While candidates' performance in Melody Writing, Two-Part Writing and Four-Part Harmony have improved over the previous years, some of them still have difficulties in tackling the questions due to poor knowledge of melody and harmony.
However, for better performance, candidates are advised to note the following:

In question (a) - melody writing, since most melodies consist of phrases of2 or 4 bars each, they should learn that cadences and modulations go in tandem with the number of phrases e.g. a 12 - bar melody may be structured [2 + 2] + [2 + 2] + [2 + 2].
It is better for modulations to appear at the middle section of the melody while the correct clef sign and key signature should be indicated at the beginning of every staff. However, the time signature can only appear at the beginning of the melody and the basic melodic and rhythmic pattern or motif must be repeated or indicated to a reasonable extent.
1 (a)(ii) Setting text to melody, the melody must be original, not plagiarized or lifting of an existing tune. It is even easier for candidates to compose their tune(s) for a soprano because the vocal range is quite wide. It is also advised that candidates should not write continuously at the upper or lower extremes of the vocal range so as to have good melodic constructions. Question l(b) is a Two-Part Writing which is never harmonized as in 4 - part homophony.
Horizontal melodic interest coupled with complementary rhythmic balance should be the essential aim of candidates.
Question 1 (c) -Four - Part Harmony is were candidates are expected to use more of primary triads i.e. chords I, IV and V in the root and first inversion positions while second inversion triads i.e. chords should only be used as (i) Passing , (ii) pedal   , (iii) cadential (iv) Appoggiatura or (vi) Arppeggio