P.6 seeks to communicate through expressive performance, with increasing technical competence; creates pieces that are intended to convey particular effects

General observation

Children and young people seek to communicate with others through singing or playing expressively, and with increasing technical competence. They may create pieces that are intended to convey particular effects.

Interpretation

The child or young person understands at some level the expressive capacity of music and are able to utilise that to communicate with others.

P6A plays or sings expressively using familiar conventions of performance, at the highest level producing original interpretations

Children and young people sing or play expressively using the conventions of performance with which they are familiar (rubato, vibrato, micro-dynamic changes, etc). At the highest level, they are able to transcend convention and create their own, original interpretations of pieces.

Strategies

Model expressive performance for the child or young person concerned, and encourage him or her to emulate what they hear. If possible, discuss the expressive potential of different performative devices. Encourage self-expression and originality.

Evaluating engagement
  1. No evidence
  2. Performs at least one piece using conventional forms of expression
  3. Performs at least two pieces using conventional forms of expression
  4. Performs at least three pieces using conventional forms of expression
  5. Performs at least four pieces using some original expressivity
  6. Performs five pieces of more with original interpretations
Gauging consistency
  1. Pieces are rarely performed expressively (on around one in eight occasions or fewer)
  2. Pieces are occasionally performed expressively (on around one in four occasions)
  3. Pieces are regularly performed expressively (on around one in two occasions)
  4. Pieces are frequently performed expressively (on around three in four occasions)
  5. Pieces are consistently performed expressively (on around seven in eight occasions or more)
Resources
Videos Information

Na Wan Plays Liszt's Liebestraum No. 3 in Ab on the piano with a high level of skill and expression.

Derek, aged ten in this clip, plays a version of 'A Nightingale Sang in Berkeley Square' on the piano, with advanced technical skill and expression. (See Derek improvising at a later stage in his musical development P.6.B.)

MfCaYPwCN Information

Chapter 10

Focus 2 Information

Chapter 14

In the Key Information

In the Key ...


P6B improvises on music in a familiar style or styles to convey desired effects, at the highest level producing original versions of existing pieces (as in ‘jazz standards’)

Children and young people improvise on music to convey desired effects. At the highest level they produce original versions of given material.

Strategies

Encourage improvisation to convey desired effects through listening to recordings, demonstration and involvement in group improvisation (see I.5). Discussion of the effects that are communicated may be possible.

Evaluating engagement
  1. No evidence
  2. Improvises on at least one piece to create a desired effect
  3. Improvises on at least two pieces to create desired effects
  4. Improvises on at least three pieces to create desired effects
  5. Improvises on at least four pieces to create desired effects
  6. Improvises on five pieces or more to create desired effects, producing original interpretations of pre-existing material
Gauging consistency
  1. Improvisation to create a desired effect is observed rarely (on around one in eight occasions or fewer) given appropriate opportunities
  2. Improvisation to create a desired effect is observed occasionally (on around one in four occasions) given appropriate opportunities
  3. Improvisation to create a desired effect is observed regularly (on around one in two occasions) given appropriate opportunities
  4. Improvisation to create a desired effect is observed frequently (on around three in four occasions) given appropriate opportunities
  5. Improvisation to create a desired effect is observed consistently (on around seven in eight occasions or more) given appropriate opportunities
Resources
MfCaYPwCN Information

Chapter 10

Focus 2 Information

Chapter 14

In the Key Information

In the Key ...


P6C composes pieces in a familiar style or styles to convey desired effects, at the highest level producing original material judged to be of intrinsic musical value

Children and young people compose pieces that convey desired effects. They may produce original material judged by others to be of intrinsic musical value

Strategies

Expose children and young people to a range of music intended to convey different effects and, if possible, discuss how these are achieved.

Evaluating engagement
  1. No evidence
  2. Creates pieces with some assistance that convey an effect in a straightforward way
  3. Creates pieces without assistance that convey an effect in a straightforward way
  4. Creates pieces that convey effects with some sophistication
  5. Creates pieces that convey effects with some sophistication and a certain originality
  6. Creates pieces that convey effects in a sophisticated way and are judged to have value as original works
Gauging consistency
  1. Is able to create music that conveys effects rarely in supportive contexts (on around one in eight occasions or fewer)
  2. Is able to create music that conveys effects occasionally in supportive contexts (on around one in four occasions)
  3. Is able to create music that conveys effects regularly in supportive contexts (on around one in two occasions)
  4. Is able to create music that conveys effects frequently in supportive contexts (on around three in four occasions)
  5. Is able to create music that conveys effects consistently in supportive contexts (on around seven in eight occasions or more)
Resources
MfCaYPwCN Information

Chapter 10

Focus 2 Information

Chapter 14

In the Key Information

In the Key ...


P6D technical proficiency develops to meet the demands of a widening repertoire

Children and young people's technical proficiency develops to accommodate their musical demands

Strategies

Practitioners can use more or less 'conventional' approaches to supporting the development of technique, which may include demonstration, physical guidance and verbal instruction

Evaluating engagement
  1. No evidence
  2. Has the technique to perform pieces of moderate complexity with conviction and an appropriate level of expression
  3. Has the technique to perform pieces of considerable complexity with conviction and an appropriate level of expression
  4. Has the technique to perform complex music with conviction and an appropriate level of expression
  5. Has the technique to perform highly complex music convincingly and with an appropriate level of expression
  6. Has the capacity to perform the most complex music convincingly and with an appropriate level of expression
Gauging consistency
  1. Consistency of technique permits convincing performances rarely (on around one in eight occasions or fewer)
  2. Consistency of technique permits convincing performances occasionally (on around one in four occasions)
  3. Consistency of technique permits convincing performances regularly (on around one in two occasions)
  4. Consistency of technique permits convincing performances frequently (on around three in four occasions)
  5. Consistency of technique permits convincing performances consistently (on around seven in eight occasions or more)
Resources
MfCaYPwCN Information

Chapter 10

Focus 2 Information

Chapter 14

In the Key Information

In the Key ...



Additional information