CCSD

Jazz Band Criteria Reference Assessment Rubric

QUALITY OF SOUND
Intonation
(solo/sections/ensemble)
Balance/Blend
Tone Quality

TECHNIQUE

I SUPERIOR

II EXCELLENT

III GOOD

IV - FAIR

V POOR

Infrequent minor flaws

quickly/consistently
corrected

Minor flaws generally

corrected

Flaws
evident/inconsistently
corrected

Consistent flaws/limited
correction

Major Flaws/limited
correction

Ensemble achieves superlative tone quality.

Tone is well focused, clear,
full, open, resonant, consistent, and uniform in
color, texture and sonority
at all times.
Melodic and harmonic intonation is
demonstrated consistently. Sensitivity
to intonation and performer correction is evident
in all situations.
Blend and balance is maintained at all times both
within and between sections as well as in all
registers and all dynamics. Listening is
demonstrated
at all times.

Appropriate tone quality is achieved most of the

time. Tonal color, clarity, focus, and timbre are
uniform,
consistent, and well-controlled, though
sometimes adversely affected in extremes of
volume and/or range.
Melodic and harmonic intonation is very good.
Problems sometimes occur
in range and/or volume extremes and during
difficult passages. Listening skills are apparent.
Performers display the ability to correct most
problems.
Excellent blend and balance is established and
consistently maintained during the majority of
the performance.
Characteristic band quality is achieved most of
the time. Excellent listening skills are
consistently demonstrated.
Rhythmic accuracy and precision are evident.
Pulse and rhythmic control are evident with
lapses in only the most difficult of passages.
Clarity and ensemble cohesiveness is apparent
most of the time.
Articulation technique is well-developed and
stylistically appropriate. Uniformity is
demonstrated with weaknesses shown
only by individual players in more complex
passages.
Technical facility is well-developed. Manual
dexterity is exhibited with flexibility being
evident. Difficult passages are well played with
only minor flaws. Concentration is demonstrated
consistently.
The rhythm section has some lapses in groove,
balance and/or technique, but overall a good
swing feel. There is some communication with
soloists but listening could be improved to allow
for a more consistent and connected
performance.
Uniform and meaningful interpretations are
evident. Style is accurate and
is seldom mechanical or rigid. Appropriate and
expressive phrasing is consistent and evident
most of the time. Communication between
performer and conductor is consistent. Use of
musical elements is maintained throughout to
produce an overall performance that is generally
expressive, sensitive, artistic, and musical.

A basic approach to appropriate tone production

is demonstrated. Students demonstrate focus
inconsistently.
Problems are evident at the extremes in volumes
and/or registers. Breath support and control
generally good, although not maintained
consistently. Intonation is inconsistent. Wide
intervals, octaves, and unisons are performed
with partial success.
Listening skills are demonstrated and attempts
are made to correct obvious problems.
Sections and/or individuals tend to dominate the
sound. Clarity, good
blend, balance, and voice relationships are
evident in less demanding passages. A
characteristic band sound is usually achieved.
Listening skills are often demonstrated.

A basic understanding of tonal quality,

dynamics, and articulation concepts are not
generally evident. Volume and register extremes
are uncontrolled.
Breath support and control are weak and
inconsistent.
Melodic and harmonic intonation is inconsistent.
Difficult intervals
and harmonic structures are major intonation
weaknesses. Individual
and sectional intonation problems are seldom
corrected.
Blend and balance are sometimes achieved
during less demanding passages. Individual
players and/or sections tend to dominate the
bands sound. Listening and attentiveness are
inconsistent and often neglected.

A limited understanding of basic tone production

is demonstrated. Poor air support and/or
embouchures create inappropriate tone.
Instruments are not tuned. Melodic and harmonic
intonation is not evident.
Blend and balance between and within sections
are not achieved most of the time. General
listening skills are not apparent.

Rhythm accuracy and precision is evident most

of the time. Players demonstrate awareness of
pulse, rhythmic patterns, and tempo although
problems occur.
Articulation technique and style are appropriate
most of the time but consistency and accuracy
can be lacking. Complex articulations lack
clarity and control.
Technical facility is demonstrated inconsistently.
Problems occur during difficult passages.
Correct technique, flexibility and dexterity is
evident in many but not all players.
Concentration is apparent but inconsistent.
The rhythm section shows potential but needs to
rehearse to improve timekeeping, listening,
rhythmic feel and communication with soloists.
Poor technique sometimes gets in the way of
swing feel.

Basic rhythmic accuracy is generally

demonstrated. Rhythmic uniformity
is inconsistent. Precision, pulse and tempi are
achieved only in simple passages. Articulation
technique, styles, and accuracy are appropriate
some of the time but often cause severe
problems.
Accuracy of attacks and releases is inconsistent.
Technical facility is inconsistent.
Flexibility and dexterity are persistent problems.
Faster, more complex passages tax players
beyond their ability.
The rhythm section mostly does not play in time
- adversely impacting all other areas of the
performance. Much rehearsal is needed to
improve balance
and technique, as well as better
understanding of the roles of each
player, to allow for communication with soloists
and a good swing feel.

Rhythmic accuracy and precision are weak.

Pulse is poorly controlled and lacks uniformity.
Articulation technique is not developed and/or
neglected most of the time.
Technical facility is not apparent.
Finger dexterity is undeveloped with a very
limited knowledge of fingerings demonstrated.
Concentration is poor.
Clarity and accuracy of notes with regard to key
signature and accidentals
is not evident.
The rhythm section mostly does not play in time
- adversely impacting all other areas of the
performance. Much rehearsal is needed to
improve balance
and technique, as well as better
understanding of the roles of each
player, to allow for communication with soloists
and a good swing feel.

Meaningful and uniform interpretation is

inconsistently demonstrated.
Performance of musical characteristics is evident
but inconsistent. Phrasing
and dynamics are sometimes apparent.
Expression is often mechanical. Communication
between performer and conductor is exhibited,
but inconsistent. Some
players demonstrate the technical and
mechanical aspects required to create an
aesthetic product.

There is little evidence of musical interpretation,

style or phrasing. There are however attempts to
express melodic lines. There is little use of music
elements beyond the technical and mechanical.
Use of dynamic contrasts is limited, not well
controlled,
and lacks uniformity. Communication between
performer and conductor
is rarely evident.

Meaningful musical interpretation is not

demonstrated. Use of dynamics is not employed.
Uniformity of phrasing is
not evident. Expression is almost nonexistent.

Soloists know how to construct personal and

engaging improvisations through harmonic
progressions. They reflect knowledge of the style
and know how to invent melodic material that
enhances the overall feel of the piece. They
communicate consistently with the rhythm
section and have a strong grasp of jazz
vocabulary.

Soloists know how to construct improvisations

through harmonic progressions that have
melodic quality, but need to develop a better
grasp of jazz vocabulary to construct more
personal and engaging solos. At times increased
communication with the rhythm section is
needed so that the solo fits within the overall
structure of the piece.

Soloists are not always playing the correct

harmonic progressions and are not melodically
and rhythmically locked in to the feel of the
piece, and/or the solo is inappropriate for the
overall structure of the piece.
Communication with the rhythm section is
lacking and there is minimal grasp of jazz
vocabulary.

Soloists are rarely playing the correct harmonic

progressions, melodies are not present and/or
rhythms are not linked to the feel of the piece.
Soloists rarely communicate with the rhythm
section or demonstrate an understanding of jazz
vocabulary.

Soloists are not ever playing the correct

harmonic progressions, melodies are not present
and/or rhythms are not linked to the feel of the
piece. Soloists do not ever communicate with the
rhythm section or demonstrate an understanding
of jazz vocabulary.

Posture is exemplary throughout the ensemble

Musical selections are appropriate to the
ensemble.
Elements of swing and jazz styles are clearly
uniform and stylistically accurate. Intensity in
spirit is almost never lacking.
The overall look of the ensemble shows much
attention to detail and a uniform look.

Posture is exemplary throughout the ensemble

Musical selections are appropriate to the
ensemble.
The main elements of swing are present and
mostly uniform in style.
Occasionally, lapses in intensity and swing and
jazz feel take away from the overall unified spirit
of the performance.
The overall look of the ensemble is uniform with
only minor variations.

Posture is appropriate throughout the ensemble

Musical selections may not be appropriate to the
ensemble.
There is some evidence of an overall
understanding of swing. However, too many
lapses in intensity make it difficult to maintain
an overall driving spirit of swing and jazz styles.
There has been some attention to a uniform look.

Posture is mostly appropriate throughout the

ensemble
Musical selections may not be appropriate to the
ensemble.
There is little evidence of an understanding of
swing and jazz styles.
The performance is stylistically incorrect at
times and lacks desirable spirit.
There has been little attention to a uniform look.

Posture is not appropriate throughout the

ensemble
Musical selections are not be appropriate to the
ensemble.
There is no evidence of an understanding of
swing and jazz styles. The performance is
stylistically incorrect at all times and lacks
desirable spirit.
There has been no attention to a uniform look.

Ensemble cohesiveness, control of pulse, tempo,

and rhythmic clarity are all outstanding
throughout the performance.
Articulations are appropriate and played with
consistency and uniformity.
Technical facility is superb. Flexibility and
dexterity are exhibited by the entire ensemble.
Concentration is evident thereby creating an
exemplary performance.
The rhythm section has excellent groove,
balance, pulse and swing feel. They
communicate well with and make intelligent
adjustments to soloists. Each player fully
understands their role within the rhythm section
and demonstrates outstanding technical
execution.

Tech - Precision Style

Time/Drive/Groove
Articulations Rhythm
Rhythm Section

MUSICALITY

Thorough and stylistically valid interpretation is

exhibited at all times.
Phrasing is natural, meaningful, expressive and
uniformly consistent.
subtleties are evident. Dynamic range is
Interpretation Style Phrasing Artistic
displayed with excellent control at all levels.
Communication between performer and
Expression Dynamics
conductor is exemplary.
Sensitivity
The performance creates a sensitive, effective,
and naturally communicated artistic product.

IMPROVISATION
Technique Interpretation
Facility Style Creativity
Quantity
Knowledge Quality

OTHER FACTORS

Contrasting styles and tempos.

Posture
Stage Presence
Programming/Suitability to group
Preparation Does the group
Swing

Sources:

CCSD Band Criteria Reference Assessment Form

http://www.jazzatlincolncenter.org/jazzED/ee/pdf/Rubrics.pdf