Two compositions must contrast in medium
Component 3 requires TWO original compositions (AO3, 30%), each marked /25. The two must differ in medium — the instrument(s), voice(s) or electronic sounds. An identical combination means Composition 2 scores 0 for Use of medium — automatic. "Contrast" means the MEDIUM, not just mood. Borrowed material earns no credit: a theme-and-variations whose theme you did not write, or an arrangement, is not acceptable.
How each composition is submitted
Composition 1: a complete staff-notation score plus a recording. Composition 2: written to a candidate-defined brief tied to ONE area of study (AoS4-7), submitted as a recording plus EITHER a detailed written commentary on the template OR a statement of the brief with a score in a notation appropriate to the style (cipher, lead sheet, staff).
The five marking criteria
Each composition is marked /25 on five criteria (5 each): (a) Ideas (your OWN melodic/rhythmic material); (b) Structure (coherent shape, small- and large-scale); (c) Use of medium (idiomatic writing, varied texture; the contrast rule); (d) Compositional technique (developing ideas — sequence, inversion; harmony); (e) Score/notation OR written commentary. Plan against all five from the start.
Drawn from real examiner reports.
Contrast means medium, not mood
The contrast must be in the instrument(s), voice(s) or electronic sounds. Two solo-piano pieces that only differ in mood keep an IDENTICAL medium — forcing an automatic 0 for Use of medium on Composition 2. Change the performing forces, not just the mood.
2026-2028 syllabus, Component 3 (p.24) and (c) Use of medium note (p.28): identical medium triggers an automatic 0 for Use of medium on Composition 2.
Non-idiomatic writing loses marks
Writing must be IDIOMATIC — realistic for the instrument. Marks are lost for a chord for a single-line instrument (trumpet, voice), a six-note voicing in one piano hand, pizzicato marked for brass, or a wind part written loud in its lowest register. Check each part against the instrument's range and technique.
Digest Sections 4-5 (w22): technically implausible writing evidences no research into the instrument's real technique/range.
Borrowed material earns no credit
Only your OWN original material is assessed. A theme-and-variations whose theme you did not write, and an arrangement of a pre-existing piece, are explicitly not acceptable and earn no credit for the borrowed content. Pre-existing loops likewise score nothing under Ideas. Compose the core material yourself.
2026-2028 syllabus, Component 3 "not acceptable" list (p.24); digest Sections 4-5, every sitting.
A vague brief caps the Ideas mark
Composition 2 must answer a candidate-defined brief tied to one area of study. The Ideas criterion credits "a convincing response to the stated intentions", so a vague brief caps that mark even when the music is strong. Write a short, specific statement of brief and keep referring back to it as you compose.
2026-2028 syllabus, Component 3 criteria (a) Ideas (response to stated intentions) and the brief requirement (p.24).
Incomplete or unedited notation
Notation completeness costs marks: a song needs at least the vocal line notated — lyrics with chord symbols alone is not sufficient. Computer-generated scores need editing: default rest values from real-time entry, and a default instrument order wrong for the actual ensemble, must be corrected before submission.
Digest Sections 4-5, notation completeness, every sitting: vocal line must be notated; computer-score defaults need editing.
A repeat is not real structure
Structure is the most commonly under-developed criterion every sitting. A very short single-section piece, or a bare ABA made only with a "D.C." repeat (the returning A note-for-note identical), is over-marked. The criterion rewards composed contrast and links, so a returning section must be genuinely varied (texture, register, accompaniment), not just repeated.
Digest Sections 4-5 "Component 3", every sitting: Structure the most commonly under-developed criterion; short pieces and repeat-mark-only "variation" over-marked by centres.
Fix the Composition 2 brief early
Choose ONE area of study and write a short, specific statement of brief, then keep referring back to it. The Ideas criterion credits a convincing response to your intentions, so a drifting brief caps the mark.
Sketch the structure before detail
Decide how many sections, how they contrast and how they link before composing note-by-note, so structure is designed, not an afterthought. If a section returns (e.g. ternary), plan HOW it will be varied on its return.
Match the submission format early
Decide whether Composition 2 uses a written commentary or a brief plus appropriate notation BEFORE finishing — the two routes need different supporting material as you go (timings and notes, or a workable score).
Plan the pair, not one piece
Decide the medium for BOTH compositions together at the start, so the "some difference in instruments/voices/electronic sounds" requirement is satisfied by design, not discovered too late to fix.
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