Composer Guidelines 2020
Composer Guidelines 2020
Composer Guidelines 2020
Thank you for agreeing to compose for the 2020 UIL Choral Sight-Reading Contest. Your contributions to the
music education of the choral students of Texas are greatly appreciated. As you begin your work, please review
the attached guidelines for composers. The attached guidelines are meant to assist you in producing music that
fits into the criteria that we are looking for. I also strongly encourage you to look at previously published sight-
reading music for the category in which you are writing. All music is available through JW Pepper.
General Instructions
Computer-generated copies of submissions with piano reduction are preferred. However, neat
manuscripts will be accepted.
Criteria
Refer to specific criteria for each conference on the UIL website (uiltexas.org/music/concert-sight-
reading/choir-sight-reading-criteria), bearing in mind the grouping of classes. The grouping of certain
classifications dictates specific form in many of the pieces (the combined 5A/6A piece for Men that
must have a tag / the combined 4A/5A pieces for Treble and Mixed that cannot introduce altered tones
until the tag, etc). Please note that it is not expected (or typical) that all elements of a classifications
criteria be included in every piece. Also, take special note of the considerations outlined in the Preface.
Remember that you are writing a sight-reading instrument, as opposed to a concert piece. Be as musical
as you can within the confines of the criteria. Avoid surprises, deceptive movement, and slight
alterations of setup melodic or rhythmic patterns. When introducing elements in a piece avoid
introducing multiple challenges at one time (if the rhythm is particularly challenging don’t introduce a
difficult interval simultaneously). The goal is to fairly assess a choir’s mastery of elements.
Take into account not only the range restrictions of the criteria, but also the tessitura of the part for the age
group that will be singing it. Students should not be expected to sight read in the extremes of their range for
extended periods of time.
6A Varsity
4A/5A Varsity
Tenor-Bass Choirs
Note: Tenor-Bass choirs are grouped into 4 classes to accommodate the numbers
5A/6A Varsity
VOICINGS
Please Note: For all choir types, a piece will not be considered unless both voicings
(if required) are submitted for mixed, treble, and/or tenor-bass choirs.
SPECIFIC INSTRUCTIONS
Key F or G major; C major does not work vocally for young voices;
Because of bass range, G major is preferred for mixed and tenor-bass pieces
Harmony I, IV, and V or V7 chords
Melodic skips in the I chord: 3rds---do-mi-do; mi-sol-mi;
4th---do-sol1-do
Melodic skips in the IV chord: 3rds---fa-la-fa; do-la1-do
Melodic skips in the V chord: 3rds---ti-re-ti; sol-ti-sol
Begin on the tonic triad with voices on do-mi-sol, do-mi, or unison do.
Strive to write an interesting bass line, as opposed to one that stays mostly on do and sol.
Rhythm Basic patterns using whole, dotted half, half, quarter notes and a few eighth notes in
pairs; avoid using rests
Form ABA is preferred; the return of the A section should be exact with the exception of slight
variations in rhythm due to text.
Regular phrase lengths of 2 or 4 measures should occur.
A half cadence is preferred in the middle of a section.
Voicings Mixed: SATB and SAB; Treble: SSA and SA; Tenor-Bass: TTB and TB
Key F or G major; C major does not work vocally for young voices; Because of bass range, G
major is preferred for mixed and tenor-bass pieces
Harmony I, IV, and V or V7 chords; an occasional ii, or vi chord may be used for harmonic interest
Melodic skips in the I chord: 3rds---do-mi-do; mi-sol-mi;
4th---do-sol1-do
Melodic skips in the IV chord: 3rds---fa-la-fa; do-la1-do;
4th--- do-fa-do (expected)
Melodic skips in the V chord: 3rds---ti-re-ti; sol-ti-sol;
4th---sol-re-sol
Rhythm Basic patterns using whole, dotted half, half, quarter notes and some eighth notes in pairs;
dotted quarter note followed by an eighth on strong beats only; avoid using rests
Form ABA’ is preferred; the return of the A section may contain slight variations.
Regular phrase lengths of 2 or 4 measures should occur.
A half cadence is preferred in the middle of a section.
Special Note It is helpful to write a “complete” piece first (SATB, SSA, or TTB) and then arrange it for
SAB, SA, or TB. Therefore, it is acceptable to have slight variations in the melody or
harmony between the two voicings.
Do NOT set the same piece for mixed, treble, and/or tenor-bass choirs.
Special Note for the 2C/3C/2B/3B Tenor-Bass Piece: Add a more challenging 8-measure section at
the end using the criteria for 3B choirs. Include the re-fa-re interval, dotted quarter notes,
and possible 5ths.
Special Note: Design this piece for 9th grade level since an overwhelming majority of the choirs are
non-varsity. Stats from 2015: Mixed---108 of 129; Treble---362 of 371; Tenor-Bass---81
of 82 entries
Harmony I, IV, V or V7 chords; ii and vi chords are desirable where harmonically appropriate
Melodic skips in the I chord: 3rds---do-mi-do; mi-sol-mi
4th---do-sol1-do; 5th---do-sol-do
Melodic skips in the IV chord: 3rds---fa-la-fa; do-la1-do;
4th---do-fa-do; 5th---do-fa1-do (expected in bass lines)
Melodic skips in the V chord: 3rds---ti-re-ti; sol-ti-sol;
4th---sol-re1-sol; 5th---sol-re1-sol
Melodic skip in the V7 chord---re-fa-re (expected)
Texture Independent lines are encouraged, however “duet” sections should be limited to 4
measures per “duet”; avoid voice crossing
Rhythm Whole, dotted half, half, quarter notes, and eighth notes in pairs; a greater use of eighth
notes is expected; dotted quarter note on strong beats is desired; whole, half, and quarter
rests may be used.
Length Approximately 32 to 36 measures in 4/4 meter or the equivalent number of beats in 3/4
meter
Form Depending on length of sections, several options are possible:
ABA’B’; ABA’C; ABCA’; ABCB’
Codas (codettas) are acceptable as are phrase extensions
Regular phrase lengths (4 measures) are preferred
Ranges Refer to the ranges listed on the website; however, avoid the use of extreme ranges
(soprano I---high f; alto---low a; bass---low Ab) except for a couple of instances where
the music dictates it.
SSA---soprano II should remain between d’ and d”
TBB---Baritone should remain between d and d’
Special Note Do NOT set the same piece of music for mixed, treble, and/or tenor-bass choirs
Conference 4A/5A Varsity
Special Note Since the criteria varies between the 2 classifications, it is necessary to use the 4A criteria
for the first section of the piece (approximately 28 to 32 measures). A more challenging
section is required for 5A at the end using altered tones, more difficult melodic skips, and
possibly more challenging rhythms.
Meter 4/4 and 3/4 are recommended; alla breve (“cut time”) should not be used; 2/4 is
discouraged; meter changes are forbidden
Key Strive to use keys other than F or G major; depending on ranges, the keys of D, Bb, Eb,
and A major are encouraged.
Harmony I, IV, V/V7 chords allowed; ii, iii, and vi chords are encouraged as are 7th chords if they
are properly resolved. Dissonance is allowed with proper resolution, but for no more
than two chords in succession.
Melodic skips within the I, IV, V or V7, and vi chords are allowed (including 6ths and
octaves) as long as they are not excessive. Leaps of a tritone or 7th are forbidden.
Altered tones, approached and left by step-wise motion, are required for 5A choirs in the
last section of the piece. The following altered tones are permitted: “fi” (V7/V); “si” (V/
vi); “di” (V/ii); and “te” (V7/IV). The most commonly used altered tones at this level are
“fi” and “si”.
Cadences Authentic and plagal cadences are preferred. However, an occasional deceptive cadence
is allowed if it adds to the harmonic interest.
Rhythm Whole, dotted half, half, quarter notes and 8th notes in pairs; dotted quarter notes are
expected; whole, half, and quarter rests may be used.
5A Section: Ties across barlines and simple syncopation may be used. Sixteenth-note
patterns and triplets are forbidden.
Length Depends upon the length of the 4A section. The 5A section should be an additional 8-12
measures, with a total of 40 measures for the piece.
Form Depending upon the length of sections, several options are possible: ABA’B’; ABA’C;
ABCA’; ABCB’. A through-composed piece is discouraged.
Codas (codettas) and phrase extensions are allowed. At this level, phrase lengths do not
necessarily need to be regular.
Ranges Mixed: follow the ranges listed in the UIL criteria for 4A
Treble: Use 4A criteria; however, limit the lowest note to d’ for the SI and SII voices
Tenor-Bass: Use the 4A criteria; however, for the baritone voice, limit the lowest note to
c
Conference 6A Varsity
Meter 4/4 and 3/4 are preferred; 2/4 is permitted; meter changes should not be used
Alla breve (“cut time”) and 6/8 meters are listed in the criteria for study. However, the
sight-reading committee believes that these meters should be taught in the classroom, but
not tested in the sight-reading room. Therefore, avoid writing pieces in alla breve (“cut
time”) or 6/8.
Key Major keys through 4 sharps and flats are permitted; choose a key that works best range-
wise, for all voices.
A modulation to the relative minor key (most likely in the B section) with a return to the
major is encouraged, but not required.
Harmony The following altered tones, approached and left by step-wise motion, are encouraged:
“fi” (V/V); “si” (V/vi); “di” (V/ii); and “te” (V7/IV). Other altered tones, i.e. “ri” with
“fi” (V/iii) are allowed, but discouraged.
All melodic intervals are permitted, including 6ths and octaves, as long as voice leading
is logical. However, tritones and sevenths are forbidden.
Cadences Authentic and plagal are preferred; however, an occasional deceptive cadence is allowed
for harmonic interest.
Texture Independent lines and staggered entrances are encouraged. Approximately 25% of the
mixed piece may include independent vocal writing, less than that in the treble and tenor-
bass pieces.
Rhythm Simple syncopation and ties across barlines are acceptable. Dotted patterns, including an
occasional dotted eighth and sixteenth, may be used. Other sixteenth note patterns and
triplets are forbidden.
Length Mixed and treble pieces: approximately 44 measures is the desired length.
Tenor-Bass piece: since 5A will also be reading the piece, there must be a definite
stopping place for them (at approximately 32-36 measures). The total length should not
exceed 44 measures.
Form Depending upon the length of sections, several options are possible. A return of the A
section, with variations, is desirable. However, a through-composed piece is also
acceptable.
Codas (codettas) and phrase extensions are allowed. At this level, phrase lengths can
vary.
Treble: SI---consider g” extreme and avoid if possible; SI---limit the range from c’ to e”;
Alto---a to c”
Tenor-Bass: Tenor and Bass---follow the UIL criteria; Baritone---limit the lowest note to
c
Strive to make this piece a bit easier than the mixed or treble, since 5A choirs will be
reading it.
A definite stopping place with a strong final cadence is required for 5A choirs.
The final section for 6A can be a bit more challenging if the music dictates it.