The Pitch Pipe April 2013

the

April 2013 | Volume 66 — No.4

PitchPipe T h e

Vo i c e

o f

S w e e t

A d e l i n e s

I nt e r nat i o na l

Harmony

Horizon on the

Sing with Us in Honolulu

C o n t e n t s Fe a t u r e d A r t i c l e s

8 Showmanship Secrets Judy Pozsgay interviews Greater Nassau, Rönninge Show and Scioto Valley Choruses to find out how they earned their high showmanship scores during the 2012 Regional Competitions!

11 Virtually Yours Tips and insights into the world of coaching via the internet.

12 Focus … It’s Important!

Author and Sweet Adelines International member, Jan Carley, delves into the psychology of focus during rehearsal.

14 Handling Change Change is a part of our lives. Benefit from the wisdom of Past President Cammi MacKinlay, whose family just went through a dramatic change.

16 The Ever-Evolving Costume This first of a three-part series takes us from the beginning of Sweet Adelines costumes through the early 1970s. Enjoy changing trends and historical photos of past quartets and choruses.

April 2013 | Volume 66 — No.4

Special Notes President’s Message …………………………… 4 International Update …………………………… 5 HQ Matters …………………………………… 6 IBOD Results ………………………………….. 7

Departments Bulletin Board ………………………………… 3 Membership Matters ………………………… 18 New Music Review …………………………… 30 Harmony Roundup …………………………… 33 In Memory …………………………………… 38 Song of Welcome ……………………………… 38 Accolades ……………………………………… 38

Involvement Honolulu Housing Registration …………… 24 Honolulu Schedule ………………………… 25 Honolulu Tour Information & Form ……… 26 The Overtone Society ………………………… 31 Young Singers Foundation ………………… 34

About the Cover Sweet Adelines International’s 67 Annual Convention will be held in Honolulu, Nov. 4 – 9. We want you to join us on the beautiful beaches of Waikiki! th

Visit www.sweetadelineintl.org > Honolulu 2013 International Convention to register.

Turn to page 20 for Honolulu, housing, tour and registration information!

Cover photo by Hawaii Tourism Authority/Tor Johnson.

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PitchPipe A 2013 | Volume 66 — No.4 pril

Sweet Adelines International A worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education, competition and performance.

International Headquarters 9110 S.Toledo • Tulsa, OK 74137 P.O. Box 470168 • Tulsa, OK 74147-0168 Telephone 918-622-1444 • Toll-free 800-992-7464 Fax 918-665-0894 www.sweetadelineintl.org Email: Use one of the following departmental prefixes: admindept@ conventions@ education@ exec@ commdept@ member@ music@ sales@ followed by: sweetadelineintl.org Office hours: 8:00 a.m. to 5:00 p.m. (Central Time) Monday – Friday International Board of Directors May 1, 2012 – April 30, 2013 Renée Porzel, International President Cammi MacKinlay, Immediate Past President Marcia Pinvidic, President-elect Fran Furtner, Secretary Peggy Gram, Treasurer Sharon Babb Joan Boutilier Betty Clipman Patty Cobb-Baker Paula Davis Carole Kirkpatrick Dale Syverson Education Direction Committee Betty Clipman, Chair Cammi MacKinlay, Diane Porsch, Judy Pozsgay, Dale Syverson Editorial Review Board Ellen Curran Puffe, Emma Duguid, Marcia Pinvidic, Judy Pozsgay, Marge Zimmerman The Pitch Pipe Editor Linda Clark Davis INTERNATIONAL HEADQUARTERS Kelly Bailey, Executive Director Keesha Cashmore, Interim Controller Lori Decter Wright, Interim Director of Education Jennifer Hughes, Interim Director of Meetings & Convention Services Carol Schwartz, Director of Music Services Joey Mechelle Stenner, Interim Director of Communications Tammy Talbot, Deputy Administrator THE PITCH PIPE (ISSN 0882-214X) (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.

Periodicals paid at Liberty, Mo. 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: Linda Clark Davis, The Pitch Pipe, at the above address.

Deadlines are 60 days prior to publication.

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April 2013 | The Pitch Pipe

the Bulletin Board Renewal der: Quartet

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Ma uest q in il y a n a m e ve n a a es ff. If you h a ic All st rv fou r Q se iss H ue c s of The Pitch Pipe e si help th ck, mu are now being printed and mailed . t Emily Mo c rg ta .o n tl o in to the entire members c e se lin e d plea ta e e hip! You ca n still view the digital t emily@sw version of The Pitch assistant a Pipe on most mobile devic es, sm art phones and some e-readers. You can find all the digital iss ues in the Members Only area of the website.

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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. Send information to Linda Clark Davis at lindadavis@sweetadelineintl.org.

Jan Carley

Lynnell Diamond,

Cammi MacKinlay

Judy Pozsgay

Cathy Conley

Master Director 700, Certified Judge (sound), International Faculty, International Quartet Champion (2001 – A Capella Gold, 1988 – Savvy, 1976 – High Society), San Diego Chorus, Region 21

Immediate Past International President, Executive Committee, Certified Director, International Faculty Associate, Lions Gate Chorus, Region 26

Professional Certified Executive Coach who works globally with individuals and teams inspiring them to maximize their performance potential both on and off-stage. Lions Gate Chorus, Region 26

Approved Judge (showmanship), International Faculty, Editorial Review Board, Education Direction Committee, Lions Gate Chorus, Region 26

Music Arrangements Coordinator, Certified Director; Certified Judge (music), Approved Candidate Judge (expression), Master Arranger, Toast of Tampa Show Chorus, Region 9

Contributors

Kim Vaughn

Certified Director, International Judge Emerita (showmanship), Past Judge Specialist, Past International Faculty, Chapter-at-Large, Region 24

April 2013 | The Pitch Pipe

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Special Notes

President’s Message Renée Porzel, International President Warm breezes, beautiful beaches, exotic flowers and relaxing waves wash against the shore. And of course — barbershop music. On Nov. 5, 2013, the Harmony Classic Contest will kick off our convention week in Honolulu.

More than 6,000 of us will gather together for a week of friendship, singing and visiting with new friends from around the world. The choruses and quartets that are competing that week are deep into their preparations, and counting down the days until their chance to strut their stuff across the International stage. It will be a week to remember. I cannot wait to get there and feel that familiar internal sigh when I am immersed in the sights and sounds of so many of us in one place. I experience that feeling anywhere we gather together, and I love to see our passion for barbershop music on display no matter where we are! Whenever we show up, the energy in the building doubles and triples until it reaches a fever pitch. It makes me so happy to hear our members gathering and talking about barbershop music. The excitement and joy are lovely.

I have been asked many times why we are going back to Honolulu for convention, and the answer is simple … and complex. This will be the fourth convention we have held in this lovely location, and it will once again meet and surpass our expectations. It offers a fantastic place for a contest surrounded by a vacation. Some of our members have attended every convention there, and some have been waiting to see Honolulu their entire lives. For some, it is a quick flight, and a more affordable destination. For others, it is the most expensive trip they will ever take. Our worldwide organization gives us unique issues when choosing contest sites, and Honolulu is no exception. Our group demographic and contest needs delineate where we can hold our conventions, and the cities we choose have to be able to accommodate our specific requirements. Our rehearsal space takes up every available ballroom in every hotel we use, and that alone is a huge

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factor in our decision-making process. We also need space for Harmony Bazaar, meal functions, meeting space, and hundreds of rooms with more than one bed. It is a multi-layered process with much more going on behind the scenes than anyone can imagine. We will have the pleasure of spending the week in the most beautiful tropical paradise, and it is important to appreciate the hard working staff members who make it all possible.

The Interim Director of Meetings and Convention Services, Jennifer Hughes, along with her staff and Executive Director Kelly Bailey, are all working extremely hard to make sure the week comes together perfectly. They have negotiated special discounts from a number of major airlines — visit the Sweet Adelines International website > News & Events > Honolulu 2013 International Convention > Flight Discount Codes. If you have been thinking about attending, take advantage of these discounts and book your flights today!

In 1969, we held our 23rd Annual Convention in Honolulu and the costs per person for hotel rooms were quite reasonable. For two in a room, the cost was $14.70 per person, and four in a room cost $9.70 per person. The All Events Book was $12, and the week included a Hawaiian Luau on Tuesday for the low price of $1.75 for a boxed supper. The week ended with a Membership Meeting on Friday and Membership Luncheon on Saturday before the Quartet Finals. The Metropolitans became our International Champion Quartet and Helen Ryan was our International President.

The Coronet Club Show included performances by the Gaytones (using ukuleles!), Shalimars and Note-Cracker Sweets. Jewel King and Kaye Poulsen Jensen also gave a memorable performance of Keep Your Eyes On The Hands complete with choreography and grass skirts.

I imagine they all had a fabulous time, and our convention this year will be equally memorable.

Spending our hard-earned money and using vacation days from work to attend our Annual Convention may seem like a frivolous expenditure when times are tough. The reality is that there is no way to calculate the benefits we receive from attending convention and all of our educational events during the year. There is no substitute for spending time with women who feel passionate about this style of music and this organization. There is nothing that compares to being in the arena witnessing a spellbinding performance that brings us to tears. Whenever we are together we get to spend time meeting other

women singers and form an instant bond through music. If traveling to Honolulu is in your plans this year — you will come home with renewed energy and a heightened desire to continue improving as a singer. If you are looking forward to attending another educational event this year, you will have the same opportunity to learn and grow as a singer. That kind of education is priceless.

In 2013, we will not be able to stay in a room for $9.70 per night, but we will still have the chance to enjoy the beautiful surroundings and adopt the Aloha attitude that is Honolulu. It will cost more, but the memories will be equally as Sweet! Registration is open and the islands are calling. Come and enjoy a spectacular week in the most beautiful place in the world as we fill the air with four-part harmony!

With a song & dance,

Renée Porzel International President

Sweet Adelines International INTERNATIONAL BOARD OF DIRECTORS 260TH (Annual) Meeting International Update The International Board of Directors met on Mar. 1-2, 2013, in Tulsa, Okla. Following is a summary of actions taken.

• Lynda Keever was granted Certified level status in the Music Category of the International Judging Program.

• Sandy Marron was granted Certified level status in the Sound Category of the International Judging Program.

• Cathy Conley was granted emerita status in the International Judging Program.

• Carolyn Healey was granted emerita status in the International Judging Program.

• The venue and date for the Rising Star Quartet Contest was changed to coincide with a Regional event in June, July or August of 2014.

• The name change requests for the following regions were authorized: • Lake Michigan Region 3 changed to Midwest Harmony Region 3 • Greater New York Region 15 changed to Greater NY/NJ (pronounced Greater New York, New Jersey) Region 15 • Blue Ridge Region 14 changed to Heart of the Blue Ridge Region 14 • Midwest Gateway Region 5 changed to Spirit of the Midwest Region 5

Special Notes

• The charter and chapter membership for the following chapters were authorized: A Cappella Electric, Windsor, Colo.

A cappella Live!, Lincoln, Neb. Diamond Jubilee, Middletown, Ohio

• Regional Most Improved Chorus Award medals and Legacy photos on numbered prints and note cards will be offered for sale through International headquarters.

• The International headquarters office will be closed Dec. 24, 2013 through Jan. 1, 2014.

• Journey House Travel Agency was approved as the official travel agency of Sweet Adelines International.

• An Information Release Policy was integrated into employee procedure.

• The 2013-14 Sweet Adelines International Committee members were appointed.

• The convention newsletter will be discontinued and scores will be available through a mobile application, on the website, on Facebook and Twitter, posted in various places at the convention site, and can be projected on the big screens. The elimination of the newsletter will save the corporation approximately $7,000 per year.

• An estimated 270 chapters participated in the January 2013 Global Open House.

• A time limit of three (3) years was established for Prospective Chapters to remain in Step One (excluding groups in the Satellite Area).

• In order to raise awareness and assist in marketing and development of The Overtone Society (TOS) a regional position was established called “Regional TOS Ambassador.” The Regional TOS Ambassador will be appointed by the International organization, will liaise with The Overtone Society Management Committee, and will market TOS and create TOS fundraising campaigns in the Region.

• An adjustment to the International Faculty Program training schedule was approved so that education would be provided to program members in the first year of their three-year appointment cycle.

• Young Women in Harmony (YWIH) Festivals will be recommended for inclusion in the International Convention schedule based on current support for YWIH Program in the local area.

• Information about the 2014 World Choir Games in Latvia will be made available to members.

• Reviewed and adopted the 2013-2014 operating budget.

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Special Notes

HQ Matters Aloha, Ohana This organization is, in a word, a family, or to borrow a beautiful Hawaiian term, an “ohana.” All of us are fundamentally linked through our passion, dedication and love of barbershop harmony and Sweet Adelines International.

Past International President Cammi MacKinlay and International President Renée Porzel

Kelly Bailey, Executive Director

Three times a year our International Board of Directors (IBOD) comes together and spends two days reviewing the state of the organization, considering plans and making recommendations for the future of Sweet Adelines International. The IBOD convenes and does this with great professionalism, grace, determination, tenacity and enthusiasm.

Director of Music Services Carol Schwartz

It is hard for me to express the feeling that comes from the Board’s presence at Headquarters.

It is always a great opportunity for the staff and the Board to relate with one another and communicate the day-to-day operations. With all the IBOD members in one place you can truly see the heart and soul of this life-changing organization. But the feeling that surrounds me the most is the feeling of family.

When you witness each Board member’s heart, her joy, her passion, you have a better understanding of what Sweet Adelines is all about. She cares so much about what has been entrusted to her as a leader. Each staff and Board member’s attention to detail — from the way a report is devised to the communication she has with members — illustrates that our staff and Board have the same goal. That goal is to serve our membership. And when they do so in such a wholehearted and sincere way, it is an ongoing reminder to all of us as to what sets us apart from others. We are special, we are unique, we are powerful, we are precious, we are Sweet Adelines!

International Board Members Sharon Babb and Anne Cargill

This particular annual Board meeting was concluded in an exceptional way. After two days of demanding yet satisfying work, we installed our new Board member, Anne Cargill, as well as the members of the Executive Committee. People outside the organization will probably not understand how something related to a Board of Directors or a business meeting can be such an emotional event, but when a family comes together, emotions are always involved.

From Left to Right: Paula Davis, Peggy Gram, Cammi MacKinlay, Marcia Pinvidic and Renée Porzel

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Because what we have at Sweet Adelines is extraordinary, it only stands to reason that the evening would be much more than dinner and a few laughs.

Guided by the spirit of our convention destination this year, we took part in a traditional Hawaiian sand ceremony. Each board and staff member was given a glass jar full of colored sand that represented whom he/she is and what he/she uniquely brings to Sweet Adelines International.

Interim Director of Communications Joey Mechelle Stenner and Past International President Peggy Gram

International Board Member Patty Cobb Baker, Graphic Designer Gabrielle Howell and Past International President Cammi MacKinlay

Staff and Board members shared their unique experiences as they filled a bigger glass jar with their sand. It was apparent from the first story shared that the ceremony would be sentimental.

Some of us laughed and many of us cried, but by the time the larger containers were filled, each person truly felt enlightened, engaged and loved — and part of a greater ohana. At the end of the night, the sand was combined together and given to each staff and Board member as a symbol of the unique and diverse family of which we are now part. My jar of sand will sit on my desk as a daily reminder of my place within the harmony, sisterhood and friendship on which Sweet Adelines International was founded — the family that will continue to grow and prosper long after we are all gone.

Always Yours,

Kelly Bailey Executive Director

International Board Members and Headquarters Staff

Special Notes

I am including a few pictures of this special evening for you to enjoy. And while you may not have been physically present for the event, you are always in our hearts.

Sweet Adelines International 2013-14 Commitees

Executive Commitee

Renée Porzel, International President Marcia Pinvidic, President-Elect Peggy Gram, Treasurer

Editorial Review Board

Marcia Pinvidic, President-elect Patty Cobb Baker, EDC Member Emma Duguid Debra Griffiths Marilyn Cox

International Bylaws & Rules Specialist Fran Furtner, Specialist

Membership Committee Cori Albrecht, Chair Anne Cargill Maggie Ryan

Nominating Committee Betty Clipman, Chair Carole Kirkpatrick Patty Cobb Baker Harriette Walters Char Gurney

The Overtone Society Management Committee Peggy Gram, Chair Jolene Loos Nilene Thompson-Finn

Regional Leadership Committee Paula Davis, Chair Therese Antonini Jana Gutenson

Cammi MacKinlay, Immediate Past President Paula Davis, Secretary

Worldwide Liaison

Fran Furtner, Liaison

Young Singers Foundation Management Committee Shelly Pardis, Chair Elaine Hamilton Risa Page

Education Direction Committee Betty Clipman, Chair Cammi MacKinlay Joan Boutilier Diane Porsch Patty Cobb Baker

Director Education Coordinators Dale Syverson, Moderator Mary Rhea Lori Lyford

IMAP Coordinators

Judge Specialists

Marcia Pinvidic, Moderator Ruth Ann Parker, Sound Sharon Babb, Music Paula Davis, Expression Peggy Gram, Showmanship

Published Music Sales/Marketability Committee Corinna Garriock Amy Leacock Erin Odell Cook Lauren Kahn Anne Marteniuk

Young Women in Harmony Program Coordinators Jennifer Cooke, Moderator Annie Hayes Amy Leacock

Marge Bailey, Moderator Lynnell Diamond Carolyn Schmidt

International Faculty Coordinators Karen Breidert, Moderator Sharon Babb Carole Kirkpatrick

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Fe a t u r e d A r t i c l e

A Recipe For

Showmanship Success

!

By Judy Pozsgay, Lions Gate Chorus, Region 26

A

revisions, due to the director’s intent, the chorus’ execution of the choreography and subsequent changes to the interpretation.

Featured in this article are Rönninge Show Chorus (RSC) who posted mind blowing A+ scores (94/96 = 190), the Greater Nassau Chorus (GNC) who obtained high A levels (88/86 = 174) and Scioto Valley Chorus (SVC) posting solid A showmanship scores (85/86 = 171).

Did you have a vision for the visual plan (or consider it) when selecting the music?

re you blown away by the outstanding caliber of performances on our contest stages that only seem to get better and better? Do you marvel at the high showmanship levels attained by the top scoring choruses and wonder, “How do they do that?” Wonder no more! We’ve surveyed three of the highest achieving choruses in the showmanship category from the 2012 Regional Contests and asked them to share their secrets. Our query: Can we determine a recipe for showmanship success?

So, how did they do it? Let’s find out!

How did you come up with the idea for your visual plan?

RSC: Our plan started with a brainstorming session in which the visual team, directors and our visual coach, Jan Alexandersson, participated. We tried as many ideas as possible and tried not to limit our creativity. The directors kept a let’s try attitude.

GNC: Two choreographers focused on creating the part of the visual plan that pertains to movement, and the directors used the music and the initial interpretation as our guide during the creative process. There was a brief meeting with the musical director to understand her vision of the plan (including lyrical message, primarily, but also tempo, interpretation, dynamics, etc.), and we began to create the choreography. We brought our own individual ideas and visions to the table, tried them out with a tape of the chorus singing the song at tempo to determine if they worked and if it enhanced the music. The team remained conscious of the vocal technique and musical plan to ensure that the choreography complemented the music and vocal product.

There was a lot of give-and-take between the choreographers, and there were several rounds of

SVC: Both of the songs we sang at Regional were originally learned and performed during our first set at the 2011 International Chorus Contest, so many of our answers are based on that performance. We did not have an original idea for this performance except that we had to have the attitude of Lulu throughout the uptune.

RSC: No, the music was the guideline, totally.

GNC: The music selection came first, as always. We selected music based on the very best vehicle for the chorus and incorporated the fit to the chorus image. Once it became apparent the music was right, the creativity and ideas for the visual plan and character easily came to life.

SVC: We have a relatively young chorus that likes to take on characters, and Lulu was certainly a character that offered many sides of herself. Mostly, she has an attitude that we wanted to portray and the story and arrangement offered all kinds of possibilities.

How far in advance did you plan?

RSC: We have a rule to not put in the choreography before we know the music quite well. The team has tried to put in the visual plan in sections after we’ve learned parts of the song, but it created many challenges, so we’re back to learning the music as a whole first. The chorus started learning the visual plan at least six months ahead for the competition song and we tried not to make changes within the last month before contest.

GNC: We had approximately one year to work with the song in which we incorporated all elements so that we owned every aspect of performing it. It was especially exciting and rewarding when, after singing a song for more than a year, we found elements of the music, vocals, visuals and character that were new and even better than they were before. That realization demonstrated that this is an ever-evolving process, and it is fun when a song becomes new again through discovery, coaching and chorus teamwork.

Rönninge Show Chorus (RSC)

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SVC: We began preparing the music about nine months prior to our first performance.

Our rule is to have the music and choreography learned (though not perfected) at least five months prior to the Regional Competition.

When did you learn the choreography?

Did you have extra rehearsals?

RSC: We seldom had extra rehearsals; we included the learning process during regularly scheduled rehearsals. Closer to the performance, there was extra training before rehearsals. We used YouTube links in our preparations and it was an enormous help. We tried as much as possible to encourage the members to take responsibility to learn.

GNC: We taught the choreography to the chorus as early as possible after our first song taping. We had no extra rehearsals, but used large parts of rehearsals for choreography review and repetition when our director was not present. Sometimes we taught only part of the song, depending on how much we’d been able to choreograph on a particular day, and how quickly the chorus learned and owned the choreography. We took time to meet early or stay late with members who expressed an interest in doing so. The director assigned every chorus member to a visual team representative who reviewed her performance and was able to answer questions about the choreography.

SVC: We did not have extra rehearsals except for a couple of weekend coaching sessions and early choreography lessons on rehearsal nights.

Who created your visual plan? Who are your showmanship coaches?

RSC: Our visual team, together with Jan Alexandersson our visual coach. Jan has been a tremendous help in the creative process and he is also our main coach in this area. Peggy Gram and Erin Howden have also coached us. Peggy ensured that the moves were as singable as possible. Erin sprinkled ideas and helped us be more artistic. However, Jan remains the main figure in this area for us.

GNC: A choreography design team of two created the visual plan. Renée Porzel helped us with character development and offered some ideas to help members internalize the choreography plan along with characterization. Our other coaches, Betty Clipman, Ruth Ann Parker and

Carole Kirkpatrick instructed all aspects of GNC’s performance. Our director, choreographers and visual team coached us on a weekly basis.

SVC: Erin Howden created our visual plan for both songs and also coached us in the area of showmanship. Our own visual team made some minor changes as needed, and our directors and other coaches, Betty Clipman and Joe Connelly, worked on showmanship as it affected other parts of our performance.

Costume Design: What did you wear? How did you come up with the design?

RSC: Honestly, we paid more attention to what fit our chorus image. We think we have a special image and everything we do or wear should mirror it. Lately our budget has been tight, so we creatively recycled pieces and still tried to keep it feeling fresh.

GNC: For this last Regional Contest, GNC wore one of our standard competition outfits, which was a design that enhanced the way every singer looked. The outfit was a green and black velvet classic — streamlined tunic and pant ensemble. We added accessories to blend with the costume, which incorporated a wedding feeling. Through the creation of authentic characterization, our audience saw us as brides when we sang I’m Getting Married In The Morning/Get Me To The Church On Time Medley, with All The Way as our ballad.

SVC: We wore short, black velvet dresses with a full-flared skirt, v-neck outlined with rhinestones, and sheer, sequined sleeves with a marabou cuff. Our costume committee, comprised of Cheryl Hamon and Kathie Holloway, came up with the original design and costume that we wore in the 2009 Harmony Classic. It was worn again in the 2011 Regional and International Contests.

Did you have visual qualifications for contest?

RSC: Throughout the year we had visual evaluations. We filmed sections of the chorus and they had a certain evaluator who came in after the member herself did an evaluation of the recording. We have never actually called it an evaluation process –like with the music– just a chance to develop our skills.

GNC: The directors assigned each member of the visual team to a pod of chorus members they evaluated to qualify for competition. We used a very simple process that evaluated areas such as believability, poise and posture, facial variety, accuracy of choreographed moves, unity, energy and emotional connection to lyrics. The team made specific comments to point out anything positive and anything chorus members could do to improve their presentation. We approached each member individually if there were specific needs for improvement. The initial evaluation took place approximately six to eight weeks before contest. Those who needed to improve their scores had ample time to work on individual skills. Once the evaluations were complete, it allowed the chorus to add more freedom with less focus on all of the technical elements, while adding more storytelling and character to their performances.

Fe a t u r e d A r t i c l e

Greater Nassau Chorus (GNC)

SVC: We did not have visual qualification.

Everyone was committed to being the best that they could be. To help people reach their potential, early choreography sessions were held most weeks. In addition, we had a let’s move team — members who worked with individuals or small groups outside of rehearsals if members needed help. This began many months before contest so even the slowest learners had the time and resources to ingrain the moves and use them to enhance the music and the stories they were telling. We also used videos of rehearsals for members to critique themselves.

How did your chorus work on characterization and bringing the plan to life?

RSC: We really paid attention to the music and what the music told us to feel and act out.

The chorus did a lot of research about the songs, as we desired to be true to the original music.

GNC: A few years ago, we incorporated the idea of characterization into all of our pieces. We started with simple concepts like power words/ phrases that we could identify within the song.

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Fe a t u r e d A r t i c l e

Scioto Valley Chorus (SVC) By adding the idea of storytelling and choosing characters that we could identify with, it helped us to unify the same approach visually. We explored new ways to enhance our choreography and facial variety. In addition, we worked on using character breaths that brought even more meaning and believability to our performance. We held a few miniworkshops where the nuances of the character were discussed in depth. We met in groups of 20+ singers and used a mirrored dance studio for immediate feedback. Following visual leader cues and demos, singers played with the character, self-assessed and compared their performances with each other.

Visual team leaders provided informal feedback, all in a comfortable atmosphere of fun and exploration.

Singers were then encouraged to continue to explore aspects of the character on their own, through home practice.

harmony parts, emoting on “ooh,” approaching a song more lyrically vs. musically, etc. This was all achieved by excellent communication between the team members and the director.

Every one of us understood how the musical and visual plan intertwined to create the best and most enjoyable performance, and we all worked toward the same goals the entire time.

SVC: Each song has an overall story or theme — that comes first. However, there were many smaller stories told throughout, which required a different character or feeling, and a different volume or texture. We tried to explore each of these, both vocally and visually.

RSC: We worked a lot on freedom of the body. To make that happen, we needed both a mental and a physical feeling of a safe environment (a positive zone) and corrections were made with a positive attitude — for example we said “almost,” if the moves weren’t quite there yet.

We spent time creating trust and it was reflected in our ability to move freely. If you feel safe and joyous in what you are doing, you learn faster and your body and brain react with confidence.

Our freedom and joy in our singing and moving comes from the firm belief that we love what we do, treasure every moment and believe in ourselves. Our motto is, “It’s all happening perfectly.”

How did you ensure that the visual plan enhanced the music?

RSC: It became obvious after a while if the singing was affected negatively and it simply felt wrong. We also trusted our coaches in this area.

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GNC: At all times, it was knowing the musical plan, and being conscious of it as we created the choreography, and listening to the director when she was certain that a particular move was impeding her musical interpretation. Planned moves were modified (or eliminated) as frequently as necessary until all worked, first musically then visually.

It was also important to reinforce the meaning of each move with the chorus so they understood the meaning of each move. The message of the move was sometimes in the details, so certain nuances in choreography execution was explained, demonstrated and repeated to reinforce timing and unity.

Once the visual plan was established and singers had a chance to own the character and choreography, we took every opportunity to marry the visual and vocal aspects each time we sang. We experimented by inviting a visual leader to section rehearsals who worked together with the section leaders or director.

Music was continually approached from a vocal and visual perspective simultaneously, but feedback was part-specific. This gave way for the visual leader to demonstrate and use language that caters to the sections’ needs. This was particularly useful with

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SVC: Our visual team, directors and coaches were aware when there was a conflict with the music. When it was obvious that the plan wasn’t working, minor changes were made to ensure that the good musical product reigned. The music couldn’t suffer to save a move.

Anything else you think is important for us to know to understand your success in this area?

GNC: Egos were consciously not involved in this process — everything was done for the greater good of the chorus. Nothing was personal and nothing worked all the time. We also ensured that everyone had the opportunity for feedback from a visual leader, which was crucial to our success. When a singer analyzed herself on a video, or performed in small pods, she could identify areas that needed work, or learned how to make changes. Once the team empowered the singer with tools and ideas, she was usually more likely to take ownership of these new skills. We really operated as a team, respected each other, collaborated, and most importantly, worked hard to be the best role models we could be for the chorus. In present day, we continue to grow from this experience and learn at different levels, yet we all still have more to do. By creating an environment of positive reinforcement and by taking personal ownership, we built an even stronger GNC. SVC: Once the chorus learned that the moves and characterization are there to enhance the

music and to better tell the stories to the audience, it was easier to get everyone on the same page.

Currently, we are still on a journey in this area, but at least we have begun the trip. n Thank you to these three choruses for so freely sharing their experiences. As their high showmanship scores indicate, these choruses are definitely doing something right when it comes to engaging and entertaining their audiences. So, how did they do it? Is there a recipe for showmanship success? From their answers we learn that there is no single right way to develop fantastic showmanship. However, they do share some things in common: • Dedication to high standards for their musical product and ensuring that the music always comes first.

• Exploration into ways to bring their music to life through characterization, freedom in movement and expression, and developing choreography that enhances the music and storytelling.

• Preparation, planning and attention-todetail in their visual appearance. All visual aspects were a part of their dazzling, high impact performances.

• Time-Management. Directors ensured sufficient time in their journeys, allowing members to internalize the visual plan and, as result, they performed with command and confidence.

• Environment. Each of these choruses cultivated a positive, safe environment with tools provided to set up each member for success.

• Ownership. Directors encouraged members to take an active, participatory-role in the process and own their performances.

This survey has given us a lot of important information to digest! One thing is certain — although we may not emerge with one singular recipe, we have definitely unearthed some valuable ingredients for showmanship success.

Fe a t u r e d A r t i c l e “This particular online site has been very effective with no lag in sound or quality. It does require a certain level of computer capability, which can be determined by going into the site and running a check. Any challenges incurred have always been as a result of those issues. Skype is used as a backup in those instances, but I find if both parties try to speak at the same time, sound interference and issues become apparent. One just has to be cognizant of that and use hand signals.”

– Debra Lynn regarding PowHow.com

NEW RESOURCE: Brent Graham introduced me to a new resource that merits examination.

It’s called jamLink and for those of you in distance quartets this may be a wonderful new tool allowing the quartet to rehearse without a time lag.

“We use jamLink (http://www. musicianlink.com/) for our internet rehearsals. According to their site, jamLink is an ultra low-latency audio device that enables real-time jamming and collaboration over the Internet. The jamLink delivers uncompressed, CD quality audio with virtually inaudible latency as far as 500 miles. They say you need upstream bandwidth of 1Mbps and downstream bandwidth of 2Mbps, but we have found that is not enough — we have upstream of about 4Mbps and downstream of about 7Mbps at each site, which is achievable via cable internet, or fiber-optic DSL. “You have to have one jamLink box at each site. Each box is $200, but you can purchase two boxes (the minimum for internet rehearsal) for $350. Of course, it is way cheaper than airfare! You also need a splitter for the audio in and audio out ports on the jamLink boxes that have more than one singer present in the room. And each singer needs a headset with an attached microphone (similar to a gamer headset).”

Virtual

Coaching

By Kim Vaughn, San Diego Chorus, Region 21

L

et me just confess straight up that I am not a techno-geek of any kind. I know 2MB are better than 1MB, but I don’t actually know what MB means. I have an iPad, which I love, but I’m not even close to using it for all the things I suspect it will do. But this I know for sure — if modern technology can give me access to a person or educational event not otherwise available to me then I am in full support of that concept! The Internet has now made that possible for barbershop singers around the world.

• Lighting matters. Computer screens tend to be a darker hue so be sure your coach can see you and you them.

“Both parties need to have good microphones and speakers (I find it’s best for me to wear my headset as it blocks out noise at my place best).”

Gail Jencik makes a good point when she says: “I coach on Skype and have been coached myself a number of times. Love the convenience either way.

That said, they have occasional connectivity issues.

It’s a wonderful way to coach and be coached with no travel and none of the associated expenses.”

– Jennifer Newman What has changed that would affect us so drastically? It’s an educational concept called synchronous learning and it allows for real time, face-to-face instant communication and feedback.

We can learn in a virtual environment, meaning online, and it has changed our educational world.

We are no longer separated by time and/or space.

We can coach and teach to anyone, anytime. We can share information instantly around the world.

While the use of Skype has been my entry into this virtual coaching world, other technologies exist such as Google Groups, Google Hangouts, FaceTime (for Mac users only), ooVoo, PowHow and Skip activity (for Androids only). By the time you read this there are sure to be several more options as the technology changes weekly. However, all of these have a basic program that is free to all.

One of the best overall and exact sources on Skype coaching came from Beth Snider who writes a blog at cashmerequartet.com. Fortunately for all of us Beth is a baritone techno-geek and has written a very detailed and informative blog on the use of Skype. She reminds us of the details I’d like to mention here as well that really do make a difference in the qualify of your session.

• Microphones and speakers. Be sure to use good quality equipment on both sides for the best possible sound. Skype makes product recommendations and does sell equipment they recommend.

• Headsets or very small rooms/spaces help the coach to hear better and maintain focus.

Singers/students will be able to clearly hear every sound at the coach’s site including road noise, helicopters, people in the kitchen, a nearby television, etc.

• Consider using your TV screen via an HDMI cable. It really does make a difference.

Suzanne Olsen says it a bit more succinctly: “I love that I can get voice lessons from Kim without having to go to San Diego. I don’t like it when the Skype picture freezes or pixels pixilate.”

And Lisa Adams sums it all up this way: “The advent of virtual meetings has basically broken down the barriers of distance and opened up accessibility to top coaches for all members of the organization. All in the comfort and convenience of your home. Not sure it’s on par with a live session but for us, living in an area that would require driving hours to meet with a coach, it has definitely provided us with viable options for mentoring and vocal development as individuals and as a quartet. I love it!”

There’s a host of new and exciting products available in our cyber-world and they are opening up amazing new possibilities for us all. Our best educators and coaches are making themselves available to singers in every time zone and all around the world. I hope you will take advantage!

See YOU soon on Skype or FaceTime or Google or…? n

“A couple of times it was clear that the internet needed to be faster, but these days most people have enough bandwidth to make it work. I find 2MBs in each direction is about the minimum.”

– Tom Metzger

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The Competition Difference-Maker;

How to Build Mental Focus

By Jan Carley, Lions Gate Chorus, Region 26

I

n great sports events you often hear TV announcers talk about the “difference-maker” — the play or person that made the critical difference to that team’s success. Believe it or not, the key difference-maker in a Sweet Adelines performance or competition is not the floating tenors, the resonant basses nor any one individual or section. While not discounting the obvious importance of musical excellence in the technical art form of barbershop, it is widely held that mental mastery is the most defining difference-maker.

Happily, the most critical element of developing mental mastery is an element that is learnable by every group, no matter what level, and is something for which each person in the chorus can be responsible. The difference-maker is FOCUS. Focusing helps us be completely present and stay in the moment, which gives the greatest opportunity and capacity for learning and creative flow.

When you are in a focused state of flow, you are completely involved and have a sense of clarity, effortlessness and a feeling that everything that you need is in that moment — in essence, you are at one with the universe.

“The point of power is in the present moment” – Louise Hay Mastering your ability to get focused, retain focus, and be able to quickly and consistently re-focus when you get off-track, is key to your success.

If you and your group are 100 percent focused and present in your onstage performance you will achieve magical outcomes. Increased joy, energy, connection with the audience, unity and corresponding competition placements are but a few of the benefits of consistent mental focus.

Focus Strategies Awareness Awareness is always the first step to any change or shift in behavior. Think of a time when you were totally focused, engaged and present as a group.

Maybe it was in a competition setting, or perhaps it was when a coach was brought in for a retreat weekend. What did you do, and what conditions were present for you to keep focused? Once you know how you got to that state, you can work to incorporate the conditions that easily allow you to recreate the elements of that state. What do you need to have in place on a regular rehearsal night to recreate that focused state of flow?

Getting Focused “The first rule of focus is: Wherever you are, be there” – Unknown At the beginning of the rehearsal, incorporate a focus time. Lead the chorus through a focus technique designed to help the group get centered, present and to be here — right here, right now. Here are a few that can be done by themselves or in tandem with each other.

• Centering. The first aspect of centering involves focusing on the rate of breathing and maintaining it at a slow, steady pace as you breathe deeply from the belly. Breathe in through the nose and feel the air fill your lungs, and then

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exhale through the mouth. Practice this often as a way of bringing you into the room together and focusing on the present.

• Three breath focus. This is one of my favorites — after getting centered, on Breath #1 you breathe in everything that happened before today and then on the exhale, let go of those things. On Breath #2 you breathe in everything that you are thinking about that you have to do tomorrow and beyond and then on the exhale, let go of those thoughts. On Breath #3 you breathe in everything that happened today, and on the exhale let them go. You have then let go of the past and the future and can be present in that moment.

• Recite a mantra or choose a key word to replace other negative thoughts or worries, empty your mind and create a single focus. My favorite is, “I am present, this is now, I am here.” Recite that in your mind as you inhale and exhale or recite it out loud as a group. Use your key word or mantra to refocus you at any point in the night.

• Create an evening intention. While breathing deeply, think about what an intention might mean for you. What intention do you want to hold for that

Quickie Focus Tips for Chorus Members • If you have had a busy day, and have rushed to get to chorus, spend two minutes in your car focusing yourself before you even enter the rehearsal hall.

• Understand your role in taking your riser mates out of focus. Your well-intentioned comments on the risers might be having an unintended distracting effect.

• Get practiced at ways to refocus yourself (see key word exercise) or simply reconnect with your breathing. Find the technique that works for you. Refocus in a rest period or when there is a pause in the action.

• Respect that your director needs time to get focused before chorus and give him or her the space to do so.

• When you are in front of the chorus leading the group or making an announcement, be prepared, confident and focused in your delivery.

Quickie Focus Tips for directors • Make sure you take the time to personally focus yourself before launching into your evening of singing.

• Be flexible! Sometimes you have a night (a full moon maybe?) where it is hugely difficult to retain focus. Instead of fighting it, switch up your approach. (Perhaps incorporate more opportunities for the chorus to talk to each other that night or invite everyone down to the floor for a dance break.)

P.S. Oh, and directors, on those nights when a member brings in her new baby for the first time — give it up.

Until everyone has looked, held, touched and cooed at the little darling you have no hope of maintaining your group’s focus. Enjoy the moment. This is where the magic lies.

Staying Focused Set up the conditions that ensure your group stays focused as much as possible throughout the rehearsal. Eliminate or mitigate as many of the external interferences as possible (e.g. talking on the risers). When an external interference can’t be changed (e.g. blistering heat in a non air-conditioned rehearsal hall) notice the interference, consciously acknowledge the interference and then just as consciously, choose to ignore it.

Refocusing Your group’s focus will ebb and flow in the course of an evening’s rehearsal. The key to success is to develop the ability to instantly refocus yourself or, if you are a director, to find the ways to help your members quickly refocus. Often by simply acknowledging the condition one can refocus. (E.g. “Hey, it feels like we are really scattered tonight. Let’s take a deep breath, focus, and listen to the pitch again.”) Or take the group out of their environment — have them march off the risers to the count of eight and march back up and refocus. Revisit your evening intention; remind them of their key word.

About the Author

Fe a t u r e d A r t i c l e

• Notice when the group has lost focus or when the group energy is scattered. Acknowledge the condition or interference without judgment, and consciously focus the group back to you.

rehearsal? Will it be about learning? Fun? Energy? Breathe your intention in.

Jan Carley, the Inner Coach of Barbershop, and long-time barbershop quartet and chorus singer, has transformed the singing experiences of thousands of barbershoppers worldwide with her signature “harmony from the inside out” coach approach. An internationally credentialed professional coach and author of Harmony from the Inside Out, Jan works with directors, choruses of different sizes and levels, chorus leaders, regional leadership teams, quartets and individuals to open up powerful possibilities and catalyze significant positive change. www.innercoachofbarbershop.com

Introd u c i ng

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Dedicated Sweet Adelines International representatives, Nancy and Donna, are available 24/7 to help you with your travel needs.

Email: nancy@journeyhouse.com Phone: 800.251.6559 • Cell: 918.812.5256

“Our customers are the most important part of our business. We are honored to serve your fine organization.”

– Nancy Kindle and Donna Powers, Journey House Travel

April 2013 | The Pitch Pipe

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Change

Why Is It So Hard?

By Cammi MacKinlay, Lions Gate Chorus, Region 26

“The best laid plans of mice and men gang aft aglae.”

— Robert Burns

C

hange — it sure can sneak up on you when you least expect it.

Probably just as well that we can’t look into the future and know what’s coming up for us … we might run screaming in the other direction!

On the other hand, to quote a timeworn adage, a change can be “as good as a rest” and can revitalize you in ways you wouldn’t have anticipated.

One year ago, my family’s life was upended when my husband Don’s kidneys took a turn for the worse. He has had kidney disease (FSGS) for more than 10 years, but had been stable at 45 percent kidney function for most of that time — and then out of the blue — his kidneys decided to pack it in. Their function went from 30 percent in December 2011 down to eight percent in September 2012, necessitating daily peritoneal dialysis. The only possible cure was a kidney transplant. Our 27-year-old son, Callan, stepped up and said he would give his father a kidney; fortunately, he was a perfect match. On December 19 the best possible Christmas gift happened when an unexpectedly early date with a transplant surgeon came our way. Our son’s left kidney is now functioning perfectly inside Don’s body.

As you can imagine, this turn of events made Christmas 2012 the most special holiday season our family has ever had. One year ago, we had no idea what the future would hold for us, and now, it is rosy indeed — Callan is our hero! He has given his dad a new lease on life that we will be able to celebrate for years to come.

The surgery has already created a profound change in our lives however, in retrospect, the last year had already necessitated a series of changes in our lifestyle while we waited for the surgery to happen. Frequent appointments at the kidney clinic, surgery to place a catheter in Don’s abdomen, learning how to perform daily peritoneal dialysis, rearranging our bedroom to accommodate monthly deliveries of 20 boxes of dialysis fluid, changing his diet to eliminate or reduce foods that increased his toxin levels (low sodium everything); not to mention the affect on his body from low physical and mental energy, edema, temperature control, emotional ups and downs, etc. Multiple changes were thrust upon us, which turned our worlds upside down and affected more people than just my husband and me.

Although Don was lucky to have had excellent medical support through this journey — the everyday reality of making major adjustments was often met with reluctance on his (and my) part. We didn’t want to make these changes, darn it!

We were very happy with our eating habits and day-to-day life. But of course, making the changes was going to mean a better quality of life for Don, so we had no choice but to make them — even though it was difficult emotionally.

Being human often means coping with dramatic change. Change is part of life — sometimes it gets forced upon us and other times we instigate it.

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We all know someone who has experienced change as a result of unpredictable and violent weather like Superstorm Sandy in October 2012, where many people lost their homes and/or family members or had to cope with dreadful flooding and the clean-up aftermath. Whether it’s personal change such as a new kidney, rebuilding a home, a new job, a cross-country move; or Sweet Adelines change such as a new director, a new riser placement, a change of voice part, a new region — it is how you handle and cope with the change that makes all the difference in how it becomes part of your new reality.

So why is it so difficult to make changes, even when we know that the change will be a good thing and it will improve our lives? According to Chip and Dan Heath, authors of “Switch – How to Change Things When Change Is Hard,” our minds are controlled by two different systems –the rational

Don an d family

hero, Call

an

Fe a t u r e d A r t i c l e mind and the emotional mind — and these two sides are often at odds with each other as each competes for control. (I certainly saw this with my husband — his rational side knew that he needed to cut down on those high sodium foods, but his emotional side wanted those salty chips!) The rational mind may want to change something at work or at home, but the emotional mind is content with the comfort of the old routine. If the tension between these two minds can be overcome, then change can happen quickly.

Of course, both the elephant and the rider have strengths and weaknesses — the elephant isn’t always the bad guy. You need the elephant to get things done as it has the motivation, energy and passion. The rider can be overly analytical, over-thinking things and end up going nowhere. If you want to get results and make a change, you need to have both working together in tandem. The rider gives planning and direction and the elephant provides the emotional drive to see it through.

If you are trying to implement a change in your life, whether it is personal, work-related or chorus, the Heath brothers describe a three-part framework as a guide to help change behavior: • Direct the rider. The rider needs very clear direction and complete clarity of the desired outcome in order to know where to go. This includes a specific set of actions to accomplish the change.

Finally, making changes in our lives can be difficult, but if the rider and the elephant are on the same path, it is possible to create a new reality for ourselves. In retrospect, I see that Don’s rider did not initially want to entertain the thought of putting our son into the possibly dangerous situation of surgery to remove a kidney, not to mention living with only one for the rest of his life. Don’s elephant had to kick in to show him that choosing to accept a kidney from our son was going to ensure that he would be around for a long time, and that allowing the kidney disease to take him from us early was not an option. It wasn’t about him — it was about the impact the loss of him would have on everyone else. Once the elephant and rider were of one mind, Don’s choice to make the change was easier.

Fe a t u r e d A r t i c l e

University of Virginia Psychologist Jonathan Haidt uses the analogy of elephant and rider in his book “The Happiness Hypothesis” — our emotional side is the elephant and the rational side is the rider. Seated on top of the elephant, the rider has the reins and seems to be in control of the elephant.

However, the rider is very small in comparison to the elephant, so any time the rider and the elephant disagree on the direction they are going, the elephant is probably going to win — they are mismatched in size and strength. The rider might be able to motivate the elephant for a while by tugging on the reins, but if the elephant wants a different path, the rider will most likely give in due to sheer exhaustion. If you are using willpower to accomplish something, this is exactly what is happening. I know I have given up on a diet many times after only a few days when the lure of a wonderful meal or chocolate truffles has overcome my willpower.

(motivate the elephant); perhaps role-playing what it would feel like to be presented with ribbons — a track of wild applause playing in the background, the director and president running up front to get the ribbons, pinning one on every singer. She might even consider handing out simulated third place small chorus medals, or the Most Improved Chorus award. She could institute a PVI (personal vocal instruction) award, given to the person who has made the most vocal improvement in the last quarter. She could then outline a plan (direct the rider) to have everyone participate in a PVI program, with sign-ups before chorus rehearsal for 10 weeks, either doing them herself or asking a local regional faculty person to help. Everyone who does a PVI gets recognition on a weekly basis. To shape the path, she could set up a private PVI room in the rehearsal space, and inform the chorus that she (or her delegate) is doing PVIs every week. Peer pressure will kick in and once the chorus starts hearing improvement in their singing, everyone will want to do PVIs. This change will make for happier singers and a much happier director.

Whether you are someone on whom change has been imposed, or someone who is trying to make a change in his or her life — be it work, home or leisure — I encourage you to apply the principles in this article, read the book “Switch” as a resource, and stay strong on your path.

May any changes in your lives be easy this year!

• Motivate the elephant. Our emotional sides have to be engaged in order to feel the impact of the change. The rider can’t motivate solely by intellectual reasons. It’s too exhausting!

• Shape the path. Often, change requires the cooperation of others — which can be challenging. The path is the surrounding environment of the issue at hand.

Actively shaping it makes change more likely to occur no matter what is going on with the rider and the elephant.

Provide instructions, support groups and exemplify the desired behavioral change for others.

Let’s relate this to a chorus situation. Perhaps there is a chorus of 25 people with a director who has been with them for 10 years.

She feels frustrated because she wants the chorus to get higher scores at Regional Competition, but the membership does not seem willing to do the work necessary to get there. What can the director do to ensure change happens and get the results that she wants?

Remember that everyone has both rider and elephant as part of their personality, so the director has to appeal to both sides. She needs to show the membership that there is a clear path to vocal and physical improvement and she needs to find a way to ensure emotional buy-in to the path. One way to illustrate the point is helping the chorus imagine what it will be like if they receive recognition for the highest percentage increase in scores over the previous year. She might start with the emotional

i and

amm Don, C

Callan

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Pa r t I of III

The Evolution of

Sweet Adelines Costumes through the Decades

By Cathy Conley, Chapter-at-Large, Region 24

Riddle: When four women form a Sweet

Adelines Quartet, what is the first thing they do?

Answer: Go shopping for four matching pairs of earrings and shoes.

This old joke may sound facetious, but the plain truth is, Sweet Adelines love dressing up in costumes!

Nearly everyone at some time in his or her life has dressed up in a costume of one kind or another and played make believe. All over the world, costumes have always been a part of history, and have often been used to denote status in a society, define an occupation or rank, look fearsome to their enemies, or to present a story using the costume to display and complement their character. The use of costumes has been a tool to create an illusion from the beginning of humanity.

In light of this concept, you can imagine how passionate the performance groups within Sweet Adelines become about their costumes. From the beginning of the organization, this passion has evolved into a creative and definitive part of their performances, as well as an integral part of the Showmanship category.

For Sweet Adelines members, costumes from 1947 forward paralleled the evolution of fashion in general; each decade portraying the sign of the times, and the progression of women into the realm of the male world. Each decade added another level of sophistication, moxie, knowhow and attitude.

Sweet Adelines: The Beginning It all started with a simple idea. Although there had been a few groups of four women singing barbershop harmony in the past, the first sign of organization was in 1945, right after WWII. During the 1940s many women were in the workforce holding jobs that men left behind while they were fighting overseas. With this entry into the men’s world, the seed of independence was planted. When the men returned, women didn’t want to go back — they wanted to move forward.

[1] More than 150 women attended the first meeting, and thus, an idea grew into a movement, then to a National Organization and finally an International Organization. At the time of the founding, the ladies didn’t want to sing popular songs from the war period, or the songs of the Big Band era, but old-fashioned harmonies like the men.

The first competition was held in 1947 with 12 quartets competing. The first costumes were demure white blouses with dark skirts, as displayed by the Johnson Sisters,[1] or simple but attractive dresses along with a few Gay Nineties costumes to present the era of the music they were singing. Their purpose was to find four outfits that matched, so they could present themselves as a unit. They were judged on the choice of song, fidelity, blend, attack and release and intonation. In year one, there were no comments about costumes or stage presence.

The second Convention and Competition in 1948 received new official Rules of Judging. A quartet could lose up to 50 points for “careless appearance, discomposure or awkwardness in presentation.” The challenge for the perfect Sweet Adelines costume had begun!

The Fifties The ’50s ushered in an era of optimism. Broadway shows, movie musicals and the relatively new television shows began to influence fashion in America. Television family sitcoms like “I Love Lucy” and “Leave it to Beaver” portrayed the “All American Mom” as a typical housewife – dusting, vacuuming and cooking – all while wearing long, full-skirted dresses, high heels and a string of pearls.

[3]

After returning from a Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, Inc. (SPEBSQSA) contest with her husband, Edna Mae Anderson had the bold idea of forming a women’s organization for the purpose of singing barbershop harmony. She contacted other wives of the Tulsa SPEBSQSA, and the enthusiasm was apparent.

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[2]

[2]

Fe a t u r e d A r t i c l e

[7]

Fe a t u r e d A r t i c l e

These shows influenced American fashion. American women dressed and wore their hair in a similar manner to the television characters. Sweet Adelines costume committees designed many of their costumes to emulate these shows. Very little choreography was displayed; models’ stances and hands held gracefully down at their sides became the norm.[The Mississippi Misses - 2] As you can see, the Cracker Jills[3] were way ahead of their time in the costuming department!

The Early Sixties Rock and roll dominated the scene during the last half of the ’50s and into the early ’60s.

The Temptations, The Supremes, The Shirelles and other girl groups introduced fancy costumes and slick choreography. This was a new concept for many performers, and undoubtedly influenced many a Sweet Adelines costume and choreography committee, who worked to combine the two areas. Sequins made its debut.

Jackie Kennedy and Doris Day introduced a very sophisticated sheath look to their outfits, which quartets started to emulate, thus appearing very chic — even without any glitter. The Sea Adelines[4] [4]

[8]

exhibited this elegant and glamorous look in 1962; the Note-Cracker Sweets[5] were sophisticated in this style when they became the 1964 champions; and the Shalimars[6] wore this sleek design beautifully in 1965.

Mid-Sixties and Early Seventies The ’60s and early ’70s were a tumultuous time in America. The Vietnam War, hippies and ERA battles dominated the news. The women’s liberation movement had a major influence on fashions during that period. In the mid-’60s and early ’70s, the women were wearing their hair styled BIG, (and I mean B-I-G) or in the beehive (also BIG). If a hat was part of the costume, it sat precariously on top of their heads. The hairdos were sophisticated and every woman in the chorus wore their hair the same way. If someone’s hair was too short, wigs or wiglettes corrected the discrepancy. Quartet and chorus costumes adjusted to the new fashions. Hemlines had to be even from the floor, no matter the length of the leg and shoe heels were supposed to be the same height.

[9]

Creativity and personality in the costumes became more apparent as portrayed in 1967 by the Hurricane Honeys[7], who presented their three part Cinderella story with a dust girl first, then a gold ball gown, ending with white and silver wedding dresses in the third set. In 1971, the Bron’s Tones[8] wore Southern Belle dresses complete with big hoop skirts, ala Scarlett O’Hara. And in 1976, High Society[9] became Quartet Champions, wearing filmy white dresses.

First International Chorus Competition

[6] [5]

Along with the Sweet Adelines’ 25th anniversary celebration in 1972, the Sweet Adelines International Corporation held its last quartet-only competition. In 1973, one of the most important milestones was achieved for the future of Sweet Adelines — the very first International Chorus Competition was held in Washington D.C. Pictures of the

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competing chorus costumes showed a great deal of planning and imagination.

Memorable costumes include Jarmela Speta’s Racine Chorus [10] who won the Chorus Championship in old-fashioned purple velvet dresses; and Bob Brock’s Bountiful Chorus[11], who took fifth place in Showboat costumes, and surprised everyone with the can-can.

Fe a t u r e d A r t i c l e

There were, of course, Regional Competitions for quartets and choruses, but many members saw only their own contests. They didn’t see the scope of the organization, or most importantly, what other regions were doing with music choices, costumes and choreography until the choruses were added to the International Competition. Attending International Competition also gave music and costume committees a wide-range of creativity to emulate in their own choruses.

Finally, when the performance packages began in the early ’80s, the excellence in costumes continued improving.

[10]

[1]

[11]

Progressing Trends: Costume Acquisition Another costume evolution of note is the acquisition. For many years, hard-working chorus members made costumes by hand. The larger choruses ordered large bolts of fabric at great cost, just hoping it wouldn’t go to waste. Currently, choruses use professional designers and many of the quartets can get beautiful costumes off the rack or from catalogs.

Wearing the Pants Although a few quartets wore pants (referred to as slacks and trousers in countries outside of the U.S.) in Regional Contests in 1975, a chorus made history wearing pants as part of a glamorous costume on the International Stage. Yes, June Dale’s chorus, North Metro[12], made it possible for its Sweet Adelines sisters to toss their all-in-ones and pantyhose aside and enjoy competing unrestricted.

Of course, this occurrence did not inspire all Sweet Adelines choruses to wear pants as part of its costume, but they did, however, have the freedom to choose pants as an option for the first time.

[12]

18

April 2013 | The Pitch Pipe

In conclusion, some of the costumes were winners and some weren’t, but the evolution of the costumes continued. Hairstyles became more natural, though glamorous, and more importance was given to image and characterization. Costumes were designed to allow more freedom of movement, which allowed singing with more flexibility.

As you can see, Sweet Adelines International has been a work in progress, and what progress they have made since the first competition in 1947. And what an evolution it has been! Today, the performance and costuming of a top Sweet Adelines quartet or chorus is on par with a Broadway or Las Vegas-type show. Viva Sweet Adelines!

The next two articles will continue to showcase this work in progress.

Article II will continue the history of costuming, and the creativity and theme approach to presenting an entertaining performance.

Article III will further continue the history and evolution of costuming from the mid-’80s to the present in all its modern glory.

Departments M e mb e r s h i p ma t t e r s

Striking Chords & Raising Funds A new way to makes things happen …

Does your chapter need money for new costumes or to attend the

Well, get ready to be bowled over with Sweet Adelines International’s first ever worldwide fundraising and awareness campaign!

• Raise money for your chapter & International • Have fun • Recruit new members • Win prizes • Compete with Sweet Adelines from around the world • Raise awareness in your community • Sing in public Introducing Bowling for Barbershop — a Sweet Adelines International Bowl-A-Thon! Chapters and members from around the world can participate in this viral, peer-to-peer/family-to-family online fundraising campaign.

Peer-to-peer viral fundraising is one of the fastest growing methods of raising money for nonprofits. From bowl-a-thons to read-a-thons to walk-a-thons (and all other a-thons you could imagine), the idea is booming.

This type of viral fundraising works best for organizations with causes and missions about which people are very passionate. (E.g., political, arts and health causes.) Sweet Adelines International has 23,000+ members who are passionate about singing and promoting barbershop. The peer-to-peer and family-to-family potential is astounding.

A bowl-a-thon was first suggested as a way to introduce the broader public to Sweet Adelines International and its members — generating community awareness and media attention. This type of event will also offer members an arena to sing in public, build relationships within the chapter,

have fun and generate friendly non-singing competitions across the chapters and the world over.

Bowling centers are found in every country Sweet Adelines International choruses are located, and this campaign is open to all members — thus creating a sense of inclusivity amongst our regions and satellite chapters.

Imagine the impact this campaign will have when all participating chapters are singing in bowling centers worldwide in the month of July!

Sweet Adelines International has developed a robust fundraising website to assist each chapter in its fundraising efforts. International has created and produced a toolbox with instructions, timelines, sponsorship letters, marketing samples, PR templates, fundraising ideas and more.

The online toolbox is available in the Members Only Marketing Center.

Involvement

International Convention and Competition in Honolulu? What about new risers, music or dues? Maybe you want to send your chorus leaders to Side by Side or another educational event.

Within each participating chapter there is a point person, captains, and teams — within the teams there are players. Each chapter has its own page, each team has its own page and each player has her own page. Chapters, teams and players all have separate goals. Family and friends will be encouraged to join teams, raise money and bowl at the chapter’s bowling event.

Chapters will share fundraising proceeds with International to help cover the costs of the fundraising website, campaign development and administration.

International will also use its portion of funds raised to support educational programs, marketing campaigns, membership recruiting/retention and youth programs. Prizes will be offered to choruses who raise the most money.

Chapters will also be encouraged to procure prizes for its local bowling event.

A Virtual Chapter will be set up to host MAL and CAL members who don’t want to join a chapter team as well as a Headquarters Staff team. All proceeds from the Virtual Chapter’s fundraising efforts will go straight to Sweet Adelines International to help support its mission.

The Bowling for Barbershop campaign kicks off on May 1, 2013, and will end on August 1, 2013. Chapters will host a local bowling event to culminate its fundraising efforts. More details will be sent via email, Facebook and on our website. We hope to make this campaign a striking success!

Join a Team! Make Money! Have some FUN!

April 2013 | The Pitch Pipe

19

Involvement

Order of Appearance 2013 International Chorus Semifinals 1. Cascade Harmony Chorus, Region 24 2. Spirit of Detroit Chorus, Region 2 3. Vienna-Falls Chorus, Region 14 4. River Blenders Chorus, Region 5 5. Velvet Hills Chorus, Region 8

Honolulu – the Crossroads of the Pacific – is the vibrant epicenter of Hawaii on the island of Oahu. You’ll find everything from historic landmarks and treasured monuments to world-class shopping and a flourishing arts and cultural scene — not to mention some of the best beaches in the world! Come for convention and stay for a dream vacation with your sister Sweet Adelines. Experience the world’s best barbershop performances, thrilling competitions, camaraderie and unrivaled music education wrapped in some of the most serene scenery on earth.

8. Fox Valley, Region 22 9. Choral-Aires, Region 3 10. Alaska Sound Celebration, Region 13 11. Kansas City Chorus, Region 7 12. Rönninge Show Chorus, Region 32

14. Pride of Toledo Chorus, Region 17

When: Nov. 4-9, 2013

15. Pride of Baltimore Chorus, Region 19

Where: Hawaii Convention Center

16. Scottsdale Chorus, Region 21

1801 Kalakaua Ave

17. Scioto Valley Chorus, Region 4

Honolulu, HI 96815

18. Bay Area Showcase Chorus, Region 12

Main line: 808.943.3083

19. Greater Auckland Chorus, Region 35

Hotels

20. Lions Gate Chorus, Region 26

The following is a list of hotels in our convention block. Staying in the convention block raises non-dues revenue for the organization. If you do not stay in the established hotel block, you will not have complimentary busing to and from the convention/competition venue. A description of each hotel is available on our website and page 22. The Honolulu housing registration form is on the page 24 or you can download it from our website.

sold out

21. Greater Nassau Chorus, Region 15 22. San Diego Chorus, Region 21 23. Christchurch City Chorus, Region 35 24. Mountain Jubilee Chorus, Region 8 25. Canadian Showtime Chorus, Region 16 26. Twin Cities Show Chorus, Region 6

• Ala Moana Hotel

27. Toast of Tampa Chorus, Region 9

• Sheraton Waikiki Hotel

28. Viva Acappella Chorus, Region 31

Register

29. Talk of Tulsa Show Chorus, Region 25

Visit our website to register online or to download the registration form.

You can find single ticket information, tour and housing forms online and within these pages.

20

7. Farmington Valley Chorus, Region 1

13. Endeavour Harmony Chorus, Region 34

Details

• Hilton Hawaiian Village Beach Resort & Spa (Headquarters Hotel)

6. Houston Horizon Chorus, Region 10

April 2013 | The Pitch Pipe

30. TuneTown Show Chorus, Region 23 31. Harbor City Music Company Chorus, Region 19 32. Stockholm City Voices Chorus, Region 32

Involvement

Order of Appearance 2013 International Quartet Semifinals

Honolulu Happenings: Official Visitor’s Guide View this interactive guide with top sights and attractions, day trips, cuisine, shopping and more. http://www.gohawaii.com/oahu www.sweetadelineintl.org > News & Events > Honolulu 2013 International Convention

Your Opportunity to Sing at International Do you want to sing on the International Stage in Honolulu?

This year you could have two opportunities!

Join with other Sweet Adelines from around the world and experience the thrill of singing on the big stage — to an audience of thousands!

Involvement

1. ReMix 2. Wildcard 1 3. a.k.a.

4. Wildcard 3 5. Region 17 6. Region 31 7. LoveNotes 8. Wildcard 9 9. Frenzy 10. Wildcard 5 11. Spritzer 12. Legacy 13. Wildcard 2 14. Dolce 15. Bling!

16. Region 19 17. Region 8 18. Wildcard 4 19. Speed of Sound 20. Region 25 21. Region 32 22. Region 21 23. Region 14 24. Wildcard 8 25. Glow 26. Vocality 27. Region 9 28. Lustre 29. Region 2 30. Region 16 31. Region 34 32. Region 23 33. Region 22 34. Region 10 35. Region 24 36. Wildcard 7 37. Region 3 38. Wildcard 10 39. Region 26 40. Region 12 41. Region 6 42. Region 7 43. Region 11 44. Region 15 45. Finesse 46. Wildcard 6 47. Region 5 48. Region 13 49. Live Out Loud 50. Region 35 51. Region 1 52. Region 4

Each non-competing chorus is invited to send one representative to sing in the World Harmony Chorus on Saturday, Nov. 9, before the chorus results are announced. Learn and sing two songs (As Long As We Have Music and I’d Like To Teach The World To Sing), and rehearse twice before heading to the stage with Bonnie McKibben directing the chorus!

Bonnie is the director of Honolulu Blend Chorus and has won more than 20 regional medals and three International medals, including the gold medal in 1990 with her quartet, Panache. Among her varied leadership ranks, Bonnie is also a certified showmanship judge.

This just in: young female singers who were planning to participate in the Rising Star Contest (recently rescheduled for summer 2014) are invited and welcomed to sing in the World Harmony Chorus.

In addition, Diane Porsch will direct a Tech Rehearsal Chorus on Tuesday, Nov. 5. The first 250 non-competing members to register for the Tech Rehearsal Chorus will be accepted.

Diane is the director of Buffalo Gateway Show Chorus. She is a certified International faculty member, certified showmanship judge, and she coaches men’s and women’s choruses all over the world.

To join the World Harmony Chorus and/or sign up for the Tech

Rehearsal Chorus, visit www.sweetadelineintl.org > Honolulu 2013 International Convention > More Opportunities to Sing.

April 2013 | The Pitch Pipe

21

Involvement

housing Sheraton Waikiki Hotel Hilton Hawaiian Village Waikiki Beach Resort (Headquarters) 2005 Kalia Road, Honolulu, HI 96815 Tel: 808-949-4321 • Fax: 808-951-5458 Discover the unique environment and culture of Hilton Hawaiian Village Waikiki Beach Resort - an exquisite Waikiki hotel. Imagine lush tropical gardens, waterfalls, exotic wildlife and priceless artwork. This one-of-a-kind Honolulu Hawaii hotel resort is the only true resort property in Waikiki. Relax in the luxurious accommodations. Dine in over 18 restaurants and lounges.

Shop for the perfect souvenir. Enjoy a full range of activities for the entire family. Embark on an adventure of a lifetime - just steps from your door.

t u o

• 22 acre oceanfront resort • The most swimming pools and waterslides • Waikiki’s widest stretch of beach • Duke Kahanamoku Lagoon for swimming and fun • Waikiki luau at the hotel • Cultural activities including lei making, hula, and ukulele lessons • More family activities and more for kids to do • Nightly Hawaiian entertainment • Friday night fireworks show • Just 20 minutes from Honolulu International Airport (HNL)

d l so

Prices • Single/Double Occupancy: $189 plus 14% tax per night * • Triple/Quadruple Occupancy: $209 plus 14% tax per night *

2255 Kalakaua Ave, Honolulu, HI 96815 Tel: 808-992-4422 • Fax: 808-931-8883 The Sheraton is the designated hotel for the Coronet Club and Quartets.

On the best stretch of legendary Waikiki beach sits the towering Sheraton Waikiki - a true medium of endless energy and electric excitement. Trendy, sophisticated, and completely refreshed, this Waikiki beach resort ushers in a new level of comfort, style and panache to the Waikiki scene, promising an inspired vacation for one and all. The resort is known for its breathtaking ocean-front views offered from 80% of our 1,634 newly transformed guest rooms and suites, a first-of-its-kind newly opened “Superpool” and award winning dining venues.

• Adult only Infinity Pool • Children’s pool with 70 foot long water slide • Fitness center • Nightly Hawaiian entertainment • Year-round children’s program • In-room dining • Beach Activities Desk • Gift shop • Internet & voice mail • Concierge Desk • Cable Television • In-room Digital safe • Hair dryers • In-room refrigerators • Iron and ironing board • Coffee makers • Express Check-out • Dry cleaning and valet services • Cultural activities Prices • Single/Double Occupancy: Ranges from $185-$195 plus 14% tax per night* • Triple/Quadruple Occupancy: Ranges from $205-$215 plus 14% tax per night*

*Taxes Subject to Change

Ala Moana Hotel Honolulu 410 Atkinson Drive, Honolulu, HI 96814 Tel: 808-955-4811 • Fax: 808-944-6839 Honolulu’s landmark hotel rises magnificently above other Honolulu hotels. The completely renewed Ala Moana Hotel is situated between the Hawaii Convention Center and the exceptional retailers at Ala Moana Shopping Center where over 300 stores and dining discoveries await: designer boutiques, popular contemporary fashion brands, fine restaurants, outdoor cafes, live music, and Centerstage events. The hotel is a short, easy stroll to Ala Moana Beach Park with a wide sandy beach and calm swimming area.

Avid runners will find the 3-mile loop around the park perimeter and Magic Island a pleasant morning or afternoon jog.

Ala Moana Hotel features contemporary guest rooms with splendid views of the ocean and the Honolulu city skyline. Well-appointed Kona Tower and Waikiki Tower rooms provide free Internet access.

22

April 2013 | The Pitch Pipe

*Taxes Subject to Change • Business center offering cabled high-speed Internet access available via desk top computers (fee). Located in the Kona Tower lobby level.

Open 24 hours.

• Coin-operated laundry • Fitness center with sauna and steam room open 5 am - 10 pm.

Located in the Waikiki Tower, third floor.

• Free high-speed Internet access in guest rooms • Walking Distance from Convention Center • Laundry/dry cleaning valet • Luggage storage • Swimming pool and sundeck. Located in the Waikiki Tower, third floor • Accommodations for guests with disabilities Prices • Single/Double Occupancy: $165 plus 14% tax per night * • Triple/Quadruple Occupancy: $185 plus 14% tax per night * *Taxes Subject to Change

Convention & Competition General Housing Information and Policies

housing Housing Services

Reservation Dates • Online, faxed or mailed reservation forms must be received by Experient before Tuesday, October 1, 2013, 6:00 p.m. EDT. • Confirmations will be sent directly from Experient (not the hotel or Sweet Adelines) via e-mail within 7 business days of date of processing.

Roommates Before reserving your room, make sure you contact your roommates so you can: • Confirm they are committed to sharing a room with you.

• Verify their e-mail address and the correct spelling of their first and last names.

• Make arrangements for your roommates to pay their share of the hotel bill.

• Confirm any special needs. Request an ADA room, if necessary (based on availability).

Hotel Information and Rates • The hotels available for your stay at Convention are listed on the Hotel Description page.

• To receive the reduced Sweet Adelines rate, YOU MUST RESERVE YOUR ROOM THROUGH EXPERIENT. You should never contact the hotel to make a reservation.

• If a room is reserved through any source other than Experient, the reservation is not considered to be in one of Sweet Adelines block of contracted hotel rooms. For example, if you have a reservation at one of our hotels, but the reservation was made through your travel agent, it is not considered one of our hotel rooms and you will not receive the privileges that come with being in our block of rooms.

• Double/Double rooms with 2 beds are limited, and available on a first come, first serve basis.

• Transportation will run from each hotel to the arena in designated areas. You must present your hotel room key with the Sweet Adelines

Reservation Deposit • The room leader must pay a deposit of the first night’s room and tax when making a room reservation. It may not be divided and charged to your roommates at that time.

• A credit card must be provided that can be billed for the room deposit on or after October 3, 2013.

The room leader is responsible for collecting shares for the deposit from other occupants of the room after the reservation is made.

• Should any changes to a reservation take place, either with the room leader or other occupants, it is the responsibility of the room leader and roommates to work out financial arrangements.

• Deposits must be paid by credit card - American Express, Discover, MasterCard or Visa.

• Credit cards will be billed on or after October 3, 2013.

• Complete your reservation online, or mail your credit card payment with the completed housing form, located on the Sweet Adelines Web site,

by Tuesday, October 1, 2013. No wire transfers are accepted.

• All deposits become non-refundable after Wednesday, October 2, 2013, 11:59 a.m. EDT. Should an emergency arise after October 3, 2013, contact krisitnpearson@sweetadelineintl. org to discuss. Experient and hotel cancellation fees will apply.

NOTE: Your reservation will not be confirmed without a credit card that is valid thru November 2013.

Reserving Hotel Room • To reserve a room, go to www.sweetadelineintl. org, click on International Convention, and go to the online housing link. When you select the online housing link you will be redirected to the Convention housing site hosted by Experient.

• When you enter the housing Web site, the first page will be the Housing Guidelines. In order to advance to the reservations page you will need to mark an X in the box indicating that you have read and acknowledged the housing reservation process, guidelines and cancellation fees.

• Read the information carefully and follow the on-screen directions.

• If you have already made a reservation, the system will direct you to your existing reservation.

• When adding roommates, the room leader will need to enter the first name and last name for each person sharing the room.

• The room leader will be the only person on the reservation who may: o Change the date of arrival or departure o Cancel the reservation in its’ entirety • Roommates have the ability to view the reservation and may cancel their own names from the reservation.

• Once a roommate cancels a reservation, an e-mail will be sent to the room leader advising

of the cancellation. The roommate is then free to become a room leader in a new reservation or a roommate in another reservation, if desired.

• No name should be listed more than once in any reservation as this will cause the hotel to consider it a duplicate reservation and will cancel the entire reservation.

Canceling a Reservation • The room leader is the only person able to completely cancel a room reservation.

• Cancellations received by May 5, 2013, will not be charged a fee.

• Cancellations received from May 6 – 19, 2013, will be subject to a $75 cancellation fee.

• Cancellations received between May 20 – June 3, 2013, will be subject to a $150 cancellation fee.

• Cancellations made after June 3, 2013, will result in a $250 cancellation fee.

• All cancellations must be submitted in writing via fax to (301) 694-5124 or e-mailed to sweetadelines@experient-inc.com.

• Cancellations made with the hotels directly will be subject to the same cancellation fees listed above, regardless of or in addition to the individual hotel’s policies. The hotels will apply additional cancellation fees, up to and including the forfeiture of the 1 night deposit for cancellations made after October 3, 2013.

• Refunds for cancellations received prior to May 5, 2013, will be processed within 7-10 business days.

Involvement

Sweet Adelines has partnered with Experient to deliver excellent service for your housing needs at Convention.

• You may make reservations with Experient beginning Monday, April 1, 2013.

• Please use the housing link found on the Sweet Adelines Web page, under International Convention.

• For questions about housing, you may speak with an Experient Call Center Agent at (866) 229-3691 during normal business hours, Monday – Friday, 8 a.m. – 6 p.m. EDT beginning Monday, April 1, 2013.

• Reservations cannot be made over the phone; they must be made through the Sweet Adelines website or via mailed / faxed form.

• Please add sweetadelines@experient-inc. com to your address book so you will be able to receive e-mails about your reservation or any other important information.

logo on it to enter the bus. You will need to purchase a shuttle pass if you do not have a reservation in our contracted block of rooms.

No Shows • Should you confirm a reservation and then cancel without notifying Experient or the hotel, and the room becomes completely vacant, the room leader’s deposit will be forfeited as a cancellation fee; the remaining dates of the reservation will be automatically cancelled.

Confirmation Number • Once you complete your reservation, you will receive a Reservation ID. • The Reservation ID number is used by you and Experient to look up and manage your reservation.

• Confirmations will be sent directly from Experient (not your hotel or Sweet Adelines) via e-mail within 7-10 business days of the date of processing.

• You do not need a Reservation ID to check in to the hotel.

• When the hotel receives your reservation, they will assign a different confirmation number for your reservation.

Airport/Hotel Shuttle Transfers • Sweet Adelines International does not provide transportation between the airport and hotels.

• For shuttle information, please refer to the airport online and research the options they provide.

April 2013 | The Pitch Pipe

23

housing Important Hotel Reservation Information

• All reservation forms must be received before Tuesday, October 1, 2013, 6:00 p.m. EDT.

• Experient is coordinating all hotel reservations for Sweet Adelines International.

To ensure you receive the Convention room rate, arrangements for housing must be made with Experient.

DO NOT CONTACT THE HOTEL DIRECTLY.

Involvement

form

67th Annual International Convention & Competition • Honolulu, HI • November 4 – November 9, 2013 Housing opens: Monday, April 1, 2013 – Housing closes: Tuesday, October 1, 2013

• All Convention hotels require the first night’s room and tax as a deposit to make a reservation.

• Reservation confirmations will be sent directly from Experient via email within 7 business days of date of processing.

STEP 1: Make a Reservation INTERNET

FAX

MAIL Complete the form and mail to:

www.sweetadelineintl.org

(301) 694-5124

Click on International Convention, select the online housing link, and follow the instructions to reserve your hotel room. Please have your credit card, arrival/ departure dates and roommate information ready.

Please print or type all information on the form.

Confirmations will be sent to the individual indicated in section 2 via email, if provided.

Sweet Adelines International PO Box 4088 Frederick, MD 21705

QUESTIONS?

Email sweetadelines@experient-inc.com or call toll-free (866) 229-3691 or (301) 694-5243. Monday – Friday 9:00 a.m. – 6:00 p.m. EDT

STEP 2: General Information

Room Leader Contact Information (Experient will send reservation confirmations to this person.)

First Name:

Last Name:

Email:

Phone:

Address: City:

State/Province:

Country:

STEP 3: Hotel Information

Please refer to the Hotel Description information for hotel selection options. Please list your choices in order of preference. Please list the hotels by their full name.

ZIP/Postal Code:

Fax:

First Name: Last Name:

1.

Email:

2.

Emergency Contact:

3.

Phone:

Roommate(s) (Occupants in addition to the Room Leader.)

First Name:

First Name:

Last Name:

Last Name:

Email:

Email:

Emergency Contact:

Emergency Contact:

Phone:

Phone:

Room details Arrival Date:

Please check your bed preference (Subject to availability)

Departure Date:

o 2 Double Beds

Mark ONE box to indicate the number of people and room type.

o 1 King Bed

(Convention hotels are smoke-free properties.)

o SINGLE – 1 person

o TRIPLE – 3 people

Indicate any special ADA requirements:

o DOUBLE – 2 people

o QUAD – 4 people

NOTE: Rooms with 2 people or less will automatically be assigned a king-bedded room.

Reserve your room no later than October 1, 11:59 p.m. EDT. Each room must have its own Room Leader and one form per room.

Please review the International Convention & Competition General Housing Information and Policies before making your reservation.

STEP 4: Deposit Information

Credit card number:

o Visa

Name as it appears on the card:

Please bill my:

o MasterCard

o American Express

o Discover

Total amount authorized to be charged: $

Expiration date: Authorized signature:

All room reservations require a first night’s room and tax deposit. The deposit is payable by credit card (which will be charged on or after October 3, 2013). Credit cards must have an expiration date of November 2013 or later. All reservations, changes and cancellations must be made through Experient by October 1, 11:59 p.m. EDT. Confirmations will be sent directly from Experient (not the hotel or Sweet Adelines) via e-mail within 7 business days from the date of processing. Deposits are non-refundable after October 3, 2013, 11:59 p.m. EDT.

Schedule Sunday,

N o v em b er

Riser Rehearsals (Harmony Classic) 11:00 a.m. - 11:00 p.m.

Hawaii Convention Center (HCC), Room 312 & 316 A/B

N o v em b er

T u esd a y ,

7:00 a.m. – 11:00 p.m. HCC 312 & 316 A/B 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:30 a.m. – 11:00 a.m. HCC 10:30 a.m. – 11:30 a.m. HCC 11:30 a.m. – 12:30 p.m. HCC

T h u rsd a y ,

Coronet Club Rehearsal World Harmony Chorus Rehearsal Chorus Music Education Class Headquarters Office Ticket Office Harmony Bazaar

8:00 a.m. – 11:00 a.m.

8:00 a.m. – 9:00 a.m.

9:00 a.m. – 10:30 a.m.

9:00 a.m. – 6:00 p.m.

9:00 a.m. – 6:00 p.m.

9:00 a.m. – 6:00 p.m.

S a t u rd a y , World Harmony Chorus Rehearsal Ticket Office Harmony Bazaar Headquarters Office Arrangements Preview Room

8:00 a.m. – 9:00 a.m.

9:00 a.m. – 2:00 p.m.

9:00 a.m. – 2:00 p.m.

9:00 a.m. – 2:00 p.m.

9:00 a.m. – 11:00 a.m.

EVENT

n Hawaii Convention Center (HCC)

*By invitation only

6,

2013

7,

10:45 a.m. – 10:30 p.m. HCC 10:45 p.m. – 11:15 p.m. HCC 8:00 a.m. – 11:00 a.m. Sheraton Waikiki Hotel 7:30 a.m. – 9:00 a.m. Hilton Hawaiian Village

2013

Baltimore 2014 Convention 9:30 a.m. – 10:30 a.m. HCC Early Registration Chorus Semifinals 10:45 a.m. – 8:30 p.m. HCC Chorus Finalist Briefing 8:45 p.m. – 9:15 p.m.

HCC PIP’s Breakfast* 7:30 a.m. – 9:00 p.m. Hilton Hawaiian Village Intl. President’s Reception* 9:00 p.m. – 11:00 p.m. Hilton Hawaiian Village

8,

2013

Arrangements Preview Room Mass Sing Quartet Finals Coronet Club Show Quartet Music Education Class

N o v em b er

HCC HCC, Exhibit Hall 3 HCC, Exhibit Hall 3 HCC, Exhibit Hall 3 HCC Room 318

HCC, Exhibit Hall 3 HCC, Exhibit Hall 3 HCC, Exhibit Hall 3 HCC

2013

Quartet Semifinals Quartet Finalist Briefing Coronet Club Rehearsal YSF Liaison Breakfast*

N o v em b er

HCC HCC HCC Room 316 HCC, Exhibit Hall 3 HCC, Exhibit Hall 3 HCC, Exhibit Hall 3

2:00 p.m. – 6:00 p.m.

2:00 p.m. – 6:00 p.m.

2:00 p.m. – 6:00 p.m.

3:00 p.m. – 4:00 p.m.

Arrangements Preview Room Noon – 5:00 p.m.

HCC, Room 318 Harmony Classic 6:00 p.m. – 10:30 p.m. HCC Coronet Club Front Row Rehearsals 11:00 a.m. – 1:00 p.m. Sheraton Waikiki Hotel Coronet Club Reunion/ 1:30 p.m. – 3:00 p.m. Sheraton -Maui Quartet Reception* Coronet Club Rehearsal 3:00 p.m. – 6:00 p.m. Sheraton - Maui

N o v em b er

7:00 a.m. – 11:00 p.m. HCC 312 & 316 A/B 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 10:30 a.m. HCC, Room 318

F rid a y ,

5,

N o v em b er

7:00 a.m. – 11:00 p.m. HCC 312 & 316 A/B 9:00 a.m. – 6:00 p.m. HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 6:00 p.m.

HCC, Exhibit Hall 3 9:00 a.m. – 10:30 a.m. HCC Room 318

2013

Harmony Bazaar Opening Day Headquarters Office Ticket Office Harmony Classic Briefing

N o v em b er

W ed n esd a y ,

Riser Rehearsals Headquarters Office Ticket Office Harmony Bazaar Arrangements Preview Room

4,

Involvement

Riser Rehearsals (Harmony Classic) 7:00 a.m. – 11:00 p.m. HCC, Room 312 &

316 A/B RMT Forum/Reception* 9:00 a.m. – 6:00 p.m. HCC ,Rooms 317/318 Harmony Bazaar Setup 9:00 a.m. – 1:00 p.m.

HCC, Exhibit Hall 3

Riser Rehearsals Headquarters Office Ticket Office Harmony Bazaar Arrangements Preview Room

2013

Harmony Bazaar Setup 2:00 p.m. – 7:00 p.m.

Hawaii Convention Center (HCC)

Monday,

Riser Rehearsals Headquarters Office Ticket Office Harmony Bazaar Quartet Briefing Chorus Briefing Tech Rehearsal

3,

9,

9:00 a.m. – 11:30 a.m. HCC Room 318 11:15 a.m. – 11:45 a.m. HCC Noon – 5:00 p.m.

HCC 8:00 p.m. – 10:30 p.m. HCC 9:00 a.m. – 10:30 a.m. Sheraton Waikiki Hotel

2013

Chorus Finals YWIH Coordinator Breakfast* Coronet Club Annual Meeting and Breakfast Coronet Clubhouse

Noon – 6:00 p.m.

HCC 7:30 a.m. – 9:00 a.m. Hilton Hawaiian Village 8:00 a.m. – 10:00 a.m. Sheraton- Maui Ballroom 9:30 p.m. - Midnight Sheraton Waikiki Hotel

& V E NU E K E Y n Hilton Hawaiian Village n Sheraton Waikiki Hotel Times and locations subject to change

April 2013 | The Pitch Pipe

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TOU R S

Atlantis Submarine O c e a n T o u r $117.50 per person Price includes roundtrip transportation from Sheraton Waikiki, State and Harbor tax.

Involvement

Plunge into a world of enchanting beauty and natural wonder aboard the Atlantis Submarine. Begin your excursion aboard the Discovery monohull shuttle boat for a scenic cruise out to the Atlantis dive site. Once aboard the sub, you’ll dive more than 100 feet below the surface where you can relax in the comfortable air-conditioned cabin and watch the breathtaking underwater seascape, schools of exotic fish, and rare coral formations unfurl before you through large portholes.

Star Dolphin Watch and Lunch O c e a n T o u r $101.00 per person Price includes roundtrip transportation, bbq lunch, beverages (beer, wine, soft drinks),

wild dolphin watch with crew of certified naturalists, dolphin narration, video presentation and State and Harbor tax. $128.00 per person (with snorkeling) Price includes roundtrip transportation, bbq lunch, beverages (beer, wine, soft drinks), wild dolphin watch with crew of certified naturalists, dolphin narration, video presentation and State and Harbor tax.

Hawaiian eco-tour for all ages! The Hoku Nai’a Dolphin Watch & Lunch Cruise is a perfect activity for the whole family and groups. A world away from Waikiki, West Oahu takes you back in time to the Hawaiian way of life – living harmoniously with land and ocean.

A Tale of Two Palaces hist o ri c a l T o u r $57.75 per person Price includes roundtrip transportation, admission to Queen Emma Summer Palace and Iolani Palace, energy bar, bottled water and State tax.

Traveling into the lush Nuuanu Valley, your first stop is Queen Emma’s Summer Palace where a past era comes alive.

Next, drive through a tropical rainforest en route to the world famous Pali Lookout. After driving through a spectacular tree-tunnel we arrive at Hawaii’s sacred Royal Mausoleum,”Mauna Ala”, the final resting place of six of the kingdom’s last eight ruling monarchs. You will also see the historic sites of Iolani Palace, the only royal palace used as an official residence by a reigning monarch in the United States, the legendary King Kamehameha statue and unique Kawaiahao Church, “the Westminster Abbey of Hawaii.”

Arizona Memorial City Motorcoach Excursion $42.75 per person

hist o ri c a l

T o u r

Step back into our Island history as we take you on an early morning tour that includes reliving the fateful morning of December 7, 1941. See rare footage of the attack on Pearl Harbor, visit the Arizona Memorial Museum, and embark on a short shuttle boat ride to the Arizona Memorial. Continue on a scenic city tour of Honolulu that includes the National Memorial Cemetery of the Pacific, Chinatown, Iolani Palace and the famous King Kamehameha Statue.

Arizona Memorial, USS Missouri & City Tour hist o ri c a l T o u r $98.50 per person Price includes roundtrip transportation, a Hot Dog or Soup Bowl at the USS Bowfin food vendor, Audio Tours for the Arizona Memorial, USS Missouri and USS Bowfin, a commemorative Pearl Harbor postcard set, a December 7, 1941 newspaper reprint and State tax.

Celebrate the honor, valor and courage of the U.S.Servicemen who served during World War II. It’s a nostalgic journey to the two historic places that marked the beginning and end of the war for the United States – Pearl Harbor and the USS Missouri.

Pali Makani Helicopter Tour Air T o u r $170.25 per person Price includes roundtrip transportation from Sheraton Waikiki and the Hilton Hawaiian Village, approx. 30 minute flight, State tax and fuel surcharge.

This classic tour begins with a beautiful view of placid Keehi Lagoon and continues over historic Honolulu Harbor. Your sights include Aloha Tower, downtown Honolulu, Punchbowl, the National Memorial Cemetery of the Pacific, Ala Moana Beach Park, Magic Island, the Ala Wai Yacht Harbor, Waikiki Beach and a spectacular view of Diamond Head. Rounding the east end of the island, you’ll see rugged coastline, Mount Olomana, the Nuuanu Pali, Arizona Memorial and the battleship Missouri at Pearl Harbor before making your way back to Honolulu Airport.

Star Sunset Dinner & Show Cruise D I NN E R C R U I S E $106.00 per person Price includes roundtrip transportation, 3-course crab and beef dinner, one welcome Mai Tai, show, State and Harbor tax.

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A fun and exciting evening with crab and beef dinner plus the “My Hawaii” show! The Star Sunset Dinner & Show Cruise is a full evening of fun, including a savory 3-course crab and beef dinner, welcome Mai Tai, vistas from atop our 60 foot high observation deck and open-air Constellation Bar.

April 2013 | The Pitch Pipe

for online registration, additional information & special notes, please visit: www.activitysaleshawaii.com/sweetadelines2013

TOU R S

Three Star Sunset Dinner & Show Cruise D I NN E R C R U I S E $146.00 per person Price includes roundtrip transportation, 5-course whole Maine lobster and tenderloin steak dinner, two premium beverages, show, State and Harbor tax.

A fun and exciting evening aboard the STAR! Your riveting Three Star Sunset Dinner & Show Cruise begins with a “Champagne” toast followed by a sumptuous 5-course whole Maine lobster and tenderloin steak dinner and premium beverages.

at 23 stops and State tax.

Experience Hawaii’s AlohaBus! These Open Top Double Decker Buses will take you through Honolulu and allows for over 1500 different shopping, dining, historical, and photo opportunities to be at your fingertips. Hop on and hop off with AlohaBus today!

Mini Circle Island with Scenic Shores l a n d T o u r $41.00 per person Price includes roundtrip transportation and State tax.

This adventure is designed to view many of Oahu’s scenic vistas and natural attractions in just a few hours. Enjoy this scenic 4-hour motor coach tour of the Island of Oahu! Experience the unique structure of Diamond Head, the lush tropical beauty of the Nuuanu Rainforest & the world famous beaches of Oahu! Round-trip Waikiki hotel transportation & expert narration included.

Involvement

Aloha Bus Pass l a n d T o u r $39.00 per person Price includes 48 hour pass, free earbuds for all riders, AlohaBus Guidebook, Hop on Hop off

Waikele Shopping Outlet Tour l a n d T o u r $27.25 per person Price includes roundtrip transportation and State tax.

A 60-mile narrated roundtrip tour to Oahu’s central plain and the gigantic Waikele Center & Waikele Premium Outlets.

Find impressive savings at A|X Armani Exchange, Adidas, Banana Republic, Calvin Klein, Coach, Guess, LeSportsac, Michael Kors, Polo Ralph Lauren and more. Enjoy great savings at many clothing & convenience outlets. Also, choose from an assortment of restaurants.

Sense-sational Oahu l a n d T o u r $119.00 per person Price includes roundtrip transportation, all admission and tour fees, lunch at Mari’s Garden’s, snack at Kahuku Farms and State tax.

Head to the “country” and the North Shore as you visit an agricultural gem & a sustainable farming leader on Oahu.

Visit Mari’s Garden, home to Hawaii’s largest aquaponics farm, and then on to Kahuku Farms, home to over 50 varieties of native Hawaiian plants.

Grand Circle Island Tour l a n d T o u r $88.00 per person Price includes roundtrip transportation, Tram Ride at Kualoa Ranch and State tax.

Get to know Hawaii from the inside out with an all-day tour that circles the entire island, covering 120 miles of Oahu’s best sightseeing spots. Your sights include the Halona Blow Hole, Sandy Beach, Waimea Bay, Sunset Beach and the Banzai Pipeline on the North Shore. Stops also include Kualoa Ranch for a scenic tram ride into the Koolau Mountains and Dole Plantation to learn the history of Hawaii’s pineapple industry.

Sea Life Park l a n d T o u r $52.50 per person Price includes admission to park, roundtrip transportation and State tax.

An array of exotic and talented creatures await your arrival at Hawaii’s favorite undersea world - Sea Life Park Hawaii!

Journey three fathoms beneath the surface and come face to fin with a shark, sting-ray, or any one of the 1,000 amazing marine animals inhabiting the giant Hawaiian Reef Tank. You’re invited to come and delight in the playful antics of the cast and crew featuring dolphins, sea lions and penguins at the Hawaii Ocean Theater or Dolphin’s Cove.

Polynesian Cultural Center L u a u Alii Luau Package: $120.50 per person Price includes roundtrip transportation, fresh flower lei, admission to

Polynesian Villages, Hawaiian Mission Settlement, tropical canoe tours, “Rainbows of Paradise” pageant of the long canoes, Alii luau buffet dinner, preferred seating at evening show extravaganza – “Ha-The Breath of Life” and State tax.

Ambassador Package: $153.50 per person Price includes roundtrip transportation, fresh flower lei, admission to Polynesian Villages, Hawaiian Mission Settlement, tropical canoe tours, “Rainbows of Paradise” pageant of the long canoes, Alii luau buffet dinner, preferred seating at evening show extravaganza – “Ha-The Breath of Life” and State tax.

for online registration, additional information & special notes, please visit: www.activitysaleshawaii.com/sweetadelines2013

April 2013 | The Pitch Pipe

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Involvement

TOU R S

form

Reservations are open now and will close on Friday, October 18, 2013 at 5:00 p.m. Hawaii Standard Time.

Space is limited so make your reservations early.

for online registration, additional information & special notes, please visit: www.activitysaleshawaii.com/sweetadelines2013

TOU R S Paradise Cove Luau

L u a u

Magic of Polynesia E V E N I N G S H O W S $55.00 per person (show only) Prices include show and State tax. $94.00 per person (with dinner) Price includes dinner, beverages, show and State tax.

Stretch the limits of your imagination in an evening of spellbinding magic. Internationally acclaimed illusionist and recipient of the 2004 Merlin Award, John Hirokawa takes you on a roller-coaster ride of amazing feats and dazzling illusion. This theatrical extravaganza of music and enchantment puts you in a world of electrifying special effects and state-of-the-art lights and sound.

Society of Seven Show E V E N I N G $47.50 per person Price includes show and State tax.

S H O W S

Spend an evening of music, merriment and mirth with Hawaii’s most brilliant showmen, the Society of Seven, at the Outrigger Waikiki showroom. Filled with fabulous music with a flair for fun, this is one hot show. The SOS combine the greatest hits of the 50s, 60s, Country and Western, Broadway and contemporary Hawaiian music into a fast-paced, heart-stopping extravaganza.

Involvement

Standard: $88.00 per person Price includes roundtrip transportation, Welcome Mai Tai/shell lei greeting, Luau dinner, two (2) standard drinks, Show – Hawaiian Revue and State tax.

Orchid Luau Buffet: $113.00 per person Price includes roundtrip transportation, fresh flower lei greeting, preferred seating buffet dinner, two (2) standard drinks, one (1) premium drink ticket, Show – Hawaiian Revue and State tax.

Deluxe: $153.00 per person Price include roundtrip transportation, Welcome Mai Tai, fresh flower lei for women or kukui nut lei for men, complimentary souvenir gift and arrival photo, Luau dinner with table service, two (2) standard drinks, two (2) premium drinks, Front of stage or Royal Box seating, Show – Hawaiian Revue and State tax.

“Rock-A-Hula” Legends in Concert E V E N I N G S H O W S $59.00 per person (cocktail show) Price includes one premium beverage, show and State tax. $95.00 per person (with dinner) Price includes Ono luau buffet at Treetop Lanai, one welcome Mai Tai, Show and State tax.

Legends in Concert Waikiki presents “Rock-A-Hula,” a dazzling, brand new, live concert quality experience from yesteryear to today, featuring a unique tribute to Elvis, joined by an all-star cast with spectacular sound, light and video integrated into the production.

One Day Hawaii/Volcano Tour

OU T E R

I S LAN D

T OU R S

Start at $353.25 per person Price includes roundtrip transportation, roundtrip airfare, admission to Volcanoes National Park and State tax.

From raging volcanoes to serene snow-capped mountaintops, the Big Island of Hawaii is an island of extreme power and beauty. Tour the Volcanoes National Park and see miles of recent lava flows at Kalapana and the Halemaumau fire pit. Your journey also includes stops at the tranquil town of Hilo, home of Rainbow Falls, macadamia nut farms, orchid nurseries and the Volcano House.

One Day Kauai Tour OU T E R I S LAN D T OU R S Start at $394.79 per person Price includes roundtrip transportation, roundtrip airfare, admission to Volcanoes National Park and State tax.

Island hop to the magical island of Kauai. Filled with beauty and mystery, it’s no wonder the Garden Isle of Kauai has served as background for many Hollywood blockbusters, including Jurassic Park.

One Day Maui Tour – Haleakala Crater OU T E R I S LAN D T OU R S Start at $394.79 per person Price includes roundtrip transportation, roundtrip airfare, admission to Volcanoes National Park and State tax.

In Hawaii, they say “Maui No Ka Oi” - Maui is the best. Come and see why for yourself on an exhilarating motorcoach tour that takes you to some of the best sites on the island. From impressive natural wonders such as Haleakala Crater and Iao Needle in Iao Valley to sprawling, man-made, lavish resorts of elegant Kaanapali, the Valley Island of Maui has it all.

One Day Maui Tour – Heavenly Hana OU T E R I S LAN D T OU R S $146.00 per person Price includes roundtrip transportation, 5-course whole Maine lobster and tenderloin steak dinner, two premium beverages, show, State and Harbor tax.

A fun and exciting evening aboard the STAR! Your riveting Three Star Sunset Dinner & Show Cruise begins with a “Champagne” toast followed by a sumptuous 5-course whole Maine lobster and tenderloin steak dinner and premium beverages.

for online registration, additional information & special notes, please visit: www.activitysaleshawaii.com/sweetadelines2013

April 2013 | The Pitch Pipe

29

Departments

Music

New

reviews

By Lynnell Diamond, Toast of Tampa Show Chorus, Region 9

W

hat song pops into your head when you think iconic American folk song? Chances are, it’s Woody Guthrie’s This Land Is Your Land. Woody Guthrie grew up literally dirt poor, having survived the Depression and Dust Bowl days by writing and singing songs such as So Long, It’s Been Good To Know Yuh, This Train Is Bound For Glory and Hard Travelin’. Guthrie was a populist, and many of his songs criticized the politicians and community leaders of his time while describing the difficulties of the poor and unemployed. He paved the way for later folk singing groups such as The Drifters, Peter, Paul and Mary and The Kingston Trio.

When his copyright for This Land Is Your Land came up for renewal, Guthrie chose to let the copyright lapse, thus giving the gift of his song to people everywhere. Sweet Adelines International now offers an arrangement by CMA Lorraine Rochefort that captures the heart of Guthrie’s love for his fellow humans, “from California to the New York Island; from the Redwood Forest to the Gulf Stream waters.”

Lorraine’s arrangement includes a patter section that will remind the listeners of the banjos that many folk singers played. You’ll want to add this non-competition jewel to your repertoire. The arrangement is rated medium. Voice ranges from low to high are: Tenor, F#-F; Lead, D-C; Bari, D-B; Bass, F-F#.

We have all said or done things we regret. Give Me One More Chance, a ballad written and arranged by MMA Lynnell Diamond, expresses the heartache we feel when we know we have hurt someone we love.

A classic American popular song form and melody with a preponderance of solid, ringing barbershop chords make this a strong choice for competition. It is rated medium. Voice ranges from low to high are: Tenor, F-F; Lead, B-Db; Bari, B-Bb; Bass, D-F. Sweet Adelines International continues to provide arrangements for Young Women in Harmony singers in both TLBB (Tenor, Lead, Baritone and Bass) and SSAA (Soprano I, Soprano II, Alto I and Alto II) formats. Adding to the many arrangements already published, these songs are now available: Ain’t We Got Fun, arranged by Joanne Ingalls Ain’t-a That Good News, arranged by CMA Bev Sellers Bye Bye Baby, arranged by CMA Dot Calvin Carol Of The Bells, arranged by CMA Avis Fellows

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April 2013 | The Pitch Pipe

Christmas Is A Feeling, arranged by CMA Tedda Lippincott Home For The Holidays, arranged by MMA Carolyn Schmidt I Feel A Song Comin’ On, arranged by CMA Jarmela Speta Jingle Bell Rock, arranged by MMA Renee Craig Let It Be, arranged by MMA Norma Andersen Let’s Hear It For The Boy, arranged by CMA Mary Ann Wydra Love Me Tender, arranged by MMA Norma Andersen O Canada, arranged by MMA Norma Andersen Please Don’t Talk About Me When I’m Gone, arranged by Ozzie Westley Too Young, arranged by CMA Sylvia Alsbury Valentine, arranged by MMA June Berg We Wish You A Merry Christmas, arranged by MMA Carolyn Schmidt When My Sugar Walks Down The Street, arranged by MMA Nancy Bergman Yesterday, arranged by MMA Renee Craig You’re Getting To Be A Habit With Me, arranged by Lyle Pilcher The Sales and Marketability Committee of Sweet Adelines International accepts music arrangements for review. Published music arrangements earn generous payment for the arranger. If you have an arrangement to submit for review, contact Martha Clemons at martha@sweetadelineintl.org for further information on the submission and review process.

Magic of Harmony Show Chorus Seeks Director Magic of Harmony Show Chorus in Newport News, VA, (formerly Publick Times) is a 45-voice competing chapter of Sweet Adelines since 1973. We are looking for a musical director that has professional music experience or significant demonstrated musical talent, strong leadership ability, good people skills, a spark of fun and a sense of humor!

For more information, view our website: http://www.magicofharmonyshowchorus.com/ home/directorsearch.html.

Why I Gave …

An interview with Nilene Thompson-Finn, San Diego Chorus, Region 21

O

ver the years, Nilene Thompson-Finn’s Sweet Adelines journey morphed as she moved from coast to coast and became a member of various choruses. What began as a musical outlet during college developed into a full-blown passion as Nilene watched Sweet Adelines International change lives of women in a unique way.

“I think Sweet Adelines is the most empowering, extraordinary organization for women that I have ever been exposed to,” said Nilene. “Sweet Adelines helps women find their voices — both literally and figuratively. It changes lives, and I’ve seen it over and over, in multiple chapters.”

Involvement

Meet Nilene — part East Coaster, part West Coaster and 100 percent Sweet Adelines.

Over the past 40 years, as Nilene moved to different states over the course of her career, she watched how Sweet Adelines consistently changed the lives of the women who became involved. She saw newcomers blossom and transform into confident women with a new outlet where they could grow in a community of barbershop harmony. Rehearsals became a platform not only for vocal instruction but also for soul reconstruction, where women left stronger than when they arrived.

So when The Overtone Society (TOS) was born in 2009 as a way for people to invest in the future of Sweet Adelines International, Nilene and her husband, Norman, knew this was something they could not pass up.

“I don’t know of too many other organizations where we have performance opportunities, administrative opportunities and life-changing, personal opportunities,” said Nilene, “and I can’t imagine not helping that to be perpetuated for generations.”

Nilene and Norman decided to give to The Overtone Society as inaugural donors and again as diamond-level donors because they knew that by giving to TOS, they would help ensure that Sweet Adelines International could continue strongly in the future.

“The Overtone Society is about the longevity of Sweet Adelines as an organization, at both a program level and an organizational level,” added Nilene. “We’re looking at the perpetuity of an international organization so that generations after us will still have this organization — that it won’t die out.”

To contribute to The Overtone Society meant infusing life into Sweet Adelines International and all the women whose lives the organization would touch in the future.

Norman and Nilene saw their opportunity to give and acted on it. One gift touching countless lives — now that’s multiplication at its finest.

To make your contribution, call 800.992.7464 (outside U.S. and Canada 918.622.1444) or visit www.sweetadelineintl.org > Support > The Overtone Society.

April 2013 | The Pitch Pipe

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YWIH VideoChorus

Contest

Sweet Adelines International

is proud to announce an all NEW contest for youth choruses! A completed entry form, DVD and $25 entry fee must be received at international headquarters by June 1, 2013.

Awards will include cash prizes of

$1,000 for 1st place $750 for 2nd place $500 for 3rd place All three winners will also receive a copy of the Young Women in Harmony Competition Music Folio!

For more information, please email katie@sweetadelineintl.org Entry Form: http://www.sweetadelineintl.org/ImgUL/files/ YWIHVideoContestEntryForm2013.pdf Official Rules: http://www.sweetadelineintl.org/ImgUL/files/ YWIHChorusContest2013-rulesandregulations.pdf

follow us: www.youngwomeninharmony.com

/YoungWomenInHarmony

Harmony

Roundup YWIH Rocks the Redwoods

Submitted by Gwen Marks, Chapter-at-Large, Region 12

After the show the most commonly asked question by parents and music teachers was about the date of the next camp. Thus, the Mountain Harmony Music Camp just might become an annual event for Region 12. Will it mean additional consideration and attention by the region? Yes, but with a riser full of young women singing their hearts out and ringing barbershop chords with pride, how can we not do it again? Stay tuned!

THUNDERous Applause for the O.K. City Chorus

by Nancy Nortz, Oklahoma City Chorus, Region 25 Ever since the NBA came to Oklahoma City in 2008, it has gone Thunder crazy. Logos and images of players are everywhere you look.

Basketball has become a unifying factor in our city.

LoveNotes perform a final song on Sunday morning.

The 70 campers learned vocal technique, barbershop style and characterization.

Kout and regional quartet personnel led classes, section and chorus rehearsals, and engaged in laughter — lots of laughter.

LoveNotes attended the entire weekend, donating their time and talent to ensure a top-level experience for the campers. They sang in general sessions, demonstrated style and techniques in classes and sang with every camper who wanted to sing with them. LoveNotes were gracious and giving at every turn — they inspired the girls and created memories for them.

On Sunday, proud and confident young women donned their blue tee shirts with the camp logo and put on a show for parents, visiting music teachers and redwoods’ campers-at-large. The show opened with the chorus entering while singing When The Saints Go Marching. They also performed I Believe In Music and Lean On Me — complete with choreography. The show ended with a stunning performance by LoveNotes.

How did we do it? Sharp unleashed her passion for the YWIH program.

She built her committee, drew up plans and budget, had her plans approved by the Regional Management Team, and then dove headfirst into fundraising to provide the camperships she knew would be needed. She invited Kout to help build the program and she invited LoveNotes to attend and demonstrate.

New friends sing Lean On Me from their hearts.

YWIH Mountain Harmony Chorus with YWIH Coordinator Cyndi Sharp, Clinician Shirley Kout and Choreographer Gayle Greenbrook

A Thunder game is the place to be and performing at center court is an honor reserved for a fortunate few. On Dec. 17, 2012, eight members from the O.K. City Chorus joined that elite group by singing the national anthem prior to the OKC Thunder-San Antonio Spurs game.

It was exciting to see what happens backstage before an NBA game. We arrived several hours before game time and went directly to the arena where members of the team were practicing on the court. It was thrilling to see the famous players especially Thunder superstar Russell Westbrook and new Thunder player and 2012 number two overall draft pick, Hasheem Thabeet.

As the tallest player in the NBA at 7’ 3”, he is quite a presence! We kept our eyes peeled but saw no sign of famed Kevin Durant.

Departments

The Northern California redwoods rang with harmony when a chorus of young women sang barbershop at the Mountain Harmony Music Camp in November 2012. It was Region 12’s first YWIH music camp; the product of the partnership between visionary YWIH Coordinator Cyndi Sharp and International Vocal Educator Shirley Kout, with the help of Choreographer Gayle Greenbrook and International’s 2013 Third Place Quartet, LoveNotes.

All the while, Sharp doggedly tended to administrative minutia and built the roster of counselors and staff. Choruses and individuals in Region 12 donated numerous camping scholarships to ensure no girl would be turned away and Sweet Adelines members volunteered to serve as counselors. Almost everything happened as planned and on schedule.

From left to right: Amanda Gerber, Vickie Rodden, Linda Hammett, Nancy Nortz, Donna Smith, Jen Foster, Mary Rhea, Cheryl Kumor O.K. City Chorus Director and International Quartet Champion Mary Rhea, Zing! 2010, was part of the ensemble thus you can imagine that we weren’t about to do a sloppy version of the Star Spangled Banner. As game time approached, our adrenaline surged as we stood in the entrance watching all the hoopla unfold. Just a few minutes before we were due to walk out — Kevin Durant finally ran by. At 6’9” he may be shorter than Thabeet, but he had a majestic and commanding presence about him that (momentarily) silenced us.

Many of us have had ample experience performing the anthem for events like the finals of the Women’s College World Series and other memorable sporting events, but the atmosphere on the floor for an NBA game is certainly different and almost indescribable. Our prior experiences, however, had assured us that crowds really love a good barbershop rendition of the Star Spangled Banner. The barbershop version is all about unit sound and pays tribute to the anthem rather than the artist and people truly appreciate that.

With that thought in mind, we walked out to center court and launched into “Oh, say can you see.” Although we had a worrisome reverb during the sound check, the sold-out crowd absorbed it, resulting in a sensational performance. As we left the court, the smiles and comments that greeted us were gratifying. One of the staff pointed out to us that no one ever hears the final chord on “brave” because the crowd is already screaming. “They were listening to you guys so close that they didn’t even jump in early!” Cool.

Very cool. Welcome to barbershop harmony people — Sweet Adelines style!

April 2013 | The Pitch Pipe

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Involvement

Endowment Fund G oal : $500,000 C urrent L evel : $424,659 The Young Singers Foundation awarded grants to the following projects for the November 2012 grant cycle: A Cappella Festival of Kentuckiana Anima Young Singers of Greater Chicago Barbershop a Cappella Rocks – Pacific Belles Big Sky Youth Harmony Rendezvous Bloomington Youth In Harmony Festival “It’s A Wonderful Life” – Broadway on the Driveway Con Brio Children’s Choir Gettysburg Children’s Choir Got Harmony Day Camp Greater Cincinnati Harmony Festival Harmony Stars YWIH Festival – Inland Empire Chorus Marin Girls Chorus New Mexico Youth Harmony Camp Broadway on the Driveway, grant recipient, “Sing at the Ballpark” – City Voices Chorus The Music Man. Sooner Sensations Show Chorus 2013 Southern Arizona Youth In Harmony Festival

The Voice Box

Why Does My Voice Sound Different On Tape?

When we listen to ourselves, our ears are not only picking up the sound that leaves our mouths but are also picking up the sound through our interior physiology (bone conduction). If we plug our ears, we can still hear our voices, but the sound is dampened from the bone, liquid and tissue of our skulls. This dampening lessens the accuracy with which we perceive our own voices. The voice on tape does not match what those around you are accustomed to hearing either! Healthy ears hear a very broad sound spectrum, whereas electronic recording devices encompass a limited gamut of the sound spectrum, usually clipping upper frequency peaks and thus deadening the overall brilliance of tone. The broader the frequency (range in a recorder, microphone, etc.), the closer you’ll come to hearing yourself accurately. Many digital recording devices today simulate a near-perfect likeness.

Dr. Rachael Gates is a Singing Health Specialist. She has taught at Northwestern University, The Hartt School of Music, Yale University and Michigan State University where she is currently on the Musicians’ Wellness Team. The Young Singers Foundation Bev Sellers Memorial Scholarship helped to fund her college education.

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Young Singers Foundation, part of the philanthropic umbrella of Sweet Adelines International, is committed to enriching the lives of young people by supporting the educational and performance opportunities in vocal music. Please support the Young Singers Foundation with your tax-deductible gift. You may contribute online at www.youngsingersfoundation.org > How to Give. You can also find us on Facebook!

April 2013 | The Pitch Pipe

s e n i P g n i g n i R p m Ca

Greetings from

Get away for a grown-up retreat in the mountains... with comfy beds, restaurants, and plenty of singing!

Our “Camp Counselors” are two of the best directors in the world, Lori Lyford and Pam Pieson, and you’ll be singing for and learning from them all weekend.

Plus you’ll be working with our special guest “Counselors” Sandy Robinson Marron and Judy Pozsgay!!

Prescott, AZ August 9-11, 2013

You can sign up for special tracks for Directors or Choreographers/Visual Team members or just come and enjoy a weekend of harmony and fun near the gateway to the Grand Canyon.

AET $80, Saturday Dinner and S’mores Included!

Prescott Resort Rooms only $79/night plus tax!

Visit www.region21.org for registration materials and more information R21-ad-RingingPines-1112-half-r4f.indd 1

April 2013 | The Pitch Pipe

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2/28/13 7:46 PM

ch Melinda Mit w 6767 Park

Seattle, WA

Sweet ening the Pot Adds Me mbershi p Ince ntive Campaign

Spotlight

Harmonizing the World Sweet Adelines International is extremely proud of its global reach. With choruses spreading harmony throughout 15 different countries and counting, we are honored to be one of the world’s largest singing organizations for women. Our Satellite Region 30 continues to make impressive progress in building awareness throughout areas of the globe where barbershop isn’t prevalent, and we feel it’s important to share their accomplishments and plans with the entire membership.

Beginning January 2013 you can earn FREE DUES and additional bonuses for recruiting NEW members! Participants who are directly responsible for adding new members between January 1 and December 31, 2013 earn:

Aoyama Harmony Chorus

+5 members = free dues for 1 year

($90 value)

hell ay Lane

A 98104

+10 members = free dues for 2 years

($180 value)

+15 members = free dues for 2 years and The Pitch Pipe recognition

($180+ value)

+20 members = free 3-year membership and The Pitch Pipe recognition

($243+ value)

+25 members = engraved brick on the HQ patio, free three-year membership, The Pitch Pipe recognition AND International Convention acknowledgement

($343+ value)

PLUS, each member that adds 25 members or more before August 1, 2013 will be entered into a drawing to win a dream vacation to the 2013 Honolulu Convention (includes airfare, registration and hotel at $3,000 value).

How

Sweet!

i s tha t ?

Aoyama Harmony Chorus

Departments

Sweet!

Satellite

(Tokyo) Aoyama Harmony Chorus chartered just before the 2012 International Convention last October, and its members are elated to be singing and spreading American barbershop throughout their country. Although many of the members of Aoyama Harmony speak only broken English, they are thrilled to learn and sing each song in its native language. In mid-December, they held a Christmas concert and party to celebrate their charter. Members from Tokyo Chorus, Prospective Brilliant Singers and Prospective Urayasu Chorus joined them in song and in the fun. Aoyama Harmony is the second chapter to charter in Japan, alongside the Tokyo Chorus.

Prospective Harmunichs Chorus

(Munich) Members in Germany are committed to spreading barbershop harmony and supporting Sweet Adelines International. This chorus is currently organizing a robust musical workshop for late May or early June that will be held in Spalt, Germany, and is expected to draw more than 200 participants! Already, registrants include members from the Palz Pepper Chorus, over 100 singers from many other prospective choruses in Germany, several quartets and 21 singers from another local chorus not affiliated with Sweet Adelines. The workshop will have eight faculty/coaches including International Quartet Champion Four Bettys and Prospective Harmunichs Chorus’ mentor, Alyson Chaney. They will cover a wide variety of musical and administrative classes, with emphasis on the four competition categories. In addition, participants will be divided into choruses, and there will be a mock contest judged according to our four competition categories.

Honolulu Blend Chorus

Member recruitment tools are readily available for your use in the Marketing Center on the Sweet Adelines International website. When members come together — anything is possible.

On January 7, 2013, Honolulu Blend Chorus was granted approval by the International Board of Directors to transfer from the Satellite Region into Region 21.

The members of Honolulu Blend are overjoyed with their new regional affiliation and are gearing up for their very first Region 21 competition.

O ne V o i c e , One Me ssag e !

Look for more highlights on our Satellite chapters in future issues of The Pitch Pipe.

April 2013 | The Pitch Pipe

37

Departments

In Memory Eunice Booth, Northern Beaches, #34 Sharon Burrows, City of Lights, #16 Jane Dorsey, Song of Atlanta, #23 Margaret (Peggy) Hayes, Grand Rapids, #3 Susan C. Martin, River Blenders, #5 Opal McAllister, Mission Valley, #12 Margaret (Marge) Priddy, Hickory Tree, #15 Norma Talbot, North Metro, #16 Pauline Waugh, Sacramento Valley, #12 Elaine Witmer, Greater Harrisburg, #19

Song of Welcome A Cappella Electric Region 8, Windsor, Colo.

Chartered on Dec. 12, 2012 Jamie Reed, team coordinator Danielle Forbush, director A cappella Live!

Region 7, Lincoln, Neb. Chartered on Jan. 9, 2013 Lila A. Comer, team coordinator Karen S. Koch, director Diamond Jubilee Region 4, Middletown, Ohio Chartered on Jan. 10, 2013 Marianna Keithley, president Jean Barford, director

Accolades Director Certification Program Advanced to Certified Director Barbara Pratt, Heart of Highland, #9 Catherine Sturm, Celebrity City, #11 Dani Avalos-Prigge, Central Coast Celebration, #11 Ethel Lowther, San Diego, #21 Elizabeth Davies, Accapella Joy, #13 Annika Christensen, Key Town Harmony, #32 International Judging Program Accepted as Certified Judge Lynda Keever, Music, Melodeers, #3 Sandy Marron, Sound, Lions Gate, #26

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April 2013 | The Pitch Pipe

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April 2013 | The Pitch Pipe

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Azalea City Harmony

Arkapella

! u o Y k T han

Alaska Sound

Richtones

To more than 250 choruses that participated in the

2013 Global Open House!

Chisholm Trail

The time, energy and effort that each member contributes makes a significant impact on the future of

Choral-Aires

Sweet Adelines International.

Capital City

You are all truly appreciated.

Don’t miss the July issue for detailed coverage!

Jacksonville Harmony

Talk of Tulsa

Song O Sky

The Woodland Show

Christchurch City

Dive into the competition… and the Pacific Ocean

Ho n o lulu, Hawaii • n ovem ber 4-9, 2013

REGISTER TODAY! Hawaii Tourism Authority (HTA)/Tor Johnson

Hawaii Tourism Authority (HTA)/Kirk Lee Aeder

Hawaii Tourism Authority (HTA)/Tor Johnson

Hawaii Tourism Authority (HTA)/Tor Johnson

Experience timeless beauty blending with the modern luxuries of today.

Swim in the warm waters of world-famous Waikiki one moment, then enjoy the dramatic mountain views of the Nuuanu Pali Lookout another. Come for Convention for the world’s best barbershop performances; stay for vacation with your best friends.

Watch for more information about the Honolulu 2013 International Convention and Competition in the coming months through our webpage

www.sweetadelineintl.org > News & Events > Honolulu 2013 International Convention.

You can also join the party on Facebook: www.facebook.com/SweetAdelinesIntl/events