the chord with upper and lower auxiliary
notes/passing notes

Dialogue imitation, canon, call and response between instruments pads out the
texture

Triplets/quintuplets polyrhythms and cross-rhythms across parts sense of

chaos/tension

Acciaccaturas/appoggiaturas

Melodic transformations select Note Input and use the options of retrograde,
double, halve the rhythms etc.

Other rhythmic or melodic variations of the melody

Harmony

Cluster chords useful for rhythmic effect low on piano or high in woodwind eerie!

Ostinati based on an arpeggio or first 3 degrees of the chosen scale creates sense
of motion

Pedal notes in bass instruments whilst chords change around on top more options
in terms of harmony and creates suspense

Added chords add in a D to a C major chord or a G to an A minor chord more

options and softens the sound of the chord

Inversions use a mixture of root/1st/2nd inversion chords provides variety and

smoothness between chords

Re-harmonising try harmonising the same melody with different chords e.g.
harmonising a C in the melody with a C chord, then an A minor chord then an F major
etc.

Transposed to another related key

Transposed to another non-related key

Tierce de picardies

Suspensions

Open 5ths creates a feeling of unease and bleakness without the major/minor 3 rd of
a chord

Rhythm/Tempo

Ostinati based on an arpeggio or first 3 degrees of the chosen scale creates sense
of motion

Motor rhythms repeated rhythm in an instrument/group of instruments creates

motion and suspense

Triplets/quintuplets use polyrhythms and cross-rhythms across parts

Acciaccaturas/appoggiaturas

Tremolos select the beam symbol on the top of the keypad

Change between use of compound and simple time mix between the two

Use of accelerando
o Gradual

o Sudden

Use of ritardando
o Gradual

o Sudden

Texture filling ideas

Dialogue
o Imitation
o Canon
o Call and response between instruments

Layering adding one note at a time to a clashing chord creates tension

Arrangements of chords rather than have all three notes of a chord in one
instrument split it across a couple of instruments pads out the texture and gives more
options of timbres: (on Sibelius write a chord select it Control + C highlight the
parts you want to move it to Control + V and select 1 note per part)

Couple the melody have the melody played in a variety of instruments e.g. violin,
clarinet and trumpet for a thicker texture and warmer sound

Advanced layering layering up a cluster chord one note at a time to build up a

dissonant cluster chord (see Bernsteins On The Waterfront in the A level anthology
towards the end of the piece)

Dynamics

Gradual changes

Sudden changes

Sfz

Fp with crescendo

Dynamics on each instrument when they start

Dynamics at the end of each crescendo

Dynamics at the end of each diminuendo

Careful used of dynamics think blend of instruments is one not drowned

out by many?

Wide range of dynamics across piece

Timbre combinations/techniques to exploit

Clarinet huge range

Violin
o Huge range
o Double stopping
o If given enough time to do so, triple stopping
o Tremolo
o Glissandi
o Pizzicato
o Arco
o Harmonics
Flute
o Huge range but only plays down to middle C
Oboe
o Lovely middle range

Bassoon
o Clear, crisp sound around middle C

Horns
o Thicken texture with repeated notes

Cello
o
o
o
o
o
o
o
o
Viola
o
o
o
o
o

Effective when given specific dynamics i.e. detailed crescendos and diminuendos
when instruments are used as texture fillers

Huge range

Double stopping

Tremolo

Glissandi

Melody in this part will sound different at violin range than in the violin itself

Pizzicato

Arco

Harmonics

Huge range
Double stopping
Tremolo
Glissandi
Melody in this part will sound different at violin range than in the violin itself

o Pizzicato
o Arco
o Harmonics
Double Bass
o Huge range
o Tremolo
o Glissandi
o Melody in this part will sound different at cello range than in the cello itself

o Pizzicato
o Arco
Timpani
o Roll
o Sudden hit
Cymbal
o Roll
o Sudden hit
o Clashing cymbals
o Hit with soft mallets

Triangle
o Sudden hit
o tremolo/trill
Bass drum
o Roll
o Sudden hit
Glockenspiel
o Glissando
o Tremolo
o Used to double a melody to add a sparkly timbre

Harp
o Glissando
o Chords

o Melodies

Trombone + cello + bass clarinet for rich bass timbre

High oboe combined with trumpet for rich high timbre

When youve finished writing your compositions

Well done!!!

Add in dynamics and articulation (staccato, accents etc.) if you havent already

Name your compositions go out of panoramic view mode (Shift + P if you are already
in
o panoramic mode) and right click above the first bar go to Text Title
click above bar 1

Add your name too the same directions as adding the title but click on Composer
instead of Title

Add a title page right click, click on Title Page and fill in details of the title and
composer

o Once that is done, right click on the title page go to Text Blank Page Text
Dedication click on the title page write in your instruments you are using
then move that block of text to place it underneath the title on the title page

If you have any specific details you want added to your score make a list e.g. the
tempo marking is slightly quicker/slower than I want or the guitar 1 part isnt playing
as loud as I would like

Instrument names select Appearance and select full on the drop down menus

Delete empty bars at the end of the piece

Click on Layout then click on Optimize to ensure no symbols/notes are overlapping

Click on Appearance and make sure it says full on the at start drop down menu it
now shows all the instruments you are using from the beginning

Use the grading criteria to see if there are any editions you can make to your pieces;
o
o
o

If you have used piano chords, are they playable e.g. the notes arent too far
apart
Make sure the notes you have used exist on the instrument not too high, not
too low
If you have written for an instrument where the performer needs to breathe
make sure they arent playing in every single bar!

When submitting an orchestral score select Transposing score before printing

Save print hand in!

Complete your delightful paperwork!