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 – AQA, Edexcel, Eduqas, and OCR – 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 Eduqas. 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).
| Focus | Summary | |
| Brief 1 | Fugal Composition | Compose a fugal piece with a subject that develops throughout. |
| Brief 2 | Operatic Aria | Compose an accompanied aria for an opera entitled Reflections Beneath the Moon. |
| Brief 3 | Suite movement | Compose the opening movement of a suite conveying deep sadness. |
| Brief 4 | May Day Celebration Dance | Compose a piece in compound duple time for a May Day celebration. |
Brief by brief breakdown
1. Fugal Composition
Brief focus:
Composing a fugal piece with a subject that develops throughout the composition.
Decoding the brief
This brief requires a rigorous contrapuntal work. While students could write a full Bach-style 4-voice fugue, they could also explore a fugal movement (e.g. a Classical fugato section or Romantic character piece with fugal development). Students should write a clearly defined Subject, Answer (real or tonal) and Countersubject, using sequence, and contrapuntal devices (stretto, inversion, augmentation).
| Feature | Detail (suggested) |
| Harmonic vocabulary | Exploration of several keys in development of fugal subject; Functional tonal harmony with clear cadential points, secondary dominants, circle of 5ths progressions, diminished 7ths, augmented 6ths, pedal points (tonic and dominant). |
| Structure & development | Stretto (overlapping subject entries), motivic fragmentation of the subject, tonal/real answer transposition, subject inversion, and retrograde/augmentation. |
| Instrumentation & orchestration | Students can use any instruments for this brief. They should carefully consider the role, range and timbre of each instrument. |
Exemplar listening
Prelude & Fugue in C minor by J.S Bach
Fugue begins at 01:30
A must listen! This example demonstrates clear Subject/Countersubject relationships.
24 Preludes & Fugues, Op.87 no.7 by Dmitri Shostakovich
Whilst this is a 20th century example (the brief guidance stipulates writing in a Baroque, Classical or Romantic style), it’s a solid ‘clean’ example of fugal writing.
String Quartet Op.3 No.2 in B flat major by Maddalena Laura Lombardini
A fine Classical-era example demonstrating how fugal counterpoint and fugato sections can be integrated into a string quartet movement.
3 Preludes and Fugues by Clara Schumann
An example of Romantic counterpoint, showing how strict 3-voice fugal craftsmanship can be combined with 19th century expressive harmony and chromatic voice-leading.
Getting started activity
Ask students to write a 2-bar fugal subject. It should aim to grab the listener’s attention, so students may wish to include a bold interval (e.g. rising 5th) and give it a strong rhythmic identity. Keeping it simple is key here, because it will make the development much easier. Draft a tonal answer a 5th higher that adjusts the opening pitch step, and compose a countersubject that provides rhythmic contrast (e.g. running quavers against the subject’s longer note values).
Further resources:
- Online course: How to Modulate (learn to move to 12 different keys)
- Free blog series: Advanced Harmonic Techniques
- Step-by-step How to Write a Fugue
Note: all resources and courses are included in the Teacher Access Plan (better value!)
2. Operatic Aria
Brief focus:
Composing an aria (accompanied) to be performed in an opera entitled ‘Reflections Beneath the Moon’.
Decoding the brief
This brief calls for an expressive operatic vocal solo with instrumental accompaniment. The title Reflections Beneath the Moon suggests nocturnal, introspective, or romantic imagery. Depending on the chosen era:
- Baroque: Da Capo Aria (A-B-A) with ornamental melismas and continuo/string accompaniment.
- Classical: Rounded Binary or Ternary Aria (Mozart/Haydn style) featuring balance, cantabile lines, and classical orchestra.
- Romantic: Bel Canto or dramatic aria (Puccini/Verdi vocal style) with expansive melodies, chromaticism, and rich orchestral colour.
| Feature | Detail |
| Harmonic vocabulary | Chromatic voice leading, Neapolitan 6ths, secondary dominants, appoggiaturas on strong beats, diminished chords. Exploration of keys. |
| Structural & Motivic Development | Suggestion: Da Capo Form (ABA); through-composed; word-painting on nocturnal imagery; melodic ornamentation in recap sections. |
| Instrumentation | Solo Voice (Soprano, Tenor, Mezzo) with Piano, String Orchestra, or Classical Chamber Ensemble; independent woodwind counter-melodies (e.g. solo flute/oboe with the voice). |
Exemplar listening
Lascia ch’io pianga from Rinaldo by G.F Handel
A Baroque aria example demonstrating how a simple, noble melody over a steady accompaniment can create profound emotional depth.
Amour, tu es l’éclair from The Wreckers by Ethel Smyth
A late-Romantic opera example showing how to combine dramatic vocal lines with chromatic late 19th-century accompaniment.
Ach, ich fühl’s from Die Zauberflöte by W.A Mozart
A classical G minor aria demonstrating cantabile vocal lines, delicate orchestral ‘sighing’ motifs, and structural clarity.
Song to the Moon from Rusalka by Antonin Dvorak
A hauntingly beautiful soprano aria in which a lonely water nymph begs the moon to reveal her love to a human prince.
Getting started activity
Ask students to write a 4-line text stanza on nocturnal reflection or to find a suitable poem. Compose two 8-bar cantabile vocal melodies, one in a major key and one in a minor key, using a different metre for each. They should highlight key words in the text to bring out in the vocal line, e.g. with an expressive appoggiatura.
Further resources:
- Free blog series: Advanced Harmonic Techniques
Note: all resources and courses are included in the Teacher Access Plan (better value!)
3. Suite Movement
Brief focus:
Compose the opening movement of a suite that conveys a feeling of deep sadness.
Decoding the brief
This brief requires an opening suite movement conveying sorrow or grief. Suitable historical forms would include:
- Baroque: a slow, solemn Sarabande (3/4 with accent on beat 2), a French Overture slow intro, or a Lamento Ground Bass (passacaglia/chaconne).
- Classical: a dramatic, solemn Adagio/Lento introduction or slow Binary/Ternary movement in a minor key.
- Romantic: An Elegie, Funeral March (4/4 with dotted march rhythms), or melancholic orchestral prelude.
Students could explore using musical devices which present tension (dissonance) and release and choosing particular melodic intervals to evoke grief (7th is a ‘yearning’ interval).
| Feature | Detail |
| Harmonic vocabulary | Suggested: Chromatic descending basslines (lamento bass); Neapolitan 6ths, diminished 7ths, suspensions at cadences and Tierce de Picardie endings. |
| Structure & motivic development | Ground Bass / Passacaglia variations, Binary Form (A-B) Ternary (ABA), weeping sigh motifs (two-note descending slurs), and rhythmic augmentation/suspension. |
| Instrumentation | Solo cello/violin with string ensemble; chamber orchestra, woodwind ensemble (oboe or cor anglais melody), or piano/harpsichord with low register focus and mute (con sordino) directions. |
Exemplar listening
Dido’s Lament from Dido and Aeneas by Henry Purcell
This well-known example conveys deep sadness via a chromatic descending ground bass and expressive vocal/string suspensions.
The Death of Åse from Peer Gynt Suite by Edvard Grieg
A 19th-century orchestral suite movement that uses slow, step-wise muted string harmonies and dramatic dynamic builds to depict profound grief and loss.
Prayer by Ernest Bloch
This example is a deeply poignant composition that uses expressive melodic lines (exploring the whole register of the cello), aching melodic leaps, and a simple accompaniment to convey intense sorrow and lamentation.
Sarabande in D minor by G.F Handel
A Baroque suite movement showing how a dignified 3/4 dance with accents on beat 2 creates a sombre atmosphere, through repeating minor key harmonic patterns.
Adoration by Florence Price
An expressive, serene, and lyrical piece that combines traditional classical structure with the rich, soulful inflections of African American spirituals.
Theme from Schindler’s List by John Williams
Whilst this is an example from film music, analysing this theme with students is a very useful exercise – the descending perfect 5th followed by rising 6th and the yearning rising 7th all evoke the sense of grief (but also strength and hope).
Getting started activity
Start by creating a 4-bar theme which includes descending chromatic movement and long note values. This could be used as either a melodic theme or ground bass. Build in this with adding further lines e.g. ‘sighing’ 2-note suspensions, rhythmic subdivisions to create movement and imitation between parts.
Further resources:
- Online course: Compose a Melody using the Defining Feature Approach
- Online course: Composing for Instruments
- Online course: How to Modulate (learn to move to 12 different keys)
- Resource: Baroque, Classical and Romantic Composers Listening Packs
Note: all resources and courses are included in the Teacher Access Plan (better value!)
4. May Day Celebration Dance
Brief focus:
Composing a piece of music in compound duple time to be performed at a May Day celebration of dance.
Decoding the brief
This brief requires a festive, energetic dance in compound duple time. Suitable historical dance forms include:
- Baroque: a fast Gigue or Pastoral dance in 6/8 featuring light contrapuntal imitation and dotted rhythms.
- Classical: a lively Rondo or Scherzo/Trio with balanced 4-bar phrasing and drone/pedal points simulating folk pipes.
- Romantic: a vibrant Saltarello, Tarantella, or festive character dance with virtuosic drive and colourful orchestration.
| Feature | Detail |
| Harmonic vocabulary | Tonic and Dominant pedal points (simulating rustic bagpipe/hurdy-gurdy drones); clear modulations to dominant/relative keys, and clear cadential resolutions. |
| Structure & techniques | Binary; Rondo; Ternary with Trio Rhythmic development; syncopation; use of hemiola |
| Instrumentation | Suggested: Chamber Ensemble, Orchestra, Woodwind/Brass Ensembles, or Keyboard. |
Exemplar listening
St Paul’s Suite, by Gustav Holst
This example by English composer Holst, is in compound time and uses folk song-inspired melodies.
Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio by Beethoven:
Not in compound time but a good example of a celebratory, energetic movement for full orchestra.
Juba Dance by Robert Nathaniel Dett
R. Nathaniel Dett was an influential Black Canadian-American composer. This vibrant piano piece depicts a ‘Juba’ (a traditional African-American plantation dance involving rhythmic hand clapping and foot-stomping).
Symphony no.1 in D major, 2nd movement by Gustav Mahler
The ultimate rustic Austrian country dance (Ländler), using strong bass lines, pastoral woodwind lines with ornamentation, muted trumpets and calling French horns. Listen out for the accelerating strings at 3:30.
Gigue in C major Op. 123 No. 6 by Cécile Chaminade
Cécile Chaminade was a brilliant French late-Romantic composer. It is a festive, lighthearted, and virtuosic keyboard dance – enjoy!
Getting started activity
Ask students to compose an 8-bar 6/8 gigue/dance theme over a tonic pedal, using repetition within the theme. Incorporate dotted rhythms and upward pitch movement to portray a celebratory atmosphere.
Further Resources:
- Online course: How to Modulate (to 12 different keys)
- Online course: Composing for Instruments
- Free Inspiration Page
Note: all resources and courses are included in the Teacher Access Plan (better value!)
