2018

Mountain Region
Junior High/Middle School
Large Group
Festival
Hosted by Hudtloff Middle School, Lakewood, WA

Performance Critique & Reflection Booklet

1) Provide feedback for at least six choirs.

2) Mr. Gorne will provide four choirs he wants to

make sure are part of your six.

3) Complete answers using complete sentences

4) Use the Rubric to help use particular vocabulary.

5) Take a break with some of the puzzles included!

 2018 Mountain Region MS/JH Large Group Choir Festival
Wednesday HMS Schedule: Late Start Crew
Clinic: Band
Warmup: Library Warmup: Stage Performance: Gym Judge Clinic: Choir Room Judge Judge
Room
Blue Red Black Yellow Green
8:00 8:00 8:00 8:00 8:00 8:00 8:00
8:05 8:05 8:05 8:05 8:05 8:05 8:05
8:10 8:10 8:10 8:10 8:10 8:10 8:10
8:15 8:15 8:15 8:15 8:15 8:15 8:15
8:20 8:20 8:20 #2 Frontier 8:20 8:20 8:20 8:20
8:25 8:25 Transistion 8:25 Fledgling 8:25 Transistion 8:25 8:25 8:25
8:30 8:30 8:30 Choir 8:30 8:30 8:30 8:30
#3
8:35 Staff PLC 8:35 8:35 8:35 8:35 8:35 8:35
Cedarcrest
8:40 8:40 8:40 Transistion 8:40 Transistion 8:40 Transistion 8:40 8:40
Concert
8:45 move stage 8:45 Choir 8:45 8:45 #2 Frontier 8:45 8:45 8:45
Fledgling Choir
1,2
8:50 piano to 1108 8:50 8:50 #4 - Liberty 8th 8:50 8:50 8:50 8:50
8:55 8:55 Transistion 8:55 Grade Band 8:55 Transistion 8:55 warmups #4 8:55 Transistion 8:55
room
9:00 9:00 9:00 9:00 #3 Cedarcrest 9:00 9:00 9:00
#5 Elk Plain 2,3
9:05 9:05 9:05 9:05 Concert Choir 9:05 9:05 #2 Frontier 9:05
6th
9:10 9:10 9:10 Transistion 9:10 Transistion 9:10 Transistion 9:10 Fledgling 1 9:10
Doors Open students in Cafeteria Intermediate
9:15 9:15 9:15 9:15 #4 Liberty 8th 9:15 9:15 Choir 9:15
Choir 3,4
9:20 9:20 9:20 #6 Keithley 9:20 Grade 9:20 9:20 9:20
#3 Cedarcrest
9:25 9:25 Transistion 9:25 7th Kamenz 9:25 Transistion 9:25 2 9:25 Transistion 9:25
Room 1108 Concert Choir
9:30 9:30 9:30 9:30 #5 Elk Plain 6th 9:30 9:30 9:30
#7 Cougar Intermediate Choir 4,1
9:35 9:35 9:35 9:35 9:35 9:35 9:35
Mountain #4 Liberty
9:40 students to lockers move piano 9:40 9:40 Transistion 9:40 Transistion 9:40 Transistion 9:40 3 9:40
Concert 8th Grade
9:45 back 9:45 Choir 9:45 9:45 9:45 9:45 9:45
#8 #6 Keithley 7th 1,2 #5 Elk Plain
9:50 9:50 9:50 9:50 9:50 9:50 9:50
Cedarcrest 6th
9:55 9:55 Transistion 9:55 9:55 Transistion 9:55 4 9:55 Transistion 9:55
Treble Intermediate
10:00 10:00 10:00 Makers 10:00 #7 Cougar Mountain 10:00 Choir 10:00 10:00
Concert Choir 2,3
10:05 Advisory 10:05 #9 Pioneer 10:05 10:05 10:05 10:05 10:05
#6 Keithley
10:10 10:10 Advanced 10:10 Transistion 10:10 Transistion 10:10 Transistion 10:10 1 10:10
7th
10:15 10:15 Choir 10:15 10:15 #8 Cedarcrest 10:15 10:15 10:15
#10 Elk 3,4
10:20 10:20 10:20 10:20 Treble Makers 10:20 #7 Cougar 10:20 10:20
Plain 7/8
10:25 10:25 Transistion 10:25 10:25 Transistion 10:25 Mountain 2 10:25 Transistion 10:25
Advanced
10:30 Transition 10:30 10:30 10:30 #9 Pioneer 10:30 Concert Choir 10:30 10:30
Choir 4,1 #8
10:35 10:35 10:35 10:35 Advanced Choir 10:35 10:35 10:35
#11 Curtis Cedarcrest
10:40 10:40 10:40 Transistion 10:40 Transistion 10:40 Transistion 10:40 3 10:40
JH Treble
10:45 10:45 10:45 10:45 #10 Elk Plain 7/8 10:45 10:45 10:45
1,2 Makers
10:50 1st period: 10:34-11:12 10:50 10:50 10:50 Advanced Choir 10:50 #9 Pioneer 10:50 10:50
#12 Orting
10:55 10:55 Transistion 10:55 10:55 Transistion 10:55 Advanced 4 10:55 Transistion 10:55
MS
11:00 11:00 11:00 11:00 11:00 Choir 11:00 11:00
#11 Curtis JH 2,3 #10 Elk
11:05 11:05 #13 11:05 11:05 11:05 11:05 11:05
Plain 7/8
11:10 Transition 11:10 Cedarcrest 11:10 Transistion 11:10 Transistion 11:10 Transistion 11:10 1 11:10
Advanced
11:15 11:15 Sotto Voce 11:15 11:15 11:15 11:15 11:15
#12 Orting MS 3,4 Choir
11:20 11:20 11:20 11:20 11:20 11:20 11:20
#14 Pioneer
11:25 11:25 Transistion 11:25 11:25 Transistion 11:25 #11 Curtis JH 2 11:25 Transistion 11:25
Boy's Choir
11:30 11:30 11:30 11:30 #13 Cedarcrest 11:30 11:30 11:30
2nd period: 11:16-11:54 4,1
11:35 11:35 #14A 11:35 11:35 Sotto Voce 11:35 11:35 11:35
set up #12 Orting
11:40 11:40 Frontier 11:40 Transistion 11:40 Transistion 11:40 Transistion 11:40 3 11:40
Judge's MS
11:45 11:45 Falcon Choir 11:45 11:45 #14 Pioneer 11:45 11:45 11:45
Lunch in 1,2
11:50 11:50 11:50 11:50 Boy's Choir 11:50 #13 11:50 11:50
conference
11:55 Transition 11:55 Transistion 11:55 11:55 Transistion 11:55 Cedarcrest 4 11:55 Transistion 11:55
room
12:00 12:00 12:00 12:00 #14A Frontier 12:00 Sotto Voce 12:00 12:00
2,3
12:05 1st Lunch: 12:05 12:05 12:05 Falcon Choir 12:05 12:05 12:05
#14 Pioneer
12:10 11:54-12:24 12:10 12:10 12:10 12:10 Transistion 12:10 1 12:10
3rd period: 3rd period: Boy's Choir
12:15 12:15 12:15 12:15 12:15 12:15 12:15
11:58-12:36 11:58-12:36
12:20 12:20 12:20 12:20 12:20 12:20 12:20
#14A Frontier
12:25 Transition 12:25 Transistion 12:25 12:25 12:25 2 12:25 Transistion 12:25
Falcon Choir
12:30 12:30 12:30 12:30 Break 12:30 12:30 12:30 Judge 3 Judge 4
12:35 Transition 12:35 #15 Bethel 12:35 12:35 12:35 12:35 12:35 lunch:35 lunch:35
12:40 12:40 Beginning 12:40 Transistion 12:40 12:40 Transistion 12:40 12:40
3rd period:
12:45 2nd Lunch: 12:45 Choir 12:45 12:45 12:45 12:45 12:45 Judge 1
12:28-1:06 Judge Lunch #16 Ford
12:50 12:36-1:06 12:50 12:50 12:50 12:50 12:50 12:50 lunch:35
4th period: Thunderbird
12:55 12:55 Transistion 12:55 12:55 Transistion 12:55 Group 16 warmup 12:55 Transistion 12:55 Judge 2
12:40-1:18 7th in Band
1:00 1:00 1:00 Room 1:00 #15 Bethel 1:00 1:00 1:00 lunch:35
Beginning Choir
3,4
1:05 Transition Transition 1:05 #17 Mann 1:05 1:05 1:05 1:05 1:05
1:10 1:10 Concert 1:10 Transistion 1:10 Transistion 1:10 Transistion 1:10 Group 18 warmup 1:10
1:15 1:15 Choir 1:15 #18 1:15 #16 Ford 1:15 1:15 1:15
Thunderbird 7th
4,1
1:20 1:20 1:20 Spanaway 1:20 1:20 #15 Bethel 1:20 1:20
4th period: 4th period:
1:25 3rd Lunch: 1:25 Transistion 1:25 Concert 1:25 Transistion 1:25 Beginning 3 1:25 Transistion 1:25
1:10-1:48 1:10-1:48 Choir in Choir
1:30 1:18-1:48 1:30 1:30 1:30 #17 Mann 1:30 Choir 1:30 1:30
lunch clean up #19 Room 1,2
1:35 1:35 1:35 1:35 Concert Choir 1:35 1:35 #16 Ford 1:35
Lochburn
1:40 1:40 1:40 Transistion 1:40 Transistion 1:40 Transistion 1:40 Thunderbird 4 1:40
Advanced 7th
1:45 Transition 1:45 1:45 1:45 #18 Spanaway 1:45 1:45 1:45
8th Grade 2,3
1:50 1:50 1:50 #20 Bethel 1:50 Concert Choir 1:50 1:50 1:50
#17 Mann
1:55 1:55 Transistion 1:55 Concert 1:55 Transistion 1:55 1 1:55 Transistion 1:55
Concert Choir
2:00 2:00 2:00 Choir 2:00 #19 Lochburn 2:00 2:00 2:00
Advanced 8th Grade
3,4 #18
2:05 2:05 #21 Hudtloff 2:05 2:05 2:05 2:05 2:05
5th period: 1:52-2:30 Spanaway
2:10 2:10 Advanced 2:10 Transistion 2:10 Transistion 2:10 Transistion 2:10 2 2:10
Concert
2:15 2:15 Choir 2:15 2:15 #20 Bethel 2:15 2:15 2:15
4,1 Choir
2:20 2:20 2:20 #22 Ford 2:20 Concert Choir 2:20 #19 Lochburn 2:20 2:20
2:25 2:25 Transistion 2:25 Thunderbird 2:25 Transistion 2:25 Advanced 8th 3 2:25 Transistion 2:25
2:30 Transition 2:30 2:30 8th 2:30 #21 Hudtloff 2:30 Grade 2:30 2:30
1,2
2:35 2:35 2:35 2:35 Advanced Choir 2:35 2:35 #20 Bethel 2:35
2:40 2:40 #23 2:40 Transistion 2:40 Transistion 2:40 Transistion 2:40 Concert 4 2:40
2:45 2:45 2:45 2:45 #22 Ford 2:45 2:45 Choir 2:45
#24 Thunderbird 8th
2,3
2:50 2:50 2:50 2:50 2:50 #21 Hudtloff 2:50 2:50
6th period: 2:34-3:15 Spanaway
2:55 2:55 Transistion 2:55 2:55 Transistion 2:55 Advanced 1 2:55 Transistion 2:55
Voce de la
3:00 3:00 3:00 3:00 3:00 Choir 3:00 3:00
Vida #23 3,4
3:05 3:05 #25 Bethel 3:05 3:05 3:05 3:05 #22 Ford 3:05
3:10 3:10 Symphonic 3:10 Transistion 3:10 Transistion 3:10 Transistion 3:10 Thunderbird 2 3:10
3:15 3:15 Choir 3:15 3:15 #24 Spanaway 3:15 3:15 8th 3:15
to busses 4,1
3:20 3:20 3:20 3:20 Voce de la Vida 3:20 3:20 3:20
3:25 3:25 Transistion 3:25 3:25 Transistion 3:25 #23 3 3:25 Transistion 3:25
3:30 3:30 3:30 3:30 #25 Bethel 3:30 3:30 3:30
Symphonic Choir
1,2 #24
3:35 3:35 3:35 3:35 3:35 3:35 3:35
Spanaway
3:40 3:40 3:40 3:40 Transistion 3:40 Transistion 3:40 4 3:40
Voce de la
3:45 3:45 3:45 3:45 3:45 3:45 3:45
Vida
3:50 3:50 3:50 3:50 3:50 #25 Bethel 3:50 3:50
3:55 3:55 3:55 3:55 3:55 Symphonic 1 3:55 3:55
4:00 4:00 4:00 4:00 4:00 Choir 4:00 4:00
4:05 4:05 4:05 4:05 4:05 4:05 4:05

CHORAL PERFORMANCE
LEVEL ASSESSMENT
Level 1
(Entry level choirs of all ages)
Level 2 - Choir develops basic vowel uniformity and space.
-Resonance develops by creating space in mouth.
-Resonance consistent in vowels [i, e, a, o, u] within
(Elementary and MS choirs,
emerging HS, church, and -Resonance affected by text and range: distortion
community choirs, beginning
non-auditioned collegiate
choirs) -Treble voices sing mostly in light mechanism,
Level 3
(Advanced MS, JH choirs,
some average HS, church,
community and non-
auditioned collegiate choirs)
Level 4
(Advanced HS choirs, very
good church and community
choirs, average collegiate
choirs)
Level 5
(High level collegiate, church, - Treble lower register is a colorful mix of heavy and -Balance is varied by musical and stylistic demands
community, and semi-
professional choirs)
Level 6
(Top professional and semi-
professional choirs, a rare
collegiate choir)
Resonance and Vowels
-Choir works to shape vowels together, understands
basic vowel uniformity.
-Resonance introduced as “tall” vowels, opening up
resonating spaces.
-Resonance is inconsistent, but often successful
with [u, o, a, i].
-Basic understanding of heavy and light mechanism
is introduced.
-Resonance inconsistent due to vowel space and
heavy mechanism or “chest,” voice.
-Choir sings mostly in light or “head” voice.
“Tall” or “dome” space, lifting soft palate
introduced.
range of a 6th to a tenth, expands with age and
experience.
caused by range extremes, or some consonants and
diphthongs.
mixing into heavy mechanism introduced;
changing male voices handled individually and
pedagogically.
- Consistent vowel uniformity, space, and color with
basic vowels.
-Resonating spaces such as “Tall, dome, or lift the
soft palate” consistent.
-Resonance uniformity using vowel modification,
matching embouchure, et al evident.
-Resonance consistent throughout middle voice,
upper voice varied due to age and experience,
Soprano to G5, Alto to D5, Tenor to F4, Bass to
D4.
-Resonance affected by text and range, some
distortion caused by range extremes, and by some
consonants and diphthongs.
- Treble voices develop “mix.’ Tenor and Bass
develop head voice and focused lower voice.
-Consistency of resonance in all vowels, including
diphthongs and many non-English vowels.
-Resonance develops through awareness of heavy/
light/mix mechanism, and sensations of inner
resonating space developed as “lift, tall, round” or
specific resonant vowels.
-Resonance extends upward: S to A5, A to F5, T to
A4, B to F4.
-Resonance affected by range extremes:
modification of resonating spaces introduced.
-Lower register of S and A develops colorful mix of
heavy and light mechanism. T and B develop a
bright, expansive mid to lower tones and light,
lyric, focused upper voice.
-Choir develops resonance through a naturally and - Blend results from vibrant, overtone rich sound,
artistically shaped text.
-Choir develops a vibrant, overtone-rich sound,
consistent in all registers and voice parts,
regardless of dynamic, style, or language.
-Resonance can be affected in the most demanding
of passages and languages, can be coached.
light mechanism, upper voice agile and vibrant.
Tenor and Bass are consistently bright and
expansive in mid to lower resonance and upper
voice that is clear, focused.
-Singers produce a vibrant, overtone rich sound,
consistent in all registers and all voice parts, -Balance handled through varied standing
regardless of language, dynamic or tessitura.
-Approach to tone is varied and stylistically
informed and does not detract from resonance and
beauty.
RESONANCE:
Blend and Balance Vocal Facility and Independence
-Choir develops vowel uniformity improving blend -Singing range determined by age, gender, vocal
and balance. quality, and speaking voice, generally a 6th to a
-Choir often most successful with [u, o, a, i]. 10th in all voice parts.
-Uniformity occurs most easily when all singers sing - Stepwise melodies and simple intervals sung
together in head register. clearly at a moderate tempo, slower and faster
-Inconsistency occurs with heavy mechanism passages can be a challenge.
singing and difficult vowels, [ɛ, ae], etc. -Unison voicing is preferred, but simple
counterpoint, such as partner songs or canons, can
be sung.
-Choir develops basic vowel uniformity and -Singing range determined by age, gender, vocal
matching vowel shape. quality, and speaking voice. Range begins as 6th to
-Blend most successful in slow moving passages, a 12th, expands with age and experience.
cadences and with vowels [u, o, a. i]. -Stepwise melodies, slow to moderately fast tempi,
-Blend affected in rhythmic or fast-moving sections and intervals of 3rds, 4ths, 5ths sung clearly.
due to text or individual singer’s volume. -Unison, partner songs, and simple counterpoint
-Balance affected by personnel and voicing of sung with clarity. Inconsistencies with part
repertoire. independence occurs with parallel harmonies in
-Balance achieved by adjusting numbers of singers thirds, or minor dissonance.
on each part and standing arrangements. -Some compositions in three or four parts possible,
determined by personnel, range, or composition
style.
-Singing in non-Western classical styles introduced.
-Choir develops vowel uniformity through -Works to extend range and address age-related
embouchure matching and vowel modification. vocal changes.
-Uniformity of tone develops within sections -Singers vocalize slightly beyond where they can
throughout middle voice. consistently achieve good resonance in
-Individuals may be heard as ranges expand or performance.
voices develop. -Melodies containing intervals of 3rds, 4ths, and 5ths
-Balance affected by personnel and repertoire, sung clearly at most tempi.
-Balance achieved by adjusting numbers of singers -Most intervals can be sung clearly at a moderate
on each part. tempo with coaching.
- Varying balance to repertoire (counterpoint, -Compositions in two to four parts preferred, greater
“pyramid” balance) is sometimes desired and divisi possible, determined by balance of
introduced. personnel.
-Singing in non-Western styles is evident.
-Uniformity of color and resonance created by -Choir works to extend range and increase agility.
precise rhythm and dynamic shape developed. -Singers demonstte ease of tessitura in upper voice:
-Blend results from a consistent resonance and vocal S can easily sustain passages D5-F5, Alto C5-E5,
approach, yet encourages vocal development. Tenor D4 to F4, Bass C4-Eb4.
-Individuals may be heard due to maturing timbre, -16th note runs can be sung clearly at moderately
strength, and vibrato. fast tempo, passages with chromatic intervals can
-Blend adjusted as voices mature, using voice be sung when coached.
matching and standing arrangements. -All singers can manage divisi within each section.
-Blend varies by choice of vibrato, straight tone at Complexity of divisi determined by personnel.
cadences, or varied style needs. -Vocalization in non-Western classical styles
-Balance addressed by varied standing arrangements developed.
and dynamic adjustment.
-Repertoire-based balance variations evident.
-Singers can sustain tessitura in all registers in most
consistent in all vowels, registers as well as unified styles.
musical elements. -Chromatic intervals and passages, complex
-Individual’s technique allows for flexibility of rhythms, dissonant intervals and harmonies sung
vowel and resonance to create blend while clearly, some inconsistencies of resonance and
maintaining a relaxed and healthy sound, clarity occurs and can be coached.
regardless of style or language. -All divisi is possible as determined by personnel.
-Singers demonstrate ability to vocalize in non-
of repertoire, and is achieved through various Western classical styles.
methods such as varied standing arrangements,
moving singers from part to part, adjustments of
resonance, vowel and dynamic.
ensemble and blend, regardless of tonal approach. -Singers in all sections sing with clarity and
resonance in all ranges.
arrangements, flexible handling of personnel, e.g. - Tessiturae across all ranges can be sustained with
moving of voices from section to section, staging consistent resonance.
and vocal technique. -Complex rhythms and harmonies can be sung with
-Desired balance shifts from piece to piece absolute clarity of resonance and pitch.
depending on demands of repertoire, musical style -Any divisi is possible.
and variations within a work due to needs of -Singers demonstrate technique to create any non-
counterpoint, tessitura, and personnel. Western classical sound or style
when coached.
CHORAL LITERACY RUBRIC: All Levels of Development
VOCAL TECHNIQUE
Intonation
-Choir works to sing well in unison.
-Pitch is most clear in unison passages.
-Choir learns to listen as choir understands vowel
uniformity.
-Singing “in tune” with pentatonic and simple
melodies is introduced.
-Choir develops basic understanding of intonation
both listening to others and audiation.
-Intonation consistent in middle voice with basic
vowels.
-Inconsistencies occur with challenges of text,
diphthongs, range, and dynamics.
-Tuning during unison passages and within sections
more consistent, while tuning between sections
may be a challenge.
-Partner songs, simple counterpoint can be sung
with clarity of pitch. Tuning homophonic passages
or close harmonies can be inconsistent.
-Choir emphasizes listening, developing both
listening to others and audiation.
-Tuning demonstrated in all ranges with coaching.
Inconsistencies occur with challenges of text,
diphthongs, tessitura and dynamics.
- Listening and tuning within sections is consistent
and sections work to tune with other sections,
particularly at cadences.
-Tuning is growing in homophonic sonorities. Fast
moving sections or counterpoint will be
inconsistent. A cappella singing is evident.
-Choir sings in tune individually, within each
section, and between sections.
-Intonation consistent throughout vocal ranges, at
faster tempi, more challenging intervals, or text.
Inconsistencies may still be present.
-Melodic tuning occurs in addition to harmonic
tuning. Students able to make adjustments to fix
poor intonation.
-When singing a cappella, choir tunes well even if
the overall pitch may flat or sharp.
-Complex chords often tune accurately.
Inconsistencies in tuning occur due to individual
development of vocal technique, breath
management and vibrato.
-Singers able to tune in all registers.
-Intonation accurate in all styles and tempi.
-Singers can adjust temperament when singing with
piano, (equal temperament) or a cappella (just,
mean tone) when coached.
-Singers maintain correct pitch center in a cappella
music.
-Singers can tune dissonant or complex harmonies
of varied styles. Singing microtones and non-
Western tuning can be coached. Inconsistencies
occur due to developing technique, breath
management and vibrato, solutions can be
coached.
-Flawless intonation.
-Choir adjusts to varied temperaments as needed for
historical purposes or instrumental demands,
singing non-Western styles and with non-Western
instruments.
- Intonation is accurate within dissonant passages or
works, as well as dissonant accompaniment.
-Singing microtones or non-western tuning can be
coached.
Breath Management
-Choir works to “breathe together” and to develop
good posture.
-Choir learns to breathe together at the onset of a
song.
-Low breath is introduced.
-Singers demonstrate consistent breath energy in
short, loud passages, soft singing remains breathy.
-Choir develops good posture and consistent low
breath, is successful when coached.
-Clavicular breathing occurs much of the time.
-Onset breath for individual phrases is introduced.
- Onset breath at the beginning of a song or a major
section of a song consistently demonstrated.
-“Stagger breathing” for sustained tones, e.g.
ritards, fermatas, is introduced.
-Breath energy sustained at louder dynamics; breath
energy inconsistent in softer dynamics, may result
in in poor intonation, decreased legato, et al.
-Choir develops consistent low onset breath at
beginning of songs, is successful at breathing low
throughout a piece when coached.
-Singers use good posture both sitting and standing
when coached.
-Breathing low during “catch breaths,” is consistent.
- Onset breath, such as “Breathing in the vowel” is
developed.
-Choir initiates phrase or crescendo with “breath
energy,” by “pushing” or “moving air.”
-Breath energy sustained at louder dynamics; softer
dynamics introduced, inconsistency results in poor
intonation, decreased legato, et al.
-Choir works to sing “on the breath,” sustains the
feeling of breath energy throughout each phrase at
all dynamics.
-Choir demonstrates low breathing consistently at
onsets of songs, becomes successful at breathing
low throughout a piece.
-“Maintaining or containing” breath to sustain breath
energy is introduced.
-Choir takes catch breaths to re-establish low body
energy when coached.
-Choir prepares vowel or other musical elements
during onset when coached.
-Non-Western classical techniques for jazz,
Broadway, and world music introduced.
-Onset breaths prepare singers for vowel, pitch,
timbre and articulation.
-All aspects of appoggio are introduced.
-Strong intercostal engagement along with low
breath results in an onset that is a balanced release
of breath from an energized body. “Maintaining,
containing, or singing on the breath” is consistent.
-Catch breaths are planned and artistically shaped.
-Non-Western classical breathing styles, jazz,
Broadway, overtone singing can be coached.
-Superb breath management technique creates a -The entire range of dynamics is possible with
balanced and intentional energy and flow
throughout all registers and dynamics. -Dynamics are the result of a natural mix of an
-Varied flow and pressure allow singers to create a
wide palate of sounds.
-Onset and catch breaths are an important expressive performance practice.
component in a musically sung phrase.
-Non-Western classical use of breath and body
easily produced.
© Geoffrey Boers/ David Wimett 2018
BREATH:
Dynamics
-Choir works to unify dynamics.
-Dynamic unification grows with singer’s
understanding of vowel uniformity, and heavy/
light mechanism.
-Singer’s ability to sing with dynamic contrast varies -Short and long, heavy and light enunciation are
due to age, physical development and confidence.
-Choir can demonstrate forte and piano, and can sing
with contrasting dynamic between songs or
between major sections within a song.
-Choir works to sing with varied dynamics.
-Choir demonstrates awareness of dynamics,
variance of dynamic f, mf, mp, p heard between
songs.
-Dynamics varies from phrase to phrase. “Rise and
fall,” or crescendo and decrescendo are present
when coached.
-Dynamics often affect quality of resonance and
pitch.
-Choir develop musicality with dynamic contrast.
-Choir develops varied dynamics within a phrase,
“rise and fall.”
-Dynamics from mp-mf demonstrate choir’s
understanding of Level III breath management and
resonance.
-Crescendo to f dynamics may be pressed due to
developing technique, while decrescendo and p
dynamics may be breathy.
-Dynamics affected by tessitura: higher passages
may be sung louder, lower tones softer, individuals
may be heard.
-Choir develops consistent breath energy and beauty
of tone from p-f.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Poetic shaping of dynamic within the over-arching
dynamic is introduced.
-Dynamics from p-f demonstrate understanding of
Level IV breath management and resonance.
Extreme dynamic ranges of pp may become
breathy and ff may be pressed or over sung, due to
developing technique.
-Dynamics are affected by extremes of tessitura,
with higher passages sung louder, and lower tones
softer, individuals may be heard.
-Consistent breath energy creates a natural rise and -Choir demonstrates a mature approach to
fall of dynamics in all registers.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Subtle poetic shaping of dynamic within the over-
arching dynamic is consistently demonstrated.
-Technically demanding dynamics, e.g. mesa di
voce, fp, sfz, or other stylistic can be coached.
-Dynamic distortions of vocal quality, vowel,
vibrato, can be solved when coached.
-Dynamic markings are seen as guides though which
an artistically shaped musical line is sung as
opposed to absolutes.
consistent resonance and pitch.
artistically sung musical line within the musical
texture, informed by stylistic or historical
Articulation
-Choir works toward enunciating clearly and
projecting.
-Clarity of articulation varies as result of text and
volume.
introduced.
Choir develops basic types of articulation: accent
and legato, heavy and light, long and short.
-Articulation most often text and volume based,
variation of articulation can be coached.
-Various types of accents (staccato, marcato)
introduced.
-Legato singing is introduced, is often inconsistent as
affected by text, musical setting, and developing
breath management.
-Choir develops singing more varied and challenging
articulations.
-Articulation as a function of Level III breath
management is introduced.
-Various types of other articulations introduced, e.g.
crescendo on dotted or tied notes, fp, sfz, fermata.
-Legato is often present when coached. Forward
motion and sustained energy during legato needs
to develop, is most successful at louder dynamics
and when low breath occurs.
-Choir works toward artistic use of articulations.
-Articulations varied and often connected to breath,
consistent throughout the choir. Extreme
articulation demands can affect pitch and
resonance.
-Varied weights of repeated articulations, or
articulation as a result of artistic poetic
declamation introduced.
-A mature legato is present, and creates a sense of
forward motion, energy, or momentum.
articulation of text and music, reflective of
language and style.
-Composer’s articulation markings develop as a
reflection of an artistically sung text and musical
line, rather than as absolutes.
-Choir maintains vocal health through long
articulated passages, extremes of articulation in
challenging dynamics and tessitura.
-Uniform throughout, consistently a function of
utilizing breath
-Articulation is varied with regards to needs for
balance, dynamic, tessitura, and vocal
considerations, with an artistic and poetic
declamation.
Diction
-Choir’s works to enunciate together.
-Vowel uniformity reflects singers’ understanding of -Choir demonstrates physical sense of pulse when
Level I vowels and resonance.
-Consonant clarity varies by age, dialect, or
ethnicity, which can result in lack of precision.
-Choir can onset and offset with strong consonants
when coached, most internal consonants lack
clarity.
Choir works to sing with clarity of text and
projecting.
-Vowel uniformity reflects Level II techniques of
vowels and resonance.
- Consonant clarity is heard, especially at onsets of
phrases and louder dynamics.
-Inconsistencies occur due to jaw tension, vocal
range extremes and dynamics.
-Consonants before the beat and internal consonants
introduced.
- Non-English language texts introduced.
-Choir emphasizes singing clear, initial onset, and
final offset consonants.
-Vowel uniformity present in basic vowels,
diphthongs and open vowels may be challenging.
-Internal consonants may be difficult to discern.
- Consonants before the beat is developed.
-Vowel distortion and clarity of consonants occurs in
range and dynamic extremes.
-Choir can sing in Latin and at least one other
language.
-Choir works to enunciate text clearly and
expressively.
-Choir works to enunciate appropriately in range
extremes.
-Consonants before the beat and inner consonants
are consistent and help create a sense of forward
motion.
-Enunciation with appropriate dialect in common
languages is introduced.
-A more difficult language to English-speaking
singers may be introduced, e.g. French or Russian.
-Choir emphasizes fluency.
-Choir enunciates text clearly in a variety of
languages, including more challenging languages,
with appropriate dialect determined by language,
region, or history.
-Intentional tonal difference resulting from dialect
may be desired and coached.
-Modification of consonants and enunciation for
musical reasons (rubato, delaying onset, legato,
tessitura, balance with instruments) is developed.
-Vowels vary in color and resonance as determined
by language and stylistic approach, yet maintain
uniformity throughout the choir.
-All languages have a consistent and dialectic
approach, appropriate for musical style.
-Singers can easily be coached to express subtleties
of enunciation, as well as unusual linguistic
demands.
ARTISTRY:
Rhythm (Precision, clarity, expressive qualities)
-Choir works to sing rhythmically together.
coached. Rhythmic inconsistencies are common,
and precision is affected by age, variances of body
awareness, dynamic, diction, and articulation.
-Simple rhythms can be sung accurately,
syncopation and simple multicultural rhythms can
be taught by rote.
-Basic count singing is possible.
-Choir works toward unified diction, consistent
vowels and energized consonants for rhythmic
clarity.
-Inner pulse introduced.
-Choir sings together but rushing or dragging is
common.
-Rhythms more complex than eighth note patterns
can be coached. Count singing is possible with
eighth notes.
-Choir develops counting together and inner pulse,
and is successful when coached.
-Rhythmic or tempo inconsistencies sometimes
occur, with clarity, rushing, or dragging affected
by dynamic, tempo, and choir energy.
-Accelerando and ritardando performed with
accuracy, tempo changes can affect tone or breath
management.
-Various meter signatures introduced. Multicultural
rhythms are introduced.
-Dotted rhythms and triplets can be coached.
-Count singing is possible with eighth notes.
-Choir emphasizes precision and accuracy.
-Choir demonstrates consistent sense of rhythmic
energy most of the time regardless of style.
-Accelerando and Ritardando performed with
consistent breath management, tone and dynamic
when coached.
-Rhythm as an expressive element is introduced.
Tempo changes and fermatas have a sense of
rhythmic purpose. Subdivision as a unifying and
musical tool is introduced.
-Varied styles of rhythm (e.g. jazz, multicultural
styles) explored.
-Count singing in various meters and subdivisions
may be possible.
-Choir demonstrates consistent inner pulse.
-Choir maintains vocal technique throughout
variations of tempo and challenging passages.
-Rhythm develops as an expressive element, with
varied weight, momentum, and rubato, in addition
to precision.
-Knowledge of subdivision is demonstrated in
challenging rhythms and all styles.
-Rhythm demonstrates artistic sense of expression,
with varied weight, momentum, and rubato
successfully coached.
- Precision is consistent in all rhythms and styles
once coached.
-Inner pulse and subdivision in all singers leads to a -Choir sings as vocal artists similar to a chamber
vibrant and unified rhythmic approach.
MUSICIANSHIP
Expression & Artistry (Style, Form, Expression)
-Choir emphasizes singing with energy, body
involvement, and facial expression to convey
mood.
-Expression varies by age, body awareness, energy,
and confidence.
-Choir can sing with varied dynamics from song to
song, or between major sections of a song.
-General mood of the song is understood.
-Form is demonstrated by contrasting formal
elements, such as verses and refrains, with
dynamics.
-Body movements help singers connect physicality
to the mood and sound they want to convey.
-Choir works to create a style for each piece with
dynamic, tempo, general articulation, and text.
-Varied dynamics p, mp, mf, f present from phrase
to phrase.
-Word stress/unstress is introduced.
-General mood of poetry is understood.
-Form is demonstrated by contrasting dynamics of
verses or phrases, finding a “high point” in each
piece is introduced.
-Most of the choir demonstrates facial expression
and/or appropriate movement during singing,
especially when coached.
-Choir emphasizes expression. Choir consistently
demonstrates varied dynamics from phrase to
phrase. “Rise and fall” within a phrase is
introduced.
-Composer’s musical indications followed, resulting Largo-Allegro (56-144), Musical Markings:
in varied approaches from piece to piece.
-Word and syllabic stress/un-stress are explored.
-General meaning of poetry is understood.
-Form explored, choir demonstrates understanding
of build up to a “high point” in each piece.
-Extra-musical means of expression (movement,
facial engagement, “choralography,” standing
arrangements, narration. et al) may be present.
-Choir develops communication and style.
-Choir demonstrates rise and fall of phrase, word
stress and release, syllabic stress and release,
resulting in poetic declamation of text and
artistically shaped singing.
-Musical decisions based both on the composer’s
markings as well as personal expression.
Historical style and performance practice may be
present.
-Specific meaning of the text is understood
-Form demonstrated by intentional shaping of
momentum, energy, and musical details toward
and away from the “high point” of each piece.
-Extra-musical means of expression are
demonstrated.
-Emphasizes mature artistry.
- Demonstrates artistically shaped phrases, poetic
declamation, rhythmic musicality (flexibility,
varied weight, momentum), consistent reading of
the composer’s indications.
-Historical or multicultural style and performance
practice informs choices of language, tone, artistic
elements.
-Choir demonstrates how specific meaning of the
text is reflected in musical elements.
-Choir combines musical elements and composer’s
intentions into a musical whole.
-Extra-musical expression (programming,
movement, staging) is creative.
ensemble.
-The utmost in individual artistry combines together
with other artists to create a powerful expressive
performance.
-Historical performance practice is combined with
insightful artistry.
-Text is sung in a poetic and/or meaningful way and
combines with insightful attention to musical
detail to create moving performances.
-Musical elements combine to create a musical,
dramatic, and/or personal artistic statement.
-Choir utilizes creative means to effectively
communicate with audience.
MUSIC READING:
Rhythm and Musical Markings Melody, Intervals and Audiation
Meter: 2/4, 3/4, 4/4 Note Values: Whole, half, Melodic Reading: Step-wise and Pentatonic
quarter Tempo: Andante-Moderato (72-120) melodies, unison. Intervals: Whole step, Minor
Tempo Markings: Adagio, Allegro, p, mp, mf, f Third, Perfect Fourth and Fifth, Major Scale
introduced. Key Signatures: None to two sharps
or 2 flats. Chord Tones: Two part “chords” built
on pentatonic scale degrees.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8 Melodic Reading: Step-wise and Pentatonic
Note Values: Whole, half, quarter, eighth, simple melodies, introduction of 3rds, 4ths, and 5ths in
dotted notes and syncopation Tempo: Andante- melody, unison and 2-part canon or simple
Allegro (72-132) Musical Markings: Adagio, counterpoint, dotted notes later in year. Intervals:
Andante, Moderato, Allegro, Rit.(ardando), Accel. Whole step, Half step, Minor Third, Major Third,
(erando), pp-ff,, Cresc.(endo) and Decresc.(endo), Perfect Fourth, Perfect Fifth, all intervals of Major
Accent mark > Scale sung with Kodály hand signals. Key
Signatures: None to three sharps or three flats,
Minor Key introduced. Chord Tones: Two to three
part chords, major and minor root position, 6ths
and 7ths introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Step-wise and Pentatonic
5/4, 6/4, simple changing meters Note Values: melodies, 4ths, and 5ths, introduction of 6ths in
Whole, half, quarter, eighth, sixteenth, dotted melody, unison to four-part reading depending on
notes, syncopation, eighth note triplets Tempo: difficulty, dotted notes, syncopation, and triplets.
Intervals: All intervals of Major and Minor Scale
Adagio, Andante, Moderato, Allegro, Presto, Rit. sung with Kodály hand signals. Non-diatonic
(ardando), Accel.(erando), pp-ff, Cresc(endo) and intervals with Kodály syllables and hand signals
Decresc(endo), sfz, fp, fermata, subito, Accent >, introduced. Key Signatures: None to four sharps
marcato and staccato. Non-Traditional Notation: or four flats, both major and minor. Chord Tones:
Introduced in jazz or multicultural repertoire. Three to four part chords, major and minor root
position 7th chords, 9ths and inversions
introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Melodies with all diatonic
5/4, 6/4, 3/8, 5/8, 7/8, 9/8, 12/8 and changing intervals, major and minor, unison to four part
meters Note Values: Whole, half, quarter, eighth, reading depending on difficulty, dotted notes,
sixteenth, dotted notes, syncopation, eighth and syncopation, triplets, compound meter, basic
quarter note triplets Tempo: Largo-Presto (56-168) meter changes. Intervals: All intervals, Major
Musical Markings: Adagio, Andante, Moderato, Scale and Minor sung with Kodály hand signals.
Allegro, Presto, Rit.(ardando), Accel.(erando), Non-diatonic intervals (tritone, major seventh,
ppp-fff,, Cresc(endo) and Decresc(endo), sfz, fp, minor ninth etc.) with Kodály syllables and hand
fermata, subito, piu, meno, Accent >, plus signals practiced. Key Signatures: None to five
marcato, staccato, tenuto. Non-Traditional sharps or five flats, both major and minor. Chord
Notation: Developed with opportunities to sing Tones: Three to eight part chords, major and minor
jazz, aleatoric, multi-cultural, or early music. root position 7th chords and inversions, altered
chord tones introduced.
Meter: Any can be coached Note Values: Any Melodic Reading: Melodies utilizing all intervals, all
Tempo: Any can be coached Musical Markings: keys and modes, unison to eight-part reading
All common markings, descriptive phrases (con depending on difficulty, challenging syncopation,
bocca chiusa, ) can be coached and understood triplets, compound meter, challenging meter
easily. Traditional Notation: Developing with changes. Intervals: All intervals, Major Scale and
opportunities to sing modern styles. Minor sung with Kodály hand signals. Non-
diatonic intervals with Kodály syllables and hand
signals developed through application to
chromatic repertoire. Key Signatures: Any key
major or minor. Chord Tones: All positions and
inversions of chords; rootless chords,
and "stacked" chords; 6-part and more chord
tones.
All elements mastered. All elements mastered.

CHORAL PERFORMANCE
LEVEL ASSESSMENT
Level 1
(Entry level choirs of all ages)
Level 2 - Choir develops basic vowel uniformity and space.
-Resonance develops by creating space in mouth.
-Resonance consistent in vowels [i, e, a, o, u] within
(Elementary and MS choirs,
emerging HS, church, and -Resonance affected by text and range: distortion
community choirs, beginning
non-auditioned collegiate
choirs) -Treble voices sing mostly in light mechanism,
Level 3
(Advanced MS, JH choirs,
some average HS, church,
community and non-
auditioned collegiate choirs)
Level 4
(Advanced HS choirs, very
good church and community
choirs, average collegiate
choirs)
Level 5
(High level collegiate, church, - Treble lower register is a colorful mix of heavy and -Balance is varied by musical and stylistic demands
community, and semi-
professional choirs)
Level 6
(Top professional and semi-
professional choirs, a rare
collegiate choir)
Resonance and Vowels
-Choir works to shape vowels together, understands
basic vowel uniformity.
-Resonance introduced as “tall” vowels, opening up
resonating spaces.
-Resonance is inconsistent, but often successful
with [u, o, a, i].
-Basic understanding of heavy and light mechanism
is introduced.
-Resonance inconsistent due to vowel space and
heavy mechanism or “chest,” voice.
-Choir sings mostly in light or “head” voice.
“Tall” or “dome” space, lifting soft palate
introduced.
range of a 6th to a tenth, expands with age and
experience.
caused by range extremes, or some consonants and
diphthongs.
mixing into heavy mechanism introduced;
changing male voices handled individually and
pedagogically.
- Consistent vowel uniformity, space, and color with
basic vowels.
-Resonating spaces such as “Tall, dome, or lift the
soft palate” consistent.
-Resonance uniformity using vowel modification,
matching embouchure, et al evident.
-Resonance consistent throughout middle voice,
upper voice varied due to age and experience,
Soprano to G5, Alto to D5, Tenor to F4, Bass to
D4.
-Resonance affected by text and range, some
distortion caused by range extremes, and by some
consonants and diphthongs.
- Treble voices develop “mix.’ Tenor and Bass
develop head voice and focused lower voice.
-Consistency of resonance in all vowels, including
diphthongs and many non-English vowels.
-Resonance develops through awareness of heavy/
light/mix mechanism, and sensations of inner
resonating space developed as “lift, tall, round” or
specific resonant vowels.
-Resonance extends upward: S to A5, A to F5, T to
A4, B to F4.
-Resonance affected by range extremes:
modification of resonating spaces introduced.
-Lower register of S and A develops colorful mix of
heavy and light mechanism. T and B develop a
bright, expansive mid to lower tones and light,
lyric, focused upper voice.
-Choir develops resonance through a naturally and - Blend results from vibrant, overtone rich sound,
artistically shaped text.
-Choir develops a vibrant, overtone-rich sound,
consistent in all registers and voice parts,
regardless of dynamic, style, or language.
-Resonance can be affected in the most demanding
of passages and languages, can be coached.
light mechanism, upper voice agile and vibrant.
Tenor and Bass are consistently bright and
expansive in mid to lower resonance and upper
voice that is clear, focused.
-Singers produce a vibrant, overtone rich sound,
consistent in all registers and all voice parts, -Balance handled through varied standing
regardless of language, dynamic or tessitura.
-Approach to tone is varied and stylistically
informed and does not detract from resonance and
beauty.
RESONANCE:
Blend and Balance Vocal Facility and Independence
-Choir develops vowel uniformity improving blend -Singing range determined by age, gender, vocal
and balance. quality, and speaking voice, generally a 6th to a
-Choir often most successful with [u, o, a, i]. 10th in all voice parts.
-Uniformity occurs most easily when all singers sing - Stepwise melodies and simple intervals sung
together in head register. clearly at a moderate tempo, slower and faster
-Inconsistency occurs with heavy mechanism passages can be a challenge.
singing and difficult vowels, [ɛ, ae], etc. -Unison voicing is preferred, but simple
counterpoint, such as partner songs or canons, can
be sung.
-Choir develops basic vowel uniformity and -Singing range determined by age, gender, vocal
matching vowel shape. quality, and speaking voice. Range begins as 6th to
-Blend most successful in slow moving passages, a 12th, expands with age and experience.
cadences and with vowels [u, o, a. i]. -Stepwise melodies, slow to moderately fast tempi,
-Blend affected in rhythmic or fast-moving sections and intervals of 3rds, 4ths, 5ths sung clearly.
due to text or individual singer’s volume. -Unison, partner songs, and simple counterpoint
-Balance affected by personnel and voicing of sung with clarity. Inconsistencies with part
repertoire. independence occurs with parallel harmonies in
-Balance achieved by adjusting numbers of singers thirds, or minor dissonance.
on each part and standing arrangements. -Some compositions in three or four parts possible,
determined by personnel, range, or composition
style.
-Singing in non-Western classical styles introduced.
-Choir develops vowel uniformity through -Works to extend range and address age-related
embouchure matching and vowel modification. vocal changes.
-Uniformity of tone develops within sections -Singers vocalize slightly beyond where they can
throughout middle voice. consistently achieve good resonance in
-Individuals may be heard as ranges expand or performance.
voices develop. -Melodies containing intervals of 3rds, 4ths, and 5ths
-Balance affected by personnel and repertoire, sung clearly at most tempi.
-Balance achieved by adjusting numbers of singers -Most intervals can be sung clearly at a moderate
on each part. tempo with coaching.
- Varying balance to repertoire (counterpoint, -Compositions in two to four parts preferred, greater
“pyramid” balance) is sometimes desired and divisi possible, determined by balance of
introduced. personnel.
-Singing in non-Western styles is evident.
-Uniformity of color and resonance created by -Choir works to extend range and increase agility.
precise rhythm and dynamic shape developed. -Singers demonstte ease of tessitura in upper voice:
-Blend results from a consistent resonance and vocal S can easily sustain passages D5-F5, Alto C5-E5,
approach, yet encourages vocal development. Tenor D4 to F4, Bass C4-Eb4.
-Individuals may be heard due to maturing timbre, -16th note runs can be sung clearly at moderately
strength, and vibrato. fast tempo, passages with chromatic intervals can
-Blend adjusted as voices mature, using voice be sung when coached.
matching and standing arrangements. -All singers can manage divisi within each section.
-Blend varies by choice of vibrato, straight tone at Complexity of divisi determined by personnel.
cadences, or varied style needs. -Vocalization in non-Western classical styles
-Balance addressed by varied standing arrangements developed.
and dynamic adjustment.
-Repertoire-based balance variations evident.
-Singers can sustain tessitura in all registers in most
consistent in all vowels, registers as well as unified styles.
musical elements. -Chromatic intervals and passages, complex
-Individual’s technique allows for flexibility of rhythms, dissonant intervals and harmonies sung
vowel and resonance to create blend while clearly, some inconsistencies of resonance and
maintaining a relaxed and healthy sound, clarity occurs and can be coached.
regardless of style or language. -All divisi is possible as determined by personnel.
-Singers demonstrate ability to vocalize in non-
of repertoire, and is achieved through various Western classical styles.
methods such as varied standing arrangements,
moving singers from part to part, adjustments of
resonance, vowel and dynamic.
ensemble and blend, regardless of tonal approach. -Singers in all sections sing with clarity and
resonance in all ranges.
arrangements, flexible handling of personnel, e.g. - Tessiturae across all ranges can be sustained with
moving of voices from section to section, staging consistent resonance.
and vocal technique. -Complex rhythms and harmonies can be sung with
-Desired balance shifts from piece to piece absolute clarity of resonance and pitch.
depending on demands of repertoire, musical style -Any divisi is possible.
and variations within a work due to needs of -Singers demonstrate technique to create any non-
counterpoint, tessitura, and personnel. Western classical sound or style
when coached.
CHORAL LITERACY RUBRIC: All Levels of Development
VOCAL TECHNIQUE
Intonation
-Choir works to sing well in unison.
-Pitch is most clear in unison passages.
-Choir learns to listen as choir understands vowel
uniformity.
-Singing “in tune” with pentatonic and simple
melodies is introduced.
-Choir develops basic understanding of intonation
both listening to others and audiation.
-Intonation consistent in middle voice with basic
vowels.
-Inconsistencies occur with challenges of text,
diphthongs, range, and dynamics.
-Tuning during unison passages and within sections
more consistent, while tuning between sections
may be a challenge.
-Partner songs, simple counterpoint can be sung
with clarity of pitch. Tuning homophonic passages
or close harmonies can be inconsistent.
-Choir emphasizes listening, developing both
listening to others and audiation.
-Tuning demonstrated in all ranges with coaching.
Inconsistencies occur with challenges of text,
diphthongs, tessitura and dynamics.
- Listening and tuning within sections is consistent
and sections work to tune with other sections,
particularly at cadences.
-Tuning is growing in homophonic sonorities. Fast
moving sections or counterpoint will be
inconsistent. A cappella singing is evident.
-Choir sings in tune individually, within each
section, and between sections.
-Intonation consistent throughout vocal ranges, at
faster tempi, more challenging intervals, or text.
Inconsistencies may still be present.
-Melodic tuning occurs in addition to harmonic
tuning. Students able to make adjustments to fix
poor intonation.
-When singing a cappella, choir tunes well even if
the overall pitch may flat or sharp.
-Complex chords often tune accurately.
Inconsistencies in tuning occur due to individual
development of vocal technique, breath
management and vibrato.
-Singers able to tune in all registers.
-Intonation accurate in all styles and tempi.
-Singers can adjust temperament when singing with
piano, (equal temperament) or a cappella (just,
mean tone) when coached.
-Singers maintain correct pitch center in a cappella
music.
-Singers can tune dissonant or complex harmonies
of varied styles. Singing microtones and non-
Western tuning can be coached. Inconsistencies
occur due to developing technique, breath
management and vibrato, solutions can be
coached.
-Flawless intonation.
-Choir adjusts to varied temperaments as needed for
historical purposes or instrumental demands,
singing non-Western styles and with non-Western
instruments.
- Intonation is accurate within dissonant passages or
works, as well as dissonant accompaniment.
-Singing microtones or non-western tuning can be
coached.
Breath Management
-Choir works to “breathe together” and to develop
good posture.
-Choir learns to breathe together at the onset of a
song.
-Low breath is introduced.
-Singers demonstrate consistent breath energy in
short, loud passages, soft singing remains breathy.
-Choir develops good posture and consistent low
breath, is successful when coached.
-Clavicular breathing occurs much of the time.
-Onset breath for individual phrases is introduced.
- Onset breath at the beginning of a song or a major
section of a song consistently demonstrated.
-“Stagger breathing” for sustained tones, e.g.
ritards, fermatas, is introduced.
-Breath energy sustained at louder dynamics; breath
energy inconsistent in softer dynamics, may result
in in poor intonation, decreased legato, et al.
-Choir develops consistent low onset breath at
beginning of songs, is successful at breathing low
throughout a piece when coached.
-Singers use good posture both sitting and standing
when coached.
-Breathing low during “catch breaths,” is consistent.
- Onset breath, such as “Breathing in the vowel” is
developed.
-Choir initiates phrase or crescendo with “breath
energy,” by “pushing” or “moving air.”
-Breath energy sustained at louder dynamics; softer
dynamics introduced, inconsistency results in poor
intonation, decreased legato, et al.
-Choir works to sing “on the breath,” sustains the
feeling of breath energy throughout each phrase at
all dynamics.
-Choir demonstrates low breathing consistently at
onsets of songs, becomes successful at breathing
low throughout a piece.
-“Maintaining or containing” breath to sustain breath
energy is introduced.
-Choir takes catch breaths to re-establish low body
energy when coached.
-Choir prepares vowel or other musical elements
during onset when coached.
-Non-Western classical techniques for jazz,
Broadway, and world music introduced.
-Onset breaths prepare singers for vowel, pitch,
timbre and articulation.
-All aspects of appoggio are introduced.
-Strong intercostal engagement along with low
breath results in an onset that is a balanced release
of breath from an energized body. “Maintaining,
containing, or singing on the breath” is consistent.
-Catch breaths are planned and artistically shaped.
-Non-Western classical breathing styles, jazz,
Broadway, overtone singing can be coached.
-Superb breath management technique creates a -The entire range of dynamics is possible with
balanced and intentional energy and flow
throughout all registers and dynamics. -Dynamics are the result of a natural mix of an
-Varied flow and pressure allow singers to create a
wide palate of sounds.
-Onset and catch breaths are an important expressive performance practice.
component in a musically sung phrase.
-Non-Western classical use of breath and body
easily produced.
© Geoffrey Boers/ David Wimett 2018
BREATH:
Dynamics
-Choir works to unify dynamics.
-Dynamic unification grows with singer’s
understanding of vowel uniformity, and heavy/
light mechanism.
-Singer’s ability to sing with dynamic contrast varies -Short and long, heavy and light enunciation are
due to age, physical development and confidence.
-Choir can demonstrate forte and piano, and can sing
with contrasting dynamic between songs or
between major sections within a song.
-Choir works to sing with varied dynamics.
-Choir demonstrates awareness of dynamics,
variance of dynamic f, mf, mp, p heard between
songs.
-Dynamics varies from phrase to phrase. “Rise and
fall,” or crescendo and decrescendo are present
when coached.
-Dynamics often affect quality of resonance and
pitch.
-Choir develop musicality with dynamic contrast.
-Choir develops varied dynamics within a phrase,
“rise and fall.”
-Dynamics from mp-mf demonstrate choir’s
understanding of Level III breath management and
resonance.
-Crescendo to f dynamics may be pressed due to
developing technique, while decrescendo and p
dynamics may be breathy.
-Dynamics affected by tessitura: higher passages
may be sung louder, lower tones softer, individuals
may be heard.
-Choir develops consistent breath energy and beauty
of tone from p-f.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Poetic shaping of dynamic within the over-arching
dynamic is introduced.
-Dynamics from p-f demonstrate understanding of
Level IV breath management and resonance.
Extreme dynamic ranges of pp may become
breathy and ff may be pressed or over sung, due to
developing technique.
-Dynamics are affected by extremes of tessitura,
with higher passages sung louder, and lower tones
softer, individuals may be heard.
-Consistent breath energy creates a natural rise and -Choir demonstrates a mature approach to
fall of dynamics in all registers.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Subtle poetic shaping of dynamic within the over-
arching dynamic is consistently demonstrated.
-Technically demanding dynamics, e.g. mesa di
voce, fp, sfz, or other stylistic can be coached.
-Dynamic distortions of vocal quality, vowel,
vibrato, can be solved when coached.
-Dynamic markings are seen as guides though which
an artistically shaped musical line is sung as
opposed to absolutes.
consistent resonance and pitch.
artistically sung musical line within the musical
texture, informed by stylistic or historical
Articulation
-Choir works toward enunciating clearly and
projecting.
-Clarity of articulation varies as result of text and
volume.
introduced.
Choir develops basic types of articulation: accent
and legato, heavy and light, long and short.
-Articulation most often text and volume based,
variation of articulation can be coached.
-Various types of accents (staccato, marcato)
introduced.
-Legato singing is introduced, is often inconsistent as
affected by text, musical setting, and developing
breath management.
-Choir develops singing more varied and challenging
articulations.
-Articulation as a function of Level III breath
management is introduced.
-Various types of other articulations introduced, e.g.
crescendo on dotted or tied notes, fp, sfz, fermata.
-Legato is often present when coached. Forward
motion and sustained energy during legato needs
to develop, is most successful at louder dynamics
and when low breath occurs.
-Choir works toward artistic use of articulations.
-Articulations varied and often connected to breath,
consistent throughout the choir. Extreme
articulation demands can affect pitch and
resonance.
-Varied weights of repeated articulations, or
articulation as a result of artistic poetic
declamation introduced.
-A mature legato is present, and creates a sense of
forward motion, energy, or momentum.
articulation of text and music, reflective of
language and style.
-Composer’s articulation markings develop as a
reflection of an artistically sung text and musical
line, rather than as absolutes.
-Choir maintains vocal health through long
articulated passages, extremes of articulation in
challenging dynamics and tessitura.
-Uniform throughout, consistently a function of
utilizing breath
-Articulation is varied with regards to needs for
balance, dynamic, tessitura, and vocal
considerations, with an artistic and poetic
declamation.
Diction
-Choir’s works to enunciate together.
-Vowel uniformity reflects singers’ understanding of -Choir demonstrates physical sense of pulse when
Level I vowels and resonance.
-Consonant clarity varies by age, dialect, or
ethnicity, which can result in lack of precision.
-Choir can onset and offset with strong consonants
when coached, most internal consonants lack
clarity.
Choir works to sing with clarity of text and
projecting.
-Vowel uniformity reflects Level II techniques of
vowels and resonance.
- Consonant clarity is heard, especially at onsets of
phrases and louder dynamics.
-Inconsistencies occur due to jaw tension, vocal
range extremes and dynamics.
-Consonants before the beat and internal consonants
introduced.
- Non-English language texts introduced.
-Choir emphasizes singing clear, initial onset, and
final offset consonants.
-Vowel uniformity present in basic vowels,
diphthongs and open vowels may be challenging.
-Internal consonants may be difficult to discern.
- Consonants before the beat is developed.
-Vowel distortion and clarity of consonants occurs in
range and dynamic extremes.
-Choir can sing in Latin and at least one other
language.
-Choir works to enunciate text clearly and
expressively.
-Choir works to enunciate appropriately in range
extremes.
-Consonants before the beat and inner consonants
are consistent and help create a sense of forward
motion.
-Enunciation with appropriate dialect in common
languages is introduced.
-A more difficult language to English-speaking
singers may be introduced, e.g. French or Russian.
-Choir emphasizes fluency.
-Choir enunciates text clearly in a variety of
languages, including more challenging languages,
with appropriate dialect determined by language,
region, or history.
-Intentional tonal difference resulting from dialect
may be desired and coached.
-Modification of consonants and enunciation for
musical reasons (rubato, delaying onset, legato,
tessitura, balance with instruments) is developed.
-Vowels vary in color and resonance as determined
by language and stylistic approach, yet maintain
uniformity throughout the choir.
-All languages have a consistent and dialectic
approach, appropriate for musical style.
-Singers can easily be coached to express subtleties
of enunciation, as well as unusual linguistic
demands.
ARTISTRY:
Rhythm (Precision, clarity, expressive qualities)
-Choir works to sing rhythmically together.
coached. Rhythmic inconsistencies are common,
and precision is affected by age, variances of body
awareness, dynamic, diction, and articulation.
-Simple rhythms can be sung accurately,
syncopation and simple multicultural rhythms can
be taught by rote.
-Basic count singing is possible.
-Choir works toward unified diction, consistent
vowels and energized consonants for rhythmic
clarity.
-Inner pulse introduced.
-Choir sings together but rushing or dragging is
common.
-Rhythms more complex than eighth note patterns
can be coached. Count singing is possible with
eighth notes.
-Choir develops counting together and inner pulse,
and is successful when coached.
-Rhythmic or tempo inconsistencies sometimes
occur, with clarity, rushing, or dragging affected
by dynamic, tempo, and choir energy.
-Accelerando and ritardando performed with
accuracy, tempo changes can affect tone or breath
management.
-Various meter signatures introduced. Multicultural
rhythms are introduced.
-Dotted rhythms and triplets can be coached.
-Count singing is possible with eighth notes.
-Choir emphasizes precision and accuracy.
-Choir demonstrates consistent sense of rhythmic
energy most of the time regardless of style.
-Accelerando and Ritardando performed with
consistent breath management, tone and dynamic
when coached.
-Rhythm as an expressive element is introduced.
Tempo changes and fermatas have a sense of
rhythmic purpose. Subdivision as a unifying and
musical tool is introduced.
-Varied styles of rhythm (e.g. jazz, multicultural
styles) explored.
-Count singing in various meters and subdivisions
may be possible.
-Choir demonstrates consistent inner pulse.
-Choir maintains vocal technique throughout
variations of tempo and challenging passages.
-Rhythm develops as an expressive element, with
varied weight, momentum, and rubato, in addition
to precision.
-Knowledge of subdivision is demonstrated in
challenging rhythms and all styles.
-Rhythm demonstrates artistic sense of expression,
with varied weight, momentum, and rubato
successfully coached.
- Precision is consistent in all rhythms and styles
once coached.
-Inner pulse and subdivision in all singers leads to a -Choir sings as vocal artists similar to a chamber
vibrant and unified rhythmic approach.
MUSICIANSHIP
Expression & Artistry (Style, Form, Expression)
-Choir emphasizes singing with energy, body
involvement, and facial expression to convey
mood.
-Expression varies by age, body awareness, energy,
and confidence.
-Choir can sing with varied dynamics from song to
song, or between major sections of a song.
-General mood of the song is understood.
-Form is demonstrated by contrasting formal
elements, such as verses and refrains, with
dynamics.
-Body movements help singers connect physicality
to the mood and sound they want to convey.
-Choir works to create a style for each piece with
dynamic, tempo, general articulation, and text.
-Varied dynamics p, mp, mf, f present from phrase
to phrase.
-Word stress/unstress is introduced.
-General mood of poetry is understood.
-Form is demonstrated by contrasting dynamics of
verses or phrases, finding a “high point” in each
piece is introduced.
-Most of the choir demonstrates facial expression
and/or appropriate movement during singing,
especially when coached.
-Choir emphasizes expression. Choir consistently
demonstrates varied dynamics from phrase to
phrase. “Rise and fall” within a phrase is
introduced.
-Composer’s musical indications followed, resulting Largo-Allegro (56-144), Musical Markings:
in varied approaches from piece to piece.
-Word and syllabic stress/un-stress are explored.
-General meaning of poetry is understood.
-Form explored, choir demonstrates understanding
of build up to a “high point” in each piece.
-Extra-musical means of expression (movement,
facial engagement, “choralography,” standing
arrangements, narration. et al) may be present.
-Choir develops communication and style.
-Choir demonstrates rise and fall of phrase, word
stress and release, syllabic stress and release,
resulting in poetic declamation of text and
artistically shaped singing.
-Musical decisions based both on the composer’s
markings as well as personal expression.
Historical style and performance practice may be
present.
-Specific meaning of the text is understood
-Form demonstrated by intentional shaping of
momentum, energy, and musical details toward
and away from the “high point” of each piece.
-Extra-musical means of expression are
demonstrated.
-Emphasizes mature artistry.
- Demonstrates artistically shaped phrases, poetic
declamation, rhythmic musicality (flexibility,
varied weight, momentum), consistent reading of
the composer’s indications.
-Historical or multicultural style and performance
practice informs choices of language, tone, artistic
elements.
-Choir demonstrates how specific meaning of the
text is reflected in musical elements.
-Choir combines musical elements and composer’s
intentions into a musical whole.
-Extra-musical expression (programming,
movement, staging) is creative.
ensemble.
-The utmost in individual artistry combines together
with other artists to create a powerful expressive
performance.
-Historical performance practice is combined with
insightful artistry.
-Text is sung in a poetic and/or meaningful way and
combines with insightful attention to musical
detail to create moving performances.
-Musical elements combine to create a musical,
dramatic, and/or personal artistic statement.
-Choir utilizes creative means to effectively
communicate with audience.
MUSIC READING:
Rhythm and Musical Markings Melody, Intervals and Audiation
Meter: 2/4, 3/4, 4/4 Note Values: Whole, half, Melodic Reading: Step-wise and Pentatonic
quarter Tempo: Andante-Moderato (72-120) melodies, unison. Intervals: Whole step, Minor
Tempo Markings: Adagio, Allegro, p, mp, mf, f Third, Perfect Fourth and Fifth, Major Scale
introduced. Key Signatures: None to two sharps
or 2 flats. Chord Tones: Two part “chords” built
on pentatonic scale degrees.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8 Melodic Reading: Step-wise and Pentatonic
Note Values: Whole, half, quarter, eighth, simple melodies, introduction of 3rds, 4ths, and 5ths in
dotted notes and syncopation Tempo: Andante- melody, unison and 2-part canon or simple
Allegro (72-132) Musical Markings: Adagio, counterpoint, dotted notes later in year. Intervals:
Andante, Moderato, Allegro, Rit.(ardando), Accel. Whole step, Half step, Minor Third, Major Third,
(erando), pp-ff,, Cresc.(endo) and Decresc.(endo), Perfect Fourth, Perfect Fifth, all intervals of Major
Accent mark > Scale sung with Kodály hand signals. Key
Signatures: None to three sharps or three flats,
Minor Key introduced. Chord Tones: Two to three
part chords, major and minor root position, 6ths
and 7ths introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Step-wise and Pentatonic
5/4, 6/4, simple changing meters Note Values: melodies, 4ths, and 5ths, introduction of 6ths in
Whole, half, quarter, eighth, sixteenth, dotted melody, unison to four-part reading depending on
notes, syncopation, eighth note triplets Tempo: difficulty, dotted notes, syncopation, and triplets.
Intervals: All intervals of Major and Minor Scale
Adagio, Andante, Moderato, Allegro, Presto, Rit. sung with Kodály hand signals. Non-diatonic
(ardando), Accel.(erando), pp-ff, Cresc(endo) and intervals with Kodály syllables and hand signals
Decresc(endo), sfz, fp, fermata, subito, Accent >, introduced. Key Signatures: None to four sharps
marcato and staccato. Non-Traditional Notation: or four flats, both major and minor. Chord Tones:
Introduced in jazz or multicultural repertoire. Three to four part chords, major and minor root
position 7th chords, 9ths and inversions
introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Melodies with all diatonic
5/4, 6/4, 3/8, 5/8, 7/8, 9/8, 12/8 and changing intervals, major and minor, unison to four part
meters Note Values: Whole, half, quarter, eighth, reading depending on difficulty, dotted notes,
sixteenth, dotted notes, syncopation, eighth and syncopation, triplets, compound meter, basic
quarter note triplets Tempo: Largo-Presto (56-168) meter changes. Intervals: All intervals, Major
Musical Markings: Adagio, Andante, Moderato, Scale and Minor sung with Kodály hand signals.
Allegro, Presto, Rit.(ardando), Accel.(erando), Non-diatonic intervals (tritone, major seventh,
ppp-fff,, Cresc(endo) and Decresc(endo), sfz, fp, minor ninth etc.) with Kodály syllables and hand
fermata, subito, piu, meno, Accent >, plus signals practiced. Key Signatures: None to five
marcato, staccato, tenuto. Non-Traditional sharps or five flats, both major and minor. Chord
Notation: Developed with opportunities to sing Tones: Three to eight part chords, major and minor
jazz, aleatoric, multi-cultural, or early music. root position 7th chords and inversions, altered
chord tones introduced.
Meter: Any can be coached Note Values: Any Melodic Reading: Melodies utilizing all intervals, all
Tempo: Any can be coached Musical Markings: keys and modes, unison to eight-part reading
All common markings, descriptive phrases (con depending on difficulty, challenging syncopation,
bocca chiusa, ) can be coached and understood triplets, compound meter, challenging meter
easily. Traditional Notation: Developing with changes. Intervals: All intervals, Major Scale and
opportunities to sing modern styles. Minor sung with Kodály hand signals. Non-
diatonic intervals with Kodály syllables and hand
signals developed through application to
chromatic repertoire. Key Signatures: Any key
major or minor. Chord Tones: All positions and
inversions of chords; rootless chords,
and "stacked" chords; 6-part and more chord
tones.
All elements mastered. All elements mastered.

CHORAL PERFORMANCE
LEVEL ASSESSMENT
Level 1
(Entry level choirs of all ages)
Level 2 - Choir develops basic vowel uniformity and space.
-Resonance develops by creating space in mouth.
-Resonance consistent in vowels [i, e, a, o, u] within
(Elementary and MS choirs,
emerging HS, church, and -Resonance affected by text and range: distortion
community choirs, beginning
non-auditioned collegiate
choirs) -Treble voices sing mostly in light mechanism,
Level 3
(Advanced MS, JH choirs,
some average HS, church,
community and non-
auditioned collegiate choirs)
Level 4
(Advanced HS choirs, very
good church and community
choirs, average collegiate
choirs)
Level 5
(High level collegiate, church, - Treble lower register is a colorful mix of heavy and -Balance is varied by musical and stylistic demands
community, and semi-
professional choirs)
Level 6
(Top professional and semi-
professional choirs, a rare
collegiate choir)
Resonance and Vowels
-Choir works to shape vowels together, understands
basic vowel uniformity.
-Resonance introduced as “tall” vowels, opening up
resonating spaces.
-Resonance is inconsistent, but often successful
with [u, o, a, i].
-Basic understanding of heavy and light mechanism
is introduced.
-Resonance inconsistent due to vowel space and
heavy mechanism or “chest,” voice.
-Choir sings mostly in light or “head” voice.
“Tall” or “dome” space, lifting soft palate
introduced.
range of a 6th to a tenth, expands with age and
experience.
caused by range extremes, or some consonants and
diphthongs.
mixing into heavy mechanism introduced;
changing male voices handled individually and
pedagogically.
- Consistent vowel uniformity, space, and color with
basic vowels.
-Resonating spaces such as “Tall, dome, or lift the
soft palate” consistent.
-Resonance uniformity using vowel modification,
matching embouchure, et al evident.
-Resonance consistent throughout middle voice,
upper voice varied due to age and experience,
Soprano to G5, Alto to D5, Tenor to F4, Bass to
D4.
-Resonance affected by text and range, some
distortion caused by range extremes, and by some
consonants and diphthongs.
- Treble voices develop “mix.’ Tenor and Bass
develop head voice and focused lower voice.
-Consistency of resonance in all vowels, including
diphthongs and many non-English vowels.
-Resonance develops through awareness of heavy/
light/mix mechanism, and sensations of inner
resonating space developed as “lift, tall, round” or
specific resonant vowels.
-Resonance extends upward: S to A5, A to F5, T to
A4, B to F4.
-Resonance affected by range extremes:
modification of resonating spaces introduced.
-Lower register of S and A develops colorful mix of
heavy and light mechanism. T and B develop a
bright, expansive mid to lower tones and light,
lyric, focused upper voice.
-Choir develops resonance through a naturally and - Blend results from vibrant, overtone rich sound,
artistically shaped text.
-Choir develops a vibrant, overtone-rich sound,
consistent in all registers and voice parts,
regardless of dynamic, style, or language.
-Resonance can be affected in the most demanding
of passages and languages, can be coached.
light mechanism, upper voice agile and vibrant.
Tenor and Bass are consistently bright and
expansive in mid to lower resonance and upper
voice that is clear, focused.
-Singers produce a vibrant, overtone rich sound,
consistent in all registers and all voice parts, -Balance handled through varied standing
regardless of language, dynamic or tessitura.
-Approach to tone is varied and stylistically
informed and does not detract from resonance and
beauty.
RESONANCE:
Blend and Balance Vocal Facility and Independence
-Choir develops vowel uniformity improving blend -Singing range determined by age, gender, vocal
and balance. quality, and speaking voice, generally a 6th to a
-Choir often most successful with [u, o, a, i]. 10th in all voice parts.
-Uniformity occurs most easily when all singers sing - Stepwise melodies and simple intervals sung
together in head register. clearly at a moderate tempo, slower and faster
-Inconsistency occurs with heavy mechanism passages can be a challenge.
singing and difficult vowels, [ɛ, ae], etc. -Unison voicing is preferred, but simple
counterpoint, such as partner songs or canons, can
be sung.
-Choir develops basic vowel uniformity and -Singing range determined by age, gender, vocal
matching vowel shape. quality, and speaking voice. Range begins as 6th to
-Blend most successful in slow moving passages, a 12th, expands with age and experience.
cadences and with vowels [u, o, a. i]. -Stepwise melodies, slow to moderately fast tempi,
-Blend affected in rhythmic or fast-moving sections and intervals of 3rds, 4ths, 5ths sung clearly.
due to text or individual singer’s volume. -Unison, partner songs, and simple counterpoint
-Balance affected by personnel and voicing of sung with clarity. Inconsistencies with part
repertoire. independence occurs with parallel harmonies in
-Balance achieved by adjusting numbers of singers thirds, or minor dissonance.
on each part and standing arrangements. -Some compositions in three or four parts possible,
determined by personnel, range, or composition
style.
-Singing in non-Western classical styles introduced.
-Choir develops vowel uniformity through -Works to extend range and address age-related
embouchure matching and vowel modification. vocal changes.
-Uniformity of tone develops within sections -Singers vocalize slightly beyond where they can
throughout middle voice. consistently achieve good resonance in
-Individuals may be heard as ranges expand or performance.
voices develop. -Melodies containing intervals of 3rds, 4ths, and 5ths
-Balance affected by personnel and repertoire, sung clearly at most tempi.
-Balance achieved by adjusting numbers of singers -Most intervals can be sung clearly at a moderate
on each part. tempo with coaching.
- Varying balance to repertoire (counterpoint, -Compositions in two to four parts preferred, greater
“pyramid” balance) is sometimes desired and divisi possible, determined by balance of
introduced. personnel.
-Singing in non-Western styles is evident.
-Uniformity of color and resonance created by -Choir works to extend range and increase agility.
precise rhythm and dynamic shape developed. -Singers demonstte ease of tessitura in upper voice:
-Blend results from a consistent resonance and vocal S can easily sustain passages D5-F5, Alto C5-E5,
approach, yet encourages vocal development. Tenor D4 to F4, Bass C4-Eb4.
-Individuals may be heard due to maturing timbre, -16th note runs can be sung clearly at moderately
strength, and vibrato. fast tempo, passages with chromatic intervals can
-Blend adjusted as voices mature, using voice be sung when coached.
matching and standing arrangements. -All singers can manage divisi within each section.
-Blend varies by choice of vibrato, straight tone at Complexity of divisi determined by personnel.
cadences, or varied style needs. -Vocalization in non-Western classical styles
-Balance addressed by varied standing arrangements developed.
and dynamic adjustment.
-Repertoire-based balance variations evident.
-Singers can sustain tessitura in all registers in most
consistent in all vowels, registers as well as unified styles.
musical elements. -Chromatic intervals and passages, complex
-Individual’s technique allows for flexibility of rhythms, dissonant intervals and harmonies sung
vowel and resonance to create blend while clearly, some inconsistencies of resonance and
maintaining a relaxed and healthy sound, clarity occurs and can be coached.
regardless of style or language. -All divisi is possible as determined by personnel.
-Singers demonstrate ability to vocalize in non-
of repertoire, and is achieved through various Western classical styles.
methods such as varied standing arrangements,
moving singers from part to part, adjustments of
resonance, vowel and dynamic.
ensemble and blend, regardless of tonal approach. -Singers in all sections sing with clarity and
resonance in all ranges.
arrangements, flexible handling of personnel, e.g. - Tessiturae across all ranges can be sustained with
moving of voices from section to section, staging consistent resonance.
and vocal technique. -Complex rhythms and harmonies can be sung with
-Desired balance shifts from piece to piece absolute clarity of resonance and pitch.
depending on demands of repertoire, musical style -Any divisi is possible.
and variations within a work due to needs of -Singers demonstrate technique to create any non-
counterpoint, tessitura, and personnel. Western classical sound or style
when coached.
CHORAL LITERACY RUBRIC: All Levels of Development
VOCAL TECHNIQUE
Intonation
-Choir works to sing well in unison.
-Pitch is most clear in unison passages.
-Choir learns to listen as choir understands vowel
uniformity.
-Singing “in tune” with pentatonic and simple
melodies is introduced.
-Choir develops basic understanding of intonation
both listening to others and audiation.
-Intonation consistent in middle voice with basic
vowels.
-Inconsistencies occur with challenges of text,
diphthongs, range, and dynamics.
-Tuning during unison passages and within sections
more consistent, while tuning between sections
may be a challenge.
-Partner songs, simple counterpoint can be sung
with clarity of pitch. Tuning homophonic passages
or close harmonies can be inconsistent.
-Choir emphasizes listening, developing both
listening to others and audiation.
-Tuning demonstrated in all ranges with coaching.
Inconsistencies occur with challenges of text,
diphthongs, tessitura and dynamics.
- Listening and tuning within sections is consistent
and sections work to tune with other sections,
particularly at cadences.
-Tuning is growing in homophonic sonorities. Fast
moving sections or counterpoint will be
inconsistent. A cappella singing is evident.
-Choir sings in tune individually, within each
section, and between sections.
-Intonation consistent throughout vocal ranges, at
faster tempi, more challenging intervals, or text.
Inconsistencies may still be present.
-Melodic tuning occurs in addition to harmonic
tuning. Students able to make adjustments to fix
poor intonation.
-When singing a cappella, choir tunes well even if
the overall pitch may flat or sharp.
-Complex chords often tune accurately.
Inconsistencies in tuning occur due to individual
development of vocal technique, breath
management and vibrato.
-Singers able to tune in all registers.
-Intonation accurate in all styles and tempi.
-Singers can adjust temperament when singing with
piano, (equal temperament) or a cappella (just,
mean tone) when coached.
-Singers maintain correct pitch center in a cappella
music.
-Singers can tune dissonant or complex harmonies
of varied styles. Singing microtones and non-
Western tuning can be coached. Inconsistencies
occur due to developing technique, breath
management and vibrato, solutions can be
coached.
-Flawless intonation.
-Choir adjusts to varied temperaments as needed for
historical purposes or instrumental demands,
singing non-Western styles and with non-Western
instruments.
- Intonation is accurate within dissonant passages or
works, as well as dissonant accompaniment.
-Singing microtones or non-western tuning can be
coached.
Breath Management
-Choir works to “breathe together” and to develop
good posture.
-Choir learns to breathe together at the onset of a
song.
-Low breath is introduced.
-Singers demonstrate consistent breath energy in
short, loud passages, soft singing remains breathy.
-Choir develops good posture and consistent low
breath, is successful when coached.
-Clavicular breathing occurs much of the time.
-Onset breath for individual phrases is introduced.
- Onset breath at the beginning of a song or a major
section of a song consistently demonstrated.
-“Stagger breathing” for sustained tones, e.g.
ritards, fermatas, is introduced.
-Breath energy sustained at louder dynamics; breath
energy inconsistent in softer dynamics, may result
in in poor intonation, decreased legato, et al.
-Choir develops consistent low onset breath at
beginning of songs, is successful at breathing low
throughout a piece when coached.
-Singers use good posture both sitting and standing
when coached.
-Breathing low during “catch breaths,” is consistent.
- Onset breath, such as “Breathing in the vowel” is
developed.
-Choir initiates phrase or crescendo with “breath
energy,” by “pushing” or “moving air.”
-Breath energy sustained at louder dynamics; softer
dynamics introduced, inconsistency results in poor
intonation, decreased legato, et al.
-Choir works to sing “on the breath,” sustains the
feeling of breath energy throughout each phrase at
all dynamics.
-Choir demonstrates low breathing consistently at
onsets of songs, becomes successful at breathing
low throughout a piece.
-“Maintaining or containing” breath to sustain breath
energy is introduced.
-Choir takes catch breaths to re-establish low body
energy when coached.
-Choir prepares vowel or other musical elements
during onset when coached.
-Non-Western classical techniques for jazz,
Broadway, and world music introduced.
-Onset breaths prepare singers for vowel, pitch,
timbre and articulation.
-All aspects of appoggio are introduced.
-Strong intercostal engagement along with low
breath results in an onset that is a balanced release
of breath from an energized body. “Maintaining,
containing, or singing on the breath” is consistent.
-Catch breaths are planned and artistically shaped.
-Non-Western classical breathing styles, jazz,
Broadway, overtone singing can be coached.
-Superb breath management technique creates a -The entire range of dynamics is possible with
balanced and intentional energy and flow
throughout all registers and dynamics. -Dynamics are the result of a natural mix of an
-Varied flow and pressure allow singers to create a
wide palate of sounds.
-Onset and catch breaths are an important expressive performance practice.
component in a musically sung phrase.
-Non-Western classical use of breath and body
easily produced.
© Geoffrey Boers/ David Wimett 2018
BREATH:
Dynamics
-Choir works to unify dynamics.
-Dynamic unification grows with singer’s
understanding of vowel uniformity, and heavy/
light mechanism.
-Singer’s ability to sing with dynamic contrast varies -Short and long, heavy and light enunciation are
due to age, physical development and confidence.
-Choir can demonstrate forte and piano, and can sing
with contrasting dynamic between songs or
between major sections within a song.
-Choir works to sing with varied dynamics.
-Choir demonstrates awareness of dynamics,
variance of dynamic f, mf, mp, p heard between
songs.
-Dynamics varies from phrase to phrase. “Rise and
fall,” or crescendo and decrescendo are present
when coached.
-Dynamics often affect quality of resonance and
pitch.
-Choir develop musicality with dynamic contrast.
-Choir develops varied dynamics within a phrase,
“rise and fall.”
-Dynamics from mp-mf demonstrate choir’s
understanding of Level III breath management and
resonance.
-Crescendo to f dynamics may be pressed due to
developing technique, while decrescendo and p
dynamics may be breathy.
-Dynamics affected by tessitura: higher passages
may be sung louder, lower tones softer, individuals
may be heard.
-Choir develops consistent breath energy and beauty
of tone from p-f.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Poetic shaping of dynamic within the over-arching
dynamic is introduced.
-Dynamics from p-f demonstrate understanding of
Level IV breath management and resonance.
Extreme dynamic ranges of pp may become
breathy and ff may be pressed or over sung, due to
developing technique.
-Dynamics are affected by extremes of tessitura,
with higher passages sung louder, and lower tones
softer, individuals may be heard.
-Consistent breath energy creates a natural rise and -Choir demonstrates a mature approach to
fall of dynamics in all registers.
-Dynamics varied within phrases, phrases also
contrast to build an overall shape to the piece.
-Subtle poetic shaping of dynamic within the over-
arching dynamic is consistently demonstrated.
-Technically demanding dynamics, e.g. mesa di
voce, fp, sfz, or other stylistic can be coached.
-Dynamic distortions of vocal quality, vowel,
vibrato, can be solved when coached.
-Dynamic markings are seen as guides though which
an artistically shaped musical line is sung as
opposed to absolutes.
consistent resonance and pitch.
artistically sung musical line within the musical
texture, informed by stylistic or historical
Articulation
-Choir works toward enunciating clearly and
projecting.
-Clarity of articulation varies as result of text and
volume.
introduced.
Choir develops basic types of articulation: accent
and legato, heavy and light, long and short.
-Articulation most often text and volume based,
variation of articulation can be coached.
-Various types of accents (staccato, marcato)
introduced.
-Legato singing is introduced, is often inconsistent as
affected by text, musical setting, and developing
breath management.
-Choir develops singing more varied and challenging
articulations.
-Articulation as a function of Level III breath
management is introduced.
-Various types of other articulations introduced, e.g.
crescendo on dotted or tied notes, fp, sfz, fermata.
-Legato is often present when coached. Forward
motion and sustained energy during legato needs
to develop, is most successful at louder dynamics
and when low breath occurs.
-Choir works toward artistic use of articulations.
-Articulations varied and often connected to breath,
consistent throughout the choir. Extreme
articulation demands can affect pitch and
resonance.
-Varied weights of repeated articulations, or
articulation as a result of artistic poetic
declamation introduced.
-A mature legato is present, and creates a sense of
forward motion, energy, or momentum.
articulation of text and music, reflective of
language and style.
-Composer’s articulation markings develop as a
reflection of an artistically sung text and musical
line, rather than as absolutes.
-Choir maintains vocal health through long
articulated passages, extremes of articulation in
challenging dynamics and tessitura.
-Uniform throughout, consistently a function of
utilizing breath
-Articulation is varied with regards to needs for
balance, dynamic, tessitura, and vocal
considerations, with an artistic and poetic
declamation.
Diction
-Choir’s works to enunciate together.
-Vowel uniformity reflects singers’ understanding of -Choir demonstrates physical sense of pulse when
Level I vowels and resonance.
-Consonant clarity varies by age, dialect, or
ethnicity, which can result in lack of precision.
-Choir can onset and offset with strong consonants
when coached, most internal consonants lack
clarity.
Choir works to sing with clarity of text and
projecting.
-Vowel uniformity reflects Level II techniques of
vowels and resonance.
- Consonant clarity is heard, especially at onsets of
phrases and louder dynamics.
-Inconsistencies occur due to jaw tension, vocal
range extremes and dynamics.
-Consonants before the beat and internal consonants
introduced.
- Non-English language texts introduced.
-Choir emphasizes singing clear, initial onset, and
final offset consonants.
-Vowel uniformity present in basic vowels,
diphthongs and open vowels may be challenging.
-Internal consonants may be difficult to discern.
- Consonants before the beat is developed.
-Vowel distortion and clarity of consonants occurs in
range and dynamic extremes.
-Choir can sing in Latin and at least one other
language.
-Choir works to enunciate text clearly and
expressively.
-Choir works to enunciate appropriately in range
extremes.
-Consonants before the beat and inner consonants
are consistent and help create a sense of forward
motion.
-Enunciation with appropriate dialect in common
languages is introduced.
-A more difficult language to English-speaking
singers may be introduced, e.g. French or Russian.
-Choir emphasizes fluency.
-Choir enunciates text clearly in a variety of
languages, including more challenging languages,
with appropriate dialect determined by language,
region, or history.
-Intentional tonal difference resulting from dialect
may be desired and coached.
-Modification of consonants and enunciation for
musical reasons (rubato, delaying onset, legato,
tessitura, balance with instruments) is developed.
-Vowels vary in color and resonance as determined
by language and stylistic approach, yet maintain
uniformity throughout the choir.
-All languages have a consistent and dialectic
approach, appropriate for musical style.
-Singers can easily be coached to express subtleties
of enunciation, as well as unusual linguistic
demands.
ARTISTRY:
Rhythm (Precision, clarity, expressive qualities)
-Choir works to sing rhythmically together.
coached. Rhythmic inconsistencies are common,
and precision is affected by age, variances of body
awareness, dynamic, diction, and articulation.
-Simple rhythms can be sung accurately,
syncopation and simple multicultural rhythms can
be taught by rote.
-Basic count singing is possible.
-Choir works toward unified diction, consistent
vowels and energized consonants for rhythmic
clarity.
-Inner pulse introduced.
-Choir sings together but rushing or dragging is
common.
-Rhythms more complex than eighth note patterns
can be coached. Count singing is possible with
eighth notes.
-Choir develops counting together and inner pulse,
and is successful when coached.
-Rhythmic or tempo inconsistencies sometimes
occur, with clarity, rushing, or dragging affected
by dynamic, tempo, and choir energy.
-Accelerando and ritardando performed with
accuracy, tempo changes can affect tone or breath
management.
-Various meter signatures introduced. Multicultural
rhythms are introduced.
-Dotted rhythms and triplets can be coached.
-Count singing is possible with eighth notes.
-Choir emphasizes precision and accuracy.
-Choir demonstrates consistent sense of rhythmic
energy most of the time regardless of style.
-Accelerando and Ritardando performed with
consistent breath management, tone and dynamic
when coached.
-Rhythm as an expressive element is introduced.
Tempo changes and fermatas have a sense of
rhythmic purpose. Subdivision as a unifying and
musical tool is introduced.
-Varied styles of rhythm (e.g. jazz, multicultural
styles) explored.
-Count singing in various meters and subdivisions
may be possible.
-Choir demonstrates consistent inner pulse.
-Choir maintains vocal technique throughout
variations of tempo and challenging passages.
-Rhythm develops as an expressive element, with
varied weight, momentum, and rubato, in addition
to precision.
-Knowledge of subdivision is demonstrated in
challenging rhythms and all styles.
-Rhythm demonstrates artistic sense of expression,
with varied weight, momentum, and rubato
successfully coached.
- Precision is consistent in all rhythms and styles
once coached.
-Inner pulse and subdivision in all singers leads to a -Choir sings as vocal artists similar to a chamber
vibrant and unified rhythmic approach.
MUSICIANSHIP
Expression & Artistry (Style, Form, Expression)
-Choir emphasizes singing with energy, body
involvement, and facial expression to convey
mood.
-Expression varies by age, body awareness, energy,
and confidence.
-Choir can sing with varied dynamics from song to
song, or between major sections of a song.
-General mood of the song is understood.
-Form is demonstrated by contrasting formal
elements, such as verses and refrains, with
dynamics.
-Body movements help singers connect physicality
to the mood and sound they want to convey.
-Choir works to create a style for each piece with
dynamic, tempo, general articulation, and text.
-Varied dynamics p, mp, mf, f present from phrase
to phrase.
-Word stress/unstress is introduced.
-General mood of poetry is understood.
-Form is demonstrated by contrasting dynamics of
verses or phrases, finding a “high point” in each
piece is introduced.
-Most of the choir demonstrates facial expression
and/or appropriate movement during singing,
especially when coached.
-Choir emphasizes expression. Choir consistently
demonstrates varied dynamics from phrase to
phrase. “Rise and fall” within a phrase is
introduced.
-Composer’s musical indications followed, resulting Largo-Allegro (56-144), Musical Markings:
in varied approaches from piece to piece.
-Word and syllabic stress/un-stress are explored.
-General meaning of poetry is understood.
-Form explored, choir demonstrates understanding
of build up to a “high point” in each piece.
-Extra-musical means of expression (movement,
facial engagement, “choralography,” standing
arrangements, narration. et al) may be present.
-Choir develops communication and style.
-Choir demonstrates rise and fall of phrase, word
stress and release, syllabic stress and release,
resulting in poetic declamation of text and
artistically shaped singing.
-Musical decisions based both on the composer’s
markings as well as personal expression.
Historical style and performance practice may be
present.
-Specific meaning of the text is understood
-Form demonstrated by intentional shaping of
momentum, energy, and musical details toward
and away from the “high point” of each piece.
-Extra-musical means of expression are
demonstrated.
-Emphasizes mature artistry.
- Demonstrates artistically shaped phrases, poetic
declamation, rhythmic musicality (flexibility,
varied weight, momentum), consistent reading of
the composer’s indications.
-Historical or multicultural style and performance
practice informs choices of language, tone, artistic
elements.
-Choir demonstrates how specific meaning of the
text is reflected in musical elements.
-Choir combines musical elements and composer’s
intentions into a musical whole.
-Extra-musical expression (programming,
movement, staging) is creative.
ensemble.
-The utmost in individual artistry combines together
with other artists to create a powerful expressive
performance.
-Historical performance practice is combined with
insightful artistry.
-Text is sung in a poetic and/or meaningful way and
combines with insightful attention to musical
detail to create moving performances.
-Musical elements combine to create a musical,
dramatic, and/or personal artistic statement.
-Choir utilizes creative means to effectively
communicate with audience.
MUSIC READING:
Rhythm and Musical Markings Melody, Intervals and Audiation
Meter: 2/4, 3/4, 4/4 Note Values: Whole, half, Melodic Reading: Step-wise and Pentatonic
quarter Tempo: Andante-Moderato (72-120) melodies, unison. Intervals: Whole step, Minor
Tempo Markings: Adagio, Allegro, p, mp, mf, f Third, Perfect Fourth and Fifth, Major Scale
introduced. Key Signatures: None to two sharps
or 2 flats. Chord Tones: Two part “chords” built
on pentatonic scale degrees.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8 Melodic Reading: Step-wise and Pentatonic
Note Values: Whole, half, quarter, eighth, simple melodies, introduction of 3rds, 4ths, and 5ths in
dotted notes and syncopation Tempo: Andante- melody, unison and 2-part canon or simple
Allegro (72-132) Musical Markings: Adagio, counterpoint, dotted notes later in year. Intervals:
Andante, Moderato, Allegro, Rit.(ardando), Accel. Whole step, Half step, Minor Third, Major Third,
(erando), pp-ff,, Cresc.(endo) and Decresc.(endo), Perfect Fourth, Perfect Fifth, all intervals of Major
Accent mark > Scale sung with Kodály hand signals. Key
Signatures: None to three sharps or three flats,
Minor Key introduced. Chord Tones: Two to three
part chords, major and minor root position, 6ths
and 7ths introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Step-wise and Pentatonic
5/4, 6/4, simple changing meters Note Values: melodies, 4ths, and 5ths, introduction of 6ths in
Whole, half, quarter, eighth, sixteenth, dotted melody, unison to four-part reading depending on
notes, syncopation, eighth note triplets Tempo: difficulty, dotted notes, syncopation, and triplets.
Intervals: All intervals of Major and Minor Scale
Adagio, Andante, Moderato, Allegro, Presto, Rit. sung with Kodály hand signals. Non-diatonic
(ardando), Accel.(erando), pp-ff, Cresc(endo) and intervals with Kodály syllables and hand signals
Decresc(endo), sfz, fp, fermata, subito, Accent >, introduced. Key Signatures: None to four sharps
marcato and staccato. Non-Traditional Notation: or four flats, both major and minor. Chord Tones:
Introduced in jazz or multicultural repertoire. Three to four part chords, major and minor root
position 7th chords, 9ths and inversions
introduced.
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, Melodic Reading: Melodies with all diatonic
5/4, 6/4, 3/8, 5/8, 7/8, 9/8, 12/8 and changing intervals, major and minor, unison to four part
meters Note Values: Whole, half, quarter, eighth, reading depending on difficulty, dotted notes,
sixteenth, dotted notes, syncopation, eighth and syncopation, triplets, compound meter, basic
quarter note triplets Tempo: Largo-Presto (56-168) meter changes. Intervals: All intervals, Major
Musical Markings: Adagio, Andante, Moderato, Scale and Minor sung with Kodály hand signals.
Allegro, Presto, Rit.(ardando), Accel.(erando), Non-diatonic intervals (tritone, major seventh,
ppp-fff,, Cresc(endo) and Decresc(endo), sfz, fp, minor ninth etc.) with Kodály syllables and hand
fermata, subito, piu, meno, Accent >, plus signals practiced. Key Signatures: None to five
marcato, staccato, tenuto. Non-Traditional sharps or five flats, both major and minor. Chord
Notation: Developed with opportunities to sing Tones: Three to eight part chords, major and minor
jazz, aleatoric, multi-cultural, or early music. root position 7th chords and inversions, altered
chord tones introduced.
Meter: Any can be coached Note Values: Any Melodic Reading: Melodies utilizing all intervals, all
Tempo: Any can be coached Musical Markings: keys and modes, unison to eight-part reading
All common markings, descriptive phrases (con depending on difficulty, challenging syncopation,
bocca chiusa, ) can be coached and understood triplets, compound meter, challenging meter
easily. Traditional Notation: Developing with changes. Intervals: All intervals, Major Scale and
opportunities to sing modern styles. Minor sung with Kodály hand signals. Non-
diatonic intervals with Kodály syllables and hand
signals developed through application to
chromatic repertoire. Key Signatures: Any key
major or minor. Chord Tones: All positions and
inversions of chords; rootless chords,
and "stacked" chords; 6-part and more chord
tones.
All elements mastered. All elements mastered.
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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

Resonance: Balance/
Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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Festival Performance Reflection
For each choir that you hear, please fill out the answers to the following questions. Be very specific (i.e.
Intonation was good, but sopranos went sharp a few times).

What was your favorite song?

Why?

What did the other song(s) offer that you liked, even if it/they weren’t your favorite?

What did the choir do that you liked?

What could the choir have done better?

What can we learn from this choir’s performance?

Comment on the following areas of choral performance:

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Blend/Independence/
Intonation
Breath: Management/
Dynamics/Articulation/
Diction
Artistry: Rhythm/
Expression

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