Perform individually and/or in an ensemble.

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Performing (IGCSE Music 0410 – Component 2)

Learning Objective

Students will perform music confidently and accurately, either as soloists or as members of an ensemble, demonstrating appropriate technique, expressive interpretation, and effective teamwork.

Why Performing Matters in the Syllabus

  • It is the sole focus of Assessment Objective 2 (AO 2) – “Performing”.
  • It reinforces AO 1 (Listening) by deepening understanding of style, texture and structure.
  • It supports AO 3 (Composing) because students often use material they have performed when creating original works.

Context & Repertoire – Linking Performance to the Seven Areas of Study

When selecting pieces, teachers should aim to cover at least three of the seven Areas of Study (AoS) prescribed by the Cambridge syllabus. Below is a quick guide linking typical solo/ensemble choices to each AoS and to the official focus works (where applicable).

Area of Study Typical Solo Piece (≥ 2 min) Typical Ensemble Piece (≥ 2 min) Example Focus Work (if relevant)
Baroque Vivaldi – “Spring” (Allegro) – solo violin Bach – “Minuet in G” – string quartet Handel – “Largo” from *Water Music*
Classical Mozart – “Rondo, K. 511” – piano Haydn – “String Quartet Op. 76 No. 2” – 2nd movement Beethoven – “Für Elise” (excerpt)
Romantic Chopin – “Nocturne Op. 9 No. 2” – piano Schubert – “String Quartet ‘Death and the Maiden’” – 1st movement excerpt Liszt – “Liebesträume” (excerpt)
Music & Words Art Song – Schubert “Die Forelle” (voice + piano) Choral – “Ave Maria” (SATB) – 2‑minute excerpt Folk‑song arrangement (e.g., “Greensleeves”)
Music for Dance Solo – “Waltz in A‑minor” (violin) Ensemble – Tango duo (bandoneón + piano) Jazz standard “Take the A Train” (excerpt)
Small Ensemble Solo – “Meditation” from *Thaïs* (flute) Wind quintet – “Serenade” (any movement, ≥ 2 min) Contemporary chamber work (e.g., “The Four Seasons” – modern arrangement)
Stage & Screen Film‑score excerpt – “Hedwig’s Theme” (piano) Musical theatre – “I Dreamed a Dream” (vocal + piano) Broadway/film song (e.g., “Over the Rainbow”)

AO 2 – Performing (Syllabus Breakdown)

The Cambridge specification grades AO 2 against five descriptors. The table shows what examiners look for and which checklist items address each descriptor.

Descriptor (exact syllabus wording) What Examiners Look For Relevant Checklist / Skill Items
Confidence, fluency and accuracy Secure, relaxed posture; fluid movement through the music; minimal hesitation. Performance Checklist – items 1, 5, 7; “Stage presence and confidence” in Key Skills.
Tempo, coordination and ensemble Steady, appropriate tempo; accurate rhythmic alignment with accompanist or ensemble; good cueing. Key Skill – accurate pitch, rhythm & dynamics; “Preparation” step – metronome use; Checklist – items 1, 3, 4.
Character, style and interpretation Understanding of the work’s style; appropriate use of articulation, phrasing and expressive devices. Key Skill – interpretation & expression; “Musical Expression” step; Checklist – items 2, 3.
Technical control Correct pitch, intonation, tone quality, articulation and dynamic control throughout. Key Skill – technical proficiency; “Technical Execution” step; Checklist – items 1, 2, 3.
Overall performance Clear, well‑structured presentation with minimal errors; effective communication of the music’s overall impression. All checklist items; “Overall Presentation” in Assessment Criteria; mock‑performance practice.

Recording & Submission Requirements (Component 2)

  • Length: Solo piece ≥ 2 min, ensemble piece ≥ 2 min; total duration of the submission must not exceed 10 min.
  • Format: One continuous, un‑edited take in an accepted audio format (MP3, WAV, AIFF). No splicing, overdubbing, pitch‑shifting or tempo‑changing software.
  • Sheet‑music submission: A clear photocopy or PDF of the exact score used for the recording (including any intentional repeats, cuts, fingerings or bowings). Hand‑written revisions may not be added after recording.
  • Identification: Each audio file must be named CentreNumber_CandidateNumber_PieceTitle.mp3 (e.g., 123456_7890_Bach_Minor_01.mp3).
  • Authenticity declaration: The candidate must sign the standard Cambridge “Declaration of Authenticity” form, confirming that the recording is their own performance.
  • Teacher’s signature: The teacher signs the accompanying “Record‑keeping and Moderation” sheet, confirming that the work has been supervised.
  • Moderation:
    • Internal moderation – the centre must keep a copy of the recording and score for at least one year.
    • External moderation – Cambridge may request a random sample of recordings for verification.
  • Prohibited practices: Editing, looping, pitch‑shifting, tempo‑changing software, or any form of digital manipulation that alters the original performance.

Components of a Successful Performance

  1. Preparation
    • Study the score – structure, key signatures, tempo markings, repeats, expressive markings.
    • Practice slowly; increase tempo gradually while maintaining accuracy.
    • Isolate difficult passages and rehearse them repeatedly.
    • Use a metronome and tuner daily; record short excerpts for self‑review.
    • Link the piece to its Area of Study and any listening material covered in AO 1.
  2. Technical Execution
    • Adopt correct posture, hand position and breathing technique.
    • Produce a clear, resonant tone appropriate to the instrument/voice.
    • Observe every dynamic, articulation and expression marking exactly as written.
  3. Musical Expression
    • Shape phrases with appropriate breathing, bowing, tonguing or vibrato.
    • Apply rubato or tempo flexibility only where stylistically justified.
    • Convey the character of the piece (e.g., lyrical, energetic, solemn).
  4. Ensemble Interaction (if applicable)
    • Watch the conductor or group leader for cues.
    • Listen continuously to balance; adjust volume to blend with others.
    • Maintain a steady common tempo; use subtle eye‑contact for coordination.
  5. Performance Presentation
    • Dress suitably for the repertoire and venue.
    • Make occasional eye‑contact with the audience when appropriate.
    • Project confidence through upright posture, relaxed gestures and clear stage movement.

Assessment Criteria (Component 2 – 50 marks)

Each of the five descriptors is worth 10 marks, giving a total of 50 marks.

Descriptor (5 × 10 marks) What Examiners Look For
Confidence, fluency and accuracy Secure posture, fluid movement, minimal hesitation, accurate notes and rhythms.
Tempo, coordination and ensemble Steady tempo, correct rhythmic alignment, effective cueing, good blend and balance.
Character, style and interpretation Appropriate articulation, phrasing, dynamics and stylistic awareness.
Technical control Correct pitch, intonation, tone quality, articulation and dynamic control throughout.
Overall performance Clear, well‑structured presentation with minimal errors; effective communication of the music’s overall impression.

Suggested Teaching Activities

  • Warm‑up routines focusing on breathing, posture and basic technical drills.
  • Sectional rehearsals – work in small groups before full‑ensemble run‑throughs.
  • Peer‑review sessions – students use the performance checklist to give constructive feedback.
  • Mock performances in the classroom to simulate exam conditions and recording set‑up.
  • Listening comparisons – analyse professional recordings versus student recordings, noting differences in tempo, dynamics and expression.
  • Technical clinics – short, focused workshops on tuning, metronome use and tone production.
  • Cross‑AO projects – e.g., after performing a Baroque piece, students compose a short variation (AO 3) and analyse its style (AO 1).

Repertoire Ideas (by skill level)

Select pieces that match the students’ technical ability while showcasing a variety of styles and cultural contexts.

  • Beginner (Level 1‑2): Mozart – “Eine kleine Nachtmusik” (string arrangement), Bach – “Minuet in G”, Irish reel, simple pop ballad.
  • Intermediate (Level 3‑4): Haydn – “String Quartet Op. 76 No. 2” (excerpt), Schubert – “Ave Maria” (SATB), Latin salsa rhythm section, Gamelan excerpt.
  • Advanced (Level 5‑6): Vivaldi – “Spring” (solo violin), Chopin – “Nocturne Op. 9 No. 2”, Jazz standard “Autumn Leaves”, Contemporary chamber work.

Performance Checklist for Students

  1. Have I practiced the piece at least n times with a metronome, aiming for a consistent tempo?
  2. Can I play/sing the piece without looking at the score?
  3. Do I know the exact tempo, dynamics and articulation markings?
  4. Have I rehearsed with my ensemble and resolved any balance or timing issues?
  5. Am I comfortable with the stage layout and my position on stage?
  6. Do I have appropriate attire and any required accessories (e.g., music stand, bow, reeds)?
  7. Have I visualised a successful performance and taken a few minutes to relax before the start?
  8. For coursework: does my recording meet the length, format and editing restrictions?
  9. For coursework: have I prepared the exact score copy required for submission?
  10. For coursework: have I signed the authenticity declaration and ensured my teacher’s signature on the moderation sheet?
Suggested diagram: Flowchart of the preparation‑performance process (Score study → Slow practice → Metronome work → Sectional rehearsal → Full‑ensemble run‑through → Mock performance → Final recording → Submission & moderation).

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