Music

TRIO & QUARTET (Click here for rubrics.)

1. Trio and Quartet are singing competitions held in all classifications.
   
   

   1. The singing parts for these events are as follows:
      
      

      1. Trio - Soprano 1, Soprano 2, Alto

      2. Quartet - Tenor 1, Tenor 2, Bass 1, Bass 2

   2. Two selections shall be sung from memory.
      
      

      1. Both selections shall be appropriate for a small group of singers.
         
         

         1. For Trio, both selections should be specifically arranged for SSA and should conform to copyright law.

         2. For Quartet, both selections should be specifically arranged for TTBB and should conform to copyright law. Barbershop arrangements are allowed.

      2. Both selections must be copyrighted, published pieces, and not arrangements of instructional or choral pieces. Please limit divisi (i.e., limit to cadences, isolated measure, etc.).

      3. One selection must be one of the following:
         
         

         1. Chorale

         2. Madrigal

         3. Art song

         4. Folk song

         5. Spiritual song

            1. For further information, please refer to the chart at the end of the music section.

      4. One selection must be a cappella.

      5. Any group that does not perform selections that meet the above stated criteria will be scored, but will not be ranked.

   3. A legal copy of the music to be performed must be presented to the judges.

      1. Refer to Rule C3 under Region Information above to review expectations related to the presentation of music.

   4. The performance should match the instrumentation of the arrangement of the music presented to the judges. (For example, a cappella arrangements should be performed a cappella. Accompanied arrangements should be performed with appropriate accompaniment. Points may be deducted in the “Choice of Music” category for failure to comply.)
      
      

      1. Live piano accompaniment is the only form allowed. Recordings are not allowed. 

      2. Schools are responsible for arranging their own accompanist. An accompanist is not provided.

      3. Any group that does not present music to the judges will be scored, but will not be ranked. 

   5. Each group shall be allotted eight (8) minutes to perform their selections. Any group that exceeds the time limit (8 minutes) will be scored, but will not be ranked. A five-second buffer will be allowed before the infraction is enacted.

      1. In music events, the introduction is not timed. Timing starts on the first musical note whether sung or played by the accompanist. Timing ends at the end of the second selection; timing does not stop between songs.

   6. An adult is expressly prohibited from conducting during any musical contest at the Region or State levels.

   7. One (1) substitution will be allowed in Trio and Quartet between the Region Meet and the State Meet. (Please refer to Rule A1c in Region Information above.)

2. If the order of performance is not assigned by the GHSA, contestants shall draw for order of performance upon reporting to the site of the competition at the scheduled time.
   
   

   1. Contestants who are not present at the time of the drawing, will have their position drawn for them.

   2. Contestants who have conflicts with other Literary events should consult with the GHSA prior to the contest, and may have early or late presentation positions designated for them.

3. Judging Procedures:
   
   

   1. Two judges will be used for the Trio and Quartet competitions.
      
      

      1. Judges shall not confer with one another during the competition, but they may sit near one another to view the copy of the music.

      2. Tabulation of score sheets shall be handled independently.

   2. Judges shall follow scoring directions provided by the GHSA Office.

   3. Judging criteria are as follows:
      
      

      1. Musical Knowledge: Pitch Accuracy, Rhythm Accuracy (20%)

      2. Vocal Technique: Tone, Diction (20%)

      3. Musicianship: Tempo/Style, Phrasing, Dynamics (30%)

      4. Other Observations: Ensemble, Stage Presence, Choice of Music (30%)

VOCAL SOLO (Click here for rubrics.)

1. Separate contests will be held for males and females in vocal Solo.

2. Two selections shall be sung from memory:
   
   

   1. One selection must be one of the following from the standard repertory:
      
      

      1. Art Song

      2. Oratorio Aria

      3. Operatic Aria

      4. Folk Song

      5. Spiritual
         
         

         1. For further information, please refer to the chart at the end of the music section.

         2. Any contestant that does not perform selections that meet this stated criteria will be scored, but will not be ranked.

   2. Both selections should be from appropriate solo literature and not arrangements of instructional or choral pieces. All music selected should conform to copyright law.

   3. A legal copy of the music to be performed must be presented to the judges.

      1. Refer to Rule C3 under Region Information above to review expectations related to the presentation of music.

   4. The performance should match the instrumentation of the arrangement of the music presented to the judges. (For example, a cappella arrangements should be performed a cappella. Accompanied arrangements should be performed with appropriate accompaniment. Points may be deducted in the “Choice of Music” category for failure to comply.)
      
      

      1. Live piano accompaniment is the only form allowed. Recordings are not allowed. 

      2. Schools are responsible for arranging their own accompanist. An accompanist is not provided.

      3. Any contestant that does not present music to the judges will be scored, but will not be ranked.

   5. Each soloist shall be allotted eight (8) minutes to perform their selections. Any contestant that exceeds the time limit (8 minutes) will be scored, but will not be ranked. A five-second buffer will be allowed before the infraction is enacted.
      
      

      1. In music events, the introduction is not timed. Timing starts on the first musical note whether sung or played by the accompanist. Timing ends at the end of the second selection; timing does not stop between songs.

   6. An adult is expressly prohibited from conducting during any musical contest at the Region or State levels.

   7. Soloists are not allowed to use any type of instrument or prop.

3. If the order of performance is not assigned by the GHSA, contestants shall draw for order of performance upon reporting to the site of the competition at the scheduled time.
   
   

   1. Contestants who are not present at the time of the drawing, will have their position drawn for them.

   2. Contestants who have conflicts with other Literary events should consult with the GHSA prior to the contest, and may have early or late presentation positions designated for them.

4. Judging Procedures:
   
   

   1. Two judges will be used for the Solo competition.
      
      

      1. Judges shall not confer with one another during the competition, but they may sit near one another to view the copy of the music.

      2. Tabulation of score sheets shall be handled independently.

   2. Judges shall follow scoring directions provided by the GHSA Office.

   3. Judging criteria are as follows:
      
      

      1. Musical Knowledge: Pitch Accuracy, Rhythm Accuracy (20%)

      2. Vocal Technique: Tone, Diction (20%)

      3. Musicianship: Tempo/Style, Phrasing, Dynamics (30%)

      4. Other Observations: Artistry, Stage Presence, Choice of Music (30%)

Reference for Required Vocal Music Literature

Art Song

A classical vocal piece composed for solo voice with accompaniment often inspired by poetry requiring expressive interpretation, precise diction, and dynamic contrast

Example: Die Forelle (Schubert)

Chorale

A harmonized, hymn-like piece with rich, sustained chords and smooth vocals, often associated with sacred or classical music traditions that emphasize blended vocal harmonies.

Example: Jesu, Meine Freude (JS Bach)

Folk Song

A traditional song passed down through oral tradition, often reflecting the culture and history of a specific region or people characterized by simple melodies and rhythmic patterns

Example: Shenandoah (American Folk Song)

Madrigal

A secular, polyphonic vocal composition that originated in the Renaissance and early Baroque period characterized by complex counterpoint, word painting, and independent vocal lines that weave together harmonically

Example: Now in the Month of Maying (Morley)

Operatic Aria

A solo vocal piece from an opera that typically reflects a character’s deep emotions and require both vocal skill and character portrayal

Example: “O mio babbino caro” from Gianni Schicchi (Puccini)

Oratorio Aria

A solo vocal piece from an oratorio usually based on sacred or Biblical themes typically performed in concert forms that emphasize musicality and clarity

Example: “But Who May Abide” from Messiah (Handel)

Spiritual

A religious folk song with deep historical roots in African American musical traditions often using call-and-response, syncopated rhythms, and emotional intensity to express themes of faith, resilience, and hope

Example: Swing Low, Sweet Chariot 

(African American Spiritual)