THE COMPETITIVE PERCUSSION ENSEMBLE AND SCORING 2009 WGI ADJUDICATION MANUAL AND RULES TABLE OF CONTENTS SUBJECT PAGE PHILOSOPHY OF WGI SPORT OF THE ARTS Philosophy of WGI Sport of the Arts .................................................................................................. 1 Philosophy of the Scoring System.................................................................................... .................... 2 Philosophy of Judging (Teacher-Counselor-Critic) ........................................................................ 2 Instructors’ Code of Conduct ................................................................................................................. 4 Judges’ Code of Ethics ............................................................................................................................. 4 JUDGES’ CONTEST PROCEDURES Duties of the Contest Chief Judge ....................................................................................................... 5 Duties of the Judge..................................................................................... ................................................ 5 Judges’ General Instructions ................................................................................................................. 5 Performance Commentary General Techniques ......................................................................... 6 Application of the Criteria Reference System ............................................................................... 6 ACCOUNTABILITYAccountability Through Scoring ........................................................................................................... 7 Accountability Through Numbers Management...................................................................... ..... 7 Rating and Proper Spreads at Early Season Contests .............................................................. 8 Accountability Through Profiling .......................................................................................................... 8 Spread Guideline… ....................................................................................................................................... 8 Accountability Through Sampling ......................................................................................................... 8 Accountability Through Critique Dialog.............................................................................................. 9 THE WGI JUDGING SYSTEMScoring Observations................................................................................................................................. 10 The Multi-tiered Scoring System.......................... ................................................................................. 11 The Five Steps in Learning....................................................................................................................... 12 Expectations from the Multi-Tiered Criteria .................................................................................... 13 Classification .................................................................................................... .............................................. 14 Dialog & Observations ............................................................................................................................... 14 THE CRITIQUEThe Purpose Behind the Critique ......................................................................................................... 15 How to Prepare for the Critique ........................................................................................................... 15 Making the Most of Your Critique Time ............................................................................................ 15 Critique Etiquette ......................................................................................................................................... 15 Instructor’s Recourse for Competitive or Judging Issues ........................................................ 16 CONTEST SCHEDULINGRegionals ......................................................................................................................................................... 17 World Championships .............................................................................................................................. 17 A Guide to Judging Class A Percussion Lines ........................................................................................ 18 A Guide to Judging Open Class Percussion Lines..................................................... ............................ 18 A Guide to Judging World Class Percussion Lines .............................................................................. 18
Philosophy of WGI Sport of the Arts .................................................................................................. 1Philosophy of the Scoring System........................................................................................................ 2Philosophy of Judging (Teacher-Counselor-Critic) ........................................................................ 2Instructors’ Code of Conduct ................................................................................................................. 4Judges’ Code of Ethics ............................................................................................................................. 4
JUDGES’ CONTEST PROCEDURES
Duties of the Contest Chief Judge ....................................................................................................... 5Duties of the Judge..................................................................................................................................... 5Judges’ General Instructions ................................................................................................................. 5Performance Commentary General Techniques ......................................................................... 6Application of the Criteria Reference System ............................................................................... 6
ACCOUNTABILITY Accountability Through Scoring ........................................................................................................... 7Accountability Through Numbers Management........................................................................... 7Rating and Proper Spreads at Early Season Contests.............................................................. 8Accountability Through Profiling .......................................................................................................... 8Spread Guideline… ....................................................................................................................................... 8Accountability Through Sampling ......................................................................................................... 8Accountability Through Critique Dialog.............................................................................................. 9
THE WGI JUDGING SYSTEM Scoring Observations................................................................................................................................. 10The Multi-tiered Scoring System........................................................................................................... 11
The Five Steps in Learning....................................................................................................................... 12Expectations from the Multi-Tiered Criteria .................................................................................... 13Classification .................................................................................................................................................. 14Dialog & Observations ............................................................................................................................... 14
THE CRITIQUE The Purpose Behind the Critique ......................................................................................................... 15How to Prepare for the Critique ........................................................................................................... 15Making the Most of Your Critique Time ............................................................................................ 15Critique Etiquette ......................................................................................................................................... 15Instructor’s Recourse for Competitive or Judging Issues........................................................ 16
A Study of General Effect.......................................................................................................................... 20The Design Team and Creating the Program................................................................................. 21The Performers and Bringing the Show to Life.............................................................................. 23The Judges and Reaction......................................................................................................................... 24Music Effect Definitions............................................................................................................................. 26
All choreography, soundtracks, thematic and costuming choices must reflect the qualities that would beacceptable for performance at a scholastic venue or suitable for marketing to sponsors on a nationallevel. Any breach in the above philosophy could result in performance denial or possible disqualification asdetermined by the Executive Director of WGI in consultation with the Percussion Coordinator. DesignatedContest Administrators will serve as a l iaison to the WGI Executive Director.
PARTICIPANTS: WGI Sport of the Arts exists fundamentally for its participants: youth, staff, andsupporters. This is always the underlying consideration when WGI Sport of the Arts makes decisions.
Thus, WGI contributes to the cultural responsibilities held by all deserving youth
activities; devotion to the individual, preservation of society and improvement of mankind.
STANDARDS: WGI Sport of the Arts is committed to inspire its participants to achieve ever higher andhigher standards. We ascribe to the concept that artistic, aesthetic and creative standards are important,but inspiration must be balanced with the primary need of providing recognition and dignity for allparticipants.
Thus, WGI accepts the quest for wholesome experience for all, despite the dilemmas inherent in the conflicting needs to create higher standards yet ensure respect for all.
COMPETITION: WGI Sport of the Arts has chosen competition as its method for organizing youth activitiesin pursuit of high standards of achievement. We maintain that competition is only the means, subject towhatever controls are necessary to serve the true end -- the participants.
Thus, WGI is organized and administered on the principle that its leaders are professionals teaching by example both in and out of the competitive arena. As mature persons, WGI leaders know that youths learn life attitudes from all the observations of and interactions with those adults who are their models.
NON-DISCRIMINATION: WGI Sport of the Arts treats every participant as a unique individual possessinginherent dignity on his/her own. All participants are regarded as worthy human beings, equally deservingof our available time, thoughts and energies.
Thus, WGI does not discriminate on the basis of race, gender, creed, sexual orientation,National origin or cultural background. Its’ activities are based on the credo that all participants and program styles start with equal opportunity for success.
basic technique. This must be done with patience, setting a logical progression of development for them tofollow.
We must offer encouragement when they are confused (which could be most of the time) and enthusiasmwhen they show some level of success. Remember that these beginners are where many of us weresome 10 or 15 years ago. Deal with them in basic teams. Without encouragement and enthusiasm for their minor successes, growth could be impaired. The nurturing process at this level is of vital importance.
At the second level, we deal with ensembles that have been around for a few years, felt some success andbelieve that they are ready to move to a higher classification. Here we find ourselves dealing with theadolescent of our activity - convinced of their expertise and often reluctant to accept the fact that they haveanything to learn. At this point we find ourselves in the role of “Counselor”. This role requires the mostpatience, the strongest concern and the greatest amount of effort.
Finally the student really does grow up and we see moments of brilliance emerge from his/her creationsand one day they have it all together, and in terms of creation, has surpassed the teacher, outgrown thecounselor and looks to us to be the art critic (for surely, this is a work of art). At this point, we mustchallenge and encourage them to set even higher goals and standards. We must be professional,concerned, and supportive.
The beginning judge should not enter the arena expecting to be all of these things at once. Our idiom is
consistent in its attitude about rookies. Your first year in judging will be just like your first year performing.There will be a thousand tests - technical, personal, emotional, intellectual. You will be expected to endure them all. You are there because you are bright, willing, and you care a great deal.
Align your involvement with the young beginning ensembles. Grow with them; be their teacher today so that in a year or so you can be their counselor and one day attain the level of critic as they emerge, just as you will emerge, fulfilling your goals and standards.
Superior performers always give more than 100%. Superior judges also give more than 100%. As judges, our disciplines and attitudes must be an extension of those the performers follow. We expect them to be professional - so must we be professional. We expect them to respect us - so must we respect them. Demand no less of yourself than is demanded of each performer. A great teacher continually learnsfrom his/her students; a great judge continually learns from the “instructors”. Communication is a two-way street. Good ensembles and good judges grow together by helping one another, by keepingcommunication lines open and by setting mutual goals and standards for the activity. Judge with yourhead, with your heart and in a positive, nurturing, and challenging manner as you contribute to the growthand development of this unique activity and its very special performers!
INSTRUCTORS’ CODE OF CONDUCT: If judges and staff are expected to adhere to a professional code ofconduct, then it is appropriate that this standard is exacted from the instructional community as well.
If undue and unfair pressure is applied to judges through inappropriate behavior, then this places thecompetitive experience at risk. Examples cited include, but are not limited to: instructors shouting at judges in public and/or at critique, inappropriate conduct of any instructor while accompanying the
ensemble onto the contest floor, inordinate and unauthorized telephone calls to judges. There is also agrowing concern about disruptive behavior in the warm up area, and rude behavior from theperformers/staff of one group towards another. Behavior of this type is intolerable and will result in theloss of the privilege, which has been violated. For example, instructors could loose all telephone privilegeswith judges, they could be barred from critiques for the season, they could be barred from the arena flooror contest venue, or lose the right to use the warm up venue. Addressing this important issue must be apriority for every ensemble.
The managing administrator of the situation will determine the application of the action. The managingadministrator in judging issues is the percussion Director. The Regional Director/or designated ContestDirector is the administrator in situations pertaining to contest personnel. The Advisory Board is theadministrator in matters of poor sportsmanship or inter-ensemble issues.
JUDGES’ CODE OF ETHICS
AFFILIATION: A judge may not adjudicate a class in which a competing ensemble is one with which he/shehas a formal affiliation as defined below.
PRIMARY AFFILIATION: Designer, Instructor, Management, or performing member of the competingensemble. Any judge who receives a salary from the department that sponsors the competing ensemble(i.e. an individual who teaches music in the school when the music department sponsors the percussionline or where it is connected to the band.)
SECONDARY AFFILIATION: Family or spouse/significant-other relationship with an individual who as aprimary affiliation as described above.
CONSULTATIONS: A current WGI Judge is not permitted to give any consultation to any PercussionEnsemble.
CONDUCT: No judge may display interest or preference toward any competing percussion ensemblehe/she may judge. Wearing an ensemble’s insignia is forbidden. Judges are encouraged to give inputregarding the ethical standards of the judging community. This should be handled through the PercussionDirector.
• Whether the score sheets and tote sheets are correct.
• Discuss any problems regarding a judge who did not report, if this occurs.♦ Choose and govern seating of the judges.
♦ Conduct a judges’ meeting before the contest covering location of critique, etc.
♦ Be sure the T & P judge has measured and marked the floor.
♦ Check for AC power at the front and back of the competition area.
♦ Check the accommodations of the judges to insure that they have privacy, room to write, electricity ifneeded, and a good view.
♦ Be available to the Contest Director for recommendations on penalties or problems that may occur.
♦ Observe the conformance of the judges to the Code of Ethics.
♦ Supervise the critique.
DUTIES OF THE JUDGE
♦ Report to the Chief Judge at the time specified on your assignment sheet.
♦ While a uniform is not required, professional attire is expected.
♦ Once an ensemble has begun their show, there will be no conversations between judges or trialers.Smoking is not permitted. No judge may leave without permission of the Chief Judge.
♦ Judges MUST be available for the critique. The Chief Judge has the right to cancel the post prelimcritique should the judges have less than 2.0 hours between contests.
JUDGES’ GENERAL INSTRUCTIONS
DUTIES1. Judges are to rank the ensembles.2. Judges are to rate the ensembles by the comparative scores earned during the course of the contest.3. Judges are to aid the ensembles to improve through recorded comments and in critique.
All regionals will attempt to hold a critique if at all possible. Instructors attending critique are requested toparticipate in a post event survey that will be sent via email to the primary contact of the ensemble.
CONDUCT1. All judges are expected to maintain a dignified and impartial attitude at all times. They should refrainfrom discussing the performance while adjudicating the contest.2. Judges may not make corrections on a score sheet. If an error is made, a new sheet must be made
out. Sheets will be returned to the judge for clarification or completion.
LOGISTICS AND POSITIONThe Performance Analysis Judge will be positioned low in the stands and may move to appraise theindividuals within the ensemble. The General Effect Judge and the Visual Adjudicator will be seated in thestands.
1. This system is designed to provide the ensembles with an all encompassing commentary and critique of their presentation as it occurs. It allows the judge to comment during both the impression and analysis of the performance.2. Judges will provide themselves with a portable recorder and the sponsor will provide separate mediafor each ensemble to be judged. Judges must provide a supply of batteries in the event electricity is notavailable.
3. Tape Commentary Priorities:• Comments should assist the understanding of the ranking/rating process.
• Comments should emphasize those parts of the show that are important to the scoringprocess.
• Comments should assist the instructor in improving the structure of the program or theperformance.
• Comments should reflect an educational approach that rewards achievement & encouragesgreater efforts.
4. Recorders will run continuously throughout the ensemble’s presentation.5. The judge’s comments should include basic impression as well as an analysis of problem areas.Possible suggestions to improve certain aspects of the program/performance are encouraged.Comments should be moderate in tone.
6.
Judges must be specific in identifying any aspect about which he/she is commenting.7. Demeaning or rude comments are unacceptable.8. Judges should modulate the volume of their voices so as not to interfere with other judges or withpatrons.9. While it is not necessary that a recording be completely filled with comments, the judge should know that the absence of any comments (even at a finals contest) is not acceptable.
APPLICATION OF THE ADJUDICATION SYSTEM
1. It is the intent of this system that a number grade is assigned from whichever level of achievementdescribes the ensemble’s qualities most of the time. Only box 5 requires the ensemble to display ALLqualities described to earn the scores available at that level of achievement.
2. The criteria reference system describes five levels of achievement, which are applied to Impression,Analysis, and Comparison. These levels of achievement are described specifically in the section, “SCORINGSYSTEM.”
3. In order to provide uniform numerical treatment for subjective judging, judges convert subjectiveimpression into a numerical category and ultimately refine that category to a specific score.
4. Impression is best described as the judge’s subjective reaction. Numerically, the function of theimpression is to determine a category for any particular sub-caption. The criteria reference system
attempts to standardize this process. Analysis is the objective aspect of the evaluation that seeks outreasons to support or modify initial impressions. Numerically the analysis converts the impressioncategory to a specific score within each sub-caption. Comparison requires the judge to look at the numbergiven and compare it to other marks he/she has given in that category not only in that contest but also inearlier contests. Thus when a judge assigns a number to an aspect of the ensemble’s program, he/she is telling that ensemble how it stands on a national level.
ACCOUNTABILITYTo be answerable for all choices and decisions.
♦ All judges, both local and international are reminded that they are to be accountable to everycompetitive group, every performer, the system and the philosophy. Judging decisions must beaccountable to the tenets of the caption.
♦ Instructors must be accountable to their members, their understanding of how the competitive
philosophy will impact their choices, and to the audiences who will view their programs. Accountabilitywill be the basis upon which we will address competition & scoring.
COMPETITION IS A TEST OF SKILL
Our first measure of accountability is to the premise of competition. The nature of a competition demands that judges recognize, reward and compare all of the qualities that separate competitors. This process willproduce a comparative rating which will subsequently rank each competitor. Each year, “the bar is raised”and we compete against new standards. This requires the fullest measure of all the pieces within eachprogram, and the recognition of new elements brought to the floor.
ACCOUNTABILITY THROUGH SCORING
Application of a score is one of the most significantly accountable representations of how the judge valueseach ensemble within a contest.
♦ All judges must share a consistent, collective understanding and application of the philosophy.
♦ Judges must be independent in arriving at their scores, and avoid the tendency to assign “follow theleader” numbers for no other reason than insecurity or “safety”. However, the concept of “independent judging” may not become an excuse for unaccountable decisions.
♦ Judges should expect to be held accountable for every score assigned, and be able to support thatscore with valid discussion relative to the rating and ranking of each group.
♦ Judges must feel confident to make hard, but accurate calls which sometimes might not be popular.They must feel confident to assign scores that they believe are right in spite of what other judges mayhave done. When a score is correctly given based on the criteria, the judges must be confident that their decision will be supported. If the call is not correct, it must be identified immediately, and both judge and line advised of this.
♦ Judges must “judge” each contest as a new event, carrying NO PRE-CONCEIVED OPINIONS into theactual competition.
♦ Judges can only judge what is presented; they cannot judge what is not presented. Speculation orexpectation of what the judge thinks, “should be in the show” is inappropriate.
♦ Judges should consider all aspects of a program/composition/vocabulary “within the context of thewhole” not in isolation. Their final assessment will be cumulative in nature.
ACCOUNTABILITY THROUGH NUMBERS MANAGEMENT
Every judge has the responsibility to rate and to rank each group within each of the sub-captions on thescore sheet. This involves providing numerical information to the line, telling them where they are in thecompetitive field relative to other groups, as well as how high on the development curve they are. Eachsub-caption must provide this information if the judge is to do the best, most accurate job of scoring withinhis/her caption.
♦ The caption is always judged “top to bottom” including every competitor, and the system is designed towork when these ratings combine to yield the total ranking.
♦ A judge who applies ties in sub-captions must understand that this tells the instructors that the twogroups are equal. This also suggests that either the judge did not give due thought to the“comparison” process of scoring, or that the judge’s management of numbers failed to allow scoringroom for the proper ranking of all groups within each sub-caption.
♦ Scores should always accurately reflect the degree of quality and achievement of each line, at everypoint in the season.
♦ Scores should never be elevated just because it is the end of the year and the judge wants to give a year-end bonus.
♦ Box 5 scores must be earned. They are the basis for promotion for A and Open Class Lines. It is notappropriate to assign them if standards are not fulfilled within the criteria.
♦ Box 6 scores are rewarded to those ensembles that set new standards.
♦ The Criteria Reference is always the basis upon which scores are assigned. Accountability to thecriteria is mandatory.
♦ Inaccurate ratings (spreads) within any contest will impair the judge’s ability to consider all groups fullyfor proper ranking in each sub-caption.
♦ Spreads can be neither restricted nor assigned with abandon. If a spread is deserved, it must bemade. ALL CAPTIONS must understand this and apply this premise alike. Scores should never becontrived. The important aspect here is that the spread is a true reflection of the rating for each line,and that all captions apply this premise alike.
ACCOUNTABILITY THROUGH CRITIQUE DIALOG
While we still struggle to create quality critique time at the regional level, we nonetheless feel strongly that
accountability by the judge is a skill-set that is developed through dialogs with instructors wherein the judgeis accountable for observation, scoring decisions, etc. For a variety of reasons, there is no longer realdiscussion relative to the judge’s ranking/rating process, which is such an important aspect ofaccountability. Because of time limitations, many instructors now deliver a dialog to the judge telling themeverything they want the judge to recognize/reward in their show. This is clearly not yielding the desiredresults relative to accountability by the judge and the subsequent trust the instructor can build when suchaccountability is forthcoming. We would like to provide a critique approach that will return us to theexchange of information where judges account for their decisions. This will involve comparisons.However, it is important that “ensemble bashing” of competitors does not occur.
1. All participants and all program styles start with an equal opportunity to succeed.
2. Scores are assigned based upon criteria expectations within each sub-caption. In marching classes, the Performance Analysis and the General Effect captions account for 40% each and the Visualcaption accounts for 20%, the sum of which will determine the score and placement of each
ensemble. In Concert classes, Performance and Artistry each account for 50% of the score. The sumwill determine the score and placement of each ensemble.
3. The General Effect and Artistry sheets will credit all those elements, which combine to display theensemble’s impressive effectiveness.
4. The Performance Analysis and Performance sheets will credit the performers achievement basedupon the musical, rhythmic and physical (marching class only) content of the composition.
5. The Visual sheet credits the composing and orchestration of the design, and the achievement of technical and expressive excellence.
6. The adjudication system requires that ranking and rating be done on a sub-caption basis so that each
sub-caption number is a ranking and rating in and of itself. In this manner, ensembles receive aprofiling of their strengths and weaknesses. When the totals of the sub-caption indicate a tie in theoverall sheet, the judge should re-evaluate his/her sub-caption numbers to see if the tie can be broken.
7. A maximum score in any sub-caption is inappropriate in any contest prior to the last ensemble to take the floor in competition. It is particularly inappropriate when assigned early in any contest. It mightoccur in rare occasions when the judge’s number discipline forces a score to escalate in theprogression of a contest, but it negates completely the concept of ranking when it is appliedprematurely.
8. Standards within the application of the criteria reference are the same in both Scholastic andIndependent Classes. A score applied to a high school line should have relativity, in terms of range, toan independent line at the same level of development.
9. The six categories specify levels of achievement for each sub-caption. The numerical rating of eachperformance falls within the caption that best describes the level of achievement MOST OF THE TIME.Box 5 & 6 requires the performance to meet outstanding levels for EVERY ONE of the criteria listed.
10. All judges will judge the entire show from obvious start to obvious conclusion.
SCORING OBSERVATIONS
Consistent scoring is a major concern to judges and instructors. There are some situations, which lead tonumbers that fluctuate. We are sensitive to the impact this has on the performers and the insecurity itplaces on the instructor. We have identified several factors contributing to this problem.
♦ Inconsistent exposure places both judges and ensembles at a disadvantage. The local judge will bemeasuring the ensemble’s growth; the WGI judge will be unaware of this factor but will be trying tograde relatively to all other class A, Open or World Class ensembles viewed that season. Thisdifference can reflect in the scores.
♦ When a large number of ensembles are very similar to each other, either in program or achievement, judges’ rankings may be more at variance resulting in placement differences. This is why weencourage the ensembles to establish a personality and program that will “set them apart” from theircompetitors and perhaps offer them a competitive edge.
♦ The size of the contest can influence ratings significantly as more and more ensembles come togetherand must be RANKED. Smaller regionals sometimes yield scores that are higher than is appropriatein light of the fact that shows are often not fully complete and the judge’s number base is not yetestablished. Subsequently, larger regionals expose the ensembles to a broader field of competitorsand the process of ranking can lower the earlier score in some cases.
♦ One of the biggest questions in the minds of most instructors arises at Championships when thedouble panels may yield ranking differences of several places. The obvious instinctive reaction is thatone of the judges is incorrect. Usually it will be presumed to be the judge with the lowest ranking. The truth of the matter is that when judges have seen some of the ensembles and not others, there is adifferent familiarity put into the mix. Sometimes there has been an opportunity to critique with thoseinstructors and the ensemble may stand out in the judge’s mind. Couple this with the similaritybetween many ensembles (especially in the middle of the class) and these ranking separations caneasily occur.
It is for this very reason that championship panels have always been doubled. It is a safeguard for allcompetitors. One of the prime purposes of the double panel at Championships is to assure the ensembleof the fairness that the “average score” will yield. Over the years, it has become very clear that for themost part, the average score is usually quite fair and equitable.
The instructors’ focus should go to this average score and ranking more than to the individual scores thatcomprised the average score.
THE MULTI-TIERED SCORING SYSTEM
The multi-tiered criteria are a detailed, specific, system that focuses on, and rewards the development of the classes, which compete nationally. It is based on a curriculum specifically reflecting the growth involvedwithin each class.
♦ It provides opportunity for performers to complete a process of development described in their
specific class curriculum.♦ It allows groups to be rated accurately.
♦ It allows all classes to experience a higher numerical grade for achievement.
Our developmental criteria is based on a 5-step model outlining the steps involved in the learning process.This theory is an educational premise and describes the process of understanding and finally performingany skill. These steps are:
Step 1 (Box 1) EXPERIENCE - Material is introduced to the student. The concept is presented with theprinciple/theory behind it.
Step 2 (Box 2) DISCOVER - The student attempts to convey the material to physical application anddiscovers his/her capabilities and what must be done to improve. The student practices the skill.
Step 3 (Box 3) KNOW - The student knows what is expected, grasps the material presented and isbecoming skilled in its application.
Step 4 (Box 4) UNDERSTAND - The student has a solid grasp of the material and can demonstrate theskills with good proficiency.
Step 5 (Box 5) APPLY - The skills are fully absorbed and easily applied. This premise directs the judge torecognize BEGINNING, INTERMEDIATE AND ADVANCED skills. In this way, performers and instructors canplan their programs with a natural development and progression in mind. They can be graded much as
they would in school, and the system provides both curriculum and achievement recognition through score.
Box 6 SETS NEW STANDARDS – Although not one of the 5 steps in learning, this box rewards thoseperformers who set new standards. Box 6 in A Class and Open Class indicates readiness for next class.
The following is a chart, which will tell you about the progression of the curriculum.
A CLASS:
Box 1: The student EXPERIENCES basic skills.
Box 2: The student DISCOVERS basic skills. The show may be incomplete at this level.Box 3: The student KNOWS basic skills. The show is a developing work in progress.
Box 4: The student UNDERSTANDS basic skills. DISCOVERS & KNOWS some intermediate skills.
Box 5: The student APPLIES basic skills and KNOWS some intermediate skills.
Box 6: The student APPLIES basic skills and is ready for Open Class competition.
OPEN CLASS:
Box 1: The student EXPERIENCES intermediate skills. An ensemble might be misclassified.
Box 2: The student DISCOVERS intermediate skills. A show may be incomplete at this level.
Box 3: The student KNOWS intermediate skills. The show is a developing work in progress.
Box 4: The student UNDERSTANDS intermediate skills, DISCOVERS AND KNOWS some advanced skills.
Box 5: The student APPLIES intermediate skills and KNOWS some advanced skills. Ready for WorldClass.
Box 6: The student APPLIES intermediate skills and is ready for World Class competition.
WORLD CLASS:
Box 1: The performer EXPERIENCES advanced skills. The ensemble might be misclassified.
Box 2: The performer DISCOVERS advanced skills. Shows may be incomplete at this level.
Box 3: The performer KNOWS advanced skills. The show is a developing work in progress.
Box 5: The performer APPLIES advanced skills. Sets new standards.
Box 6: The performer APPLIES advanced skills that set new standards for World Class competition.
Each of the criteria reference boxes will reinforce the curriculum and the level of development of thestudent as referenced to the above chart. The criteria will then offer more detailed delineateddescriptions. When referring to beginning, intermediate and advanced skills or design qualities, it is
understood that these are based on those principles as set forth in this adjudication manual. Judges andinstructors are directed to refer to this source when considering the 3 levels described.
EXPECTATIONS FROM THE MULTI-TIERED CRITERIA
♦ This system is designed to afford the judge the opportunity to rank the lines within the sub-captions,profiling for them, a clear picture of their strengths and weakness. This will produce a scoring picture that will be different from the compressed scores from the past. Box ties should be drasticallyreduced because there will be room to indicate each ensembles achievement within the sub-caption.
♦ This system will allow the ensembles to see the growth they may achieve, over the course of the
season because there will be adequate numbers available for this process to be reflected.
♦ Ensembles will have the opportunity to reach maximum scores in every class because the system isdesigned specifically for this potential to occur.
♦ The expanded range of numbers requires adjudicators to exercise care in the rating process. Thissystem is not designed to create inordinate spreads. It is intended to permit proper sub-captionranking and profiling. In all cases, spreads should be a true and accurate reflection of the degree ofseparation between competitive ensembles.
♦ Scores given to an A Class Lines are not comparable to scores given to lines in the Open or Worldclasses. Scores given to an Open class line are not comparable to scores give to ensembles in the Aor World classes.
♦ Historically, when we utilize only one scoring scale, all classes of lines would look at their score relative to all other classes. This class comparison is no longer appropriate. Judges and ensembles shouldmeasure each program and each performance based upon how close the group came to reaching themaximum score within that specific class. A or Open lines now have a method to determine where they are on the learning scale and when they should move up to the next class.
♦ The important issues here deal with guiding each group through a step-by-step process in their growthand development, moving into the next class when all of the training and skills have been established.
The critique is an opportunity for instructor and judge to exchange insights relative to the performance of the ensemble. It is most often for the benefit of the instructor, although the exchange of information canbe beneficial to the judge as well. The critique belongs to the instructor, who should take the lead, ask thequestions, and guide the dialogue. Participation at critique is an option. If you are comfortable with the judge’s evaluation and score, then you have nothing to discuss, and should feel no obligation to participate.The judge will not take offense at your absence.
THE PURPOSE BEHIND THE CRITIQUE
♦ To clarify judge’s comments which are confusing or unclear.
♦ To discuss places in the show that were unclear or to which the judge did not respond favorably.
♦ To offer insights to the judge relative to your intent. Where you’re heading in the program/vocabularydevelopment, when you plan to implement changes, when you are scheduled to address concernsexpressed by the judge.
♦ To discuss your score relative to the criteria of each score sheet and relative to your competitors.
♦ To ascertain insights as to where you might stand “Nationally” (if this is pertinent).
HOW TO PREPARE FOR THE CRITIQUE
♦ You are best prepared if you watch your group’s performance from the perspective of the judge.
♦ Study and know the scoring system and understand the philosophy behind each sheet.
♦ Listen to the tapes of the judges to whom you will speak at the critique.
♦ Use the critique sheet to aid in organizing your concerns and to expedite your dialogue.
MAKING THE MOST OF YOUR CRITIQUE TIME
♦ Be sensitive to the fact that effective communication will breakdown if either party is in an emotionalstate. Remember that body language and tone of voice will communicate a great deal.
♦ Go directly to the judge, introduce yourself and your ensemble’s name. Show the judge the score sheetif they have made any written comments on it; to refresh his/her memory and expedite dialogue.
♦ Critiques are short and it is important for you to get to your point quickly so that the judges can explainwhy he or she evaluated the program as they did.
CRITIQUE ETIQUETTE
♦ Please don’t criticize or berate another groups or their performance.
♦ Never use profanity in your dialogue.
♦ Please don’t attack the judge’s integrity or intelligence. It will get you nowhere and could createbarriers that will be counterproductive to good communication.
♦ Don’t ask the judge to tell you how to write your show.
♦ Don’t ask the judge to comment on ideas that are not yet in the show. Don’t ask for a scoringprojection for something that isn’t yet in the show.
INSTRUCTOR’S RECOURSE FOR COMPETITIVE OR JUDGING ISSUES
If you have an adjudication concern or issue, please contact the Percussion Judge Coordinator orPercussion Director. The Chief Judge of a regional contest is there to represent you and to listen to your judging concerns, should the Judge Administrator or Percussion Director not be present.
• If the situation occurs as a result of a preliminary contest, please be prepared to discuss your issuesat critique with the judge. Preparation must include listening to your tape and completing the critique
preparation sheet. These tools were developed to aid you in the critique process.
• If, after critique, you still have issues with a judge, please go back and speak to the Chief Judge at thatcontest.
• If, after speaking with the Chief Judge, you feel that your issues are NOT resolved, please contact theJudge Coordinator or Percussion Director.
• If, after following the above process, you still feel the need to go forward with a formal protest, awritten statement must be sent to Mark Thurston ([email protected]) within 48 hours of the contest,providing reasons why you feel this protest exists.
At regional prelims, scheduling will be by postmark date, with the earlier entry date in a class receiving thelater performance time.
At regional finals, reverse order for finish in prelims.
Reclassified ensembles will appear in the middle of the finals order of appearance.
WORLD CHAMPIONSHIPS
All ensembles MUST attend a regional in order to attend the World Championship event.
At World Championships, a “tournament style” of competition will be held for any preliminary event of 20or more groups.
Classes with more than 40 entries by January 1, 2009 will have a semi-finals contest.
PIW and PSW classes will have 15 finalists.
Tournament Style
• Contests will be divided into modules of 10 – 15 ensembles each.
• Preliminary contests will be seeded based on input from adjudicators and coordinated by Mark Thurston, Percussion Director. Each round will be grouped and then placed in reverse order of entrypostmark date. In a semi finals contest, ensemble performance times will be based on apredetermined formula equally grouping ensembles by prelim placement.
• Finals contests will be seeded by score from semi-finals with the highest score going on last.
Less than 20 ensembles in a class
• Scheduling for prelims by postmark date with earliest postmark going on last, etc.
Concert Classes
• Appropriate performance venue to be provided for all concert classes.
• Minimum participation for all concert classes is six (6) entries per class. If the minimumparticipation of six (6) entries is not reached by January 1, 2009, that class will not be offered at the World Championship event. All concert classes should not make travel arrangements untilit has been determined whether or not the class will be offered after January 1st.
• All award ceremonies will be held at the University of Dayton Arena.
SPECIAL NOTE TO ALL ENSEMBLES
For school programs that have performers in multiple ensembles, WGI cannot change performance times to accommodate scheduling conflicts. It is the ensemble director’s responsibility of to plan accordingly.
Class A ensembles are a unique and special aspect of the WGI family. These are the younger or lessdeveloped participants. Our goal is to assist in their training and development and to reward theseachievements in a logical learning progression. To teach these groups with the greatest degree ofconsistency and success requires a thorough understanding of their level of development and training.
SCHOLASTIC A CLASS is consistently aged 14 through 17. Like most high school students, the
ensembles show a tendency to be similar to one another. Their choice of equipment, the formatting of their shows and the depth of their training and skills are comparable in many cases.
INDEPENDENT A CLASS ensembles use the same criteria as the Scholastic A Class with the exception of the age limit. Here is where the beginning student discovers the joy of performing and realizes the senseof achievement as each skill is learned
A GUIDE TO JUDGING OPEN CLASS PERCUSSION LINES
Open Class ensembles are an exciting branch of the WGI Percussion family. They are enthusiastic with astrong desire to grow and explore. They are open and eager to test their skills in a more challenging
arena. Most will have achieved the level of training set in Class A and welcome the challenge of greatercreativity. There should be sound development in a logical growing progression of challenges whilemaintaining the premise that growth requires new and additional training.
The average age of Open Class ensembles varies, especially in the Independent Class.
The Scholastic Open Class is where the intermediate student explores new challenge throughperformance and realizes a greater sense of achievement as each more complex skill is learned. Theyexperience a freedom in their process as creativity takes on a greater importance in their development.There may be a tendency to OVERWRITE in this growing stage. They should maintain strong standards ofexcellence in these important developing years.
SCHOLASTIC OPEN CLASS is consistently aged 14 through 17. Unlike Scholastic A class, these
ensembles have discovered a much stronger personality and are not usually similar to one another. Thedepth of their training and skills are still comparable in many cases, primarily due to the similarity of theirage and the similar number of hours put into their development. Their programs are often freshly uniqueand original.
INDEPENDENT OPEN CLASS still contains a wide range of age and some skill difference. Performerswithin one line can range from 12 to 22 years of age. The average age is 16 to 17. There is greaterconsistency in the range of skills and physical development. Programs are unique. A few individuals willdemonstrate a high level of skills. Some advanced challenges will exist.
A GUIDE TO JUDGING WORLD CLASS PERCUSSION LINES
World Class ensembles are the standard setting branch of the WGI Percussion family. These are theinnovators of indoor percussion who set the direction of the activity through the standards of creativedesign and performance achievements. They explore new challenges of dexterity, musical and physical skillwithin original and unique programs. They are comfortable dealing with abstraction and are stronglyinfluenced by the Arts. Their exploration is the highest level of creative potential. They expect judges tounderstand and support their creative efforts and be able to make discerning separations between theirachievements and those of their competitors. The adjudication within those "works in progress" is more
likened to the response of the critic. Judges must have a highly developed sense of all musical and visual techniques as well as design and creative standards.
Our goal is to assist in the fulfillment of their potential and to reward their achievements in a discerningmanner, maintaining the premise that those advanced skills require new and sophisticated training. To judge these groups with the greatest consistency and success requires a thorough understanding of theirgoals.
Here is where the advanced student explores the optimum challenge through widely varied performance techniques, while understanding fully the joy of performance communication and the victory of audienceinvolvement. Those individuals privileged to judge this class are entrusted to recognize, support andreward the standards and challenges demonstrated within this class while upholding strong standards ofexcellence.
SCHOLASTIC WORLD CLASS is consistently aged 14 through 17 because of the make-up of the highschool arena. Often this class will consist of upper classmen. Unlike the Independent World Class, theseperformers are rarely over 18 years of age. The ensembles have strong defined personalities and arehighly creative and unique. They explore innovative program concepts. The depth of their training andskills is strong.
INDEPENDENT WORLD CLASS performers demonstrate a high degree of physical development. They
are very experienced and fully trained. Programs are unique and innovative and these components areimportant at this level. Some very sophisticated challenges will be placed on the performers.
When judging this class, the judge becomes the "critic" and should respect the knowledge of theinstructors and designers. Dialogs should be a learning exchange between instructor and judge.
In the competitive game, there is a partnership between designers, performers and judges. In this study,we will address the process of creating the program/repertoire from the designers’ perspective, theperformance qualities from the performers’ perspective, and the reaction to the effect of repertoire &performance from the judges’ perspective. While the judge REACTS throughout the performance, thecompetitive nature of what we do requires the judge to be accountable to all competitors in determiningplacement and ranking. The accountability occurs by comparing specific qualities in each program to those of all other competitors in that range.
The designer creates the program plan, selects the music, plans events or effects,stages and coordinates the show, designs the look, props, etc.
The performers bring the show to life.
The General Effect Judge responds, rewarding bothdesigner and performers through the GE Score Sheet
GENERAL EFFECTCredit all of the musical/visual elements in an ensemble’s presentation that combine to display an effectiveand entertaining program. Credit the successful communication of the ensemble’s identity and message through the tasteful blend of creativity and performance. Credit the performer’s ability to connect with theaudience. The music drives the visual in creating an effective presentation.
MUSIC EFFECT OVERALL EFFECT Communication CommunicationMusicianship Audio/Visual CoordinationCreativity Imagination/CreativityBlend and Balance Pacing/ContinuityExcellence as relate to Effect Impact/ResolutionExpression Range of Effects
Idiomatic Interpretation Entertainment
The General Effect score sheet is judged by one individual. The other two score sheets (Ensemble Visualand Percussion Analysis) function around and in development of the master plan -- THE PROGRAM. Theyreinforce key ingredients that support the ultimate success of the show. General Effect is aboutprogramming and performing.
Each show begins as a musical concept, which grows in the mind of the designer/arranger until it, evolvesinto a completed thought. The musical selections will create the mood and guides the feelings andresponses of the audience while observing the program. The music provides highs and lows that shape the impact response and provides opportunity to develop ideas. It serves as a basis to showcase the
musical and visual skills of the performers. Never lose sight of the impact music choices will have on youraudience. These musical choices will establish a frame of reference to the listener/viewer, and willcontribute significantly to the “ENTERTAINMENT” factor of your show.
The musical charts suggest how the show will be written visually, for the optimum placement andpresentation of the various voicings and effects. Here the visual designer will utilize the tools of staging,drill, body, personality, mood, etc. It suggests what and when specific visual images should occur. Thisconcept becomes the vehicle through which the program is developed. It is the whole, which encompasses all the parts and reflects the intent and purpose of the show. It should reinforce the learning level of thestudents, present the designed style, personality and identity of the performers. The designer must beclear in presenting the concept. It must exist on the floor as well as in his/her mind. Do not confuse theprogram concept with the idea of "theme". Theme is not a pre-requisite within the concept. Many groupswill simply elect to illustrate the music through their visual design.
In reviewing the program concept, the DESIGNER should answer a variety of questions, which the JUDGE issure to consider. (This is a sampling, but is not limited to these points)
♦ Does the program concept inspire CREATIVITY?
♦ Does the concept/musical choice have HIGHS AND LOWS? Does it have to?
♦ Does the music provide opportunity to DEVELOP an idea?
♦ Does the music have IMPACT & EFFECT built in?
♦ Does the music provide CONTRAST?
♦ Does the music establish the MOOD needed to guide the emotional response? Remember theemotional impact that the music will create; consider the mood it will set relative to fulfilling theprogram intent.
♦ Does the choice of tunes tie together well and make musical sense?
♦ Do the performers RELATE to the concept, the music and the visual design?
♦ Will the audience UNDERSTAND the musical program and ENJOY it?
♦ Does the musical choice invite a GREAT ENDING? It Should!!!
♦ Do I UNDERSTAND the program premise, its meaning & function?
♦ Will this program SHOWCASE OUR SKILLS to our best advantage?
♦ Is the program ACCESSIBLE AND ENTERTAINING; will it cause controversy; am I prepared if it does?
When the designer is satisfied with all the answers to these questions, then the vehicle for the repertoireis set.
SECOND: THE MUSICAL and VISUAL ARRANGEMENTS OF THE PROGRAM
Programs can tell a story, be an emotional experience of the music, or be written around a particular style.Whichever of these options (alone or in combination) are used, all must be depicted by the language of theart, to translate the concept from a mental image to reality on the floor. That language is found in the
quality of the musical composition. It becomes the basis for the visual delivery and will guide the visualdesigner in orchestrating and arranging the visual presentation. How these elements are coordinated,staged and presented becomes an important aspect, which is credited. The designer should create aneffective script of well-planned musical and visual ideas that will guide the viewer through the program. Theprogram should provide the information and development to intrigue and entertain, while unfolding theintent.
The three approaches to creating effect, intellectual, emotional, aesthetic, comprise the TRIAD of
effect options. These choices may be presented singly or in combination- fusing 2 or 3 and creatingeffect variety. The simultaneous fusion of all 3 offers the strongest effect potential.
♦ The intellectual aspect of effect is reflected in the range and quality of the various planned effects.
♦ The aesthetic aspect of effect involves familiarity or intrigue, which holds the audience’s attention.
♦ The emotional effect is the planned response to stimuli that is designed, coordinated and staged for the purpose of evoking a specific, planned reaction.
It is important to stress that great effect depends significantly upon the quality, development and range of the program design in order to assure its greatest success. Groups can successfully generateimpressive isolated effects, but it is through the quality, development, and detailing of the
presentation that these effects are woven together for the maximum full effect. When, where, howand why effects occur successfully, involves:
♦ The manner of presentation (How you create the effect.)
♦ Pacing (the “when” factor of planned effects. How close, how often, how large?)
♦ Continuity (the development, connection and evolution of planned effects)
♦ Staging (where each effect is placed on the floor)
♦ Coordination (how all elements work together to heighten the effect)
♦ Impact points (The beginning of important musical/visual ideas)
♦ Resolutions (The completion of important musical/visual ideas)
The synergy of the music and the visual is a significant consideration in the fullest development within everyplanned effect. How, when and where these effects develop, the designed pathways and placement on thefloor, the evolution of idea to idea, the level of musicality, and how each element coordinates with theothers, are inherent aspects in the quality and range of the program design, and will definitely elevate theeffects beyond mere isolated moments. There is no priority on any one approach to creating effect.Designers/arrangers would be wise to revisit the concepts involved in the production of effect andendeavor to assimilate all options of the triad of effect into their shows.
Creativity and originality are the cornerstones of the diversity we encourage in this activity. In all classes,designers will take the risk of exploring new material. Without it, we would lose an important part of whowe are. Originality in and of itself is not the sole basis for reward. It must also fulfill all the othercomponents of producing effect. Designers should expect encouragement for their effort through verbalrecognition in order to support the process on an equal basis with those designs/arrangements common to our activity.
When the designer/arranger has written and defined the "Script" of the program, and set the scene withdecorative and colorful visual aids, it now becomes the function of the performers to bring the "show" tolife. In this area we respond to the performers’ manifestation of:
♦ Communication - commitment to the musical/visual performance
♦
Identity, personality, character demonstrated through both music and visual display♦ Musical and Visual Techniques
♦ Excellence
We look for, and respond to, the passionate and emotional investment of the performers -- the sensitive, vulnerable, excited, funny, aggressive performance qualities. These qualities transcend the pure technicalexcellence of any given responsibility, and layer the skill with "life". These qualities invite the audience "in" toshare the experience of the performance, make the performers accessible to the audience, and make theperformance effective! In order to achieve this level of performance, the instructor must provide theperformer with opportunities to demonstrate these skills, and then the performers must communicate them to generate performance effectiveness. This area involves much more than pure energy and en- thusiasm. This learned skill deserves to be recognized and credited. Without a doubt, effect that can be
generated through pure excellence; we also acknowledge that a weak technical performance can bedetrimental to effect. In THIS caption, however, pure excellence is only one ingredient and its importancemay or may not be critical to effect.
The need to understand these techniques, brings to issue the importance of the theory of derivedachievement and the premise that both the “what and the how” exist simultaneously. The judge must havea simultaneous awareness of WHAT is being asked of the performers and concurrently know HOW well itis being achieved. It is impossible to separate the two components. Our accountability to the score sheetis the only real delineation that exists between the WHAT and the HOW. Therefore, it is appropriate thateach observation the judge makes relative to the design qualities should be accompanied by anobservation of the degree of excellence with which it is achieved. This will give scoring significance to thecommentary.
The blend of program and performance is the means to create effect. The program exists only when itis performed, and it is enhanced with a wonderful performance. For the performers, the opportunity todemonstrate a broad array of skills is made possible by the program. The coordination of all componentsinto a synergistic whole provides the glue that combines the many pieces within the program.
THE EFFECT OF THE WELL COORDINATED PROGRAM & PERFORMANCE ISE N T E R T A I N M E N T
We owe our audiences a captivating, pleasing, diverse, competitive event in many acts, offering originality, variety and QUALITY, through many different avenues. The primary ingredient here is quality . Thepresence of quality in program and performance will hold the audience’s attention. The triad of effectoptions, aesthetic appeal (recognition and accessibility), intellectual intrigue (quality/range/detail of
design/arrangement, or creative new approaches), and emotional feelings (reactions) blend together tosupport the diversity and the quality inherent in successful programs. The quality of performance, thedepth of training, and the communication of the performers, creates the connection to the audience whoresponds to them with admiration and appreciation.
VERBAL OBSERVATIONS MUST BE EQUALLY DIVIDEDBETWEEN THE WHAT AND THE HOW.
Judges should recognize and credit the program as the vehicle, involving musical choices, and thesubsequent visual interpretation. They should understand the intent of the show, and recognize theshaping and the pacing of the format. First they should measure the "whole" program design, then
measure the quality and effective development within the "whole". The sum always has greatersignificance than any one of its parts in isolation. Comments should be directed to how each aspect fitsinto the whole. The judge’s comprehension of the concept and the intent of the program help in rewarding the effectiveness of the repertoire and the planned "effects" within the show.
Judges should always credit the creativity, imagination and quality of the program concept. Creativity andoriginality are the cornerstones of the diversity we encourage in this activity. In all classes, designers will take the risk of exploring new material. Without it, we would lose an important part of who we are. Toencourage designers to take a risk and explore new ideas, we need to reinforce the support we offer for this effort, and part of this reinforcement must come through the judging process. Originality in and ofitself is not the sole basis for reward. It must also fulfill all the other components of producing effect.Nonetheless, encouragement for its effort should be acknowledged through verbal recognition. Judgesshould not disregard these efforts or diminish their value just because they don’t fall within the scope of
their comfort zone of recognition. They should explore the designer’s intent and learn more about theeffort behind the design in order to support the process on an equal basis with those familiar approachescommon to our activity.
Judges should fully understand those qualities discussed in the preceding pages relative to thedesigner’s process & the performers role in measuring effect if they hope to mirror the success ineach program, and offer input that will aid in the group’s development.
Judges should credit the quality, range and blend of musical or visual presentations including: drill/staging,coordination, musicality and impact, not only for its own worth, but for how it depicts the program concept.This aspect of the repertoire is the one that brings real quality and meaning to the program.
The three approaches to creating effect: Intellectual, Emotional, Aesthetic, comprise the TRIAD of
effect options. These choices may be presented singly or in combination, fusing 2 or 3 and creatingeffect variety. The simultaneous fusion of all 3 offers the strongest effect potential.
♦ The intellectual aspect of effect is reflected in the range and quality of the arrangement/design
♦ The aesthetic aspect of effect involves familiarity or intrigue that holds the audience’s attention.
♦ The emotional effect is the planned response to stimuli that is designed, coordinated and staged for the purpose of evoking a specific, planned reaction.
There is no priority on any one approach to creating effect. Designers should endeavor to assimilate alloptions of the triad of effect into their shows; judges must consider and compare the success of eachchoice.
Judges must know what they are reacting to and why. The musical choices will impact on the potentialeffect of the program. Music establishes the mood and influences the pacing and delivery of the variouseffects throughout the repertoire. The music inspires the visual images and stagings, which are animportant repertoire consideration. Judges must be specific and identify what particular effort hasproduced the effect.
They must know what does and what does not work, and be specific in verbalizing why. They must relateeach micro-reaction to the macro-reaction, recognizing how each individual effect contributes to the totaleffect. They should not over-react to effects in isolation. “Oohs” and “ahs” are not considered to beresponsible recognition responses.
When, where, how and why effects occur successfully, involves:
♦ The manner of presentation (how the effect was created)
♦ Pacing (the “when” factor of planned effects. How far apart, how often, how large is the effect?)
♦ Continuity (the development, connection and evolution of planned effects)
♦
Staging (where each effect is placed on the field -- focus, interaction of effects, etc.)♦ Coordination (how all elements work together to heighten the effect)
♦ Impact points (the beginning of important musical/visual ideas)
♦ Resolutions (the completion of important musical/visual ideas)
The enhancement and heightening of program through the use of colors, costume and props is a part of the overall effect. It does not supersede the creativity of the program or the quality or range of themusical/visual repertoire; however, it is worthy of an appropriate degree of credit for enhancement of theprogram.
In performance, the judge will credit the successful demonstration of techniques involving musical and visual communication skills, recognizing the range of these skills in assigning their score. Excellence isalways a consideration in this caption.
Place the proper focus on your priorities:
Focus on Music Effect in regards to communication, musicianship, creativity, blend and balance, excellenceas it relates to effect, expression and idiomatic interpretation
Focus on overall effect in regards to communication, audio/visual coordination, imagination/creativity,pacing/continuity, impact/resolution, range of effects and entertainment.
COMMUNICATION is the performance techniques that connect with the audience. The ability of theperformers to draw the audience into what they are doing musically. The exchange of information fromperformer to audience.
MUSICIANSHIP is the interpretive art of the music. Performers display the proper technique of dynamics,balance, expression and phrasing, both in the featured musical line as well as counter lines.
CREATIVITY is the uniqueness and freshness of the musical program. It explores new avenues to produceeffect. The program revolves around new ideas in writing and performance.
BLEND AND BALANCE is the measure of the performer’s understanding of and commitment to themusical effects of the entire ensemble.
EXCELLENCE AS RELATES TO EFFECT is the proficiency of technical skills or virtuosity that elicits aresponse from the listener.
EXPRESSION is the range of dynamics as a whole. It represents the ability of the musicians to convey awide range of nuances through their artistic control. The style or mood elevates the level of performance.
IDIOMATIC INTERPRETATION is the combination of creative writing and musical performance to convey the appropriate “feel” and style of the music.
COMMUNICATION is the performance techniques that connect with the audience. The ability of theperformers to draw the audience into what they are doing. The exchange of information from performers to audience. Inherent here are aspects of identity, personality, style and character (if appropriate to theprogram).
AUDIO/VISUAL COORDINATION is the presentation and delivery of the music and the visual in such a wayas to enhance each other throughout the program. It is the visual illustration or representation of themusic, and suggests that the visual and music equally contribute to the overall program. The music drives the visual in this consideration.
IMAGINATION is the ability to present a known idea with an effective and unique variation, which enriches the original idea.
CREATIVITY is the successful and effective utilization of an original musical/visual concept or approach.
PACING is the planning of effects through time. It is the contouring and shaping of the musical/visual
effects to manipulate the response mechanism.
CONTINUITY is the logical development of one musical/visual idea to another. The through-line of the visual presentation which connects the musical and visual ideas, and creates seamless and connectedpresentation.
IMPACT/CLIMAX/RESOLUTION is the result of musical/visual phrases that punctuate the programideas. These are logical effect opportunities.
RANGE OF EFFECTS is the variety and depth of development within each planned effect.
ENTERTAINMENT is the result of strongly communicated performance of a quality, creative, andimaginative program. It is that quality which engages and captivates the audience, offering intellectualintrigue, emotional response and aesthetic appeal. It can be varied and diverse in it presentation.
N o p a r t o f t h i s d o c u m e n t m a y b e r e p r o d u c e d o r t r a n s m i t t e d i n a n y f o r m o r b y a n y m e a n s , e l e c t r o n i c o r m e c h a n i c a l ,
i n c l u d i n g p h o t o c o p y i n g ,
r e c o r d i n g ,
o r b y a n y i n f o r m a t i o n s t o r a g e a n d r e t r i e v a l s y s t e m s , w i t h o u t p e r m i s s i o n i n w r i t i n g f r o m t h e p u b l i s h e r s . P u b l i s h e d b y W i n t e r
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
C o mm u n i c a t i o n : “ T h e p e r f o r m a n c e t e c h n i q u e s t h a t c o n n e c t wi t h t h e a u d i e n c e .”
A u d i o / V i s u a l C o o r d
i n a t i o n : “ T h e p r e s e n t a t i o n a n d d e l i v e r y o f t h e m u s
i c a n d t h e v i s u a l i n s u c h a w a y a s t o e n h a n c e e a c h
o t h e r t h r o u g h o u t t h e p r o g r a m.”
I m a g i n a t i o n : “ T h e a
b i l i t y t o p r e s e n t t h e k n o wn i d e a wi t h a n e f f e c t i v e a
n d u n i q u e v a r i a t i o n .”
C r e a t i v i t y : “ T h e s u c
c e s s f u l a n d e f f e c t i v e u t i l i z a t i o n o f a n o r i g i n a l m u s i c a l / v i s u a l c o n c e p t .”
P a c i n g : “ T h e p l a n n i n g o f e f f e c t s t h r o u g h t i m e t o m a n i p u l a t e r e s p o n s e
.”
I m p a c t / C l i m a x / R e s
o l u t i o n : “ T h e r e s u l t o f m u s i c a l / v i s u a l p h r a s e s t h a t
p u n c t u a t e t h e p r o g r a m i d e a s .”
R a n g e o f E f f e c t s : “ T
h e v a r i e t y a n d d e p t h o f d e v e l o p m e n t wi t h i n e a c h p l a n n e d e f f e c t .”
E n t e r t a i n m e n t : “ T h a
t q u a l i t y wh i c h e n g a g e s a n d c a p t i v a t e s t h e a u d i e n
c e .”
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
C o mm u n i c a t i o n : “ T h e p e r f o r m a n c e t e c h n i q u e s t h a t c o n n e c t m u s i c a l l y
wi t h t h e a u d i e n c e .”
M u s i c i a n s h i p : “ T h e
i n t e r p r e t i v e a r t o f t h e m u s i c .”
C r e a t i v i t y : “ T h e u n i q u e n e s s a n d f r e s h n e s s o f t h e m u s i c a l p r o g r a m.”
B l e n d a n d B a l a n c e : “ T h e m e a s u r e o f t h e p e r f o r m e r ’ s u n d e r s t a n d i n g o
f a n d c o mmi t m e n t t o t h e m u s i c a l e f f e c t s o f t h e
e n t i r e e n s e m b l e .”
E x c e l l e n c e a s i t r e l a t e s t o E f f e c t : “ T h e p r o f i c i e n c y o f t e c h n i c a l s k i l l s o r v i r t u o s i t y t h a t e l i c i t s a r e s p o n s e f r o m t h e l i s t e n e
r .”
E x p r e s s i o n : “ T h e r a n g e o f d y n a mi c s a s a wh o l e .T h e a b i l i t y t o c o n v e y
a wi d e r a n g e o f n u a n c e s t h r o u g h a r t i s t i c c o n t r o l .”
I d i o m a t i c I n t e r p r e t a t i o n : “ T h e a b i l i t y t o c o n v e y t h e a p p r o p r i a t e “ f e e l ”
a n d s t y l e o f t h e m u s i c .”
M u s i c E f f e c t
B o x 1
N e v e r
0 t o 4 9
E x p e r i e n c e
P e r c u s s i o n E n s e m b l e G e n e r a l E f f e c t
B o x 3
S o m e t i m e s
6 0 t o 7 9
K n o w
B o x 4
F r e q u e n t l y
8 0 t o 8 9
U n d e r s t a n d
B o x 2
R a r e l y
5 0 t o 5 9
D i s c o v e r
D e s c r i p t o r s
N u m e r i c a l R a n g e
L e a r n i n g S t e p s
B o x 6
9 7 t o 1 0 0
B o x 5
C o n s i s t e n t l y
9 0 t o 9 6
A p p l y
O v e r a l l E f f e c t
S u b C a p t i o n S p r e a d
s
V e r y c o m p a r a b l e
Mi n o r D i f f e r e n c e s
D e f i n i t i v e D i f f e r e n c e s
S i g n i f i c a n t D i f f e r e n c e
1 t o 2 p e r c e n t a g e p o i n t s
3 t o 4 p e r c e n t a g e p o i n t s
5 t o 7 p e r c e n t a g e p o i n t s
8 &
h i g h e r
p e r c e n t a g e p o i n t s
C r e d i t a l l o f t h e m u s i c a l / v i s u a l e l e m e n t s i n a u n i t ’ s p r e s e n t a t i o n t h a t c o m b i n e t o d i s p l a y a n e f f e c t i v e a n d
e n t e r t a i n i n g p r o g r a m. C r e d i t t h e s u c c e s s f u l c o mm u n i c a t i o n o f a u n i t ’ s i d e n t i t y a n d
m e s s a g e t h r o u g h t h e q u a l i t y b l e n d o f c r e a t i v i t y a n d p e r f o r m a n c e . C r e d i t t h e p e r f o r m e r ’ s a b i l i t y t o c o n n e c t wi t h t h e a u d i e n c e .T h e m u s i c d r i v e s t h e v i s u a l i n c r e a t i n
The basis for analyzing an ensemble’s performance is the demonstration of percussion excellencedisplayed by the members of the ensemble, both collectively and individually. The ensemble’s level ofperformance achievement (excellence) should be based upon the musical, rhythmic and physical demandson the performers.
In this caption, there are two sub-captions. The composition sub caption credits the musical and technicalcontent and simultaneous responsibilities. The performance quality sub-caption credits musicianship,segmental clarity, and uniformity of technique and ensemble cohesiveness.
COMPOSITION DEFINITIONS
MUSICAL CONTENT refers to the ability of the ensemble to demonstrate wide variety of musical stylesand nuances. Consideration is given to performers who demonstrate musical ideas that include phrasing,expression, tempo, dynamics, timbre and idiomatic interpretation.
TECHNICAL CONTENT refers to the degree of skill and stamina required to play the written book.
SIMULTANEOUS RESPONSIBILITY is the combination of musical and visual responsibilities requiredand/or displayed by the performers.
CLARITY OF INTENT is the ensembles clarity with acoustic instrumentation and/or non-acousticinstrumentation to deliver to the listener the clear and balanced intent of the written score.
PERFORMANCE QUALITY DEFINITIONS
MUSICIANSHIP is the art of making music. Performers display the technique necessary to demonstratedynamics, expression, idiomatic interpretation and phrasing, both in the overall musical line as well as innerline motives.
SEGMENTAL CLARITY is the ability of each segment to demonstrate rhythmic accuracy within the overallprogram.
UNIFORMITY OF TECHNIQUE is consistency demonstrated through implement control used in theensemble. This includes, but is not limited to, proper arm, wrist and finger control in the chosen technicalstyle.
ENSEMBLE COHESIVENESS is the ability of the entire ensemble to maintain a rhythmic stability. Allpossible musical demands are handled with ease at the highest level of musicianship.
S i m u l t a n e o u s R e s p o n s i b i l i t y
C l a r i t y
o f I n t e n t
P e r f o r m a n c
e Q u a l i t y
M u s i c i a n s h i p
S e g m e n t a l C l a r i t y
( R h y t h m i c )
U n i f o r m i t y o f T e c h n i q u e s
E n s e m b l e C o h e
s i v e n e s s
T o t a l
C o m p o s i t i o n
M a r c h i n g P e r c u s s i o n E n s e m b
l e s
T h e b a s i s f o r a n a l y z i n g a
u n i t ’ s p e r f o r m a n c e i s t h e d e m o n s t r a t i o n o f p e r c u s s i o n e x c e l l e n c e d i s p l a y e d b y
t h e m e m b e r s o f t h e e n s e m b l e ,
b o t
h c o l l e c t i v e l y a n d i n d i v i d u a l l y . T h e u n i t ’ s l e v e l o f p e r f o r m a n c e a c h i e v e m e n t ( e x c e l l e n c e
)
s h o u l d b e b a s e d u p o n t h e m u s i c a l , r h y t h m i c a n d p h y s i c a l d e m a
N o p a r t o f t h i s d o c u m e n t m a y b e r e p r o d u c e d o r t r a n s m i t t e d i n a n y f o r m o r b y a n y m e a n s , e l e c t r o n i c o r m e c h a n i c a l ,
i n c l u d i n g p h o t o c o p y i n g ,
r e c o r d i n g ,
o r b y a n y i n f o r m a t i o n s t o r a g e a n d r e t r i e v a l s y s t e m s , w i t h o u t p e r m i s s i o n i n w r i t i n g f r o m t h e p u b l i s h e r s . P u b l i s h e d b y W i n t e r
The purpose of the Visual score sheet is to analyze and credit the visual design based upon the illustrationof the musical ideas presented by the percussion ensemble. The Visual score sheet will also analyze andcredit the ability of the performers, both individually and collectively, to “realize” the visual composition through quality of performance. In these considerations, it is always the music that will “drive” the visual.
In this caption, there are two sub-captions. The composition sub-caption credits the visual design and it’sreflection of the musical presentation. The performance quality sub-caption rewards the achievement of the performers for their accurate, clear, and cohesive response in displaying those visual skil ls required by the composition. .
COMPOSITION: The arrangement of design principles and elements into a pictorial representation of themusical ideas.
COMPOSITION DEFINITIONS
Quality of Orchestration –
• Horizontal - The logical progression of design ideas to enhance the intent and unity of the
audio/visual composition.• Vertical - The layering or combination of design choices to enhance the intent and unity of the
audio/visual composition.
Visual Musicality - The visual representation and enhancement of all aspects of the musical program.
Clarity of Intent - The ability of the designer to make the compositional intent clear.
Staging - The proper placement of the elements to present the audio/visual.
Creativity/Variety - The uniqueness and freshness of the visual program.
Attention to Detail - Deliberate consideration of technical, logistical and expressive subtleties.
Unity of Elements - The purposeful agreement among the elements of design.
Simultaneous Responsibility - The combination of visual responsibilities layered upon the musicalresponsibilities required of the performers.
PERFORMANCE QUALITY: The level at which the performers achieve those skills necessary to realize thecompositional intent.
PERFORMANCE QUALITY DEFINITIONS
Ensemble Control - The ability of the ensemble to maintain accuracy, clarity and control with respect tospace, time and line.
Accuracy - The degree of precision relative to the quality of the performance.
Recovery - The timely and appropriate adjustment to inconsistencies in the presentation.
Uniformity - The consistent manor of approach. (Ensemble)
Articulation of body/equipment - The clear distinct and uniform approach to the use of body andequipment. (Individual)
Adherence to style/role - The consistent application of a chosen style or role.
Presence - The ability of the performers to elevate the written program beyond technical accuracy.
N o p a r t o f t h i s d o c u m e n t m a y b e r e p r o d u c e d o r t r a n s m i t t e d i n a n y f o r m o r b y a n y m e a n s , e l e c t r o n i c o r m e c h a n i c a l ,
i n c l u d i n g p h o t o c o p y i n g ,
r e c o r d i n g ,
o r b y a n y i n f o r m a t i o n s t o r a g e a n d r e t r i e v a l s y s t e m s , w i t h o u t p e r m i s s i o n i n w r i t i n g f r o m t h e p u b l i s h e r s . P u b l i s h e d b y W i n t e r
Wh o h a d t h e g r e a t e r a c h i e v e m e n t a s i t r e l a t e s t o …
E n s e m b l e C o n t r o l : “ T h e a b i l i t y o f t h e e n s e m b l e t o m a i n t a i n a c c u r a c y ,
c l a r i t y a n d c o n t r o l wi t h r e s p e c t t o s p a c e ,
t i m e a n d l i n e .”
A c c u r a c y : “ T h e d e g r e e o f p r e c i s i o n r e l a t i v e t o t h e q u a l i t y o f t h e p e r f o r
m a n c e .”
R e c o v e r y : “ T h e t i m e l y a n d a p p r o p r i a t e a d j u s t m e n t t o i n c o n s i s t e n c i e s i n t h e p r e s e n t a t i o n .”
U n i f o r mi t y : “ T h e c o n s i s t e n t m a n o r o f a p p r o a c h ( E n s e m b l e ) .”
A r t i c u l a t i o n o f B o d y / E q u i p m e n t : “ T h e c l e a r d i s t i n c t a n d u n i f o r m a p p r o a c h t o t h e u s e o f b o d y a n d e q u i p m e n t ( I n d i v i d u a l ) .”
A d h e r e n c e t o S t y l e
/ R o l e : “ T h e c o n s i s t e n t a p p l i c a t i o n o f a c h o s e n s t y l
e o r r o l e .”
P r e s e n c e : “ T h e a b i l i t y o f t h e p e r f o r m e r s t o e l e v a t e t h e wr i t t e n p r o g r a m
b e y o n d t e c h n i c a l a c c u r a c y .”
Wh o h a d t h e g r e a
t e r u n d e r s t a n d i n g a s i t r e l a t e s t o …
Q u a l i t y o f O r c h e s t r a t i o n : “ H o r i z o n t a l –T h e l o g i c a l p r o g r e s s i o n o f d e s
i g n i d e a s t o e n h a n c e t h e i n t e n t a n d u n i t y o f
t h e a u d i o / v i s u a l c o m
p o s i t i o n .V e r t i c a l –T h e l a y e r i n g o r c o m b i n a t i o n o f d e s i g n c h o i c e s t o e n h a n c e t h e i n t e n t a n d
u n i t y o f t h e a u d i o / v i s u a l c o m p o s i t i o n .”
V i s u a l M u s i c a l i t y : “
T h e v i s u a l r e p r e s e n t a t i o n a n d e n h a n c e m e n t o f a l l
a s p e c t s o f t h e m u s i c a l p r o g r a m.”
C l a r i t y o f I n t e n t : “ T h e a b i l i t y o f t h e d e s i g n e r t o m a k e t h e c o m p o s i t i o n a l i n t e n t c l e a r .”
S t a g i n g : “ T h e p r o p e
r p l a c e m e n t o f t h e e l e m e n t s t o p r e s e n t t h e a u d i o / v i s u a l .”
C r e a t i v i t y / V a r i e t y : “
T h e u n i q u e n e s s a n d f r e s h n e s s o f t h e v i s u a l p r o g r a m.”
A t t e n t i o n t o D e t a i l :
“ D e l i b e r a t e c o n s i d e r a t i o n o f t e c h n i c a l ,l o g i s t i c a l a n
d e x p r e s s i v e s u b t l e t i e s .”
U n i t y o f E l e m e n t s : “ T h e p u r p o s e f u l a g r e e m e n t a m o n g t h e e l e m e n t s o f d e s i g n .”
S i m u l t a n e o u s R e s p
o n s i b i l i t y : “ T h e c o m b i n a t i o n o f m u s i c a l a n d v i s u a
l r e s p o n s i b i l i t i e s .”
C o m p o s i t i o n
B o x 1
N e v e r
0 t o 4 9
E x p e r i e n c e
P e r c u s s i o n E n s e m b l e V i s u a l
B o x 3
S o m e t i m e s
6 0 t o 7 9
K n o w
B o x 4
F r e q u e n t l y
8 0 t o 8 9
U n d e r s t a n d
B o x 2
R a r e l y
5 0 t o 5 9
D i s c o v e r
D e s c r i p t o r s
N u m e r i c a l R a n g e
L e a r n i n g S t e p s
B o x 6
9 7 t o 1 0 0
B o x 5
C o n s i s t e n t l y
9 0 t o 9 6
A p p l y
P e r f o r m a n c e
S u b C a p t i o n S p r e a d
s
V e r y c o m p a r a b l e
Mi n o r D i f f e r e n c e s
D e f i n i t i v e D i f f e r e n c e s
S i g n i f i c a n t D i f f e r e n c e
1 t o 2 p e r c e n t a g e p o i n t s
3 t o 4 p e r c e n t a g e p o i n t s
5 t o 7 p e r c e n t a g e p o i n t s
8 &
h i g h e r
p e r c e n t a g e p o i n t s
A c h i e v e m e n t i s t h e e n d
p r o d u c t o f wh a t t h e p e r f o r m e r s a r e g i v e n a n d
h o ww e l l t h e y c o mm u n i c a t e t h o s e r e s p o n s i b i l i t i e s .
Instructors Guide to Visual Design and Composition
DESIGN: The grouping or arrangement of the elements of a composition including plan, function, time andunity.
COMPOSITION: The arrangement of forms, lines, values and other pictorial elements into a picturedesign. The composing process involves 4 levels: intellectual (think it), emotional (feel it), visual (see it),physical (do it).
• In reading the composition, focus on the entire stage; absorb all that the designer places there.Eliminate old rules calling for a single focal point. Design emphasis can move from individuals to aseries of events to ensemble statements. Accept and appreciate choices where multiple events canoccur simultaneously; recognize when the emphasis is on individuals, and do not fail to notice asecondary emphasis or a non-emphasis when that is the choice. All elements function as a part of thewhole. Follow the totality of what you view, absorb all that is presented, and instinctively recognizedesign principles. Read design as you would read a manuscript. You absorb best when the words flowbefore your eyes in a smooth and fluid reading style. Develop this style in order to read, appreciate andcomprehend the intent and quality of the visual design.
• Be aware of important aspects of the horizontal and vertical composing process. Within the horizontalcomposing, consider when, where, how and why the various musical/visual events occur. Such
consideration gives relevance and value to the larger plan of the whole design. The choice of when andwhere musical/visual events will appear is an important part of the design plan and elevates theircontributions beyond mere random existence of these parts.
• Recognize the specific characteristics that might be important to the music, (voices, dynamics, etc.) or the character of the performers. These characteristics might be designed to create expressivedynamics. They might also be a part of recurring visual motifs that lend depth and interest to thedesign. In this way, existence, placement, choice and detailing of the musical/visual events (alone or incombination) becomes an issue of quality within the composing process.
• Be aware of the importance of the motion that combines each staged event, and how that choice ofmotion through path and speed, impacts on the design. In staging or drill we call this “transition”. Itinvolves not only the combining of moves, but also the specific choices of how they are connected.
• Composing choices will be based on the reflection of the audio, the emphasis of the design momentand the depth of the program intent. The judge should not debate artistic choices; judge only themechanics of composing.
• The use of props & flats become a consideration in the composition when they are on the floor ormanipulated by the performers. They can contribute to the design through dimensionality, weight,space, shape and line. This is not to be confused with the flats that surround the stage and remain in afixed place. This is also not to be confused with the impact and credit given in GE, relative toenhancement of the program concept.
The absence of design flaw does not assure superior composition. Recognize the difference between thinor sparsely written design and more complex sophisticated efforts. Do not allow the eye to over-react justbecause the work is easier to follow. Measure and credit the presence of design quality & depth. Thenumber of individuals within a design is not the issue. Imagination and variety within the visual design, and the successful presentation of the musical elements is always the priority.
UNITY is the purposeful agreement among the elements of design. It implies that a congruity existsamong the elements. This is what we mean when we say that the whole must be predominant over theparts. You should first see the whole design before seeing the individual elements. The aim of unity is tomake the design coherent and readable.
The following design principles apply to all options of visual design
LINE: A set of markings that leads the viewer's eye through a work of art. Line is also used to defineshape, a principle component of geometric drill. Line must also be recognized through the body andequipment in all its shapes and positions.
SHAPE: an area defined by an enclosing line. There are 4 basic shapes in art: sphere, cone, cylinder, and
cube. These shapes represent a 3-dimensional image because they contain volume or mass. Alone orcombined they suggest the structure of almost everything. Their 2-dimensional counterparts commonlyrecognized in geometric drill are viewed as: circle, triangle, rectangle, square. There are 4 similar shapesat a body level: pin shape (vertical), wall (flat), ball (round), twist (curved). Equipment will "trace" theseshapes through patterns in space. The eye must be quick to see these patterns.
BALANCE: a visually favorable distribution of weight. Symmetry = formal balance can be divided eitherhorizontally, vertically or diagonally. Each side reflects the other in an equal distribution of weight.Asymmetry = informal balance.
DIMENSION: the use of height, width and depth within equipment, movement, drill/staging. Dimensionalmoves offer greater interest, provide broader opportunity for musical reflection and put more animation
into the performer
TEXTURE: designed relief from stark line using depth and width. This is achieved through body andequipment as a contrast unison effort.
SPACE: an area used for the presentation of a design. Positive space is the area containing the subjectmatter. Negative space is the area around the subject matter but not occupying the subject matter.
MASS: the feel of weight, heaviness, and volume.
WEIGHT: the distribution of elements within a design. This element will impact on balance as well as on
emphasis within the design whole.
MOTION combines the design elements changing static art to moving design or choreography. One mustunderstand motion, its aesthetics and function, to apply design principles validly to the changing shapes wemeasure through equipment, movement and drill or staging phrases. Motion reflects space, time, flowand path. Choices of motion will alter and enhance design efforts and are design choices as well.
ARTISTIC efforts are qualities that make an aesthetic contribution such as: dramatic role, dynamic effortchanges - space, time, weight, flow, nuance and details of design. These are COMPOSITIONALconsiderations involving the aesthetics of design, not a program or showmanship consideration. Theymeasure the design capacity for the highest level of audio/visual representation without regard to effect.Drill/staging can achieve expressive credit when effort qualities of space, time, weight and flow apply to itsdesign. Components of speed, direction, weight and close or open space contributes to the design dy-namics, and is credited both as artistic design and as reflection of the sound.
ORCHESTRATION: The logical progression of ideas as well as the layering or combination of designoptions to enhance the intent and unity of a composition. It includes the visual representation and/orenhancement of the audio and is reflected horizontally and vertically.
• HORIZONTAL orchestration is the visual arrangement through time, running from the first count of the show to the last. Within this, consider the evolution of each idea from one to the other, the quality
of design within the ongoing development of the visual plan. Consider the conceptualization, (when andwhere) evolution, transitions, seams, phrasing and prop changes.
• VERTICAL orchestration involves the design and layering of equipment and movement, and reflects the range of possibilities within the audio. Consider the design and characteristics (specific pieces,choices and usage) of equipment & movement, staging, dramatic role, (if appropriate) detail, nuanceand dynamic effort qualities.
EMPHASIS is the planned organization of design establishing priority. It directs the viewer's eye in anywork and will help clarify concerns about focus. Current designs have opened new options whereemphasis is applied. It can be placed upon: a common ensemble effort, multiple events occurring simul- taneously but which have a related purpose, individuals and their own unique contribution to thecomposition. Emphasis is achieved by: contrast, isolation, placement, color, speed or motion.
COLOR can influence the look of weight, dynamic intensity and emphasis. It can be strong or soft and caninfluence clarity, readability, and perceptions of depth and space based on the foreground and background.For this reason, the choice of color is an issue of the design plan. (It is this influence and result which ismeasured in Visual. We do not judge the effect of the color choices in the Visual caption.)
UNITY is the purposeful agreement among the elements of design. It implies that a congruity exists
among the elements. This is what we mean when we say that whole must be predominant over the parts. You should first see the whole design before seeing the individual elements. The aim of unity is to make thedesign coherent and readable.
This class is designed for those groups whose single emphasis is the exploration and development ofmusical presentations. Their repertoire may include original compositions and/or arrangements or transcriptions of existing materials. The expectations of the judge will be different from those of themarching ensemble. In this class, the concert stage will be set to deliver the sound from a stationary focalpoint. Paradigms for the concert class can be drawn from ANY musical idiom, all of which will have anequal opportunity to succeed. The scoring system will attempt to measure the level of artistry andperformance quality contained in the ensemble’s program as demonstrated by the performers.
ARTISTRYThe quality of effect or workmanship displayed through
program composition and performance fulfillment.
PROGRAM DEFINITIONSEvaluate the level of artistry/effectiveness contained in the structure of the program.
The Musical Journey – The culmination of those elements within a written work that enable the listener toestablish an aesthetic relationship between time spent, paths taken, destinations reached and conclusion.
Creativity - The ability, through imaginative compositional skill, to produce a written work capable ofeliciting audience/listener response.
Clarity of Thought - Clear presentation of design ideas through appropriate orchestration andperformance.
FULFILLMENT DEFINITIONSEvaluate the ability of the performers to fulfill, or bring to life, the musical
expectations of the written program.
Communication - The ability of the ensemble to express compositional and/or musical ideas effectively through performance.
Musicianship - The interpretive art of the written musical score.
Presence - The quality of poise and performance effectiveness that enables the ensemble to achieve aclose relationship with the audience.
Excellence as it relates to Artistry - The proficiency of technical skills and virtuosity that enable theperformer(s) to elicit an appropriate response from the listener.
Idiomatic Interpretation - The combination of creative writing and musical performance that enable theperformers to convey the appropriate "feel" and style of the music.
Expression - The ability of the ensemble through performance to portray the musical indication of feeling.
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
C o mm u n i c a t i o n : “ T h e a b i l i t y o f t h e e n s e m b l e t o e x p r e s s c o m p o s i t i o n a l a n d / o r m u s i c a l i d e a s e f f e c t i v e l y t h r o u g h
p e r f o r m a n c e .”
M u s i c i a n s h i p : “ T h e
i n t e r p r e t i v e a r t o f t h e wr i t t e n m u s i c a l s c o r e .”
P r e s e n c e : “ T h e q u a l i t y o f p o i s e a n d p e r f o r m a n c e e f f e c t i v e n e s s t h a t e n
a b l e s t h e e n s e m b l e t o a c h i e v e a c l o s e r e l a t i o n s h i p
wi t h t h e a u d i e n c e .”
E x c e l l e n c e a s i t r e l a t e s t o A r t i s t r y : “ T h e p r o f i c i e n c y o f t e c h n i c a l s k i l l s
a n d v i r t u o s i t y t h a t e n a b l e t h e p e r f o r m e r ( s )
t o e l i c i t a n a p p r o p r i a
t e r e s p o n s e f r o m t h e l i s t e n e r .”
I d i o m a t i c I n t e r p r e t a t i o n : “ T h e c o m b i n a t i o n o f c r e a t i v e wr i t i n g a n d m u
s i c a l p e r f o r m a n c e t h a t e n a b l e t h e p e r f o r m e r s
t o c o n v e y t h e a p p r o p r i a t e “ f e e l ” a n d s t y l e o f t h e m u s i c .”
E x p r e s s i o n : “ T h e a b
i l i t y o f t h e e n s e m b l e t h r o u g h p e r f o r m a n c e t o p o r t r a y t h e m u s i c a l i n d i c a t i o n o f f e e l i n g
C l a s s A
B a s i c
S k i l l s
O p e n C l a s s
I n t e r m e d i a t e
S k i l l s
W o r l d C l a s s
A d v a n c e d
S k i l l s
C l a s s A
& O p e n C l a s s
R e a d i n e s s
f o r n e x t c l a s s
W o r l d C l a s s
S e t s
N e w
S t a n d a r d s
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
T h e M u s i c a l J o u r n e y : “ T h e c u l mi n a t i o n o f t h o s e e l e m e n t s wi t h i n a wr
i t t e n w o r k t h a t e n a b l e t h e l i s t e n e r t o e s t a b l i s h
a n a e s t h e t i c r e l a t i o n
s h i p b e t w e e n t i m e s p e n t , p a t h s t a k e n , d e s t i n a t i o n s r e a c h e d a n d c o n c l u s i o n .”
C r e a t i v i t y : “ T h e a b i l
i t y ,t h r o u g h i m a g i n a t i v e c o m p o s i t i o n a l s k i l l ,t o p r o
d u c e a wr i t t e n w o r k c a p a b l e o f e l i c i t i n g
a u d i e n c e / l i s t e n e r r e s
p o n s e .”
C l a r i t y o f T h o u g h t : “ C l e a r p r e s e n t a t i o n o f d e s i g n i d e a s t h r o u g h a p p r o p r i a t e o r c h e s t r a t i o n a n d p e r f o r m a n c e .”
P r o g r a m
B o x 1
N e v e r
0 t o 4 9
E x p e r i e n c e
P e r c u s s i o n E n s e m b l e A r t i s r t y
B o x 3
S o m e t i m e s
6 0 t o 7 9
K n o w
B o x 4
F r e q u e n t l y
8 0 t o 8 9
U n d e r s t a n d
B o x 2
R a r e l y
5 0 t o 5 9
D i s c o v e r
D e s c r i p t o r s
N u m e r i c a l R a n g e
L e a r n i n g S t e p s
B o x 6
9 7 t o 1 0 0
B o x 5
C o n s i s t e n t l y
9 0 t o 9 6
A p p l y
F u l f i l l m e n t
S u b C a p t i o n S p r e a d
s
V e r y c o m p a r a b l e
Mi n o r D i f f e r e n c e s
D e f i n i t i v e D i f f e r e n c e s
S i g n i f i c a n t D i f f e r e n c e
1 t o 2 p e r c e n t a g e p o i n t s
3 t o 4 p e r c e n t a g e p o i n t s
5 t o 7 p e r c e n t a g e p o i n t s
8 &
h i g h e r
p e r c e n t a g e p o i n t s
C r e d i t t h e q u a l i t y
o f e f f e c t o r w o r k m a n s h i p d i s p l a y e d t h r o u g h p r o g r a m c o m p o s i t i o n a n d p e r f o r m a n c e f u l f i l l m e
The basis for analyzing an ensemble’s performance is the demonstration of percussion excellencedisplayed by the members of the ensemble, both collectively and individually. The ensemble’s level ofperformance achievement (excellence) should be based upon the musical and rhythmic demands placedon the performers.
COMPOSITION
MUSICAL CONTENT - Refers to musical score requirements placed upon the performers ability to convey the depth of musical style and nuance to the listener.
TECHNICAL CONTENT - Refers to those qualities within the written musical score that demonstrate theacquired level of technical proficiency and musical virtuosity of the performers.
CLARITY OF INTENT - Refers to the ability of the composer/composition to provide a clear and balancedmusical listening experience.
PERFORMANCE QUALITYMUSICIANSHIP - Is the demonstration of those acquired performance techniques necessary to conveydynamics, expression, idiomatic interpretation & phrasing to the listener.
QUALITY OF SOUND - The ability of the performer(s) to produce a mature, professional soundquality through technical skill and instrumental proficiency.
CLARITY is the ability of performers on an individual and ensemble basis to accurately present the technical and musical intent of the composition.
TECHNIQUE is the demonstration of appropriate implement control throughout the performance.
COHESIVENESS is the ability of the entire ensemble to maintain both vertical and horizontal rhythmicstability.
C o n c e r t P e r c u s s i o n E n s e m b l e s
T h e b a s i s f o r a n a l y z i n g a
u n i t ’ s p e r f o r m a n c e i s t h e d e m o n s t r a t i o n o f p e r c u s s i o n e x c e l l e n c e d i s p l a y e d b y
t h e m e m b e r s o f t h e e n s e m b l e ,
b o t
h c o l l e c t i v e l y a n d i n d i v i d u a l l y . T h e u n i t ’ s l e v e l o f p e r f o r m a n c e a c h i e v e m e n t ( e x c e l l e n c e
)
s h o u l d b e b a s e
d u p o n t h e m u s i c a l a n d r h y t h m i c d e m a n d s p l a c e d o n t h e p e r f o r m e r s .
N o p a r t o f t h i s d o c u m e n t m a y b e r e p r o d u c e d o r t r a n s m i t t e d i n a n y f o r m o r b y a n y m e a n s , e l e c t r o n i c o r m e c h a n i c a l ,
i n c l u d i n g p h o t o c o p y i n g ,
r e c o r d i n g ,
o r b y a n y i n f o r m a t i o n s t o r a g e a n d r e t r i e v a l s y s t e m s , w i t h o u t p e r m i s s i o n i n w r i t i n g f r o m t h e p u b l i s h e r s . P u b l i s h e d b y W i n t e r
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
M u s i c i a n s h i p : “ I s t h
e d e m o n s t r a t i o n o f t h o s e a c q u i r e d p e r f o r m a n c e t e c h n i q u e s n e c e s s a r y t o c o n v e y d y n a mi c s ,
e x p r e s s i o n ,i d i o m a t i c i n t e r p r e t a t i o n &
p h r a s i n g t o t h e l i s t e n e r .”
Q u a l i t y o f S o u n d : “ T h e a b i l i t y o f t h e p e r f o r m e r ( s ) t o p r o d u c e a m a t u r e , p r o f e s s i o n a l s o u n d q u a l i t y t h r o u g h t e c h n i c a l
s k i l l a n d i n s t r u m e n t a l p r o f i c i e n c y .”
C l a r i t y : “ i s t h e a b i l i t
y o f t h e p e r f o r m e r s o n a n i n d i v i d u a l a n d e n s e m b l e
b a s i s t o a c c u r a t e l y p r e s e n t t h e t e c h n i c a l
a n d m u s i c a l i n t e n t o
f t h e c o m p o s i t i o n .”
T e c h n i q u e : “ i s t h e d
e m o n s t r a t i o n o f a p p r o p r i a t e i m p l e m e n t c o n t r o l t h r o u g h o u t t h e p e r f o r m a n c e .”
C o h e s i v e n e s s : “ i s t h e a b i l i t y o f t h e e n t i r e e n s e m b l e t o m a i n t a i n b o t h
v e r t i c a l a n d h o r i z o n t a l r h y t h mi c s t a b i l i t y .”
Wh o h a d t h e g r e a t e r u n d e r s t a n d i n g / a c h i e v e m e n t a s i t r e l a t e s t o …
M u s i c a l C o n t e n t : “ R
e f e r s t o m u s i c a l s c o r e r e q u i r e m e n t s p l a c e d u p o n
t h e p e r f o r m e r s a b i l i t y t o c o n v e y t h e d e p t h
o f m u s i c a l s t y l e a n d
n u a n c e t o t h e l i s t e n e r .”
T e c h n i c a l C o n t e n t : “ R e f e r s t o t h o s e q u a l i t i e s wi t h i n t h e wr i t t e n m u s i c a l s c o r e t h a t d e m o n s t r a t e t h e a c q u i r e d l e v e l
o f t e c h n i c a l p r o f i c i e n c y a n d m u s i c a l v i r t u o s i t y o f t h e p e r f o r m e r s .”
C l a r i t y o f I n t e n t : “ R e f e r s t o t h e a b i l i t y o f t h e c o m p o s e r / c o m p o s i t i o n t o
p r o v i d e a c l e a r a n d b a l a n c e d m u s i c a l
l i s t e n i n g e x p e r i e n c e .”
C o m p o s i t i o n
B o x 1
N e v e r
0 t o 4 9
E x p e r i e n c e
P e r c u s s i o n E n s e m b l e P e r f o r m a n c e
B o x 3
S o m e t i m e s
6 0 t o 7 9
K n o w
B o x 4
F r e q u e n t l y
8 0 t o 8 9
U n d e r s t a n d
B o x 2
R a r e l y
5 0 t o 5 9
D i s c o v e r
D e s c r i p t o r s
N u m e r i c a l R a n g e
L e a r n i n g S t e p s
B o x 6
9 7 t o 1 0 0
B o x 5
C o n s i s t e n t l y
9 0 t o 9 6
A p p l y
P e r f o r m a n c e
S u b C a p t i o n S p r e a d
s
V e r y c o m p a r a b l e
Mi n o r D i f f e r e n c e s
D e f i n i t i v e D i f f e r e n c e s
S i g n i f i c a n t D i f f e r e n c e
1 t o 2 p e r c e n t a g e p o i n t s
3 t o 4 p e r c e n t a g e p o i n t s
5 t o 7 p e r c e n t a g e p o i n t s
8 &
h i g h e r
p e r c e n t a g e p o i n t s
T h e u n i t ’ s l e v e l o f p e r f o r m a n c e a c
h i e v e m e n t ( e x c e l l e n c e ) s h o u l d b e b a s e d u p o n
t h e m u s i c a l a n d r h y t h mi c d e m a n d s p l a c e d o n t h e p e r f o r m e r s .
WGI discourages independent ensembles from utilizing membership composed of any high school students who were previously enrolled in an active high school program
and have not yet graduated.
WGI also discourages independent ensembles from utilizing membership who haveoutstanding monies owed to a previous ensemble.
All performers at a WGI event will be required to wear protective footwear whileoutside the performance area.
ELIGIBILITY
1.1 Percussion ensembles from the United States composed of members not over 22 years of age as of March31st of any given year shall be permitted to compete in contests governed by WGI. Each ensemble appearingat a WGI contest shall be prepared to show proof of age. International percussion ensembles are not boundby any age limit and must compete in the independent classes.
1.2 All members of any percussion ensemble competing in any scholastic class must be approved forparticipation by the principal of the sponsoring school. Each percussion ensemble shall submit a notarized
form prepared by WGI listing all approved participants of that school.
1.3 No percussion ensemble may compete with less than six (6) members on the floor of competition at any time including the student conductor (optional).
1.4 Marching percussion ensembles may use one optional student conductor positioned in the competition area.Concert percussion ensembles may use one non-student conductor positioned in the competition area.
PENALTY: Disqualification – any ensembles violating any requirements in the eligibility section shall bedisqualified and its position and standing in the contest shall be forfeited.
CLASSIFICATIONS
2.1 Scholastic Marching World Class (PSW) ensembles demonstrate a high degree of advanced development.
All of the performers contribute to the consistent high levels of performance being demonstrated. WorldClass ensembles are trendsetters in the indoor percussion activity. Programs are unique and innovative and these components are important at this level. Some very sophisticated challenges will be placed on theperformers.
2.2 Scholastic Marching Open Class (PS0) ensembles have some experience in the indoor percussion arena.Open Class ensembles have several members who understand the skills required to perform intermediatelevels of playing and movement. Here is where the intermediate student explores new challenges throughperformance and realizes a greater sense of achievement as each more complex skill is learned.
2.3 Scholastic A Marching Class (PSA) ensembles are the younger, less developed participants. Here is where the beginning student discovers the joy of performing and realizes the sense of achievement as each skill islearned.
2.3 Scholastic Concert World Class (PSCW) for those scholastic percussion sections through the 12th gradewho wish to concentrate on the percussive element only. Instrumentation must be oriented to theperformance of concert percussion. Movement will be permitted in order to allow performers to changeequipment or to allow for better presentation of musical performance only. One non-student conductor isallowed in the concert classes only. This is not a marching /visual class. Credit will be given for musicalelements only. These performers are experienced and fully trained. Trend setting programs andperformance levels are often display.
2.4 Scholastic Concert Open Class (PSCO) for those scholastic percussion sections through the 12th grade whowish to concentrate on the percussive element only. Instrumentation must be oriented to the performanceof concert percussion. Movement will be permitted in order to allow performers to change equipment or toallow for better presentation of musical performance only. One non-student conductor is allowed in theconcert classes only. This is not a marching /visual class. Credit will be given for musical elements only.
Open Class ensembles have several members who understand the skills required to perform intermediatelevels of playing.
2.5 Scholastic Concert A Class (PSCA) for those scholastic percussion sections through the 12th grade whowish to concentrate on the percussive element only. Instrumentation must be oriented to the performanceof concert percussion. Movement will be permitted in order to allow performers to change equipment or toallow for better presentation of musical performance only. One non-student conductor is allowed in theconcert classes only. This is not a marching /visual class. Credit will be given for musical elements only.Scholastic Concert A Class (PSCA) ensembles are the younger, less developed participants. Here is where
the beginning student discovers the joy of performing and realizes the sense of achievement.
2.6 Independent Marching World Class (PIW) ensemble uses the same criteria as Scholastic World Class.These performers are experienced and fully trained. Trend setting programs and performance levels areoften displayed.
2.7 Independent Marching Open Class (PIO) ensembles use the same criteria as the Scholastic Open Class.These performers are less experienced and are in the process of developing.
2.8 Independent Marching A Class (PIA) ensembles use the same criteria as the Scholastic A Class. Here iswhere the beginning student discovers the joy of performing and realizes the sense of achievement as eachskill is learned.
CONTEST SITE
3.1 For the purpose of interpretation, the “competition area” shall measure a minimum of sixty by ninety (60’ x90’) feet and does not include entry ramps, hallways, nor any bleachers or seating area. Ensembles arepermitted to utilize the entire designated competition area for their performance. Ensembles may not use“floors” (tarps) larger than sixty by ninety (60’ x 90’) feet. All props must be in the designated competitionarea. There can be no choreography outside the competition area. All performers must begin within thedesignated competition area.
3.2 All WGI contests site must have a minimum of sixty-five by one hundred feet (65’ x 100’) to accommodate a“safety zone” of five feet (5’) on the sides and back using the minimum competition area of sixty by ninety feet(60’ x 90’). No performers may enter the safety zone at any time during their performance. Depending on the performance venue, WGI can authorize additional competition area and will include that information in the diagram (footprint) to be made available to all competing ensembles to identify the competition area.
3.3 CONCERT DIVISION: For the purpose of interpretation, the “competition area” shall be indoors and may beeither a gymnasium floor (same for marching classes) or a suitable auditorium stage.
3.4 110 volt grounded power sources will be located near the front and back at the center line of thecompetition area. Participants must provide their own extension cords.
PENALTY: .1 to Disqualification at the discretion of the Chief Judge.
SCORING 4.1 The elements to be judged are:
MARCHING PERCUSSION
Caption Points # of JudgesPerformance Analysis 40% 1
Composition 15% Performance Quality 25%
General Effect 40% 1Music Effect 20% Overall Effect 20%
4.2 The Performance Analysis Judge will be positioned low in the stands and may move in order to betterappraise the individuals within the ensemble. Timing and penalty adjudicators will be positioned on the floor.The General Effect and Visual adjudicators will be positioned higher in the stands.
4.3 Each level of classification has a set of score sheets unique to its classification.
EQUIPMENT
5.1 Instrumentation is limited to those instruments typically utilized and recognized as part of a percussion
section. Also allowed are electronic instruments recognized as normal stage and band rhythm sectioninstruments. Conventional wind and/or string instruments (other than string bass and guitar) may not beused. Single tone, non-keyed horns (i.e. whistles, sirens, animal calls, etc.) may be used only if generating aneffect, and may not be used in any melodic form.
PENALTY: 10 Points
5.2 No single, triggered, electronic sound may produce rhythmic intent.
PENALTY: 10 Points
5.3 If an electronic mixing board is used, only student personnel may operate it. No communicating devices maybe used in order to assist the mixing board operator.
5.4 All equipment and props must be placed anywhere in the competition area. The front sideline is inviolate atall times (this includes all sound equipment) except during set up and tear down.
PENALTY: .1 to 5 points per violation at the discretion of the Chief Judge.
5.5 Permission for use of copyrighted material is the responsibility of the participants.
5.6 No motorized vehicles will be allowed. Wheelchairs for disadvantaged performers are accepted.
PENALTY: Disqualification
5.7 No pyrotechnics, discharge of arms, pressurized canisters, dangerous materials, inflammable liquids oranimals will be permitted in or around the competition area. Smoke machines will not be allowed. Electrical(plug-in or battery operated) or compressed air apparatuses, including lights, lasers, and flash cubes(electrical or chemical) will not be allowed. Amplification may be used in the competition area by performersplaying musical instruments, singing or voice. The electrical source for electronic instruments must be a115/120v typical wall outlet as noted on the footprint of the facility as supplied by the sponsor. Car/truck
type wet batteries cannot be used. Gasoline, electric, or manual powered generators will not be allowed.Lighting cannot be turned off in the competition area by an ensemble.
PENALTY: 10 Points to Disqualification.
5.8 For the protection of the wooden competition floors, all equipment (including rifles, flagpoles & sabres) mustbe properly taped. The bottom of all props, flats and scenery made of wood, metal or PVC type plastic mustbe padded or taped so as not to damage the floor. Inspection will occur at all Regionals and Championships.Damage to the floor such as may occur by dragging the tympani; wheels on carts locking, etc. will be theresponsibility of the ensembles and is subject to penalty.
PENALTY: .1 to Disqualification at the discretion of the Chief Judge.
4.9 The use of powder, dirt or any other airborne substance shall be strictly prohibited.
PENALTY: .1 to Disqualification at the discretion of the Chief Judge.
CONDUCT OF ENSEMBLES
6.1. A percussion ensemble will be scheduled to compete at a minimum of nine (9) minute intervals for “A” classensembles; ten (10) minute intervals for ‘Open’ class ensembles; and eleven (11) minute intervals for ‘World’class ensembles. The time interval will include set up, entrance, warm up, performance, exit and removal ofall equipment, props, personnel, etc. This time schedule may be expanded at the option of the ContestDirector, but not lessened.
PENALTY: 0.5 points for each five (5) minutes of lateness (missing scheduled performance time) orpart thereof up to the conclusion of the contest.
PENALTY: 0.1 points for each three (3) seconds or fraction thereof.
6.2 The maximum performance time ceases when a ensemble quits playing or leaves the floor, whichever comesfirst, and shall not exceed six (6) minutes for ‘A’ class ensembles; seven (7) for ‘Open’ class ensembles; eight(8) for ‘World’ class ensembles.
PENALTY: 0.1 points for each three (3) seconds of overtime or fraction thereof.
6.3 Percussion ensembles, with all competing personnel, shall remain within the competition area and be judged
in all captions for a minimum of four (4) minutes.PENALTY: 0.1 points for each three (3) seconds of under time or fraction thereof.
6.4 All captions will be judged for the maximum performance time or until the ensemble ceases playing or leaves the floor, whichever comes first. Timing and penalty will continue until performers and equipment are off of the floor. The contest director will place an appropriate line defining when an ensemble has left the floor for timing purposes.
6.5 Ensembles competing at WGI Regional Contests cannot be required to perform before the time set in thelatest schedule for the contest, distributed by the WGI Office.
Class Min. Perf. Time Max Perf. Time Interval Time
WORLD 4 Minutes 8 Minutes 11 Minutes
OPEN 4 Minutes 7 Minutes 10 Minutes A CLASS 4 Minutes 6 Minutes 9 Minutes
ENTRY & EXIT
7.1 An ensemble may enter the contest floor over any line. However once the performance begins, the frontsideline and its vertical plane become inviolate and subject to boundary penalty.
PENALTY: 0.1 points for each offense of the front boundary line violation.
7.2 Ensembles may enter with a “tap” prior to introduction or may include a playing entrance as a part of theperformance following introduction.
7.3 Any equipment or props may be placed within the competition area by anyone prior to the start of
competition. Before the performance begins, all non-performing personnel must be off of the competitionarea. (Adults are not permitted to stay in the competition area during a performance.)
PENALTY: .1 to 5 points per violation at the discretion of the Chief Judge.
7.4 The ensemble will line up at a ready line (preferably side and back line if facility allows) to be designated by theContest Director. From this point, the ensemble should move directly and immediately into the competitionarea when directed by the starter (T&P judge or contest director). They may set up anywhere in thecompetition area.
7.5 Performance time begins with the first note or step following the introduction.
7.6 Exit may be over any line at the conclusion of the performance.
7.7 All personnel, equipment, and/or props must be off of the contest floor, clear of the 50/50 line at theconclusion of the interval time. For purpose of timing, equipment and props are considered removed when
they have been moved across a center line either horizontal or vertical depending on the contest site. After the equipment/props have crossed this line, they must be removed from the area immediately and taken toan area designated by the Contest Director. Failure to remove equipment and props to the designated areain a timely manner is subject to a penalty at the discretion of the Contest Director. Backside and sidelineusage will be at the discretion of the contest director, as defined by the facility.
Facilities may designate how ensembles will unfold and fold their floors whether it is front to back, back to front, left to
right or right to left depending on entrance and exit doors.
7.8 There will be no flying of tarps (also know as “ballooning”) to clear floor at the conclusion an ensemble’sperformance.
PENALTY: Disqualification
7.9 During a performance, adult or non-performing student personnel may not coach, cue, etc. any performingmembers.
PENALTY: .1 to Disqualification at the discretion of the Chief Judge.
PENALTIES
8.1.1 Only a Contest Director or Chief Judge may assess a penalty. Judges report all violations to the ContestDirector.
8.2 General: Any ensemble violating any rule or part of a rule or committing any breach of contest etiquette forwhich no specific penalty is provided shall be penalized for each such violation, not less than 0.1 points, notmore than disqualification from the contests at the discretion of the Contest Director.
8.3 All timing penalties shall be 0.1 points per three (3) seconds or fraction thereof. All boundary penalties shallbe 0.1 points per offense.
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