Florida Bandmasters Association

Adjudicator’s Comment Sheet

CONCERT BAND
School:

Classification: Performance Time: Date:

Selections: 1. _________________________________________________________________________
2. _________________________________________________________________________
3. _________________________________________________________________________

PERFORMANCE TECHNICAL MUSICAL

FUNDAMENTALS PREPARATION EFFECT
1 2 3 1 2 3 1 2 3
Tone Quality ___ ___ ___ Note Accuracy ___ ___ ___ Expression ___ ___ ___
Intonation ___ ___ ___ Rhythmic Accuracy ___ ___ ___ Shaping of Line ___ ___ ___
Balance ___ ___ ___ Precision ___ ___ ___ Style ___ ___ ___
Blend ___ ___ ___ Entrances ___ ___ ___ Interpretation ___ ___ ___
Band Sonority ___ ___ ___ Releases ___ ___ ___ Phrasing ___ ___ ___
Physical Articulation ___ ___ ___ Interpretive Articulation ___ ___ ___ Tempo ___ ___ ___
Clarity of Articulation ___ ___ ___ Dynamic Expression ___ ___ ___
Technique ___ ___ ___
Stability of Pulse ___ ___ ___
Dynamics Observed ___ ___ ___
Transitions ___ ___ ___

        

FINAL:  FINAL:  FINAL: 

Officials may include a + or – next to items listed under each caption to indicate aspects of the performance that were noticeably good or noticeably
needing improvement as related to the letter grade assigned. The absence of any marks indicates a performance consistent with the letter assigned.
After completing the previous, enter an A, B, C, D or E to indicate the level of performance in each caption. Average the three letter grades in each
caption to arrive at a final letter grade. Average the three final grades to arrive at the FINAL RATING.

COMMENTS
(Including: Stage Presence, Discipline, Posture, Instrumentation, Strong Points, Weak Points - Continue on Reverse Side  )

Recommended for: ______________________

(Superior, Excellent, Good, Fair, Poor) Adjudicator’s Signature
Write out Final Rating rev 3/13
 CONCERT BAND GRADING REFERENCE CRITERIA
Performance Fundamentals Criteria
“E” “D” “C” “B” “A”
 Tone production is poor due to  Tone production is weak with no  Tone production is of moderate  Tone production is of high quality at  Tone production is consistently of
incorrect breath support and/or tonal center. Lack of correct breath quality and lacks consistency. most dynamic levels. the highest quality at all dynamic
underdeveloped embouchures. support hinders characteristic tone  Breath support is sometimes used  Breath support is usually used levels.
 Performers do not achieve proper quality and causes significant correctly to produce characteristic correctly to produce characteristic  Breath support is consistently used
balance, nor does the skill level of intonation discrepancies. tones; however, there are frequent tone qualities that are generally in correctly to produce characteristic
the players allow it.  Performers do not achieve proper intonation discrepancies within and tune; however, there are occasional tone qualities that are consistently in
 There is no blend achieved in the balance throughout most of the across sections. discrepancies from individuals tune.
ensemble. performance.  Performers sometimes achieve and/or sections.  Performers consistently achieve
 Uncharacteristic tone qualities  Blend is seldom, if ever, achieved proper balance.  Performers often achieve proper proper balance within and across
prevent the achievement of due to timbre differences caused by  Achievement of blend is limited due balance within and across sections. sections.
ensemble sonority or correct poor tone production. to timbre differences caused by poor  Balance and blend issues may  Balance and blend issues are
intonation.  The band seldom, if ever, achieves tone production. occasionally occur. infrequent and generally minor.
 Players demonstrate a significant sonority due to distorted tone  The band sonority suffers because  The band sonority is good; however,  The band sonority is exemplary.
lack of development and maturity on qualities and/or frequent section and there are frequent harsh or pinched there are occasional harsh or  Articulation skills are outstanding.
their instruments with no effective individual intonation discrepancies tones due to players’ inability to pinched tones due to players’ inability
training. that remain uncorrected. control tone quality and intonation in to control tone quality and intonation
 Articulation skills are very weak. extreme ranges/volumes. in extreme ranges/volumes.
 Articulation skills are somewhat  Articulation skills are generally good.
weak, either too heavy or undefined.

Technical Preparation Criteria

“E” “D” “C” “B” “A”
 Performers do not adhere to key  Performers do not adhere to key  Performers generally adhere to key  Performers consistently adhere to key  Performers consistently adhere to key
signatures. There are signatures and frequently play signatures and play correct notes, but signatures and play correct notes, signatures and play correct notes
incorrect/unplayed notes throughout. incorrect notes. there are occasional lapses. with few, if any, lapses. without lapses.
 Uniform interpretation of rhythmic  There is seldom uniform  There is sometimes uniform  There is usually uniform  There is uniform interpretation of
patterns and articulation is not interpretation of rhythmic patterns interpretation of rhythmic patterns interpretation of rhythmic patterns rhythmic patterns and articulation.
achieved, which contributes to lack and articulation, which contributes to and articulation. and articulation.  There is seldom, if ever,
of precision throughout. lack of precision throughout.  There is frequent anticipation/false  There may be occasional anticipation/false entrances or
 Entrances and releases are seldom,  Anticipation/false entrances and entrances and individual lapses on anticipation/false entrances or individual lapses on releases.
if ever, uniform or accurate. individual lapses on releases are releases. individual lapses on releases.  There is obvious attention to correct
 There is no attention to interpretation evident throughout.  Attention to correct interpretation  There is often attention to correct interpretation and clarity of
or clarity of articulation.  There is seldom attention to and clarity of articulation is interpretation and clarity of articulation.
 There is no adherence to dynamic interpretation or clarity of inconsistent. articulation.  Players display an excellent
markings. articulation.  While there is a sense of pulse and  Players display a good awareness of awareness of pulse and control of
 There is a general inability to play  Pulse and tempo control are lacking tempo control, recovery from loss of pulse and control of tempo. tempo.
together with little to no recovery. throughout with little to no recovery. pulse takes too much time.  There is often adherence to dynamic  There is consistent adherence to
 There is seldom adherence to  There is sometimes adherence to markings. dynamic markings.
dynamic markings. dynamic markings.  Transitions within and between  Transitions within and between
 Transitions within and between  Transitions within and between phrases are generally well-executed. phrases are consistently well-
phrases are usually problematic. phrases are sometimes problematic. executed.

Musical Effect Criteria

“E” “D” “C” “B” “A”
 Performers do not demonstrate any  Performers seldom achieve musical  Performers achieve a moderate  Performers usually achieve  Performers consistently achieve
meaningful musical thought or expression, and attempts are rarely degree of musical expression meaningful and expressive phrasing meaningful and expressive phrasing
expressive playing. made to shape the melodic line. through the occasional shaping of through the shaping of musical through the shaping of musical
 Stylistic and other interpretive There is little to no dynamic contrast. musical passages and the use of a passages and use of dynamic passages and effective use of
elements are not evident.  Stylistic and other interpretive small range of dynamics. contrast. dynamic contrast.
 Interpretation, style and tempos are elements are generally not evident.  Interpretation, style and tempos are  Interpretation, style and tempos are  Interpretation, style and tempos are
generally inappropriate.  Interpretation, style and tempos are frequently appropriate, with some usually appropriate. consistently appropriate.
frequently inappropriate. exceptions.

rev 3/13