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Vocal Music Competition Judging Criteria

The Overture Awards judging criteria evaluates vocal music competitors in 7 categories: tone quality, technique, communication/interpretation, musicianship, and stage presence. Contestants scoring between 8-10 in each category, for a total of 40-50, are considered potential semi-finalists or finalists. Those scoring between 6-7 in each category, for a total of 30-39, show vocal potential worthy of encouragement. Contestants scoring between 4-5 in each category, for a total of 20-29, demonstrate some vocal potential but have inconsistencies in areas like technique, intonation, and interpretation.

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121 views1 page

Vocal Music Competition Judging Criteria

The Overture Awards judging criteria evaluates vocal music competitors in 7 categories: tone quality, technique, communication/interpretation, musicianship, and stage presence. Contestants scoring between 8-10 in each category, for a total of 40-50, are considered potential semi-finalists or finalists. Those scoring between 6-7 in each category, for a total of 30-39, show vocal potential worthy of encouragement. Contestants scoring between 4-5 in each category, for a total of 20-29, demonstrate some vocal potential but have inconsistencies in areas like technique, intonation, and interpretation.

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OVERTURE AWARDS

VOCAL MUSIC COMPETITION


JUDGING CRITERIA

Category Scores: 8-10 per category; Total: 40-50 Scores: 6-7 per category; Total: 30-39 Scores: 4-5 per category; Total: 20-29
Possible Semi-finalist / Finalist Vocal Potential Worthy of Encouragement Some Vocal Potential

Beauty/ • Beautiful clear timbre, focused, not breathy • Vocal quality is present • Inconsistency in vocal producing technique
Quality of Tone • Negotiates passaggio well • May exhibit production problems such as occasional • Voice may be breathy or nasal in certain registers
• Sound is not pushed or manufactured breathiness or nasality • May push, may not support, tension obvious
• Occasional passaggio problems

Technique • Voice is well supported in all registers • Voice is well supported in most registers • Voice is breathy, pushed, or nasal, tension present
• Excellent intonation • May push occasionally, some tension present • Obvious intonation problems
• Good flexibility • Some minor intonation problems • Has difficulty with flexibility
• Sings legato beautifully • Limited flexibility • Lack of legato in singing
• Inconsistent in legato singing

Communication: • Excellent diction • Good diction • Faulty diction


Interpretation, • Performer clearly understands every word they sing • Performer understands most of the words they sing • Performer does't always understand what they are singing
diction • The text is interpreted in a sensitive manner • The text is interpreted in a satisfactory manner • Lack of text interpretation

Musicianship: • Sensitive use of dynamics • Follows most of the dynamics • Dynamics contrast missing
Dynamics, • Excellent rhythm & tempo • Good Rhythm • Faulty rhythm and tempo
rhythm, • Phrasing follows the text and makes sense vocally • Tempo is appropriate but may vary • Poor sense of phrasing
tempo, • Musicianship supports and enhances interpretation • Phrasing does not always make sense • Lacks ensemble with accompanist
phrasing, style • Awareness of good ensemble with accompanist • May not always be in sync with accompanist

Stage Presence • Is at ease and confident • Facial expressions & gestures don’t always reflect text • Nerves may show
• Facial expressions & gestures make sense dramatically or mood of song • May be preoccupied with vocal aspects of performance
• Is appropriately dressed • Dress may not be totally professional • Facial expressions lacking, gestures inappropriate or extraneous
• Sustains mood of piece throughout performance • Performance dramatically inconsistent • Dress is inappropriate
• May not hold the moment through the end of the aria/song • Uninvolved in song during introductions, interludes & postludes

Rev.: October, 2014

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