Music Performance (25% of Total Score)

n o i t a n OF TOTAL SCORE o MUSIC PERFORMANCE (25% ) t n I

d BOX 1 BOX 2 BOX 3 BOX 4 BOX 5 n a 0 - 7 8 - 23 24 - 55 56 - 71 72 - 80 -Performers never exhibit evidence of training or -Performers seldom exhibit training or control, and a proper -There is an average approach to proper tone production, -Performers display an excellent control of most aspects of proper tone -Performers consistently demonstrate mature control and a most y t control. Tonal focus is nonexistent. concept of tonal center and focus is occasionally present. although performers are often taxed beyond their ability to production. Lapses are infrequent and minor. highly developed concept of tone production. i l -Breath support is rarely present causing timbres to be harsh control quality of sound in range and volume extremes. a -Breath support is not evident. or pinched. - Breath support and control is generally proper. Characteristic timbre -Breath support and control is proper and maintained, and there is u -Breath support is lacking at times, and the resulting timbres can is generally good but may be adversely affected in extremes of range maximum control of air flow.

Q -No evidence of tuning exists. -Little evidence of instrument tuning exists. be harsh and pinched. and volume.

e -The wind instruments are in tune and any pitch inconsistencies are

n -Ensemble balance and blend is completely distorted -There is occasional evidence of an attempt to achieve -Although attempts at tuning exist, many individual and -The majority of wind instruments are in tune; tonal focus and blend quickly corrected. Tonal focus and timbre are uniform throughout

o due to a total lack of fundamental skills. ensemble balance and blend. sectional are complimentary to the sound of the ensemble. Characteristic and characteristic of mature wind and percussion sounds.

T problems still exist. percussion timbre and quality of sound are frequently present with-in -Evaluation of demand is impossible due to difficulty in -Pitch and quality of sound demands are occasionally all segments and throughout the ensemble. -Superlative achievement of proper balance exists, both within determining what is being performed. present. -An average attempt at balance has been made, however lapses sections and in the overall ensemble. do occur due to field placement, individual carelessness, or -A conscious effort has been made to achieve proper balance -Membranes are completely out of tune, causing -Membranes are occasionally tuned or balanced, and timbre timbre differences caused by flawed tone production. throughout the ensemble. Lapses are in-frequent and minor. -Exceptional demands are placed on the performers throughout most distortion and masking of the individual percussive is inconsistent throughout the performance. of the program. timbres and voices in the ensemble. -Performers are generally successful in meeting quality of sound -Excellent demands in production of tone quality and pitch accuracy and tuning demands of an average nature. are frequently placed on the performers. -All membranes are tuned and in balance. The percussion ensemble

\ understands its supportive capacity in relation to the winds. n -The majority of the membranes are balanced and in tune, but a -The majority of the membranes are above average in tuning and o

i uniform and proper quality of sound is sometimes hampered by balance. t inconsistent technique on the instruments. u c e e x u E q 0 - 6 7 - 20 21 - 48 49 - 62 63 - 70 i e

l -Performers exhibit no understanding of basic -Performers seldom exhibit an understanding of basic -Performers exhibit an average approach to basic technique. -Performers exhibit an above average approach to basic technique. -Performers exhibit a highly developed approach to basic technique. n

b technique. technique. h

c -Rhythmic interpretation is acceptable until performers are -Rhythmic interpretation is frequently unified throughout the -Rhythmic interpretation is unified throughout the ensemble. m e -Rhythmic interpretation is totally lacking. There is -Rhythmic interpretation is inadequate. Recovery from challenged by difficult passages. ensemble. e s T never a sense of recovery. errors occasionally exists and concentration is poor. -Attacks and releases are unified and musically satisfying. n -Attacks and releases are sometimes good, but still become -Attacks and releases are unified much of the time, however some

E -Attacks and releases are completely undefined and are -Attacks and releases are inconsistent. problematic in extremes of register and volume. Phrase endings differences do occur. -Ensemble cohesiveness is usually superb through various utterly unreadable. are not always released together. subdivisions and tempos. Extreme depth or width of formations -Ensemble cohesiveness is out of synchronization most of -Ensemble cohesiveness is above average with quick recovery during seems to have little or no affect on pulse. Players are confident of -There is a total lack of rhythmic ensemble the time and is magnified when the ensemble is spread out -Ensemble cohesiveness is acceptable at times, but lacks minor periods of fluctuation. There is excellent control of overall tempo and subdivisions and sound arrives at the focal point with cohesiveness. The ability to play together as an on the field. Recovery from loss of pulse often takes much consistency especially in fast, highly articulated passages and pulse with rare moments of pulse distortion. Spread formations can solidity and control. ensemble has not been demonstrated. time and is rarely complete at phrase endings. when the ensemble is spread on the field. Performers exhibit an cause pulse distortion, but recovery is noted.

average awareness of pulse and tempo though recovery from

p lapses seems difficult. i h s n a i 0 - 6 7 - 20 21 - 48 49 - 62 63 - 70 c

i -Performers never exhibit the ability to communicate -Performers seldom exhibit the ability to communicate any -Performers are usually able to achieve a meaningful musical -Performers most often project a meaningful musical style with many -Performers achieve clear, meaningful and expressive shaping of s any musical idea or style. musical idea or style. communication of style, although a rigid approach to subtleties in dynamics and expression. musical passages. A natural, well-defined sense of style is evident u interpretation sometimes exists with some subtleties in dynamics with superb subtleties in dynamics and expression. -Phrasing and communication on the part of the -Phrasing and communication on the part of the performer and expression. -There is an above average attempt at phrasing, dynamic shading and M performer is totally unreadable. is totally unreadable. contouring. Musicianship skills of an above average nature are often -Phrasing, combined with all other aspects of tempo, rhythm, and -There is an attempt at phrasing, dynamic shading, and present. dynamics combine to produce an expressive and musical experience. -Ensemble balance and blend is completely distorted. -Ensemble balance and blend is completely distorted. contouring. Some moments of musical understanding are

present throughout the performance. -A conscious effort has been made to achieve proper balance and -There is achievement of proper balance and blend, both within the e -Musical content is inadequate. -Musical content is inadequate. blend throughout the ensemble. Lapses are infrequent and minor. woodwind, brass, and percussion sections and in the overall c -An average attempt at balance and blend has been made, ensemble. n however lapses do occur. a -Above average musical content is frequently present. -Maximum musical content is present throughout the performance. m -Musical content is of an average level. r

o - All voices are audible. f r e

P 0 - 2 3 - 8 9 - 20 21 - 26 27 - 30 - The precision of the percussion ensemble is never - The precision of the percussion ensemble is rarely evident. - The precision of the percussion ensemble is sometimes strong - The precision of the percussion ensemble is usually strong and - The precision of the percussion ensemble is consistent at all times. n achieved. and evident. evident. o i - Instrument technique, while still immature and under - The technique of all players shows advanced training on all s - There is a lack of basic train ing, tempo control and developed, is beginning to show some training. - Instrument technique shows an average amount of training in - Substantial training in all of the various instrumental techniques is instruments. s

u rhythms are not discernible. all areas. evident. c - Tempo control is sometimes stable. - The ensemble demonstrates mature mu sicianship throughout. r - Phrasing & expression is not yet attempted. - The percussion section plays with tempo control most of the - The ensemble usually plays with solid tempo control and sensitivity e - The ensemble seldom achieves a level of blend, balance time and qualities of musicianship are developing. to the music being presented. - The ensemble plays with solid tempo control and P - No apparent attempt has been made to tune any of the and rhythmic clarity. sensitivity to the music being played. equipment. - The musicians attempt to play with expression. - Expression and mu sicianship is usually apparent in the ensemble’s -Some attempt has been made to tune the equipment. performance. - Good phras ing is correct and obvious. - Expression and musicianship is never apparent in the - The blend and balance within the section and with the winds is ensemble. moderately achieved most of the time. - Good phrasing is usually present. - All instru ments are tuned in a manner, which fully enhances the wind ensemble. - Most rhythms are played with precision and clarity. - Instruments are usually tuned in a manner that enhances the overall performance. - Instruments are tuned for good sound.