A Level recital (UK) - How to plan a successful performance

A LEVEL RECITAL GENERAL INFORMATION

The A Level recital is the practical performance element of the UK A Level Music examination.

The performance element is where the candidate performs pieces but does not have to do scales, sight reading or aural tests as they would in an ABRSM or Trinity Grade practical exam.

AS is usually taken in Year 12: A2 is usually taken in Year 13.

To access marks in the highest band range, the pieces usually need to be of around Grade 4 - 5 for AS level and Grade 6 plus for A2 level, but check the specification for the board you are using.

The main A Level examining boards for music are OCR, Edexcel, WJEC and AQA. Their specifications are different and do change from time to time so teachers are strongly advised to check the requirements every year.

PUPIL MATCH & SUITABILITY

Careful matching of students with pieces that allow them to show their strengths is advised. For piano students, please see the Piano Pieces Difficulty Guide for guidance on the level of a wide range of pieces.

Playing pieces that stretch the student's present capability to its limit will not attract extra marks, so if a student is just not capable of playing a piece of the appropriate difficulty the teacher has to advise carefully in choice of programme.

Pieces that can be performed fluently and expressively attract the best marks and, since a level of Grade 6 allows access to the full range of top marks at A2, it can be unwise to choose harder pieces unless the student is already working comfortably at a higher level.

STYLE & TEMPO

Suitable interpretation of style is an aspect of assessment in music and choosing an effective tempo is a part of this. The tempo should be right for the candidate's technical ability as well appropriate for the piece, so careful choice of repertoire is essential in the first place

If the score has no performance directions, the examiner will consider whether or not the candidate is following accepted performance conventions for the style of music eg swing rhythms in jazz, suitable choice of dynamics and ornamentation in Baroque.

PHRASING & ARTICULATION

This is a part of interpretative understanding and aural awareness. The candidate should ideally demonstrate mature insight that informs the use of articulation detail and shapes the phrasing in the music.

TONE & TEXTURE

It is not just the use of detail that is examined since the candidate is also expected to show good control of tone. In relation to the piano, this involves producing an even, poised tone and choosing appropriate dynamics, both to contrast and to shape the phrasing.

Another important consideration is that of texture. So many student performers underestimate the degree of difference needed between the melody line and the accompaniment in a Romantic piece and textures in contrapuntal pieces often need much clearer definition.

PEDALLING

Pedalling is such an integral part of piano technique that it is crucial to a sensitive, stylish performance. 

Candidates who do not have a secure pedalling technique might consider playing pieces that sound just as good without it at AS, rather than spoiling a Romantic piece by inappropriate pedalling, before working on this aspect of their playing ready for A2. 

There will be few pieces that need no pedal whatsoever at the A2 level - even Baroque music can take very subtle and sparing use of pedal to enrich the tone.

The most common problem in pedalling seems to be incomplete understanding of legato pedalling. Suggestions for teaching this are made elsewhere on the E-MusicMaestro website.

TEACHING STRATEGIES

Teaching needs to revolve around students being aware of conscious learning and practising strategies that will enable them to perform music in an stylistically sound way, with poised technical control.

Teacher and student may need to focus on: 

1) the learning process - what strategies are needed to overcome technical, fluency and accuracy challenges 

2) the interpreting process - making decisions on how to interpret a piece is a certain way eg why a slow-moving LH part might be played lightly detached in a Baroque piece.

3) the 'preparing to perform' process - how confidence is built in practising performing.

4) using efficient learning and practising strategies to enable students to achieve technical security and fluent accuracy in their chosen programme of pieces

5) the interpretation of the chosen repertoire according to accepted performance conventions

6) listening, if possible, to some professional interpretations of the pieces to be performed can help to refine a student's own interpretation of the music. 

7) conversation about the structure and interpretation of the pieces deepens understanding and aids the learning process for all students.

PRACTICE TIPS

The keys to successful practice are to manage time efficiently and to have clear, achievable goals.

We profit most from the first 15 minutes of practice time and from practising daily. We remember less from long, infrequent practice sessions.

Students who practise once or twice daily tend to learn more efficiently than those who practise for the same overall length of time but in longer, less frequent sessions.

Students who leave sufficient time for learning a piece, that is several months rather than several weeks, gain deeper insights and learn more thoroughly.

Students who practise with a musical intention, rather than just learning the notes and rhythms, interpret better.

Students who practise performing are more confident performers and, if the recital is to be recorded for examination purposes, the student needs to have practised recording the recital, playing the instrument that will be used for the recording.

Piano students AS preparation for recital and viva voce.pdf

Piano students A2 Recital preparation.pdf

TROUBLESHOOTING

The main reasons for low marks are:

1) Ill-advised match between candidate and repertoire.  Repertoire that is too difficult for the candidate will not attract good marks and no extra marks are given for choosing pieces that are in excess of the required difficulty. Choosing pieces that are of lesser difficulty than required will bar access to the full range of marks but it is better to play something that can be managed rather than something that cannot. 

2) Poor preparation in terms of practice.

Fail to prepare and prepare to fail ! Candidates need to bear in mind that a piece should be practised not just until it goes right, but until it cannot go wrong.

3) Not practising performing.

Candidates who have practised performing their pieces in advance of the big day - whether this involves a recording or a live performance - tend to be more confident.

4) Infringements.

Not following the the syllabus specification carefully and offering the wrong combination of pieces or performances.

FINAL PERFORMANCE

Marking is slightly different from that in grade exams, in that each board has its own criteria but the marking criteria for each examining board are in the public domain, accessible on the internet.

Remember that examiners mark as positively as they can, rewarding achievement wherever possible.

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