Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
1
Unit 23: Music Performance
Techniques
Unit code: R/600/6978
QCF Level 3: BTEC National
Credit value: 10
Guided learning hours: 60
Aim and purpose
The aim of this unit is to enable learners to develop their techniques for both solo and group performance,
from practice through to performance.
Unit introduction
Professional musicians work in a highly competitive environment. They must be able to deliver performances
in a wide range of situations; in the studio, as a solo performer, as part of a group or in a live venue, often
under great pressure. To be able to work in this environment musicians rely upon the foundation of polished
technique, timing, tone and control. Coupled with this, they have to develop an adaptive, professional
approach to continuous improvement of their musical and vocal skills.
This unit focuses on two areas: firstly the ability to play or sing with fluency, dexterity and the authority of a
seasoned performer, and secondly arriving at that point through a logical and structured practice routine. Tone
production, timing and rhythmic control are fundamental to this unit.
When musicians develop and use a structured practice routine they ‘break down’ the areas of their playing
or singing that need attention. A reflective and dedicated approach to practice will enable performers to
maximise their improvements.
The best way to consolidate and reinforce technical skills is to practise and then perform. A wide variety of
music and situations will exercise and extend each performer’s techniques and reveal where further practice is
needed. Working in studio sessions, solo gigs, group rehearsals and gigs will all contribute to a musician gaining
the authority of a seasoned performer. Learners will be encouraged to use technical skills creatively and apply
them to enhance artistic expression.
Learning outcomes
On completion of this unit a learner should:
1 Know effective instrumental or vocal technique through a structured practice routine
2 Be able to apply effective instrumental or vocal technique in solo performance
3 Be able to apply effective instrumental or vocal technique in group performance.
Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
2
Unit content
1 Know effective instrumental or vocal technique through a structured practice routine
Effective: considered; specific; measurable achievable; relevant; time bound
Technique: development of a range of physical motor skills; timing; speed and dexterity technical exercises;
tone and sound production; dynamics and expression; scales, rhythmic exercises
Structured practice: progressive, qualitative, realistic and obtainable goals related to defined timescales;
negotiate and form strategies for improvement; set targets, structures and review progress; regular
individual practice; planning and taking part in group rehearsals, leading rehearsals, taking direction
2 Be able to apply effective instrumental or vocal technique in solo performance
Apply in performance: confident physical coordination; fluency; dexterity; accuracy (timing, tone,
intonation, dynamics and tempo); rhythmic control
Apply through interpretation: prepared and unprepared; with confidence; authority; musicality; dynamics;
expression; phrasing; detail and control of timing and tempo
3 Be able to apply effective instrumental or vocal technique in group performance
Apply in performance: confident physical coordination; fluency; dexterity; accuracy (timing, tone,
intonation, dynamics and tempo); rhythmic control
Apply through interpretation: prepared and unprepared; with confidence; authority; musicality; dynamics;
expression; phrasing; detail and control of timing and tempo
Apply in a group: communicating with other players; musical connectivity and ‘tightness’; eye contact;
sensitivity to sensible dynamics; tempo and rhythmic control, tone production and volume control
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Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
Assessment and grading criteria
In order to pass this unit, the evidence that the learner presents for assessment needs to demonstrate
that they can meet all the learning outcomes for the unit. The criteria for a pass grade describe the level of
achievement required to pass this unit.
Assessment and grading criteria
To achieve a pass grade the
evidence must show that the
learner is able to:
To achieve a merit grade the
evidence must show that, in
addition to the pass criteria,
the learner is able to:
To achieve a distinction grade
the evidence must show that,
in addition to the pass and
merit criteria, the learner is
able to:
P1 identify an effective strategy
for technical improvement
through a structured practice
routine
[IE, RL]
M1 describe an effective strategy
for technical improvement
through a structured practice
routine
D1 explain an effective strategy
for technical improvement
through a structured practice
routine
P2 perform as a soloist
competently with minor
technical errors that do not
detract from the overall
performances
[SM]
M2 perform as a soloist showing
confidence and technical
competence
D2 perform as a soloist, with
technical skill, confidence,
musicality and a sense of
interpretive style
P3 perform an individual part as
a member of a group with
minor technical errors that do
not detract from the overall
performance.
[EP, TW]
M3 perform an individual part as
a member of a group, with
technical competence and
confidence.
D3 perform an individual part
as a member of a group,
showing technical skill,
confidence, a sense of
ensemble and interpretive
style.
PLTS: This summary references where applicable, in the square brackets, the elements of the personal,
learning and thinking skills applicable in the pass criteria. It identifies opportunities for learners to demonstrate
effective application of the referenced elements of the skills.
Key IE – independent enquirers
CT – creative thinkers
RL – reflective learners
TW – team workers
SM – self-managers
EP – effective participators
Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
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Essential guidance for tutors
Delivery
Learners should work with a specialist instrumental or vocal teacher.
Typically, most centres are not big enough to be able to resource instrument specific classroom delivery and
tutors will be faced with the task of ensuring that a range of instrumentalists and vocalists can work alongside
each other in the delivery of this unit.
Larger centres may have the luxury of being able to separate learners into different disciplines. This is
happening more and more as musical education evolves reflecting the fact that learners welcome instrument
specific learning opportunities. In this case the successful delivery of this unit is largely dependent on the
course manager sourcing suitably qualified specialist tutors. It would be beneficial if these tutors could
articulate a logical and established study path for their chosen discipline and produce their own course
support material where necessary. Many of these tutors will be industry practitioners and some care should
be taken in their selection. Additionally many will have to be encouraged to undertake appropriate teaching
qualifications. Tutors are encouraged to research current developments in the recognised study paths of
relatively ‘new’ instruments such as the electric guitar and bass. In this environment it is enormously helpful if
the tutors for each discipline communicate well and create opportunities for synergy across the disciplines.
Regardless of whether delivery is instrument specific or a cross-instrument approach, the tutor’s main
responsibility is to set up a culture of planning, monitoring and reviewing progress. Learners should recognise
the difference between playing over favourite pieces and purposeful practising. Therefore tutors should
constantly focus attention on the development of new skills and solutions to technical problems. By the end
of this unit, learners should have improved their overall skill level and overcome many bad habits or flaws in
their technique.
It is helpful if learners are fully engaged in the process and contribute to all aspects of the formulation of their
colleagues practice planning and technical development. ‘Troubleshooting’ relating to technical issues and
challenges and peer assessment exercises are all useful techniques to encourage engagement.
Learners who do not have access to good quality private instrumental tuition might have to be supported
in a variety of ways to reach their full potential, these might include: distinct group instrumental mate classes
in dedicated disciplines ie vocalists or drummers; one-to-one tuition if practical; access to DVD or video
instructional videos and musicians’ journals and publications. Learners may also be encouraged to undertake
their own research into the various approaches to study on their chosen instrument.
Tutors need to use discretion when directing musicians on technical matters and sensitivity and an appreciation
of different approaches should be exercised. Careful judgement will be called for when discerning whether
an idiosyncratic or unorthodox approach is an endearing part of an individual style or a potential problem that
might impede a musician’s progress.
Music tutors are increasing faced with the task of engaging with musicians who may be self-taught or have
relied on magazines, books and websites to develop their musical skills. In addition to this the standard of
private tuition available to the practising musician varies enormously. Consequently a significant percentage of
modern music students need help in the development of a structured effective practice planning.
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Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
Outline learning plan
The outline learning plan has been included in this unit as guidance and can be used in conjunction with the
programme of suggested assignments.
The outline learning plan demonstrates one way in planning the delivery and assessment of this unit.
Topic and suggested assignments/activities and/assessment
Introduction to the unit and structure of the programme of learning.
Whole class sessions on effective practice routine including methods and choice of repertoire.
Assignment 1: Practice, Practice, Practice – P1, M1, D1
Individual, group and class sessions – example and method.
Practice/preparation of repertoire.
Assessment, feedback and review.
●
●
●
Whole class sessions covering solo skills on a range of instruments.
Assignment 2: Performing Solo – P2, M2, D2
Individual, group and class sessions – example and method.
Practice.
Assessment, feedback and review.
●
●
●
Whole class sessions covering solo skills within group performance.
Assignment 3: Performing as a Member of a Group – P3, M3, D3
Individual, group and class sessions – example and method.
Practice.
Assessment, feedback and review.
●
●
●
Review of assignments and unit coverage.
Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
6
Assessment
This unit and the three learning outcomes can be assessed in a range of ways. Assessors can be creative
and the assessment process can be both rigorous and highly stimulating for the musician. As technical
accomplishment and the strategies employed to develop those skills are being assessed, musicians need the
chance to stretch themselves musically and push the boundaries of their own capabilities.
Learning outcome 1 – A major portion of evidence required to meet this LO will be generated by the
maintenance of a practice diary. This should include an evaluation of learners’ abilities at the start of the unit,
the setting of measurable targets for completion by the end of the unit, and periodic reviews of progress
against these targets. Supporting this, further evidence will contain materials demonstrating practical
performance activities, especially as they show improvement over time. The diary format can remain open
and a large degree of freedom can be afforded to the individual but the document should be: ‘Specific,
Measurable, Attainable, Relevant and Time-Bound’ (SMART). It is recommended that the rationale and
parameters around the work are set carefully to ensure that the diary does not become too broad in its
scope and the project become too ambitious. It would be helpful if learners were able to establish through
discussion and analysis with their peers and tutors their current strengths and weaknesses. Short, medium and
long term goals could then be identified, again by a process of negotiation and discussion. The practical steps
and fine detail within a daily, weekly and monthly practice diary could then be analysed and described in detail.
For P1, it would be sufficient for learners to operate to a structured routine following the path set down by
a tutor, or text book, etc and achieve progress as a result. Learners will identify what they have done in their
routine and how it has affected their technical skill. A requirement for M1 would be an obvious and evidenced
refinement of the strategy over time and a corresponding accomplished level of tone production, timing,
mechanical skill and phrasing. Learners would also need to describe how their practice using specific exercises
has led to the skill improvement. Referring particular studies to particular sections of the performance pieces
may help to illustrate this. D1 learners would use a higher level of analysis of their strategy for technical
improvement. Learners would need to comment on why they chose specific exercises for specific aspects
of their study and perhaps comment on other exercises that they may have tried. They may also refer to
anything that they changed during their practice routine. For example, they may provide details of some
elements that proved more difficult to master than others.
There is also a place for oral questioning and discussion in determining learners’ approach to their own
development if this is carefully evidenced and managed.
In learning outcomes 2 and 3 the assessor is looking to see evidence or demonstration of the application of
the technical skills and knowledge in a solo and ensemble performance context. For P2 and P3, a musician
should execute appropriate repertoire confidently and competently, demonstrating the practical application of
technical learning, although there may be minor errors as long as they do not detract from the performance.
A requirement for M2 and M3 performance will include technical competence, which will result in a satisfying
performance. There will be no noticeable errors in a merit performance. For D2 and D3, a musician will
demonstrate a true command of instrument or voice, ability to make adaptation within the performance as a
soloist, with technical confidence and technical skill, musicality, a sense of interpretive style and ensemble.
Skills should be assessed in both solo (with or without an accompanist) and group performance. Whilst the
emphasis of this unit is on the development of fundamental musical and instrumental skills, this should be set
in the context of work towards performances throughout the year. Performances should be recorded and
grading comment carefully recorded.
Practical activities can be recorded using A/V resources with supporting evidence through tutor observation/
witness documentation and peer observation where appropriate.
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Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
Programme of suggested assignments
The table below shows a programme of suggested assignments that cover the pass, merit and distinction
criteria in the grading grid. This is for guidance and it is recommended that centres either write their own
assignments or adapt any Edexcel assignments to meet local needs and resources.
Criteria covered Assignment title Scenario Assessment method
P1 M1 D1 Practice, Practice,
Practice
Learners will undertake a
practice routine to include
the selection of repertoire
and the completion of
a detailed practice diary
which focuses on technical
improvement.
Evidence may include:
practice diary
AV evidence.
●
●
P2 M2 D2 Performing Solo Learners will perform solo in
front of an invited audience
– repertoire to include at
least three contrasting pieces.
Evidence may include:
A/V evidence
tutor observation.
●
●
P3 M3 D3 Performing as a
Member of a Group
Learners will perform
individual lines or parts as
a member of a group in
front of an invited audience
– repertoire to include at
least three contrasting pieces.
Evidence may include:
A/V evidence
tutor observation.
●
●
Links to National Occupational Standards, other BTEC units, other BTEC
qualifi cations and other relevant units and qualifi cations
This unit forms part of the BTEC Music and Music Technology sector suite. This unit has particular links with
the following unit titles in the BTEC Music and Music Technology suite:
Level 1 Level 2 Level 3
Solo Musical Performance Major Music Project
Exploring Musical Improvisation Working and Developing as a
Musical Ensemble
Developing as a Musical Performer Singing Techniques and Performance
Working as a Musical Ensemble Improvising Music
Music Project
Essential resources
Learners of an instrument will be required to maintain it in a serviceable condition and, where appropriate,
will need access to larger equipment on the centre’s premises, eg amplification, synthesisers, pianos, drum
kits. All learners, and singers in particular, need to be made aware that their health is a resource that should be
looked after as much as their instrument.
Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
8
Indicative reading for learners
Each instrument will have its own set of technique development material that can be found in libraries,
music shops and instrument specific periodicals. Care should be taken to ensure that all learners are working
towards a defined study path on their chosen discipline. For those learners without access to one-to-one
tuition or specialised graded courses, well-chosen textbooks can be an essential aid to ensuring that all
musicians reach their potential.
Textbooks
Bruser M – The Art Of Practicing: A Guide To Making Music From The Heart (Bell Tower, 1999)
ISBN 978-0609801772
Laitz S – The Complete Musician Student Workbook, Volume 1: An Integrated Approach to Tonal Theory, Analysis,
and Listening (Oxford University Press Inc., 2008) ISBN 978-0195301090
Delivery of personal, learning and thinking skills
The table below identifies the opportunities for personal, learning and thinking skills (PLTS) that have been
included within the pass assessment criteria of this unit.
Skill When learners are …
Independent enquirers identifying material for repertoire
Creative thinkers improvising within performance
Reflective learners reviewing performance to develop technique
Team workers rehearsing and performing in a group
Self-managers developing technique
Effective participators working as a member of a group.
Although PLTS are identified within this unit as an inherent part of the assessment criteria, there are further
opportunities to develop a range of PLTS through various approaches to teaching and learning.
Skill When learners are …
Independent enquirers considering the needs of the audience
Self-managers ensuring deadlines are met.
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Edexcel BTEC Level 3 Nationals specification in Music and Music Technology
– Issue 1 – January 2010 ? Edexcel Limited 2009
Functional Skills – Level 2
Skill When learners are …
ICT – Develop, present and
communicate information
Present information in ways that are fit for
purpose and audience
using ITC to create publicity materials
English
Speaking and listening – make a range of
contributions to discussions and make
effective presentations in a wide range of
contexts
discussing the group repertoire
Reading – compare, select, read and
understand texts and use them to gather
information, ideas, arguments and opinions
preparing rehearsal diary
Writing – write documents, including
extended writing pieces, communicating
information, ideas and opinions, effectively
and persuasively
producing rehearsal diary.
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