Demonstrate control of technique and expression in performance.

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IGCSE Music 0410 – Performing (AO2)

1. Why This Matters

  • AO2 – Performing accounts for 30 % of the total qualification. The five marking criteria each contribute equally to this 30 %.
  • AO2 is one of the three core skills (Listening AO1, Performing AO2, Composing AO3). Success requires linking what you hear (AO1) and create (AO3) with what you perform (AO2).

2. Syllabus Overview – Seven Areas of Study

For each area you should be familiar with the official focus works (exam‑required) and, where possible, a selection of wider‑listening examples (exam‑optional). Choose repertoire or excerpts that allow you to demonstrate the key musical features listed.

Area of Study Official Focus Works (exam‑required) Suggested Wider‑Listening (optional) Key Musical Features to Highlight in Performance
Baroque Vivaldi – “Spring” (The Four Seasons); Bach – “Prelude in C major” (BWV 846) Corelli – Concerto Grosso Op. 6 No. 8; Handel – “Largo” from Serse Ornamentation (trills, mordents), basso continuo texture, terraced dynamics, Baroque articulation.
Classical Mozart – “Eine kleine Nachtmusik” (first movement); Haydn – “Symphony No 94” (2nd movement) Haydn – Piano Trio in G major; Mozart – String Quartet K. 387 Clear phrasing, Alberti bass, balanced homophony, Classical articulation, dynamic contrast.
Romantic Smetana – “The Moldau” (Vltava); Chopin – “Nocturne Op. 9 No 2” Schumann – “Kinderszenen” Op. 15; Brahms – “Intermezzo” Op. 118 No. 2 Rubato, wide dynamic range, lyrical melody, rich harmony, expressive shaping.
Music & Words Schubert – “Ave Maria”; Gershwin – “Summertime” (from *Porgy & Bess*) Elgar – “Enigma Variations” (Nimrod); Britten – “Simple Symphony” (II) Vocal phrasing, text expression, word‑painting, balance between voice and accompaniment.
Dance J. Bach – “Minuet in G”; Tchaikovsky – “Waltz of the Flowers” Strauss – “Blue Danube”; Brahms – “Hungarian Dance No. 5” Clear pulse, regular meter, characteristic dance rhythms (waltz, mazurka, etc.), articulation that supports movement.
Small Ensemble Mozart – String Quartet K. 387 (excerpt); Jazz combo lead‑sheet (e.g., “Autumn Leaves”) Beethoven – Septet Op. 20; Traditional folk ensemble (e.g., Irish session) Ensemble balance, cueing, blend, independent lines, appropriate improvisation (if required).
Stage & Screen John Williams – “Theme from Star Wars”; Ennio Morricone – “The Good, the Bad & the Ugly” Howard Shore – “Lord of the Rings” (film suite); Hans Zimmer – “Time” (Inception) Programmatic expression, orchestral colour, use of electronic/amplified sounds, dramatic timing.

3. Component 2 – Repertoire Selection Rules (Performing)

  • Maximum total playing time: 10 minutes (including any backing track).
  • Each individual part (solo, ensemble, or backing track) must be at least 2 minutes long.
  • You may perform:
    • Solo (voice or instrument)
    • Small ensemble (maximum 6 performers, all playing live)
    • Solo with a pre‑recorded backing track (no live accompaniment beyond the soloist).
  • Prohibited configurations: solo with added live accompaniment, large ensembles, and any use of live electronic looping devices.
  • All music must be notated in standard Western staff notation (or lead‑sheet/cipher notation where appropriate) and be a work from the syllabus (focus works or wider‑listening). Original compositions are not allowed for Component 2.

4. AO2 Marking Criteria (0‑5 Levels)

Examiners assess performance against five descriptors; each contributes equally to the 30 % AO2 mark.

Marking Criterion What the Examiner Looks For How to Demonstrate It
1. Confidence and stage presence Poised posture, eye contact, appropriate body language. Use the Stage‑Presence Checklist (see Section 8) and rehearse in front of a mirror or peers.
2. Tempo, coordination & rhythm Steady pulse, accurate rhythm, coordinated ensemble work (if applicable). Metronome work, subdivision counting, rhythmic drills (see Section 5).
3. Character / style of the music Understanding of period style, appropriate ornamentation, idiomatic articulation. Research the era, listen to at least three recordings, note stylistic differences (see Section 9).
4. Technical control (pitch, tone, dynamics, articulation) Intonation, clean articulation, controlled dynamics, consistent tone colour. Pitch‑reference tools, breath‑support exercises, dynamic‑shaping drills (see Section 6).
5. Overall performance (musicality, expression, interpretation) Coherent phrasing, expressive shaping, personal but appropriate interpretive choices. Write performance notes, rehearse with expressive intent, record and self‑evaluate (see Section 10).

5. Musical Concepts Required for AO2

When preparing a piece you must demonstrate the ability to render these concepts in performance (AO2).

  • Melody – range, contour, scale or mode used.
  • Harmony – chord types (triads, sevenths, modal), functional progression.
  • Rhythm – meter, syncopation, polyrhythm, tuplets.
  • Texture – monophonic, homophonic, polyphonic, heterophonic.
  • Dynamics – gradual (crescendo/decrescendo), sudden (sforzando), extremes.
  • Articulation – legato, staccato, marcato, accents, ornaments.
  • Tone colour – timbre changes through bowing, breath, embouchure, electronic effects.
  • Form – binary, ternary, rondo, sonata‑allegro, through‑composed (where relevant).

6. Techniques for Controlling Pitch & Rhythm

  1. Check intonation with a tuner or a piano before each rehearsal.
  2. Start slowly with a metronome; increase tempo in 5‑bpm increments only after flawless execution.
  3. Break difficult passages into micro‑sections (2‑4 measures) and isolate problem notes.
  4. Count aloud and use beat subdivision (e.g., “1‑e‑&‑a”) for complex rhythms or syncopation.
  5. Record a short loop of a rhythmic pattern and listen back for a steady pulse.

7. Developing Expressive Control

Marking Meaning Practical Tip / Exercise
p – mp – mf – f Soft to loud Play a single phrase at each dynamic level using one breath; note timbral changes.
cresc./dim. Gradual increase/decrease in volume Practice a four‑measure line, raising volume by one “step” each measure.
legato Smooth, connected notes Focus on finger/hand transitions with no audible gaps; use a slow metronome.
staccato Short, detached notes Release each note sharply, then insert a brief silence equal to the note’s value.
rit. Gradual slowing Mark the start and end of the ritardando; practice with a click track that decelerates 2 bpm over the phrase.
accel. Gradual speeding up Use a metronome that accelerates 2 bpm per measure; keep the pulse even.
sfz, sforzando Sudden strong accent Isolate the accent note; practice striking it with a firm attack while surrounding notes remain soft.

8. Breathing, Posture & Tone Production (Wind, Brass, Voice, Strings)

  • Posture: Stand or sit tall, shoulders relaxed, weight evenly distributed.
  • Breath support: Diaphragmatic breathing into the lower ribs; exhale steadily, matching breath length to musical phrases.
  • Instrument‑specific tips
    • String players – relaxed left‑hand wrist; use the natural weight of the bow arm for tone.
    • Wind/Brass – steady embouchure; think of “air flow” rather than “force”.
    • Vocalists – engaged core, open throat, vowel shaping for colour.

9. Stage Presence Checklist

Aspect What to Observe Improvement Strategy
Posture Upright, relaxed shoulders, balanced weight. Practice in front of a mirror or record video; adjust until natural.
Eye Contact Occasional glances at the audience, not fixed on the instrument. Rehearse with a small peer audience; set “eye‑contact points” on stage.
Facial Expression Reflects the mood of the music (e.g., serenity, tension). Associate each phrase with an emotion; rehearse in front of a friend who gives feedback.
Body Movement Subtle gestures that enhance phrasing without distracting. Integrate slow, purposeful movements during practice; increase speed gradually.
Communication Clear projection of musical ideas to the audience. Explain (to yourself) the story behind the piece before playing; let that inform your gestures.

10. Interpretation Strategies (Linking AO1 & AO2)

  1. Research the composer’s life, the historical period, and the cultural context of the work.
  2. Listen to at least three contrasting recordings; note tempo, dynamics, articulation, and any stylistic liberties.
  3. Identify the characteristic musical features required for the style (e.g., Baroque ornamentation, Romantic rubato, jazz swing feel).
  4. Write a brief Performance Note (150‑200 words) covering:
    • Chosen tempo and justification.
    • Dynamic contour and expressive shaping.
    • Specific articulations or ornaments you will use.
    • Personal interpretive decisions (phrasing, rubato, colour).
  5. Record your own performance, compare it with the Performance Note, and adjust as needed.

11. Technology & Notation Guidance

  • Staff notation – standard Western notation for pitch, rhythm, dynamics, articulation.
  • Lead‑sheet / cipher notation – suitable for popular, jazz or non‑Western repertoire; include chord symbols, lyric lines, and any required rhythmic symbols.
  • Electronic sounds – if your piece incorporates synthesized or sampled sounds, notate them with text above the staff (e.g., “Synth pad”, “Electronic beat”) and give a tempo marking in BPM (e.g., “♩=120”).
  • LaTeX for rhythm examples – useful for teacher hand‑outs or digital portfolios. Example: 
    $$\frac{1}{4}+\frac{1}{8}+\frac{1}{8}= \frac{1}{2}$$
    shows that a quarter note followed by two eighth notes equals a half‑note.
  • Recording & playback – use a smartphone or tablet to record your practice; annotate the audio file with timestamps for technical vs. expressive sections.

12. Sample 30‑Minute Practice Routine (Balanced Technical & Expressive Work)

  1. 5 min – Warm‑up: Scales/arpeggios in the key of the piece, focusing on breath, posture and relaxed hand/embouchure.
  2. 10 min – Technical Drill: Slow practice of the most challenging passage with a metronome; use subdivision counting and isolate problem notes.
  3. 5 min – Dynamic Shaping: Play a short phrase at p, mf, f, noting timbral changes; add a crescendo/decrescendo over two measures.
  4. 5 min – Expressive Run‑through: Perform the entire piece, applying your Performance Note (tempo, articulation, ornaments).
  5. 5 min – Performance Simulation: Stand, use the Stage‑Presence Checklist, record a video, then review for posture, eye contact and overall musicality.

13. Assessment Criteria Summary (Re‑Mapped to AO2)

  • Accuracy of pitch & rhythm – Criterion 2 (Tempo, coordination & rhythm).
  • Control of dynamics & articulation – Criterion 4 (Technical control).
  • Effective phrasing & expression – Criterion 5 (Overall performance).
  • Confident stage presence – Criterion 1 (Confidence & stage presence).
  • Clear evidence of personal interpretation – Criterion 3 (Character / style) and Criterion 5.

14. Link to AO3 (Composition)

While AO2 focuses on performance, the same musical concepts (melody, harmony, form, etc.) are assessed in AO3. Use your performance research (composer background, stylistic features) as a foundation for any composition you create for Component 3, ensuring a cohesive link across the three objectives.

15. Suggested Diagram (Teacher Hand‑out)

Flowchart of a practice session: Technical Work → Expressive Work → Performance Review → Reflection → Adjustments

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