Instrumental Guidelines

The music played must be appropriate for a Christian audience or church meeting.

Any arrangement heavy in syncopation or with a “country” or “rock” feel will be disqualified.

CCM music is not allowed.

All music must be memorized.

The time limit for all performances is 4 minutes.

Please refer to the General Student Guidelines for dress code and for the rule in mixing “A” and “B” division students. Please refer to the Platform Guidelines for further help.

Be sure to have your name on all music. All music will be brought to the main office for sponsors to pick up with their Judging Forms at the end of Convention. We cannot be held responsible for any lost items.

Please bring 2 copies of the appropriate Judge’s Form with you to Convention. Be sure to properly fill them out with the student’s information. If the Judging Form is not filled out, you may not be judged.

INSTRUMENTAL SOLO

Each school is allowed to enter 3 participants, male or female, per Division.

here are 6 categories: piano, saxophone, flute, violin, trumpet, and organ.

If there is another instrument that a student wishes to play that is not mentioned here, please contact the office.

INSTRUMENTAL DUETS, TRIOS, QUARTETS, AND ENSEMBLES

Each school is allowed to enter 2 duets, 1 trio, 1 quartet, and 1 ensemble per Division.

Each duet, trio, quartet, or ensemble may be male, female, or mixed.

Instruments may also be mixed.

Piano accompaniment is permissible and may or may not be counted as one of the instruments in a group.

INSTRUMENTALIST PREPARATION

TONE QUALITY

General

Beauty of Tonal Colour

Each instrument or ensemble group possesses a unique characteristic tone quality (colour). Performers are expected to achieve this tonal colour in performance. Poor tone quality is usually an indication of improper air concepts on winds instruments or poor bow control on strings.

Control and Stability

These terms refer to evenness of tone and ease of tonal production. Control and stability are best achieved by daily, thoughtful practice of long tones and scales throughout the instrument’s range over a long period of time. Develop control and stability with consistent practice.

Solo

Range Development

Choose a solo that demonstrates your full note range. Solos that require tones that are too high or too low and solos that do not demonstrate the performer’s full range should be avoided or modified.

Embouchure (Winds)

The embouchure (lip and jaw function) should work freely to allow the air stream to cause a proper vibration.

Ensemble

Balance of parts

Keep in mind that the melody line must predominate and that accompanying parts must present a unified foundation for the melody whenever it is present.

Group Blend

Blend the voices of ensembles so that they present a unified tonal colour, one that is characteristic for the type of group that you are presenting. Strive to develop a classical chamber sound.

INTERPRETATION AND MUSICIANSHIP

Phrasing

The element, more than any other, separates maturity levels in performance. Only a small percentage of the dynamic and tempo variations are actually indicated in the score. Identify each phrase, and then identify the highest point of intensity within each phrase. Finally, use the tools of expression, tempo, dynamics, and spirit to enhance that point of intensity within each phrase.

Expression, Tempo, Dynamics, and Spirit

Strive to present the emotional intent of the composer / arranger and the spiritual qualities of the song’s message (when applicable).

TECHNIQUE

General (all instruments)

Demonstrate Fluency and Overall Technical Ability

Choose a piece that emphasizes your strengths. Fluency refers to technical freedom on the instrument.

Mallets

Hand Positions / Wrist Technique / Stroke Placement on Bars or Strings

The goal is to be able to play easily and efficiently. Each bar or string possesses a live spot that produces the optimum sound for that instrument. Bars also possess a secondary spot which may be utilized for efficiency of movement during fast passages. Learn these spots and practice slowly until you can strike the string or bar on its live spot every time.

Strings

Bowing Choice and Execution

While some bowings are marked, most require a decision on the part of the player. Bowing decisions will affect many other areas of your performance.

Winds

Breath Control and Tonguing

Proper breath control is evidenced by pure tone quality and freedom in performing many styles of articulation (slurs, staccatos, and a wide variety of accents) at every conceivable dynamic level. The tongue can produce proper articulations only within the context of a well-controlled stream of air.

RHYTHM

Precision

Rhythmic precision refers to the accurate execution of each written rhythmic figure. Any variation to the written rhythms should be noted on each Judge’s copy of the music.

Meter

Each time signature receives its own characteristic pulsation within every measure. This pulsation seldom varies throughout the piece unless it is interrupted by special articulations.The performer must learn the metrical pattern of each time signature so that the pulsation and variations in that pulsation can achieve the intended effects.

Rhythmic Figure Interpretation

Not only is rhythmic precision important, but it is also important to achieve the interpreted style of unique rhythmic figures. For instance, in a march, the dotted eighth and sixteenth figure must be treated differently than that same figure when found in a fanfare. Likewise, a triplet across two beats is likely to be performed in two different ways in a classical minuet and in a lullaby. It is also likely to be treated differently at the height of a phrase than from that at the end of a musical selection.

Accents

Give special attention to every accent (both written accents and accents that are implied by the meter). There are several types of accents, and each style of piece requires its own special treatment of accents. Also, accents are performed at different intensities, depending on the dynamic level at the time.

INTONATION

Winds and Strings

Winds must be aware that many notes on even the most carefully manufactured instruments are out of tune. These tones must be found and humoured into tune. String players must learn accurate pitch placement and must adjust out-of-tune pitches quickly. Groups must practice slowly and carefully to achieve unity of pitch. Practice unison or octave scales in pairs, carefully tuning every tone before moving on, to develop good group intonation skills.

PRESENTATION

Suitability to Ability

Choose a piece that clearly shows your ability, keeping in mind that a piece does not need to be difficult to be musically excellent and to minister to fellow believers.

Suitability of Musical Style

Follow the suggested Guidelines carefully. Keep in mind that the music itself will develop an atmosphere. That atmosphere should be consistent with the spirit of the song and the spirit of the service in which the piece is played.

Presence and Appearance

Soloists should try to present a spirit of quiet confidence. Do not look at the Judges or audience while playing. Simply concentrate on the music. Ensembles should try to sit or stand in an attractive formation. Give each instrument plenty of room. Make sure your performance area is attractive and orderly. Develop a simple, silent, hidden (if possible) starting signal.

Entrance and Exit

Take some time to develop an orderly entrance and exit. Look positive from the time that you enter the platform to the time that you leave.

Clothing

A special uniform for large groups lends much to the overall effect of the presentation. Please follow Student Convention Guidelines for all dress.

Time Limit

Time your piece when you are selecting it. Choose a piece that fits easily into the time limit. Cuts and tempo variations to make the time limit are often distracting.

PIANO JUDGING CRITERIA (Download PDF)

INSTRUMENTAL MUSIC JUDGING CRITERIA (Download PDF)