3 Things that Will Help You be a Better Judge
By Mark McGahey, TMAA Concert Band Vice President | Wednesday, January 26, 2011 11:32 AM
As we approach the UIL Concert and Sight-reading Contest season, I thought this would be a good opportunity to review several important aspects we, as adjudicators, should bear in mind as we evaluate groups:
1. Knowledge – Know the literature and have a picture in your mind before listening. No, I mean really know the literature, and not just have an idea how a tune goes. As a music evaluator, you need to offer an educated opinion about what you are hearing. How often do you listen to non-varsity bands, middle school bands or any band outside of your classification? Do you have an idea in your mind of how a successful band at each level sounds?
Be sensitive to sub- and non-varsity ensembles. It is important to understand that these groups are working to achieve at their performance level. Also, keep in mind the fact that these groups will likely have students functioning as leaders for the first time.
As time permits, it would be wise to become more familiar with Prescribed Music List titles. Focus on a specific classification that you will be judging this spring and review 3-4 new compositions a day. There are many reference resources. Many composers and music publishers have sample scores and audio available on their websites, and sometimes you can find YouTube performances of the selections.
2. Experience - Whether you are evaluating your own group or others, there is no substitute for practicing your trade. As you are listening to an ensemble, always seek solutions to problems that you hear (tuning, balance, technique, etc.) As you identify problem-solving strategies, think how you could summarize them into short bullet statements or sentences that would work well on a UIL evaluation sheet (i.e.“trumpets are forcing ms. 1-8. They need to fit inside of the Low Brass sound”, “we need a quicker recovery from the upper WW’s on their chorale section”, “make sure the technique is worked out in Mvt. 4”, etc.).
As a performance unfolds, a pattern or theme of strengths and weaknesses may become apparent. Examples of strengths could include mature tone quality on each selection, melody or important lines always evident, etc. Praise them! Weaknesses could include technique not worked out; strong players always overbalancing others, style of notes all sound the same, etc. As a judge you should give the director and students specific elements to work on and provide solutions for improvement. Guide the ensemble to a higher level of musical achievement. Remember - it is equally as important to reinforce examples of high musical achievement, as it is to offer suggestions that address obvious flaws.
3. Motivation – Why do we judge? I think most of us would agree that we want to be a part of the educational process, share our expertise, teach others and guide both directors and students to a higher level of performance. This vision is the primary reason that contests should exist.
Personally, I have always respected adjudicators that could justify and summarize a rating that I sometimes didn’t agree with. If the judge pointed out areas to improve and solutions to get better, I came away with a greater awareness of my own teaching. This level of awareness is a vital part of the contest experience.
Final Thoughts
Be prepared as a contributor to the process for your judging day or set of days. Be well rested, ready for lots of focus and concentration and trust your judgment and experience. Your best is needed on this day just like the performers on stage!