south carolina band directors association - 2018 ......the scbda marching band championships serve...

SCBDAAdjudicator’sManual

2018

Tableof Contents

Welcome… ............................................................................................................................ 2ApplyingSCBDAValuesinJudging…………………………………………………………………………………..2-3PhilosophyoftheSCBDAScoringSystem ............................................................................. 4Judges’CodeofEthics ........................................................................................................... 5DutiesoftheJudge ............................................................................................................... 5GeneralTechniquesforCommentDialog&VerbalizingObservations ................................ 6CommentaryPriorities .......................................................................................................... 6ApplicationoftheCriteriaReferenceSystem ....................................................................... 7SCBDANumbersManagement… .......................................................................................... 8Ratings ................................................................................................................................... 8ApplyingDerivedAchievementinExcellence ....................................................................... 9TheSCBDAScoringSystem ................................................................................................... 10SCBDAScoreSheetExplanations

MusicPerformanceEnsembleOverview .................................................................. 11MusicPerformanceEnsembleSub-CaptionCriteriaDefinitions ............................... 12MusicPerformanceEnsembleScoreSheet… ........................................................... 13MusicPerformanceEnsemblePlacemat… ............................................................... 14MusicPerformanceIndividualOverview .................................................................. 15MusicPerformanceIndividualSub-CaptionCriteriaDefinitions .............................. 16MusicPerformanceIndividualScoreSheet… ........................................................... 17MusicPerformanceIndividualPlacemat… ............................................................... 18VisualPerformanceEnsembleOverview .................................................................. 19VisualPerformanceEnsembleSub-CaptionCriteriaDefinitions ............................... 20VisualPerformanceEnsembleScoreSheet… ........................................................... 21VisualPerformanceEnsemblePlacemat… ............................................................... 22VisualPerformanceIndividualOverview .................................................................. 23VisualPerformanceIndividualSub-CaptionCriteriaDefinitions .............................. 24VisualPerformanceIndividualScoreSheet… ........................................................... 25VisualPerformanceIndividualPlacemat… ............................................................... 26

OverallEffectGeneralInformation ....................................................................................... 27OverallEffectMusicOverview .................................................................................. 28OverallEffectMusicSub-CaptionCriteriaDefinitions .............................................. 29OverallEffectMusicScoreSheet… ........................................................................... 30OverallEffectMusicPlacemat .................................................................................. 31OverallEffectVisualOverview .................................................................................. 32OverallEffectVisualSub-CaptionCriteriaDefinitions……………………………………………33-34OverallEffectVisualScoreSheet… ........................................................................... 35OverallEffectVisualPlacemat… ............................................................................... 36TimingandPenalties…………………………………………………………………………………………….37-38TimingandPenaltiesScoreSheet ............................................................................. 39

2018SCBDAAdjudicator ManualWelcometotheSouthCarolinaMarchingBandChampionships.Thesechampionshipsare

sponsoredbytheSouthCarolinaBandDirectorsAssociation(SCBDA).Formanybands,thisistheculminationofthemarchingbandseasoninSouthCarolina.Asyoucanimagine,itisvitalthateverybandbejudgedasfairlyandaccuratelyaspossiblefortheseevents.Thefollowingmanualhasbeencreatedtoassisttheadjudicatorinprovidingthebestpossibleexperienceforourbands.WeaskthatyoupleasereadthismanualandstudytheSCBDAscoresheetscarefullyBEFOREarrivingatyourjudgingassignment.NolaJones,ourJudgesCoordinator,willassigna“ChiefJudge”foreachsitethatwillgooverproceduresandphilosophiesforthecontest,aswellasansweranyquestionsandaddressanyconcernsthroughouttheday.TherewillalsobeaSiteCoordinator(SCBDAofficial)ateachsitethatwillofferassistanceaswell.

ApplyingSCBDAValuesinJudging

TheSCBDAMarchingBandChampionshipsserveseveralpurposes:

1. AcelebrationofBANDinSouthCarolina2. AcompetitiveeventrecognizingthetopbandsinSouthCarolina3. Asound,educationalexperienceforallinvolved

Inorderfortheadjudicatortobeasuccessfulpartakerintheprocess,thefollowingdirectivesmustbefollowed:

1. EliminateallphilosophyyouwoulduseforBOA,DCI,WGIoranyothercompetitivepageantryactivity.Thisarenahasdifferentprioritiesandwhilesomeofthescoresheetsandcriteriareferencewillbesimilar,thephilosophiesbehindthemmaybedifferent.

2. Thejudges’jobistoSUPPORTTHEEDUCATIONALEXPERIENCEfortheSTUDENTS.ThisisNOTABOUTTHEADULTS!ThisisaboutthePERFORMERS!Thejudgeisateam-teacher,reinforcingthetenetsofqualitymusic,movementanddesign.Judgingmustbeabouthelpingthestudentstogrowandaboutappreciatingtheirlearningefforts.

3. YouarejudgingtheSCBDAPreliminariesorFinals–therewillNOTbetimeforanymajoralterationsintheshow(musicordrillre-writes).Pleasedonotaskforthem.Helpthebandsworkwithintheframeworkofwhattheyhave.ThisdoesNOTprecludeidentifyingproblemswithintheshow,nordoesitalterhowyourankandratebasedonthedesign.Modifyyourterminology–deliveryourobservationsinclearterms.Adjusttoleranceandexpectations.

4. ValueALLbands.Sizeofbanddoesnotmakeitlessormoreimportant.Everystudentmusthavethebestpossibleinput.Everyprogramisvitalinitsimportance.Competitionisstrongineveryclass.Intelligentandsensitivedecisionsmustofferthestudentsequalopportunitytoachieve.

5. Judgethecontestfromtoptobottominyourranking.Rememberthatthesizeofthebandcanbeachallenge,whetherverylargeorverysmall.Theproblemswillbedifferent,butthechallengesarestillgreat.

Judgesshouldalwaysbeenthusiasticabouttheircontributionandfeedback.Toneofvoicecreatesamoreimpactfulimpressionthatmanyrealize.Assumetheperformerswillhearallcomments.

REMEMBER–JUDGINGCANNEVERBE“ABOUTTHEJUDGE”

ITMUSTALWAYSBE“ABOUTTHEPERFORMERS”

Theyareall“yourkids”–pleasedealwiththemwiththatsensitivity!

PhilosophyoftheSCBDAScoringSystem

Thissystemisameanstoencourageandrewardcreativity,artistryandstandardsofexcellenceandachievementwhileprovidingavehiclethatwilleducatebeginnersinsuchawaythattheywillgrow tounderstandandevolve to thegreatest levelof thepotential. It isour intent that thissystemwillencourageandrewardcreativityandacknowledgethetastefulandaestheticappealofgooddesignthroughqualitycomposition.

The system acknowledges the joint efforts of designers, instructors and performers throughunderstandingthatexcellenceandartistryaredisplayedthroughthedesignandthatthosesamedesignsarerecognizedandcreditedthroughtheartistryofperformance.

Thissystemutilizesamethodofsubjectiveevaluationthatrewardstheachievementofpositivequalitiesandofferscontinuedencouragementtostriveforgreaterachievement.ThisisaPOSITIVEsystem,rewardingsuccessfuleffortsateverylevelandisdesignedtoencourageunitstodevelop,maintainandprojecttheirownstyles.Therefore,weemphasizecreativity,originality,tasteandexcellence.

Theuseofacriteriareferencesystemguidewilltellallunitstheessenceofthequalitiestheymustachieveinordertoreceivetheirprojected“number-grade”goal.Scoresassignedbyajudgereflectthesuccessfulachievementofcertaincriteriaandnolongerequatessuchideasas“poor,good,fair, etc.” THE SYSTEM IS EDUCATIONAL ANDWILL PROMOTE PERFORMERS AND DIRECTORSBASEDONSUCCESSFULACCOMPLISHMENTS!

Judges’CodeandEthics

AffiliationAjudgewillnotadjudicateacontestinwhichacompetingunitisonewithwhichhehasaformalaffiliationasdefinedbelow:

PrimaryAffiliation:Designers,instructors,management,marchingmembers

SecondaryAffiliation:Familyorpersonalrelationshipwithanyoftheabove-describedpersonscouldbeconstruedtobeasecondaryaffiliationandshouldrenderthatindividualineligibletojudgethatunit.

*ExceptionstotheaboverulemaybemadeupondirectionoftheSCBDAExecutiveBoard,butonlywiththeirapproval

PLEASECONTACTNOLAJONESIMMEDIATELYIFYOUAREAWAREOFAPOSSIBLECONFLICT

ConsultationJudgeswithSCBDAassignmentsmayNOTconsultwithanyband7dayspriortothecontest.

SocialMediaCareshouldbetakenwhenitcomestosocialmedia.Pleaselimitcommunicationwithdirectors,andstaffofunitsthatyouwillbejudgingatyourassignment.DutiesoftheJudge

Ø Reporttothe“Site”atthetimespecifiedonyourassignmentsheetØ Whilenospecificuniformisrequired,judgesareexpectedtodressinaprofessional

mannerØ Judgesaretorankandratetheunitsbythecomparativescoresearnedduringthecourse

ofthecontestØ JudgesareexpectedtoaidtheunitstoimprovethroughtheircommentaryØ Judgesareexpectedtomaintainadignifiedandimpartialattitudeatalltimes.They

shouldrefrainfromdiscussingtheperformanceswhileadjudicatingthecontest

GeneralTechniquesforCommentDialog&VerbalizingObservationsThissystemisdesignedtoprovidetheunitswithanall-encompassingcommentaryandcritiqueoftheirpresentationasitoccurs.Itallowsthejudgetocommentonboththeimpressionandanalysisoftheperformance.

Youwillbeprovidedwithadigitalrecordertouseforyourcommentary.Instructionsfortheuseofthisrecorderwillalsobeprovided.CommentaryPriorities

Ø CommentsshouldassistthosepartsoftheshowthatarevitaltothescoringprocessØ Commentsshouldassisttheunderstandingoftheranking/ratingprocessØ Commentsshouldassisttheinstructorinimprovingthestructureoftheprogramor

performanceØ Commentsshouldreflectaneducationalapproachthatwillrewardachievementand

encouragegreatereffortsØ Avoidterminologythatisirrelevanttotheprincipleswearereinforcing.Clear,specific

dialogisappropriate.AllgroupswillbecomfortablewithtermsusedontheSCBDAscoresheets.Avoidtherecitationoftermsnoteasilyrelatedtowhatyouareobserving

Ø Bespecificinyourobservationofweakareasandbeclearastotheproblem.Beenthusiasticabouttraining,growthandachievement

Ø Offerpatienceandsupportinthedevelopmentprocessofskills,ideasandworksinprogress

Ø Beopen-mindedtonewconceptswhichyoumaynothaveexperiencedbefore.Discusstheseconceptsandlearnabouttheminordertoadjudicatethem

Ø Theconsistencyofjudges’observationsisessentialfortheassuredgrowthofallperformers.Beinformedandcurrentwithyourcaptionphilosophyandwiththelevelsoflearningwithineachclasscriteria

Recordingsshouldruncontinuouslythroughouttheunit’spresentation.Thejudge’scommentsshouldincludebasicimpressionaswellasanalysisofproblemareas.Possiblesuggestionstoimprovecertainaspectsoftheprogram/performanceareencouraged.Demeaningorrudecommentsareunacceptable.Judgesshouldmodulatethevolumeoftheirvoicessoastonotinterferewithotherjudgesorwithpatronsviewingtheshow.Whileitisnotnecessarythatatapebecompletelyfilledwithcomments,thejudgeshouldknowthattheabsenceofanycommentsisunacceptable.

ApplicationoftheCriteriaReferenceSystem

Itistheintentofthissystemthatanumbergradebeassignedfromwhicheverlevelofachievementisappropriatetodescribetheunit’squalitiesmostofthetime.ThesystemofboxesandcriteriatobeusedbythejudgeANDbanddirectorshouldguidedecisionmakingandassistinfurtherunderstandingtherationaleusedinassigninganumericvaluetoaperformance.Theemphasisofthissystemisontheachievementleveldisplayedbytheperformers.

Thecriteriareferencesystemdescribesfivelevelsofachievement(frequencywords)whichareappliedtoImpression,Analysis,andComparison.Inordertoprovideuniformnumericaltreatmentforsubjectivejudging,judgesconvertthesubjectiveimpressionintoanumericalcategoryandultimatelyrefinethatimpressionthroughanalysisandcomparisontoaspecificscore.

BOX1 BOX2 BOX3 BOX4 BOX5

“LacksReadability” “Rarely” “Sometimes” “Frequently” “Consistently”

Impressionisbestdescribedasthejudge’ssubjectivereaction.Numerically,thefunctionoftheimpressionistodetermineacategoryforanyparticularsub-caption.Uniformityofimpressionfromjudgetojudgeisnoteasilyaccomplished.Thecriteriareferencesystemattemptstostandardizethisprocess.Analysisistheobjectiveaspectoftheevaluationthatseeksoutreasonstosupportormodifyinitialimpressions.Numerically,theanalysisconvertstheimpressionaspecttoaspecificscorewithineachsub-caption.Comparisonrequiresthejudgetolookatthenumbergivenandcompareittoothermarkshe/shehasgiveninthatcategorynotonlyinthatcontestbutalsoinearliercontests.Thus,whenajudgeassignsanumberstoanaspectoftheunit’sprogram,he/sheistellingthatunithowitcomparesonanationallevel.

Thecriteriareferencesystemrequiresthatrankingandratingbedoneonasub-captionbasissothateachsub-captionnumberisrankingandratinginandofitself.Whenthetotalsofthesub-captionsindicateatieintheoverallsheet,thejudgeshouldre-evaluatehis/hersub-captionnumberstoseeifthetiecanbebroken.

Amaximumscoreinanysub-captionisinappropriateinanycontestpriortothelastbandtotakethefieldincompetition.Itisparticularlyinappropriatewhenassignedearlyinthecontest.Itmightoccuronrareoccasionsthatthejudge’snumberdisciplineforcesascoretoescalateintheprogressionofacontest,butitnegatescompletelytheconceptofrankingwhenitisappliedprematurely.

Itisimportanttostatethatthefivecategories(LacksReadability,Rarely,Sometimes,Frequently,Consistently)specifylevelsofachievementforeachsub-caption.ThenumericalratingofeachperformancefallswithintheboxthatbestdescribesthelevelofachievementMOSTOFTHETIME.OnlythetopcategorywiththehighestnumbersrequirestheperformancetomeetoutstandingachievementforEVERYONEofthecriterialisted.

SCBDANumbersManagementTheSCBDAhasadoptedtheseguidelinestoassistthejudgesindeterminingtheirscoringandspecificallytheirspreads.Theseguidelinesarealsodesignedtoassistthebanddirectorsandstaffmembersinunderstandingtheirscore/spread.

Ratingisalsoanimportantaspectofproperscoring.Spreadsaresometimesappropriateinordertorankwithineachsub-caption.Avoidsub-captiontieswhenpossible.

RatingsTheratingsysteminnowayaffectstheadjudicationprocess.Theratingsystemisintendedtogiveparticipantsacomparativesummarymeasureandstandardforachievement.

SCORE RATING80.0andabove Superior(I)65.0–79.9 Excellent(II)50.0–64.9 Good(III)40.0–49.9 Fair(IV)

POINT SPREADSObjective:toobtainassistanceforsup-captionspreadstopreventthe“rankingonly”scores.Thesearetobeusedasguidelinesinallcaptions:

1-3points: Thebandsareverycomparable.Theycouldperformagainandthe

resultscouldeasilybereversed.Theyarecloseneighbors.4-6points: Thebandsarereasonablycomparablewithsomeminordifferences

betweenthem.Theyarestillinthesameneighborhood.7–9points: Thebandshavesomedefinitivedifferencesbetweenthem.Theycould

performagainandtheresultswouldprobablynotchange.However,theycouldstillbedistantneighbors.

10points+: Thebandshavesignificantdifferencesbetweenthem.Theyarenotinthe

sameneighborhood.

ApplyingDerivedAchievementinExcellenceJustaseachgradelevelenhancesacurriculumthatchallengesthestudenttogrowandlearnnewmaterial,sotoo,similarchallengesareplacedonstudentsinthearenaofmarchingband.MarchingBandisauniquelearningexperiencewhichinvolvesademonstrationofmusicianship,athleticism,artistry,andmustbejudgedwiththoseuniquequalitiesinmind.Thejudgemustconsideralloftheresponsibilitiesinthe“curriculum”whendiscussingtherelativeachievementlevelofthestudents.Thejudge,therefore,considerstwocomponentsintheevaluationofthemusical/visualperformanceineveryscoringarea.Theyare:WHATisbeingaskedofthestudent(theprogram,themusical/visualcomposition,thevariety/rangeofthemusicalorvisualvocabulary.)CONTENT,REPERTOIRE,COMPOSITION

HOWtheseaspectsarebeingaccomplished(method,technique,training,sensitivity,communication,expression,etc.)ACHIEVEMENT,PERFORMERS

UntilwerecognizeWHATisoccurring,weareapttobeinadequateinrecognizingHOWtheskillsarebeingdemonstrated.Inotherwords,weconsiderthecurriculumandthecomprehension/achievementofthecurriculumassimultaneouspartners.Youcannotassessonewithouttheother.Inthismanner,thejudgeconsidersALLofwhatisbeingaskedoftheperformer.

Forexample:IntheMusicEnsemblecaption,astheexcellence/achievementisbeingassessed,thejudgewillconsider,amongotherthings:

• Thequalityoftheverticalandhorizontalorchestration• Therangeofexpressivecomponents• Therangeofmusicaldevices• Thelayeringofresponsibilities(bothvisuallyandmusically)placedontheperformers• Theproximityofoneperformertoanother• Therangeandvarietyofmusicalskillsrequiredoftheperformers

Thejudgemustpossesssoundrecognitionskillswithfullcomprehensionofallthatisbeingaskedoftheperformer.ThisrequiresthejudgetostartidentifyingWHATisbeingdone,thenevaluateHOWwellitisbeingdoneashe/sherespondstotraining,techniqueandexpression.Caremustbeexercisedthatjudgesdonotconfusecurriculumwiththeideaofdemandforthesakeofdemand.Itisabouttastefuleducationalchallengesinwhichwillhelpthestudentgrow.Conversely,caremustbetakennottooverlookthedepthofthechallengesplacedonthestudent.TheWHATandHOWmustbeaSIMULTANEOUSconsiderationinthejudge’smind.Thejudgemustalsobefamiliarwiththeuniquearenainwhichthesemusiciansperform.Weatherandfieldconditionswillvary,andthejudge’stoleranceshouldadjustfortheseconditions.

TheSCBDAScoringSystemTheweightofthenumbersintheSCBDAscoringsystemplaces55%ofthevalueonmusicand45%onvisual,andatthesametime,70%ofthescoreiswithintheareaofperformanceand30%withintheoveralleffectarea.

20% Music Performance – Ensemble10% Music Performance – Individual20% Visual Performance – Ensemble10% Visual Performance – Individual20%OverallEffect–Music20%OverallEffect–Visual

Anexplanationofhoweachscoreisobtained,howmanyjudgesareineachcaption,andhowtheyjudgefollows:

MusicPerformance/VisualPerformance–EnsembleThisjudgeislocatedinthepressbox.His/herlocationisfixedduringtheentirecompetition.He/shejudgestheentireshowfrombeginningtoend.He/sheusesbothanaudiorecorderandajudgingsheetforcomments.Thereisonejudgeinthiscaption.

MusicPerformance/VisualPerformance–IndividualThisjudgeislocatedonthefield.He/sheisfreetomoveaboutthefield.He/shejudgestheentireshowfrombeginningtoend.He/sheusesbothanaudiorecorderandajudgingsheetforcomments.Thereisonejudgeinthiscaption.

OverallEffect–Music/VisualThisjudgeislocatedinthepressbox.His/herlocationisfixedduringtheentirecompetition.He/shejudgestheentireshowfrombeginningtoend.He/sheusesbothanaudiorecorderandajudgingsheetforcomments.Thereisonejudgeinthiscaption.

TimingandPenaltiesJudgeThisjudgeislocatedonthefield.He/sheisfreetomoveaboutthefield.He/shejudgestheentireshowfrombeginningtoend.Heusesajudgingsheetforcommentsregardingalltimingandpenaltyconsiderationsoftheshow.Allscoresheetsaresubjective.Bandsbeginwithzeroandearncreditproportionatetothepositivepresentationofdesign,performanceandproficiency.Judgesarepositionedtoallowthemthebestvantagepointoftheindividualortotalensemble.

Itshouldbeunderstoodthatindividualbandscoresmayvaryfromcontesttocontest.Obviously,performancevariationsareafactor,butimpactisalsomadewiththedynamicsofthecontest.Thenumberofunitsandtheoveralllevelofachievementofthoseunitsmayimpactscoringwithinthescopeofaparticularcriteriareference.

SCBDAScoreSheetExplanationsMusicPerformance–Ensemble

Overview:Thepurposeofevaluationonthissheetistodeterminethebest,secondbest,etc.,musicalperformancebasedonaccuracyanduniformityofperformanceasperceivedfromthevantagepointoftheaudience.Thejudgmentoftheperformancecomponentsistobemadewiththeconsiderationofcontent–thatis,demandandexposureoftheperformers.TheeffectivenessoftheprogramisNOTtobeconsideredinthiscaption.Wewanttojudgeandassesshowwelltheperformersdowhatitistheyaredoingandtomakeajudgmentastowhatitistheyareattemptingtodofromthisvantagepoint–NOThoweffectivewhattheyaredoingistotheaudience.

TheMusicPerformanceEnsemblejudgewillbeplacedinapositionsothatthejudgecanassessthefullensemblemusically.Thiscouldbeinthepressbox,ontopofthepressbox,oratthetopofthestands.Thejudgemustbeinapositiontoheartheentireensemblemusically.Thejudgewillnotbebehindclosedwindowsorinacontainedspacewhichwillmakehearingtheentireensembledifficult.Thejudge,oncehavingstartedinacertainpositionmustremaininthatpositionforthedurationofthecontestsothateverybandhasthesameadjudicationvantagepoint.Thepercussionsectionisaresponsibilityofalljudgesinthecaptionandrequiresspecificattention.TheMusicPerformanceEnsemblejudgeshouldsamplethepercussionsection,inadditiontothewinds,throughouttheprogram.

Composition

• QualityofHorizontalandVerticalOrchestrationThethoughtfulandthoroughplanningusedtoconveymusicand/orvisualideasthroughtimeHorizontal–thelogicalprogressionofdesignideastoenhancetheintentandunityoftheaudio/visualcompositionVertical–thelayeringorcombinationofdesignchoicestoenhancetheintentandunityoftheaudio/visualcomposition

• RangeofExpressiveComponentsTheuseofdynamics,articulations,phrasing,style,nuance,andotherinterpretiveelementsappropriatetothegenreofthemusicselected.Theuseandvarietyoftheseexpressionsenhancethemusiceffectoftheprogram.

• RangeofMusicalDevicesTherangeanddepthofauthentic,innovative,andappropriatedevicesusedinthemusicaldesign

• SimultaneousResponsibilitiesThelayeringofresponsibilitiesplacedupontheperformers.

• EnvironmentalChallengesThechallengeofseparationinspace,velocity,proximity,andchallengesofthemusicintheoverallenvironment

• RangeandVarietyofMusicalSkillsTherange,variety,anddepthofthemusicalskillsrequiredforachievementofthemusicaldesign

Achievement

• ClarityandUniformityofStyleandInterpretationTheconsistentpresentationofstyleandinterpretationfromplayertoplayer

• Balance/BlendThemeasureoftheperformer’sunderstandingofandcommitmenttothemusicaleffectsoftheentireensemble

• ToneQualityandIntonationThemeasureoftheperformer’sunderstanding,commitmentto,andtraininginregardstoqualitytoneandintonation

• Timbre/SonorityThemeasureoftheperformer’sunderstanding,commitmentto,andtraininginregardstotimbreandsonorityappropriateforthestyleandgenreofthemusicaldesign

• Precision,VerticalAlignmentandRecoverTheabilityoftheensembletoestablishandmaintainprecisionandverticalalignmentasitrelatestopulsecontrolandrhythmicstability

• AchievementofMusical,PhysicalandEnvironmentalChallengesTheabilityoftheensembletoachievechallengesofspace,velocity,proximity,andlayeredresponsibilities

Music Performance - Ensemble

Caption Description Comments Caption Value Caption Score

Com

posi

tion

Quality of Horizontal and Vertical Orchestration

Range of Expressive Components

Range of Musical Devices

Simultaneous Responsibilities

Environmental Challenges

Range and Variety of Musical Skills

100

Ach

ieve

men

t

Clarity and Uniformity of Style and Interpretation

Balance and Blend Tone Quality and Intonation

Timbre/Sonority

Precision, Vertical Alignment, and Recovery

Achievement of Musical, Physical, and Environmental Challenges

100

Adjudicator's

Signature

Total 200

Box 1 Box 2 Box 3 Box 4 Box 5 40-59.9 50-64.9 65-79.9 80-92.4 92.5-100

Lacks Readability Rarely Sometimes Frequently Consistently FAIR GOOD EXCELLENT SUPERIOR SUPERIOR

Music Performance-Ensemble

Composition

Does the composition display quality in regards to the horizontal and vertical orchestration?

Does the composition display a range of expressive components?

Does the composition display a range of musical devices?

Does the composition display simultaneous or layered responsibilities (including visual) of the musical performance?

Does the composition display a range of environmental challenges?

Does the composition display a range and variety of musical skills?

How do each of these factors, collectively and individually, compare to each and all other units in the competition?

Achievement

How often does the ensemble demonstrate clarity and uniformity of style and interpretation?

How often does the ensemble demonstrate balance and blend?

How often does the ensemble exhibit successful tone quality and intonation?

How often does the ensemble exhibit successful timbre and sonority?

How precise is the ensemble in regards to vertical alignment?

How well are challenges achieved with precision? How well do performers demonstrate the ability to recover?

How successful are the performers in achieving the range of musical, physical, and environmental challenges?

In all these regards, how do these performers compare to other performers in the competition?

FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

MusicPerformance–Individual

Overview:ThejoboftheMusicPerformanceIndividualjudgeistoevaluatetheperformanceaccuracy,tonequalityandintonationandtherealizedmusicaldemandplacedontheperformers.Thejudgemustmovearoundonthefieldthroughtheensembletosampleallindividualsinallsegmentsoftheinstrumentensemblethroughouttheperformance.ThisjudgemustNOTstayonthesideline.Theindividualperformancejudgeisnotconcernedwithensemblefactorsandmustfocusontheindividualperformancebeingdisplayed.TheeffectivenessoftheprogramisNOTtobeconsidered.

Caremustbetakennottointimidateperformingmembersthroughgesturesorunnecessaryphysicalproximity.

Thepercussionsectionisaresponsibilityofalljudgesinthecaptionandrequiresspecificattention.TheMusicPerformanceIndividualjudgeshouldsamplethepercussionsection,inadditiontothewinds,throughouttheprogram.

Wemustunderstandthatwhatwearedoingissamplingtheperformersintheensemble.Itispossiblethatwemayinadvertentlypositionourselvesintheproblemareasoftheensembleconsistentlythroughaperformanceorbeinallofthe“right”spotswherewewouldnotbeawareofproblems.Wemustbealertenoughtosearchthroughtheensembletobesurethatourimpressionistrulyrepresentativeofthegroup’sabilityaspresentedinthatperformance.Itisimperativethatweavoidfollowingorzeroinginonafewproblemindividualsiftheyarenottrulyrepresentativeoftheensembleasawhole.

Composition

• RangeofMusicalandTechnicalSkillsTherange,variety,anddepthofthemusicalskillsplacedontheperformerswithinthemusicaldesign

• SimultaneousResponsibilitiesThelayeringofresponsibilitiesplacedupontheperformers

• RangeofExpressiveComponentsTheuseofdynamics,articulations,phrasing,style,nuance,andotherinterpretiveelementsappropriatetothegenreofthemusicselected.Theuseandvarietyoftheseexpressionsenhancethemusiceffectoftheprogram.

• EnvironmentalChallengesThechallengeofseparationinspace,velocity,proximity,andchallengesofthemusicintheoverallenvironment

Achievement

• ClarityandUniformityofStyleandInterpretationTheconsistentpresentationofstyleandinterpretationofeachperformer

• ToneQualityandIntonationThemeasureoftheperformer’sunderstanding,commitmentto,andtraininginregardstoqualityoftoneandintonation

• ConsistencyofTimbre/SonorityThemeasureoftheperformer’sunderstanding,commitmentto,andtraininginregardstoaconsistenttimbreandsonorityappropriateforthestyleandgenreofthemusicaldesign

• AccuracyTheabilityoftheperformertoestablishandmaintainaccuracyinregardstorhythmicstabilityandpitchrelationships

• ExpressionandMusicianshipTheabilityoftheperformertodemonstrate,convey,andrealizeexpressivequalitiesandmusicianship

• AchievementofMusical,Physical,andEnvironmentalChallengesMeasureshowwellperformersachievechallengesofspace,velocity,proximity,andlayeredresponsiblities

• RecoveryThetimelyandappropriateadjustmenttoinconsistenciesintheprogram

Music Performance - Individual


Com

posi

tion

Range of Musical and Technical Skills

Simultaneous Responsibilities

Range of Expressive Components

Environmental Challenges

100

Ach

ieve

men

t

Clarity and Uniformity of Style and Interpretation

Tone Quality and Intonation

Consistency of Timbre/Sonority

Accuracy

Expression and Musicianship Achievement of Musical, Physical, and Environmental Challenges

Recovery

100

Adjudicator's

Signature

Total 200



Music Performance-Individual

Composition

Does the composition display a range of musical and technical skills?

Does the compostition display simultaneous or layered resonsibilities (including visual) of the musical performance?

Does the composition display a range of expressive components?

Does the composition display a range of environmental challenges?


Achievement

How often does the performer demonstrate clarity and uniformity of style and interpretation?

How often does the performer exhibit successful tone quality and intonation?

How often does the performer exhibit successful timbre and sonority?

How accurate and precise is the performer in regards to timing and vertical alignment?

How often does the performer display expression and musicianship?

How successful are the performers in achieving the range of musical, physical, and environmental challenges?

How often do the performers display an ability to recover?


FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

VisualPerformance–Ensemble

Overview:Thepurposeofevaluationonthissheetistodeterminethemosttechnicallyproficientmarchinggroupfromthevantagepointoftheaudience.Theevaluationiscomposedofexcellenceidentification,balancedwiththejudgmentoftechnicaldemand,andtheexposuretothatdemandontheensemble,withtheconsiderationofcontentandconstruction.TheeffectivenessoftheperformanceisNOTtobeconsidered.Wemusttakegreatcarethatwereactasananalystwhilejudgingmarchingperformanceensemble.Wewanttojudgehowwelltheperformersdowhatitistheyareattemptingtodofromthisvantagepoint–NOThoweffectivewhattheyaredoingistotheaudience.

Theperformers’influencerestsonthereadabilityoftheprogramandontheperformers’abilitytoallowallofthewrittenlogicandnuancestobepresentedclearly.Simplereadabilityrestsontheclarityoftheintentoftheauthor.Ifajudgerecognizeswhatthewritermeanttosay,readabilityispresent.However,readabilityisonlythebeginning.Therefinementaspectmeansfullawarenessoftheshapeoftheformsandthefullunderstandingofwhathappensinsidethemusicalphrases–thesearenuances.

VisualPerformanceEnsembleisanevaluationoftherelativeabilityofthegroup.Itisentirelypossiblethatagroupmayhaveagreateractualnumberoferrorsandscorehigherthananotherbasedonanevaluationofwhattheydid.Instanceswherethereisaslightaberrationofcontrolcanbenoted,withthecumulativeeffectofitsconsistentoccurrencebeingloweringofthemark.Ontheotherhand,occasionallapsesofcontrolinextremelydifficultsituations(blindsets,norecoverytime,etc.)canbenegatedtonegligiblesignificancerelativetohowwellthisdifficultmaneuverwasdone.

Content

• QualityofHorizontalandVerticalConstructionThethoughtfulandthoroughplanningusedtoconveymusicand/orvisualideasthroughtimeHorizontal–thelogicalprogressionofdesignideastoenhancetheintentandunityoftheaudio/visualcompositionVertical–thelayeringorcombinationofdesignchoicestoenhancetheintentandunityoftheaudio/visualcomposition

• VisualMusicalityandArtistryThevisualelementsandtheirrelationshiptothemusicalstructure

• UnityofVisualElementsThepurposefulagreementamongallelementsofthevisualdesign

• Integration/CohesionThepurposefulcombinationofvisualelementstoproduceaunifiedandsuccessfulvisualproduction

• SimultaneousResponsibilitiesThelayeringofresponsibilitiesplacedupontheperformers

• RangeandVarietyofSkillsTherange,variety,anddepthoftheskillsrequiredforachievementofthevisualdesign

Achievement

• SpatialControlTheabilityoftheensembletomaintainaccuracy,clarity,andcontrolinregardstoperformertoperformerrelationships

• EnsembleControlTheabilityoftheensembletomaintainaccuracy,clarity,andcontrolwithrespecttospace,timeandline

• PrecisionandUniformityTheabilityoftheensembletodisplayuniformtrainingandaccuracyofmovementskills

• ArticulationofBodyandEquipmentTheclear,distinctanduniformapproachtotheuseofbodyandequipment

• OrientationTheabilityoftheensembletocontroldirection,spatialrelationships,andpositioninequipment/movement/form/bodysoastodisplaythecompositionalintentinthemostaccuratemanner

• AchievementofEffortChangesTheabilitytocontroland/oraltergradationsofspace,time,weight,andflowatbothabody/movementandequipmentlevel

• StaminaandRecoveryTheabilityoftheensembletomaintainperformancequalitiesthroughouttheproductionandtoquicklycorrectperformanceerrors

• AdherencetoStyleandRoleTheconsistentapplicationofachosenstyle/role

• ExpressiveQualitiesTheabilityoftheensemblethroughperformancetoportraythemusicalindicationoffeeling

Visual Performance - Ensemble


Con

tent

Quality of Horizontal and Vertical Construction

Visual Musicality and Artistry Unity of Visual Elements

Integration/Cohesion

Simultaneous Responsiblilities

Range and Variety of Skills

100

Ach

ieve

men

t

Spatial Control

Ensemble Control

Precision and Uniformity

Articulation of Body and Equipment

Orientation

Achievement of Effort Changes

Stamina and Recovery

Adherence to Style and Role

Expressive Qualities

100

Adjudicator's

Signature

Total 200



Visual Performance-Ensemble

Content

Does the program display a quality in the horizontal and vertical orchestration?

Does the program display a range of expressive components?

Does the program display visual musicality and artistry?

Does the program display a unity of visual elements?

Does the program display integration and cohesion of elements?

Does the program display a range of simultaneous or layered responsibilities (both visual and musical)?

Does the program display a range and variety of visual skills?

How do each of these factors, collectively and individually,

compare to each and all other units in the competition?

Achievement

How often does the ensemble demonstrate spatial control?

How often does the ensemble demonstrate ensemble control?

How often does the ensemble exhibit successful precision and uniformity?

How often is there strong clarity of timing and articulation of body and equipment?

How often does the ensemble display correct body orientation?

How often does the ensemble display achievement of effort changes?

How often do the performers display an ability to recover?

How often do the performers adhere to style and role?

How often do the performers realize expressive qualities?


FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

VisualPerformance–Individual

Overview:ThejoboftheVisualPerformanceIndividualjudgeistoevaluatetheperformanceaccuracyanddefinition,thequalityoftechniqueandtherealizedmusicaldemandplacedontheperformers.Thejudgemustmovearoundonthefieldthroughtheensembletosampleallindividualsinallsegmentsoftheinstrumentensemblethroughouttheperformance.ThisjudgemustNOTstayonthesideline.Theindividualperformancejudgeisnotconcernedwithensemblefactorsandmustfocusontheindividualperformancebeingdisplayed.TheeffectivenessoftheprogramisNOTtobeconsidered.

Caremustbetakennottointimidateperformingmembersthroughgesturesorunnecessaryphysicalproximity.

Wemustunderstandthatwhatwearedoingissamplingtheperformersintheensembleandwemustmakeaconsciousefforttosampleallofthepartsofthebandfairly.Itispossiblethatwemayinadvertentlypositionourselvesintheproblemareasoftheensembleconsistentlythroughaperformanceorbeinallofthe“right”spotswherewewouldnotbeawareofproblems.Wemustbealertenoughtosearchthroughtheensembletobesurethatourimpressionistrulyrepresentativeofthegroup’sabilityaspresentedinthatperformance.Itisimperativethatweavoidfollowingorzeroinginonafewproblemindividualsiftheyarenottrulyrepresentativeoftheensembleasawhole.

Content

• VisualMusicalityandArtistryThevisualrepresentationandenhancementofallaspectsofthemusicalprogram

• ChangesinMeter,Pulse,TempoThevarietyofmeterandpulseresponsibilitiesintheprogram

• Integration/CohesionThepurposefulcombinationofvisualelementstoproduceaunifiedandsuccessfulvisualproduction

• DepthofForm,BodyandEquipmentChallengesThedemandsplacedontheindividualconcerningtheirrelationshipwithinandtoformdevelopment,individualandensemblemovementskills,andutilizationofallformsofequipment(musicalinstruments,colorguardequipment,props,implements)

• SimultaneousResponsibilities(VisualandMusicalSimultaneously)Thelayeringofresponsibilitiesplacedupontheperformers

• RangeandVarietyofSkillsTherange,varietyanddepthofskillsrequiredforachievementofthevisualdesign

Achievement

• SpatialandFormControlTheabilityoftheindividualtomaintainaccuracy,clarity,andcontrolwithrespecttospace,andline

• TempoandPulseControlTheabilityoftheindividualtomaintainaccuracy,clarity,andcontrolwithrespecttotimeandpulse

• PrecisionandUniformityofStyle/MethodTheabilityoftheensembletodisplayuniformtrainingandaccuracyofmovementskills

• ClarityofBodyandEquipmentTheabilityoftheindividualtodisplayaclearanduniformapproachtobodyandmovementskills

• AchievementofEffortChangesTheabilitytocontroland/oraltergradationsofspace,time,weight,andflowatbothabody/movementandequipmentlevel

• StaminaandRecoveryTheabilityoftheindividualtomaintainperformancequalitiesthroughouttheproductionandtoquicklycorrectperformanceerrors


• UnderstandingandCommunicationofRoleTheperformersdisplayanunderstandingoftheirvisualresponsibilitiesandconveyaconfidentandstylisticapproachtotheircharacter(musician,dancer,actor,etc.)

Visual Performance - Individual

Caption Description Comments Caption

Value

Caption

Score

Co

nte

nt

Visual Musicality and Artistry

Changes in Meter, Pulse, Tempo

Integration/Cohesion

Depth of Form, Body, and Equipment Resonsibilities

Simultaneous Responsibilities (Visual and Musical Simultaneously) Range and Variety of Skills

100

Ac

hie

ve

me

nt

Spatial and Form Control

Tempo/Pulse Control

Precision and Uniformity of Style/Method Clarity of Body and Equipment

Achievement of Effort Changes

Stamina and Recovery


Understanding and Communication of Role

100

Adjudicator's

Signature

Total 200

Box 1 Box 2 Box 3 Box 4 Box 5

40-59.9 50-64.9 65-79.9 80-92.4 92.5-100

Lacks Readability Rarely Sometimes Frequently Consistently

FAIR GOOD EXCELLENT SUPERIOR SUPERIOR

Visual Performance-Individual

Content

Does the program display visual musicality and artistry?

Does the program display challenges and variety in regards to meter, pulse and tempo?

Does the program display integration and cohesion of visual elements?

Does the program display a depth of form, body and equipment resposibilities?

Does the program display a range of simultaneous or layered responsibilities? (visual and musical)

Does the program display a range and variety of visual skills?


Achievement

How often do the performers achieve spatial and form control?

How often do the performers achieve control of tempo and pulse?

How often do the performers achieve precision in regards to uniformity of style and method?

How often do the performers achieve clarity in regards to body and equipment?

How often do the performers display achievement of effort changes?

How well do performers demonstrate the ability to recover?

How often do the performers display an understanding of role?



FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

OverallEffectGeneralInformation

Theprimarypremiseofoveralleffectjudgingisthatyoumustpreparementallytoallowyourselftobeentertained!Asadjudicators,wearepartoftheaudienceandaretheretoenjoytheperformance.Ourgoal,tobeeffectiveasajudgeinthisarea,istoallowourselvestoappreciatewhatisgoodaboutagivenperformancebasedonwhatisbeingpresented.

Wehavetosometimesremoveourselvesfromourowntastesandopinionstorecognizeandappreciatetheapproachothersareattemptingtousetoreachtheaudience.

Itisimportantforustorealizethatentertainmentcantakemanyform.Comedy,drama,pathos…theentirerangeofemotionshouldbeconsideredasbeingvaluableinprogramming.Ashowthatsuccessfullytouchestheaudienceemotionallyonthedeepersideofthescaleshouldreceiveequalconsiderationwithprogramsthatconsistprimarilyofqualitiesthatmakeusfeelgood.

Whileweareprovidingcommentaryonpositivesandnegativesabouttheprogramming,wemustalsogobeyondthe“repair”commentaryandprovidefeedbacktotheprogrammertoassistinavoidingproblemsinthefuture.

Theattitudeandmentalpreparationofthejudgeshouldbeoneofanticipatingawell-performedprogramandthatwhatwearelookingforiswhattheperformersaredoingwell.Thisdoesnotmeanthatweignorethoseportionsoftheprogramthatarenotwellpreparedorperformed,butrather,afterhavingmadecommentonthedeficientsegmentwithsuggestionsforimprovement,weimmediatelylookonceagainforthepositivequalitiesoftheperformance.Thiscreatesabrighter,morepositiveoutlookonthepartofthejudgeandresultsintapesthatcanbeveryhelpingandfulfillingtoboththedirectorandthestudents.Ifwecancomeacrossaspositiveandhelpful,westandamuchbetterchanceofactuallycommunicatingandtherebybeingmuchmoreeffectivejudges.Themainthemeis:creditthatwhichiswellprepared,isperformedwithexcellenceandevokesanemotionalresponse!

OverallEffect–Music

Overview:OverallEffectMusicistheutilizationofallelementstobringaboutmaximumeffectivenessofthemusicalperformance.Itisimportanttorememberandunderstandthatwemustevaluatewhatisbeingperformedandatthesametimeareevaluatinghowitisbeingperformed.Wearejudgingachievementandwemustunderstandthattheconstructionandcontentportionofaprogram(repertoire),incombinationwiththeperformancelevelthatisbeingdemonstrated(performers),willdeterminetheachievementlevel.Itisimpossibletoconsideroneoftheseelementswithoutconsideringtheother.Ourgoalthroughtheuseofthissheetistodecidewhichgroupcollectivelypresentsthemosteffective(andsecondmosteffective,etc.)musicalprogram.Thatis,whichgrouphasthebestbalanceof:

1. EffectivenessoftheMusicalREPERTOIRE2. EffectivenessoftheMusicalPERFORMANCE

TheOverallEffectMusicjudgewillbepositionedinoronthepressbox.

TheRepertoiresub-captionplacesmoreemphasisonthedesignteam’scontributiontothesuccessoftheprogramasperformedbythestudents.ThePerformerssub-captionreflectsprimarilyonthecontributionsoftheperformers.

Inallcases,thejudgeisrequiredtoevaluateonlytheeffectivenessoftheperformance.Thesub-captionsandtheirindividualheadingsaretobeusedasaguidetodeterminetheextentoftheeffectcreated.

RepertoireEffectiveness

• CreativityandImaginationTheartofdesigningandcoordinatingeffortsandeffectsinordertocreatemoodandflowforaspecificshow.Apreviouslyusedideapresentedinauniqueandfreshwayisstillcreative/imaginative.

• AudienceEngagementTheresultofaquality,creative,andimaginativeprogram.Itisthatqualitywhichengagesandcaptivatestheaudience,offeringintellectualintrigueandemotionalresponse.Itcanbevariedanddiverseinitspresentation.

• AudioVisualCoordinationThepresentationanddeliveryofthemusicandthevisualinsuchawayastoenhanceeachotherthroughouttheprogram

• Continuity/Unity/PacingTheplanningandlogicaldevelopmentofonemusical/visualideatoanotherwhichelicitsinterest,direction,andflow

• Nuance/Artistry/ExpressionTherangeofdynamicsasawholethatrepresentstheabilityoftheperformerstoconveyawiderangeofnuancesthroughtheirartisticcontrol.Thestyleand/ormoodelevatesthelevelofperformance

• CoordinationofWindsandPercussionElementsTheplanning,developmentandunityofthemusicalelementsthroughoutthemusicalprogram

• VarietyofMusicalEffectsThevarietyanddepthofdevelopmentwithineachplannedeffect

PerformanceEffectiveness

• CommunicationofMusicalIntentTheperformanceconveystheintendedpurposeandcreativevisionofthewrittenmusicalprogramandbringsthemusictolife

• AudienceEngagementTheresultofastronglycommunicatedperformanceofaquality,creative,andimaginativeprogram.Itisthatqualitywhichengagesandcaptivatestheaudience,offeringintellectualintrigueandemotionalresponse.Itcanbevariedanddiverseinitspresentation.

• FulfillmentTheabilityoftheperformerstofulfill,orbringtolife,themusicalexpectationsofthewrittenprogram


• ArtistryTheelementsofmusicalitysuchasphrasing,sonority,beauty,pace(tempoandrubato),andnuancecombinetocreateorheightentheeffectofthemusicalperformance

Overall Effect - Music


Rep

erto

ire E

ffect

Creativity/Imagination

Audience Engagement

Audio - Visual Coordination

Continuity/Unity/Pacing

Nuance/Artistry/Expression

Coordination of Wind and Percussion Elements

Variety of Musical Effects

100

Perf

orm

ance

Effe

ct

Communication of Musical Intent

Audience Engagement

Fulfillment of Musical Expectations of the Written Program


Artistry

100

Adjudicator's

Signature

Total 200



Overall Effect - Music

Repertoire Effect

Does the repertoire display creativity and imagination?

Does the repertoire display opportunities for audience engagement through conceptual design compelling impact over time?

Does the repertoire display effective audio - visual coordination?

Does the repertoire display logical and progressive development of one effect moment to the next and guide the eye through the development of the program?

Does the repertoire provide opportunities for nuance, artistry and expression?

Does the repertoire exhibit coordination and unity of wind and percussion elements?

Does the repertoire display a variety of musical effects?


Performance Effect

How often does the ensemble communicate the musical intent?

How effectively do the performers engage the audience through excellence, communication, and emotional commitment?

How often do the performers fulfill, or bring to life, the musical expectations of the written program?


How often does the ensemble achieve artistry?


FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

OverallEffect–Visual

Overview:OverallEffectVisualistheutilizationofallelementstobringaboutmaximumeffectivenessofthevisualrepresentationofthemusicalperformance.Itisimportantto

rememberandunderstandthatwemustevaluatewhatisbeingperformedandatthesametime

areevaluatinghowitisbeingperformed.Wearejudgingachievementandwemustunderstand

thattheconstructionandcontentportionofaprogram(repertoire),incombinationwiththe

performancelevelthatisbeingdemonstrated(performers),willdeterminetheachievement

level.Itisimpossibletoconsideroneoftheseelementswithoutconsideringtheother.Ourgoal

throughtheuseofthissheetistodecidewhichgroupcollectivelypresentsthemosteffective

(andsecondmosteffective,etc.)musicalprogram.Thatis,whichgrouphasthebestbalanceof:

1. EffectivenessoftheVisualREPERTOIRE2. EffectivenessoftheVisualPERFORMANCE

TheOverallEffectVisualjudgewillbepositionedinoronthepressbox.

TheRepertoiresub-captionplacesmoreemphasisonthedesignteam’scontributiontothe

successoftheprogramasperformedbythestudents.ThePerformerssub-captionreflects

primarilyonthecontributionsoftheperformers.

Inallcases,thejudgeisrequiredtoevaluateonlytheeffectivenessoftheperformance.Thesub-

captionsandtheirindividualheadingsaretobeusedasaguidetodeterminetheextentofthe

effectcreated.

RepertoireEffectiveness

• Coordination/StagingAllelementsareinvolvedandworktogethertocreateastrongeffect.Allsectionsarestagedforeffectivecommunication.

• AudienceEngagementTheresultofaquality,creative,andimaginativeprogram.Itisthatqualitywhichengagesandcaptivatestheaudience,offeringintellectualintrigueandemotionalresponse.Itcanbevariedanddiverseinitspresentation

• CreativityandImaginationTheartofdesigningandcoordinatingeffortsandeffectsinordertocreatemoodandflowforaspecificshow.Apreviouslyusedideapresentedinauniqueandfreshwayisstillcreative/imaginative.

• Continuity/Unity/PacingTheplanningandlogicaldevelopmentofonemusical/visualideatoanother

• Nuance/ArtistryTheabilityoftheperformerstoconveyawiderangeofnuancesthroughtheirartisticcontrol.Thestyleormoodelevatestheperformance

• AudioVisualCoordinationThepresentationanddeliveryofthemusicandthenvisualinsuchawayastoenhanceeachotherthroughouttheprogram

• Interpretation/EnhancementofMusicThevisualprogrampresentedportraysthemeaningormoodofandheightenstheeffectofthemusic

• VarietyofVisualEffectsThevarietyanddepthofdevelopmentwithineachplannedeffect

PerformanceEffectiveness

• CommunicationofCharacter/RoleTheperformersdisplayanunderstandingoftheirvisualresponsibilitiesandconveyaconfidentandstylisticapproachtotheircharacter(musician,dancer,actor,etc.)

• AudienceEngagementTheresultofastronglycommunicatedperformanceofaquality,creative,andimaginativeprogram.Itisthatqualitywhichengagesandcaptivatestheaudience,offeringintellectualintrigueandemotionalresponse.Itcanbevariedanddiverseinitspresentation.

• ProfessionalismTheabilityoftheperformerstoexhibitconfidence,understanding,andahighlevelofexcellence

• EmotionPerformersdemonstratealevelofbelievabilitywithpassionthatgeneratesprogrameffectivenessunattainablethroughrepertoirealone

• ArtistryTheaestheticvisualelementssuchasform,movement,control,paceandnuancecombinetocreateorhightentheeffectoftheprogram


• FulfillmentTheabilityoftheperformerstofulfill,orbringtolife,thevisualexpectationsofthewrittenprogram

• InvolvementTheperformersdisplayanattachment:performertoperformer,performertoaudience,inrespecttoexpressivequalitiesinherenttotheprogram

Overall Effect - Visual


Rep

erto

ire E

ffect

Coordination/Staging

Audience Engagement

Creativity/Imagination

Continuity/Unity/Pacing

Nuance/Artistry

Audio Visual Coordination Interpretation/Enhancement of the Music Variety of Visual Effects

100

Perf

orm

ance

Effe

ct Communication of Character/Role

Audience Engagement

Professionalism

Emotion

Artistry


Fulfillment

Involvement

100

Adjudicator's Signature

Total 200



Overall Effect - Visual

Repertoire Effect

Does the repertoire display effective coordination and staging?

Does the repertoire display opportunities for audience engagement through conceptual design compelling impact over time?

Does the repertoire display creativity and imagination?

Does the repertoire display logical and progressive development of one effect moment to the next and guide the eye through the development of the program?

Does the repertoire display opportunities for nuance and artistry?

Does the repertoire display effective audio - visual coordination?

Does the repertoire display effective interpretation of the music through use of form, body and equipment?

Does the repertoire display a range of visual effects?

How do each of these factors, collectively and individually,

compare to each and all other units in the competition?

Performance Effect

How often does the ensemble display communication of character and role?

How effectively do the performers engage the audience through excellence, communication, and emotional commitment?

How often does the ensemble demonstrate confidence and a high level of excellence?

How often does the ensemble exhibit strong emotion?

How often does the ensemble achieve artistry?


How effectively do the performers fulfill, or bring to life, the visual expectations of the program?

How often does the ensemble display an attachment: performer to performer and performer to audience member in respect to expressive qualities inherent to the program?


FAIR

GOOD

EXCELLENT

SUPERIOR

SUPERIOR

TimingandPenalties

V PERFORMANCEPROCEDURES(CLASS5AALSOSEEVIBELOW)

A. SCBDAmarchingeventswillfollowtimingandscript:a. Bandswillenterthestagingareadesignatedbythesitehostasearlyas10minutespriorto

theirperformancetimetopre-stage,butnotbefore.Thisareawilltypicallybeanendzone,trackorbacksidline.

b. Bandswillhavetheoptiontopre-stageinstruments,equipment,props,anddrummajorpodiumsthatwillbesetalongthefrontofthefieldalongthefrontwall/fencenofartherthanthe20yardline.Thepre-stagingofthesemaynotinterferewiththeperformanceoftheperformingbandortheirexitfromthefieldasdeterminedbytheFieldManager.

c. OncuefromtheFieldManagerorT&PJudge,4minutespriortoaband’sscheduledperformancetime,theensemblewillbeallowedtocrossthegoalline(pre-stagelineforfrontequipment)andbegintheirsetupofinstruments,props,andotherequipmentasinstructedbytheFieldManagerorT&PJudge.Thefieldmanagermaydesignateasitehostvolunteertoassistwiththefrontsidelinepre-stagearea.

d. Intheeventofadelay,regardlessofcause,theFieldManagerwillcommunicatewiththeannouncerandT&PJudgeto“push”adeterminedamountoftime.Thiswillnotreducethenextband’sintervallength.TheT&PJudgewillthenworktomakeupthistimeorabsorbinintothenextbreak.

e. Duringthesetuptime,theensemblemayperformanonfieldwarmupandcheckanysound,light,orotherelectronicequipment.

f. Allgeneralstadium/siteannouncementswillstop2minutesintothesetuptime.g. 3minutesand15secondsintothesetuptime,theannouncerwillbegintheannouncement

script.B. Followingthecompletionofthepre-showannouncement,thefirstnoteofmusic,triggeredsample

orvisualmovement(notincludingthedrummajorsalute)byamemberofthebandwillstartthetimingoftheperformance.Iftheband’sdrummajorsaregoingtosalute,itshouldoccurastheannouncerisreading/announcingthesentenceabove.However,adrummajorsaluteisnotnecessarytoindicatethatthebandisreadytostart.

C. Bandswillbeallocated15minutesforfieldentry,warm-up,performance,andfieldexit.Minimumpenalty:.1forevery15secondsovertime.(Exampleorclarification:15:01–15:15=.1

penalty,15:16-15:30=.2penalty,andsoon)

D. Performancesmustbeaminimumofsixminutesandamaximumoftenminutes.Penalty:.1forevery15secondsoverorundertime.(Exampleorclarification:5:45-5:59=.1

Penalty,5:30-5:44=.2Penalty,andfurthermore10:01-10:15=.1Penalty,10:16-10:30=.2

Penaltyandsoon.)

E. willendwiththedrummajor'sclosingsaluteorlastnoteofmusic.Maximumpenalty:disqualification.Theassessmentofpenaltieswillbedeterminedbythesitechairman.

F. Bandsmayenterthefieldwithadrumcadence.Theywillexittoadrumtap(Adrumtapisdefinedasasimplerhythmpatternplayedbyasinglepercussionist,forthesinglepurposeofmaintainingstepanddecorumexiting-thefield.)Penalty:If,inthesitechairman'sjudgment,abandattemptstoleavethefieldtoadrumcadence,a.1penaltywillbeimposed.

G. Theuseofpyrotechnicsofanykindisstrictlyprohibited.Pyrotechnicsisdefinedasfireworks,dischargeofarms,oranyhazardous,combustible,orflammablematerial.Penalty:disqualification.

H. Theuseofmechanizedvehiclesoranimalsduringaperformanceisprohibited.Penalty:disqualification.

I. Therewillbenoverbalorwrittencommunicationpertainingtothemarchingeventswithanyadjudicatorpriortoorduringtheevent(i.e.librettos,scripts.etc.).Penalty:disqualification.

J. Nowirelesspublicaddressequipmentmaybeusedortestedduringaband’sdesignatedwarm-uptime.WirelessP.A.equipmentmayonlybetestedorusedontheperformancefield.Penalty:1pt.perinfractionatthediscretionofthesitecoordinator.

K. Section1:Definitions1. Performance

Themusicalandvisualprogrampresentedforadjudication.2. PerformanceArea

Theentiresurfaceofthestadium.3. PerformanceField

ThePerformanceFieldwillbearegulationsizefootballfieldwithendzonesandincludingtheareafromout-of-boundslinesontheendstotwelve(12)feetinfrontofthefrontsideline(360feetlong)andfromtheout-of-boundslinesontheendstothebacklimitofthefieldsurface,normallythebackgrandstandorwall.Theboundariesofthefieldwillbemarkedandthefieldwillbelinedeveryfiveyards.

4. PodiumPlacementTheareathatisanextensionofthe50-yardlinetothefrontlimitofthePerformanceAreashallbeleftopenbycontestoperationsfortheplacementofcompetingbanddrummajor/fieldconductorpodium.Beawarethattheareabetweenthepodiumandtheedgeofthefieldmayhavetraffic(cameras,judges,eventpersonnel,etc.)thatmovesthroughduringyourPerformance.

5. SpectatorAreaTheseatingareasandaisles;generally,theentirestadiumotherthanthePerformanceArea.

L.Section2:Performers1. Allmusicandvisualmovement/motionmustbeperformedbystudentperformersonly.No

adultsmayactivelyparticipateduringaband’sfieldperformance.(i.e.,livemusic,soundeffects,movableprops/backdrops,etc.)Exception:Adultsmaystandbehindaproptoholdorsecureitforchildsafety,butthatpropmustremainstationaryandnotbecomeinteractivewithinaband’sperformance.Parentsareallowedtoassistwiththepreandpost-performanceset-upandteardownasnormal.Penalty:•ForinadvertentorapparentlyunintendedpersonspresentinthePerformance

Field–0.1pointsperviolation•ForadultscontributingtoPerformance–0.5pointsper

violation

2. ExceptionsBandDirectorsmayconductduringtheperformancefromanyplaceoutsideofthePerformanceField,butwithinthePerformanceArea.Forpurposesofthisrule,aDirectormayalsoconductinthePerformanceAreafromanyplaceoutsidetheregulationfootballfieldbacksidelineandfromanyplacebeyondthefootballgoallines(includingareaswithintheregulationfootballfieldendzones).

M.UseofElectronics:Forthepurposesofbalancingtheelectronicmix,electronicsoundboardsmustbeoperatedbystudentsifwithintheperformancefield.Soundboardsmaybeoperatedoutsideoftheperformancefieldbystudentsorstaff.Ifthesound/mixingboardislocatedintheperformancefieldthenitmustbeoperatedbyastudentorwirelessly.Voiceoversandsoundeffectsmaybeprerecorded,however,thissectiononlypertainstobalancingofmixingboards.Fordirectionasitpertainstoinitiatingvoiceoversandsoundeffects,pleaserefertoSectionJ,Number1.Penalty:5.0perinfraction

Timing and Penalties

Timing

PERFORMANCE TIMING

Performances must be a minimum of 6 minutes and a maximum of 10 minutes. Timing will begin with the first note of music following the drum majors opening salute and will end with the drum major's closing salute or last note of music.

Start Time Penalty (if any) Stop Time Total Time x .01 for every 15 seconds over/under time

INTERVAL TIMING Bands will be allocated 15 minutes for field entry, warm-up, performance and field exit. Start Time

Stop Time

Total Time x .01 for every 15 seconds over time

Penalty (if any)

Penalties

Drum Cadence

Bands may only exit the performance field with a drum tap. .1 Penalty

Penalty (if any) Pyrotechnics The use of pyrotechnics of any kind is strictly prohibited. Pyrotechnics is defined as Disqualification

fireworks, discharge of arms, or any hazardous,combustible, or flammable material Penalty (if any)

Mechanized vehicles The use of mechanized vehicles or animals is prohibited Disqualification

Penalty (if any) Unauthorized participation No adults can actively participate during a band's performance in anyway. (i.e. live music, .5 per violation sound effects, movable props/backdrops, etc.) (unintentional) .1 per violation Penalty (if any)

Electronics

For the purpose of balancing electronic mix, electronic sound boards must be operated by students if within the performance field. Sound boards may be operated outside of 5.0 per infraction the performance field by students or staff. If the sound/mixing board is located within the performance field, it must be operated by a student or wirelessly.

Penalty (if any) Voiceovers and sound effects may be pre-recorded.

Adjudicator's

Signature

Total Penalty

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