Tips for Preparing Your Ensemble for Festivals and Competitions

What is the difference between festivals and competitions? None, really, but most are called festivals now. Most festivals are still “competitive” with ratings in school festivals (or, as we call them in Florida, Music Performance Assessment—MPA). And, of course, the private festivals sponsored by theme parks or festival companies have awards for the first in category, overall “grand champion,” etc. I remember when choirs were graded numerically from I through V. Then, in the 1980s, most festivals (school and private) went to qualitative ratings, i.e., “Superior, Excellent, Good, Fair, and Poor.” Of course, in the Roman numeral system, everyone wanted a “I” rating, and when receiving a “II” or a “III” (“IV” and “V” were rarely given), music groups felt as if they had failed. So, we went to the qualitative categories above. I’ll never forget walking out in the hall on break when students were looking at their posted results, and I heard a student say, “We were terrible, we were only excellent!” The teacher’s perceptions and philosophy about competition will always be reflected in their students, for good or bad.

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While deciding to participate in festivals/adjudication, consider these five points:

1. Decide what the festival’s purpose is for you, the teacher.

Is it to win or get the highest rating? If that’s true, then this competitive “winner take all” attitude will be reflected in your students as well, and it may set you up for failure. Is it to give students the best experience through the rehearsals leading up to the performance at the festival, the actual performance, and the comments on paper, the recorded comments by the adjudicator(s), and/or the clinic by the adjudicator? If this is true, you and your students will have a much better experience.

Many times, there may be a difference in the ratings of multiple judges, for example, Excellent, Superior, Excellent, Superior, Superior, Excellent, or even (rarely does this happen, but sometimes) Superior, Excellent, Good. So, if the ratings are the reason, you and your students might be disappointed. Believe me, I want music to be played/sung at the highest level and be recognized for such! However, having a goal for every singer to perform at their highest level while enjoying and learning from the experience is much more satisfying and educationally sound.

2. Select appropriate literature.

Again, I’ve seen it all in the festivals that I have done. For example, I have heard/seen choirs in the concert choir category perform show tunes, sometimes with choreography. What was this director thinking? If it is a typical concert choir category, then the repertoire should exemplify appropriate concert literature for this category. And, if your festival is to be three pieces, choose three diverse pieces, i.e., a piece from the Renaissance, Baroque, or Classical periods; a 20th- or 21st-century piece, and perhaps a spiritual or multicultural piece. Of course, there is a wide variety of material in the category, but don’t perform a show tune, jazz tune, etc., in a “concert” category as these styles have their own defined categories. If it is the show choir category, it must be choreographed (not necessarily, if you do an a cappella ballad as one of your selections). In the jazz choir area, these must be “jazz” pieces. And I suggest at least two jazz standard arrangements.

Not only is appropriate literature by category important, but another consideration is: Does the literature fit the choir’s/ensemble’s level? A young high school choir is better off doing easier repertoire well than very difficult literature poorly. Text is important in the selections. Silly texts = silly choirs. My goal with my choirs (and in my writing) has always been to have the choirs look and sound intelligent and proud. You can’t make high-quality music with trite literature. Unfortunately, I have also seen high-quality literature performed poorly, either because of a lack of rehearsal techniques and strategies or because the literature was too difficult for the group and could not be achieved.

3. Follow the specific guidelines for the festival.

Every festival has its own set of specific guidelines. Read all material, including the fine print. You must follow them to the letter! There is another rating that I’ve seen or been told to give: DQ (Disqualified). This can be one of life’s most embarrassing moments—as a teacher, you pay for transportation, housing, outfits, music, chaperones, etc., and are disqualified for not reading a specific part of the guidelines. These include providing original published copies of the music, being on time for warm-up and performance, staying within the time limits for these, turning in your paperwork on time, and providing the proper stage requirements for your ensemble. Any details that are not followed can result in lost points, a lower rating, or disqualification.

4. Dress appropriately.

For concert attire, you cannot miss with black and white. Black tuxes and bow ties and long black dresses (this avoids varied and inappropriate hemlines). I have also seen young choirs and bands perform in black slacks and white shirts/blouses that look very nice and uniform. I’ve never seen a great ensemble that looks sloppy, and I’ve rarely seen a great-looking ensemble that didn’t perform very well. Look like a group that will perform well before you sing or play your first note. Remember that from the time the performers walk on stage until they exit, they must look professional and proud. Check out our guide to planning your concert dress code for more ideas and best practices.

5. Be prepared in every way.

Let the music be heard. Precise and correct notes, crisp diction, projection, dynamics, and phrasing. All of these are not magic but happen through careful rehearsals before the performance. Conductors should not have to use flagrant or distracting gestures in the conducting. Remember, this is not your first rehearsal; this is “the” performance. In addition, if given the opportunity, have your groups stay and hear as many other ensembles as possible. This is a great experience for your musicians.

I do hope that these suggestions lead you to satisfying musical performances and festival/adjudication experiences. Whether participating in a festival or competition, the approach and mindset you adopt as a music educator will significantly shape the experience for both you and your students. While ratings and awards can be a source of pride, the true value of these events lies in the preparation, performance, and feedback that contribute to musical growth. By selecting appropriate literature, following guidelines, and fostering professionalism, you can create a meaningful and rewarding experience for your ensemble.