ncba marching band compe33on & adjudica3on ...ncba marching band compe33on & adjudica3on...

NCBAMarchingBandCompe33on&Adjudica3onProceduresManual

NORTHCAROLINA BANDMASTERSASSOCIATION

2019

MARCHINGBANDCOMPETITION&

MPAPROCEDURESADJUDICATIONMANUAL

Note: Changes for 2019 are in RED

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TableofContents(note:usehyperlinkstofindthepage,pressandholdctrlthenclick)

ArCcleI:ContestInformaCon……………………………………………………………………………………………..……. 3 SecConI:Mission&Philosophy…………………………………………………...................................................................... 3 MissionStatement………………………………………………………………………………………………………...…… 3 GeneralStatementofConductandEthics……………………………………………………..……………………...……….. 3 SecConII:ContestSpecificInformaCon…………………...………………………………………………………………… 4 ContactInforma3on…………………………………………………………………………………………………………… 4 EntryInforma3on……………………………………………………………………………………………………………… 4 PerformanceSchedule………………………………………………………………………………..……………………….. 4 EventManagement………………………………………………………………………………….………………………… 4 Guides/Coordinators…………………………………………………………………………………………………………… 5 Passes……………………………………………………………………………………..…………………………………… 5 RestrictedAreas………………………………………………………………………………………..……………………… 5 VideoPolicyandDirectorsViewingArea…………………………………………………………………………………… 5 AwardsCeremony……………………………………………………………………………...……………………………... 5 ProvisionsforFeedback………………………………………………………………………………………………….……. 5 SecConIII:RulesandRegulaCons………………………………………………………………………….………………… 6 Eligibility……………………………………………………………………………………………………………………… 6 Classifica3on………………………………………………………………………………..………………………………… 6 PerformanceRequirements………………………………………………………….………………………………………… 6 PerformanceBoundaries/Markings…………………………………..………..……………………………………………… 7 Penal3es……………………………………………………………………………………………………………..………… 7 Electronics……………………………………………………………………………………..……………………………… 7 Restric3ons……………………………………………………………………………………………………….…………… 7

ArCcleII:AdjudicaConProcess………………………………………………………………………………………………… 8 SecConI:PhilosophyandEthics……………………………………………………………….……………………………… 8 ApplyingtheNCBAValuesinJudging…………………………………………….………………………………………… 8 PhilosophyoftheNCBAScoringSystem………………………………………..…………………………………………… 9 JudgesCodeofEthicsAffilia3on…………………………………………………………...………………………………… 9 Consulta3ons………………………………………………………………………………………………..………………… 10 AuxiliaryJudges………………………………………………………………………………………………………………. 10 SecConII:DuCesandInstrucCons……………………………………………………….…………………………………… 10 Du3esoftheAdjudicators……………………………………………………………………..……………………………… 10 GeneralInstruc3ons…………………………………………………………………………………………………………… 10 TapeCommentary……………………………………………………………………………..……………………………… 11 ManagementofNumbers……………………………………………………………………………………………………… 12

SecConIII:NCBAScoringProcess…………………………………………………………………….……………………… 13 “ValueofaPoint”……………………………………………………………………………………………………………... 13 NCBAScoringSystem..…………………………………………………………………….………………………………… 13 JudgeLoca3ons…………………………………………………………………..…………………………………………… 14 Tabula3onandDeterminingAwards…………………………………………………..……………………………………… 14

SecConIV:CriteriaReferenceSystem………………………………………………...……………………………………… 15 Applica3onofCriteriaReferenceSystem……………………………………..……………………………………………… 15 ApplyingDerivedAchievementofExcellence………………………………………………………………………………... 16 GeneralInforma3onRegardingtheJudgingofEffect…………………………….………………………………………….. 17 SecConV:ScoreSheetExplanaCons…………………………………………………………………………………………… 17-23

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NCBAMARCHINGBANDMPABYLAWS………………………………………………………………………………… 24 NCBACHIEFJUDGEREQUIREMENTS............................................................................................................................... 37 CONTESTHOSTPLACEMAT……………………………………………………………………………………………….. 45

FORWARD Muchofthismanualisina“fill-in-the-blank”formsothatitmaybeadaptedtosuiteachindividual event. The informa3onprompts that appear in BLUE italics shall be providedbyCONTESTHOSTSofeachcontestorMPA. Theremainderof the informa3on inBLACKmustbe thesameforalleventssanc3onedbytheMarchingBandCommiieeoftheNCBAandshouldbedistributedinadvanceof the contest to the directors of all par3cipa3ng ensembles. The second por3on of thismanual isintended for CHIEF JUDGES. The two documents published jointly so all involved in each event arefamiliarwiththesameinforma3on.

ArCcleI:CompeCConProcedures

SecConI:Mission&Philosophy

1.01 MISSIONSTATEMENT TheNorth Carolina Bandmasters Associa3on (NCBA), a division of theNorth CarolinaMusic Educator’sAssocia3on (NCMEA), officially recognizes and sanc3ons marching band as a viable and credibleperformancebasedensembleintheteachingofmusicinahighschoolselng.Webelievemarchingbandcanbeonecomponentofawell-balancedcomprehensiveinstrumentalmusicprogram.

Includethepurposeofthecontestand/orthegoal(s)forthebandsa6endingtheevent.

1.02 GENERALSTATEMENTOFETHICS TheMarchingBandCommiieeoftheNCBAbelievesthatmarchingbandmustbeeduca3onallybasedandcenteredonenhancingpublicschoolinstrumentalmusicprogramsinNorthCarolina.Itisthecommiiee’sbeliefthatmarchingbandisoneextensionofthehighschoolconcertbandprogram.

Everydecisionmadeby theNCBA’sMarchingBandCommiieewhenestablishing auniformmethodofcri3quewascenteredonhelpingstudentsanddirectorsgrowandlearn. Marchingbandcompe33oncanbeusedasaposi3veeduca3onaltoolforthedevelopmentofbeiermusicianship,strongerdiscipline,self-mo3va3on, and character. Since compe33ve marching band can consume much 3me and money inprepara3on, extreme caremust be taken to keep the ac3vity in perspec3vewith the responsibility toeducate. When theseobjec3ves arenot theprimary goals of a program,marchingband ceases to beeduca3onallyvalidforstudents. Professionalismistheul3mateexpecta3on. AsmembersoftheNCBA,eachdirector ischargedwithac3ngresponsiblyanddemanding thesameofhis/heren3reprofessionalorganiza3on.

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1.03 CODEOFCONDUCT Professionalethicsareessen3altotheconductofabanddirectorchoosingtohavehis/herorganiza3onpar3cipateincompe33on.Directorsmustbeawareoftheguidelinesrelatedtothiscodeofconductandbegoodrepresenta3vesfortheprofessionbymakingdecisionswithcare.Thefollowingareguidelinesforbehaviorandgooddecision-making:

o Directors,students,parentsandotherstaffshouldactinasuppor3vemannerofallpar3cipa3nggroupsandindividuals.Inappropriatelanguageand/orbehaviorfrompersonsrepresen3ngaspecificbandwillresultinthatschool’sadministra3onbeingno3fiedbytheChairpersonoftheNorthCarolinaBandmastersMarchingBandCommiiee.Educatorsmustbeconsiderateofallothersinaddi3ontotheirownstudents.Allpar3cipa3ngindividualsandgroupsshouldbetreatedwithrespect.

o Respectthecompe33veprocess.Eachdirectorisexpectedtoactinaprofessionalmannertowardsponsors,hosts,adjudicators,spectatorsandothercompe3ngdirectorsandstudents.

o Followingthe3melineandscheduleforeacheventisimpera3ve.Failuretodosowillresultinpenal3esand/ordisqualifica3on(seeProceduresandAdjudica3onManual).

o “ContestHopping”(signingupformorethanonecontestonthesameday,thenchoosingwhichsuitsbestanertheperformancescheduleshavebeenestablished)isnotallowed.Failuretoprovideproperno3ceofcancella3on,exceptinextremecircumstances,willbeconsideredaviola3onofthiscodeofconductandtheschool’sadministra3onwillbecontactedbytheChairpersonoftheMarchingBandCommiieeoftheNCBA.

o Forgeryisacrime.Propersignaturesoncontestregistra3onformsarerequired.Anydirectorcaughtforgingaprincipal,boosterrepresenta3ve,administrator,oranyothersignaturewillbeinviola3onofthiscodeofconductandtheschool’sadministra3onwillbecontactedbytheChairpersonoftheMarchingBandCommiieeoftheNCBA.Likewise,directorsareexpectedtorequestandreceiveallappropriatecopyrightclearances.

o Onlysanc3onedcontests,whichhavepaidtheappropriatefee,mayusetheNCBAMarchingBandSheetsandSystem.TheChairpersonoftheMarchingBandCommiieeoftheNCBAwillcontacttheadministra3onofanyschool/contestusingthesystemwithoutbeingasanc3onedeventandhavingpaidtheappropriatefee.

o Conteststhatdemonstrateablatantdisregardfortherulesandproceduressetforthinthismanualwillbeissuedawriienno3cehighligh3ngtheinfrac3onandthecontestwillbeplacedonproba3onforaperiodofoneyear.Ifaddi3onalruleviola3onsareobservedwhilethecontestisonproba3on,thecontestwillbesuspendedforthefollowingyear.

SecConII:ContestSpecificDetails

NameofContest-DateofContest-Loca2onofContest

2.01 CONTACTINFORMATION ContestDirector:

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Title: Ins2tu2on: Address: City,State,Zip: OfficeTelephone: HomeTelephone: EmailAddress(es):

AnyAddi2onalContactInforma2on:

2.02 ENTRYINFORMATION Specifyhowtoenterintocontest,costofentry,howtheorderofperformanceisdetermined,andhowthenumberofbandsineachclassisdetermined.Entryinforma2onmustincludea“scriptsheet”thatprovidestheinforma2ontheannouncerwillreadwhenintroducingtheensemble(i.e.nameofschool,nameofband,musicalselec2ons,name(s)ofdrummajor(s).Otherinforma2onmaybegathered(staffnames,previousawards,etc.)forinclusioninthecontestprogram,butmaynotbeincludedintheintroductorycommentsforeachensemble.

2.03 PERFORMANCESCHEDULE Providespecificinforma2onregardingthescheduleofperformances.Eacheventshoulddetermineappropriateschedulingcriteria.

Bandsmustbescheduledatintervalsofnolessthanfineenandnomorethantwentyminutes.However,thefineenminute3melimitintheperformanceareamustbeobservedatallcompe33onsregardlessoftheperformanceschedule.Itisrecommendedthatshowswithlogis3calconcernsduetositelayout(ex:only one entry and exit for performers and equipment), consider scheduling intervals greater than thefineenminuteperformancearea3melimit.

Bandsarrivinglatemaybeallowedtoperformatalater3me,ifatallpossible.Thebandwillperformforra3ngsonlyandwillreceivetapesfromthejudges. Theywillnotberankedorratedandwillnotreceivesheetsfromthejudges.

2.04 EVENTMANAGEMENT Providespecificinforma2onregardingdirec2onstoeventloca2on.

Providespecificinforma2onregardingarrivalloca2on,parkingloca2on,check-inprocedureandchanging/restroomavailability/loca2on.

Providespecificinforma2onregardingprac2ceareas,warm-upandreport2mes.

Providespecificinforma2onregardingingress-egresstostadiumforperformanceandawardceremonies.Providemapsofallareas.

Providespecificinforma2onregardingdirectorand/orstaffhospitality.

Providespecificinforma2onregardingweatherrelatedchanges

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Providespecificinforma2onregardingdirectorsmee2ngsorotherlogis2calmaSers.

Provideinforma2onfor2mingofficial

2.05 GUIDESANDCOORDINATORS Providedspecificinforma2onabouttheroleofguides,includingwhenandwheretheywillmeettheband(ifapplicable).

Atleastoneadultcoordinatorisrequiredtobeprovidedforeachwarm-upsiteprovided. Thispersonisresponsibleforkeepingwarm-upsiteson3meandinformingbanddirectorswhenfineen(15)andfive(5)minutesareremaining.

2.06 PASSES Specifyinforma2onregardingthenumberofstaff,pit,anddirectorpassesthatwillbeprovided.

[Example:Eachbandwillbeissued(specifynumber)namebadgesandanaddi3onalfieldpassforevery(specifynumber)studentsintheensemble.Namesforthefieldpassesmustbesubmiiedatcheck-in.]

Specifytheareasinthestadiumforwhichthepasswillpermitadmission.

2.07 RESTRICTEDAREAS Specifythoseareasofthestadiumthatarerestrictedforspectators.

2.08 VIDEOPOLICYANDDIRECTOR’SVIEWINGAREA Specifyrestric2onsand/orproceduresregardingthevideotapingofshows.

Specifyinforma2onregardingspecialvideoareasand/ordirectorsviewingareas.

2.09 AWARDSCEREMONY AwardsforNCBACap3onsshouldbegivenasfollows:

● The“Music”AwardsshouldbegivenbyconsideringtherankingswithineachclassoftheaverageofthescorefromtheMusicPerformanceEnsembleandMusicPerformanceIndividualcap3ons.

● The“Visual”AwardsshouldbegivenbyconsideringtherankingswithineachclassofthescorefromtheVisualPerformancecap3on.

○ Note:Becauseallvisualelementsshouldbeconsideredinthiscap3on,thisshouldnotbea“Marching”award.

● The“OverallEffect”AwardsshouldbegivenbyconsideringtherankingswithineachclassofthesumofthescoresfromthetwoMusicEffectcap3onsandtheVisualEffectcap3on.

● AwardsforAuxiliaryCap3onsarenotgovernedbytheNCBA

Specifyinforma2onregardingtheawardsceremony(fullretreat,drummajor/directorretreat,etc.)

2.10 PROVISIONSFORFEEDBACK EveryoneinNorthCarolinawhopar3cipatesinthemarchingac3vityhasaroleinhelpingtoimprovetheac3vity. Comple3ng feedback formswill help theMarching BandCommiieeof theNCBA con3nue toimproveourprocess,andtherebytheexperienceforallpar3cipants.

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Intheevent that theNCBACommiieerequirespaperorelectronicevalua3on instruments inanygivenyear,itistheresponsibilityoftheEventHosts,Judges,Par3cipa3ngDirectors,andChiefJudgetocompletetheseevalua3onswithin the3meframe setby theNCBAMarchingCommiieeChairman. Chief Judgesshouldfollowallrequirementslistedinthecurrentyear’sChiefJudgesManual(i.e.–distribu3onofcheckstojudges)shouldtherebearequirementofevalua3onsinanygivenyear.

SecConIII:Rules&RegulaCons

3.01 ELIGIBILITY Par3cipa3ngstudentsmustbecurrentlyenrolled,academicallyeligible,andmembersfromthesamehighschooloronewherethemembersarepartofasinglebandwitharecognizedjointcreditprogram. Alsoeligible are students from all feeder elementary, junior high, and middle schools. Directors, staffmembers, and parentsmay assistwith the setup of equipment both on and off the field; however, allpar3cipantswhocontributetotheperformancemustbestudents(movingprops,etc.). Directorsorstaffmayconductfromthesideline.

3.02 CLASSIFICATION Provide specific informa3on regarding how ensembles will be grouped into classes (number ofpar3cipants,schoolsize,etc.)

[Note:Thecommiieerecommendsthatbandsbeclassifiedaccordingtothenumberof totalmusicians(hornline+percussion).Itisrecommendedthattheclassifica3onrangevariesby15orfewerperformersinclassesupto60windplayers,]

3.03 PERFORMANCEREQUIREMENTS For3mingpurposesonly,theperformanceareawillbedefinedasthe300x160nareabetweenthegoallinesandfrontandbacksidelines.Eachpar3cipa3ngbandwillhave15minutestoenter,set-up,warm-up,perform,andexit theperformancearea.Bandsmustpresentaperformanceofno less than7minutes.Timingviola3onsaresubjecttopenalty(seeRule3.05).

Eachbandwillbeallowedtoset-upandwarm-upanywhereintheperformancearea.PerformanceAreaTiming will begin at the cue of the Timing and Penal3es Official. All performers, including stagehandsassis3ngwithonfieldset-up,mustnotentertheareaun3linstructedtodosobytheTimingandPenal3esOfficial. The show host should ensure that their egress/regress provides the opportunity for eachperformingband tobestagedso that theycan immediatelyenter theperformanceareaupon thiscue.PerformanceTimingandAdjudica3onwillstopwhenallequipment,members,andstagehandsareclearoftheperformanceareaboundariesasdefinedabove.

UponvisualcueoftheTimingOfficial(atthedirec3onofthedirector/drummajor)ornolaterthanthree(3)minutesand30secondsinto3me,theannouncerwillintroducethebandasfollows:

“Joiningusfrom(nameoftownandstate,pleasewelcomethe(nameofschool)HighSchoolMarchingBand!”(pauseforaudienceresponse)“Theirmusicalselec3onsincludethefollowing(informa3on

providedonscriptsheet). “The(nameofcontest)isproudtopresentincompe33onperformance,DrumMajor(s)(name(s)ofdrum

major(s))andthe(nameofschool)HighSchoolMarchingBand!

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Adrummajorsaluteisnolongernecessarytoindicatethatthebandisreadytostart;howeverifthedrummajor(s)aregoingtosalute,itshouldoccuratthis3me.

PerformanceTimingandAdjudica3onwillbeginwiththefirstnoteofmusicorthefirststepbyamemberof the ensemble aner the announcement,whichever comesfirst. Performance3ming andAdjudica3onwillendwith the lastnoteplayedor laststeptaken. Musicalexitswillbe included in theperformance3me. Visual moves (with music or silent) are considered part of the performance 3me and will beadjudicatedasapartoftheshow.

Bandsmustcompletelyvacatetheperformancearea(theareabetweenthegoallinesandfrontandbacksidelines)withinthe15-minutetotal3me.Exit3meandentrance3meofthetwobandsmayoverlapinorder tomaintain theflowof theevent. Non-performersmayassist in theexitprocess.Adrumtap isrecommended.PERCUSSIONCADENCEANDTROOPINGSTANDSENTERINGOREXITINGTHESTADIUMISNO LONGER ALLOWED IN NCBA MARCHING BAND EVENTS. Percussion Cadences will no longer beallowedtobeapartofapre-show. Usingacadencewhenenteringorexi3ngwillresult inaPerformerViola3on.

3.04 PERFORMANCEBOUNDARIESANDMARKINGS Provide specific informa2on regarding boundary regula2ons (if any) and size of pit area. Specificboundariesmustbedefined.For3mingpurposesonly,theperformanceareawillbedefinedastheareabetween the goal lines and front and back sidelines. However, for performance boundaries, theperformanceareawillbedefinedasthe300x160nareabetweengoal linesandfrontandbacksidelinesandwillalsoincludethe15footareainfrontofthehomesideline.

Thefieldmustbearegula3onhighschoolfootballfieldandmarkedaccordingly(every5yards,highschoolhashmarks,etc.). Amarker,which isvisible to theperformers,mustbeplacedonat leasteveryotheryardlinealongthefrontsideline.

Provide other specific informa2on regarding how the field is marked (loca2on of numbers, etc.) andloca2onofgates(size,accessibility,etc.)forentranceandexit.

Allnon-performingpersonnel(propholders,soundadjustment,flagrunners,etc.)mustnotcontributeinanywayduringtheperformance3me.Tobeclear,parentsmayholdpropsduringanyevent,butmaynotmanipulateapropinanyway.Anyviola3onofthisruleissubjecttoaperformerviola3onpenalty.

3.05 PENALTIES Timingpenal3eswillbeassessedfor: Under7minuteperformance3me: 0.1pointper3secondsorfrac3onthereof Over3meof15minutetotal3me: 0.1pointper3secondsorfrac3onthereof Performerviola3on: 3pointtotalpenaltyregardlessofnumberofinfrac3onsElectronicViola3on: 3pointtotalpenaltyregardlessofnumberofinfrac3ons

3.06 ELECTRONICS All electronically produced soundsmust be “live,” in “real 3me,” and be performed by a student. Nosingle, triggered electronic sound may produce rhythmic intent. Note: Prerecorded music is onlypermiiedbeforetheannouncement.

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Electronic sound boardsmay be operated by staff, or students, outside of the performance area (thisincludesfromwithinthestands).Staffmembersmaynottriggeranysoundsorvoiceoversthatcontributetotheperformance.Theperformanceareawillbedefinedasthe300x160nareabetweengoallinesandfrontandbacksidelinesandwillalsoincludethe15footareainfrontofthehomesideline.

Narra3onandsoundeffectsmaybepre-recordedandusedwithoutpenalty.

Specify if the host organiza2on will provide electricity and the loca2on of the source rela2ve to theintersec2onofthefrontsidelineandthefiVy(50)yardline.

Theeventhostisnotresponsibleforanyinterrup3oninthesupplyofelectricity.

Anyviola3onwillresultinanelectronicviola3on(ordisqualifica3on)atthediscre3onofthechiefjudgeinconsulta3onwiththeeventhost.

3.07 RESTRICTIONS No fire, pyrotechnics, fireworks, firing of weapons, or the use of any hazardous materials that couldendangerthestadiumsurface,par3cipants,orspectatorswillbepermiied.

Noanimalswillbeallowedaspartoftheperformance.

Nobandmayperformarou3nethatrequiresthestadiumlightstobeturnedoff.

Nopowderand/oranymaterial thatmightdamage thefield, leaveexcessive residue (paperwrappings,etc.),and/ordisruptthescheduledflowoftheeventwillbepermiied.

Nobandorpor3onofanybandmayusetheperformanceareaforprac3ceduringtheweekpriortotheevent.

Any viola3on of these restric3ons will result in aminimum 3 point penalty (or disqualifica3on) at thediscre3onofthechiefjudgeinconsulta3onwiththeeventhost

ArCcleII:AdjudicaConProcess

SecConI:Philosophy&Ethics FORWARDEveryoneissensi3vetothechangingsitua3onwithinthemarchingbandac3vity.Someareasarefortunatetohaveanabundantnumberofbandspar3cipa3ng.Someareasareexperiencingarapiddeclineinsupporttothemusicprogramsandprogramsareatrisk.Inallcases,moneyisaproblem.Manyareques3oningcompe33on,itspurposewithintheeduca3onalarena,andallwantthebestpossibleexperiencefortheirstudents.

1.01 APPLYINGTHENCBAVALUESINJUDGING Inorderforadjudicatorstodotheirpart,thefollowingdirec3vesmustbefollowed.

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o Weencourageyoutobringyourvariedexperiencesandknowledgeintoyourjobtoday.However,wedoaskthatyoumakesurethatyoukeepinmindthatthephilosophiesofoursystemmaynotmatch those of the system that you aremost familiar. It is the responsibility of each judge toadhere to the direc3ves and philosophies of the NCBA system at this event and any NCBAsanc3onedcompe33on.

o The judges’ job is to support theeduca3onalexperienceof the students. The judge is a team-teacher, reinforcing the tenetsofqualitymusicandmovement. Judgingmustbeabouthelpingthestudentstogrow,andaboutapprecia3ngtheirlearningefforts.

o YouarejudgingaNCBAMarchingBandContests.Helpthebandsworkwithintheframeworkofwhat theyhave.Thisdoesnotpreclude iden3fyingproblemswithin theshow,nordoes italterhowyourankandratebasedonthedesignorperformance.

o Modify your terminology - please deliver your observa3ons in clear terms. Present yourcommentaryinamethodthatcanbeplayedforthestudents.

o PleasescorethebandswithinthecontextoftheNCBAparadigm.

o Pleaseunderstand theuseof “Valueof aPoint”; scoring twobands (using20point cap3onas20.0=200),understanding the spreadsbetweenbandsas it applieswithin the tenthsofpointdifferences. This is important for a judge toworkwithin a system–not allowing an individualjudgeto“callthecompe33on.”

o Music Judges - Equally and constantly sample woodwinds, brass and percussion. Do notconstantly talk about the instrument you are strongest in. Sample all instruments equally.Recognize and reinforce the technique behind successfulmusical quality of every voice in theband.

o MusicPerformance-Individualinsamplingalloftheinstrumentsshouldgetcloseenoughtoalloftheperformerstogetaclearevalua3onoftheperformancequali3esofthemembersofthebandwithoutdistrac3ngfromthequalityoftheperformancetothemembersoftheaudience.Individual judgesshouldnot limit theirevalua3on to the front sidelineor the trackaround thefield. The weighted percentages of the sub-cap3ons (woodwinds-37.5%, brass-37.5%,percussion-25%)arerealizedontherecapspreadsheet.

o MusicEffectJudge-FocusthemajorityofyourdialogonMUSIC.Coordina3onpriorityforYOUispercussiontowindsaswellascolorguardandwithinthosethreesec3ons.SOMEcommentarywillbeappropriaterela3vetovisualstagingandcoordina3on,butDONOTjumpintothevisualcap3on. Recognize the musical repertoire (choice of music, con3nuity of selec3ons, depth/interestofarrangements,crea3vity,imagina3on,pacingofthemusicalprogram).

o VisualEffectJudge–Besuretoincludecommentaryonallvisualelementsoftheprogram,bandproperandcolorguardalike.

o Visual Performance Judge – TheNCBAMarching Band commiiee, having heard feedback, hasdecidedthatitisappropriatetogivecreditfor“what”theperformersaredoingaswellas“how”welltheyareperforming.The“what”hasbeengivenasub-cap3onvalueof40%andthe“how”hasbeengivenasub-cap3onvalueof60%. Thesepercentageswillberealizedinthetabula3onsheet. Becarefultoincludeallvisualelementsinyourcommentary,notjustcolorguardortheband-proper.

o Valueallofourbands.Sizeofbanddoesnotmakeitmoreorlessimportant.Everystudentmusthave thebestpossible input. Everyprogram is vital in its importance.Compe33on is strong inevery division; intelligent and sensi3ve decisionsmust offer the students equal opportunity toachieve.

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o Judgethecontestfromtoptoboiominyouroverallrankings.Rememberthatthesizeofabandcan be a challenge whether very small or very large. The problems will be different, but thechallengeiss3llgreat.Donotjudgejusttheclass.

o A brief commentary should be wriien on every score sheet. “Comments on tape” is notsufficient.Thisprovidestheteacherswithsomethingtheycanpostinthebandroomandletthestudentsread.Thishasbeenarequestofourbands.Pleasewritelegibly.

o Judgingbeginswiththefirstvisualmoveormusicalnotefollowingtheannouncement.

Judgesshouldbeenthusias3cabouttheircontribu3on.Toneofvoicecreatesamoreimpac3ngimpressionthanyourealize.Assumetheperformerswillhearalltapes.

1.02 PHILOSOPHYOFTHENCBASCORINGSYSTEM This system is a means to encourage and reward crea3vity, ar3stry, and standards of excellence andachievementwhileprovidingavehiclethatwilleducatenewandolderbanddirectorsinsuchawaythattheywillgrowtounderstandandevolvetothegreatest leveloftheirpoten3al. It isour intentthatthissystemwillencourageandrewardcrea3vity,andacknowledgethetastefulandaesthe3cappealofgooddesignthroughqualitycomposi3on.

The system acknowledges the joint efforts of designers, instructors, and performers throughunderstandingthatexcellenceandar3stryaredisplayedthroughthedesignandthatthosesamedesignsarerecognizedandcreditedthroughthear3stryofperformance.

Thissystemu3lizesamethodofsubjec3veevalua3onthatrewardstheachievementofposi3vequali3esand offers con3nued encouragement to strive for greater achievement. This is a posi3ve system,rewardingsuccessfuleffortsatevery level,and isdesignedtoencourageunitstodevelop,maintainandprojecttheirownstyles.Therefore,weemphasizecrea3vity,originality,tasteandexcellence.

The system is educa<onal and will promote performers and directors based on successfulaccomplishments.

1.03 JUDGES’CODEOFETHICSAFFILIATION ANCBAJudgeisprohibitedfromadjudica3ngataneventinwhichthejudgehadanyofthefollowingaffilia3ons:

- PrimaryAffilia3ons:Designers,directors,instructors,writers,arrangers,management,marchingmembers,immediatefamilymembers.Furthermoreformerdesigners,directors,orinstructorscannothaveservedinthatcapacityofanycompe3nggroupswithinatwoyearperiodpriortojudgingthatgroup.

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REMEMBER-JUDGINGCANNEVERBE“ABOUTTHEJUDGE,”IT MUSTALWAYSBE“ABOUTTHEPERFORMERS”.

Theyareall“yourkids.”Pleasedealwiththemwiththatsensi3vity.


- SecondaryAffilia3on:Non-Immediatefamilyandpersonalrela3onshipswithanyoftheabove-describedpersonscouldbeconstruedtobeasecondaryaffilia3on.

ChiefJudgeswillnotworkatacontestwherethereisaPrimaryAffilia<on.

Excep<onstotheaboverulemaybemadeupondirec<onoftheNCBAMarchingBandCommi6ee,withpriorapproval.

Please contact your dis<rct marching band representa<ve and the NCBAMarching Band Commi6eeChairpersonimmediatelyifyouareawareofapossibleconflict.

PenalCesforaffiliaConviolaCons includebutarenot limitedto;removalofthe judgefromadjudicaCngNCBAsancConedeventsfortwoyears.

IfthehosCngschool is inviolaConofethicrulesbyhiringanineligible judge,thatschoolanddirectormayberemovedfromhosCngaNCBAeventforuptotwoyears.

1.04 CONSULTATIONS AnNCBAJudgemaynotconsultwithanybandwithinthe5dayspriortoacontestthathemaybeaskedtojudgethatband.

1.05 AUXILIARYJUDGES AnycontestusingtheNCBASystemrepresentsourstateorganiza3on.WhileNCBAsystemdoesnotcover forauxiliarycap3onsof“percussion”,“guard”,and“drummajor”andotheraddedcategories,allauxiliary judgesmustfollowthesameexpecta3ons,requirementsandregula3onsasNCBAcap3onjudges.Itisthe responsibilityoftheCompe33onHosttomakesurethatallauxiliaryjudgesfollowandmeetthese guidelines.ItisthedutyoftheChiefJudgetoremoveanyauxiliaryjudgefromanadjudica3onpanelwho

is inviola3onofjudgingethics.

1.06 JUDGEASSIGNMENTSFORMUSICPERFORMANCEADJUDICATION(MPA)EVENTS AnycontestthatwillincludeaNCBAMPAeventpriortotheactualcompe33onmaynothaveanindividualmemberofthepaneljudgethesamecap3onforboththeMPAandtheCompe33on.Judgesmustchangecap3onsbetweenthetwoevents.Ajudgemustbeapprovedtojudgeboththecap3ontheyareassignedtofortheMPAeventandthecompe33on.Non-NCBAAuxiliarycap3ons(Percussion,ColorGuard,DrumMajor,etc.)mayjudgethesamecap3onforbotheventsiftheshowhostwishesit.Thisruleprotectsthejudgesfromfeelingliketheymustgivethesamefeedbackforbothperformancesorassignascorewithinthesameboxcriteriaforbothperformances.Furthermore,itprotectsabandfromreceivingaperceivedcompe33veadvantageordisadvantagewithintheprocess.

SecConII:DuCesandInstrucCons

2.01 DUTIESOFTHEADJUDICATORS ● ReporttotheChiefJudgeandcompe33onsiteatthe3mespecifiedbytheshowhost.

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● Whilenospecificuniformisrequired,judgesareexpectedtodressinaprofessionalmanner.ItisnotconsideredprofessionalforaNCBAjudgetoreportfordutydressedinalrenotappropriatetobewornbyapublicschoolofficialataneventwhereparentsandguestareinaiendance.Jeans,shorts,flip-flops,t-shirts,“sweats”shouldnotbeconsideredappropriate.

● Judgeswhoareonthefieldshouldavoiddistrac3ngstudentsfromtheirperformanceandtheaudiencefromtheenjoymentoftheperformance.Itisvitalthatanonthefieldjudgemoveinandoutoftheperformancespacewithoutdistrac3ngtheperformersortheaudience.

● SmokingisprohibitedatallNorthCarolinapublicschools.Therefore,itisanexpecta3onthatallNCBAjudgesfollowstateandlocalschoolboardpoliciesregardingtheuseoftobaccoproductsonthecampusofhostins3tu3ons.

● Ateverystatesanc3onedevent,itisarequirementforalljudgestobepresentandhearthepresenta3onoftheChiefJudgeregardlessofyearsorpreviousjudgingexperienceswiththeNCBAsystem.

● TheChiefJudgemustmakeapresenta3ontoalljudgesoftherequiredmaterialspecifiedbytheNCBAMarchingBandCommiieeateveryevent.

2.02 GENERALINSTRUCTIONS 1.Judgesaretoratetheunitsbythecompara3vescoresearnedduringthecourseofthecontest. 2.Judgesaretoaidtheunitstoimprovethroughtapedcomments. 3.All judgesareexpectedtomaintainadignifiedandimpar3alaltudeatall3mes.Theyshouldrefrain

fromdiscussingtheperformanceswhileadjudica3ngthecontest. 4. All judges should be separated from one another, as much as the site can provide, so as to avoid

interferingwiththeother’sjudgingprocess. 5.Allcompe3ngbandsshouldberankedwiththeexcep3onofbandsperformingforanMPAevent.

2.03 GENERALVOICERECORDERCOMMENTARY The commentary should provide accountability for evalua3on, construc3ve cri3cism, and usefulinforma3onthataddresseshowtoimprove.Addi3onally,thetenorofthecommentaryshouldbegenuinehelpfulnessandgearedforstudentlistening.

Typically, some staff members make judgments about the input quality based on one disagreeablecommentandthenignorethesubstanceoftheremainderofthecommentary. Manyissuesariseoutofthepercep3onofaltudeontheinput.Becarefulwithterminology: Realizethatbanddirectorslistentoallthecommentaryandsomeoftheterminologyu3lizedinotherarenasregardingvisualevalua3onneedstoputinmorelaymenterms.

Avoidgelng“stuck”ononeissueandcon3nuetospeakonitwithoutmovingontoothertopicsconcerningtheperformance.Itisveryfrustra3ngforthestaffmembersandstudentswhenajudgeignoresthenumerousperformancequali3esofashowbecausehe/sheisblindedbytheoneelementthatisimportanttohim/her.Remember,agoodjudgemustnotlingerononetopiconly(evenifitisofmajorconcern),andisnottoallowpersonalpreferencesandopinionstoswayhis/herscoreandevalua3onoftheperformance.

MAKESURETHATYOURVOICERECORDERISTURNEDOFFIFCOMMENTSNOTINTENDEDTOBEONTHERECORDINGAREMADEBYYOUORANYONESTANDINGNEARBY.Discussionbetweenjudgesbefore,anerorduringperformancesshouldnotbeonthetapedcommentsgiventothebands.BEPROFESSIONAL–

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remembertheprofessionalimagethatyoumustexemplifyatall3mesassomeonegiventheresponsibilityofevalua3ngtheyoungpeopleofourstate.WhileinthePressBoxoratajudge’smeal,astudent,parent,volunteer,orbandstaffmemberisprobablywatchingandhearingwhatyoudoandsay.

VoiceRecorderCommentaryPrioriCes: o Commentsshouldassistthosepartsoftheshowthatareimportanttothescoringprocess.

o Commentsshouldassisttheunderstandingoftheranking/ra3ngprocess.

o Commentsshouldassisttheinstructorinimprovingthestructureoftheprogramorperformance.

o Comments should reflectaneduca3onal approach thatwill rewardachievementandencouragegreaterefforts.

o Avoid terminology that is irrelevant to the principleswe are reinforcing. Clear, specific dialog isappropriate.AllgroupswillbecomfortablewithtermsusedontheNCBAscoresheets.Avoidtherecita3onoftermsthatarenoteasilyrelatedtowhatyouareobserving.

o Be specific in your observa3on of weak areas and be clear as to the problem. Be enthusias3cabouttraining,growthandachievement.

o Offerpa3enceandsupportinthedevelopmentprocessofskills,ideasandworksinprogress.

o Shareenthusiasmfortheac3vity.

o Stayconsistentthroughoutthedayregardlessoflevelofband.

o Expandawareness,par3cularlyofelectroniccontribu3onandvalue.

o Sugges3onsforchangesshouldbemanageable.

o Balancetheposi3veandconstruc3ve.

o Importanceofthecri3ctotheart.

o Greatestimpactwillbeonthemiddle50%ofbands.

o Be open-minded to new concepts which you may not have experienced before. Discuss theseconceptsandlearnabouttheminordertoadjudicatethem.

o Theconsistencyof judges’observa3ons isessen3al for theassuredgrowthofallperformers.Beinformed and currentwith your cap3on philosophy andwith the levels of learningwithin eachclasscriteria.Offersupportandreinforce.

VoiceRecorderswill runcon3nuously throughout theunit’spresenta3on.The judge’scommentsshouldincludebasicimpressionaswellasananalysisofproblemareas.Possiblesugges3onstoimprovecertainaspectsoftheprogram/performanceareencouraged.Boththebanddirectorandstudentsshouldbenefitfrom the commentary. Demeaning or rude comments are unacceptable. Judges shouldmodulate thevolumeoftheirvoicessoasnottointerferewithotherjudgesorwithpatronsviewingtheshow.Whileitisnotnecessarythatatapebecompletelyfilledwithcomments,thejudgeshouldknowthattheabsenceofanycommentsisnotacceptable.

VoiceRecorderGuidelines: o Commentaryshouldbestudentorientedo Reacttotheperformancewithsubstan3vecommentso Iden3fystrengthsandweaknesseswithreasonsforthereac3on.

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o Usethedescriptorsinthecriteriareferenceboxesinthecommentary.o Providespecifichelpforimprovement.o Recognizeandcreditachievement.o Donotdwellonjustoneortwoaspectsoftheperformance,evenifthatisthemajorissue.o Theremustnotonlybeabalanceofcommentarybasedonwhatistobeevaluatedonthesheet,

butalsoabalanceofthe“what”and“how.”o UsethePQPmethodofcri3cism–Praise,Ques3on,Polish.

PikallstoAvoid: o Avoidtoomuchcommentaryaboutthe“how.”o Notenoughcommentaryaboutthe“what,”especiallywithGeneralEffectrepertoire.o Avoidcommentsthatarenotusefulo Avoid“3ck”ortranscriptoferrors.Evaluate,analyze,andoffersolu3ons.o Avoidbeingcondescending.o Avoidarunningcommentaryordescrip3on.o Avoidcomparingyoubandtothosecompe3ng.

2.04 MANAGEMENTOFNUMBERS o Usethecriteriareferencesystemonthesheets.o ThedescriptorsinBoxes1–4arereferencestothemiddleofthecriteriabox.Bandsmustmeet

allofthecriteriainBox5beforetheyreceiveanumberinthatbox.o Determinewhich3rdoftheboxthebandisperforming.o RankAchievementrecognizesthesimultaneousoccurrenceofthe“What&How.”Thatistosay,

thatisthesumofthewriienprogramandtheperformance.o Rankthebandrela3vetoothersintheevent.o UsePointspreadcriterialistedlaterinbookandonjudgingsheetforguide.o Usethetotesheet.o Itisimportantthattolerancesbetweenjudgeswithintheboxesaresimilar,par3cularlyinMusic

Effect.o Thisdoesnotmeantheymustbethesame,however.

o Developanchorpoints.Thesearebandsthatforthatperformancedefineacertainstandard.o Operatewiththeunderstandingthatcreditcannotbegiventoperformersiftheopportunitydoes

notexistinthecontentoftheprogram.

Ra3ngisanimportantaspectofproperscoring.Spreadsaresome3mesappropriateinordertorankwithineachsub-cap3on.

Avoidsub-cap3on3eswhenpossible.

PleaseavoidusingTenthsinyourcap3onorsub-cap3ons.

2.05 THEPROCESSOFASSIGNINGANUMBERTOAPERFORMANCE

Theorderofjudgingpriorityforcap3onsthatdonothavea“what”and“how”subcap3on(MusicPerformanceEnsembleandMusicPerformanceIndividual)istorankthenrateeachperformancewithinthesub-cap3onsthatgenerateacap3onscore.Determinewhichneighborhoodaperformanceshouldbewithinasub-cap3onbycomparingittothecriteriasystemonthebackofthesheet.Numbersmanagementismaintainedbyadheringtotheconsidera3onofavalueofapoint,whichisprintedontheboiomofyoursheet.

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Theorderofjudgingpriorityforcap3onsthathave“what”and“how”sub-cap3ons(MusicEffect,VisualEffect,VisualPerformance)isto

a. first,ranktheperformancewithineachsub-cap3onusingthecriteriareferencesystemasyourguide.

b. second,createpropersub-cap3onspreadsbetweengroupsusingthevalueofapointasyourguide

c. third,determineproperprofilingofasingleensemblebyevalua3ngthe“what”ofthatgroupascomparedtoits“how”.The“what”shouldnotbemorethan10pointsabovethe“how”,norshoulditbemorethan4pointsbelow.

d. fourth,ratetheensemble.Thisfinalstepshouldbeaconfirma3onstepanerhavinggonethroughsteps1-3.

Keepinmindthevalueofapointisappliedtothesub-cap3onandnottheboiomlinescore.

Thereshouldbeno3esinfinalscoresinagivencap3on.Therecanbe3esinsub-cap3ons,however,reallyconsiderifa3eisrequired.Ifnot,makeadecision,andawardthegreaterscoretothebandthatachievedatthehigherlevelinthatsub-cap3on.Ifa3eoccursinthefinalscore,youshouldre-evaluateyoursub-cap3onscorestobreakthe3e.

Onthefrontofthesheet,boxes2,3,and4arebrokendownintothirds.Thenumberineachthirdreferstolowestnumberwithinthatthird.Ifabandmeetsallthecriteriaofabox,thenumberthattheyshouldbegivenisintheTOPthirdofthatbox.InordertoenterBox5,MOSTofthecriteriamustbemet.

THE“VALUEOFAPOINT”

PointSpreads-withinsub-cap3ons-200pointscale=20.0whencombinedwithotherscoresinthe100pointscale–considereachpointofyour100(10.0)asatenth Objec3ve:Toprotectagainstarbitrarypointspreadswhere“onejudgecallstheshow.”The“valueofapoint”shouldapplytoeachofthesub-cap3ons.

Differenceof: 1,2or3points: Thebandswereverycomparable,essen3allyequalexceptforminorissues;thebandsmighthavedifferingstrengthsinthetwosub-cap3ons,leadingtoanarrowspread.Ifthegroupsweretoperformagain,theoutcomecouldbedifferentdependingonperformanceandpossiblerevisions.Theyarecloseneighbors

4,5or6points: Thebandswerereasonablycomparablewithsomeiden3fiable,narrowdifferencesandvariednuancesthatmakeitclearthatonebandisbeierthantheother.Thebandsaremoredistantneighbors.

7,8or9points: Thebandshavesomedefini3vedifferencesbetweenthem.Theycouldperformagainandtheresultswouldprobablynotchange.However,theycoulds3llbedistantneighbors.

Spreadof10pointormore:

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Thebandshavemul3plesignificantdifferencesbetweenthem.Therearemajordifferencesinperformanceanddesignquality.Bandsarenotinthesameneighborhood.

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SecConIII:NCBAScoringProcess

3.01 THENCBASCORINGSYSTEM All par3cipants and all program styles startwith an equal opportunity to succeed. Scores are assignedbasedoncriteriarequiredineachsub-cap3on.

6judgesassignscoresasfollows:

MusicPerformanceEnsemble(1Judge)* 200points(ToneQualityandIntona3on100,AccuracyandDefini3on100)

MusicPerformanceIndividual(1Judge)* 300points(Woodwinds100(37.5%),Brass100(37.5%),Percussion100(25%)

*TheMusicPerformancecap3onsareaveragedforatotalscore

VisualPerformanceEnsemble(1Judge) 200points(Vocabulary100(40%),ExcellenceandTechnique100(60%)

MusicEffect(Music)(2Judges) 200points(RepertoireEffec3veness100,ShowmanshipEffec3veness100)

VisualEffect(Visual)(1Judge) 200points(RepertoireEffec3veness100,ShowmanshipEffec3veness100)

There will be a Timing Official who will enforce all 3ming, procedure, and restric3on viola3ons. Thisofficialwillalsodocumentthenumberofperformersanddetermineclassifica3onifcontestusesnumberofperformersforclassdetermina3on.TherewillalsobeaGateOfficialresponsibleforcoordina3ngtheentranceofallbands.

3.02 JUDGELOCATIONS

MusicEffectJudges-locatedinthepressboxandwillbesta3onaryduringtheen3reperformance.Theywillu3lizebothataperecorderandscoresheettoprovideacommentaryoftheirevalua3ons. Therearetwojudgesinthiscap3on.

VisualEffectJudge-locatedinthepressboxandwillbesta3onaryduringtheen3reperformance.He/shewillu3lizebothataperecorderandscoresheettoprovideacommentaryofhis/herevalua3on. Thereisonejudgeinthiscap3on.

MusicPerformanceIndividualJudge- locatedatfieldlevelandencouragedtomovefreelythroughandaround theensemble,keepinga reasonabledistance fromtheperformersasnot to in3midate themorinterferewiththeirperformance. He/shewillu3lizeataperecordertoprovideacommentaryofhis/herevalua3on.Therewillbeonejudgeinthiscap3on.

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MusicPerformanceEnsemble Judge - located in thepressboxandwill be sta3onaryduring theen3reperformance. He/shewillu3lizeataperecordertoprovideacommentaryofhis/herevalua3on. Therewillbeonejudgeinthiscap3on.

VisualPerformanceEnsemble Judge - located in thepressboxandwill be sta3onaryduring theen3reperformance. He/shewillu3lizeataperecordertoprovideacommentaryofhis/herevalua3on. Therewillbeonejudgeinthiscap3on.

TimingOfficial–locatedonthefield. Theyareresponsiblefornota3ngperformancestartandstop3meand exit 3ming. He/she will u3lize a form to report informa3on regarding 3ming and other relevantinforma3onandturnthisintotheChiefJudgeforassessmentofrela3vepenal3es. Toaidinthisprocessthe3mingofficialshouldbegivenaplacematthatcontainshighlightedinforma3ontomakesureeventsareconsistentacrossthestate.

GateOfficial–locatedneartheentrygate.Theywillberesponsibleforbandentrancesandstar3ngtheirset-up 3me. In coordina3on with the Timing Official and Chief Judge, they will be responsible fordetermining the best procedure for band entrance so as to allow all bands a full set-up 3me yet notimpedetheflowoftheevent.

PercussionJudge–includeloca2onandmethodofprovidingcommentaryifapplicable.ThecommiSeerecommendsthatthesejudgesnotbelocatedonthefield

DrumMajorJudge–includeloca2onandmethodofprovidingcommentaryifapplicable

AuxiliaryJudge–includeloca2onandmethodofprovidingcommentaryifapplicable

3.03 TABULATIONPROCESSANDDETERMININGAWARDS ThescoreassignedbytheMusicPerformanceIndividualjudgeandtheMusicPerformanceEnsemblejudgewillbeaveraged.Thatscorewillrepresent20%ofthetotalscore.

Thescoresassignedbythejudgingpanelwillbetabulatedasfollows: AverageofMusicPerformanceIndividual/Ensemble 20points* VisualPerformanceEnsemble 20points VisualEffect 20points MusicEffect#1 20points MusicEffect#2 20points TOTALPOINTS 100POINTS

Aner scores are tabulated, all penal3es imposed for various infrac3onswill be deducted from the rawscoretodeterminethefinalscore.Iftwoormorebandshavethesamefinalscore,thehigherplacementwillbeawardedtothebandwiththehigherGeneralEffecttotal(sumofVisualEffectandtwo(2)MusicEffectscores).

Scoresfromseparatepercussionadjudicators,auxiliaryadjudicators,ordrummajoradjudicatorswillnotbe used in determining the raw or final score, as this would reward those areas twice (percussioncontribu3on is considered in both music performance and music effect, drum major contribu3on isconsideredinbothmusicperformanceandmusiceffect,andauxiliarycontribu3onisconsideredinbothmusiceffectandvisualeffect).

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AwardsforNCBACap3onsshouldbegivenasfollows: ● The“Music”Awardsshouldbegivenbyconsideringtherankingswithineachclassoftheaverage

ofthescorefromtheMusicPerformanceEnsembleandMusicPerformanceIndividualcap3ons.● The“Visual”Awardsshouldbegivenbyconsideringtherankingswithineachclassofthescore

fromtheVisualPerformancecap3on.○ Note:Becauseallvisualelementsshouldbeconsideredinthiscap3on,thisshouldnot

bea“Marching”award.● The“OverallEffect”Awardsshouldbegivenbyconsideringtherankingswithineachclassofthe

sumofthescoresfromthetwoMusicEffectcap3onsandtheVisualEffectcap3on.● AwardsforAuxiliarycap3onsarenotgovernedbytheNCBASystem.

3.04 ADJUSTEDSCORINGSYSTEM Inaneffort tocreateaposi3veatmosphere forall students compe3ng, theNCBAsystemwillu3lizeanadjusted scoring system. The adjusted scoring systemmaintains the correct placement of bands,whilepreven3ngyoungergroups from receiving scores that couldbe considereddetrimental to the students.Therawscoreandadjustedscorewillbeprintedontherecapsheetgiventodirectors.OnlytheadjustedscorewillbepublishedintheofficialresultspostedontheNCBAwebsite.

Todetermineaband’sadjustedscore,dividetherawscoreby2andadd50points.Thiseffec3velycreatesarangeofscoresfrom50to100forallbands.

I.E.: Band RawScore AdjustedScore Placement Band#1 90 95 1st Band#2 80 90 2nd

Band#3 50 75 3rd Band#4 30 65 4th

SecConIV:CriteriaReferenceSystem

4.01 INTRODUCTION Adjudicatorscomefromvariousbackgroundsandgeographicloca3ons.Thesefactors,alongwithregionalstyledifferencesand individualopinionsandpreferences,willbringabroadrangeofexperiencestothecontest. While thesevariedexperiencesare important topar3cipants, it isalso important topromoteconsistencyintheadjudica3onprocess. Atall3mes,judgesshouldsimultaneouslyevaluatethecontent(whatisbeingperformed)andtheperformance(howitisbeingperformed).

4.02 CRITERIAREFERENCESYSTEM The Criteria Reference System developed by theMarching Band Commiiee of the NCBA is similar tosystems used throughout the country to evaluate band performances, regardless of style, with thepurposeofmaintaininguniformity,objec3vity,andconsistencythroughoutanen3reevent. Thecriteriareference systemof theNCBA, requires that rankingand ra3ngbedoneona sub-cap3onbasis so thateach sub-cap3on number is a ranking and ra3ng in and of itself.When the totals of the sub-cap3onsindicatea3eintheoverallsheet,thejudgeshouldre-evaluatehis/hersub-cap3onnumberstoseeifthe3ecanbebroken.

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Amaximumscoreinanysub-cap3onisinappropriateinanycontestpriortothelastbandtotakethefieldincompe33on. It ispar3cularly inappropriatewhenassignedearly inanycontest. Itmightoccur inrareoccasionswhenthe judge’snumberdisciplineforcesascoretoescalate intheprogressionofacontest,butitnegatescompletelytheconceptofrankingwhenitisappliedprematurely. Itisimportanttorestatethatthefivecategoriesspecifylevelsofachievementforeachsub-cap3on.Thenumerical ra3ngof eachperformance fallswithin thebox thatbestdescribes the level of achievementMOSTOFTHETIME.Onlythetopcategorywiththehighestnumbersrequirestheperformancetomeetoutstanding achievement for EVERYONE of the criteria listed. The achievement level displayed by theperformers is the focusof theadjudica3onsystemandcriteria forentrance intoeachboxon the scoresheetisprintedonthebackofthatpar3cularsheet.

Alljudgeswilljudgetheen3reshowfromobviousstarttoobviousconclusion.

4.03 APPLICATIONOFTHECRITERIAREFERENCESYSTEM It is the intent of this system that a number grade be assigned from whichever level of achievementdescribes the unit’s quali3es most of the 3me. Only box 5 requires the unit to display ALL quali3esdescribedtoearnthescoresavailableatthatlevelofachievement. The criteria reference system describes five levels of achievement, which are applied to Impression,Analysis,andComparison.Theselevelsofachievementaredescribedspecificallyinthesec3on“SCORINGSYSTEM”. In order to provide uniform numerical treatment for subjec3ve judging, judges convertsubjec3veimpressionintoanumericalcategoryandul3matelyrefinethatcategorytoaspecificscore.

Impressionisbestdescribedasthejudge’ssubjec3vereac3on.Numerically,thefunc3onoftheimpressionistodetermineacategoryforanypar3cularsub-cap3on.Uniformityofimpressionfromjudgetojudgeisnoteasilyaccomplished.Thecriteriareferencesystemaiemptstostandardizethisprocess.Analysisistheobjec3ve aspect of the evalua3on that seeks out reasons to support or modify ini3al impressions.Numerically the analysis converts the impression category to a specific score within each sub-cap3on.Comparison requires the judge to lookat thenumbergivenandcompare it toothermarkshe/shehasgiven inthatcategorynotonly inthatcontestbutalso inearliercontests.Thus,whena judgeassignsanumbertoanaspectoftheunit’sprogram,he/sheistellingthatunithowitstandsonastatelevel.

4.04 APPLYINGDERIVEDACHIEVEMENTINEXCELLENCE Just as each grade level enhances a curriculum that challenges the student to grow and learn newmaterial,sotoo,similarchallengesareplacedonstudentsintheareaofmarchingmusic.Marchingbandisauniquelearningexperiencewhichinvolvesademonstra3onofmusicianship,athle3cismandar3stry,andmustbejudgedwiththoseuniquequali3esinmind.Thejudgemustconsideralltheresponsibili3esinthe“curriculum” when discussing the rela3ve achievement level of the students. The judge, therefore,considerstwocomponentsintheevalua3onofthemusical/visualperformanceineveryscoringarea.Theyare:

Box 1 Box 2 Box 3 Box 4 Box 5

Never Discovers Seldom Experiences Sometimes Knows Frequently Understands Consistently Applies

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WHAT isbeingaskedof the student (theprogram, themusical/visual composi3on, thevariety/rangeofthemusicalorvisualvocabularyofthemusicorthemovement.) HOWtheseaspectsarebeingaccomplished(method,technique,training,sensi3vity,communica3on,etc.) Unlesswe recognizeWHAT isoccurring,weareapt tobe inadequate in recognizingHOWthe skills arebeingdemonstrated.Inotherwords,weconsiderthecurriculumandthecomprehension/achievementofthecurriculumassimultaneouspartners.Inthismanner,thejudgeconsidersALLofwhatisbeingaskedofthestudent. Astheexcellence/achievementisbeingassessed,Musicjudgeswillconsider,amongotherthings:

•Thedepthandrangeofthemusicalrepertoire •Thecomplexityandvarietyofrhythms,meters,tempos •Therangeofexpressivesensi3vi3es •Themovementrequirementsplacedonthemusicians •Theproximityofoneplayertoanother •Theproximitytothecenterofthepulse •Thephysicsofsoundas itrelatestothelisteningskillsrequiredofthestudents inordertobring

focusedsoundtotheaudienceandjudge. Astheexcellence/achievementisbeingassessed,Visualjudgeswillconsider,amongotherthings:

•Therangeandvarietyofthevocabulary/composi3on/repertoire •Layeredresponsibilityofmusicaldeliverycombinedwithmo3on •Layeredresponsibili3esofequipment,dance,role,etc. •Expressivecomponentscrea3ngvisualdynamics

Thejudgemustpossesssoundrecogni3onskillswithfullcomprehensionofallthatisbeingaskedofthestudent.This requires the judge to startby iden3fyingwhat isbeingdone, thenevaluatehowwell it isbeingdoneashe/sherespondstotraining,techniqueandexpression.Caremustbeexercisedthatjudgesdo not confuse the curriculum with the idea of demand for the sake of demand. It’s about tastefuleduca3onal challenges, which will help the students to grow. Conversely, care must be taken not tooverlookthedepthofthechallengesplacedonthestudent.TheWHATandHOWmustbeasimultaneousconsidera3oninthejudge’smind.Thejudgemustalsobefamiliarwiththeuniquearenainwhichthesemusicians perform.Weather and field condi3onswill vary, and the judge’s tolerance should adjust forthesesitua3ons.

4.05 GENERALINFORMATIONREGARDINGTHEJUDGINGOFEFFECT

The primary premise of general effect judging is that the judge must be prepared mentally to beentertained! Effect judgesareawidelyexperiencedandcri3calpartof theaudience,andare there toenjoyandreacttotheperformance.

Eachadjudicatorwillhavepreferences,whethertheyareinchoiceofmusic,mannerofpresenta3on,orstyleofinterpreta3on. Theeffectjudgeinthiscap3onwillallowthemselvestoappreciatewhatisgoodabout a given produc3on based on what is being presented. In order to do this, effect judges must

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removethemselvesfromtheirownpreferencesandopinionsandrecognizeandappreciatetheapproachothersareaiemp3ngtousetoreachtheaudience.

Entertainmentcantakemanyforms(comedy,drama,pathos,etc,)andtheen3rerangeofemo3onshouldbe consideredasbeingvaluable inprogramming. Aproduc3on that successfully touches theaudienceemo3onallyonthedeepersideofthescaleshouldreceiveequalconsidera3onwithprogramsthatconsistprimarilyofquali3esthatmakeusfeelgood.

Audience reac3on is one indicator of effec3veness and the judge must dis3nguish between genuineresponse to excellence of performance and the effort of hometown supporters. A genuine audiencereac3ontosomethingthatleavesthejudgeunimpressedwarrantscredit,forithasachievedeffect.Atthesame3me,thejudgemustcreditthoseproduc3onsfoundtobeworthwhileandwelldone,eventhoughthereac3onofthegeneralaudiencemaybesparse.

Theunderlyingthesisisthatcreditmustbegiventothatwhichiswellprepared,performedwithexcellence,andevokesanemo3onalresponse.

SecConV:ScoreSheetExplanaCons ApdfcopyoftheNCBAsheetscanbefoundonthemarchingbandsec2onoftheNCBAwebsite.

hSp://www.ncbandmasters.org/sec2ons/marchingband.html

5.01 MUSICALEFFECTCAPTION

Overview: TheMusicEffectsheethastwosub-cap3ons:RepertoireEffec3venessandShowmanshipEffec3veness.Itistheintentofthissheettoevaluatethecontribu3onofthethreeprimarygroupings(woodwinds,brass,percussion), as well as any other acous3c and/or electronic musical elements, when evalua3ng theensembles’collec3veeffec3venessinpresen3ngthemusicalpor3onoftheproduc3on. Theadjudicatormustconsidertherepresenta3onoftheperformance,thesincerityandemo3onoftheperformance,andtherela3onshipofallmusicalandvisualelementstowardeffec3vepresenta3onofthemusic.

Ineachofthetwosub-cap3onsonthesheet,theadjudicatorisactuallyevalua3ngtheperformersandthewriter(s)/teacher(s). The Repertoire Effec3veness sub-cap3on strongly reflects the “what” of theperformance, while the Showmanship Effec3veness sub-cap3on, by design, reflects the “how” of theperformance.

RepertoireEffecCveness RepertoireEffec3venesscredits thedegreeanddepth towhich themusiciansareable to represent theelementsofmusicianship through theensembleperformanceof thewriienprogram. Considera3on isgiventoallskills,devices,ingredientsandquali3esthatachieveop3mumeffect. Coordina3onofeventsto provide a strong audio blend and visual support for the musical presenta3on warrants carefulevalua3on. The coordina3on of thewriien program is the harmonious func3oning of themusical andvisualelements.Itistheresultoftheprocessthatevolvesfromadapta3onthroughstagingandcon3nuityto climax. This sub cap3on credits the manner and extent to which the design team has created,coordinated andmaximized an effec3ve program. It is implicit that thewriien program provides theopportunitytocreateeffect.

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http://www.ncbandmasters.org/sections/marchingband.html


BOX1-10to15:Therepertoirelacksevidenceofdesignchoices.Plannedeventsarenotachieved. BOX2-16to45:Themusicalprogramisunclearandunderdeveloped.Theprogramu3lizesalimitedrangeofemo3onal,aesthe3c,orintellectualeffects.Thereisalimitedvarietyofcomposi3onalchoicesincludingtextures,orchestra3onandopportuni3esforcontribu3onfromperformers.Musicalpacingandcon3nuityarebrokenthroughoutanddoesnotleadtheaudiencethroughtheintendedemo3onalresponse.Theprogramlacksunity.Musicianshavelimitedopportuni3estodemonstratemusicality,phrasingandstylethroughouttheperformance.Stagingaiemptsareonlyoccasionallycoordinatedwiththemusicalrepertoire.Incomple3onmaylimitscoringpoten3al. BOX3-46to75:Themusicalprogramisgenerallyclearandmoderatelydeveloped.Theprogramu3lizeseffectsthatincludeemo3onal,aesthe3c,andintellectual.Composi3onalchoicesincludingtexture,orchestra3onandcontribu3onfrommostperformersarepresentwithinthecomposi3on.Unityofdesignelementsexistssome3mes.Useofpacingandcon3nuityhighlightsindividualmomentsforaudienceresponse.Opportuni3estodemonstratemusicality,phrasing,andstyleexiststhroughpor3onsoftheperformance.Stagingsupportsthebasicelementsofthemusicalrepertoire.Theprogrammays3llbeaworkinprogress. BOX4-76to95:Themusicalprogramisclearandwelldeveloped.Theprogramu3lizesarangeandvarietyofeffectsthatincludeemo3onal,aesthe3c,andintellectual.Avarietyofcomposi3onalchoicesincludingtextures,orchestra3on,andcontribu3onfromallperformersenhancethevalueoftheprogram.Musicalpacingisachievedandleadstheaudiencethroughtheintendedresponses.Therepertoireoffersanexpandedrangeofmusicality,phrasing,andstylethroughouttheperformance.Performersarestagedwelltoenhancethemusicalrepertoireandachieveintendedeffects. BOX5-96to100:Themusicalprogramisconsistentlyclearandfullydeveloped.Theprogramintegratesacompleterangeofintellectual,aesthe3c,andemo3onaleffects.Thewidevarietyofcomposi3onalchoicesincludingtextures,orchestra3on,andcontribu3onfromallperformersofferasuperla3verangeofmusicality,phrasing,andstylethroughouttheperformance.Musicalpacingisseamlessthroughouttheprogram.Themusicandstagingarefullyintegratedandconsistentlycomplementary.

ShowmanshipEffecCveness ShowmanshipEffec3venesscreditsthelevelatwhichthemusiciansdemonstratetheiremo3onalinvolvementintheprogram,andtheirabilitytogeneratethedesiredresponsefromtheaudience.Whileanadequatelevelofproficiencyisrequired,thiscap3onisprimarilyconcernedwiththecommunica3onoftheintensi3esofemo3on.Showmanshipistheenergizingqualityoftheperformersthatgeneratesprogrameffec3venessunaiainablethroughrepertoireonly.Theshowmanshipcontribu3onoftheperformersisthatqualitywhichmakestheen3representa3ongreaterthanthesumofitsparts.Itisimplicitthatthewriienprogramprovidestheopportunitytocreateeffect.

BOX1-10to15:Performersarenotawareoftheprogram,andthereisnoevidenceoftraining.

BOX2-16to45:Theperformerslacktheskillsofphrasing,musicality,andar3stry.Effectsareonlyachievedcoincidentally.Theperformersrarelydemonstrateunderstandingofrolethroughengagementoftheaudienceinintendedeffect.Alackofprofessionalismrestrictsperformers'abilitytoengage,entertain,andcommunicatetotheiraudience.Thechosenrepertoireisconsistentlyincompa3blewiththeensemble'smaturity.Incomple3onmaylimittheperformers'opportunitytodemonstrateshowmanship.

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BOX3-46to75:Theensembledemonstratesamoreconsistentuseofphrasing,musicality,andar3strytoachieveplannedeffects.Theperformersdemonstratetheirknowledgeofrolethroughouttheprogram.Audienceengagementandemo3onarecommunicatedwithprofessionalismasperformersdemonstratetheirknowledgeofshowmanship.Theprogrammays3llbeaworkinprogress,butperformershaveampleopportuni3estodemonstrateshowmanshipthroughtheirefforts.

BOX4-76to95:Theensembledemonstratesexcellentuseofphrasing,musicality,andstyle.Musiciansexpressarangeandvarietyofemo3onstoengagetheaudience.Theperformersdisplayaconfidentunderstandingofrole.Communica3onisconsistentthroughouttheshowasawhole.Performersdemonstrateprofessionalismastheyentertainthroughavarietyofeffects. BOX5-96to100:Performersapplyexcep3onalachievementinphrasing,musicality,andstyle.Musiciansexpressafullrangeofeffectsincludingintellectual,emo3onal,andaesthe3c.Performers'masteryofcommunica3onandprofessionalismallowtheensembletoengageandentertaintheaudiencethroughtheen3reshow.Theensembledisplaysconsistentlyhighachievementwitheaseatall3mes.Thisdemonstra3onofexcep3onallymaturetechniqueallowsperformerstomanipulateaudienceresponsesatwill.

5.02 VISUALEFFECTCAPTION

Overview TheVisualEffectsheethastwosub-cap3ons:RepertoireEffec3venessandShowmanshipEffec3veness.Itistheintentofthissheettoevaluatethedesignteam’sprogramasperformedbytheperformers.Theadjudicatormustconsiderthatthedesignersincludeideas,whichareplannedtoproduceeffectandbecoordinated.Inaddi3on,itmustbeconsideredthatthedesignteamwillassisttheperformerswiththeirapproachtotheprograminordertoenhanceandproduceshowmanship.Theperformersneedtopresentareadableprogramwithadegreeofexecu3onandemo3onthatallowsalltheaspectsoftheprogramto“cometolife”.

Ineachofthetwosub-cap3onsonthesheet,thejudgeisactuallyscoringtheperformersandthewriter(s)/teacher(s).TheRepertoireEffec3venesssub-cap3onstronglyreflectsthe“what”oftheperformanceandtheShowmanshipeffec3venesssub-cap3on,bydesign,shouldreflectthe“how”oftheperformance.

RepertoireEffecCveness RepertoireEffec3venesscreditsthedegreeanddepthtowhichtheperformersareabletocommunicateeffectandvisualenhancementofthemusicthroughthewriienprogram.Considera3onisgiventoallskills,devices,ingredientsandquali3esthatachieveop3mumeffect.Carefulaien3onmustbegiventothecoordina3onofevents,musicians,andauxiliariesinordertobringaboutastrongaudioblendandaddvisualsupportforthemusicalpresenta3on.Coordina3oneffec3venessofthewriienprogramistheharmoniousfunc3oningofthevisualandmusicalelementscontainedinit.Itistheresultoftheprocessthatevolvesfromadapta3onthroughstagingandcon3nuitytoclimax.Thissubcap3onshouldcreditthemannerandextenttowhichthedesignteamhascreated,coordinated,andmaximizedaneffec3veprogram.Itisimplicitthatthewriienprogramprovidestheopportunitytocreateeffect.

BOX1-10to15:Therepertoirelacksevidenceofdesignchoices.Plannedeventsarenotachieved.

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BOX2-16to45:Thevisualprogramissomewhatclearanddeveloped.Designersu3lizeabasicrangeofeffectsincludingintellectual,emo3onal,andaesthe3c.Basicdesignchoicesofform,body,andequipmentexistsingularlywithinthevisualdesign.Theoveralldesignisfunc3onalinnature.Eventsaredisconnectedwithlimitedevidenceofpacingandcon3nuitywithinperformancesegments.Thereisliileevidenceoflayeredorchestra3onofform,body,andequipment.Stagingaiemptsareonlyoccasionally coordinatedwiththemusicalrepertoire.Incomple3onmaylimitscoringpoten3al. BOX3-46to75:Thevisualprogramisclearandmoderatelydeveloped.Designersincorporateagrowingvarietyofeffectsthatincludesintellectual,emo3onal,andaesthe3c.Basicdesignchoicesofform,body,andequipmentexist,singularlyororchestrated,withinthevisualdesign.Eventsareconnectedwithmo3onthroughtheuseofpacingwithinperformancesegments.Unityleadstheaudiencethroughtheintendedemo3onalresponse.Thereisoccasionallayeringofform,bodyandequipment.Visualstagingpresentsthebasicelementsofthemusicalrepertoire.Theprogrammays3llbeaworkinprogress. BOX4-76to95:Thevisualprogramisclearandwelldeveloped.Designersu3lizeafullrangeofeffectsthatincludeemo3onal,aesthe3c,andintellectual.Designersdemonstratematureunderstandingofdesignchoicesusingtheelementsandprinciplesofdesigntocreateapleasingwhole.Layeredorchestra3onofform,body,andequipmentaddtodepthofthevisualrepertoire.Excellentpacingandcon3nuityregularlyleadtheaudiencethroughtheintendedemo3onalresponses.Stagingdemonstratescrea3vityandimagina3onasthevisualrepertoireachievesintendedeffects. BOX5-96to100:Fullyorchestrateduseofthedesignelementsofform,body,andequipmentcreatesdepththroughtheen3reprogram.Designersexhibitmasteryofarangeandvarietyofdesignchoiceswithintheelementsandprinciplesofdesign.Consistentlayeringofform,body,andequipmentelevatesthear3s3cmeritoftheprogram.Strengthoforchestra3onisevidentinindividualmomentsandthrough3measseamlesspacingandcon3nuitymanipulateaudienceresponsesatwill.Thestagingprocessappliescrea3vityandvarietythroughtheprogramandenhancesallaspectsofthemusicalprogram.

ShowmanshipEffecCveness Showmanship Effec3veness credits the level at which the performers demonstrate their emo3onalinvolvementintheprogram,andtheirabilitytogeneratethedesiredresponsefromtheaudience.Whileanadequatelevelofproficiencyisrequired,thiscap3onisprimarilyconcernedwiththecommunica3onofthe intensi3es of emo3on. Showmanship is the energizing quality of the performers that generatesprogram effec3veness unaiainable through repertoire only. The showmanship contribu3on by theperformers is that qualitywhichmakes theen3representa3ongreater than the sumof its parts. It isimplicitthatthewriienprogramprovidestheopportunitytocreateeffect.

BOX1-10to15:Performersarenotawareoftheprogram,andthereisnoevidenceoftraining.

BOX2-16to45:Theperformersdemonstratesingularuseofar3s3ceffortsthroughindividualeffectsincludingintellectual,emo3onal,andaesthe3c.Theperformersoccasionallycommunicatediscoveryrolesthroughengagementoftheaudienceinintendedeffects.Professionalismandentertainmentares3lldevelopingwithintheensemble.Thechosenrepertoiremaybeincompa3blewiththeensemble'smaturity.Incomple3onmaylimittheperformers'opportunitytodemonstrateshowmanship.

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BOX3-46to75:Theperformersdemonstratemoderateachievementofar3s3ceffortsthroughagrowingrangeofexpressiveopportuni3es.Theperformersdemonstrateknowledgeofroleandengagementoftheaudienceinindividualmoments.Performerssome3mesmaintaincommunica3onwithintheprogramthroughprofessionalisminperformancequali3es.Theensemblehasabasicknowledgeofar3s3ceffortsandmusicalityastheyinterpretvisualresponsibili3es.Theprogrammays3llbeaworkinprogress,butperformersonenhaveopportuni3estodemonstrateshowmanshipthroughtheirefforts.

BOX 4 - 76 to 95: The performers communicate frequent understanding of ar3stry and visualmusicality within a range of expressive opportuni3es. Performers express a range and variety ofemo3ons to engage the audience. The ensemble displays a confident understanding of role. Communica3on is consistent throughout the show as a whole. Performers demonstrateprofessionalismastheyentertainthroughavarietyofeffects.

BOX5-96to100:Theperformersapplyexcep3onalar3stryandvisualmusicality.Performersexpressafullrangeofeffectsincludingintellectual,emo3onal,andaesthe3c.Performers’masteryofcommunica3onandprofessionalismallowtheensembletoengageandentertaintheaudiencethroughtheen3reshow.Theensembledisplayssuperiorachievementwitheaseatall3mes.Thisdemonstra3onofconsistentlyexcep3onaltechniqueallowsperformerstomanipulateaudienceresponsesatwill.

5.03 MUSICPERFORMANCE-INDIVIDUALCAPTION

Overview Theintentofthissheetistoevaluatetheperformanceaccuracy,tonequality,intona3on,andtherealizedmusical demand placed on the performers at field level. The adjudicatormustmove throughout theensembleinordertosampleandevaluateall individualsinallsec3ons(woodwind,brass,percussion)ofthe ensemble during the performance, keeping a reasonable distance from the performers as not toin3midatethemorinterferewiththeirperformance.StayingonthesidelineorontheouterperimeteroftheensembleisnotanopCon.Theadjudicatormuststrivetoevaluatethemajorityoftheensemblethemajorityofthe3me,andshouldnotbeconcernedwithensemblefactorsexceptastheyoccurrandomlythrough chance posi3oning. The adjudicator should avoid following or zeroing in on a few individuals(strongorweak)iftheyarenottrulyrepresenta3onaloftheensemble.

The sheet is organized with Woodwinds to the left, Brass in the center, and Percussion to the left and the adjudicator must give attention to each of the three sections in approximate relative proportion to the number of performers in each section. A balanced evaluation will necessitate seeking out woodwind contribution when the section is not physically or musically prominent, as well as frequent attention to the percussion section (including front ensemble) at times other than exposed solos. The credit given should reflect the relative proficiency of each section, realizing it is possible that an ensemble may have one excellent section, one average section, and one weak section. The weighted percentages of the sub-captions (woodwinds-37.5%, brass-37.5%, percussion-25%) are realized on the recap spreadsheet.

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BrassandWoodwinds

BOX1-10to15:Performersareuntrainedanddonotcontributetotheperformance. BOX2-16to45:Performersares3lldiscoveringthetenantsofsoundproduc3onontheirinstruments.Thereisminimaldevelopmentwithinthephysicalprocessesofairsupportandembouchurecontrol.Performersfindlimitedsuccessinachievingcharacteris3csoundquali3es.Technicalchallengesoverwhelmindividualplayers.Instrumentintona3ononenlackscenter.Detailsandnuancesofdynamics,ar3cula3ons,andstylearenotpresent.Performersdemonstratelimitedcontrolofrhythmicaccuracyandsteadypulse.Thechosenrepertoiremaybeincompa3blewiththeperformers'maturity.Incomple3onorsingularlypresentedskillsmaylimittheperformers'opportunitytodemonstratemusicalachievement. BOX3-46to75:Performersdemonstratesoundfundamentalsofbasictoneproduc3onandtechnicalfacility.Individualsdemonstrateagrowingawarenessandcontrolofintona3on,balance,andblend.Musiciansshowphysicalcontrolthroughairsupportandembouchureallowingtheproduc3onofcharacteris3csoundssome3mes.Grada3onsofdynamics,ar3cula3ons,andstylearepresentwithgrowinguniformity.Rhythmicaccuracyandtempoarecontrolledthroughanexpandingrangeofmusicalandphysicalchallenges.Performersmanagelayeredperformanceresponsibili3eswithmoderatesuccess. BOX4-76to95:Performersproducematurecharacteris3ctonesanddemonstratetechnicalcommandoftheinstrument.Musiciansdemonstrateawarenessandmanipula3onofintona3on,balance,andblendwithinavarietyofmusicalcontexts.Performersunderstandandu3lizeavarietyofdynamics,ar3cula3ons,andstyleswithclarityanduniformity.Rhythmicaccuracyandtempoaremanagedcomfortablythroughadiverserangeandvarietyofmusical,physical,andenvironmentalchallenges.Individualmusicalityandphrasingdemonstratematurityofmusicaltraining.Musiciansperformfluentlythroughlayeredperformanceresponsibili3esthroughouttheprogram.

BOX5-96to100:Performersproduceexcep3onaltonequali3esanddemonstratetechnicalvirtuosityontheinstrument.Musiciansdemonstratemasteryofintona3on,balance,andblendwithinanexpandedrangeandvarietyofmusicalcontexts.Performersapplyawidevarietyofdynamics,ar3cula3ons,andstyleswithclarityanduniformity.Rhythmicaccuracyandtempoaremanagedprofessionallythroughadiverserangeandvarietyofmusical,physical,andenvironmentalchallenges.Individualmusicalityandphrasingdemonstratethehighestlevelsofmusicaltraining.Musiciansperformeffortlesslythroughconsistentlayeredperformanceresponsibili3es.

Percussion

BOX1(10-15)Performersareuntrainedanddonotcontributetotheperformance. BOX2(16-45)Performersares3lldiscoveringthetenantsofsoundproduc3onontheirinstruments.Thereisminimaldevelopmentwithinthephysicalprocessesofar3cula3onandimplementcontrol.Musicaldirec3onanddiscerniblephrasingareabsentfromtheperformance.Performersfindlimitedsuccessinachievingcharacteris3csoundquali3es.Uncharacteris3cpitchor3mbrefurtherdetractfromtheclarityoftheperformance.Technicalchallengesoverwhelmindividualplayers.Detailsandnuancesofdynamics,ar3cula3ons,andstylearenotpresent.Performersdemonstratelimitedcontrol

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rhythmicaccuracyandsteadypulse.Thechosenrepertoiremaybeincompa3blewiththeperformers'maturity.Incomple3onorsingularlypresentedskillsmaylimittheperformers'opportunitytodemonstratemusicalachievement. BOX 3 (46-75) Performers demonstrate sound fundamentals of basic tone produc3on and technicalfacility.Individualsdemonstrateagrowingknowledgeofuniformmethod,style,andsoundproduc3on.Musicians show physical development through micro and macro movement quali3es as well asimplement manipula3on. Phrasing, dynamic, and ar3cula3on skills demonstrate growing maturitywithin the ensemble. Rhythmic accuracy and tempo are controlled through an expanding range ofmusical and physical challenges. Performers manage layered performance responsibili3es withmoderatesuccess. BOX4(76-95)Performersproducematurecharacteris3ctonesanddemonstratetechnicalcommandoftheinstrument.Musiciansdemonstrateawarenessandmanipula3onofphrasing,balance,andblendwithinavarietyofmusicalcontexts.Performersunderstandandu3lizeavarietyofdynamics,ar3cula3ons,andstyleswithclarityanduniformity.Rhythmicaccuracyandtempoaremanagedcomfortablythroughadiverserangeandvarietyofmusical,physical,andenvironmentalchallenges.Likeinstrumentsspeakasonethroughuniformityandaccuracyofmethod.Performersu3lizeavarietyofimplementsaswellasmacroandmicromanipula3onstoproduceawidevarietyof3mbresandcontrolledsoundquali3es.Musiciansperformfluentlythroughlayeredperformanceresponsibili3esthroughouttheprogram.

BOX5(96-100)Performersproduceexcep3onaltonequali3esanddemonstratetechnicalvirtuosityontheinstrument.Musiciansdemonstratemasteryofstyle,balance,andblendwithinanexpandedrangeandvarietyofmusicalcontexts.Performersapplyawidevarietyofdynamics,ar3cula3ons,andstyleswith clarity and uniformity. Rhythmic accuracy and tempo are managed professionally through adiverserangeandvarietyofmusical,physical,andenvironmentalchallenges.Individualmusicalityandphrasingdemonstrate thehighest levelsofmusical training. Musiciansperformeffortlessly throughconsistentlayeredperformanceresponsibili3es.Superbphysicaldevelopmentshowsfluentcontrolofallmotorskillsinthemanipula3onofbodyandimplements.

5.04 MUSICPERFORMANCE-ENSEMBLE

Overview The intent of this sheet is to evaluate the ensembles’ musical performance based on accuracy anduniformityasperceivedfromthevantagepointoftheaudience. Technicalandintona3onaccuracyandtonequalityistobeconsideredinlightofthedemandofthecontentandtheexposureoftheperformers.TheeffecCvenessofthemusicalperformanceisnottobeconsidered.Itisimpera3vethatthisadjudicatoronlyevaluateshowwell theperformersexecutewhat it is thattheyareaiemp3ngtodomusically,nothoweffec3veisthemusicalperformanceistotheaudience.

Thepercussionsec3onistheresponsibilityofallmusicperformanceadjudicatorsandwillrequirespecificaien3on. Itisnecessarytosamplethesec3onthroughouttheprogramaswellasthespecificaien3onrequiredduringanypercussionfeatures.

ToneQuality and IntonaCon - credits the ensembles achievement of proper tone produc3on,which isobtained when the three major aspects of intona3on, focus, and 3mbre are properly u3lized by thesegments contribu3ng to the sonority of the total ensemble. Considera3onmust alsobe given to theappropriatedynamiccontribu3onofthesec3ons,choirs,andvoicestothetotalensemble.

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BOX1(10-15)Theensembleisuntrained.Excellenceisnotachieved. BOX2(16-45)Theensembleiss3lldiscoveringthetenantsofsoundproduc3on.Thereisminimaldevelopmentwithinthephysicalprocessesofairsupport,embouchurecontrol,andpercussivemotorskills.Characteris3csoundquali3esareastruggletoachieve.Theensemblelacksaclearpitchcenter.Membersperformwithindividualquali3es,distor3ngthebalanceandblendoftheensemble.Detailsofdynamicsarenotpresent.Thechosenrepertoiremaybeincompa3blewiththeperformers'abili3es.Incomple3onorsingularlypresentedskillsmaylimittheperformers'opportunitytodemonstratemusicalachievement. BOX3(46-75)Theensembledemonstratessoundfundamentalsofbasictoneproduc3on.Thereisagrowingknowledgeofuniformmethod,style,andsoundproduc3on.Windsshowphysicaldevelopmentthroughairsupportandembouchurecontrolallowingtheproduc3onofcharacteris3csoundsatmost3mes.Percussionshowphysicaldevelopmentthroughmicroandmacromovementquali3esaswellasimplementmanipula3on.Performersareawareofensemblecontextandcontrolperformancequali3estoachieveappropriateintona3on,balance,andblendwithintheprogram.Instrumental3mbreandsonorityisconsistentandappropriatewithintheensemble.Theensembleexploresagrowingdynamicrangewithintheprogram. BOX4(76-95)Theensembleproducesmaturetonequali3esanddemonstratestechnicalcommandwithintheprogram.Likeinstrumentsspeakasonethroughuniformityandaccuracyofmethod.Musiciansdemonstrateawarenessandmanipula3onofintona3on,balance,andblendwithinavarietyofmusicalcontexts.Theensembleachievesconsistentlyappropriate3mbresandsonori3esthroughthevariedorchestra3onwithintheprogram.Theensemblesuccessfullyintegratesafulldynamicrangetocreateinterestwithinthemusicalproduc3on. BOX5(96-100)Theensembleconsistentlyproducessuperla3vetonequali3esandshowcasestechnicalvirtuositywithintheprogram.Superbphysicaldevelopmentshowsfluentcontrolofallmotorskillsinthemanipula3onofbodyandinstruments/implements.Musiciansdemonstratemasteryofbalance,andblendwithinanexpandedrangeandvarietyofmusicalcontexts.Likeinstrumentsspeakasonethroughuniformityandaccuracyofmethod.Mixedchoirsofinstrumentscreatecolorfulcompositesoundscapesthroughmusicalinterrela3onship.Theensembleintegratesconsistentandvaried3mbresandsonori3esthroughthediverseorchestra3onwithintheprogram.Theensembleexpertlymanipulatesafulldynamicrangetodeepeninterestthroughoutthemusicalproduc3on.

AccuracyandDefiniCon-creditstheexcellencewithwhichtheen3reensemblecontrolstheaccuracyandcohesiveness of the musical performance. Considera3on is given to the clarity and correctness ofrhythmic interpreta3on, control of ensemble pulse and tempo and the use of the proper method ofenuncia3onrela3vetostyleandpedagogy.

BOX1(10-15)Theensembleisnotawareofperformanceresponsibili3es.Skillsetsareindiscerniblewithintheprogram. BOX2(16-45)Theensemblestrugglestomaintainrhythmicaccuracyandsteadypulse.Musicaldirec3onanddiscerniblephrasingarenotablyabsentfromtheperformance.Stylis3candidioma3cinterpreta3onisnotaconsidera3onwithintheensemble.Dynamicgrada3onsarecoincidentalintheperformance.Thechosenrepertoiremaybeincompa3blewiththeperformers'abili3es.Incomple3on

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orsingularlypresentedskillsmaylimittheperformers'opportunitytodemonstratemusicalachievement. BOX3(46-75)Rhythmicaccuracyandtempoarecontrolledthroughanexpandingrangeofmusicalandphysicalchallenges.Theensemblemanageslayeredperformanceresponsibili3eswithmoderatesuccess.Accuracyanduniformityofphrasingandar3cula3ondemonstrategrowingmaturitywithintheensemble.Theprogramincorporatescharacteris3csanddetailsofstyleandidiomtodemonstrateappropriatemusicalinterpreta3on. BOX4(76-95)Rhythmicaccuracyandtempoaremanagedcomfortablythroughanexpandedrangeofmusical,physical,andenvironmentalchallenges.Musicalityandphrasingwithintheensembledemonstratematurityofmusicaltraining.Theensembleunderstandsandu3lizesawidevarietyofar3cula3onswithclarityanduniformity.Musiciansperformfluentlythroughlayeredperformanceresponsibili3esthroughouttheprogram.Theprogramintegratesavarietyofcharacteris3csanddetailsofstyleandidiomtodemonstratematuremusicalinterpreta3on. BOX5(96-100)Rhythmicaccuracyandtempoaremanagedprofessionallythroughadiverserangeofmusical,physical,andenvironmentalchallenges.Musicalityandphrasingwithintheensembledemonstratethehighestlevelsofmusicaltraining.Theensembleappliesdetailandnuancewithintheprogramthroughuseofawidevarietyofar3cula3ons.Musiciansperformeffortlesslythroughconsistentlayeredperformanceresponsibili3esthroughouttheprogram.Theprogramintegratesawidevarietyofcharacteris3csanddetailsofstyleandidiomtoshowcasematuremusicalinterpreta3onthroughoutthemusicalproduc3on.

5.05 VISUALPERFORMANCEENSEMBLECAPTION

Overview Theintentofthissheetistoevaluatethetechnicalproficiencyofthemarchersfromthevantagepointoftheaudience. Theevalua3oniscomposedofexcellenceiden3fica3onanddemandofvocabularyontheensemble,withtheconsidera3onofcontentandconstruc3on. TheeffecCvenessoftheperformance isnottobeconsidered.Itisimpera3vethatthisadjudicatoronlyevaluateshowwelltheperformersexecutewhat it is that they are aiemp3ng to do visually, not how effec3ve the visual performance is to theaudience.Equallyimportantistheconceptofevalua3ngthepresenceofastylewithintheensemble,notindica3ngapreferenceofstyle.VisualPerformanceEnsemblecreditstherela3veabilityoftheperformers.Basedonthedemandoftheprogram,itispossibleforagrouptohaveagreateractualnumberoferrorsand receive more credit (points) than a group with fewer errors. This allows more flexibility in theinstances of slight aberra3ons of control can be noted, with the cumula3ve effect of its consistentoccurrence lowering the scorewhile occasional lapses of control in extremely difficult situa3ons (blindsets, no recovery 3me, etc.) can be negated to negligible significance rela3ve to howwell the difficultmaneuverwasperformed.

Vocabulary–ConsidersthequalityofDepthandlayering,RangeandVarietyofallvisualelements,VisualStructure,Phrasing&Cohesion,RangeandVarietyofSkillSetsandSimultaneousResponsibili3es.

BOX1(10-15)Vocabularyisindiscerniblewithinthecomposi3on.Performerskillsetsarecoincidentalwithinthedesign.

BOX2(16-45)Thevisualvocabularyisunclearandunderdeveloped.Visualstructureisminimallyorchestrated(through3meandinindividualmoments)andlackscohesion.Skillsarepresented

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singularlywithasamenesstorepe33vedesignchoices.Anincompleteproductmaylimitscoringpoten3al.

BOX3(46-75)Thevisualvocabularyisclearandwelldeveloped.Thevisualprogramu3lizesarangeandvarietyofthedesignelementsofform,body,andequipment.Thevisualproductdisplaysknowledgeoffundamentalsofdesigninmovement,equipment,andstaging.Ideasconnectlogicallyfromonephrasetothenext.Agrowingrangeandvarietyofskillsdemonstratebasicdynamicrangewithinthevisualvocabulary.Orchestra3onofevents(through3meandinindividualmoments)createsaunifiedandcohesivevisualstructure.

BOX4(76-95)Thevisualstructureiswellorchestrated(boththrough3meandinindividualmoments)andwelldeveloped.Mo3onconnectseventsthrough3me.Thecomposerchallengesperformersandviewersalikewithavarietyoflayeredmovementandequipmentvocabularypresentedinunisonaswellasdisplacedthrough3me.Thevocabularyenhancesthemusicalstructurethroughitsinclusionofdynamicrangesofspace,3me,weight,andflow.Thecomposi3onisstrongandshowsdepthandmaturity.

BOX5(96-100)Thevisualvocabularyisdiverseandrich.Range,depth,andvarietyoforchestra3on(boththrough3meandindividualmoments)demonstrateexcellenceincomposi3on.Consistentlayeringofmovement,mo3on,andequipmentvocabularyinunisonanddisplacedthrough3mecreateadeepandvariedtapestryofvisualelements.Afulldynamicrangeofar3s3ceffortsenhancesthemusicalstructure,consistentlyintegra3ngappropriategrada3onsofspace,3me,weight,andflow.Thedesignisexcep3onalandu3lizesthefullscopeandscaleoftheoutdoorstage. Excellence & Technique - credits the ability of the performers to maintain overall Timing Control,EnsembleCohesiveness(Uniformity),Interval/Spacing,Control/BalanceofForm,Recovery,Projec3onofStyleandUnderstandingofRolethroughouttheperformance.

BOX1(10-15)Performersarenottrained.Excellenceisnotachieved.

BOX2(16-45)Performersares3lldevelopingthebasicskillsofsteadypulse,basicmovement,andmo3onthroughspace.Thereisnoclearstyleofmovement,andaccuracyanduniformityarenotaconcernoftheperformers.Grada3onsofvisualdynamicshavenotbeenintroducedtotheperformers.Recoveryisnotdevelopedintheensemble.Thechosenvocabularymaybeincompa3blewiththeensemble'sskillset.Incomple3onmayfurtherlimittheperformers'opportunitytodemonstratetraining.

BOX3(46-75)Theperformersshowmoderateachievementintheircontrolofspace,3me,andline.Controlofpulseisgenerallysound,butnotfullydeveloped.Accuracyoftechniqueisvariedthroughouttheensemble.Knowledgeofuniformityiss3lldevelopingamongtheperformers.Performersdiscoverbasicdynamicgrada3onsofspace,3me,weight,andflow.Theskillofrecoveryiss3lldevelopingwithintheperformersandtheensemble.Detailsandnuancesofperformancearenotincludedinthevocabulary.Theprogrammays3llbeaworkinprogress,butperformersonenhaveopportuni3estodemonstratetrainingthroughtheirefforts.

BOX4(76-95)Performersfrequentlyachieveaccuracyanduniformityoftechnique.Controlofspace,3me,line,andorienta3onisfrequentlyexcellent.Breaksandflaws,whilepresent,arerecoveredina3melyfashionthroughuseofthetechniqueprogram.Aclearstyleispresentandperformersonen

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adheretotheprescribedstyleorrole.Performersu3lizeadynamicrangeofeffortsincludingspace3me,weight,andflow.Detailandnuanceofperformancearedevelopingintheensemble.Performersdisplaydevelopingmentalandphysicalstaminawithintheprogram.

BOX5(96-100)Accuracyanduniformityofspace,3me,line,andorienta3onisconsistentlyexcep3onal.Awarenessofensembleresponsibili3esallowsperformerstomanipulateformandintervaleffortlessly.Breaksandflawsarerare,andrecoveryisperformedquicklyandins3nc3vely.Thefullensembleadhereseagerlytostyleandrolethroughouttheen3reprogram.Thereisconsistentunderstandingofdetailsandnuancedemonstratedwithintheprogram.Theensembleconsistentlydisplaysexcep3onaldevelopmentofmentalandphysicalstamina.

CONCLUSION

InorderformarchingbandsinthestateofNorthCarolinatohaveanyopportunityforcon3nuityintheirac3vity,certainregula3onsmustexist.Althoughcrea3vityanddiversityaretobeencouragedamongthemanymarchingbandeventsthroughoutthestate,itisimportantthatsomeelementsremainconsistentfromeventtoevent.This“manual”issimplyaplacetobeginandwillbeconstantlymodifiedandimprovedinordertokeeppacewiththeconstantinnova3onsbroughtforthbythecompe3torsithopestoserve.

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NORTHCAROLINABANDMASTERSASSOCIATION MARCHINGBAND“MUSICPERFORMANCEADJUDICATION”

FAQ

WhatisthepurposeofMPAformarchingbands? TheNCBAprovidesMPAopportuni3estomarchingbandsinthesamemannerasitdoesforConcertEnsembles,SoloandEnsemble,andJazz.Bandsaregiventheopportunitytoreceivefeedbackinanon-compe33veenvironmentwhileearningara3ngfortheperformance.

Howisaperformanceevaluatedonthesameevalua2ontoolasacompe22oniftheeventisnon-compe22ve? Adjudicatorswatch,evaluate,andruncommentaryduringtheperformancejustastheywouldduringthecompe33on.However,whenitcomes3metotakethenextstepintheprocessandassignanumbertotheperformance,theysimplycomparetotheperformancetothecriteriaineachboxanddetermine,foreachsub-cap3on,whichsetofcriterionwasmet.Oncethatisdetermined,theadjudicatorassignsthatbox(box5,box4,box3,etc.)asascoreanddoesnottakethenextsteptodeterminewhatnumberwithinthatboxwouldbeassigned.Theaggregateofallthejudge’ssub-cap3onboxassignmentsdeterminesthera3ngforaband.(Pleaseseethemanualformoredetailedbreakdownofhowra3ngassignmentsarederived.Itcanbefoundinsec3on3I-JunderMPA).

WillthesamejudgesevaluateourperformanceinMPAasinthecompe22onlaterintheday? Itisuptotheshowhostiftheywanttohiretwodifferentpanels.However,onejudgemayNOTevaluateabandinthesamecap3oninboththeMPAandinthecompe33on.Ifajudgeevaluatesbandsinavisualcap3onintheMPAandamusiccap3oninthecompe33on,theymustbecer3fiedbyNCBAinbothvisualandmusic.

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NORTHCAROLINABANDMASTERSASSOCIATION MARCHINGBANDMUSICPERFORMANCEADJUDICATION

RULES&REGULATIONS

PURPOSE:Toprovidestudentsandteachersameansofreceivingconstruc3vecommentarybycompetentadjudicators.Tos3mulateandrecognizegrowth.Toprovidestudentsandteachersameansofhearingandseeingtheworkdonebyotherschoolgroups.

1. ELIGIBILITY:A. AllbanddirectorsmustbecurrentmembersoftheNorthCarolinaMusicEducatorsAssocia3on.B. Bandmembersmustbeinaregularlyenrolledinabandclassaccordingtotheschooladministra3veunit.Lowergradestudentsmaybeusedtoroundouttheinstrumenta3on,butnotthereverse.C. ThebanddirectorthatappearsontheclassrosterataschoolastheteachermustbeamemberofNCMEAandregisterallstudentstopar3cipateinallstatesanc3onedevents.

2. ADMINISTRATIVESTRUCTURE: A. TheDistrictMarchingBandCommiieeRepresenta3vewillserveastheMarchingBandMPAChairpersonforeachdistrict.B. ThemarchingbandMPAiseachdistrictmustbeheldbeforeNovember7theachyear.C. TheDistrictMarchingBandMPAChairpersonwillcontacttheExecu3veDirectorofNCMEAtoobtainfinancialandadministra3vematerials.D. TheChairpersonofNCBAMarchingBandCommiieeshallhavetheresponsibilitytodirectandassisttheDistrictMarchingBandMPAChairpersonsandshallhavetheauthoritytogovernallmarchingbandMPAac3vityinthestate.

3. REGULATIONS:A. TheremaybeuptothreeMPAsites/eventsperdistrict.Siteswillbedeterminedbytheexecu3veboardforeachdistrict.Addi3onalsitesmaybeaddedasneededthroughWRITTENREQUESTtotheNCBAMarchingBandCommiieeChairmanONLY.B. Performanceorderwillbedeterminedbypostmark.(Note:Uniteswithiden3calpostmarkdateswillbedeterminedrandomly.)C. NobandmayentermorethanonedistrictmarchingbandMPAperyear.D. JudgeswillbehiredbytheDistrictMarchingBandCommiieeRepresenta3ve.E. Selec3onofthejudgeswillbebynormalfashionalreadyinplaceineachdistrictforconcertMPA.F. ThenumberofMPAeventsofferedbythedistrictwillbedeterminedbythedistrictboardinconjunc3onwithitsmembershipbody.G. TheMPAHostmustprovide,atminimum,sixteenperformanceslotsatfineentotwentyminuteintervals.(Note:Thisisthesame3mingthatiscurrentlyenforcedundertheNCBAAdjudica3onManual.)TheMPAHostmayadministeranormalMarchingBandContest(inwhichrankingsandcap3on/overallawardsaregiven)onthesamedayastheMPA,aslongasitfollowsthecomple3onoftheNCBAMarchingBandMPA.H. Theloca3onoftheMPA(s)willbedeterminedbyeachdistrictinthemannerthatisalreadyinplaceinthatdistrict.(Note:Thisprocesswilltakethesamedirec3onasselec3ngasiteforthedistrictconcertbandMPA.)

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I. Thera3ngswillbedeterminedbyu3lizingthecriterionreferenceboxesthatalreadyexistonthebackofouradjudica3onsheets.Eachcap3onwilldeterminedtheboxthatthebandresidesinandwillgivethatnumberastheirra3ngfortheirpar3cularcap3on.Thesenumberswillbeaddedtogethertoyieldanumerictotalthatwilldeterminethera3ngoftheunit.(Example:Iftheuniteweretoreceivethefollowingboxra3ngsinthefivecap3ons4,4,3,4,3,thetotalnumericvaluewouldequal18.Thiswouldyieldara3ngofsuperiorforthatunit.)TheMusicPerformanceaveragewillbeusedasacap3onratherthanthetwoseparatescores.Note:Toavoidcomparisonofbands,noactualnumbershouldbegiven.J. Thera3ngsbreakdown:

Superior-18&Higher Excellent-15-17 Good-12-14 Fair-11&Lower Anoverallscorethatincludesa.5willberoundedup(ex:17.5isroundedupto18)

4. REGISTRATION

A. Bandswillregisterintheirdesignateddistricts.B. Excep3onstoRule4-A:bandsmaycrossdistrictlinesuponreceivingwriienreleasefromtheirdistrictmarchingbandMPAChairpersonandwriienpermissionfromthedistrictmarchingMPAChairpersonwheretheywishtoenter.Ifproblemsoccur,thedirectorshouldcontacttheNCBAmarchingbandcommiieechairperson,whoshallinterveneandmakeafinaldecision.C. Registra3onblanksmustbecompletedandmailedwithfeesenclosedtothedistrictmarchingbandMPAchairperson.Theenvelopemusthaveapostmarkshowingthatthematerialsweremailedonorbeforethestateddeadlineofthirtydayspriortothedayofthemarchingbandfes3val.

5. FEESA. AllmarchingMPAregistra3onfeeswillbedeterminedbyeachdistrictupontheapprovaloftheMarchingBandcommiieeoftheNorthCarolinaBandmastersAssocia3on.B. No3fica3onsofwithdrawalmustbepostmarkednolaterthanthirtydaysbeforethecontestdateifarefundoffeesisexpected.

6. PERFORMANCEA. AllrulesregardingperformanceshallbegovernedbytheNCBAMarchingBandProceduresManual.Thathasbeenputintoplacefortheschoolyearinwhichtheeventisbeingheld.

7. HOUSINGA. Eachorganiza3onisresponsibleformakingitsownhousingandmealarrangements.

8. DISQUALIFICATION

A. Viola3onoftheaboverulescons3tutesasanautoma3cdisqualifica3on.

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2019NCBA

CHIEFJUDGEREQUIREMENTS ThepurposeofthisdocumentistogivetheChiefJudges,assignedtoadministermarchingbandconteststhataresanc3onedbytheNCBAsystem,achecklistofexpecta3onsaswellasascripttoreviewatthejudge’smee3ngonthedayoftheevent.ItisthebeliefoftheNCBAMarchingBandCommiieethatthroughourchief judgeswecanaffectbeier logis3calandadjudica3onconsistencyfromeventtoeventandthroughouttheseason.Thisbeliefcanonlybeachievedbyarmingourchiefjudgeswithbeiertoolsandmoreeduca3ononhowtocarryouttheirdu3esand by the chief judge following through with the requirements, no maier the perceivedexperience leveleitheroftheadjudica3onpaneloroftheorganiza3onhos3ngtheevent.WethankyouforyourservicetothebandsinNorthCarolinaandforyourprofessionalismindoingso.

Chief Judge Timeline and Checklist

For each show a chief judge is assigned to, he/she should follow this timeline, being sure to check off each item on the checklist. Write the date that it was completed on the line provided beside each item immediately upon receiving your assignments for the season. Note: You will receive official assignment notification from Anne Reese, NCBA Marching Band Committee Executive Administrator, during the month of July.

FOLLOWING CONTEST PLACEMENT ____ Contact the show host band director. ____ Determine whom you will be communicating with ____ Confirm that the adjudication panel has been hired and obtain their contact information. Show hosts are required to send this information to Anne Reese by August 1. ____ Confirm that the adjudication panel have all been cleared by the NCBA Committee through training or any other option required. ____ Confirm the show host has received a copy of the show host placemat. One is included in this packet should it be needed. Furthermore, this document can be useful to you as you prepare for the event. ____ Confirm the show host has received a copy of the required tabulation sheet and that they understand how to use it. If they have not received it, contact the chair of the Administrative Executive of the NCBA Marching Band Committee. ____ Remind the show host that they must make their show specific changes to the NCBA Procedures and Adjudication Manual (explanation: the items in blue in the manual must be updated to reflect how a specific show will run) and make their manual available to their registered bands at least 10 days before their event. ____ Ask to be included on all correspondences (email, etc) to registered bands and the adjudication panel. You need to be included in this loop just to be sure that everyone is on the same page.

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____ It is recommended that the show host purchase rain insurance for the day of the event. Rain insurance is available through many insurance companies and could protect the sponsoring organization from missing out on profits in the event of a weather related cancellation.

21 DAYS BEFORE THE EVENT ____ Confirm with the show host that there have been no changes to the judging panel. If there have been, obtain the contact information for any new adjudicators who will be judging the six NCBA captions. ____ If a show is also hosting an MPA event, confirm the plan for switching judge captions between the MPA event and the competition portion of the show. Guidelines in the procedures manual require this to occur. All judges judging an NCBA Caption for an MPA event must also be cleared by the NCBA Marching Band Committee. ____ Email a copy of the NCBA Procedures and Adjudication Manual to the members of the adjudication panel judging the six NCBA captions. Introduce yourself as the Chief Judge assigned to the event and briefly explain your role so that the adjudicators are clear as to what you are responsible for and what the show host is responsible for (travel, lodging, meals, etc). Ask the adjudicators to familiarize themselves with the contents of the manual and be aware of the rules regarding Code of ethics and affiliation. ____ It is advised that you ask the show host to provide you with a perusal copy of the manual prior to it being published officially. You can provide an extra set of eyes for potential problems in the timing of the event.

10 DAYS BEFORE THE EVENT ____ Obtain a copy of the NCBA Procedures and Adjudication Manual and confirm that the show has made its show specific changes and that the manual is available to all registered bands. Note: If this requirement has not been met by the show host, be sure to let the chair of the NCBA committee know as it is in violation of the contract for show hosts. ____ Obtain a copy of the schedule of performances. Confirm that the members of the adjudication panel who will be judging have a copy of the schedule. ____ Work with the show host to determine when the judge’s call time and judge’s meeting will be. It is recommended that this meeting start no later than one hour and 15 minutes prior to the start of the show. If a meal is included in this time, it is recommended that more time be allowed. Find out where the meeting will be and where the adjudicators, and you, should park. Confirm that the members of the adjudication panel who will be judging have this information. ____ Check the weather forecast. If there is any danger of bad weather, check with the show host to find out what the contingency plan is.

5 DAYS BEFORE THE EVENT ____ Check the weather forecast. If there is any danger of bad weather, check with the show host to find out what the contingency plan is. Note: If a show is rained out or canceled, we have encouraged the local show host to remit a payment to the Chief Judge that

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represents the work that he/she has done prior to the day of the event and the fact that the Chief Judge is not able to work at another event. ____ Confirm that the items on the Show Host Placemat are being provided. This will save you some time and potential headache on the day of the show.

THE DAY OF THE EVENT: JUDGES MEETINGS PRIOR TO THE BEGINNING OF THE SHOW ____ Before you meet with the judges, you should meet with the show host and determine where in the press box each of the judges will be. You may wish to put place cards in the press box where each of the judges should be located. This will prevent confusion when the judges go to the press box after their meeting. ____ Follow the script provided in this manual. ____ JUDGES NEED TO BE IN PLACE IN THE PRESS BOX NO LATER THAN 20 MINUTES PRIOR TO THE START OF THE SHOW.

THE DAY OF THE EVENT: MEETING WITH TIMING OFFICIAL AND GATE OFFICIAL This meeting is particularly important as a band parent often serves in these roles. This is one of the most confusing parts of our event and we need to make sure we have fully educated those people who are serving in these roles. This meeting should occur no less than 10 minutes prior to when the first band is scheduled to arrive at the gate, however, it is advised that it occur well before this time, and if possible, prior to the judge’s meeting.

____ Coordinate the flow that bands will follow from the gate to when they will enter the performance area. This should be done within the logistical flow designed by the show hosts for their facility. If the Chief Judge feels a different flow would work better, they may suggest the change, but the Show Host can elect to not change the flow. ____ Ask the Gate Official to remind each band director, or their appointee, to not enter the Performance Area until signaled to do so by the Timing Official. ____ Determine how the Timing Official will signal to the band that they may enter the performance area. Note: It is imperative that the timing official communicates this clearly with the band director, or their appointee, for each band. If the props/front ensemble is entering the performance area from a different point than the band, it is important that all show staff members are on the same page as to avoid the signal to enter coming from different people at different times. There should be one, and only one, signal and it should be made to the band director, or their appointee, for each band. ____ Determine how the Timing Official will signal the announcer to cue the announcement for each band. Note: This should be done no later than 3 minutes and 30 seconds after a band enters the Performance Area or at the cue of the Band Director, or their appointee. ____ Make sure the Timing Official has two stop watches. 1) To record the total time in the Performance Area. This will begin when the Timing Official signals to the Band Director (or their appointee) to enter the Performance Area, and ends when the last member (performer, prop, otherwise)

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exits the Performance Area. Each band has 15 minutes to enter the Performance Area, set up, perform, tear down and exit the Performance Area 2) To record the Performance Time. This begins when the first musical note or visual move occurs following the announcement and ends when the last musical note or visual move. Each band should present a performance of no less than 7 minutes. ____ Make sure the Timing Official understands how to fill out the Timing and Penalties sheet and who to turn it into after every band. Note: Penalties should be assigned based on the rules and regulations in the NCBA Marching Band Procedures and Adjudication Manual and should not reflect dynamics outside of those parameters. ____ Ask the Timing Official to speak to each band’s Drum Major(s) and remind them that if they are going to salute it should occur during the announcement. Drum Majors may sometimes be waiting to hear “Is your band ready?” and that announcement will not occur at NCBA shows. ____ During each performance, the Timing Official should watch the field to make sure that no one participates in the performance who should not. Violations should be reported immediately to the Chief Judge, who should verify and assess penalty as necessary. All non-performing personnel (prop holders, sound adjustment, flag runners, etc.) must not participate in anyway during the performance time. To be clear, parents may hold props during any event, but may not manipulate a prop in any way. Any violation of this rule is subject to a performer violation penalty. The chief judge should remind the performing bands that the parents MUST NOT do anything that will CONTRIBUTE to the performance – including off field sound production manipulation. Directors and/or staff may conduct from the sideline. _____ PERCUSSION CADENCE AND TROOPING STANDS IS NO LONGER ALLOWED IN NCBA MARCHING BAND EVENTS. Percussion Cadences are no longer to be allowed as a pre-show. Using a cadence when exiting will result in a Performer Violation.

THE DAY OF THE EVENT; MEETING WITH PA ANNOUNCER ____ This meeting should occur no less than 5 minutes before the first band is scheduled to perform, however, it is advised that it occur well before this time, and if possible, prior to the judge’s meeting. ____ Explain to the PA Announcer that he/she will read the official announcement at the cue of the Timing Official and not before. It is also important that he/she understand that all other show announcements (air-grams, sponsors, etc.) should occur at a time that does not interfere with the timing of the performance. ____ Make sure the PA Announcer has a copy of the official announcement that is contained in the NCBA Procedures and Adjudication Manual and that they understand that they must read it directly as many shows are being designed to begin based on the timing of that announcement being read.

“Joining us from (name of town and state, please welcome the (name of school) High School

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Marching Band!”(pause for audience response) “Their musical selections include the following (information provided on script sheet).

“The (name of contest) is proud to present in competition performance, Drum Major(s)(name(s) of drum major(s)) and the (name of school) High School Marching Band!

THE DAY OF THE EVENT DURING THE SHOW In order to fulfill his/her duties, the Chief Judge should remain in the press box or on the field of the stadium from the beginning of the event until the end of the event. Because of the duties listed below this is necessary.

____ When the judges enter the press box, the Chief Judge should determine where each judge should be placed. This should be done in conjunction with the show host; however, the Chief Judge should make the final decision on judge placement. ____ Watch at least 3-5 minutes of every performance. ____ After each performance, you should collect all score sheets and the timing sheet before they go to tabulation. You should check addition to make sure there are no mistakes in the sheet total. If you see any abnormal scores or splits, bring it to the attention of the adjudicators. Ask that they look at the spread and determine if a change needs to be made. If a score is being changed, a new sheet must be used. After each sheet is checked, you should initial it signifying that you did indeed confirm it. Note: To allow the Chief Judge to watch more of each show, this step can be completed by the tabulator. In this case, the Chief Judge will still need to look at scores after they have been entered for each band to be aware of abnormalities in spreads or neighborhoods that need to be brought to the attention of the panel. ____ If a band is performing for MPA and they receive a Superior Rating, provide them with the necessary documentation to be able to order their Superior Plaque. ____ Collect the carbon copy of each judge’s score sheet. Note: If an adjudicator is circling words on the back of the carbon, you will need to collect the front sheet instead and submit the carbon copy to tabulation to be included in the band’s exit packet. This step should be done by the show’s tabulators and then given to the Chief Judge at the end of the show. The Chief Judge should set up a plan for this process with the tabulator within the first couple performances of the day. ____ After each class, print a copy of the recap and ask the judges to confirm that the information entered is correct for their caption. This can happen on breaks between classes if that is more efficient. ____ Provide each adjudicator with an audio copy of their comments. This just needs to be completed by noon on the first Monday after the show. ____ Confirm that all necessary scores have been verified by the adjudicators and initialed before any awards ceremony begins. Note: You will need to work with the tabulator to determine how to do this most efficiently. However, this step is extremely important in order to get it right for the performing bands as well as for the show host. ____ Chief Judge needs to collect all judges’ checks prior to the performance of the last band. Make sure this is planned with booster treasurer/contest host/director prior to the event.

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____ At the conclusion of the final band, you should disperse compensation to each of the six NCBA judges upon satisfactory completion of their duties. You should also provide them with a copy of the full show recap sheet so that they can evaluate their scores as they relate to others for personal and professional growth.

FOLLOWING THE SHOW In order for a chief judge to receive payment for working a show, the following things must be completed. ____ An electronic copy of the completed tabulation file must be sent to the chair of the NCBA Marching Band committee. This must be done by noon on the first Monday following the event. However, if it can be done earlier, that would be best. This information will be posted on the NCBA website. ____ A hard copy of the final recap sheet, initialed by all caption judges (signifying the numbers entered are correct), should be mailed to Anne Reese, the NCBA Marching Band committee Executive Administrator. ____ All carbon copies from the contest should be sent to Anne Reese, the NCBA Marching Band committee Executive Administrator. ____ If the NCBA committee has required any feedback forms, they should be collected and sent to Anne Reese, the NCBA Marching Band committee Executive Administrator. ____ Complete the Chief Judge evaluation of the show and submit it to the NCBA Marching Band Committee chair. This may be an online form (Google docs, etc.), if the Committee desires. ____ Send a copy of this checklist to Anne Reese, the NCBA Marching Band committee Executive Administrator.

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Judge’sMeeCngScript Thepointofthismee3ngistogeteveryoneonthesamepageastothephilosophyandprocedureoftheNorthCarolinaBandmaster’sMarchingBandSystemofAdjudica3on.Becausetheadjudicatorsatthedifferenteventsacrossthestatecomefromsuchavariedbackgroundandexperiencelevel,wefinditnecessarytogothroughthisinforma3onatallofourevents.Itisourhopethatbydoingsowecaneffectagreaterlevelofconsistencyfromshowtoshow.Wethankyouforsharingyourexper3sewithourstudentssothattheymaycon3nuetogrowasmusiciansandperformersandforsharingyourexper3sewithourdirectorssothattheycancon3nuetogrowasteachers.

Iamgoingtosharewithyouafewjudgingphilosophiesthatweaskyoutoconsiderasyoucompleteyourdu3estoday.

Theorderofjudgingpriorityforcap3onsthatdonothavea“what”and“how”subcap3on(MusicPerformanceEnsembleandMusicPerformanceIndividual)istorankthenrateeachperformancewithinthesub-cap3onsthatgenerateacap3onscore.Determinewhichneighborhoodaperformanceshouldbewithinasub-cap3onbycomparingittothecriteriasystemonthebackofthesheet.Numbersmanagementismaintainedbyadheringtotheconsidera3onofavalueofapoint,whichisprintedontheboiomofyoursheet.

Theorderofjudgingpriorityforcap3onsthathave“what”and“how”sub-cap3ons(MusicEffect,VisualEffect,VisualPerformance)isto

e. first,ranktheperformancewithineachsub-cap3onusingthecriteriareferencesystemasyourguide.

f. second,createpropersub-cap3onspreadsbetweengroupsusingthevalueofapointasyourguide

g. third,determineproperprofilingofasingleensemblebyevalua3ngthe“what”ofthatgroupascomparedtoits“how”.The“what”shouldnotbemorethan10pointsabovethe“how”,norshoulditbemorethan4pointsbelow.

h. fourth,ratetheensemble.Thisfinalstepshouldbeaconfirma3onstepanerhavinggonethroughsteps1-3.

Keepinmindthevalueofapointisappliedtothesub-cap3onandnottheboiomlinescore.

Thereshouldbeno3esinfinalscoresinagivencap3on.Therecanbe3esinsub-cap3ons,however,reallyconsiderifa3eisrequired.Ifnot,makeadecision,andawardthegreaterscoretothebandthatachievedatthehigherlevelinthatsub-cap3on.Ifa3eoccursinthefinalscore,youshouldre-evaluateyoursub-cap3onscorestobreakthe3e.

1. Thissystemisbasedonthederivedachievementleveloftheperformer.Wegivecreditforwhattheydoanddonottakeoffforwhattheydonotdo.Besuretoevaluatewhatyouseetoday.Showsmaybeincompleteortheymayhavechangedsinceyoulastsawthem.Wecannotconsiderwhathappenedlastweekorwhatmightbecominginthefuture.Evaluatetheperformanceyouseetodayonly.

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1. Onthefrontofthesheet,boxes2,3,and4arebrokendownintothirds.Thenumberineachthirdreferstolowestnumberwithinthatthird.Ifabandmeetsallthecriteriaofabox,thenumberthattheyshouldbegivenisintheTOPthirdofthatbox.InordertoenterBox5,ALLofthecriteriamustbemet.

2. Judgingoccurswiththefirstnoteplayedorfirstvisualmovefollowingtheannouncement.

3. IfwearerunninganMPAeventpriortotheactualcompe33on,youwillbeswitchingca3onssothatyouarenotjudgingthesamecap3onforboththeMPAandcompe33on.Thisprotectsboththeadjudicatorsfromfeelingliketheymustgivethesamefeedbacktwiceorthesameboxnumbertwice.Italsoprotectsthebandsfromgaininganyperceivedcompe33veadvantageordisadvantage.Thisinforma3onshouldhavealreadybeengiventothemembersofthepanelwhoareaffectedbythis.Non-NCBAAuxiliarycap3onsmayjudgethesamecap3onforbotheventsiftheshowhostswouldlikethattooccur.

Everyoneissensi2vetothechangingsitua2onwithinthemarchingbandac2vity.Someareasarefortunatetohaveanabundantnumberofbandspar2cipa2ng.Someareasareexperiencingarapiddeclineinsupporttothemusicprogramsandprogramsareatrisk.Inallcases,moneyisaproblem.Manyareques2oningcompe22on,itspurposewithintheeduca2onalarena,andallwantthebestpossibleexperiencefortheirstudents.Inorderforadjudicatorstodotheirpart,thefollowingdirec2vesmustbefollowed.

oWeencourageyoutobringyourvariedexperiencesandknowledgeintoyourjobtoday.However,wedoaskthatyoumakesurethatyoukeepinmindthatthephilosophiesofoursystemmaynotmatchthoseofthesystemthatyouaremostfamiliar.

oThejudges’jobistosupporttheeduca2onalexperienceoftheperformers.Thejudgeisateam-teacher,reinforcingthetenetsofqualitymusicandmovement.Judgingmustbeabouthelpingtheperformersandstaffstogrow,andaboutapprecia2ngtheirlearningandteachingefforts.

oYouarejudgingaNCBAMarchingBandContest.Helpthebandsworkwithintheframeworkofwhattheyhave.Thisdoesnotprecludeiden2fyingproblemswithintheshow,nordoesitalterhowyourankandratebasedonthedesignorperformance.

oJudgethecontestfromtoptoboSominyourranking.Rememberthatthesizeofbandcanbeachallengewhetherverysmallorverylarge.Theproblemswillbedifferent,butthechallengeiss2llgreat.Donotjudgejusttheclass.

oRemembertobeinboxfive,ALLOFthecriteriamustbemet.

oYouwillbegiventherecordingofyourcommentsaVeryouaredone.Pleaselistentoitsome2meinthenearfuturewhileitiss2llfreshinyourmindinanefforttoevaluateyourselfforpersonalandprofessionalgrowth.

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JUDGES’CODEOFETHICSAFFILIATIONANCBAJudgeisprohibitedfromadjudica3ngataneventinwhichthejudgehadanyofthefollowingaffilia3ons:

- PrimaryAffiliaCons:Designers,instructors,management,marchingmembers,immediatefamilymembers

- SecondaryAffiliaCon:Non-Immediatefamilyandpersonalrela3onshipswithanyoftheabove-describedpersonscouldbeconstruedtobeasecondaryaffilia3on.

- PreviousAffiliaCon:Ajudgecannothavebeenthedirectorofanycompe3nggroupswithinatwoyearperiodpriortojudgingthatgroup.

ChiefJudgeswillnotworkatacontestwherethereisaPrimaryAffilia<on.

ChiefJudgesmaynotworkatacontestwherethereisaPrimaryAffilia<on.

JUDGESNEEDTOBEINTHEIRPLACEINTHEPRESSBOXNOLATERTHAN20MINUTESPRIORTOTHESTARTOFTHESHOW.

Scriptendshere!!!!!

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NCBAShowHostsPlacemat *Neededforthepressboxforthejudges

oDigitalRecordersfortheJudges ● Itisadvisedyouhave18recorders.Threesetsforeachofthe6judges.

Oneforthemtouseduringthebandtheyareadjudica3ng.Onetobesilngbesidethemincasethemainonefailsforsomereason.Onethatisbeingdownloadedanereachband.

oExtraBaieriesforeachrecorder oClipboardorothersuitablewri3ngsurfaceforeachjudge o2Pensforeachjudge oJudgingsheetsforeachjudge,pre-labeledwitheachband’sname,organizedin

orderofperformance,plusoneextrablanksheetforeachjudge. oHospitalityareaforjudgeswithplentyofboiledwater/drinksandsnackfoods,

etc.asyourshowdecidesisappropriate.

* Beforejudgecomestoshow–makesurehe/sheknows: Providealistofaiendingbandstoeachjudgeatleast2WEEKSaheadofthe

contestsotheymayavoidaffilia3onproblems Ifjudgesareplacedontopofthepressbox Iftheshowwillbeatnight,orday–consider3meoftheyearforweather

concerns

*Iftheshowisduringtheday,considerplacingtentsorsomeotherformofcovertoprotectjudgesfromtheelements

● Rainwearforthejudgeswhowillbeonthefield,incaseitshouldrain.

* Neededfortabula3on Provideadedicatedtabulatorfortheevent.ThisisNOTtheChiefJudge.

oComputerwithNCBATabula3onSpreadsheet Pre-fillspreadsheetwithpar3cipa3ngbandsnamesincorrectclasses

and/ororderofperformance. Tabula3onpersonshouldhavepre-testedthespreadsheettomakesure

theyunderstandhowitworks. oPrintertoprintrecapsheetsandannouncer’sawardsscript

Backupink/tonercartridgeforprinter Paperforprinter

oLargeEnvelopesorotherformofcollec3ontocollectCD/thumbdrivewithjudgecommentary,judge’ssheets,recapsheets,remindertobandstofilloutonlinefeedbacksheet-ifthisisneededinagivenyear,andanyotheritemsthatyourshowincludesinan“ExitPacket”

Envelopesshouldbepre-labeled,oneforeachband(eachperformanceifprelims/finalsorothermul3pleperformanceformat),andorganizedinorderofperformance

oAllextratapes,judgessheets,pens,otherofficesupplies,etc. ! 46


*NeededforPAAnnouncer oScriptthatincludesthefollowing

NCBAApprovedscriptforannouncingeachband(SeeNCBAhandbook) Showsponsors

Concessioninforma3on Otherlogis3calorcommercialinfospecifictoyourshow

oMeansofcommunica3onwithTimingJudge(Walkie-Talkie,etc.)

*NeededforTimingJudge o2Stopwatches:onefortotal3meandoneforperformance3me. oClipboardandpen oNCBATimingandPenal3esJudgingSheetforeachband

Sheetsshouldbepre-labeledandorganizedinorderofperformance oMeansofcommunica3onwithPAAnnouncer(Walkie-Talkie,etc.)andwiththe

ChiefJudge(shouldapoten3alperformerviola3onoccur oAclearcommunica3onthatthe3mingboundariesasstatedintheprocedures

manualarefromendzonetoendzoneandsidelinetosideline. oAclearcommunica3onoftheflowoftheperformances(howandwherethe

bandsenterandexittheperformancearea)

*NeededfortheGateofficial oAmeanstocommunicatewiththewarm-upareastocoordinatetransi3onsshouldtherebeadelayontheperformancefield.Thiswillpreventanyunnecessarybackupofbandsatthegate.

*NeededforChiefJudge oMeanstoprovideeachjudgewithacopyoftheirfilesfromtheday

oNCBAJudgesEvalua3onFeedbacksheets(oneforeachofthe6NCBAjudges)- ifthisisbeingusedinagivenyear.

oChecksforeachofthe6NCBAjudges.Checkshouldbefullycompletedand madeoutforamountagreeduponbyshowhostandjudge ChiefJudgeonlydistributesthecheckoncethejudgehascompleted

NCBAfeedbackform-ifthisisrequiredinagivenyear oPlaceforchiefjudgetowork.ChiefJudgewillneedaccesstothetabula3on

areaalsotovalidatetabula3onentryandscoresheetaccuracy. oPlentyofpencilsandpens oTworunners:onetopickupsheetsandtapesfromonfieldjudges,onetopick

upsheetsandtapesfromjudgesinthepressbox oListofjudgeswithphonenumbers/emailsatleasttwoweekspriortotheshow.Thechiefjudgewillforwardcopiesofthejudgessheetsandjudgesmanualtoeachofthem

! 47

ncba marching band compe33on & adjudica3on ...ncba marching band compe33on & adjudica3on...

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