By Ashby Goldstein

As the school year draws to a close, many band programs begin preparing for placement evaluations. These assessments can serve a range of purposes: identifying student growth, organizing ensemble rosters, and guiding future instructional planning.

There is no one-size-fits-all model for this process. What follows is a set of strategies and practices to consider—especially for those seeking to support student retention and musical development while creating systems that reflect the values of their programs.

Framing the Process

The way we frame placement evaluations can significantly impact how students perceive them. For many, the word audition implies an all-or-nothing judgment: you either “make it” or you don’t. However, in most school settings, that’s not the reality. More often, we’re seeking to place students appropriately—not to determine whether they can participate at all.

Terms like music skills assessment, placement evaluation, or even interview can better reflect this intention. zthis distinction can help reduce anxiety and create a more welcoming atmosphere.

For those transitioning from middle to high school, conducting these evaluations in the student’s home school environment can be beneficial. Framing the evaluation as an “interview” paired with a short performance and survey allows directors to build rapport and gather relevant musical and personal information in a less intimidating setting.

A Practical and Musical Assessment Framework

Here is an example of an accessible, consistent, and well-rounded assessment I originally developed while teaching middle school. It consists of four short performance exercises—each approximately eight measures long—designed to sample a broad range of essential musical skills:

Exercise A: Concert F, 2/4 time – based on the F major scale and arpeggio, with varied articulation patterns
Exercise B: Concert Bb, 3/4 time – the first eight measures of The Star-Spangled Banner, testing phrasing and range
Exercise C: Concert Eb, 4/4 time – a lyrical melody such as Somewhere Over the Rainbow or When You Wish Upon a Star
Exercise D: Concert Ab, 6/8 time – a nursery rhyme or folk tune (e.g., Hickory Dickory Dock or For He’s a Jolly Good Fellow) for compound meter reading

This format proved especially effective in middle school settings because it remained accessible to younger students—even those completing their first year on an instrument—while still providing a clear assessment of more advanced players. It also functioned well as a baseline for high school groups, including advanced ensembles, by offering consistent criteria for comparison.

In clusters where middle and high school directors collaborate, a shared assessment structure can offer continuity, improve transitions, and create reliable benchmarks across grade levels. When both programs agree on a baseline evaluation, it becomes easier to track growth and make informed placement decisions as students progress through the system.

These four exercises, paired with a few major scales, a chromatic scale, and a brief sight-reading excerpt, make for a comprehensive yet manageable assessment. Sight-reading materials might gradually increase in difficulty, allowing students to play confidently for as long as they are able. This combination provides a holistic picture of musical readiness while remaining feasible for both students and educators.

Optional Etudes and Rubrics

For programs with multiple ensembles, directors might consider providing optional lyrical and technical etudes for students who wish to be considered for upper-level groups. When selecting this material, one helpful strategy is to choose excerpts that are a level below what might be considered “standard” for a student’s current grade. For example, 7th–8th grade All-State or regional etudes may be appropriate for younger high school groups, while 9th–10th grade material could suit more advanced ensembles. This approach ensures the music is challenging but not overwhelming.

It’s also important to ensure the material selected is truly musical. If we want students to perform expressively, we need to provide them with excerpts that have actual melodies and phrases that sound like music, not just patterns of notes and rhythms that appear to be generated without artistic intent. Assigning disconnected or abstract passages may test technical ability, but it can frustrate students.

If there is a desire to evaluate rhythmic accuracy specifically, directors might consider assigning brief rhythm exercises to be counted aloud as a separate part of the placement evaluation. This allows students to demonstrate rhythmic precision while preserving musical integrity in the playing excerpts.

It’s worth remembering that higher-level audition material—particularly that written for 11th–12th grade Region or All-State groups—is often designed to distinguish the most advanced students statewide. It may not reflect the developmental level of a typical school ensemble and could discourage participation if used too broadly.

Supplemental materials like the Rubank series also offer a variety of melodic and technically sound exercises for different levels and can serve as excellent resources when additional material is needed.

To promote transparency and clarity, directors may find it helpful to use a rubric when evaluating students. A clear breakdown of scoring categories—such as tone quality, rhythmic accuracy, articulation, phrasing, and musicality—allows students to understand expectations and focus their preparation. Rubrics also support consistency across multiple evaluators.

Logistics and Environment

Placement evaluations run most smoothly when logistical variables are minimized. Some directors choose to evaluate students live, while others prefer recorded submissions—particularly in large programs or when rehearsal time is limited. Each format has its merits: live evaluations provide real-time performance practice (including managing nerves), while video recordings allow students to submit their best performance after multiple takes.

Another consideration is the structure and pacing of the evaluation timeline. Rather than conducting all components of the placement evaluation in a single week, it may be beneficial to adopt a distributed approach throughout the spring semester. For example:

Lyrical exercise submitted in February
Technical etude assigned in March
Four short performance exercises completed in April
Scales and sight-reading finalized in May

This staggered format reduces stress and last-minute cramming while providing more opportunities for feedback. It also allows directors to better observe student consistency, practice habits, and overall musicianship over time. This model transforms the evaluation into a series of smaller, attainable performance goals—rather than a single high-pressure audition at the end of the year.

While this approach may not suit every school calendar or program, it can be particularly effective for larger ensembles or directors aiming to maintain motivation and provide more frequent feedback across the second semester.

Evaluations with Dual Purpose and Re-Enrollment Flexibility

In many programs, placement evaluations also serve as students’ semester exam. This dual-purpose structure gives students a defined goal while allowing directors to fulfill grading requirements in a musically meaningful way. It can also help maintain engagement among students who are uncertain about returning, encouraging them to prepare as if they are continuing—even if their plans are undecided.

Around the time of placement evaluations, it is also helpful to administer an end-of-year survey to all students. These surveys can collect feedback on the year but also serve as a checkpoint for student re-enrollment. Since course selections are often finalized before key end-of-year events, some students may change their minds after concerts, awards, or that long-awaited band trip.

Including an “I’ve changed my mind—I’d like to return to band” option on the survey gives students an easy path to re-enroll without needing to go through a counselor. This small addition can improve re-engagement and remove barriers.

Seniors and End-of-Year Adjustments

Senior year presents unique demands, and expectations for graduating students may need to be adapted. Some directors choose to forgo full evaluations for seniors in favor of brief scale checks, concert participation, and an exit interview.

These exit conversations can provide valuable insights into the student experience while giving seniors a respectful and affirming close to their time in the program. By reducing demands at year’s end, directors also help preserve student focus and bandwidth for the major transitions ahead. If you require anything of seniors, encourage them to “audition” for college band—even if informally.

Communicating Results Thoughtfully

When it comes time to share placement results, directors should consider privacy, timing, and tone. Rather than posting ensemble rosters publicly, some programs opt for individualized notifications via email or printed letters.

This approach allows students to process results privately and avoids unnecessary public comparison. Including a brief message outlining next steps—such as rehearsal times, key dates, or ensemble expectations—can also help build clarity and enthusiasm for the upcoming year.

Final Considerations

Every program has its own rhythm, challenges, and student population. What works in one school may not be feasible in another. Still, thoughtfully designed placement evaluations—those that emphasize accessibility, consistency, and clear communication—can significantly support student growth and program stability.

Directors might find it helpful to reflect on questions like:

Is this process reinforcing or undermining student confidence?
Are students given enough time and clarity to prepare?
Do the materials match the program’s goals—and the readiness of most students?

Ultimately, placement evaluations offer more than just rosters and rankings. At their best, they provide students with direction and motivation. When framed and implemented thoughtfully, they help prepare students for what comes next—and affirm their place in something meaningful.