DOCUMENTATION (0-4 points)

• 0:No documentation.
• 1:Identifies title of piece, composer if known and date (as specific as possible). If original music, gives time period that the piece characterizes.
• 2:As above, plus country or region of origin. If original music, specifies country or region which it characterizes.
• 3:As above plus identification of musical form (i.e., pavanne, air, canon).
• 4:All of the above and at least one copy of score is provided for the judges.

• 0:Piece performed is not original and not period; if original, the piece does not resemble a period style/form
• 1:Piece shows several non-period elements (e.g. modern colloquial text, modern harmony/melody/rhythm)
• 2:Piece shows few non-period elements
• 3:No non-period elements in the piece itself, but the accompaniment (if used) is inappropriate, or the singing style is inappropriate (for groups this could mean inappropriate voicing; for soloists, this could mean using a tavern song voice to sing a plainsong).
• 4:No obvious non-period elements; accompaniment (if used) and singing style are appropriate and correct.

• 1:Very easy with very little tessitura (range) - less than an octave, few rhythmic values
• 2:Easy ballad, range of an octave or so, no complex rhythms or excessive melodic leaps
• 3:Ballads (or chants, etc.) which use more varied rhythms (as in some whole, half, quarter, dotted quarter & 16th notes), and/or a more demanding tessitura or melodic pattern
• 4:More difficult ballad, lute song, etc., wider range, more complex rhythms and/or difficult melodic shape. OR attempts a foreign language or archaic English text at level #3 difficulty
• 5:Difficult melody which requires a demanding tessitura and/or difficult rhythm (as is a significant amount of syncopation), or the inclusion of some ornaments, odd leaps, etc.) OR use of foreign of archaic text at level #4 difficulty

• 1:**Two or more voices will automatically receive at least 2 points**
• 2:Very easy rounds, very easy duets; limited range, melody in the upper voice, simple harmony.
• 3:Easy 2 or 3 part piece, range per voice of an octave or so, no complex rhythms or excessive leaps. Ex: "Greensleeves"
• 4:More difficult duet or a somewhat more difficult trio, such as "Pastime with Good Company" OR: attempts foreign language or archaic English text at level #3 difficulty
• 5:More difficult ensemble work with 2 - 3 voices; or an easy 4-part piece. Melody may be in a lower voice (as in tenor), rhythms are more complex

• 0:Does not succeed in any of the 6 areas
• 1:handles 1 area reasonably well
• 2:handles 2 areas reasonably well
• 3:handles 3 areas reasonably well
• 4:handles 4 areas reasonably well
• 5:handles 5-6 areas reasonably well

• 1:Intonation: In solo singing, basically the individual pitches must sound as if they belong to the same mode or key. A good sense of beginning and staying with a pitch as much as possible must be observed in the performer. In ensemble singing, good relative pitch should be retained plus good coordination among all the parts. This is one of the most obvious marks of a good or bad ensemble.
• 2:Vocal Technique: Effective use of breath to create the sound. Breathing should be done from the lower muscles of the body more than from the upper (i.e. - the chest should not heave up and down). In solo singing, the singer should be sensitive to the amount of breath required to sing a particular phrase; breaths should not be taken where it noticeably destroys continuity. In ensemble singing, good coordination of breaths should be observed.
• 3:Tone: Defined as sound/timbre pleasing to the ear. The words associated with this term might be "evenness" and "direction". In ensemble singing, the coordination of individual sounds in order to make an effective blend should be highly considered. Also balance of parts should come under the heading; no one voice should stick out overly much.
• 4:Rhythmic Integrity: "Integrity" applies to a sensitivity to the main pulse of the music. Too much rushing and slowing down will tend to distract from good communication of the music and is quite noticeable. Ensembles particularly need to pay attention to rhythm in order to maintain cohesiveness.
• 5:Diction: The ability to convey precise verbal sounds within the context of the musical line; i.e., diction is important for the communication of the song but should not impede the communication.
• 6:Musicianship: Sensitivity to all aspects of execution in order to make an effective musical result: phrasing, dynamics (good sense of loud and soft singing), vocal attack. Anything that will convey a sense of security in the performance and will not distract the listener. This should portray the performer's mental preparation of the music: has the performer thought carefully of how the music should be done?

• 1:No original or adaptive elements.
• 2:Incorrect adaptations.
• 3:Some modification but no innovation.
• 4:Some innovation (composition of a new text from a pre-existing, period melody).
• 5:Much innovation (the setting of a period text to original music or the setting of a one-part song for two or more voice parts).
• 6:Use of an original song (music and text) that the performer has written in a period style.

NOTE: Additional points may/should be given for: Addition of ornamentation; Use of facial or other physical motions to convey the performer's interpretation of the piece to the audience; Use of percussion or other instrumental accompaniment; Creative use of musical devices through phrasing, dynamics, tempo, etc.; Attention to "periodness", especially instrument construction or adaptation; original composition or embellishment; instrumentation; physical setup (dress or livery, stand construction, seating, music manuscript or folder, etc.).

QUALITY (1-6 points) (Concerns the listener's overall impressions of the performance.)

• 1:Cannot complete the piece or awkward performance; performer would rather be anywhere else.
• 2:Performer seems bored, uninspired; performer lacks confidence.
• 3:Performance is self-assured, but unconvincing (martial air is not inspiring, love song is not lovely, etc.)
• 4:Attempt is made to make the singing style suitable to the text; successful to some extent
• 5:Average performance; performance style is basically appropriate to the text and the style/form of the competition.
• 6:The setting and style are appropriate; the performer "gets into" the piece; the audience enjoys the performance.

Music written out of period (e.g. by an SCA member) in completely authentic style is acceptable for purposes of performance.

DOCUMENTATION (0-4 points) Consider music, medium and performance practice as they relate to period, style, form, national/regional characteristics, sacred or secular application, use of ornamentation, diminution, embellishment, etc.

• 0:No documentation or very inaccurate documentation.
• 1:Minimum information: title of piece, composer if known, and date (as specific as possible.) If original music, gives time period that the piece characterizes.
• 2:Same as #1 plus identification of musical form (e.g. ballad, lute song, round) and country/region of origin. If original music, specifies country/region which it characterizes.
• 3:Same as #2 plus minimal additional period information from limited or general sources.
• 4:Same as #2 plus extended additional period information or commentary with citation from at least one reference. (Should explain deviations or variations from period norms.)

• 0:Piece performed is not original and not period; if original, the piece does not resemble a period style/form
• 1:Piece shows several non-period elements (e.g. modern colloquial text, modern harmony/melody/rhythm)
• 2:Piece shows few non-period elements
• 3:No non-period elements in the piece itself, but the accompaniment (if used) is inappropriate, or the singing style is inappropriate (for groups this could mean inappropriate voicing; for soloists, this could mean using a tavern song voice to sing a plainsong).
• 4:No obvious non-period elements; accompaniment (if used) and singing style are appropriate and correct.

Solo

• 1:Very easy with very little tessitura (range) - less than an octave, few rhythmic values
• 2:Easy ballad, range of an octave or so, no complex rhythms or excessive melodic leaps
• 3:Ballads (or chants, etc.) which use more varied rhythms (as in some whole, half, quarter, dotted quarter & 16th notes), and/or a more demanding tessitura or melodic pattern
• 4:More difficult ballad, lute song, etc., wider range, more complex rhythms and/or difficult melodic shape. OR attempts a foreign language or archaic English text at level #3 difficulty
• 5:Difficult melody which requires a demanding tessitura and/or difficult rhythm (as is a significant amount of syncopation), or the inclusion of some ornaments, odd leaps, etc.) OR use of foreign of archaic text at level #4 difficulty

• 1:**Two or more voices will automatically receive at least 2 points**
• 2:Very easy rounds, very easy duets; limited range, melody in the upper voice, simple harmony.
• 3:Easy 2 or 3 part piece, range per voice of an octave or so, no complex rhythms or excessive leaps. Ex: "Greensleeves"
• 4:More difficult duet or a somewhat more difficult trio, such as "Pastime with Good Company" OR: attempts foreign language or archaic English text at level #3 difficulty
• 5:More difficult ensemble work with 2 - 3 voices; or an easy 4-part piece. Melody may be in a lower voice (as in tenor), rhythms are more complex

• 0:Does not succeed in any of the 6 areas
• 1:Handles 1-2 areas reasonably well
• 2:Handles 3 areas reasonably well
• 3:Handles 4 areas reasonably well
• 4:Handles 5 areas reasonably well
• 5:Handles 6 areas reasonably well

• 1:Intonation: In solo singing, basically the individual pitches must sound as if they belong to the same mode or key. A good sense of beginning and staying with a pitch as much as possible must be observed in the performer. In ensemble singing, good relative pitch should be retained plus good coordination among all the parts. This is one of the most obvious marks of a good or bad ensemble.
• 2:Vocal Technique: Effective use of breath to create the sound. Breathing should be done from the lower muscles of the body more than from the upper (i.e. - the chest should not heave up and down). In solo singing, the singer should be sensitive to the amount of breath required to sing a particular phrase; breaths should not be taken where it noticeably destroys continuity. In ensemble singing, good coordination of breaths should be observed.
• 3:Tone: Defined as sound or timbre pleasing to the ear. The words associated with this term might be "evenness" and "direction". In ensemble singing, the coordination of individual sounds in order to make an effective blend should be highly considered. Also balance of parts should come under the heading; no one voice should stick out overly much.
• 4:Rhythmic Integrity: "Integrity" applies to a sensitivity to the main pulse of the music. Too much rushing and slowing down will tend to distract from good communication of the music and is quite noticeable. Ensembles particularly need to pay attention to rhythm in order to maintain cohesiveness.
• 5:Diction: The ability to convey precise verbal sounds within the context of the musical line; i.e., diction is important for the communication of the song but should not impede the communication.
• 6:Musicianship: Sensitivity to all aspects of execution in order to make an effective musical result: phrasing, dynamics (good sense of loud and soft singing), vocal attack. Anything that will convey a sense of security in the performance and will not distract the listener. This should portray the performer's mental preparation of the music: has the performer thought carefully of how the music should be done?

• 1:No original or adaptive elements or incorrect adaptations.
• 2:Some innovation (Ex: composition of a new text from a pre-existing, period melody).
• 3:Much innovation (Ex: the setting of a period text to original music or the setting of a one-part song for two or more voice parts).
• 4:Use of an original song (music and text) that the performer has written in a period style.

NOTE: Additional points may/should be given for: Addition of ornamentation; Use of facial or other physical motions to convey the performer's interpretation of the piece to the audience; Use of percussion or other instrumental accompaniment; Creative use of musical devices through phrasing, dynamics, tempo, etc.; Attention to "periodness", especially instrument construction or adaptation; original composition or embellishment; instrumentation; physical setup (dress or livery, stand construction, seating, music manuscript or folder, etc.).

QUALITY (1-8 points) (Concerns the listener's overall impressions of the performance.)

• 1:Cannot complete the piece
• 2:Awkward performance; performer would rather be anywhere else.
• 3:Performer seems bored, uninspired; performer lacks confidence.
• 4:Performance is self-assured, but unconvincing (martial air is not inspiring, love song is not lovely, etc.)
• 5:Attempt is made to make the singing style suitable to the text; successful to some extent
• 6:Average performance; performance style is basically appropriate to the text and the style/form of the competition.
• 7:Better than average performance; the setting and style are appropriate; the performer "gets into" the piece; the audience enjoys the performance.
• 8:Outstanding performance; the setting and style are appropriate; the performer "really gets into" the piece; the audience outstandingly enjoys the performance

Music written out of period (Ex. by an SCA member) in completely authentic style is acceptable for purposes of performance

DOCUMENTATION (0-4 points) Consider music, medium and performance practice as they relate to period, style, form, national/regional characteristics, sacred or secular application, use of ornamentation, diminution, embellishment, etc.

• 0:No documentation or very inaccurate documentation.
• 1:Minimum information (composer, dates, place, copy of music).
• 2:Same as #1 plus minimal period information from limited or general sources.
• 3:#2 plus a developed commentary and use of critical references.
• 4:#3 plus developed commentary in all areas. Explains original research and/or experiment. Explains deviations or variations from period norms.

• 0:Music out of period (or non-period style).
• 1:Music period, vocal style modern without adaptations to imitate period (e.g. inappropriate language or dialect; accompaniment, if used, inappropriate to style, character, etc.).
• 2:Music period, vocal style modern with adaptations to imitate period (e.g. use of critical source translation intended for performance; accompaniment, if used, appropriate to period, etc.)
• 3:Music and vocal style both period (e.g. original language; appropriate accompaniment, if used).
• 4:#3 plus special attention to visual and physical considerations (e.g. transcribed or performed from original manuscript or print, OR modern critical source transcribed into period notational form; attention to physical details such as areas, music stand, etc.)

• The music as written.
• Instrumental techniques attempted.
• Scope of endeavor (length, number in group, number of elements combined).

• technique (articulation, rhythmic accuracy, fluency, flexibility, breath control, diction, etc.)
• tone quality, intonation, pitch, blend and balance, etc.
• musical effect (phrasing and melodic sensitivity, artistry, expressive and musical feeling, etc.)
• interpretation (style, tempo, phrasing, dynamic contract, etc.)
• other: stage presence, posture, showmanship, etc.

• 0:No original or adaptive elements OR incorrect adaptations.
• 1:Some modification but no innovation.
• 2:Attention to "periodness" of at least two of elements (a) through (d) above, with innovative use of at least one.
• 3:#2 with special concern for all elements listed, with innovative use of at least two.
• 4:#3 with innovative or original attention to all aspects.

QUALITY (1-6 points)

Evaluate the work as a whole. NOTE: This category is subjective; however, the judge should take into account prior category scores, aesthetic appeal, presentation, intuitive response, and other such items not previously addressed.