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This is the mark scheme for the FINAL composition. It's worth having a read through the whole thing, but I have summarised how you can get top marks below.

For top marks:
- Musical ideas are developed and extended successfully and with assurance, meeting the
intended purpose and/or audience appropriately.

- Stylistic characteristics and conventions for the chosen genre/style have been selected
appropriately and handled convincingly throughout.

- For brief-set composition only: imaginative response to the brief with a well-developed
sense of audience and occasion.

- The control of appropriate musical elements is secure throughout, and any misjudgements
are marginal and few, if any.

- The i nstrumental and/or vocal forces are handled idiomatically and exploited imaginatively.

- Textures are varied, complex, and/or clear as appropriate to the style.

- A sense of coherence and wholeness is achieved throughout.

- There is a consistent sense of fluency and contrast throughout.

- There is a convincing sense of direction overall.

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Once you have finished your intial plan, you need to do a detailed plan, showing the overall structure of your piece, and what you want to happen where. THIS CAN CHANGE as your piece develops, but having a firm idea of what you want to do will make it all easier.

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Based upon my research, and the script I have chosen, my piece will:

- Be in G minor

- Use cello & piano

- Melody will pass between the instruments at some point, like Williams.

- Cello will play melody & motif like Williams, piano will be textural like Mansell & McCreary

- I will use the rhythm from bars 2-4 of Rey's theme as a starting point.

- I may use the chord progression from Sigur Ros at some point during the contrast section, if I can get it to modulate correctly.

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- Chords are rarely played as block chords on one instrument, but spread out between several instruments in the family.

- There is lots of use of rubato

- Dynamics changes are used regularly

- There is often modulation in a piece.

- The structure is fluid as it follows the on screen action rather than a traditional structure, but within that there are still repeats and variations of motifs. There tends to be an 'A' section that extends and develops, and a 'B' section that provides contrast.

- 4/4 is used in a lot of the pieces, but 6/8  and 3/4 are also common.

- Pieces are mostly diatonic with some use of dissonance to create tension/ extended chords.

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- Melodies include chromaticism and notes that help build extended chords such as 9ths/ 11ths/13ths.

- Cello is in bass clef and has a range from C two octaves below middle C, to approx C an octave above middle C

- Piano must have left and right hand and not just do block chords.

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Look at string layout for quartet.

I've noticed:
- Strings don't play chords on one instrument, but vertically between them so they can build thicker harmonies

- Violin 1 & Cello get more interesting melodies.

- Order is Violin 1, violin 2, Viola, Cello on the score.

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I want to write either for cello & piano or a small string group with piano, so I need to see how to layout strings on the score.

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4/ 4, mostly G minor but changes key, uses b2's and  b7's to create 'Arabic' feel on some notes, as well as chromaticism.

Lots of rubato as the piece gradually gets faster.

Good contrast between block 1/8 note chords & syncopated melody.

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The contrast between the very fast alternate picked guitar and the legato notes creates tension.

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I love the feel in this track. It's sounds huge but is very ambient. There is lots of long held notes, contrasted by 'droplet' like short notes .

I really like the chord progession of E D C#m A.

The chords change so slowly that they are almost unnoticed, which helps create the ambient sound.

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The key is hard, but I can use the rhythms and syncopation, and I like the rhythmic contrast in the middle section.

Unusual time signature & key are probably not appropriate for GCSE.

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I like how the piece uses the same theme but contrasts from quiet and melancholy to sinister and aggressive, before the bittersweet ending.

It uses the theme well - every time it reoccurs it changes instrument or is played differently to reflect the mood.

The pad and choir drones and pedals at the beginning are really good for building tension.

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Battlestar Galactica Season 4 OST - Kara Remembers

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BSG Season 4 OST Disc 1 Track 17 Composed by Bear McCreary Pure genius

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- Keep scrolling down for more research.

- Writing in italic is advice on what you should include.

- I've written in 1st person, as though I am a student doing research, to show you  what we expect you to write.

- DO NOT just copy things from this page, do your own research or it all becomes pointless.

- I've done 2-3 examples for each, you should find 3-5.

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A big part of film music is the incidental music (how the atmosphere is created) as well as the theme. It's important to have lots of ideas about how you could show contrast and  development within your piece.

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Inspired by use of whole tone scale.

Harmonically, Hedwig’s Theme is essentially in the key of G minor. The first two bars of the theme outline the G minor chord, and the bass extends the G into bar 5. But in bar 6, we get a very strange chord: not quite a dominant 7th chord as two of the notes are flattened to create a dissonant, mysterious sound.

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Harry Potter (Hedwigs Theme) - John  Williams

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Harry Potter (Hedwigs Theme) - John  Williams

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Innocence and mystery from instrumentation and partial use of wholetone scale.

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John Williams - Hedwig's theme (Harry Potter)

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Theme from Harry Potter's movie. Enjoy !

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I've looked at the layout of brass instruments and the syncopated rhythms.

IN 4/4, G minor

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Intimidating use of brass, very military.

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Star Wars- The Imperial March (Darth Vader's Theme)

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You can get free scores from www.musescore.com.

Create a free account to access them, and then you can download them as PDF's. Very useful to be inspired by rhythms/ see how other composers use instruments.

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Always post the music so we can listen to it. If you get it from youtube, remember to upload an mp3 copy so you can access it in school!

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Tell us what you are going to use as inspiration:
I like the opening rhythm & how the melody fragments

In 4/4, mostly in C major.

Good use of crescendo's/ diminuendos.

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Tell us WHY you've chosen it, & anything that stands out:

Triumphant and hopeful sound

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John Williams - Rey's Theme (Audio Only)

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Describe the technique to show you understand it: A short tune that symbolises a character, and that changes depending on the scene.

Then give examples underneath:

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                                                                           Film Music

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                                                                           Film Music

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Once you've decided on an AoS, then break it down into what you need to know:
- Techniques
- Structures
- Common features
- Idiomatic styles

Include a plan for what you are going to do next!