Find past papers and mark schemes, and specimen papers for new courses, on our website at aqa.org.uk/pastpapers
This specification is designed to be taken over two years.
This is a linear qualification. In order to achieve the award, students must complete all assessments at the end of the course and in the same series.
A-level exams and certification for this specification are available for the first time in May/June 2018 and then every May/June for the life of the specification.
All materials are available in English only.
Our A-level exams in Music include questions that allow students to demonstrate their ability to:
draw together their knowledge, skills and understanding from across the full course of study
provide original practical responses
provide short and extended written responses.
Synoptic assessment of A-level Music should require students to:
develop a broad understanding of the connections between the knowledge, understanding and skills set out in the specification as a whole
demonstrate their understanding of the relationships between theory and practice.
3.1 Aims and objectives
Courses based on this specification should encourage students to:
engage actively in the process of music study
develop performing skills to demonstrate an understanding of musical elements, style, sense of continuity, interpretation and expression
develop composing skills to demonstrate the manipulation of musical ideas and the use of musical devices and conventions
recognise the interdependence of musical knowledge, understanding and skills, and make links between the integrated activities of performing, composing and appraising underpinned by attentive listening
broaden musical experience and interests, develop imagination and foster creativity
develop and extend the knowledge, understanding and skills needed to communicate effectively as musicians
develop knowledge and understanding of a variety of instruments and styles, and of relevant approaches to both performing and composing
develop awareness of music technologies and their use in the creation and presentation of music
appraise contrasting genres, styles and traditions of music, and develop understanding of musical contexts and a coherent awareness of musical chronology
develop as effective, independent learners and as critical and reflective thinkers with enquiring minds
reflect critically and make personal judgements on their own and others’ music
engage with, and extend appreciation of, the diverse heritage of music in order to promote personal, social, intellectual and cultural development.
3.2 Assessment components
Component 1: Appraising music (Assessment objectives AO3 and AO4)
Appraising music is an externally marked exam in three sections lasting two hours and thirty minutes. It is marked out of a total of 120 and constitutes 40% of the total marks for the qualification.
Section A: Listening (Assessment objectives AO3 and AO4)
Students will be assessed on their ability to analyse and evaluate the music heard in the exam and demonstrate knowledge and understanding of musical elements and musical language to make critical judgements ( Subject content ).
Students must answer three sets of questions:
one set of questions linked to Area of study 1: Western classical tradition 1650–1910, one of which will require aural dictation
two sets of questions, each linked to an area of study, from a choice of six options covering Areas of study 2–7.
Each set of questions will contain three excerpts of unfamiliar music by the named artists/composers for each area of study.
One question in each set will be an extended answer and require students to use knowledge of appropriate musical elements and musical language to make critical judgements relating to the context of an artist's/composer's work in the area of study.
The paper will instruct the student to spend a suggested amount of time on each section. However , students will be able to access their own excerpts relevant to their options digitally and control how many times they hear each excerpt in order to answer the question s .
Section B: Analysis (assessment objectives AO3 and AO4)
Students will be required to answer two sets of linked questions, including short answers and extended writing, on two extracts of the set works from the two selected strands in Area of study 1. The question paper will include scores of the extracts.
Students will be able to access the excerpts relevant to their options digitally on an individual basis and control how many times they hear each excerpt in order to answer the question.
Students will be assessed on their ability to analyse and evaluate the music heard and demonstrate knowledge and understanding of musical elements and musical language to make critical judgements. See Subject content .
Section C: Essay (Assessment objective AO4)
Students will be required to answer one essay question on one area of study from a choice of Areas of study 2–7.
Students will be assessed on their critical understanding across the genres, styles and traditions studied and their ability to show sophisticated connections between the music and its context. Students will need to demonstrate their knowledge and understanding of three of the named artists/composers and at least two published or recorded works. See Subject content .
Performance is externally marked by AQA out of 50 and constitutes 35% of the total marks for the qualification.
Each student must select, following discussion with their teacher, the piece or pieces that the student will perform during the assessment. The performance must meet the specified duration of ten minutes .
If the student’s performance does not meet the required duration a penalty is applied to the mark (the size of the penalty depends on the severity of the timing infringement). It may also result in schools or colleges being investigated for maladministration.
Teachers must check the final performance for assessment of each student's work to ensure it meets the minimum duration requirement.
There is no maximum duration for performance.
The student can perform through one of the following, or through a combination:
instrumental/vocal solo and/or in an ensemble
production via technology.
Teachers are responsible for ensuring the following requirements are met in administering the performances for assessment:
performances should take place in a suitable venue
performances should be recorded using good quality audio equipment
performances must be under the supervision of a teacher for authentication purposes
recordings of performances and production must be submitted complete and without post-performance editing or augmentation
performances must take place between 1 March and the NEA deadline date given at aqa.org.uk/keydates
where available a copy for assessment of either the score(s) or lead sheet(s) must be submitted with the performance assessment. Where a written score or lead sheet does not exist other means of showing the performance intention should be submitted. For example annotation(s), guide recording(s) or written evidence (production via technology) must be submitted with the performance for assessment .
Assessment evidence
Audio recordings and performance documentation must be submitted as evidence as well as a signed Candidate record form (CRF).
Performances should be saved digitally and must be produced in accordance with the AQA Guidance for recording of music performance AS and A-level at aqa.org.uk/music
Recordings of performances must be submitted without post-performance editing.
Each student's recording of the performance for assessment must be kept under secure conditions until it is sent to AQA by the specified date given at aqa.org.uk/keydates
Performance documentation
The performance documentation is referred to by examiners when marking the audio recording of the performance. Students must submit one or a combination of the following, as appropriate, for each of the pieces performed for assessment.
Evidence type
Requirement
Notated score
Providing full performance information through musical notation.
Lead sheet
Providing a detailed framework giving structure and musical substance from which a performance can be produced that meets the composer’s intentions.
Guide recording
(If no score or lead sheet available)
If students have based their own performance on a recording of another performance of the same piece, this must be submitted digitally so that the file can be easily accessed by the examiner.
Annotation
(Production only)
Including details of the processes, devices and techniques used, showing how the areas detailed in the criteria contributed to the finalperformance.Students must provide details of the hardware and software used.
Composition is externally marked by AQA out of 50 and constitutes 25% of the total marks for the qualification.
Each student must compose two pieces. One composition must be in response to an externally set brief and the other composition is freely composed by the student.
Composition 1: Composition to a brief
The composition must be in response to one brief from a choice of seven externally set briefs. The briefs will be released on or as near as possible to 15 September of the year of certification. Students must be given the externally set briefs in their entirety; they must not be edited, changed or abridged in any way.
The briefs may include different stimuli, such as:
a poem or a piece of text
photographs, images or film
notation.
Composition 2: Free composition
Free compositions need not reference areas of study or a given brief.
3.2.3.3 Compositions 1 and 2
Together, the compositions must last a combined minimum time of four and a half minutes .
If the student’s combined compositions do not meet the required duration a penalty is applied to the mark (the size of the penalty depends on the severity of the timing infringement). It may also result in schools or colleges being investigated for maladministration.
There is no maximum duration for composition.
For each student, teachers are responsible for ensuring the following requirements are met in administering the final compositions for assessment:
the final compositions for assessment of each student's work meet the minimum duration requirement
the audio recordings of the final compositions must be recorded from start to finish
the student is not required to perform the composition but may do so if they wish
the student’s composition that is being assessed must be identified by name and candidate number at the start of the recording.
Supervising students
Students must have sufficient direct supervision to ensure that the work submitted can be confidently authenticated as their own.
You may provide guidance and support to students so that they are clear about the requirements of the tasks they need to undertake and the marking criteria on which the work will be assessed.
You should encourage students to reflect upon and evaluate their own music, including considering the success of meeting the brief/intent, during their composition process.
Teachers are expected to follow the Joint Council for Qualifications (JCQ) instructions regarding the provision of feedback to students .
Audio recordings and composition documentation must be submitted as evidence for both compositions as well as a signed Candidate record form (CRF).
The audio recordings are marked alongside the composition documentation, to derive an overall mark for the component, using the Component 3: Composition assessment grids
Audio recording of compositions
The student is not required to play on the recording but may do so if they wish.
The audio recordings of the final compositions for assessment must be:
recorded from start to finish
saved digitally
kept under secure conditions until sent to AQA for assessment by the specified date given at aqa.org.uk/keydates
submitted complete and in their final state as completed by the student without any further editing or augmentation.
Composition documentation
For both compositions, students must be able to present written evidence that details the composition’s structure and musical substance.
3.3 Assessment objectives
Assessment objectives (AOs) are set by Ofqual and are the same across all A-level Music specifications and all exam boards.
The assessments will measure how students have achieved the following assessment objectives.
Assessment objective weightings for A-level Music
Assessment objectives
Weighting(approx %)
AO1
Interpret musical ideas through performing, with technical and expressive control and an understanding of style and context.
35
AO2
Create, develop and refine musical ideas with technical and expressive control and coherence.
25
AO3
Demonstrate and apply musical knowledge.
10
AO4
Use analysis and appraising skills to make evaluative and critical judgementsabout music.
30
Assessment objectives
Component weightings (approx %)
Overall weighting
(%)
Component 1: Appraising music
Component 2: Performance
Component 3: Composition
AO1
35
35
AO2
25
25
AO3
10
10
AO4
30
30
Overall weighting of components
40
35
25
100
The marks awarded on the papers will be scaled to meet the weighting of the components. Students’ final marks will be calculated by adding together the scaled marks for each component. Grade boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the table below.
Component
Maximum raw mark
Scaling factor
Maximum scaled mark
Appraising music
120
1
120
Performance
50
2.1
105
Composition
50
1.5
75
Total scaled mark
300
3.4 Assessment criteria
The assessment criteria below details the mark bands with descriptors for the assessment of students work.
Component 2: Performance assessment grids
The performance evidence will be marked as a whole out a total of 50, with the overall mark comprising four assessment grids.
Mark
Assessment grids
5
Ambition of project
15
Technical control
15
Expressive control
15
Performance quality
50
Total
Please note: for students performing a combination of instrumental/vocal and production via technology, examiners will assess each performance against the corresponding assessment grid. Examiners will take an average of the two marks to derive the total mark. If students perform using both forms, care should be taken to ensure the duration of each performance is sufficient to ensure adequate coverage of required content and the full range of criteria in the grid.
The assessment grids refer to the individual part performed by the student either as a soloist or as part of an ensemble.
3.4.1.1 Ambition of project
The following assessment grid shows the comparable levels of demand for all performance types.
Instrumental /vocal grades refer to nationally recognised accredited music grades.
For non-standard instruments the levels of demand for instrumental/vocal must be applied.
Teachers must refer to online exemplification materials which show how marks are awarded for each level of demand across all performance types. Please refer to e-AQA
Both the common level descriptor and additional descriptors, as appropriate to the type of performance, should be used to locate the correct mark.
Mark
Instrumental/vocal
Production
5
The chosen programme will make high musical and technical demands.
The standard expected will be greater than grade seven or its equivalent and will demonstrate considerable expressive variety across the programme.
The chosen programme will demonstrate a highly complex texture and considerable expressive variety.
4
The chosen programme will make a substantial range of musical and/or technical demands.
The standard expected will equate to grade seven or its equivalent with expressive variety across the programme or greater than grade seven or its equivalent without expressive variety.
The chosen programme will demonstrate complex texture and expressive variety.
3
The chosen programme will make a reasonable range of musical and/or technical demands.
The standard expected will equate to grade six or its equivalent with expressive variety across the programme or equate to grade seven or its equivalent without expressive variety.
The chosen programme will demonstrate moderately complex texture and some degree of expressive variety.
2
The chosen programme will make a range of musical or technical demands.
The standard expected will equate to grade six or its equivalent without expressive variety.
The chosen programme will feature relatively simple texture and demonstrate little or no expressive variety.
1
The chosen programme will make some musical or technical demands upon the student.
The standard expected will equate to grade five or its equivalent with expressive variety across the programme.
The chosen programme will demonstrate rudimentary texture and basic skills.
0
No work submitted or not worthy of credit.
3.4.1.2 Technical control
Instrumental/vocal: assessment of pitch (including intonation), rhythm and quality of tone, (including breathing and diction, bowing, pedalling etc).
Production: assessment of pitch, rhythm, articulation, phrasing and clarity of capture.
Mark
Instrumental/vocal
Production
13–15
at the top of the band there will be no discernible flaws and pitch/intonation will be completely secure
towards the bottom of the band inaccuracies will be limited to small but noticeable errors
a performance which is entirely fluent and rhythmically secure, without any hesitations
the techniques demanded are fully mastered with a mature tone quality across the whole range.
excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording
detailed and musically effective articulation and phrasing
well considered choice and placement of microphones which have produced a clear, clean capture for all tracks with no noise or distortion.
10–12
a performance which is generally accurate in pitch and security of intonation
rhythmically stable with only a few small errors not affecting the overall fluency
tone production is generally good but the quality suffers at the extremities of the pitch range, or at moments of technical difficulty, or is uneven between registers
techniques demanded by the music are met.
a few minor slips which do not inhibit the overall musicality or fluency of the recording
close attention to all performance detail with effective articulation and phrasing
appropriate choice and placement of microphones, a few tracks have occasional clipping or a slight noise.
7–9
a performance which achieves consistency of pitch overall with reasonably secure intonation
weaknesses of rhythm or pulse may be evident
evidence of good tone quality over most of the pitch range but with occasional weaknesses
in general technical demands are met but there will be evidence of loss of integrity.
slips in pitch and rhythm become increasingly frequent interrupting the fluency of the recording
generally effective articulation and phrasing
largely appropriate choice and placement of microphones, however some tracks are not captured cleanly.
4–6
a performance in which the basic outline of the music is appreciable but either errors of pitch are significant and intonation may be consistently flat or sharp or rhythmic problems are sufficient enough to interrupt the flow
tone production is be inhibited, with only some technical demands being met.
more significant errors in pitch and rhythm affecting the overall sense of ensemble
some attempts, which are not always successful, to create articulation and phrasing
some appropriate choice of microphones but not all placement is appropriate
there is likely to be some intrusive noise or distortion.
1–3
a performance which achieves limited consistency of pitch and rhythm or fluency
accuracy is only evident in the more straightforward passages
intonation is rarely secure and is inconsistent
technique and tone production are problematic.
significant lapses in the accuracy of pitch and rhythm resulting in an unmusical performance
mechanical with limited attention to articulation and phrasing
poor microphone choice and placement results in a noisy and problematic recording.
0
No work submitted or worthy of credit.
3.4.1.3 Expressive control
Instrumental/vocal: assessment of tempo, dynamics, phrasing and articulation.
Production: assessment of choice of timbres, dynamics, dynamic processing including compression and EQ.
Mark
Instrumental/vocal
Production
13–15
a highly musical performance in which tempo is entirely appropriate throughout
the composer’s expressive and performance directions have been fully observed resulting in accurate, effective and broad-ranging dynamics, phrasing and articulation
subtlety and control will be a feature at the top of the band.
well-chosen timbres which have been appropriately edited
excellent management of dynamics in ways completely appropriate to the music
dynamic shaping appropriately used
compression and EQ have been used appropriately to good effect.
10–12
musical performance in which the main chosen tempi are appropriate, but there are one or two misjudged moments
the majority of the composer’s expressive and performance directions have been carefully observed
dynamics, phrasing and articulation are successfully varied and mostly effective.
appropriate choice of timbres but without further editing
good overall dynamic contrast but lacks some shaping
some occasional miscalculations of over or under use of compression so tracks do not sit well in the mix
there are some slight errors in the use of EQ.
7–9
a performance in which the main chosen tempi are slightly misjudged and the performance mechanical on occasion
the composer’s expressive and performance directions have been largely observed and phrases are generally well shaped
articulation and dynamics are mostly accurate, if rather bland.
the majority of chosen timbres are appropriate
some misjudgements with dynamic contrast and shaping
there are some occasional intrusive misjudgements with the use of compression and more frequent errors in the application of EQ.
4–6
a performance in which the main chosen tempi are generally misjudged and the performance is very mechanical
there is a basic control of phrasing, articulation and dynamics; these are often misjudged.
partially successful choice of timbres
sections where attempts to create dynamic contrast and/or the dynamic processing is misjudged and EQ has been applied inconsistently.
1–3
the main chosen tempi are inappropriate
there is little or no application of dynamics, phrasing and articulation.
chosen timbres are largely inappropriate
limited dynamic contrasts
a mechanical or unmusical result
limited or no use of dynamic processing and EQ.
0
No work submitted or worthy of credit.
3.4.1.4 Performance quality
Instrumental/vocal: assessment of musical style and communication.
Production: assessment of style, balance, blend, panning and use of effects.
Mark
Instrumental/vocal
Production
13–15
an engaging and commanding performance in which the student demonstrates total involvement in the music with real flair
a mature and sensitive understanding of both period and style is evident; communicated through an assured, convincing and well-projected performance.
complete awareness of the stylistic requirements of the music including musical shaping
excellent sense of balance and effectively blended throughout the recording
musically appropriate use of the stereo field
excellent and judicious use of stylistically appropriate effects.
10–12
performance which is mostly commanding and convincing
there is clear commitment and the performance is mostly assured
a good sense of style is evident but there is lack of individual flair.
a consistent sense of style with attention to musical detail
most tracks are well balanced and blended with some minor slips
effective placement in the stereo field
well controlled use of appropriate effects.
7–9
a performance which demonstrates some level of commitment but lack an overall assurance
there is still an overall sense of conviction
the style of the music is appropriate with a clear sense of character.
broadly successful creation of the required style
more frequent miscalculations as to balance and blend
largely effective use of the stereo field but with some misjudgements
occasional miscalculations as to the use of effects.
4–6
a performance which lacks conviction and commitment on occasions
there is limited sensitivity to the demands of the music although there is a general understanding of the overall character.
some sense of the required style but achieved inconsistently
there are also inconsistencies in balance and blend with key tracks or features obscured
largely inappropriate use of the stereo field
inconsistency in the application of effects.
1–3
a performance which is limited in conviction and displays rudimentary sensitivity to the style of the music
there is a limited sense of assurance leading to an anxious experience for performer and listener.
limited sense of style with little attention to musical detail
poorly balanced resulting in a misjudged final product
little or no use of the stereo field
inappropriate use of effects.
0
No work submitted or worthy of credit.
Component 3: Composition assessment grids
The composition evidence is marked out of a total of 50 marks. Each of the two compositions is out of a maximum of 25.
Mark
Assessment grids
25
Composition 1: Composition to a brief
25
Composition 2: Free composition
50
Total
Composition 1: Composition to a brief
There are five bands of achievement and there are five marks available for each band. The lower mark indicates the lower level of achievement.
Mark
Composition 1: Composition to a brief
Requirements
Brief 1 – Chorales
Requirements
Briefs 2–7
21–25
an authoritative composition
lower marks in the band suggest some less imaginative elements or passages, and/or some inconsistencies in the supporting written material.
stylistic detail is evident throughout, using imaginative and interesting features
cadences are varied and there is an inventive exploration of keys
a wide variety of chords is used fluently and with few significant errors
grammatical errors are insignificant and part-writing is fluent and sophisticated.
the composition has a sustained mastery of technical control
the quality of contrasting ideas and their development creates a commanding structure that is more than just a standard form, providing a musical journey
musical elements are used with flair and imagination, complementing each other with strong creative purpose to give a consistently fluent and successful result
the style of the composition is convincing, fluent and used perceptively to give a compelling musical experience
imaginative use of the brief fundamentally informs the composition
the music is communicated fluently on paper with comprehensive score or commanding annotation.
16–20
a confident composition
higher marks in the band represent music that has some signs of imagination
lower marks in the band suggest greater inconsistencies in technical control and/or elements of the style.
there is interesting stylistic detail but the result is secure rather than imaginative
main keys and cadences are well-chosen but there is scope for more interest and variety, for example with passing modulation
chord choice is mostly secure and varied with some adventurous moments
some grammatical errors occur but they have little effect on the aural result
part-writing has melodic direction and few difficulties.
the composition has a largely successful technical control
the quality of contrasting ideas and/or their development has led to a successful musical structure
musical elements are used with variety and secure handling, though some may be used with more creative purpose than others, combining to give a largely successful, if not always consistent, result
the style of the composition is assured and used proficiently to give a clear musical experience
interesting use of the brief significantly informs the composition
the music is communicated clearly on paper with a good score or helpful annotation, despite some imprecision
this band may also be appropriate for compositions of top band compositional quality which have very weak supporting written material (score or annotation).
11–15
a secure composition
higher marks in the band represent music that has some signs of creative exploration or a superior score/annotation
lower marks in the band suggest greater concerns with technical control, little creative exploration or a less convincing sense of style.
stylistic awareness is evident at times, but inconsistently, throughout the composition
cadences are largely effective despite some errors; key choices may lack some variety
chord choice is often suitable but there will be errors and some lack of variety
there is some awareness of part-writing, but errors are frequent, and there is a lack of interest.
the composition has largely competent technical control
there is a clear musical structure, though this may lack effective contrast or development of ideas
musical elements are used with moderate effectiveness and some control, providing evidence of creative purpose, which is not always fully explored or realised, to give a partially successful result
the style of the composition is evident but used in a generic manner to give a predictable musical experience
satisfactory use of the brief informs the composition
the music is communicated on paper through a score of annotation, but not always clearly, accurately or with sufficient detail.
6–10
a composition of some limitations
higher marks in the band represent music that has more signs of technical competence and/or a stronger sense of intended style
lower marks in the band suggest serious concerns regarding technical control or music with no discernible sense of style.
stylistic awareness is apparent only occasionally
some understanding of cadences, but errors frequently occur and the key is insecure at times
chord choice is weak and progression is often ineffective
errors are significant but a few passages have successful part-writing.
the composition has some persistent issues with technical control
there are some signs of a musical structure, but these are not always clear
musical elements are used with some effectiveness, but there are sustained difficulties in some aspects and little sense of creative purpose leading to a composition of limited success
there is evidence of an intended style in the composition but this is dilute, inconsistent or ineffectively contradictory, leading to a restricted musical experience
limited use of the brief is evident at times
the music is only partially communicated on paper through an incomplete, confusing or only outline version provided as score or annotation.
1–5
a rudimentary composition
higher marks in the band represent music that has a few signs of musical awareness
lower marks in the band represent compositions that have strongly random elements and/or are very simplistic, scant or short.
there is no evidence of stylistic awareness
important key centres have not been grasped; cadences are mostly inaccurate
chords are often incomplete, inaccurate or inappropriate
errors are frequent and there is little awareness of part-writing.
the composition is dominated by issues with technical control
there is little or no evidence of musical structure
musical elements are used with little control, making genuine creative intentions hard to discern in a rudimentary or confused result
there is no sense of style evident in the composition, leading to a lack of musical experience
rudimentary use is made of the brief
the written material in no way enhances the composition and is likely to be poor in its detail and layout (whether score or annotation).
0
No work submitted or worthy of credit.
Composition 2: Free composition
Mark
Composition 2: Free composition
Requirements
21–25
an authoritative composition
lower marks in the band suggest some less imaginative elements or passages, and/or some inconsistencies in the supporting written material.
the composition has a sustained mastery of technical control
the quality of contrasting ideas and their development creates a commanding structure that is more than just a standard form, providing a musical journey
musical elements are used with flair and imagination, complementing each other with strong creative purpose to give a consistently fluent and successful result
the style of the composition is convincing, fluent and used perceptively to give a compelling musical experience
the music is communicated fluently on paper with comprehensive score or commanding annotation.
16–20
a confident composition
higher marks in the band represent music that has some signs of imagination
lower marks in the band suggest greater inconsistencies in technical control and/or elements of the style.
the composition has a largely successful technical control
the quality of contrasting ideas and/or their development has led to a successful musical structure
musical elements are used with variety and secure handling, though some may be used with more creative purpose than others, combining to give a largely successful, if not always consistent, result
the style of the composition is assured and used proficiently to give a clear musical experience
the music is communicated clearly on paper with a good score or helpful annotation, despite some imprecision
this band may also be appropriate for compositions of top band compositional quality which have very weak supporting written material (score or annotation).
11–15
a secure composition
higher marks in the band represent music that has some signs of creative exploration or a superior score/annotation
lower marks in the band suggest greater concerns with technical control, little creative exploration or a less convincing sense of style.
the composition has largely competent technical control
there is a clear musical structure, though this may lack effective contrast or development of ideas
musical elements are used with moderate effectiveness and some control, providing evidence of creative purpose, which is not always fully explored or realised, to give a partially successful result
the style of the composition is evident but used in a generic manner to give a predictable musical experience
the music is communicated on paper through a score of annotation, but not always clearly, accurately or with sufficient detail.
6–10
a composition of some limitations
higher marks in the band represent music that has more signs of technical competence and/or a stronger sense of intended style
lower marks in the band suggest serious concerns regarding technical control or music with no discernible sense of style.
the composition has some persistent issues with technical control
there are some signs of a musical structure, but these are not always clear
musical elements are used with some effectiveness, but there are sustained difficulties in some aspects and little sense of creative purpose leading to a composition of limited success
there is evidence of an intended style in the composition but this is dilute, inconsistent or ineffectively contradictory, leading to a restricted musical experience
the music is only partially communicated on paper through an incomplete, confusing or only outline version provided as score or annotation.
1–5
a rudimentary composition
higher marks in the band represent music that has a few signs of musical awareness
lower marks in the band represent compositions that have strongly random elements and/or are very simplistic, scant or short.
the composition is dominated by issues with technical control
there is little or no evidence of musical structure
musical elements are used with little control, making genuine creative intentions hard to discern in a rudimentary or confused result
there is no sense of style evident in the composition, leading to a lack of musical experience
the written material in no way enhances the composition and is likely to be poor in its detail and layout (whether score or annotation).
