mātauranga pŪoru MUSIC · 2015-03-30 · ‘Yardbird Suite’ is becoming more fluid and is...

mātauranga pŪoru

MUSIC

2013/1

MP3001RESOURCE BOOKLET

NCEA LEVEL 3

2 MP3001 © te aho o te kura pounamu

music performancencea level 3

Copyright © 2013 Board of Trustees of Te Aho o Te Kura Pounamu, Private Bag 39992, Wellington Mail Centre, Lower Hutt 5045,

New Zealand. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without

the written permission of Te Aho o Te Kura Pounamu.

Expected time to complete workThe length of time to complete the work will depend on which assessments you decide to take and how much practising you need to do to get up to performance level.

All assessment activities are to be completed by the end of October if you want accreditation by January.

You will work towards the following standards. You may choose to do one or two or all three:Achievement Standard 91416 (Version 1) Music 3.1Perform two programmes of music as a featured soloistLevel 3, Internal 8 credits

Achievement Standard 91417 (Version 1) Music 3.2Perform a programme of music as a featured soloist on a second instrumentLevel 3, Internal4 credits

Achievement Standard 91418 (Version 1) Music 3.3Demonstrate ensemble skills by performing two substantial pieces of music as a member of a groupLevel 3, Internal4 credits

In this booklet you will focus on this learning outcome: • developing pieces of music for performance.

By the end of this unit you will be able to present pieces of music for Solo, Second Instrument and Group Performance.

1MP3001© te aho o te kura pounamu

contents

1 Getting started!

2 Performance preparation and stagecraft

3 Recording and technical


how to do the work

When you see:

Caution.

Contact your teacher.

You will need:

• a performance instrument or voice

• the ability to play an instrument equivalent to the fifth year of study with an instrumental teacher

• pieces of music for performance

• an audience

• a performance venue

• blank DVDs

• a video recorder

• an instrument teacher or music mentor.

You may need:

• another performance instrument

• other musicians

• a backing track

• a DVD player

• a computer

• Internet access

• a way of recording yourself play.

3© te aho o te kura pounamu MP3001

Resource overviewIn the pack for Music Performance NCEA Level 3 (MP3001P) you will find:

• this Music Performance resource booklet, MP3001, with information on how to achieve in Solo, Second Instrument and Group Performance

• seven activity sheets with blank practice sheets and one extra practice sheet for Solo Performance (MP3001A, B, C, E, F, G, H, I)

• four blank practice sheets for Second Instrument Performance (MP3001A, B, C, E)

• four activity sheets with blank practice sheets and four extra practice sheets for Group Performance (MP3003A, B, C, E, F, G, H, I)

• a copy of the three achievement standards and information about how to complete the Solo, Second Instrument and Group Performance Standards (MP3001Y1, MP3002Y1, MP3003Y1).

You will need to:

• Contact your teacher regularly. Call 0800 65 99 88 and ask to speak to the music teacher for your region. You could also ask for their email address.

• Read this Music Performance resource booklet carefully and refer to this as you complete the activities.

• Make sure you complete the practice sheets and the accompanying activities regularly throughout the year.

• Read and understand the achievement standards that you choose to work towards.

• Send in your completed performance assessments by the date you and your teacher agree on.


getting started!1

learning intentionIn this lesson you will learn to:

• recognise the important parts of performance preparation.

Use the talents you possess, for the woods would be very silent if no birds sang except the best. Henry van Dyke (1852–1933)

introductionHere are some tips and information on how to get the most out of your course and to prepare for your work towards your performance assessments.

practice sheetsIn this pack you will find practice sheets and activities for Solo, Second Instrument and Group Performance. Complete your practice sheets and activities regularly throughout this course to show that you are engaged in learning and that you are practising regularly towards your performance assessments. The activities will help you prepare for different aspects of your performance.If you are working towards Achievement Standard 91416 (Version 1) Music 3.1 Solo Performance you are expected to:

• complete seven activities and practice sheets (MP3001A, MP3001B, etc.) regularly throughout the year, before you complete the final assessment. There is one extra practice sheet in case you need it.

• send one activity and one practice sheet to your Te Kura teacher every month.


getting started!

If you are working towards Achievement Standard 91417 (Version 1) Music 3.2 Second Instrument Performance you are expected to:

• complete four practice sheets regularly throughout the year (MP3002A, MP3002B, etc.), before you complete the final assessment.

• send one practice sheet at least every two months or every month if you have arranged for your final performance to be in the first half of the school year.

If you are working towards Achievement Standard 91418 (Version 1) Music 3.3 Group Performance you are expected to:

• complete four activities and four practice sheets (MP3003A, MP3003B etc.) regularly throughout the year, before you complete the final assessment. There are four extra practice sheets in case you need them.

• send one activity and one practice sheet every two months or every month if you have arranged for your final performance to be in the first half of the school year.

See the outline of the Music Performance course on the following page, showing where each practice sheet and activity fits in. Please take time to read it.

The due dates for your work will depend on your situation and when you enrolled. But remember all assessment activities are to be completed by the end of October if you want accreditation by January.

Contact your Te Kura teacher to find out what these dates are.

Look at the sample practice sheet on page 7. This shows you what sort of information you need to send in.

If you are practising music that is not part of your NCEA assessment then please add this to the practice sheets as it all counts towards your coursework.

Remember to use the correct practice sheet for your Solo, Second Instrument and Group Performance.

6 © te aho o te kura pounamuMP3001

getting started!

music performance course outline

Music Performance resource booklet MP3001

Solo Performance Second Instrument Group Performance

MP3001A • Activity 1: First things first • Practice sheet 1

MP3002A • Practice sheet 1

MP3003A • Activity 1: Getting started • Practice sheet 1

MP3001B • Activity 2: Looking ahead • Practice sheet 2

MP3002B • Practice sheet 2

MP3003B • Activity 2: Looking ahead • Practice sheet 2

MP3001C • Activity 3: Sending in a

sample recording • Practice sheet 3

MP3002C • Practice sheet 3

MP3003C • Activity 3: Listening

to and watching other performers

• Practice sheet 3

MP3001E • Activity 4: Listening to

other musicians • Practice sheet 4

MP3002E • Practice sheet 4

MP3003E • Activity 4: Dress

rehearsal • Practice sheet 4

MP3001F • Activity 5: Where am I at? • Practice sheet 5

MP3003F • Practice sheet 5

MP3001G • Activity 6: Stagecraft • Practice sheet 6

MP3003G • Practice sheet 6

MP3001H • Activity 7: Dress rehearsal • Practice sheet 7

MP3003H • Practice sheet 7

MP3001I • Practice sheet 8

MP3003I • Practice sheet 8

NCEA Level 3Solo Performance assessment

NCEA Level 3Second Instrument assessment

NCEA Level 3Group Performance assessment


SAMPLE

practice sheet: solo mp3001gName: ID No.

Instrument: Month: Course:

DateWork completed, including pieces learnt, specific skills, technical exercises, scales and sight-reading

Local music teacher’s or mentor’s comment or signature (optional)

2/3

Practising the blues scale and whole tone scales in all keys. Worked on new piece, ‘Yardbird Suite’. Currently playing the chord structure daily to help with the work on improvisation. Also practising three other pieces towards my performance. I know them quite well: Dubois ‘A la Francaise’, Paul Harris ‘Music of the Spheres’, John Ross ‘Sax Scorcher’.

Student is doing well learning the notes. All other pieces are reaching performance level. I am pleased with the progress. Signed: Mrs M Teacher

9/3

I can now play the whole piece from beginning to end but am struggling to get the fast passages smooth. I am finding the improvised solo section quite challenging but I have been listening to a version of this piece on YouTube and I am using a play-along CD to help my listening.I am continuing to practise my other pieces for performance.

Student needs to work through phrases individually and then put together a whole line to help with fluency. Student needs to continue to listen to different versions of the piece.Signed: Mrs M Teacher

17/3

‘Yardbird Suite’ is becoming more fluid and is taking shape. I am pleased with the improvements in the improvised solo section but want to do better. I will keep working on this.

Student has worked really hard at getting this piece together. Now we need to work at really knowing the notes. Signed: Mrs M Teacher

25/3

This week I am going to perform my 4 pieces in front of other students that my instrument teacher teaches. I am working hard on getting them up to performance level but ‘Yardbird Suite’ and ‘Music of the Spheres’ are not quite ready.

Student is not quite ready for performance but will find the informal concert very useful for feedback towards NCEA.Signed: Mrs M Teacher

Te Kura teacher's comment:

J. Bloggs 1234567

E Alto Sax March 2013 MP3001

getting started!


music teacherTo realise your potential in these performance assessments, you will need to gain the help of a local experienced musician or teacher, preferably by having regular lessons or tutorials. If you have not organised this yet, now is the time to do it.

Tell your itinerant instrumental teacher that you will be completing NCEA Level 3 Music Performance. Show your teacher the criteria for assessment of the standards you wish to take and talk to your teacher about a possible programme of pieces.

other musiciansAs well as finding a musician to act as mentor, you may also need to find musicians to perform with.

• Choose your other musicians carefully. Although they won’t be assessed as part of your performance you want them to be of a good standard so that they don’t mar your performance.

• Choose musicians that are going to be reliable and turn up for rehearsals when you want them to. This is as important as their ability.

• If you are completing Group Performance then ideally your group should comprise 3–7 members and each performer must play a uniquely identifiable part.

choosing piecesYou are working towards one or more of the following standards:

• Achievement Standard 91416(Version 1) Music 3.1 Perform two programmes of music as a featured soloist

• Achievement Standard 91417 (Version 1) Music 3.2 Perform a programme of music as a featured soloist on a second instrument

• Achievement Standard 91418 (Version 1) Music 3.3 Demonstrate ensemble skills by performing two substantial pieces of music as a member of a group

solo performanceFor this standard, you will need to perform two programmes of music as a featured soloist. This means that you will need to create two concerts for your assessment, and record both to DVD. You may decide to perform these at different times throughout the year and you may send them into Te Kura separately. But always make sure the DVDs are clearly marked with your name, your ID number and the name of the assessment e.g. Maggie Superstar, #9876544, 3.1 Solo Performance.

A ‘programme of music’ means that you must perform between three and five pieces of music in each concert. But this will depend on the length and complexity of each piece you choose. The pieces included in each programme must be performed consecutively within the same assessment opportunity/performance setting.

getting started!


second instrumentFor this standard you will need to demonstrate substantially different playing techniques and skills on a different instrument from that presented for assessment in AS 3.1 Solo Performance.

group performanceFor this standard you will need to perform two substantial pieces of music as a member of a group, as a single performance.

Ideally a group should comprise 3–7 members and each performer must play a uniquely identifiable part.

For Group Performance you will be assessed on your contribution to the cohesion, balance, intonation, feel, style and accuracy of the performance.

making your choicesThink about the following when you are making your repertoire choices:

• Choose pieces that show off your ability but that you can still play comfortably and confidently. You want the audience to perceive your pieces as being difficult but you also want them to see you playing them effortlessly and not struggling over technical passages.

• Create an interesting programme of music with pieces that contrast with and complement each other. Think about using pieces with different tempo, dynamics, articulation and style. This will make your performance interesting to listen to and show a range of techniques.

• What will your audience enjoy listening to?

• Consider your stamina! Make sure you choose pieces that you can play one after another without getting cramp or losing embouchure control.

• You may want to create a title for your concert, for instance: ‘Songs from the shows’, ‘Classical and Baroque music for piano’.

Also think about what pieces would be considered substantial. In this context, substantial means that the music:

• has sufficient complexity

• has sufficient length

• has appropriate technical and musical demands.

Your ability to perform this music, along with your presentation skills, will be assessed. Students are expected to have had at least five years of instrumental study to achieve this standard.

You may wish to discuss your piece choices with your Te Kura teacher. If you haven’t made contact with your Te Kura teacher, now is a good time to do so.

getting started!


performance preparation and stagecraft2

learning intentionsIn this lesson you will learn to:

• incorporate different practising techniques into your practice

• apply presentation skills to your performance assessment

• organise a professional-level concert.

The notes I handle no better than many pianists. But the pauses between the notes – ah, that is where the art resides! Arthur Schnabel (1882–1951)

introductionAt NCEA Level 3 you may be starting to look to the future. You may want to go to music college or you may already be working as a musician. For your NCEA Level 3 Music Performance you should be aiming to make your performances professional in every way possible. Here are some tips on how to achieve this.

repertoireOnce you have chosen your pieces it is essential that you practise them to performance level. By NCEA Level 3 you should be confident tackling new pieces of music. By now your practice should be efficient and effective and you should be able to notice when you are practising well. If you need help working through difficult passages effectively then make sure you contact an instrument teacher who can help you.

Two very important activities in your performance preparation include:

1. Listening to other performers perform your pieces so that you can hear how the pieces are supposed to be played and the stylistic qualities that are in keeping with the genre you have chosen.

2. Recording and listening critically to you performing your pieces so that you can analyse and improve on your own playing.


memorising pieces of musicIdeally you should know your pieces well enough to be able to memorise them. The instrument and the genre of music you are playing will dictate whether it is appropriate to use sheet music or not. For instance, singers should memorise lyrics. Contemporary pop/rock songs should be played by memory on all instruments. Music for flute concertos and piano sonatas can be used as reference if needed, but it looks very impressive to the audience if you can play without the music.

If you do need to use music, try to make it as inconspicuous as possible. For instance, keep your stand positioned so that it does not obstruct the view of you from the audience.

tips on how to memorise • Memorise the difficult passages first and practise them as technical exercises every day.

• Don’t always try to memorise from beginning to end. Try to start the piece from memory, from the middle. This will give you secure starting places that you can rely on during a performance.

• Analyse your piece of music. Sit down without your music and with a recording of the music. Look and listen carefully to find out how it is structured. Knowing and understanding how the piece is structured will help you play the piece better.

• Try practising in your head, away from your instrument and away from the score. You can do this anywhere!

• Keep your expectations realistic. Do not expect to be able to memorise a whole piece of music in one practice session. Good memory work is achieved by using small sections at a time.

• Memorise for about 10 minutes on one piece and then practise something different. Return to the piece you are memorising now and again to test your memory, but don’t memorise any more than that. The next day, test your memory again and only learn more if you are sure that the previous day’s work is solidly memorised.

• Always make sure that you have fingering and interpretation sorted out before you start to memorise a piece of music.

• Practise stopping and starting anywhere in the piece. Make sure you know it inside and out so that you can start anywhere.

venueMake sure you perform somewhere that has good acoustics and is free from noisy interruptions. You are going to need an audience, so you will have to organise somewhere for them to sit or stand.

If you have problems organising a suitable venue, then it is possible to record your performance from your home as long as you have suitable equipment, an instrument and audience for the assessment. Try to make the performance like a real ‘House Concert’; set up your performance area much as you would at a venue. Think about lighting, acoustics, where you will perform and where your audience will sit. Don’t forget to turn off all phones, including the audience’s!

performance preparation and stagecraft


overcoming nervesMost people feel anxious about performing in front of an audience. But feeling nervous is part of your body’s way to help you do your best. The stress hormone, adrenalin, actually helps to focus your brain and sharpen your reflexes. Experienced performers learn how to use adrenalin to their advantage. Don’t fight it – try and work with it.

Here are some tips:

• Know your pieces. If you know that you have prepared your pieces to the best of your ability then there is nothing to be anxious about. Your muscle memory will kick in as soon as you start playing.

• Just be you. If you are performing with other acts, do not judge yourself against what has come before. Value yourself as a performer and as an individual.

• Psyche yourself up. Confidence helps fight stress and anxiety. Never ever say anything negative before a performance, such as: ‘I’m going to make a mistake’ or ‘I’m going to muck up’. Think positive thoughts and verbalise these thoughts out loud: ‘I know my pieces’ or ‘This gig is going to be great’. It might help to get your friends and family to give you a pep talk before you go on stage!

• Warm up. Before a performance make sure you are fully warmed up. Complete some stretching exercises and take some deep breaths.

• Look after yourself. Get to bed early the night before a performance. Make sure you eat well and are healthy, as this will help you get the most out of busy rehearsal times. Treat yourself like a top athlete preparing for a competition.

don’t just practise the pieces!Think through and practise all aspects of your performance beforehand. Following are some tips for you to think about.

introductionFirst impressions count! Practise your introduction in front of a mirror before your performance, so that you can start off feeling confident. Don’t forget to:

• smile!

• talk clearly

• say your name

• say your school

• introduce other musicians

• introduce your pieces.

•

You may also like to give some information about the pieces, such as why it was written or who it was written for.



stage positionAsk yourself where you and your musicians will stand. Can the video camera and audience see and hear you well? Remember, the performance starts the moment you walk on stage or start the video recorder and doesn’t end until you leave or switch it off!

clothes, props and dance movesThink about what is appropriate for the genre of music you are playing. Don’t go overboard; keep it subtle, as clothes, props or dance moves are there to support your music performance, not to overpower it!

being on stageWatch out for nervous habits like hair flicking or adjusting clothing. Physical movement needs to be poised and confident, and posture needs to be appropriate for the instrument you are playing. Think about your movement while you perform. Is there too much or too little? Video yourself and practise in front of a mirror to correct any bad habits.

in-between piecesPractise what will happen between songs or pieces. If you have instrument changes, re-tuning, or need time to alter your instrument in some way before the next piece, make sure you practise these switches so that they take the minimum amount of time. Have something interesting about one of your pieces that you have ready to say in case there is a technical hold-up or broken string.

music stands, piano stools, microphone stands, etc.Make sure any equipment that you have on stage with you is in the correct position. For instance, are music stands set ready at the correct height and not blocking the audience's view? Is the piano stool at the correct height for you? If you need to adjust anything while on stage, make sure you have a practice run before your performance so that you know what to do.



microphone techniqueUsing a microphone might appear to be the easiest thing in the world, but, as is the case with any other tool or instrument, you will need to learn about the correct technique before you use one in your performance.

The following is a list of general dos and don’ts when using a microphone.

• Never cover the mic with your hand, as this will usually cause the mic to feed back.

• Do sing or play directly into the microphone, so that the sound travels into the pickup zone. Don’t sing or play from the side, across the top or from too far away or too close to the mic, as this will make the sound muffled or distorted. With a little practice you can get the correct position, but it should be part of your performance preparation.

• If you have to share a mic, it should be positioned so that all instruments or voices are positioned equally within its pickup zone.

• Never point the mic at a monitor or speaker, as this can cause unwanted hums or feedback.

• Mics can be damaged by dropping them, so always respect your equipment. Don’t try to be clever by swinging your mic round in a circle!

• Discuss this matter with your instrumental teacher and make sure you get the right advice on how to use microphones correctly. There are advanced techniques for using a microphone, particularly for singers. You could ask your teacher, and there are many resources on the Internet that will also help you. It is worth taking time to research and practise this fully.

intonationTune all instruments before going on stage! If you are a pianist, make sure the instrument you use is in tune and of a good quality, as a poor instrument can ruin a performance and affect your final grade.

other musicians and accompanistsCue other musicians or the accompanist as necessary. Stay focused on the music and the other performers. Always acknowledge people that perform with you.

dress rehearsalsAlways try to do a dress rehearsal.

• Try and make it as close as possible to your final performance.

• Use the same venue.

• Use the same equipment, instrument, musicians, clothing, and so on.

• Invite your friends, family and music teacher along so that they can give constructive feedback.



Try to get the same person to video you that will be videoing your final performance, as this will help to sort out any potential technical problems or sound quality issues with the video camera. Think about how you sound. Ask yourself whether your performance is:

• in tune

• accurate

• musical

• confident.

technical rehearsalAlways do a technical rehearsal to ensure that everything goes smoothly. Think about the following.

• Acoustics: where is the best place to perform at your venue? This could be very important if you are performing somewhere that is not already a theatre or hall of some sort. If you are using a PA make sure you have someone who knows what they are doing to set this up and take sound levels for you. Always complete a sound check before you start performing.

• Equipment: make sure you have the appropriate equipment and it is set up correctly. Make sure chairs, music stands, guitar stands, etc. are in the right place.

• Checking recording levels: check that all the levels on the video camera are set correctly before recording begins.

There are lots of other details for you to think about. This is your assessment and your responsibility, and it can really affect the performance if you don’t get it right. Take a few moments to write down all of the arrangements that you need to organise for your performance. Keep these notes safe so that you can refer to them nearer the time.

thinking about the end resultWhen you are preparing for performance you need to ask yourself the following.Is my playing:

• technically secure?

• stylistically appropriate?

• confidently communicated to the audience?

• musically expressive?

• demonstrating musical understanding and interpretation?

• confidently presented?

These key phrases have been taken from the achievement standards and you will be assessed on them. Therefore it will be useful to you to keep them in your mind as you practise.



learning intentionIn this lesson you will learn to:

• use appropriate methods to record your performance.

Music is your own experience, your own thoughts, your wisdom. If you don’t live it, it won’t come out of your horn. Charlie ‘YardBird’ Parker (1920–1955)

introduction It is very important that you follow the correct guidelines for recording your assessment. Read this section carefully.

recording guidelinesHere are ideas to help you plan and prepare for the video recording of your performance.

equipmentCheck the video recorder is set up correctly. Make sure you have enough recording space available for the whole performance and allow time to fix any problems that might arise.

microphoneIt is really important to get the best sound possible. All video recorders have a built-in microphone and most have a socket for an external one to be used.

If you have a decent microphone that can be positioned close to the performer, for the best sound, then use it!

Be aware of ambient sounds – coughing, rustling and talking – that can be picked up by microphones.

Always do a sound check.

positioningUse a tripod if possible, to make sure the recording is consistently steady, with no unwanted wobble. Make sure the equipment is positioned so you can be seen and heard clearly. Make sure the video camera has a good view of you and make sure we know who you are.

recording and technical3

© te aho o te kura pounamu

Very important – read carefully!

• The DVD recording needs to be of a good quality for assessment.

• The assessment has to be playable on a DVD player.

We cannot accept VHS videos, unformatted mini-disks, mini-tapes or memory sticks.

• If you are working towards more than one performance achievement standard, it is very important to use a separate disk for each one. For instance, record the Solo Performance on one DVD and the Group Performance on another DVD.

• Write your student name, ID number and standard number on the DVD cover.

• Play the DVD before you send it in, to make sure it works.

• Talk to your Te Kura music teacher if you need help with this.

Lastly, but most important, have fun playing!

acknowledgementsEvery effort has been made to acknowledge and contact copyright holders. Te Aho o Te Kura Pounamu apologies for any omissions and welcomes more accurate information.

Cover photo: Teen drummer girl, www.istockphoto.com, #4643652

IllustrationsCreated by Ross Kinnard, © Te Aho o Te Kura Pounamu, Wellington, NZ.

recording and technical

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