Southern California School Band & Orchestra Association

FESTIVAL GUIDE for DIRECTORS (revised January, 2016)

CONTACTS Website: www.scsboa.org SCSBOA Office Manager

VP- Festivals

Amy Mack 1902 Wright Place, Suite 200 Carlsbad, CA 92008 Email: [email protected]

Nancy Robinson 4465 Randall Road Riverside, CA 92501 Phone: (951) 782-8253 Email: [email protected]

VP-Festival Adjudication

VP-Medals & Awards

Brendan McBrien 271 S. Craig Drive Orange, CA 92869 Phone: (714) 392-6853 Email: [email protected]

Neil Anderson 5509 Old Ranch Road #14 Oceanside, CA 92057 Phone: (619) 254-7065 Email: [email protected]

WHO TO CONTACT WITH SPECIFIC QUESTIONS: Office Manager – questions related to membership or festival registration VP-Festival Adjudication – questions related to adjudicators or adjudication VP Medals & Awards – questions related to awards and plaques VP-Festivals – all other questions related to festival

All questions related to music or music selection should be addressed to the VP-Music Lists, Joe Dudek at: [email protected]

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FESTIVAL GUIDE FOR DIRECTORS The purpose of this publication is to provide information about the Band & Orchestra and the Solo/Ensemble festivals sponsored by the Southern California Band & Orchestra Association.. The information is primarily for teachers who are either new to the field or who are new to Southern California and the SCSBOA. This guide was compiled by the members of the Festival Adjudication Committee listed below and is patterned after the Festival Host Manual written by Mr. Ken Gammie and Mr. Roger Olsen. The Festival Adjudication Committee members from 1989 to 1993 served three-year terms on a rotating basis. The Festival Adjudication Committee is chaired by the Vice President of Festival Adjudication and the committee also includes the Vice Presidents of Festivals, and Music Lists.

Festival Adjudication Committee Members for 1989-1993: Joseph Acciani Doug Hargis James Arnwine Jack Hollander Lida Beasley Roger Johnson Tom Cole Harry Leff Merv Corner Wayne Reinecke Darlent Hale Don Williams Martin Handelman Revised by the Festival Adjudication Committee for 2001-2003: Robert Dunham Karl Fitch Mark Lowery Nancy Robinson Barbara Scholl Larry White Updated by Mark Wadleigh, VP Festivals, 2007 Updated by Adelle Glass, VP-Festivals, 2012 Updated by Nancy Robinson, VP-Festivals, 2016

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TABLE OF CONTENTS Festival Philosophy Purpose of Festivals

page 4 page 4

SECTION ONE – Band & Orchestra Festivals Selection of a Festival Selection of Music Policy on Scores Incomplete Instrumentation Adding Music to the Festival List Procedures Prior to the Festival At the Festival The Sight-reading Experience After the Festival

page 5 page 5 page 6 page 6 page 6 page 7 page 7 page 8 page 9 page 11

SECTION TWO – Solo/Ensemble Festivals Selection of a Festival Guidelines for Performance General Information – FAQ Procedures At the Festival The Performance & Adjudication Process Command Performance After the Festival

page 12 page 12 page 12 page 12 page 13 page 13 page 13 page 14 page 14

SECTION THREE – Forms and Reference Materials Forms Application for Band & Orchestra Festival Application for Solo/Ensemble Festival Director’s Checklist Sample Parent Letters Evaluation of Festival Adjudication, B&O Festival Festival Evaluation, B&O Festival Festival Evaluation, S/E Festival Student Listening Guide and Comment Sheet Reference Materials Definition of Terms Festival Music Level Selection Guidelines Directions for Determining Grade Classification Festival Adjudicator Apprentice Program Standards for Festival Ratings/Festival Scoring Rubric Festival Performance Criteria

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page 15 page 16 page 17 page 18 page 20 page 21 page 22 page 23 page 24 page 25 page 26 page 27 page 28 page 29

FESTIVAL PHILOSOPHY It is our belief that music and music activities are important parts of the educational program of our schools. We believe that good classroom instruction is a basic requirement of a sound program of music education. If properly taught and effectively supervised, music can play an important part in the development of many of the attitudes and values that are essential to our cultural and national life. We believe also that desirable co-curricular music activities should be provided to supplement and enrich the regular classroom activities. Participation in festivals offers the opportunity of achieving a high standard of music performance through the use of the music lists and adjudication by trained and qualified experts. We believe that the comments and suggestions of these adjudicators will help the improvement of each soloist, ensemble, or performing organization.

PURPOSE OF FESTIVALS Consistent with the FIVE components of the California State Framework for the Visual and Performing Arts

Artistic Perception – Processing, Analyzing and Responding to Sensory Information 1. To in crease aural awareness. 2. To encourage musical responsiveness, involvement and discrimination.

Creative Expression – Musical Skills Development 1. To develop skills necessary to become capable and intelligent performers, creators and consumers of music. 2. To upgrade the quality of musical performance through adjudication and the selection of music. 3. To provide sight-reading opportunities under conditions designed to provide a rewarding experience for the students. 4. To provide suitable performing outlets that serve to motivate participants.

Historical and Cultural – Musical Heritage 1. To provide aesthetic experiences that will promote a sense of cultural values. 2. To develop awareness and understanding of the styles, idioms, performance media and purposes of music as part of our multicultural heritage. 3. To develop community interest and support for the school music program. 4. To further promote music as one of the basic elements of education.

Aesthetic Valuing – Responding to, Analyzing and Making Judgments about Music 1. To provide a sound basis of musical experience that can be used in making intelligent judgments of musical value. 2. To furnish opportunities for students to see and hear their peers from other schools in non-competitive settings.

Connections, Relationships, Applications – Application of Knowledge to Other Disciplines and Art Forms 1. To provide opportunities for students to demonstrate appropriate social behavior in performance settings as performers and audience members. 2. Attendance at festivals allows students to communicate their common experiences in written or verbal form at a later date. 3. To place students in situations that will develop creative skills, problem solving, communication and time management that help contribute to lifelong learning.

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SELECTION OF A FESTIVAL District band and orchestra festivals are located throughout Southern California during the months of February through May. A list of festivals is published on the SCSBOA website every November (scsboa.org). Each director should select a festival on a date that best fits within his or her individual school schedule. Call or e-mail the festival host and request information about their festival. Making this contact prior to winter break will usually secure a performance time in most festivals. Directors should contact the festival hosts and discuss areas of concern, such as: • Open performance times • The time of day the festival will be held • Equipment provided • Facilities available • Will there be food for sale There are also a limited number of regional festivals for those groups who wish to pursue the festival experience further. The requirement for participation in a regional festival is to have received a “Superior” rating at an SCSBOA district festival. The literature requirements remain the same however, one selection must be changed from the district festival performance. To enter a regional festival, you must get a District Festival Superior Rating Verification form that is signed by your district festival host. This form should be given to you at district festival along with your completed adjudication sheets if your ensemble has earned a “Superior” rating.

SELECTION OF MUSIC The SCSBOA publishes a list of music selections to be used for band & orchestra festivals. The SCSBOA Vice President of Music Lists amends the list on an annual basis. These lists and yearly addenda are on the SCSBOA website. The formula for determining the classification appears later in this manual. When selecting music, do NOT select music that has been or could have been performed by the members of your ensemble. A four-year high school program should not repeat a title within four years. A three-year school should not repeat with three years, etc. Directors are encouraged to select music that will enhance the musical growth of their students. Care in the selection of literature for festival can improve the quality of a music program through the time spent preparing music for festival performance. Many directors select music to work on a specific concept such as phrasing (a chorale) or technique (a gallop). Literature selected for festival performance should challenge the students but remain within the limits of their abilities. The music should be able to be played with finesse by all performers. A common mistake is to select music that pleases the director, but is beyond the abilities of the students.

Consider the following questions when selecting music for your ensemble: • •

Does the music have the capacity to stimulate the imagination and feelings of the players, conductor and listeners? Does the music offer opportunities for the players to develop their: o o o o

Basic musicianship skills and musical knowledge? Expressive skills? Technical skills? Understanding and appreciation?

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• • • • •

Will the music develop and expand the student’s ensemble performance skills? These are the skills needed for effective musical collaboration. Does your ensemble have all the instruments and players called for in the score? If not, may substitutes be made without compromising the integrity of the music? Does the music have the potential for evoking feelings of conveying expressive meanings to the players in your ensemble and to the audience? Is the music a reasonable challenge for your ensemble? Not too easy or difficult? Are the individual parts interesting?

Scores for the Adjudicators: Three original scores for each selection must be submitted for your festival performance, one for each judge. Each score should have the measures numbered.

SCSBOA POLICY ON CONDUCTOR SCORES “The SCSBOA requires that three scores of each selection performed at festival be provided to the adjudicators. They must be purchased from the music publisher in a timely and legal manner. Should a case arise in which a score has been ordered and will not arrive in time, written permission must be obtained from the publisher or retailer so that an unpublished reproduction may be used.”

Incomplete Instrumentation: Directors of ensembles having incomplete instrumentation should be as careful as possible to select music that best matches the instrumentation. There may be occasions in which parts will not be covered. Cue the parts on instruments that closely match the timbre of the missing part. Should your ensemble be small enough that many parts are not covered, you may wish to write parts from the condensed score to make the best possible color match. Editing is acceptable for concert performance so long as the integrity of the music is not compromised.

Adding Music to the Festival List: The SCSBOA membership is encouraged to submit worthy compositions to be considered for addition to the SCSBOA Music Lists. Remember that all ensembles performing at SCSBOA festivals must play one selection off the SCSBOA Music List (or the current Texas Prescribed Music List). If you have a selection approved for our music lists, you can use this piece immediately as your required selection during the current festival season, provided that it is at the appropriate grade classification for your ensemble. The deadline for submission is around the first of February every year – it is determined by the SCSBOA Vice President of Music Lists. Please watch the website for updated instructions each year. The process of submitting a piece for consideration of addition to our music lists is a relative simple four-step process: 1 2 3 4

Provide the name, composer, and publisher of the composition Suggest the SCSBOA numeric grade-level classification you believe to be appropriate for the composition Provide a copy of the complete score. This can be mailed, or if an online copy is available for viewing, you can simply provide the URL address. Provide a recording of the composition. This can me mailed as a CD recording, or emailed as an mp3 file attachment. If an online recording is available for listening, you can simply provide the URL address.

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All materials can be sent to the current VP-Music Lists (address and email on the cover). Please allow several weeks for the review of your submission. If you are hoping to play the submitted piece as your required selection for festival this year, it is especially important to allow sufficient time. Every attempt will be made to return original copies of scores to you in a timely manner. A selfaddressed return envelope for the score would greatly aide in this process, although not required.

PROCEDURES FOR BAND & ORCHESTRA FESTIVAL Prior to the Festival The director’s checklist (included in this manual) is an excellent source for logistical preparation. Details will vary from one school to the next, but the process is similar.

• Send your festival application forms and entry fees to the SCSBOA Office

You need to do this well in advance of the festival date, perhaps even as early as November. If you have already spoken with a festival host and they are holding a performance time for you, they may only do so until February 1st. After that time, the spots are open to any group on a first come, first served basis. Not all festival hosts will have hold performance times, in which case you will need to have your application and money in early. The application and fees are good for any festival sponsored by the SCSBOA, so in the event that the festival you wish to attend is full, your application and fees can be transferred to one that is nearby.

• Send the festival host a check (if required by the festival you have selected)

There are a small number of festivals that charge an additional fee to defray the costs of custodial service or venue rental. In the event that the festival you attend assesses those fees, they are paid directly to the host and not to the SCSBOA.

• Select music (see previous section)

Three original scores (NOT photocopies) must be submitted, each with measures numbered.

• Complete activity list or field trip forms

Many districts require trip planning well in advance of the actual trip. Be certain to follow the procedures your school district requires. Different schools may have additional requirements such as: o o

o o

•

Requesting a substitute teacher for the day/periods you will be absent. Arranging for transportation. If you are in a district where multiple schools will be attending festival on the same day, it will be to your advantage to order your buses early. In some districts, ‘early’ might be as much as six months prior to the event. Call to confirm your buses several days before the trip. Informing your colleagues of the field trip well in advance so they don’t plan tests or special activities on that day Informing the cafeteria you will have a large number of students out on a trip; this sometimes effects their food preparation. You may also need to give the cafeteria a list of your students

Arrange for additional chaperones especially if there are several groups Directors are busy and often stressed as the performance nears. Most districts or bus companies have rules regarding how many chaperones are required for a certain number of students. Having reliable chaperones to be with and help the students is a prudent plan. Invite your administrators as potential chaperones. Some performing ensembles ask one of their administrators to accompany them on the trip and announce their program. This can help to impress the importance of this activity on your school’s administration. The sight-reading process is particularly impressive to non-musicians.

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• Verify that necessary percussion instruments will be available at the festival

Festival hosts are asked to provide a limited amount of percussion equipment. Be sure that you are aware of those that will be provided and be prepared to bring enough equipment to meet the needs of your group.

• Concert dress

Audiences (and adjudicators) react to the appearance of the performing ensemble. Dressing with some degree of uniformity is desirable and often enhances the performance. Such attention to detail often indicates to the evaluator the character of the ensemble and the importance placed on the performance by the students and the director.

• Pack extra supplies

Anything that can break probably will, so bring extra reeds, strings, valve oil, sticks and addition music to avoid a forgotten folder from ruining your performance.

• Advise students that medals will be available

Medals, pins, patches and stickers provide visible recognition of achievement. They also help meet the expenses of the association’s activities. ALL festival hosts receive a box of medals that can be sold at their festival. Please encourage your students to purchase these commemorative items and to bring the money for them to festival.

• Meals

Be certain to plan meals in advance. Food is often available at the festival site, but contact your host to verify. Make sure your students know exactly what their responsibilities are.

• Send a letter to the parents

A sample letter is included in this manual describing the festival experience. You can fill in the date and time of your performance. Encourage parents to attend and support their children in this activity.

• Prepare you students for listening

Hearing other ensembles is as important a part of the festival experience as performing. Plan to hear several other groups at the festival. Many directors ask their students to evaluate what they hear, often with a listening form for the students to complete.

• Review the guidelines for proper audience conduct

Each performing ensemble should enjoy an uninterrupted presentation. Make sure your students know and exhibit proper manners for a concert audience.

At the Festival The director and students should arrive for the festival at least one hour in advance of their warm-up time. The director should report to the festival check-in table. The procedure for check-in is: • Turn in scores and a seating chart (and whatever additional materials your festival host may have requested of you) • Fill out the appropriate form (if you wish to have a selection considered for the music list) • Meet your festival guide and set the schedule for the rest of the day • Plan time for your students to hear other performances • Orient yourselves to where the key areas are: restrooms, instrument storage, food sales, medal sales, warm-up area, performance area, sight-reading and/or clinic area

Students should get their equipment at least 30 minutes prior to the scheduled warm-up time, then move to the warm-up room and be ready to enter as soon as the previous group has exited. Plan your

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warm-up activity so you are ready to move to the performance area when asked to do so. The warmup room is intended to be just that and not a place for last-minute rehearsal. Plan to simply warm up and tune. Music stands and tuners are usually not provided in the warm-up room. A guide will ask you to move to the performance area shortly before the previous group finishes their performance. Please do not delay so the festival will run on time. Send percussion players first so they can set up their equipment and arrange the instruments on stage. The performance area is not the place to do extensive tuning (it can cause the festival to fall behind schedule, and it often advertises problems in the group). Please wait for a signal from the adjudicators before commencing your performance and wait afterward to begin each subsequent selection. It is permissible to check tuning or play a scale or a few chords between selections. At the conclusion of your performance, a guide will lead you to the sight-reading or clinic room. When the sight-reading or clinic session is finished, you should store your equipment and return to the performance area to listen to other ensembles. Check with the host in advance concerning limitations on storing equipment. Many festivals require that equipment be kept on the bus, as no storage area may be available. Please allow time for students to purchase medals, stickers or pins. Plan financial arrangements in advance of the festival – students should be asked to bring extra cash for refreshments and medals, or booster groups may make arrangements to purchase these items for the students.

The Sight-reading Experience Overview • Performing group enters the sight-reading room • The sight-reading folders are passed out • The director has four minutes to prepare the group • The group reads the piece • The director may make brief comments to the group • The adjudicator will summarize the group’s preparation process and give comments that may • •

enhance the sight-reading process. The adjudicator may briefly work with the group to demonstrate possible solutions to some of the things needing improvement. The sight-reading folders are collected and the group leaves the sight-reading room

When the Group Enters the Sight-reading Room It is suggested that you impress upon your student that YOU are the first one to enter the room. You cannot assist the students if you are still on the stage. Evaluation begins as the group enters the room and lasts until the group exits. Share with the students that they are evaluated on their decorum from the moment they enter until the moment they leave. Insist on an orderly entrance and set-up. You can expect the following: • The judge will have instructions for seating and when to open folders on the board, or will give them verbally. • Each group is allowed to move chairs and stands as needed to best approximate their own physical set-up. In some cases, student crews may be available. • If groups bring their own music into the sight-reading room, they will be asked to place it under their chairs to keep it separate from the sight-reading folders

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Music Distribution • • •

Folders are to remain closed until the judge instructs the students to open them. If folders are unavailable, the music will be passed out face down The festival’s student helpers will be instructed to check with the performers and director for specific part assignments, such as treble or bass clef baritone, trumpet or cornet parts, etc. After all of the folders are passed out, the judge will make sure everyone has the correct folder before giving the sight-reading instructions

The Preparation The director will be given four minutes to prepare the ensemble for sight reading in the manner he/she feels is best for the ensemble. The Director may NOT: • • •

Sing any musical lines or rhythms Tap, clap, or count rhythmic passages Allow the group to play the sight-reading piece on their instruments prior to the adjudicated reading.

The Director may: • • •

Have students clap and count rhythms Have students play scales related to the piece Call out rehearsal letters or numbers during your performance.

The intent of the above is that students may do just about anything during those four minutes that will help them prepare for the reading short of actually playing the piece. Likewise, directors may facilitate that preparation so long as they do not personally demonstrate how the music should be played or allow the students to play the piece early. Some specific scenarios may include the following: •

•

•

Directors may “count off” the tempo, conduct a preparation measure, or in general start the performance in whatever manner the ensemble is used to. It is not required that the performance be started with a single preparation beat. Since directors are allowed to count off tempo, it follows that there is no prohibition of silent conducting in advance of the performance. In other words, the director may conduct as students clap, count rhythms, play scales or do any of the other things they may do to prepare in advance of the performance. Individual students may be designated to demonstrate for the group a rhythm, as long as they do so by counting, clapping or some means other than playing the selection.

A few other suggestions/reminders that may be helpful: • •

• •

At the conclusion of the four minutes, it will be time for the group to perform the piece. Directors should not use too much of the time for individual study. Be sure to allow time for student questions. Draw students’ attention to the basics – key signature, key changes, accidentals and other musical elements. It is often useful to point out the effect of a key signature on other notes in the key; e.g. F# in the key signature also means B natural not Bb! Review the “road map” – repeats, endings, D.C. / D.S., coda. Make sure everyone has the correct music. Baritone BC vs TC. Alto vs. Tenor, etc.

How is the Sight-reading Music Selected? The sight-reading is chosen by the SCSBOA VP-Music Lists. Great care is taken to ensure that the music is the appropriate level for each classification. To clarify the classifications, sight-reading music is labeled based on the level of the group that should perform it. Sight-reading selections are intended to be one level easier than the classification in which an ensemble performs. The music is labeled accordingly. A group performing as a Class 3 ensemble will sight-read music labeled Class 3 – it will be one level easier. That ensemble should not sight read music labeled Class 2, as that would be of Class 1 difficulty. Please clarify with your sight-reading adjudicator if you have questions.

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After the Festival Thorough evaluation is essential to the complete education experience of a festival performance. The following suggestions concerning the use of the adjudication sheets and recordings may help complete the festival experience for you and your students. Directors should guide their students through the evaluation of their performance before they read the adjudication forms or listen to the judges’ comments. These self-evaluations often help to emphasize the importance of proper preparation and can be referred to in preparing for the next performance. The adjudicator will not know about the improvements the group has made, but the students will, so their evaluation may be a positive one even though the final rating may not have met your goal. The director should emphasize the importance of self-evaluation while also accepting the evaluation of ‘neutral ears’. 1. Directors should listen to each adjudicator’s comments before playing for their students. Be sure that you want your students to hear everything on the recording. 2. Directors should apply the concepts learned from the festival experience and integrate them into future class rehearsals. The festival experience is designed to provide both director and student with ideas and tools to move forward. Full benefit is received when the director utilizes the evaluation information every day to improve both the individual student performer and the ensemble.

Use the adjudication forms to enhance your program in practical ways: 1. Sharing comments on the quality of equipment (or missing instruments) with administrators. This may help obtain future funding for new equipment. 2. Comments on instrumentation problems from an adjudicator may result in students volunteering to switch instruments if the director approaches the comment in a positive manner when discussing the comments with the students. 3. Point out judges' comments that support topics the director has been teaching. Avoid saying "I told you so" when addressing substantiating remarks by adjudicators. Simply refer back to the comments in future rehearsals by saying, "remember what Mr./Ms. Judge said at the festival."

Ensembles that earn a "Superior" rating should receive a regional festival application with their adjudication forms. Please ask the host for an application should it be omitted from your packet. Directors are encouraged to take their groups to this next level of performance. Those electing to do so should send a festival application and entry fee to the SCSBOA Office Manager after verifying that the regional festival has room in their schedule. Directors should evaluate their own preparation for performance after reading the adjudication sheets and listening to the comments. Make notes while the experience is fresh and keep them available so they will help you to better prepare for your next performance. Directors should send in the evaluation forms (also included in the packet of scores) to the appropriate vice-presidents. An evaluation of each judge helps with future assignments. Judges get a copy of the evaluation (with the director's name removed), which helps them improve their performance. An evaluation of the festival helps to correct problems and make the experience at future festivals better for your students If the festival was well run, positive evaluations will help encourage the host to continue hosting a festival at the site. It is nice to thank the festival host for all the hard work necessary to produce a smooth-running festival.

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SECTION TWO

Solo/Ensemble Festivals SELECTION OF A FESTIVAL

District Solo/Ensemble festivals are located throughout Southern California during the months of January through May. The schedule and contact information can be found on the SCSBOA website. It is usually published in the month of October for the following season. Each director should select a festival on a date that best fits the needs of his or her program. Call or e-mail the festival host and request information about their festival.

GUIDELINES FOR PERFORMANCE Literature Considerations The SCSBOA does not have a solo or ensemble music list. The performer/s may choose any literature they wish. There are however, some guidelines. The music should be classical in nature. Music from the jazz or pop genre is not appropriate. A good reference for literature selection is the Texas Prescribed Music List (available online). A solo composed with accompaniment that is performed at district festival without accompaniment may be awarded a “Superior” rating if warranted but that rating does NOT include an invitation to regional festival. At regional festival, a solo composed with accompaniment MUST be performed with accompaniment. It is incumbent upon the performer attend the solo/ensemble festival fully prepared to participate with an original score for the adjudicator, not a photocopy. Solos that are downloaded from the internet are permissible, but it must be demonstrated that they have been purchased legally OR that they are free of charge to the user.

General Information – Frequently Asked Questions 1. What are acceptable and unacceptable instrumental entries into the Solo/Ensemble Festival? ACCEPTABLE • Any wind instrument that typically performs as a part of a wind band. • Any string instrument that typically performs as a part of a string orchestra. • Amplified instruments used in the performance of contemporary, symphonic repertoire. • Classical guitar UNACCEPTABLE • Jazz combo • Piano solo 2. Does a student solo have to be accompanied? NO. A solo composed with accompaniment that is performed at district festival without accompaniment may be awarded a “Superior” rating if warranted but that rating does NOT include an invitation to regional festival. At regional festival, a solo composed with accompaniment MUST be performed with accompaniment.

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3. Will there be access to a photocopy machine? NO. It is not routine for the festival host to provide the use of a photocopier for the use of the participants. Students should come full prepared to provide the adjudicator with an original score. 4. Is recorded accompaniment allowed? YES. The student is responsible for supplying the recording and all of the necessary equipment to play the recording. This is not the responsibility of the festival host.

PROCEDURES FOR SOLO/ENSEMBLE FESTIVAL At the Festival: Directors and teachers should plan to arrive at least 30 minutes before the festival is scheduled to begin in order to help students for their performances. This is the time to check for any last minute schedule changes and to locate warm-up and performance rooms. Students should arrive at least 45 minutes prior to the scheduled performance time and should : 1. Report to the check in table 2. Submit an original copy of the music score for the adjudicator (some festivals may ask the performer to bring the score directly to the performance room and hand it to the adjudicator). 3. Peruse the schedule for any change in performance time or location 4. Proceed to the warm-up room and prepare for performance 5. Be in the appropriate performance room at least 10 minutes before the scheduled performance time.

The Performance and Adjudication Process: Each performer should be allowed a few minutes prior to the performance to play a few notes and tune to the piano or the recorded accompaniment. Usually, this will happen while the adjudicator finishes the sheet from the prior performance. When the adjudicator asks that the performance begin, the student(s) should play right away. Solos and duets are usually scheduled at 10 minute intervals; larger ensembles are scheduled for 15 or more minutes, depending upon the size and age of the performers. At the conclusion of the performance the judge will often make a few notes on the adjudication form and then spend the remaining time working with the performers to illustrate suggestions for improving. When the judge is finished, the performer should move to the audience so the future next perform may prepare while the adjudicator complete the adjudication form. Each festival will have a designated location where ratings are posted. Completed adjudication forms, along with the original copy of the music, may be picked up. Usually, these are picked up by directors or teachers. After the ratings are posted, those performers who have earned an Excellent or Superior rating may purchase a medal, patch, pin or sticker. There will be a designated location for medal sales. Exceptional performances may be recognized with a Command Performance award. Those performers earning a Superior rating at a district festival are eligible to participate in a regional solo and ensemble festival in May and should have a regional application included with the adjudication form. Should the form not be included, the director should ask the festival host for a regional application.

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Command Performance Some, but not all, of the SCSBOA Solo/Ensemble Festivals have a Command Performance opportunity. A command performance is an award that recognizes a very outstanding performance by a soloist and/or ensemble. It is the hope of the SCSBOA board of directors that most students will stay and listen to the command performance award performances, allowing them to hear what the adjudicators consider “exceptional performances”. The command performance is not adjudicated. Any adjudicator may award a command performance to an individual or ensemble that meets the following criteria: • The perform(s) received a “Superior” (I) rating in ALL categories on the adjudication sheet • The performance was such that it should be an example for other students to identify outstanding musicianship and technique • The ensemble demonstrated no only individual superior qualities, but the group performed with outstanding musicality as well There is no minimum or maximum number of command performance awards given at a festival. Each adjudicator determines command performance awards from the performances he or she adjudicated.

After the Festival: Festival follow-up is also an essential part of the solo and ensemble festival experience. Directors should make every effort to be present for their students' performances and afterward, review their adjudication sheets with them, reinforcing the adjudicator's comments. Reminders of musical concepts discussed and learned in the solo and ensemble festival experience can be an asset in subsequent band and orchestra rehearsals.

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Southern California School Band and Orchestra Association

APPLICATION for BAND & ORCHESTRA FESTIVAL You need to contact the festival host BEFORE submitting your form and fees to the SCSBOA. Some festivals will require an additional application specific to their event. Use one form for each group. You may send a single check for multiple groups. All directors must be current members of the SCSBOA.

School Name Director Name SCSBOA #

Phone #

Email

Location/date of festival you plan to attend: (Please indicate the specific date in the case of multiple day festivals)

Please be aware that groups exceeding 100 students will need either additional performance time, or may be scheduled immediately before or after the lunch/dinner break

Checks are to be made payable to: SCSBOA (Southern California School Band & Orchestra Association) If the festival you attend has an additional fee, you will need to pay your host that fee separately. Do NOT send an amount greater than the entry fee unless you have multiple groups. Send money to:

SCSBOA

Fee schedule for festival entry: With sight-reading OR with clinic With sight-reading AND clinic

Amy Mack 1902 Wright Place, Suite 200 Carlsbad, CA 92008

$160.00 $175.00

Group Name School Address School Phone

Ext

Cell Phone

Director’s Email Transportation to festival by:

# of buses

# of private vehicles

PLEASE NOTE THAT YOUR FESTIVAL HOST WILL ESTABLISH A CUT-OFF DATE NO LATER THAN 3 WEEKS BEFORE THE FESTIVAL DATE. AFTER THIS TIME, NO REFUNDS WILL BE ISSUED.

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PARTICIPANT APPLICATION SCSBOA Solo/Ensemble Festival Please use one application form per entry *PLEASE PAY YOUR ENTRY FEE TO THE HOST. YOUR HOST WILL WRITE A SINGLE CHECK TO THETHESCSBOA.*

FESTIVAL HOST: Please fill in the following information and duplicate as necessary. Application deadline: Return Applications to: Festival Host: Street Address: City, State, Zip: SOLO APPLICATION Name:

Title of Solo:

Instrument:

Composer:

Grade:

Accompanist’s Name:

Do you study privately:

If yes, how many years?

Preferred performance time (not guaranteed)

A.M.

P.M.

Important for scheduling: If your accompanist is performing with other students, please list their names, instruments and school on the reverse side of this form. ENSEMBLE APPLICATION Type of Ensemble

Preferred performance time (not guaranteed)

Contact Person:

Phone:

Title of Selection

Composer: STUDENT’S NAME

A.M. P.M.

INSTRUMENT

PARTICIPANT INFORMATION (Soloists and Ensembles complete all of the information below) Student’s Name:

Director/Teacher:

Student’s Address

SCSBOA Number:

City/Zip:

Teacher’s Address

Phone:

City/Zip:

School:

Phone:

NOTE: The performer(s) must provide an original copy of the musical score for the adjudicator. **ENTRY FEES:

Solo/Duets, $15.00

Solo/Duet: 10 minutes

Ensembles: 3-7 members, $20.00 3-7: 15 minutes

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8-20 members, $25.00

1+ discuss with host 8-20 20 minutes

DIRECTOR’S CHECKLIST

FESTIVAL LOCATION

DATE

Contact festival host Submit application and entry fee to the SCSBOA office Order buses Complete field trip forms and other school or district required paperwork Follow rules for music selections and scores 1. Provide three original scores for each performance selection (order EARLY) 2. Number the measures on each score

3. Mark folders and parts with a school stamp so they can be returned if lost Make sure you have observed the time limits for performance. Your performance MUST be under 30 minutes which includes entering and exiting the stage. Arrange for additional chaperones per your district’s requirements Confirm buses again Arrange your schedule so that your students will hear at least two other performances Make eating arrangements. It’s always a collegial gesture to support the host’s program Discuss with students: 1. Dress standards for their festival performance 2. Medals and awards will be available for purchase 3. Rules for student behavior while performing and listening 4. The procedure and expectations for sight-reading and /or clinic if applicable 5. This is not a competition. All ensembles can earn a Superior rating

Prepare two copies of a seating chart Complete three adjudication forms, per instructions from your host Confirm percussion requirements with host. Do not ask for more than the basics Send letter of invitation to parents Arrange for a substitute teacher Invite administrators to your performance Prepare your students for an educational listening experience

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SAMPLE PARENT LETTER Band & Orchestra Festival

Dear Parents: Your son or daughter will be participating in a Southern California School Band and Orchestra Association (SCSBOA) District Band & Orchestra Festival on . Your son or daughter’s performance time is ______________ and the festival will take place at . Perhaps you are aware of most of the facts concerning our music festivals; however, certain facts bear repeating. This district festival is one of the many festivals sponsored by the SCSBOA. Participants in district festivals become eligible to go on to the regional festival if they receive a Superior (I) rating for their performance. Judges, who are specialists in their respective fields, are hired to make constructive comments and criticism using the official adjudication forms. They are selected by the SCSBOA and have met the standards of this professional organization. No one is a winner; there is no “first place.” Ratings are given, including Superior (I), Excellent (II), Good (III), Fair (IV), and Poor (V). Experienced music educators set the rating standards; however, the rating received is not as important as the learning process that has preceded the performance. Therefore, directors may elect to enter their ensembles for comments only. Medals, cloisonné pins, patches and stickers (authorized by the SCSBOA), indicating the rating earned, may be purchased by individuals. They are often worn on uniforms or kept as souvenirs of achievement. The cost of a medal or pin is $5.00, a patch is $3.00 and a sticker is $1.00. Students should bring the appropriate amount of money with them, as pins, medals, and stickers will not be available after the day of the festival except through a special order made by the school’s director. This festival is open to the public; you are cordially invited to share with us the intellectual, aesthetic, and social growth that is gained through musical performance.

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SAMPLE PARENT LETTER Solo/Ensemble Festival

Dear Parents: Your son or daughter will be participating in a Southern California School Band and Orchestra Association (SCSBOA) District Solo and Ensemble Festival on _____________________. Your son’s or daughter’s performance time is ______________ and the festival will take place at ____________________________. Perhaps you are aware of most of the facts concerning our music festivals; however, certain facts bear repeating. This district festival is one of the many festivals sponsored by the SCSBOA. Participants in district festivals become eligible to go on to the regional festival if they receive a Superior (I) rating for their performance. In addition, a Command Performance Award may be given by the adjudicator for truly exceptional performances. If the festival host chooses to do a command performance recital, those who receive a Command Performance Award will be invited to play for the other students at the festival. Judges, who are specialists in their respective fields, are hired to make constructive comments and criticism using the official adjudication forms. They are selected by the association and have met the standards of this professional organization. No one is a winner; there is no “first place.” Ratings are given, including Superior (I), Excellent (II), Good (III), Fair (IV), and Poor (V). Experienced music educators set the rating standards; however, the rating received is not as important as the learning process that has preceded the performance. Therefore, performers may elect to enter for comments only. Official medals, cloisonné pins, and stickers (authorized by the association) indicating the rating earned, may be purchased by individuals. They are often worn on uniforms or kept as souvenirs of achievement. The cost of a medal or pin is $5.00, a patch is $3.00 and a sticker is $100. Students should bring the appropriate amount of money with them, as pins, medals, and stickers will not be available after the day of the festival except through a special order made by the school’s director. This festival is open to the public; you are cordially invited to share with us the intellectual, aesthetic, and social growth that is gained through musical performance.

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EVALUATION of FESTIVAL ADJUDICATION Band & Orchestra Festival

DIRECTOR:

SCHOOL:

FESTIVAL LOCATION:

DATE:

FESTIVAL HOST: For each adjudicator, please rate the items below using the following scale: 5 = Outstanding 4 = Very effective 3 = Effective 2 = Needs improvement 1 = Unsatisfactory

Adjudicator’s Name Comments:

5

4

3

2

1

5

4

3

2

1

Were the comments constructive? Ability to give suggestions for improvement Did comments relate to the students? Were accomplishments as well as deficiencies recognized? Legibility of written comments.

Adjudicator’s Name Comments:

Were the comments constructive? Ability to give suggestions for improvement Did comments relate to the students? Were accomplishments as well as deficiencies recognized? Legibility of written comments.

Send one copy to VP-Festival Adjudication:

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FESTIVAL EVALUATION Band & Orchestra Festival Please encourage each individual to complete the evaluation prior to leaving festival for the day.

FESTIVAL LOCATION:

DATE:

FESTIVAL HOST: PLEASE RATE THE ITEMS BELOW USING THE FOLLOWING SCALE: 5 = Outstanding 4 = Very effective 3 = Effective 2 = Needs improvement 1 = Unsatisfactory

5 Registration table Warm-up facilities Performance area facilities Sight-reading facilities Availability of host Signs clearly posted for all areas Equipment provided Student aides (runners) Medal sales table Written instructions from host Overall evaluation

Comments (use back if necessary)

Send one copy to VP-Festivals.

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4

3

2

1

FESTIVAL EVALUATION Solo/Ensemble Festival

FESTIVAL LOCATION:

DATE:

FESTIVAL HOST: PLEASE RATE THE ITEMS BELOW USING THE FOLLOWING SCALE: 5 = Outstanding 4 = Very effective 3 = Effective 2 = Needs improvement 1 = Unsatisfactory

5 Performance area facilities Warm-up facilities Organization of performances Schedule given to participants Instructions given to participants Availability of host Signs clearly posted for all areas Pianos tuned Student aides (runners) Medal sales table Registration table Overall evaluation

Comments (use back if necessary)

Send one copy to VP-Festival

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4

3

2

1

STUDENT LISTENING GUIDE AND COMMENT SHEET Band & Orchestra Festival Student’s Name Name of Ensemble being evaluated: Musical Selections:

1. Tone Quality Briefly describe the tone quality of the group. Discuss woodwinds, brass, strings, percussion and individuals specifically. Identify the positives and negatives.

2. Intonation Does the group play in tune? Offer suggestions to improve if needed.

3. Rhythm/Meter Does the group play with good rhythm? Is there a steady pulse throughout? When there are tempo changes, does everyone stay together?

4. Articulation Are the notes played with the same style by all sections? Are attacks and releases together?

5. Fundamentals Do members of this ensemble play with good fundamentals? (posture, instrument position, hand position, air support, bowing)

6. Dynamics Describe the use of expression (dynamics).

STRONG POINTS

WEAK POINTS

1.

1.

2.

2

3.

3.

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DEFINITION OF TERMS The standard for festival adjudication of the Southern California School Band and Orchestra Association is simply that each ensemble should present the music as well as it can possibly be played. The following paragraphs are intended to describe the terms used on the adjudication forms so directors, adjudicators, and students all understand the desired performance result. TONE QUALITY – Appropriate tone quality is the production of the characteristic sound for each instrument This characteristic sound is a centered, supported, and mature tone that is distinctive and specific for each instrument. Ensemble tone quality is the sonorous and blended texture produced by combining the characteristic individual sounds of each instrument. Woodwind, Brass, String, and Percussion tone involves the production of a characteristic sound for each instrument in all registers and at all dynamic levels, while maintaining a suitable ensemble texture. INTONATION – All the instruments within each section (Woodwind, Brass, String, and Percussion) should be at the same pitch center and the pitch center should be the same throughout the Ensemble. Unisons and Octaves should be one-to-one or two-to-one (etc.) vibration ratios and without audible "wavers." Horizontal lines should have accurate Intervals from note to note which should be consistent with the tempered scale and must match the established pitch center. Each note in every chord should match the overtones generated by the fundamental for correct Harmonic intonation. Chord notes must be adjusted to produce the most resonant sound with no apparent "wavers" or "beats." TECHNIQUE/FUNDAMENTALS – All the students in the ensemble should demonstrate correct Posture, Hand Position, Bow Placement, and Instrument Position. The tone qualities should demonstrate proper Use of Air and Bow Speed necessary to play musically. The listener should hear no incorrect notes (Note Accuracy), lack of clarity, or hesitation in playing the musical passage (Fluency). Any tonguing or bowing should be done in such a way that there is neither tone nor pitch distortion (Articulation) and should reflect the Articulation patterns indicated on the score. The ensemble should demonstrate a secure, subdivided Pulse at all tempos and Rhythm should be played correctly (Accuracy) and exactly together (Precision). MUSICIANSHIP – The music should be performed in a way to generate an emotional response in the listener. Attacks and Releases should be stylistic and precise. The music should be Fluent and have motion and direction. Phrases should be Shaped according to the melodic contour, complete, and played Uniformly by the entire ensemble. BLEND/BALANCE – Accurate balance is dependent on an understanding of the traditional or "pyramid" concept of balance. This concept produces sounds in which lower voices have a fundamental role in shaping all aspects of the balance spectrum. All parts within the Ensemble should be audible, reflecting the style and intent of the composition and should adhere to the traditional concept of balance The Melody should be the point of focus. All melodic voices should adhere to the "pyramid" concept of balance. The Accompaniment should be in a supporting role to the melodic material. All accompanying voices should adhere to the traditional concept of balance. Blend is the combination of all elements of balance and should produce resonance and clarity within the section and ensemble. No individual or instrument group should dominate within the context of ensemble, melody, and accompaniment. INTERPRETATION – Interpretation of the music should reflect the style period and the composer's intent. Some degree of individual latitude is allowed, as long as the performance remains musically convincing and is consistent within the ensemble. The music should be presented in such a way as to involve the listener emotionally in the performance. Interpretive elements include Tempo, Dynamics, Concept of Style, Bowing and Articulation. The music should show Nuance through the use of dynamic shading, rubato, accent, style of attack and release, and/or any other appropriate musical variation.

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FESTIVAL MUSIC LEVEL SELECTION GUIDELINES For SCSBOA District Festivals • • •

•

•

All ensembles, regardless of grade level, music play at least one selection from the appropriate SCSBOA List or the Texas Prescribed Music List. If your ensemble is playing music that is grade level .5, 1, 2, or 3, you must play 3 (and only 3( selections. If your ensemble is playing any music FROM EITHER APPROVED LIST that is grade level 4 or 5, you are limited to 2 selections. If one of your selections is believed to be grade 4 or higher, but is not on the approved list, it is considered one of your ‘free choice’ selections. Please aim for no more than 20 minutes of music; the 30 minute time slot should include time to get the stage set, get your group on and off the stage, and include a little time in between selections for the judges. Below is a chart showing how the pre-2012 alphabetical grade levels convert to our new numerical system. Note: the highest grade level is now grade 5 and the lowest is grade .5 (one half). This grade change is reflected on the new judging forms and will line up with the formula to select your ensemble’s classification. Formerly Grade E Formerly Grade D Formerly Grade C Formerly Grade B Formerly Grade A Formerly Grade AA

Now SCSBOA Grade .5 Now SCSBOA Grade 1 and Texas PML Grade 1 Now SCSBOA Grade 2 and Texas PML Grade 2 Now SCSBOA Grade 3 and Texas PML Grade 3 Now SCSBOA Grade 4 and Texas PML Grade 4 Now SCSBOA Grade 5 and Texas PML Grade 5

For SCSBOA Regional Festivals The same guidelines listed above apply to selecting music for SCSBOA Regional festival with the following exception(s): •

• •

All ensembles performing in a Regional festival music change at least one (1) of their selections performed at their qualifying district festival. In other words, a group may not play the same set of music for both District and Regional festival; one selection must be ‘changed out’. All ensembles, regardless of grade level music still play at least one selection from the appropriate SCSBOA List or Texas Prescribed Music List. Ensembles may use the ‘list approved’ selection for both District and Regional festival as long as one of the remaining selection in their set is different from what the ensemble performed at their qualifying district festival.

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FESTIVAL ADJUDICATOR APPRENTICE PROGRAM Directors are encouraged to become festival adjudicators and help the association to better serve its members. The association hopes to maintain a high degree of credibility with the students and teachers by placing only the most qualified adjudicators on the list in the future. The following program has been established to achieve that goal.

Requirements for Entry 1. Seven (7) years of public school instrumental teaching experience. 2. Consistent high quality performance at SCSBOA festivals by large ensembles directed by the applicant wishing to evaluate bands and orchestras. 3. Consistent high quality performance at SCSBOA festivals by small ensembles and soloists taught by the applicant wishing to evaluate at solo and ensemble festivals. 4. Out of area experience will be accepted after an applicant has brought performers to SCSBOA festivals for two (2) years. 5. Equivalency to the above may be accepted upon consent of the committee.

Program Requirements Applications are accepted at the SCSBOA winter conference and are evaluated by the festival committee. Applicants are notified by letter of acceptance or non-acceptance into the program. Applicants for band and orchestra festival adjudicator must attend at least one full day festival with the apprentice director and evaluate groups in writing and on tape with some intervals for discussion. Three such dates are scheduled each festival season and each applicant must schedule his/her appearance with the apprentice director. It is recommended that apprentices work more than one festival. Applicants for sight-reading adjudicator at band and orchestra festivals must spend at least one full day with a sight-reading judge at one of the three scheduled band and orchestra festivals. This must also be scheduled with the apprentice director. Applicants for solo and ensemble festival adjudicator must attend at least one full day festival with a master adjudicator on the desired specialty (woodwind, brass, strings, percussion). The applicant must schedule solo and ensemble festival appearances with the Vice-President for Festival Adjudication who will assign the applicant to a master adjudicator. The festival committee evaluates all sheets and recorded comments and recommendations are made at the May festival committee meeting. Applicants will be notified by letter of their status after that meeting.

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STANDARDS FOR FESTIVAL RATINGS AND COMPUTING CHART Band & Orchestra Festival SUPERIOR – I This division represents the finest conceivable performance for the event and the class of participants being judged; worthy of the distinction of being recognized as among the very best. This rating should be reserved for the truly outstanding performances and might be compared to a percentage grade of 90100. EXELLENT – II This rating reflects an unusual performance in many respects, but not one worthy of the highest rating due to minor deficiencies in performance, ineffective interpretation, or improper instrumentation. Yet, it is a performance of a distinctive quality. The rating might be compared to a grade of 80-89. GOOD – III This rating is awarded for a good performance, but one that is not outstanding. The performance shows accomplishment and marked promise, but is lacking in one or more essential qualities. This rating might be compared to a grade of 70-79. FAIR – IV This rating describes a performance that shows some obvious weaknesses. These may reflect handicaps such as insufficient instrumentation or other essential qualities. This rating might be compared to a grade of 60-69. POOR – V This rating indicates a performance which reveals much room for improvement. The director should check his/her methods, instrumentation, and all essential qualities with those of a more mature organization. Even the most critical adjudicator rarely uses this rating.

FESTIVAL SCORING RUBRIC DISTRICT FESTIVAL RATING The following rubric of scores applies to all SCSBOA district festivals. The rating from Sight-reading is NOT included in the final rating for district festivals SUPERIOR - I 1–1–1 1–1–2 1–1–3 1–1–4 1–1–5

EXCELLENT II 1–2–2 1–2–3 1–2–4 1–2–5 2–2–2

GOOD - III 1–3–3 1–3–4 1–3–5 2–3–3 2–3–4 2–3–5 3–3–3 3–3–4 3–3-5

FAIR - IV

POOR - V

1–4–4 1–4–5 2–4–4 2–4–5 3–4–4 3–4–5 4–4–4 4–4-5

1–5-5 2–5–5 3–5–5 4–5–5 5–5-5

REGIONAL FESTIVAL RATING 1. 2. 3.

Stage ratings are determined using the Festival Scoring Rubric chart above. Unanimous Superior at Regional Festival means unanimous superior ratings plus superior sight-reading. Sight-reading results shall be computed as part of the overall rating at Regional Festival. The overall rating is determined as follows:

SUPERIOR - I Stage 1 1

SR 1 2

EXCELLENT II Stage SR 1 3 1 4 1 5 2 1 2 2 2 3

GOOD - III Stage 2 2 3 3 3 3 4

SR 4 5 1 2 3 4 1

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FAIR - IV Stage 3 4 4 4 4 5 5

POOR - V SR 5 2 3 4 5 1 2

Stage 5 5 5

SR 3 4 5

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