Members of backup groups apply the skills and knowledge outlined in this unit. In addition to proficiency in their chosen instrument, they need to think on their feet during performances to ensure that their contribution to backup accompaniment complements the performance of soloists and blends with that of other group members. Higher level skills associated with developing repertoire are covered in:
CUSMPF403A Develop repertoire as part of a backup group.
Not applicable
ELEMENT | PERFORMANCE CRITERIA |
1. Prepare to perform backup accompaniment | 1.1 Confirm expected performance outcomes with relevant personnel 1.2 Confirm own contribution, ensuring that the part is within own technical and artistic level of performance 1.3 Use personal practice time before combined rehearsal period begins to achieve the required performance standard 1.4 Take direction from and give support to performers during rehearsals 1.5 Seek feedback on own performance from relevant personnel and adjust performance techniques |
2. Perform backup accompaniment | 2.1 Perform own part in line with agreed performance outcomes 2.2 Ensure that own contribution enhances the performance and complements the inherent qualities of performers 2.3 Maintain energy levels, concentration and focus throughout the performance 2.4 Listen critically to own and others' performance and adjust playing to achieve the required sound 2.5 Ensure that own conduct and appearance are appropriate to the performance context 2.6 Adjust volume of playing consistently to the needs of performers and context of performance 2.7 Take and give cues reliably, promptly, accurately and sensitively 2.8 Contribute to maintaining a consistent balance between performers and backing |
3. Evaluate performance | 3.1 Contribute to evaluation of the performance of performers in a sensitive, constructive and unbiased way 3.2 Evaluate own performance as a backup accompanist and note areas for future improvement 3.3 Seek feedback on own performance from relevant personnel and incorporate suggestions into overall strategies for improving own backup accompaniment skills |
Required skills |
communication and teamwork skills sufficient to: interpret music appropriately for performance use appropriate chords and scales, forms, textures or other elements of musical organisation in performance work collaboratively with others to achieve required musical outcomes listening skills sufficient to: monitor and adjust intonation as required recognise intervals, chords, scales and chord progressions in selected area of specialisation demonstrate appropriate intonation, dynamics, phrasing, rhythm and expression to produce the required sound initiative and enterprise skills in the context of collaborating with other backup artists to recover faults in live performances with minimum disruption to the audience's listening experience learning skills in the context of improving music performance skills and expression through rehearsal self-management and planning skills sufficient to: plan practice time prior to performance to improve technical facility allow sufficient time for warm-up prior to performances maintain an appropriate standard of personal presentation technical and problem-solving skills sufficient to: use a range of instrumental techniques in selected area of specialisation use a variety of rhythms, time signatures, beat patterns and rhythmic styles relevant to specialisation perform appropriately for the context of venues, available sound forces and the act |
Required knowledge |
broad understandingof: solo or group performance protocols and customs industry, repertoire and musical terminology impact of different performance environments on musical outcomes chosen genres and their musical forms and conventions in performance chord and melodic formulae in selected area of specialisation issues and challenges that arise in the context of performing backup accompaniment OHS practices, procedures and standards as they apply to using musical instruments and performing in a range of environments |
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 proficiently as a member of a backup accompaniment group before an audience on at least three occasions listen effectively to adjust intonation and nuance in performance apply interpretation and expression skills communicate effectively with others involved in performances. |
Context of and specific resources for assessment | Assessment must ensure: access to relevant instruments and equipment opportunities to perform backup accompaniment before an audience appropriate venue with adequate space and acoustic qualities for solo performances 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 or video recordings of the candidate performing backup accompaniments written or oral questioning on performance strategies as a member of a backup group discussion of planning for performances written or oral questioning to test knowledge as listed in the required knowledge section of this unit case studies and scenarios as a basis for discussion of methods, strategies and other issues involved in contributing to backup accompaniment. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUSMPF203A Develop ensemble skills for playing or singing music CUSMPF204A Play music from simple written notation CUSMPF301A Develop technical skills in performance CUSMPF302A Prepare for performances. |
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. | |
Relevant personnel may include: | director producer performer mentor teacher coach tutor conductor sound engineer. |
Directions may be for: | instrumentation voicing expression timbre attack pitch tempi dynamics. |
Listening may include: | responding creatively and sensitively to other performers in ensemble performance tuning instrument pattern and sequence recognition and memory recognising music systems and practices reproducing sequences from memory. |
Strategies may include: | working with an appropriate tutor using opportunities to perform as a backup artist listening critically to a wide range of live and recorded music, focusing on backup participating in relevant groups or associations participating in professional development and other learning opportunities to broaden performance knowledge and experience attending master classes attending performances contributing to and participating in festivals and conferences being involved in a range of music-making activities practising performance techniques in a range of styles. |
Performing arts - music performance
Not applicable
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.