School: Class: Ensemble: Date: Adjudicator: Time ... · Phrasing & Expression Dynamics ... Blending...

ADJUDICATION SCALE FAIR GOOD EXCELLENT SUPERIOR

30 Point Caption 0-14.9 15-20.9 21-25.9 26-3040 Point Caption 0-20.9 21-27.9 28-33.9 34-40TOTAL Based on 100 Points 0-49.9 50-69.9 70-84.9 85-100

ENSEMBLE TECHNIQUE

Entrance & Release

Rhythmic Accuracy

Instrumental Technique

Articulation / Bowing

30 points

30 points SOUND & TUNING

Balance & Blend

Intonation & Control

Precision

Tone Quality

MUSICALITY

Variety & Complexity of Repertoire

Phrasing & Expression

Dynamics

Style & Interpretation

Nuance & Enhancement

Dynamic Range

40 points

Adjudicator Signature:

Superior Excellent Good Fair FINAL SCORE: _______________

Concert Band/Orchestra Adjudication

School: Class:

Ensemble: Date:

Adjudicator: Time:

Festiv

al Use

Only

ENSEMBLE TECHNIQUE

Band/Orchestra Rubric

Fair (rarely) Good (sometimes) Excellent (usually) Superior (consistently)

• Students rarely demonstrate

manual dexterity and

flexibility. There is an overall

loss of precision and clarity.

• Rhythmic approach is rarely

uniform throughout the

ensemble.

• Articulation is inappropriate

most of the time.

• Students sometimes

demonstrate manual dexterity

and flexibility but there is a

consistent loss of precision and

clarity that do not recover

quickly.

• Rhythmic approach is sometimes


ensemble.

• Articulation is used

inappropriately at times.

• Students usually demonstrate

manual dexterity and flexibility

with only minor flaws.

• Rhythmic approach is

usually uniform

throughout the ensemble.

• Articulation is usually

appropriate.

• Students consistently

demonstrate manual dexterity

and flexibility with only minor

flaws.


consistently uniform


• Articulation is consistently

appropriate.

SOUND & TUNING

• Students rarely perform with

mature, characteristic sounds.

• Pitches are rarely centered and

focused.

• Students rarely perform

balance/blend within the

ensemble

• The ensemble rarely

demonstrates an awareness of

tuning. There are an extreme

number of flaws.

• Dynamic contrast is rarely

obvious and effective.


proper tonal support and little

or no distortion.

• Students sometimes perform

with mature, characteristic

sounds.

• Pitches are sometimes centered

and focused.


balance/blend but lapses

occur.

• The ensemble sometimes


tuning but problems

consistently occur.

• Dynamic contrast is sometimes



with proper tonal support.

• Students usually perform with


• Pitches are usually

centered and focused.

• Students usually perform

balance/blend with only minor

lapses that are quickly

corrected.

• The ensemble usually


tuning.

• Dynamic contrast is

usually obvious and

effective.


proper tonal support and little or

no distortion.

• Students consistently perform


sounds.

• Pitches are consistently





corrected.

• The ensemble consistently


tuning.


consistently obvious and

effective.


with proper tonal support and

little or no distortion.

MUSICALITY

• Students rarely address musical

style.

• Students fail to shape musical

phrases.

• Students are rarely consistent

in achieving dynamic

variation.

• Students rarely convey an

artistic and emotional

understanding of the music

with the appropriate tempo

• Students sometimes use proper

musical style but there are

noticeable inconsistencies.

• Students give little attention to

musical phrases and shaping.

• Students are sometimes

consistent in achieving dynamic

variation.

• Performers sometimes convey

an artistic and emotional

understanding of the with the

appropriate tempo.

• Students usually use

proper musical style.

• Students are sensitive to

musical phrasing and give

direction to musical lines.


dynamic variation.

• Performers usually convey an

artistic, energetic, and

emotional understanding of the

music with the appropriate

tempo.

• Students consistently use






demonstrate dynamic

variation.

• Performers consistently convey

an artistic, energetic, and



tempo.

Festiv

al Use

Only



ENSEMBLE TECHNIQUE

Ensemble Cohesiveness

Tempo / Pulse

Rhythmic Accuracy

Ensemble Diction

Blending

Breathing & Support

30 points

SOUND & TUNING

Balance


Appropriateness of Timbres

Tone Quality

Consistency

Vowel Unity

30 points

MUSICALITY


Dynamics


Communication & Involvement

Artistry

40 points



Choir Adjudication

School: Class:

Ensemble: Date:

Adjudicator: Time:

Festiv

al Use

Only

CHOIR RUBRIC

ENSEMBLE TECHNIQUE


• Students miss some pitches

throughout the performance.

• Choral technique is rarelydisplayed resulting in an

overall lack of clarity andprecision.

• Rhythmic precision and clarityare rarely displayed.

• Attacks and releases are rarelyperformed uniformly.

• Diction is rarely usedappropriately.

• Performers sometimes singincorrect pitches and do not

recover quickly

• Choral technique is good but attimes individual skill is lackingcausing a consistent loss of

clarity and precision.

• Rhythmic precision and clarity

are sometimes uniform.

• Attacks and releases areinconsistent.

• Diction sometimes appropriate

• Students will sing correct

pitches.

• Technique is usually strongwithin each section,

• Rhythmic precision and clarityare excellent however; somepassages are not uniform


• Diction is usually appropriate,but there are someinconsistencies that detract from

the overall performance.

• Performers sing correct

pitches.

• Choral technique isconsistently strong within each

section.

• Diction and clarity of text areconsistently demonstrated.

• Rhythmic approach isconsistent throughout theensemble.

• Diction is appropriate andconsistent throughout theperformance.

SOUND & TUNING

• Performers rarely demonstratehighly developed,

characteristic tone and musicalstyle

• Pitches are rarely centered

and focused.

• Student performers rarelydemonstrate an elevatedawareness of tuning.

• Intonation is rarelydemonstrated within and

between sections.

• Student performers rarelydemonstrate a highly-developed concept of balanceand blend of tone.

• Performers sometimesdemonstrate highly developed,



and focused.

• Student performers sometimesdemonstrate an elevatedawareness of tuning.

• Intonation is sometimesdemonstrated within and

between sections.

• Student performers sometimesdemonstrate a highly-developedconcept of balance and blend oftone.

• Performers usually demonstratehighly developed, characteristic

tone and musical style

• Pitches are usually centered

and focused.

• Student performers usuallydemonstrate an elevatedawareness of tuning.

• Intonation is usuallydemonstrated within and

between sections.

• Student performers usually

demonstrate a highly-developedconcept of balance and blend oftone.

• Performers consistentlydemonstrate highly developed,




• Student performersconsistently demonstrate anelevated awareness of tuning.

• Intonation is consistent withinand between sections.

• Student performersconsistently demonstrate ahighly-developed concept of

balance and blend of tone.

MUSICALITY

• Performers rarely addressmusical style.

• Little evidence of clear,meaningful and expressiveshaping of musical passages

exists within and betweensections of the ensemble.

• Rarely are dynamics displayedto enhance musicaleffectiveness.

• The ensemble rarely exhibits lcontrol of rhythm, tempo, andmusical style.

• Students are unable to conveymusical understanding due toa lack of one or more

fundamental performanceskills.

• Performers sometimes useappropriate style but there arenoticeable inconsistencies.

• Clear, meaningful, andexpressive shaping of musical

passages is sometimes evidentwithin and between sections ofthe ensemble.

• At times, the use of dynamicsprovides musically effective andappropriate contrast for the

music.


exhibits control of rhythm,tempo, and musical style.

• Performance is somewhatmechanical, lacking emotion andenergy.

• Student performers usuallydemonstrate the appropriatemusical style.

• Clear, meaningful andexpressive shaping of musical

passages is usually evidentwithin and between sections ofthe ensemble.

• Usually dynamics are used toprovided musical effect andappropriate contrast for the

music performed.

• The ensemble usually exhibitscontrol of all aspects of rhythm,

tempo, and musical style withminor lapses.

• Students usually convey

musical understanding.

• Student performersconsistently demonstrate theappropriate musical style.

• Clear, meaningful, andexpressive shaping of musical

passages is consistentlyachieved within and betweensections of the ensemble.

• Consistently through theperformance, the use ofdynamics provides musicallyeffective and appropriatecontrast for the music.

• Consistent control of rhythm,tempo, and musical style is

displayed.

• Students perform an artistic,energetic, and emotional

performance to the audience.Festiv

al Use

Only

FAIR GOOD EXCELLENT SUPERIOR

0-14.9 15-20.9 21-25.9 26-300-20.9 21-27.9 28-33.9 34-40

ADJUDICATION SCALE

30 Point Caption 40 Point Caption TOTAL Based on 100 Points 0-49.9 50-69.9 70-84.9 85-100

ENSEMBLE TECHNIQUE

Entrance & Release

Rhythmic Accuracy


Articulation

30 points


Balance & Blend


Precision

Tone Quality

MUSICALITY

Variety & Complexity of

Repertoire Phrasing & Expression

Dynamics



Solo Contribution

Rhythm Section

Contribution

40 points



Jazz Ensemble Adjudication

School: Class:

Ensemble: Date:

Adjudicator: Time:

Festiv

al Use

Only

ENSEMBLE TECHNIQUE

Jazz Rubric


• Students rarely demonstrate

pulse control and stylistic

accuracy. There is an overall

loss of precision and clarity.

• Rhythmic approach is rarely


ensemble.

• Articulation is inappropriate

most of the time.

• Students sometimes

demonstrate pulse control and

stylistic accuracy, but there is a

consistent loss of precision and

clarity that do not recover

quickly.

• Rhythmic approach is sometimes


ensemble.

• Articulation is used

inappropriately at times.


pulse control and stylistic

accuracy with only minor

flaws.

• .


usually uniform


• Articulation is usually

appropriate.


demonstrate pulse control

and stylistic accuracy with

only minor flaws.


consistently uniform


• Articulation is consistently

appropriate.

SOUND & TUNING



• Pitches are rarely centered and

focused.

• Students rarely perform

balance/blend within the

ensemble

• The ensemble rarely


tuning. There are an extreme

number of flaws.

• Dynamic contrast is rarely



proper tonal support and little

or no distortion.



sounds.


and focused.


balance/blend but lapses

occur.



tuning but problems

consistently occur.

• Dynamic contrast is sometimes



with proper tonal support.



• Pitches are usually


• Students usually perform



corrected.

• The ensemble usually


tuning.


usually obvious and

effective.


proper tonal support and little or

no distortion.



sounds.






corrected.

• The ensemble consistently


tuning.


consistently obvious and

effective.


with proper tonal support and

little or no distortion.

MUSICALITY

• Students rarely address musical

style.

• Students fail to shape musical

phrases.

• Students are rarely consistent

in achieving dynamic

variation.

• Students rarely convey an

artistic and emotional

understanding of the music

with the appropriate tempo

• Students sometimes use proper

musical style but there are

noticeable inconsistencies.

• Students give little attention to

musical phrases and shaping.

• Students are sometimes

consistent in achieving dynamic

variation.

• Performers sometimes convey

an artistic and emotional

understanding of the with the

appropriate tempo.

• Students usually use






dynamic variation.

• Performers usually convey an

artistic, energetic, and



tempo.

• Students consistently use






demonstrate dynamic

variation.

• Performers consistently convey

an artistic, energetic, and



tempo.

Festiv

al Use

Only

SCHOOL: CLASS:

ENSEMBLE: DATE:

ADJUDICATOR: TIME:


0-14.9 15-20.9 21-25.9 26-300-20.9 21-27.9 28-33.9 34-40

ADJUDICATION SCALE


30 points GENERAL EFFECT

Complexity of Repertoire Phrasing & Expression Dynamic Contrasts Style & Interpretation Communication to the Audience Consistency and Coordination of all elements used Coordination and Visual Enhancement of the music Staging and Presentation of all elements

30 points MARCHING TECHNIQUE

Uniformity/Consistency of Marching Style a. Body Orientation b. Feet Orientation c. Horn Orientation

Interval and Distance Cover and Dress Out of Step/Foot Phasing Precision and Consistency Control of Step Size

MUSICAL PERFORMANCE 40 points

Sonority and Characteristic Tone Quality of all Elements Balance and Blend of Ensemble Balance of Winds and Percussion Note Accuracy Clarity/Uniformity of all Articulations Beginnings and Releases of Notes Intonation – Melodic and Harmonic Demand Placed on Performers



Festiv

al Use

Only

Parade Rubric

General Effect Fair (rarely) Good (Sometimes) Excellent (usually) Superior (consistently)

• The phrasing, expression,and dynamic contrast israrely present. Theaudience engagement isoften lacking.

• The marching style andmusic style are rarelyinterpreted uniformly andpresented to the audience.

• Visual elements are rarelycoordinated with the musiccausing a disjointedproduction.

• The phrasing, expression,and dynamic contrast issometimes present. Theaudience engagement israrely lost.

• The marching style andmusic style are sometimesinterpreted uniformly andpresented to the audience.

• Visual elements aresometimes coordinatedwith the music and recoverswhen cohesiveness lacks.

• The phrasing, expression,and dynamic contrast isusually present keeping theaudience engaged.

• The marching style andmusic style are usuallyinterpreted uniformly andpresented to the audience.

• Visual elements are oftencoordinated with the musicand recovers quickly whencohesiveness lacks.

• The phrasing, expression,and dynamic contrast isconsistently presentkeeping the audienceengaged.

• The marching style andmusic style are consistentlyinterpreted uniformly andpresented to the audience.

• Visual elements areconsistently coordinatedwith the music to make aseamless production.

Marching Technique • The performers rarely

move with uniformity inthe upper and lower body.

• The performers rarely keepconsistent intervals and theintegrity of the formationsare not uniformed.Performers do not recovermarching errors.

• The technique of themovement is rarelyconsistent from person-to-person.

• The performers sometimesmove with uniformity inthe upper and lower body.

• The performers sometimeskeep consistent intervalsand the integrity of theformations are somewhatuniformed. Recovery isunderstood by theperformers, but recoverytime is not fast.

• The technique of themovement is sometimesconsistent from person-to-person.

• The performers usuallymove with uniformity inthe upper and lower body.

• The performers usuallykeep consistent intervalsand the integrity of theformations remainuniformed with minorflaws. Recovery is quicklyunderstood by theperformers.

• The technique of themovement is oftenconsistent from person-to-person.

• The performersconsistently move withuniformity in the upper andlower body.

• The performers keepconsistent intervals and theintegrity of the formationsremain uniformed. Smallerrors are recoveredquickly.

• The technique of themovement is consistentfrom person-to-person.

Musical Performance • The performers rarely play

with a strong characteristicsound with proper balanceand blend.

• Note accuracy, attacks andreleases, and articulationsare rarely consistent fromplayer to player.

• The students rarelyperform with a high level ofmusicianship and does notdisplay it to the audience.

• The performers sometimesplay with a strongcharacteristic sound withproper balance and blend.

• Note accuracy, attacks andreleases, and articulationsare sometimes consistentfrom player to player.

• The students sometimesperform with a high level ofmusicianship that isdisplayed to the audience.

• The performers usually playwith a strong characteristicsound with proper balanceand blend.

• Note accuracy, attacks andreleases, and articulationsare usually consistent fromplayer to player.

• The students usuallyperform with a high level ofmusicianship that isdisplayed to the audience.

• The performersconsistently play with astrong characteristic soundwith proper balance andblend.

• Note accuracy, attacks andreleases, and articulationsare consistent from playerto player.

• The students consistentlyperform with a high level ofmusicianship that isconsistently displayed tothe audience.

Festiv

al Use

Only

SHOW CHOIR ADJUDICATION SHEET


0-20.9 21-27.9 28-33.9 34-400-14.9 15-20.9 21-25.9 26-30

ADJUDICATION SCALE


CLASS:

TIME:

SCHOOL:

ENSEMBLE:

ADJUDICATOR: DATE:

40 points MUSICAL PRODUCTION

Phrasing & Expression Dynamics Style & Interpretation Balance/Blend Tone Quality / Intonation Accompaniment Musicality

30 points VISUAL PRODUCTION

Choreography/Staging Movement Visual Variety Spacing Body Carriage


Music & Visual CohesivenessPrograming Transitions Pace ShowmanshipEngagement Communication


Superior Excellent Good Fair FINAL SCORE: _______________ Fes

tival

Use O

nly

MUSICAL PRODUCTION


• Performers rarely produce thecorrect pitch with proper tonequality and intonation

• Dynamics are rarely displayed.

• Proper balance and blend arerarely performed.

• The musical accompaniment israrely balanced and does not fitwith the vocal performance.

• Performers sometimes producethe correct pitch with propertone quality and intonation

• Dynamics are sometimesdisplayed when appropriate inthe music.

• Proper balance and blend aresometimes performedthroughout the ensemble.

• The musical accompaniment issometimes balanced andenhances the vocal performance

• Performers usually produce thecorrect pitch with proper tonequality and intonation

• Dynamics are usually displayedwhen appropriate in the music.

• Proper balance and blend areusually performed throughoutthe ensemble.

• The musical accompaniment isusually balanced and enhancesthe vocal performance.

• Performers consistently produce the correct pitch withproper tone quality andintonation

• Dynamics are consistently displayed when appropriate inthe music.

• Proper balance and blend areconsistently performedthroughout the ensemble.

• The musical accompaniment isconsistently balanced andenhances the vocal performance.

VISUAL PRODUCTION

• Proper training is rarely displayed and the performersdo not understand movementthrough time and space.

• The performers rarely use a variety of movement and theperformers do not understandtheir role in the ensemble.

• Postural effort is rarely displayed.

• Performers sometimes movethrough time and space. Propertraining is sometimes displayed,but not always achieved.

• The performers sometimes use a variety of movement skills andthe performers understand theirrole in the ensemble, howeverthere are lapses that take time torecover.

• Postural effort is sometimesdisplayed.

• Performers usually movethrough time and space well andhave a high level of training.

• The performers usually use a wide variety of movement skillsand the performers understandtheir role in the ensemble,however there are minor lapsesthat are recovered quickly.

• Postural effort is often displayedthroughout the performance.

• Performers consistently movethrough time and space well and have a high level oftraining.

• The performers consistently usea wide variety of movementskills and the performersunderstand their role in theensemble.

• Postural effort is displayedthroughout the performance.

GENERAL EFFECT

• The audio/visual blend israrely present.

• Transitions are rarely cohesivewith the show. They are a distraction to theperformance.

• The performance rarely hasstyle and tempo changes tochange the mood.

• Performers rarely engage theaudience.

• The audio/visual blend issometimes present.

• Transitions are sometimescohesive with the show. They are not seamless with theperformance

• The performance sometimes hasstyle and tempo changes tochange the mood.

• Performers sometimes engagethe audience.

• The audio/visual blend is oftenpresent throughout theperformance.

• Transitions are usually cohesivewith the show and enhance theperformance, however they arenot always seamless.

• The performance usually hasstyle and tempo changes tochange the mood.

• Performers usually engage theaudience and perform at a highlevel.

• The audio/visual blend isconsistent throughout theperformance.

• Transitions are cohesive withthe show and enhance theperformance. They areseamless with theperformance.

• The performance has style andtempo changes to change themood.

• Performers consistently engage the audience andperform at a high level.

Show Choir Rubric

Festiv

al Use

Only

AUXILIARY ADJUDICATION SHEET

SCHOOL: CLASS:

ENSEMBLE: DATE:

ADJUDICATOR: TIME:


0-14.9 15-20.9 21-25.9 26-300-20.9 21-27.9 28-33.9 34-40

ADJUDICATION SCALE




Flow & Transition of Visual Composition

Expressiveness

Nuance and Enhancement

Theater Contributions (floor, props, costumes, etc…)

Showmanship

Communication of Theatrical Role

Energy & Enthusiasm of Performers

60 points

ENSEMBLE TECHNIQUE

Uniformity of Method

Upper Body Technique,

Body & Equipment Control

Posture, Presence, & Professionalism

Flexibility, Strength, and Stamina

Precision & Accuracy

Clarity of Staging

Timing


FINAL SCORE: _______________ Superior Excellent Good Fair

Festiv

al Use

Only

Auxiliary Rubric

Ensemble Technique Fair (rarely) Good (Sometimes) Excellent (usually) Superior (consistently)

• The method of technique israrely uniformed performerto performer.

• The performers rarelydisplay proper upper bodyposture and technique.

• The movement is rarelyconsistent from performerto performer. Errors taketoo long to recover.

• There is rarely clarity to thestaging and the performersplacement sometimesenhances the performance.

• Performers sometimesdisplay control of the bodyand equipment.

• Timing is sometimesprecise from performer toperform and corrections aremade timing errors occur.

• The method of technique issometimes uniformedperformer to performer.

• The performers sometimesdisplay strong upper bodyposture and technique.

• The movement issometimes precise fromperformer to performer.Inconsistencies arecorrected.

• There is often clarity to thestaging and the performersplacement sometimesenhances the performance.

• Performers sometimesdisplay control of the bodyand equipment.

• Timing is sometimesprecise from performer toperform and corrections aremade timing errors occur.

• The method of technique isusually uniformedperformer to performer.

• The performers usuallydisplay strong upper bodyposture and technique.

• The movement is usuallyaccurate and precise fromperformer to performer.Inconsistencies arecorrected quickly.

• There is often strong clarityto the staging and theperformers placementusually enhances theperformance.

• Performers usually displaycontrol of the body andequipment.

• Timing is usually precisefrom performer to performand corrected quickly whenminor timing errors occur.

• The method of technique isconsistently uniformedperformer to performer.

• The performers consistentlydisplay strong upper bodyposture and technique.

• The movement isconsistently accurate andprecise from performer toperformer.

• There is strong clarity tothe staging and theperformers placementenhances the performance.

• Performers consistentlydisplay control of the bodyand equipment.

• Timing is consistentlyprecise from performer toperform.

General Effect • The visual flow and

transitions of movementrarely enhance theperformance.

• The performers rarelycommunicate the visualintent to the audience.

• The expressive qualities ofthe performers are lackingand rarely enhance theperformance.

• The use of equipment israrely appropriate with themusical selection.

• Mood changes rarely occurand the audience is rarelyengaged.

• The visual flow andtransitions of movementsometimes enhance theperformance.

• The performers sometimescommunicate the visualintent to the audience.

• The expressive qualities ofthe performers sometimesenhance the performance.

• The use of equipment issometimes appropriatewith the musical selection.

• Mood changes sometimesoccur and the audience issometimes engaged.

• The visual flow andtransitions of movementare usually enhancing theperformance.

• The performers usuallycommunicate the visualintent to the audience.

• The expressive qualities ofthe performers oftenenhance the performance.

• The use of equipment isoften appropriate with themusical selection.

• Mood changes occurthroughout theperformance where theaudience is usuallyengaged.

• The visual flow andtransitions of movementare consistently enhancingthe performance.

• The performersconsistently communicatethe visual intent to theaudience.

• The expressive qualities ofthe performers consistentlyenhance the performance.

• The use of equipment isappropriate with themusical selection.

• Mood changes occurthroughout theperformance to keep theaudience consistentlyengaged.

Festiv

al Use

Only

PERCUSSION ADJUDICATION SHEET

30 Points PERFORMANCE FUNDAMENTALSTone QualityLeft HandRight HandSelection of Sticks and MalletsPhysical Set-upTuning/IntonationBalanceEnsemble Blend

30 Points TECHNICAL ACCURACY

Note Accuracy - MelodicRhythmic AccuracyPrecisionTechniqueStability of PulseDynamics ObservedTransitionsPhrasing

Superior Excellent Good Fair

SCHOOL: CLASS:

ENSEMBLE: DATE:

ADJUDICATOR: TIME:




FINAL SCORE: _______________

40 Points MUSICALITY ExpressionShaping of LineStyleInterpretationPhrasingTempoDynamic Pacing/ExpressionFes

tival

Use O

nly

Rubric

PERFORMANCE FUNDIMENTALS


• The performers rarelymaintain proper tone qualitywith both the left and righthands.

• The ensemble rarelyperforms with the properbalance and blend.Inconsistencies are notrecovered.

• The sticking mallet selectionis rarely appropriate for themusic being performed.

• Performers rarely s displayproper training.

• The performers sometimesmaintain proper andconsistent tone quality withboth the left and right hands.

• The ensemble sometimesperforms with the properbalance and blend.Inconsistencies are recovered,but could be faster.

• The sticking mallet selection issometimes appropriate forthe music being performed.

• Performers sometimes displaya high level of training.

• The performers usuallymaintain proper andconsistent tone quality withboth the left and right hands.

• The ensemble usuallyperforms with the properbalance and blend. Minorinconsistencies are recoveredquickly.

• The sticking mallet selectionis often appropriate for themusic being performed.

• Performers usually display ahigh level of training.

• The performers consistentlymaintain proper andconsistent tone quality withboth the left and righthands.

• The ensemble consistentlyperforms with the properbalance and blend.

• The sticking mallet selectionis appropriate for the musicbeing performed.

• Performers consistentlydisplay a high level oftraining.

TECHNICAL ACCURACY

• Performers rarely play thecorrect notes in the melodicinstruments.

• Rhythmic accuracy is rarelyconsistent performer toperformer and throughoutthe production.

• Performers rarely displaydynamic changes in themusic.

• The percussionists rarelyperform proper phrasingand perform through themusical transitions.

• Performers sometimes playthe correct notes in themelodic instruments.

• Rhythmic accuracy issometimes consistentperformer to performer andthroughout the production.

• Performers sometimes usedynamics, but could expandtheir dynamic range.

• The percussionists sometimesperform proper phrasing andperform through the musicaltransitions.

• Performers usually play thecorrect notes in the melodicinstruments.

• Rhythmic accuracy is usuallyconsistent performer toperformer and throughoutthe production.

• Performers usually usedynamics to enhance themusical production.

• The percussionists usuallyperform proper phrasing andperform through the musicaltransitions.

• Performers consistently playthe correct notes in themelodic instruments.

• Rhythmic accuracy isconsistent performer toperformer and throughoutthe production.

• Performers consistently usea wide range of dynamics toenhance the musicalproduction.

• The percussionistsconsistently perform properphrasing and performthrough the musicaltransitions.

MUSICALITY• Students rarely address

musical style.• Students fail to shape

musical phrases.• Students are rarely

consistent in achieving dynamic variation.

• Students rarely convey an artistic and emotional understanding of the music with the appropriate tempo

• Students sometimes use proper musical style but there are noticeable inconsistencies.

• Students give little attention to musical phrases and shaping.

• Students are sometimes consistent in achieving dynamic variation.

• Performers sometimes convey an artistic and emotional understanding of the with the appropriate tempo.

• Students usually useproper musical style.

• Students are sensitive to musical phrasing and give direction to musical lines.

• Students usually demonstrate dynamic variation.

• Performers usually convey an artistic, energetic, and emotional understanding of the music with the appropriate tempo.

• Students consistently use proper musical style.

• Students are sensitive to musical phrasing and give direction to musical lines.

• Students consistently demonstrate dynamic variation.

• Performers consistently convey an artistic, energetic, and emotional understanding of the music with the appropriate tempo.

Festiv

al Use

Only

MARCHING PERCUSSION ADJUDICATION SHEET

40 Points PERFORMANCE / VISUAL FUNDAMENTALS Left Hand / Right Hand Selection of Mallets Sticking Consistency Physical Set-up Balance/Clarity Ensemble Blend Upper Body Technique, Body Control, Drum Carriage Alignment Uniformity of Marching Style Continuity and Effective Staging Effectiveness of VisualsPerformance EnergyShowmanship

30 Points TECHNICAL ACCURACY NNote Accuracy Rhythmic Accuracy Precision Entrances Releases Technique Stability of Pulse Dynamics Observation Transitions

Superior Excellent Good Fair

SCHOOL: CLASS:

ENSEMBLE: DATE:

ADJUDICATOR: TIME:




FINAL SCORE: _______________

30 Points MUSICAL EFFECT Expression Shaping of Line Style Projection Interpretation Phrasing Tempo Spirit and Intensity of Performance Communication to AudienceFes

tival

Use O

nly

Marching Percussion Rubric

PERFORMANCE/VISUAL FUNDIMENTALS


• The performers rarely maintainproper tone quality with boththe left and right hands.

• The ensemble rarely performswith the proper balance andblend. Inconsistencies are notrecovered.

• The sticking mallet selection israrely appropriate for the music being performed.

• Performers rarely s display proper training.

• Upper body carriage is rarely consistent from performer toperformer.

• The performers rarely movethrough space and timeproperly. Interval and formalignment is often lacking.

• The visual rarely enhances themusical production.

• The performers sometimesmaintain proper and consistenttone quality with both the leftand right hands.

• The ensemble sometimesperforms with the proper balanceand blend. Inconsistencies arerecovered, but could be faster.

• The sticking mallet selection issometimes appropriate for themusic being performed.

• Performers sometimes display a high level of training.

• Upper body carriage issometimes consistent fromperformer to performer.

• The performers sometimes movethrough space and time properly and keep somewhat consistentintervals and alignment. Errorsare corrected.

• The visual sometimes enhancesthe musical production.

• The performers usually maintainproper and consistent tonequality with both the left andright hands.

• The ensemble usually performswith the proper balance andblend. Minor inconsistencies arerecovered quickly.

• The sticking mallet selection isoften appropriate for the music being performed.

• Performers usually display a highlevel of training.

• Upper body carriage is usually consistent from performer toperformer.

• The performers usually movethrough space and time properly and keep consistent intervals andalignment. Minor errors arecorrected quickly.

• The visual usually enhances themusical production.

• The performers consistently maintain proper and consistenttone quality with both the leftand right hands.

• The ensemble consistently performs with the properbalance and blend.

• The sticking mallet selection isappropriate for the music beingperformed.

• Performers consistently display a high level of training.

• Upper body carriage isconsistent from performer toperformer.

• The performers consistently move through space and timeproperly and keep consistentintervals and alignment.

• The visual consistently enhances the musical production.

TECHNICAL ACCURACY

• Performers rarely play thecorrect notes in the melodic instruments.

• Rhythmic accuracy is rarely consistent performer toperformer and throughout theproduction.

• Performers rarely display dynamic changes in the music.

• The percussionists rarely perform proper phrasing andperform through the musical transitions.

• Performers sometimes play thecorrect notes in the melodic instruments.

• Rhythmic accuracy is sometimesconsistent performer toperformer and throughout theproduction.

• Performers sometimes usedynamics, but could expand theirdynamic range.

• The percussionists sometimesperform proper phrasing andperform through the musical transitions.

• Performers usually play thecorrect notes in the melodic instruments.

• Rhythmic accuracy is usually consistent performer toperformer and throughout theproduction.

• Performers usually use dynamicsto enhance the musical production.

• The percussionists usually perform proper phrasing andperform through the musical transitions.

• Performers consistently play the correct notes in the melodic instruments.

• Rhythmic accuracy is consistentperformer to performer andthroughout the production.

• Performers consistently use a wide range of dynamics toenhance the musical production.

• The percussionists consistently perform proper phrasing andperform through the musicaltransitions.

MUSICAL EFFECT

• Performers rarely keep theaudience engaged withshowmanship skills.

• Proper interpretation of themusical line is rarelyconsistent throughout theproduction.

• There is rarely a variety intempo and dynamics.

• Performers sometimes keepthe audience engaged withshowmanship skills.

• Proper interpretation of themusical line is sometimesconsistent throughout theproduction.

• There is sometimes a varietyin tempo and dynamics tokeep the audience engaged.

• Performers usually keep theaudience engaged with a highlevel of showmanship.

• Proper interpretation of themusical line is usuallyconsistent throughout theproduction.

• There is usually a variety intempo and dynamics to keepthe audience engaged.

• Performers consistently keepthe audience engaged with ahigh level of showmanship.

• Proper interpretation of themusical line is consistentthroughout the production.

• There is a consistent use ofvariety in tempo anddynamics to keep theaudience engaged.

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ENSEMBLE TECHNIQUE

Entrance & Release

Rhythmic Accuracy


Pulse Control

Note Accuracy

30 points


Balance & Blend


Precision

Tone Quality

Pitch

MUSICALITY





Dynamic Range

Sense of EnsemblePerformance EnergyStage Presence

40 points

Adjudicator Signature


Specialty Ensemble Adjudication

School: Class:

Ensemble: Date:

Adjudicator: Time:

Understand that what is being performed is evaluated at the same time as how it is performed. Each group is adjudicated based on the qualities and expectations of the type of Specialty Enseble.

Festiv

al Use

Only

School: Class: Ensemble: Date: Adjudicator: Time ... · Phrasing & Expression Dynamics ... Blending...

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