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SingaporeMusic

Composing

5 dot points across 5 inquiry questions. Click any dot point for a focused answer with worked past exam questions where available.

How do you turn a set of chords into an effective accompaniment using textures such as block chords, broken chords and an Alberti bass?

Create accompaniment textures from a chord scheme, including block chords, broken chords, an Alberti bass, arpeggios and a melody-and-accompaniment layout, choosing a texture to suit the style
A focused answer to the O-Level Music composing outcome on accompaniment. Turning a chord scheme into block chords, broken chords, an Alberti bass, arpeggios and a melody-and-accompaniment texture, and choosing one to suit the style, with a step-by-step accompaniment walkthrough.
9 min answer →

How do you harmonise a simple melody using the primary chords and plan cadences at the phrase ends?

Harmonise a simple diatonic melody using the primary chords I, IV and V, choosing a chord for each melody note and planning perfect, imperfect and plagal cadences at phrase ends
A focused answer to the O-Level Music composing outcome on harmonisation. Choosing primary chords I, IV and V for melody notes, planning cadences at phrase ends, keeping a sensible harmonic rhythm and a smooth bass, with a step-by-step harmonisation walkthrough.
10 min answer →

How do you write a singable, well-shaped melody using balanced phrases, a clear key and a memorable motif?

Write a singable melody with balanced antecedent and consequent phrases, a clear melodic shape and range, a unifying motif, and a satisfying cadential ending
A focused answer to the O-Level Music composing outcome on melody writing. Balanced antecedent and consequent phrases, melodic shape and range, motif and development, and ending on a strong cadence note, with a step-by-step melody-writing walkthrough.
9 min answer →

How do you give a short composition a clear and satisfying structure that balances unity and contrast?

Structure a short composition using a clear form such as binary, ternary or verse-chorus, balancing repetition and contrast, and shaping the piece with an introduction, climax and ending
A focused answer to the O-Level Music composing outcome on structure. Choosing a clear form (binary, ternary, verse-chorus), balancing unity and contrast, and shaping a piece with an introduction, a climax and a satisfying ending, with a step-by-step planning walkthrough.
9 min answer →

How do you write music that is idiomatic and practical for the voice or a chosen instrument, respecting its range and capabilities?

Write idiomatically for voices and instruments, respecting range, register and technical limits, and use a chosen instrument's strengths and capabilities effectively
A focused answer to the O-Level Music composing outcome on idiomatic writing. Respecting the range and register of voices and instruments, knowing what each can and cannot do, and using an instrument's strengths, with a step-by-step idiomatic-writing walkthrough.
9 min answer →