BTEC Level 3 National Performing Arts Unit 14 Musical ... · PDF fileActivity sheet AS1, AS2, AS3a, ... Vocal music AS3c BTEC Level 3 National Performing Arts ... BTEC Level 3 National
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Unit overview Credits: 10 Cert/Subsid Dip/Dip/Ext Dip This unit will allow learners to investigate and research roles from specific musical theatre repertoire, and develop the technical skills needed to realise these roles in performance work.
This is a 10 credit unit and can be taught in 60 guided learning hours, with learners expected to complete around 40 hours’ individual learning.
On completion of this unit, learners will:
LO1 Understand a role or roles in a musical theatre work LO2 Be able to apply the appropriate performance skills LO3 Be able to rehearse for a role in a musical LO4 Be able to perform a role in a musical.
Unit contents The scheme of work for this unit links to the following resources to help you deliver Unit 14.
LO1 LO2 LO3 LO4
Lesson plan Week 4 Activity sheet AS1, AS2, AS3a,
AS3b, AS3c, AS4a, AS4b, AS5
AS6 AS7, AS8, AS9
AS10
Stretch and support S1, S2 Presentation PPT PPT
Video 906794_u14_vid.flv
All of these resources can be found on the accompanying @Work CD-ROM, as well as an editable version of the scheme of work and answers to questions in the student book.
How to deliver the unit This unit should be delivered through a series of practical sessions in which learners consider the skills and techniques required of the successful realisation of a role in a musical theatre performance and develop the required skills through workshops and rehearsals. The unit should culminate in a performance which could be of a complete musical or a showcase of extracts from shows.
Assessment Unit 14 should be assessed through a centre-devised assignment or series of assignments that involve research and exploration into roles from the musical theatre repertoire, the development of acting, music performance and dance skills and the rehearsal and performance of musical theatre work. Tutors may decide to provide a vocational context for the assignments that reflect the professional practice or approaches within the performing arts industry. Vocational contexts for this unit could include the preparation of audition material, the performance of a full-scale musical for a public audience or the performance of a musical theatre showcase for an invited or public audience.
It is important to remember that each learner must be afforded an opportunity to demonstrate their skills and understanding. Using a full-scale musical with only a limited number of principal roles may not always allow all learners an appropriate assessment opportunity.
Evidence for assessment
The assessment evidence for the units may include the following formats:
• a process portfolio – this might include diary entries, research notes and notes from discussions and rehearsals
• videos of practical work, rehearsals and performances. Tutors should be selective about the sessions they video and are encouraged to include a piece to camera that explains the context of the activity being recorded. Where possible, learners should introduce themselves. Grading
Assessment of the grading criteria will be through research activities, practical workshops, rehearsals and performances. Understanding of the interpretation and realisation of a role can be evidenced through a research log and a presentation, in written or oral form, of findings. Evidence of the development of skills and role/s and contribution to the rehearsal process can be captured by tutors through observing learners working, and also by requesting that learners chart their own progress in a process log; this might be a written document, but it could also be an audio or visual recording.
Student book activities The student book provides a logical sequence of activities that will allow learners to progress through the four learning outcomes for the unit.
Research one of these musicals and answer the following questions.
What are the constituent features for the show, e.g. style of the music, use of movement and dance, plot, characters, other interesting characteristics?
Try some vocal exercises under the guidance of your tutor. Here are some to get you started.
Projection and tone Start by humming the consonant ‘Mmm…’ When the voice has moved into the sinuses (you will feel a buzzing on the face when this happens), open the sound into a vowel sound ‘Aah…’
Repeat this on different notes and using different vowel sounds.
Flexibility Scales and arpeggios (sometimes called broken chords) are great for improving the flexibility of the voice. Start with a note that feels comfortable then sing up and down a five-note scale. Use different vowel sounds and vary the exercise by starting on different notes and altering the tempo (speed).
Breath control Practise breathing with the diaphragm and expanding your floating ribs. Breathe in, and as you do imagine that the air is travelling down into the bottom of your stomach. If you rest your hands just above your waist at the bottom of your ribcage you should be able to feel the lower ribs pushing out. Release the air slowly.
Repeat the exercise, but this time hold a piece of paper horizontally in front of your mouth. As you blow the air out the paper will bend over. Try to keep the stream of air steady. If it is, the paper will bend over then remain reasonably still.
Tongue twisters are great for improving articulation. They can be spoken or sung. For example, try singing ‘Twinkle Twinkle, Little Star’ using the words ‘Red Lorry, Yellow Lorry’ over and over instead of the usual words. Start slowly and increase the tempo gradually.
Some general advice It is always best to perform the exercises while standing. Good posture is vital so make sure you stand with your feet shoulder-width apart. Your shoulders should be relaxed and your arms should be by your sides.
Over the remaining sessions for this unit, take turns in leading a short vocal warm-up that includes a range of exercises.
Work with a choreographer on an ensemble routine with the aim of learning the piece quickly but accurately. Remember that much musical theatre work will include sections of unison movement and it will be vital that the company can work as one.
Video a performance of the piece and watch it back as a class.
Discuss and make notes on how well members of the company:
Reproduced the routine accurately
Made use of the performance space
Performed using appropriate stylistic qualities
Maintained their focus and concentration throughout
Communicated the mood piece, e.g. through facial expression
Now re-rehearse the piece making corrections and adjustments as required.
Curtain call
AS10
BTEC Level 3 National Performing Arts Unit 14 Musical Theatre Perfomance
Give a definition for each of the following terms that Ellis Smith refers to in the video.
• musical score
• tone
• phrase
• dynamics
• melody
• articulation
• accompaniment
• vocal range
• pitching
• intonation
• timing
Task 2
Although you may not be required to sing from a musical score, it is never the less important to understand the composer’s intentions in terms of how the piece should be performed. These performance instructions are traditionally written into the score using Italian terms.
The nature of this unit is practical, and different outcomes will show the learners’ level of competence. Tutors should carefully consider how they divide learners into pairs or small groups for activities. On some occasions more able learners may be mixed with ones that are less able to allow them to provide support within a group. On other occasions, however the more able could be stretched by being allowed to work together.
S1 – AS3a Rodgers and Hammerstein
More able learners should be asked to compare the musical they research with Oklahoma!, listing and describing any similarities and differences.
S2 – AS4b Listening exercise
Less able learners should complete extension question 1 only.
More able learners should be asked to also complete extension question 2.
● Gilbert and Sullivan created the best known examples, including:- The Pirates of Penzance - The Mikado - HMS Pinafore● Other examples include:- The Student Prince by Sigmund Romberg - Merry England by Edward German