Colin's Teaching Resources
This page was last edited on 26/12/08
Sadly, since this page was written
the pro-forma on which candidates do this work has changed and (the last time I saw it)
there were only 2 sections.
[1] Describe the task and [2] Evaluate it (or
similar titles)
Understanding the Brief [Edexcel]
As ever the best way I know how to explain something is to work an example. Here is an imaginary GCSE composition for flute in Rondo form [Back to the GCSE topics page].
The brief was written first (believe that if you will, but you need to ask your pupils to write it so that it appears this was indeed the case) and then, during the composition procedure notes were taken of what decisions were made. Finally the whole piece was reviewed to see if had been successful.
What was your composition/arrangement brief?
My girl friend plays the flute so I wanted to write a rondo piece for her. I imagined that this was to be a test piece which could be used in a number of ways:
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As an audition piece for a band or orchestra
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As a competition or Music Festival test piece
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As an Exam piece
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As a display piece for a GCSE student to help a teacher demonstrate the characteristics of the flute to a Year 7 class.
Describe the process you went through to complete your piece, using musical vocabulary where appropriate. Explain any alterations you made to your work as you evaluated it during the composition process. How did your piece meet the brief?
[The musical vocabulary, in this example, is shown in coloured text]
My plan
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The piece will have 5 sections - ABACA
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I have decided to pick quite a difficult key. I think that compound time will also present a challenge. I want to make the rondo theme recognisable. The tempo will be fairly fast.
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In episode 1 I intend to use the lower range of the flute as it can be difficult to make a flute speak promptly low down. I shall specify the articulation in this section as a further test of the player.
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In episode two I will use the high register and I will change the time-signature. This will allow me to include different rhythms. In particular I want the player to convey the difference between the crotchet/quaver feel in compound time and the dotted quaver/semiquaver in common time.
Changes
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I began my theme with an octave leap to make it recognisable; I then followed this with more dotted crotchets before finishing the 1st phrase.
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The first two bars (although there is no accompaniment) suggest the chords of I and V because I wanted to imply the harmony of the music in the way I wrote it. Once I had got the idea for the first phrase the rest of the theme fell into place because I like to write in a unified way. It seemed logical, as I was going to include dynamics anyway, to be quite precise about the volume, and changes in volume, during the piece. An audition panel might want to check that a flautist can observe dynamics.
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When I came to write my 1st episode I felt I could avoid writing in a lot of articulation by using the phrase 'poco scherzando'. This would give the player the chance to interpret the instruction in a suitable way and the audition panel would be able to select the best player to fill the vacancy. Additionally, I felt I had been quite prescriptive in the articulation of the theme that the music was in danger of being too much of a study. It is meant to be nice to listen as well.
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I thought of adding the mordents and the trill to episode 1 when I was type-setting it. The grace notes in bars 29 and 30 make this section rather fun; it is a little cheeky too! The C-double sharp to D natural (enharmonically the same note) is a bit of a trap and will need careful playing if it is not to sound untidy.
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My 2nd episode was originally in B minor (the tonic minor) but I felt this was a weakness. By transposing the whole section into the dominant-minor I solved the problem and it also allows the player to explore even higher notes; a fifth higher than I had originally intended. Although the section is actually marked legato, I wanted to oblige the player to make bars 53 and 54 joined. I took the chance to add some slurred-staccato in the last bar.
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There is no rallentando at the end of the final theme section. I expect some players will try to insert one. I do not want one!
Did I meet the brief?
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I set out to write a piece in rondo form with technical challenges. I also wanted to end up with an attractive piece of music. I feel I have done this.
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I hope the writing is idiomatic for the flute because I am a pianist myself and not a woodwind player.
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The composition shows my ability to write successful tunes; I have included some sequential writing and I have tried to develop the opening material. I have also made the episodes contrast with the theme. The return of the theme is recognisable.
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The structure is satisfying but it includes sufficient contrast.
