Sight-Reading Evaluation Pilot Rubric 2-10-25.xlsx

	B	C	D	E	F
1	OBDA SIGHT-READING EVALUATION PILOT RUBRIC
2	(proposed by the OBDA Adjudication Committee)
3	2/10/2025
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6		Developing 1-2 (Sometimes, Occasionally)	Good 3-5 (Much of the time/Often)	Excellent 6-8 (Most of the time)	Superior 9-10 (Continually, Consistently)
7	Accuracy of Rhythm Correct Rhythms Meter/Tempo	Rhythmic accuracy and subdivision are rarely to sometimes demonstrated in simple passages.	Rhythm accuracy and subdivision are correct much of the time. Occasionally achieving uniformity.	Rhythm accuracy, subdivision and vertical alignment are correct and uniformally achieved within sections most of the time.	Rhythm accuracy, subdivision and vertical alignment are continually under control. Uniformity is consistently demonstrated throughout the ensemble.
8	Accuracy of Rhythm Correct Rhythms Meter/Tempo	Meter, pulse, and tempo control is sometimes achieved.	Meter, pulse, and tempo under control much of the time.	Meter, pulse, and tempo under control most of the time.	Meter, pulse, and tempo are consistently under control.
9	Accuracy of Notes Correct Pitches Facility Accidentals Tone Quality	Note accuracy achieved some of the time.	Note accuracy often achieved.	Note accuracy achieved most of the time.	Notes are consistently performed accurately.
10		Technical facility is developing but limited to only some players.	Technical facility is good much of the time and demonstrated by many players.	The entire ensemble demonstrates excellent facility most of the time.	Superb facility is continually exhibited throughout the entire ensemble.
11		Faster and more difficult passages are performed with limited success.	Faster and more difficult passages are performed well much of the time.	Difficult passages are well played most of the time.	Difficult passages are performed with consistent excellence.
12		Rarely to sometimes performs key signature and accidentals correctly.	Key signature and accidentals are performed accurately much of the time.	Key signature and accidentals are performed well with only minor flaws.	Key signature and accidentals are performed accurately by all players.
13		Some players may produce characteristic tone, but basic sound production is not yet developed throughout the ensemble.	Characteristic tone quality is achieved much of the time throughout the ensemble. Inconsistencies occur at extreme volumes and/or ranges.	Characteristic and controlled tone quality is demonstrated most of the time. Difficulties may occur in the most demanding passages.	Superlative tone quality is demonstrated. Tone is well focused, full, open, resonant, consistent, and uniform in color, texture and sonority at all times.
14	Accuracy of Stylistic Details Dynamics Articulation/Bowings Phrasing Expression Tempo	Dynamic variation is limited and seldom achieved.	Dynamic variation occurs but lacks control at extreme volumes.	Dynamic variation occurs but lacks sensitivity and nuance.	Full dynamic range is used with sensitivity and nuance.
15		Correct articulation/bowing is evident some of the time.	Articulation/bowing is appropriate much of the time, but uniformity is not yet achieved across the ensemble.	Articulation/bowing is appropriate and uniform most of the time, but inconsistencies occur and detract from the overall performance.	Appropriate stylistic articulation is performed repeatedly and is consistent throughout the ensemble.
16		Phrases are often mechanical and sometimes nonexistent.	Phrasing occurs much of the time but with a basic approach to shape and uniformity.	Phrasing demonstrates direction of musical line that is natural in shape and uniformly performed most of the time.	Phrasing is natural with evidence of direction and nuance, which is uniformly performed by all musicians.
17		Attempted use of expression is detected some of the time with little success.	Use of expressive elements (shape, inflection, nuance) are evident much of the time but may be inaccurate, inconsistent or lack in execution.	Use of expressive elements (shape, inflection, nuance) are evident most of the time and are stylistically appropriate and uniformly performed.	An authentic and artistic use of expressive elements are continually evident and are used to present an artistic and musically sensitive performance.
18		Little attempt is made to perform indicated tempo.	Attempts are made to observe indicated tempo markings much of the time. Tempo adjustments for technical demands are not proportional to the context of the music.	Tempo is performed accurately most of the time. Tempo adjustments for technical demands are not disproportionate to the musical context.	Tempo is consistently accurate and supports the composer’s expressive intent.
19	Response to Fellow Players Intonation Blend, Balance Rhythmic Precision Ensemble Cohesiveness	Problems with intonation occur and are creating discrepancies within the ensemble. Little attempt is made to correct problems.	Intonation is achieved with some inconsistencies. Attempts are made to adjust obvious problems.	Intonation is achieved most of the time. Attempts are made to tune melodic and harmonic lines.	Individual melodic and harmonic intonation is consistently outstanding.
20		Blend and Balance is sometimes achieved in less demanding passages.	Blend and Balance is achieved much of the time in less demanding passages.	Blend and Balance is achieved most of the time, with lapses being infrequent and minor.	Superior Blend and Balance is established and maintained consistently.
21		Rhythmic uniformity and precision between players are sometimes achieved.	Rhythmic uniformity and precision between players are achieved much of the time, however, length of notes are inconsistent.	Rhythmic uniformity and precision between players are achieved most of the time.	Rhythmic uniformity and precision between players are achieved consistently.
22		Individuals and/or sections dominate the sound with corrections being made only some of the time.	Ensemble cohesiveness is achieved much of the time while lacking clarity.	Clarity and ensemble cohesiveness is achieved most of the time.	Clarity and ensemble cohesiveness is continually achieved.
23	Response to Conductor Response to Gestures Recovery from Errors	Players are attentive to gestures of time and tempo some of the time.	Players are attentive and responsive to gestures of time, tempo, dynamics, and entrances much of the time.	Players are attentive and responsive to gestures of time, tempo, dynamics, entrances, and phrase shape most of the time.	Players are attentive and responsive to gestures which result in an artistic performance which includes expressive nuance.
24		Players are unresponsive to the conductor’s attempt to help ensemble recover from errors.	Error recovery info is communicated through gesture, clapping,tapping, and/or voice.	Error recovery info is communicated primarily through gesture with limited use of the voice.	Error recovery info is communicated through gesture alone.
25		The ensemble may have to restart.	Ensemble is slow to recover, and errors are disruptive.	Ensemble recovers with minor disruption.	Ensemble recovers quickly with no disruption.
26	Discipline Focus/Cooperation/ Attention to Instruction Posture/Position	Some ensemble members successfully demonstrate the ability to be: focused and alert, cooperative, attentive to conductor and adjudicator and enter the room with direction and purpose.	Many ensemble members successfully demonstrate the ability to be: focused and alert, cooperative, attentive to conductor and adjudicator and enter the room with direction and purpose.	Most ensemble members successfully demonstrate the ability to be: focused and alert, cooperative, attentive to conductor and adjudicator and enter the room with direction and purpose.	All ensemble members successfully demonstrate the ability to be: focused and alert, cooperative, attentive to conductor and adjudicator and enter the room with direction and purpose.
27		While playing, only some students demonstrate the use of proper posture and instrument position.	While playing, many students demonstrate the use of proper posture and instrument position.	While playing, most students demonstrate the use of proper posture and instrument position.	While playing, all students demonstrate the use of proper posture and instrument position.
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