What do the OCR composing components require, and how do Composing A and Composing B differ?
The composing components (Composing A, H543/03, and Composing B, H543/04): their briefs, technical exercises, durations and weightings, and how the two routes differ, as the framework for the composing assessment.
A focused answer to the OCR A-Level Music composing components. Explains Composing A (H543/03, 105 marks, 35 percent, at least 8 minutes including an OCR brief, a learner brief and three technical exercises) and Composing B (H543/04, 75 marks, 25 percent, at least 4 minutes, an OCR brief and a learner brief), how the routes differ, and what each requires.
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What this dot point is asking
OCR assesses composing through a folio of work, in one of two components, Composing A (H543/03) or Composing B (H543/04), chosen as part of the two routes. This dot point sets out what each requires, its briefs, technical exercises, durations and weightings, and how the two differ, so you can choose the right route and plan your folio. The briefs and technical exercises are detailed in the other dot points of this module.
The two components
The two routes
The briefs and the technical exercises
How composing fits the course
Composing assesses AO2 (creating and developing musical ideas with technical control and coherence), 25 percent of the A-Level across the components. It is practical, submitted as scores and recordings, not a written exam. Success comes from planning the folio early, meeting the briefs, and, for Composing A, mastering the technical exercises. The harmony and tonality you study for listening underpins the technical exercises directly, so the two components reinforce each other.
Try this
Q1. State the marks, weighting, duration and content of Composing A and Composing B. [Knowledge recall]
- Cue. Composing A: 105 marks, 35 percent, at least 8 minutes, an OCR brief, a free brief and three technical exercises. Composing B: 75 marks, 25 percent, at least 4 minutes, an OCR brief and a free brief.
Q2. What is the difference between the OCR-set brief and the learner-set brief? [Short explanation]
- Cue. The OCR-set brief is a board task with stipulations to satisfy (testing composing to external requirements); the learner-set brief is devised by the candidate (testing creative initiative and personal voice).
Exam-style practice questions
Practice questions written in the style of OCR exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
OCR (course knowledge)4 marksOutline the requirements of Composing A and Composing B, and explain how a student chooses between them. (Course-structure knowledge)Show worked answer →
Up to four marks. Composing A (H543/03) is 105 marks, 35 percent, with at least 8 minutes of music: one OCR-set brief, one learner-set (free) brief, and three short technical exercises (a Bach chorale harmonisation, two-part counterpoint and a ground bass). Composing B (H543/04) is 75 marks, 25 percent, with at least 4 minutes: one OCR-set brief and one learner-set brief, without the technical exercises. A student chooses by route: Composing A pairs with the shorter Performing A, while Composing B pairs with the longer Performing B, so the choice depends on whether the strength is composing or performing. Markers reward correct durations, marks, weightings, content and the route logic; they penalise muddling the two.
OCR (course knowledge)3 marksWhat is the difference between the OCR-set brief and the learner-set brief? (Course-structure knowledge)Show worked answer →
Up to three marks. The OCR-set brief is a composition task set by the board, with stipulations (for example a style, instrumentation, mood or function) that the composition must satisfy, testing the ability to compose to external requirements. The learner-set (free) brief is devised by the candidate, allowing a self-chosen style and idea, testing creative initiative and personal voice. Both must be well-crafted and, where stated, meet a minimum duration. Markers reward the contrast between composing to external stipulations and composing freely, and that both are assessed. They penalise treating both as free, or ignoring the brief's requirements.
Related dot points
- Composing to the OCR-set and learner-set briefs: interpreting a brief's requirements, developing musical ideas with coherence and craft, and structuring, scoring and refining a composition that satisfies the brief.
A focused answer to composing to a brief in OCR A-Level Music. Covers interpreting the OCR-set and learner-set briefs, developing and structuring musical ideas with coherence and craft (melody, harmony, texture, form and instrumentation), and the process of drafting, scoring and refining a composition that genuinely satisfies its brief.
- The Bach chorale harmonisation technical exercise (Composing A): harmonising a given melody in four parts with functional harmony, correct cadences, good voice-leading and Bachian style, and the common rules and errors.
A focused answer to the Bach chorale harmonisation technical exercise in OCR A-Level Music Composing A. Covers harmonising a given chorale melody in four parts: choosing functional chords and cadences, voice-leading the SATB parts smoothly, using passing notes and suspensions, capturing the Bach style, and avoiding the common errors (parallels, poor spacing, weak cadences).
- The two-part counterpoint and ground bass technical exercises (Composing A): writing a second independent line against a given part with good contrapuntal motion, and composing varied music over a repeating bass with implied harmony.
A focused answer to the two-part counterpoint and ground bass technical exercises in OCR A-Level Music Composing A. Covers writing an independent second line against a given part (consonance, contrary motion, avoiding consecutives, imitation), and composing varied, coherent music over a repeating ground bass with clear implied harmony, plus the common errors.
- The performing components (Performing A, H543/01, and Performing B, H543/02): their recital requirements, durations, weightings and structure, and how the two routes differ, as the framework for the practical performing assessment.
A focused answer to the OCR A-Level Music performing components. Explains Performing A (H543/01, 75 marks, 25 percent, a recital of at least 6 minutes with two contrasting pieces) and Performing B (H543/02, 105 marks, 35 percent, a recital of at least 10 minutes with three pieces including a focused study), how the two routes differ, and what each requires.
- Triads and seventh chords, their qualities and inversions, Roman-numeral and figured-bass labelling, and functional harmony (tonic, subdominant, dominant function and common progressions), as the harmonic vocabulary for analysis and the composing exercises.
A focused answer to chords and functional harmony for OCR A-Level Music. Covers triads and seventh chords, major, minor, diminished and augmented qualities, inversions and their figured-bass and Roman-numeral labelling, and functional harmony (tonic, predominant and dominant function, common progressions and the cycle of fifths), for analysis and the composing technical exercises.
Sources & how we know this
- OCR A Level Music (H543) specification — OCR (2016)
- OCR A Level Music performing and composing guidance — OCR (2016)