ADJUDICATION General Guidelines for Adjudicators Performance Adjudication Technique Adjudication Judging Criteria for Technique Technique Judge Guidelines Levels 1-10 Administering the Theory and Ear Training Tests ADJ-1
General Guidelines for Adjudicators One valuable benefit of AIM is the evaluation the student receives from the adjudicator. The following guidelines are suggested for your consideration: 1. Written comments should be brief, of a constructive nature, and must be made for every student. Verbal critique is not appropriate. End each evaluation with an appreciative remark. 2. Adhere to the time limits you are given. Give each student a fair evaluation, not a lesson. 3. Perceived inadequate teaching should never be criticized in the presence of the student. 4. Criticism of the choice of repertoire should not be included on the rating sheet. Concerns should be communicated to the Chapter Chairman. Never penalize students for performing material above the level in which they are entered. Evaluate the performance itself. 5. Consider the tension factor and physical arrangements of the location. Help students relax. 6. Allow a second start if necessary. Allow student to use music if the struggle is excessive. 7. Warn students that they may be stopped before the completion of their piece. Explain that this does not indicate a poor performance. The adjudicator might avoid needing to stop students by asking the student to play only specified movements or sections of a larger piece. 8. Most students come well prepared and the majority will achieve 70% or better. 9. Students with special needs or learning dysfunctions should be judged appropriately. Teachers must use a folded corner or sticky note to indicate this to the adjudicator. 10. AIM is not a competition. The student strives yearly for high ratings. ADJ-2
Performance Adjudication The adjudicator will be listening for an overall musical performance and provide thorough written comments and points. The adjudicator will listen for a musical performance that shows great attention to all details of the score and appropriate performance practices. Two criteria that must be considered are: 1. The technical facility expected on the AIM level on which the student is participating 2. The musical demands of the piece the student has chosen to perform. The seven specific areas the adjudicator will evaluate are: 1. Interpretation 3. Technical 5. Pedal ** 7. Memory 2. Accuracy 4. Security 6. Rhythm/Tempo **If no pedal is indicated and none is used by the performer, full points are expected Every student enters as a 100% performer. The adjudicator subtracts points as deficiencies in the performance become apparent. The requirements for repertoire selection in Performance are: Level Number of Pieces Styles* Composers* Periods* Max.Minutes 1 2 5 2 3 2 Contrasting Different Different 7 4 5 6 7 3 Contrasting Different Different 10 8 9 2 memorized 1 with score optional 10 4 2 memorized 2 with score optional Contrasting Different Different 15 *Levels 3 10: Failure to have different composers/periods will result in a reduced score. Students must bring 1 copy of each piece of their music for the adjudicator. PHOTOCOPIES must never be used, unless accompanied by a permission form signed by the copyright holder or legally purchased on the internet. The score should have a stamp or marking that indicates a purchase or certified public domain score. Students that do not have music should be allowed to be performed, but will earn a score of 0. Do not tell the student this penalty BEFORE the performance. Write it on a sticky note to the teacher. DO ASK the student to try to get ahold of a score prior to performing. Alert the monitor who may be able to help. ADJ-3
Pieces that are not required to be memorized should have a second copy for the judge. If that is not available, the judge may look over the student s shoulder to observe the score. A clipboard is necessary for this. Performance pieces must be memorized in their entirety. For adjudicating purposes, time limits are specified as indicated above. The performer must adhere to these time limits. The adjudicator should be sensitive to the potentially disruptive effects of stopping a student midway through a piece. Two gestures may minimize potential difficulties for the student: 1. The adjudicator should warn students that they may be stopped and that this does not indicate a poor performance. 2. The adjudicator might avoid needing to stop students by asking the student to play only specified movements or sections of a larger piece. The following situations do not earn a score, but the student must be allowed to perform without warning about the penalty. Provide written evaluation. 1. Music is photocopied, unless accompanied by a permission form or obtained legally through the internet. The score should have a stamp or marking that indicates a purchase or public domain score. 2. The student does not have the music available for the adjudicator 3. Music is not memorized in its entirety (individual movements of a piece are acceptable) 4. Certain genres such as: a. Duets, or ensemble b. Simplified arrangements of piano music, including popular songs c. Original compositions d. A transcription not currently accepted as a part of the standard Repertoire Movements of sonatas, concerti, or suites are allowed and count as one piece as long as they are 16 measures (32 for upper levels) in length or more. Students who desire to perform a concerto must be prepared to play it in its entirety, including any cadenza. The student should not leave large breaks in between playing (as in the orchestral-only sections). No accompaniment allowed. Comments from the adjudicator should be positive and encouraging with suggestions for improvement in specific ways. Avoid saying Good Job as a response to an entire area of evaluation. ADJ-4
Technique Adjudication The adjudicator will listen for firm, legato, even tone, as well as rhythmic precision and control over speed. Keyboard skills are judged for both fluency and accuracy. Unless indicated differently on the student's I.D. sheet, the adjudicator will expect the traditional fingering as indicated on page 1, 2 of the References section in the AIM Syllabus. The five specific considerations for adjudication are: 1. Accuracy 3. Tempo 5. Tone/Touch 2. Fingering 4. Rhythm These five areas are equal in points and consideration. Every student enters as a 100% performer. The adjudicator subtracts points as deficiencies in the performance become apparent. Scales, chords, cadences, and arpeggios must be played from memory. Although the indicated tempo is the minimum required speed, the student should strive for accuracy before speed. If the student cannot play at the indicated tempo, the adjudicator will deduct points for being below tempo, but the student will still have a better total score than if he or she played inaccurately at the indicated tempo. The student will not be penalized for playing at a faster tempo than suggested. The adjudicator will set the metronome at the tempo indicated by the teacher on the student's I.D. sheet. The metronome will be left on or turned off, according to the student's preference. The adjudicator is guided by the information on the student's I.D. sheet when requesting the student to perform the technical skills. Only the keys and skills indicated by the teacher may be required. The adjudicator must make sure all skills are covered within the time limits. All students are expected to be thoroughly prepared to give a fluent of skills. The following 4 pages contain the Criteria for Technique Judging and Technique Guidelines. Print them out and bring with you when judging to help you stay on time and know how to award points. The student starts with full points but deductions are made based on the criteria listed. The amount of points at the top of each column is the number earned by the student. Levels 1 4 are different than Levels 5-10, as indicated. ADJ-5
Achievement in Music Judging Criteria for Technique 10-12-16 Points Earned 4 pts 3 pts 2 pts 1 pt CATEGORY L. 1-4 L. 5-10 L. 1-4 L. 5-10 L. 1-4 L. 5-10 L. 1-4 L. 5-10 5-6 incorrect 5-6 incorrect 3-4 incorrect 0 pts 3-4 incorrect 1-2 incorrect 1-2 incorrect All correct on first try All correct on first try; 1 restart allowed ACCURACY 6 more fingering 5-6 fingering 4-5 fingering a skill that is not attempted, or attempted but not completed 3-4 fingering 2-3 fingering 1-2 fingering Consistent use of standard or written fingering across all octaves Perfect fingering adhering to Standard or teacher's written fingerings FINGERING 4-5 pauses or re-htis 5 or more pauses/ consistently uneven often unsteady/2-3 re-hits a skill that is not attempted, or attempted but not completed 3-4 pauses / often unsteady/ 3 restarts/re-hits a skill that is not attempted, or attempted but not completed 1-2 pauses/ mild unsteadiness/ 1 restart or re-hit 1-2 pauses/ 2 restarts/re-hits Steady beat, no rehits/re-starts Steady beat; 1 rehit/re-start allowed RHYTHM ADJ-6 slower than minimum tempo a skill that is not attempted, or attempted but not completed slower than minimum tempo frequent slowing or speeding up frequent slowing or speeding up mild slowing or speeding up mild slowing or speeding up Minimum or written tempo (as longer as it is above the min) maintained Minimum or written tempo (as longer as it is above the min.) maintained TEMPO tone needs much improvement; shows lack of effort a skill that is not attempted, or attempted but not completed rare to give only 1 pt poor hand shape; legato needs improvement; hands unsyncronized more than twice generally poor tone and lack of clean sound, tone inconsistent; 1-2 instances of inconsistent tone or syncronization tone needs improvement; 1-2 instances of bad key release or unclean sound Firm, clean legato tone; hands carefully syncronized; good hand shape Firm, clean legato tone; keys released on repeated notes of chords TONE/TOUCH
Levels 6-10 only Modulation *Written progression provided to judge on separate paper or on ID sheet as CHORD SYMBOLS Accuracy Memorized chord progression Fingering Fingering choices are good and do not lead to stumbling Tempo Tempo maintained from 1st piece through the modulation, ritard and fermata allowed Rhythm Meter and good flow maintained from first song Tone/Touch Firm and clean tone, showing confidence MISC *Secondary Dominant used prior to next song for at least 2 beats *More than 2 chords required Transposition Accuracy Played correctly in 2 tranposed keys (including the parallel minor) Fingering Fingering choices are good and do not lead to stumbling Tempo Steady tempo - no minimum tempo Rhythm No significant pauses/restarts Tone/Touch Firm and clean tone * Start metronome at selected tempo and ask student if she wants it left on or not. If not, pay careful attention to beat as student plays. * Provide written comment for point deductions * Include positive or ENCOURAGING comments for each skill category * Use your best judgement as you consider the age, nerves, and experience of each student * Allow student to re-start or re-play if needed. Point deductions still apply, but use your best judgement. * Start metronome at selected tempo and ask student if she wants it left on or not. If not, pay careful attention to beat as student plays. * No deductions if student plays more octaves on a skill than required. If it appears to be absentminded, make written comment. * Write in the key and hand requested in the left boxes. * If student has a very low point value for a skill, ask for a 3rd example, to give the opportunity to increase average score. General Guidelines ADJ-7
Technique Judge Guidelines Levels 1-10 Use the Required Key Information from the Student ID Sheet Student s choice. Ask the student if he/she would like the metronome left on or turned off. Please stay to the time allotted for each level. Level 1 Scales Tonic Triad Cadences Arpeggios 5 minutes HS or HS=Hands Separate =Hands Together 5-finger pattern/ Tetrachords/ Scales Blocked/Broken/ Blocked I V7 I Alternating Hands Level 2 Scales Tonic Triad Cadences Arpeggios 5 minutes HS or each form each form each form Level 3 Scales Inversions Cadences Arpeggios 7 minutes HS or each form: From the following forms: Major minor each form: Plagal Authentic Complete Authentic Ask for 2 example From the following forms: Major Minor Level 4 Scales Inversions Cadences Arpeggios 7 minutes HS or 2 different forms: Major Natural Minor Harmonic Minor Melodic Minor from the following forms: Major minor diminished augmented each form: Complete Authentic RH Chords LH Single note OR Parallel Ask for 2 examples: & 1 diminished7th Level 5 Scales Inversions Cadences Arpeggios 7 minutes HS or each form: form or 1 mode/other form AND Chromatic scale of chosen chord AND Qualities of 7th Chords each form W/ Inversions LH parallel chords or root of chosen chord ADJ-8
Level 6 Scales Inversions Cadences Arpeggios 7 minutes Ask for form or 1 other form AND Chromatic Scale of chosen chord AND Qualities of 7th Chords Transposition 1 Parallel minor and of chosen chord Levels 7, 8, 9 Scales Inversions Cadences Arpeggios 10 minutes Refer to ID sheet for exact requirements and keys Ask for Selected in Maj or min and one additional scale (may be in parallel) 1 other form (if time) of Chosen chord of Chosen, 1 major and of chosen arpeggio Level 10 Scales Inversions Cadences Arpeggios 15 minutes Refer to ID sheet for exact requirements and keys each form Parallel Parallel / Contrary Interval 6 th or 10 th each Octave Triad Major or minor Dominant7th Diminished 7th each Chord Progression (LH Root only) Modulation (Play and explain) 1 key Transposition 1 key each Octave Triad Major or minor Dominant7th Diminished 7th ADJ-9
Administering the Theory Test The examiner will provide the written exam and pencil and scratch paper. A paper keyboard should also be provided to student. As the examiner hands theory tests to the student, it will be explained to the student that the examiner will be available to answer questions. Students will be seated in alternate seats if possible, or beside someone taking a different test. All books and papers are to be placed on the floor under their chairs. A student who takes an extraordinary amount of time may not read well, or may not understand what to do, and may be too shy to ask for help. The examiner will offer assistance and help insofar as possible. The examiner will be sure students have completed all pages of the test before leaving the testing room. The examiner may assist the student who has questions or confusion, but must not answer any of the questions for the student. If there are any areas left blank, the examiner will try to find out whether the student understands the directions, or simply does not know the answers and will allow time to finish if questions were overlooked. Very young students and students with special needs may have the test read aloud to them. Students who cannot write may have help in writing the answers. Chapters who choose to administer the theory tests in the private studios of the individual teacher must see to it that the tests are completed and returned to the Chapter Chairman. The tests must be corrected under the direction of the Chapter Chairman and NOT by the teacher. Teachers administering the test must strictly follow the guidelines outlined above. Administering the Ear Training Test The Ear Training Exam can be administered with an adjudicator or through CDs provided by the Regional Chairman. Students will be given scratch paper for rhythmic dictation. A quiet room is necessary and a tuned piano. A metronome will be used. The adjudicator should not repeat any questions beyond the amount specified nor stop for a great length of time while other students are taking the same test at the same time. Chapters who choose to administer the ear training tests in the private studios must return them to the Chapter Chairman. The tests must be corrected under the direction of the Chapter Chairman and NOT by the teacher. ADJ-10