UIL Sight-Reading Composer Information

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.

General Writing Suggestions

Basic part-writing conventions should be adhered to: avoid parallel fifths and octaves; avoid leaping into
a dissonance; resolve chordal sevenths and leading tones correctly; and use traditional harmonic
progressions (avoiding retrogressions). I strongly suggest that you use the technology in your notation
software to scan for parallel 5th / 8vs before submission. While inevitably a few part-writing errors will
occur the chances of the piece being chosen increases drastically as part-writing problems are reduced.
The most common problems we see in submitted music are:
• Parallel Fifths / Octaves
• Doubled Thirds (Always double the root in root position chords)
• Unresolved 7ths
• Retrogression or unconventional harmonic movement

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.

Expect to revise your work in this process.

 GROUPING OF PIECES BY CONFERENCE

Mixed & Treble Choirs

6A Varsity

4A/5A Varsity

1A/2A/3A/3B Varsity & 4A/5A/6A Non-Varsity

2C/3C MS Varsity; 2B JH Varsity & 1A/2A/3A Non-Varsity

1C MS Varsity; 1B JH Varsity & ALL MS/JH Non-Varsity

Tenor-Bass Choirs

Note: Tenor-Bass choirs are grouped into 4 classes to accommodate the numbers

5A/6A Varsity

1A/2A/3A/4A Varsity & 5A/6A Non-Varsity

2C/3C MS Varsity; 2B/3B JH Varsity & 1A/2A/3A/4A Non-Varsity

1C MS Varsity; 1B JH Varsity & ALL MS/JH Non-Varsity

VOICINGS

Mixed Choirs-----SATB and SAB for all choirs

Treble Choirs-----SSA for all High School choirs (top 3 categories)

SSA and SA for JH & MS choirs

Tenor-Bass Choirs-----TBB for all High School choirs (top 2 categories)

TTB and TB for JH & MS Choirs

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

Conference C MS Varsity/ B JH Varsity and ALL JH/MS Non-Varsity

Meter 4/4 or 3/4

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.

Cadences Authentic and plagal cadences only

Texture Homophonic throughout; unison passages discouraged

In 2-part writing, strive to use contrary motion, as opposed to constant parallel 3rds.
However, open 4ths, 5ths, and/or a minor 7th (implying the V7 chord) are sometimes
necessary.

Rhythm Basic patterns using whole, dotted half, half, quarter notes and a few eighth notes in
pairs; avoid using rests

Length 24 measures in 4/4; 32 measures in 3/4

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

Ranges Please refer to those listed on the website.

Note: The SAB piece should allow for optional octaves for the baritone part on “sol”
throughout the piece

Conference 2C, 3C MS Varsity; 2B JH Varsity and 1A, 2A, 3A Non-Varsity

Meter 4/4 or 3/4

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

Cadences Authentic and plagal cadences only

Texture Homophonic throughout; unison passages discouraged

In 2-part writing, strive to use contrary motion, as opposed to constant parallel 3rds.
However, open 4ths, 5ths, and/or a minor 7th (implying the V7 chord) are sometimes
necessary.

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

Length 24 to 32 measures (4/4 meter) or equivalent number of beats in 3/4 (approximately 32 to

42)

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.

Voicings Mixed: SATB/SAB; Treble: SSA/SA; Tenor-Bass: TTB/TB

Ranges Please refer to those listed on the website

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.

Conference 1A/2A/3A/3B Varsity and 4A/5A/6A Non-Varsity

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

Meter 4/4 or 3/4; no meter changes

Key F or G major work best vocally; however, with careful consideration of voice ranges, D
or Bb major may be an option

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)

Cadences Authentic and plagal only

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

Voicings Mixed: SATB/SAB; Treble: SSA; Tenor-Bass: TBB

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.

No modulations are allowed.

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.

Texture Independent lines and staggered entrances are encouraged.


“Duet” sections are encouraged, but should be limited to no more than 4 measures per
“duet” (no more than 8 measures total).

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.

Voicings Mixed: SATB and SAB; Treble: SSA; Tenor-Bass: TBB

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.

No other modulations are allowed.

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.

Dissonance is acceptable, with proper resolution.

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.

It is important that every section ends with a clear cadence.

Voicings Mixed: SATB and SAB; Treble: SSA; Tenor-Bass: TBB

Ranges Mixed: use the UIL criteria keeping in mind that high g is extreme for soprano and
should be used sparingly. Low G is allowed for basses, but should only be used when a
line dictates it.

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

Special Note for the Tenor-Bass Piece

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.

For further clarification or questions, please contact:

Thomas Rinn, Chair, UIL Choral Sight-Reading: thomasjrinn@gmail.com or (cell) 817-681-3612

Dr. Vivian C. Munn, Consultant, UIL Choral Sight-Reading: vivian.munn@retiree.utrgv.edu or (cell)

956-739-8313