Multiple performances are the pinnacle of the spiral curriculum where “learning targets” are revisited in an authentic performance context. In Manitoba, Canada, the music curriculum encompasses four components: Making, Creating, Connecting, and Responding[1]. The performance aspect of the curriculum, within the “Making” component, is often evaluated by individual assessment[2], yet ensemble activities are often the most common form of learning and music-making[3]. How can choral educators bridge the gap between acquiring individual skills and ensemble outcomes in rehearsing and performing? This paper aims to examine ways to authentically assess individual contribution within the context of an ensemble performing experience.Individual preparation and assessment are necessary in the process of choral rehearsals, including vocal technique, formation of vowels, clarity of text, intonation, and execution of dynamics and articulation. However, music-making and listening happens at a heightened level in groups where ensemble principles like balance, blend, pulse, and communication of text grow from individual demonstration of basic skills. The authors will examine the value of performing the same repertoire in multiple contexts to more authentically assess student learning.Repeated performances provide genuine references for comparison and the opportunity for further formative assessment of skill-based goals. An ensemble cannot know if it has reached its potential unless it can compare performances through reflective practices. According to Shaw, “Self and peer assessment can provide efficient and meaningful feedback and foster a metacognitive approach to music that enables students to self-correct in the future.”[4]Singing together in rehearsal can be an aesthetic[5] and emotional music-making experience. However, the authors argue that it is the presence of an audience in a performance that will make it a transformative experience for the performers. Multiple performances lay the groundwork to construct meaning for other parts of the Manitoba Music Curriculum, such as “Connecting”[6] and “Responding”[7], since students have a deeper experience with the music they perform and how they respond in the moment after more than one performance.Life-long learning is a concept that is easily applied to musical performance. Philosophically, multiple performances are the demonstration of long-term, unending growth in artistic expression. It is an unending formative assessment process.