There are surprises every year at Solo/Ensemble contest. I would spend the day encouraging, listening, supporting, congratulating, and consoling. Without question, the experience students gain from participation is strong.
Life is not always fair, and neither are judges. A high school principal once commented to me after a disappointing marching band result that…
“They should judge these things the way we do basketball; points happen when the ball goes through the basket.”
At the end of the day of a Solo/Ensemble festival a few years ago, when two directors were complaining to the site official about the same particular judge, the official response was that…
“…that score represents a personal, professional opinion. That is what we hire them to do.”
There are problematic (for me to justify) judges in solo/ensemble festivals: …
I was putting together a practice sheet for a student when I found I’d already done that. I may post that another time…..but at the end of it, I had some quotes….from me, my son’s trumpet professor and my clarinet professor. Oh, I may also do a more substantial post of my teacher’s comments, these were some of his rare positive ones.
“You should not have to tell someone you are good. BE good. PLAY good (well). And if you ARE good, others will tell you…. and that IS good.”
–me
“Always be modest and humble…..until you put that [trumpet] in your hand and step up to perform ….and then you become one mean, arrogant, confident, son of a [band parent]!” –Dr. CD, Professor of Trumpet at Tennessee Tech University (son’s teacher)
“Fast notes…! So what! NASA can teach monkeys how to wiggle fingers and push buttons. Fast notes deserve to be musical too!”
“Why do you insist on getting nervous when you perform? That is wasted energy and nerves make mistakes. Consider how many people in the audience could do what you are doing. Do what you know you can do and make them stand up.” –Dr. PM, Professor of Clarinet at University of Kentucky
Most participants in high school solo competitions are only in the performance room long enough for his/her performance and maybe for a couple friends’. They could learn so much by sitting and listening/observing for a while.
During some down time in between local student performances at a state level contest, I sat in a few performance rooms just to hear examples of what other students around the state are doing. I did not expect to see the wide range of performance quality given that I was at a STATE level contest and everyone participating had already received a GOLD (top) rating at district competition. If I had to summarize that experience, it would be with the conclusion that…
…not all music education results are created equal.
Music students from the local schoola participate in ISSMA (Indiana State School Music Association) sanctioned solo and ensemble district and state level competitions. ISSMA copyrights their judging forms so I can’t show those.
Many categories for solo contests are fairly universal, and as a template for the categories I will use here, I have selected categories posted on a high school site outside Indiana. For each category; the title and considerations are copied, the comments are mine.
INTONATION:
Accuracy to printed pitches.
In Solo performance, are you in tune with the piano (or the recorded accompaniment)? You should tune carefully before you begin, both to check intonation and to ensure the instrument is ready to go, especially if you have been waiting for a while. No instrument is completely “in tune”, i.e. tuning one note is not enough. You need to know what notes or octaves have what tendencies on your instrument and adjust accordingly. Flutes can roll in/out to help, trumpets have a 3rd valve slide and all brass instruments have alternate fingerings to compensate for typically out of tune notes (especially 1 & 3 valve combinations). Trombones are almost without excuse, right? Otherwise, you can bend your pitch up or down by adjusting your embouchure — or by using alternate key combinations. Practice with a tuner to determine which notes are in/out of tune. If you study privately, hopefully your teacher is helping you with the lesser-known key combinations and techniques as you strive for a higher level performance.
In Ensemble performance, try to tune before going into the performance room, but take the necessary time to get it right before you start. If the last sound the judge hears before you start is noticeably out of tune, you are in trouble in this category.
Tone is influenced and affected by many factors; instrument, mouthpiece, reed, and performer. If you have a step-up instrument and/or a better mouthpiece than the one that came with your 6th grade year instrument, then you should have some equipment help in tone production. But a good musician can make even lesser quality equipment sound good, while a poor musician can fail to produce what the equipment will allow. In other words, it is more than just the equipment — the judge is judging YOU!
Vibrato will likely be considered here for those instruments that are, at least at the higher levels, expected to play longer tones and melodic sections with a warm, controlled vibrato, typically oboes, bassoons, flutes, saxes, trumpets, trombones and baritones. French horns and clarinets generally are not expected to use vibrato.
Resonance, control, clarity, focus, consistency, warmth….all go to the currently accepted tone for your instrument. The best way, even if you are studying privately but especially if you are not, is to LISTEN to professional recordings. Online videos can be helpful, but some of those are posted by people not better trained or farther advanced than you. Resonance implies a deep, full, reverberating sound vs one that is weak and tentative. Is yours controlled or does it change drastically per octave or when you have skips of large intervals? When I think of clarity, I want to hear the instrument and not the reed, tone without fuzziness or buzziness. Consistency requires control. When someone talks of warmth, I think of a full flavored soft-drink or coffee vs something watered down. Warmth implies some emotional involvement (more below) in your sound.
RHYTHM:
Accuracy of Note Values, Rest Values, Duration, Pulse, Steadiness, Correctness of Meter.
Note values covers a lot. When a quarter note is followed by a rest, do you go all the way to the rest? When you have a dotted eighth-sixteenth pattern, do you sub-divide to ensure the dotted 8th gets 3/4 of the beat….and not 2/3? A common rest mistake is similar; not giving it enough value or rushing to the next note, which gets into Pulse. If it were possible to hook up a heart monitor to the way you play, you don’t want the screen to look spastic, or as if you are having a heart attack. You should have a clear, easy to read (hear) ‘beat’.
Is your tempo Steady, i.e., you don’t slow down during the faster parts and increase tempo in the easy sections?
Your heart rate increases when you run, but your tempo should not change when you play runs.
Practice with a metronome. If it feels like the metronome is pushing you, you’re dragging. If it seems like it is slowing you down, you’re rushing. If possible for 8th note meters (5/8, 6/8, etc), set the metronome so the 8th note gets the click. Obviously that becomes more difficult the faster the tempo.
TECHNIQUE (facility/accuracy):
Artistry, attacks, releases, control of ranges, musical/mechanical skill.
A question I’m often asked in a playing test setting where the student is going to be graded on how he/she plays something is; “How fast should I play it?” My answer is always,
As fast as you can play it accurately.
Facility speaks to how quickly or effortlessly you can play something, to your mechanical skill. Are you up to tempo on a technical passage or are you slowing it down so you can get all the notes. Balanced with facility is accuracy. If you slow it down and get it right, the judge might ding you a little on facility but should credit you on accuracy. The opposite is not true, however. If you play at tempo and miss lots of notes, you have demonstrated a lower level of both facility and accuracy. For the highest credit, practice it slowly, get it right, the gradually speed it up (with a metronome) to tempo. Accurately at tempo is the goal.
Is it better to play it slower and accurately, or at tempo and miss some notes?
Judge response: If you want MY highest rating, play it correctly at tempo.
Two terms above go together; artistry and musical skill. Have you interacted with Siri on the iPhone? That is a mechanical voice. Failure to demonstrate artistry or musicianship (musical skill) would be like listening to someone who speaks in a monotone, or someone who writes without any capitalization or punctuation. Similarly to the impact of a well-delivered preacher’s sermon, politician’s speech or orator’s dramatic reading, your artistry will affect your audience…and the judge.
When it comes to attacks and releases, most attack better than they release. Work at both. In a slower, melodic passage, can you start the note on pure air minus the tongue, or at least get the sound started without the sound of the articulation? Sometimes thinking of a football can work with a picture of how sound (or phrases) begin and end. Don’t start with a thud and don’t end with a chop off. Sometimes you need the tongue to stop the sound, but ending with the air is preferred.
Do you struggle with low notes on a saxophone or high notes on a trumpet or clarinet? Or any instrument? That is about consistency and control. It is more than just blowing and wiggling fingers. Can you maintain a dynamic level as you change octaves? A clarinet descending from high to low actually needs more air at the lower levels to maintain the same volume. Do you have some notes that pop out? That demonstrates a lack of control.
Record yourself using a computer device (such as iPad free app “Recorder Plus HD”) that shows your recording level. When you review, look for sudden peaks or valleys in volume… Sometimes you can get a visual of control issue.
And notice that, with this judging sheet category, “note accuracy” is assumed rather than mentioned. Playing right notes is the minimum of any performance and if that is all you do, you should expect a mediocre rating or result. In a previous article, I likened this minimal notes-only approach to driving a car and staying on the road while avoiding the other signs along the way.
There is a lot of overlap in these categories. Interpretation involves HOW you play WHAT you play. Are you in the style of the piece. Trills and grace notes in a Mozart piece are different from those from more recent composers. The style of a rondo is different from that of an intermezzo. When it comes to phrasing, are you adding fluctuation to the sound? Is it going somewhere? Is there a beginning, a peak and an end to a phrase? Do you play the way you speak? Phrasing can also include articulation (next category) and dynamics. Just as tempo was a part of fluency and accuracy described earlier, it is also part of interpretation. If you play a technical concerto by Mozart or Weber and you take the allegro section at half tempo to get the notes right, you have mis-interpreted the tempo.
Articulation
Few things are more obvious to a trained musician than to hear the errors of sloppy articulation; slurring everything, constant tonguing or a random combination.
Music performance can include articulation interpretations, but if you are changing what is marked on the paper, you need to mark your changes on the judge’s copy. Make sure the judge knows that what you played was what you intended.
If you have an extended 16th note run that is market all staccato, and you struggle with playing that, and you don’t want to reduce the tempo, then you might want to slur two, tongue two in a grouping of 4 sixteenth notes, for example. Mark the judge’s copy. He/she could still ding you a little for your articulation interpretation, but less than if you made the change without marking the original.
The other main weakness in articulation is the technique, i.e. HOW you articulate. Have you ever heard someone with a speech impediment? The challenge in fixing those is that most of what is happening is going on inside the mouth. Speech therapists are trained to do that. Do you need a specialist?
For a reed player, are you touching the reed, the roof of the mouth, or are you making some sort of ‘k’ or other throat sound to stop the air? Not all articulations are created equal. If you make the judge spend time trying to figure out what is going on inside your mouth (articulation technique), you are hindering your success.
Performance Factors
Choice of literature, appropriate appearance, poise, posture, general conduct, manerisms, facial expression.
Choice of literature: Demonstrate your strengths, hide your weaknesses. If you struggle some with rhythms, have trouble with fast passages, perhaps you should choose a slower piece. If you struggle with vibrato, don’t select the slow, melodic romantic-style ballad.
Appropriate appearance has nothing to do with your beauty or your weight. If you go to a job interview that would require you working in a business office and you arrive in jeans with holes and a t-shirt advertising an alcoholic beverage, you start with the wrong impression. Most solo/ensemble festivals will accept clean casual. Understand that most of the judges are college professors, where their performers are often required to wear tuxes and formals. Don’t shock them. If you come to the performance room looking like you have dressed for success, that you are showing respect for the judge, the audience and the event, you will earn credit in this area.
Poise and posture. Look like a performer. If standing, consider having both feet flat on the floor. If sitting, move forward on the chair with both feet on the floor. Poise includes the idea of selling both yourself and what you are doing. A college professor was advising a modest, yet talented musician and explained it this way:
Humility is a virtue. It is okay to be meek and mild….UNTIL you put that [instrument] in your hands and walk out onto that stage. THEN I want you to be an arrogant, confident, mean son-of-a-[band parent]. Take the stage. Command and control the audience.
My college professor told me to…
…make them stand up.
General conduct / manerisms, facial expression. Avoid toe tapping. Don’t grimace when you make a mistake. You’re in the spotlight and everything is important.
This is generally a catch all category and judges can use it to give you a higher rating here than maybe they were able to on other areas. This should be the category in which everyone can do well.
When our practice did not bring everyone to the proficient level, occasionally I had to tell someone (or some people) to simplify or not play a particularly tough passage.
I only recall one time that I actually, after exhaustive (I thought) time devoted to one piece with outrageous runs, that I actually gave the woodwinds a “cheat” run. It worked, as the judges either didn’t catch it, or chose not to ‘ding’ us for it, but I always regretted resorting to that.
According to the 4-digit serial number, my Selmer/Paris Series 10 clarinet was manufactured in 1967. In 1968, my hs band director told my mother I had to get one. Not optional. He might as well have told her I needed a Mercedes for my first car. Dad made me a 50/50 deal, and after selling lemonade to golfers and hanging ad papers on doors … I got it.
I used it all through hs. It got me Solo/Ensemble medals, traveled with me and Holmes Band to KMEA and MENC, to Murfreesboro, TN and Virginia Beach, VA…. to All-State Orchestra, to band clinic and select bands, to summer music camps at Eastern Kentucky and Morehead State Universities, and followed me to Europe/U.S.S.R. with the United States Collegiate Wind Band in the summer between hs and college. I had to replace it at UK bc the clarinet prof kept saying things like,
“That was awful. I can’t tell if it was you or that crappy clarinet.”
Anyway, I just opened packages of cleaning supplies, including swabs, key and bore oil, silver polish, swabs, disinfectant and more….. I want to see if it still has all the notes and speed it once did. Students have heard me talk about instruments with “speed buttons”.
Oh, working on my 1973-ish Buffet R-13 also. Both are considered “vintage” at this point.
A few years ago, probably the last time I played thru a top-tier piece, I was alone on the local hs stage using Smart-accompaniment on a laptop and audio recording via phone…. I was probably preparing to assign it as I had made cuts for solo festival limits. I did flub the final 38-note run up to that high Ab (couldn’t hold onto it)…. but the rest of the 7-pages went well and fast, phone audio microphone considered.
Anyway… I recently shared the online link for someone to listen for some of the things we’re working on … (scales, arpeggios, chromatics, articulation, ornaments, etc). Told the parental I was going to look for the music. FOUND IT, well Joan did. No, not going to assign (yet), but do intend to use it for the above-mentioned fundamentals.
I prepared this list for one of my woodwind students and modified it some to include other instruments. There are links within this article to other articles I’ve written about literature selection, accompanists and the judging scoresheet categories.
Pre-performance
The basics. Music, instrument. People have forgotten both.
Solo Part – ORIGINAL for judge. Measures numbered.
Have you paid your accompanist? Customary, usually following performance. More about respect, preparation and appreciation for your accompanist, click here.
BRASS.
Valve oil
WOODWINDS.
Backup reed – in case something happens to yours that day.
Mouthpiece cap – Keep on when moving – protects and looks professional.
PERCUSSION.
Backup sticks/mallets.
Arrive at the school/venue about an hour before your performance time. Find your performance room and then you can go to warm-up. Don’t over-practice. Just review your challenging spots. Your ensemble should run through the piece. Note that these warm-up rooms can be noisy.
Performance Room
Arrive at performance room before your time. You can go in ahead of time (or anytime) and listen to other performers. Most in Group 2 will be h/s. If your accompanist is late because of accompanying someone else, just explain that to the door person or judge.
Have the book opened to your solo when you present it to the judge.
If judge asks questions, answer politely (as you always are).
Sit or stand. Your choice. I prefer standing. Judge may want to see your fingers, so don’t put the music stand directly between you and the judge. Be able to make eye contact with your accompanist.
Do not start until the judge tells you to. He/she may be completing notes on the previous performer. If permission received, play tuning note with piano – last chance to check your reed.
Be prepared to introduce yourself, your school, and your piece (title/composer).
When you finish, especially if there is any applause, a slight bow is appropriate to acknowledge. Applause is the audience saying thank you — a bow is your thanking them for the applause. Recognize your accompanist.
You will not get your music immediately – probably after the performer who follows you. You will not get your scoresheet. Those go to your band director at the end of the day.
The door monitor will write your rating on the wall schedule.
Performance categories (sheet may vary slightly)
A separate post with addition scoresheet categories ===> HERE.
Intonation. Are you in tune with the piano? With each other (ensemble)? Do you have individual notes that are out of tune? Accuracy to printed pitches.
Performance factors.Choice of literature, appropriate appearance (related to performance), poise, posture, general conduct, mannerisms, facial expressions. Formal dress is not required, but jeans with holes and advertisement t-shirts will not only affect the appearance score, but also — judges can decide much about you before you play your first note. You are “on” from the time you take your performance position until you exit.
Did I forget anything? Let me know so I can improve this post for the next time. And note that rules per state are different… I tried to be generic in that regard.
Son David sang this solo in several show choir solo competitions his senior year in high school (2001). It is an emotional solo from the musical “Civil War” about a son asking someone to “Tell My Father” about his death on the battlefield.
To increase the impact, David borrowed a reenactor Civil War uniform. He wouldn’t let me hear the song until he performed it. I remember the first time I saw him walk toward the competition room, in “full uniform”….he walked, pridefully, in total character and ignoring stares from other students in the hallways. Dressing in ‘costume’ was not a common thing for solos.
And the first time he walked on stage, he confidently and effectively commanded audience reverence and respect. Each time he finished, it felt like there was an ever so slight gap, prior to applause, where the audience was wiping tears and unsure if applause was appropriate, especially after the final line.
After one of his performances, I heard a couple girls from another school talking in the hallway:
“I just heard this guy dressed in a Civil War uniform sing a song to his father and it made me cry.”
It made me, David’s father, cry every time.
Here are the lyrics:
Tell my father that his son Didn’t run or surrender That I bore his name with pride As I tried to remember You are judged by what you do While passing through
As I rest ‘neath fields of green Let him lean on your shoulder Tell him how I spent my youth So the truth could grow older Tell my father, when you can I was a man
Tell him we will meet again Where the angels learn to fly Tell him we will meet as men For with honour did I die
Tell him I wore the blue Proud and true, through the fire Tell my father so he’ll know I love him so
Tell him how I wore the blue Just the way that he taught me Tell my father not to cry Then say goodbye
I was sitting in the driveway of my son’s trumpet teacher writing out a check.
The teacher had requested going from a half hour lesson to an hour. I recall the teacher’s response when I asked if there was a discount for the double-session…..
You get me for twice the time at twice the price.
As I wrote out the check, I shared a sentiment with my son,
I consider this an investment in your college career. I hope I am paying for your college one week at a time….and by the time you’re ready to graduate that you will be good enough that a college will pay for you.
He worked — and his did. This video is a portion of his senior recital. He had the flashy stuff too, but I thought his tone was fantastic….. I had the honor of guest conducting his high school band, which accompanied him on this same piece during his high school final semester.
There are surprises every year at Solo/Ensemble contest. I would spend the day encouraging, listening, supporting, congratulating, and consoling. Without question, the experience students gain from participation is strong.
I was putting together a practice sheet for a student when I found I’d already done that. I may post that another time…..but at the end of it, I had some quotes….from me, my son’s trumpet professor and my clarinet professor. Oh, I may also do a more substantial post of my teacher’s comments, these were some of his rare positive ones.
I spent much of my teaching career telling students that,
According to the 4-digit serial number, my Selmer/Paris Series 10 clarinet was manufactured in 1967. In 1968, my hs band director told my mother I had to get one. Not optional. He might as well have told her I needed a Mercedes for my first car. Dad made me a 50/50 deal, and after selling lemonade to golfers and hanging ad papers on doors … I got it.
Anyway, I just opened packages of cleaning supplies, including swabs, key and bore oil, silver polish, swabs, disinfectant and more….. I want to see if it still has all the notes and speed it once did. Students have heard me talk about instruments with “speed buttons”.
A few years ago, probably the last time I played thru a top-tier piece, I was alone on the local hs stage using Smart-accompaniment on a laptop and audio recording via phone…. I was probably preparing to assign it as I had made cuts for solo festival limits. I did flub the final 38-note run up to that high Ab (couldn’t hold onto it)…. but the rest of the 7-pages went well and fast, phone audio microphone considered.
I prepared this list for one of my woodwind students and modified it some to include other instruments. There are links within this article to other articles I’ve written about literature selection, accompanists and the judging scoresheet categories.
