How to Teach the 2027 AQA A Level Music Composition Briefs

September 24, 2026 |

By Rachel Shapey

Welcome to the 2026/27 A Level Music Composition Brief Breakdown series. Following the success of the GCSE Composition brief series, several teachers asked if I could do the same for the A level briefs.

This series is designed to save you time with planning for the composition briefs. For each of the main exam boards we break down the set briefs into clear, actionable components tailored to A Level standards. Inside each guide, you’ll find overviews, curated exemplar listening lists, advanced technique breakdowns, key moderation pitfalls to avoid, and suggested starter activities.

Bookmark this page, grab a cup of tea, and explore the breakdown for your board below to help your A Level cohort hit the ground running this term.

This guide is designed for teacher planning and general skill-building prior to controlled assessment. In accordance with JCQ rules, the activities, suggestions and listening examples provided here must not be used as pre-prepared candidate work or model solutions for live NEA. This guide is not endorsed, affiliated with, or approved by AQA. Always refer to the official specification and JCQ guidelines for definitive assessment requirements. Briefs are accessed through the exam board secure portal.

At a glance summary

All four briefs are set in the context of Western Classical tradition (Baroque, Classical, Romantic eras).

FocusSummary
Brief 1ChoraleComplete both given chorales (Chorale 1: Alto/Tenor; Chorale 2: Alto/Tenor/Bass).
Brief 2Disco SongMandatory lyrics, 4-on-the-floor beat, syncopation, hook, extended instrumental section.
Brief 3Film underscoreUnderscore given documentary clip of un-crewed rocket successful touchdown.
Brief 4Musical entr’acteInstrumental 2–3 min energetic dance opener for Act 2; given chord sequence and rhythm.
Brief 5Jazz balladGiven lyrics & opening melody; slow swing feel; solo voice + min. 2 instruments.
Brief 6Modern FadoVigil for peace; Gandhi quote stimulus; given Portuguese motif; voice + guitar min.
Brief 7Celebrating science & the artsMathematical structure; given pitch (min 1) & rhythm (min 2) patterns; Organ or 4+ instruments.

Brief by brief breakdown

Note: brief 1 has a slightly different format due it being a technical option.

1. Chorale

Brief focus:

Complete the two given chorales with the voice parts specified.

Decoding the brief

This technique-based option tests strict Bach-style SATB 4-part harmony. Candidates must demonstrate mastery of functional voice leading, cadential structures (Perfect, Imperfect, Interrupted, Plagal), chord inversions, passing notes, suspensions, and unaccented/accented auxiliary notes while also eliminating technical errors (e.g. parallel 5ths/8ves, voice crossing, exposed octaves).

Getting started activity

Ask students to look and play through the chorale, identifying key changes and starting to create a key plan. Then focus on the cadences and sketch in the parts for these.

Further resources:

2. Disco Song

Brief focus:

Composing a song in Disco style intended for use by a DJ at a party, using mandatory lyrics. It must contain: four-on-the-floor beat, syncopation, melodic hook, extended instrumental section. Scored for solo vocals, drum kit, electric guitar, bass guitar, strings and/or horns.

Decoding the brief

This brief requires an authentic late-1970s / classic Disco or Nu-Disco arrangement. Students could include solid rhythmic patterns, driving bass guitar lines, string/horn fills, and a clear verse-chorus-extended instrumental breakdown structure tailored for a party DJ set. A key aspect here is handling the build up/maintenance of energy within the composition.

Must use the given lyrics!

FeatureDetail
Harmonic vocabularySuggested: Minor 7ths, Major 7ths, and Dominant 9th chords; modal funk progressions; extended pedal-point vamps in the breakdown section.
Structure Syncopated guitar riffs; call & response between vocal lead and brass/string stabs; transposing melodic hook; extended DJ instrumental breakdown.
InstrumentationFour-on-the-floor kick drum with open/closed hi-hat offbeats; octave-jumping electric bass lines; clean muted guitar strumming; sweeping violins and punchy trumpet/sax stabs.

Exemplar listening

Le Freak by Chic

A must-listen! The track features building string lines and a memorable vocal hook that perfectly captures the high-energy dance culture of the era.

I Feel Love by Donna Summer

This example illustrates how driving electronic synthesised bass arpeggios can combine with ‘traditional’ disco vocal hooks. Listen out for the simplicity (longer note values) of the vocal line.

Ain’t Nobody by Chaka Khan

This example shows how synth-bass lines, tight vocal phrasing, and keyboard pads can build a driving party groove. Listen out for the melodic ostinato patterns in the voice breaks.

September by Earth, Wind & Fire

A nostalgic 1978 track built on a guitar groove and the iconic “ba-dee-ya” hook.

Getting started activity

Ask students to programme a 120 BPM four-on-the-floor drum beat with offbeat hi-hats. Then write a 2-bar octave-jumping bass line over a simple chord sequence (e.g. i7 – IV7) and layer a syncopated 3-note horn stab on the offbeats.

Further resources:

A useful starting point for layering tracks and seeing the process in action:

Note: all resources and courses are included in the Teacher Access Plan (better value!)

3. Film Underscore

You’ll need the additional PDF, which contains the video clip link for this brief.

Brief focus:

Composing music to underscore the given film clip for a documentary about recent developments in space flight. It should capture a range of changing emotions during an un-crewed test flight rocket touchdown.

Decoding the brief

The key aspect for this brief is ‘range of changing emotions’. Students must build the tension, whilst also capturing feelings of awe, anxiety and triumph. This will require careful planning and skilful orchestration.

FeatureDetail
Harmonic vocabularySuggested: Use of chromatic mediants; possible use of Lydian mode (raised 4th for wonder/space), quartal/quintal harmonies, cluster chords, diminished 7ths, tritones for tension…and triumphant tonal resolution.
Structure & motivic developmentLeitmotif development representing the rocket/journey; ostinato for the acceleration/deceleration matching visual descent; metric modulation; sudden textural drops at touchdown.
InstrumentationFull orchestral canvas (low brass, soaring horn melodies, string tremolos etc.) possibly with synth tracks.

Exemplar listening

Day One from Interstellar by Hans Zimmer

This well-known example conveys deep sadness via a chromatic descending ground bass and expressive vocal/string suspensions.

The Door from Chernobyl by Hildur Guðnadóttir

This (rather chilling) example illustrates acoustic sound design, metallic drones, and tension building without conventional melody. It could be useful for students in building a tense foundation on which to build melodic material.

Prey by Sarah Schachner

This example, whilst not being space-themed, demonstrates the use of expansive, optimistic string melodies (e.g. at 02:45), ostinato patterns to build momentum (e.g. at 04:00) and combining traditional and contemporary instruments.

Apollo 11 Launch from First Man by Justin Hurwitz

This is a great track for exploring emotional changes – there’s a powerful balance between anxiety and majestic wonder during a lunar touchdown. Listen out for the change of tonal centre at 02:27 and again 2:57.

Flying Theme from E.T Extra-Terrestrial by John Williams

This is a key model for orchestration and thematic development, plus…how to execute a triumphant emotional resolution!

Getting started activity

Create a 15-second tension cue. Start with a sustained low string cluster and a building rhythmic ostinato. Build tension using melodic fragments which build to present a full theme.

Further resources:

Black Piano Minor Keys

Note: all resources and courses are included in the Teacher Access Plan (better value!)

4. Musical Theatre Entr’acte

Brief focus:

Composing an instrumental Entr’acte for the opening of Act 2 of a musical entitled ‘Last Chance to Dance’ (instrumental and using the given chord progression and given rhythm).

Decoding the brief

This brief requires an energetic, theatre-orchestra overture style. Students must integrate the given chord progression and rhythmic motif.

FeatureDetail
Harmonic vocabularySuggested: use the given chord sequence, then rework them with inversions, added notes, suspensions etc.
Use of walking bass lines, exploration of keys, chromaticism.
Structure & techniquesSectional dance form (e.g. ABACA) or a medley structure; rhythmic diminution/augmentation of the given rhythm motif.
InstrumentationPit ensemble (Strings; Brass; Woodwind doubles, Drum kit/Percussion, Keys, Bass,); slap bass, xylophone/glockenspiel runs.

Exemplar listening

Mambo! from West Side Story, by Leonard Bernstein

An excellent example of Latin-influenced Broadway dance writing, featuring syncopated brass stabs, ornamentation, polyrhythms, and high-energy drive (with spoken shouts from the orchestra!).

Overture from Newsies by Alan Menken

An energetic theatre dance arrangement that demonstrates a solo brass opening, syncopated brass accents, percussion fills, woodwind counter-melodies, and transitions between contrasting thematic sections.

Entr’acte from Chicago by Kander and Ebb

This example illustrates classic 1920s jazz-broadway orchestration, trumpet mutes, woodwind runs, and driving dance tempi.

Overture from Sweet Charity by Cy Coleman

An example of classic Broadway jazz-dance orchestration and rhythmic drive. It illustrates how to take a recurring rhythmic motif and bold, extended chord progressions and build them into a captivating instrumental dance sequence.

Getting started activity

Analyse the opening chord sequences of the above examples (or using scores you have in school) and build a bank of ideas for students creating their own chord sequences.

Once they have composed and recorded a chord sequence, invite them to improvise short dance-like motifs over the top – remind them that it doesn’t have to be continuous music, incorporate rests too.

Further Resources:

Note: all resources and courses are included in the Teacher Access Plan (better value!)

5. Jazz Ballad

Brief focus:

Composing a song in the style of a jazz ballad for an emerging artist concert, using the given lyrics. It must begin with the slow swing melody provided and can include an instrumental section.

Decoding the brief

This brief requires a sophisticated, moody, late-night jazz ballad style. The key is extending the given opening melody using authentic jazz harmony and providing an expressive accompaniment to support the vocal part.

FeatureDetail
Harmonic vocabularySuggested: Major 7th, Minor 7th, Dominant 7th, half-diminished chords; tritone substitutions, altered dominants etc. plus…chromatic voice leading in inner piano/instrumental parts.
Structure & techniquesSuggested: 32-bar song form or ABAC structure; rubato introductory section transitioning into slow swing; instrumental solo section (sax/piano/trumpet).
InstrumentationLead vocal with jazz trio or quartet; rootless piano chord voicings, walking bass lines, and brush snare sweeps.

Exemplar listening

Don’t Explain by Nina Simone

This example illustrates space, a minimalist piano accompaniment, and deep vocal expression in a slow jazz ballad format (and listen out for the flute at the end of vocal phrases).

Skylark by Johnny Mercer / Hoagy Carmichael

This example starts with a jazz flute mimicking bird song. The song moves at a slow tempo (with rubato), and includes a key change on ‘and in your lonely flight’ (1:04 before moving back at 1:31).

Round Midnight by Thelonious Monk

Round Midnight is renowned for its brooding, late-night atmosphere, use of chromaticism and altered dominant chords. The melody is rather angular with a number of unpredictable leaps.

Getting started activity

Ask students to speak aloud the given lyrics with different rhythmic emphases. Then highlight key words in the text which could be brought out in the music e.g. with a particular melodic interval or instrumental decoration.

Further Resources:

Note: all resources and courses are included in the Teacher Access Plan (better value!)

6. Modern Fado

Brief focus:

Composing a piece of modern Fado for a vigil for world peace, stimulated by ‘In the midst of darkness, light persists’ (Gandhi).

Decoding the brief

This brief calls for an understanding of traditional Portuguese Fado (mournful folk song genre). Students must embed the traditional motif, compose modal melodies, and capture expressive vocal ornamentations over intricate guitar lines.

FeatureDetail
Harmonic vocabularySuggested: use of harmonic minor, Mixolydian and Dorian modes; alternation between minor tonic and dominant 7ths with flat 9ths.
Structure & techniquesSuggested: Dialogue/call & response between vocal phrases and guitar melodies; variation and expansion of the O Menino está dormindo motif; use of rubato.
InstrumentationPortuguese Guitarra (guitarra portuguesa) with rapid double-stop tremolo and ornaments, or classical/steel-string guitar fingerpicking; optional cello, accordion, or light percussion.

Exemplar listening

Fado Português by Amália Rodrigues

This is a key example to listen to for traditional Fado vocal ornamentation, arpeggiated guitar accompaniment, and emotional intensity.

Desfado by Ana Moura

This example demonstrates contemporary modal Fado fusion, but is a little upbeat for the brief requirement of being a song for a vigil for peace!

Ó Gente Da Minha Terra by Mariza

This is an example of modern Fado, for solo voice and traditional guitar picking accompaniment. Notice the dramatic and expressive vocal delivery.

Getting started activity

Ask students to use the given 4-note Portuguese motif to write a 4-bar classical guitar fingerpicking pattern, and compose a vocal response using a descending scale (using a mode – see table above).

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