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
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