Understanding Subcaptions & Divisional Expectations 2017
Preface Understanding the Sub-Caption Elements Understanding the elements that are being adjudicated is of primary importance when designing a show, listening to judges comments and understanding your score. This guide has been put together to help you, the instructor, understand what it is the judges will be assessing. It is not meant to be used as a checklist or as requirements for your program, but rather a tool to help you choose the appropriate division and design and develop your program. The Visual, Music, Effect Visual and Effect Music sheets are broken down into two sub-captions. For Visual and Music, these sub-captions are Composition (the what ) and Performance Quality (the How ). The Effect Music Sheet sub-captions are Overall Effect and Music Effect; the Effect Visual Sheet are Overall Effect and Visual Effect. The sub-caption rubric are not in any particular order on the sheets. Because of this we have created lists to put the elements in, what we feel, a most foundational through most detailed order. It s helpful to think of the criteria as an inverted pyramid, with the first sub-caption on the list forming the solid base and each element below it as adding a layer on top of that foundation. Less-experienced ensembles may not (and quite possibly should not) incorporate a high-level of detail, where as the more advanced groups are expected to display the finer aspects of performance and design. The Music Perfomance Sub-Caption rubric displayed as an inverted pyramid Ensemble Cohesiveness Rhythmic Clarity Sound Production Musicianship Uniformity The Philosophy Behind the Sheets: Strong teaching which allows the performers to achieve a level of personal and group excellence underpins and inspires the design of the sheets and their use. A high level of performer achievement is therefore expected before credit is given for design attributes. Put simply, there must be clarity before there is credit on either part of the sheet.
Music composition Clarity of Intent Orchestration Elements of Design Range of Content Variety Continuity Simultaneous Responsibility performance quality Ensemble Cohesiveness Rhythmic Clarity Sound Production Musicianship Uniformity Visual composition Clarity of Intent Staging Unity Visual Musicality Quality of Orchestration Attention to Detail /Variety performance quality Ensemble Control Accuracy Uniformity Recovery Articulation of Body/Equipment Adherence to Style/Role Presence Effect Music overall effect Program Coordination Communication Engagement Range of Effects music effect The Musical Journey Musicianship Excellent as Effect Artistry Effect Visual overall effect Program Coordination Communication Engagement Range of Effects visual effect The Visual Journey Musicality Excellent as Effect Artistry
Divisional Expectations In ADLA, groups are classified and promoted based on the design of the program, not its execution. This is because the circuit assumes that the people most capable of knowing what level of design and demand the performers are capable of mastering by the season s end is the individual unit s staff and that the design is the clearest manifestation of that level. Since we receive questions each season about what the divisional expectations are for each sub-caption, we have put together some guidelines to help you design a show that is division appropriate. When discussing divisional expectations for the music, the primary focus should be on the technical content, depth of orchestration, and any challenging demands (or lack thereof) that are placed on the performers (simultaneous responsibility) by the designers. In visual design, these levels are primarily, but not exclusively, expressed in terms of technical content (or demand ), velocity, variations in form composition, and variations in the level of characterization and additional apparatus that they employ. In terms of General Effect, all divisions have the same basic expectations a well thought out, attainable program that entertains and elicits audience reactions be it intellectual, emotional, or aesthetic Novice ClassMusic: A very simple composition with no more than a few simultaneous musical lines. Simple time signatures (4/4, 3/4) performed at low-risk tempos. Limited technical content: very little if any 4 mallet parts on keyboards and the battery writing is limited to simple 8th, 16th, triplet, and easy diddle patterns. Very little simultaneous responsibility (march & play). Visual: Simple design relies on large, unitary forms and simple linear or curvilinear elements (lines, blocks, and curves). The performers exposure to velocity and effort changes is limited. The ensemble uses simple time signatures, static interval relationship, one marching style, and little or no form, body, and equipment layering responsibilities. Effect Music & Effect Visual: A simple, relatable program or concept that focuses on attainability for the members. The music should lend itself to introductory concepts, staging and drill, with little to no body embellishments. There should be a focus on developing a solid understanding of music and visual fundamentals. Although presence is apparent, there should be no development of character or individual identities.
B Class Music: A simple composition with a few simultaneous musical lines throughout. Utilizes a few different time signatures and tempos. Includes beginning level technical concepts such as simple 4 mallet parts on keyboards and a few beginning rudiments & diddle patterns in the battery. Duple and triple meter subdivisions might both be utilized, but not frequently combined. Visual: The unity of elements is enhanced by simple levels of more merged forms (such as those containing both linear and curvilinear elements) and the exploration of concepts like positive and negative space in design. Greater variations of visual tempi and time signatures are used, and form, body, and equipment responsibilities (IF present) are basic. Some expansion and contraction of form through manipulation of interval relationships is present. Effect Music & Effect Visual: Although the concept/ program is still simple, the music should display a solid understanding of music and movement fundamentals, exploring different, but still moderate tempos, and variations between simple time signatures. There should be some exploration, as a group, of different emotions through out the production. The concept should be apparent and explore simple emotional and aesthetic effect moments. A Class Music: A Basic but multi-layered composition that includes an appropriate blend of various time signatures, tempos, and styles. Basic technical concepts such as simple 4 mallet keyboard techniques (with few easy independent patterns) and the battery parts include a variety of basic flam rudiments and diddle patterns, basic splits and cross-overs. Basic duple and triple subdivisions of the beat will be combined throughout the composition. Visual: Basic moments of multiple, but directed focus (In which the space, weight, texture, and flow of parts of the ensemble are varied) are present. The ensemble utilizes multiple visual style throughout the program to create a more advanced sense of unity with the musical book. Effect Music & Effect Visual: A basic concept that displays a mastery of musical and movement fundamentals, and a creative approach to the design. The coordination of visual and musical moments provide support of the concept through out the production. The impact moments include basic musical and visual layering, including body embellishments. The performers should be exploring individual personalities within the overall identity of the production. The use of character should be explored with individuals. The program should be appealing and obvious to the audience.
Open Class Music: An intermediate and multi-layered composition that contains a variety of time signatures, tempos, and styles. Technical content includes intermediate 4 mallet independent parts that include shaping. Battery parts include flam rudiments, fast rolls, challenging splits and crossovers. Intermediate duple and triple subdivisions of the beat are combined throughout. Visual: Intermediate form, body, and equipment responsibilities are utilized to maximize impact moments, amplify the appropriate visual weights, and direct focus. Multiple horizontal development moments of intermediate duration are present in the program, enhancing the complexity. Effect Music & Effect Visual: An intermediate concept or program that should be appealing to, but start to challenge, the observer. The concept may be intellectually effective, as well and emotionally and aesthetically. The visual and musical coordination is obvious and creative, utilizing different layers to create depth to the program. Impacts are enhanced by creative use of body and musical concepts. The sense of individual personality should be present in all of the performers within the identity of the group. World Class Music: An advanced multi-layered composition that contains a wide variety of time signatures, tempos, and styles, and possibly mixed meter or metric modulation. Advanced technical content including challenging 4 mallet independent parts that are shaped. Battery parts include advanced flam rudiments, fast rolls, challenging splits & crossovers that are shaped. Seamless and frequent combination of both duple and triple subdivisions of the beat. Varied and creative use of different techniques and implements. Advanced Simultaneous responsibility. Visual: An advanced level of creativity is expressed by utilizing varied compositional effects into impacts and combined with high and challenging levels of form, body, and equipment responsibilities. There is a coherent, coordinated, and manipulated use of colors consistent with the musical intent. Horizontal development is maximized, with all of the elements of the program relating with one another over time. Effect Music & Effect Visual: An advanced concept that is creative and easily enjoyed, that engages the observer on an intellectual, emotional and aesthetic level. The visual and musical coordination is consistently creative and impacts are maximized by the use of advanced, creative body and musical elements. Each performer knows and projects personality and character within the identity of the group.
Understanding Subcaptions & Divisional Expectations 2017 American Drumline Association 2016 www.americandrumline.org PO Box 130819 Carlsbad, CA 92013 714.512.2116 info@myadla.org