Saxophone

	4	3	2	1
	Exceeding	Meeting	Approaching	Developing
Posture	Student sits on the edge of the chair, back is straight, feet are flat on the floor, and saxophone looks comfortable to the side (or in the case of especially tall middle schoolers the saxophone can be in front). The student’s body is controlled and steady with a minimum amount of movement during the performance.	Student sits on the edge of the chair, back is straight, feet are flat on the floor, but saxophone may tend to "pull" the student forward resulting in an at times inconsistent posture during performance.	Student may sit on the edge of the chair but "hunches" either forward or to the right, causing the Saxophone to "droop" in way that negatively impacts breath support and /or technique	Student does not sit on the edge of the chair and is slouched.
Hand Position	Student uses proper hand position with the hand relaxed in a natural c shaped curve. Fingers curved rest slightly toward the outside edges of the mother of pearl keys. Fingers remain flexible and fluid throughout performance and never lift from the keys except when necessary resulting in maximum efficiency of motion and velocity in playing if necessary.	Student uses a natural c shaped hand position. Both right & left hand position is correct but the fingers might not be slightly at the outside edges of the keys. At times fingers may lift from the keys when not necessary	Student may not use a natural c shaped hand position or does so inconsistently. Fingers at time may be rigid and not curved. Fingers may lift from the key or rest far from the keys.	Student places fingers over incorrect keys and needs frequent reminders with regard to proper hand position. Fingers rest far from the keys, and sometimes "get lost" on the way to doing their work.
Embouchure	Student has mastered the saxophone embouchure. The student positions her mouth as if saying "oo" and has her lower lip slightly over her teeth. the upper teeth rest on top of the mouthpiece. Corners are firm but the lower lip provides a nice cushion for the reed. The embouchure remains consistent throughout the ranges, especially the low range, and the student can produce clear clean low notes with subtending or moving the lower jaw.	The student positions her mouth as if saying "oo" and has her lower lip slightly over her teeth. the upper teeth rest on top of the mouthpiece. Corners are firm but the lower lip provides a nice cushion for the reed. The embouchure remains consistent throughout the ranges, but the embouchure may change at the low register and the sound may not be entirely characteristic at the extremes of the range.	The student has an inconsistent embouchure resulting in a sound that is at times not characteristic of the instrument in all ranges. Corners may be back as if saying "ee" as in a clarinet embouchure. Top lip may be over the teeth at times, and not enough support might be provided to the reed to produce a good sound.	Student may take in too much reed (or not enough). Very little in the way of embouchure showing. Student takes mouthpiece in and plays.
Tone Quality	Student uses appropriate air speed producing a sound that is pure and sustained for the notes of the low, middle, and high registers. Vibrato has become an important dependable asset to the player. Tone has a professional quality.	Tone is focused, clear and centered through the normal range of the instrument. Extremes in range cause tone to be less controlled. Tone quality typically does not detract from the performance. Student working on vibrato and sound is generally characteristic of the instrument in all ranges.	Student may be flat because of poor embouchure. Sound may not be characteristic of the instrument in all registers. The sound is inconsistent and may waiver in both tone quality and intonation.	Student uses air that is too fast, producing a sound that is "shrill" or uses air that is too slow producing a sound that is "breathy". The tone is not focused or clear.

Clarinet

	4	3	2	1
	Exceeding	Meeting	Approaching	Developing
Posture	Student sits on the edge of the chair, back is straight, feet are flat on the floor, and head is straight looking ahead. Students arms are more relaxed, and elbows are slightly at the side. The clarinet should be in front of us at around a 30 degree angle. The student’s body is controlled and steady with a minimum amount of movement during the performance.	Student sits on the edge of the chair, back is straight, feet are flat on the floor, and clarinet is held at an appropriate angle.	Student may sit on the edge of the chair but "hunches" or the clarinet may be held at a somewhat incorrect angle.	Student does not sit on the edge of the chair and is slouched.
Hand Position	Student uses proper hand position with the hand relaxed in a natural c shaped curve. Left hand is on top. Fingers curved rest slightly and the holes are consistently covered. Elbows relaxed. Fingers remain flexible and fluid throughout performance and never lift from the keys except when necessary resulting in maximum efficiency of motion and velocity in playing if necessary.	Student uses a natural c shaped hand position. Both right & left hand position is correct but at times fingers may lift from the keys when not necessary	Student may not use a natural c shaped hand position or does so inconsistently. Fingers at time may be rigid and not curved. Fingers may lift from the key or rest far from the keys.	Student places fingers over incorrect keys and needs frequent reminders with regard to proper hand position. Fingers rest far from the keys, and sometimes "get lost" on the way to doing their work.
Embouchure	Student has mastered the clarinet embouchure. The student positions her mouth as if saying "ee" and has her lower lip slightly over her teeth. Chin should be flat.  The upper teeth rest on top of the mouthpiece. Corners are firm but the lower lip provides a nice cushion for the reed. The embouchure remains consistent throughout the ranges.	The student positions her mouth as if saying "ee" and has her lower lip slightly over her teeth. The chin is flat and the upper teeth rest on top of the mouthpiece. Corners are firm but the lower lip provides a nice cushion for the reed. The embouchure remains consistent throughout the ranges, but the embouchure may change when the student is trying to get over the break.	The student has an inconsistent embouchure resulting in a sound that is at times not characteristic of the instrument in all ranges. Corners may be forward as if saying "oo" as in a clarinet embouchure. Top lip may be over the teeth at times, and not enough support might be provided to the reed to produce a good sound.	Student may take in too much reed (or not enough). Very little in the way of embouchure showing. Student takes mouthpiece in and plays.
Tone Quality	Student uses appropriate air speed producing a sound that is pure and sustained for the notes of the low, middle, and high registers. Vibrato has become an important dependable asset to the player. Tone has a professional quality. Player uses appropriate reeds.	Tone is focused, clear and centered through the normal range of the instrument. Extremes in range cause tone to be less controlled. Tone quality typically does not detract from the performance. Student working on vibrato and sound is generally characteristic of the instrument in all ranges.	Student may be flat because of poor embouchure. Sound may not be characteristic of the instrument in all registers. The sound is inconsistent and may waiver in both tone quality and intonation.	Student uses air that is too fast, producing a sound that is "shrill" or uses air that is too slow producing a sound that is "breathy". The tone is not focused or clear.

French Horn

	4	3	2	1
	Exceeding	Meeting	Approaching	Beginning
Posture	Student sits on the edge of the chair, back is straight, feet are flat on the floor. The mouthpiece is "brought to the embouchure", and the horn angle is appropriate all of the time.	Student sits on the edge of the chair, back is straight, feet are flat on the floor. However, the student may have difficulty maintaining the correct posture throughout the performance.	Student sits on the edge of the chair but "hunches". The embouchure may be brought to the horn, making for an awkward position.	Student does not sit on the edge of the chair it's obvious that the player is letting the horn determine his/her posture. Posture is not straight
Hand Position	Hand is held in a natural "C" Position. Fingers remain flexible and fluid throughout performance with no tension. Right hand position inside the bell is cupped, and at the appropriate angle (not too far in). Thumb is placed without tension on the trigger. Fingers always stay close to the keys.	Student uses proper hand position. Fingers on left hand may appear to be rigid in some instances. Right hand position is often in a "C" position, but player has difficulty maintaining over longer periods of time.	Student's hand position is inconsistent or not shaped in a natural "C" position but the fingers are over the valves. The student may not be using fingerTIPS on the valves. Right hand position is inconsistent. Student may be "holding" the bell with the right hand.	Fingers may be lifting off the keys as student plays. Right hand is not in the bell correctly.
Embouchure	Student uses very good breath support. Mouth is placed as if saying "Oh" then "Mm." Teeth are apart. Corners are firm, but the lips in the centre are relaxed. 2/3rds of the mouthpiece is on the top lip, and 1/3rd of the mouthpiece is on the bottom lip. Resulting sound is consistent and strong, with some pinching only in the higher registers. Student thinks "ee" for high range notes, "ah" for mid range notes, and "oo" for low notes. Embouchure stays consistent while using various articulations.	Student uses very good breath support. Most is places as if saying "oh" then "mm." Teeth are apart. Corners are firm, but the lips in the centre are relaxed. 2/3ds of the mouthpiece is on the top lip, and 1/3rd is on the bottom lip. Resulting sound is consistent and strong with some inconsistencies in the low register and pinching in the high register.	Student uses some breath support, but may be chest breathing resulting in insufficient support. Teeth are apart. Mouth is placed as if the student is saying "mm." Corners are firm but lips in centre may be tight and the resulting buzz may be inconsistent. Mouth piece may be entered on the mouthpiece. The sound is not characteristic of the instrument in most registers.	The embouchure is off centre and breath support is insufficient. Cheeks may also be puffed.
Tone Quality	Breath support comes from the LOWER lungs (belly) Student uses appropriate air speed and lip pressure, producing a sound that is pure and sustained for the notes of the low, middle, and high registers. Tone has a professional quality. Sound is characteristic of the instrument at all dynamic levels.	Tone is focused, clear and centered through the normal range of the instrument. Extremes in range cause tone to be less controlled. Tone quality typically does not detract from the performance.	Student uses appropriate air speed to produce a sound that is pure and sustained for the notes of the middle register but inconsistent with the notes of the low and high registers. Tone may appear stuffy or pinched in these registers.	Student uses air that is too fast , producing a sound that is "blaring" or uses air that is too slow producing a sound that is "breathy".

Flute

	4	3	2	1
	Exceeding	Meeting	Approaching	Beginning
Posture	Student sits on the edge of the chair, back is straight, feet are flat on the floor (no crossed legs). The flute is "brought to the embouchure", and the flute angle is appropriate all of the time.	Student sits on the edge of the chair, back is straight, feet are flat on the floor. However, the student may have difficulty maintaining the correct posture throughout the performance.	Student sits on the edge of the chair but "hunches". The embouchure may be brought to the flute, making for an awkward position. The flute may be pointing more towards the floor than vertically.	Student does not sit on the edge of the chair it's obvious that the player is not focused on his/her posture. Posture is not straight
Hand Position	Both hands are held in a natural "C" Position, the left hand facing the player and the right hand facing away. Fingers remain flexible and fluid throughout performance with no tension. Elbows are relaxed and the flute is not pointing extremely down to the floor (almost horizontal). Your left hand has a "shelf" that the flute rests on. Fingers are relaxed and stay close to the keys at all times.	Student uses proper hand position. Fingers may appear to be rigid in some instances. Hand position is often in a "C" position, but player has difficulty maintaining over longer periods of time.	Student's hand position is inconsistent or not shaped in a natural "C" position but the fingers are over the keys. Fingers may be "flying" too far off the keys.	Fingers may be lifting off the keys as student plays. The student may be holding the flute incorrectly and unassuredly without an adequate "shelf" to provide support.
Embouchure	Student uses very good breath support. Mouth is placed as if saying "whee-too" Teeth are pencil width apart. Head joint is positioned on the chin so that the edge of the embouchure hole is at hte bottom of the lower lip. Then the head joint hole centered or only slightly off center. 1/4 to 1/3 of hte embourchure hole is covered with the lower lip. Resulting sound is consistent and strong in all registers. Player changes embouchure for high and low notes, bringing lips together for high notes. Can play high and soft. Head is up and player is looking ahead.	Student uses very good breath support. Mostly embouchure is placed as if saying "whee-too." Teeth are pencil width apart. Embouchure hole is centered or only slightly off center. Resulting sound is consistent and strong with some inconsistencies in the very low or high registers.	Student uses some breath support, but may be chest breathing resulting in insufficient support. The sound is not characteristic of the instrument in most registers.	The embouchure is off centre and breath support is insufficient. Aperture (the opening of the lips) may be too wide or too narrow resulting in a very weak sound or a sound that is not in the correct register.
Tone Quality	Student uses appropriate air speed and embouchure shape for range, producing a sound that is pure and sustained for the notes of the low, middle, and high registers. Tone has a professional quality.	Tone is focused, clear and centered through the normal range of the instrument. Extremes in range cause tone to be less controlled. Tone quality typically does not detract from the performance.	Student uses appropriate air speed to produce a sound that is pure and sustained for the notes of the middle register but inconsistent with the notes of the low and high registers.	Student uses air that is too fast , producing a sound that is "too high" or uses air that is too slow producing a sound that is "breathy" and is unable to get into the high register.

Trumpet

	4	3	2	1
	Exceeding	Meeting	Approaching	Beginning
Posture	Student sits on the edge of the chair, back is straight, feet are flat on the floor. The mouthpiece is "brought to the embouchure", and the trumpet angle is appropriate all of the time.	Student sits on the edge of the chair, back is straight, feet are flat on the floor. However, the student may have difficulty maintaining the correct posture throughout the performance.	Student sits on the edge of the chair but "hunches". The embouchure may be brought to the trumpet, making for an awkward position. The bell may be pointing towards the floor.	Student does not sit on the edge of the chair it's obvious that the player is not focused on his/her posture. Posture is not straight
Hand Position	Hand is held in a natural "C" Position. Fingers remain flexible and fluid throughout performance with no tension. Left hand position has thumb behind the first valve and ring finger through the third valve slide.	Student uses proper hand position. Fingers on right hand may appear to be rigid in some instances. Right hand position is often in a "C" position, but player has difficulty maintaining over longer periods of time.	Student's hand position is inconsistent or not shaped in a natural "C" position but the fingers are over the valves. The student may not be using finger TIPS on the valves. Left hand position is inconsistent.	Fingers may be lifting off the keys as student plays. Left hand is not holding the trumpet correctly.
Embouchure	Student uses very good breath support. Mouth is placed as if saying "Mm." Teeth are pencil width apart. Corners are firm, but the lips in the centre are relaxed. Then mouthpiece is centered or only slightly off center. Resulting sound is consistent and strong, with some pinching only in the higher registers. Student can effectively use "doo" and "too" articulations.	Student uses very good breath support. Mostly it is placed as if saying "mm." Teeth are pencil width apart. Corners are firm, but the lips in the centre are relaxed. Mouthpiece is centered or only slightly off center. Resulting sound is consistent and strong with some inconsistencies in the low register and pinching in the high register.	Student uses some breath support, but may be chest breathing resulting in insufficient support. Teeth are apart. Mouth is placed as if the student is saying "mm." Corners are firm but lips in centre may be tight and the resulting buzz may be inconsistent. The sound is not characteristic of the instrument in most registers.	The embouchure is off centre and breath support is insufficient. Cheeks may also be puffed.
Tone Quality	Student uses appropriate air speed and lip pressure, producing a sound that is pure and sustained for the notes of the low, middle, and high registers. Tone has a professional quality. Sound quality should be characteristic of the instrument at all dynamic levels.	Tone is focused, clear and centered through the normal range of the instrument. Extremes in range cause tone to be less controlled. Tone quality typically does not detract from the performance.	Student uses appropriate air speed to produce a sound that is pure and sustained for the notes of the middle register but inconsistent with the notes of the low and high registers. Tone may appear stuffy or pinched in these registers.	Student uses air that is too fast , producing a sound that is "blaring" or uses air that is too slow producing a sound that is "breathy".

Master Rubric

	4	3	2	1
	Exceeds	Meets	Approaching	Developing
Articulation	Student uses "tu" or "du" to begin notes and accurately responds to all accent markings in the music at appropriate times. Student is also able to respond to legato and staccato and markings with a consistent sound quality that is characteristic of the instrument. Student can play all accents at various dynamic levels and in various ranges of the instrument while maintaining a characteristic sound.	Student uses "tu" or "du" to begin notes and accurately responds to many accent markings in the music. Student is also able to respond to legato and staccato and markings. When the student uses these various articulations the tone quality remains characteristic of the instrument in most ranges. Student can play accents at various dynamic levels.	Student uses "tu" or "du" articulations but my not do so consistently or at appropriate times. When the student uses these various articulations the tone quality of instrument may become inconsistent. Student can play accents inconsistently at various dynamic levels.	Student uses no tongue and articulations with a "hoo" sound, or always plays with an accented articulation. Performances are not informed by the use the articulation.
Accuracy of Notes	Student reads and performs all notes on one's instrument save for the altissimo ranges and thus is above grade level. It is not necessary for the student to mark any of the notes with letter names or fingerings.	Student reads and performs all grade level appropriate notes. It is not necessary for the student to mark any of the notes with letter names or fingerings	Student reads and performs grade level appropriate notes, but may need to write in additional accidentals and reminders at higher or lower ranges.	Student reads and performs grade level appropriate notes only when the notes are marked with letter names or fingering.
Accuracy of Rhythms	Student reads and performs the following rhythms accurately at sight, while maintaining a steady beat. The include: quarter notes, eighth notes, sixteenth notes, eighth note and sixteenth note combinations, triplets (both quarter note and eighth note), and all rests.	Student reads and performs grade level appropriate rhythms accurately. These may include (depending on grade) quarter notes, eighth quarter notes, sixteenth notes, eighth note and sixteenth note combinations, and triplets (both quarter note and eighth note), along with quarter and eighth rests.	Student reads and performs many grade level appropriate rhythms but the performances may be marked with tempo changes and inaccuracies especially in distinguishing between different sorts of eighth note and sixteenth note combinations.	The beat is unsteady and therefore one cannot discern which rhythms are being performed.
Tempo	Student performs the selection at a musically appropriate tempo when all that is given is a written description (i.e., largo, andante, allegro, etc.)	Student performs the selection at the specified tempo marking (i.e., quarter note = 100, etc.) and is able to use a metronome to establish the correct tempo or can keep a steady beat established by the teacher.	Student performs known selections at tempo but may accelerate when the music is "easy" and slow down for more difficult sections.	Student performs the selection without regard to the tempo marking or at varying tempos that make the rhythms difficult to discern.
Dynamics	Student responds to all dynamics in the music and when not available, is able to express him/herself with different dynamic levels in response to the contour of the melodic line and keeps a characteristic sound in all ranges and dynamics.	Student responds to all dynamics as written, including: pp, p, mp, mf, f, ff, sfz, as well as crescendos and diminuendos and keeps a characteristic sound in most ranges and at most dynamics.	Student is able to make the basic dynamic contrasts by performing mf, f, and ff at the same level (loud) and pp, p, and mp at the same level (soft). The student is also able to respond to crescendos and diminuendos. The sound may become airy and inconsistent at various dynamic levels and the difference between dynamic levels may be difficult to discern because the dynamic range is small.	Student performs the music with no dynamic contrast.
Scales	Student is able to perform 4 or more Major scales from memory and the chromatic scale in two octaves from memory.	The student is able to perform the Bb, Eb, and F major scales the chromatic scale in one octave from memory.	Student is able to perform the Bb, Eb, and F major scales and the chromatic scale in one octave when provided the NFMS scale sheet.	The student is able to play one or two of the scales from the scale sheet.
Sight Reading	Student responds accurately to all musical notation (notes, rhythms, tempo, dynamics, etc.) of the sight-reading selection.	Student correctly performs both the notes and rhythms of the sight reading selection.	Student is able to perform either the correct notes or the correct rhythm of the sight-reading selection.	Student when sight reading does not produce a performance that matches what is on the printed page.

Flute

Clarinet

Saxophone

Trumpet

French Horn

Trombone

Percussion (sticks)

Percussion (mallets)