Securing top-tier marks in advanced music qualifications requires students to demonstrate more than just technical accuracy; they must showcase a high level of harmonic skill. Across major exam boards, including AQA, Edexcel, and Eduqas, the top assessment bands for composition explicitly reward a ‘sophisticated use of harmony and tonal vocabulary.’ OCR marks students on their handling of compositional techniques (which includes harmony).
However, when faced with the pressure of a composition brief, students can often ‘play it safe’ when it comes to harmony. To encourage students to break away from conventional habits, we can introduce various harmonic tools. Some of these are borrowed from the nineteenth-century Romantic composers, though can be relevant for more contemporary styles and genres.
GCSE to A level…
I always ask A level students “Apart from the duration of your piece, how will the examiner know that this is an A level and not a GCSE composition?” In other words, how are you going to show that you’ve learned something (and used it!) since GCSE?
In this series I’ll share three devices you can use with A level students (and advanced GCSE) – chromatic mediants, augmented sixth chords, and diminished sevenths – and show how they can be integrated into their compositions.
A level requirements
Detailed A level harmony requirements depend on the examination board, so it’s always best to read the specification and criteria carefully. However, for the free composition, students will be marked on their handling of harmonic techniques, whichever specification is being followed.
Have they chosen suitable devices to convey the intentions of the brief? And can they technically use these devices within their compositions?
Here is a summary of the main areas of focus:
- Harmonic vocabulary: students are expected to employ combinations of diatonic (primary and secondary triads) and chromatic, dissonant, or extended harmonies (depending on the style).
- Harmonic movement: students should demonstrate control over tension and release using harmonic sequences, pedal notes, and functional chord relationships.
- Stylistic coherence: harmonic choices must suit the chosen genre, tradition, or style (e.g. film music, pop, jazz, or classical), and include appropriate cadences to define the structure.
Classroom application
When teaching the devices outlined in this series, you’ll first need to ensure that students are familiar with the basic rules of 4-part harmony. These include (but are not limited to): SATB vocal ranges, cadences, inversions, voice leading and consecutive fifths & octaves.
For A level Music (Edexcel, OCR) you may be teaching the J.S Bach chorale question, where understanding of these harmonic conventions is required, in any case.
Providing short exercises to practise using the techniques helps students to build their confidence and understand harmony. It’s not a quick process but the rewards are reaped when it comes to composing.
For each post I’ve included suggestions for practical tasks and exercises that you can try with your students.
4-part harmony / chorale resources
You can find resources for teaching 4-part harmony in the following places:
3 Advanced Harmonic Devices
Now that I’ve introduced the series, head to each article (linked below once published) to find definitions, audio + score examples and classroom tips. Of course not everything can be included in these posts, so please use them as a springboard for further exploration with your students:
Happy composing!
