All parts must be playable.

• Students are expected to show strong instrumental writing

skills
with common techniques, articulations and dynamics applied
to
each part.
• Students can use this ensemble in a manner of their
choosing.
They can decide what instrument(s) holds the primary,
secondary & tertiary focuses. All instruments must offer some
level of detail.
• Students are expected to explore the concept of motif and
theme in their work.
• Give your music a title.
• ‘Composed by Your Name (student number)’
• Appropriate Key signature (connection to analysis)
• Tempo marking (connection to audio submission)
• Use rehearsal markings to outline the various sections of your
piece. Sections should be divided by a double bar line (two thin
lines)
• A final bar line at the end of the piece. Please delete any
unwanted/unnecessary bars at the end of your score in
Sibelius/Musescore.
Legible rhythmic groupings. Put yourself in the position of the player.
• Accurate chord symbols.
• Fermata (pause mark) – represented across the score in all parts.
• Dynamics – marked at the point of first entry and used consistently throughout.
• Articulations and techniques – common and instrument-specific details should
be
offered.
• No guitar chord diagrams on score. (Sibelius)
• No roman numerals on the score. (Analysis only)
• Keep a tidy score; be accurate with score details. There should be no
empty/unused bars at the end of your piece (after the final bar line).
1. Select and drag
2. Layout – Breaks
3. Layout – Optimize
4. Layout – Staff/System size
Musical/Compositional writing
– approx. 650 words
• DAW ‘mock-up’
– approx. 200 words
A bibliography is not necessary.
600 words:
This should reflect the form/structure of your piece. Use
rehearsal marks as a guide.
• Divide the piece into its various sections and use appropriate
sub-headings accordingly.
• Make sure you label sections clearly on the score and in the
analysis to create a clear connection between the two.
Motif
• Motivic development
• Melodic figures
• Harmonic Analysis – Roman Numerals
• Rhythmic ideas
• Voicings
• Technical writing for instruments
• Dynamics
• Articulations
• Timbre
Motifs and harmony are essential
n the key of C major, an A minor chord = vi
In the key of C major, an Ab major chord = bVI
In the key of B major, a G# minor chord = vi
In the key of B major, a G major chord = bVI

200 words:
• A brief description of your workflow.
• A brief description of the sounds you used.
• Transferring ideas to the written score
• A brief description of the DAW and sound engines used, and how
articulations were managed.
• Use illustrations.