percussion sheet back - western band associationcredit the demonstration of all components inherent...

Copyright © 2017 by Western Band Association (WBA). All rights reserved. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval systems, without permission in writing from the publishers. Published by Western Band Association, Walnut Creek, CA.

Production Value — Program Concept, Costumes, Color, PropsStaging and DesignPacing of Planned E�ects through TimeImpacts, Resolutions, ClimaxesContinuity and Flow Between E�ectsVariety of E�ectsImagination, Creativity, Originality

PROGRAM

S C O R E 1 0 0

CONSIDER who, what and why each e�ect occurs to complete the program.

Generate Emotion and Engagement with the AudienceDelivered Sustained Designed MoodDelivered Sustained Impacts, Resolutions and ClimaxesDelivered and Sustained Musicality and Artistic QualitiesCommunicated Excellence as an E�ect

PERFORMANCE

S C O R E 1 0 0

Presentation of Musical VoicesCoordination of Visual to MusicCoordination Between Visual ElementsVisual Enhancement of the MusicBlend of All Elements to Enhance Impact Points and Resolution

COORDINATION

S C O R E 1 0 0

T O T A L 3 0 0

VISUAL EFFECT

524946

BOX 2Rarely Discovers (FAIR)

45-47 48-50 51-54

BOX 1Seldom Experiences (WEAK)

4240-44

716457

BOX 3Sometimes Knows (GOOD)

55-60 61-67 68-74

918477

BOX 4Frequently Understands (EXCELLENT)

75-80 81-87 88-94

999795

BOX 5Always Applies (SUPERIOR)

95-96 97-98 99-100

Significant Di�erences

10 or more tenths

Definitive Di�erences

5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth

SUB CAPTION SPREAD GUIDELINES

IN CONSIDERING ALL COMPONENTS, WHO COORDINATED ALL ELEMENTS OF THE PROGRAM TO CREATE THE MORE EFFECTIVE WHOLE?

IN CONSIDERING ALL COMPENENTS, WHO WAS THE MOST VISUALLY EFFECTIVE?

IN CONSIDERING ALL COMPONENTS, WHO COMMUNICATED MOST STRONGLY, ENGAGED YOU MOST DRAMATICALLY AND MOST SUCCESSFULLY DELIVERED ALL ASPECTS OFFERED BY THE PROGRAM?

1 - 2 - 3 A B A N D S


Production Value — Program Concept, Costumes, Color, PropsStaging and DesignPacing of Planned E�ects through TimeImpacts, Resolutions, ClimaxesContinuity and Flow Between E�ectsVariety of E�ectsImagination, Creativity, Originality

PROGRAM

S C O R E 1 0 0

CONSIDER who, what and why each e�ect occurs to complete the program.

Generate Emotion and Engagement with the AudienceDelivered Sustained Designed MoodDelivered Sustained Impacts, Resolutions and ClimaxesDelivered and Sustained Musicality and Artistic QualitiesCommunicated Excellence as an E�ect

PERFORMANCE

S C O R E 1 0 0

Presentation of Musical VoicesCoordination of Visual to MusicCoordination Between Visual ElementsVisual Enhancement of the MusicBlend of All Elements to Enhance Impact Points and Resolution

COORDINATION

S C O R E 1 0 0

T O T A L 3 0 0

VISUAL EFFECT

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL COMPONENTS, WHO COORDINATED ALL ELEMENTS OF THE PROGRAM TO CREATE THE MORE EFFECTIVE WHOLE?

IN CONSIDERING ALL COMPENENTS, WHO WAS THE MOST VISUALLY EFFECTIVE?

IN CONSIDERING ALL COMPONENTS, WHO COMMUNICATED MOST STRONGLY, ENGAGED YOU MOST DRAMATICALLY AND MOST SUCCESSFULLY DELIVERED ALL ASPECTS OFFERED BY THE PROGRAM?

4 - 5 A B A N D S


CREDIT the demonstration of all components inherent in the art of music and percussion performance.

CONSIDER who, what and why each event occurs throughout the design, recognize all demands (technical, musical, environmental and physical) placed on the musicians in your consideration of achievement.

Use of Design Elements in Form, Body and Equipment

Depth and Quality of Design and Orchestration, both Throughout Time and In Layered Events

Designed Placement of Musical Voices

Reflection or Enhancement of the Audio, Including Dynamic E�ort Qualities

Characteristics, Detail and Nuance

COMPOSITION

S C O R E 1 0 0

Achievement of Spacing, Line, Timing, and Orientation

Achievement of Dynamic Gradations and E�ort Qualities

Adherence to Style in Equipment, Movement or Motion

Training, including Concentration, Stamina and Recovery

EXCELLENCE

S C O R E 1 0 0

T O T A L 2 0 0

ENSEMBLE VISUAL

524946


45-47 48-50 51-54


4040-44

716457


55-60 61-67 68-74

918477


75-80 81-87 99-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL PRINCIPLES, WHOSE DESIGN WAS BEST COMPOSED?

OVERALL, WHO HAD THE GREATER TRAINING AND ACHIEVEMENT?

1 - 2 - 3 A B A N D S




Use of Design Elements in Form, Body and Equipment

Depth and Quality of Design and Orchestration, both Throughout Time and In Layered Events

Designed Placement of Musical Voices

Reflection or Enhancement of the Audio, Including Dynamic E�ort Qualities

Characteristics, Detail and Nuance

COMPOSITION

S C O R E 1 0 0

Achievement of Spacing, Line, Timing, and Orientation



Training, including Concentration, Stamina and Recovery

EXCELLENCE

S C O R E 1 0 0

T O T A L 2 0 0

ENSEMBLE VISUAL

524946


45-47 48-50 51-54


42 40-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL PRINCIPLES, WHOSE DESIGN WAS BEST COMPOSED?

OVERALL, WHO HAD THE GREATER TRAINING AND ACHIEVEMENT?

4 - 5 A B A N D S


CREDIT the range and variety of the vocabulary and the training / achievement of the technical and expressive skills.

Range and Variety of All Moves

Impact of Body While Playing or While Manipulating Equipment

Variation in Spacing Responsibilities

Variations in Orientation

Variations in Tempo / Meter / Pulse

Expressive Range through Dynamic E�orts of Space, Time, Weight, Flow

VOCABULARY

S C O R E 1 0 0

Understanding of the Principle of Movement

Achievement of Spacing, Line, Timing and Orientation

Control of Visual Pulse

Training, Included Concentration, Stamina, and Recovery

Control of Body While Playing or While Manipulating Equipment

Achievement of Dynamic Gradation and E�ort Qualities

Adherence to Style in Marching, Motion or Equipment

EXCELLENCE

S C O R E 1 0 0

T O T A L 2 0 0

INDIVIDUAL VISUAL

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


VOCABULARY INCLUDES ALL THE SKILLS IN DRILL, BODY AND EQUIPMENT

RANGE OF MATERIAL MOST COMPATIBLE WITH PERFORMERS TRAINING

1 - 2 - 3 A B A N D S


CREDIT the range and variety of the vocabulary and the training / achievement of the technical and expressive skills.

Range and Variety of All Moves

Impact of Body While Playing or While Manipulating Equipment

Variation in Spacing Responsibilities

Variations in Orientation

Variations in Tempo / Meter / Pulse

Expressive Range through Dynamic E�orts of Space, Time, Weight, Flow

VOCABULARY

S C O R E 1 0 0

Understanding of the Principle of Movement


Control of Visual Pulse

Training, Included Concentration, Stamina, and Recovery

Control of Body While Playing or While Manipulating Equipment

Achievement of Dynamic Gradation and E�ort Qualities

Adherence to Style in Marching, Motion or Equipment

EXCELLENCE

S C O R E 1 0 0

T O T A L 2 0 0

INDIVIDUAL VISUAL

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


VOCABULARY INCLUDES ALL THE SKILLS IN DRILL, BODY AND EQUIPMENT

RANGE OF MATERIAL MOST COMPATIBLE WITH PERFORMERS TRAINING

4 - 5 A B A N D S


IN THE COMPARISON PROCESS, WHOSE AUXILIARY OFFERED THE BETTER:

Production Value — Costume, Color, Props, Grooming, Fulfillment of the Program Concept

Musicality including Meter, Tempo, Phrasing, Dynamics and Expressive E�ort Qualities

Depth and Quality of Design of Body and Equipment

Depth and Quality of Staging

E�ect Generated by This Section

Characteristics, Detailed Nuance

COMPOSITION

S C O R E 1 0 0

CREDIT the composing and orchestration of the auxiliary design, the e�ective support of the band program and the achievement of technical, expressive and communication qualities of performance. Be sensitive to the unique design challenges inherent in di�erent size bands.

IN THE COMPARISON PROCESS WHOSE PERFORMERS SHOWED THE GREATER:

Excellence / Achievement in Equipment and Body




Training, including Concentration Stamina and Recovery

Overall Look with Respect to Style and Clarity

EXCELLENCE

S C O R E 1 0 0

1 - 2 - 3 A B A N D S

T O T A L 2 0 0

AUXILIARY

524946


45-47 48-50 51-54


4240-44

716659


55-61 62-68 69-74

928880


75-84 85-90 91-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


WHO SHOWED THE BETTER TRAINING AND ACHIEVEMENT?

CONSIDERING ALL OF THE ABOVE, WHO BETTER ENHANCED THE BAND PROGRAM?

AUXILIARY -- CLASS IA - 2A - 3A

COMPOSITION -CLASS IA -2A -3A Credit the quality and depth of the composing, design and orchestration of stagittg, movement, equipment, and character (if appropriate).

Credit the effect generated by this section and the variety and depth of the equipment/movement vocabulary. Credit the reflection of the audio and artistic qualities.

Credit the successful enhancement of the band program

40-44 The staging and design of equipment and body is either completely unreadable or has no relationship to the music. 45-54 The auxiliary sect ion is occasionally staged an appropriate Iv to augment and support the design o f the band program. Effect generated by this section is at a beginning level, with some coordinated success. Visual musicality is reflected at a basic level, usually attempting to follow the melodic or rhythmic line. Dynamic expressive qualities are often not written Equipment and/or choreography writing is sporadic and occasionally successful in creating effect. The composing process in tem1s of horizontal planning through time and vertical layering is occasionally successful, but transitions or developmental areas may be weak. Vocabulary of equipment and/or body is at a beginning level and does not offer a great deal of variety. 55-74 The auxiliary section is usually staged appropriately to augment and support the design of the band program. Effect generated by this section is at a moderate level, with some good coordinated success. Visual musicality is reflected at an intermediate level, following the melodic or rhythmic line. A moderate degree of dynamic expressive qualities is written. Equipment and choreography is more often successful in creating effect. The composing process in terms of horizontal planning through time and vertical layering is basically correct and successful, but transitions or developmental areas may still be a challenge in design. Characteristics of the program are moderately included in the design and support the character, music or personality of the program. Vocabulary of equipment and/or body is at an intermediate level and offers moderate variety and some versatility. 75-94 The auxiliary section is consistently s t a g e d appropriately t o augment a n d support the design of the band p r o g r a m . Effect generated by this section is consistent, with ongoing coordinated success. Visual musicality is reflected consistently and occasionally may following multiple musical lines. A good degree of dynamic expressive qualities are written. Equipment and choreography is successful in creating effect. The composing process in terms of horizontal planning through time and vertical layering is well planned yielding success. Characteristics of the program are developing well within the design and support the character, music or personality of the program Transitions or developmental areas maintain a growing sense of design. Vocabulary of equipment and body offers a good range of variety and versatility. 95-100 The auxiliary section i s creative. There is quality in staging, and the section s u c c e s s f u l l y support s and enhances the design of the b a n d program. Effect generated by this section is well developed and successful l. Visual musicality is consistently reflected often following multiple musical lines. A good degree of dynamic expressive qualities is written. Equipment and choreography is successful in creating effect through quality techniques. The composing process in terms of horizontal planning through time and vertical layering is correct yielding good success. Characteristics of the program are detailed elevating the design quality through the reflection of the character, music or personality of the program. Transitions or developmental areas are a l w a y s correct in design. Vocabulary of equipment and body contains a broad range of variety and versatility.

EXCELLENCE - CLASS 1A -2A -3A Reward the performers for their technical, expressive and effective achievement.

Credit the communication skills of the performers as well as the overall look of the unit with regard to style & clarity.

40-44 The ensemble is inadequately trained to demonstrate the required principle s involving space, li ne or time. Effort qualities are beyond their d e v e l o p m e n t or not understood. There is no uniformity in responsibilities of aspects of drill, form and orientation. Breaks are constant. Skills are poorly achieved. Recovery is nonexistent. Concentration is weak. There is no adherence to style. Absence of these techniques negates the ability to communicate through performance. They are unprepared. 5-54 The ensemble shows some understanding of the principles involving space, line and time. Occasionally individuals reflect an understanding of moving through space. There are moments when the ensemble demonstrates dynamic gradations of space, time, weight and flow. There is some uniformity in equipment/dance timing and technique. Breaks and flaws are frequent. Recovery is attempted. Concentration varies. Stamina and demonstration of skills is sporadic. Technical and expressive excellence is inconsistent. Lack of confidence impairs the performers' ability to create effect through the communication of roles or qualities of performance. Adherence to style is occasionally demonstrated. 55-74 The ensemble achieves a more consist demonstration o f the principles involving space. line and time. There is growing consistency in the ability of the performers and how they move through space. There are longer periods of time when the ensemble achieves some dynamic gradations of space, time, weight and flow. The ensemble responsibilities are taking on greater clarity offering some opportunity to enhance the skill with dynamics. Fairly good uniformity exists in ensemble responsibilities of equipment/dance timing and technique. Characteristics of equipment and movement are developing. Breaks and flaws still occur but recovery is growing. Concentration and stamina are developing and are increasingly achieved. Growing confidence motivates the performers to create effect through the communication of roles or qualities of performance. Method and techniques reflect a growing degree of physical and mental development. Adherence to style is developing and is becoming evident and consistent. 75-94 The ensemble maintains a good sense of intermediate principles involving space, line and time. A consistent level of skill is demonstrated by the ensemble in moving through space. Visual dynamics are consistent in understanding and application. There is a good level of consistency in all responsibilities of equipment/dance timing and technique. Characteristics of equipment and movement are clearer and the ensemble e shows a good understanding in enhancing the skill with dynamic efforts. Breaks and flaws are infrequent and recovery is evident. Concentration and stamina are consistently displayed. Achievement is sustained and ongoing. A good sense of confidence motivates the performers to create ongoing effect through the communication of roles or qualities of performance most of the time. Methods and techniques reflect a good degree of physical and mental development. Adherence to style is now consistently evident. 95-100 The ensemble maintains a strong development of advanced principles i n v ol v i n g space, line and time. The ensemble moves through space with clarity and ease. A full range of effort qualities and dynamics is demonstrated with ease moving through gradations of space time, weight and flow. The ensemble displays strong uniformity in responsibilities equipment/dance timing and technique. The characteristics of equipment and movement are well defined and the ensemble shows a strong understanding in enhancing the skills with dynamic efforts. Breaks and flaws are few, and recovery is achieved well. Concentration and stamina are demonstrated throughout. There are constant dynamics elevating the performance. A developed level of confidence motivates the performers to create maximum effect through the communication of roles and qualities of performance. Methods and techniques reflect a high degree of physical and mental development. Adherence to style is excellent.


IN THE COMPARISON PROCESS, WHOSE AUXILIARY OFFERED THE BETTER:

Production Value — Costume, Color, Props, Grooming, Fulfillment of the Program Concept

Musicality including Meter, Tempo, Phrasing, Dynamics and Expressive E�ort Qualities

Depth and Quality of Design of Body and Equipment

Depth and Quality of Staging

E�ect Generated by this Section

Characteristics, Detailed Nuance

COMPOSITION

S C O R E 1 0 0

CREDIT the composing and orchestration of the auxiliary design, the e�ective support of the band program and the achievement of technical, expressive and communication qualities of performance. Be sensitive to the unique design challenges inherent in di�erent size bands.

IN THE COMPARISON PROCESS WHOSE PERFORMERS SHOWED THE GREATER:

Excellence / Achievement in Equipment and Body




Training, including Concentration Stamina and Recovery

Overall Look with Respect to Style and Clarity

EXCELLENCE

S C O R E 1 0 0

4 - 5 A B A N D S

T O T A L 2 0 0

AUXILIARY

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


WHO SHOWED THE BETTER TRAINING AND ACHIEVEMENT?

CONSIDERING ALL OF THE ABOVE, WHO BETTER ENHANCED THE BAND PROGRAM?

AUXILIARY -- CLASS 4A & SA

COMPOSITION -CLASS 4A & SA Credit the quality and depth of the composing, design and orchestration of staging, movement, equipment, and character (if appropriate).

Credit the effect generated by this section and the variety and depth of the equipment/movement vocabulary. Credit the reflection of the audio and artistic qualities.

Credit the successful enhancement of the band program

40-44 The staging and design of equipment and body is either completely unreadable or has no relationship to the music. 45-54 The auxiliary sect i on is occasionally staged appropriately to augment and sup port the design of the band program. Effect generated by this section is at a beginning level, with some coordinated success. Visual musicality is reflected at a basic level, usually attempting to follow the melodic or rhythmic line. Dynamic expressive qualities are often not written Equipment and/or choreography writing is sporadic and occasionally successful in creating effect. The composing process in terms of horizontal planning through time and vertical layering is occasionally successful, but transitions or developmental areas may be weak. Vocabulary of equipment and/or body is at a beginning level and does not offer a great deal of variety. 55-74 The auxiliary section i s usually s t a g e d appropriately to augment and support t h e design of the band p r o g r a m . Effect generated by this section is at an intermediate level, with good coordinated success. Visual musicality is reflected at an intermediate level, following the melodic or rhythmic line. A moderate degree of dynamic expressive qualities are written. Equipment and choreography is often successful in creating effect. The composing process in terms of horizontal planning through time and vertical layering is often successful, but transitions or developmental areas may still be a challenge in design. Characteristics of the program are moderately included in the design and support the character, music or personality of the program. Vocabulary of equipment and/or body is at an intermediate level and offers moderate variety and some versatility. 75-94 The auxiliary section is always staged appropriately to augment and support the design of the band program. Effect generated by this section is consistent and strong, with ongoing coordinated success. Visual musicality is reflected at an advanced level, following multiple musical lines. A broad degree of dynamic expressive qualities are written.. .Equipment and choreography is highly successful in creating effect. The composing process in terms of horizontal planning through time and vertical layering is well planned yielding strong success. Characteristics of the program are well detailed within the design and consistently support the character, music or personality of the program Transitions or developmental areas maintain quality design. Vocabulary of equipment and body is at an advanced level and offers a broad range of variety and versatility. 95-10 The auxiliary section is innovative and creative. There are new standards in staging and the section fully supports and enhances the design of the band program. Effect generated by this section is fully developed with sophisticated and detailed coordinated success. Visual musicality is fully reflected at an advanced level, following multiple musical lines and including nuance and sophisticated reflection of musical understanding. A full degree of dynamic expressive qualities are written. Equipment and choreography is always successful in creating effect through creative and standard setting techniques. The composing process in terms of horizontal planning through time and vertical layering is maximized yielding total success. Characteristics of the program are fully detailed elevating the design quality through the reflection of the character, music or personality of the program. Transitions or developmental areas are superior in design. Vocabulary of equipment and body sets new standards with the broadest range of variety and versatility.

EXCELLENCE - CLASS 4A & SA Reward the performers for their technical, expressive and effective achievement.

Credit the communication skills of the performers as well as the overall look of the unit with regard to style & clarity.

40-44 The ensemble is inadequately trained to demonstrate the required principles involving space, line or time. Effort qualities are beyond their development or not understood. There is no uniformity in equipment, body, drill, form and orientation. Breaks are constant. Skills are poorly achieved. Recovery is nonexistent. Concentration is weak. There is no adherence to style. Absence of these techniques negates the ability to communicate through performance. They are unprepared. 45-54 The ensemble shows some understanding of the principles involving space, line and time. Occasionally individuals reflect an understanding of moving through space. There are moments when the ensemble demonstrates dynamic gradations of space, time, weight and flow. There is some uniformity in equipment, movement, drill, form and orientation. Breaks and flaws are frequent. Recovery is attempted. Concentration varies. Stamina and demonstration of skill s is sporadic. Technical and expressive excellence is inconsistent. Lack of confidence impairs the performers ' ability to create effect through the communication of roles or qualities of performance. Adherence to style is occasionally demonstrated. 55-74 The ensemble achieves a more consist demonstration of the principles involving space, line and time. There is growing consistency in the ease with which individual s move through space. There are longer periods of time when the ensemble achieves dynamic gradations of space, time, weight and flow. The ensemble responsibilities are taking on greater clarity offering moderate opportunity to enhance the skill with dynamics. Fairly good uniformity exists in ensemble responsibilities of equipment, movement, drill, form and orientation. Characteristics of equipment and movement are developing. Breaks and flaws still occur but recovery is evident. Concentration and stamina are developing and are moderately achieved. Growing confidence motivates the performers to create effect through the communication of roles or qualities of performance. Method and techniques reflect a good degree of physical and mental development. Adherence to style is developing and is usually evident and consistent. 75-94 The ensemble maintains a high Iv-developed sense of advanced principles involving space, line and time. A consistent level of skill is demonstrated by the ensemble in moving through space. Visual dynamics are consistent and strong in understanding and application. There is a high level of consistency in all responsibilities of equipment, movement, drill, form and orientation. Characteristics of equipment and movement are very clear and the ensemble shows a strong understanding in enhancing the skill with dynamic efforts. Breaks and flaws are infrequent and recovery is evident and quick. Concentration and stamina are constantly displayed. Achievement is sustained and ongoing. A strong sense of confidence motivates the performers to create ongoing effect through the communication of roles or qualities of performance most of the time. Methods and techniques reflect a high degree of physical and mental development. Adherence to style is consistently evident. 95-100 The ensemble maintains a superior development of advanced principles involving space, line and time. The ensemble always moves through space with clarity and ease. The fullest range of effort qualities and dynamics is demonstrated with ease moving through sophisticated gradations of space time, weight and flow. The ensemble displays superior uniformity in equipment, movement, drill, form and orientation. The characteristics of equipment and movement are standard setting and the ensemble shows a superior understanding in enhancing the skills with dynamic efforts. Breaks and flaws are virtually non-existent and recovery is effortless. Concentration and stamina are demonstrated in a superior manner. There are optimum dynamics elevating the performance to a new level. A fully developed level of confidence motivates the performers to create maximum effect through the communication of roles and qualities of performance throughout. Methods and techniques reflect the highest degree of physical and mental development. Adherence to style is superb. There is a crystallization of all efforts.


Production Value — Music Arrangements, ConceptPacing of Musical E�ects through TimeContinuity and Flow between Musical E�ectsVariety of Musical E�ectsImagination Creativity, Originality

PROGRAM

S C O R E 1 0 0

Generated Emotion and Engagement with AudienceDemonstrated Artistic and Technical AbilityDelivered and Sustained Designed MoodDelivered and Sustained Impacts, Resolutions and ClimaxesDemonstrated Musicianship and ArtistryDemonstrated Excellence as an E�ect

PERFORMANCE

S C O R E 1 0 0

Inter-relationship of All Musical ElementsCoordination of Percussion to WindsCoordination of Winds to WindsE�ective Presentation / Staging of Musical Voices

COORDINATION

S C O R E 1 0 0

T O T A L 3 0 0

MUSIC EFFECT

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL COMPONENTS, WHO COORDINATD ALL ELEMENTS OF THE MUSICAL PROGRAM TO CRATE AN EFFECTIVE MOOD?

IN CONSIDERING ALL COMPENENTS, WHO WAS THE MOST MUSICALLY EFFECTIVE?

IN CONSIDERING ALL COMPONENTS, WHO COMMUNICATED MOST STRONGLY, ENGAGED YOU MOST DRAMATICALLY AND MOST SUCCESSFULLY DELIVERED ALL MUSICAL ASPECTS OFFERED BY THE PROGRAM?

CONSIDER who, what and why each musical e�ect occurred to complete the program.

1 - 2 - 3 A B A N D S


Production Value — Music Arrangements, ConceptPacing of Musical E�ects through TimeContinuity and Flow between Musical E�ectsVariety of Musical E�ectsImagination Creativity, Originality

PROGRAM

S C O R E 1 0 0

Generated Emotion and Engagement with AudienceDemonstrated Artistic and Technical AbilityDelivered and Sustained Designed MoodDelivered and Sustained Impacts, Resolutions and ClimaxesDemonstrated Musicianship and ArtistryDemonstrated Excellence as an E�ect

PERFORMANCE

S C O R E 1 0 0

Inter-relationship of All Musical ElementsCoordination of Percussion to WindsCoordination of Winds to WindsE�ective Presentation / Staging of Musical Voices

COORDINATION

S C O R E 1 0 0

T O T A L 3 0 0

MUSIC EFFECT

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL COMPONENTS, WHO COORDINATD ALL ELEMENTS OF THE MUSICAL PROGRAM TO CRATE AN EFFECTIVE MOOD?

IN CONSIDERING ALL COMPENENTS, WHO WAS THE MOST MUSICALLY EFFECTIVE?

IN CONSIDERING ALL COMPONENTS, WHO COMMUNICATED MOST STRONGLY, ENGAGED YOU MOST DRAMATICALLY AND MOST SUCCESSFULLY DELIVERED ALL MUSICAL ASPECTS OFFERED BY THE PROGRAM?

CONSIDER who, what and why each musical e�ect occurred to complete the program.

4 - 5 A B A N D S


Balance of all the Winds and PercussionEnsemble Blend and CohesivenessSimultaneity of Events an the Focal Point of SoundTempo Pulse Control, Rhythmic InterpretationUniformity of Articulations

BALANCE AND TIMING

S C O R E 1 0 0

Consistency of Timbre / SonorityTuning of InstrumentsMelodic and Harmonic IntonationMuscle Control as relates to Tone ProductionBreath Support, Embouchure, Forearm, Wrist, Etc.

TONE QUALITY AND INTONATION

S C O R E 1 0 0

PhrasingExpressionStyleIdiomatic Interpretation

MUSICIANSHIP

S C O R E 1 0 0

T O T A L 3 0 0

ENSEMBLE MUSIC

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL COMPONENTS, WHICH ENSEMBLE BETTER EXPRESSED THE ART OF MUSIC?

IN CONSIDERING ALL COMPONENTS, WHICH ENSEMBLE PRODUCED THE BETTER QUALITY OF SOUND?

CREDIT the demonstration of all components inherent in the art of music.

1 - 2 - 3 A B A N D S


Balance of all the Winds and PercussionEnsemble Blend and CohesivenessSimultaneity of Events an the Focal Point of SoundTempo Pulse Control, Rhythmic InterpretationUniformity of Articulations

BALANCE AND TIMING

S C O R E 1 0 0

Consistency of Timbre / SonorityTuning of InstrumentsMelodic and Harmonic IntonationMuscle Control as relates to Tone ProductionBreath Support, Embouchure, Forearm, Wrist, Etc.


S C O R E 1 0 0


MUSICIANSHIP

S C O R E 1 0 0

T O T A L 3 0 0

ENSEMBLE MUSIC

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


IN CONSIDERING ALL COMPONENTS, WHICH ENSEMBLE BETTER EXPRESSED THE ART OF MUSIC?

IN CONSIDERING ALL COMPONENTS, WHICH ENSEMBLE PRODUCED THE BETTER QUALITY OF SOUND?


4 - 5 A B A N D S


Quality and Techniques of Method and Timing of Winds and PercussionNote Accuracy, Attacks and ReleasesUniformity of ArticulationUniformity of Enunciation and Tongue TechniqueStick Control, Arm and Wrist TechniquesQuality of Rhythmic InterpretationControl of Tempo and Pulse

METHOD AND TIMING

S C O R E 1 0 0

Consistency of Timbre / SonorityTuning of InstrumentsMelodic and Harmonic IntonationMuscle Control as Relates to Tone ProductionBreath Support, Embouchure, Forearm, Wrist, Etc.Membrane Tuning throughout all the Battery Percussion


S C O R E 1 0 0


MUSICIANSHIP

S C O R E 1 0 0

T O T A L 3 0 0

INDIVIDUAL MUSIC

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


WHICH INDIVIDUALS BETTER ESPRESSED THE ART OF MUSIC?

WHICH MUSICIANS DEMONSTRATED THE BETTER QUALITY OF SOUND?


1 - 2 - 3 A B A N D S


Quality and Techniques of Method and Timing of Winds and PercussionNote Accuracy, Attacks and ReleasesUniformity of ArticulationUniformity of Enunciation and Tongue TechniqueStick Control, Arm and Wrist TechniquesQuality of Rhythmic InterpretationControl of Tempo and Pulse

METHOD AND TIMING

S C O R E 1 0 0

Consistency of Timbre / SonorityTuning of InstrumentsMelodic and Harmonic IntonationMuscle Control as Relates to Tone ProductionBreath Support, Embouchure, Forearm, Wrist, Etc.Membrane Tuning throughout all the Battery Percussion


S C O R E 1 0 0


MUSICIANSHIP

S C O R E 1 0 0

T O T A L 3 0 0

INDIVIDUAL MUSIC

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


WHICH INDIVIDUALS BETTER ESPRESSED THE ART OF MUSIC?

WHICH MUSICIANS DEMONSTRATED THE BETTER QUALITY OF SOUND?


4 - 5 A B A N D S


IN THE COMPARISON PROCESS, WHOSE MUSICIANS SHOWS THE GREATER:

Uniformity of Quality of Technique

Precision and Clarity

Vertical Alignment and Tempo Control

Blend and Balance

Sound Production and Tuning

TECHNICAL

S C O R E 1 0 0



IN THE COMPARISON PROCESS, WHOSE MUSICIANS AND PROGRAM OFFERED THE BETTER:

Musicianship

Communication and Interpretation

Variety and Musical Support of the Ensemble

Program Continuity and Pacing

Fully Inclusive Percussion Contribution Through Time

Coordination of Musical and Visual Design

ARTISTIC

S C O R E 1 0 0

1 - 2 - 3 A B A N D S

T O T A L 2 0 0

PERCUSSION

In considering all components who better enhanced the band program and was most musically e�ective

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 96-97 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


PERCUSSION -- CLASS 1A, 2A & 3A

ARTISTRY Credit the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the

whole musical package. Consider the percussion contribution through time, as well as the variety and depth of the musical demand in support of the music

ensemble performance. Consideration should be given to the use of all percussion elements presented.

ARTISTRY CRITERIA (1A-3A)

40-44 The percussion section is seldom competent through the design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. Contribution of the percussion music through time rarely maintains a good impact on the musical repertoire. The variety and depth of the musical demand rarely supports the music ensemble's performance. The percussion music seldom achieves quality in its involvement.

45-54 The percussion section is occasionally competent through the design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time occasionally maintains a good impact on the musical repertoire. The variety and depth of the musical demand occasionally supports the music ensemble's performance. Percussion elements presented are occasionally attempting to achieve quality in their involvement.

55-74 The percussion section is sometimes competent through the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time sometimes maintains a good impact on the musical repertoire. The variety and depth of the musical demand usually supports the music ensemble's performance. All percussion elements presented are sometimes of good quality in their involvement.

75-95 The percussion section is moderately successful in achieving creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time maintains a moderate impact on the musical repertoire. The variety and depth of the musical demand often supports the music ensemble's performance. All percussion elements presented are of good quality in their involvement.

95-100 The percussion section demonstrates excellent achievement for HS marching bands through the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time maintains a creative and imaginative scoring. The variety and depth of the musical demand constantly supports the music ensemble performance. All percussion elements presented are of excellent quality in their involvement

TECHNIQUE Reward the performers for their technical and appropriate expressive achievement.

Consider precision, tempo control, blend and balance, musicianship, showmanship, and tuning. Grade the overall quality of all voices with regard to style, content, and clarity.

EXCELLENCE CRITERIA (1A-3A)

40-44 Performers do not demonstrate a level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are not demonstrated. The overall quality of all voices with regard to style, demand, and clarity is not achieved, and the students show no understanding of these musical skills.

45-54 Performers occasionally demonstrate a level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are seldom demonstrated. The overall quality of all voices with regard to style, demand, and clarity is rarely achieved, and the students show an immature understanding of these musical skills.

55-74 Performers demonstrate a growing, good level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are sometimes demonstrated. The overall quality of all voices with regard to style, demand, and clarity is sometimes achieved, and the students show a growing understanding of these musical skills.

75-94 Performers demonstrate a moderately successful level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are moderately strong. The overall quality of all voices with regard to style, demand, and clarity is good, and the students show a good understanding of these musical skills.

95-100 Performers demonstrate an excellent level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are excellent. The overall quality of all voices with regard to style, demand, and clarity is excellent.


IN THE COMPARISON PROCESS, WHOSE MUSICIANS SHOWS THE GREATER:

Uniformity of Quality of Technique

Precision and Clarity

Vertical Alignment and Tempo Control

Blend and Balance

Sound Production and Tuning

TECHNICAL

S C O R E 1 0 0



IN THE COMPARISON PROCESS, WHOSE MUSICIANS AND PROGRAM OFFERED THE BETTER:

Musicianship

Communication and Interpretation

Variety and Musical Support of the Ensemble

Program Continuity and Pacing

Fully Inclusive Percussion Contribution Through Time

Coordination of Musical and Visual Design

ARTISTIC

S C O R E 1 0 0

4 - 5 A B A N D S

T O T A L 2 0 0

PERCUSSION

In considering all components who better enhanced the band program and was most musically e�ective

524946


45-47 48-50 51-54


4240-44

716457


55-60 61-67 68-74

918477


75-80 81-87 88-94

999795


95-96 97-98 99-100


10 or more tenths


5 to 9 tenths

Minor Di�erences

3 to 4 tenths

Very Comparable

1 to 2 tenth


PERCUSSION -- CLASS 4A, 5A

ARTISTRY Credit the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the

whole musical package. Consider the percussion contribution through time, as well as the variety and depth of the musical demand in support of the music

ensemble performance. Consideration should be given to the use of all percussion elements presented.

ARTISTRY CRITERIA (4A-5A)

40-44 The percussion section is seldom competent through the design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. Contribution of the percussion music through time rarely maintains a good impact on the musical repertoire. The variety and depth of the musical demand rarely supports the music ensemble's performance. The percussion music seldom achieves quality in its involvement.

45-54 The percussion section is occasionally competent through the design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time occasionally maintains a good impact on the musical repertoire. The variety and depth of the musical demand occasionally supports the music ensemble's performance. Percussion elements presented are occasionally attempting to achieve quality in their involvement.

55-74 The percussion section is sometimes competent through the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time usually maintains a good impact on the musical repertoire. The variety and depth of the musical demand usually supports the music ensemble's performance. All percussion elements presented are of moderately good quality in their involvement.

75-95 The percussion section is always very competent through creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time maintains a strong impact on the musical repertoire. The variety and depth of the musical demand frequently supports the music ensemble's performance. All percussion elements presented are of good quality in their involvement.

95-100 The percussion section sets the highest standard for HS marching bands through the creative design quality and depth of the enhancement and interpretation of the percussion music as an integral part of the whole musical package. The percussion contribution through time maintains a creative and imaginative scoring. The variety and depth of the musical demand constantly supports the music ensemble performance. All percussion elements presented are of the highest quality in their involvement.

TECHNIQUE Reward the performers for their technical and appropriate expressive achievement.

Consider precision, tempo control, blend and balance, musicianship, showmanship, and tuning. Grade the overall quality of all voices with regard to style, content, and clarity.

EXCELLENCE CRITERIA (4A-5A)

40-44 Performers do not demonstrate a level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are not demonstrated. The overall quality of all voices with regard to style, demand, and clarity is not achieved, and the students show no understanding of these musical skills.

45-54 Performers occasionally demonstrate a level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are seldom demonstrated. The overall quality of all voices with regard to style, demand, and clarity is rarely achieved, and the students show an immature understanding of these musical skills.

55-74 Performers demonstrate a growing, good level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are sometimes demonstrated. The overall quality of all voices with regard to style, demand, and clarity is sometimes achieved, and the students show a growing understanding of these musical skills.

75-94 Performers demonstrate a well-developed level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are very strong. The overall quality of all voices with regard to style, demand, and clarity is obvious, and the students show a good understanding of these musical skills.

95-100 Performers demonstrate the highest level of technical and appropriate expressive achievement for HS marching band. Precision, tempo control, blend and balance, musicianship, showmanship, and tuning are always superior. The overall quality of all voices with regard to style, demand, and clarity sets new standards.

percussion sheet back - western band associationcredit the demonstration of all components inherent...

Documents