CDA Ensemble Booklet 2018

Competing Ensemble Booklet 2018
All content within is the property of the Canadian Drumline Association © 2017.
Thank you, and welcome to the Canadian Drumline Association!
The growth and development of the drumline activity in Canada has been amazing in
recent years. This year the Canadian Drumline Association will continue to host events
and competitions in Ontario, Quebec, Alberta, and BC.
This was all made possible in no small part by our competing ensembles, board of
directors, adjudicators, and volunteers. I would also like to thank our Assistant Director
Chad Morford, Treasurer Nathan Haynes, and Chief Judge Jack Broumpton.
In 2016, the CDA added a “Groups” feature to our website. Each ensemble has a
private group page where they can invite students, staff, and parents to become
members. The drumline director has full admin over the group and can post unlimited
documents, videos, charts, permission forms, schedules and much more. This service is
provided to all our member ensembles at no cost!
In 2014 we streamlined our classifications based on the content of the performance.
Concert class ensembles perform standstill, and demonstrate basic music skills.
Intermediate class ensembles demonstrate moderate marching and music skills.
Premier class ensembles demonstrate advanced marching and music skills. And we
continue to include Concert and Marching Alumni class for adult ensembles, which will
be adjudicated based on advanced skills.
Educational articles are continually added to our website
www.canadiandrumlineassiciation.org
For inquiries regarding adjudication, regulations, and scoring, please contact our Chief
Judge Jack Broumpton, candrumlinejudge@gmail.com
For general inquiries please contact us at candrumline@gmail.com
And don't forget us on Facebook, Twitter and Instagram!
Executive Director: Michael Beauclerc
Assistant Director: Chad Morford

Treasurer: Nathan Haynes
Chief Judge: Jack Broumpton
www.canadiandrumlineassociation.org
2018 CDA Event Schedule
January 13th Ontario Solos Competition

February 24th Edmonton AB, Regional
March 10th Alberta Solos Competition
March 10th Alberta Provincial Championships
March 17th Victoriaville QC, Regional
April 6th Mississauga ON, Regional
April 7th St-Hyacinthe QC, Regional
April 18th Victoria BC, Regional
April 19th GTA ON, Regional
May 4th British Columbia Provincial Championships
May 5th Quebec Provincial Championships
May 10th Eastern ON, Regional
May 26th Ontario Provincial Championships
Please visit our website for more information
Canadian Drumline Association Regulations 2018
CDA
1.0 CDA will provide qualified adjudicators at all sanctioned events
1.1 Tabulation of final scores are subject to review by the Chief Judge, up to twelve (12)
hours after a competition.
1.2 CDA reserves the right to refuse or eject an ensemble.
1.3 All fees must be paid in full before an ensemble can compete
1.4 CDA and Drumline Magazine may photograph/videotape events for promotional
purposes. It is the responsibility of the ensemble to acquire media releases from their
membership if needed.
1.5 110 volt grounded power sources shall be available at the front and back of the
center line of the competition area. Ensembles must provide their own extension cords,
and audio equipment. Under no circumstances will competing ensembles or their staff
have access to the house PA system.
1.6 Permission for use of copyrighted material is the responsibility of the percussion
ensembles.
1.7 All drumlines wishing to participate in CDA events must become a “Registered
Competing Ensemble”. If your organization has multiple units, one registration will
suffice.
1.8 For ensembles to qualify to compete at a provincial championships they must

compete in a regional competition of the same province as the championships during
the same season, regardless of their score. (Ontario only)
1.9 Public verbal, digital, or written slander of the CDA, any representative of the CDA,
competing ensembles, board directors, or adjudicators will result in an ejection of
offending ensembles membership.
1.10 The CDA will provide a 50-70 foot clearly defined performance area at all
competitions.
1.11 The CDA is not responsible for the physical or mental safety of performers, staff,
Audience members, and volunteers who participate in any CDA event. The CDA is not
responsible for loss or return of equipment and personal belongings.
Instrumentation
2.0 A drumline consists of marching snare drums, marching multi-tenor drums,
marching bass drums, and marching cymbals. A competing ensemble must be a
minimum of 51% drumline.
Penalty: Disqualification
2.1 Instrumentation is limited to those instruments typically utilized and recognized as

part of a percussion section. Electronic instruments recognized as normal stage and
band rhythm section instruments are also allowed. Conventional wind and/or string
instruments (other than string bass and guitar) may not be used. Single tone, non-keyed
horns (i.e. whistles, sirens, animal calls, etc.) may be used only if generating an effect
and may not be used in any melodic form.
Penalty: ten (10) points per infraction
2.2 No single, triggered, electronic sound may produce rhythmic intent with the following
exception: pre-recorded music must not contain any percussive sounds or offensive
material, and may not exceed 30 seconds in combined total length.
2.3 Lyrics with rhythmic intent may be triggered on a per word basis. Spoken word
phrases without rhythmic intent may be performed with a single trigger. Sampled
sounds must be individually triggered and played in real time by a performer in the
competition area. Pre-recorded music must not contain any percussive sounds or
offensive material, and may not exceed 30 seconds in combined total length.
Penalty: one half (.5) point per second over

: Disqualification for offensive material or percussion
2.4 Pre-recorded music must be submitted to the Chief Judge a minimum of two (2)
weeks prior to use in a competition, for screening of materials and time documentation.
2.5 Ensembles must submit a list in writing of approved pre-recorded music in their
performance, including order with times to the TPO before each and every competition.
2.6 Ensembles may position their PA system directly adjacent to the competition area.
An adult may adjust the volume levels in real time, however all sounds must be created
and/or triggered by performers in the competition area. Therefore an adult non
performer outside the competition area may not trigger or initiate sounds of any kind.
Speakers and all other instruments and props must be in the competition area.
2.7 No pyrotechnics, firearms (of any type), flammable liquids, and/or canisters will be
permitted in or around the competition site. Effect creating tools, including but not
limited to smoke machines, compressed air apparatuses, animals, helium filled
balloons, motorized vehicles except for motorized wheelchairs used by disabled
performers, use of glass objects that may break and/or leave shards of glass in the
competition area, drones or any remote-controlled airborne device, lasers, and lighting
(not already installed in the building) may not be used as any part of the performance.
Neither wet cell batteries, nor gasoline, electric, or manually powered generators can be
used. Building lighting cannot be turned off, dimmed, or otherwise altered by the
performing ensemble. Battery operated devices using common off-the-shelf flashlight
batteries (AA, AAA, AAAA, C, D, N, 9V and button cells) are allowed. Devices using dry-
cell secondary “rechargeable batteries”, including cell phones, cameras, MP3 players
and computers are also allowed. Car and/or truck batteries are not permitted.
2.8 For the protection of the wooden competition floors, all equipment must be properly
taped or otherwise be prepared to assure that damage to the floors will not occur.
Damage to the floor such as may occur by dragging the timpani, wheels or carts
locking, etc. will be the responsibility of the ensembles. The Timing & Penalties Officer
(TPO) will inspect all props before the competition begins. The TPO may refuse the use
of any and all objects they deem unfit.
2.9 The use of powder, dirt or any other airborne substance shall be strictly prohibited
2.11 No percussion ensemble may compete with less than six (6) drumming performing
members, excluding the conductor (optional).
2.12 Intermediate, Premier, and Alumni Class ensembles may use one optional student
conductor positioned in the competition area. Concert Class ensembles may use one
non-student conductor positioned in the competition area.
2.13 All performers, instruments, speakers, props, cables, stands, and costumes must
remain inside the clearly marked performance area (50 – 70 feet) for the duration of the
performance. Accidental drop of a stick or mallet, and the PA system are exempt.
Penalty: one half (.5) point per infraction
Classification
3.0 Ensembles may compete in either Concert (stand still), Intermediate (marching),
Premier (marching), or Alumni classes.
3.1 All performers in Concert, Intermediate, and Premier Classes must be enrolled in
secondary education or lower. Alumni ensembles may have performers of any age. If a
member exceeds the age limit, the ensemble must compete in Alumni Class.
Penalty: Classification change
3.2 Concert class ensembles perform “stand still”, and compete displaying “basic skills”.
Intermediate class perform “marching”, and compete displaying “Intermediate skills”.
Premier class perform “marching” and compete displaying “advanced skills”. Concert
Alumni class perform “stand still” and compete displaying advanced music skills. Alumni
class perform “marching” and compete displaying “advanced skills”.
3.3 Concert ensembles must utilise stands for the snare drums, multitenors, and bass
drums if the equipment is available. A concert ensemble who wears their drums may not
change their physical location during the performance.
Penalty: Classification change
3.4 An ensemble may not change classifications during the competitive season without
the approval of the Chief Judge. The CDA may change an ensembles classification with
consultation from the Chief Judge.
Timing
4.0 Ensembles will be scheduled to compete at the following intervals:
Class Interval
Concert/Concert Alumni 9 Minutes
Intermediate 10 minutes
Premier/Marching Alumni 11 Minutes
The time interval will include entrance, set up, introduction, performance, exit and
removal of all equipment, props, personnel, etc.
Penalty: one tenth (.1) point per second over
4.1 The maximum performance time ceases when an ensemble quits playing or leaves
the floor, whichever comes first, and shall not exceed seven (7) minutes for all classes
Penalty: one half (.1) point per second over
4.2 All competing personnel shall remain within the competition area and be judged in
all captions for a minimum of four (4) minutes.
Penalty: one half (.1) point per second under
4.3 All captions will be judged for the maximum performance time or until the ensemble
ceases playing or leaves the floor, whichever comes first. Timing and penalty will
continue until performers and equipment are off of the floor.
4.4 Ensembles competing at CDA Regional Contests cannot be required to perform

before the time set in the latest schedule for the contest, distributed by the CDA Office.
4.5 Any equipment or props may be placed within the competition area by anyone prior
to the start of competition. Before the performance begins, all non-performing personnel
must be off of the competition area. (Adults are not permitted to stay in the competition
area during a performance. Concert class conductor is exempt)
Penalty: fifteen (15) points
4.6 Performance time begins with the first note or step following the MC introduction.
4.7 Competing ensembles may not perform, warm up, or play recordings before or
during the introduction. Brief sound system checks are acceptable.
Penalty: fifteen (15) points
4.8 Ensembles may enter and exit the performance area from any side or direction as
needed. The overall time of each ensemble will begin when the first person steps onto
the performance area, and ceases when the last person steps off the performance area.
Registration
CDA competing ensemble registrations are available online at
www.canadiandrumlineassociation.org
Ensembles must submit either PayPal or a cheque, with the registration form for your
registration to be complete. The registration fee is $100 per ensemble for a single
competitive season.
Competitions
CDA competition registrations are available online at
www.canadiandrumlineassociation.org for the upcoming competitive season (January –
May). The competition fee is $100 per ensemble for each competition.
Ensembles must submit either PayPal or a cheque with the registration form for your
registration to be complete.
5.0 The competition entry deadline is the Friday, two weeks prior to the show date for all
competitions. The contest order is done alphabetically by class. The Ontario Provincial
Championships ordered is by class and highest regional score.
5.1 Units who do not have a CDA Regional within 400 kilometres of their place of origin
will be allowed participation in CDA Provincial Championships without meeting the
requirement of attending one CDA Regional first. (Ontario & Quebec only)
5.2 If for some reason an ensemble cannot attend one of the competitions then they
must notify the CDA in writing as soon as you are aware of it. All entry fees are non-
transferable and non-refundable.
5.3 A regional can close at two different points: 1-when the regional reaches its
maximum amount of time in the day or 2-when the entry deadline has lapsed. All entry
deadlines are two weeks prior to the actual date of the show. In the case of number 1
this means that no more units are being accepted into the regional, but instead, they are
being put on a wait list in case anyone who is currently registered decides not to attend.
All waiting lists are cleared once the entry deadline date has lapsed. If the regional entry
date has lapsed then the show is closed and no unit may be allowed into the regional.
5.4 If a regional is closed (for any reason other than the entry deadline has lapsed) then
your unit will be put on a wait list with your postmark date as the guide to when you will
get into the competition. If you are third on the wait list then there are two units with
earlier postmarks who will be allowed into the show before you. This means that three
units would have to decide not to attend the regional before your unit would be allowed
in. The last possible date that we allow wait listed units into a regional is the entry
deadline date. There is a chance that you may not get into a show that you have been
wait listed for and in that case ONLY, you may transfer to a currently open regional.
5.5 The hosting ensemble(s) do not have to pay a completion fee for the event that they
are hosting.
5.6 During a performance, adult or non-performing student personnel may not coach,
cue, etc. any performing members competing in Intermediate, Premier, or Alumni Class.
(Concert Class – a single conductor is exempt)
Penalty: ten (10) points
5.7 As part of a partnership with the FAMQ, member ensembles of the FAMQ in good
standing do not pay a membership fee to the CDA, and in turn – the CDA member
ensembles to FAMQ. All competition fees still apply.
Adjudication
6.0 CDA will provide three (3) adjudicators for each competition: Execution Analysis
(EA), Music Effect (ME), Visual (V). A Timing and Penalties officer (TPO) will also be
provided at each competition.
6.1 All adjudicators will evaluate all performers.
6.2 An ensemble may perform short segments of their show without the use of the
“drumline”. Prolonged and/or repetitive absences will negatively affect the score.
6.3 The CDA will provide competing ensembles with a copy of their own adjudication
sheets after to each contest. Scores and recaps will be posted online at the
convenience of the CDA.
6.4 The EA judge may position themselves low in the stands, or move throughout the
performance area at their own discretion. The ME and V judges will be positioned as
high as possible in the stands.
6.5 It is the responsibility of the Judges to rank the competing ensembles; as such, the
Judges may not give identical scores in any caption to multiple ensembles competing in
the same class.
6.6 The EA or ME Judge may not grant a score of “20”, or a V Judge grant a score of
“10” in any caption to an ensemble who is not the final one to perform in their
classification, as this may predetermine the outcome of a competition.
6.7 All judges must sign an instruction & composition disclosure form, and may not
adjudicate an ensemble listed the form.
Critique
7.0 Adjudicators will be available for a brief critique after each regional contest. There is
no critique after the Provincial Championships.
7.1 A critique schedule will be posted prior to each competition, allowing each
ensembles staff a five (5) minute session with each of the adjudicators
7.2 Critique is an opportunity for competing ensembles staff to speak personally with
adjudicators to gather insight into possible future improvements to their own ensembles
scores. Staff may not inquire into the scores of other ensembles during critique.
7.3 Staff may not belittle or verbally attack an adjudicator at any time.
7.4 Staff must allow the critique session of a different ensemble to finish before they
may engage a judge.
7.5 Staff have the right to digitally contact the Chief Judge Mr. Jack Broumpton
(candrumlinejudge@gmail.com) if they require further clarification of scores or penalties.
7.6 The Chief Judge may contact the collective CDA board members at his/her
discretion if he/she requires further assistance in a decision.
7.7 An adjudicator may end a critique session with an ensemble if the ensemble fails to
comply with critique regulations.
7.8 Each ensemble may have a maximum of three (3) staff members attend a critique
session.
7.9 Performers are not admitted to a critique session with the exception of Alumni
Class.
7.11 Failure to comply with any critique regulation may result in future critique
disqualification or membership ejection at the discretion of the Chief Judge.
Tabulation
8.0 The Tabulation program will combine the scores of the three (3) adjudicators for a
“final score” total out of one hundred (100). Execution Analysis is worth forty percent
(40%) of the final score. Musical Effect is worth forty percent (40%) of the final score.
Visual is worth twenty percent (20%) of the final score.
8.1 Penalty deductions will be removed from the final scores.
The CDA “Box System” for adjudication and classification.
Box Concert Class Box Intermediate Class Box Premier Class

1 Limited understanding of
basic skills
2 Beginning to demonstrate
basic skills
3 Occasionally demonstrates
basic skills
4 Frequently demonstrates 1 Limited understanding of
basic skills moderate skills
5 Consistently demonstrates 2 Beginning to demonstrate

basic skills moderate skills
6 Consider moving to 3 Occasionally demonstrates

Intermediate Class moderate skills
4 Frequently demonstrates 1 Limited understanding of

moderate skills advanced skills
5 Consistently demonstrates 2 Beginning to demonstrate

moderate skills advanced skills
6 Consider moving to Premier 3 Occasionally demonstrates

Class advanced skills
4 Frequently demonstrates
advanced skills
5 Consistently demonstrates
advanced skills
6 New Standard
Execution Analysis Adjudication
The focus of the EA judge is on the PERFORMERS, the rudiments and skills that they
play, and how well they play/execute them.
Music Effect Adjudication

The focus of the ME judge is on the music COMPOSITION and design, the overall
effect of that design, and how the performers bring it to life.
Visual Adjudication
The focus of the V judge is on the visual DESIGN, and visual PERFORMANCE of the
ensemble.
The “Drumline” as defined by rule 2.0 consists of marching snare drum, marching
multitenor drums, marching bass drums, and marching cymbals
The accompaniment are the addition instrumentation such as concert percussion,
electric guitar, vocals etc.
Definitions of adjudicated skills
Concert Class - Execution Analysis

DRUMLINE MUSIC CONTINUITY - The successful combination of all elements used to
present a unified flow and form of musical ideas.
SIXTEENTH NOTE RHYTHMS – The display of musical passages with sixteenth note
rhythms.
UNIFORMITY OF GRIP AND STROKE – Each performers has the same overall
technique and approach to the drum. All the fingers/hands/arms are generally the same,
the stick motions and heights are generally the same.
ACCENTS AND TAPS – Clearly defined accent and tap strokes performed in the same
phrase/measure
MULTITENOR CROSS-OVERS – the crossing over of the sticks/arms of the multitenor

performers while drumming
QUARTER NOTE BASS DRUM SPLITS – the melodic movement from one bass drum
to the next, within the pulse of a quarter note.
BASIC RUDIMENTS – The display of basic rudiments not already defined in earlier
skills, such as buzz/closed rolls, double stops, paradiddles etc.
POLYRHYTHM – Multiple rhythms being displayed at the same time, between two
different sections of the ensemble.
Concert Class - Music Effect

DRUMLINE MUSIC CONTINUITY - The successful combination of all elements used to
present a unified flow and form of musical ideas.
ENSEMBLE COHESIVENESS – The ability of the ensemble to stay together in musical

time throughout the performance. Each section staying in time with each other
BASS DRUM SPLITS – the melodic movement from one bass drum to another.
DYNAMIC AND MUSICAL BALANCE WITHIN THE “DRUMLINE” – the balance of

dynamic volume, and musical/melodic content from each of the instrumentations within
the “drumline”.
TONAL CLARITY / CLARITY OF VOICING – The tuning of the drums to allow each
drum’s pitch to be defined and differentiated within the ensemble. Each of the multitenor
voices should be unified by size, and tonally clearly different from each different size.
The ability to clearly hear each of the different bass drums. The snare drums all having
the same pitch and tamber.
BASIC USE OF DYNAMICS – The demonstration of full ensemble crescendos and

diminuendos.
MUSICAL ENTERTAINMENT – The ability of the overall performance of the ensemble

to entertain the audience. For a positive connection to be made with the audience.
CLARITY OF INTENT – the culmination of the earlier defined skills, to produce musical
ideas and an overall performance that is understood by the audience.
Concert Class – Visual

POSTURE – The uniformity of body posture and stance from each of the performers.
VISUAL CONFIDENCE – The demonstration of general confidence through body

language.
UNIFORMITY – The overall visual uniformity of the ensemble.
BODY AND STICK VISUALS – The use of body and stick movements to increase the
visual content of the program.
PRESENCE/COMUNICATION – the performers visually displaying the overall

emotion/feeling of the music to the audience.
ENTERTAINMENT – The enjoyment of the audience in relation to the performance of

the ensemble.
Intermediate Class - Execution Analysis

CONCERT CLASS SKILLS – All skills as described in “Concert Class - Execution
Analysis”.
DRUMLINE MELODIC DOMINENCE – The majority of the melodic content being

produced and displayed by the “Drumline” as defined by rule 2.0
FLAMS – The demonstration of basic flammed strokes by the snare drummers and/or
other performers in the ensemble.
DOUBLE STROKE ROLLS – Sixteenth note, or eighth note triplet based - double stroke
rolls
TRIPLE STROKES - The display of musical passages with triple strokes (three
consecutive strokes per hand).
MULTITENOR SWEEPS – Having the individual strokes within a double or triple stroke,
separated onto adjacent tenor drums.
EIGHTH NOTE BASS DRUM SPLITS - the melodic movement from one bass drum to
the next, within the pulse of an eighth note.
Intermediate Class – Music Effect

CONCERT CLASS SKILLS – All skills as described in “Concert Class – Music Effect”.
ELEMENTS OF DESIGN - The use of melody, harmony, rhythm, and dynamics within
the program
DEFINED THEME – An idea or concept that binds the musical performance together.
DRUMLINE MELODIC DOMINENCE – The majority of the melodic content being

produced and displayed by the “Drumline” as defined by rule 2.0
BALANCE WITH ACCOMPANIMENT – The balance of dynamic within the full

ensemble, in relation to the drumline and the accompaniment.
MELODIC MOVEMENT THROUGHT INSTRUMENTATION – Melodic phrases created
in one instrumentation, and passed on through to others within the ensemble.
MODERATE USE OF DYNAMICS - The demonstration of separate dynamic levels from

multiple instrumentations, in addition to full ensemble crescendos and diminuendos.
Intermediate Class – Visual

CONCERT CLASS SKILLS – All skills as described in “Concert Class – Visual”.
DEFINED THEME – An idea or concept that binds the musical performance together.
ACCURACY OF SPACE AND FORM – The uniformity of space between performers

(intervals) within a given shape or form.
PROPER STAGING – The matching of the musical focus with that of the visual, in
reference to the location of the performers on the floor. The instrument of focus during
each musical idea, being located where the audience can best see and hear them.
IMPACT/CLIMAX/RESOLUTION – demonstrating a clear new musical

moment/idea/melody, growing that melodically and dynamically to a climax, and
musically resolving/declining the idea to a completion.
PULSE & TEMPO COMTROL – The ability to have all performers marching “in step”
together. (Synchronized)
ARTICULATION OF BODY & EQUIPMENT – The ability of the performers to march and
move, while keeping physical control of their instrument and body posture.
Premier Class – Execution Analysis

CONCERT & INTERMEDIATE CLASS SKILLS - All skills as described in “Concert &
Intermediate Class - Execution Analysis”.
DYNAMIC DOUBLE STROKE ROLLS – A double stroke roll that crescendos or

diminuendos
SIMULTANEOUS RESPONSIBILITY – The demonstration of multiple musical, physical,

(or a combination there of) demands, performed at the same time.
SNARELINE ADVANCED/HYBRID RUDIMENTS – Snare drummers performing

advanced flam rudiments (such as Chuchudas, Stutters) and/or hybrid rudiments (such
as Flam Drags, Book Reports).
All content within is the property of the Canadian Drumline Association © 2017
MULTITENOR CROSS-OVER/SWEEP ROLLS – Multitenor drummers performing
double stroke rolls while the hands or arms are crossed over, or a double stroke roll with
at least one hand sweeping multiple toms.
32ND NOTE BASS MELODIES AND/OR 16TH NOTE SPLITS – Bass drummers
performing a run up or down the drums of 32nd notes, or the melodic movement from
one bass drum to the next, within the pulse of a sixteenth note.
DIVERSITY OF METER & TEMPO – the demonstration of multiple time signatures,

pulses, and/tempos in the repertoire.
Premier Class – Music Effect

Intermediate Class – Music Effect”.
DIVERSITY OF IDEAS – The display of multiple musical ideas over the course of the
production.
ADVANCED USE OF DYNAMICS & PHRASING – The demonstration of dynamics

within individual phrases or measures, often in contrast from one instrument to another.
VERTICAL LAYERING & EMBELLISHMENT – the layering of multiple musical ideas

(melodies) at the same time
SIMULTANEOUS RESPONSIBILITY – The demonstration of multiple musical, physical,

(or a combination there of) demands, performed at the same time.
ORIGINALITY – Fresh/new musical material in the score, relative to other scores.
IMPACT/CLIMAX/RESOLUTION – demonstrating a clear new musical

moment/idea/melody, growing that melodically and dynamically to a climax, and
musically resolving/declining the idea to a completion.
ELIMENT OF SUPRIZE – the musical revealing of a new and unexpected idea.
MELODIC COMPLIMENT/DEVELOPMENT – the growth, movement, development, and

metamorphosis of melodies.
DIVERSITY OF METER & TEMPO – the demonstration of multiple time signatures,

pulses, and/tempos in the repertoire.
Premier Class – Visual
Intermediate Class – Visual”.
DIVERSITY OF IDEAS – The display of multiple visual ideas over the course of the
production.
ADVANCED USE OF VISUAL DYNAMICS – Changes of physical velocity and foot

tempo within a musical piece.
VERTICAL LAYERING & EMBELLISHMENT – the layering of multiple visual ideas at

the same time.
SIMULTANEOUS RESPONSIBILITY – The demonstration of multiple musical and

physical demands, performed at the same time.
ORIGINALITY – Fresh/new visual material in the production, relative to other

productions.
ELIMENT OF SUPRIZE – the visual revealing of a new and unexpected idea.
COORDINATION OF VISUAL & MUSICAL EFFECTS – The matching of the intensity,

dynamics, and focus of the musical ideas with that of the visual.
Box EA/ME V
Concert Class
1 1 - 9.9 1 - 4.9 Limited understanding of basic skills
2 10 - 11.9 5 - 5.9 Beginning to demonstrate basic skills
3 12 - 15.9 6 - 7.9 Occasionally demonstrates basic skills
4 16 - 17.9 8 - 8.9 Frequently demonstrates basic skills

Competing Ensemble
5 18 - 19.5 9 - 9.5 Consistently demonstrates basic skills
6 19.6 – 20 9.6 – 10 Consider moving to Intermediate Class
Execution Analysis
Skill ranges include, but are not limited to: Adjudicator:
Drumline music continuity
Sixteenth note rhythms
Uniformity of grip & stroke Composition Performance
Accents and Taps
Multitenor cross-overs
Quarter note bass splits
Basic Rudiments
Polyrhythm /20 /20
Music Effect
Drumline music continuity
Section cohesiveness Composition Performance
Bass drum splits
Balance within the "drumline"
Tonal Clarity / Clarity of voicing
Basic use of dynamics
Entertainment /20 /20
Visual
Posture
Visual confidence
Uniformity
Composition Performance
Body and stick visuals
Presence/Communication
Entertainment
/10 /10
Performance Time Total time Penalty
Final Score
©Canadian Drumline Association 2017
Box EA/ME V
Concert Class

Competing Ensemble
Execution Analysis
Basic skills
Drumline melodic dominance Composition Performance
Flams
Double stroke rolls
Triple strokes
Multitenor sweeps
Eighth note bass splits /20 /20
Music Effect
Basic skills
Elements of Design
Defined Theme Composition Performance
Drumline melodically dominant
Balance with accompaniment
Melodic movement through
instrumentation
Moderate use of dynamics /20 /20
Visual
Basic skills
Defined Theme Composition Performance
Accuracy of form & space
Proper staging
Impact/Climax/Resolution
Pulse & Tempo control
Articulation of body & equipment /10 /10
Final Score
Box EA/ME V
Concert Class

Competing Ensemble
Execution Analysis
Basic and moderate skills
Dynamic double stroke rolls
Simultaneous Responsibility Composition Performance
Snareline Advanced/Hybrid rudiments
Multitenor cross-over/sweep rolls
32nd note Bass melodies
And/or 16th note splits
Diversity Meter & Tempo
/20 /20
Music Effect
Diversity of ideas Composition Performance
Advanced use of dynamics &Phrasing
Vertical layering & embellishment
Simultaneous Responsibility
Originality
Impact – Climax - Resolution
Element of surprise
/20 /20
Melodic compliment/Development
Visual
Advanced use of dynamics
Originality
Element of surprise
/10 /10
Coordination of visual
& musical effects
Performance Time Total time Penalty Final Score

Box EA/ME V
Concert Class

Competing Ensemble 5 18 - 19.5 9 - 9.5 Consistently demonstrates basic skills
Execution Analysis
/20 /20
Music Effect
Originality
Element of surprise
/20 /20
Visual
Posture
Visual confidence Composition Performance
Uniformity
Body and stick visuals
Presence/Communication
Entertainment /10 /10
Final Score
Box EA/ME V
Concert Class

Competing Ensemble
Execution Analysis

/20 /20
Music Effect
Originality
Element of surprise
/20 /20
Visual
Advanced use of dynamics
Originality
Element of surprise
/10 /10
Coordination of visual
& musical effects
Performance Time Total time Penalty Final Score

Timing and Penalties
Competition ________________________ Date ____________
Ensemble __________________________ Official ______________________
Total time on floor Seconds over Penalty Total

11 minutes
– 0.1 per
Performance time Seconds under Seconds over Penalty Total

4 minutes 7 minutes
– 0.1 per
Disqualifying Infractions:
2.0 51% Drumline _____
2.2 Metronome _____
2.3 Recordings with percussion or offensive material _____
2.7 Pyro, lights, animals, balloons, smoke , etc. _____
2.9 Powder/airborne substance _____
2.11 Less than 6 performers _____
Classification Change
3.1 Over age performer _____
3.3 Concert Ensemble marching _____
Infractions Number of Penalty Total

times
2.1 Inappropriate Instrumentation 10 points
2.5 Undeclared prerecorded music 10 points
2.12 Adult Conductor in Intermediate/Premier Class 10 points
2.13 Boundary infraction 0.5 points
4.5 Adult performer/extra conductor (senior class exempt) 15 Points
5.6 Non performer coaching (concert class exempt) 10 points
Notes
:
Total
©Canadian Drumline Association 2017 Signature of TPO ___________________________________

CDA Ensemble Booklet 2018

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CDA Ensemble Booklet 2018

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Competing Ensemble Booklet 2018

Executive Director: Michael Beauclerc

Assistant Director: Chad Morford

January 13th Ontario Solos Competition

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1.2 CDA reserves the right to refuse or eject an ensemble.

1.8 For ensembles to qualify to compete at a provincial championships they must

2.1 Instrumentation is limited to those instruments typically utilized and recognized as

Penalty: ten (10) points per infraction

Penalty: one half (.5) point per second over

Penalty: ten (10) points per infraction

Penalty: one half (.5) point per infraction

Penalty: Classification change

Penalty: Classification change

Concert/Concert Alumni 9 Minutes

Premier/Marching Alumni 11 Minutes

Penalty: one tenth (.1) point per second over

Penalty: one half (.1) point per second over

Penalty: one half (.1) point per second under

4.4 Ensembles competing at CDA Regional Contests cannot be required to perform

Penalty: fifteen (15) points

Penalty: fifteen (15) points

Penalty: ten (10) points

6.1 All adjudicators will evaluate all performers.

8.1 Penalty deductions will be removed from the final scores.

Box Concert Class Box Intermediate Class Box Premier Class

5 Consistently demonstrates 2 Beginning to demonstrate

6 Consider moving to 3 Occasionally demonstrates

4 Frequently demonstrates 1 Limited understanding of

5 Consistently demonstrates 2 Beginning to demonstrate

6 Consider moving to Premier 3 Occasionally demonstrates

Music Effect Adjudication

Definitions of adjudicated skills

Concert Class - Execution Analysis

MULTITENOR CROSS-OVERS – the crossing over of the sticks/arms of the multitenor

Concert Class - Music Effect

ENSEMBLE COHESIVENESS – The ability of the ensemble to stay together in musical

DYNAMIC AND MUSICAL BALANCE WITHIN THE “DRUMLINE” – the balance of

BASIC USE OF DYNAMICS – The demonstration of full ensemble crescendos and

MUSICAL ENTERTAINMENT – The ability of the overall performance of the ensemble

Concert Class – Visual

VISUAL CONFIDENCE – The demonstration of general confidence through body

UNIFORMITY – The overall visual uniformity of the ensemble.

PRESENCE/COMUNICATION – the performers visually displaying the overall

ENTERTAINMENT – The enjoyment of the audience in relation to the performance of

Intermediate Class - Execution Analysis

DRUMLINE MELODIC DOMINENCE – The majority of the melodic content being

Intermediate Class – Music Effect

DRUMLINE MELODIC DOMINENCE – The majority of the melodic content being

BALANCE WITH ACCOMPANIMENT – The balance of dynamic within the full

MODERATE USE OF DYNAMICS - The demonstration of separate dynamic levels from

Intermediate Class – Visual

ACCURACY OF SPACE AND FORM – The uniformity of space between performers

IMPACT/CLIMAX/RESOLUTION – demonstrating a clear new musical

Premier Class – Execution Analysis

DYNAMIC DOUBLE STROKE ROLLS – A double stroke roll that crescendos or

SIMULTANEOUS RESPONSIBILITY – The demonstration of multiple musical, physical,

SNARELINE ADVANCED/HYBRID RUDIMENTS – Snare drummers performing

DIVERSITY OF METER & TEMPO – the demonstration of multiple time signatures,

Premier Class – Music Effect

ADVANCED USE OF DYNAMICS & PHRASING – The demonstration of dynamics

VERTICAL LAYERING & EMBELLISHMENT – the layering of multiple musical ideas

SIMULTANEOUS RESPONSIBILITY – The demonstration of multiple musical, physical,

ORIGINALITY – Fresh/new musical material in the score, relative to other scores.