This is why I pushed a proposal through UIL over a decade ago to require representation from each, 1A, 2A, 3A, 4A, 5A, 6A, 1C, 2C, and 3C. It made it to the final meeting though (this is a multi-year process for new rules) and was shot down for causing 'too much expense.'

I've had a few opportunities for other things come my way the last few years, I hope someday maybe to serve on that committee. I will say the list is available, and I know I have approached a PML committee member before about 'uh... that's not a grade 1...' as recently as this summer when Penders put their list out. (They corrected it)

I the issue with the sight-reading process though is just the backgrounds of how it's put together. Only paying $500 for a piece? How about at least offering a residual to make it more worth a composers while? There are some people who write with pennames because they don't want to be tarnished elsewhere. Pay a better rate and we'll get better music. The other piece is who is reading it as the test case? As long as it's a group like UT, or another pie in the sky ensemble, it becomes even more difficult to find the actual problems because those players can make anything sound fantastic and mistakes of errors/difficulty get glossed over.

It's also time to add back in that .5 we had during COVID for 1C NV, 2C NV, and any 2A NV that may exist.