1. Sheet1
 ABCDEFGHIJKLM
1 VOCAL SCORING RUBRIC (WMEA)           
2              
3 TONE RESONANCE/SUPPORT            
4  0 1 2 3 4 5 6 7 8 9 10  
5  Tone is void of proper support, space and focus; resulting  Tone lacks consistent support, space and focus; tension  A good tone quality with adequate supoprt, vibrance and    A well supported, energized tone with excellend placement  A pleasing, free vibrant tone in character with the age of   
6  in a non-energized and/or very forced, unacceptable sound. and a forced tone quality and/or breathy and/or spread tone resonance present most of the time. Lack of breath energy and focus; lapses in rsonance infrequent, usually occuring in the singers and the selections. Proper support, placement  
7    is present most of the time.  and/or tension occasionally creates a forced and/or extreme ranges or difficult rhythmic passages. and focus resulting in the ultimate in resonance without RESONANCE/SUPPORT 
8      breathy and/or spread tone.    being forced or pushed.   
9  VOWELS/CONSONANTS            
10  0 1 2 3 4 5 6 7 8 9 10  
11  Basic vowels incorrect, diphthongs and tone line Basic vowels usually incorrect, diphthongs lack Basic vowels and consonants usually formed correctly. Excellent vowels and tone line with slight inconsistencies Properly formed vowels and consonants, in all registers;  
12  non-existent, words cannot be identified. definition and precision. Words are difficult to discern. Some problems with diphthongs and some inconsistencies in extended registers, some consonants inaudible. result in a clear linear tone line in all sections with very  
13      in vowels, most words are easily discernable.    clear diction.  VOWELS/CONSONANTS 
14              
15  BLEND             
16  0 1 2 3 4 5 6 7 8 9 10  
17  Singers are "on their own" resulting in an unacceptable tone Individual voices are heard much of the time. A good blend, most of the time, individuals are occasionally There is a strong consistency of tone by individuals Individuals reach the ultimate in tone production, while  
18  quality. The individual sounds range from inaudible to over Sections have some similarities of tone. heard due to a different tone, unique vibrato and/or volume. and sections, adjustments are made rapidly to remaining in character with the other singers. Sections display  
19  singing.       correct problems.  a cohesive tone, while matching the tone of the other BLEND 
20           sections.   
21              
22              
23 FUNDAMENTALS INTONATION            
24  0 1 2 3 4 5 6 7 8 9 10  
25  Tonal center is lacking; problems with melodic and  Frequent pitch problems; result in conflicts with the  Pitch is correct, most of the time, occasional problems   Accurate intonation, some problems in extreme ranges  Superb clarity of pitch in melodic and harmoic intervals   
26  harmonic intonation occur throughout. accompaniment and/or inappropriate modulations. with wide intervalic relationships and/or range extremes; and/or difficult sections; adjustments made rapidly. in all registers; necessary adjustments made instantly.  
27      adjustments are made.      INTONATION 
28              
29  PULSE/RHYTHM            
30  0 1 2 3 4 5 6 7 8 9 10  
31  Inconsistent pulse and rhythmic inccuracies present Rhythmic precision is lacking and/or basic rhythms are Rushing and/or dragging affects the rhythmic precision Excellent control fo the pulse; rhythmic inconsistencies Exemplary consistency of the pulse; rhythmic precision is   
32  throughout; corrections seldom made. incorrect and/or the pulse is inconsistent; corrections and/or inaccurate rhythms occur; corrections are made are corrected immediately.  nearly flawless.   
33    are occasionally made.  rapidly.       PULSE/RHYTHM 
34              
35  BALANCE            
36  0 1 2 3 4 5 6 7 8 9 10  
37  Balance problems throughout; adjustments seldom Balance problems frequently occur; some adjustments are Adquate balance, most of the time; problems occasionally Proper balance predominates; minor lapses occur during Appropriate balance between sections, during varying  
38  made; very little feeling of ensemble. made; the sense of ensemble is usually lacking. occur in extended ranges, at changing dynamic levels extended registers and/or extreme dynamic levels; dynamics, textures, ranges and accompaniments render  
39      and at textures; adjustments are made.  adjustments are rapidly made.  a perpetual sense of ensemble.  BALANCE 
40              
41              
42              
43 EXPRESSION INTERPRETATION/STYLE            
44  0 1 2 3 4 5 6 7 8 9 10  
45  Tempos and/or stylistic elements are incorrect throughout.  A mechanical or contrived presentation, most of the time,  A good performance; however, the use of tempos, ritards,   A very musical performance; there are some inaccuracies  The composer's original intent regarding tempo, style and   
46    with inaccurate tempos and/or little use of stylistic elements. rubatos, and nuances are somewhat stylistically inconsistent and/or inconsistencies regaring tempo, music markings music symbols is adhered to throughout. Interpretative INTERPRETATION/STYLE 
47      and/or mechanical.   and style.  divices, consisting of rubatos, nuances, shadings, word color,  
48           and syllabic stress are executed very artistically within the   
49           paramaters of the composer's original intent.  
50  PHRASING/DYNAMICS            
51  0 1 2 3 4 5 6 7 8 9 10  
52  An inaccurate use of dynamic ranges; most words are The range of dynamics is very limited and/or too much Good volume variation with a fairly consistent musical A very good demonstration of forward motion and A thorough display of an artistically shaped musical line  
53  performed separately; no feeling of forward motion. contrast is used. The phrasing is very mechanical; many line, occasional inaccurate dynamic levels are present. dynamic contrast, ranges usually reached and a feeling of containing an accurate use of dynamic levels based on  
54    words are performed spearately.     forward motion present most of the time. music markings, rise and fall of the line and word stress PHRASING/DYNAMICS 
55           perpetuating a feeling of forward motion.  
56  COMMUNICATION            
57  0 1 2 3 4 5 6 7 8 9 10  
58  An ineffective performance due to a total imbalance of Usually an incorrect balance of music elements and drama A good representation of music elements and drama; An excellent combination of fundamental sensitivity A supurb balance of fundamentals, sensitifity and  
59  emotional involvement and mechanics. The group fails and/or the group fails to respond to conducting gestures occasional lapses in communication between group and and group-conductor communication; occasional lapses expression is attained to successfully convey the COMMUNICATION 
60  to respond to the conducting gestures and/or the gestures and/or the gestures are questionable. conductor.   in the dramatic affect are corrected immediately. composer's messages to the listeners by the performers   
61  are incorrect.         through an artistic conductor.   
62              
63 OTHER LITERATURE/APPEARANCE            
64  0 1 2 3 4 5 6 7 8 9 10  
65  An inappropriate selection of literature, that is too difficult or The literature selected limits the display of the group's The selection of literature somewhat limits the group in A good selection of literature that allows the group to A nearly perfect selection of quality literature that   
66  fails to allow the group to display its musical abilities. A abilities and/or is too difficult. Most of the members' displaying its range of musical abilities. Mos of the group display most of its performance strengths while usually thoroughly displays the performance strengths of a   
67  lack of proper posture, attentiveness, stage presence and posture, attentiveness, stage presence and appearance has good stage presence and appearance.  remaining within its musical limitations. The state presence group that possesses an exemplary stage presence and LITERATURE/APPEARANCE. 
68  appearance severely distracts from the effectiveness of is inadequate.     and appearance are very commendable. appearance.   
69  the performance.            

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