Utah ASTA Composition Contest -- Difficulty Level Criteria TIME SIGNATURES GRADE I 50-72 Measure limit 4/4, 2/4, 3/4 Andante-Allegro moderato Even and predictable phrase structure Simple and predictable form p-f Two- and three-part writing with frequent doubling of lines Clear melodic/harmonic differentiation GRADE II Add: 90 Measure limit 4/4, 2/4, 3/4, Andante-Allegro C, cut-time Longer phrase length, with occasional uneven phrase structure Extended form, with possible formal contrasts pp-ff, with accents Three- (and occasionally) fourpart writing Increased musical independence KEYS RANGE D, G, C maj. Vln . – 1st pos. Modes with Vla. – 1st pos. above notes Vc. – 1st pos. Bs. – 1st pos., 3rd pos. on G Add: A,F, Bb Vln. – 1st pos., ext. Vla. – 1st pos. Vc. – 1st, 2nd , ext. Bs. – 1st, 3rd, 2nd, ½ BOWINGS RHYTHMS Detache Staccato Legato Marcato Slurs up to 3/bow Pizz Simple string crossings Steady quarter and eighth combinations Unit groups of eighths Dotted quarter/eighth 4 beats max. length Add: Slurs up to 4/bow 4th finger pizz Fermata Slurred string crossings Add: Eighth-quarter-eighth syncopation Pickups Unit groups of 16ths Occasional departure from unit groupings Difficulty Level Criteria (continued) TIME SIGNATURES KEYS RANGE BOWINGS RHYTHMS GRADE II ½ All criteria and elements listed above under “Grade II” must predominate; occasional, isolated use of criteria listed below under “Grade III” may be used judiciously in individual parts if no other musical choices are logically – or artistically – possible. GRADE III Add: Add: Adagio, Allegretto 6/8, 5/4 Extended phrasing, occasional uneven phrases pp-ff, fp, accents Sudden dynamic shifts Counterpoint, independence in musical lines Multiple movements Occasional solo parts Open harmonics Simple period/style elements Simple full orchestra (2/instr.) Add: Eb minor keys up to 3#, 3b Modes Chromatic alterations Add: Vln. – 2nd, 3rd, ½ Vla. – 2nd, 3rd , ½ Vc. – 3rd , 4th , ½ Bs. – 4th , 5th Add: Slurs to 8 notes Simple spicatto Ponticello Add: Changing meter Syncopated 16th figures Syncopated ostinati Triplets Difficulty Level Criteria (continued) TIME SIGNATURES GRADE IV Add: Presto, Scherzo Overlapping phrases ppp-fff, sfz Longer form and length Solo/Ensemble parts Simple fingered harmonics Full orchestra (3/instr.) More period/style elements GRADE V Add: Independent parts Solo counterpoint Stylistic nuance Long phrases Phrases with sub-phrases Dynamic changes within the same bow Heavy accents Full dynamic range KEYS RANGE BOWINGS RHYTHMS Add: 3/8, 7/4 Add: Major and minor thru 5#, 5b Add: Vln.1 – thru 5th pos. Vln.2 – thru 3rd pos. Vla. – thru 4th pos. Vc. – thru 5th pos., thumb Bs. – thru 5th pos Add: Simple ricochet Flautato Slurred staccato Slurred long runs Multiple down bow at frog Add: 2 vs. 3 Independent syncopation Add: Changing time signatures Add: Add: Major/minor Vln.1 – thru 7th thru 6#, 6b Vln.2 – thru 5th Vla – thru 5th Vc. – thru 5th Bs. – thru thumb Add: Uneven bow changes Slurred spiccato Difficult runs Add: Changing units of pulse Difficulty Level Criteria (continued) GRADE VI Add: Long phrases within one bow Generally soloistic Demands TIME SIGNATURES KEYS RANGE BOWINGS Add: All Add: All Add: All Add: Add: All bowings played Complex at any part of bow Unorthodox bow changes RHYTHMS