Presenting: Task Reference
Task descriptions for the Presenting component. For component-level strategy and assessment criteria, see the Presenting Guide and Assessment Guidance.
Piece for Solo Performance Selection
Choose a piece to perform at the IB Recital in March. Think about the level of difficulty that is appropriate for you now compared to where you want to be then.
For your chosen piece, provide:
- Title — with transliteration and English translation if not in the Roman alphabet or English
- Composer/performer name — with transliteration if not in the Roman alphabet
- Link to a recording accessible without a subscription; name of performer
- Link to a second recording; name of performer
- Link to a difficulty list (e.g. ABRSM), or a justification of difficulty if not listed
- Link to notation, or your plan if notation is incomplete
- Area of Inquiry and justification
- Why you selected this piece
Submit as a .docx file.
For titles or names not in the Roman alphabet, include all three: original script, romanisation, and English translation where applicable.
| Field | Example |
|---|---|
| Title (Chinese) | 平凡之路 |
| Title (Pinyin) | Píng fán zhī lù |
| Title (English) | “The Ordinary Road” |
| Artist (Chinese) | 朴树 |
| Artist (Pinyin) | Pǔ Shù |
Provide an English name only if the artist uses one.
Rubric
| Marks | Level Descriptors |
|---|---|
| 2–3 | Lists reasons for selection. Superficial. Inaccurately locates recording. |
| 4–5 | Describes reasons for selection. Reasonable. Inconsistently locates recording. |
| 6 | Explains reasons (inconsistently). Reasonable. Accurately locates recording. |
| 7 | Explains reasons clearly. Purposeful. Accurately locates recording. |
Repertoire Pre-Reading
Before beginning to play a new piece of music, you must understand it.
Don’t just immediately dive in and start working through the notes. Do take some time to study the piece first. Have the score in your head, not your head in the score.
Work through each section below before your first practice session.
Basics
- Title; composer; stylistic era / genre
- What is the story, poetry, or imagery about? What feelings are you intending to provoke?
- Are there any written instructions for the performer?
- Any particularly challenging, unusual, or unfamiliar aspects of the piece as a whole?
- Your instrument; your role in the texture; all other instruments in the piece
- What clef are you reading? Is transposition needed? Any other modifications needed?
Rhythm and Meter
- Time signature(s); tempo and metronome markings indicated
- Does the meter change? If so, where?
- Any fermatas, breaks, or tempo changes? Where?
- Any unusual, unfamiliar, or especially challenging rhythmic figures? Where?
Melody
- Highest and lowest pitches — identify pitches and location
- Any unusual, unfamiliar, or especially challenging melodic figures? Where?
Phrasing
- Do the phrases tend to be a certain length? How long?
- Are there bowings, breath marks, etc.? Where?
- Any unfamiliar or especially challenging aspects of phrasing?
Harmony
- What key is this piece in? Which notes are altered in the key signature?
- Does the key change? If so, where and to which key?
- Any accidentals? List all chords in the piece.
- Any unusual, unfamiliar, or especially challenging chord progressions? Where?
Expression
- Dynamic range; any crescendi / diminuendi? Where?
- All articulations included; any especially challenging ones?
Form
- Is there a clear, standardised structure? If so, what is it? Diagram it with measure numbers.
- Where is the climax?
Instrumental Techniques
- List any extended techniques used
- Any areas where fingering/picking/bowing choice is unclear? Where?
- Any especially challenging technical passages?
Score Markup
Before your first practice, mark the following in pencil:
IB Recital Repertoire Challenges
What challenges are you currently experiencing with your IB Recital repertoire? Be as specific as possible, especially in locating passages by measure number.
Technical Challenges
Finger dexterity > “I’m struggling with the fast 16th-note passages in measures 32–36 of my Bach Prelude. My fingers feel tense, and I can’t maintain evenness at tempo.”
Articulation > “The staccato articulation in measures 12–15 of my Mozart Sonata feels inconsistent. I’m having trouble keeping it light and precise.”
Intonation > “The high notes in measures 48–52 of my concerto are consistently sharp. I’m not sure how to adjust my embouchure to fix this.”
Coordination > “In measures 64–68 of my Chopin Étude, my left hand can’t keep up with the right hand during the arpeggios.”
Rhythmic accuracy > “The syncopated rhythm in measures 20–24 of my jazz piece is tricky. I keep losing the beat during the offbeat accents.”
Musical Challenges
Phrasing > “I’m not sure how to shape the melodic line in measures 8–16 of my Schubert piece. It feels flat and lacks direction.”
Dynamics > “The crescendo in measures 40–44 of my Beethoven Sonata doesn’t sound smooth. It feels abrupt and unnatural.”
Tone quality > “The high register in measures 56–60 of my aria sounds strained. I’m not sure how to produce a warmer, more resonant tone.”
Tempo changes > “The ritardando in measures 72–75 of my piece feels awkward. I’m not sure how to pace it effectively.”
Ensemble Challenges
Synchronisation > “In measures 10–14 of our ensemble piece, I’m having trouble aligning my entrance with the piano’s rhythm.”
Balance > “During measures 50–55, the piano overpowers my violin. I’m not sure how to project my sound more effectively.”
Cueing > “I’m unsure when to come in after the flute solo in measures 22–24. The cue feels unclear.”
Intonation with others > “In measures 30–34, my pitch clashes with the cello’s line. I need help adjusting my intonation to match.”
Practice Strategies
Slow practice > “I’ve been practicing measures 16–20 at half tempo, but I’m still struggling to play it cleanly at full speed.”
Metronome use > “I’ve been using a metronome for measures 60–64, but I’m having trouble internalising the rhythm without it.”
Sectional practice > “I’ve been isolating measures 70–75 to work on the tricky fingering, but I’m not making progress.”
Mental practice > “I’ve tried visualising measures 80–85 away from the piano, but I still feel unprepared when I play them.”
SMART Goal and Reflection
Name the piece you will perform on the IB Recital and identify its Area of Inquiry. Set a specific, measurable, actionable, relevant goal — something you can achieve before recording the piece.
Track your practice in a log before making the recording:
| Date | Focus | Accomplishments |
|---|---|---|
After recording, write a reflection (~150 words) addressing what you worked on, how the goal shaped your practice, and what you would do differently. Submit before the deadline.
Rubric
| Marks | Level Descriptors |
|---|---|
| 0 | Does not reach standard |
| 1–2 | Limited engagement. Reflections mostly descriptive. |
| 3–4 | Good engagement. Analytical reflections including conceptual understanding and skill development. |
| 5–6 | Excellent engagement. Evaluative reflections addressing actions in response to challenges. Authentic voice. |
Grade entered as score + 1 on ManageBac.
Program Notes
Write program notes for the two pieces you will perform at the IB Music recital. Do not exceed 200 words total.
Reference materials:
- Music Subject Guide — AOIs: pp. 22–24; Presenting component: pp. 33–36; Assessment criteria: pp. 50–56
- Presenting Music: General Guidance (IBO)
- Previous candidate assessed submissions
- May 2023 Music Subject Report, pp. 11–13
Guiding questions:
- Does the program address two Areas of Inquiry?
- How well are the piece selections justified?
Rubric
| Marks | Level Descriptors |
|---|---|
| 0 | Does not reach standard |
| 1–2 | Does not fully address two AOIs. Outlines selection without linking to AOIs. |
| 3–4 | Fully addresses two AOIs. Describes selection; inconsistently links choices to AOIs. |
| 5–6 | Fully addresses two AOIs. Explains selection; purposefully links choices to AOIs. |
Grade entered as score + 1 on ManageBac.