TONE
The goal is to match tone quality, pitch, and tonal energy from person to person and section to section in all ranges and at all dynamic levels.
BLEND
If good tone quality is achieved by each individual musician, blending sections and color groups will be more organic. Student musicians must first be able to match tone and pitch from person to person within their section to create one unified sound. Then they need to be able to identify their color group and the primary section in their color group to contribute to the overall 'color' of that group.
BALANCE
Once blending has taken place it is then easy to balance the color groups. In regards to line priority, balance should generally be to the melodic line. There are times, however, that we do say 'balance to the lowest sounding instrument'. Both are correct depending on the circumstances.
Oftentimes clarity of the musical lines can be a concern due to all three of these elements. You can't have good balance without well blended sections and color groups and you can't have well blended sections and color groups without good individual tone quality, characteristic sounds, or intonation.
INTONATION WITHIN SECTIONS
Students need to be taught to play 'in tone' in order to have a good sense of pitch. Individuals within a section should be able to match pitch as a unit, thus contributing to the overall blend of the section as well.
INTONATION BETWEEN SECTIONS
Students must have an awareness of pitch not only with their unison color groups, but also intervals between other color groups. So we are working both towards linear tuning and vertical tuning throughout the ensemble.
DYNAMIC CONTRAST WITHOUT DISTORTION
Remember that tone trumps dynamics. Never sacrifice tone quality for dynamics - 'never play past the point of pretty'. Dynamic range is acquired through maturity beginning with air and characteristic sound. Students must know the mechanics of how to play soft and how to play loud on their instruments. I find that oftentimes directors skip over this instruction and then expect their students to just know how to do it. When this happens we get very loud out of tone/tune forte's and very weak and out of tone/tune piano's.
The goal is to match tone quality, pitch, and tonal energy from person to person and section to section in all ranges and at all dynamic levels.
BLEND
If good tone quality is achieved by each individual musician, blending sections and color groups will be more organic. Student musicians must first be able to match tone and pitch from person to person within their section to create one unified sound. Then they need to be able to identify their color group and the primary section in their color group to contribute to the overall 'color' of that group.
BALANCE
Once blending has taken place it is then easy to balance the color groups. In regards to line priority, balance should generally be to the melodic line. There are times, however, that we do say 'balance to the lowest sounding instrument'. Both are correct depending on the circumstances.
Oftentimes clarity of the musical lines can be a concern due to all three of these elements. You can't have good balance without well blended sections and color groups and you can't have well blended sections and color groups without good individual tone quality, characteristic sounds, or intonation.
INTONATION WITHIN SECTIONS
Students need to be taught to play 'in tone' in order to have a good sense of pitch. Individuals within a section should be able to match pitch as a unit, thus contributing to the overall blend of the section as well.
INTONATION BETWEEN SECTIONS
Students must have an awareness of pitch not only with their unison color groups, but also intervals between other color groups. So we are working both towards linear tuning and vertical tuning throughout the ensemble.
DYNAMIC CONTRAST WITHOUT DISTORTION
Remember that tone trumps dynamics. Never sacrifice tone quality for dynamics - 'never play past the point of pretty'. Dynamic range is acquired through maturity beginning with air and characteristic sound. Students must know the mechanics of how to play soft and how to play loud on their instruments. I find that oftentimes directors skip over this instruction and then expect their students to just know how to do it. When this happens we get very loud out of tone/tune forte's and very weak and out of tone/tune piano's.
TECHNIQUE
NOTE ACCURACY
As the descriptor states; are the student musicians playing all of the correct notes in the correct keys?
MANUAL DEXTERITY/FLEXIBILITY
The student musicians must facilitate clean, smooth movement between intervals. They must be proficient with the keys/modes in which they are playing and have good finger dexterity to move effortlessly within these keys/modes.
RHYTHMIC ACCURACY
The student musician must play the correct rhythms both individually and as a unit so that rhythms are aligned throughout the ensemble. Rhythms must be even without compression and all notes should receive the same body of sound unless otherwise notated.
RHYTHMIC STABILITY
This has to do with keeping a steady pulse individually and as a unit. Can the listener detect that the performer is thinking the subdivision as they play? Are all student musicians aware of the conductor and fellow musicians and are they moving in tandem?
APPROPRIATE MASTERY OF ARTICULATION
The student musicians must be not only playing the correct/written articulations, but also executing those articulations as a unit. Clarity of articulation has a huge impact on the clarity of musical lines, blend, and balance of an ensemble. Assign syllables to each section and should that syllable need to change at some point in the music, make sure that you teach the students to do that as well. In general, an articulation syllable should consist of a consonant-vowel-"H"; the "H" is for resonance. This syllable anatomy helps facilitate both lifted styles and playing through and between notes/phrases. Do wind and percussion articulations match? Are they complimentary and bring out the intent of the music?
OBSERVANCE OF TIES, SLURS, AND ARTICULATION MARKINGS
Are student musicians playing the correct/written articulations? If it is in the music, it is not a suggestion but a part of the character the composer has written. Oftentimes young musicians overlook these markings and play whatever feels natural to them. This can create a line and articulation clarity problem in a performance. Students must be able to execute the articulations marked without affecting tone, tuning, blend, and ensemble balance. Everyone must do everything at the same rate with the same body of sound unless otherwise noted.
NOTE ACCURACY
As the descriptor states; are the student musicians playing all of the correct notes in the correct keys?
MANUAL DEXTERITY/FLEXIBILITY
The student musicians must facilitate clean, smooth movement between intervals. They must be proficient with the keys/modes in which they are playing and have good finger dexterity to move effortlessly within these keys/modes.
RHYTHMIC ACCURACY
The student musician must play the correct rhythms both individually and as a unit so that rhythms are aligned throughout the ensemble. Rhythms must be even without compression and all notes should receive the same body of sound unless otherwise notated.
RHYTHMIC STABILITY
This has to do with keeping a steady pulse individually and as a unit. Can the listener detect that the performer is thinking the subdivision as they play? Are all student musicians aware of the conductor and fellow musicians and are they moving in tandem?
APPROPRIATE MASTERY OF ARTICULATION
The student musicians must be not only playing the correct/written articulations, but also executing those articulations as a unit. Clarity of articulation has a huge impact on the clarity of musical lines, blend, and balance of an ensemble. Assign syllables to each section and should that syllable need to change at some point in the music, make sure that you teach the students to do that as well. In general, an articulation syllable should consist of a consonant-vowel-"H"; the "H" is for resonance. This syllable anatomy helps facilitate both lifted styles and playing through and between notes/phrases. Do wind and percussion articulations match? Are they complimentary and bring out the intent of the music?
OBSERVANCE OF TIES, SLURS, AND ARTICULATION MARKINGS
Are student musicians playing the correct/written articulations? If it is in the music, it is not a suggestion but a part of the character the composer has written. Oftentimes young musicians overlook these markings and play whatever feels natural to them. This can create a line and articulation clarity problem in a performance. Students must be able to execute the articulations marked without affecting tone, tuning, blend, and ensemble balance. Everyone must do everything at the same rate with the same body of sound unless otherwise noted.
MUSICIANSHIP
APPROPRIATENESS OF STYLE
Student musicians must be able to demonstrate the intended style of the music as a unit. There may also be implied styles, such as music in 3/4 time with count 3 leading to count 1, etc. Music is generally marked with notation representing the desired style. Others, like marches, have a style associated with the genre.
SENSITIVITY TO PHRASING
Well performed music should have direction, ebb and flow, and rise and fall. Music should either be going towards a point or coming away from a point. Good phrasing is like telling a story; well performed music speaks to the listener.
OBSERVANCE OF MUSICAL MARKINGS
The markings on and around the musical notation gives us an idea of the composer's intent; this is what gives character to the music. Student musicians must capture the composers intent and show the character through their performance of these musical markings.
APPROPRIATENESS OF DYNAMICS
Once dynamics are observed, they must be performed without distortion and within the limits of the student's ability. Students should be able to play within the full range of the dynamic palette while maintaining the appropriate energy and intensity no matter the volume. It is a good idea to know the dynamic abilities and limits and work to expand those limits to get the most range from your ensemble. When working within a limited range, just make sure there is contrast between the various dynamics to get the widest range possible for the ability of the students.
APPROPRIATE OBSERVANCE OF TEMPO
Tempos are dictated by the composer; but, within reason, there is some wiggle room. You may decide a particular piece lays better for your ensemble at a slightly slower or even faster tempo. Do try to keep tempi within the realm of the composers marking or as dictated by the style and musical intent.
DEMONSTRATES MUSICAL UNDERSTANDING
Student musicians follow the written notation, articulations, style, and dynamics, but they also make it their own. There is communication going on between musicians and the conductor, and the listener is observing this musical conversation that is going on during the performance. The listener can hear the give and take, the back and forth, of the music as it is performed.
APPROPRIATENESS OF STYLE
Student musicians must be able to demonstrate the intended style of the music as a unit. There may also be implied styles, such as music in 3/4 time with count 3 leading to count 1, etc. Music is generally marked with notation representing the desired style. Others, like marches, have a style associated with the genre.
SENSITIVITY TO PHRASING
Well performed music should have direction, ebb and flow, and rise and fall. Music should either be going towards a point or coming away from a point. Good phrasing is like telling a story; well performed music speaks to the listener.
OBSERVANCE OF MUSICAL MARKINGS
The markings on and around the musical notation gives us an idea of the composer's intent; this is what gives character to the music. Student musicians must capture the composers intent and show the character through their performance of these musical markings.
APPROPRIATENESS OF DYNAMICS
Once dynamics are observed, they must be performed without distortion and within the limits of the student's ability. Students should be able to play within the full range of the dynamic palette while maintaining the appropriate energy and intensity no matter the volume. It is a good idea to know the dynamic abilities and limits and work to expand those limits to get the most range from your ensemble. When working within a limited range, just make sure there is contrast between the various dynamics to get the widest range possible for the ability of the students.
APPROPRIATE OBSERVANCE OF TEMPO
Tempos are dictated by the composer; but, within reason, there is some wiggle room. You may decide a particular piece lays better for your ensemble at a slightly slower or even faster tempo. Do try to keep tempi within the realm of the composers marking or as dictated by the style and musical intent.
DEMONSTRATES MUSICAL UNDERSTANDING
Student musicians follow the written notation, articulations, style, and dynamics, but they also make it their own. There is communication going on between musicians and the conductor, and the listener is observing this musical conversation that is going on during the performance. The listener can hear the give and take, the back and forth, of the music as it is performed.