The Pitch Pipe April 2011 by thepitchpipemagazine

Exciting New Products Available From International Sales Competition Folio – Book 1 – Easy

Arranging Concepts and Tools A Practical Guide for Those Who Arrange or Teach Barbershop Harmony Receive Your Music Electronically! In an effort to expedite the delivery process of your music request, we now offer e-delivery. All you need to do is contact International Sales to request this option. Published Sheet Music — The published Sweet Adelines International sheet music is available to members for only $1.45 per copy and to non-members for $2 (plus shipping and handling).

No arranger fees are charged with this music. Go to the online sales area of the website to view a current list of available music. You may also view the first page of each published music title and order music by visiting our online sales area of the Sweet Adelines International website. Arranged music is available to members only. The arranged music list is divided into two (2) sections: Contact International and Contact Arrangers. If your music selection is located in the Contact International section you will order from International Sales. The per copy fees are $1.75 plus a handling fee of $2.25. These fees are payable to Sweet Adelines Adelines International. Upon receipt of payment, you will receive an original of the music along with a paid receipt indicating permission to make the remaining requested copies. We also include arranger address information to forward arranger fees directly to the arranger. Please do not send arranger fees to Sweet Adelines International. We strongly recommend you preview this music before purchasing. We offer previews free of charge but you must contact our office to receive a copy. If the music is listed in the Contact Arranger section then contact the arranger directly to purchase. .................... Visit http://www.cafepress.com/sweetadelines for a variety of Sweet Adelines International logo merchandise.

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11 cover story, page 18 International Convention in Houston Sweet Adelines International’s 65th Annual Convention and Competition will take place in October. Have a blast with Sweet Adelines International and 7,000 of your closest friends. A special convention supplement is built-in to the middle pages of this issue and includes registration forms and information about Houston, plus featured tours in and around the city.

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How Convention Sites Are Chosen Director of Meetings and Corporate Services, Kathy Hayes, details exactly how International Convention sites are chosen and the factors and logistics that are considered.

MAXX FACTOR Get to know the 2011 International Champion Quartet and journey on the road they took toward the gold.

Scottsdale The 2011 International Champion Chorus, Scottsdale, takes you on its voyage to the top.

Audience Choice Award The Seattle audience voted Pride of Portland, LOVENOTES and Harbor City Music Company’s performances as the most entertaining of the week. Characterization is a FourCategory Word Peggy Gram illustrates how characterization enhances your performance onstage. A Stage to Show the World Fran Furtner describes a choral singing competition that honors and celebrates the achievements of amateur singers from around the world.

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Bulletin Board New Music Reviews Chorus Spotlight Directors of Note Song of Welcome In Memory Classifieds

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Message from the President Newsline International International Appointments Overtone Society Young Singers Foundation

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pitch pipe Sweet Adelines International A worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education and performance. International Headquarters 9110 S. Toledo / Tulsa, Oklahoma 74137 P.O. Box 470168 / Tulsa, OK 74147-0168 Telephone 918-622-1444 / Toll-free 800-992-7464 Fax 918-665-0894 Internet: www.sweetadelineintl.org E-mail — Use one of the following departmental prefixes: admindept@ commdept@ education@ meet_corp@ member@ music@ followed by: sweetadelineintl.org Office hours: 8:00 a.m. to 4:30 p.m. (Central Time) Monday through Friday

Sweet Adelines International offers the most comprehensive, quality music education available anywhere in the world.

International Board of Directors May 1, 2010-April 30, 2011 Cammi MacKinlay, International President Peggy Gram, Immediate Past President Renée S. Porzel, President-elect Patty Cobb Baker, Secretary Carole Kirkpatrick, Treasurer Sharon Babb Kathy Carmody

To continue on our path of delivering exceptional educational benefits, we have expanded our online and distance learning offerings with a new membersonly Education Center. The Education Center provides a one-stop portal for members to digitally access a vast assortment of educational materials, articles and eLearning tools. Being a member of Sweet Adelines International just keeps getting better and better!

Betty Clipman Marilyn Cox Fran Furtner Marcia Pinvidic Dale Syverson Education Direction Committee Betty Clipman, Chair Marge Bailey, Peggy Gram, Carole Kirkpatrick, Dale Syverson Editorial Review Board Lea Baker, Renée Porzel, Maggie Ryan, Dale Syverson, Valerie Taylor Pitch Pipe Editor Joey Mechelle Stenner INTERNATIONAL HEADQUARTERS Executive Management Team Kathy Hayes, Director of Meetings & Corporate Services Donna K. Kerley, Director of Finance & Administration Kelly Kirchhoff, Director of Communications Carol Schwartz, Director of Music Services THE PITCH PIPE (USPS 603-060) is published quarterly, January 1, April 1, July 1 and October 1, by Sweet Adelines International, 9110 South Toledo, Tulsa, OK 74137. Membership as of April 30, 2008: 28,170 persons, 590 chapters. Subscriptions: $12 annually; $24 outside North America. Subscription price for members is included in the annual per capita fee. Periodicals postage paid at Tulsa, Oklahoma. POSTMASTER: Send address changes to THE PITCH PIPE P.O. Box 470168, Tulsa, OK 74147-0168. Canadian Post Agreement Number: 1453408. Send Canadian change of address information and blocks of undeliverable copies to P.O. Box 1051, Fort Erie, ON L2A 6C7 Direct all correspondence, editorial copy, and photographs to Joey Mechelle Stenner, Editor, The Pitch Pipe, at the above address. Deadlines are 60 days prior to publication. Graphic Design by LKM Design, Tulsa, Oklahoma

April 2011

bulletin board Update Your Membership Record Many Sweet Adelines International publications and notices are emailed. Visit our website at www.sweetadelineintl.org, and click on the Members Only section to update your membership record. International Sales Shipping Hiatus International Sales will be conducting yearly inventory the first week in May. Calls will still be answered and orders taken; however, shipping will be delayed until after inventory has been completed. 2011 Rising Star Contest Registration for the 2011 Rising Star Contest is now open! Visit http://www.sweetadelineintl.org/pdf/ris ingstar2011FINAL.pdf for an interactive Rising Star Contest brochure.

Regional Competition Reminders The July issue of The Pitch Pipe is dedicated to the winners of the regional competitions. Photos, songs, arrangers and other information are included for each first-place quartet, chorus, Division A chorus and Division AA chorus. If your chorus or quartet is one of the first-place winners in your region, please remember to send in song and arranger information immediately after winning. If your chorus or quartet becomes a wildcard, please forward your information as soon as possible. For your convenience information forms are available in the regional competition section of our website at www.sweetadelineintl.org. Send information to Joey Mechelle Stenner, The Pitch Pipe Editor, P.O. Box 470168, Tulsa, OK 74147-0168 or fax information

to 918.388.8083 or e-mail joey@sweetadelineintl.org. Clarification The January 2011 issue published Peggy Gram as a two-time International Quartet Champion with RUMORS (1999) and GINGER 'N JAZZ (1987). Peggy was the replacement bass for GINGER 'N JAZZ a few years after Judy Clancy won with GINGER 'N JAZZ in Hawaii in 1987. Take a Tour Come in. Look around. See international headquarters from virtually every angle. Go to http://www.sweet adelineintl.org/tour/ to see an interactive tour of the Sweet Adelines International headquarters.

contributors

Lynnell Diamond, Music Arrangements Coordinator, Certified Judge (music), Approved International Faculty, Certified Music Arranger, Certified Director, Chapter-at-Large, Region 9

Peggy Gram, International Board of Directors, Executive Committee, Immediate Past International President, Education Direction Committee, Nominating Committee, Master Faculty, Certified Judge (showmanship), Master Director, Top of The Rock Chorus, Region 25

Maggie Ryan, Membership Committee, Editorial Review Board, Greater Harrisburg Chorus, Region 19

Fran Furtner, International Board of Directors, Membership Committee Chair, Capital City and Cincinnati Sound Choruses, Region 4

Cammi MacKinlay, International President, Certified Director, International Faculty Associate, Lions Gate Chorus, Region 26

April 2011

from the president

Cammi’s Pearls of Wisdom Welcome to the April edition of The Pitch Pipe! Those of us who live in the Northern hemisphere are beginning to see the signs of spring around us (finally!) and those who live in the Southern hemisphere the colouring of the leaves and a chill in the air. It is a time of change, renewal, rebirth ...

As I write this column, I am just finishing up making phone calls to the volunteers who have been assigned to our international committees and appointments. What a pleasure it has been to speak to members in three corners of the globe — the United States, Canada, Great Britain, Sweden, Australia and New Zealand. These individuals embody the spirit of service — service to their choruses, their region and now to the organization as a whole. Their enthusiasm as they accept a new challenge is infectious and very empowering. Although they don’t officially start until May 1, 2011 (though many of them are continuing in positions they held last year), I could tell from their voices that they were anxious to get started on this new fiscal year and the challenges and opportunities it would bring. It is inspiring for a president to know that the committees that do so much work for the organization are strong and enthusiastic! 4

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Traditionally, this is also a time of year when choruses all around the globe are voting for and installing their boards of directors or management teams. The director is selecting his or her music team; new members are asked to chair or join committees that help keep the chorus running smoothly;

for the individual, but more in what can benefit everyone. We must never allow ourselves to become stale or jaded. Fresh thoughts, fresh ideas, fresh faces are all energizing and will be the impetus we need to take another look at where we are going and how we are going to get there.

We must never allow ourselves to become stale or jaded. regional management teams are installed during convention weekends and regional committees are formed and given directives as to what would help the region move forward. These additional examples of rebirth, refocus and re-energized activity inspire us at all levels within the organization. I have been asked to perform many installation ceremonies at my own Lions Gate Chorus. While this is primarily an evening that is designed to officially install the new management team, I always invite the individual members to restate their commitment to the chorus as a whole, whether they are on a committee or not, and to remember that chairing or being on a committee is about service to the chorus. A true servant is not interested in what is in it

Goethe said, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” I encourage you to take this seasonal opportunity to think outside the box, be bold and reenergize yourself, your chorus or your region. Your service to the organization will reap untold benefits! ‘Til next time.... Cammi

newsline international 252nd (Annual) Meeting Tulsa, Oklahoma March 4-5, 2011

The International Board of Directors met on March 4-5, 2011, in Tulsa, Oklahoma. Following is a summary of actions taken. • Approved the minutes of the 251st (Midyear) Meeting of the International Board of Directors. • Ratified the mail ballot to elect the 2011-2012 Board appointees: Paula Davis and Fran Furtner. • Approved the following electronic mail actions of the International Board of Directors: (1) Authorized the charter and chapter membership for the following prospective chapters: Onkaparinga Harmony, Southern Australia, Australia, #34 Song of Sonoma, Santa Rosa, Calif., #12 Voice of America, West Chester, Ohio, #4 Springfield Metro, Fair Play, Mo., #7 K-Town Sound Show, Knoxville, Tenn., #23 Zoopendous Show, Asheboro, N.C., #14 Philadelphia Freedom, Philadelphia, Pa., #19 Vocal Dimension, Redhill, Surrey, England, #31 Vocalescence, Queensland, Australia, #34

(2) Approved the advancement of Sharon Babb (Music) and Sharon Carlson (Music) to the level of Certified Judge. • Reviewed the Tellers Report of the International Board of Directors eletion; commended the Regional Management Teams and Anita Larsen, Corporate Secretary, for their tenacity in encouraging chapter participation in the election. • Commended the staff for its response

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to members during the extraordinary winter storm that resulted in the headquarters office being closed for six days in February. Learned that a second music folio, which includes medium level competition songs, will be available in time for the 2011 Directors’ Seminar; the folios also will be available for online sales. Learned that a new directors’ performance level tape will be available in July 2011. Heard from the Coronet Club about its plans for Queen’s Colleges in 2012, of which one will be held in Europe, date and location TBD. Reviewed the report of the Young Singers Foundation and approved the management committee’s plan to increase the allocation of grants to scholarships, since grants reach more people. Recognized the employment milestones of three members of the headquarters staff—Anita Larsen, five years; Diane Arnold, 20 years; and Pam Johnson, 30 years. Heard from Membership Committee Chair Fran Furtner the details surrounding an organization-wide “open house” planned for January 2012, as part of the One Voice, One Message Global Expansion Program. Commended the Communications Department for the publicity campaign plans developed for the One Voice, One Message Global Expansion Program. Learned that there have been 49 Inaugural Donors to The Overtone Society.

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• Reaffirmed that unrestricted gifts to The Overtone Society will be used for programs, facilities and services as determined by the International Board. Donors are encouraged to restrict their gifts for specific programs, if that is their preference. An annual report on the use of funds will be published in The Pitch Pipe. Ratified the 2011-2012 international committee appointments. (See page 6). Stressed the importance of providing international faculty with information, including membership statistics, to support and promote the membership campaign. Suspended funding for the fiscal year 2011-2012 Director Mentor Scholarship program and asked that the Director Education Coordinators (DEC) and Regional Education Coordinators explore other options for mentoring novice directors. Added language to competition policy stating that choruses that fail to correctly report the number of singers competing on stage will be ineligible to receive any size-based awards. Revised the competition rule to require Satellite Area choruses and quartets to score a minimum of 580 points (formerly 560 points) to be eligible to compete in international contests, effective with the 2012 regional competitions. Requested that the One Voice, One Message Global Expansion Program be promoted in the remaining inregion training sessions. Reviewed and adopted the 2011-2012 operating budget. April 2011

Sweet Adelines International 2011-12 Committees

Executive Committee Cammi MacKinlay, International President Peggy Gram, Immediate Past President Renée Porzel, President-elect Fran Furtner, Secretary Marcia Pinvidic, Treasurer Editorial Review Board Renée Porzel, President-elect Dale Syverson, EDC Member Cori Albrecht Anita Cleaver Maggie Ryan International Bylaws & Rules Specialist Sharon Babb, Specialist

Membership Committee Fran Furtner, Chair Deb Ferenc Maggie Ryan 6

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Nominating Committee Peggy Gram, Chair Sharon Babb Åse Hagerman Diane Huber Carole Kirkpatrick The Overtone Society Management Committee Carole Kirkpatrick, Chair Karen Ridout Judy Winters Regional Leadership Committee Paula Davis, Chair Therese Antonini Jana Gutenson Worldwide Liaison Marilyn Cox, Liaison

Young Singers Foundation Management Committee Kate Veeder, Chair Patty Cobb Baker Shelly Pardis

Education Direction Committee Betty Clipman, Chair Marge Bailey Peggy Gram Judy PozsgayRimple Dale Syverson Director Education Coordinators Joan Boutilier, Moderator Diane Porsch Mary Rhea

IMAP Coordinators Marcia Zwicker, Moderator Anita Barzilla Nancy Bergman

International Faculty Coordinators Kathy Carmody, Moderator Karen Breidert Marge Zimmerman

Judge Specialists Marcia Pinvidic, Moderator Sharon Babb, Sound Carolyn Healey, Music Carole Kirkpatrick, Expression Renée Porzel, Showmanship

Published Music Sales/Marketability Committee Corinna Garriock Debbie Hite Lauren Kahn Karen Sweeters Mary Ann Wydra Young Women in Harmony Committee Beth Watkins, Moderator Jennifer Cooke Kathie Holloway

How Convention Sites Are Chosen By Kathy Hayes, Director of Meetings and Corporate Services

After every announcement of the next few years’ convention venues, we get numerous inquiries from members who want to know why we chose those particular cities. The truth is that choosing a convention site isn’t as easy as choosing your annual vacation destination. Following are examples of the questions we get and some answers that we hope will help you understand better how convention cities, competition venues, and hotel packages are chosen.

Q. How is the convention city chosen? A. Following are some of the factors that are considered when choosing a convention: • The city must have a competition venue that meets our sound requirements and has enough space for our traffic pattern and a/v set-ups in the backstage area. The venue should be in close proximity to the hotels and convention center. • On our peak nights, we need at least 2,500 hotel rooms, of which eighty percent must be double/double rooms because our members sleep three to four people per room. • We need a convention center or headquarters hotel with enough exhibit space for Harmony Bazaar, education classes, and international riser rehearsals. • Some cities agree to provide incentives such as free or reduced rental fees for the competition arena and the convention center where Harmony Bazaar is held, financial subsidies for busing, etc. Q. How are the hotels chosen? A. The hotels need to be in close proximity to the competition venue and to each other to keep busing costs as low as possible. Hotel rates must meet our rate parameters and we need a range of

rates to meet various budgets. The hotels must have a large amount of meeting space for chorus rehearsals and other functions. As many as 20 competing choruses may bring risers to the convention city and the meeting space has to be large enough to accommodate these risers. And, we ask that this meeting space be provided complimentary to us for the length of our stay. In order to get this in our contracts we must guarantee that we will use a percentage of the rooms blocked and spend a specified amount on food and beverage.

Q. Why don’t we use more Courtyards or Hampton Inns? A. We do try to have at least one or two of what we call “limited service” hotels such as these in our block. We limit it, however, to one or two because typically these hotels do not have the required meeting space.

Q. What are the advantages of the Sweet Adelines hotels? A. Following is a list of advantages to staying in the Sweet Adelines hotel block: • You are guaranteed a room. Hotels, like the airlines, overbook to compensate for a percentage of no-shows and cancellations. Occasionally, people with reservations might be displaced or “walked” to another hotel, but we have contracted with the hotels to ensure that you will have a room. • You can rely on the Sweet Adelines International “seal of approval.” All hotels have been inspected by our staff for quality and safety. • Networking opportunities for attendees are easier and enjoyable. • Your support helps sustain a healthy financial future for the event and means future Sweet Adelines will have the opportunity to attend our convention, which many consider to be a “life-changing ” event.

Q. Why don’t we go to Chicago or Boston or New York (or any other large city that isn’t chosen as a convention site)? A. The primary reason that a city such as Chicago isn’t usually considered is the cost of labor and dealing with union labor. Other considerations are exorbitant hotel rates and expensive venue rental fees.

Q. The BHS goes to Kansas City (or any other city that is mentioned) for their convention. Why don’t we go there? A. The men often go to cities that we don’t go to because of the date of their convention, which usually scheduled over the July 4 holiday. In the convention industry this is known as a down time for hotels and they’re hurting for business. This helps the men get excellent hotel and rental rates in cities that would otherwise be too expensive to be considered. Our convention is held in October or early November, which is prime time for convention business. This tradition was begun in 1947, when the first convention was held October 3-5 in Tulsa, Okla. To change this would mean changing the entire organizational calendar, including the timing of regional competitions.

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Considering all the factors mentioned in this article, you can see that it’s not just a roll of the dice that is used to choose a convention site. We carefully evaluate every proposal that is received and do our best to be good financial stewards of the resources entrusted to us (i.e. the registration fees and our members’ dues dollars) and decrease our exposure to financial liability. We make every effort to keep convention as affordable as possible for everyone involved.

April 2011

By Maggie Ryan, Greater Harrisburg Chorus, Region 19

They bonded over, of all things, NASCAR. Maybe not a love of the sport, though don’t sell Molly short. Turns out she’s quite the little gearhead. But NASCAR, the most-popular auto racing circuit in the U.S., is what put MAXX FACTOR on track. And once they got a taste for the teamwork and thrill of racing together at the pinnacle of their craft, they never lifted a toe off the gas pedal. Their destination became victory

April 2011

lane; their checkered flags, crowns. Races aren’t run in a vacuum. They’re real tests of skill and courage played out in front of thousands of onlookers who want to see what their favorites are made of. A successful racing team is just that — a team. No strong driver ever won a race without a champion crew. You can’t change your own tires, after all. And no crew chief ever won without someone steering that big, throaty machine. MAXX FACTOR existed before

Leslie Wodday signed on in 2007. Kim Hudson was the lead in those days, alongside bass Val Hadfield-Rasnake and tenor Molly Plummer. They formed in 2005 and won a couple of regional medals. They were rolling. But things got a little wobbly when they lost a member who stepped out to start a family. It was time to retool. They found just who they were looking for in their old friend from the Pride of Baltimore Chorus. “We had a couple of national anthems coming up, and we just asked (Leslie),” Val said. Yes, they had a lead, but Kim preferred baritone anyway. Besides, she said, “If Leslie will sing with us, I’ll gladly switch parts!” It took a little wooing to get Leslie off the sidelines. She won her first crown as the lead of 2000 champion quartet SIGNATURE SOUND, and she wasn’t sure she wanted to dive back into the deep end. Kim, Val and Molly’s eagerness was appealing, but Leslie had learned a lot from SIGNATURE SOUND and its 11-year climb to the crowns. “You grow into yourselves,” she said. “It doesn’t just happen right away. You find things along the way.” Leslie isn’t the kind of person who does anything halfway. She’s all-in or wishing you well from the sidelines with a wave and a smile. MAXX FAC-

deserved her honest input. “It’s hard, you know,” she told them. It’s fun and it can be wonderful, but, “It’s really hard.” Uh-huh. She had them at hello. It seemed to the rest of us as if MAXX FACTOR’s rise was meteoric, and by Sweet Adelines standards, it was. Champions of Region 19 in 2008; fourth-place International 2008 in Hawaii; Harmony Sweepstakes Champions in 2009; third-place International 2009 in Nashville, national TV stardom . . . Cue the squealing tires. Did MAXX FACTOR just veer off in another direction? Well, yes, briefly. They were chosen as competitors for the inaugural season of NBC’s “The Sing-Off,” a competitive a cappella contest that aired in ’09 during the holiday season. They learned they were going to Los Angeles just as they left to compete in Nashville. It was all very hush-hush. Suddenly there were daily, secret phone calls with NBC producers and show representatives, film crews following them throughout the week leading up to the finals, and the hardest part of all — lying to people who asked them what all the fuss was about. “We told people it was someone doing a documentary on barbershop,” Val said. “NBC was very clear. We couldn’t say anything. It was killing us. TOR

How cool would it have been to tell 10,000 of your closest friends at International? But we weren’t allowed.” They were home for less than a week and then whisked off to LA. The rest was a combination of an incredible grind and inspirational whirlwind of new costumes, lights, hair, makeup, and hours upon hours of rehearsal on songs they’d heard only sparingly. Four women who knew their craft, knew how to navigate the competitive side of Sweet Adelines, thrown into a whole different arena with unfamiliar expectations and truly bizarre restrictions. “We couldn’t go anywhere without a ‘wrangler,’” Molly said. “You’d step out to go to the restroom and someone would escort you and take you back.” “One day we were outside (on the lot) and a tour bus went by,” Val said. “We heard the tour guide say ‘And here is where NBC is filming a new show called ‘The Sing-Off.’ We just stood there and waved at the bus.” She shakes her head and laughs at the memory. Not much can prepare you for that. “’The Sing-Off’ made us more confident in ourselves and each other,” Leslie said. “It was intense.” They know they caught lightning in a bottle, and they cherish it. They even put one of their “The Sing-Off” challenges –part of Taylor Swift’s Romeo– in their finals package, along with the NBC tones. Just don’t ask ‘em to do Rehab. Though they hate to turn down any request, you’ll likely get a “no-nonoooo” on that one. But home is where their hearts have always been, and for MAXX FACTOR home is Sweet Adelines International. Kim and Val are barbershop brats. Val’s dad, the late Rev. Richard Hadfield, was a longtime performer and medalist in the Mid-Atlantic district. His booming bass voice and easy stage presence inspired his daughter, and she carries him with her in the enormous school ring she sports on one thumb. A chance encounter with a regional Sweet Adelines champion quartet inspired Kim’s dreams. Her dad, Richard Gray, is also a Mid-Atlantic champion and while attending one of his conventions as a child, Kim learned that women sing barbershop, too. Continued on page 10 April 2011

Continued from page 9

“I was eight when I saw Sweet Adelines for the first time,” she said. “I watched the quartet and I was thinking, ‘I could do that.’” Years later, a singer from that quartet, Louise Carleton, asked Kim to sing. “It was my very first quartet. Val called and I went to my first rehearsal and Louise Carleton was sitting there. I almost fell over.” “Weezie” remains a friend and fan to this day. Molly came to Sweet Adelines at the urging of her mother, who saw it as a natural next step from her experience on the flag line for the Baltimore Colts (later Ravens) Marching Band. (Watch the ESPN “30 For 30” episode titled “The Band That Wouldn’t Die,” and you’ll spot her.) Molly joined the band at age 19, became flag-line captain, and marched until 1996, when she retired. “My mom said, ‘Why don’t you go sing with Sweet Adelines? You can do that ‘til you’re 80.” Molly listened, and took her singing and dancing talents to Pride of Baltimore, where she has been choreographer and a front-row staple. All four women, in fact, carry their former coach and inspiration, Janet Ashford, an inch from their hearts. Janet succumbed to pancreatic cancer in early 2009. Leslie, of course, won her first crown with Janet in SIGNATURE SOUND.

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Janet (“Ned”) was their first coach. “I still think about her every day,” Molly said. “I wish she could’ve been there. She was our fifth member. We sing alike because we all sang for her.” While they love to perform, the women of MAXX FACTOR are competitors with a capital C. They love the intensity, the demands. Singers who want to reach the top, really want it, bury themselves in detail, find challenges in every diphthong and opportunities in every held vowel. “My favorite part is putting on my red suit,” Val said. “It’s like football, baby,” says the ardent Ravens fan. “You put on your pads, put on your war paint. It’s like snapping on the chin strap. Then we look at each other in the mirror and it’s like ‘Yeah! Let’s go!’” They approached 2010 International with a singularity of purpose. There had been so much change, and it came so achingly fast. For Leslie, the sudden deaths of her father and a beloved nephew bookended that first contest in Hawaii. Val lost her dad in ’08. They all lost Janet. And going into Seattle, Molly learned her husband would be going to war. “I was thinking about my husband a lot,” Molly said. “He was mobilizing the Tuesday after I got back (from

Seattle.)” Bryan Plummer is a full-time member of the Army National Guard, servicing helicopters. After a training stint, Bryan shipped out to Afghanistan and Operation Enduring Freedom. Their lives outside Sweet Adelines gave their time within MAXX FACTOR clarity. Hawaii was brand new, Nashville had unexpected distractions. Seattle was all about giving the best they had. “We want to focus on doing what we came to do,” Leslie said on the Tuesday of International week. “We want to be better than we were last year. You can only beat yourself.” From the Queens Reception to the ride home to Baltimore, they put themselves in a bubble. “When you’re focused on what you want, you have to stay away from the hubbub and the singing and the hype that comes so naturally to Sweet Adelines,” Leslie said. “You are focused on something else, and you have to stay there.” They were so focused, in fact, that they inadvertently skipped a line of supporters waiting to welcome them onto the Key Arena floor after their first-round performance. “After the first round we didn’t come back (into the arena), and then we came back in after we sang in the finals and no one was there,” Kim

pouted. “I thought we must’ve really messed up.” Molly, though, saw something else. “We walked in and the whole place stood up,” she shudders. “Everyone stood up for us.” And when you get there, when you actually, honestly make your own dreams come true, do you even know what you’ve done? “I get chills just remembering,” Kim said of waiting through the announcement as quartet after quartet was called off. Can you hear anything past the rush of your thoughts and the pounding of your heart? “I remembering thinking I was so glad my dad was here, and I hope my kids are watching.” Down to the bitter end, Val needed that last bit of reassurance. “I just wanted to hear our name called off,” she said. “That solidifies it.” The crowns, trophies and attendant adulation are still overwhelming, even for a two-time champion. When MAXX FACTOR’s name was called in Seattle, Leslie slipped into déjà vu. “I was thinking about them,” she said. Her thoughts went to Val, Kim and Molly, just as, 11 years before, she’d thought of Lloyd, Janet and Christine, her quartet mates in SIGNATURE SOUND. “It didn’t hit me until I got home to the airport,” Leslie said. “We came down the ramp and I saw my whole family and the balloons and the home-

made signs … and I saw that my Dad and Daniel weren’t there … I lost it.” Kim nods. “It wasn’t even the pretty cry. It was the ugly cry.” The wonder renews itself over and over. At their first post-contest show in Altoona, Pa., they were treated like, well, queens. “They had us at this lodge and they showed us our ‘wing’ and we each got a room,” Kim said. “And I was like, ‘But … but … I want to sleep with Molly!” And there’s the part that tells you we’ll hear from MAXX FACTOR for a long time to come. They’re still so new at this, despite the successes and the side trips. Sure, there have been hours of vowel matching and vocal exercises, choreography plans and endless banter in search of emcee material. Fittings and Bedazzlers, phone calls, texts, reminding, remembering and planning. They won their race, but the thrill hasn’t even begun to wear off. After a performance, all four women still huddle on Leslie’s bed and replay the day over snacks and sodas. “I love it,” Kim said. “I always really wanted this.” And now, they’re in amazing company. “I think it’s really fun to get emails from the Coronet Club,” Val said. “It’s surreal. Now, you’re part of it.”

April 2011

By Jana Gutenson and Linda Allen, Scottsdale Chorus, Region 21

After returning from International in Hawaii in October of 2008, Scottsdale chorus’ members were emotionally and financially drained. We were disappointed that we failed to reach our audience in Honolulu and were feeling stuck in the same gear. Attendance was falling fast, long-term members were retiring, and the overall spirit of the chorus was at low tide. Uncertain about her singers’ commitment to travel to compete at the fast approaching Region 21 Chorus contest, our director, the ever-optimistic Lori Lyford, had the chorus form a human continuum across the rehearsal room with one end representing “Compete or die!” and the other “No way!” That lineup stretched from one end of the room to the other, but there was sufficient strength in the desire to compete, and as a result, the 85 members of the chorus that attended the 2009 Region 21 Competition earned second place with a score high enough to qualify for a wildcard appearance at International in Seattle in 2010. OK, Scottsdale, you’re a wildcard! Now what? What could we do to make this journey different from all of the roads to International that had been traveled by this chorus before? What did we need to do to achieve our goals, and by the way, what are our goals? What happened in response to these questions started a chain of events that lead to an unforgettable 18 months in the journey toward the performance of a lifetime in Seattle.

At the heart of our chorus was a director who was feeling every bit as unfocused as her singers. (Yes, directors have lulls, too!) Lori sought the advice of a friend in the chorus, Darren Hurst, who recommended that she meet with a leadership consultant that had helped her to re-define her business model. After meeting with consultant, Mike Mitchell, the re-energized Lori recommended that the chorus use his services to aid Scottsdale in its search for new direction. We began with roundtable discus-

sions that allowed members to voice their ideas and desires. Their input was summarized and honed into five overarching themes in this order of priority: Personal Accountability/Discipline, Performance, Education, Excellence, and Planning. A list of core values was created that reflected our beliefs about our identity as a chorus. We held a Core Values Signing Ceremony with a nautical theme to launch “The Good Ship Scottsdale” in the summer of 2009. The Scottsdale membership drew the blueprint for the future with follow-up discussions lead by Mike Mitchell. Programs to support the clearly stated new directions were developed by the music, management and membership teams. Coaching dates with our long-term coaches Dale Syverson and Tony DeRosa were solidified and a new relationship was formed with Cindy Hansen to assist us with our visual product. The music team created a program for monitoring Personal Accountability while keeping the emphasis on singer education. Star quartets were born and morphed into a group-singing evaluation process where those being evaluated sang as part of a small group, an experience closer to that of singing with the chorus. Members participated in personal voice instruction (PVI) sessions with section leaders. A series of section duet sessions was set up outside of regular

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rehearsal evenings to work on blend within and between sections. Our visual team began a videotaping program to allow members to see their own performance at rehearsal. Members completed self-evaluations after viewing their “wedge videos” and received an evaluation from a visual “wedge leader.” Visual coach, Cindy Hansen, personally evaluated each member of the front row. The chorus met the evaluation programs head on and used them to their utmost to see what they could do both as a group and as individuals to improve. As one member says, “I realized that what we were trying to accomplish was special and meaningful for me and that if I didn’t stay on top of my game, I would regret it.” As members passed the hurdles of their vocal and visual evaluations, they became confident of their competence. A growing feeling of joy and excitement was palpable! In our work with Mike, we determined that membership was an “underserved customer” of our business, and our management structure was reorganized to reflect our acknowledgement of this important component. The new membership team restructured all of the processes for supporting our current members and for guiding new members

“We did this as a team, and it has brought us all closer together throughout the journey. We are a family and working hard made us even closer.” 14

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safely through the waters of joining an Internationally competitive Sweet Adelines chorus. Together with the music team, membership made sure that our long-distance members were kept up to speed by posting recordings of every rehearsal and coaching session on the Members Only website and by staying in touch with frequent communication. Back in the fall of 2008, Lori had become choral director at Chandler High School. Chandler’s choral music program includes a women’s barbershop chorus, the Treblemakers, started by a former member of the Scottsdale chorus. Through the years, the Treblemakers had appeared on Scottsdale shows and at International Conventions in Nashville, Phoenix and Detroit. Under Lori’s direction, they traveled to the 2009 Region 21 competition to participate in Region 21’s YWIH Festival, Project Harmony. Scottsdale members were amazed and delighted when these young girls, sitting on the floor of our rehearsal room, SCREAMED in excitement as they watched our rehearsals. Soon the girls were clamoring for the chance to be part of Scottsdale! Although our membership was limited to those 18 and over, the management team saw this as an opportunity to fulfill a long-term goal of supporting the future of Sweet Adelines by attracting young members and increasing our outreach to the community through Young Women in Harmony programs. Upon receiving buy-in from the membership, rules were revised, policies written and 10 new youth members from the ages of 15 to 18 appeared onstage in Seattle. Their incomparable enthusiasm,

spirit, and wonderful talents have taken their spots in our hearts and provided them with an outlet and foundation for their musical futures. As the ship sailed toward the 2010 Seattle competition, various events became celebrations of who we were and what we were becoming. A dinner show with an Italian theme brought out the camaraderie of a village as the chorus came together at the end of the show to strike tables, risers, and decorations down to the bare walls in just a half hour! It was there that we realized the power of just what our “village” could accomplish if every member pitched in and did her part! As a result of this revelation, “Calendar Girl” teams were created with monthly rehearsal setup and takedown responsibilities. We discovered how much sharing the load increases our “buyin” and saves our overachievers from ultimately burning out. “Psychedelic” (a reflection of our groovy new costume!) was the theme at retreat in September 2010 where we “freed our minds” spending the first night celebrating the 60’s era with tie dye, hippie beads, peace signs and mood lights. We developed an affirmation statement to assist in keeping our focus and to remind us of who we were. Weekly email blasts called “Focus on Seattle” with groovy graphics and inspirational messages were sent to all members. Articles in our enewsletter showcased members’ personal stories in a column called “I Am the Scottsdale REMIX Chorus.”

“Psychedelic” (a reflection of our groovy new costume!) was the theme at retreat in September 2010 where we “freed our minds.” Members wore buttons with this declaration as we realized the mosaic that makes us who we are. Our goal in Seattle was to “etch a memory” in the hearts of our audience.

In the weeks leading up to Seattle, Lori repeatedly reminded us that the only thing that could possibly be disappointing would be not putting on stage what we know we are capable of doing. We arrived in Seattle fully prepared; yet during our rehearsals on site, we seemed to elevate to a new level of performance. To quote one member, “It was so much fun, relaxing, and exciting all at the same time!” And so, the “village” that Scottsdale built piece by piece from that first lineup across the rehearsal hall had a spectacular unveiling in Seattle. Onstage, we experienced putting exactly what we had rehearsed in play, and the response received from the audience, in the pit and beyond, was overwhelming. In the words of one of our youth members, “We did this as a team, and it has brought us all closer together throughout the journey. We are a family and working hard made us even closer.” The Scottsdale villagers are thrilled with their success and proud to represent the organization as the 2011 Champion Chorus. We thank our wonderful coaches, Dale Syverson, Tony De Rosa and Cindy Hansen who fueled our journey with inspiration, education, and love. We hope the solid foundation built by the current membership of this chorus can be sustained to propel those who are the Scottsdale Chorus of the future. We look forward to our next journey together and until we meet again in Houston …“Ob la di, Ob la da, life goes on!” April 2011

Razzle Dazzle in Seattle 2010 Audience Choice Awards

By Alana Duncan, music and entertainment writer

It isn’t often that I am introduced to a new world and become dazzled, but I must admit the world of Sweet Adelines International has indeed dazzled me. Sweet Adelines is a world of sisterhood and unity; harmony and musicianship; costumes and choreography. And what little girl doesn’t grow up dreaming of being on stage? Sweet Adelines from around the world are living out those dreams, and then some, as they prepare and ultimately perform in competitions within their regions and internationally. During the 2010 International Competition and Convention in Seattle, more than 70 quartets and 43 choruses performed in three main competitions –the international chorus competition, the international quartet competition and the Harmony Classic competition– in front of an audience that averaged 7,000 strong, composed of the general public, husbands, family members, friends, coaches, mentors and sister Sweet Adelines. During the Harmony Classic Competition, and quartet and chorus finals, 100 members of the audience were randomly selected to vote for the most entertaining performances. Following is a look at the three Audience Choice Award winners who dazzled and delighted the audience at the 2010 International Competition.

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The Pride of Portland Chorus met about nine months prior to the competition for a brainstorming session to choose its entertainment package theme. The group narrowed the ideas down and ultimately chose a potentially controversial theme: The Sisters of the Holy Cannoli. “Using a theme of this nature could certainly run the risk of unintentionally offending someone’s personal religious beliefs, so we were extremely sensitive to downplaying the religious aspects. We even had a local bishop read the script and give his blessings! We tried to appeal to the sisterhood in the worldwide organization that we all cherish and felt certain that our Sweet Adelines audience would get it,” explained Team Leader

April 2011

ments we Sweet Adelines choruses try so hard to achieve, and one we continually work on from one rehearsal to the next. “This Audience Choice Award was not only a surprise, but also one to be incredibly proud of. To entertain an audience to a standing ovation is a thrill beyond measure. Wow! And Wow! What a fabulous feeling it is to be able to give that to an audience!” With the awards won at the 2010 International Competition under their belts, members of the Pride of Portland Chorus aren’t resting on their laurels. The chorus’ next competition is at the Region 24 competition in Spokane, Wash., this May. And, they are already brainstorming for Denver 2012.

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Sally Lampe. Despite the controversial subject matter, the Pride of Portland Chorus’ performance struck a chord with the audience. “Personally, I think we won because everyone in the audience could relate to what we presented –Sweet Adelines as sisters– because it was funny and fun to watch, and because we sang well! Our package was all about the audience we were singing to,” regaled Pride of Portland President Krista Larson. The Audience Choice Award bestowed to Pride of Portland Chorus represents the passion these women have for singing with Sweet Adelines International. Sally went on to explain that, “Scoring high at an international competition is certainly the most coveted of all accomplish-

Eight years ago, Gayle Greenbrook, a former Sweet Adeline, introduced 11-year-old Caitlin Smith, one of her voice students, to Sweet Adelines International. When Caitlin told Gayle she wanted to form a quartet a few years later, Gayle introduced her to two more of her voice students, Mia Dessenberger and Brittany Gilmore. And when Caitlin met Mary Segura’s mom (Martha, lead of the RAZZCALS quartet, 7th place medalist at the 2010 Competition in Nashville) at a regional competition and learned that Mary sang bass, the quartet UNDERAGE was formed. In 2007, Stephanie Lawson joined UNDERAGE as their new bass. And in the summer of 2008, they decided that UNDERAGE no longer fit them, and changed their name to LOVENOTES. Now that the girls have grown up and are attending different colleges, LOVENOTES is a long distance quartet and the group has to rely on the summer to prepare for competitions. During the school year, they try to rehearse once a month, and during the summer they try to rehearse once a week. “Choosing music is always difficult, but we typically choose our music based on what we hear at international and suggestions from coaches. For our entertainment package, we knew three of the songs we wanted to sing (our two contest songs and a ‘Phantom of the Opera’ Medley) and had a general idea of what we wanted our package to be (basically a parody of beauty competitions). “We were trying to think of something

that no other quartet would do, and came up with going on stage in a swimsuit. From there, we made a rough draft of the script and fine tuned it during rehearsals and before performing the package for our region,” Caitlin said of LOVENOTES entertainment package. And the audience loved it. “I think we won the audience choice award because the audience could relate to what we were joking about. Almost everyone has seen a beauty pageant and they know about the stereotypes that follow pageants. We used those stereotypes to bounce our humor off of and we also threw in a few Sweet Adeline jokes (i.e. If our tenor could change one thing in the world, she would make the tenor the bottom part of the cone ... oh! and world peace!),” Caitlin continued. It was evident that the quartet had a lot of fun on stage and they reaped the rewards. “Making the top ten was our goal, so everything that happened after we made the finals was the icing on the cake. Getting fourth in the world as well as being voted

audience favorite was beyond our expectations, and we are so happy people enjoyed our performance,” Caitlin explained.

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Nancy Gaither, president of Harbor City Music Company Chorus, considers preparing for any International a journey. The group has a Creative Team that meets monthly to brainstorm and explore new ideas for packages, songs, retreats, shows and motivational techniques. “We are fortunate to have a director who arranges music, so he is always open to our zany ideas and provides us with wonderful arrangements. We’ve also had a variety of wonderful coaches helping us to prepare for Seattle including Betty Clipman, Leslie Forsyth, Leslie Wodday and Susan Melee (a local comedian and actress),” Nancy said. Harbor City Music Company Chorus tries to tell a story that touches the heart with each package. Nancy explained that the chorus’ entertainment package tugged at the audience’s heartstrings. “The crayon package told the story of a little girl who grew too old for her crayons. What person couldn’t empathize with the little child? The songs, we hoped, were compelling as well as sung beautifully, as a good Sweet Adelines Chorus always attempts to do. “We knew that our costumes would visually engage the audience, but we also worked very hard to make sure that every crayon took on the part of their specific character. Each crayon had a very unique name including: Poppin’ Purple (pregnant chorus member); Queen Bee (chorus president); Tutti Frutti (one of our members who is a little scattered), etc. We also added a little whimsy to our package by calling our male director The Sharpener,” Nancy continued. Excited to be the Harmony Classic Division AA 1st Place winner, Nancy explained that everyone in the chorus put a huge amount of time and energy into creating a solid, engaging performance. “We know how disappointing it is to not get first place (we’ve been there) and to have been competing against such wonderful, talented choruses makes it even more special. Plus, we really wanted to share our crazy crayon vision with the world,” she continued. Harbor City Music Company Show Chorus members enjoy introducing new

members to the craft and excitement of barbershop harmony and everything that goes along with it. Nancy shared her excitement when she explained, “Any time we get to go on the road with the chorus is an exciting experience. Introducing our new members to a road trip is always exciting from the competitive aspect as well as expanding their horizons in seeing new cities and making new friends. Watching them as they listen to a quartet and chorus contest of this caliber gives all of us a great sense of sisterhood as we share and teach them about this wonderful hobby. “We always smile when we inevitably hear the comment, ‘Why didn’t I know about this hobby sooner?’” I’ve already asked myself that exact question. (About the author: Alana Duncan, an Oklahoma native, resides in Tulsa. As a music and entertainment writer, she has an experienced pen, and brings a passionate outsider’s view to all things Sweet Adelines. Alana writes entertainment articles for local and national magazines.) April 2010

its Manned Space Center, later to be renamed the Johnson Space Center after former president and Texas favorite son Lyndon B. Johnson, to Houston, cementing the city’s reputation as an aerospace center. Currently, Houston is ranked as the fourth most populous city in the U.S., just behind New York, Los Angeles and Chicago; the 2010 census reports a population of 2.1 million. Though it has no shortage of people, Houston has plenty of elbow room. At 634 square miles, it’s estimated Houston could hold the equivalent of the cities of New York, Washington, Boston, San Francisco, Seattle, Minneapolis and Miami within its borders.

By M. Sorrell, travel writer

Strap yourself in and prepare to “Blast Off” to Houston, Texas, for the Sweet Adelines International 65th Annual Convention & Competition, Oct. 17-22, 2011. Sweet Adelines members will be there to see the 60+ quartets and 43 choruses from around the world make their joyful noise. But there’s plenty to see and do in H-Town during those times when you’re not enjoying the music at the Toyota Center or the activities at the George R. Brown Convention Center.

April 2011

A Little Background The City of Houston was founded in 1836, 10 years before Texas became a state, and was named after General Sam Houston, who led the forces that won Texas’ independence from Mexico at the Battle of San Jacinto. The town started out as a power in the export of cotton, but in the early 1900s, oil became Houston’s economic driver. During World War II the city became an important shipbuilding center as well. In 1961, NASA moved

To Do U-Haul International named Houston the Top Destination City in 2010, and it’s no wonder. A place this big holds plenty of attractions for everyone, regardless of their inclinations and interests, such as: • Space Center Houston. The visitor’s center at John son Space Center has plenty of great attractions, like the behind-the-scenes NASA tram tour, and the Living In Space module, which simu lates life aboard a space sta tion. (spacecenterhouston.org). • Miller Outdoor Theater. From March through November, this venue hosts a variety of performances, from ballet to classical music to film and then some. The theater is nestled inside Hermann Park and is a perfect picnic destination. Plus, admission is free! (milleroutdoortheatre.com). • Museums. The Menil Collection (menil.org), the expansive art collection of John and Dominique de Menil, which opened to the public in 1987, consists of some 16,000

works from the Paleolithic era to the present. And it’s another free destination! History buffs can experience the story of Houston’s origins at the San Jacinto Museum of History (sanjacinto-museum.org). Just this year, Houston topped Parents Magazine’s list of Best Children’s Museums. See what all the fuss is about at the Children’s Museum of Houston (cmhouston.org). • Downtown Theater District. The theater district encompasses 17 blocks in the heart of downtown Houston and is home to performing arts organizations large and small, and four venues: Jones Hall; Wortham Theater Center; Alley Theater; and Hobby Center for the Performing Arts (downtownhouston.org/district/theater). It’s also home to the 13,000 sq. ft Bayou Place entertainment complex, (bayouplace.com), which features the Verizon Wireless Theater and a multitude of restaurants, movie theaters and other entertainment options.

• Shopping. Houston was ranked number one on Forbes.com America’s Top Shopping Cities in 2010, and for good reason. The Galleria (simon.com/Mall/?id=805) hosts some 24 million visitors every year, who come for the 375 stores, as well as the 30 restaurants, two hotels and an ice rink! The Lower Westheimer Shopping District, (visithoustontexas.com/visitors/listingdetails?id=28287), also called the Westheimer Curve, stretches along Westheimer Road between Montrose Blvd. and Shepherd Drive, has everything from antiques to vintage clothing. River Oaks Shopping Center (riveroaksshoppingcenter.com) is just five minutes from downtown and is home to 76 stores and 16 restaurants. • “Sea” the sights. With everything going on in Houston proper, it’s easy to forget that the city is also a bustling port. Take advantage of the area’s miles of waterways and see the sights from the Houston Ship Channel aboard the M/V Sam Houston, the Port of Houston’s public tour ves-

sel. The 90-minute tours are free! (portofhouston.com/samhou/ samhou.html).

Transportation Getting to Houston couldn’t be easier. The city was ranked number one on Travel + Leisure’s list of America’s Best Airports in 2010. There are two main ones to choose from: George Bush Intercontinental Airport (airporthouston.com), Continental Airlines’ largest hub; and William B. Hobby Airport (houstonhobby.com), which is one of Southwest Airlines largest hubs. Once you’re in town, there are plenty of options for getting around Houston. The Metropolitan Transit Authority of Harris County (ridemetro.org) offers bus routes throughout the city and a light rail system that features 16 stops in major activity centers. Reserve Your Spot Make plans now to have a blast in Houston this year! Register before April 4, 2011, to take advantage of Early Bird prices.

April 2011

Official Tour Program

Online tour registration is available at www.destinationstlouis.com/sweet.htm.

The tours listed below have been created exclusively for the attendees of the 2011 Sweet Adelines International Convention & Competition, and their family, friends and travel companions. • Tour prices include roundtrip transportation, fuel fees, escort and/or tour guide services, taxes, all appropriate gratuities and pre-registration and on-site coordination services. The additional items included with each tour are listed after the individual tour description. • The rates shown are Destination St. Louis rates and not the rates of any other entity. • Advance tour registration deadline is Wednesday, September 28, 2011. Cancellation policies may be found on the tour registration form. • Comfortable walking shoes are recommended for each tour.

Sunday, October 16, 2011

(1) Old Town Spring 12:30 p.m. – 5:00 p.m. Cost: $40 A quaint turn-of-the-century town built near the Great Northern Railroad, Old Town Spring is composed of Victorian-style shops, restaurants, museums, and art galleries. Most of the shops occupy buildings and homes constructed in the early 1900’s for the then booming railroad town. Step back in time as you browse quaint shops that offer a refreshing change from big city shopping centers. You will find a variety of antiques, collectibles, clothing, and accessories for the home, as well as gifts for all occasions.

April 2011

Monday, October 17, 2011

(2) Houston City Tour 9:00 a.m. – 12:00 p.m. Cost: $36 Enjoy a driving overview of popular downtown attractions including Minute Maid Park, The Toyota Center, the state-of-the-art Houston Convention and Visitors Bureau and Heritage Park. Then it is on to the Houston Art, Music and Culture District, featuring Jones Hall, the Hobby Center for Performing Arts, Bayou Place, the Wortham Center and the Alley Theater. Then visit the Houston Museum District, an area home to the Museum of Fine Arts, Contemporary Arts Museum, Holocaust Museum, and the 4th most visited museum in the country, the Houston Museum of Natural Science. You will also drive by the Texas Medical Center, the world’s largest and most renowned medical center, which is home to 42 non-profit institutions on 675 acres and has over 100,000 people in it each day. It was also host to the television show “Houston Medical” featuring Houston’s own Dr. Red Duke. End the morning with an overview of the Galleria area, home to many corporations, and also home to the Williams Tower and the marvelous Waterwall. Williams Waterwall, a gorgeous piece of architecture located right next to the Williams Tower in the Uptown District, is a 64 ft. tall structure in the shape of a semi-circle, with water that cascades over it and down a series of steps towards the bottom. You will also spend time at the JP Morgan Chase Tower Observation Deck. Designed by noted architects I.M. Pei & Partners, the tower was built in downtown Houston in 1981 as the

Texas Commerce Tower. When completed, it was the eighth tallest building in the world. The observation deck is located on the 60th floor and offers a panoramic view of the city, thanks to the use of wide glass spans and thirteen-foot ceilings. Even with the fantastic views, the Galleria area might be best known for its shopping. From Nordstrom to Neiman, from Gucci to Tiffany’s, the Galleria is Houston’s crown jewel. Tour participants will have the option to exit the tour at the Galleria for shopping on own or return to the convention center. Those participants staying to shop at the Galleria will be on their own for transportation back to the convention center and/or their individual hotels.

(3) Galveston Museum & Historic Tour 9:00 a.m. – 4:00 p.m. Cost: $68 Enroute to Galveston, learn about the historical significance of this Texas beach town. Upon arrival, your day will begin with a driving tour of some of Galveston’s historic homes and architecture, including the 1861 Custom House, 1838 Menard House and The Garten Verein. You will have time to dip your toes in the sand with a stop at one of Galveston’s beautiful beaches. Then enjoy time at the historic Strand, home to more than 100 shops, antique stores, restaurants and art galleries. You will have the opportunity to have lunch on own at the Strand. Following lunch, make your way to Bishop’s Palace which is the most famous architectural wonder in historic Galveston. The Bishop’s Palace was built in 1886 for Walter Gresham,

a Galveston attorney, and later purchased for Bishop Christopher Byrne in 1923. The home features woodwork of rosewood, satinwood and white mahogany, stained-glass windows, bronze dragons, luxury materials and furnishings and impressive fireplaces from all over the world. The fireplace mantle in the front ballroom won first prize at the Philadelphia World’s Fair in 1876. Bishop’s Palace has been cited by the American Institute of Architects as one of the 100 most important buildings in America. Includes admission to Bishop’s Palace.

Tuesday, October 18, 2011

(4) Historic Bayou Bend 9:00 a.m. – 12:30 p.m. Cost: $49 Begin your day with a tour of an exclusive neighborhood in Houston’s Museum District. Broad Acres has gracious homes with live oak trees and brick walkways down wide avenues. See the homes of famous Houstonians, including the childhood home of Howard Hughes, a true Hollywood legend. Then visit the Bayou Bend Collection and Gardens, the former home of Houston philanthropist Miss Ima Hogg, and home to the Museum of Fine Arts, Houston’s early American decorative arts and painting collection. Considered one of the premier collections in the country, the rare and beautiful objects dating from approximately 1620 to 1876, are installed throughout the 1920s mansion in 28 period room settings. The Bayou Bend grounds are just as impressive as the collection inside the home. The gardens at Bayou Bend form a fourteen-acre oasis in the midst of a modern metropolis. Bounded on two sides by the curving Buffalo Bayou, from which the estate draws its name, the Bayou Bend gardens are a cohesive eight-part entity made up of natural woodlands and cultivated formal gardens incorporating imported plant material and native species. Walking across the Bayou on

the suspended footbridge to view this fourteen-acre estate is like entering an impressionist landscape painting. Includes admission to Bayou Bend. (5) Houston City Tour 9:00 a.m. – 12:00 p.m. Cost: $36 Enjoy a driving overview of popular downtown attractions including Minute Maid Park, The Toyota Center, the state-of-the-art Houston Convention and Visitors Bureau and Heritage Park. Then it is on to the Houston Art, Music and Culture District, featuring Jones Hall, the Hobby Center for Performing Arts, Bayou Place, the Wortham Center and the Alley Theater. Then visit the Houston Museum District, an area home to the Museum of Fine Arts, Contemporary Arts Museum, Holocaust Museum, and the 4th most visited museum in the country, the Houston Museum of Natural Science. You will also drive by the Texas Medical Center, the world’s largest and most renowned medical center, which is home to 42 non-profit institutions on 675 acres and has over 100,000 people in it each day. It was also host to the television show “Houston Medical” featuring Houston’s own Dr. Red Duke. End the morning with an overview of the Galleria area, home to many corporations, and also home to the Williams Tower and the marvelous Waterwall. Williams Waterwall, a gorgeous piece of architecture located right next to the Williams Tower in the Uptown District, is a 64 ft. tall structure in the shape of a semi-circle, with water that cascades over it and down a series of steps towards the bottom. You will also spend time at the JP Morgan Chase Tower Observation Deck. Designed by noted architects I.M. Pei & Partners, the tower was built in downtown Houston in 1981 as the Texas Commerce Tower. When completed, it was the eighth tallest building in the world. The observation deck is located on the 60th floor and offers a panoramic view of

the city, thanks to the use of wide glass spans and thirteen-foot ceilings. Even with the fantastic views, the Galleria area might be best known for its shopping. From Nordstrom to Neiman, from Gucci to Tiffany’s, the Galleria is Houston’s crown jewel. Tour participants will have the option to exit the tour at the Galleria for shopping on own or return to the convention center. Those participants staying to shop at the Galleria will be on their own for transportation back to the convention center and/or their individual hotels.

(6) Space City USA 9:00 a.m. – 5:00 p.m. Cost: $79 Do you know what the first word spoken on the moon was? Do you know where the astronauts train or which astronaut makes Mission Control laugh the most? Learn the answers to these questions (and many more) on the trip to Space Center Houston in Clear Lake, Texas. Upon arrival, you will have the opportunity to take a self-guided or group tour, view actual spacecraft, spacesuits, moon rocks and other space artifacts. After exploring the Space Center Houston, enjoy a guided tram tour of NASA’s Johnson Space Center which takes a look behind the scenes at Mission Control and also shows an astronaut training facility. After a full morning at Space Center Houston, spend the afternoon at Kemah Boardwalk for lunch and shopping. The Kemah Boardwalk is a colorful cluster of restaurants, shops and boat slips in Kemah, Texas, just 20 minutes from downtown Houston. Named one of the Top 10 American Boardwalks by ForbesTraveler.com in 2009, this area also features a carousel, Ferris wheel and incomparable views of the Galveston Bay. Guests will have the opportunity to dine on their own on the Boardwalk. Includes admission to Space Center Houston.

April 2011

Orders of Appearances International Chorus Competition

1. Pride of Kentucky Chorus, #4 2. Pride of Baltimore Chorus, #19 3. Rönninge Show Chorus, #32 4. River Blenders Chorus, #5 5. Alaska Sound Celebration Chorus, #13 6. Toast of Tampa Show Chorus, #9 7. Choral?Aires Chorus, #3 8. Kansas City Chorus, #7 9. Lions Gate Chorus, #26 10. Greater Kingston Chorus, #16 11. Crosstown Harmony Chorus, #22 12. Melodeers Chorus, #3

13. Celebrity City Chorus, #11 14. Mountain Jubilee Chorus, #8 15. Bay Area Showcase Chorus, #12 16. Greater Nassau Chorus, #15 17. Vienna?Falls Chorus, #14 18. Houston Horizon Chorus, #10 19. Twin Cities Show Chorus, #6 20. Velvet Hills Chorus, #8 21. Perth Harmony Chorus, #34 22. Lace City Chorus, #31 23. TuneTown Show Chorus, #23 24. Christchurch City Chorus, #35

25. Coastline Show Chorus, #1 26. Scioto Valley Chorus, #4 27. San Diego Chorus, #21 28. Surrey Harmony Chorus, #31 29. Spirit of Detroit Chorus, #2 30. Top of the Rock Chorus, #25 31. Five Valley Chorus, #24 32. Harbor City Music Company Chorus, #19 33. Pride of Toledo Chorus, #17

1. Region 16 2. Region 35 3. Region 1 4. Wildcard #4 5. EVEN TIME 6. Wildcard #6 7. Region 25 8. Region 11 9. Region 8 10. Wildcard #1 11. Wildcard #2 12. Region 6 13. Region 9 14. Wildcard #5 15. Region 17 16. Wildcard #8 17. SHIMMER!

18. Region 15 19. TIMELESS 20. Region 14 21. Wildcard #7 22. Region 2 23. Region 26 24. Wildcard #3 25. Wildcard #9 26. SPRITZER 27. Region 7 28. Region 31 29. Region 10 30. Region 32 31. Region 22 32. LOVENOTES 33. Region 23 34. Region 19

35. VOCALITY 36. Region 12 37. Region 34 38. Region 5 39.LUCKY DAY 40. Region 4 41. LIVEWIRE 42. Region 24 43. Wildcard #10 44. Region 3 45. Region 13 46. MARTINI 47. CAPRI 48. BLING! 49. Region 21

International Quartet Semifinals

Harmony Classic Chorus Competition DIVISION A COMPETITORS 1. Spirit of Harmony Chorus, #6 2. Song of the Pines Chorus, #21 3. Milltown Sound Chorus, #31 4. Alba Show Chorus, #32 5. Fenton Lakes Chorus, #2

DIVISION AA COMPETITORS 1. Upper Chesapeake Chorus, #19 2. Metro Nashville Chorus, #23 3. Sound of Sunshine Chorus, #9 4. London Chorus, #2 5. Hickory Tree Chorus, #15

Houston Visitors Center

April 2011

Characterization is a Four-Category Word

By Peggy Gram, Top of the Rock Chorus, Region 25

What is your favorite fiction book? Is it a mystery? A romance? Does it revolve around history? How about your favorite movie? Is it a comedy? A thriller? Action & adventure? Murder mystery? Chances are a good part of your choice revolves around the characters involved in the story. In some way you have come to identify with those characters. The writers and actors have drawn them in such a way that the individual people of the story become real to you. Even if it is a book and you have no actual visual reference aside from the author’s description you can see the character in your mind. How does an author do this in a book? He or she uses verbal description of the character’s physical aspects, certainly. You know whether the character is male or female, short or tall, blond or brunette. But further, you get glimpses of how the character thinks, how he perceives other characters, situations in which he finds himself. You gain insight to what values she possesses by how she relates to what fate deals her and those around her. You glimpse his spirituality through reading his thoughts. You measure her bravery and judgment by the fights she takes on and those she chooses to leave unanswered. The author chooses her words very carefully to create exactly the picture in your mind that she has in hers — the better her storytelling through description, thought, act, word and deed, the more complete will be your understanding of her meaning. When the work in question is a movie, we don’t have the luxury of all those pages of prose to tell us exactly what the character is experiencing, thinking, feeling. The actors, through facial expression, physical action and dialogue with other actors are responsible for developing the full scope of character development for us as viewers. There are

April 2011

other tools at the director’s disposal — costuming, stage settings, makeup, hairstyles, the physical movement of characters, sound tracks, music, special effects, props, camera angles, closeups, and the list could go on and on. It takes wonderful actors, artful direction and an excellent screenplay to condense a novel into an effective movie because 600 pages of story do not translate easily to a two-hour movie! The filmmaker has to use all those devices to fill in the nuances of the story the author of the book is able to provide with pages of words. As a result sometimes we wind up saying that the movie was good, but not as good as the book. In other cases, the characters are so well developed and presented in the movie version that we gain new insight to the plot and the story becomes more meaningful than our imaginations were able to conceive with just the written word. So without multiple pages of dialogue, descriptions, special effects, panoramic scenery, multiple costume and scenery changes, how is it that we are supposed to develop a characterization and convey the story of a song in approximately three minutes? In performing a song we find that we are best able to convey the message of the music if we utilize strong characterization. This tool helps us unite our collective bodies and minds to effectively present a more uniform vocal and visual message to the audience. In creating the character, the first question to ask is what clues and tools have the composer, lyricist and arranger provided in the music? What is the mood of the song? If it is an uptune what is the

tempo? The meter of the song? How does that relate to the mood of the person singing the song? What do the words tell you about the person? Is it the same throughout the song or does it change? How do the words relate to what is happening to the person? Explore all the possibilities as you strive to create the character. One of the resources available to you is recordings of performances of the song done by others. Listen to and watch as many as you can to get different ideas about directions your own performance might take. Take a moment to watch these examples of wonderful performances involving strong characterization. The first is a clip from the movie, West Side Story. As you watch it look for all the elements that help you define who these characters are. You will both see and hear lots of clues that will give you insights. Now look at the Ramapo Valley Chorus singing America as a part of their “West Side Story” medley Click here for onstage at our internaWest Side Story tional competition. Do — America: http://www.youtu you see some of the be.com/watch?v same elements por=9f1vZBzNNVw trayed by these singers? Think about how this championship chorus used the Broadway show and movie choreography, style and costuming to enhance and better portray the character of this song.

This clip is from the London stage production of Fats Waller’s Ain’t Misbehavin’. Notice how the performers use their bodies onstage, Click here for how they interact Ramapo Valley — with each other America: http://www.youtub seamlessly, maine.com/watch?v=co taining the character each is portraying 910vzgZU4 completely throughout the performance. How would you describe their body language? Their interaction with each other? What do you see? What do you hear?

Here is the Harborlites chorus doing a medley of Fats Waller’s songs — which of the same elements do you see? Do they maintain character? How does the music selection, the nuances we hear in Click here for Fats the delivery of the Waller — Ain't vocal line, the cosMisbehavin': http://www.youtube tuming, choreogra.com/user/SweetAde phy and body lineIntl#p/u/5/CLhq language combine with their excellent vocal skills to craft a truly memorable performance?

Don’t get the idea that there has to be a film origin to the creation of a believable character, or that it’s a skill that can only be mastered by Click here for large choruses or Harborlites — Ain't championship quarMisbehavin': tets. You can create http://www.youtube .com/user/SweetAde your own characlineIntl#p/u/4/4O0 ters. They are as rich and as varied Q0Kjqk84 as your imaginations make them. What does it require? First, your level of musicality has to be such that the audience is able to react

to the character rather than to out-of-tune singing. Any attempt to get them to identify with a believable character has to start with a quality musical product, one that puts them at ease with your ability as a performer. What’s involved there? Certainly correct notes and the right words, sung together in tune is an excellent start. Until we have those basic elements present, the audience is at a loss to identify with the message of the music because they are worried about the performers. From a judging standpoint that means we need to meet the basic requirements of each of our categories. Sing the right notes and words using good vocal production, executing the words together, with facial expression and overall visual look that support a unified approach to the song. When you are at that point you will find that attention to character development can unify elements in all four categories and result in a stronger rapport with the audience — a better communication of your musical product! Take a look at the Stockholm City Chorus, portraying Amelia Earhart and giving a tribute to her achievements as a woman and as an aviator:

Their faces show animation throughout the performance — they portray a variety of emotions as the song progresses. Their body language is engaging and the costuming, while simple, is entirely effective in setting the mood. Quartets can Click here for Stockholm City employ characterizaChorus — Over tion as well. Look at the Rainbow: this recording of “the http://www.youtu BUZZ” performing No, be.com/watch?v No, Norman. Watch as =t42RdFZ8y4o their faces, the choreographed moves and their body language give special meaning to the words of the song. Now listen to the music without watching the screen. You can hear how the visual elements you saw are enhancing and affecting the word delivery, underlining

the nuances and inflections they give to words and phrases of the song.

The result is a totally unified performance. Each member is telling the same story and the level of energy is the same across all four members. Watching this performance is a delight with all Click here for the visual and vocal "the BUZZ" — No elements totally uniNo Norman: fied. Characterizahttp://www.youtu tion is a major player be.com/watch?v in achieving this =ILyo6Nff9Pc result. Take a look at your last performance. Have you created a believable character? If not, what are the elements that are standing in your way? Talk to your group about the person and together define who is singing the song, her mood, what the lyrics mean to her, where she is when she sings the song. What’s the back story that brings her to this song? How do you want the audience to feel when the song is finished? Why did the composer choose exactly that lyric and how can you work together to get that message across to the audience? The performances that bring us to our feet are the ones that allow us to suspend disbelief, to forget that these are actors and singers, on a stage in costume. Rather, their commitment to the music and the message of the song is so strong, unified and compelling that the music evokes an emotional reaction from us. Maybe it’s laughter or maybe it’s tears, maybe a conviction that things will be better than they are now, maybe an allegiance to a country or an ideal. The bottom line is that we are moved by the music. Unity is a major part of this kind of performance, and one of the major emphases within our judging categories. Characterization can be a very effective tool in all four categories as you work to bring the music to life. (Note: Read the digital version of The Pitch Pipe found in the Members Only section of our website for direct links to the video examples.) April 2011

A Stage to Show the World “Today’s Barbershop”

By Fran Furtner, Cincinnati Sound and Capital City Choruses, Region 4

Imagine a choral singing competition with over 20,000 singers of all ages, representing more than 400 choruses, 70 countries and a wide array of musical genres. Imagine an international competition that honors and celebrates the achievements of amateur singers — much the same way the Olympics pay tribute to athletes in sports. Imagine an entire city alive with vocal music lovers for days on end — packed with concerts, workshops, impromptu performances, cultural and musical exchanges, and new friends from around the world.

April 2011

Imagine an opportunity for Sweet Adelines International to showcase “today’s barbershop” to hundreds of thousands of spectators, the media, choral conductors, music educators and a massive number of singers — most of them under the age of 30. Imagine the 2012 World Choir Games! The World Choir Games are for real — and it is the largest choral competition in the world, taking place every two years. INTERKULTUR, the International Organizing Committee of the World Choir Games, selected Cincinnati, Ohio, as the site for the 7th World Choir Games, which will be held July 4-14, 2012. Although the World Choir Games are

well-established in Europe and Asia, this is the first time the competition will be held in a U.S. city. To mark their debut in the U.S., the Games will add a genuine American art form –barbershop harmony– as a competition category! Lori Lobsiger, a representative from INTERKULTUR who attended our Chorus Finals competition in Seattle and was very impressed by the caliber of performance, remarked, “We are so pleased to welcome barbershop to the World Choir Games. Often the complexity of barbershop singing is overlooked, partly because we don’t teach this form of choral singing in school. This could be one of the best competitions at the Games and potentially hold the most surprises for those who have never had the pleasure of experi-

encing the finest barbershop choruses.” The World Choir Games are often called “the Olympics of choral singing” — and there are many parallels. There will be 23 musical categories of competition including Children’s Choirs, Mixed Chamber Choirs, Musica Sacra, Contemporary Music, Show Choirs and Folklore. Compe-

titions will be held simultaneously in multiple venues across the city so participants and spectators can enjoy a variety of events. There will be opening and closing ceremonies, gold, silver, and bronze medals, the playing of national anthems for grand champions, and the Olympic ideals of excellence and bringing people of all

nations and ideologies together in peaceful competitions. There will be the Champions Competition and the Open Competition for most of the musical categories, including barbershop. The Champion Competition is for choruses that distinguished themselves in past competitions; all other choruses are invited to enter the Open Competition. Sweet Adelines International choruses eligible for the barbershop Champion Competitions are regional chorus champions, wild card choruses, and winners of the Harmony Classic Division A and Division AA contests in the five years leading up to the Games (2007-2011). Women and men from all the barbershop organizations worldwide will compete together. Barbershop choruses must have a minimum of 12 singers and perform four songs within a 15-minute time period. Contestants will be adjudicated in four categories: Intonation, Interpretation of the Score, Sound Quality, and Artistic Impression. Most, if not all, of the jurors for the barbershop competition will be credentialed barbershop judges. Our World Choir Games Task Force (composed of Dale Syverson, Marcia Pinvidic and Fran Furtner) has been invited to share insight on our judging system and to recommend workshop ideas that would be of interest to a broad audience of singers. Complete details on the competition, chorus and participant pricing information (based on your choice of accommodations), and registration forms can be found at www.2012worldchoirgames.com. Early Bird registrations received by June 1, 2011, offer sweet discounts. We are offering our choruses the opportunity to participate in the World Choir Games as a supplement to our own international competitions and educational events. Not only will the Games be a unique and enriching experience for our individual members, they will provide a magnificent international platform for our organization to gain visibility in the vocal music community and show off our craft and musicianship. One of the goals of the World Choir Games is to “address the need to make music accessible to every generation, building tomorrow’s audience and inspiring future choristers.” Let’s be a force at the World Choir Games and inspire tomorrow’s Sweet Adelines! I’ll see you there. April 2011

new music reviews By Lynnell Diamond, Music Arrangements Coordinator, Chapter-at-Large, Region 9 For many of us, spring is particularly welcome this year. After the gloomy days of a frigid winter, we’re all ready to say I’m Beginning To See The Light. This classic swing song is composed by some of the brightest stars of the jazz world, including Duke Ellington and Harry James. Linda Masterson’s fine arrangement includes many creative touches that highlight the song’s syncopated tempo and unique jazz harmonies. The tricky rhythm, close harmony and many accidentals require strong singing skills (the arrangement is rated medium/advanced) and the arrangement is best for performances other than competition. The arrangement is in the key of G, and voice ranges from low to high are bass, G-G; bari, C-B; lead, C#-D; tenor, F-F. It’s A Brand New Day, written and arranged by our talented friend Joe Liles (BHS), is the perfect attitude for watching the snow and ice melt. It’s also a great opening song for any barbershop performance, with upbeat lyrics that include, “we’ll sing all we know tonight.” Joe is known for strong, exciting barbershop uptunes, and this one is no exception. The arrangement, rated medium, starts in the key of A and ends in Bb. Voice ranges from low to high are bass, D-Eb; bari, A-G (alternate Bb); lead, A-Bb (alternate D); tenor, low A (in unison with leads)-Fb (alternate Gb). An exciting new arrangement of Neil Diamond’s America, arranged by Peg Millard, takes our publishing in an entirely new direction. This arrangement uses eight parts throughout, and may be sung by two choruses (or one chorus split into two groups), a double quartet, or a chorus and a quartet. One group sings the melodic line (harmonized in four parts) and the other sings a steady four-part rhythm pattern. This is a dramatic and challenging arrange-

April 2011

ment, requiring a strong tenor section capable of carrying the melody throughout. It builds steadily in intensity and energy to a powerful climax that will bring audiences to their feet. The arrangement is rated difficult, but groups with strong singing skills will find it manageable and rewarding. It starts in the key of F; after several key changes, it ends back in F again. Voice ranges from low to high are bass, C (with an alternate low Bflat for those who can sing it) -F; bari, G-B; lead, B-D; tenor, E-G (with an alternate high C for capable singers). Returning to our solid barbershop roots, It’s A Sin To Tell A Lie, arranged by CMA Lorraine Rochefort, is an exciting arrangement of one of our competition favorites. Lorraine’s arrangements are never boring — they’re known for their clever and unexpected lyric and rhythm alterations, and this arrangement meets and exceeds expectations. It’s lively and amusing all the way through. It’s in the key of G, and is rated toward the “easy” side of medium. Voice ranges are bass, D-E; bari, B-B; lead, A#-C; tenor, F-F. CMA June Berg has created a lovely arrangement of Someone To Watch Over Me for Young Women in Harmony (YWIH). Young singers raised on rock and rap may not recognize this 1926 song by George and Ira Gershwin, but they will fall in love with its memorable love lyrics and beautiful melody and harmony. June captures the innocence and vulnerability inherent in the lyrics and augments them with gentle but haunting harmonization. This arrangement is also appropriate for adult voices. It is rated medium, and is best for performances other than competition. Voice ranges from low to high are bass, F (with an alternate low Eb)-Eb; bari, Bb-A; lead, Bb-C; tenor, Ab-F. Those of us who are a little more mature than our “young women in harmony” members will remember Connie Francis in the early 1960s, singing what quickly became a

hit swing ballad in the movie of the same name, Where The Boys Are. Elaine Gain has created a very singable arrangement that will take us back to high school days when we longed for someone special to care for us. The arrangement is rated easy/medium, and will be a smart addition to a chorus or quartet performance repertoire. Voice ranges from low to high are bass, Eb-F; bari, Ab-B; lead, Bb-C; tenor, Ab-Ab. We’re wrapping up these reviews with a song that would be a great way to wrap up a show: We’re All In This Together, arranged by CMA Lynnell Diamond in two versions, one for adult voices and one for YWIH singers. It’s a rousing, high-energy number from the movie “High School Musical” with lyrics that express very effectively the feeling of camaraderie we share as Sweet Adelines. If you want an exciting, motivating song in your repertoire, this is one you’ll want to consider. It’s rated medium/difficult, but don’t be intimidated — if you have the required energy and vocal ranges, repeating passages make it fairly easy to learn. Voice ranges for the adult version from low to high are bass, Eb-F with unison lines up to C above middle C; bari, D-C; lead, D-C; tenor, F-F with a short descant for high voices on the words “fly, can fly” that goes up to high Ab. Voice ranges for the YWIH version are bass, E-F# with unison lines up to C# above middle C; bari, Eb-Db; lead, Eb-Db; tenor, Ab-F# with a descant for high voices that goes to high A. If you have an arrangement you would like to submit for publication, please send it to Suzanna Runyan, music services assistant at headquarters. Arrangements are reviewed by our Sales/Marketability Committee and by the music arrangements coordinator to determine whether they meet our publication standards. You do not need to be a member of the International Music Arrangers Program to submit arrangements for publication.

by Carole A. Kirkpatrick, Chair The Overtone Society Management Committee

We point with pride to the Sweet Adelines International Board of Directors’ record of acknowledging feedback with imagination, inspiration, and innovation. It is typical for the members of the Board to make proactive decisions when they perceive that change is required, based on a deliberate examination of each situation. The benchmarks against which possible change is considered are the Sweet Adelines mission statement and goals.

Recent evidence of the organization’s adaptability in the face of inevitable change includes: • Creating a stage for organization-wide membership growth through the One Voice, One Message program; • Returning to affordable campus settings for summer educational events; • Using various electronic media to distribute music, education and information to carefully targeted audiences; and • Creating The Overtone Society, which enables members and non-members to take leading roles in the financial security of the organization.

On May 1, The Overtone Society will launch its first annual fund campaign. Taking a cue from the organization’s culture, the theme will be imagination…inspiration…innovation. Money raised during this campaign will be applied* where it is most needed to continue Sweet Adelines’ prosperity and future.

A distinctive, jewel enhanced donor recognition pin has been created for each of four levels of giving, which are: • Diamond, $2,500 and above; • Sapphire, $1,000 to $2,499; • Ruby, $500 to $999; and • Emerald, $100 to $499.

All gifts will be gratefully acknowledged by The Overtone Society Management Committee. A Donor Honor Roll will be published in the January 2012 issue of The Pitch Pipe.

It is our intention to communicate with you often in the coming 12 months to keep you informed about this campaign and to encourage you to invest in the future of Sweet Adelines International. We will be present in each issue of The Pitch Pipe and Pitch Pipe Lite, in other forms of targeted electronic communication, and via The Overtone Society’s website, where gifts can be made securely and conveniently online. Questions or comments? Write to overtone@sweetadelineintl.org.

*Gifts of $2,500 or more may be made in installments and also may be designated to fund a specific program, service, or facility named by the donor.

April 2011

Real Women Share the Gold!

chorus spotlight

Perth Harmony Chorus held its second Real Women, Real Harmony, Real Fun course in October through December 2010. Our first course, held FebruaryApril 2009, saw 17 real women win gold medals with Perth Harmony at the 2010 regional competition in Mandurah. So, it was with great excitement that we recruited many of these members to be involved in meeting and greeting our newest real women! How did we go about it? The first, and critical step, was to ensure we had a marketing plan in place — how were we going to let the community know about our course? From previous experience, we knew that word of mouth advertising in our community and advertising in newspapers were the best sources! No surprises — 35 percent came via word of mouth and 27 percent from the local paper advertisements. We also made sure that we advertised the upcoming course at our “Too Darn Hot” concert at the Perth Concert Hall held the month before the course started. We also placed flyers in community and shopping centres, conducted radio interviews, notified previous Real Women course attendees, advertised on websites and we had the course listed on our website as well as ANCA (Australian National Choral Association) and CAA’s (Choral Association Australia) websites. The course was also offered to all current auditionees and those who had joined Perth Harmony since our 2009 course. Given the positive feedback from the 2009 course, we decided to use the same format in 2010. Each week the attendees got a real sense of a typical rehearsal — starting the night with physical warm-ups, followed by vocal craft and harmony warm-ups and then working on their repertoire. Given

Real Women, Real Harmony, Real Fun graduates with Perth Harmony’s Assistant Directors, Jen Squires & Gina D’Souza (centre front).

the number of participants and the fact that Perth Harmony was preparing for a show whilst the course was being held, the attendees spent the beginning of the night working separately from the chorus. They joined them toward the end of rehearsal to work on songs that they would be singing with the chorus in the concert and to have an opportunity to watch the chorus at work! Carole Macintyre, director, delegated most of the responsibility of teaching and directing to members of the music team. This ensured that, for the most part, Carole was able to continue to focus her attention on the chorus, whilst music team members assisted with the course as required. This not only gave members of the music team an invaluable opportunity to develop their own skills as educators and directors, but also allowed the attendees to see the level of competence and commitment within the chorus. Each week, one of the barbershop fundamentals of posture; breathing; phonation; resonance and articulation was introduced by a different music team member — each one building on what the previous had covered. Weekly handouts, including Betty Clipman’s Vocal Production series, were provided. These also covered other aspects of learning to sing barbershop and chorus life: how to learn your music; singing your part smart; riser etiquette; barbershop terminology; and performance skills. They also received their own weekly newsletter, Real News, including a profile of a Some of our Real Women backstage at the Regal Theatre Real Woman and a with Real Women, Real Harmony, Real Fun coordinators, member of Perth HarVicki Donnelly and Helen Bolton. mony, photos from the

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previous rehearsal and updates! On the sixth week, at their graduation performance, the Real Women performed At the Hop (with choreography!) and Jingle Bell Rock for the chorus. The next week, many were back to hear about the audition process and other information about joining the chorus. Just two weeks later, 20 of these women went on stage at the Regal Theatre to sing two Christmas carols with the chorus at our “Christmas Gold” concert. When we compared the outcomes of this course with our original one, it was evident that timing of a membership drive is critical. Forty-eight women commenced the six-week course, with 26 of them (52 percent) graduating and 20 (42 percent) performing in the joint Vocal Evolution and Perth Harmony’s Christmas Gold concert in December. This contrasted with our 2009 course where we commenced with 82 participants, with 45 graduating (55 percent). Although the retention rate within the courses was very similar, there is no doubt that such heavy demands on women’s lives in the lead-up to Christmas impacted on our starting numbers. So what did the Real Women have to say about their experience? • “It’s almost symbolic. It appears that you helped me in finding my voice.” • “I really enjoyed and appreciated the input from the various members of the support teams. Each one of you, the director and the chorus members were encouraging and friendly, showed a passion for singing and overall were professional!” • “The quality of my voice improved along the course.” • “The fact that I learned more in these past six weeks of singing lessons (with handouts) than in all the music lessons I have had in my life, none of them was as comprehensive.” • “Perth Harmony is such a great little community of wonderful women that quite frankly, blew me away.” • “The longevity of the chorus members is an inspiration and shows me that there must be ‘something’ amazing that keeps these people here.” Submitted by Helen Bolton, Perth Harmony Chorus, Region 34

young singers foundation

Goal:

$500,000 Current Level: $403,694

Charlotte Children’s Choir

A recent Young Singers Foundation grant recipient, the Charlotte Children’s Choir, was founded in 1986 and serves 240 children and youth between the ages of 8-18. The Choir serves their community by providing quality music education with the goal of attaining the highest level of artistic excellence in choral music performance. The Choir has six ensembles representing two states, six counties and has six ticketed events annually. The Choir’s primary purposes are to provide training in voice and music theory to children, to develop selfdiscipline in children in a positive, non-threatening environment, to promote appreciation and enjoyment of choral music as a means of artistic expression, to develop individual talent through group experiences, to achieve excellence in musical performance, to enrich the cultural life of their community and to promote the Charlotte region at the state, national and international levels. “Singing with the Choir makes me feel special, it feels like family,” says one young chorus member. To learn more about the Charlotte Children’s Choir and to view a video performance you may visit its website at http://www.charlottechildrenschoir.org/index.html

For more information or to donate to the Foundation visit our recently updated website at http://www.youngsingersfoundation.org/. You can also find the Foundation on Facebook!

Have you made arrangements to remember the Foundation or Sweet Adelines International through your estate planning? If you need additional information or would like to be recognized as a Cornerstone Society Member, please contact Donna Kerley or Keesha Cashmore at 1.800.992.7464 www.youngsingersfoundation.org April 2011

directors of note As of April 1, 2011 Advanced to Master 700 Director Vickie J. Maybury, Skyline Chorus, Region 8 Advanced to Master Director Scott Brannon, Harmony Celebration Chorus, Region 15

Advance to Certified Director Margaret Adams, River Bend Chorus, Region 3 Scott Brannon, Harmony Celebration Chorus, Region 15 Maggie Butts, Arundelair Chorus, Region 19 Susan Chirafis, Spirit of Southeast Texas Chorus, Region 10

Jeanne Elmuccio, Hickory Tree Chorus, Region 15 Lisa Giorgio, Harmony On The Sound Chorus, Region 1 Marsha Kelly, Cascade Harmony Chorus, Region 24 Anastasio Rossi, Golden Apple Chorus, Region 15

song of welcome December 1, 2010 to March 15, 2011 K-Town Sound Show Chorus Region 23, Knoxville, Tenn. Chartered on January 10, 2011 Patricia B. Hamlin, president Kellie L. Hickman, director Philadelphia Freedom Chorus Region 19, Philadelphia, Pa. Chartered on January 27, 2011 Jen Lee, president Melissa M. Bomben, director

Springfield Metro Chorus Region 7, Fair Play, Mo. Chartered on December 28, 2010 Bonni J. Jackson, president John Stockstill, director Vocal Dimension Chorus Region 31, Redhill, Surrey, England Chartered on February 10, 2011 Emma Riley, president Valerie Taylor, director

Vocalescence Chorus Region 34, Varsity Lake, QLD, Australia Chartered on February 15, 2011 Jenifer L. Howson, president Andrew Howson, director

Zoopendous Show Chorus Region 14, Asheboro, N.C. Chartered on January 26, 2011 Joyce S. Goudy, president Beverly N. Dale, director

Voice of America Chorus Region 4, West Chester, Ohio Chartered on December 16, 2010 Jane Buehler, president Traci A. Martin, director

in memory December 1, 2010 through March 15, 2011 Dorothy Barrett, Minnesota Valley Chapter, Region 6 Margaret Ann Grader, Chapter-at-Large, Region 13 Marcia Greathouse, Crystal Chimes Chapter, Region 25

Loretta Hayes, Twin Forks Chapter, Region 6 Mary Ivanoff, South Florida Jubilee Chapter, Region 9 Diane Leschber, Harmony Central Chapter, Region 7 Jean Sayler, Chapter-at-Large, Region 19

Cleta Jean Simmons, Chapter-at-Large, Region 25 Carol Wood, Rhythms of the Reef Chapter, Region 34

Classifieds Only Sweet Adelines International members may advertise in the classifieds. Payment of $40 per ad, per insertion, must accompany the insertion request. Deadlines: November 1 for January issue, February 1 for April issue, May 15 for July issue, and July 15 for October issue.

Costumes for Sale 45 blue jazz costumes (top and skirt) in sizes ranging from small to 4X. Comfortable, wrinkle-resistant 90% acetate, 10% lycra. Price is $8 per costume with buyer to pay shipping costs. Contact Costume Committee Chair Gerry Guy, Renaissance Rhythm Chorus at gerry.guy@comcast.net for information and photo. Scottsdale championship costumes for sale! Pink/Green 2 piece stretch pantsuit worn in Detroit. Suitable for small or mid-size chorus sizes 2 to 26. Some pink stretch fabric also available. Pictures available. Price negotiable. Contact Lou Brandon at 480-375-8362 or louawafa1@flica.net.

April 2011

Casual, Barely Worn Costumes for Sale! Attention New/Small Choruses. Growth spurts here! Our pain, your gain! Beautiful, comfortable, casual-performance costumes: Powder blue, polyester blend, twin-sets include sleeveless under-tank plus long-sleeved, buttonable over-jacket with a breezy, pleasant, “stacked windowpanes” material design. Take 38 sets SM to 3XL - mint condition - $12/set. Appear stain-free. We wore with black or white pants only 2 or 3 times. You pay shipping from 37421. Contact Scenic City Chorus * Carol Grohn, Business Manager * 423 243 8234 * carolgrohn@gmail.com for photos/info.

Director Wanted The Sounds of Pittsburgh Chorus is a 60+ award-winning chorus. We are in search of a motivated, enthusiastic, professional Director that will help to move us forward in our quest for excellence. As the 2008 Region 17 Championship Chorus, we traditionally use internationally recognized coaches to great advantage. Further information regarding this Director Search for our chorus can be found on our website at www.soundsofpgh.org. Questions can be addressed via e-mail at directorsearch@soundsofpgh.org.

The acceptance of advertisements by Sweet Adelines International does not necessarily signify endorsement of the products or services. The distribution, sale or advertising of unofficial recordings is not a representation that the contents of such are appropriate for contest use.

April 2011

Catch the Rhythm and Share it With Your Friends & Family!