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At the airport in Beijing on my way home from a visit to South Korea.
Some people have asked me what I listen for when judging a solo competition. Here are a few of the actual notes I did during the Jeju competition. The notes, both positive and negative, are picked from several competitors and show some of the things I am concerned about when listening.

Active phrasing - great!
Does not listen to the piano at all
Great use of agogik
Very vertical playing, no direction and destination in phrases
Great swing and dance rhythm
Absolute no pulse, many unconscious tempo fluctuations
Over blows in forte, tries to impress with loud dynamics on the expense of taste
Subtle use of dynamics
No variation in articulation what so ever
Great use of articulation to build tension
Always a bit behind piano, lacks energy
Using sound variety to create development in music. Yes!
Always the same sound - dull!
Fairly good control but static phrasing
Great sense of musical style
No use of musical characters, simply plays what is on the paper
Unconscious, random vibrato
Too slow vibrato, sounds like unstable intonation
Great use of vibrato to build and release tension
Too fast for the hall - not possible to hear the notes in the run
Fast legato runs upwards becomes glissando (applies to euphonium)
Very blurry runs. No coordination between tongue and fingers.
Far too loud and brutal.
Sharp on C and F (applies to F tuba players)
Nice vibrato and GOOD development in long notes
Does NOT slow down when playing loud or soft. Yes!
Does not make variation between similar, repeated phrases.
Good intensity
Really beautiful cadenza, great dispositions
Taking charge. Great stage presence
Insecure, misses alot.
Sound a bit closed and dark that makes articulation hard to hear
Extremely well prepared. Plays EVERYTHING that is on the paper - and adds style on top of that!

There you go, a quick glimpse into my evaluation process.
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1 month ago  ·  

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oysteinØystein Baadsvik – tuba soloist