Final Performance Run-through

Overview

This lesson is the final step in the unit “Creating Harmony in Performance”. Students conduct a full group run-through of the waiata, with each section performing together, then refine balance, timing, and expression based on feedback and rehearsal goals.

Learning intentions

• WALT rehearse a waiata performance as an integrated group by following agreed cues, structure, and tempo.
• WALT apply feedback to make specific musical adjustments (e.g., blend, dynamics, rhythmic accuracy, and entrances).
• WALT reflect on how performance choices support the intention and character of the waiata.

Success criteria

• I can perform my part accurately while listening to the whole ensemble.
• I can use agreed performance cues (entrances, endings, and dynamic moments) confidently.
• I can give and receive feedback using “what I heard” and “what to try next” statements.
• I can make at least two adjustments between run-throughs and explain why they improve the performance.

Curriculum links

• Music (Toi Ihiihi): performing and rehearsing group music with increasing control and responsiveness to others.
• Music (Toi Ihiihi): using feedback to improve performance and developing a shared sense of musical purpose.
• Assessment for learning: applying clear criteria during rehearsals to guide next steps.

Lesson structure (60 minutes)

1. 0–5 min · Welcome and rehearsal focus

• Teacher explains that today is a full run-through and refinement cycle, not starting from scratch.
• Students choose one personal goal from the rehearsal checklist (accuracy, blend, timing, expression) and write it in their rehearsal notes.

2. 5–10 min · Warm-up (voice + ears)

• Teacher leads a short vocal warm-up and includes listening prompts (e.g., “Can you hear the blend?” “Where do you need clearer entrances?”).
• Students do call-and-response patterns, then practice one transition between sections.

3. 10–30 min · Full group run-through 1 (no stopping)

• Teacher sets expectations: the group performs the complete waiata in order, using previously agreed cues; teacher takes quick “evidence” notes.
• Students perform together; each section focuses on entrances, endings, and sustaining tempo without large interruptions.

4. 30–40 min · Feedback circle (evidence then next steps)

• Teacher facilitates feedback using a structured protocol: “What I heard”, “What I noticed”, “What we’ll try next”.
• Students share feedback from their role (conductor/cue-helper, timekeeper, dynamics watcher, or listener) and propose one adjustment at a time.

5. 40–52 min · Targeted adjustment rehearsal

• Teacher directs short, high-impact fixes: repeat only the problem bars/sections, then reconnect smoothly to the full flow.
• Students rehearse the identified adjustments, then perform a shortened run (e.g., start to a key transition) to check impact.

6. 52–58 min · Full group run-through 2 (apply adjustments)

• Teacher reminds students to use the updated cues and focus areas from the feedback cycle.
• Students perform the complete waiata again, aiming for improved ensemble coordination.

7. 58–60 min · Exit reflection

• Teacher collects quick reflections and checks for understanding of next steps (even for final performances).
• Students complete a brief exit ticket: “One thing we improved” + “One thing to keep doing”.

Resources

• Student rehearsal notes (goal and checklist)
• Performance cue cards for each section (entrance/end cues, tempo cue)
• Timer or metronome (optional, for teacher cue only)
• Whiteboard with: tempo, structure order, and agreed dynamic moments
• Audio recorder or phone (optional for teacher reference during notes)
• Simple rubric/criteria strip printed for student-friendly feedback language
• Seating map showing sections for quick re-organisation

Assessment

• Formative during run-through 1: teacher observation notes on timing, entrances, blend, and responsiveness to cues.
• Formative during feedback circle: listen for feedback quality (“what I heard” and a clear “next try”).
• Exit ticket: evidence of at least two adjustments made and a student explanation of how they improved the performance.

Differentiation

• Support for precision and confidence:
• Provide sentence starters for feedback (“I heard…”, “Next time we can…”, “I noticed…because…”).
• Allow students to have a specific role during rehearsal (timekeeper, dynamics watcher, cue-helper) to stay engaged even when not singing at every moment.
• Support for students needing reduced load:
• Assign a “safe landing” cue (where to re-enter confidently) for students who struggle with transitions.
• Extension for advanced students:
• Invite students to identify a musical cause-and-effect relationship (e.g., “When we softened before the chorus, the blend improved because…”).
• Ask advanced students to propose a rehearsal strategy for another group (e.g., staggered breaths, clearer consonant alignment).
• EAL/SEN considerations:
• Use consistent cue words and visual signals for transitions.
• Keep feedback protocol the same each time to reduce language demands.

Learning and teaching alignment (teacher actions in today’s lesson)

Teacher ensures the class works through a performance-as-process cycle: rehearse together, receive feedback grounded in what was heard, adjust with purpose, then rehearse again so improvements are visible in the second run-through. This matches the Toi Ihiihi emphasis on performing, refining, and using feedback to improve ensemble outcomes.