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Live Performance Protocols

Rules governing the conduct of live performances at this Festival.

Check-In and Submitting Scores

  1. Upon arrival at the performance venue, you or your ensemble must check in at a station operated by Festival staff or volunteers for that purpose. If space is available for warm-ups or storage, on-site Festival representatives will provide the location of such space during check-in.
  2. Please arrange to arrive to check in between fifteen (15) and thirty (30) minutes before your scheduled start time.
  3. You must submit scores to the Festival front-of-house personnel. You must submit one (1) score for each repertoire selection you are performing. The adjudicator uses your scores while assessing your performance. Individual disciplines may allow exceptions to this submission requirements.
  4. Submit scores in the order in which you intend to perform your selections. This need not be the order in which they appear in Festival documentation.
  5. You are not required to submit a score of a Set Piece unless otherwise specified.
  6. Each score you submit must be clearly legible.
  7. You must clearly and neatly mark bar or measure numbers at the start of each system of music in any score in which such markings are not already present.

Warm-Ups and Rehearsals

  1. Except in the Organ discipline, you or your ensemble may not rehearse or warm up in the performance space, unless specifically authorised to do so by the adjudicator.
  2. In select disciplines, the venue may have space available for warm-ups. Pianos or other instruments at a venue may not be used for warm-ups without written permission from the venue.

Entering the Performance Space

  1. You may enter the performance space to hear other performances while respecting all audience protocols (outlined here).
  2. You must enter the performance space in advance of your class when directed by Festival adjudicators, staff, or volunteers.

 

Photocopied, Downloaded, or Unpublished Scores

  1. All scores you or your ensemble submit must be original published scores except as noted below.
  2. You or your ensemble may not submit a photocopied score unless you have written permission from the copyright holder, which you must submit along with the score.
  3. You or your ensemble may submit scores purchased online for download and printing. If so, either the score must include information indicating it has been legitimately purchased, or you must submit a receipt or other proof of purchase along with the score. Otherwise, the score will be treated as a photocopy.
  4. You or your ensemble may submit scores that are legitimately identified as being in the public domain. If so, either the score must include information identifying it as such, or you must submit supplementary documentation identifying it as such along with the score. Otherwise, the score will be treated as a photocopy.
  5. You or your ensemble may submit unpublished scores by providing written permission to perform the selection from the copyright holder along with the score. Any such score submitted without written permission will be treated as a photocopy.

Performing Your Selections

  1. The adjudicator’s marks records establish the order of performance of participants during each class. You or your ensemble must perform in the order specified.
  2. You must perform every selection you are scheduled to perform. You may perform multiple selections in any order you wish. Please provide this order to front-of-house while checking in and submitting scores.
  3. When your turn to perform arrives, you or your ensemble will proceed to the stage once called by the adjudicator’s assistant.
  4. You must wait to begin performing for a signal from the adjudicator or adjudicator’s assistant.
  5. Unaccompanied vocal or choral performances may begin with a tone or chord given by a piano or other instrument to give the performer(s) their starting pitches.
  6. Except where otherwise specified, you may not introduce yourself or your ensemble nor announce the repertoire you are performing.
  7. If you are the teacher, director, or conductor of an ensemble, you may conduct the performance of a large ensemble, but not the performance of a duet, trio, or small ensemble.
  8. Once you have completed your performance, unless directed otherwise, you or your ensemble leave the stage and remain in the performance space until the end of the class, once the adjudicator is handing out certificates.
  9. Your performance is expected to finish within the performance times specified in your registration. In any case, your performance must not exceed the time limit for the class, if there is one. The adjudicator may take the extent to which you have overrun the time limit or how much of your selection remains un-performed into account when assessing your performance.
  10. At any time, the adjudicator may call for you to cease your performance.
  11. The adjudicator may issue any additional direction with respect to the conduct of your or your ensemble’s performance at their discretion, such as the observing of certain score markings, and may direct or permit you or your ensemble to re-perform one or more of your selections in whole or in part.
  12. The adjudicator's decision regarding the conduct of any performance is final.

Equipment

  1. Unless otherwise indicated, you or your ensemble must supply all instruments and other equipment required for your performance, such as foot stands or music stands, although the Festival will supply music stands for Bands or Orchestras classes. The Festival may be able to supply up to one (1) music stand for classes in other disciplines; however, the Festival makes no guarantee of such availability.

Memorisation

  1. While performing from memory is encouraged, in this Festival you or your ensemble’s performance(s) need not be from memory, and the adjudicator will not take memorisation or lack thereof into account when assessing performances, save as a last-resort means of breaking a tie.

Accompaniment

  1. In live performance, all accompaniment must be live accompaniment by piano unless otherwise specified.
  2. You or your ensemble are solely responsible for retaining any accompanists required for your repertoire and for all communication with such musicians.
  3. The Festival may not have pianos available at all venues, and venues possessing their own pianos may not provide permission to the Festival to use them. The Festival website will note which venues contain pianos available for Festival performance. Participants must bring their own keyboard instruments to any venue where pianos are not available.