2008 WGI Percussion Adjudication Manual

Transcription

1 2008 WGI Percussion Adjudication Manual TABLE OF CONTENTS PHILOSOPHY OF WGI SPORT OF THE ARTS Philosophy of WGI Sport of the Arts... 3 Philosophy of the Scoring System... 4 Philosophy of Judging (Teacher-Counselor-Critic)... 4 Instructors Code of Conduct... 6 Judges Code of Ethics... 6 JUDGES CONTEST PROCEDURES Duties of the Contest Chief Judge... 7 Duties of the Judge... 7 Judges General Instructions... 7 Performance Commentary General Techniques... 8 Application of the Criteria Reference System... 8 ACCOUNTABILITY Accountability Through Scoring... 9 Accountability Through Numbers Management Rating and Proper Spreads at Early Season Contests Accountability Through Profiling Spread Guideline Accountability Through Sampling Accountability Through Critique Dialog THE WGI JUDGING SYSTEM Scoring Observations The Multi-tiered Scoring System The Five Steps in Learning Expectations from the Multi-Tiered Criteria Classification Dialog & Observations THE CRITIQUE The Purpose Behind the Critique How to Prepare for the Critique Making the Most of Your Critique Time Critique Etiquette Using the Critique Sheet Instructor s Recourse for Competitive or Judging Issues Percussion Instructors Critique Sheet CONTEST SCHEDULING Regionals World Championships A Guide to Judging Class A Percussion Lines A Guide to Judging Open Class Percussion Lines A Guide to Judging World Class Percussion Lines

2 MARCHING PERCUSSION GENERAL EFFECT A Study of General Effect The Design Team and Creating the Program The Performers and Bringing the Show to Life The Judges and Reaction Music Effect Definitions Overall Definitions General Effect Score Sheets PERFORMANCE ANALYSIS Composition Definitions Performance Quality Definitions Performance Analysis Score Sheet VISUAL Composition Definitions Performance Quality Definitions Visual Score Sheet Instructors Guide to Visual Design and Composition CONCERT PERCUSSION A Guide to Judging Concert Percussion ARTISTRY Program Definitions Fulfillment Definitions Artistry Score Sheet PERFORMANCE Composition Performance Quality Performance Score Sheet CONTEST RULES Eligibility Classifications Contest Site Scoring Equipment Conduct of Ensembles Entry & Exit Penalties Timing and Penalty Score Sheet

3 PHILOSOPHY OF WGI SPORT OF THE ARTS All choreography, soundtracks, thematic and costuming choices must reflect the qualities that would be acceptable for performance at a scholastic venue or suitable for marketing to sponsors on a national level. Any breach in the above philosophy could result in performance denial or possible disqualification as determined by the Executive Director of WGI in consultation with the Percussion Coordinator. Director. Designated Contest Administrators will serve as a liaison to the WGI Executive PARTICIPANTS: WGI Sport of the Arts exists fundamentally for its participants: youth, staff, and supporters. This is always the underlying consideration when WGI Sport of the Arts makes decisions. Thus, WGI contributes to the cultural responsibilities held by all deserving youth activities; devotion to the individual, preservation of society and improvement of mankind. STANDARDS: WGI Sport of the Arts is committed to inspire its participants to achieve ever higher and higher standards. We ascribe to the concept that artistic, aesthetic and creative standards are important, but inspiration must be balanced with the primary need of providing recognition and dignity for all participants. Thus, WGI accepts the quest for wholesome experience for all, despite the dilemmas inherent in the conflicting needs to create higher standards yet ensure respect for all. COMPETITION: WGI Sport of the Arts has chosen competition as its method for organizing youth activities in pursuit of high standards of achievement. We maintain that competition is only the means, subject to whatever controls are necessary to serve the true end -- the participants. Thus, WGI is organized and administered on the principle that its leaders are professionals teaching by example both in and out of the competitive arena. As mature persons, WGI leaders know that youths learn life attitudes from all the observations of and interactions with those adults who are their models. NON-DISCRIMINATION: WGI Sport of the Arts treats every participant as a unique individual possessing inherent dignity on his/her own. All participants are regarded as worthy human beings, equally deserving of our available time, thoughts and energies. Thus, WGI does not discriminate on the basis of race, gender, creed, sexual orientation, National origin or cultural background. Its activities are based on the credo that all participants and program styles start with equal opportunity for success. 3

4 PHILOSOPHY OF THE SCORING SYSTEM This system is a means to encourage and reward new standards of creativity, artistry and excellence in design and performance while providing a vehicle that will educate beginners in such a way that they will grow to understand and evolve to the greatest level of their potential. It is our intent that this system will encourage and reward innovation, and acknowledge the tasteful and aesthetic appeal of good design through quality composition. The system acknowledges the joint efforts of designers, instructors, and performers through understanding that excellence and artistry are displayed through the design and that those same designs are recognized and credited through the artistry of performance. This system utilizes a method of subjective evaluation that rewards the achievement of positive qualities and offers continued encouragement to strive for greater achievement. This is a positive system, rewarding successful efforts at every level, and is designed to encourage ensembles to develop, maintain and project their own styles. Therefore, we emphasize creativity, originality, taste, and excellence. Growth and innovation are to be rewarded and must be achieved with quality to receive a maximum score. The numerical score reflects the successful achievement of the current contest. Scoring can fluctuate week to week, day to day, judge to judge based on performance qualities, depth of composition and other contest dynamic considerations. PHILOSOPHY OF JUDGING TEACHER - COUNSELOR CRITIC We as judges are extremely close to the ensembles we adjudicate, especially at a local level. We share in their growth and we take on the responsibility of giving them input for improvement. Sometimes we talk directly to the performers and try to help them understand what is being asked of them. Unlike athletic referees or umpires, unlike the International Championships judges, we are not isolated from the competitors we grade. This fact urges us to take a long hard look at why we are judges. In most cases we have come from this activity; it has given something tremendously important to us. Most of us have been performers or instructors. Some of us have felt the stinging indifference of a judge who didn t seem to care, and we have vowed never to be like that. Others have felt the nurturing of some special person who went just a little beyond his/her duty and helped us to grow. In any event, we are all basically motivated to give something back to an activity that is special to us. In addition, we have a strong feeling for the performers. We share a common delight in watching them grow and develop into something special. And so we come to that credo which becomes our philosophy of judging. Clinics, seminars and proper study can teach the judge how to rank and rate. Examinations can determine technical skills. But there are other qualities just as important. Communication skills are essential. We communicate to the ensembles in everything we do; the performance evaluation, the critique and just casual conversation with instructors carries a need for well-developed communication skills. Judges must be professionals who do not employ sarcastic or rude dialogue to those whom they are adjudicating. Hurtful commentary is unnecessary and unacceptable. To convey boredom or indifference is unacceptable. Tone of voice is of paramount importance. 4

5 A judge functions on three levels. Beginning ensembles with young inexperienced instructors require us to be teachers. With ensembles at this level we will find many times when our evaluation will be clinics in basic technique. This must be done with patience, setting a logical progression of development for them to follow. We must offer encouragement when they are confused (which could be most of the time) and enthusiasm when they show some level of success. Remember that these beginners are where many of us were some 10 or 15 years ago. Deal with them in basic teams. Without encouragement and enthusiasm for their minor successes, growth could be impaired. The nurturing process at this level is of vital importance. At the second level, we deal with ensembles who have been around for a few years, felt some success and believe that they are ready to move to a higher classification. Here we find ourselves dealing with the adolescent of our activity - convinced of their expertise and often reluctant to accept the fact that they have anything to learn. At this point we find ourselves in the role of Counselor. This role requires the most patience, the strongest concern and the greatest amount of effort. Finally the student really does grow up and we see moments of brilliance emerge from his/her creations and one day they have it all together, and in terms of creation, has surpassed the teacher, outgrown the counselor and looks to us to be the art critic (for surely, this is a work of art). At this point, we must challenge and encourage them to set even higher goals and standards. We must be professional, concerned, and supportive. The beginning judge should not enter the arena expecting to be all of these things at once. Our idiom is consistent in its attitude about rookies. Your first year in judging will be just like your first year performing. There will be a thousand tests - technical, personal, emotional, intellectual. You will be expected to endure them all. You are there because you are bright, willing, and you care a great deal. Align your involvement with the young beginning ensembles. Grow with them; be their teacher today so that in a year or so you can be their counselor and one day attain the level of critic as they emerge, just as you will emerge, fulfilling your goals and standards. Superior performers always give more than 100%. Superior judges also give more than 100%. As judges, our disciplines and attitudes must be an extension of those the performers follow. We expect them to be professional - so must we be professional. We expect them to respect us - so must we respect them. Demand no less of yourself than is demanded of each performer. A great teacher continually learns from his/her students; a great judge continually learns from the instructors. Communication is a two-way street. Good ensembles and good judges grow together by helping one another, by keeping communication lines open and by setting mutual goals and standards for the activity. Judge with your head, with your heart and in a positive, nurturing, and challenging manner as you contribute to the growth and development of this unique activity and its very special performers! 5

6 INSTRUCTORS CODE OF CONDUCT INSTRUCTORS CODE OF CONDUCT: If judges and staff are expected to adhere to a professional code of conduct, then it is appropriate that this standard is exacted from the instructional community as well. If undue and unfair pressure is applied to judges through inappropriate behavior, then this places the competitive experience at risk. Examples cited include, but are not limited to: instructors shouting at judges in public and/or at critique, inappropriate conduct of any instructor while accompanying the ensemble onto the contest floor, inordinate and unauthorized telephone calls to judges. There is also a growing concern about disruptive behavior in the warm up area, and rude behavior from the performers/staff of one group towards another. Behavior of this type is intolerable and will result in the loss of the privilege, which has been violated. For example, instructors could loose all telephone privileges with judges, they could be barred from critiques for the season, they could be barred from the arena floor or contest venue, or lose the right to use the warm up venue. Addressing this important issue must be a priority for every ensemble. The managing administrator of the situation will determine the application of the action. The managing administrator in judging issues is the percussion Director. The Regional Director/or designated Contest Director is the administrator in situations pertaining to contest personnel. The Advisory Board is the administrator in matters of poor sportsmanship or inter-ensemble issues. JUDGES CODE OF ETHICS AFFILIATION: A judge may not adjudicate a class in which a competing ensemble is one with which he/she has a formal affiliation as defined below. PRIMARY AFFILIATION: Designer, Instructor, Management, or performing member of the competing ensemble. Any judge who receives a salary from the department that sponsors the competing ensemble (i.e. an individual who teaches music in the school when the music department sponsors the percussion line or where it is connected to the band.) SECONDARY AFFILIATION: Family or spouse/significant-other relationship with an individual who as a primary affiliation as described above. CONSULTATIONS: Ensemble. A current WGI Judge is not permitted to give any consultation to any Percussion CONDUCT: No judge may display interest or preference toward any competing percussion ensemble he/she may judge. Wearing a ensemble s insignia is forbidden. Judges are encouraged to give input regarding the ethical standards of the judging community. This should be handled through the Percussion Director. 6

7 JUDGES CONTEST PROCEDURES DUTIES OF THE CONTEST CHIEF JUDGE Check with the Contest Director on: Runners for the judges Whether the score sheets and tote sheets are correct. Discuss any problems regarding a judge who did not report, if this occurs. Choose and govern seating of the judges. Conduct a judges meeting before the contest covering location of critique, etc. Be sure the T & P judge has measured and marked the floor. Check for AC power at the front and back of the competition area. Check the accommodations of the judges to insure that they have privacy, room to write, electricity if needed, and a good view. Be available to the Contest Director for recommendations on penalties or problems that may occur. Observe the conformance of the judges to the Code of Ethics. Supervise the critique. DUTIES OF THE JUDGE Report to the Chief Judge at the time specified on your assignment sheet. While a uniform is not required, professional attire is expected. Once a ensemble has begun their show, there will be no conversations between judges or trialers. Smoking is not permitted. No judge may leave without permission of the Chief Judge. Judges MUST be available for the critique. The Chief Judge has the right to cancel the post prelim critique should the judges have less than 2.0 hours between contests. JUDGES GENERAL INSTRUCTIONS DUTIES 1. Judges are to rank the ensembles. 2. Judges are to rate the ensembles by the comparative scores earned during the course of the contest. 3. Judges are to aid the ensembles to improve through recorded comments and in critique. All regionals will attempt to hold a critique if at all possible. Instructors attending critique are requested to bring the completed critique sheet into critique or mail it to the Percussion Director, Mark Thurston, 345 Mulberry Drive, Limerick, PA A copy of the critique sheet can be found in this book. CONDUCT 1. All judges are expected to maintain a dignified and impartial attitude at all times. They should refrain from discussing the performance while adjudicating the contest. 2. Judges may not make corrections on a score sheet. If an error is made, a new sheet must be made out. Sheets will be returned to the judge for clarification or completion. LOGISTICS AND POSITION The Performance Analysis Judge will be positioned low in the stands and may move to appraise the individuals within the ensemble. The General Effect Judge and the Visual Adjudicator will be seated in the stands. 7

8 PERFORMANCE COMMENTARY GENERAL TECHNIQUES 1. This system is designed to provide the ensembles with an all encompassing commentary and critique of their presentation as it occurs. It allows the judge to comment during both the impression and analysis of the performance. 2. Judges will provide themselves with a portable recorder and the sponsor will provide separate media for each ensemble to be judged. A back-up recorder is the responsibility of the judge. Judges must provide a supply of batteries in the event electricity is not available. 3. Tape Commentary Priorities: Comments should assist the understanding of the ranking/rating process. Comments should emphasize those parts of the show that are important to the scoring process. Comments should assist the instructor in improving the structure of the program or the performance. Comments should reflect an educational approach that rewards achievement & encourages greater efforts. 4. Recorders will run continuously throughout the ensemble s presentation. 5. The judge s comments should include basic impression as well as an analysis of problem areas. Possible suggestions to improve certain aspects of the program/performance are encouraged. Comments should be moderate in tone. 6. Judges must be specific in identifying any aspect about which he/she is commenting. 7. Demeaning or rude comments are unacceptable. 8. Judges should modulate the volume of their voices so as not to interfere with other judges or with patrons. 9. While it is not necessary that a recording be completely filled with comments, the judge should know that the absence of any comments (even at a finals contest) is not acceptable. APPLICATION OF THE ADJUDICATION SYSTEM 1. It is the intent of this system that a number grade is assigned from whichever level of achievement describes the ensemble s qualities most of the time. Only box 5 requires the ensemble to display ALL qualities described to earn the scores available at that level of achievement. 2. The criteria reference system describes five levels of achievement, which are applied to Impression, Analysis, and Comparison. These levels of achievement are described specifically in the section, SCORING SYSTEM. 3. In order to provide uniform numerical treatment for subjective judging, judges convert subjective impression into a numerical category and ultimately refine that category to a specific score. 4. Impression is best described as the judge s subjective reaction. Numerically, the function of the impression is to determine a category for any particular sub-caption. The criteria reference system attempts to standardize this process. Analysis is the objective aspect of the evaluation that seeks out reasons to support or modify initial impressions. Numerically the analysis converts the impression category to a specific score within each sub-caption. Comparison requires the judge to look at the number given and compare it to other marks he/she has given in that category not only in that contest but also in earlier contests. Thus when a judge assigns a number to an aspect of the ensemble s program, he/she is telling that ensemble how it stands on a national level. 8

9 ACCOUNTABILITY To be answerable for all choices and decisions. All judges, both local and international are reminded that they are to be accountable to every competitive group, every performer, the system and the philosophy. Judging decisions must be accountable to the tenets of the caption. Instructors must be accountable to their members, their understanding of how the competitive philosophy will impact their choices, and to the audiences who will view their programs. Accountability will be the basis upon which we will address competition & scoring. COMPETITION IS A TEST OF SKILL Our first measure of accountability is to the premise of competition. The nature of a competition demands that judges recognize, reward and compare all of the qualities that separate competitors. This process will produce a comparative rating which will subsequently rank each competitor. Each year, the bar is raised and we compete against new standards. This requires the fullest measure of all the pieces within each program, and the recognition of new elements brought to the floor. ACCOUNTABILITY THROUGH SCORING Application of a score is one of the most significantly accountable representations of how the judge values each ensemble within a contest. All judges must share a consistent, collective understanding and application of the philosophy. Judges must be independent in arriving at their scores, and avoid the tendency to assign follow the leader numbers for no other reason than insecurity or safety. However, the concept of independent judging may not become an excuse for unaccountable decisions. Judges should expect to be held accountable for every score assigned, and be able to support that score with valid discussion relative to the rating and ranking of each group. Judges must feel confident to make hard, but accurate calls which sometimes might not be popular. They must feel confident to assign scores that they believe are right in spite of what other judges may have done. When a score is correctly given based on the criteria, the judges must be confident that their decision will be supported. If the call is not correct, it must be identified immediately, and both judge and line advised of this. Judges must judge each contest as a new event, carrying NO PRE-CONCEIVED OPINIONS into the actual competition. Judges can only judge what is presented; they cannot judge what is not presented. Speculation or expectation of what the judge thinks, should be in the show is inappropriate. Judges should consider all aspects of a program/composition/vocabulary within the context of the whole not in isolation. Their final assessment will be cumulative in nature. 9

10 ACCOUNTABILITY THROUGH NUMBERS MANAGEMENT Every judge has the responsibility to rate and to rank each group within each of the sub-captions on the score sheet. This involves providing numerical information to the line, telling them where they are in the competitive field relative to other groups, as well as how high on the development curve they are. Each subcaption must provide this information if the judge is to do the best, most accurate job of scoring within his/her caption. The caption is always judged top to bottom including every competitor, and the system is designed to work when these ratings combine to yield the total ranking. A judge who applies ties in sub-captions must understand that this tells the instructors that the two groups are equal. This also suggests that either the judge did not give due thought to the comparison process of scoring, or that the judge s management of numbers failed to allow scoring room for the proper ranking of all groups within each sub-caption. RATING AND PROPER SPREADS AT EARLY SEASON CONTESTS: The foundation of our judging process has always embraced the combined application of BOTH rating and ranking each group in the context of a competition and through criteria based reference. While spreads have historically been a source of concern, yet, in the accurate process of rating each line, often, separations will exist between two groups, and it is the judge s obligation to provide this numerical information. From the onset, these separations must be accurately indicated through scoring. Judges must be prepared to offer this scoring information, and instructors must realize how valuable this information can be to them in their overall seasonal development. Together with this kind of scoring directive, there must be accountability on the part of the judge, offering the instructional staff of each group a clear understanding of what prompted each score (Performance dialog and critique accountability). Ensembles want to believe that scores received, even at the local level, is an accurate reflection of their value at that time. They hope to build on this score in their developmental process. If scores are inaccurately compressed, suggesting that a group is within a tenth or two of another group, and this rating fails to hold up in subsequent contests with other competitors, then the group loses confidence in the scoring process, and might even make choices that could impede their development based on this inaccurate information. ACCOUNTABILITY THROUGH PROFILING - sub-caption integrity This technique can only mature when judges are disciplined in the rating process, the understanding of the meaning of a number, and the application of correct spreads. Proper scoring STARTS through rating and ranking within the sub-captions. It is this process that leads to the bottom line score, and then takes the judge to the consideration of comparisons. Judges must expand the latitude (range) of each sub-caption score, and understand that they can assign an excellence score several tenths below or above the vocabulary, composition, repertoire mark in profiling the strengths and weaknesses. When this is done consistently and properly, the accountability within each subcaption ranks ensembles fairly and accurately not only in each sub-caption, but also in an accurate overall rating. This latitude and emphasis on sub-caption integrity (profiling on each sheet, ranking within each subcaption) must be applied equally in all captions. 10

11 SPREAD GUIDELINE The chart below is used by the judge as a guideline for spreads. Sub Caption 10 Point 15 Point 20 Point 25 Point 30 Point Very comparable.1 to.2.1 to.3.1 to.4.1 to.5.1 to.6 Comparable w/minor differences.3 to.4.4 to.6.5 to.8.6 to to 1.2 Definitive differences.5 to.7.7 to to to to 1.9 Significant differences.8 & up 1.1 & up 1.4 & up 1.7 & up 2.0 & up ACCOUNTABILITY THROUGH SAMPLING All sheets need to be sampled equally between the what and the how sub-captions. Judges observations at all points in the season should be 50% designer and 50% performer. Every viewing is virtually a first viewing, due to limited exposure, ongoing changes in the program, and development of performance skills. Every contest is a new contest with a new and unique set of dynamics. All achievement should be seen through what the performer is being asked to do. What and how exist simultaneously; observations should include both pieces as they occur. Scores should offer all groups a true barometer of the success of their process in each sub-caption. Scores should always accurately reflect the degree of quality and achievement of each line, at every point in the season. Scores should never be elevated just because it is the end of the year and the judge wants to give a yearend bonus. Box 5 scores must be earned. They are the basis for promotion for A and Open Class Lines. It is not appropriate to assign them if standards are not fulfilled within the criteria. Box 6 scores are rewarded to those ensembles that set new standards. The Criteria Reference is always the basis upon which scores are assigned. Accountability to the criteria is mandatory. Inaccurate ratings (spreads) within any contest will impair the judge s ability to consider all groups fully for proper ranking in each sub-caption. Spreads can be neither restricted nor assigned with abandon. If a spread is deserved, it must be made. ALL CAPTIONS must understand this and apply this premise alike. Scores should never be contrived. The important aspect here is that the spread is a true reflection of the rating for each line, and that all captions apply this premise alike. ACCOUNTABILITY THROUGH CRITIQUE DIALOG While we still struggle to create quality critique time at the regional level, we nonetheless feel strongly that accountability by the judge is a skill-set that is developed through dialogs with instructors wherein the judge is accountable for observation, scoring decisions, etc. For a variety of reasons, there is no longer real discussion relative to the judge s ranking/rating process, which is such an important aspect of accountability. Because of time limitations, many instructors now deliver a dialog to the judge telling them everything they want the judge to recognize/reward in their show. This is clearly not yielding the desired results relative to accountability by the judge and the subsequent trust the instructor can build when such accountability is forthcoming. We would like to provide a critique approach that will return us to the exchange of information where judges account for their decisions. This will involve comparisons. However, it is important that ensemble bashing of competitors does not occur. 11

12 THE WGI JUDGING SYSTEM 1. All participants and all program styles start with an equal opportunity to succeed. 2. Scores are assigned based on criteria required in each sub-caption. In marching classes, the Performance Analysis and the General Effect captions function with a 40-point sheet and the Visual caption functions on a 20-point sheet, the sum of which will determine the score and place of each line. In Concert classes, Performance and Artistry each function with a 50-point sheet. The sum will determine the score and place of each line. 3. The General Effect and Artistry sheets will credit all those elements, which combine to display the ensemble s impressive effectiveness. 4. The Performance Analysis and Performance sheets will credit the performers achievement based upon the musical, rhythmic and physical (marching class only) content of the composition. 5. The Visual sheet credits the composing and orchestration of the design, and the achievement of technical and expressive excellence. 6. The criteria reference system requires that ranking and rating be done on a sub-caption basis so that each sub-caption number is a ranking and rating in and of itself. In this manner, ensembles receive a profiling of their strengths and weaknesses. When the totals of the sub-caption indicate a tie in the overall sheet, the judge should re-evaluate his/her sub-caption numbers to see if the tie can be broken. 7. A maximum score in any sub-caption is inappropriate in any contest prior to the last ensemble to take the floor in competition. It is particularly inappropriate when assigned early in any contest. It might occur in rare occasions when the judge s number discipline forces a score to escalate in the progression of a contest, but it negates completely the concept of ranking when it is applied prematurely. 8. Standards within the application of the criteria reference are the same in both Scholastic and Independent Classes. A score applied to a high school line should have relativity, in terms of range, to an independent line at the same level of development. 9. The six categories specify levels of achievement for each sub-caption. The numerical rating of each performance falls within the caption that best describes the level of achievement MOST OF THE TIME. Box 5 & 6 requires the performance to meet outstanding levels for EVERY ONE of the criteria listed. 10. All judges will judge the entire show from obvious start to obvious conclusion. SCORING OBSERVATIONS Consistent scoring is a major concern to judges and instructors. There are some situations, which lead to numbers that fluctuate. We are sensitive to the impact this has on the performers and the insecurity it places on the instructor. We have identified several factors contributing to this problem. Inconsistent exposure places both judges and ensembles at a disadvantage. The local judge will be measuring the ensemble s growth; the WGI judge will be unaware of this factor but will be trying to grade relatively to all other class A, Open or World Class ensembles viewed that season. This difference can reflect in the scores. When a large number of ensembles are very similar to each other, either in program or achievement, judges rankings may be more at variance resulting in placement differences. This is why we encourage the ensembles to establish a personality and program that will set them apart from their competitors and perhaps offer them a competitive edge. 12

13 The size of the contest can influence ratings significantly as more and more ensembles come together and must be RANKED. Smaller regionals sometimes yield scores that are higher than is appropriate in light of the fact that shows are often not fully complete and the judge s number base is not yet established. Subsequently, larger regionals expose the ensembles to a broader field of competitors and the process of ranking can lower the earlier score in some cases. One of the biggest questions in the minds of most instructors arises at Championships when the double panels may yield ranking differences of several places. The obvious instinctive reaction is that one of the judges is incorrect. Usually it will be presumed to be the judge with the lowest ranking. The truth of the matter is that when judges have seen some of the ensembles and not others, there is a different familiarity put into the mix. Sometimes there has been an opportunity to critique with those instructors and the ensemble may stand out in the judge s mind. Couple this with the similarity between many ensembles (especially in the middle of the class) and these ranking separations can easily occur. It is for this very reason that championship panels have always been doubled. It is a safeguard for all competitors. One of the prime purposes of the double panel at Championships is to assure the ensemble of the fairness that the average score will yield. Over the years, it has become very clear that for the most part, the average score is usually quite fair and equitable. The instructors focus should go to this average score and ranking more than to the individual scores that comprised the average score. THE MULTI-TIERED SCORING SYSTEM The multi-tiered criteria are a detailed, specific, system that focuses on, and rewards the development of the classes, which compete nationally. It is based on a curriculum specifically reflecting the growth involved within each class. It provides opportunity for performers to complete a process of development described in their specific class curriculum. It allows groups to be rated accurately. It allows all classes to experience a higher numerical grade for achievement. 13

14 THE FIVE STEPS IN LEARNING: Our developmental criteria is based on a 5-step model outlining the steps involved in the learning process. This theory is an educational premise and describes the process of understanding and finally performing any skill. These steps are: Step 1 (Box 1) EXPERIENCE - Material is introduced to the student. The concept is presented with the principle/theory behind it. Step 2 (Box 2) DISCOVER - The student attempts to convey the material to physical application and discovers his/her capabilities and what must be done to improve. The student practices the skill. Step 3 (Box 3) KNOW - The student knows what is expected, grasps the material presented and is becoming skilled in its application. Step 4 (Box 4) UNDERSTAND - The student has a solid grasp of the material and can demonstrate the skills with good proficiency. Step 5 (Box 5) APPLY - The skills are fully absorbed and easily applied. This premise directs the judge to recognize BEGINNING, INTERMEDIATE AND ADVANCED skills. In this way, performers and instructors can plan their programs with a natural development and progression in mind. They can be graded much as they would in school, and the system provides both curriculum and achievement recognition through score. Box 6 SETS NEW STANDARDS Although not one of the 5 steps in learning, this box rewards those performers who set new standards. Box 6 in A Class and Open Class indicates readiness for next class. The following is a chart, which will tell you about the progression of the curriculum. A CLASS: Box 1: The student EXPERIENCES basic skills. Box 2: The student DISCOVERS basic skills. The show may be incomplete at this level. Box 3: The student KNOWS basic skills. The show is a developing work in progress. Box 4: The student UNDERSTANDS basic skills. DISCOVERS & KNOWS some intermediate skills. Box 5: The student APPLIES basic skills and KNOWS some intermediate skills. Box 6: The student APPLIES basic skills and is ready for Open Class competition. OPEN CLASS: Box 1: The student EXPERIENCES intermediate skills. An ensemble might be misclassified. Box 2: The student DISCOVERS intermediate skills. A show may be incomplete at this level. Box 3: The student KNOWS intermediate skills. The show is a developing work in progress. Box 4: The student UNDERSTANDS intermediate skills, DISCOVERS AND KNOWS some advanced skills. Box 5: The student APPLIES intermediate skills and KNOWS some advanced skills. Ready for World Class. Box 6: The student APPLIES intermediate skills and is ready for World Class competition. WORLD CLASS: Box 1: The performer EXPERIENCES advanced skills. The ensemble might be misclassified. 14

15 Box 2: The performer DISCOVERS advanced skills. Shows may be incomplete at this level. Box 3: The performer KNOWS advanced skills. The show is a developing work in progress. Box 4: The performer UNDERSTANDS advanced skills. Box 5: The performer APPLIES advanced skills. Sets new standards. Box 6: The performer APPLIES advanced skills that set new standards for World Class competition. Each of the criteria reference boxes will reinforce the curriculum and the level of development of the student as referenced to the above chart. The criteria will then offer more detailed delineated descriptions. When referring to beginning, intermediate and advanced skills or design qualities, it is understood that these are based on those principles as set forth in this adjudication manual. Judges and instructors are directed to refer to this source when considering the 3 levels described. EXPECTATIONS FROM THE MULTI-TIERED CRITERIA This system is designed to afford the judge the opportunity to rank the lines within the sub-captions, profiling for them, a clear picture of their strengths and weakness. This will produce a scoring picture that will be different from the compressed scores from the past. Box ties should be drastically reduced because there will be room to indicate each ensembles achievement within the sub-caption. This system will allow the ensembles to see the growth they may achieve, over the course of the season because there will be adequate numbers available for this process to be reflected. Ensembles will have the opportunity to reach maximum scores in every class because the system is designed specifically for this potential to occur. The expanded range of numbers requires adjudicators to exercise care in the rating process. This system is not designed to create inordinate spreads. It is intended to permit proper sub-caption ranking and profiling. In all cases, spreads should be a true and accurate reflection of the degree of separation between competitive ensembles. Scores given to an A Class Lines are not comparable to scores given to lines in the Open or World classes. Scores given to an Open class line are not comparable to scores give to ensembles in the A or World classes. Historically, when we utilize only one scoring scale, all classes of lines would look at their score relative to all other classes. This class comparison is no longer appropriate. Judges and ensembles should measure each program and each performance based upon how close the group came to reaching the maximum score within that specific class. A or Open lines now have a method to determine where they are on the learning scale and when they should move up to the next class. The important issues here deal with guiding each group through a step-by-step process in their growth and development, moving into the next class when all of the training and skills have been established. CLASSIFICATION It is extremely important for all ensembles to place themselves in the proper class. This is of particular concern in local areas where some ensembles re-group for the purpose of having a balanced number of groups in each of their local classes. Many local circuits do not have a true division of classes based on international standards. This may be because the local area may not have enough ensembles to have more than one or two classifications. Please remember you have performance and interval time differences between the classifications and this could be a problem locally. 15

16 Ensembles should make every effort to compete in the class for which they are best suited. Lines who may be competing in the wrong class could find that the scoring process will isolate them, because this criteria is so strongly attuned to the curriculum involved in the developmental process. Should a group be competing in the wrong class, the Percussion Director will advise the ensemble director. If a group is advised to move down a class, it will be at the discretion of the ensemble director to make the advised move. If an ensemble is reclassified, it will happen after a regional finals contest. For those groups who are clearly competing in the wrong class at a regional or World Championship event, it will be the decision of the percussion administration along with discussion from the ensembles staff to reclassify the group to the regional or World Championship final contest. Reclassification may also be done between regional contests up to and including the World Championship event. If a group is asked to produce a current performance video for evaluation, the group has 7 days to deliver the tape to the Percussion Director or the reclassification will automatically be made. If a ensemble does not agree with the ruling of a reclassification, the ensemble has the right to challenge the ruling by contacting the Percussion Director within 48 hours. Please see the rules for definitions of the various classes. DIALOG & OBSERVATIONS Judges will address the ensembles based upon their level of development. It has always been inappropriate to measure younger lines based on World Class standards when their learning process has not yet brought them to that level. The educational base upon which we adjudicate, requires an adjustment of the judge s expectations and observations from class to class. Speak from a clear and complete understanding of each class and their level of development. Always be sensitive to your tone of voice. Commentary must be relative to the expectations of each class. Reinforce the importance of training and a strong curriculum, and then reinforce the achievement. Avoid terminology that is irrelevant to the principles we are reinforcing. Clear, specific dialog is appropriate. All groups will be comfortable with terms in this manual. Avoid the recitation of terms that are not easily related to what you are observing. The consistency of judges observations is essential for the assured growth of all performers. Be informed and current with your caption philosophy and with the levels of learning within each class criteria. Be specific in your observation of weak areas and be clear as to the problems. Be enthusiastic about training, growth and achievement. Offer patience and support in the development process of skills, ideas and works in progress. Be open minded to new and innovative concepts that you may not have experienced before. Discuss these concepts and learn about them in order to adjudicate them. 16

17 THE CRITIQUE The critique is an opportunity for instructor and judge to exchange insights relative to the performance of the ensemble. It is most often for the benefit of the instructor, although the exchange of information can be beneficial to the judge as well. The critique belongs to the instructor, who should take the lead, ask the questions, and guide the dialogue. Participation at critique is an option. If you are comfortable with the judge s evaluation and score, then you have nothing to discuss, and should feel no obligation to participate. The judge will not take offense at your absence. THE PURPOSE BEHIND THE CRITIQUE To clarify judge s comments which are confusing or unclear. To discuss places in the show that were unclear or to which the judge did not respond favorably. To offer insights to the judge relative to your intent. Where you re heading in the program/vocabulary development, when you plan to implement changes, when you are scheduled to address concerns expressed by the judge. To discuss your score relative to the criteria of each score sheet and relative to your competitors. To ascertain insights as to where you might stand Nationally (if this is pertinent). HOW TO PREPARE FOR THE CRITIQUE You are best prepared if you watch your group s performance from the perspective of the judge. Study and know the scoring system and understand the philosophy behind each sheet. Listen to the tapes of the judges to whom you will speak at the critique. Use the critique sheet to aid in organizing your concerns and to expedite your dialogue. MAKING THE MOST OF YOUR CRITIQUE TIME Be sensitive to the fact that effective communication will breakdown if either party is in an emotional state. Remember that body language and tone of voice will communicate a great deal. Go directly to the judge, introduce yourself and your ensemble s name. Show the judge the score sheet if they have made any written comments on it; to refresh his/her memory and expedite dialogue. Critiques are short and it is important for you to get to your point quickly so that the judges can explain why he or she evaluated the program as they did. CRITIQUE ETIQUETTE Please don t criticize or berate another groups or their performance. Never use profanity in your dialogue. Please don t attack the judge s integrity or intelligence. It will get you nowhere and could create barriers that will be counterproductive to good communication. Don t ask the judge to tell you how to write your show. Don t ask the judge to comment on ideas that are not yet in the show. Don t ask for a scoring projection for something that isn t yet in the show. 17

18 USING THE CRITIQUE SHEET At each WGI contest, ensembles are asked to prepare a critique sheet prior to entering the critique. Please take the time to use this tool. It is a direct link to the coordinator s review of the working panel at a regional contest. If you feel you cannot complete the critique sheet, please send it to the Percussion Director as soon as possible after the contest. This is tool used in evaluating adjudicators. All critique forms completed by instructors are sent to the Percussion Director. These forms are the director s means to monitor a judge s performance FROM YOUR PERSPECTIVE. All staff members should be aware of the intent and purpose behind this form. This is your opportunity to indicate to the Director your evaluation of the judge s performance. Your comments should be BOTH positive and constructive. If you feel a judge has done a great job in adjudicating your program, please be sure to indicate this on the critique sheet. If you have an issue, identify the issue in a constructive manner. INSTRUCTOR S RECOURSE FOR COMPETITIVE OR JUDGING ISSUES If you have an adjudication concern or issue, please contact the Percussion Judge Coordinator or Percussion Director. The Chief Judge of a regional contest is there to represent you and to listen to your judging concerns, should the Judge Administrator or Percussion Director not be present. If the situation occurs as a result of a preliminary contest, please be prepared to discuss your issues at critique with the judge. Preparation must include listening to your tape and completing the critique preparation sheet. These tools were developed to aid you in the critique process. If, after critique, you still have issues with a judge, please go back and speak to the Chief Judge at that contest. If, after speaking with the Chief Judge, you feel that your issues are NOT resolved, please contact the Judge Coordinator or Percussion Director. If, after following the above process, you still feel the need to go forward with a formal protest, a written statement must be sent to Mark Thurston within 48 hours of the contest, providing reasons why you feel this protest exists. Included with this written statement must be the judge s performance evaluation and your complete critique sheet. 18

19 WGI Sport of the Arts PERCUSSION INSTRUCTORS CRITIQUE SHEET Please complete and bring this critique sheet to the Chief Judge at the critique or mail directly to: Mark Thurston, 345 Mulberry Drive, Limerick, PA JUDGE CONTEST DATE CAPTION INSTRUCTOR ENSEMBLE CLASS From where did you observe your ensemble? Did you watch your competitors? 1. JUDGE S TAPE DIALOG WAS: (circle all that apply) Clear Muffled More Student-Oriented More Staff-Oriented Blank Tape Understandable 2. THE INFORMATION ON THE TAPE WAS: (circle all that apply) Mostly positive Mostly Negative Accurate Inaccurate Vague Detailed Educational Incomplete Balance/Imbalance(re: What & How) Assisted in Growth of Ensemble Reflects WGI Philosophy 3. POINTS NEEDING FURTHER CLARIFICATION (Indicate specifically where, when and who: you only have 5 minutes) A B C D 4. AREAS WHERE THE JUDGE DID NOT RESPOND AS YOU EXPECTED OR MAY HAVE HOPED. (Be specific) A B C D 5. SCORE IS: (Check applicable description): Yes Mostly Kind of Not Accurate relative to criteria Justified by tape comments 19

20 CONTEST SCHEDULING REGIONALS At regional prelims, scheduling will be by postmark date, with the earlier entry date in a class receiving the later performance time. At regional finals, reverse order for finish in prelims. Reclassified ensembles will appear in the middle of the finals order of appearance. WORLD CHAMPIONSHIPS All ensembles MUST attend a regional in order to attend the World Championship event. At World Championships, a tournament style of competition will be held for any preliminary event of 20 or more groups. Classes with more than 40 entries by January 1, 2008 will have a semi-finals contest. PIW and PSW classes will have 15 finalists. Tournament Style Contests will be divided into modules of ensembles each. Preliminary contests will be seeded based on input from adjudicators and coordinated by Mark Thurston, Percussion Director. Each round will be grouped and then placed in reverse order of entry postmark date. In a semi finals contest, ensemble performance times will be based on a predetermined formula equally grouping ensembles by prelim placement. Finals contests will be seeded by score from semi-finals with the highest score going on last. Less than 20 ensembles in a class Scheduling for prelims by postmark date with earliest postmark going on last, etc. Concert Classes Appropriate performance venue to be provided for all concert classes. Minimum participation for all concert classes is six (6) entries per class. If the minimum participation of six (6) entries is not reached by January 1, 2008, that class will not be offered at the World Championship event. All concert classes should not make travel arrangements until it has been determined whether or not the class will be offered after January 1 st. All award ceremonies will be held at the University of Dayton Arena. SPECIAL NOTE TO ALL ENSEMBLES For school programs that have performers in multiple ensembles, WGI cannot change performance times to accommodate scheduling conflicts. It is the ensemble director s responsibility of to plan accordingly. 20

21 A GUIDE TO JUDGING CLASS A PERCUSSION LINES Class A ensembles are a unique and special aspect of the WGI family. These are the younger or less developed participants. Our goal is to assist in their training and development and to reward these achievements in a logical learning progression. To teach these groups with the greatest degree of consistency and success requires a thorough understanding of their level of development and training. SCHOLASTIC A CLASS is consistently aged 14 through 17. Like most high school students, the ensembles show a tendency to be similar to one another. Their choice of equipment, the formatting of their shows and the depth of their training and skills are comparable in many cases. INDEPENDENT A CLASS ensembles use the same criteria as the Scholastic A Class with the exception of the age limit. Here is where the beginning student discovers the joy of performing and realizes the sense of achievement as each skill is learned A GUIDE TO JUDGING OPEN CLASS PERCUSSION LINES Open Class ensembles are an exciting branch of the WGI Percussion family. They are enthusiastic with a strong desire to grow and explore. They are open and eager to test their skills in a more challenging arena. Most will have achieved the level of training set in Class A and welcome the challenge of greater creativity. There should be sound development in a logical growing progression of challenges while maintaining the premise that growth requires new and additional training. The average age of Open Class ensembles varies, especially in the Independent Class. The Scholastic Open Class is where the intermediate student explores new challenge through performance and realizes a greater sense of achievement as each more complex skill is learned. They experience a freedom in their process as creativity takes on a greater importance in their development. There may be a tendency to OVERWRITE in this growing stage. They should maintain strong standards of excellence in these important developing years. SCHOLASTIC OPEN CLASS is consistently aged 14 through 17. Unlike Scholastic A class, these ensembles have discovered a much stronger personality and are not usually similar to one another. The depth of their training and skills are still comparable in many cases, primarily due to the similarity of their age and the similar number of hours put into their development. Their programs are often freshly unique and original. INDEPENDENT OPEN CLASS still contains a wide range of age and some skill difference. Performers within one line can range from 12 to 22 years of age. The average age is 16 to 17. There is greater consistency in the range of skills and physical development. Programs are unique. A few individuals will demonstrate a high level of skills. Some advanced challenges will exist. 21

22 A GUIDE TO JUDGING WORLD CLASS PERCUSSION LINES World Class ensembles are the standard setting branch of the WGI Percussion family. These are the innovators of indoor percussion who set the direction of the activity through the standards of creative design and performance achievements. They explore new challenges of dexterity, musical and physical skill within original and unique programs. They are comfortable dealing with abstraction and are strongly influenced by the Arts. Their exploration is the highest level of creative potential. They expect judges to understand and support their creative efforts and be able to make discerning separations between their achievements and those of their competitors. The adjudication within those "works in progress" is more likened to the response of the critic. Judges must have a highly developed sense of all musical and visual techniques as well as design and creative standards. Our goal is to assist in the fulfillment of their potential and to reward their achievements in a discerning manner, maintaining the premise that those advanced skills require new and sophisticated training. To judge these groups with the greatest consistency and success requires a thorough understanding of their goals. Here is where the advanced student explores the optimum challenge through widely varied performance techniques, while understanding fully the joy of performance communication and the victory of audience involvement. Those individuals privileged to judge this class are entrusted to recognize, support and reward the standards and challenges demonstrated within this class while upholding strong standards of excellence. SCHOLASTIC WORLD CLASS is consistently aged 14 through 17 because of the make-up of the high school arena. Often this class will consist of upper classmen. Unlike the Independent World Class, these performers are rarely over 18 years of age. The ensembles have strong defined personalities and are highly creative and unique. They explore innovative program concepts. The depth of their training and skills is strong. INDEPENDENT WORLD CLASS performers demonstrate a high degree of physical development. They are very experienced and fully trained. Programs are unique and innovative and these components are important at this level. Some very sophisticated challenges will be placed on the performers. When judging this class, the judge becomes the "critic" and should respect the knowledge of the instructors and designers. Dialogs should be a learning exchange between instructor and judge. 22

23 A STUDY OF GENERAL EFFECT In the competitive game, there is a partnership between designers, performers and judges. In this study, we will address the process of creating the program/repertoire from the designers perspective, the performance qualities from the performers perspective, and the reaction to the effect of repertoire & performance from the judges perspective. While the judge REACTS throughout the performance, the competitive nature of what we do requires the judge to be accountable to all competitors in determining placement and ranking. The accountability occurs by comparing specific qualities in each program to those of all other competitors in that range. The designer creates the program plan, selects the music, plans events or effects, stages and coordinates the show, designs the look, props, etc. The performers bring the show to life. The General Effect Judge responds, rewarding both designer and performers through the GE Score Sheet GENERAL EFFECT Credit all of the musical/visual elements in a ensemble s presentation that combine to display an effective and entertaining program. Credit the successful communication of the ensemble s identity and message through the tasteful blend of creativity and performance. Credit the performer s ability to connect with the audience. The music drives the visual in creating an effective presentation. MUSIC EFFECT Communication Musicianship Creativity Blend and Balance Excellence as relate to Effect Expression Idiomatic Interpretation OVERALL EFFECT Communication Audio/Visual Coordination Imagination/Creativity Pacing/Continuity Impact/Resolution Range of Effects Entertainment The General Effect score sheet is judged by one individual. The other two score sheets (Ensemble Visual and Percussion Analysis) function around and in development of the master plan -- THE PROGRAM. They reinforce key ingredients that support the ultimate success of the show. General Effect is about programming and performing. 23

24 THE DESIGN TEAM AND CREATING THE PROGRAM FIRST: THE DESIGN OF THE PROGRAM CONCEPT OR IDEA Each show begins as a musical concept, which grows in the mind of the designer/arranger until it, evolves into a completed thought. The musical selections will create the mood and guides the feelings and responses of the audience while observing the program. The music provides highs and lows that shape the impact response and provides opportunity to develop ideas. It serves as a basis to showcase the musical and visual skills of the performers. Never lose sight of the impact music choices will have on your audience. These musical choices will establish a frame of reference to the listener/viewer, and will contribute significantly to the ENTERTAINMENT factor of your show. The musical charts suggest how the show will be written visually, for the optimum placement and presentation of the various voicings and effects. Here the visual designer will utilize the tools of staging, drill, body, personality, mood, etc. It suggests what and when specific visual images should occur. This concept becomes the vehicle through which the program is developed. It is the whole, which encompasses all the parts and reflects the intent and purpose of the show. It should reinforce the learning level of the students, present the designed style, personality and identity of the performers. The designer must be clear in presenting the concept. It must exist on the floor as well as in his/her mind. Do not confuse the program concept with the idea of "theme". Theme is not a pre-requisite within the concept. Many groups will simply elect to illustrate the music through their visual design. In reviewing the program concept, the DESIGNER should answer a variety of questions, which the JUDGE is sure to consider. (This is a sampling, but is not limited to these points) Does the program concept inspire CREATIVITY? Does the concept/musical choices have HIGHS AND LOWS? Does it have to? Does the music provide opportunity to DEVELOP an idea? Does the music have IMPACT & EFFECT built in? Does the music provide CONTRAST? Does the music establish the MOOD needed to guide the emotional response? Remember the emotional impact that the music will create; consider the mood it will set relative to fulfilling the program intent. Does the choice of tunes tie together well and make musical sense? Do the performers RELATE to the concept, the music and the visual design? Will the audience UNDERSTAND the musical program and ENJOY it? Does the musical choice invite a GREAT ENDING? It Should!!! Do I UNDERSTAND the program premise, its meaning & function? Will this program SHOWCASE OUR SKILLS to our best advantage? Is the program ACCESSIBLE AND ENTERTAINING; will it cause controversy; am I prepared if it does? When the designer is satisfied with all the answers to these questions, then the vehicle for the repertoire is set. 24

25 SECOND: THE MUSICAL and VISUAL ARRANGEMENTS OF THE PROGRAM Programs can tell a story, be an emotional experience of the music, or be written around a particular style. Whichever of these options (alone or in combination) are used, all must be depicted by the language of the art, to translate the concept from a mental image to reality on the floor. That language is found in the quality of the musical composition. It becomes the basis for the visual delivery and will guide the visual designer in orchestrating and arranging the visual presentation. How these elements are coordinated, staged and presented becomes an important aspect, which is credited. The designer should create an effective script of well-planned musical and visual ideas that will guide the viewer through the program. The program should provide the information and development to intrigue and entertain, while unfolding the intent. The three approaches to creating effect, intellectual, emotional, aesthetic, comprise the TRIAD of effect options. These choices may be presented singly or in combination- fusing 2 or 3 and creating effect variety. The simultaneous fusion of all 3 offers the strongest effect potential. The intellectual aspect of effect is reflected in the range and quality of the various planned effects. The aesthetic aspect of effect involves familiarity or intrigue, which holds the audience s attention. The emotional effect is the planned response to stimuli that is designed, coordinated and staged for the purpose of evoking a specific, planned reaction. It is important to stress that great effect depends significantly upon the quality, development and range of the program design in order to assure its greatest success. Groups can successfully generate impressive isolated effects, but it is through the quality, development, and detailing of the presentation that these effects are woven together for the maximum full effect. When, where, how and why effects occur successfully, involves: The manner of presentation (How you create the effect.) Pacing (the when factor of planned effects. How close, how often, how large?) Continuity (the development, connection and evolution of planned effects) Staging (where each effect is placed on the floor) Coordination (how all elements work together to heighten the effect) Impact points (The beginning of important musical/visual ideas) Resolutions (The completion of important musical/visual ideas) The synergy of the music and the visual is a significant consideration in the fullest development within every planned effect. How, when and where these effects develop, the designed pathways and placement on the floor, the evolution of idea to idea, the level of musicality, and how each element coordinates with the others, are inherent aspects in the quality and range of the program design, and will definitely elevate the effects beyond mere isolated moments. There is no priority on any one approach to creating effect. Designers/arrangers would be wise to revisit the concepts involved in the production of effect and endeavor to assimilate all options of the triad of effect into their shows. Creativity and originality are the cornerstones of the diversity we encourage in this activity. In all classes, designers will take the risk of exploring new material. Without it, we would lose an important part of who we are. Originality in and of itself is not the sole basis for reward. It must also fulfill all the other components of producing effect. Designers should expect encouragement for their effort through verbal recognition in order to support the process on an equal basis with those designs/arrangements common to our activity. 25

26 THE PERFORMERS and Bringing the Show to Life When the designer/arranger has written and defined the "Script" of the program, and set the scene with decorative and colorful visual aids, it now becomes the function of the performers to bring the "show" to life. In this area we respond to the performers manifestation of: Communication - commitment to the musical/visual performance Identity, personality, character demonstrated through both music and visual display Musical and Visual Techniques Excellence We look for, and respond to, the passionate and emotional investment of the performers -- the sensitive, vulnerable, excited, funny, aggressive performance qualities. These qualities transcend the pure technical excellence of any given responsibility, and layer the skill with "life". These qualities invite the audience "in" to share the experience of the performance, make the performers accessible to the audience, and make the performance effective! In order to achieve this level of performance, the instructor must provide the performer with opportunities to demonstrate these skills, and then the performers must communicate them to generate performance effectiveness. This area involves much more than pure energy and enthusiasm. This learned skill deserves to be recognized and credited. Without a doubt, effect that can be generated through pure excellence; we also acknowledge that a weak technical performance can be detrimental to effect. In THIS caption, however, pure excellence is only one ingredient and its importance may or may not be critical to effect. The need to understand these techniques, brings to issue the importance of the theory of derived achievement and the premise that both the what and the how exist simultaneously. The judge must have a simultaneous awareness of WHAT is being asked of the performers and concurrently know HOW well it is being achieved. It is impossible to separate the two components. Our accountability to the score sheet is the only real delineation that exists between the WHAT and the HOW. Therefore, it is appropriate that each observation the judge makes relative to the design qualities should be accompanied by an observation of the degree of excellence with which it is achieved. This will give scoring significance to the commentary. The blend of program and performance is the means to create effect. The program exists only when it is performed, and it is enhanced with a wonderful performance. For the performers, the opportunity to demonstrate a broad array of skills is made possible by the program. The coordination of all components into a synergistic whole provides the glue that combines the many pieces within the program. THE EFFECT OF THE WELL COORDINATED PROGRAM & PERFORMANCE IS E N T E R T A I N M E N T We owe our audiences a captivating, pleasing, diverse, competitive event in many acts, offering originality, variety and QUALITY, through many different avenues. The primary ingredient here is quality. The presence of quality in program and performance will hold the audience s attention. The triad of effect options, aesthetic appeal (recognition and accessibility), intellectual intrigue (quality/range/detail of design/arrangement, or creative new approaches), and emotional feelings (reactions) blend together to support the diversity and the quality inherent in successful programs. The quality of performance, the depth of training, and the communication of the performers, creates the connection to the audience who responds to them with admiration and appreciation. 26

27 THE JUDGES and REACTION VERBAL OBSERVATIONS MUST BE EQUALLY DIVIDED BETWEEN THE WHAT AND THE HOW. Judges should recognize and credit the program as the vehicle, involving musical choices, and the subsequent visual interpretation. They should understand the intent of the show, and recognize the shaping and the pacing of the format. First they should measure the "whole" program design, then measure the quality and effective development within the "whole". The sum always has greater significance than any one of its parts in isolation. Comments should be directed to how each aspect fits into the whole. The judge s comprehension of the concept and the intent of the program help in rewarding the effectiveness of the repertoire and the planned "effects" within the show. Judges should always credit the creativity, imagination and quality of the program concept. Creativity and originality are the cornerstones of the diversity we encourage in this activity. In all classes, designers will take the risk of exploring new material. Without it, we would lose an important part of who we are. To encourage designers to take a risk and explore new ideas, we need to reinforce the support we offer for this effort, and part of this reinforcement must come through the judging process. Originality in and of itself is not the sole basis for reward. It must also fulfill all the other components of producing effect. Nonetheless, encouragement for its effort should be acknowledged through verbal recognition. Judges should not disregard these efforts or diminish their value just because they don t fall within the scope of their comfort zone of recognition. They should explore the designer s intent and learn more about the effort behind the design in order to support the process on an equal basis with those familiar approaches common to our activity. Judges should fully understand those qualities discussed in the preceding pages relative to the designer s process & the performers role in measuring effect if they hope to mirror the success in each program, and offer input that will aid in the group s development. Judges should credit the quality, range and blend of musical or visual presentations including: drill/staging, coordination, musicality and impact, not only for its own worth, but for how it depicts the program concept. This aspect of the repertoire is the one that brings real quality and meaning to the program. The three approaches to creating effect: Intellectual, Emotional, Aesthetic, comprise the TRIAD of effect options. These choices may be presented singly or in combination, fusing 2 or 3 and creating effect variety. The simultaneous fusion of all 3 offers the strongest effect potential. The intellectual aspect of effect is reflected in the range and quality of the arrangement/design The aesthetic aspect of effect involves familiarity or intrigue that holds the audience s attention. The emotional effect is the planned response to stimuli that is designed, coordinated and staged for the purpose of evoking a specific, planned reaction. There is no priority on any one approach to creating effect. Designers should endeavor to assimilate all options of the triad of effect into their shows; judges must consider and compare the success of each choice. Judges must know what they are reacting to and why. The musical choices will impact on the potential effect of the program. Music establishes the mood and influences the pacing and delivery of the various effects throughout the repertoire. The music inspires the visual images and stagings, which are an important repertoire consideration. Judges must be specific and identify what particular effort has produced the effect. They must know what does and what does not work, and be specific in verbalizing why. They must relate each micro-reaction to the macro-reaction, recognizing how each individual effect contributes to the total 27

28 effect. They should not over-react to effects in isolation. Oohs and ahs are not considered to be responsible recognition responses. When, where, how and why effects occur successfully, involves: The manner of presentation (how the effect was created) Pacing (the when factor of planned effects. How far apart, how often, how large is the effect?) Continuity (the development, connection and evolution of planned effects) Staging (where each effect is placed on the field -- focus, interaction of effects, etc.) Coordination (how all elements work together to heighten the effect) Impact points (the beginning of important musical/visual ideas) Resolutions (the completion of important musical/visual ideas) The enhancement and heightening of program through the use of colors, costume and props is a part of the overall effect. It does not supersede the creativity of the program or the quality or range of the musical/visual repertoire; however, it is worthy of an appropriate degree of credit for enhancement of the program. In performance, the judge will credit the successful demonstration of techniques involving musical and visual communication skills, recognizing the range of these skills in assigning their score. Excellence is always a consideration in this caption. Place the proper focus on your priorities: Focus on Music Effect in regards to communication, musicianship, creativity, blend and balance, excellence as it relates to effect, expression and idiomatic interpretation Focus on overall effect in regards to communication, audio/visual coordination, imagination/creativity, pacing/continuity, impact/resolution, range of effects and entertainment. 28

29 MUSIC EFFECT DEFINITIONS COMMUNICATION is the performance techniques that connect with the audience. The ability of the performers to draw the audience into what they are doing musically. The exchange of information from performer to audience. MUSICIANSHIP is the interpretive art of the music. Performers display the proper technique of dynamics, balance, expression and phrasing, both in the featured musical line as well as counter lines. CREATIVITY is the uniqueness and freshness of the musical program. It explores new avenues to produce effect. The program revolves around new ideas in writing and performance. BLEND AND BALANCE is the measure of the performer s understanding of and commitment to the musical effects of the entire ensemble. EXCELLENCE AS RELATES TO EFFECT is the proficiency of technical skills or virtuosity that elicits a response from the listener. EXPRESSION is the range of dynamics as a whole. It represents the ability of the musicians to convey a wide range of nuances through their artistic control. The style or mood elevates the level of performance. IDIOMATIC INTERPRETATION is the combination of creative writing and musical performance to convey the appropriate feel and style of the music. 29

30 OVERALL DEFINITIONS COMMUNICATION is the performance techniques that connect with the audience. The ability of the performers to draw the audience into what they are doing. The exchange of information from performers to audience. Inherent here are aspects of identity, personality, style and character (if appropriate to the program). AUDIO/VISUAL COORDINATION is the presentation and delivery of the music and the visual in such a way as to enhance each other throughout the program. It is the visual illustration or representation of the music, and suggests that the visual and music equally contribute to the overall program. The music drives the visual in this consideration. IMAGINATION is the ability to present a known idea with an effective and unique variation, which enriches the original idea. CREATIVITY is the successful and effective utilization of an original musical/visual concept or approach. PACING is the planning of effects through time. It is the contouring and shaping of the musical/visual effects to manipulate the response mechanism. CONTINUITY is the logical development of one musical/visual idea to another. The through-line of the visual presentation which connects the musical and visual ideas, and creates seamless and connected presentation. IMPACT/CLIMAX/RESOLUTION is the result of musical/visual phrases that punctuate the program ideas. These are logical effect opportunities. RANGE OF EFFECTS is the variety and depth of development within each planned effect. ENTERTAINMENT is the result of strongly communicated performance of a quality, creative, and imaginative program. It is that quality which engages and captivates the audience, offering intellectual intrigue, emotional response and aesthetic appeal. It can be varied and diverse in it presentation. 30

31 Judges signature GENERAL EFFECT MARCHING PERCUSSION ENSEMBLES Credit all of the musical/visual elements in an ensemble s presentation that combine to display an effective and entertaining program. Credit the successful communication of the ensemble s identity and message through the quality blend of creativity and performance. Credit the performers ability to connect with the audience. The music drives the visual in creating an effective presentation. MUSIC EFFECT OVERALL EFFECT Communication Communication Musicianship Audio/Visual Coordination Creativity Imagination/Creativity Blend & Balance Pacing/Continuity Excellence as it relates to Effect Impact/Resolution Expression Range of Effects Idiomatic Interpretation Entertainment TOTAL Winter Guard International, Inc.

32 WGI Sport of the Arts PERCUSSION General Effect 2008 Credit all of the musical/visual elements in the ensemble s presentation that combine to display an effective and entertaining program. Credit the successful communication of the ensemble s identity and message through the quality blend of creativity and performance. Credit the performer s ability to connect with the audience. The music drives the visual in creating an effective presentation. Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) M U S I C E F F E C T Who had the greater understanding/achievement as it relates to Communication: The performance techniques that connect musically with the audience. Musicianship: The interpretive art of the music. Creativity: The uniqueness and freshness of the musical program. Blend and Balance: The measure of the performers understanding of and commitment to the musical effects of the entire ensemble. Excellence as it relates to Effect: The proficiency of technical skills or virtuosity that elicits a response from the listener. Expression: The range of dynamics as a whole. The ability to convey a wide range of nuances through artistic control. Class A & Open Class = Readiness for next class World Class = Sets New Standards Idiomatic Interpretation: The ability to convey the appropriate feel and style of the music. Box 1 Box 2 Box 3 Box 4 Box 5 Box 6 Descriptors Never Rarely Sometimes Frequently Consistently Numerical Range Learning Steps Experience Discover Know Understand Apply Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) O V E R A L L E F F E C T Who had the greater understanding/achievement as it relates to Communication: The performance techniques that connect with the audience. Audio/Visual Coordination: The presentation and delivery of the music and the visual in such a way as to enhance each other throughout the program. Imagination: The ability to present the known idea with an effective and unique variation. Creativity: The successful and effective utilization of an original musical/visual concept. Pacing: The planning of effects through time to manipulate response. Impact/Climax/Resolution: The result of musical/visual phrases that punctuate the program ideas. Range of Effects: The variety and depth of development within each planned effect. Entertainment: That quality which engages and captivates the audience. Class A & Open Class = Readiness for next class World Class = Sets New Standards Sub Caption Spreads & Up (Tenths per Sub Caption) Very Comparable Minor Differences Definitive Differences Significant Differences 2007 Winter Guard International, Inc.

33 PERFORMANCE ANALYSIS The basis for analyzing a ensemble s performance is the demonstration of percussion excellence displayed by the members of the ensemble, both collectively and individually. The ensemble s level of performance achievement (excellence) should be based upon the musical, rhythmic and physical demands on the performers. In this caption, there are two sub-captions. The composition subcaption credits the musical and technical content and simultaneous responsibilities. The performance quality sub-caption credits musicianship, segmental clarity, and uniformity of technique and ensemble cohesiveness. COMPOSITION DEFINITIONS MUSICAL CONTENT refers to the ability of the ensemble to demonstrate wide variety of musical styles and nuances. Consideration is given to performers who demonstrate musical ideas that include phrasing, expression, tempo, dynamics, timbre and idiomatic interpretation. TECHNICAL CONTENT refers to the degree of skill and stamina required to play the written book. SIMULTANEOUS RESPONSIBILITY is the combination of musical and visual responsibilities required and/or displayed by the performers. CLARITY OF INTENT is the ensembles clarity with acoustic instrumentation and/or non-acoustic instrumentation to deliver to the listener the clear and balanced intent of the written score. PERFORMANCE QUALITY DEFINITIONS MUSICIANSHIP is the art of making music. Performers display the technique necessary to demonstrate dynamics, expression, idiomatic interpretation and phrasing, both in the overall musical line as well as inner line motives. SEGMENTAL CLARITY is the ability of each segment to demonstrate rhythmic accuracy within the overall program. UNIFORMITY OF TECHNIQUE is consistency demonstrated through implement control used in the ensemble. This includes, but is not limited to, proper arm, wrist and finger control in the chosen technical style. ENSEMBLE COHESIVENESS is the ability of the entire ensemble to maintain a rhythmic stability. All possible musical demands are handled with ease at the highest level of musicianship. 33

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35 Judges signature PERFORMANCE ANALYSIS MARCHING PERCUSSION ENSEMBLES The basis for analyzing an ensemble s performance is the demonstration of percussion excellence displayed by the members of the ensemble, both collectively and individually. The ensemble s level of performance achievement (excellence) should be based upon the musical, rhythmic and physical demands placed on the performers. COMPOSITION PERFORMANCE QUALITY Musical Content Musicianship Technical Content Segmental Clarity (Rhythmic) Simultaneous Responsibility Uniformity of Techniques Clarity of Intent Ensemble Cohesiveness TOTAL Winter Guard International, Inc.

36 WGI Sport of the Arts PERCUSSION Performance Analysis 2008 Achievement is the end product of what the performers are given and how well they communicate those responsibilities. Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) C O M P O S I T I O N Who had the greater understanding/achievement as it relates to Musical Content: The ability to demonstrate a wide variety of musical styles and nuances. Technical Content: The degree of skill and stamina required to play the written book. Simultaneous Responsibility: The combination of musical and visual responsibilities. Clarity of Intent: The ability to deliver the clear and balanced intent of the written score. Class A & Open Class = Readiness for next class World Class = Sets New Standards Box 1 Box 2 Box 3 Box 4 Box 5 Box 6 Descriptors Never Rarely Sometimes Frequently Consistently Composition Performance Learning Steps Experience Discover Know Understand Apply Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) P E R F O R M A N C E Musicianship: The art of making music. Who had the greater understanding/achievement as it relates to Segmental Clarity: The ability of each segment to demonstrate rhythmic accuracy. Uniformity of Technique: The consistency of implement control in the chosen technical style. Ensemble Cohesiveness: The ability of the ensemble to maintain rhythmic stability. Class A & Open Class = Readiness for next class World Class = Sets New Standards Composition Spreads Performance Spreads & Up 17 & Up (Tenths per Sub Caption) Very Comparable Minor Differences Definitive Differences Significant Differences 2007 Winter Guard International, Inc.

37 VISUAL MARCHING PERCUSSION ENSEMBLES The purpose of the Visual score sheet is to analyze and credit the visual design based upon the illustration of the musical ideas presented by the percussion ensemble. The Visual score sheet will also analyze and credit the ability of the performers, both individually and collectively, to realize the visual composition through quality of performance. In these considerations, it is always the music that will drive the visual. In this caption, there are two sub-captions. The composition sub-caption credits the visual design and it s reflection of the musical presentation. The performance quality sub-caption rewards the achievement of the performers for their accurate, clear, and cohesive response in displaying those visual skills required by the composition.. COMPOSITION: The arrangement of design principles and elements into a pictorial representation of the musical ideas. COMPOSITION DEFINITIONS Quality of Orchestration Horizontal - The logical progression of design ideas to enhance the intent and unity of the audio/visual composition. Vertical - The layering or combination of design choices to enhance the intent and unity of the audio/visual composition. Visual Musicality - The visual representation and enhancement of all aspects of the musical program. Clarity of Intent - The ability of the designer to make the compositional intent clear. Staging - The proper placement of the elements to present the audio/visual. Creativity/Variety - The uniqueness and freshness of the visual program. Attention to Detail - Deliberate consideration of technical, logistical and expressive subtleties. Unity of Elements - The purposeful agreement among the elements of design. Simultaneous Responsibility - The combination of visual responsibilities layered upon the musical responsibilities required of the performers. PERFORMANCE QUALITY: The level at which the performers achieve those skills necessary to realize the compositional intent. PERFORMANCE QUALITY DEFINITIONS Ensemble Control - The ability of the ensemble to maintain accuracy, clarity and control with respect to space, time and line. Accuracy - The degree of precision relative to the quality of the performance. Recovery - The timely and appropriate adjustment to inconsistencies in the presentation. Uniformity - The consistent manor of approach. (Ensemble) Articulation of body/equipment - The clear distinct and uniform approach to the use of body and equipment. (Individual) Adherence to style/role - The consistent application of a chosen style or role. Presence - The ability of the performers to elevate the written program beyond technical accuracy. 37

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39 Judges signature VISUAL MARCHING PERCUSSION ENSEMBLES Credit the visual design, the reflection of the music and the performance of the ensemble. The music must always drive the visual. COMPOSITION PERFORMANCE QUALITY Quality of Orchestration Ensemble Control Visual Musicality Accuracy Clarity of Intent Recovery Staging Uniformity Creativity/Variety Articulation of Body/Equipment Attention to Detail Adherence to Style/Role Unity of Elements Presence Simultaneous Responsibility TOTAL Winter Guard International, Inc.

40 WGI Sport of the Arts PERCUSSION Visual 2008 Achievement is the end product of what the performers are given and how well they communicate those responsibilities Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) C O M P O S I T I O N Who had the greater understanding as it relates to Quality of Orchestration: Horizontal The logical progression of design ideas to enhance the intent and unity of the audio/visual composition. Vertical The layering or combination of design choices to enhance the intent and unity of the audio/visual composition. Visual Musicality: The visual representation and enhancement of all aspects of the musical program. Clarity of Intent: The ability of the designer to make the compositional intent clear. Staging: The proper placement of the elements to present the audio/visual. Creativity/Variety: The uniqueness and freshness of the visual program. Attention to Detail: Deliberate consideration of technical, logistical and expressive subtleties. Class A & Open Class = Readiness for next class World Class = Sets New Standards Unity of Elements: The purposeful agreement among the elements of design. Simultaneous Responsibility: The combination of visual responsibilities layered upon the musical responsibilities required of the performers. Box 1 Box 2 Box 3 Box 4 Box 5 Box 6 Descriptors Never Rarely Sometimes Frequently Consistently Numerical Range Learning Steps Experience Discover Know Understand Apply Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) P E R F O R M A N C E Who had the greater achievement as it relates to Ensemble Control: The ability of the ensemble to maintain accuracy, clarity and control with respect to space, time and line. Accuracy: The degree of precision relative to the quality of the performance. Recovery: The timely and appropriate adjustment to inconsistencies in the presentation. Uniformity: The consistent manor of approach (Ensemble). Articulation of Body / Equipment: The clear distinct and uniform approach to the use of body and equipment (Individual). Adherence to Style / Role: The consistent application of a chosen style or role. Class A & Open Class = Readiness for next class World Class = Sets New Standards Presence: The ability of the performers to elevate the written program beyond technical accuracy. Sub Caption Spreads & Up (Tenths per Sub Caption) Very Comparable Minor Differences Definitive Differences Significant Differences 2007 Winter Guard International, Inc.

41 Instructors Guide to Visual Design and Composition DESIGN: The grouping or arrangement of the elements of a composition including plan, function, time and unity. COMPOSITION: The arrangement of forms, lines, values and other pictorial elements into a picture design. The composing process involves 4 levels: intellectual (think it), emotional (feel it), visual (see it), physical (do it). In reading the composition, focus on the entire stage; absorb all that the designer places there. Eliminate old rules calling for a single focal point. Design emphasis can move from individuals to a series of events to ensemble statements. Accept and appreciate choices where multiple events can occur simultaneously; recognize when the emphasis is on individuals, and do not fail to notice a secondary emphasis or a non-emphasis when that is the choice. All elements function as a part of the whole. Follow the totality of what you view, absorb all that is presented, and instinctively recognize design principles. Read design as you would read a manuscript. You absorb best when the words flow before your eyes in a smooth and fluid reading style. Develop this style in order to read, appreciate and comprehend the intent and quality of the visual design. Be aware of important aspects of the horizontal and vertical composing process. Within the horizontal composing, consider when, where, how and why the various musical/visual events occur. Such consideration gives relevance and value to the larger plan of the whole design. The choice of when and where musical/visual events will appear is an important part of the design plan and elevates their contributions beyond mere random existence of these parts. Recognize the specific characteristics that might be important to the music, (voices, dynamics, etc.) or the character of the performers. These characteristics might be designed to create expressive dynamics. They might also be a part of recurring visual motifs that lend depth and interest to the design. In this way, existence, placement, choice and detailing of the musical/visual events (alone or in combination) becomes an issue of quality within the composing process. Be aware of the importance of the motion that combines each staged event, and how that choice of motion through path and speed, impacts on the design. In staging or drill we call this transition. It involves not only the combining of moves, but also the specific choices of how they are connected. Composing choices will be based on the reflection of the audio, the emphasis of the design moment and the depth of the program intent. The judge should not debate artistic choices; judge only the mechanics of composing. The use of props & flats become a consideration in the composition when they are on the floor or manipulated by the performers. They can contribute to the design through dimensionality, weight, space, shape and line. This is not to be confused with the flats that surround the stage and remain in a fixed place. This is also not to be confused with the impact and credit given in GE, relative to enhancement of the program concept. The absence of design flaw does not assure superior composition. Recognize the difference between thin or sparsely written design and more complex sophisticated efforts. Do not allow the eye to over-react just because the work is easier to follow. Measure and credit the presence of design quality & depth. The number of individuals within a design is not the issue. Imagination and variety within the visual design, and the successful presentation of the musical elements is always the priority. UNITY is the purposeful agreement among the elements of design. It implies that a congruity exists among the elements. This is what we mean when we say that the whole must be predominant over the parts. You should first see the whole design before seeing the individual elements. The aim of unity is to make the design coherent and readable. 41

42 The following design principles apply to all options of visual design LINE: A set of markings that leads the viewer's eye through a work of art. Line is also used to define shape, a principle component of geometric drill. Line must also be recognized through the body and equipment in all its shapes and positions. SHAPE: an area defined by an enclosing line. There are 4 basic shapes in art: sphere, cone, cylinder, and cube. These shapes represent a 3-dimensional image because they contain volume or mass. Alone or combined they suggest the structure of almost everything. Their 2-dimensional counterparts commonly recognized in geometric drill are viewed as: circle, triangle, rectangle, square. There are 4 similar shapes at a body level: pin shape (vertical), wall (flat), ball (round), twist (curved). Equipment will "trace" these shapes through patterns in space. The eye must be quick to see these patterns. BALANCE: a visually favorable distribution of weight. Symmetry = formal balance can be divided either horizontally, vertically or diagonally. Each side reflects the other in an equal distribution of weight. Asymmetry = informal balance. DIMENSION: the use of height, width and depth within equipment, movement, drill/staging. Dimensional moves offer greater interest, provide broader opportunity for musical reflection and put more animation into the performer TEXTURE: designed relief from stark line using depth and width. This is achieved through body and equipment as a contrast unison effort. SPACE: an area used for the presentation of a design. Positive space is the area containing the subject matter. Negative space is the area around the subject matter but not occupying the subject matter. MASS: the feel of weight, heaviness, and volume. WEIGHT: the distribution of elements within a design. This element will impact on balance as well as on emphasis within the design whole. MOTION combines the design elements changing static art to moving design or choreography. One must understand motion, its aesthetics and function, to apply design principles validly to the changing shapes we measure through equipment, movement and drill or staging phrases. Motion reflects space, time, flow and path. Choices of motion will alter and enhance design efforts and are design choices as well. ARTISTIC efforts are qualities that make an aesthetic contribution such as: dramatic role, dynamic effort changes - space, time, weight, flow, nuance and details of design. These are COMPOSITIONAL considerations involving the aesthetics of design, not a program or showmanship consideration. They measure the design capacity for the highest level of audio/visual representation without regard to effect. Drill/staging can achieve expressive credit when effort qualities of space, time, weight and flow apply to its design. Components of speed, direction, weight and close or open space contributes to the design dynamics, and is credited both as artistic design and as reflection of the sound. ORCHESTRATION: The logical progression of ideas as well as the layering or combination of design options to enhance the intent and unity of a composition. It includes the visual representation and/or enhancement of the audio and is reflected horizontally and vertically. HORIZONTAL orchestration is the visual arrangement through time, running from the first count of the show to the last. Within this, consider the evolution of each idea from one to the other, the quality of 42

43 design within the ongoing development of the visual plan. Consider the conceptualization, (when and where) evolution, transitions, seams, phrasing and prop changes. VERTICAL orchestration involves the design and layering of equipment and movement, and reflects the range of possibilities within the audio. Consider the design and characteristics (specific pieces, choices and usage) of equipment & movement, staging, dramatic role, (if appropriate) detail, nuance and dynamic effort qualities. EMPHASIS is the planned organization of design establishing priority. It directs the viewer's eye in any work and will help clarify concerns about focus. Current designs have opened new options where emphasis is applied. It can be placed upon: a common ensemble effort, multiple events occurring simultaneously but which have a related purpose, individuals and their own unique contribution to the composition. Emphasis is achieved by: contrast, isolation, placement, color, speed or motion. COLOR can influence the look of weight, dynamic intensity and emphasis. It can be strong or soft and can influence clarity, readability, and perceptions of depth and space based on the foreground and background. For this reason, the choice of color is an issue of the design plan. (It is this influence and result which is measured in Visual. We do not judge the effect of the color choices in the Visual caption.) UNITY is the purposeful agreement among the elements of design. It implies that a congruity exists among the elements. This is what we mean when we say that whole must be predominant over the parts. You should first see the whole design before seeing the individual elements. The aim of unity is to make the design coherent and readable. 43

44 A GUIDE TO JUDGING CONCERT PERCUSSION This class is designed for those groups whose single emphasis is the exploration and development of musical presentations. Their repertoire may include original compositions and/or arrangements or transcriptions of existing materials. The expectations of the judge will be different from those of the marching ensemble. In this class, the concert stage will be set to deliver the sound from a stationary focal point. Paradigms for the concert class can be drawn from ANY musical idiom, all of which will have an equal opportunity to succeed. The scoring system will attempt to measure the level of artistry and performance quality contained in the ensemble s program as demonstrated by the performers. ARTISTRY The quality of effect or workmanship displayed through program composition and performance fulfillment. PROGRAM DEFINITIONS Evaluate the level of artistry/effectiveness contained in the structure of the program. The Musical Journey The culmination of those elements within a written work that enable the listener to establish an aesthetic relationship between time spent, paths taken, destinations reached and conclusion. Creativity - The ability, through imaginative compositional skill, to produce a written work capable of eliciting audience/listener response. Clarity of Thought - Clear presentation of design ideas through appropriate orchestration and performance. FULFILLMENT DEFINITIONS Evaluate the ability of the performers to fulfill, or bring to life, the musical expectations of the written program. Communication - The ability of the ensemble to express compositional and/or musical ideas effectively through performance. Musicianship - The interpretive art of the written musical score. Presence - The quality of poise and performance effectiveness that enables the ensemble to achieve a close relationship with the audience. Excellence as it relates to Artistry - The proficiency of technical skills and virtuosity that enable the performer(s) to elicit an appropriate response from the listener. Idiomatic Interpretation - The combination of creative writing and musical performance that enable the performers to convey the appropriate "feel" and style of the music. Expression - The ability of the ensemble through performance to portray the musical indication of feeling. 44

45 Judges signature ARTISTRY CONCERT PERCUSSION ENSEMBLES Credit the quality of effect or workmanship displayed through program composition and performance fulfillment. PROGRAM FULFILLMENT The Musical Journey Communication Creativity Musicianship Clarity of Thought Presence Idiomatic Interpretation Expression Excellence as it relates to Effectiveness TOTAL Winter Guard International, Inc.

46 WGI Sport of the Arts PERCUSSION Artistry 2008 Credit the quality of effect or workmanship displayed through program composition and performance fulfillment. Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) P R O G R A M Who had the greater understanding/achievement as it relates to The Musical Journey: The culmination of those elements within a written work that enable the listener to establish an aesthetic relationship between time spent, paths taken, destinations reached and conclusion. Creativity: The ability, through imaginative compositional skill, to produce a written work capable of eliciting audience/listener response. Clarity of Thought: Clear presentation of design ideas through appropriate orchestration and performance. Class A & Open Class = Readiness for next class World Class = Sets New Standards Box 1 Box 2 Box 3 Box 4 Box 5 Box 6 Descriptors Never Rarely Sometimes Frequently Consistently Program Fulfillment Learning Steps Experience Discover Know Understand Apply Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) F U L F I L L M E N T Who had the greater understanding/achievement as it relates to Communication: The ability of the ensemble to express compositional and/or musical ideas effectively through performance. Musicianship: The interpretive art of the written musical score. Presence: The quality of poise and performance effectiveness that enables the ensemble to achieve a close relationship with the audience. Excellence as it relates to Artistry: The proficiency of technical skills and virtuosity that enable the performer(s) to elicit an appropriate response from the listener. Idiomatic Interpretation: The combination of creative writing and musical performance that enable the performers to convey the appropriate feel and style of the music. Class A & Open Class = Readiness for next class World Class = Sets New Standards Expression: The ability of the ensemble through performance to portray the musical indication of feeling. Program Spreads Fulfillment Spreads & Up 20 & Up (Tenths per Sub Caption) Very Comparable Minor Differences Definitive Differences Significant Differences 2007 Winter Guard International, Inc.

47 CONCERT PERCUSSION PERFORMANCE The basis for analyzing a ensemble s performance is the demonstration of percussion excellence displayed by the members of the ensemble, both collectively and individually. The ensemble s level of performance achievement (excellence) should be based upon the musical and rhythmic demands placed on the performers. COMPOSITION MUSICAL CONTENT - Refers to musical score requirements placed upon the performers ability to convey the depth of musical style and nuance to the listener. TECHNICAL CONTENT - Refers to those qualities within the written musical score that demonstrate the acquired level of technical proficiency and musical virtuosity of the performers. CLARITY OF INTENT - Refers to the ability of the composer/composition to provide a clear and balanced musical listening experience. PERFORMANCE QUALITY MUSICIANSHIP - Is the demonstration of those acquired performance techniques necessary to convey dynamics, expression, idiomatic interpretation & phrasing to the listener. QUALITY OF SOUND - The ability of the performer(s) to produce a mature, professional sound quality through technical skill and instrumental proficiency. CLARITY is the ability of performers on an individual and ensemble basis to accurately present the technical and musical intent of the composition. TECHNIQUE is the demonstration of appropriate implement control throughout the performance. COHESIVENESS is the ability of the entire ensemble to maintain both vertical and horizontal rhythmic stability. 47

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49 Judges signature PERFORMANCE CONCERT PERCUSSION ENSEMBLES The basis for analyzing an ensemble s performance is the demonstration of percussion excellence displayed by the members of the ensemble, both collectively and individually. The ensemble s level of performance achievement (excellence) should be based upon the musical and rhythmic demands placed on the performers. COMPOSITION PERFORMANCE QUALITY Musical Content Musicianship Technical Content Quality of Sound Clarity of Intent Clarity Technique Cohesiveness TOTAL Winter Guard International, Inc.

50 WGI Sport of the Arts PERCUSSION Performance 2008 The ensemble s level of performance achievement (excellence) should be based upon the musical and rhythmic demands placed on the performers. Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) C O M P O S I T I O N Who had the greater understanding/achievement as it relates to Musical Content: Refers to musical score requirements placed upon the performers ability to convey the depth of musical style and nuance to the listener. Technical Content: Refers to those qualities within the written musical score that demonstrate the acquired level of technical proficiency and musical virtuosity of the performers. Clarity of Intent: Refers to the ability of the composer/composition to provide a clear and balanced musical listening experience. Class A & Open Class = Readiness for next class World Class = Sets New Standards Box 1 Box 2 Box 3 Box 4 Box 5 Box 6 Descriptors Never Rarely Sometimes Frequently Consistently Composition Performance Learning Steps Experience Discover Know Understand Apply Class A (Basic Concepts) Open Class (Intermediate Concepts) World Class (Advanced Concepts) P E R F O R M A N C E Who had the greater understanding/achievement as it relates to Musicianship: Is the demonstration of those acquired performance techniques necessary to convey dynamics, expression, idiomatic interpretation & phrasing to the listener. Quality of Sound: The ability of the performer(s) to produce a mature, professional sound quality through technical skill and instrumental proficiency. Clarity: Is the ability of the performers on an individual and ensemble basis to accurately present the technical and musical intent of the composition. Technique: Is the demonstration of appropriate implement control throughout the performance. Class A & Open Class = Readiness for next class World Class = Sets New Standards Cohesiveness: Is the ability of the entire ensemble to maintain both vertical and horizontal rhythmic stability. Composition Spreads Performance Spreads & Up 20 & Up (Tenths per Sub Caption) Very Comparable Minor Differences Definitive Differences Significant Differences 2007 Winter Guard International, Inc.

51 PERCUSSION CONTEST RULES 2008 WGI discourages independent ensembles from utilizing membership composed of any high school students who were previously enrolled in an active high school program and have not yet graduated. WGI also discourages independent ensembles from utilizing membership who have outstanding monies owed to a previous ensemble. All performers at a WGI event will be required to wear protective footwear while outside the performance area. ELIGIBILITY 1.1 Percussion ensembles from the United States composed of members not over 22 years of age as of March 31 st of any given year shall be permitted to compete in contests governed by WGI. Each ensemble appearing at a WGI contest shall be prepared to show proof of age. International percussion ensembles are not bound by any age limit and must compete in the independent classes. 1.2 All members of any percussion ensemble competing in any scholastic class must be approved for participation by the principal of the sponsoring school. Each percussion ensemble shall submit a notarized form prepared by WGI listing all approved participants of that school. 1.3 No percussion ensemble may compete with less than six (6) members on the floor of competition at any time including the student conductor (optional). 1.4 Marching percussion ensembles may use one optional student conductor positioned in the competition area. Concert percussion ensembles may use one non-student conductor positioned in the competition area. PENALTY: Disqualification any ensembles violating any requirements in the eligibility section shall be disqualified and its position and standing in the contest shall be forfeited. CLASSIFICATIONS 2.1 Scholastic Marching World Class (PSW) ensembles demonstrate a high degree of advanced development. All of the performers contribute to the consistent high levels of performance being demonstrated. World Class ensembles are trendsetters in the indoor percussion activity. Programs are unique and innovative and these components are important at this level. Some very sophisticated challenges will be placed on the performers. 2.2 Scholastic Marching Open Class (PS0) ensembles have some experience in the indoor percussion arena. Open Class ensembles have several members who understand the skills required to perform intermediate levels of playing and movement. Here is where the intermediate student explores new challenges through performance and realizes a greater sense of achievement as each more complex skill is learned. 2.3 Scholastic A Marching Class (PSA) ensembles are the younger, less developed participants. Here is where the beginning student discovers the joy of performing and realizes the sense of achievement as each skill is learned. 2.3 Scholastic Concert World Class (PSCW) for those scholastic percussion sections through the 12th grade who wish to concentrate on the percussive element only. Instrumentation must be oriented to the performance of concert percussion. Movement will be permitted in order to allow performers to change equipment or to allow for better presentation of musical performance only. One non-student conductor is allowed in the concert classes only. This is not a marching /visual class. Credit will be given for musical elements only. These performers are experienced and fully trained. Trend setting programs and performance levels are often display. 2.4 Scholastic Concert Open Class (PSCO) for those scholastic percussion sections through the 12th grade who wish to concentrate on the percussive element only. Instrumentation must be oriented to the performance of concert percussion. Movement will be permitted in order to allow performers to change equipment or to allow for better presentation of musical performance only. One non-student conductor is allowed in the concert classes only. This is not 51

52 a marching /visual class. Credit will be given for musical elements only. Open Class ensembles have several members who understand the skills required to perform intermediate levels of playing. 2.5 Scholastic Concert A Class (PSCA) for those scholastic percussion sections through the 12th grade who wish to concentrate on the percussive element only. Instrumentation must be oriented to the performance of concert percussion. Movement will be permitted in order to allow performers to change equipment or to allow for better presentation of musical performance only. One non-student conductor is allowed in the concert classes only. This is not a marching /visual class. Credit will be given for musical elements only. Scholastic Concert A Class (PSCA) ensembles are the younger, less developed participants. Here is where the beginning student discovers the joy of performing and realizes the sense of achievement as each skill is learned. 2.6 Independent Marching World Class (PIW) ensemble use the same criteria as Scholastic World Class. These performers are experienced and fully trained. Trend setting programs and performance levels are often displayed. 2.7 Independent Marching Open Class (PIO) ensembles use the same criteria as the Scholastic Open Class. These performers are less experienced and are in the process of developing. 2.8 Independent Marching A Class (PIA) ensembles use the same criteria as the Scholastic A Class. Here is where the beginning student discovers the joy of performing and realizes the sense of achievement as each skill is learned. CONTEST SITE 3.1 For the purpose of interpretation, the competition area shall measure a minimum of sixty by ninety (60 x 90 ) feet and does not include entry ramps, hallways, nor any bleachers or seating area. Ensembles are permitted to utilize the entire designated competition area for their performance. Ensembles may not use floors (tarps) larger than sixty by ninety (60 x 90 ) feet. All props must be in the designated competition area. There can be no choreography outside the competition area. All performers must begin within the designated competition area. 3.2 All WGI contests site must have a minimum of sixty-five by one hundred feet (65 x 100 ) to accommodate a safety zone of five feet (5 ) on the sides and back using the minimum competition area of sixty by ninety feet (60 x 90 ). No performers may enter the safety zone at any time during their performance. Depending on the performance venue, WGI can authorize additional competition area and will include that information in the diagram (footprint) to be made available to all competing ensembles to identify the competition area. 3.3 CONCERT DIVISION: For the purpose of interpretation, the competition area shall be indoors and may be either a gymnasium floor (same for marching classes) or a suitable auditorium stage volt grounded power sources will be located near the front and back at the center line of the competition area. Participants must provide their own extension cords. PENALTY:.1 to Disqualification at the discretion of the Chief Judge. SCORING 4.1 The elements to be judged are: MARCHING PERCUSSION Caption Points # of Judges Performance Analysis Composition 15.0 Performance Quality 25.0 General Effect Music Effect 20.0 Overall Effect 20.0 Visual Composition 10.0 Performance Quality 10.0 CONCERT Caption Points # of Judges Performance Composition 20.0 Performance Quality 30.0 Artistry Program 20.0 Fulfillment 30.0 Timing and Penalty Penalty 1 TOTAL Timing and Penalty Penalty 1 TOTAL

53 4.2 The Performance Analysis Judge will be positioned low in the stands and may move in order to better appraise the individuals within the ensemble. Timing and penalty adjudicators will be positioned on the floor. The General Effect and Visual adjudicators will be positioned higher in the stands. 4.3 Each level of classification has a set of score sheets unique to its classification. EQUIPMENT 5.1 Instrumentation is limited to those instruments typically utilized and recognized as part of a percussion section. Also allowed are electronic instruments recognized as normal stage and band rhythm section instruments. Conventional wind and/or string instruments (other than string bass and guitar) may not be used. Single tone, non-keyed horns (i.e. whistles, sirens, animal calls, etc.) may be used only if generating an effect, and may not be used in any melodic form. PENALTY: 10 Points 5.2 No single, triggered, electronic sound may produce rhythmic intent. PENALTY: 10 Points 5.3 If an electronic mixing board is used, only student personnel may operate it. No communicating devices may be used in order to assist the mixing board operator. 5.4 All equipment and props must be placed anywhere in the competition area. The front sideline is inviolate at all times (this includes all sound equipment) except during set up and tear down. PENALTY:.1 to 5 points per violation at the discretion of the Chief Judge. 5.5 Permission for use of copyrighted material is the responsibility of the participants. 5.6 No motorized vehicles will be allowed. Wheelchairs for disadvantaged performers are accepted. PENALTY: Disqualification 5.7 No pyrotechnics, discharge of arms, pressurized canisters, dangerous materials, inflammable liquids or animals will be permitted in or around the competition area. Smoke machines will not be allowed. Electrical (plug-in or battery operated) or compressed air apparatuses, including lights, lasers, and flash cubes (electrical or chemical) will not be allowed. Amplification may be used in the competition area by performers playing musical instruments, singing or voice. The electrical source for electronic instruments must be a 115/120v typical wall outlet as noted on the footprint of the facility as supplied by the sponsor. Car/truck type wet batteries cannot be used. Gasoline, electric, or manual powered generators will not be allowed. Lighting cannot be turned off in the competition area by a ensemble. PENALTY: 10 Points to Disqualification. 5.8 For the protection of the wooden competition floors, all equipment must be properly taped or otherwise be prepared to assure that damage to the floors will not occur. Inspection will occur at all Regionals and Championships. Damage to the floor such as may occur by dragging the tympani; wheels on carts locking, etc. will be the responsibility of the ensembles and is subject to penalty. PENALTY:.1 to Disqualification at the discretion of the Chief Judge. 5.9 The use of powder, dirt or any other airborne substance shall be strictly prohibited. PENALTY:.1 to Disqualification at the discretion of the Chief Judge. CONDUCT OF ENSEMBLES 6.1. A percussion ensemble will be scheduled to compete at a minimum of nine (9) minute intervals for A class ensembles; ten (10) minute intervals for Open class ensembles; and eleven (11) minute intervals for World class ensembles. The time interval will include set up, entrance, warm up, performance, exit and removal of all equipment, props, personnel, etc. This time schedule may be expanded at the option of the Contest Director, but not lessened. 53

54 PENALTY: 0.5 points for each five (5) minutes of lateness (missing scheduled performance time) or part thereof up to the conclusion of the contest. PENALTY: 0.1 points for each three (3) seconds or fraction thereof. 6.2 The maximum performance time ceases when a ensemble quits playing or leaves the floor, whichever comes first, and shall not exceed six (6) minutes for A class ensembles; seven (7) for Open class ensembles; eight (8) for World class ensembles. PENALTY: 0.1 points for each three (3) seconds of overtime or fraction thereof. 6.3 Percussion ensembles, with all competing personnel, shall remain within the competition area and be judged in all captions for a minimum of four (4) minutes. PENALTY: 0.1 points for each three (3) seconds of under time or fraction thereof. 6.4 All captions will be judged for the maximum performance time or until the ensemble ceases playing or leaves the floor, whichever comes first. Timing and penalty will continue until performers and equipment are off of the floor. The contest director will place an appropriate line defining when an ensemble has left the floor for timing purposes. 6.5 Ensembles competing at WGI Regional Contests cannot be required to perform before the time set in the latest schedule for the contest, distributed by the WGI Office. ENSEMBLE TIMING OVERVIEW: Marching & Concert Ensembles Class Min. Perf. Time Max Perf. Time Interval Time WORLD 4 Minutes 8 Minutes 11 Minutes OPEN 4 Minutes 7 Minutes 10 Minutes A CLASS 4 Minutes 6 Minutes 9 Minutes ENTRY & EXIT 7.1 An ensemble may enter the contest floor over any line. However once the performance begins, the front sideline and its vertical plane become inviolate and subject to boundary penalty. PENALTY: 0.1 points for each offense of the front boundary line violation. 7.2 Ensembles may enter with a tap prior to introduction or may include a playing entrance as a part of the performance following introduction. 7.3 Any equipment or props may be placed within the competition area by anyone prior to the start of competition. Before the performance begins, all non-performing personnel must be off of the competition area. (Adults are not permitted to stay in the competition area during a performance.) PENALTY:.1 to 5 points per violation at the discretion of the Chief Judge. 7.4 The ensemble will line up at a ready line (preferably side and back line if facility allows) to be designated by the Contest Director. From this point, the ensemble should move directly and immediately into the competition area when directed by the starter (T&P judge or contest director). They may set up anywhere in the competition area. 7.5 Performance time begins with the first note or step following the introduction. 7.6 Exit may be over any line at the conclusion of the performance. 7.7 All personnel, equipment, and/or props must be off of the contest floor, clear of the 50/50 line at the conclusion of the interval time. For purpose of timing, equipment and props are considered removed when they have been moved across a center line either horizontal or vertical depending on the contest site. After the equipment/props have crossed this line, they must be removed from the area immediately and taken to an area designated by the Contest Director. Failure to remove equipment and props to the designated area in a timely manner is subject to a penalty at the discretion of the Contest Director. Backside and sideline usage will be at the discretion of the contest director, as defined by the facility. 54

55 The following will be the interval time line: Vertical Center Line Horizontal Center Line 60 feet 90 feet Facilities may designate how ensembles will unfold and fold their floors whether it be front to back, back to front, left to right or right to left depending on entrance and exit doors. 7.8 There will be no flying of tarps (also know as ballooning ) to clear floor at the conclusion a ensemble s performance. PENALTY: Disqualification 7.9 During a performance, adult or non-performing student personnel may not coach, cue, etc. any performing members. PENALTY:.1 to Disqualification at the discretion of the Chief Judge. PENALTIES Only a Contest Director or Chief Judge may assess a penalty. Judges report all violations to the Contest Director. 8.2 General: Any ensemble violating any rule or part of a rule or committing any breach of contest etiquette for which no specific penalty is provided shall be penalized for each such violation, not less than 0.1 points, not more than disqualification from the contests at the discretion of the Contest Director. 8.3 All timing penalties shall be 0.1 points per three (3) seconds or fraction thereof. All boundary penalties shall be 0.1 points per offense. 55

56 PERCUSSION TIMING & PENALTY REQUIREMENTS Number of Performers (Minimum of 6 members) TIMING REQUIREMENTS Max. Perf. Min. Perf. Minimum CLASS Time Time Interval Time WORLD 8 Min. 4 Min. 11 Min. OPEN A BOUNDARY LINES (Time in show, Point of Occurrence, Who) MINIMUM PERFORMANCE TIME Total Performance Time: Front Stage Total Undertime: Total Seconds Undertime 3 = X 0.1= OK TOTAL (o.1 per Occurrence) MAXIMUM PERFORMANCE TIME Total Performance Time: Total Overtime: PENALTY SUMMARY Minimum Performance Time: Maximum Performance Time: Total Seconds Overtime 3 = X 0.1= OK Total Time in Competition Area (Interval Time): TOTAL TIME IN COMPETITION AREA (INTERVAL TIME) Total Overall Time Total Overtime Boundary Line: Unit Equipment Personnel: Total Seconds Under/Over 3 = X 0.1= OK Other TOTAL SET UP TIME : TOTAL JUDGE Approved (Chief Judge) Form: T&PP Revised 8/2005