OCR A-Level Music: composing techniques overview quiz quiz

Only a free brief, with no OCR-set brief required at all

Three technical exercises (chorale, two-part counterpoint, ground bass)

An OCR-set brief plus a live recital recording made under formal exam conditions

A recording of the candidate performing the finished folio piece

At random, since the two routes are weighted identically and can be paired with either of the two performing options entirely freely

Alphabetically, simply choosing Composing A because it comes first in the specification ordering

By their stronger skill: Composing A with Performing A for composers, Composing B with Performing B for performers

Always take Composing B, because fewer technical exercises means it is the easier route for everyone

They are the same task with two different names, so the distinction makes no practical difference

The OCR-set brief is the candidate's free choice; the learner-set brief is the one with fixed rules

Only the OCR-set brief is formally assessed, while the learner-set brief is unmarked practice

The OCR-set brief has stipulations to satisfy; the learner-set brief is devised by the candidate

Developing one or two main ideas and organising them in a clear structure

Constantly introducing fresh, unrelated ideas so the listener never grows bored

Making the piece as long as possible to demonstrate sustained inventive stamina

Scoring for as many different instruments as the forces in the brief allow

Start writing the opening bars immediately to capture your very first creative instinct before it fades

Read the brief and list its stipulations (style, instrumentation, mood, function, duration)

Choose the instrumentation only at the very end, once the notes are already written

Ignore the stated requirements and follow whatever idea inspires you most

It is freely doubled between two upper voices

It falls a third down to the dominant note

It rises to the tonic and is never doubled

It is omitted entirely from the final chord

Using parallel thirds between the outer parts

Resolving every suspension downwards by step

Using contrary motion between treble and bass

Consecutive (parallel) fifths and octaves

They define the phrase structure and key, giving a functional framework

They are always the loudest moments and so set the dynamic plan first

They are optional features that can be added at the very end if time allows

They contain no chords, so they are quick to deal with before the rest

Shadowing the given part in parallel thirds throughout

Contrary and oblique motion, with the line having its own shape

Playing in strict unison with the given part for the whole piece

Avoiding all consonant intervals so the parts sound distinct

Constant loudness set against passages of complete silence between each repeated statement of the ground bass

Extreme speed in one repetition balanced against extreme slowness in the following one

Clear functional harmony that fits the bass, and variety and development across the repetitions

Maximum overall length set against the briefest possible individual phrases throughout

AO1 (performing with technical and expressive control on an instrument)

AO3 (analysing and appraising music heard in the listening examination)

It is not formally assessed at all and only contributes towards internal practice marks

AO2 (creating and developing musical ideas with technical control and coherence)

They apply the same harmony and tonality (chords, cadences, voice-leading) as writing skills

They are entirely unrelated to the listening paper and draw on a completely separate body of musical knowledge

They directly replace the listening paper and cover identical examined content instead

They deal only with rhythm and metre, with no bearing on harmony or tonality at all