Generate and develop motifs, harmonise melodies, choose structure and texture, arrange for available forces, and notate a composition clearly for performance.

What this dot point is asking

Generating and developing ideas

Most compositions grow from a small seed: a motif (a short, memorable rhythmic-melodic idea) or a short phrase. The skill is development, not constant invention. Core development techniques include repetition (stating an idea again to fix it in the ear), sequence (repeating a pattern at a higher or lower pitch), inversion (turning the intervals upside down), retrograde (playing it backwards), augmentation and diminution (lengthening or shortening the note values), and fragmentation (using just part of the idea).

Using these techniques keeps a piece unified, because the listener hears familiar material transformed rather than a stream of unrelated ideas. A strong composition balances unity (recognisable returning material) with variety (enough contrast to stay interesting).

Harmonising a melody

To harmonise a melody, choose chords that support its notes and create a satisfying progression. Begin and end with the tonic for stability, use the dominant (V or V7) to create tension before a cadence, and use the subdominant (IV) and other chords for variety. Aim for smooth voice leading: move each part by the smallest interval possible and avoid awkward leaps. Plan your cadences first, then fill the phrase between them.

Structure and texture

A composition needs a clear shape. Borrow a recognised form such as binary, ternary or verse-chorus, or design your own, but make sections audibly distinct through changes in key, texture or material. Use texture for contrast: thin a passage to a single line, thicken it with chords, or layer independent parts. Contrasts in dynamics, register and instrumentation keep the listener engaged and articulate the structure.

Arranging for available forces

Arranging adapts music for a specific set of instruments or voices. You must respect each instrument's range, write idiomatically (lines that suit how the instrument actually plays), and remember transposing instruments so the written part sounds at the intended concert pitch. Balance the ensemble by giving the melody to a part that can project, supporting it with accompaniment that does not cover it, and providing a clear bass foundation. Consider register spacing so the texture is clear rather than muddy.

Notating for performance

A score is only useful if a performer can read your intentions. Include the time and key signatures, clear beaming by beat, dynamics, articulation, tempo and expression marks, and rehearsal letters or bar numbers. Lay out the rhythm so each bar adds up correctly and the pulse is visible. Clean, conventional notation is part of the assessment, because a beautiful idea badly notated cannot be played as intended.

Reflecting on your work

The composition option is assessed on the finished work and usually on your process. Keep a record of how ideas developed, what you tried and why you made choices. Listen back critically, ideally with a recording, and refine: tighten the structure, fix awkward voice leading, and check the notation matches your intention. Composition improves through revision, not first drafts alone.