DEPARTMENT OF THE NAVY NAVAL SCHOOL OF MUSIC 1420 GATOR BLVD. VIRGINIA BEACH, VA

Transcription

1 1 ~1 DEPARTMENT OF THE NAVY NAVAL SCHOOL OF MUSIC 1420 GATOR BLVD. VIRGINIA BEACH, VA NAVSOMINST 1300.lA Code Jun 17 NAVAL SCHOOL OF MUSIC INSTRUCTION 1300.lA From: Subj: Commanding Officer, Naval School of Music INSTRUMENTAL/VOCAL ASSESSMENTS Ref: (a) NAVEDTRA 135 (b) NAVSOMINST 1540.l(Series) Encl: (1) Grade Comparison Chart (2) Naval School of Music Assessment Forms - NAVSOM Form 1300/01 through 15 (Rev. Jun 2017) (3) Competency Levels (4) Scale Assessment Chart (5) Practical Instrumental Range Assessment Chart 1. Purpose. This instruction details the procedures to be used to accurately assess an individual's instrumental/vocal performance ability. 2. Cancellation. NAVSOMINST Background. Development, maintenance, and career-long improvement of performance proficiency are the musical core values for all musicians in the Navy and Marine Corps Music Programs. Initial "A" School skills training and advanced "C" School skills augmentation are critical elements to maintaining fleet operational readiness. In accordance with references (a) and (b), the assessment procedures contained herein were developed through careful analysis of fleet needs and expert experience in evaluating musical competence. These procedures should yield consistently reliable and valid assessment results. Enclosure (1) is provided as an approximate comparison from the old grading system to the new grading system. Note: All enclosures have been revised and realigned; they should be reviewed in their entirety. Additionally, appendices have been added to assist with enclosure (2). 4. Discussion. a. The assessment forms contained in enclosure (2) are to be used for each Musician Navy Enlisted Classification

2 NAVSOMINST 1300.lA 30 Jun 17 (NEC)/Military Occupational Specialty (MOS). Each form outlines specific elements of performance by musical criteria for each of the competency levels listed in enclosure (3). b. Sight-reading portfolios will be created utilizing the breakdown of these assessment grading levels: Easy 1-2, Medium 3-4, Difficult 5-6. All sight-reading materials will be maintained in a secure location by Head, Instrumental Division. (1) Each Brass/Woodwind sight-reading portfolio will contain at least five examples in simple time, five examples in compound time, three marches in simple time, three marches in compound time and three commercial excerpts starting at the medium and hard levels. Brass examples will include: French Horn - Eb transposition; Trombone - tenor clef; Euphonium - treble clef. (2) Piano, Electric Bass, and Guitar sight-reading examples will include examples of various styles to include latin, rock, funk (notated and chord changes), swing changes with notated rhythmic hits, and lead sheet reading (comp and solo). (3) Snare Drum sight-reading examples will be performed on concert snare only and will contain time signatures, rhythms, embellishments, and dynamics appropriate to the proficiency level. (4) Mallet sight-reading examples will contain notes, rhythms, embellishments, time signatures, and dynamics appropriate to the proficiency level. (5) Drum Set sight-reading examples will be performed utilizing kick-sheets illustrating styles appropriate to the proficiency level. (6) Vocalist/Entertainer. sight-reading materials will include notated lines and lead sheets of various styles including traditional, swing, latin, and contemporary. c. Quickly Prepared Material will be maintained in a secure location by Head, Instrumental Division. 2

3 NAVSOMINST 1300.lA 30 Jun 17 (1) Brass/Woodwind Quickly Prepared Material will consist of two to three orchestral transcriptions or wind ensemble excerpts, two to three marches for all wind instruments, French Horn will include Eb transposition, and two to three additional commercial excerpts for the Saxophone, Trumpet, Trombone, and Tuba. (2) Piano, Electric Bass, and Guitar Quickly Prepared Material will include lead sheets of various styles. (3) Vocalist/Entertainer will include lead or lyric sheets with backing tracks of various styles. (4) There will be no Quickly Prepared Material for percussion. 5. Definitions. a. Musical Criteria. Follow the below criteria when evaluating musical competency: (1) Brass/Woodwind musical criteria. (a) Technique. Valve/slide/finger coordination, dexterity, flexibility, and accuracy over all major/minor scalar, arpeggiated, and intervallic pattern combinations. (b) Articulation. Staccato, legato, marcato, tenuto, other accents, as well as single/double/triple tonguing for appropriate instruments. (c) Time/Rhythm. Tempo, metronome marking, simple and compound meter signatures, complex note patterns, syncopation, and swing/jazz/rock patterns for appropriate instruments. (d) Dynamics/Phrasing. choices and breathing points. Dynamic range, phrasing (e) Tone. Timbre, intonation, and tone quality. (f) Style/Musicality. Appropriate styles for marches, concert band literature, contemporary ensemble music, chamber music and other small ensemble music. Additional 3

4 1.f NAVSOMINST 1300.lA 30 Jun 17 stylistic considerations include vibrato and embellishments such as trills, appoggiatura, etc. (2) Guitar, Piano, and electric Bass musical criteria. (a) Technique. Coordination, velocity, embellishments, ornaments, and stylistic techniques. (b) Time/Rhythm. Tempo, meter signatures, stylistic patterns, accent placement, correct style and rhythm recognition. (c) Tone. Timbre, intonation, range, voicing technique, patch choice, amp settings, and stylistic concepts. (d) Harmonic Accuracy. Pitch recognition, chord recognition, chord voicing, and stylistic vocabulary. (e) Expression/Musicality. Presentation, stylistic concepts, articulation, note lengths, nuance, and finesse. (f) Dynamics/Phrasing. Dynamic range, contrast, rhythmic phrasing, development, and control. (3) Percussion musical criteria. (a) Technique. coordination. Stick and Mallet control and (b) Time/Rhythm. Tempo, metronome marking, simple and compound meter signatures, complex patterns, syncopation, and swing/jazz/rock patterns for appropriate instruments. only). (c) Articulation/Musicality (snare and mallets Embellishments, rolls, rudiments, and dynamic range. (d) Style (Drum set only). Appropriate styles for contemporary ensemble music such as swing/jazz/rock. Additionally, ensemble chart sight-reading. (4) Vocalist/Entertainer musical criteria. 4

5 NAVSOMINST 1300.lA 30 Jun 17 (a) Style. Appropriate performance of genre including inflections, accents and rhythms. (b) Diction/Lyrics. diction and correct lyrics. Stylistically appropriate vibrato. (c) Tone/Musicality. Timbre, intonation, and pitches. (d) Accuracy. Exact tempo/rhythm, intonation, and (e) Microphone Technique. Appropriate use of microphone from both musical and presentational aspects. (f) Presentation. Eye contact, body language, gestures, stage presence, use of space on stage, and level of comfort/ease. 6. Board Members. a. Assessments. Naval School of Music (NAVSOM) conducts three formal assessments (Incoming, Mid-Term, and Final) for the Music Basic Course. Two Instrumental Division (I-DIV) instructor board members whose scores are calculated independently. Advanced course students will be given an Incoming and Final assessment (if needed) with two I-DIV instructor board members whose scores are calculated independently. 7. General Procedural Outline. a. Instrumental and Vocal. Ensure scores are recorded on form NAVSOM 1300/01-15 (Rev. Jun 17) found in enclosure (2). (1) Prepared material (Incoming/Mid-Term/Final). Direct the student to perform all prepared material. (2) Quickly Prepared Material. Hand out the quickly prepared material the day before the final assessment, but not exceeding 24-hours. Student will be asked to perform selected excerpts from the quickly prepared material. 5

6 NAVSOMINST 1300.lA 30 Jun 17 (3) Sight-Reading. Direct the student to perfqrm never before seen musical excerpts. b. Percussion. Ensure scores are recorded on form NAVSOM 1300/14 (Rev. Jun 17) found in enclosure (2). (1) Snare Drum. (a) Prepared Material. The student will perform one rudimental Snare Drum solo and one concert Snare Drum solo. (b) Rudiments. The student will perform the 26 standard American rudiments from memory including an open rudimental roll and closed concert roll. (c) Sight-reading. before seen musical examples. The student will perform never (2) Mallets. (a) P~epared Material. The student will perform one mallet solo. Ensure scores are recorded on the assessment form prior to beginning step two. (b) Sight-reading. before seen musical examples. The student will perform never (3) Drum Set. (a) Prepared Material. The student will perform five contrasting styles on the Drum Set. Style examples: Swing, Rock, Funk, Brazilian, and Afro-Cuban. Ensure scores are recorded on the assessment form prior to beginning step two. (b) Sight-reading. before seen kick-sheets. The student will perform never 8. Post-Assessment Procedures. a. Final Score Computation. Each board member's score is averaged and recorded independently. An overall score is then calculated for each board member, placed in the Score Summary section, and averaged together in the Final Score block. 6

7 NAVSOMINST 1300.lA 30 Jun 17 b. Wrap-Up. Ensure all documentation is complete and copies are provided to the appropriate personnel. 9. Applicability. This instruction applies to students enrolled in the Music Basic Course (Course Identification Number (CIN): A ), Unit Leader Course_ (CIN: A ), and Senior Musician Course (CIN: A ) at NAVSOM. 10. Review. Training Officer, NAVSOM is responsible for the annual review and update of this instruction. Distribution: NAVSOMINST List I V~4tc---- R J. WRENN 7

8 NAVSOMINST 1300.lA 30 Jun 17 Grade Comparison Chart BMC Incoming BMC Mid Term BMC Final USMC CPL USMC SGT ULC/SMC (USMC SS gt & above) Instructor Level Navy Marine Corps Point Grading Point Grading Grading Scale Grading Scale Scale Scale Enclosure (1)

9 NAVSOMINST 1300.lA. 30 Jun Grading Scale Point Scale Level Beginner Novice Apprentice Journeyman 2

10 NAVSOMINST 1300.lA 30 Jun 17 Expert Master 3

11 NAVAL SCHOOL OF MUSIC FLUTE ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Category BM SBM Very limited basic technique. Unclean finger movement. Incorrect fingering of notes. Very limited flexibility. Very limited sight-reading ability. Limited fundamental technique. Limited flexibility, range, and sight-reading ability. Acceptable finger technique and dexterity. Coordination problems when playing in the 4th register at fast tempos. Acceptable flexibility and range. Adequate sightreader. Well-developed technique, dexterity, flexibility, and range. Able to apply alternate fingerings of both flute and piccolo. Skillful sight-reader. Fluent technique and dexterity on both flute and piccolo throughout the range of both instruments. Able to perform complex technical patterns accurately. Adept sightreading ability. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Technique Unclear attacks. Very limited ability to play slurred, legato and staccato articulations with accuracy. Mixed articulations are inconsistent, uneven, and lack finger/tongue coordination. Unfocused, inconsistent attacks. Limited ability to demonstrate single tongue technique, slurred, legato and staccato articulations as well as mixed articulations. Limited ability to multiple-tongue. Solid ability to play a variety of singletongue and mixed articulations. Well-developed ability to articulate while maintaining a clear tone. Consistent execution of complex articulations and multiple-tonguing. Able to perform complex patterns of multipletonguing and mixed articulation patterns effortlessly. Clarity in all contexts. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations. Time is mostly consistent in both prepared and sightreading material but limited by finger technique. Mixed or odd meters inconsistent. Moderate syncopations adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Solid performance of mixed meter. Minor tempo and rhythmic errors when sight-reading. Performance of extended syncopated figures possible. Excellent time in all performance and sight reading situations. Extreme tempi, mixed meters cause isolated mistakes. Performs syncopated material with ease. All combinations of rhythmic variety can be read and prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Due to lack of breath support and control, phrasing is limited to two to four measures. Limited dynamic range. Underdeveloped breath support limits phrasing ability to four to six measures. Dynamic range is acceptable. Acceptable phrasing, but limited by technique. Breathing is controlled. Phrasing and dynamic shape present and generally thoughtful. Skillful use of expressive tempo changes and rubati where appropriate. Welldeveloped breath support and ability to release note endings and phrases with finesse and accurate intonation. Strong command of dynamics, both written and inferred. Mature phrasing appropriate to the style. Able to sustain long passages in extreme ranges. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Pinched, airy, thin, unfocused tone in all registers. Very limited use of vibrato. Piccolo playing extremely limited with no consistency in intonation or tone. Middle register tone is developed; upper and lower registers are weak and unfocused. Limited use of vibrato. Intonation is consistent on flute. Piccolo tone and intonation lacks control and consistency. Consistent tone across the practical range. Vibrato is present and well executed to enhance musicality. Flute and piccolo tone and intonation are solid and consistent in both prepared and sightreading material. Well-developed tone. Strong ability to demonstrate appropriate variations of tone color. Vibrato is used appropriately to enhance musicality. Able to play in all registers with accurate intonation on flute and piccolo in both prepared and sightreading material. Mature tone with the ability to use expressive tone color. Able to demonstrate various uses of vibrato in prepared and sightreading material. Rich and sonorous tone in prepared material and sight-reading. Sound can emulate various styles, layers, or moods. Very accurate pitch. Lofty musicianship. Able to produce different tonal qualities and colors effortlessly. Tone No stylistic concept. Very limited musicality while sight-reading. Some development of style. Limited ability to execute grace notes, trills, mordents and small cadenza figures. Limited musicality while sightreading. Stylistic differences present. Accurate performance of ornamentation to include grace notes, mordents, trills and cadenza figures. Well-developed ability to play varied musical styles with ease. Skillful use of all basic symbols for ornamentation. Demonstrates emphasis on elements of period style, including free use of ornamentation and rubato. Advanced ability to demonstrate interpretation of standard literature. Sets the standard. Abounds in creativity of interpretation. Inspirational expressive artistry. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A BM/SBM Average Flute Final Score NAVSOM 1300/01 (Rev. Jun 2017) Page 1 of 2

12 NAVAL SCHOOL OF MUSIC PICCOLO ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Category BM SBM Very limited basic technique. Unclean finger movement. Incorrect fingering of notes. Very limited flexibility. Very limited sightreading ability. Limited fundamental technique. Limited flexibility, range, and sightreading ability. Acceptable finger technique and dexterity. Coordination problems when playing in the 4th register at fast tempos. Acceptable flexibility and range. Adequate sight-reader. Well-developed technique, dexterity, flexibility, and range. Able to apply alternate fingerings of both flute and piccolo. Skillful sightreader. Fluent technique and dexterity on both flute and piccolo throughout the range of both instruments. Able to perform complex technical patterns accurately. Adept sightreading ability. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Technique Unclear attacks. Very limited ability to play slurred, legato and staccato articulations with accuracy. Mixed articulations are inconsistent, uneven, and lack finger/ tongue coordination. Unfocused, inconsistent attacks. Limited ability to demonstrate single tongue technique, slurred, legato and staccato articulations as well as mixed articulations. Limited ability to multiple-tongue. Solid ability to play a variety of singletongue and mixed articulations. Well-developed ability to articulate while maintaining a clear tone. Consistent execution of complex articulations and multiple-tonguing. Able to perform complex patterns of multiple-tonguing and mixed articulation patterns effortlessly. Clarity in all contexts. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations. Time is mostly consistent in both prepared and sightreading material but limited by finger technique. Mixed or odd meters inconsistent. Moderate syncopations adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Solid performance of mixed meter. Minor tempo and rhythmic errors when sight-reading. Performance of extended syncopated figures possible. Excellent time in all performance and sight reading situations. Extreme tempi, mixed meters cause isolated mistakes. Performs syncopated material with ease. All combinations of rhythmic variety can be read and prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Due to lack of breath support and control, phrasing is limited to two to four measures. Limited dynamic range. Underdeveloped breath support limits phrasing ability to four to six measures. Dynamic range is acceptable. Acceptable phrasing, but limited by technique. Breathing is controlled. Phrasing and dynamic shape present and generally thoughtful. Skillful use of expressive tempo changes and rubati where appropriate. Welldeveloped breath support and ability to release note endings and phrases with finesse and accurate intonation. Strong command of dynamics, both written and inferred. Mature phrasing appropriate to the style. Able to sustain long passages in extreme ranges. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Pinched, airy, thin, unfocused tone in all registers. Very limited use of vibrato. Piccolo playing extremely limited with no consistency in intonation or tone. Middle register tone is developed; upper and lower registers are weak and unfocused. Limited use of vibrato. Intonation is consistent on flute. Piccolo tone and intonation lacks control and consistency. Consistent tone across the practical range. Vibrato is present and well executed to enhance musicality. Flute and piccolo tone and intonation are solid and consistent in both prepared and sightreading material. Well-developed tone. Strong ability to demonstrate appropriate variations of tone color. Vibrato is used appropriately to enhance musicality. Able to play in all registers with accurate intonation on flute and piccolo in both prepared and sight-reading material. Mature tone with the ability to use expressive tone color. Able to demonstrate various uses of vibrato in prepared and sight-reading material. Rich and sonorous tone in prepared material and sight-reading. Sound can emulate various styles, layers, or moods. Very accurate pitch. Lofty musicianship. Able to produce different tonal qualities and colors effortlessly. Tone No stylistic concept. Very limited musicality while sight-reading. Some development of style. Limited ability to execute grace notes, trills, mordents and small cadenza figures. Limited musicality while sightreading. Stylistic differences present. Accurate performance of ornamentation to include grace notes, mordents, trills and cadenza figures. Well-developed ability to play varied musical styles with ease. Skillful use of all basic symbols for ornamentation. Demonstrates emphasis on elements of period style, including free use of ornamentation and rubato. Advanced ability to demonstrate interpretation of standard literature. Sets the standard. Abounds in creativity of interpretation. Inspirational expressive artistry. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Piccolo Final Score Final Score NAVSOM 1300/01 (Rev. Jun 2017) Page 2 of 2

13 NAVAL SCHOOL OF MUSIC OBOE ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Category BM SBM Very limited basic technique. Unclean finger movement. Incorrect fingering of notes. Very limited flexibility. Very limited sight-reading ability. Limited fundamental technique. Unclean finger movement in technical passages. Under-developed finger/tongue coordination. Limited range and sightreading ability. Acceptable technique. Able to play passages with alternate fingerings cleanly. Acceptable range. Adequate sight-reader. Well-developed technique, dexterity, flexibility, and range. Well-developed range. Skillful sight-reader. Fluent technique and dexterity throughout the range. Able to perform complex technical patterns accurately. Adept sight-reading ability. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Technique Unclear attacks. Able to use basic single tongue technique. Very limited ability to play slurred, legato and staccato articulations with accuracy. Mixed articulations are inconsistent and lack finger/tongue coordination. Unfocused, inconsistent attacks. Reed quality, awkward tongue placement and inconsistent air limit articulation accuracy and tone quality. Limited performance of mixed articulations. Solid ability to play a variety of singletongue and mixed articulations. Inconsistent air support and response in the low register when articulating at softer dynamic levels. Well-developed ability to articulate while maintaining a clear tone. Consistent execution of complex articulations. Able to perform complex patterns of mixed articulation patterns effortlessly. Clarity in articulation in every context. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations. Time is mostly consistent in both prepared and sightreading material but limited by finger technique. Solid performance of basic mixed meter. Simple syncopations adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Minor tempo/rhythmic errors when sight-reading. Minor inconsistencies in mixed or odd meters. Performance of extended syncopated figures possible. Excellent time in all performance and sightreading situations. Effortless use of complex rhythmic combinations. Extreme tempi, mixed meters cause isolated errors. Performs syncopated material All combinations of rhythmic variety can be read and prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Dynamics and note releases are out of tune and uncontrolled. Limited dynamic control and contrast. Some development of phrasing. Awkward note releases with inconsistent intonation. Capable of performing dynamic contrast with control and accuracy. Acceptable phrasing. Demonstrates ability to follow written performance direction. Phrasing and dynamic shape present and generally thoughtful with evident breath support and control. Expert control of extreme, sudden dynamic changes within stylistically, technically, and musically challenging phrases. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Underdeveloped and inconsistent tone. Low register is loud, uncontrolled, and unresponsive. Upper register is thin. Very limited ability to play in tune. Tone quality is underdeveloped. Limited and inconsistent tone. Low register is unresponsive and upper register is thin. Intonation lacks control and consistency. Consistent tone across the practical range. Intonation is solid and consistent in both prepared and sightreading material. Well-developed tone. Well-developed ability to play in all registers with accurate intonation in both prepared and sightreading material. Mature tone. Intonation is effortless throughout entire range while performing prepared material and while sight-reading. Rich and sonorous tone in prepared material and sight-reading. Sound can emulate various styles, layers, or moods. Very accurate pitch. Tone is sophisticated and mature. Tone No stylistic concept. Limited musicality in both prepared and sight-reading material. Some development of style. Limited ability to execute grace notes, trills, mordents and small cadenza figures. Limited use of vibrato. Stylistic differences present. Accurate performance of ornamentation to include grace notes, mordents, trills and cadenza figures. Vibrato is present and well executed. Well-developed ability to play various musical styles with ease. Skillful use of all basic symbols for ornamentation. Skillful use of expressive tempo changes and rubati. Vibrato is welldeveloped and used appropriately to enhance musicality. Demonstrates emphasis on elements of period style, including free use of ornamentation and rubato. Advanced ability to demonstrate interpretation of standard literature. Demonstrates stylistic variety and musicality in both prepared and sightreading material. Sets the standard. Abounds in creativity of interpretation. Lofty musicianship and inspirational expressive artistry. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Final Score NAVSOM 1300/02 (Rev. Jun 2017)

14 NAVAL SCHOOL OF MUSIC CLARINET ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Very limited technique. Finger and tongue coordination problems. Many incorrect notes and fingerings. Very limited range. Very limited sight-reading ability. Limited technique. Unclean finger movement in technical passages. Underdeveloped finger/tongue coordination. Limited ability to demonstrate correct fingerings. Limited range and sightreading ability. Acceptable finger technique. Solid ability to execute difficult runs with few errors. Able to perform across the practical range, but altissimo register is inconsistent. Adequate sight-reader. Well-developed technique. Secure ability to execute difficult technical passages and runs. Skillful sight- reader. Fluent technique. Able to perform complex technical patterns accurately. Adept sightreader. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Category BM SBM Technique Inability to play articulations with speed, accuracy, and clarity. Minimal ability to match articulations to style. Limited ability to play articulations with speed, accuracy, and clarity. Single articulations are unclear. Limited ability to match articulations to style. Solid ability to articulate. Able to perform single articulations with clarity and speed. Solid ability to match articulations to style. Well-developed ability to perform single articulations with clarity and speed. Able to demonstrate consistent facility through passages with repeated articulations. Welldeveloped ability to match articulations to style. Adept ability to articulate with clarity, consistency, and speed. Articulations are appropriately executed to emphasize style. Clarity in all contexts. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations. Time is mostly consistent in both prepared and sightreading material but limited by finger technique. Solid performance of basic mixed meter. Simple syncopations adequate. Well-developed rhythmic ability. Time is secure in prepared material. Minor tempo/ rhythmic errors when sight-reading. Minor inconsistencies in mixed or odd meters. Performance of extended syncopated figures possible. Excellent time in all performance and sight reading situations. Extreme tempi, mixed meters cause isolated errors. Performs syncopated material with ease. All combinations of rhythmic variety can be read and prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Due to lack of breath support and control, phrasing is limited to two to four measures. Limited dynamic control and contrast. Some development of phrasing, but lacks control. Capable of performing dynamic contrast with control and accuracy. Acceptable phrasing. Phrasing and dynamic shape present and generally thoughtful with evident breath support and control. Expert control of extreme, sudden dynamic changes within stylistically, technically, and musically challenging phrases. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Undeveloped tone. Unable to follow indicated performance direction. Limited tone development of middle and low registers. Upper register is weak and uncharacteristic. Consistent tone across the practical range. Intonation is acceptable, but inconsistent in both prepared and sightreading material. Well-developed tone across the practical range. Able to play in all registers with accurate intonation. Mature tone across the entire range. Rich and sonorous tone in prepared material and sight-reading. Sound can emulate various styles, layers, or moods. Always accurate pitch. Lofty musicianship and inspirational, expressive artistry. Tone No stylistic concept. Very limited musicality in both prepared and sight-reading material. Limited ability to correctly perform in concert and march styles. Limited musicality in both prepared and sightreading material. Stylistic differences present, but limited by technique. Well-developed ability to play various musical styles with ease. Skillful use of expressive tempo changes and rubati. Musicality evident in both prepared and sight-reading material. Demonstrates expert ability to play in all styles. Advanced ability to demonstrate familiarity with interpretation of standard literature. Able to perform using expressive devices to enhance musicality in both prepared and sightreading material. Sets the standard. Abounds in creativity of interpretation. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Final Score NAVSOM 1300/03 (Rev. Jun 2017)

15 NAVAL SCHOOL OF MUSIC BASSOON ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Very limited basic technique. Unclean finger movement. Incorrect fingering of notes, no ability to use alternate fingerings. Very limited range. No finger/tongue coordination. Very limited sight-reading ability. Limited fundamental technique. Able to perform limited interval movement at moderate tempos. Some finger/tongue coordination present. Limited range and sight-reading ability. Acceptable technique. Demonstrates ability to use alternate fingerings. Solid performance of interval movement and finger/ tongue coordination. Acceptable range. Adequate sight-reader. Well-developed finger technique and movement in all registers using standard and alternate fingerings. Clean performance of disjunct intervals. Skillful sight-reading ability. Fluent technique across the entire range using both standard and alternate fingerings. Able to perform complex technical patterns with accuracy. Adept sight-reading ability. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Category BM SBM Technique Unclear attacks. Poor response and articulation quality. No difference between written articulations and unmarked notes. Unfocused, inconsistent attacks. Limited ability to perform standard or mixed articulations with consistency and accuracy. Solid ability to articulate with consistency in various simple and mixed articulation patterns. Response in the extreme low and high registers is inconsistent. Well-developed ability to articulate with accuracy and consistency while maintaining a clear, responsive tone. Secure use of moderately complex patterns of standard articulations. Some multiple tonguing ability. Able to perform complex patterns of multiple-tonguing and mixed articulation patterns accurately. Clarity of articulation in every context. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly performing prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations, dotted, and subdivided rhythms. Time is mostly consistent in both prepared and sightreading material but limited by finger technique. Solid performance of basic mixed meter. Simple syncopations, dotted, and subdivided rhythms adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Minor tempo/rhythmic errors when sight-reading. Minor inconsistencies in mixed or odd meters. Performance of extended syncopated figures possible. Excellent time in all performance and sightreading situations. Effortless use of complex rhythmic combinations. Extreme tempi, mixed meters cause isolated errors. Performs syncopated material with ease. All combinations of rhythmic variety can be read and prepared easily. Time/Rhythm Little to no use of dynamics and phrasing. Attempts to play dynamics affect tone quality and intonation, and are overblown and uncontrolled. Limited dynamic control and contrast. Limited phrasing. Dynamic changes affect tone quality and intonation. Capable of performing dynamic contrast with control and accuracy. Acceptable phrasing. Demonstrates ability to follow written performance direction. Broad dynamic range with evident control. Well-developed ability to control phrasing and direction through the use of dynamic contrast, and rubato. Expert control of extreme, sudden dynamic changes within stylistically, technically, and musically challenging phrases. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Very limited ability to demonstrate consistent, responsive tone. No ability to control pitch while sight-reading. Limited ability to demonstrate consistent, responsive tone. Intonation lacks control and consistency. Consistent, pleasing tone across the practical range. Intonation is solid and consistent in both prepared and sightreading material. Well-developed tone. Well-developed ability to play in all registers with accurate intonation in both prepared and sightreading material. Mature tone. Intonation is effortless throughout entire range while performing prepared material and while sight-reading. Rich and sonorous tone in prepared material and sight-reading. Sound can emulate various styles, layers or moods. Very accurate pitch. Tone No stylistic concept. No use of vibrato, nuance/expression. Some development of style. Limited use of ornamentation. Able to play grace notes and simple trills. Little use of vibrato, nuance / expression while sightreading. Stylistic differences present. Accurate performance of ornamentation to include grace notes, mordents, trills and short cadenza figures. Vibrato is present and well executed to enhance musicality. Well-developed ability to play various musical styles with ease. Skillful use of all basic symbols for ornamentation. Skillful use of expressive tempo changes and rubati. Vibrato is well-developed and used appropriately to enhance musicality. Demonstrates emphasis on elements of period style, including free use of ornamentation and rubato. Advanced ability to demonstrate interpretation of standard literature. Able to demonstrate stylistic variety in the use of vibrato. Sets the standard. Abounds in creativity of interpretation. Lofty musicianship and inspirations expressive artistry. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Final Score NAVSOM 1300/04 (Rev. Jun 2017)

16 NAVAL SCHOOL OF MUSIC SAXOPHONE ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Very limited technique, flexibility, and range. Finger/tongue coordination problems. Very limited sightreading ability. Limited technique and finger/tongue coordination. Awkward finger dexterity affects technical passages. Limited range and sight-reading ability. Acceptable technique. Slight hesitation when playing faster tempos and complex patterns. Slight hesitation in finger/tongue coordination. Acceptable range. Adequate sight-reader. Well-developed technique. Secure ability to execute difficult technical passages. No hesitation in finger/tongue coordination. Skillful sight-reader. Fluent technique and dexterity throughout the practical range. Able to perform complex technical patterns accurately. Adept sight-reading ability. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Extreme flexibility. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Category BM SBM Technique Very limited ability to articulate with accuracy and consistency. Articulations hinder sound. Limited and inconsistent ability to articulate. No clear distinction made between staccato, legato and accented notes. Solid ability to articulate. Clear distinction between various articulation patterns. Well-developed ability to articulate with clarity and speed. Consistent execution of complex articulations. Advanced ability to execute all articulations. Clarity in all contexts. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady time. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material. Limited ability to play rhythms in simple and compound meters. Limited rhythmic accuracy while performing commercial patterns in both prepared material and sightreading. Time is mostly consistent in both prepared and sight-reading material but limited by finger technique. Solid performance of basic mixed meter. Simple syncopations, dotted, and subdivided rhythms adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Skillful ability to play commercial patterns. Minor tempo and rhythmic errors while sight-reading. Excellent time in all performance and sightreading situations. Effortless use of complex rhythmic combinations. Able to perform commercial patterns with ease. All combinations of rhythmic variety can be read or prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Due to lack of breath support and control, phrasing is limited to two to four measures. Limited dynamic range. Underdeveloped breath support limits phrasing ability to four to six measures. Dynamic range is acceptable. Acceptable phrasing, but limited by technique. Breathing is controlled. Phrasing and dynamic shape present and Strong command of generally thoughtful. dynamics, both written Skillful use of expressive tempo changes and rubati and inferred. Mature where appropriate. Welldeveloped breath support the style. Able to phrasing appropriate to and ability to release note sustain long passages endings and phrases with in extreme ranges. finesse and accurate intonation. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Underdeveloped tone. Poor intonation. No ability to change tone color to match style. Acceptable tone in middle register; unsupported and uncharacteristic in upper and lower registers. Intonation is inconsistent. Consistent supported tone across the practical range. Intonation is acceptable, but inconsistent in the extreme registers in both prepared and sight-reading material. Well-developed tone. Able to perform with various tone qualities and styles. Intonation is consistent and welldeveloped in both prepared and sightreading material. Mature tone in any style. Intonation is natural and Rich and sonorous tone consistent. No in prepared material and compromise to tone sight-reading. Sound quality when can emulate various articulating difficult styles, layers, or moods. mixed articulation Very accurate pitch. patterns. Tone No stylistic concept. Minimal to no musicality either in prepared or sightreading material. Limited ability to demonstrate stylistic interpretation, to include commercial style. Swing 8th notes may sound like dotted 8th/16th figures. Limited musicality in both prepared and sight-reading material. Capable of playing marches, classical wind band literature, and common commercial compositions. Well-developed ability to perform in both classical and commercial music styles. Demonstrates expert ability to play in all styles. Sets the standard. Abounds in creativity and interpretation. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Final Score NAVSOM 1300/05 (Rev. Jun 2017)

17 NAVAL SCHOOL OF MUSIC TRUMPET ASSESSMENT For use of this form, see the NAVSOMINST1300.1A; the proponent is the Commanding Officer, Naval School of Music Privacy Act Statement Authority: Title 5, section 3012; Title 10, U.S.C. E.O Principle purpose: Used to determine technical proficiency for initial classification into the Navy and Marine Corps Music programs. Routine Uses: Record of individual's technical proficiency and progress. Note: Increments of.5 may be given in each Category (ex. 1.5, 2.5, 3.5) Name Rank Service Class Date Beginner Novice Apprentice Journeyman Expert Master Category BM SBM Very limited basic technique. Most pitches missed due to under developed finger movement and flexibility. Small range. Very limited sight-reading ability. Limited basic technique. Several missed pitches due to limited finger dexterity and flexibility. Small range. Limited sightreading ability. Acceptable technique. Some accuracy errors. Fingers are quick in both articulated and slurred passages. Performs across the practical range with minor errors. Adequate sight-reader. Well-developed technique and flexibility. Isolated accuracy errors. Can play across practical range with ease. Skillful sight-reader. Precise technique with expanded flexibility. Minor flaws in exceptionally difficult material. Adept sightreader. Master of the instrument, a soloist. Virtuosity is a hallmark in every facet. Advanced techniques are precise and on demand. Demonstrates superior sight-reading ability. Technique Unclear attacks. Single tongue is inconsistent and undeveloped. Able to multiple tongue at extremely slow tempi. No differences between written articulations and unmarked notes. Edgy attacks with single tongue. Notes often clipped. Mixed articulations are unclear. Multiple tongue ability limited. Acceptable single tongue. Notes not harshly attacked. Mixed articulations clear. Multiple tonguing functional, but not always clear. Smooth legato. Well-developed single tongue in middle to low range. Multiple tongue acceptable for short passages at moderate tempi. Combinations of articulations secure. Advanced consistency and ability in all traditional tonguing styles. Capable of articulating in commercial styles with varied facility. Clarity in every context. Speed and facility achieved using any technique necessary. Articulation Unable to maintain steady pulse. Minimal ability to perform simple syncopations. Basic rhythms played incorrectly across both prepared material and when sight-reading. Unsteady time when performing prepared material; compounded when sight-reading. Subdivision is inconsistent. Limited ability to demonstrate simple syncopations. Time is mostly consistent in both prepared material and sight-reading material but limited by finger technique. Solid performance of basic mixed meter. Simple syncopations adequate. Well-developed rhythmic ability. Time is consistent and secure in prepared material. Minor tempo and rhythmic errors when sight-reading. Mixed or odd meters inconsistent. Excellent time in all performance and sight reading situations. Extreme tempi and advanced mixed meters cause isolated mistakes. All combinations of rhythmic variety can be read or prepared easily. Time/Rhythm Minimal to no dynamics or phrasing present. Limited dynamic range. Soft dynamics consistently unsupported. Loud dynamics are labored or crass. Phrasing rudimentary. Dynamic range is acceptable but loses support in softer dynamics and can be overly harsh during loud dynamics. Acceptable phrasing, but limited by technique. Phrasing and dynamic shape present and generally thoughtful. Strong command of dynamics, both written and inferred. Mature phrasing appropriate to the style. Absolute control and stylistic sensitivity. Dynamics are instinctive and effortless. Dynamics/Phrasing Middle register somewhat steady. Upper register is thin and pinched while low register is unfocused. Undeveloped intonation. Tone in all registers becomes strained during sightreading. Tone is full in the middle register. Upper/ lower range uncharacteristic. Tone is strained outside of middle register when sight-reading. Consistent tone across most of the practical range. Extremes spread or pinched. Tone is strained in the upper register or loses stability in the low register when sight-reading. Acceptable overall intonation. Pure tone across entire practical range. Extremities lack control. Secure intonation. Full and resonant across entire range with functional extremes. Few intonation errors. Rich and sonorous tone in both prepared material and sightreading. Sound can emulate various styles, players, or moods. Very accurate pitch. Lofty musicianship and inspirational expressive artistry. Tone No stylistic concept. Limited ability to correctly perform in concert and march style. Very limited ability to perform commercial styles. Adequate stylistic differentiation. March/ concert styles acceptable, but timid. Swing style basic, but degrades with advanced figures. Stylistic differences evident. Well-developed march/jazz styles. Some expressive devices used, but often lacking maturity. Devices will be incorrect or omitted when sight-reading. Lead playing and improvisation lack maturity. Professionally functional in all styles. Vibrato and expressive devices are judiciously used to enhance the musical line in performance and sightreading. May excel in one genre approaching mastery (i.e. improvisation). Sets the standard. Abounds in creativity of interpretation. Style/Musicality Prepared Material Quickly Prepared Sight-reading Scale Go NoGo N/A Board Member (BM) Rank/Name: Senior Board Member (SBM) Rank/Name: SBM Signature: BM/SBM Average Final Score NAVSOM 1300/06 (Rev. Jun 2017)