A	B	C	D	E	F	G	H	I	J	K	L	M
1	INSTRUMENTAL SCORING RUBRIC (WMEA)
2
3	QUALITY OF SOUND	TONE QUALITY
4		0	1	2	3	4	5	6	7	8	9	10
5		Basic tone quality concepts such as focus and resonance		Tone lacks consistent support and focus, tension and a		Tone is focused, full, uniform in color, texture and sonority			Tone is focused, full, open, resonant, consistent, uniform in		Tone is well-focused, full, open, resonant, consistent,
6		are not developed.		forced tone quality or spread tone is present most of		some of the time. Quality of tonal production is generally			color, texture and sonority most of the time. Quality of tonal		uniform in color, texture and sonority at all times.
7				the time.		poor at extreames of difficulty, dynamics and range.			production diminishes at extremes of difficulty, dynamics				TONE QUALITY
8									and range.
9		INTONATION
10		0	1	2	3	4	5	6	7	8	9	10
11		Instruments not tuned, melodic and harmonic intonation.		Instruments somewhat in tune. Melodic and harmonic		Instruments tuned relatively well. Intonation good, but not			Instruments well tuned. Melodic and harmonic intonation		Instruments well-tuned. Melodic and harmonic intonation
12		poor.		intonation inconsistent between sections and individuals.		consistent with wide intervals, octaves and unisons.			very good. Problems, at times, in range/volume extremes		is superior. Ability to listen and control difficult tuning
13				Difficult intervals and harmonic structures are out of tune.		Attemps made to correct obvious problems.			and fast passages, but are quickly corrected with good		situations is well-developed.		INTONATION
14									listening skills
15		BLEND/BALANCE
16		0	1	2	3	4	5	6	7	8	9	10
17		Blend and balance rarely achieved. Individuals or sections		Blend and balance achieved during less demanding		Good blend and balance, but sections and/or individuals			Excellent blend and balance maintained most of the time.		Superior blend and balance maintained at all times, both
18		tend to dominate ensemble sound. Little evidence of		passaages. Not well balanced during extreme volume,		tend to dominate at times. Some problems occur			Tonal blend usually uniform and consistent. Balance		within and between sections. Tonal blend is uniform and
19		listening and attentiveness		range, dynamic changes, or dense harmonic structures.		during extreme volume, range, dynamic changes, or			between and within sections generally good. Problems		consistent. Extremes of register and volume do not		BLEND/BALANCE
20				Listening and attentiveness inconsistent.		dense harmonic structures.			occur only during most difficult passages and are usually		distract from superior blend and balance.
21									short in duration.
22
23	TECHNIQUE	RHYTHMIC/NOTE ACCURACY
24		0	1	2	3	4	5	6	7	8	9	10
25		Basic rhythmic accuracy only demonstrated in simple		Basic rhythmic accuracy demonstrated in most passages.		Rhythmic accuracy demonstrated in all but the most			Rhythmic accuracy is excellent. Section and/or full		Rhythmic accuracy is superior. Section and/or full
26		passages. Pulse often difficult to discern. Many		Rapid and complex passages are inaccurate. Pulse		difficult passages. Section and/or full ensemble precision			ensemble precision is excellent. Pulse consistent except		ensemble precision is superb. Pulse is consistent. Note
27		incorrect notes.		sometimes difficult to discern. Some incorrect notes.		good most of the time. Pulse generally consistent. Note			in most difficult passages. Rare instances of note		accuracy is superior.		RHYTHMIC/NOTE ACCURACY
28						accuracy generally good, except in challenging passages.			inaccuracy.
29		ARTICULATION
30		0	1	2	3	4	5	6	7	8	9	10
31		Stylistic accuracy and uniformity are inconsistent.		Rhythmic precision and/or the pulse are inconsistent,		Articulation technique and style good most of the time.			Well developed thorough knowledge of articulation styles.		Outstanding and comprehensive knowledge of articulation
32				clarity poor, corrections are occasionally made.		Usually, styles performed uniformly, but lack consistency,			Uniformity very good with weaknesses only shown by individual		styles and techniques is demonstrated at all times. Wide
33						clarity, control and accuracy in more complex sections.			players during complex passages.		variety of articulations played with excellend consistency and		ARTICULATION
34											uniformity.
35		FACILITY
36		0	1	2	3	4	5	6	7	8	9	10
37		Facility, flexibility and dexterity show persistent problems.		Balance problems frequently oddur, the sense of ensemble is		Technical facility generally good. Problems and breakdowns			Technical facility well-developed. Difficult passages played		Superior technique exhibited by entire ensemble. Only
38		Complex passages tax players beyond their ability, though		usually lacking.		occur during difficult passages. Concentration good but			with only minor flaws. Concentration is excellent.		minor flaws occur during most complex passages.
39		good technique is demonstrated by some. Concentration				occasionally inconsistent. Players pay attention to the			Players respond well to the director.		Concentration is superior, creating a polished performance.		FACILITY
40		sems to drift.				director most of the time.
41
42
43	MUSICALITY	INTERPRETATION
44		0	1	2	3	4	5	6	7	8	9	10
45		Little or not use of stylistic markings.		Inconsistent use of stylistic markings.		Noticable use of stylistic markings some of the time.			Excellent use of stylistic markings most of the time.		Superb use of stylistic markings at all times.
46													INTERPRETATION
47
48		PHRASING
49		0	1	2	3	4	5	6	7	8	9	10
50		Evidence of phrasing rare or not noticable.		Mostly mechanical and non-musical, very little uniformity.		Shaping of musical phrases basic, not always natural,			Clear, meaningful and expressive shaping of musical		Clear, meaningful and expressive shaping of musical

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