Mar 05, 2015

Confessions of a Solo & Ensemble Judge

by Ken Fitzsimmons

I love judging Solo & Ensemble. I feel that it's a privilege that I get do it. My job is to be the audience of dozens of performances in one day. And then I get to offer advice. Who doesn't love that?

I only do it once a year, however, because it is also exhausting. This year I am scheduled for 62 performances between 8am and 4pm. And I must give appreciation to the Wisconsin School Music Association for coordinating these festivals on such a grand scale. This coming Saturday, March 7 over 30 festivals with over 400 judges will be taking place simultaneously.

INSTRUCTOR VS ADJUDICATOR
My official title is "adjudicator." My job is to listen critically to every performance, and offer positive suggestions on how to improve. This in essence isn't much different than what I do in lessons, though the format is quite different. The big difference is that I have to give this performance a score.

I think I speak for many instructors when I say that we just want all of our students to feel like they've accomplished their goals and that the score they receive at Solo & Ensemble doesn't really matter. However, I'm well aware that from the student's perspective (if I may be so bold) it's all about the score.

THE VIEW FROM THE JUDGE'S TABLE
Kids get so nervous about playing. So for the most part I just try to be really nice. It is a big deal to walk in a room and play in front of somebody who is constantly writing and critiquing you while you play. I sincerely appreciate every performer who plays for me. Whenever I get a chance I try to say things out loud in the room, make jokes, and encourage people (parents included) to relax and not worry. I played Solo & Ensemble when I was a kid, and always appreciated the kind judge.

The schedule is tight. Class B and C solos are allowed six minutes while class A and ensembles are allowed eight minutes. This includes set up, introduction, performance, take down, and discussion with the judge.

I get three breaks: 10 minutes in the morning and afternoon plus 60 minutes for lunch. I, like many judges, almost always run late and so I eliminate breaks or shorten lunch to get back on schedule.

I will say that I'm always treated very well by the school. One touching thing to me is the lunch which is brought in by volunteers--presumably parents. I always feel it's so gracious for parents to bring in food to strangers who are critiquing their children's performances. It's a great reminder to me that we are all gathered on this occasion because we care about our kids.

THE PERFORMANCE
There is a real art to judging. On the one hand we're trying to be as objective as possible, and WSMA has done an excellent job of categorizing areas of critique on the rubric form (more on that below). But on the other hand, this is music and in some sense it's all subjective.

So like lessons, I try to "get to know the student" by just listening and watching for a few bars (we're talking about 10-15 seconds of time). Then I just write what I hear. If I hear something off, I look and see if I can notice a cause--especially if it's tone or technique related. If I see something that looks irregular but sounds good, I try very hard not to score it down, but maybe just make a note of it ("Your bow is not parallel to the bridge, but your tone is very strong anyway. Perhaps if you straighten it out, your tone will be even better!").

I write as much as possible on the back of the rubric form and attempt to mark measures when I can, and to be as specific as possible. This is somewhat of a challenge for me because I'm a really slow writer (I can type much faster but the clicking of a keyboard would be distracting). Usually I score when the student is done because then I feel that I have a complete picture--plus I'm such a slow writer that I often have to keep writing during most of the performance to get everything down.

At the end I write something like, "Great job! Thank you!" and I sign it, "Ken." I want the personal connection because in the end music is entirely personal.

Then I invite the student to the table to talk. First things always is: "Thank you for playing!" (remember I just got a free concert). And then I try to offer critique like this: I say 1.) the things that went well; followed by 2.) what can improve; and 3.) end with how the future will be even better when the good things are combined with the improvements.

THE RUBRIC
I wanted to take a moment to dig in to the scoring categories, since as I said above, the student wants to know the score. There are no secrets here. Follow some of the advice below, and I guarantee you'll improve your score (and consequently play more musically).

There are five categories on the string solo rubric. These categories are similar to other instruments with some obvious differences. For example technique will be different than brass or woodwinds and though tone will be a category on all, the way you achieve a good tone will of course vary by instrument.

TONE
Use more bow. I'll probably write this (this is just a guess) about 75% of the time. Listen to your sound and make every note sing. It doesn't matter if it's a long note or a short note, make it sound great. Take your eyes off the page and just play some nice open strings.

INTONATION
"Intonation" refers to playing in tune (I mention that because a lot of young players don't know what that word means). This is a more challenging category for string players. I play bass--an instrument notorious for intonation issues. Usually this involves slowing it way down and repeating a lot. Chances are if the student is having intonation issues that they don't know what the piece sounds like. I use the rock 'n' roll analogy. You want to play a rock song because you heard it, and you like it. Have you heard the piece you're playing? If not, then that's probably the first step.

Also tone and intonation don't live in silos. A restricted tone will affect the ability to play in tune. So if a player does nothing other than work on tone, there's an awfully good chance intonation will begin to improve.

ACCURACY
Most students spend the vast amount of their practice time concerning themselves with this category. It involves playing the right notes with the right rhythm at a steady tempo. One note about tempo: despite the tempo marking of the tune, you must play at whatever tempo you are capable of, no matter how slow. Think of it from the judge's perspective:
 

• Played too slow but was accurate - Ok, I mark the score down a little because the piece asked for a faster tempo; however, pitches and rhythms were accurate. So instead of a "1" in this category, maybe I move it to a "2" or "3" (this is very hypothetical of course).
• Played the designated tempo without accuracy - Pitches and rhythms are off. That's all I hear. I don't actually know if you can play this piece slower because I can only judge on what I hear. Since pitches and rhythms are off (which inevitably will affect steadiness) we're in "4" or "5" land.

Rhythm vs. Pitch
I'm going to say something here that will probably be controversial to some: Rhythm is more important than pitch. Ok, I said it. Bring it on folks.

Let's use the orchestra example. It's the opening of Beethoven's Fifth Symphony (you know: da-da-da-daa da-da-da-daa). Some violin plays a wrong note (da-da-de-daa da-de-da-daa). Oops there was a "de" when there was supposed to be a "da." Now someone plays the wrong rhythm (da-da-da-daa da da-da-dada-daa). The rhythm is way more obvious.

Rhythm is a far harder concept to teach than pitch. Most students can distinguish the highest note on the piano from the lowest and know which was higher and which was lower. Rhythm however is a measure of movement through time. It involves (in my opinion) much more feel based impulses.

Accurate rhythm will create more accurate pitches. One of the reasons for inaccurate rhythm is often that the student is pausing to find the right note. By prioritizing rhythmic accuracy over pitch accuracy, then the student is more likely to practice playing that pitch in time which leads to better accuracy.

TECHNIQUE
"Keep the bow halfway between the bridge and fingerboard" and "Keep the bow parallel to the bridge" will likely be written on many forms on Saturday. Note that these are also mentioned under Tone. That's just another way these things don't live in silos. Plus of course left hand technique will affect intonation.

EXPRESSION
Looking for a quick and easy way to improve your score? Look no further! This category includes the most neglected category: dynamics. You could miss notes and rhythms, have a scratchy tone, play notes out of tune, and have your bow moving all over the place AND play loudly and quietly. In other words you could improve this category without improving any of the others.

Now before music teachers across the state start deriding me for suggesting that things like accuracy aren't important, let me just say that I use the above description to emphasize the value of expression. Here's my suggestion: don't practice notes and rhythms and then add dynamics later. Include the dynamics from day one. Practice the quiet parts quietly and the loud parts loudly. Then the dynamics will get in your ear just as much as the pitches and rhythms.

FINAL NOTE
You are in the driver's seat. Don't play because you're wondering what my reaction will be. Play the way you think it should sound. Tell me (musically) how this piece is supposed to go. I'm enjoying your performance and want you to do well. Let that joy transfer to you because after all, we're just talking about making music!

Ken Fitzsimmons teaches bass at Madison Music Foundry where he is also the Education Director.

KEN FITZSIMMONS

ELECTRIC BASS, STRING BASS
Teaching since 1996, Ken has helped students successfully audition into Wisconsin Youth Symphony Orchestra (WYSO), WSMA Honors Orchestra, and various university music schools and conservatories. Many have gone on to tour in bands, play in professional orchestras and even to teach lessons. One on one lessons are catered to your needs whether you play professionally or for fun. All ages and experience levels are welcome. You are never too old or too young. In addition to being trained in multiple styles, Ken also teaches music theory, ear training and sight singing.

Since receiving a degree in bass performance from UW-Madison studying under jazz great Richard Davis, Ken has played with the Wisconsin Chamber Orchestra, Madison Symphony Orchestra, various jazz groups along with countless blues, country, and rock bands. He has performed on nearly 20 albums and has toured the country numerous times with award winning Irish rock band The Kissers.

Ken is also the Education Director at Madison Music Foundry.

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