Elements and Performance Criteria

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Instruments may be first or second instruments and may include:
acoustic or electronic
brass
stringed
keyboards
wind
percussion
plucked
voice.
Range and scope of instruments may include:
tone colour
articulation
physical attributes and components
control and contrast
sound production
dynamics and volume
pitch, register and tessitura
specific effects available using a range of attacks
other acoustic or electronic effects.
Capability of an instrument may include:
application to a range of music-making activities and outcomes in selected area of specialisation
scope and potential for solo or group performance in selected area of specialisation
adaptability
size of instrument
history in performance and customs of established performance tradition.
Repertoire may include:
movements and/or pieces appropriate to selected instrument
improvisation on specific/harmonic structures in selected area of specialisation
songs and tunes in selected area of specialisation
own original pieces
traditional patterns in selected area of music specialisation.
Accessories may include:
reeds
strings
bows
plectrums
mouth pieces
mutes
sticks, mallets, brushes and beaters
stands
pedals
microphones
amplifiers
samplers
mixers
enhancers, such as pitch and tone modulators.
Tuning an instrument may involve:
adjusting:
pitch
tone colour
oral tract, including lip pressure and intensity of breath
position of the diaphragm and larynx
sound production
diameter or other instrumental dimensions, such as:
length of strings
tautness of skins
length of tubing or pipes
embouchure
settings of the instrument and relevant accessories
using:
appropriate tuning options
tuning keys or other tuning implements, such as tuning forks and electronic tuners
pitch pipes
electronic pitch or frequency controls
other musicians.
Sound colour may involve:
physical elements of an instrument
instrumental attack and articulation
range of accessories
interaction between player and instrument
performer's physique
voice production
sound production
different instrumental combinations.
Developing technical skills may involve:
reproducing pieces from written notation, chord charts or aural memory and imitation
developing physical coordination
playing and/or singing pieces or excerpts
playing and/or singing rhythms and rhythm patterns
playing chords and chord patterns
playing and/or singing melodies
systematic fingering patterns
bowing techniques to achieve good finger action, bowing movements and smooth bow changes
systematic hand and foot patterns
systematic plucking, picking and strumming patterns
vocal and breath exercises to achieve consistent pitch, articulation and breath control
drumming exercises for hands, sticks, mallets, brushes and beaters
working effectively with an instrumental or vocal tutor
personal practice
coaching others
performing with other artists
observing and listening to the performance of others
exercises, such as:
simple major and harmonic scales and arpeggios
pentatonic scales
common modes
simple major and minor triads/chords
rhythm patterns
improvisation within established musical parameters
breath control.
Facility with instrument or voice may involve:
intonation
breathing
embouchure
pedalling
bowing/strokes
fingering
tonguing
tone and articulation
vibrato
phrasing
microphone technique
diction
posture
plucking.
OHS principles may include:
industry practice and legislation
posture
appropriate hearing and volume levels for self and others
electrical hazards
length of performance and practice sessions
preventative practice against overuse injury.
Relevant personnel may include:
musical director
performer
mentor
teacher
coach
tutor
conductor
sound engineer.

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
perform at least three pieces in selected area of specialisation
achieve the required sound
learn and practise to improve own performance
respond positively to constructive feedback on own performance.
Context of and specific resources for assessment
Assessment must ensure:
access to relevant instruments
access to suitable acoustic space
use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of the candidate and the work being performed.
Method of assessment
The following assessment methods are appropriate for this unit:
observation of practice or performance
written or oral questioning on technical development strategies, planning and goals
video and/or audio recordings of performances or practice sessions
self-evaluation sheets
samples of work plans for private practice sessions
simulation of a performance practice session
case studies and scenarios as a basis to discuss technical issues and strategies to deal with them in performance.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUSMLT301A Apply knowledge of genre to music making
CUSMPF303A Contribute to backup accompaniment
CUSMPF305A Develop improvisation skills
CUSMPF401A Rehearse music for group performances.