mātauranga pūoru

music

mp1001
resource booklet
ncea level 1

2011/2
music performance
ncea level 1
Expected time to complete work:
All the 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 both:
Achievement Standard 91090 (Version 2) Music 1.1
Perform two pieces of music as a featured soloist
Level 1, Internal
6 credits

Achievement Standard 91091 (Version 2) Music 1.2

Demonstrate ensemble skills through performing a piece of music as a member of a group
Level 1, Internal
4 credits

In this booklet you will focus on:

•• developing pieces of music for performance.

By the end of this unit you will be able to present pieces for Solo and/or Group Performance.

Copyright © 2011 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.

© te ah o o te k u ra p ou n am u
contents
1 Getting started!

2 Choosing carefully

3 Finding your creative space

4 Practising tips

5 Finishing touches

6 Recording and technical

© te ah o o t e k ur a p o un a m u MP1001 1
how to do the work
When you see:

Caution.

Contact your teacher.

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 both Achievement Standards, if you are working towards both
•• read and understand the assessment criteria for both Achievement Standards, if you are
working towards both
•• send in your completed performance assessments by the date you and your teacher
agree on.

If you are doing the Solo Performance, you need to send a completed Solo Performance activity
and a practice sheet to your Te Kura music teacher every month.

If you are doing the Group Performance, you need to send a completed Group Performance
activity and a practice sheet every two months to your Te Kura music teacher. There are four more
practice sheets if you need them.

Resource overview
In the pack for Music Performance NCEA Level 1 you will find:
•• this Music Performance resource booklet with information on how to achieve in Solo and
Group Performance
•• seven activity sheets and eight blank practice sheets for Solo Performance
•• four activity sheets and eight blank practice sheets for Group Performance
•• a copy of the two Achievement Standards and information about how to complete the Solo
and Group Performance Standards.

2 MP1001 © te ah o o te k u ra p ou n a mu
1 getting started!

learning intentions
In this chapter you are learning
to recognise the important parts
of performance preparation.

It’s easy to play any

musical instrument:
all you have to do is
touch the right key at
the right time and
the instrument
will play itself.
J S Bach
(1685–1750)

completing the practice sheets and activities

Complete your practice sheets regularly throughout this course to show that you are engaged in
learning and that you are practising regularly towards your performance assessments.

See the outline of the Music Performance course ‘How to do the work’ on page 4, showing where
each practice sheet fits in. Please take time to read it.
If you are working towards Achievement Standard 91090 Music 1.1 Solo Performance:
•• complete seven activities and practice sheets 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.

If you are working towards Achievement Standard 91090 Music 1.2 Group Performance:
•• you are expected to complete four activities and four practice sheets 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.
The due dates for your work will depend on your situation and when you enrolled.
Contact your Te Kura teacher to find out what the dates are.

Look at the sample practice sheet in this chapter. 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 course work.

Remember to use the correct practice sheet for your Solo and Group Performance practices.

© te ah o o t e k ur a p o un a m u MP1001 3
getting started!

how to do the work

Music Performance resource booklet MP1001

Solo Performance Group Performance

Activity 1: Getting started! Activity 1: Getting started!
Practice sheet MP1001A Practice sheet 1 MP1002A
Activity 2: Practising and understanding
Activity 2 Music in context
the music
Practice sheet 2 MP1002B
Practice sheet MP1001B
Activity 3: Music in context Activity 3: Listen and learn
Practice sheet MP1001C Practice sheet MP1002C
Activity 4: Listen and learn Activity 4: Dress rehearsal
Practice sheet MP1001E Practice sheet MP1002E
Activity 5: Where am I at?
Practice sheet 5 MP1002F
Practice sheet MP1001F
Activity 6: NCEA exemplars
Practice sheet 6 MP1002G
Practice sheet MP1001G
Activity 7: Dress rehearsal
Practice sheet 7 MP1002H
Practice sheet MP1001H
Practice sheet MP1001I Practice sheet 8 MP1002I

NCEA Level 1 NCEA Level 1

Solo Performance assessment Group Performance assessment

4 mp1001 © te ah o o te k u ra p ou n a mu
 getting started!

practice sheet: solo mp1001b

Name:  
Joe Bloggs ID No.  1234567

Instrument:
Eb Alto Sax Month:
March 2011 Course: MP1.1

Work completed, including pieces learnt, Local music teacher’s

Date specific skills, technical exercises, scales or mentor’s comment or
and sight-reading signature (optional)

Practise blues scale on D, whole tone scales in all

Student is doing really well
keys. Worked on new piece, Yardbird Suite. Fingering
to learn the notes. I am
2/3/11 was really difficult so I had to ask teacher for help.
pleased with progress.
Currently playing the chord structure daily to help
Signed: Mrs M Teacher
with the work on the improvisation.

Student needs to
I can now play the whole piece from beginning to end
work through phrases
but am struggling to get the fast passages smooth.
individually and then put
9/3/11 I am still really struggling with the improvised solo
together a whole line to
section. My teacher is helping me develop a solo that
help with fluency.
I can use.
Signed: Mrs M Teacher

Student has worked really

hard at getting this song
I can now play the piece fluently and can make it
together. We just need to
17/3/11 through the solo section without getting lost. I am
make sure that the solo
working towards a performance in a week’s time.
section is really confident.
Signed: Mrs M Teacher

The concert was a great

Performance was yesterday. There were a few opportunity to try out this
mistakes in the song particularly the first time I piece in front of an audience.
25/3/11 played the melody and the solo section was a bit The student did really well
rough. I need to work on keeping the whole piece considering the length of
together and fluent. time learning this piece.
Signed: Mrs M Teacher

Te Kura teacher's comment:

© te ah o o t e k ur a p o un a m u MP1001 5
getting started!

make a start
To realise your potential in either solo or group performance you need the help of an experienced
musician or teacher. Even if you just get a few lessons or sessions with an expert it will really help
with your preparation.

They can also watch your rehearsals and performances and give you valuable feedback on many
aspects including stage presence, musicality and balance.

Do you have an instrumental teacher?  Yes  No

If you answered ‘yes’:
Complete the following checklist: Tick when completed.
1. Tell your music teacher that you will be completing NCEA Level 1 Music
Performance and if you are doing solo or group performance or both. 
2. Show your teacher the criteria for assessment for the solo or
group performances, or both of them. 
3. Talk to your teacher about a possible programme of pieces. 
If you answered ‘no’:
Here are some things you can do to find a music teacher:
•• ask friends and family
•• ask at your local school
•• look in music shops and see if they have a notice board with information about teachers
•• visit your library and look at the notice board
•• check the advert section of your local paper
•• look at the Yellow Pages in your phone book or online
•• go online and search in your local area, for instance ‘Guitar teacher Hutt’ or type in
something more specific ‘Suzuki violin’. Also try www.irmt.org.nz.

musicians for group performance

If you are doing Group Performance, you will need to find musicians to perform with.
Choose your musicians carefully:
•• Can they play at least as well as you? Although they won’t be assessed as part of your
performance you want them to be able to play well so that they don’t spoil your performance.
•• Are they reliable? Will they turn up for rehearsals when you want them to?
This is as important as their ability.

6 mp1001 © te ah o o te k u ra p ou n a mu
2 choosing carefully
learning intentions
in this chapter you are learning to choose appropriate works for performance.

Music in the soul can be heard by

the universe.
Lao Tzu (600–531BC)

solo performance: what am i going to play?

•• With the help of your teacher, choose two pieces that you really like. This will keep you
motivated.
•• Choose pieces that you can play, or will be able to play, confidently and convincingly but that
show your ability at the highest level.
•• You may like to choose contrasting pieces. This means you choose one slow piece and one
fast piece; or one classical piece and one jazz piece.
•• Choose your pieces carefully. For instance, if you choose a well-known song, it can be hard to
live up to.
•• Work out if you need to perform accompanied. If so, decide if you want to perform with an
accompanist, backing track or other musicians.

group performance: what am i going to play?

•• Choose a piece that you can play confidently and convincingly but that shows your ability at
the highest level. Make sure your piece is of the right level for the other musicians.
•• Make sure that you are the only person playing your part and that you have some solo sections.

If you’re not Prince, you’re never going to sound like Prince.

Gwen Stefani (1969– )

© te ah o o t e k ur a p o un a m u MP1001 7
3 finding your creative space

learning intentions
In this chapter you are learning how to incorporate appropriate practice sessions into your daily
routine, in preparation for your performance.

You are the music

while the music lasts.
T S Elliot (1888–1965)

solo performance: finding your space: where to

practise?
Finding the right place and time to practise can be tricky. You may need to talk to your family and
discuss which times of the day will be least disruptive.

For instance, if you play a drum kit or other loud instrument you may need to organise
somewhere other than your living room to practise.

You need somewhere that:

•• is quiet
•• has no interruptions
•• you can use regularly
•• is not too hot or too cold
•• you enjoy practising in
•• is not disruptive to other people around you.

Try to practise at least once a day for at least 20 minutes. A little and often
is better than one long practice once a week.

8 MP1001 © te ah o o te k u ra p ou n a mu
 finding your creative space

group performance: developing a practice schedule

Developing a well thought out practice schedule can be the key to the success of your
group performance.

Think about:
•• Venue
–– Is it local?
–– Is it sound proof?
–– When is it available?
–– Do you need to book it?
–– Do you need to share it with others?
–– Do you need to provide your own equipment?
–– Can you store equipment there safely?
•• Musicians
–– Find out when your musicians are available.
–– Decide on a time that suits everyone.
–– Draw up a practice schedule that you can hand out to your musicians.
–– Remind everyone of the place and time, the day before or the day of the rehearsal.

Over the page is a sample of a practice schedule. You can photocopy it and use it, or you can
design your own. Make sure you give a copy to each of your musicians.

© te ah o o t e k ur a p o un a m u MP1001 9
finding your creative space

10 mp1001 © te ah o o te k u ra p ou n a mu
 month ..........................

Sun Mon Tues Wed Thurs Fri Sat

month ..........................

Sun Mon Tues Wed Thurs Fri Sat

© te ah o o t e k ur a p o un a m u MP1001 11
© te ah o o te k u ra p ou n am u
4 practising tips

learning intentions
in this chapter you incorporate a range of musical aspects into your practice.

The thing to judge in any jazz artist is,

does the man project
and does he have ideas.
Miles Davis
(1926–1991)

practising tips
When you are practising, there are many aspects of the music that are important to focus on.
Here are practising tips grouped under 11 aspects of music. Refer back to this list while you
are practising.

technique
•• Begin each practice by stretching and deep breathing.
•• Begin each practice with five minutes of scales and technical exercises.
•• Notice the difference in your playing when you do this.

accuracy
•• Make sure you know how difficult sections sound by listening regularly to an original
recording of your piece.
•• If you can’t sing it, you won’t be able to play it, so try singing difficult sections before you
attempt to learn them.
•• Be your own critic – always listen carefully to yourself. Ask yourself how you can improve your
playing. Imagine what your teacher would say about your playing and act on it.
•• Occasionally ‘perform’ during your practice – don’t stop, keep going and see if you can get to
the end with out stopping the flow.
•• Avoid constantly playing your piece from beginning to end without stopping. Instead,
concentrate on practising sections and then linking them.

© te ah o o t e k ur a p o un a m u MP1001 13
practising tips

tempo
•• Play your piece slowly and carefully, picking up areas that you stumble on and work on these.
•• Play the whole piece as fast as you can from beginning to end.
•• Play the whole piece as fast as you can play the hardest bar.
•• Play your piece using a metronome to keep you in time.

dynamics
•• Check that you are playing all the performance directions on the music correctly.
•• Practise your piece, or a section of your piece, as quietly as you can, then as loud as possible.
•• Practise your piece with ‘extreme dynamics’ – using the dynamic indications, make it as loud
or as quiet as you can. As you do this, listen carefully to the tone.
•• If there are no dynamic indications, think about where subtle dynamics could be added.
•• Practise your piece accurately and sensitively, paying attention to the dynamics.

articulation
•• Think about how to start each note, particularly the first one. Does it need to be soft and
gentle, or hard and accented?
•• Think about how different ways of playing a note can change the feel of the music.
•• Work on making staccato passages as staccato as possible.
•• Work on making legato sections as smooth as possible.
•• Play accents and sforzandos in a consistent manner.
•• Always refer back to original recordings to check the accuracy of articulation.

phrasing
•• Analyse how your piece is structured.
•• Work on bringing out the melodies, cadence points, and chord progressions.
•• Shape the melodies. Make sure your breathing fits with the melodic shape and allow space
within the phrasing. (This also applies to guitarists, piano players, drummers, and others who
are not creating music by blowing. You need to breathe with the music.)
•• Develop an overview of the piece and how it sounds.

tuning
•• Learn how your instrument is tuned.
•• If applicable, practise tuning your instrument every day so that your ear becomes used to it.
•• Work on pitching the notes correctly while you are playing/singing your piece.
•• Always make sure you are in tune before you start a piece.

tone
•• Concentrate on shaping your sound to fit the music/style.
•• Think about how each note sounds. If necessary, just play the first note until you get the
sound you think fits best.

14 mp1001 © te ah o o te k u ra p ou n a mu
 practising tips

•• If you are struggling to get the tone you want, then change the sound in your head. Hear the
sound you want in your head.
•• Find out how you can practise to improve your tone – for instance by playing long, held notes
if you are a woodwind player. To achieve this you may have to look at changing the way that
you play or the set up of your instrument. If you don’t know how to do this, ask someone.

posture
•• Relax – stand or sit correctly.
•• Practise in front of a mirror and analyse your posture and technique.
•• Notice areas of tension and change your playing style and relax to overcome this.
•• Always make sure you can breathe correctly.

character and musicality

•• People don’t go and watch live performances to hear a note-perfect performance; they go to
be moved by the music. Ultimately, this is the most important aspect of your performance so
make sure you feel connected with your music – tell a story through your performance.
•• Think about the message, story, or emotion in your piece.
•• Think about the style of music you are performing. Research where and when your piece was
written. This can have a huge affect on how you interpret dynamics, feel, articulation, etc.

finally: learning and muscle memory

Practising in your head is one of the most powerful ways to learn and develop a piece of music.
Plus, you can do this anywhere: while you are waiting for a bus, in the bath, during the adverts of
your favourite TV programme.

All you have to do is to imagine you are performing your piece of music.

Focus on which notes to play, fingering, structure and all the elements of the piece.
This really works!

© te ah o o t e k ur a p o un a m u MP1001 15
practising tips

extra practising tips for group performance

Here are some extra practising tips specifically for group performance. However, they can also be
useful for solo performance.

accuracy
•• Group practices are not the time to learn your notes. Practise your part individually before
you work as a group to make sure you can play it. This will make full use of group practices.
Refer to the practice tips on the previous pages.
•• Don’t practise until you get it right, practise until you can’t get it wrong.

tuning
•• Take steps to make sure your instrument is tuned correctly at the start and during each rehearsal.
•• Try to stay aware of your tuning during the rehearsals and adjust as necessary.
•• Tune together as a group.

communication
•• Use your ears! Make sure everyone is listening carefully to each other at all times.
•• Make sure each member of the group can see each other and use eye contact, head nodding
and hand signals where necessary to communicate things like stops, starts, and tempo
changes.
•• Work carefully on areas that require the beat to speed up, slow down or rubato/rhythmic
flexibility. Think about how you are going to achieve these changes as a cohesive group.
•• Think about how you are going to communicate the music to the audience. You may need to
think about projection, amplification, stagecraft, shaping, dynamics, phrasing, etc.

time management
•• Use your time effectively – keep talking to a minimum.
•• Concentrate on what is being said – don’t play your instrument while someone else is trying
to tell you something.

balance
•• Bring out the melody line and keep the accompaniment in the background.
•• Take care not to overpower the lead part.
•• If someone is soloing, support them by giving them space in the music. The accompaniment
needs to mirror and support the soloist in feel and volume, and to match and support their
solo but not compete with it.
•• A group made up of good soloists will only make a good group if they work together.

16 mp1001 © te ah o o te k u ra p ou n a mu
5 finishing touches
learning intentions
in this chapter you identify performance presentation skills.

Music, in performance, is a
type of sculpture. The air in
the performance is sculpted
into something.
Frank Zappa
(1940–1993)

performance tips
Here are tips on how to make your performance the best it can be.

venue
Where are you going to perform? You may be lucky enough to use a concert hall or stage but if
you are recording at your school or in your home, think about the following:
•• Does the venue have good acoustics?
•• Will there be any noisy interruptions from school bells or the telephone?
•• You are going to need an audience of at least two people so make sure you invite your mates
or your family along.

stagecraft
Make sure you have the appropriate equipment and it is set up correctly, before the audience arrives.

Here are some things to think about before the performance begins:
•• Your position on the stage.
•• Do a sound check before you perform.
•• Amps should be ready with the right levels set.
•• Make sure the leads are in the correct positions, plugged in ready, where they won’t trip you up.
•• Give someone the job of being in charge of the PA system.
•• Make sure the music stands are set at the right height, and not so high the audience can’t see
your face.

© te ah o o t e k ur a p o un a m u MP1001 17
finishing touches

•• Put the chairs in the right place.

•• If there is a piano, is the stool at the correct height?
•• You will need to video your performance, so test the volume on the video camera before you begin.

Make sure the video camera has a good view of you and
Make sure we know who you are

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.

creating a performance
•• Look confident.
•• Imagine you are on TV or at a rock concert.
•• Use props or wear a change of clothes where appropriate. This is a real excuse to dress up
and look the part. Make sure your other musicians make the effort too. No point in seeing you
in a tuxedo when your accompanist is in a jeans and t-shirt!
•• 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!
•• Physical movement needs to be poised and confident.

Being in a band you can wear whatever you want

– it’s like an excuse for Halloween everyday.
Gwen Stefani (1969–)

creating a fantastic introduction

•• Smile!
•• Talk clearly.
•• Say your name.
•• Say your school.
•• Introduce other musicians.
•• Introduce your pieces.

starting a piece
•• Stand ready.
•• Breathe and wait – creating atmosphere and suspense.
•• Be fully focused before you begin.
•• If you are taking a cue from other musicians – watch and listen.
•• If you are giving a cue to other musicians – always make sure everyone is ready before you
start and that you have their attention.
•• If you are starting a piece on your own – always count yourself in, in your head.
•• Your first note is the most important – make sure it is a good one!

18 mp1001 © te ah o o te k u ra p ou n a mu
 finishing touches

during your performance

•• Be professional at all times during your performance.
•• Always stay focused on the music and the other performers. Never get distracted.
•• Interact with other performers.
•• Be exciting not excited.
•• Never ever stop. You may make mistakes in your performance, but if you have practised
enough you will be able to turn those mistakes into a musical part of your performance.
Mistakes will stand out to you but your audience may not even notice. Be loud, confident and
wrong and never ever look apologetic.
•• Always play like you mean it.
•• Perform like you are on TV or at a rock concert playing in front of millions!

Do not fear mistakes. There are none.

Miles Davis (1926–1991)

end of your performance

•• Always hold your position for a couple of seconds after finishing your last note. This allows
the note to hang in the air and gives the audience time to hear that the piece is finished.
•• When you finish playing don’t show relief!
•• Acknowledge the audience with a bow or a smile and nod.
•• Make a graceful, confident exit.

Sometimes you have to sacrifice your performance for high heels.

Gwen Stefani (1969–)

© te ah o o t e k ur a p o un a m u MP1001 19
6 recording and technical
learning intentions
In this chapter you find out about appropriate
methods of recording your performance.

Music is the shorthand of emotion.

Leo Tolstoy (1828–1910)

recording guidelines
Here are ideas to help you plan and prepare for the recording of your performance.

•• Equipment: Check it works, do sound checks, make sure you have enough tape/recording
space available for the whole performance.
–– Allow time to fix any problems that might arise.
•• Microphones: It 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, talking – that can be picked up by
microphones.
–– Always do a sound check.
•• Positioning: Use 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.
•• Zooms and pans: Be aware of the piece being played and which part of the piece requires a
closer view of, for instance, hands, mouth, or posture.
–– The person recording the performance should ideally have musical knowledge. Zooms
need to be smooth and well timed. Use setup time to practise zooms and pans.
•• Practice run: It can be a fantastic learning tool to have a dummy run of the performance.
You will get used to the camera, the camera operator will get used to operating the camera,
and the performance can be critiqued with your friends, family and tutors. You might even
find that the dummy run ends up being your final assessment.
•• Audience: It is a requirement of the assessment that there is an audience of at least
two people.

20 MP1001 © te ah o o te k u ra p ou n a mu
 recording and technical

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, memory sticks or DVDs that
can only be played on computer.
•• If you are working towards both Achievement Standards, it is very important to use a
separate disk for each one. 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 through the DVD before you send it in to make sure it works.

Lastly, but most important, have fun!

© te ah o o t e k ur a p o un a m u MP1001 21
© te ah o o te k u ra p ou n am u
acknowledgements
Every effort has been made to acknowledge and contact copyright holders. Te Aho o Te Kura Pounamu apologises for any omissions
and welcomes more accurate information.

Photo
Boy Jumping With Electric Guitar Over White, iStockphoto, File # 684438.

Illustrations
Ross Kinnard.

© te ah o o t e k ur a p o un a m u MP1001 23