Music Handbook

Transcription

1 Music Handbook The Socorro Independent School District does not discriminate on the basis of race, color, national origin, sex, disability, or age in its programs, activities or employment. SISD adheres to all Title VI Regulations prohibiting discrimination, the Age Discrimination in Employment Act of 1967, as amended, section 504 of the Rehabilitation Act and the Americans with Disabilities Act. The following person has been designated to handle inquiries regarding the foregoing: 1

2 TABLE OF CONTENTS SISD FINE ARTS DEPARTMENT INFORMATION 5 DEPARTMENT CONTACT INFORMATION 6 BUDGET 7 INVENTORY PROCEDURES 8 EQUIPMENT REQUESTS 14 INSTRUMENT RENTAL 15 INSTRUMENT RENTAL FEES DEPOSITS 16 INSTRUMENT REPAIR 17 LOST AND STOLEN EQUIPMENT 19 ENTRY FEES 20 LETTER JACKETS 21 PIANO REPAIR AND TUNING 22 ELIGIBILITY REQUIREMENTS FOR ALL EXTRACURRICULAR ACTIVITIES 23 ELIGIBILITY CALENDAR CONTEST PROCEDURES--SISD 25 CONTEST PROCEDURES UIL 26 UIL MARCHING CONTEST RULES AND PROCEDURES 27 UIL CONCERT CONTEST RULES AND PROCEDURES 34 UIL SIGHT READING CONTEST RULES AND PROCEDURES 40 COPYRIGHT POLICIES 51 MUSIC INFORMATION 52 STUDENT TRAVEL 53 BAND 57 USE OF ELECTRONICS IN UIL MARCHING BAND CONTEST PERFORMANCES 58 MARCHING BAND SCORING AND ADVANCEMENT PROCEDURE 63 BAND PERFORMANCE REQUIREMENTS 67 2

3 BAND SIGHT-READING CRITERIA 68 CHOIR 71 CHOIR PERFORMANCE REQUIREMENTS 72 CHOIR SIGHT-READING CRITERIA 74 ORCHESTRA 77 ORCHESTRA PERFORMANCE REQUIREMENTS 78 RESOURCES 85 TEC CHAPTER 76. EXTRACURRICULAR ACTIVITIES SUBCHAPTER AA. COMMISSIONER'S RULES 88 MARCHING BAND RESOURCES 90 EIGHT HOUR MARCHING BAND RULE Q&A 91 HEALTH TIPS FOR MARCHING BAND 93 CONCERT BAND RESOURCES 95 CONCERT BAND SIGHT-READING FREQUENTLY ASKED QUESTIONS 96 TMAA SIGHT-READING PROCEDURE FOR BAND 103 CHOIR RESOURCES 106 TMAA SIGHT-READING PROCEDURE FOR CHOIR 113 ORCHESTRA RESOURCES 115 ORCHESTRA SIGHT-READING CRITERIA 116 TMAA SIGHT-READING PROCEDURE FOR ORCHESTRA 119 OTHER VITAL INFORMATION 122 FUND RAISING 123 STUDENT CODE OF CONDUCT--SOCORRO ISD 124 FORMS 134 3

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5 SISD Fine Arts Department Information 5

6 DEPARTMENT CONTACT INFORMATION Don Rominsky, Director of Fine Arts (915) Cecil Crabtree, Assistant Director of Fine Arts (915) Margie Monje, Administrative Assistant (915) Norma Salcido, Secretary of Fine Arts (915)

7 Budget Each department band, choir, orchestra, flags, theater, drill team, mariachi - have a small amount budgeted through the fine arts office. In all cases, this money is designated as general supplies that are specific to your program and is to be used for items such as music, mouthpieces, bows, and other accessories for the designated group that we do not inventory. This budget cannot be used for instruments, anything that can be classified as furniture, technical or audio equipment, or classroom supplies that are provided for every other teacher on campus. The budgeted amount for each program is listed in the campus budget that has been received by the campus principal. The procedure for spending the monies will be as follows: 1. The teacher will check the bid list for the proper vendor to use for any desired item. 2. The teacher will then give the appropriate information to the proper person on each campus to enter in the computer. Information that your campus budget clerk must follow have is as follows: Vendor Description of items requested Cost of each item Projected total cost Bid number Item number on Bid 3. Please remind each person that the fine arts office must approve the items and to please put the campus number followed by FA (i.e. 001FA for Socorro High School) as the approval code. We will check for open requisition then print the requisition, check the balance in the account, be sure it is appropriate equipment for this account is being ordered, and approve requisitions. Once requisitions have been converted to purchase orders they are sent to the campus. It is the responsibility of each teacher to follow through with his or her campus budget clerk and get a copy of the requisition from them. Once I have approved the requisition this office no longer has anything to do with campus allocated funds. 4. The department doesn t approve limited purchase orders. All fine arts purchases must be placed on regular purchase orders. 5. Once items are received, the teacher will turn in the signed invoice to the proper campus clerk who will then submit it for payment. Be sure to keep a copy for your records in case this is lost. 6. Bid lists can be obtained on line at 7. If items are delivered to the fine arts office, we will receive them in the computer. The director will be contacted to pick up items at the department as soon as they are received. 8. All monies not spent by January 15 th will be lost unless written justification can be given to the fine arts department. 9. Fine Arts monies cannot be used for any material that is normally purchased for the regular classroom teacher. i.e..paper, pens, etc. 10. Do not use Fine Arts monies for items from the warehouse, print shop, or Office Depot. 7

8 Inventory Procedures Inventory Safeguard Procedure All unused equipment is to be kept in a secured, locked area at all times. This inventory must be checked and verified every nine weeks of the school year. A campus plan must be in place to have equipment secured and monitored at all times Program Equipment - Beginning of Year The director will be sent an electronic copy of the inventory for their discipline and campus. He/She will review the inventory checking for accuracy and the program location of all equipment. A signed hard copy of the verified inventory is due to the Fine Arts office by September 6th, and will be forwarded to the district s Department of Business Services. Remember: Directors are responsible for confirmed equipment assigned to them. Program Equipment Mid Year Traditional Middle School (6, 7, & 8) inventories will take place the last week of January through the first week of February. These are scheduled through the fixed asset auditors and teachers will be notified as soon as the schedule is made available to the Fine Arts Department. Program Equipment End of Year Each director will be sent an electronic copy of their inventory which will be used to get ready for a district or director generated inventory. Some programs with be physically inventoried by the district s Department of Business Services. Those directors will be responsible to prepare equipment for the end of year inventory. This inventory will take place from May 15 th thru May 30 th. It is recommended that the director be available to answer any questions and to assist in the inventory. No instruments will be accepted by the Fine Arts office for repairs after May 1 st until the campus inventory is completed. All equipment listed on the physical inventory must be present on the campus for this audit. In most programs the director will be responsible to take an inventory of their disciplines equipment. Each director is asked to: Use the comment area of the inventory for; tag replacement, note of police report number for stolen instruments or loss of instrument. (this area is not for condition of equipment) Highlight any instrument that is missing. Note any new, donated, or unlisted instruments on the blank form included in your inventory. Print your complete name on the first page of your inventory initial each page and sign the last page. Please check off each instrument as you verify its location. Do not delete any entries on the electronic copy use the comment section to inform the auditors the status of the equipment. Return a hard copy of your inventory to the Fine Arts office and a corrected electronic copy to XXXXXXXXXXXXXX 8

9 Equipment Transfer An Asset Transfer Form (ATF) must be completed for the permanent transfer of assets between schools or departments. Instructions on accessing and completing the form are included. o Go to select departments, FINANACIAL SERVICES, fixed assets, and fixed asset forms. o Select Asset Transfer Form as the transfer type at the top of the form and select the campus/department that will be receiving the equipment. o Please remember that all items in red font need to be filled out completely. o Sample form filled out for transfers in Attachment 1. For Fine Arts, Financial Services will forward the Asset Transfer Form to the Fine Arts Department for approval. The form will be then be reviewed by the fixed asset staff. If the form is incomplete or needs corrections, the fixed assets staff will send it back to the contact listed on the form for corrections. Once the form is complete and without errors, the fixed assets staff will send the Asset Transfer Form back to the contact listed on the form with your control number. The control number is your confirmation that the fixed assets department has received a completed copy of the transfer form. You may continue the process to remove equipment from the campus/department. Transfers/Disposal of computer equipment and telecommunication equipment require approval from the Department of Technology. If the transfer is only temporary, Equipment Usage Agreement (Attachment 3) should be used. The school requesting the temporary transfer should complete the form. The original form should be kept by the campus the equipment belongs to. The requesting campus keeps a copy. These forms are not to be sent to Financial Services, but the forms must be available during inventory. Property Disposal All items must be sent to the warehouse where they can properly be disposed of through a public auction. Under no circumstances can campuses or departments dispose of property. Campuses/Departments need to fill out an Asset Transfer Form (ATF) (Attachment 2). o Select Surplus as the transfer type at the top of the form and select Surplus-999 as the receiving location at the bottom of the form. o Sample form filled out for transfers in Attachment 4. Please remember that all items in red font need to be filled out completely. Transfers/Disposal of computer equipment and telecommunication equipment require approval from the Department of Technology. New Acquisitions Equipment donated, purchased by fundraising money, or by the parent organizations must be entered into the district s data base. Please send an to the Fine Arts office with the following information: Type of instrument Serial number Manufacture 9

10 Model Number Date acquired Estimated value Once this information is received, the Fine Arts and Financial Services Departments will process a Fixed Asset Form (attachment 1) and issue a fixed asset number, which the director must attach to the equipment. 10

11 11 Attachment 1

12 12 Attachment 2

13 13 Attachment 3

14 Equipment Requests New equipment will be purchased by the fine arts office at the beginning of each new budget cycle using the following procedure. 1. The entire feeder pattern will meet to determine what will be purchased. The head high school director of each discipline will coordinate this activity. 2. Monies are allocated based on the need of each high school s feeder pattern. 3. A request of equipment will be turned in by the designated date of each year listing the following: Type of equipment include brand, model School where equipment will be located Quantity Signature of all head directors within the feeder pattern All equipment will be listed in order of preference and justification. We will no longer allocate a certain amount to any feeder pattern. Equipment will be purchased on a need basis and justification. Each teacher will have to show a need for the equipment. i.e. We will not order a new tuba when you have 6 on your campus and only 2 tuba players. Verification will be rental cards turned into fine arts office by the designated date. Final decisions on what equipment will be ordered by the fine arts administrative staff Only instruments will be purchased with this money. We will not purchase any type of sound equipment with the money 4. Equipment will be ordered from the fine arts office. 5. When equipment is received it will be tagged and distributed to the appropriate school. 6. A wish list for the following year must be turned in by January so budget issues can be addressed. Please keep in mind that we use these wish lists to also expend extra monies at the end of each fiscal year. 7. Request form is available on the web site under forms. 8. Equipment request forms not submitted by September 1 will not be processed and monies will be redistributed. 14

15 Instrument Rental Socorro ISD provides a limited number of instruments for students to rent during the school year; however, it is strongly suggested that each student purchase their own instrument. It is assumed that students shall purchase or rent their own musical instruments whenever possible. Where the school district does not have enough instruments available to meet the demand, band directors shall assign them based on the needs of the music program. Students pay a minimal NON REFUNDABLE fee of $45.00 per year to use each instrument. This fee covers the time period of June 1 though May 31 of the following year. Teachers may check instruments out to students for the summer provided the ENTIRE usage fee is paid prior to summer break. The following guidelines will be adhered to when issuing a student a district-owned musical instrument: 1. Students will only pay one rental fee even though they may be using more than one instrument. i.e. Percussionists, a bassoon player who is playing cymbals for marching season, a student plays bassoon in concert band and saxophone in the jazz band. 2. Usage fees may be waived by the principal in hardship cases. When applicable, the principal s signature must appear on the student rental agreement. 3. Three part rental agreement must be completely filled out and signed by parent before student can be issued instrument. One copy will go to the parent, one copy kept by the director, and one copy will be turned into the fine arts office. Copies are to be turned into the Fine Arts office within 10 days after instrument is issued. We are being asked to provide this documentation to auditors. Any director not in compliance, written notification will be given to campus administrators. 4. Fees will be paid to the campus business manager or secretary and they will be responsible for receipting and depositing monies to the finance department. A student must pay the fee in advance and take the receipt to the band director who shall issue the instrument. 5. Please write in the following information: a. Condition of Instrument b. Tag Number 6. Please remind all students that the fee is NON-REFUNDABLE should the student exit from the music program for any reason. 7. The band directors have the responsibility of submitting to the Director of Fine Arts or designee a list of students using district-owned musical instruments including the serial numbers of the instruments issued. They shall maintain an inventory of instruments assigned to their respective campuses. The name of student shall be included on the inventory list. Each time there is a change please notify the fine arts department via or other form or written notification within 10 days of the change. 8. Students will be responsible for all repairs or damage to an instrument while in their care. 9. Should a band director request that a student switch from a personally owned instrument to a districtowned instrument, no fee shall be charged. For example, a student is asked to switch from clarinet to contrabass clarinet in order to achieve optimum instrumentation. 10. A payment plan can be used as long as director keeps up with payments and all is paid before the end of the first semester. 11. All Rental forms with supporting documentation are to be turned in to the Fine Arts Director and not support staff 5 days after students have rented instrument 12. No student is to take home or use school instruments until all payment and/or documentation is received. 15

16 Instrument Rental Fees Deposits All rental fees will be collected and deposited on campus. Each campus business clerk will be responsible for depositing money at central. Monies are deposited into the general fund. Include the following on each rental form: Receipt Number Date of Payment Amount Paid You cannot keep funds to purchase equipment for your campus. i.e. percussion money to purchase mallets, etc. All monies are to be deposited immediately upon receipt. Auditors have a large concern that monies are not being deposited and/or collected for instruments. This is in direct violation of district policy. You must show that funds are being collected for each and every instrument unless campus administrators issue a waiver or that one of the exceptions is noted on the rental cards. 16

17 Instrument Repair Socorro Fine Arts Department maintains a budget for instrument repair. Repairs do not cover mouthpiece replacement. The following procedure will be used when submitting instruments for repair: 1. Come to the office and someone will assist you in checking in your repairs. DO NOT LEAVE REPAIRS UNLESS SOMEONE FROM THE FINE ARTS STAFF IS WITH YOU. Do not ask the custodian to open the door for you to leave repairs. Call before you come to insure someone will be here when you arrive. The Fine Arts Office will not accept repairs between 11:30-1:00 and until 4:30 PM each day. 2. No instrument will be repaired unless a rental form is on file with the fine arts department and a photocopy attached to the repair form. 3. All marching equipment needing repair must be turned in on or before January The director will fill out a repair form. The form must be filled out completely including, tag number, serial number and detailed description of work to be completed. When leaving an instrument at the Fine Arts department, fill in the log located in the binder on the wall with all the information. 5. The instrument(s) will be delivered to the Fine Arts Dept. where the instrument will be logged in and the appropriate vendor will be contacted to pick up the instrument for repair. 6. When the instrument is returned the organizational director will be notified and the instrument will be picked up at the Fine Arts office. All instruments are to be picked up within three working days of notification. 7. Do not send in an instrument for repair that needs any of the following items. These must be purchased out of the funding that the fine arts department allocates to each program. a. New mouthpiece b. String replacement on French Horns c. String replacement for any string instrument including guitar and mariachi instruments. We will repair/replace bridges but this does not include strings. 8. We are tracking instruments that go into repair. If an instrument is returned to you without proper repairs done, please let us know immediately and we will notify the vendor and send it back in. This process also allows us to track how many times an instrument goes into the shop for repair and perhaps we need to look at replacing the instrument. 9. All end of year repairs are to be turned in by one week after the end of school so that every effort can be made to have them back before school begins. 10. Instruments do not need chemical baths each year. 11. The directors are to insure that preventative maintenance will be done on each instrument at the end of each year. Proper oiling of valves, washing brass instruments out, etc. should be done at the campus level. 12. CASE REPLACEMENT PROCEDURES. a. Instruments needing case replacements will be handled as a repair. You will NOT complete a repair slip for new cases any longer. We will use the following procedure to replace cases: b. the student workers and copy Don and myself with the following information, without this information we will not order your case. i. Type of instrument i.e. Bass Trombone, ¾ Cello, etc ii. Manufacturer Yamaha, Eastman, etc. iii. Model, YOB 31, VA 80 etc. 17

18 c. You must be accurate with the type of instrument giving us the size, and as much of a description as possible, Don t put Trombone Include All information about the Trombone, F Attachment, Bass Trombone, Student Line, etc. This will enable us to get the correct case for the equipment. d. On Bass Clarinets please include one piece or two pieces. 13. Procedures when picking up instruments a. Come by the office and someone will assist you. Do not ask the custodian to open the door. b. Locate the notebook and find the section on Repair Pick Up and find the instruments or bows that are to be picked up and sign that you have them. c. Make sure you take all the repairs that are here for your school. DO NOT leave some behind to be picked up later d. Our room gets very small when people leave instruments for an extended period of time. Please make every effort to pick up instruments within three days of notification. 14. Reminders a. Make sure the repair form has all the information on it. And you leave the yellow and white copy in the case and keep the pink for your records. This helps when questions arise. b. Sign in and out for all instruments c. DO NOT ask custodians to open the storage room. d. PRINT your last name and initial when picking up and leaving off instruments. e. Call before you come if it is around lunch or 4:30. f. Give us complete information on the repair sheet g. Follow up on your repairs if you don t get them back within 30 days check with us and we will find out what is going on. h. Give a good instrument description when ordering cases 15. No repairs will be accepted after May 1 st of each year until inventory for the campus is completed. Once your inventory is done you may bring in instruments for summer repair. 16. Please keep in mind that any severally damaged equipment should have a damaged property report on file 17. Please keep in mind that any severally damaged equipment should have a damaged property report on file. 18

19 Lost and Stolen Equipment Theft of Equipment and Inventory Items Cases must be identified with SISD and School name. The campus/department is responsible for completing a loss report when an item is stolen, damaged, or vandalized. A police report must be completed for all district equipment reported lost or stolen. This must be done within 10 days of it missing. A report must be filed with SISD police department by the director even if one has been filed with El Paso Police Department. A copy of the CASE NO. must be submitted to the fine arts department within 24 hours of the report being filed. The loss report and the police report must be faxed to the Fixed Assets Department A Fixed Asset Loss Report must be completed and attached to the police report in order for the items to be removed from the District s records. Replacement of a lost item is the responsibility of the campus/department Please keep in mind that any severally damaged equipment should have a damaged property report on file 19

20 Entry Fees The Fine Arts Department will ONLY pay entry fees for all UIL marching, concert & sightreading contests, and all Socorro concert and sightreading contests. The procedure for having these fees paid for is: 1. Provide the department with a list of names of student names and the competition 45 days prior to the competition date. i.e. UIL Choir concert and Sight reading contest then list student in alphabetical order. 2. Have your campus administration sign it 3. Turn it into the fine arts office for the director of fine arts signature 4. The fine arts office will submit it to the finance department for processing This is the same procedure that will be followed when groups advance. It is very important that the names of all students be turned in with the travel request. 20

21 Letter Jackets Overall Requirements 1. Recommendation by director/sponsor or above in awarding class hours of documented community service 4. 5 excused absences in school per semester and 0 unexcused absences. Principal may waive the 5 excused absences for the semester in hardship cases. 5. No more that 2 tardies for extra scheduled rehearsals 6. Must be enrolled in corresponding class during the awarding semester 7. Overall cooperation and conduct as determined by recommending director Music Specific 1. Documented participation in 4 individual or small group competition (i.e. All Region, Solo & Ensemble, All State) 2. Must participate in 4 large group competitions Art Specific 1. Participation in 4 shows and/or competitions, two of which must be the district art competition and VASE. Theater Specific 1. 2 One Act Play competitions 2. 3 public performances Mariachi Specific 1. Participate in 2 competitions 2. 6 Public Performances Dance Specific 1. 2 competitive events 2. 4 public performances other than football games Flags Specific 1. 4 group competitions 2. 2 public performances other than football games Guitar Specific 1. 2 solo and ensemble competitions 2. 4 Public performances 21

22 Piano Repair and Tuning Procedures for repair and tuning of all pianos: Pianos will be tuned by an approved district repair person. This department will pay for each school to have one piano tuned twice a year; however, this must be done prior to December 1 and April 1 or the department will not pay for the tuning. Any type of repair is to be cleared through this department. We will pay for tuning where there is an elementary music program in place. Each vocal director on the middle school and high school campus will decide when they want their piano tuned and contact the fine arts department. The director will fill out a repair form requesting tuning and we will contact the approved vendor. Please turn in the request directly to Ms. Ponikvar. The fine arts department will issue an open purchase order to the approved vendor for a certain amount of the tuning and vendor will then invoice our department. Tuning requests must be done 30 days prior to needing the piano. All piano repairs i.e. electric pianos must follow the same procedure that is required for all instrument repairs WITH THE EXCEPTION OF BRINGING THEM TO THIS OFFICE Anytime a vendor is called prior to written department notification you will be responsible for paying for repairs. DO NOT CALL A TUNER, IF YOU EXPECT THE DEPARTMENT TO PAY FOR IT, UNLESS IT HAS BEEN CLEARED THROUGH THIS OFFICE. 22

23 Eligibility Requirements for all Extracurricular Activities Keep in mind that student eligibility is state law and defined in TEC and TAC Chapter 76, Subchapter AA. These laws do not only apply to UIL activities but all activities that students are involved in. Also, it is the sponsor/director s responsibility to check and maintain eligibility for all students involved in their programs all year long not just during or directly before their particular activity. To insure that we only have eligible students participating in activities we will use the following procedures or the specific procedure that will be followed on your particular campus: 1. Teachers will use the OSP system to check eligibility of all their students on a weekly basis and keep a file of who is failing and document conferences held with those students. These checks are to be maintained in the director/sponsor s office. 2. At the end of the first six weeks all coaches/sponsors must complete a grade check for all students participating in fall activities. Note the special situation with the Six Weeks Grade Report and required in the TEA/UIL Side by Side Publication. 3. At the end of each nine week period, directors will request eligibility from the registrar and OSP for all their students. They are to review, report, and counsel students on how to maintain a passing average. Under no circumstance should an ineligible student and or students be allowed to participate in any activity that is off campus. They cannot ride the bus to or from that activity even if they are not performing. The activities include but are not limited to: Performances that are off campus i.e. marching band night, performances at the mall, nursing homes, DSC, downtown Fund Raised activities i.e. competitions that take place in Disneyland, San Antonio, etc. Section of the Texas Administrative code [19 TAC ], defines Extracurricular Activities as "activities sponsored by the University Interscholastic League [UIL], the school district board of trustees, or an organization sanctioned by resolution of the board of trustees. " These activities are not necessarily directly related to instruction of the Texas Essential Knowledge and Skills [TEKS] but may have an indirect relation to some areas of the curriculum. For non-uil extracurricular areas, the Division of Field Services provides direction and interpretation of Commissioner of Education rules and state law related to extracurricular activities. Examples of non-uil extracurricular activities include, but are not limited to, FFA activities, cheerleaders, student council, drill/dance teams, and 4-H activities in districts where school trustees have sanctioned the 4-H as an extracurricular organization. 23

24 Eligibility Calendar Will be given out at a later date. 24

25 Concert and Sightreading Contest Procedures--SISD Socorro hosts the following contests that are designed as a pre-uil competition. Adjudicators are recommended by the directors either in the spring or at the beginning of each school year. Every effort is made to hire judges that are recommended by the appropriate staff. Marching Contest Band Concert and Sightreading Contest Choir Concert and Sightreading Contest Orchestra Concert and Sightreading Contest Mariachi concert and sightreading contest All level of high school and middle school groups are required to attend these competitions. i.e. If there are three directors at a school each director should be bringing a group. Specific sixth grade beginning groups are required to attend. Directors may bring more than one group if they so desire. All groups must perform three selections with the same requirements listed for all UIL contests. Each director will submit by a copy of spreadsheet for this contest. Please be sure that you pick up all your sheets and medals before you leave the contest site. Solo and Ensemble Socorro also has a solo and ensemble contest for enrolled students grades sixth through twelve. It is preferred that all high school students be entered in the UIL high school solo and ensemble contest. Teachers are to screen students that are entering and when 10 or more students, that are entered, do not appear the program will be required to pay per $7.50 per DNA student. Schools will be responsible for securing their own accompanist. This can be taped, live, or computer. Each school will be responsible for bringing their own equipment to the site. Directors must remain on site until all of their students have performed. Once ratings for all students have been posted, directors may come to contest headquarters to receive medals and adjudication sheets for their students. Please be sure that you pick up all your sheets and medals before you leave the contest site. Each director will submit by a copy of spreadsheet for this contest. Jazz Competition School will follow all rules as outlined for concert and sightreading. Complete spreadsheet with selections Performs three contrasting styles of music All students must be eligible Eligibility forms must be completed for all contests when school is in session. 25

26 Contest Procedures UIL All schools are expected to compete in the appropriate UIL competition for their discipline unless written verification from the campus administrator stating the reason a particular group is not represented. To insure success in this endeavor please check the following: 1. A current Constitution and Contest Rules on line at 2. UIL PML available at the UIL website listed above 3. Inservice on all UIL procedures and guidelines 4. All entry fees and bus requirements will be paid for by the department 5. Once trip and transportation requests are obtained by the department, we will submit the paperwork through the necessary channels. 6. SISD will have a pre-uil competition to help obtain useful comments to improve group performance. The following procedures will be used for entering all UIL Music contests: 1. A roster of students will be submitted to the Fine Arts Department 45 days prior to the contest with a campus administrator signature. 2. Directors must complete registration at by registration deadline. Be sure to check that you are entered in the correct region and prior to the deadline. Campus Directors are to order three original scores for the music they will be using and number all measures prior to the contest date. 26

27 UIL Marching Contest Rules and Procedures Section 1105: REGION MARCHING BAND CONTEST 1. (a) MARCHING BAND CONTEST (941). Marching band contests will be held in each region. Schools that enter the region marching band contest in either year of a two-year alignment period are bound by all rules and regulations in the music plan for both years of the alignment period. 2. (b) ENTRY PROCEDURES. See Section (c) It shall be the responsibility of each school to keep on file a UIL Marching Band Acknowledgement Form signed by the student and the student s parent or guardian. 4. (d) DIRECTOR S COMPLIANCE STATEMENT. Each entry in the UIL region contest shall be accompanied by the following statement signed by the director: (1) The members of this marching band or any of its components did not begin the marching preparation for this UIL contest presentation prior to August 1. In addition, no more than 10 hours of supervised instructional time was devoted to marching fundamentals between the end of the previous school term and August 1. EXCEPTION: Auxiliary camps, leadership training and preparation for special summer events such as civic parades, professional football game appearances and other non-competitive performances are not considered a violation of this limitation. (2) A signed parent/student UIL Marching Band Acknowledgement Form has been filed with the school principal or his designee for each participant in the competing organization. (3) The director(s) of this organization recognize(s) the importance of the total educational process and have remained sensitive to each student s needs in terms of academic pursuits, family life and extracurricular activities; and, (4) The director(s) of this organization have/has maintained a reasonable and proper balance of pre-school and out-of- school rehearsal schedules. 5. (e) MARCHING REHEARSALS DURING SEASON. Effective the last Monday in August, a marching band and its auxiliary components are limited to a maximum of eight hours of rehearsal outside the academic school day per calendar week. 6. (f) ORGANIZATION ROSTER FORM NO. 1. A certified copy of the Organization Roster Form No. 1 listing in alphabetical order all students eligible the day of the competition shall be on file with the region executive secretary or a designee prior to the time of each organization s scheduled contest performance. 27

28 7. (g) PERFORMANCE REGULATIONS AND GUIDELINES. (1) Performance Time. Each competing band shall occupy the football field for not less than five nor more than eight minutes. Any band which leaves the field in less than five minutes or fails to complete its performance in eight minutes shall be penalized one rating. (2) Movement to Field Position. The contest chair will determine the ready position each band will assume prior to entering the field of competition. The position shall provide efficient and prompt access to the football field without interfering with other bands as they perform. This location will be clearly described in the marching contest packet. (3) Official Time. The official time for each band will be kept according to the following guidelines: (A) The contest chair will designate an official timekeeper. (B) Bands will be scheduled with five minutes between performances and a maximum of fifteen minutes per band. (C) Bands may use the five minutes prior to their performance in any way they deem appropriate in order to assume their starting position and prepare for the beginning of their show. Activities may include warm-up and/or cadence. (D) Each band will be announced at the end of four minutes. The beginning of their announcement will indicate that the performance time shall begin within 60 seconds. (E) The actual timing for the show will begin at a starting point designated by the director or at the end of the five minutes. (F) At the conclusion of its performance each band will have two minutes to exit the field and clear the marching surface of all equipment, instruments and props. The use of either instrumental or verbal cadence is optional. A band that fails to be clear of the field (outside the sidelines or endlines) or continues to use instrumental or verbal cadence at the end of the two minutes will be disqualified. (G) A band leaving equipment or instruments on the sideline in such a manner that these items impede the movement of the next band into its starting position is subject to penalty in accordance with Subchapter E. (4) Electronic Equipment. Electronic equipment may be used under the following provisions: (A) All electronically produced music including narration and sound effects shall be performed live and in real time by eligible students. (B) Pre-recorded music, instrumental or vocal, may not be used. (C) The placement of electronic units shall comply with the 5-minute set up and 2- minute tear down limitations. 28

29 (5) Amplification of instruments or voice may be used with the following restriction: (A) All equipment, such as mixers, soundboards, etc. shall be operated by eligible students. (B) AC power cords and AC supplied amplification units shall be located outside the sidelines and endlines. (C) The placement of amplification units shall comply with the five-minute set up and 2- minute tear down limitations. (6) Violations will be subject to penalties in accordance with Section 27 and Section 29. (7) Judges will be expected to address the appropriateness and frequency of use of electronics and amplification as a part of the adjudication process. (8) Local Ground Rules. Failure to comply with local ground rules and regulations outlined by and/or approved by the region executive committee may be cause for disqualification or other penalties as listed in Subchapter R. Such rules should be sent to all participating schools at least 14 days prior to the contest date. (h) CONTEST SCHEDULE. It is recommended that the schedule allow ample time for the judges to complete written comments. A I5 minute schedule is desirable. (i) REGION CERTIFICATION TO AREA. (1) Advancement. Bands will advance to area according to the following schedule: (A) Odd numbered years: Conferences 4A, 2A and A. (B) Even numbered years: Conferences 5A and 3A. (2) Certification for Advancement. Each music region shall certify bands to the area marching band contest under the following provisions: (A) Any band that has a letter of intent on file with the Region Executive Committee and receives a Division I rating at the region contest shall be certified for advancement to the area contest. (B) In the event only one band, or no bands receive a Division I rating, two bands shall be selected by the judging panel for advancement to area. In such cases the scoring procedure will conform to the ranking system outlined in Section (3) Non-varsity (Second Group) Bands and Others. Non-varsity (second group) bands and bands in Conferences C, CC and CCC may not be certified to the area marching band contest. (4) Notification to Area. Regions shall notify the area of the region representatives within 24 hours of the last day of the region contest; a contest held on a weekend may be certified the following Monday. 29

30 (5) Intention to Participate. Bands selected to attend the area marching band contest shall inform the area contest chair of their intention to participate within 24 hours of receiving notification or the Monday following a weekend contest. (j) BALLOONS PROHIBITED. The use of balloons by participants or spectators at the region marching band contest is prohibited. Section 1106: AREA MARCHING BAND CONTEST (a) CONTEST SCHEDULE. The area marching band contest will be held on the following schedule: (1) Odd numbered years: Conferences 4A, 2A and A. (2) Even numbered years: Conferences 5A and 3A. (b) AREAS. Regions will be assigned to areas by the Director of the UIL. (c) AREA EXECUTIVE COMMITTEE. The area executive committee shall consist of two representatives from each region executive committee. (d) DUTIES OF THE AREA EXECUTIVE COMMITTEE. The area executive committee shall be responsible for the area marching competition as outlined in this section and shall make all arrangements for area music competition as defined by the Director of the UIL. (e) CONTEST RULES. All rules of eligibility governing the region marching band contest, except herein noted, shall apply to the area and state marching band contests. (f) ENTRY PROCEDURES. Submit entry forms to the appropriate office as directed by area contest chair. Note: Fees are not required to accompany entry form but shall be paid prior to participation. (g) PERFORMANCE REGULATIONS. Performance regulations as listed under Section 1105 shall apply to the area marching band contest with the following exception: Any band which leaves the field in less than five minutes or fails to complete its performance in eight minutes shall be disqualified. (h) ADJUDICATION. (1) Preliminary and Final. The State Director of Music in consultation with the area executive committees shall assign five judges to each area marching band competition. (2) Panel. The judging panel will consist of three music judges and two marching execution judges. (3) Ranking. The band s final rank will be determined by adding the rankings of all five judges. (i) AWARDS. Awards for the Area Marching Band Contest shall conform to those designated by the Policy Committee of the Legislative Council. 30

31 (j) AREA CERTIFICATION TO STATE. (1) 13 or Fewer Bands. If there are 13 or fewer bands in the area contest the preliminaries will stand as finals. 50% of the competing bands will be recognized as finalist. A drum major retreat will end the competition. The top 50% of bands will receive a finalist award and the remaining bands will receive a participant award. (2) 14 to 19 Bands. If there are 14 to 19 bands 7 bands will advance from the preliminaries to finals. The two marching judges and two music judges will change captions. There will be a drum major retreat at the end of preliminaries to announce results. Bands not advancing to finals will receive a participant award. At the end of finals there will be a drum major retreat where each band will receive a finalist award and the names of those bands advancing to the state marching band contest will be announced. (3) 20 or More Bands. If there are 20 or more bands 10 bands will advance from the preliminaries to finals. The two marching judges and two music judges will change captions. There will be a drum major retreat at the end of preliminaries to announce results. Bands not advancing to finals will receive a participant award. At the end of finals there will be a drum major retreat where each band will receive a finalist award and the names of those bands advancing to the state marching band contest will be announced. (4) A/2A/3A Certification. In conferences A/2A/3A the music area shall certify the three bands receiving the highest ranking in each conference to the state marching band contest. Should twenty or more bands participate in a single conference at the area contest, one band for each five bands competing in the contest shall be certified for advancement to the state contest. (5) 4A/5A Certification. In Conferences 4A/5A the music area shall certify the two bands receiving the highest ranking in each conference to the State Marching Band Contest. Should fifteen or more bands participate in a single conference at the area contest, one band for each five bands competing in the contest shall be certified for advancement to the state contest. (6) Zoning Area Contests. (A) By action of the Area Executive Committee and approval of the State Director of Music, the Area Marching Band Contest may be zoned to reduce travel for participating schools. (B) Zoned area contests should have a minimum of five bands at each contest site. One band for each five bands competing in the contest shall be certified for advancement to the state contest. (7) Additional Bands. In contests advancing two bands, any band that receives a ranking of two or higher from two music judges and one marching judge shall also advance to state. In addition, in contests advancing three or more bands, any band that receives a ranking of three or higher from two music judges and one marching judge shall also advance to state. 31

32 (8) Alternates. The area may name two from each conference in the event that the bands certified cannot compete at the state level. (9) Notification to State. Areas shall notify the League office of the area representatives and alternates within 24 hours of the last day of the contest; a contest held on a weekend may be certified the following Monday. (10) Intention to Participate. Bands selected to attend the State Marching Band Contest shall inform the League office of their intention to participate within 24 hours of receiving notification or the Monday following a weekend contest. (11) Rejection. The State Executive Committee may reject for state competition any band that has not complied with the rules and regulations governing music competition as outlined in the Constitution and Contest Rules. (k) REBATE. Funds collected from admission and entry fees in excess of the amount necessary to defray expenses of the area marching band contest shall be prorated up to 80% to the participating schools. (l) BALLOONS PROHIBITED. The use of balloons by participants or spectators at the area marching band contest is prohibited. Section 1107: STATE MARCHING BAND CONTEST. (a) CONTEST SCHEDULE. The State Marching Band Contest will be held on the following schedule:. (1) Odd numbered years: Conferences 4A, 2A and A.. (2) Even numbered years: Conferences 5A and 3A.. (b) AREA CERTIFICATION TO STATE. (1) Required Certification. Each band participating in the State Marching Band Contest shall be certified by the area executive committee. (2) Rejection. The State Marching Band Contest committee may reject any organization that has not complied with the rules and regulations governing region and area participation as outlined in the Constitution and Contest Rules. (c) ELIGIBILITY. All rules of eligibility governing the UIL marching contest, except herein noted, will apply to the State Marching Band Contest.. (d) ENTRY PROCEDURES. Submit entry forms to the League office. Note: Fees are not required to accompany entry form but shall be paid prior to participation.. (e) PERFORMANCE REGULATIONS. Performance regulations as listed under Section 1105 shall apply to the State Marching Band Contest with the following exception: Any band which leaves the field in less than five minutes or fails to complete its performance in eight minutes shall be disqualified. 32

33 . (f) ADJUDICATION. (1) Preliminary and Final. Judging will be in two divisions: preliminary and final. Under extenuating circumstances such as severe weather or limited participation, the contest officials and state director of music may declare the preliminary contest to be the final contest. (2) Panel. The judging panel will consist of three music judges and two marching execution judges. (3) Ranking. The band s final rank will be determined by adding the rankings of all five judges.. (g) AWARDS. Awards for the State Marching Band Contest shall conform to those designated by the Policy Committee of the Legislative Council.. (h) REBATE. Funds collected from admissions and entry fees in excess of the amount necessary to defray expenses of the State Marching Band Contest shall be prorated up to 80% to the participating schools.. (i) BALLOONS PROHIBITED. The use of balloons by participants or spectators at the state marching band contest is prohibited. 33

34 UIL Concert Contest Rules and Procedures Section 1109: MEDIUM ENSEMBLE 1. (a) INSTRUMENTAL (WIND AND PERCUSSION) EVENTS. Instrumental medium ensembles shall consist of a minimum of 11 and a maximum of 24 performers with no more than 2 players per part. Instrumental medium ensembles (event code in parentheses) will compete in the following categories: a. (1) Brass Ensemble (380) b. (2) Woodwind Ensemble (282) c. (3) Percussion Ensemble (581) d. (4) Wind-Percussion Ensemble (881) e. (5) Jazz Ensemble (981) f. (6) Experimental Ensemble (890) 2. (b) INSTRUMENTAL (STRING) EVENTS. Instrumental string ensembles shall consist of a minimum of 11 and a maximum of 24 performers with no more than 4 players per part. Instrumental (string) medium ensembles (event code in parentheses) will compete in the following categories: a. (1) String Ensemble (480) b. (2) String Ensemble with Winds and Percussion (481) c. (3) Experimental Ensemble (490) 3. (c) VOCAL EVENTS. Vocal ensembles shall consist of a minimum of 11 and a maximum of 24 vocalists with no more than 8 to a part. Vocal medium ensembles (event code in parentheses) will compete in the following categories: a. (1) Mixed Vocal Ensemble (180) b. (2) Treble Medium Ensemble (181) c. (3) Tenor-Bass Medium Ensemble (182) d. (4) Pop/Swing Ensemble (980) e. (5) Experimental Ensemble (880) 4. (d) MARIACHI EVENTS. Mariachi ensembles shall consist of a minimum of 11 and a maximum of 24 vocalists and instrumentalists with no more than two performers per part. Mariachi medium ensembles (event code in parentheses) will compete in the following categories: 34

35 a. (1) Traditional mariachi that conforms to traditional mariachi instrumentation and part distribution (900). b. (2) Experimental ensemble that demonstrates the mariachi performance tradition but with no requirements in terms of instrumentation and/or part distribution (910). 5. (e) ELIGIBILITY. a. (1) Grades. Medium ensembles in region contests shall be open to students in grades 9, 10, 11, 12. b. (2) Current Eligibility. A participant in the UIL Medium Ensemble competition shall meet the eligibility requirements as listed under Section 1102 and be certified to represent his or her school in UIL competition by the school s principal or the principal s designee. c. (3) Seventh and Eighth Grade Students. In composite organizations (4A, 3A, 2A, A), a seventh or eighth grade student may compete in the medium ensemble contest provided that the majority of the ensemble members are in grades d. (4) Limitation. A student may enter two medium ensemble events provided they are different events as listed in Section 1109 (a), (b) and (c), in addition to the limitations stated in Section 1108 (g). 6. (f) ENTRY PROCEDURES. See Section (g) ORGANIZATION ROSTER FORM NO. 1. A certified copy of the Organization Roster Form No. 1 listing in alphabetical order all students eligible the day of the competition shall be on file with the region executive secretary or the designee prior to the time of each organization s first scheduled medium ensemble event. 8. (h) PERFORMANCE REGULATIONS. a. (1) Open Class. Medium ensembles will compete in open class. b. (2) Music Selection. i. (A) A medium ensemble may select music from any source provided that no selection is (was) performed by the band, orchestra or choirs in an organization event contest during the current League contest year. ii. (B) Medium ensembles are encouraged to perform more than one selection as long as the time limitation of 15 minutes is not exceeded. iii. (C) Repertoire should be comparable to Class I Ensemble repertoire. iv. (D) It is recommended that medium ensembles from the same school not duplicate repertoire. v. (E) A medium ensemble may not perform a selection which was used as a contest 35

36 selection by a similar medium ensemble from the same school in the previous year, unless half the members of the group did not participate in the medium ensemble the previous year. (F) A medium ensemble may not perform a selection that is also being performed by any or all of the ensemble members as a small ensemble. (3) Scheduling. Medium ensembles will be scheduled with the appropriate solo-small ensemble contest. (4) Conducting. Any medium ensemble may be conducted. (5) Performance Time. Performance time for a medium ensemble shall be limited to not more than 15 minutes, including performance, entering and clearing the performance area. (6) Score. Each director of a medium ensemble shall supply the judge with a conductor s score of the selections to be performed, with measures numbered. The judge is instructed not to permit performance to begin until the score has been received. See Section (7) Judges. All medium ensemble judges shall be selected from the recommended list or supplemental list of approved judges. Section 1110: CONCERT ORGANIZATION CONTEST (a) EVENTS. Competition will be provided in each region for the following organization events (event code in parentheses): (1) Band (100) (2) Orchestra (921) (3) String Orchestra (926) (4) Mixed Chorus (931) (5) Tenor-Bass Chorus (933) (6) Treble Chorus (935) (b) SCHEDULING. (1) Conferences. Organizations shall be scheduled according to conference assignments. It is suggested that, if time permits, a judges break be scheduled between conferences. (2) Junior High/Middle School. In junior high/middle schools, at the option of the region executive committee, it is recommended that contests be scheduled so that junior high/middle schools that feed A, 2A and 3A high schools perform prior to organizations that feed 4A and 5A high schools. 36

37 (3) Zoning Junior High Contests. Junior high contests may be zoned with no restrictions as to the number of organizations in each conference. (c) ELIGIBILITY. (1) Entries. Any band, orchestra or choir from a school unit which is a paid member of the League may be entered in region competition. (2) Member Requirements. All members of the competing organization shall be eligible under the requirements listed in Section 1102 (b). (d) ENTRY PROCEDURES. List event code number on all forms. See Section (e) CERTIFICATION. After the executive committee chair has checked the entry form, a certification of each entry will be delivered to the contest chair. Contest chairs are instructed not to schedule any organization if a certification has not been received from the executive committee chair. (f) ORGANIZATION ROSTER FORM NO. 1. A certified copy of the Organization Roster Form No. 1 listing in alphabetical order all students eligible the day of the competition shall be on file with the region executive secretary or the designee prior to the time of each organization s contest performance. (g) PERFORMANCE REGULATIONS. (1) Perform for Ratings. All organizations shall perform for ratings. (2) Required Music. (A) Each band, orchestra, string orchestra and choral group entering competition shall conform to the performance requirements listed in the Foreword of the Prescribed Music List in effect for the current school year. (B) Entries will be certified provided only three selections are listed on the entry form. If a multi-movement selection is programmed the movements to be performed shall be designated on the entry form. To be selected is not an official entry. (C) Those selections so listed on the entry form become program requirements for contest performance unless the contest chair is notified, in writing, of changes of selections seven days prior to the first day of the contest. (D) In the event that an organization does perform without conforming to the program as listed on the entry form after the entry has been certified, that organization and/or its director shall be penalized in accordance with Sections 27 and 29. (3) Performers. The director of a band, orchestra or choir may not perform with the competing 37

38 organization. The accompanist of an orchestra shall be a member of a competing organization. The accompanist of a choir may not sing with the competing organization unless the accompanist is eligible under Subchapter M of the Constitution. (4) No Repetition. The following guidelines will govern the repetition of a composition for contest purposes. (A) An organization in a one or two-year school may repeat a selection in the second year after the initial performance. (B) An organization in a three-year school may repeat a selection in the third year after the initial performance. (C) An organization in a four-year school may repeat a selection in the fourth year after the initial performance. (5) Multiple Performance Of String Orchestra Selection Prohibited. A full orchestra and string orchestra from the same school shall not perform the same string orchestra selection on both contest programs. (6) Rule Violations. Organizations which do not conform to the music requirements in the Prescribed Music List will be penalized in accordance with Sections 27 and 29. (7) Performing Time. (A) Bands and orchestras shall be limited to not more than 45 minutes, including performance, entering and clearing the stage. (B) Choirs shall be limited to not more than 20 minutes, including performance, entering and clearing the stage. (C) With the approval of the Region Executive Committee, individual regions may impose more restrictive performance time limits. (8) Scores. Directors shall supply each judge with a conductor s score of the selections to be performed with the measures numbered. These scores shall be an original or conform to the copyright requirements as stated in Section Directors not in compliance are subject to penalty in accordance with Sections 27 and 29. (9) Instrumentation. While judges shall be instructed to criticize instrumentation only insofar as it affects the balance and general effect of the performance, schools are encouraged to conform as closely as possible with accepted standards of instrumentation. (10) Use of Synthesizer. (A) The use of synthesized sound, to reinforce or to substitute for acoustical instruments that are a traditional part of the band or orchestra instrumentation, is prohibited. (B) A synthesized substitute may be used for other instruments specified in the score under the following provisions: 38

39 (i) The synthesized substitute shall be performed live as a part of the contest performance. (ii) The performer shall be a member of the competing organization. (iii) It shall be the responsibility of the performing group director to provide all equipment for the production of synthesized sound. (C) The use of synthesized sound may be considered by each judge in determining the overall rating for the performance. 39

40 UIL Sight Reading Contest Rules and Procedures Section 1111: SIGHT-READING ORGANIZATION CONTEST AND MUSIC READING EVALUATION 9. (a) PERFORMANCE REGULATIONS. a. (1) Requirement. All organizations which perform in concert contests are required to enter a sight-reading contest and perform for a rating. b. (2) Members. All members of the concert organization who participated on stage are required to participate in the contest for that organization. c. (3) Music Requirement. Organizations of the same conference participating in the same concert organization event will read the same music selection. d. (4) Judging Criteria. The organization will be judged on accuracy of reading, flexibility in following the director, adherence to style, interpretation and musicianship. e. (5) Non-varsity (Second Groups). All music for non-varsity (second groups) will be the same or meet the same criteria as the selection for corresponding organizations two conferences lower than the parent (or first group) organization. f. (6) Sub Non-varsity. Schools with more than one non-varsity group may designate one group as non-varsity. At the option of the music director and local school officials, other groups of the same kind (band, choir, orchestra) could then enter as sub non-varsity. Sub non-varsity groups would be scheduled as a separate conference for concert and sightreading contest. g. (7) Use of Recording Devices. The use of recording devices during a group s sightreading performance is prohibited. 10. (b) SELECTION OF MUSIC. a. (1) Committee. The Director of Music will appoint a committee of five for each (band, orchestra, choir) organization contest to serve two-year overlapping terms for the specific responsibility of selecting the music to be used in the UIL region contests. b. (2) Expenses. Expenses for the music selection committees and expenses for the distribution of the music to the regions will be prorated to the regions. Region executive committees will reimburse the League office for their prorated amount of music costs on or before June 15 of each school year. 11. (c) AFFIRMATION OF CONFERENCE. Prior to the contest, the following question will be asked of the director of each organization. This organization will be reading (title of 40

41 selection) which has been chosen for conference (varsity or non- varsity groups). Is this the correct conference for your organization? 12. (d) PRIOR KNOWLEDGE OF THE MUSIC. a. (1) Question. A judge is required to ask the director of each competing organization the following question: Has this organization or any of its student members heard, read, rehearsed or performed this selection (indicating the music) at any time prior to this contest? If the answer is yes the director will have two options: i. (A) The director may have his/her band, choir or orchestra read an alternate selection of equal difficulty which shall be available from the contest chair; or ii. (B) The director may excuse the student(s) who has/have prior knowledge of the music and proceed with the rest of the group in the preparation and performance of the designated selection. b. (2) Consequences. A false response to the question concerning prior knowledge of the music shall result in the organization and/or its director being penalized in accordance with Subchapter E. The minimum penalty shall be disqualification of that organization from the music reading evaluation competition. 13. (e) PROCEDURES FOR ORCHESTRA SIGHTREADING COMPETITION. a. (1) Score Study. Prior to the instruction period the director will be given a period of three minutes to study the sight- reading music score. b. (2) Instruction Period. The director will be given the following time limits to study the score and instruct the organization: i. (A) Conference 5A-4A First Groups: 10 minutes; ii. (B) Conference CCC-AAA First Groups and 5A non-varsity (second groups): eight minutes; and iii. (C) All other conferences seven minutes. iv. (D) Sub-non varsity orchestras may extend the explanation period for their conference by one minute. c. (3) Director Limitation. Only one director may instruct and direct an organization at the contest. The director may instruct the group as he or she sees fit, including singing phrases or illustrating rhythmic figures, but the director may not perform the music on any instrument. The director may not allow students to tap rhythms or perform any part of the music in any fashion. d. (4) Marking Music. Neither the director nor the students may mark on the music unless instructed to do so by a judge. (5) Warm-up and Tuning. Immediately following the instruction period and prior to the sight-reading 41

42 performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: (A) long tones; (B) a whole note scale; or (C) eight measures of a warm-up chorale. In addition string players may check tuning. No further warm-up, instruction or communication of any kind is permitted by the director, including the use of verbal counting to initiate the reading. (6) Performance. The organization shall then perform the music. In the event the director elects to halt the performance, it should be for the sole purpose of designating a starting point. The director may not give further instructions. (7) Disqualification. An orchestra whose director makes an obvious contribution to the performance by either singing with or speaking to the students while they are performing shall be disqualified. An obvious attempt by a director to be disqualified may result in a rating. (A judge s decision of what is obvious is final.) (f) PROCEDURES FOR BAND MUSIC READING EVALUATION. (1) Score Study. Prior to the instruction period the director will be given a period of three minutes to study the sight- reading music score. (2) Instruction Period. The director will be given the following time limits to study the score and instruct the organization: (A) Conference 5A-4A First Groups: 7:00 General Explanation 3:00 Summary Explanation (B) Conference CCC-BBB-AAA First Groups and 5A non-varsity: 5:00 General Explanation 3:00 Summary Explanation (C) All other conferences: 4:00 General Explanation 3:00 Summary Explanation (D) Sub-non varsity bands and Conference C non-varsity bands may extend the summary explanation period for their conference by one minute. (3) Use of Instruction Period. The director may use the instruction period in the following fashion. (A) General Explanation. The director may structure this initial segment of time (7 minutes/5 minutes/4 minutes) as he or she wishes by incorporating any combination of silent study 42

43 and/or director s explanation. During this time period the director may point out specific performance problems, demonstrate how ritards, fermatas, etc. will be conducted, call attention to accidentals, identify unique characteristics of the music (i.e., who has the melody, important passages for certain sections, the presence of repeats, etc.) and answer student questions. At the director s discretion, students may finger passages at any time during the general explanation period. Note: The director and students may not count, sing or audibly reproduce the music in any other fashion. (B) Verbal Notification. At the conclusion of the general explanation period timing will stop and the chair of the sight-reading panel or a designee will read aloud the following statement: Your general explanation period is over. You may now begin your summary explanation. Time will then begin for the three minute summary explanation. (C) Summary Explanation. During the final segment (3 minutes) the director may instruct the group as he or she sees fit, including singing phrases, demonstrating rhythmic figures or reviewing ritards and fermatas with singing and/or counting. However, the director may not perform the music on any instrument or allow students to tap rhythms or perform any part of the music in any fashion. (4) Warm-up and Tuning. Immediately following the instruction period and prior to the performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: (A) long tones; (B) a whole note scale; or (C) eight measures of a warm-up chorale. No further warm-up, instruction or communication of any kind is permitted by the director, including the use of verbal counting to initiate the reading. (5) Performance. The organization shall then perform the music. In the event the director elects to halt the performance, it should be for the sole purpose of designating a starting point. The director may not give further instructions. (6) Disqualification. A band whose director makes an obvious contribution to the performance by either singing with or speaking to the students while they are performing shall be disqualified. An obvious attempt by a director to be disqualified may result in a rating. (A judge s decision of what is obvious is final.) (g) PROCEDURES FOR CHORAL SIGHT-READING COMPETITION. (1) (2) (3) (4) (5) (6) (7) 43

44 (8) (9) Section 1112: Time. A director of a choral group will be given six minutes to study the score and instruct the organization. EXCEPTION: Sub-non varsity choirs may extend the study and instruction period by one minute. Instructions. At any time during the instruction period the tonic chord may be played once in broken chord style. It may not be reproduced by the students. The director may instruct the group by tapping out rhythms and talking about any passage of music but may not hum, sing any part, or allow it to be played on the piano. Students may chant rhythms and/or text and tap or clap the rhythms. But they may not reproduce the music tonally. Students may ask questions and make comments, according to the director s wishes. Marking Music. Neither the director nor the students may mark on the sight-reading music unless instructed to do so by a judge. First Reading. At the completion of the instruction period choral groups will be given the tonic chord, in broken chord style. At that time, the students may reproduce the tonic chord, utilizing their preferred method of sight- reading (numbers, syllables, etc.). The accompanist will then give the starting pitches, which each section may sing, again utilizing their preferred method. The director may sing the starting pitch with each section. After the choir has sung its starting pitches no further warm-up or musical instruction of any kind is permitted by the director, including the use of verbal counting to initiate the reading. The music will then be sung without piano accompaniment and using the group s preferred method of sight-reading. The director may choose to read the piece in the printed key or any other key suitable for the group. Second Instruction Period. Following the first reading, the director will have two minutes for instruction. The procedures described in (2) will apply. Second Reading. The procedures in (4) will apply. The selection will then be sung a cappella. All groups may continue to use their preferred method of sight-reading or may sing the words printed in the score. The director s decision to use text or not will have no bearing on the final rating. Both readings will be judged. Disqualification. A choral group whose director makes an obvious contribution to the performance by either singing with or speaking to the students or making other audible contributions while they are performing will be disqualified. An obvious attempt by a director to be disqualified may result in a rating. (A judge s decision of what is obvious is final.) SAB Music Selection. Choral groups performing a majority of SATB music in their concert competition will be required to sightread SATB music designated for that conference. However, choirs in all conferences may sightread SAB music provided that their program includes a majority of SAB music. SA and TB Music Selection. In all middle school conferences as well as junior high school B and BB conferences, choral groups performing a majority of SA or TB music in their concert competition may elect to sightread SA or TB music designated for that conference. ADJUDICATION (a) SELECTION OF JUDGES. The membership roster of the Texas Music Adjudicators Association (TMAA) will be the recommended list of approved judges. The music executive committee will select three judges from this list subject to the following guidelines. (1) List of Judges. In all high school organization event contests, one judge shall be selected from 44

45 the recommended list of approved judges, a second judge shall be selected from the recommended or provisional list of approved judges and a third judge may be selected from the recommended or provisional list of approved judges or from other sources approved by the State Director of Music. (2) It is recommended that the high school judge selection process be followed for all middle school organization event contests. (3) Sight-reading Judges. (A) A three-judge panel shall be utilized for all UIL sight-reading contests. (B) In all sight-reading events, a judge selected from the Recommended List of Approved Judges shall be designated chair of the adjudication panel. (4) Orchestra Judge. At least one judge with orchestra teaching experience shall be employed in regions having one or more orchestra entries.. (5) Residence. A high school choral, band or orchestra, judge shall reside outside the region or area in which he or she is being employed to judge. EXCEPTION: A judge who is otherwise qualified according to section 1112 may judge in the region or area where they reside if they have no involvement with public school music programs in the region of residence and there is no other real or perceived conflict of interest. Zoned junior high contests as well as high school solo and ensemble contest judges may be selected from other zones within the same region.. (6) Current Involvement. A judge should be currently teaching, conducting or performing in or retired from the field in which he or she is employed to judge.. (7) Education. A judge shall have a college or conservatory background in music.. (8) Limitation.. (A) A judge may not evaluate an organization event in music competition if that judge has served as a clinician- conductor for any school organization in that region or area and conference during the current school year. The rule does not apply to clinicians for All- Region, All-Area and All-State organizations.. (B) In marching competition, the following limitations will apply:. (i) A director may not judge region marching competition in any region assigned to the same area in which he or she competes. This limitation applies only in years that the state competition is held in that judge s conference.. (ii) A judge at the area level marching competition may not evaluate other bands in the same conference as that judge s band, if that judge s band has been selected to advance to the next level of competition. This limitation also applies to other music personnel such as music supervisors who reside within the school district of the advancing band.. (9) Prior Employment. A judge may not accept a judging invitation from a region, area or zone in 45

46 which that judge formerly taught, unless two years have elapsed since the time of last employment in that region, area or zone. (10) Return Engagement. A judge may not be invited for a return engagement to adjudicate an organization event (band, orchestra, choir or sight-reading contest) in the same conference unless two years have elapsed since he or she last judged that specific event. (11) Conflict of Interest. A region may not employ a judge, nor a judge accept an adjudication assignment if there is a known conflict of interest. (12) Honorarium. The maximum honorarium for each judge will be as follows:. (A) for organization events, $ per day, plus $50.00 for each hour over a scheduled eight-hour day; and. (B) for solo and ensemble events, $ per day plus $37.50 for each hour over a scheduled eighthour day.. (C) Travel and per diem shall be paid according to the established state schedule or as prescribed by the executive committee in the UIL Music Contest contract of employment. If travel related expenses arranged by the region executive secretary or contest chair exceed the provisions of the contract, actual expenses will be paid. It is recommended that whenever possible lodging and commercial travel be paid directly to the vendor.. (b) RESPONSIBILITIES OF JUDGES.. (1) Rating Justification. If a judge gives a rating other than Division I, the judge is expected to explain on the comment sheet what the student or group should do to improve the performance. Taped comments and a written summary will be used for all region marching band contests. In all other organization events each region is encouraged to use cassette tape recorders to record judge s suggestions in addition to the written comments.. (2) Irregularities. The judge shall call to the attention of the contest chair any irregularities of performance or procedure on the part of the participant prior to auditioning the contestant. The ratings and comment sheets of a contestant who fails to follow the established procedures will be held in the contest office until the contest chair rules on the infringement.. (3) Discourteous Conduct. Judges shall report any act of discourtesy by a participant or music director to the contest chair, who shall forward the report to the appropriate executive committee for action.. (4) Conferences. Judges shall be instructed not to confer before ratings are placed on comment sheets and those sheets are collected for tabulation.. (c) JUDGING STANDARDS. The performance of the soloist, ensemble, or organization at the time of the contest is the only factor which can be considered in determining ratings. A rating designating the excellence of the performance shall be as follows: 46

47 . (1) Division I (Superior). A superior performance for the event and the class of participants being judged; worthy of the distinction of being recognized as a first place winner.. (2) Division II (Excellent). An unusual performance in many respects but not worthy of the highest rating due to minor defects in performance or ineffective interpretation. A performance of distinctive quality. Rating I (7) Section 1113: Rating II Rating III Rating IV Rating V (3) Division III (Average). An average performance, but not outstanding, showing accomplishment and marked promise, but lacking in one or more essential qualities.. (4) Division IV (Below Average). A below average performance not worthy of higher rating because of basic weaknesses in most of the fundamental factors.. (5) Division V (Poor). Much room for improvement. The director should check his or her methods, instrumentation, etc. with those of more mature organizations.. (6) Final Ratings. If judges ratings do not agree, the following chart will determine the rating to be awarded: Charts for Computing Ratings- Three Judges-Five Ratings Judges shall not add plus (+) or minus (-) to division ratings. AWARDS. (a) ORDERING OF AWARDS. The awards referred to in this section may be purchased by the region executive committee from the companies designated by the Policy Committee. The contract for the awards has been negotiated on competitive bids submitted to the Policy Committee of the Legislative Council. Awards lost, damaged or stolen may be replaced by the executive committee. Proof of rating should be submitted with the request for replacement.. (b) PRESENTATION OF AWARDS. The schedule of awards established by the Legislative 47

48 Council is mandatory. No other ratings or awards shall be given. A school that accepts other ratings or awards will be subject to penalty by the State Executive Committee upon recommendation of the appropriate region executive committee. Section 1114: TEXAS STATE SOLO-ENSEMBLE CONTEST. (a) PERFORMANCE REGULATIONS. Unless otherwise specified, the rules of the Texas State Solo-Ensemble Contest are identical to those of the UIL solo-ensemble contests.. (b) ELIGIBILITY. All secondary school students in grades 9 to 12 who received a Division I rating with a Class 1 selection in a UIL region solo or small ensemble contest during the current school year may qualify to participate in TSSEC under the following provisions:. (1) The solo (both instrumental and vocal) was certified as being performed by memory at the region contest.. (2) Schools in conferences 4A, 3A, 2A and A may include students from grades 7 and 8 in ensembles, provided the majority of ensemble members are in grade 9 or above.. (c) MUSIC REQUIREMENTS. Music performed at the Texas State Solo-Ensemble Contest may be different from that used at the region contest, provided the selection performed is chosen from the Class 1 Prescribed Music List for the same event. The event entered shall remain the same; only the music performed may be changed.. (d) MEMORY REQUIREMENT. All solos (instrumental and vocal) shall be performed by memory. Exception: Music may be used for Class I solos specified as being exempt from the memory requirement in the Prescribed Music List.. (e) RESPONSIBILITY FOR INSTRUMENTS AND EQUIPMENT. Participants in the Texas State Solo-Ensemble Contest will be responsible for providing all instruments and equipment (including music stands).. (f) MUSIC THEORY CONTEST.. (1) Additional Contest. A Music Theory Contest will be held in addition to those events listed for region competition.. (2) Grade Limitation. The Music Theory Contest is open to any student in grades 9 through 12, provided that the student has the approval of the school principal and school music director.. (g) ENTRY PROCEDURES.. (1) Entry. All entries shall be submitted electronically using the links available on the UIL website.. (2) Deadline. Entries for TSSEC shall be submitted on the web on or before midnight, April 1.. (3) Fees. Fees are not refundable after deadline date. Fees submitted by individual students 48

49 will not be accepted.. (4) Late Entries. Entries submitted after April 1 will be placed on a waiting list in the order they are received and will be scheduled only if performance times are available. An additional fee will be charged for late entries.. (h) SCHEDULING.. (1) Same Day. All entries from a school will be scheduled to perform on the same day. Exceptions can be made only if a special scheduling request is made, as explained below.. (2) Scheduling Request. Request for performance times on a specific day may be submitted. Requests for a specific part of the day cannot be made. After an entry is submitted, changes cannot be made in the day selected for entries unless performance times are available.. (3) Contest Schedule. Contest schedules will be available on the web on or about May 1 of each year. The director will be responsible for notifying students of their scheduled day, time and location. (i) AWARDS. (1) Solo and Ensemble. Division I Solo-Gold medal; Division II Solo-Silver Medal; Division I Ensemble-Bronze Medal. (2) Outstanding Performer. The Outstanding Performer Award represents the attainment by an individual of superior musicianship as demonstrated in the exacting competition of the Texas State Solo-Ensemble Contest. The award will be sent to each student designated as an Outstanding Performer after the contest. Section 1115: WIND ENSEMBLE FESTIVAL. (a) ELIGIBILITY. Any school may enter the Wind Ensemble Contest provided the school s varsity band earned a Division I rating at the current year s region concert contest.. (b) ENTRY REQUIREMENTS.. (1) Entries and fees for the Wind Ensemble Contest may be submitted at any time during the school term. All entries will be filed according to postmark.. (2) Entries will be certified by the League office upon notice that the ensemble received a Division One rating at the region contest. Notification should be sent to the League office within 72 hours following the region organization contest.. (3) Ensembles will then be assigned performance times based on contest entry postmarks. A maximum of 18 ensembles will be scheduled for the State Wind Ensemble Contest.. (c) PERFORMANCE TIME. Performance time is limited to 30 minutes, including movements on and off the stage.. (d) MUSIC REQUIREMENTS. Wind ensembles will perform a minimum of two or a maximum of three selections chosen from any source suitable for wind ensemble. Judges may comment on the suitability of the music for the group. A score of each selection with measures numbered shall be provided for each judge by the ensemble conductor. 49

50 . (e) AWARDS. Awards for the State Wind Ensemble Festival shall conform to those designated by the Policy Committee of the Legislative Council.. (f) RECOGNITION OF EXEMPLARY MUSICAL ACHIEVEMENT. In lieu of an Outstanding Wind Ensemble Award and at the option of the judging panel, individual performers and/or sections of each ensemble may be honored for exemplary musical achievements.. (g) PERFORMANCE ATTENDANCE. Each participating wind ensemble shall be expected to attend the UIL Wind Ensemble Festival performance of at least two other ensembles. (Sections , reserved for expansion.) 50

51 Copyright Policies This is an area of growing concern and monitoring by outside lawyers. All these folks do is copyright infringements and they are very serious about enforcing this law. Remember copyright includes but is not limited to, music, scripts, software, DVD s, and CD s. The website to get complete information on copyright laws is: MUSIC On page 145 of the UIL Constitution and Contest Rules, Section 1104 is very specific on what and what can t be done for a UIL competition. It is as follows: (a) REPRODICED COPIES OF MUSIC. Reproduced copies of published, copyrighted music scores will be accepted for UIL music events provided the following conditions are met: (1) The reproduction of scores is an emergency and is made without purpose to avoid purchase of music; (2) The reproduction show the notice of copyright; (3) Proof is provided and a purchase order for the procurement of copyrighted scores has been initiated; or a statement by the copyright holder granting permission to use photocopies scores is submitted to the executive secretary or contest chair prior to the contest; (4) Certification that reproduced scores will be destroyed immediately following contest use (5) Individuals or schools whose groups perform copyrighted and/or music requiring royalty are responsible for conforming to all rules and regulations pertaining to the performance of copyrighted music (b) PROHIBITED REPRODUCTION Reproducing more than 10% of individual parts (band, orchestra, choir) is not permitted under this rule THEATER On page 134 of the UIL Constitution and Contest Rules, Section 1033 is very specific on what must happen for all plays not just One Act Play (B)Publisher Permission and Royalty Payment. If the director is producing scenes from a long play or an original play, the director shall produce written evidence that permission for production has been obtained from the publisher or author. Such written evidence shall be presented to the contest manager at each contest. No play shall be performed in contest ( or any other setting) unless the director can produce written evidence that royalty payment has been paid, if royalty is required. Publishing companies may not provide evidence of royalty payment. A letter from the superintendent or principal stating that publisher permission has been obtained and royalty paid may constitute written evidence. A check copy or canceled check may serve as written evidence of royalty payments. No royalty payment is necessary if the specific edition of the play being used is in public domain. The League assumes no responsibility for payment of royalties or obtaining permission from the publisher or author to produce plays or scenes from plays. All copyright laws will be adhered to and enforced please contact this office if you have questions 51

52 Music Information 52

53 Student Travel The Fine Arts office will provide transportation for the following: 1. Buses for all football games including middle school for band nights 2. One 24 foot truck for each high school marching band for each game in El Paso, UIL & SISD contests. 3. Buses for UIL competitions marching & concert groups and One Act Play companies. 4. Buses for all SISD competitions except for solo and ensemble competitions. 5. Buses for all special events that groups perform for SISD events and/or community events that are scheduled through the fine arts department. Examples of transportation costs that are not covered by the Fine Arts department: 1. Out of Town football games pre-season 2. Any other type of competition i.e. TOB in Las Cruces, Hanks Jazz festival, etc. 3. Special parades or activities that are arranged for student performances not through this department. Directors will follow this procedure for department paid fine arts functions: 1. Send an for the number of buses that will be needed for the event. 2. The department will schedule buses accordingly. 3. Whenever possible, we will schedule pick up one and a half hours prior to warm up with departure 60 minutes after performance. 4. If additional time is needed, please notify us by 30 days prior to the contest. Tell us how much time is needed and why. Also, please notify us if you will be taking the students to lunch, if applicable. Just a reminder -- the only time you can take your students to lunch is if they actually miss their campus lunch time. 5. DO NOT have buses go to any other location without the approval of the Principal and Fine Arts Director. This includes lunch, malls, Peter Piper, etc. 6. Out pick up and drop off times are limited to non route times. In other words we can t run buses during morning pick up times and afternoon drop off times. These are about 7:00 AM to 8:30 and 2:30-5:00. All transportation requests must be turned in at least three weeks prior to the event. In cases where the football team advances post district play, follow these procedures: 1. Turn in a trip request with dates, list of students, destination, etc. 2. The department will submit it the central office for approval and complete with charters, district buses, trucks, hotels, meals and other pertinent information. Each and every time that students are accompanying any sponsor on a school related trip, that sponsor must have written permission to take the student off campus. Many schools use a blanket permission slip for the entire year. I caution each director that when a large time span has occurred since the last trip, a new permission slip be obtained for spring activities. (Parents do forget what they signed at the beginning of the school year.) The district and many schools have their own forms. Please follow your own campus procedure for the correct form to use. 53

54 The district also has a medical release form that should be completed for each student leaving the campus. Both of these forms or copies of these forms should be taken with the sponsor for each activity. Both forms must be taken on any type of out of town travel. NEVER TAKE A STUDENT OFF CAMPUS WITHOUT WRITTEN PERMISSION FROM THE PARENT OR GUARDIAN. Never allow students on a bus without a sponsor and/or director on the bus. Please consult the SISD TRAVEL POLICY MANUAL for all forms, procedures, and questions. 54

55 Updated 6/28/2011 Eligibility Requirements for TMEA Activities These rules will apply to all public and private school participants. For more information regarding eligibility for extra-curricular activities, visit the TEA/UIL Side-by-Side Webpage. Note: Those students in grades 9 12 who are competing for places in one of the TMEA All-State Organizations must abide by the rules listed in all three sections of this document. Students competing in all other TMEA sanctioned activities need only be concerned with those regulations contained in Sections I and II. Section I Article 1: Full-time Student. A student must be enrolled as a full-time student (as defined by rule of the State Board of Education) in a Texas school during the semester in which the TMEA activity takes place. If an audition takes place in one semester and the resultant concert or clinic takes place in another, then the student must be enrolled as a full-time student during both semesters. Article 2: Membership in Parent Organization. A student must be certified by his TMEA Active Member director as a participating member of the school s parent musical organization during the semester in which the TMEA activity is held. If there is no parent musical group in the school, the student must be certified by a TMEA member sponsor. This sponsor must hold an Active Membership in TMEA and must have been designated as a sponsor by the chief administrator of the school the student attends. Article 3: Locality and Classification. A student shall compete in the Region in which he is currently receiving the majority of his educational instruction to meet graduation requirements. A private school student shall compete in the comparable UIL classification according to the enrollment of the school. Article 4: Extracurricular Activity. All TMEA activities are extracurricular. In order to participate in TMEA activities, a student must be passing the number of courses required by state law and by rules of the State Board of Education. Article 5: Academic Standing Requirements. In order to participate in TMEA activities, a student must have been in attendance and have passed the number of courses required by the University Interscholastic League for extracurricular participation. For the purpose of this rule, the year in which a student first enrolls in grade nine is the student s first year in high school. Students are considered eligible to participate during the first six-weeks of the school year provided the following standards have been met: (a) Students beginning grades nine and below must have been promoted from a lower grade prior to beginning of the current school year. (b) Students beginning their second year of high school must have earned five credits which count toward high school graduation requirements. (c) Students beginning their third year of high school either must have earned a total of 10 credits which count toward state high school graduation credits, or a total of five credits which count toward high school graduation requirements must have been earned during the 12 months preceding the first day of the current school year. (d) Students beginning their fourth year of high school either must have earned a total of 15 credits which count toward state high school graduation credits, or a total of five credits which count toward high school graduation requirements must have been earned during the 12 months preceding the first day of the current school year. Article 6: Age Limits. A student may not participate after the end of the eighth semester following his first enrollment in the ninth grade. The eight semester, four year rule may be waived under certain circumstances. Article 7: Change of School. Changing schools within the state after acceptance at any level of the All-State selection process will not affect eligibility for further competition. A letter certifying eligibility from the student s former school administration, as well as from his new school, must be filed with the appropriate TMEA Division Chair. The student will continue the process through the Region/Area of the new school. Article 8: Home School Student. A student representing a home school must enter the audition process in the same region as the public school ISD in which the home school is located. Home school classification is considered to be the same as the public high school in which boundary the student resides. A home school student may not participate after the 55

56 end of the fourth year following the first audition entry. The four year rule may be waived under certain circumstances. Section II Article 1: Sponsor. Each student s TMEA Active member director or member sponsor must be in attendance at all TMEA auditions and any other TMEA activities. Each Region shall define written guidelines determining the use of proxies. Article 2: Removal. A student may be removed only by: (1) the audition process itself, (2) the TMEA Appeals Process, or (3) the student's TMEA Active member director or member sponsor. Article 3: Appeals Process. TMEA Policies and Procedures specify an appeals process that shall be used in connection with protests arising from any TMEA selection procedure or failure to fulfill any rehearsal/performance obligation. Article 4: Penalties to be Imposed. During any event sanctioned by TMEA, violation of any of the rules in Section I above shall jeopardize the student s ability to further participate in the tryout process. Said violation may result in forfeiture of a place in any TMEA organization. A student who does not complete the rehearsal/performance obligations (Region, All-State, etc.) will not be eligible for an official participation patch or other award and risk being removed through the Appeals Process from further participation in the All-State process. Section III Note: These rules are to be followed IN ADDITION to all of the above rules by any student competing for placement in one of the All-State Organizations. Article 1: Certification to the Next Level. A student advancing beyond the Region-level must be certified by the Region Divisional Chair. In a Region which sponsors a full orchestra as part of the Region audition process, the Region Orchestra Chair shall certify the Area orchestra candidates representing that Region. Article 2: Duplication of Area Certification. A student may audition in band and/or choir and/or orchestra, but once notified of placement in either the All-State Jazz Ensemble or All-State Orchestra (strings) may not advance to Area for another All-State group. A student may be selected to advance to Area in both wind/percussion and choir but may only participate in one Area audition. The director must ensure that a student submits a completed Area Declaration Form by December 15. These rules are not intended to preclude any student from participation in more than one group at the Region level. 56

57 Band 57

58 USE OF ELECTRONICS IN UIL MARCHING BAND CONTEST PERFORMANCES October 2012 Questions continue to circulate regarding the use of electronics in UIL marching contest performances. In an effort to help directors, executive secretaries and judges clearly understand the application of existing rules the UIL state office has prepared this document for distribution to all interested parties. In addition the Q&A will be posted on the UIL website. THE RULE (4) Electronic Equipment. Electronic equipment may be used under the following provisions: (A) All electronically produced music including narration and sound effects shall be performed live and in real time by eligible students. (B) Pre-recorded music, instrumental or vocal, may not be used. (C) The placement of electronic units shall comply with the 5-minute set up and 2-minute tear down limitations. (5) Amplification of instruments or voice may be used with the following restriction: (A) All equipment, such as mixers, sound boards, etc. shall be operated by eligible students. (B) AC power cords and AC supplied amplification units shall be located outside the sidelines and endlines. (C) The placement of amplification units shall comply with the five-minute set up and 2-minute tear down limitations. THE 2011 STATE EXECUTIVE COMMITTEE INTERPRETATION Electronic samples integrated into a UIL marching contest performance are considered to be digitally created musical effects as opposed to prerecorded music and are compliant with Section 1105 (4) of the C&CR if operated and controlled by a student. Q& A May I use electronics to amplify soloists, sections or voice? 58

59 YES. Electronics are permitted as long as they are compliant with Section 1105 (5) of the C&CR. May I use equipment such as a soundboard and/or mixer to support and control audio reinforcement? YES. However, remember all electronics must be operated by an eligible student. May I pre-record instrumental or vocal music to be used for my contest show. NO. Pre-recorded music (representing an acoustical instrument), vocal solos (songs that are sung) and narrations are prohibited. Such show elements must be performed live and in real time by an eligible student. Can I use digitally created sound effects (such as bird calls, animal sounds, thunder, etc) and/or electronic samples (such as a nondescript vocalization ) during the contest show. YES. Provided they are controlled and activated by an eligible student Can I use applications such as a synthesized rhythmic track or pre-recorded sound loop as a part of the contest show? NO. Tracks that contain steady rhythmic content or provide pulse may not be used. Do these rules apply during the field entry, the 5 minute warm-up or 2 minute exit. NO. There are no rules pertaining to the use of electronics during the 5 minute prior to the contest performance. Is it permissible to use contemporary electronic instruments such as the MalletKAT, HandSonic, or Wavedrum? YES. The use of new electronic instruments is permitted provided that they are played in real time by an eligible student. Questions and/or requests for clarification should be addressed to the UIL State Music Office at: music@uiltexas.org 59

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63 Marching Band Scoring and Advancement Procedure Advancement From Area to State The judging panel will consist of 3 music judges and 2 marching execution judges. The band's final rank will be determined by adding the rankings of all five judges. 14. A/AA/AAA Certification. In conferences A/AA/AAA the music area shall certify the three bands receiving the highest ranking in each conference to the state marching band contest. Should twenty or more bands participate in a single conference at the area contest, one band for each five bands competing in the contest shall be certified for advancement to the state contest. 15. AAAA/AAAAA Certification. In Conferences AAAA/AAAAA the music area shall certify the two bands receiving the highest ranking in each conference to the State Marching Band Contest. Should fifteen or more bands participate in a single conference at the area contest, one band for each five bands competing in the contest shall be certified for advancement to the state contest. 16. In addition, in contests advancing two bands, any band that receives a ranking of two or higher from two music judges and one marching judge shall also advance to state. And, in contests advancing three or more bands, any band that receives a ranking of three or higher from two music judges and one marching judge shall also advance to state. Procedure for selecting bands to advance from area to state The following procedure will be used to determine the advancement of bands from area to state and the placement of bands at the state contest. At the conclusion of the contest each judge's raw score will be used to determine each judge's ranking. In each conference the band receiving the highest numerical score will be assigned first place for each judge, the next highest score will be assigned second place and so on until a ranking for each band is determined for all five judges. The five judges' ranking for each band will then be added together. The high and low will NOT be eliminated. All scores will count. The final ranking will then be determined by assigning the band with the lowest composite score first place, the next lowest composite score second place and so on until the band with the highest composite score is listed last. 63

64 A two-way tie may be broken by using judges preference. For example: Music Judge 1 Music Judge 2 Music Judge 3 Marching Judge 1 Marching Judge 2 Band A Band B Both Bands end up with a final composite score of 15 resulting in a tie. However, the tie can always be broken by determining which band was ranked highest by at least three judges. In this case, Band A would be selected because judges 1, 2 and 4 preferred Band A over Band B. Ties need not be broken unless they affect a band selected to advance to State or the band selected as an alternate. Verification Period. At the conclusion of each conference, there should be a verification period during which directors will have the opportunity to review the tabulation of the final rankings. The following procedure will be observed: One representative from each school will be permitted to review the tabulation and ranking procedure. If all present agree that there is no error in the tabulation process, then the results will become official and will be made public. If there is a protest regarding the tabulations, the rankings will be held and a final judgement made by the State office. There can be no future protest of rankings after the results are announced as official. A director not present during the verification period forfeits his opportunity to protest. Only the bands selected to advance to State and the alternate will be announced at the conclusion of the contest. All tabulations and other results will be made available to the directors only after the contest is completed. Instructions to the judges Adjudication procedures for UIL Area and State Marching Contest The Area/State Judge Manual is available under "Resources & Forms" at: 64

65 Procedure for breaking a 3-way or 4-way tie at area and state The following procedure is used to break a 3-way or 4-way tie in UIL area/state marching band contests. It is based on the concept of "judge's preference". Thus, the ranking that each judge gave each band involved in the tie is used to determine which band each judge "preferred". The following example details how this procedure was applied in the 4-way tie that occurred in the UIL 1999 AAAA State Finals. At the conclusion of the contest the results were as follows: Band J1 J2 J3 J4 J5 Rank Coppell Keller Grapevine Dickinson Poteet Keller: Fossil Ridge Colleyville: Heritage The first three places are clear. However, places 4 through 7 are locked in a 4-way tie with a rank of 24 for each of the 4 bands. The issue now becomes a matter of determining what is the "preferred" ranking of each judge for the 4 bands involved in the tie. The following procedure will apply. The first step is to determine which band each judge preferred. That band will be assigned a rank 1 for that judge and all other bands will receive a rank 2. The results are as follows: Band J1 J2 J3 J4 J5 Rank Dickinson Poteet Keller: Fossil Ridge Colleyville: Heritage Heritage has a total rank of 8 and the other three bands have a total rank of 9, thus Heritage is ranked first and there is now a 3-way tie between the remaining three bands. The procedure is applied again: Band J1 J2 J3 J4 J5 Rank Dickinson Poteet Keller: Fossil Ridge Fossil Ridge has a total rank of 9 and the other two bands have a total rank of 8, thus Fossil Ridge is ranked fourth and there is now a 2-way tie between the remaining two bands. The procedure is applied again: Band J1 J2 J3 J4 J5 Rank Dickinson Poteet Dickinson is preferred by three of the judges and the final tie is now broken. Final Rank for the four bands is: Colleyville: Heritage Dickinson 65

66 Poteet Keller: Fossil Ridge In the rare event that an unbreakable 5-way tie occurs the final ranking will be determined by the rank score of the three music judges. Advancement from State Preliminaries to Finals Ranking will be determined by adding the rank scores of all five judges. If there are 15 or fewer bands in prelims the bands ranked in the top 5 places will automatically advance to the finals. In addition any band below fifth place that receives a ranking of three or higher from at least two of the music judges and one of the marching judges will also advance to the finals. If there are 20 or fewer bands in prelims the bands ranked in the top seven places will automatically advance to the finals. In addition any band below seventh place that receives a ranking of three or higher from at least two of the music judges and one of the marching judges will also advance to the finals. If there are 21 or more bands in prelims the bands ranked in the top ten places will automatically advance to the finals. In addition any band below tenth place that receives a ranking of three or higher from at least two of the music judges and one of the marching judges will also advance to the finals. State Champion Ranking in finals will be determined by adding the rank scores of all five judges. The band with the highest ranking will be declared the state champion. Exception: In the event that a band receives a first place rank from at least two of the music judges and one of the marching judges, that band will be the state champion. Second and Third place will then be determined by total rank scores. All other bands in the finals will be awarded a State Finalist Trophy. (NOTE: This State Champion Format was recommended by the UIL/TMEA Music Advisory Committee and was approved by that body and by unanimous endorsement of the UIL Technical Advisory Committee. 66

67 Band Performance Requirements A band may not play two selections by the same composer in any given contest whether or not the music is chosen from the Prescribed Music List, (This includes a march). Substitution of unlisted editions for selections in the PML - Any unabridged edition by a current copyright holder of a selection appearing in the Prescribed Music List may be substituted. The director of the performing organization shall be responsible for providing verification that the substitute edition is unabridged. PERFORMANCE REQUIREMENTS FOR HIGH SCHOOL VARSITY BANDS Conference 1st Selection Source 2nd Selection Source March AAAAA Grade V list Grade IV or V lists Director's Choice AAAA Grade V or IV lists Gr. III, IV or V lists Director's Choice AAA Gr. III, IV or V lists Gr. II, III, IV or V lists Director's Choice AA Gr. II, III, IV or V lists Gr. I,II,III,IV or V lists Director's Choice A Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice PERFORMANCE REQUIREMENTS FOR HIGH SCHOOL NON-VARSITY BANDS Conference 1st Selection Source 2nd Selection Source March AAAAA-NV Gr. III, IV or V lists Gr. II, III, IV or V lists Director's Choice AAAA-NV Gr. II, III, IV or V lists Gr. I,II,III,IV or V lists Director's Choice AAA-NV Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice AA-NV Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice A-NV Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice PERFORMANCE REQUIREMENTS FOR MIDDLE SCHOOL (C-CCC) AND JUNIOR HIGH (B-BBB) VARSITY BANDS Conference 1st Selection Source 2nd Selection Source March BBB Gr. III, IV or V lists Gr. II, III, IV or V lists Director's Choice BB & CCC Gr. II, III, IV or V lists Gr. II, III, IV or V lists Director's Choice B & CC Gr. II, III, IV or V lists Gr. I,II,III,IV or V lists Director's Choice C Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice PERFORMANCE REQUIREMENTS FOR MIDDLE SCHOOL (C-CCC AND JUNIOR HIGH (B-BBB) NON-VARSITY BANDS Conference 1st Selection Source 2nd Selection Source March All Conferences Gr. I,II,III,IV or V lists Gr. I,II,III,IV or V lists Director's Choice 67

68 Band Sight-Reading Criteria A primary goal of our music programs should be to produce students who are musically literate and prepared to experience a lifetime of musical enrichment. The development of sightreading skills is central to the achievement of this primary goal and also facilitates the successful performance of a greater body of musical literature. Therefore, the development of specific sightreading skills should be included at all levels of instruction and should encompass the essential elements of performance required to make appropriate, independent musical judgements and insure success during the initial reading of a musical work. The primary purpose of the commissioned sightreading music is to test musical literacy at specific levels. The guidelines stated for the sightreading material provide the composer with a parameter of difficulty in composing music for each specific classification. All of the elements need not be used in each composition. 68

69 69

70 70

71 Choir 71

72 Choir Performance Requirements At least one composition must be performed without accompaniment, and all of the compositions may be performed a cappella if so indicated by the score. Instruments should be utilized as scored, unless otherwise noted in this catalogue. Optional instrumental accompaniment will be at the discretion of the conductor. The text must be sung in the language of the title as listed in this catalogue unless otherwise noted in this catalogue. Accompaniment 1. The term "keyboard" encompasses organ, piano, or harpsichord. 2. Instruments shall be utilized as scored, unless otherwise noted in the PML. 3. Taped accompaniment is permissible only when specified in the score. 4. A synthesized accompaniment may be used under the following provisions: a. A synthesized accompaniment should be used only when the original instrumentation is not available. b. The quality of the synthesizer must be commensurate with the intent of the composer and the purpose of the UIL concert contest. c. The synthesized accompaniment must be performed "live" as a part of the contest performance. d. Synthesized sound may not support or replace vocal parts. e. It shall be the responsibility of the choral group director to provide all equipment for the production of synthesized sound. 5. The quality of accompaniment may be considered by the judges and can affect the overall rating of the performance. Substitution of Other Editions Any unabridged edition by a current copyright holder of a selection appearing in the Prescribed Music List may be substituted. The director of the performing organization shall be responsible for providing verification that the substitute edition is unabridged. 72

73 Extended Works Requirements The Extended Works List is provided for choirs desiring to perform a more lengthy work of greater scope than works found in lower classifications. The option of performing an extended work is open to Conference AAAAA and AAAA first groups only. Accompaniment must be as specified. Performance times given are approximations. Conference 1st Selection 2nd Selection AAAAA Extended Works list Grade V list AAAA Extended Works list Grade IV or V lists Performance Requirements PERFORMANCE REQUIREMENTS FOR HIGH SCHOOL VARSITY Conference 1st Selection 2nd Selection 3rd Selection AAAAA Grade V list Grade IV or V lists Any Source AAAA Grade IV or V lists Grade III, IV or V lists Any Source AAA Grade III, IV or V lists Grade II, III, IV or V lists Any Source AA Grade II, III, IV or V lists Grade I, II, III, IV or V lists Any Source A Grade I, II, III, IV or V lists Grade I, II, III, IV or V lists Any Source PERFORMANCE REQUIREMENTS JUNIOR HIGH AND MIDDLE SCHOOL VARSITY Conference 1st Selection 2nd Selection 3rd Selection BBB Grade III, IV or V lists Grade II, III, IV or V lists Any Source BB/CCC Grade II, III, IV or V lists Grade II, III, IV or V lists Any Source B/CC Grade II, III, IV or V lists Grade I, II, III, IV or V lists Any Source C Grade I, II, III, IV or V lists Grade I, II, III, IV or V lists Any Source PERFORMAN CE REQUIREMENTS FOR NON-VARSITY GROUPS Conference 1st Selection 2nd Selection 3rd Selection AAAAA non-v Grade III, IV or V lists Grade II, III, IV or V lists Any Source All other non-v Grade I, II, III, IV or V lists Grade I, II, III, IV or V lists Any Source 73

74 Choir Sight-Reading Criteria Preface: Choir Sight-Reading Music The choral sight-reading contest encourages the extension of knowledge in basic fundamentals of music and rewards the consistent use of a systematic approach to sight-reading. The level of difficulty for each grade or class will allow for the demonstration of musicality as well as for technical accuracy. The primary purpose of the commissioned sight-reading music is to test musical literacy at specific levels. The guidelines stated for the sight-reading material provide the composer with a parameter of difficulty in composing music for each specific classification. All of the elements need not be used in each composition. Harmonic, rhythmic or textual ideas whose primary purposes are to create special effects appropriate for concert performance would best not be used in graded instructional sight-reading materials. Other general considerations for composers are: 1. Avoid using texts with unfamiliar words such as foreign or mythological terms or limericks. 2. Ensure that a tonal center is evident throughout the piece. 3. Return to the original key following a modulation. 4. Music for treble and men s choirs should to be of equal difficulty to that of mixed choirs in the same classification. 5. Avoid introducing more than one rhythmic or harmonic problem at a time. 6. Remember that it is unnecessary to employ all of the allowed elements in a single piece. 74

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76 76

77 Orchestra 77

78 Orchestra Performance Requirements (Full and String) An orchestra may not play two selections by the same composer in any given contest whether or not the music is chosen from the Prescribed Music List, Any original, unabridged edition may be substituted for a selection of the same title appearing in this catalogue. The director shall be responsible for providing scores to the edition being performed. At the time of publication of this list, the selections marked POP were out of print. NOTE: No orchestra may perform two or more works by the same composer. IMPORTANT Full Orchestra (*) - In lieu of performing a full orchestra work as stated under requirement (a) of each option, a director may substitute an overture or tone poem or one movement (except a menuetto) from a symphony by any composer listed with a XXXXX unique number. (any standard, unabridged edition may be used): These composers include: Barber, Beethoven, Berlioz, Bizet, Borodin, Brahms, Copland, Debussy, Dvorak, Faure, Glazunov, Gluck, Hanson, Harris, Haydn, Ives, Mendelssohn, Mozart, Prokovieff,Rimsky-Korsakov, Rossini, Schubert, Saint-Saens, Salieri, Shubert, Schumann, Shostakovich, Sibelius, Tchaikovsky, Verdi, von Suppe, von Weber, and Wagner. String Orchestra (**) - In lieu of performing a string orchestra work as stated under requirement (a), a director in Conference AAAAA, AAAA, or AAA-BBB-CCC may substitute a minimum of two contrasting movements from an original, unabridged concerto or concerto grosso by any composer listed with a XXXXX unique number. These composers include: Albinoni, Bach (C.P.E., J.C., J.S., or W.F.), Boyce, Corelli, Geminiani, Handel, Locatelli, Mendelssohn, Mozart, Telemann, Torelli, Vivaldi, and Vitali. NOTE: Unique numbers for these composers will appear at the beginning of the Prescribed Music List for String Orchestra. 78

79 Full Orchestra Conference Option 1 1st Selection AAAAA AAAA AAA, BBB, or AAAAA One full orch work from the Grade V list; OR a substitutio n as listed above (*) One full orch work from the Grade IV or V list; OR a substitutio n as listed above (*) One full orch work Option 1 2nd Selectio n A second full orch work from the Grade IV or V lists A second full orch work from the Grade III, IV or V lists A second full orch Option 1 3rd selection A string orch selection from any source; OR a full orchestra selection from any source provided that a varsity string orch representing the school is also entered in the contest 79 Option 2 1st Selection One full orch work from the Grade V list; OR a substitutio n as listed above (*) A string orch One full selection from any orch work source; OR a full from the orchestra Grade IV selection from any or V list; source provided OR a that a varsity substitutio string orch n as listed representing the above (*) school is also entered in the contest A string orch One full selection from any orch work Option 2 2nd Selectio n A second full orch work from any source A second full orch work from any source A second full orch Option 2 3rd selection A string orch selection from the Grade IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing the school is also entered in the contest; OR a substitution as listed above (*) A string orch selection from the Grade III, IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing the school is also entered in the contest; OR a substitution as listed above (*) A string orch selection from

80 NV BB or CCC AA, B, CC or AAAA NV from the Grade III, IV or V list; OR a substitutio n as listed above (*) One full orch work from the Grade II, III, IV or V list; OR a substitutio n as listed above (*) One full orch work from the Grade II, III, IV or V list; OR a substitutio n as listed above (*) work from the Grade II, III, IV or V lists A second full orch work from the Grade II, III, IV or V lists A second full orch work from the Grade I, II, III, IV or V lists source; OR a full orchestra selection from any source provided that a varsity string orch representing the school is also entered in the contest A string orch selection from any source; OR a full orchestra selection from any source provided that a varsity string orch representing the school is also entered in the contest A string orch selection from any source; OR a full orchestra selection from any source provided that a varsity string orch representing the school is also entered in the contest 80 from the work Grade III, from any IV or V list; source OR a substitutio n as listed above (*) One full orch work from the Grade II, III, IV or V list; OR a substitutio n as listed above (*) One full orch work from the Grade II, III, IV or V list; OR a substitutio n as listed above (*) A second full orch work from any source A second full orch work from any source the Grade II, III, IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing the school is also entered in the contest; OR a substitution as listed above (*) A string orch selection from the Grade II, III, IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing the school is also entered in the contest; OR a substitution as listed above (*) A string orch selection from the Grade I, II, III, IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing

81 A, C, AAA NV, AA NV, 1A NV, BBB NV, BB NV, B NV, CCC NV, CC NV, C NV One full orch work from the Grade I, II, III, IV or V list; OR a substitutio n as listed above (*) A second full orch work from the Grade I, II, III, IV or V lists A string orch selection from any source; OR a full orchestra selection from any source provided that a varsity string orch representing the school is also entered in the contest One full A second orch work full orch from the work Grade I, II, from any III, IV or V source list; OR a substitutio n as listed above (*) the school is also entered in the contest; OR a substitution as listed above (*) A string orch selection from the Grade I, II, III, IV or V lists; OR a full orchestra selection from the Grade IV or V lists provided that a varsity string orch representing the school is also entered in the contest; OR a substitution as listed above (*) 81

82 String Orchestra Conference 1st Selection 2nd Selection 3rd Selection AAAAA One work from the Grade One work from the One selection V list; OR a substitution as listed above (**) Grade IV or V lists. from any source. AAAA One work from the Grade One work from the One selection IV or V lists; OR a substitution as listed above (**) Grade III, IV or V lists. from any source. AAA, BBB, or AAAAA NV One work from the Grade One work from the III, IV or V lists; OR a Grade II, III, IV or substitution as listed V lists. above (**) BB or CCC One work from the Grade One work from the II, III, IV or V lists; OR a Grade II, III, IV or substitution as listed V lists. above (**) AA, B, CC, or AAAA NV One work from the Grade One work from the II, III, IV or V lists; OR a Grade I, II, III, IV substitution as listed or V lists. above (**) A, C, AAA NV, AA NV, 1A NV, BBB NV, BB NV, B NV, CCC NV, CC NV, C NV One work from the Grade I, II, III, IV or V lists; OR a substitution as listed above (**) One work from the Grade I, II, III, IV or V lists. One selection from any source. One selection from any source. One selection from any source. One selection from any source. 82

83 83

84 84

85 Resources 85

86 TEC SUBCHAPTER D. EXTRACURRICULAR ACTIVITIES EXTRACURRICULAR ACTIVITIES. (a) The State Board of Education by rule shall limit participation in and practice for extracurricular activities during the school day and the school week. The rules must, to the extent possible, preserve the school day for academic activities without interruption for extracurricular activities. In scheduling those activities and practices, a school district must comply with the rules of the board. (b) A student enrolled in a school district in this state or who participates in an extracurricular activity or a University Interscholastic League competition is subject to school district policy and University Interscholastic League rules regarding participation only when the student is under the direct supervision of an employee of the school or district in which the student is enrolled or at any other time specified by resolution of the board of trustees of the district. (c) A student who is enrolled in a school district in this state or who participates in a University Interscholastic League competition shall be suspended from participation in any extracurricular activity sponsored or sanctioned by the school district or the University Interscholastic League after a grade evaluation period in which the student received a grade lower than the equivalent of 70 on a scale of 100 in any academic class other than an identified honors or advanced class. A suspension continues for at least three school weeks and is not removed during the school year until the conditions of Subsection (d) are met. A suspension does not last beyond the end of a school year. For purposes of this subsection, "grade evaluation period" means: (1) the six-week grade reporting period; or (2) the first six weeks of a semester and each grade reporting period thereafter, in the case of a district with a grade reporting period longer than six weeks. (d) Until the suspension is removed under this subsection or the school year ends, a school district shall review the grades of a student suspended under Subsection (c) at the end of each three-week period following the date on which the suspension began. At the time of a review, the suspension is removed if the student's grade in each class, other than an identified honors or advanced class, is equal to or greater than the equivalent of 70 on a scale of 100. The principal and each of the student's teachers shall make the determination concerning the student's grades. (e) Suspension of a student with a disability that significantly interferes with the student's ability to meet regular academic standards must be based on the student's failure to meet the requirements of the student's individualized education program. The determination of whether a disability significantly interferes with a student's ability to meet regular academic standards must be made by the student's admission, review, and dismissal committee. For purposes of this subsection, "student with a disability" means a student who is eligible for a district's special education program under Section (b). 86

87 (f) A student suspended under this section may practice or rehearse with other students for an extracurricular activity but may not participate in a competition or other public performance. (g) An appeal to the commissioner is not a contested case under Chapter 2001, Government Code, if the issues presented relate to a student's eligibility to participate in extracurricular activities, including issues related to the student's grades or the school district's grading policy as applied to the student's eligibility. The commissioner may delegate the matter for decision to a person the commissioner designates. The decision of the commissioner or the commissioner's designee in a matter governed by this subsection may not be appealed except on the grounds that the decision is arbitrary or capricious. Evidence may not be introduced on appeal other than the record of the evidence before the commissioner. 87

88 Chapter 76. Extracurricular Activities Subchapter AA. Commissioner's Rules Statutory Authority: The provisions of this Subchapter AA issued under the Texas Education Code, 7.055(b)(41), unless otherwise noted Extracurricular Activities. (a) An extracurricular activity is an activity sponsored by the University Interscholastic League (UIL), the school district board of trustees, or an organization sanctioned by resolution of the board of trustees. The activity is not necessarily directly related to instruction of the essential knowledge and skills but may have an indirect relation to some areas of the curriculum. Extracurricular activities include, but are not limited to, public performances, contests, demonstrations, displays, and club activities, with the exception of public performances specified in paragraph (2) of this subsection. (1) In addition, an activity shall be subject to the provisions for an extracurricular activity if any one of the following criteria apply: (A) the activity is competitive; (B) the activity is held in conjunction with another activity that is considered to be extracurricular; (C) the activity is held off campus, except in a case in which adequate facilities do not exist on campus; (D) the general public is invited; or (E) an admission is charged. (2) A student ineligible to participate in an extracurricular activity, but who is enrolled in a stateapproved course that requires demonstration of the mastery of the essential knowledge and skills in a public performance, may participate in the performance subject to the following requirements and limitations. (A) Only the criterion listed in paragraph (1)(D) of this subsection applies to the performance. (B) The requirement for student participation in public is stated in the essential knowledge and skills of the course. (b) The school week is defined as beginning at 12:01 a.m. on the first instructional day of the calendar week and ending at the close of instruction on the last instructional day of the calendar week, excluding holidays. (c) In accordance with the provisions of the Texas Education Code (TEC), , the number of times that a school district may allow a student to miss a class for extracurricular participation during a school year shall be 88

89 determined by the school district board of trustees. Each school district must maintain an accurate record of extracurricular absences for each student in the school district each school year. (d) Limitations on practice, rehearsal, and student participation in extracurricular activities during the school week shall be as follows. (1) For any given extracurricular activity, a student may not participate in more than one activity per school week, excluding holidays, except as provided in paragraph (2) of this subsection. (2) In addition to the limit specified in paragraph (1) of this subsection of one extracurricular activity permitted per school week, a student may also participate in a tournament or post-district contest, as well as a contest postponed by weather or public disaster that may determine advancement to a post-district level of competition. (3) For each extracurricular activity, a school district must limit students to a maximum of eight hours of practice and rehearsal outside the school day per school week. (4) The commissioner of education recommends that school districts avoid scheduling extracurricular activities or public performances on the day or evening immediately preceding the day on which the administration of the statewide student assessment program is scheduled for Grades (e) Limitations on practice and rehearsal for extracurricular activities during the school day shall be as follows. (1) A school district must limit a student to one period of practice during the regularly scheduled school day for extracurricular activities, such as athletics, or drill team, or cheerleading. (2) The limit specified in paragraph (1) of this subsection of one period per school day for practice in an extracurricular activity does not prohibit a student from enrolling in any state-approved class. A student who is enrolled in a state-approved class that includes essential knowledge and skills that relate to the preparation for an extracurricular activity may practice that extracurricular activity no more than one period during the school day. (3) A student may not be permitted to miss a scheduled academic class to practice for an unrelated extracurricular activity. (4) A school district must limit extracurricular practice during the school day to ensure that class periods for extracurricular practice do not exceed the time allotted for other class periods. (5) A school operates on a traditional class schedule or on a non-traditional class schedule, such as an alternating, accelerated, or a modified block schedule. Regardless of the schedule type in place, a school may elect to practice extracurricular activities daily, provided the total minutes allowed for the extracurricular practice is not greater than 300 minutes during the school week. (f) The provisions of this section apply to any UIL activity. Any other organization requiring student participation that causes a student to miss a class may request sanction from the school district board of trustees. If the organization is sanctioned by resolution of the board of trustees, student participation in the organization's activities shall be subject to all provisions of this section and statute. Any absence incurred by a student while participating with an organization that has not received sanction from the school district board of trustees shall be subject to provisions of the TEC related to student attendance. 89

90 Marching Band 90

91 Eight Hour Marching Band Rule Q&A Since 1997 the UIL has limited practice outside the academic school day for marching band and auxiliary components to eight hours per calendar week. The Student/Parent Acknowledgement Form came from a recommendation made by the UIL/TMEA Marching Band Study Committee after many months of research and deliberation. The form was created to enlighten students and parents regarding the specifies of the 8-hour rule as it applies to marching band. The form can be found on the Marching Band Contest page of the UIL web site. Q: To whom do I send the signed form? A: The local school district is expected to keep these form on file. Q: What is the deadline for having the form signed? A: The director should have the forms signed and on file by the last Monday in August. Q: When does the 8-hour rule begin? A: The last Monday in August. Q: Does meeting, warming-up or doing a "run through" prior to an appearance at a football game count towards the 8 hours? A: On performance days (football games, competitions and other public performances) bands may hold up to one additional hour warm-up and practice beyond the scheduled warm-up time at the performance site. Q: Does the drum line or color guard or other auxiliary have any additional rehearsal time beyond the eight hours? A: No. The eight hours is cumulative for all components of the band and its auxiliaries. Q: Does the drum line, color guard or other auxiliary have additional rehearsal time beyond the eight hours if they are preparing for competition other than marching contest? A: No. The eight hour rule is inclusive of all marching related activities during the marching season. Q: If a band does not use all of its eight hours in one week can the unused hours be "carried over" into the next calendar week? A: No. Q: Do parades or other kinds of public performances count towards the eight hours? A: No. 91

92 Q: If the drum major or section leader calls an extra rehearsal for individuals or sections of the band will the extra rehearsal count towards the eight hours? A: Yes. Q: Does voluntary practice for activities such as all district, all region or all state tryouts count towards the eight hour limitation on marching band rehearsals? A: No. Q: Does set-up time, movement to and from the field, etc. count as part of the eight hours? A: No. Q: How does the eight hour marching rehearsal rule affect students who are in more than one extracurricular activity? A: A student who is in more than one activity such as marching band and cross country, marching band and drama or marching band and jazz ensemble is permitted eight hours per activity. For example a student could rehearse eight hours during the calendar week with marching band and still be able to attend rehearsals or practices for another activity. 92

93 Health Tips for Marching Band Timely Recommendations to Ensure Band Members are Well Prepared for Activity Source: National Athletic Trainers Association NATA recommends the following tips for parents, band directors, medical professionals and marching band members: 8. Prepare for Activity: Parents should make sure that students are in good general health and fit to perform. 9. Put a Plan Into Place: Develop a written emergency plan in consultation with an athletic trainer and local emergency medical service. Share it regularly and review it with the appropriate band directors/supervisors, school administrators and medical staff. 10. Get Ready to March: Band directors, athletic trainers and parents should ensure that students are physically and mentally conditioned for marching band activities. Encourage students to start with 20 minute walks outside and gradually increase distance of time approximately four weeks before the marching band season starts. Limber up with appropriate stretches and warm ups and cool downs after practice. Increase rigorous routines gradually so students can tone their muscles and increase strength. This will help to reduce aches and pains as well as fatigue from long practices and challenging routines. 11. Acclimatize to the Heat: Acclimatize students to outdoor warm weather conditions. Start routines slowly and build endurance. By working out and walking in the heat or non-air conditioned environments, students can condition their bodies to adapt and better perform in the heat. 12. What to Wear: Wear light or white colored shorts and t-shirts to avoid overheating during practice. This is especially important for anyone carrying heavy instruments for long periods of time. Save the formal attire heavy hats, dark clothing and shoes for dress rehearsals and get comfortable in them before game day. Be aware that the weight of the material and dark colors keep heat in. 13. Hydrate, Hydrate, Hydrate: Establish a hydration plan that allows band members to drink water or sports drinks such as Gatorade throughout practice sessions (about 7-10 ounces every minutes). It is important to hydrate before AND after routines. Without proper hydration, they are at risk of developing exertional heat related illnesses. Make sure that band members have sports drinks and water available. Don t assume they can share with sports teams. 14. Seek Shade: Be smart when it comes to the sun. Stand in the shade during rest 93

94 breaks or half time to cool down before and after practices and performances. 15. Fuel for Success: Incorporate healthy foods in the daily diet including grains, fruits and vegetables, dairy and meat/poultry/fish to give them the fuel they need to exercise. A balanced and moderate approach is always the best bet. 16. Make Use of Musical Instruments: Students should hold and manage sousaphones, drums, flutes and other instruments correctly to avoid ergonomic injuries. 17. Stay Fit in Formation: Since bands are often in formation and standing still for long periods of time especially when on parade routes or during practice students should move fingers, knees and toes slightly to keep circulation flowing and joints loose and flexible. 18. Monitor Band Members: Band members should be monitored at all times on the field for signs of heat illnesses by a parent, band director, certified athletic trainer or other individual. 19. Inspect Fields and Routes: Remove debris, water, rocks and other hazards from the field or parade route. These small obstacles can lead to twisted ankles, bruised knees, scraped elbows or other more serious injuries. 20. Stock the Kit: Stock a first aid kit and keep it onsite for medical emergencies. Include supplies for wound management and bee stings, such as elastic wraps and band aids, disposable ice packs, tape and wound cleanser, among other items. 94

95 Concert Band 95

96 Concert Band Sight-Reading Frequently Asked Questions Q: Will I be disqualified if I begin to sing rhythms in the general explanation period? A: No. A director that inadvertently begins to sing rhythms or audibly reproduces the music during the general explanation period will receive a warning from the judging panel. There will be no penalty. If the director sings rhythms or audibly reproduces the music a second time the 3 minute summary explanation period will automatically begin. Q: Under what circumstances can I be disqualified under the new format? A: It is not possible to be disqualified during the discussion period. The only grounds for disqualification will remain the same as in the past. "A band whose director makes an obvious contribution to the performance by either singing with or speaking to the students while they are performing shall be disqualified." Section 1111 (e) (5) of the UIL Constitution and Contest Rules. Q: Can I count beats ( , etc.) during the General Explanation period? A: Yes. Counting, snapping, clapping or tapping consecutive beats in tempo will not be interpreted as audibly reproducing the music. However, the director should use no voice inflection that implies any element of the music including but not limited to pitch, style, articulation and dynamics. Judges are instructed to monitor adherence to this expectation. Q: Since I can count beats ( , etc.) is counting 8th note or 16th note pulse acceptable? A: No. Students should have been taught a sense of subdivision prior to the contest. Q: Can I use note names or fingerings during the General Explanation period? A: Yes. During the General Explanation period directors may use note names and/or fingerings for the purpose of defining key signatures, accidentals or other technical concerns. However, directors should not use consecutive note names or fingerings as this will be interpreted as a reproduction of the music. Q: Can I conduct rhythmic figures during the General Explanation Period? A: Yes. There are no limitations regarding what the director can communicate through the use of conducting. 96

97 Q: Do I have to use all of the General Explanation Period? A: No. A director is not required to use all of the allotted time. He/She may elect at any time to proceed to the Summary Explanation Period or to perform the music without penalty. Q: How does this procedure affect my day-to-day approach to teaching sight-reading skills in the classroom? A: That would likely depend on your teaching style. Perhaps the most important issue will be the fact that the students' ability to count rhythms independently will need to be reinforced so that they do not need to hear every rhythm sung by the director. Also the criteria for the selection of sight-reading music is available on the UIL web site. This document spells out the keys, time signatures, rhythms, etc. that can be used in the music for each conference. Directors might want to concentrate on music that fits these parameters as they prepare for the sightreading contest. Q: What is the best way to use the summary explanation period? A: During this portion of the discussion period it will be permissible to count, subdivide, and sing rhythms. Most directors will want to use this time to focus on those spots in the music that are most likely to give the students a problem and perhaps sing and count the more complex rhythms. Q: What criteria will judges consider when assigning ratings? A: Judges ratings shall be based only upon the band's sight-reading performance and will in no way reflect the approach taken or the techniques utilized by the director and students during the explanation periods. 97

98 Specific Criteria for Composing Band Sight-Reading Music Composers of UIL band sightreading music are provided the following specific criteria: 1. Composers of Level I-II-III compositions are encouraged to familiarize themselves with the scoring practices that are common place in Grade I-II-III educational music. A comprehensive listing of such works can be found in the UIL Prescribed Music List. Music directors of bands at these levels should realistically expect the music their students encounter in the sight-reading room to be similar in craft to the music they see everyday in the rehearsal hall. For example, isolated entrances, independent lines for single instruments or exposed passages for color instruments (regardless of how simple) should be avoided. 2. Do not number measures. However, ample, strategically placed rehearsal numbers should be present throughout the score. 3. Avoid specific metronome markings. Instead use tempo indications such as andante, allegro, etc. 4. Do not indicate cues in either the score or the parts. They tend to create confusion in the sight-reading room. Either double the parts (usually a good idea, especially at Levels I-II-III) or omit the cues entirely. 5. Strive to keep the notation as large as possible and the score page as uncluttered as possible. Very small notation as well as excessive lines and measures on a page are difficult to read and tend to cause both confusion and frustration for the directors. 6. Be very specific and clear about percussion instrumentation. For example directors should not find themselves looking at the score during the explanation period and wondering if the part is for crash cymbals or suspended cymbal. 7. Try to avoid any device that might be viewed as a trick. Technically, rhythmically and harmonically, the music should be straightforward and logical. 8. Be very careful about the use of divisi. Placing multiple parts on the same staff with accidentals, polyrhythms and note stems going in opposite directions can be confusing. 9. Time your composition at performance tempo to make sure that it meets the time limit requirement. Sight-Reading Levels and Conference Assignment Level Conference 98

99 I C II CC B A III CCC BB AA IV BBB AAA V AAAA VI AAAAA Non-varsity bands will read two levels below their conference. Exception: CC/B/A non-varsity will read one level below their conference. Level I - Conference C Key Concert F, B-flat, E-flat Major. Maximum of one key change. Meter: Maximum of one meter change. Rhythm: BASIC PATTERNS: PERCUSSION ONLY Length: Two and one-half (2 1/2) minutes or less. Level II - Conference CC - B - A Same criteria as Level I - Conference C EXCEPT: Key: Maximum of two (2) keys with a maximum of two (2) key changes Level III - Conference CCC - BB - AA Key: Concert F, B-flat, E-flat Major. Maximum of two (2) keys with a maximum of two (2) key changes. Meter: 99

100 Maximum of two (2) meters with a maximum of two (2) meter changes. Rhythm: BASIC PATTERNS PERCUSSION ONLY Length: Three (3) minutes or less. Level IV - Conference BBB - AAA Same criteria as Level III - Conference CCC - BB - AA EXCEPT: Key: Add A-flat Rhythm: All sixteenths can be used for percussion AND wind players. Level V - Conference AAAA Key: Concert F, B-flat, E-flat, A-flat Major. Maximum of two (2) key changes. Meter: Maximum of two (2) meter changes. Rhythm: Basic Patterns Length: Four (4) minutes or less. Level VI - Conference AAAAA 100

101 Key: Concert F, B-flat, E-flat, A-flat Major. Maximum of three (3) key changes. Meter: Maximum of three (3) meter changes. Rhythm: Same as Basic Patterns for Level V. Length: Four and one-half (4 1/2) minutes or less. 101

102 102

103 TMAA Sight-Reading Procedure for Band Adjudicator Sight-Reading Procedures for Instrumental Music When the Conductor Enters the Room: 1. Approach the conductor with a professional greeting. It is suggested that this be done by a TMAA active or provisional member judge. 2. Confirm that the conductor received the pre-contest instrumentation information which should have included the instrumentation for the sightreading selection to be performed. If not, provide him/her with a copy of the or mailing that was sent by the executive secretary to all participants. 3. Remind the conductor of the timpani pitches (have them on the board if possible). Also remind the conductor that the timpani need to be tuned prior to the beginning of the general explanation period. An assistant conductor may assist with tympani tuning, if necessary. Once the explanation begins no one other that the primary conductor explaining the selection will be allowed to assist the timpanist with tuning or any other form of instruction. 4. Remind the conductor of the percussion requirements of the selection to be performed. 5. Have the conductor provide the time keeper with any Warnings (ex. One minute then 30 seconds, etc). 6. Have the students open their folder and remove the parts for the correct selection they are to read for their conference. Then ask the following: "Does everyone have the correct part, including part assignment, correct key, and correct clef for your instrument?" Have the students turn the music over so it is not available for viewing. The judge should then solve any problems that might exist. 7. After any problems are resolved and all is confirmed, the judge will proceed to the following question. 8. Show the conductor the selection to be performed and ask the following question verbatim: This organization will be reading (title of selection) which has been chosen for conference (varsity or non-varsity groups). Is this the correct conference for your 103

104 organization? 9. (Band Only) Remind the conductor that timing and instruction will stop between the general explanation and the summary explanation periods and that (he/she) will be expected to stop while the contest chair or designee is reading Your general explanation period is over. You may now begin your summary explanation. Instruction Period: After a brief professional greeting to the ensemble, introduce yourself and the other adjudicators to the students. Ask the conductor the following question verbatim: Has this organization or any of its student members heard, read, rehearsed or performed this selection (indicating the music) at any time prior to this contest? If the answer is yes, refer to Section 1111, (A) and (B) of the "UIL Constitution and Contest Rules". Ask the conductor if he/she would like the rules read to their organization. If the answer is "no" say "Your timing will begin when yourconductor asks you to turn over the music or when he/she opens his/her score." If the answer is "yes" proceed to the appropriate section below: Read the following without embellishment for band: "The instruction period will be divided into two sections. During the first section, called the general explanation period, (7 minutes/5 minutes/4minutes) your conductor may use the time as he or she wishes by incorporating any combination of silent study and/or conductor s explanation. During this time period your conductor may point out specific performance problems, demonstrate how ritards, fermatas, etc. will be conducted, call attention to accidentals, identify unique characteristics of the music (i.e., who has the melody, important passages for certain sections, the presence of repeats, etc.) and answer your questions. At the conductor s discretion, you may finger passages at any time during the general explanation period. The conductor and students may not count, sing or audibly reproduce the music in any other fashion, including any verbal subdivision of the beat while counting. At the conclusion of the general explanation period timing and instruction will stop and the chair of the sight-reading panel or a designee will read aloud the following statement: 'Your general explanation period is over. You may now begin your summary explanation.' Time will then begin for the final three minute (four minute for sub-non-varsity) summary explanation. During the summary explanation, the conductor may instruct you as he or she sees fit, including singing phrases, demonstrating rhythmic figures or reviewing ritards and fermatas with singing and/or counting. However, your conductor may not perform the music on any instrument or allow you to tap rhythms or perform any part of the music in any fashion. Immediately following the instruction period and prior to the sight-reading 104

105 performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: long tones; a whole note scale; or eight measures of a warm-up choral. No further warm-up, instruction or communication of any kind is permitted by your conductor, including the use of verbal counting to initiate the reading. Are there any questions regarding the procedure? Your timing will begin when your conductor asks you to turn over the music or when he/she opens his/her score." Read the following without embellishment for orchestra: "Your conductor will have, (10 minutes/8 minutes/7 minutes) to explain this piece of music. He (or She) may use the time as he (or she) sees fit, including singing phrases, demonstrating rhythmic figures or reviewing ritards and fermatas with singing and/or counting. However, your conductor may not perform the music on any instrument or allow you to tap rhythms or perform any part of the music in any fashion. You may shadow bow passages at any time during the explanation period, but again you may not reproduce any portion of the music in any way. Immediately following the instruction period and prior to the sight-reading performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: long tones; a whole note scale; or eight measures of a warm-up choral. No further warm-up, instruction or communication of any kind is permitted by your conductor, including the use of verbal counting to initiate the reading. Are there any questions regarding the procedure?" At The Conclusion of the Performance: (for both band and orchestra) Thank the students and ask them to be sure and leave the music on the music stand. Remind them to be sure that they take all their personal items with them as they leave the room. 105

106 Choir 106

107 Meter Conference C Middle Schools and B Junior Highs No meter change Key Major keys: F, C, G No modulations Consider range and tessitura of voices Texture Homophonic, with unison passages allowed Harmony No altered chords Melodic skips within the I, IV, V chords only, to include all thirds and perfect fourth, "soldo" (5-1) Cadences No use of the deceptive cadence Authentic and plagal cadences only Rhythm Basic patterns using eighth, quarter, half, and whole notes and corresponding rests Dotted half notes No ties across the bar line No excessive use of rests In addition, the dotted quarter note eighth note rhythm may be used for varsity groups. Length 16 to 24 measures, depending on time signature Length of piece can be different for each classification Form Recurring motives; strophic; ABA Voicings Mixed: SAB and SATB; Girls: SA/SSA; Boys: TB/TTB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Ten. II Bass Baritone for SAB 107

108 Conference CC/CCC Middle Schools and BB Junior Highs Meter Maximum of one meter change and return Key Major keys: F, C, G No modulations Consider range and tessitura of voices Harmony No altered chords Melodic skips within the I, IV, V chords only, to include all thirds and perfect fourth Texture Homophonic, with unison passages allowed Cadences No use of the deceptive cadence Authentic and plagal cadences only Rhythm Basic patterns using eighth, quarter, half, and whole notes and corresponding rests Dotted half notes No ties across the bar line No excessive use of rests In addition, the dotted quarter note eighth note rhythm may be used for varsity groups. Length 20 to 32 measures, depending on time signature Length of piece can be different for each classification, thus, one piece could be written for three classifications Form Recurring motives; strophic; ABA Voicings Mixed: SAB and SATB; Girls: SA/SSA; Boys: TB/TTB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Ten. II Bass Baritone for SAB 108

109 Meter Conference A, AA Varsity and AAAA Non-varsity Maximum of one meter change and return Key Major keys: B-flat, F, C, G, D No modulations Harmony No altered chords Melodic skips within the I, IV, V and V7 (re-fa only) chords only, to include all thirds, perfect fourth, and perfect fifth Cadences No use of the deceptive cadence Authentic and plagal cadences only Texture Homophonic, with polyphonic sections No more than 20% polyphony Rhythm Basic patterns using eighth, quarter, half, and whole notes and corresponding rests No dotted patterns except dotted half notes and dotted quarter notes Length 32 to 40 measures Voicings Mixed: SAB and SATB; Girls: SSA; Boys: TBB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Baritone Bass 109

110 Meter Conference AAA Varsity and AAAAA Non-varsity Maximum of one meter change and return Key Major keys: B-flat, E-flat, F, C, G, D, A No modulations Harmony Melodic skips within the I, IV, V, V7 and VI chords, except the tritone Texture Homophonic, with polyphonic sections No more than 20% polyphony Rhythm Basic patterns using eighth, quarter, half, and whole notes and corresponding rests Dotted values using eighths or longer values Length 32 to 40 measures Voicings Mixed: SAB and SATB; Girls: SSA; Boys: TBB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Baritone Bass 110

111 Meter Conference AAAA Maximum of one meter change and return Key Major or minor keys up through four sharps and four flats Possible modulation to relative major or minor keys Harmony Simple altered chords with the altered tone approached and left step-wise Voice leading in all parts should be logical and should avoid leaps of the major 7th and the tritone Texture Homophonic, with polyphonic sections No more than 25% polyphony Rhythm Dotted patterns Simple syncopations Tied notes across bar lines Sixteenth note patterns Eighth note triplets spanning no more than two beats may be used for necessary text accommodations Length 36 to 42 measures including repeats Voicings Mixed: SATB; Girls: SSA; Boys: TBB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Baritone Bass 111

112 Meter Conference AAAAA Maximum of one meter change and return Key Major or minor keys up through four sharps and four flats Possible modulation to relative major or minor keys Harmony Simple altered chords with the altered tone approached and left step-wise Voice leading in all parts should be logical and should avoid leaps of the major 7th and the tritone Texture Homophonic, with polyphonic sections No more than 30% polyphony Cadences No use of the deceptive cadence Authentic and plagal cadences only Rhythm Dotted patterns Simple syncopations Tied notes across bar lines Sixteenth note patterns Eighth note triplets spanning no more than two beats may be used for necessary text accommodations Length 48 to 52 measures including repeats Voicings Mixed: SATB; Girls: SSA; Boys: TBB Text Choir may use the printed text or their preferred method of reading on both readings. Ranges Sop. I Sop. II Alto Ten. I Baritone Bass 112

113 TMAA Sight-Reading Procedure for Choir When the Conductor Enters the Room: 1. Approach the conductor with a professional greeting. It is suggested that this be done by a TMAA active or provisional member judge. 2. Have the conductor provide the time keeper with any Warnings (ex. One minute then 30 seconds, etc). 3. Show the conductor the selection to be performed and ask the following question verbatim: This organization will be reading (title of selection) which has been chosen for conference (varsity or non-varsity groups). Is this the correct conference for your organization? Instruction Period: After a brief professional greeting to the ensemble, introduce yourself and the other adjudicators to the students. Ask the conductor the following question verbatim: Has this organization or any of its student members heard, read, rehearsed or performed this selection (indicating the music) at any time prior to this contest? If the answer is yes, refer to Section 1111, (A) and (B) of the UIL Constitution and Contest Rules. Ask the conductor if he/she would like the rules read to their organization. It the answer is "no" say "Your timing will begin when your conductor asks you to turn over the music or when he/she opens his/her score." If the answer is "yes" read the following without embellishment: "Your conductor will be given six minutes (seven minutes for sub-non-varsity choirs) to study the score and instruct your choir. At any time during the instruction period the tonic chord may be played once in broken chord style. You, the performers, may NOT reproduce it. Your conductor may instruct you by tapping out rhythms and talking about any passage of music but may not hum, sing any part, or allow it to be played on the piano. You, the performers, may chant rhythms and/or text and tap or clap the rhythms. But you may not reproduce the music tonally. You may ask questions and make comments, according to your conductor's wishes. Neither the conductor nor you, the performers, may mark on the sight-reading music unless instructed to do so by a judge. At the completion of the instruction period, you will be given the tonic chord, in broken chord style and you may reproduce the tonic chord, utilizing your organization's preferred method of sight-reading (numbers, syllables, etc). After 113

114 producing the tonic chord, your director will ask you to reopen your music. Your accompanist will then give the starting pitches, which each section may sing, again utilizing your preferred method. Your conductor may sing the starting pitch with each section. After your choir has sung its starting pitches no further warmup or musical instruction of any kind is permitted by your conductor, including the use of verbal counting to initiate the reading. The selection will then be sung without piano accompaniment and using your organization's preferred method of sight-reading. Your conductor may choose to read the piece in the printed key or any other key suitable for your group. Following the first reading, your conductor will have two minutes for instruction. The same procedures described for the first reading will apply. The selection will then be sung a cappella. Your choir may continue to use your preferred method of sight-reading or you may sing the words printed in the score. The conductor's decision to use text or not will have no bearing on the final rating. Both readings will be judged. Do you have any questions regarding the sight-reading procedure? Your timing will begin when your conductor asks you to open your music or when he/she opens his/her score." At the Conclusion of the Performance: Thank the students and ask them to be sure and leave the music (where instructed). Remind them to be sure that they take all their personal items with them as they leave the room. 114

115 Orchestra 115

116 Orchestra Sight-Reading Criteria Sight-Reading Selection Levels and Conference Assignment Level Conference I C II CC B A III CCC BB AA IV BBB AAA V AAAA VI AAAAA Non-varsity orchestras will read two levels below their conference. Exception: CC/B/A non-varsity will read one level below their conference. Level I - Conference C Key Concert D, G Major. No key change. Meter: Maximum of two meter changes. Rhythm: BASIC PATTERNS: Length: Maximum of two (2) minutes (single movement piece or one movement of a two movement piece). Level II - Conference CC - B - A Same criteria as Level I - Conference C EXCEPT: Key Concert D, G Major (and C Major for full orchestra). No key change. Length Maximum of three (3) minutes (single movement piece or both movements of a two 116

117 movement piece). Level III - Conference CCC - BB - AA Key Concert D, G, C Major (and F Major for full orchestra) / b, a, e minor Maximum of two (2) keys changes. Meter Maximum of two (2) meter changes. Rhythm BASIC PATTERNS Length Maximum of three (3) minutes (can be multi-movement). Level IV - Conference BBB - AAA Same criteria as Level III - Conference CCC EXCEPT: Rhythm BASIC PATTERNS Length Maximum of four (4) minutes (can be multi-movement). 117

118 Level V - Conference AAAA Key Concert D, G, F, C Major / d, a, c, g minor. Maximum of three (3) key changes. Meter Maximum of three (3) meter changes. Rhythm BASIC PATTERNS Length Maximum of five (5) minutes (can be multi-movement). Level VI - Conference AAAAA Key Concert D, G, F, C, Bb Major / d, a, c, g minor. Maximum of three (3) key changes. Meter Maximum of three (3) meter changes. Rhythm BASIC PATTERNS Length Maximum of five (5) minutes (can be multi-movement). 118

119 TMAA Sight-Reading Procedure for Orchestra Adjudicator Sight-Reading Procedures for Instrumental Music When the Conductor Enters the Room: 10. Approach the conductor with a professional greeting. It is suggested that this be done by a TMAA active or provisional member judge. 11. Confirm that the conductor received the pre-contest instrumentation information which should have included the instrumentation for the sightreading selection to be performed. If not, provide him/her with a copy of the or mailing that was sent by the executive secretary to all participants. 12. Remind the conductor of the timpani pitches (have them on the board if possible). Also remind the conductor that the timpani need to be tuned prior to the beginning of the general explanation period. An assistant conductor may assist with tympani tuning, if necessary. Once the explanation begins no one other that the primary conductor explaining the selection will be allowed to assist the timpanist with tuning or any other form of instruction. 13. Remind the conductor of the percussion requirements of the selection to be performed. 14. Have the conductor provide the time keeper with any Warnings (ex. One minute then 30 seconds, etc). 15. Have the students open their folder and remove the parts for the correct selection they are to read for their conference. Then ask the following: "Does everyone have the correct part, including part assignment, correct key, and correct clef for your instrument?" Have the students turn the music over so it is not available for viewing. The judge should then solve any problems that might exist. 16. After any problems are resolved and all is confirmed, the judge will proceed to the following question. 17. Show the conductor the selection to be performed and ask the following question verbatim: This organization will be reading (title of selection) which has been chosen for conference (varsity or non-varsity groups). Is this the correct conference for your 119

120 organization? 18. (Band Only) Remind the conductor that timing and instruction will stop between the general explanation and the summary explanation periods and that (he/she) will be expected to stop while the contest chair or designee is reading Your general explanation period is over. You may now begin your summary explanation. Instruction Period: After a brief professional greeting to the ensemble, introduce yourself and the other adjudicators to the students. Ask the conductor the following question verbatim: Has this organization or any of its student members heard, read, rehearsed or performed this selection (indicating the music) at any time prior to this contest? If the answer is yes, refer to Section 1111, (A) and (B) of the "UIL Constitution and Contest Rules". Ask the conductor if he/she would like the rules read to their organization. If the answer is "no" say "Your timing will begin when yourconductor asks you to turn over the music or when he/she opens his/her score." If the answer is "yes" proceed to the appropriate section below: Read the following without embellishment for band: "The instruction period will be divided into two sections. During the first section, called the general explanation period, (7 minutes/5 minutes/4minutes) your conductor may use the time as he or she wishes by incorporating any combination of silent study and/or conductor s explanation. During this time period your conductor may point out specific performance problems, demonstrate how ritards, fermatas, etc. will be conducted, call attention to accidentals, identify unique characteristics of the music (i.e., who has the melody, important passages for certain sections, the presence of repeats, etc.) and answer your questions. At the conductor s discretion, you may finger passages at any time during the general explanation period. The conductor and students may not count, sing or audibly reproduce the music in any other fashion, including any verbal subdivision of the beat while counting. At the conclusion of the general explanation period timing and instruction will stop and the chair of the sight-reading panel or a designee will read aloud the following statement: 'Your general explanation period is over. You may now begin your summary explanation.' Time will then begin for the final three minute (four minute for sub-non-varsity) summary explanation. During the summary explanation, the conductor may instruct you as he or she sees fit, including singing phrases, demonstrating rhythmic figures or reviewing ritards and fermatas with singing and/or counting. However, your conductor may not perform the music on any instrument or allow you to tap rhythms or perform any part of the music in any fashion. Immediately following the instruction period and prior to the sight-reading 120

121 performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: long tones; a whole note scale; or eight measures of a warm-up choral. No further warm-up, instruction or communication of any kind is permitted by your conductor, including the use of verbal counting to initiate the reading. Are there any questions regarding the procedure? Your timing will begin when your conductor asks you to turn over the music or when he/she opens his/her score." Read the following without embellishment for orchestra: "Your conductor will have, (10 minutes/8 minutes/7 minutes) to explain this piece of music. He (or She) may use the time as he (or she) sees fit, including singing phrases, demonstrating rhythmic figures or reviewing ritards and fermatas with singing and/or counting. However, your conductor may not perform the music on any instrument or allow you to tap rhythms or perform any part of the music in any fashion. You may shadow bow passages at any time during the explanation period, but again you may not reproduce any portion of the music in any way. Immediately following the instruction period and prior to the sight-reading performance the sight-reading music will be turned face down. Each performing group may then play or sing a brief warm-up consisting of one of the following: long tones; a whole note scale; or eight measures of a warm-up choral. No further warm-up, instruction or communication of any kind is permitted by your conductor, including the use of verbal counting to initiate the reading. Are there any questions regarding the procedure?" At The Conclusion of the Performance: (for both band and orchestra) Thank the students and ask them to be sure and leave the music on the music stand. Remind them to be sure that they take all their personal items with them as they leave the room. 121

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123 Fund Raising The following are guidelines for all fund raising activities: 1. Fund Raising can only be done with approved district vendors and when coming on campuses they must have a blue pass entitled Vendor to Campus Pass signed by Mr. Vechione. All vendors must have a background check before they deal with students or campuses and this has been done prior to campus visitation privileges. Please do not use any fund raising vendor or even visit with vendors unless they physically show you this pass. Once you have decided on an approved vendor and product be sure you submit the proper paperwork BEFORE you begin the project. 2. Be sure that you are very clear on the purpose of the fund raiser. i.e. Trip to Disneyland individual student accounts or Group fund raiser for clinicians 3. Karen Edens will check your preliminary paperwork and it must be signed by the appropriate Assistant Superintendent. 4. Remember if you are going on trip and have individual student accounts, you can t use that money for other items such as clinicians, drill, music, supplies, etc. If you are doing a fund raiser for individual students that is where the monies must be spent 5. Funds will carryover from year to year. 6. Once the fund raiser has concluded make sure you fill out the summary. 7. Be sure you deposit all funds each and every day. DO NOT KEEP MONEY IN YOUR DESK. All funds must be deposited or at the very least put in the school vault each day. 8. If you are unsure about this, be sure to call 123

124 Student Code of Conduct--Socorro ISD The following information is directly taken from the current edition of the Socorro ISD Student Code of Conduct. All coaches, directors, and sponsors should familiarize themselves with the entire document as stated in the student handbook. The information cited below pertains to student travel situations and defines Level Ill and IV Consequences and Offenses. II.. Jurisdiction and Authority School rules and the authority of the district to administer discipline apply whenever the interest of the school is involved on or off school grounds in conjunction with or independent of classes or school-sponsored activities. B. School Personnel/Authority 1. The district has disciplinary authority over a student: a) During the regular school day and while the student is going to and from school on district transportation; b) While the student is in attendance at any school related activity, regardless of time or location; c) For any school-related misconduct, regardless of time or location; d) When retaliation against a school employee or volunteer occurs or is threatened, regardless of time or location; e) When criminal mischief is committed on or off school property or at a school-related event; f) For certain offenses committed within 300 feet of school property as measured from any point on the school s real property boundary line; g) For certain offenses committed while on school property or while attending a school-related activity of another district in Texas; h) When the student commits a felony, as provided by Education Code or ; and The district has the right to search a vehicle driven to school by a student and parked on school property whenever there is reasonable cause to believe it contains articles or materials prohibited by the district. II. D. Expectations for Student Conduct 3. School Clubs/Organizations a) Students shall not become members or promise to become members of any organization (fraternity, sorority, secret society, tagging crew, or gang) composed wholly or in part of students of public schools, which seeks to perpetuate itself by taking in additional members from the students enrolled in such schools on the basis of the decision of its membership rather than upon the free choice of any student in the school who is qualified under the rules of the school to fill the special aims of the organization. b) Students shall have prior approval from the principal or designee for any type of "initiation rites" of a school club or organization. c) No student shall engage in any form of hazing, nor shall any student encourage or assist any other person in hazing. a. Students are responsible for whatever is contained in desks, lockers, or other property (athletic bags, etc.) issued to them by the school. b.....if a school official has a reasonable basis to suspect that a search of this property (non-district owned vehicles and personal items) may disclose evidence that a student has violated or is violating either the law or rules of the school, the official may institute a search. c. Personal searches of students are authorized under specific guidelines. III. Specific Categories and Consequences of Offenses G. Level Three (3) Offenses Requiring Serious Administrative Action (TEC Sec & ) A student shall be removed from class and placed in the appropriate Socorro ISD disciplinary alternative education program (TEC ) for the following offenses which occur within 300 feet of school property or while attending a school sponsored or school related activity on or off school property (District Policy FOAB). 1. Engaging in conduct punishable as a felony. 2. Engaging in conduct that contains the offense of assault under Penal Code Selling, giving or delivering to another person, possessing or using, or being under the influence of the following: a. Marijuana or a controlled substance (Chapter 481) b. A dangerous drug (Chapter 483) 4. Selling, giving, in possession of, using, or delivering to another person an alcoholic beverage. 7. Engaging in conduct that contains elements of public lewdness. Students who are placed in a Disciplinary Alternative Education Program are prohibited from attending or participating in 124

125 school-sponsored or school-related extracurricular and non-curricular activities during the period of placement. 1. The maximum length of time for state required DAEP placement at Level 3 is 18 weeks for secondary students. 2. The maximum length of time for discretionary DAEP placement at Level 3 is 9 weeks for secondary students. V. Discipline Under 504 A student in a Section 504 program is subject to the district s Student Code of Conduct unless otherwise stated in the Accommodation Plan (AP). A student s AP may include a behavior management plan, which outlines disciplinary options to be used in addition to or instead of certain parts of the district code. VI. Discipline of Special Education (Disabled) Students The district publishes the Special Education; Parents and Students Rights booklet. This booklet contains information concerning students with disabilities, including information relating to discipline. Consequences and Team Rules All coaches and sponsors are required to have a parent/ student notice of disciplinary consequences that is to be signed by parent /legal guardian and student to be kept on file prior to participation in an event or contest. The notice will be program specific and will include exactly what the consequences will be for students who commit serious offenses to include, but not be limited to, Level III offenses as per the SISD Student Code of Conduct. The objective is to ensure that there is equity and consistency in the manner that discipline is handled and the consequences that are assigned to all athletes/fine arts students regardless of their talent, position, or value to the team. 125

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135 PARENT/STUDENT UIL MARCHING BAND ACKNOWLEDGEMENT FORM No student may be required to attend practice for marching band for more than eight hours of rehearsal outside the academic school day per calendar week (Sunday through Saturday). This provision applies to students in all components of the marching band. On performance days (football games, competitions and other public performances) bands may hold up to one additional hour of warm-up and practice beyond the scheduled warm-up time at the performance site. Multiple performances on the same day do not allow for additional practice and/or warm-up time. Examples Of Activities Subject To The UIL Marching Band Eight Hour Rule. Marching Band Rehearsal (Both Full Band And Components) Any Marching Band Group Instructional Activity Breaks Announcements Debriefing And Viewing Marching Band Videos Playing Off Marching Band Music Marching Band Sectionals (Both Director And Student Led) Clinics For The Marching Band Or Any Of Its Components The Following Activities Are Not Included In The Eight Hour Time Allotment: NOTE: Travel Time To And From Rehearsals And/Or Performances Rehearsal Set-Up Time Pep Rallies, Parades And Other Public Performances Instruction And Practice For Music Activities Other Than Marching Band And Its Components An extensive Q&A for the Eight Hour Rule for Marching Band can be found on the Music Page of the UIL Web Site at: We have read and understand the Eight-Hour Rule for Marching Band as stated above and agree to abide by these regulations. Parent Signature Date Student Signature Date **SISD FINE ARTS DEPARTMENT MUST HAVE THIS ON FILE EVERY SCHOOL YEAR** UNIVERSITY INTERSCHOLASTIC LEAGUE 135

136 REGION MARCHING CONTEST STATEMENT OF COMPLIANCE Section 1105 (d) of the UIL Constitution and Contest Rules requires that the contest entry for UIL region marching band must be accompanied by the following statement of compliance. Each entry in the UIL region contest must be accompanied by the following statement signed by the director: A. "The members of this marching band or any of its components did not begin the marching preparation for this UIL contest presentation prior to August 1. In addition, no more than ten hours of supervised instructional time was devoted to marching fundamentals between the end of the previous school term and August 1." * B. A signed parent/student UIL Marching Band Acknowledgement Form has been filed with the school principal or his designee for each participant in this competing organization. C. The director(s) of this organization recognize(s) the importance of the total educational process and have remained sensitive to each student s needs in terms of academic pursuits, family life and extracurricular activities; and, D. The director(s) of this organization have/has maintained a reasonable and proper balance of pre-school and out-of-school rehearsal schedules. *EXCEPTION: Auxiliary camps, leadership training, and preparation for special summer events such as civic parades, professional football game appearances, and other non-competitive performances are not considered a violation of this limitation. School Name: Conference: Date: Signature of Director PLEASE ATTACH THIS COMPLETED STATEMENT TO YOUR REGION MARCHING BAND CONTEST FORM

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