November 10, 2018| $15
Contemporary and Historical Judged Music Festival
- Please register at mtfest.com
- Pay fee online through mtfest.com. Click on Billing, then click on the $ next to the event. Pay with Visa or Mastercard. After payment is made, you may print a copy of the invoice for your records. You do not need to mail anything to the Chair. No late applications will be accepted. All fees are nonrefundable.
Levels and Time Limits
|1-3 years study*||5 minutes|
|4-7 years study||7 minutes|
|8 or more years study||10 minutes|
**This festival is not recommended for those who have studied less than a year in total.
Two memorized compositions: one in the contemporary idiom from the 20th or 21st century and a second piece from any other period. Both selections must be played from memory, unless a piece uses non- traditional notation. No simplifications, transcriptions, or popular songs allowed. Contemporary settings of folk songs are acceptable, especially for beginning students. Multi-movement works are allowed if they fit the time limit. Impressionistic pieces must fall into one of the contemporary idioms in order to be listed as the contemporary selection. The student must provide one copy of music for the judges. Otherwise, the student will receive “comments only” and no rating.
On the application, please substantiate that the contemporary composition reflects one of the following idioms by noting its number and letter. For example: 1a, 2c, etc:
- Melodies are fragmented, irregular, or disjunctive.
- Significant parts of the piece, or even the whole piece, lack melody.
- The melody is constructed by chance or serial technique.
- The melody is built from non-traditional scales such as modes, a scale with “blue” notes, etc.
- Chords are unrelated to a major-minor system—clusters, altered chords, quartal or quintal harmony.
- The composer makes simultaneous use of two chords or keys (bitonality).
- The piece is not in any definable key (atonality).
- Unresolved dissonance is common.
- The piece or large parts of it contain no bar lines.
- The meter is irregular, such as 5/4.
- There are frequent meter or tempo changes.
- Cross rhythms (polyrhythms)—5 against 4, 7 against 8, etc.—are prominent.
- Jazz rhythms prevail.
- Other considerations
- Non-traditional notation.
- Knocking, tapping or plucking some part of the instrument not traditionally used in this way.
- Use of prepared piano.
- Use of extreme range on the instrument.
For piano repertoire suggestions, see Fall Festival Resource Guide.
NVMTA supports the use of published musical scores. If a photocopy must be used, the NVMTA Copyright Release Form, signed by a parent or teacher, must be submitted to the chairman by email or postmarked at least one week prior to the event. Please submit this form also for music purchased or downloaded from the internet. Students using photocopies (or anything resembling a photocopy), either for themselves or the judges, without having provided the Copyright Release Form by this deadline, may play for comments only.
Open to all instruments. Teachers may enter as many students as desired, as long as all teacher guidelines are fulfilled. Open to all levels and to adults of any proficiency.
All students receive comments and a certificate of participation.
Teachers who enroll 1 to 10 students are obligated to judge for 3 hours; teachers who enroll 11 or more students are obligated to judge for 6 hours. Teachers must be available to help in other capacities at the discretion of the chairman.
Teachers must agree to abide by the Teacher Responsibilities.
Students must bring 2 rating sheets downloaded from mtfest.com which will be available after the schedule is published. Students must provide one published score with all measures numbered, and which must not bear the student’s or teacher’s name.
This festival is in audition format. No one is allowed in the audition room except for the performer and two judges. Students do not receive cumulative points as in other festivals. They receive written comments and ratings, and a certificate of participation.