flute rubric: student (extended version) · pdf fileflute rubric: student (extended version)...

Flute Rubric: Student (Extended Version)Flute Rubric: Student (Extended Version)Flute Rubric: Student (Extended Version)Flute Rubric: Student (Extended Version)Flute Rubric: Student (Extended Version)Flute Rubric: Student (Extended Version)Beginning (1)

Meets exemplary technique 0-30% of the time and/or 0-30% of the

exemplary techniques are performed

Developing (2) Meets exemplary technique

30-60% of the time and/or 30-60% of the exemplary techniques are

performed

Accomplished (3) Meets exemplary technique


performed

Exemplary (4) The below descriptions occur 80-99% of the

time and/or 80-99% of the exemplary techniques are performed

TOTAL

Posture (5)

Hand/Finger Position (4)

Breathing (5)

Technical Facility (3)

Incorrect posture might include slouched shoulders, rounded back, chin pointed forward, pushing neck forward, head tilted to one side (probably right side), end of flute drastically pointed toward floor, collapsed arms toward body. Flute to embouchure angle is not perpendicular. Arm might be seen incorrectly behind the back of or resting on the chair.

Incorrect posture might include slightly rounded back, neck position slightly forward, flute angle droops a little from perpendicular. Flute to embouchure angle is not perpendicular.

Incorrect posture might include a flute-body angle of less than 90 degrees (not perpendicular to floor), collapsed arms, some slouching forward (either in shoulders, back, or neck), flute angle to embouchure is greater than 90 degrees (not perpendicular).

Straight back (as if standing against a wall with a small pillow behind neck, shoulders above hips, neck long and straight, chin is perpendicular to floor, arms at 90 degree angle at elbow and away from body. If sitting, back is straight (against seat back or otherwise), feet hip width apart or wider. If standing: feet hip width apart or wider (possibly left foot in front of left foot).

Incorrect position might include locked finger joints, playing with finger tips (near finger nail) instead of pads of fingers, knuckles bent, wrist bent up or down, distance between finger tips is more than 1/2’’-3/4’’. Thumb is bent and holding flute on tip (near finger nail) instead of pad of thumb.

Incorrect position might include higher than 1’’ finger height above keys, hyper extended finger joints, playing with tips of fingers, right wrist bent down, pinky fingers reaching further than approximately 1 1/2’’.

Incorrect position might include finger height higher than 1/2’’-1’’, head might be slightly tilted but mouth-flute angle is perpendicular (flute slopes the same amount as the head).

Fingers relaxed (fingers straight with slight rounding, finger joints not locked), is in a position as if hanging arm at side naturally (makes a slightly collapsed “C” shape with thumb and fingers). Top of hand and wrist are flat. Use of pads of fingers to cover key holes. Thumb is under index or second finger. Finger height remains no higher than 1/2’’-1’’ above keys.

Incorrect breathing technique might include high pitched vocalization during inhale, inhale though nose, raised shoulders and tightening of core during intake, collapse of shoulders and core during exhale. Exhale may be erratic (bumps in sound caused by air exhaled in uneven bursts).

Incorrect breathing technique might include breathing only into the chest cavity (and not into the mid section), vocalized breath (high/middle range pitch vocalized), shoulders raise during inhale, during exhale, shoulders collapse inward.

Incorrect breathing techniques may include slight raise of shoulders during intake and a slight collapse of core during exhale. Exhale is a steady stream of air (no bumps in tone nor sudden bursts of air).

Open mouth breath, minimal vocal sound during inhale (if sound, low pitch opposed to high pitch), chest cavity fills, middle section fills (including area around rib cage, back, and potentially the stomach). Shoulders remain low and do not raise during inhale. During exhale, core posture remains erect and straight (as if standing against a wall) and does not collapse.

Incorrect technical facility techniques might include finger height above keys that exceeds 3’’, fingers make a loud sound when placed on keys, fingers and tongue are not aligned with each other and their onsets occur at vastly different times.

Incorrect technical facility techniques might include finger height above keys between 2’’-3’’, fingers make some sound when placed on the keys, fingers and tongue are not aligned (onsets occur at different times).

Incorrect technical facility techniques might include finger height above keys between 1’’-2’’, fingers make no sound when placed on keys, fingers and tongue are aligned with each other (their onsets occur at the same moment with few exceptions).

Finger height remains low (approximately 1/2’’-1’’ above keys) during all passages. Fingers make no sound when placed on keys, and fingers and tongue are aligned (in rhythm and time (their onsets occur at the same moment with very few or no exceptions).






performed



performed



TOTAL

Tone (4)

Embouchure (3)

Articulation (3)

Intonation (4)

Vibrato (3)

Incorrect tone might include whispy, airy sounds with little to no harmonics in low register. Tone is inconsistent and unstable.

Incorrect tone might include some airy sounds, rich tone (when applicable) is not present, few harmonics are heard in the sound, tone is stable part of the time with some bumps in the sound.

Incorrect tone might include rich tone (lots of harmonics present) when applicable, some tonal range is present (rich, light, translucent, etc.), tone is stable and consistent.

Tone quality is steady, when appropriate different colors can be created (light, heavy, rich, etc.), tone can be resonant and upper harmonics are present when appropriate. Rich tones with harmonics present in low register and rich tones with fewer harmonics in the upper register (not airy, whispy).

Incorrect embouchure might include tight lips (upper and lower), tight corners of the mouth, very small aperture opening, lips are rolled in towards teeth.

Incorrect embouchure might include small aperture opening, tight upper lip (rolled in towards teeth), but some flexibility in embouchure production in terms of range (air stream pointing up in upper register and air stream pointing down in lower register).

Incorrect embouchure might include slightly tight corners, flat/oval aperture opening, lots of movement in lower lip/jaw to overcompensate for register shifts.

Round aperture opening, upper and lower lips in the shape of “two,” corners engaged when appropriate but not tight, small movements to assist in register shifts, but almost imperceivable movements.

Incorrect articulation might include air onsets or a “huh” onset (while this is a good practice exercise, it is not appropriate unless marked in score). Fingers and tongue onsets do not occur at the same moment.

Incorrect articulation might include “Thhoo” onsets or air onsets (when inappropriate to repertoire). Tongue and finger onsets do not occur at the same moment.

Incorrect articulation might include tonguing with too harsh of an onset creating a “TTToo” sound with less tone, tongue creates the onset of tone rather than air.

Use of “Tah,” “Too,” “Doo,” or “Doh.” Tongue is present when appropriate in repertoire, tonguing is style appropriate, tongue is not heard over the tone (unless repertoire appropriate/marked in score), air creates the onset of sound and the tongue merely facilitates the start of the sound (can be heard if there is a clear beginning of the tone but the tonguing sound does not overpower the tone).

Incorrect intonation might include pitch variation during all ranges, dynamics, articulations, and throughout ensemble (if applicable). Pitch moves considerable (20 cents) when vibrato is used.

Incorrect intonation might include pitch variation during upper and lower registers, dynamics between p-f, and pitch in ensemble does not match (if applicable). Pitch is influenced by vast, wide vibrato

Incorrect intonation might include pitch variance during extreme ranges and extreme dynamics. Pitch in ensemble matches during most of the performance except extreme dynamics and ranges (if applicable). Pitch is not influenced by vibrato.

Pitch of the flute matches the pitch of the other ensemble members (when applicable), pitch remains consistent despite dynamics, range, articulations, tone, and styles. Intonation is not influenced by vibrato.

Vibrato is not present. Vibrato is slower than sixteenth notes at quarter note = 60 beats per minute. Vibrato changes the pitch of any note in any range at any dynamic. Vibrato is erratic or sounds incomplete.

Vibrato is not appropriate to style and changes pitch of tone during extreme ranges and dynamics. Vibrato is erratic (sometimes uses vibrato sometimes does not use vibrato for no apparent musical reason).

Incorrect vibrato might include slightly too high of a velocity (breaches the confines of the tone, making the vibrato more apparent than the tone), vibrato might be style inappropriate at times, vibrato does not effect pitch center of tone. Vibrato use can be musically justified (slow to fast as phrase progresses).

Vibrato speed and velocity is style appropriate (fast shimmery French, slower wider modern, and variations), player incorporates vibrato changes if appropriate, vibrato does not change the pitch of any given tone, and vibrato remains within the sound of the tone: Tone remains steady and smooth (vibrato does not breach the confines of the sound of the tone, making the vibrato more apparent than the tone). Vibrato use can be musically justified (slow to fast as phrase progresses).






performed



performed



TOTAL

Musicality (4)

Performance Etiquette (2)

Inappropriate musicality might include no dynamic changes, consistently frequent breaths (every few notes depending on tempo/style of repertoire),

Inappropriate musicality might include small/no dynamic changes, subito dynamic changes when crescendos/decrescendos are marked, irregular phasing when regular is appropriate, phrases interrupted by breaths.

Inappropriate musicality might include shorter phrases when long phrases are appropriate, short phrases when long phrases are appropriate.

Phrases are musically appropriate (often longer rather than shorter), tone is uninterrupted within a single phrase, dynamics are fluid or subito when appropriate and offer a large variation.

Very subjective: Incorrect performance etiquette might include walking on stage without looking at audience (if applicable), slouches, does not regard ensemble members (if applicable), does not bow at end of performance (if applicable), shows mistakes with facial expressions or body language.

Very Subjective: Incorrect performance etiquette might include walking on stage inappropriately slowly, not bowing after performance, shows mistakes on face or with body language.

Very Subjective: Incorrect performance etiquette might include bowing after performance only with head or for a very short amount of time (less than one second). Performer may slouch or look unhappy on performing area (if applicable - music may call for an unhappy demeanor).

Very Subjective: Confident stage presence: Regards audience, bows after performance for at least three seconds, (if applicable), acknowledges ensemble members (if applicable), regards audience applause in some way, walks on stage (or performing area) quickly and without hesitation, music is arranged appropriately, music stand is a height where performer uses exemplary posture and audience can still see the performer.

GRAND TOTAL

flute rubric: student (extended version) · pdf fileflute rubric: student (extended version)...

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