Music syllabus, dot point by dot point

Composing to a brief: how to read and interpret a set brief (its style, ensemble, mood, structure and any technical demands), plan a response that meets every requirement, develop musical ideas with control, and check the composition fulfils the brief.

Harmony and the free composition: writing the free composition to your own brief, choosing a style and ensemble, using harmony, melody, rhythm, texture and structure to develop ideas with control, and the compositional techniques (motivic development, modulation, texture) that make any composition convincing.

Notating and submitting the folio: producing a score, lead sheet or detailed annotation appropriate to the style, providing a recording (live or computer-generated) for each composition, meeting the durations, and supplying the required documentation and authentication for the Eduqas folio.

The Composing component (Component 2): its requirements under Option A and Option B (number of compositions, the set brief, the free composition, the Western Classical Tradition requirement, durations, marks and weightings), how it is assessed by Eduqas, and how the option choice fits with Performing.

The Western Classical Tradition brief: the board-set composing brief linked to Area of Study A, demonstrating stylistic understanding of late-eighteenth and nineteenth-century symphonic writing (functional harmony, sonata-style structures, thematic development, orchestration and texture) drawn from the set symphonies.

Describing an unfamiliar extract: the method for the unprepared listening questions, working systematically through the elements, using the printed information and any score, identifying the style or area of study, and writing precise, ordered observations under time pressure.

Dictation and score reading: completing or following a melodic, rhythmic or harmonic line on a printed score, reading a skeleton score to locate features, and the listening and notation skills (intervals, rhythm, chords) the score-based questions reward.

The comparison question: how to compare two extracts (or a set work with an unfamiliar extract) element by element, identify similarities and differences, link them to style and context, and structure the answer as a genuine comparison rather than two separate descriptions.

The elements of music as the analytical toolkit: melody, harmony, tonality, texture, rhythm, metre, tempo, dynamics, articulation, structure and sonority, the precise vocabulary for each, and the name-the-feature-then-its-effect method that every Eduqas listening answer rewards.

The extended essay and evaluation: how to plan and write the longer essay answers in Component 3, structuring an argument, supporting it with named musical evidence, weaving in context, evaluating rather than describing, and managing the answer under time pressure.

Analysing a musical theatre extract: bringing together song type, structure, melody and word-setting, harmony, orchestration and vocal style to describe an unprepared extract, identify its style and dramatic function, and answer the comparison and short-essay questions on the Musical Theatre area.

Song and drama, character and story: how music and song reveal character, advance the plot and create mood in the integrated musical, the use of motif and reprise to track character and theme, and the relationship of words and music in dramatic context.

Song types and the musical number: the ballad, the I-want song, the showstopper, the patter song, the comedy number, the ensemble and the finale, the conventions of the opening number, reprise and act finale, and the AABA and verse-and-refrain song forms.

The development of musical theatre: the Broadway and West End tradition from operetta and the early book musical through the golden age and the integrated musical to the modern megamusical and the contemporary stage, the leading composers, and the context that shaped the form.

The music of musical theatre: melody and word-setting, harmony and tonality, the pit orchestra and orchestration, underscoring and melodrama, vocal styles (legit and belt) and the influence of pop, jazz and operetta on the musical language.

Interpretation and communication in performance: realising the score's expressive markings (dynamics, articulation, tempo, phrasing), conveying the style and character of the music idiomatically, communicating to a listener, and shaping an accurate performance into an expressive one.

Preparing and recording the recital: planning preparation across the year, choosing a contrasting programme that meets the duration, solo and area-of-study requirements, building reliability through mock performances, and recording for the visiting examiner with the required documentation.

Technical control and accuracy in performance: the meaning of accuracy (right notes and rhythms) and technical control (command of the instrument or voice: tone, intonation, fluency and required techniques), why difficulty is rewarded only when controlled, and how structured practice builds reliability.

The Performing component (Component 1): its requirements under Option A and Option B (number of pieces, the solo requirement, the area-of-study links, durations, marks and weightings), the visiting-examiner assessment, and how the option choice fits with Composing.

Analysing a rock and pop extract: bringing together structure, harmony, melody, rhythm, instrumentation and production to describe an unprepared extract, identify its style and period, and answer the comparison and short-essay questions on the Rock and Pop area.

Harmony, melody and the riff in rock and pop: diatonic and blues-inflected harmony, power chords and extended chords, the riff and the hook, melodic features (pentatonic and blues scales, vocal lines and ad libs), and the groove and backbeat, with the vocabulary to describe each.

Instruments and music technology in rock and pop: the standard band (vocals, guitars, bass, drums, keyboards), the rhythm section, and the role of music technology and production (amplification and effects, multitrack recording, synthesisers and drum machines, sampling, mixing) in shaping the recorded sound.

Song structures and form in rock and pop: verse and chorus (with bridge and middle eight), the 12-bar blues, AABA and strophic forms, intro, link, instrumental and outro sections, and how repetition, contrast and the hook organise a popular song.

The development of rock and pop from the 1950s onward: the main styles (rock and roll, the beat and Motown of the 1960s, rock and the singer-songwriter, disco and synth-pop, and later pop), their defining features, and the social and technological context that shaped them, as the spine of the Rock and Pop area of study.

Comparing the set symphonies (Haydn 104 and Mendelssohn 4): their shared four-movement frame and their differences in style, harmony, orchestral colour, form and expression, and how to deploy both as evidence in the development-of-the-symphony and comparison essays.

Haydn Symphony No. 104 in D major (the London) as a set work: the four movements and their structures, the key scheme, the themes and their development, the texture, sonority and rhythm, and the signature moments you must be able to locate on the skeleton score.

Mendelssohn Symphony No. 4 in A major (the Italian) as a set work: the four movements and their structures, the key scheme (including the minor-key finale), the themes, the orchestral colour and the early-Romantic features (lyricism, a sense of place, a cyclic touch and the saltarello finale) to locate on the skeleton score.

The Classical symphony and the four-movement plan: the Classical style, the four movements (fast, slow, minuet and trio, finale) and their typical structures, sonata form and its key scheme, and how Haydn and Mozart shaped the genre, as the model for the set work Haydn 104.

The development of the symphony 1750 to 1900: its origins, the Classical four-movement symphony, the growth in scale, expression and orchestra through Beethoven into the Romantic period, and the historical context (patronage, the concert hall and programme music) that shaped it, as the spine of Area of Study A.

The elements of music applied to the symphony: melody, harmony, tonality, texture, rhythm, metre, tempo, dynamics, articulation, structure and sonority, and how to describe each precisely when analysing the set works and unprepared extracts.

The orchestra and sonority in the symphony: the Classical orchestra and its sections, the growth into the Romantic orchestra, the roles of strings, woodwind, brass and percussion, and the vocabulary for describing orchestration (doubling, tutti, solos, pizzicato) in the set works.

The Romantic symphony and the growth of the orchestra: the expansion in scale, length, harmony and orchestral colour after Beethoven, cyclic and programmatic design, nationalism, and the larger Romantic orchestra, as the context for the set work Mendelssohn 4.