Oregon Jazz Festival Rubric

Poor Fair Good Excellent Superior

MS/1A/2A 1-9 MS/1A/2A 10-20 MS/1A/2A 21-26 MS/1A/2A 27-30
3A/4A 1-8 3A/4A 9-14 3A/4A 15-22 3A/4A 23-28 3A/4A 29-30
5A/6A 1-3 5A/6A 4-9 5A/6A 10-20 5A/6A 21-26 5A/6A 27-30

• Little understanding of basic concepts of tone • Some understanding of the concept of tone, but • Basically a strong approach to proper tone production • Excellent tone and control most of the time; problems • Superior tone and control most of the time; problems
production. inconsistent. Consistency of tone throughout the band is demonstrated. Harshness, distortion, fuzziness and occur only in the most difficult passages. Tone color, occur only in the most difficult passages. Tone color,
• Poor support, weak embouchures. is lacking. lack of resonance are sometimes a problem at upper and focus and clarity are consistent, well-controlled and focus and clarity are consistent, well-controlled and
• Poor individual and collective intonation on both melody • Instruments are somewhat in tune, but intonation lower volumes and registers. adversely affected only in the extremes of volume and adversely affected only in the extremes of volume and
and harmony. problems occur and are seldom corrected in • Instruments are tuned relatively well; less demanding register. register.
• Poor balance within and between sections. Listening performance. melodies, harmonies performed successfully, but wider • Instruments are tuned well, melodic and harmonic into- • All instruments are in tune, listening and adjusting skills
Quality of skills obviously not developed. • Blend and balance sometimes achieved on less intervals, octaves, unison, and complex harmonies are nation are excellent, with problems only in most difficult are superior and melodic and harmonic intonation are
Sound demanding passages. Large intervals, complex often a problem. passages and extremes of volume and range; corrections controlled at all registers and volumes.
harmonies, faster, louder, and/or higher passages pose • Blend and balance are often good, but with some and adjustments are made quickly. • Blend and balance both within and between sections are
biggest problems of intonation, blend, and balance. problems during extremes in volume and dynamic • Blend and balance are well established and consistent; superior at all times and in all playing situations.
changes, range, and the more difficult and complex problems occur only in extremes of volume and range, Ensemble sound is uniformly exemplary of the highest
portions of the performance. Characteristic band sound, delicate scoring, and other difficult playing situations. ideal in instrumental performance.
clarity, and good listening skills are often demonstrated. Balance within and between sections, listening skills,
concentration, and characteristic band quality are
generally excellent, with only occasional minor problems.

• No uniformity of phrasing. Articulation technique lacks • No uniformity of phrasing. Some articulation concepts • Basic phrasing is sometimes uniform and consistent • Phrasing and expression usually sensitive and tasteful. • Clear, meaningful, expressive shaping and contour of
clarity and accuracy; no attention to stylistically in evidence, with problems in faster and more complex through not always natural. Articulation, technique, and Articulation technique and style understanding is in phrases resulting in an emotional and musically involved
appropriate articulation. passages. Articulation styles sometimes accurate and style show good understanding, but lack total strong evidence. performance. Outstanding and comprehensive

problems on ff ’s and pp ’s, and occasional problems of

• No dynamic variation. uniform. consistency and accuracy. Complex articulations lack • Excellent dynamic control throughout, with some knowledge of articulation styles and techniques is
• Rhythmic accuracy and precision are weak; pulse poorly • Very little dynamic variation. clarity and control. demonstrated at all times. Minor problems only in the
controlled. Technical facility is poor; finger dexterity and • Basic rhythmic accuracy demonstrated in simple • Basic dynamic variations are attempted with some consistency. most demanding sections.
knowledge of fingerings is generally underdeveloped. passages; more rapid or complex passages are weak. success, though often mechanical, limited and with • Precision is excellent; pulse and tempo are mostly under • Use of dynamics well developed, broad ranged, and
• No meaningful musical interpretation. Expression: little Ensemble precision achieved only in simple passages; problems at high and low levels. control, with lapses in only the most difficult playing always appropriate.
Ensemble to none. Concentration is poor, very little attention is pulse not always under control, tempos not consistently • Rhythmic accuracy and precision good most of the time; situations. Occasional minor technical problems • Superb control of pulse, tempo, and rhythmic patterns.
Technique paid to director or rhythm section. maintained. Technical facility is fair; faster and more pulse and tempo accurate most of the time, with some infrequently in evidence by small number of players in Cohesiveness is outstanding; precision and clarity are
complex sections become inaccurate and cluttered. problems occasionally in evidence. Technical facility only the most demanding situations. exemplary. Flaws, if any, are minor and quickly corrected.
Flexibility and dexterity are problems. Knowledge of good much of the time with problems and breakdowns • Excellent understanding and successful communication Technical facility is superb; great flexibility and dexterity
fingerings is basically good. Technical facility is fair; faster in some difficult passages. Good flexibility and dexterity; of style and interpretation, though occasional problems exhibited by the entire ensemble.
and more complex sections become inaccurate and stronger players show good knowledge of technique. are evidenced. Overall communication of musical ideas is • Thorough stylistically appropriate interpretation at
cluttered. Flexibility and dexterity are problems. • Interpretation is meaningful and uniform some of the excellent. Ensemble cohesiveness is usually strong. all times. All musical techniques are used to create an
• Little meaningful musical interpretation. Expression: little time, though sometimes it is rigid and mechanical. effective, sensitive, naturally communicated aesthetic
to none. Concentration is inconsistent. Attempts are made to communicate musically experience. Concentration is total.
expressive phrases, but often are mechanical.
Concentration sustained well.

Poor Fair Good Excellent Superior

1-3 4-6 7-9 10-12 13-15
Time is not generally solid; tempo wanders; section does not A general concept of time is evidenced in the group, but not Feeling of time within the rhythm section is basically solid; Excellent feeling of time, solid tempos with only very The concept of time is impeccably solid; the section always
hold together well as a unit, does not support the band. consistent, with some fluctuations in tempo. Many problems occur at extreme tempos (fast and/or slow), changes occasional problems with pulse on up-tempos and/or ballads functions as a unit and gives solid support to the band at
Comping technique is poor, lacks clarity and inconsistencies in section playing; often the section does not of meter, tempo, and/or style. Section usually supports the and/or time charts. Section listens well and supports the all times. Comping technique shows total understanding
appropriateness; time patterns are generally inconsistent support the band. Some comping techniques are understood, band adequately. Basic comping techniques are understood, ensemble and soloists mostly in an appropriate and of principles, and exhibits uniformly consistent clarity and
and/or unclear, fills lack clarity and concept. Balance within but not consistent; sometimes cluttered and out of context. usually cleanly played; occasional cluttered and/or creative manner. Comping techniques and fills are stylistically appropriateness; time patterns are always appropriate and
Rhythm the section and between the section and horns is not good; Time patterns are adequate but with problems with inappropriate playing. Some creativity in evidence with varied appropriate and very well played; with only very occasional inventive; fills and back-ups always show creativity, and
Section section lacks sensitivity to other players in the section and in consistency and relating to horn figures. Fills are inconsistent, time patterns, voicings, and registers. Balance in and between problems in sections of great technical difficulty. Much clarity and consistency of concept. Balance within the sec-
the band as a whole; playing is often not appropriate. sometimes cluttered, and/or inappropriate. Section lacks is often good; some obvious listening and sensitivity with creativity exists for all section players with appropriate tion and between the section and horns is always excellent
creativity. Balance within and between is sometimes good; good dynamic control for both ensemble and solo back-up; concepts and good style. Balance within and between is and shows consistent sensitivity; virtually every sound
some listening and sensitivity exists, but not consistent; some problems with subtlety and appropriateness. always excellent, with problems only at sections of the coming from the section is appropriate.
section playing is sometimes appropriate, though often it is greatest difficulty. Sensitivity is high with good listening most
not. of the time. Principles of appropriateness and style are most
often in evidence, with only very occasional lapses.

Non-existent to very little understanding of the materials of Soloist shows some understanding of the basic materials of Solo shows much understanding of many of the materials of The solo shows an excellent understanding of the Technique is impeccably applied to the full range of jazz mate-
jazz improvisation. Players show poor technical mastery of the jazz improvisation with an observable but limited technique. jazz improvisation coupled with good basic mastery of the materials of jazz improvisation presented with excellent rial available, comparable some “professional” jazz improvisers
instrument. Most basic jazz ideas, very little understanding of Some typical jazz ideas are played, with a limited instrument. Many typical jazz ideas are played with a basic technical ability on the instrument. Jazz ideas are almost on that instrument. Jazz ideas are appropriate, spontaneous,
style. Solo is generally lacking in appropriate ideas, understanding and performance of style. Some ideas are understanding of style and its performance. Many ideas are always appropriate and inventive, performed with high regard and show a high degree of creativity and “personalization”,
Soloists creativity, and flow. Communication is minimal, with very little appropriate, many not. Not very much creativity or flow is appropriate, though some are questionable. Creative energy for excellent style. Creative energy and flow are always in creative energy and flow are characteristic of the entire solo.
jazz excitement generated. evidenced. Basic attempts at communication are heard with and flow are evident, but not with complete mastery. evidence, though some problems occur in the more technical Communication is superior, with much sensitivity and
minimal jazz excitement. Performance is mechanical. Communication is often effective, with moments of lines and in “taking chances”. Communication is excellent and excitement. Solo selects highly appropriate material from all
excitement. The solo is safe, accurate, though not thoroughly usually exciting and/or appropriate. The solo successfully that is currently accessible that instrument in that style.
high quality. explores many challenging avenues of jazz improvisation.

Other A. Jazz excitement produced by the band. E. Stage presence, if it is particularly good or particularly bad
Factors B. Communication that is beyond that produced by a technically accurate performance F. Appearance, if it is particularly good or particularly bad
0-10 C. Creativity of programming (or lack thereof ) G. Any other notable characteristic of the band that the judge feels has a positive or negative effect on the band’s presentation.
(5 is neutral) D. Choice of music, either for the particular bands ability level, or for the particular contest or festival

2016 version. Print on 11 x 17 paper.