CHORAL LITERACY

MUSIC READING

SCHOOL NAME ________________________________

CHOIR NAME ________________________________

DIRECTOR ________________________________

SCHOOL NAME ________________________________ ASSESSMENT TOTAL _________

Choral Performance MUSIC READING

Assessment Level Rhythm and Musical Markings Melody, Intervals and Audiation
1
(Entry level choirs of all ages) Meter: 2/4, 3/4, 4/4. Note Values: Whole, half, quarter 0 Melodic Reading: Step-wise and Pentatonic melodies, 0
Tempo: Andante-Moderato (72-120) Tempo Markings: 1 unison Intervals: Whole step, Minor Third, Perfect 1
Adagio, Allegro, p, mp, mf, f 2 Fourth and Fifth, Major Scale introduced. Key 2
Signatures: None to two sharps or 2 flats. Chord
1.0-1.3 Emerging 3 3
Tones: Two part “chords” built on pentatonic scale
4 4
degrees
1.4-1.6 At Level 5 5

6 6

1.7-1.9 Readiness to Advance 7 7

8 8

9 9

Choral Performance MUSIC READING

Assessment Level
2
(Elementary and MS choirs,
emerging HS, church, and
community choirs, beginning
non-auditioned collegiate choirs)
2.0-2.3 Emerging
2.4-2.6 At Level
Rhythm and Musical Markings
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8 Note
Values: Whole, half, quarter, eighth, simple dotted notes
and syncopation Tempo: Andante-Allegro (72-132)
Musical Markings: Adagio, Andante, Moderato,
Allegro, Rit.(ardando), Accel.(erando), pp-ff,, Cresc.
(endo) and Decresc.(endo), Accent mark >
Melody, Intervals and Audiation
0 Melodic Reading: Step-wise and Pentatonic melodies, 0
1 introduction of 3rds, 4ths, and 5ths in melody, unison and 1
2-part canon or simple counterpoint, dotted notes later in
2 2
year. Intervals: Whole step, Half step, Minor Third,
3 3
Major Third, Perfect Fourth, Perfect Fifth, all intervals
4 4
of Major Scale sung with Kodaly hand signals. Key
5 Signatures: None to three sharps or three flats, Minor 5

6 Key introduced. Chord Tones: Two to three part chords, 6

major and minor root position, 6ths and 7ths introduced.
2.7-2.9 Readiness to Advance 7 7
8 8

9 9

Choral Performance MUSIC READING

Assessment Level Rhythm and Musical Markings Melody, Intervals and Audiation
3
(Advanced MS, JH choirs, some Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, 5/4, 0 Melodic Reading: Step-wise and Pentatonic melodies, 0
average HS, church, community 6/4, simple changing meters Note Values: Whole, half, 1 4ths, and 5ths, introduction of 6ths in melody, unison to 1
and non-auditioned collegiate quarter, eighth, sixteenth, dotted notes, syncopation, 2 four part reading depending on difficulty, dotted notes, 2
choirs)
eighth note triplets Tempo: Largo-Allegro (56-144), syncopation, and triplets Intervals: All intervals of
3.0-3.3 Emerging 3 3
Musical Markings: Adagio, Andante, Moderato, Major and Minor Scale sung with Kodaly hand signals.
4 4
Allegro, Presto, Rit.(ardando), Accel.(erando), pp-ff, Non-diatonic intervals with Kodaly syllables and hand
3.4-3.6 At Level Cresc(endo) and Decresc(endo), sfz, fp, fermata, subito, 5 signals introduced. Key Signatures: None to four sharps 5
Accent >, marcato and staccato. Non-Traditional 6 or four flats, both major and minor. Chord Tones: 6
Notation: Introduced in jazz or multi-cultural repertoire. 7
Three to four part chords, major and minor root position 7
3.7-3.9 Readiness to Advance
7th chords, 9ths and inversions introduced.
8 8

9 9

Choral Performance MUSIC READING

Assessment Level
4
(Advanced HS choirs, very good
church and community choirs,
average collegiate choirs)
4.0-4.3 Emerging
4.4-4.6 At Level
4.7-4.9 Readiness to Advance
Rhythm and Musical Markings
Meter: 2/4, 3/4, 4/4, Cut time (symbol and 2/2), 6/8, 5/4,
6/4, 3/8, 5/8, 7/8, 9/8, 12/8 and changing meters Note
Values: Whole, half, quarter, eighth, sixteenth, dotted
notes, syncopation, eighth and quarter note triplets
Tempo: Largo-Presto (56-168) Musical Markings:
Adagio, Andante, Moderato, Allegro, Presto, Rit.
(ardando), Accel.(erando), ppp-fff,, Cresc(endo) and
Decresc(endo), sfz, fp, fermata, subito, piu, meno,
Accent >, plus marcato, staccato, tenuto. Non-
Traditional Notation: Developed with opportunities to
sing jazz, aleatoric, multi-cultural, or early music.
Melody, Intervals and Audiation
0 Melodic Reading: Melodies with all diatonic intervals, 0
1 major and minor, unison to four part reading depending 1
2 on difficulty, dotted notes, syncopation, triplets, 2
compound meter, basic meter changes Intervals: All
3 3
intervals, Major Scale and Minor sung with Kodaly hand
4 4
signals. Non-diatonic intervals (tritone, major seventh,
5 minor ninth etc.) with Kodaly syllables and hand signals 5
6 practiced. Key Signatures: None to five sharps or five 6
7
flats, both major and minor. Chord Tones: Three to 7
eight part chords, major and minor root position 7th
8 8
chords and inversions, altered chord tones introduced.
9 9

Choral Performance MUSIC READING

Assessment Level
5
(High level collegiate, church,
community, and semi-
professional choirs)
5.0-5.3 Emerging
5.4-5.6 At Level
Rhythm and Musical Markings
Meter: Any can be coached Note Values: Any Tempo:
Any can be coached Musical Markings: All common
markings, descriptive phrases (con bocca chiusa, ) can
be coached and understood easily. Traditional
Notation: Developing with opportunities to sing modern
styles.
Melody, Intervals and Audiation
0 Melodic Reading: Melodies utilizing all intervals, all 0
1 keys and modes, unison to eight part reading depending 1
2 on difficulty, challenging syncopation, triplets, 2
compound meter, challenging meter changes Intervals:
3 3
All intervals, Major Scale and Minor sung with Kodaly
4 4
hand signals. Non-diatonic intervals with Kodaly
5 syllables and hand signals developed through application 5

6 to chromatic repertoire. Key Signatures: Any key major 6

7
or minor. Chord Tones: All positions and inversions 7
5.7-5.9 Readiness to Advance of chords; rootless chords, and "stacked" chords; 6-part
8 8
and more chords; double-choir chords
9 9

Choral Performance MUSIC READING

Assessment Level
6
(Top professional and semi-
professional choirs, a rare
collegiate choir)
Rhythm and Musical Markings Melody, Intervals and Audiation
Comments: 0 Comments: 0
1 1
2 2

6.0-6.3 Emerging 3 3
4 4

6.4-6.6 At Level 5 5

6 6

6.7-6.9 Readiness to Advance 7 7

8 8

9 9

© Geoffrey Boers/ David Wimett 2018

 CHORAL LITERACY
SELF ASSESSMENT
SCHOOL NAME _____________________________________________

CHOIR NAME _____________________________________________

DIRECTOR _____________________________________________ SELF REPORTED ASSESSMENT SCORE __________________________ LEVEL. _______________

VOCAL TECHNIQUE MUSICIANSHIP

Choral Performance
Assessment Level
Vowels and Resonance:
3 expressive qualities)
(Advanced MS, JH choirs, - Consistent vowel uniformity,
some average HS, church,
space, and color with basic
community and non-
auditioned collegiate vowels.
choirs) -Resonating spaces such as
“Tall, dome, or lift the soft
3.0-3.3 Emerging palate” consistent.
-Resonance uniformity using
vowel modification, matching
embouchure, et al evident.
-Resonance consistent
throughout middle voice,
upper voice varied due to age
and experience, Soprano to
3.4-3.6 At Level
G5, Alto to D5, Tenor to F4,
Bass to D4.
-Resonance affected by text
and range, some distortion
caused by range extremes,
and by some consonants and
diphthongs.
3.7-3.9 Readiness to - Treble voices develop “mix.’
Advance Tenor and Bass develop head
voice and focused lower
voice.
RESONANCE: BREATH: ARTISTRY:
Rhythm: (Precision, clarity, Expression & Artistry: (Style, Form,
Blend and Balance: Vocal Facility and Independence: Intonation: Breath Management: Dynamics: Articulation: Diction:
Expression)
-Choir develops vowel -Works to extend range and -Choir emphasizes listening, -Choir develops consistent low -Choir develop musicality with -Choir develops singing more -Choir emphasizes singing -Choir develops counting -Choir emphasizes expression.
0 uniformity through 0 address age-related vocal 0 developing both listening to 0 onset breath at beginning of 0 dynamic contrast. 0 varied and challenging 0 clear, initial onset, and final 0 together and inner pulse, and 0 Choir consistently 0
embouchure matching and changes. others and audiation. songs, is successful at -Choir develops varied articulations. offset consonants. is successful when coached. demonstrates varied dynamics
1 vowel modification. 1 -Singers vocalize slightly 1 -Tuning demonstrated in all 1 breathing low throughout a 1 dynamics within a phrase, 1 -Articulation as a function of 1 -Vowel uniformity present in 1 -Rhythmic or tempo 1 from phrase to phrase. “Rise 1
-Uniformity of tone develops beyond where they can ranges with coaching. piece when coached. “rise and fall.” Level III breath management basic vowels, diphthongs and inconsistencies sometimes and fall” within a phrase is
within sections throughout consistently achieve good Inconsistencies occur with -Singers use good posture both -Dynamics from mp-mf is introduced. open vowels may be occur, with clarity, rushing, or introduced.
2 middle voice. 2 resonance in performance. 2 challenges of text, 2 sitting and standing when 2 demonstrate choir’s 2 -Various types of other 2 challenging. 2 dragging affected by 2 -Composer’s musical 2
-Individuals may be heard as -Melodies containing intervals diphthongs, tessitura and coached. understanding of Level III articulations introduced, e.g. -Internal consonants may be dynamic, tempo, and choir indications followed,
3 ranges expand or voices 3 of 3rds, 4ths, and 5ths sung 3 dynamics. 3 -Breathing low during “catch 3 breath management and 3 crescendo on dotted or tied 3 difficult to discern. 3 energy. 3 resulting in varied approaches 3
develop. clearly at most tempi. - Listening and tuning within breaths,” is consistent. resonance. notes, fp, sfz, fermata. - Consonants before the beat is -Accelerando and ritardando from piece to piece.
-Balance affected by personnel -Most intervals can be sung sections is consistent and - Onset breath, such as -Crescendo to f dynamics may -Legato is often present when developed. performed with accuracy, -Word and syllabic stress/un-
4 and repertoire, 4 clearly at a moderate tempo 4 sections work to tune with 4 “Breathing in the vowel” is 4 be pressed due to developing 4 coached. Forward motion and 4 -Vowel distortion and clarity 4 tempo changes can affect tone 4 stress are explored. 4
-Balance achieved by with coaching. other sections, particularly at developed. technique, while decrescendo sustained energy during of consonants occurs in range or breath management. -General meaning of poetry is
5 adjusting numbers of singers 5 -Compositions in two to four 5 cadences. 5 -Choir initiates phrase or 5 and p dynamics may be 5 legato needs to develop, is 5 and dynamic extremes. 5 -Various meter signatures 5 understood. 5
on each part. parts preferred, greater divisi -Tuning is growing in crescendo with “breath breathy. most successful at louder -Choir can sing in Latin and at introduced. Multicultural -Form explored, choir
- Varying balance to repertoire possible, determined by homophonic sonorities. Fast energy,” by “pushing” or -Dynamics affected by dynamics and when low least one other language. rhythms are introduced. demonstrates understanding
6 6 6 6 6 6 6 6 6 6
(counterpoint, “pyramid” balance of personnel. moving sections or “moving air.” tessitura: higher passages breath occurs. -Dotted rhythms and triplets of build up to a “high point”
balance) is sometimes desired -Singing in non-Western styles counterpoint will be -Breath energy sustained at may be sung louder, lower can be coached. in each piece.
7 and introduced. 7 is evident. 7 inconsistent. A cappella 7 louder dynamics; softer 7 tones softer, individuals may 7 7 7 -Count singing is possible with 7 -Extra-musical means of 7
singing is evident. dynamics introduced, be heard. eighth notes. expression (movement, facial
inconsistency results in poor engagement,
8 8 8 8 8 8 8 8 8 8
intonation, decreased legato, “choralography,” standing
et al. arrangements, narration. et al)
9 9 9 9 9 9 9 9 9 may be present. 9

VOCAL TECHNIQUE MUSICIANSHIP

Choral Performance
Assessment Level
Vowels and Resonance:
4 expressive qualities)
(Advanced HS choirs, very -Consistency of resonance in
good church and
all vowels, including
community choirs, average
collegiate choirs) diphthongs and many non-
English vowels.
-Resonance develops through
4.0-4.3 Emerging awareness of heavy/light/mix
mechanism, and sensations of
inner resonating space
developed as “lift, tall, round”
or specific resonant vowels.
-Resonance extends upward: S
to A5, A to F5, T to A4, B to
F4.
4.4-4.6 At Level
-Resonance affected by range
extremes: modification of
resonating spaces introduced.
-Lower register of S and A
develops colorful mix of
heavy and light mechanism.
T and B develop a bright,
4.7-4.9 Readiness to expansive mid to lower tones
Advance and light, lyric, focused upper
voice.
RESONANCE:
Blend and Balance:
-Uniformity of color and
0 resonance created by precise
rhythm and dynamic shape
1 developed.
-Blend results from a
consistent resonance and
2 vocal approach, yet
encourages vocal
3 development.
-Individuals may be heard due
to maturing timbre, strength,
4 and vibrato.
-Blend adjusted as voices
5 mature, using voice matching
and standing arrangements.
-Blend varies by choice of
6 6
vibrato, straight tone at
cadences, or varied style
7 needs.
-Balance addressed by varied
standing arrangements and
8 8
dynamic adjustment.
-Repertoire-based balance
9 variations evident.
Vocal Facility and Independence:
-Choir works to extend range
0 and increase agility.
-Singers demonstte ease of
1 tessitura in upper voice: S
can easily sustain passages
D5-F5, Alto C5-E5, Tenor D4
2 to F4, Bass C4-Eb4.
-16th note runs can be sung
3 clearly at moderately fast
tempo, passages with
chromatic intervals can be
4 sung when coached.
-All singers can manage divisi
5 within each section.
Complexity of divisi
determined by personnel.
-Vocalization in non-Western
classical styles developed.
7 7
9 9
Intonation:
-Choir sings in tune
0 individually, within each
section, and between sections.
1 -Intonation consistent
throughout vocal ranges, at
faster tempi, more
2 challenging intervals, or text.
Inconsistencies may still be
3 present.
-Melodic tuning occurs in
addition to harmonic tuning.
4 Students able to make
adjustments to fix poor
5 intonation.
-When singing a cappella,
choir tunes well even if the
6 6
overall pitch may flat or
sharp.
-Complex chords often tune
accurately. Inconsistencies in
tuning occur due to individual
8 8
development of vocal
technique, breath
management and vibrato.
Breath Management:
-Choir works to sing “on the
0 breath,” sustains the feeling
of breath energy throughout
1 each phrase at all dynamics.
-Choir demonstrates low
breathing consistently at
2 onsets of songs, becomes
successful at breathing low
3 throughout a piece.
-“Maintaining or containing”
breath to sustain breath
4 energy is introduced.
-Choir takes catch breaths to
5 re-establish low body energy
when coached.
-Choir prepares vowel or other
musical elements during onset
when coached.
7 -Non-Western classical
techniques for jazz,
Broadway, and world music
introduced.
9 9
Dynamics:
-Choir develops consistent
0 breath energy and beauty of
tone from p-f.
1 -Dynamics varied within
phrases, phrases also contrast
to build an overall shape to
2 the piece.
-Poetic shaping of dynamic
3 within the over-arching
dynamic is introduced.
-Dynamics from p-f
4 demonstrate understanding of
Level IV breath management
5 and resonance. Extreme
dynamic ranges of pp may
become breathy and ff may be
6 6
pressed or over sung, due to
developing technique.
7 -Dynamics are affected by
extremes of tessitura, with
higher passages sung louder,
8 8
and lower tones softer,
individuals may be heard.
BREATH:
Articulation:
-Choir works toward artistic
0 use of articulations.
-Articulations varied and often
1 connected to breath,
consistent throughout the
choir. Extreme articulation
2 demands can affect pitch and
resonance.
3 -Varied weights of repeated
articulations, or articulation
as a result of artistic poetic
4 declamation introduced.
-A mature legato is present,
5 and creates a sense of forward
motion, energy, or
momentum.
7 7
9 9
Diction:
-Choir works to enunciate text
0 clearly and expressively.
-Choir works to enunciate
1 appropriately in range
extremes.
-Consonants before the beat
2 and inner consonants are
consistent and help create a
3 sense of forward motion.
-Enunciation with appropriate
dialect in common languages
4 is introduced.
-A more difficult language to
5 English-speaking singers may
be introduced, e.g. French or
Russian.
6 6
8 8
ARTISTRY:
Rhythm: (Precision, clarity,
-Choir emphasizes precision
0 and accuracy.
-Choir demonstrates consistent
1 sense of rhythmic energy
most of the time regardless of
style.
2 -Accelerando and Ritardando
performed with consistent
3 breath management, tone and
dynamic when coached.
-Rhythm as an expressive
4 element is introduced. Tempo
changes and fermatas have a
5 sense of rhythmic purpose.
Subdivision as a unifying and
musical tool is introduced.
-Varied styles of rhythm (e.g.
jazz, multicultural styles)
7 explored.
-Count singing in various
meters and subdivisions may
be possible.
9 9
Expression & Artistry: (Style, Form,
Expression)
-Choir develops
0 communication and style. 0
-Choir demonstrates rise and
1 fall of phrase, word stress and 1
release, syllabic stress and
release, resulting in poetic
2 declamation of text and 2
artistically shaped singing.
3 -Musical decisions based both 3
on the composer’s markings
as well as personal
4 expression. Historical style 4
and performance practice
5 may be present. 5
-Specific meaning of the text is
understood
6 6
-Form demonstrated by
intentional shaping of
7 momentum, energy, and 7
musical details toward and
away from the “high point” of
8 8
each piece.
-Extra-musical means of
expression are demonstrated. 9

© Geoffrey Boers/ David Wimett 2018