The Pitch Pipe July 2019

The

pitchpipemagazine.com | July 2019 | Volume 73 — No.1

Pitch Pipe THE

VOICE

OF

SWEET ADELINES INTERNATIONAL

Join Us in the Big Easy!

• Convention & Competition • Family Chorus • Harmony Parade • YWIH Youth Festival • Diversity Workshop

We’ve shared the joy and artistry of barbershop music far and wide since our founding on July 13, 1945! This year, we remember where we’ve been, appreciate where we are, and look forward to where we’re going.

Happy Birthday Sweet Adelines International!

Remember to share your celebration photos on social media! #lifeonahighnote #barbershopmusicappreciationday #sweetadelinesday

The

Pitch Pipe July 2019 • Volume 73 — No.1

New Orleans is ready. Are you?

International Convention and Competition details on page 16!

Features

Headquarters Headlines

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Play It Safe or Take a Chance?: Choosing Music for Competition

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Showmanship Myths Debunked

12 22

Countdown to 75 Years: 1960-1969

Solidarity Strengthens Singers in Christchurch, N.Z. Scottsdale Chorus Celebrates with a Sweet Adelines Milestone

Barbershoppin' the Big Easy

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Details on Harmony Parade, Family Chorus, YSF Auction, YWIH Youth Festival and more!

Competition

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A Vision for the Future Stories from the Patio

In Every Issue

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From Our President From Our CEO Harmony Roundup Accolades/In Memory

On The Cover Scenes from New Orleans, La. (USA), site of the 2019 Sweet Adelines International Convention and Competition.

2019 Regional Competition Results

July 2019 |

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The

Pitch Pipe

July 2019 | Volume 73 — No.1 | www.pitchpipemagazine.com.

Sweet Adelines International Elevating women singers worldwide through education, performance, and competition in barbershop harmony and a cappella music.

_____________________________________ INTERNATIONAL HEADQUARTERS Tammy Talbot Chief Executive Officer Richard Huenefeld Chief Financial Officer Tamatha Goad Editor-in-Chief Kim Berrey Managing Editor Stacy Pratt Associate Editor/Staff Writer Ben Larscheid Graphic Designer Joey Bertsch and Lauren Stark Staff Photographers Kim Berrey Advertising 918.622.1444 • communications@sweetadelines.com INTERNATIONAL BOARD OF DIRECTORS May 1, 2019 – April 30, 2020 Patty Cobb Baker, International President Paula Davis, Immediate Past President Joan Boutilier, President-elect Thérèse Antonini, Secretary JD Crowe, Treasurer Sharon Cartwright Janice McKenna Leslie Galbreath Renée Porzel Jennifer Harris Mary Rhea Cammi MacKinlay EDUCATION DIRECTION COMMITTEE Marcia Pinvidic, Chair Corinna Garriock Mary Rhea Peggy Gram Karen Breidert

EDITORIAL REVIEW BOARD Joan Boutilier Cammi MacKinlay Corinna Garriock Anna-Marie Shew Elaine Hamilton ______________________________________ Sweet Adelines International members receive The Pitch Pipe as a benefit of their membership. Additional annual subscriptions are available for $12 USD/year U.S.A. or $24 USD/year outside U.S.A. SUBSCRIPTION REQUESTS & ADDRESS CHANGES: The Pitch Pipe 9110 S. Toledo Ave., Tulsa, OK 74137 U.S.A. Telephone 1.918.622.1444 • Toll-free 1.800.992.7464 Fax 1.918.665.0894 • www.sweetadelines.com Office hours: M-F 8:00 a.m. to 4:30 p.m. (CT) Direct all correspondence, editorial copy and photographs to communications@sweetadelines.com.

Deadlines are 60 days prior to publication.

Not all submissions will be published. ______________________________________ 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 Periodicals paid at Tulsa, OK U.S.A. and additional mailing offices.

POSTMASTER: Send address changes to THE PITCH PIPE 9110 S. Toledo Ave., Tulsa, OK 74137 U.S.A. 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 Canada Copyright 2019 by Sweet Adelines International. All rights reserved.

HARMONIZE THE CYBER WORLD @SweetAdelinesIntl

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Remember to use #IamSweetAdelines and #LifeonaHighNote on social media.

Headquarters uses these #s to find your posts, photos and tweets to share across Sweet Adelines social media channels.

From Our President

SETTING OUR SIGHTS ON “SOMETHING MORE” A vision is not just a picture of what could be; it is an appeal to our better selves, a call to become something more.

— Rosabeth Moss Kanter

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he work of the Sweet Adelines International Vision Retreat is at last complete, and an article sharing our new organizational Vision Statement and Guiding Principles can be found on page 4 of this issue of The Pitch Pipe. Five months of dedicated thought and earnest discussion went into the creation of these six statements—statements that, together, express the fundamental values we will live by as an organization and that declare our intention and promise to the future of “something more” for Sweet Adelines International.

The words in the six simple, yet powerful, statements were chosen with great care because they explicitly define us—who we are now and who we intend to be going forward. There’s all kinds of cognitive science attesting to the power of words, of language, to inform, influence, inspire and stir deep feelings that compel us to action. They can connect us to one another or, conversely, divide us. They can build us up or tear us down, illuminate or obscure.

The Vision Retreat team felt the burden of carefully choosing these words for all of us and was quite humbled by the experience.

The Vision Statement is aspirational, a statement of purpose that will be pursued over many years. It focuses on the future and what the organization wishes to become…again, that “something more.” Along with its Guiding Principles, it is the compass directing the journey to “becoming.” Because it tells us what matters most, the Vision Statement is crucial to the development and implementation of business strategy as well as to everyday decision making—where to focus efforts and precious resources. It can promote a growth mentality and be a catalyst for innovation, inviting transformation...something more.

Now that our vision and values are defined and articulated, our next step is doing a thorough and fresh update to our strategic plan. Simon Sinek, author of Start With Why, says that “Vision is a destination—a fixed point to which we focus all effort. Strategy is a route—an adaptable path to get us where we want to go.”

The Vision Retreat team began brainstorming potential strategic priorities in November. In June, the International Board of Directors refined those ideas into concrete objectives and goals, paving the path to our vision, our future, something more.

In emphasizing a vision of something more for Sweet Adelines, I don’t mean to suggest that we aren’t already more than enough for many of us. I was listening to various regional competition webcasts as I wrote this message, and I had the opportunity to attend three in person this year, competing with my chorus and performing with my quartet. The joy I experienced and saw others experience because we shared our music with one another and with our audiences is indescribable. It is so monumental, filling the heart and nourishing the soul in the most powerful and meaningful ways. The “more” is in expanding that experience to even more singers, innovating more opportunities to create YOUR joy, exploring more new and exciting ways to express it, resulting in more harmony in the world. That is the vision—and the more, the better.

In harmony,

Patty

Life on a High Note.

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Membership

A VISION FOR THE FUTURE Reflections from the Sweet Adelines International Visioning Retreat

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ver two days in November last year, 30+ Sweet Adelines members, the International Board of Directors and the International Headquarters management team met to talk about the future of Sweet Adelines International. Planning for this Visioning Retreat began a year before it actually took place and employed a variety of methods to engage our members, collect their input and reflect their desires and dreams, interests and priorities in a shared vision for our future. Led by strategic planning consultant and futurist Marsha Rhea, the result of the retreat was a 10-year Vision Statement with five Guiding Principles that express what we value as an organization as well as a strategic framework that will ultimately become the basis of a new strategic plan—our roadmap to the envisioned future. In June, the International Board of Directors approved a new mission statement to align with the new Vision Statement and Guiding Principles.

The retreat featured profound conversations in which participants spoke their truth and shared their experiences and aspirations for Sweet Adelines International. Five specific drivers of change in today’s world were explored in order to inform an examination of our own organization’s current situation and to help the participants visualize how Sweet Adelines might evolve over the next 10 years.

The retreat required a great deal of collaborative and strategic thinking as participants discussed tough decisions about priorities

and identified where change might be needed. Every participant was keenly aware that these statements would be the basis for everything we do in Sweet Adelines International.

Below are a few of the comments collected from participants about the retreat: “As I think about the current state of affairs throughout the world and how polarized the US, in particular, is at the moment, it is pretty amazing that a room full of people with varying experiences and viewpoints were able to openly express their thoughts and feelings while being truly listened to and engaged in meaningful discussion.”

“My biggest realization this weekend was that we all just want to be understood, heard, and accepted for who we are while also singing the music we love.”

“It was a supportive and encouraging atmosphere and we were all able to represent our views and share our perspectives. It led to greater understanding about who we are, and it creates the foundation for the work to come.”

“Change is never easy. Critical conversation can sometimes be difficult and uncomfortable, but I’m in awe of this team of people.

Everyone’s hearts were so open to doing the hard work to help move us forward to another 75 years of bringing harmony to the world!

Mission Statement:

Elevating women singers worldwide through education, performance, and competition in barbershop harmony and a cappella music.

Vision Statement:

Inspiring and empowering voices to joyfully harmonize the world.

Guiding Principles Musical Excellence: We honor and embrace artistry, education and innovation in the performance of women's a cappella music while championing the barbershop style.

Culture of Belonging: We create harmony where every voice matters. We foster a culture that provides a joyful place to share our uniqueness within a global community united in song.

Diversity & Inclusion: We celebrate our differences as essential to the rich harmony that unites us. As we recognize barbershop’s African American origins and learn from our exclusionary past toward women of color, we reject discrimination and unwaveringly strive toward greater awareness, openness and understanding of each other.

Personal Empowerment & Leadership: We encourage and empower everyone to lead from where they stand. We foster individual skills, nurture personal growth, and provide education and mentoring to develop strong, effective leaders on and off the stage.

Outreach: We build strong connections by sharing our love of barbershop harmony throughout our communities, countries and the world.

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From Our CEO Members of the Marketing, Communications & Sales Team at Sweet Adelines International Headquarters in Tulsa, Okla.

(Front row, L-R) Kim Berrey, Tamatha Goad, Stacy Pratt (Back row, L-R) Ben Larscheid, Lauren Stark, Courtney Dudley, Michelle McCord

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n this edition, I would like to introduce you to the Sweet Adelines International Marketing, Communications & Sales Team. Wow, that is a lot to write! And, yes, they are extremely busy! This team is involved in just about every part of Sweet Adelines, from our website, The Pitch Pipe, logos, newsletters, programs, promotional materials, JumboTrons and signage at events to webcasting, performance videos and social media presence while also managing the sales department. Whew…I’m exhausted just listing it off. So without further ado, let’s meet this hard-working team and learn a little musical background trivia about each team member!

Tamatha Goad, senior director of Marketing, Communications & Sales, supervises her team by providing strategic direction for internal and external communications, marketing and sales efforts.

She is editor-in-chief of The Pitch Pipe, maintains relationships with committees and membership, and writes and directs implementation of marketing and public relations plans.

Tamatha played flute in high school concert and marching band and was later a colorguard member. In junior high, she sang in chorus and performed in her school’s production of The Music Man. Kim Berrey, assistant director of Marketing, manages the production of The Pitch Pipe and handles advertising and promotional efforts, inquiries for logo licensing and marketing for organizational events such as the convention program and webcasters. Kim played piano for eight years as a child and says she’s always tempted to sneak in on the weekend to practice on the piano in the SA boardroom!

Just about every SA logo and branding design is produced by our graphic designer, Ben Larscheid. Ben designs all print and digital materials in house as well as The Pitch Pipe. Staff writer/ associate editor Dr. Stacy Pratt writes and edits content for The Pitch Pipe, the website, and all other SA publications. Stacy is a songwriter and guitarist, and she sings (in English, Italian and Muscogee) for a local heavy metal band called Reliquario. Both she and Ben were drumline members in high school marching bands.

Marketing and public relations manager Lauren Stark focuses on getting Sweet Adelines in front of the public eye via our social media presence. She arranges opportunities like those coveted TV appearances and interviews during international events. She also manages website content and promotion of our YWIH and Rising Star contests as well as other events. Lauren sang in her high school show choir. In college, she directed and participated in philanthropic vocal productions. She says she never turns down karaoke!

Our Sales department is busy daily, fulfilling orders for music, sales items and education and certification program packets.

During regional and international seasons, you’ll find senior sales coordinator Michelle McCord counting medals with Marketing & Sales coordinator Courtney Dudley for every regional and international winner. Michelle also processes all headquarters mail and coordinates inventory for the International sales booth at convention! In addition to assisting Michelle, Courtney handles the communications mailbox, website content updates, newsletters, all-member emails and other marketing projects. Michelle sang bass and baritone in church choir for years, used to play keyboard and still loves to sing. Courtney plays upright bass and recently joined Talk of Tulsa Show Chorus as a baritone.

In appreciation,

Tammy Talbot (P.S. Since we are sharing musical background trivia, I played the clarinet and saxophone in high school band…but I know my playing skills would be quite rusty at this point in my life!)

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Philanthropy

STORIES FROM THE PATIO A sampling of stories behind the engravings.

Recently, we completed a brick patio behind our headquarters building in Tulsa, Okla. (USA). Each brick represents a donation in support of the mission of Sweet Adelines International. Though the patio is complete, you can still donate to SA. To find out how, visit the Sweet Adelines International website or email philanthropy@sweetadelines.com This patio, like this organization, was built with your generosity. Thank you.

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The story of A Cappella Bay Chorus can be told through the Barrett family. The chorus’ roots begin with Sunshine City Chorus, founded in St. Petersburg, Fla. (USA) by Nancye Barrett. In 1978, Nancye gained a Sweet Adeline daughter-inlaw, Harolynn “Hari” Barrett, then a member of Pride of Pinellas Chapter. Hari’s daughter, Chantell, was a dual member of Toast of Tampa Chorus and Gulf to Bay Chorus. In 2015, Gulf to Bay changed its name to A Cappella Bay Show Chorus. Chantell later moved to Texas, where she joined Chisholm Trail Chorus.

She is currently a member of Chapter-at-Large, Region #10.

This family exemplifies the generational love of barbershopping shared by so many Sweet Adelines.

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Three Gens of Barretts Nancye ’49 Hari ’75 Chantell ’98

One Night a Week, Eh? • For Cammi By her husband, Don MacKinlay:

“When I first met my darling wife Cammi, she used to sit in the lounge of the boutique hotel in St. Moritz, Switzerland where I was the sole waiter and knit while singing along with the music playing on the radio. As I write this almost exactly 44 years later, she is sitting in front of the TV knitting and singing along with the contestants on American Idol…In January, 1986, Cammi picked up a brochure from a group of women who were singing at our local market…She went off to visit the Lions Gate Chorus at their rehearsal the following Tuesday night. Little did my poor little children and I realize that we had seen Mummy for the last time on a Tuesday night, ever. Fortunately, it was only for one night a week...Or so we thought. [Since then, she has gotten increasingly involved in Sweet Adelines, even serving as International president, among many other roles]…It is a lovely fantasy that Sweet Adelines is ‘only one night a week.’ The reality is that, for a die-hard fan like Cammi, it is much, much more and much, much better than that. I wouldn’t have it any other way.”

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Singing Makes My Life So Wonderful! • J. Liu

Jenny Liu, whose name is engraved in Chinese characters on one of her bricks, is a member of Endeavor Harmony Chorus in Region #34. She writes, “Singing is a powerful medium to communicate with the world. People are different colors, speak different languages and have different mentalities, but we sing in the same melody and fully understand one another! Maybe I am naïve, but always think and know there must be a way to stop war or killing. One of the ways is to sing…the whole world sing in peaceful harmony. I am so proud of being with thousands of members in Sweet Adelines where we create harmony for the world! This kind of singing has made my life so wonderful.”

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Education

PLAY IT SAFE OR TAKE A CHANCE?: CHOOSING MUSIC FOR COMPETITION Certified Music Judge Corinna Garriock discusses how to choose the right songs for your group

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ow that the latest round of Regional competitions is over, many of you are in the throes of choosing music for your next competition cycle. I doubt there’s anything more difficult in a quartet or chorus than choosing competition music that suits your personality, is within your skillset and represents the barbershop style well. What are the principles of choosing good barbershop material for contest? The following editorial was inspired by a spirited social media discussion on that very question.

Why are the SA Music Category rules so limiting?

What the Judging Category Description Book’s SA Music Category section actually says is “Music, like art, never remains stagnant.” It goes on to say, “A style generally evolves to a point that no longer resembles the original, and a new style emerges.”

Next it suggests, “While barbershop harmony has seen its own evolution, it is not intended that it will ever evolve into another musical style, be it a cappella or even four-part harmony. The characteristics that make the barbershop style of four-part harmony unique need to remain constant to set it apart from other forms of unaccompanied vocal music.”

I think the above paragraph was carefully written to avoid saying that we cannot change the art form. Our mission as an organization (SA) is not to “preserve” barbershop. According to our mission statement, we are “committed to advancing the musical art form of barbershop harmony.” Advancing! I interpret the Music Category statements above as, “There is room for barbershop to evolve, but our overall goal is that it remain a distinct art form and that the hallmarks be retained as we seek creative growth of the style.”

So, what are the hallmarks of the barbershop style?

According to SA’s Music Category they are as follows: • Song Form. The song is constructed in 8-measure chunks.

Melodic unity (ex. ABAC, ABAB, ABACA) and melodic variety are also key aspects of song form.

• Arrangement Form. The chorus is always present. Intro, verse, bridge, tag allow creativity in arrangement packaging but are optional.

• Harmonization. A predominance of Major Triads, Dominant Sevenths and Dominant Ninths will set up strong overtone patterns that ring. The remaining chords are used to accommodate the melody or for mood/color/flavor.

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The melody is generally in the middle of the chord, the lowest voice sings a strong chord component, and all chords are complete with no tone omitted.

• Harmonic Progressions. We like a good variety of harmonies.

We also look for harmonization that follows the implied harmony of the melody. Original harmonization is not rewarded if it obscures the melody such that the harmony becomes the message of the song and the melody is lost.

• Voicings. We expect voicings that reinforce the overtone pattern. If they are consistently weak (i.e. the bass is on the third, the melody is on top or other kinds of non-hallmark voicings), if weak voicings don’t resolve to strong ones or if a variety of closed and open voicings are not utilized, the arrangement is weakened.

• Creative Devices. Swipes, Echoes, Solos, Patter, Bell Chords, Instrumental Effects, Modulations / Key Changes.

These are the goodies of the barbershop style; however, all icing (embellishments) and no cake (syllabic/homo-rhythmic harmonization) makes for a sweet sing but might leave the listener with a stomach ache. The Music category defines creative devices as “musical devices used by the arranger to add musical interest or to achieve the continuity that would be provided by instrumental accompaniment.” If the musical devices overwhelm the melody and the message, the song is weakened.

Is the Music Category only about what we sing?

Not at all! What you choose to sing is worth just 30% of your Music score. Your performance of the arrangement in the barbershop style is the other 70%. However, we don’t parse how the arrangement affected your score vs. how you affected your score. It’s simply a weighting—a guideline—to tell the music judge how much consideration to give an arrangement that may or may not demonstrate all of the hallmarks noted above. Once we layer the performer onto the song and arrangement, we are in the 70%.

For example, an over-embellished piece in the hands of performers struggling for breath or trying to hold a tempo together is going to have a much more significant impact on the 70% than the same piece performed by a group with championship skills. We need a lot of insight into our own skillset to know what is going to sing well (we call that “Suitability” on the Music scoresheet), and we also need to have at least a basic understanding of the style to bring the music off the page effectively.

The lyrical content and intent of many contest songs are no longer relevant.

This is true. Many of the songs we sing are from a time when women were viewed in limited ways and before civil rights movements had taken hold in many societies. Do your research into song history before you choose. Parody lyrics are an option to update a song, but it is difficult to get publisher permission unless the song is in public domain. Even with word changes, some original messages are hard to un-hear, so consider that as well.

[For more on choosing songs with appropriate lyrical content, see Corinna Garriock’s article, “Music Category Scope and Weighting of Components” in the April 2016 issue of The Pitch Pipe and Elizabeth Davies’ “Toward a More Inclusive Sweet Adelines” in the July 2018 issue.]

Why are we all singing the same songs?

We definitely have popular songs that get rolled out each year across the organization. Those working at C or low B levels are still learning the craft and developing vocal skills. They need strong vehicles to be successful. That is one reason you hear repeats.

“How Deep Is the Ocean?” “You Are My Sunshine” “If Ever I Would Leave You”...If you have the skills for these songs (they are difficult!), then sing them. Don’t let a few points and a mention of “secondary chords” or “strophic form” stop you! You may benefit overall by choosing a song that you can relate to strongly or that showcases your skillset. It’s a balancing act.

Here’s another thing to keep in mind: The written word is powerful. We give you a written scoresheet that you can use to

review your performance and set goals for the coming season.

That’s the great part! The downside is that the written word is permanent. A single line of criticism can seem like a bigger message than it actually is. Try to keep the written word in perspective.

Write to your judge if you have a concern, and they will reply to you with clarification.

What is Sweet Adelines International doing to bolster better contest content?

Getting material arranged is a good solution and depends on the initiative of the group and finding the right experienced help.

Learning to arrange is helpful too. We hope that the new Arranger Certification Program will encourage beginner involvement in creating arrangements. The song writing contest SA recently ran was an attempt to stimulate an interest in original music, and it received a lot of entries. We hope to see more education and development in this area as well.

Personally, I’d love to see a flood of new arrangements on the contest stage, and I am happy to be “tested” as a music judge.

Go forth and find new music to sing. Get it arranged. We need more arrangements for our organization’s voices at all levels that are fresh, fun, relevant and from any era. Use the hallmarks as a guideline, and let’s find (or write) those songs!

Corinna Garriock is the Tenor of the 2012 International Champion Quartet Martini, a Certified Music Judge and a member of the Education Direction Committee. She currently resides in Halifax, N.S. (Canada).

n o e f i l s i What ? e t o n h g a hi It’s the first time your voice blends into a magical ringing chord.

It’s arranging a piece of music—and then hearing your arrangement sung for the first time onstage.

It’s conversation after rehearsal and laughter on the way home from competition.

It’s seeing your granddaughter welcomed into the chorus that has brought you so much joy.

It’s all this and more.

It’s what you give when you donate to Sweet Adelines International.

You can choose which part of Sweet Adelines’ mission you want to support by donating to youth musical outreach and scholarships such as Young Singers Foundation or Young Women in Harmony, leadership development, music education and training programs like international music education, arranging or judging, or wherever the need is greatest.

To find out more, visit www.sweetadelines.com/give or contact philanthropy@sweetadelines.com.

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Education

SHOWMANSHIP MYTHS DEBUNKED A talk with Certified Judge and Showmanship Category Specialist Becki Hine

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n a 1969 letter to The Pitch Pipe, the writer described the type of “sour grapes” comments she heard about Showmanship: “We lost on showmanship. Just because the judge doesn’t like purple.” “We had first place in the bag, but the Tin Tones’ big cheering section influenced the judges.” Some of the same myths about Showmanship persist today, and there are even new ones! We spoke with Certified Showmanship Judge Specialist Becki Hine, director of Song of Atlanta Chorus, to find out the truth behind the myths. If you want to learn more, attend Hine’s class on Showmanship Myths at the International Convention or Mary Rhea’s class “Riser Challenges” at the Directors and Visual Leaders Seminar (DVLS).

Myth 1: “Unity” means everyone needs to look exactly alike. Tattoos should be covered up. Dyed hair will be marked down.

A unit look doesn’t necessarily mean exactly the same. For example, if an ensemble is wearing a formal gown, their hair and make-up should be more formal to match the look, but it doesn’t mean the hairstyles need to be exactly the same.

It is not necessary for all singers to wear the exact same clothes, although that is an easy way to achieve a unit costume look.

Showmanship judges have seen successful and unsuccessful attempts at “alike but different” costuming. Something needs to hold the look together, like color palette, style, same or similar fabrics, character.

In some cultures and communities, tattoos and enhanced hair color are the norm and are accepted by the Showmanship category. Tattoos don’t necessarily need to be covered up, but if a tattoo is distracting in some way, it could possibly take the audience away from the performance. Even if an audience member is ogling at how beautiful a tattoo is, they have lost some portion of the performance. It’s up to the performer and chorus to decide what they want to put on stage as far as look is concerned.

Myth 2: Foundation, lipstick and fingernail polish must be the same for everyone.

Generally speaking, a foundation color about two shades darker than your skin tone is good for bright white stage lighting.

For darker skin tones, singers can match their skin tone with a foundation color. If a chorus or quartet has the time and resources to have a skin-tone match done for everyone, then go for it!

The expressive features—eyes, cheeks and lips—are what need to be brought out with artistic make-up design. Do you need to wear red lipstick on stage? Not necessarily, but that color shows up well under bright white stage lights. Darker shades that have browns in them (some burgundy or purple, for instance) can show up under the lights as brown or black. If that’s the look you are going for, then do it.

It’s not necessary to all wear the same color of nail polish, but wearing the same color on your fingernails is just one more way

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to unify the group. If all singers buy into the same character, style, mood, emotion, etc. right down to the colors on their fingernails then they might very well have a stronger emotional link on stage. If every singer in a chorus knows that every other singer is a complete part of the performing unit, there is an element of trust that can enhance how that unit performs.

It’s completely up to the ensemble (or the make-up team) to decide what colors to use on face, eyes, lips, cheeks and fingernails. There is no required color or non-color.

Myth 3: Showmanship judges penalize for members with visible disability.

Not true. Back in our history, each chorus could submit a form for anyone in the chorus who needed a walker, had a broken leg, a sprained ankle or was pregnant. In this area, we have come a long way. Accommodations and adaptations can be creative.

For example, I participated in an email conversation with fellow Showmanship judges and Mary Rhea, director of OK City Chorus, about the “Riser Challenges” class she is teaching at DVLS. We discussed a quartet in which a singer in a wheelchair uses a platform that allows her to be closer in height to the other singers. If three singers are standing and one is sitting, they will be differing distances from the microphone. While that would not affect the judging panel in a region where the set sound doesn’t include amplification, it might affect what the audience hears coming through the speakers. The platform is designed to address that issue. Certified International Showmanship Judge Diane Porsch, director of Buffalo Gateway Chorus, suggested the option of having the other singers sit on stools rather than raising the singer in the wheelchair on a platform.

Porsch wrote this regarding all singers with physical limitations: “Ask them to do everything they are comfortable and capable of doing. For some singers, it will merely be facial energy, for others upper body involvement, etc. There is no way that I would ask a member to do choreography of any sort if they cannot execute it with the same precision of the unit. We got rid of disability forms years ago, so when we see someone who is not doing any choreography, it’s not something we question. Emotional delivery, facially, of a performance would be the goal, and something that would be expected.

I don’t believe we should change what we are looking for in our performances but we definitely need to flex when it comes to physical impairments. There is no score in the WORLD that should ever cause us to exclude our singers.

Myth 4: Entrances and exits have to all be the same.

We used to all enter and exit the same way, but some venues lend themselves to a different type of entrance. Most regions and so far all International venues require all contestants to exit on the same side for safety and because backstage traffic patterns keep the contests running on time.

When it comes to singers for whom entrances and exits are challenging, I like the following suggestions from Certified International Showmanship Judge Barbara Nielsen (Harbor City Music Company): “If a member uses the walker well enough to move along at a moderate pace, she could walk out with the chorus; this would be especially effective if the front row enters the stage first and forms a partial ‘screen’ for the rest of the chorus entrance. If, the member(s) need a little more time, I would think they should get a head start (once the front row has entered) over the rest of the chorus to get in place. Another strategy would be to see if they could use a heavy type of cane (such as a three-pronged one) for those few moments they are onstage. If this is do-able, perhaps two chorus members could be there for support, if needed, so that the member has an extra feeling of security about her journey on and off the stage (and everything that happens in between). As a Showmanship Judge, I would be remiss if I did not mention the obvious: If you’re willing and able, put a little matching sparkle on that walker or cane. Jazz it up to blend in with the costumes!

With careful choreo, planning and the right attitudes on the part of everyone, you can have a smooth and wonderful visual plan— delivered with joy by every chorus member.”

Myth 5: It’s better to play it safe when it comes to creativity.

Creativity is rewarded, especially when it’s effective. Groups know in advance the setting of the room, where the microphones are and hopefully how to use the microphones. You can be creative within the rules of the Judging Category Description Book (JCDB), which can be found at www.sweetadelines.com/ education/jcdb.

According to the JCDB, “Showmanship is an intangible art, affected neither by age nor by beauty. With showmanship, a little talent can seem great; without showmanship, the greatest talent can be lost.” So don’t let myths cause you to hold back. Bring your best creativity, your best self and, of course, your best harmony to every performance!

SOLIDARITY STRENGTHENS SINGERS IN CHRISTCHURCH, N.Z.

Sweet Adelines pull together as tragic events unfold

M

arch 15 is a day I won’t forget. That day, 30 Christchurch City Chorus out-of-town members (OOTM) travelled to Christchurch to join the rest of the chorus for another monthly Friday rehearsal at our director Virginia HumphreyTaylor’s house. What should have been a fun-filled afternoon of singing turned into an event that defies explanation. Now described as one of the darkest days in New Zealand history, March 15, 2019 marks the day when 51 people lost their lives in a terrorist attack at two mosques in Christchurch City.

I landed in Christchurch just as the attacks were occurring that Friday afternoon. I jumped into a shuttle van not knowing what lay ahead of me, but somehow the shuttle got across to the other side of the city to arrive at Virginia’s home safely.

I arrived to a house jam-packed with OOTMs. Our visiting coach Kim Vaughn was there too. Everyone was worried; everyone was anxious. Everyone scanned the news and social media for updates on what was happening at the mosques. It soon became apparent that there would be a lockdown and we’d have to stay put at Virginia’s house.

Virginia’s thoughtfulness and generosity made it easier for those worried about what the broader implications of the event would mean for each of us, not to mention the tragedy that was unfolding with each passing hour. As the afternoon progressed, we pressed on with our rehearsal with Kim. We had, after all, come to sing.

In the meantime, Virginia prepared for everyone to camp out at her place if things didn’t improve. She pulled out food, cooked us

a meal, and we soon began to focus on singing. Later that evening the lockdown was lifted and we were all able to get to our hosts’ homes.

The rest of weekend rehearsal at Cashmere High School felt surreal, but despite the tragedy, there was comfort and a certain safety that comes from numbers gathered together as we continued with our weekend rehearsal. And despite the tragedy, Virginia and Kim were able to lead another successful weekend of coaching.

That weekend highlighted how fortunate we at Sweet Adelines International are to belong to such an amazing organization of singers. The experience strengthened the solidarity of our chorus community and reinforced the restorative powers music can bring when tragedy strikes. The support and love of our united Christchurch City Chorus—particularly for those members directly affected by the tragedy—underscore the importance of friendship, community and connection. This event has made us stronger. Kia Kaha!

Christchurch City Chorus continues to send strength and support to the victims and their families. They thank their Sweet Adelines sisters from around the world for the thoughtful, heartfelt messages they received.

Manjula Shivanandan has been singing lead with Christchurch City Chorus for nearly seven years. She has been a Sweet Adeline for twelve years and lives in Wellington, New Zealand.

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Countdown to 75 years

1960-1969: A TIME FOR CHANGE “The world is changing, all around us, and what are you doing? With the crying need for help to understand this thing called the ‘generation gap,’ we as Sweet Adelines have an even greater responsibility to present ourselves as an ‘in’ group, and by the use of the word ‘IN,’ I mean we are capable also of changing with the times...

—Mary LaMaster, director of the Melodeers Chorus (The Pitch Pipe, Summer 1969) The stories in this article are gleaned from past issues of The Pitch Pipe magazine. All issues can be found in the archives at Sweet Adelines International Headquarters in Tulsa, Okla. We are working to digitize them so in the future, you will be able to access them online.

Seeking True Harmony: The July 2018 issue of The Pitch Pipe includes several articles detailing the years 1957-1966, when Sweet Adelines excluded nonwhite members. In October 1965 (a year after the U.S. Civil Rights Act was passed), the IBOD removed the bylaw wording that excluded nonwhite members, effective May 1, 1966. Of course, change did not happen overnight. In 2016, fifty years later, President Paula Davis apologized for this period of exclusion. Today, the members of Sweet Adelines International are intentionally working to address our history and foster true inclusivity.

Becoming Judges: The first all-SA judging panel appeared at the Region #10 competition in 1961, the same year the IBOD decided at their mid-year meeting to create the first Judging Manual. The first all-SA International Judging Panel appeared at the 1962 Convention in Toronto, Ont. (Canada), the same year that the new Judging Training Program introduced four categories: Music, Sound, Precision and Showmanship. That year, contributing editor of The Pitch Pipe Jean Van den Berg wrote, “It’s hardly news that our former judging program was out of gear with how we were hearing our music. This is the first major revision that actually reflects what we are trying to achieve in our musical effort.” She wrote of the new program, “It may still have bugs in it, as most new systems do, but there is definitely more dog than fleas in what we have now.”

Education: Floyd “Pop” Connett was hired as the first Sweet Adelines Education Director in 1961. That year, he conducted the first of several Chorus Directors’ Schools. A participant quoted in the Aug. 1961 issue of The Pitch Pipe said, “Man, the hall did hop with Pop! We had so much fun we almost missed the fact that we also learned a great deal. The only thing we didn’t like about Pop’s visit was that we had to give him up so soon.” Sadly, the Sweet Adelines were to lose him just a few years later when he passed away unexpectedly in 1963. His teaching methods influenced a long legacy of Sweet Adelines education. An excerpt from a poem

by Sweet Adelines member Betty Wroe of Fargo, N.D. (USA) hints at what he meant to Sweet Adelines: “Some men build with steel and iron, / To pave their way to fame; / He built a love of harmony— / A tribute to his name.”

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Toronto Saves the Day! (And Our House): In 1958, Nancy Bergman began the process of buying the first Sweet Adelines International Headquarters, a small house in Tulsa, Okla. (USA).

At that year’s convention in Peoria, Ill. (USA), President Helen Seevers began her “Bucks for Bricks” campaign, promising to burn the mortgage at International Convention when the house was paid off. In 1962, at the Toronto, Ont. (Canada) convention, only $700 (USD) was lacking. Mary Boddington, chair of the convention, “stood between the American and Canadian flags to announce Toronto Chapter’s pledge to send whatever balance was needed following the close of the convention. It was then that the wisp of smoke from her hand was noticed as she burned the mortgage in effigy!” In just four years, our house had become fully our own.

Our Building: By 1965, we were beginning to outgrow our house. The IBOD announced the purchase of a little over an acre of land in Tulsa, Okla. (USA) at their 1965 mid-year meeting, and on April 1, 1966, construction began on our new headquarters building. Located at the intersection of Route 66 and Interstate 44 for the convenience of traveling Sweet Adelines, the new building contained 5,300 square feet of office space plus a partial basement.

The staff officially moved into the new building on Sept. 22, 1967.

SA Headquarters staff members (left to right) Norma Prophet, Nancy Bergman, Genie Campbell and Verna Lea Fowler are scooped up in an earth-moving machine during the building of the “new” headquarters in 1966.

The Vietnam War: Many Sweet Adelines served or had spouses or family members who served during the Vietnam War. As in other eras, Sweet Adelines chapters performed at military and veterans’ hospitals and events. The Embers quartet went on a USO tour of military bases in Alaska, Hawaii, Korea, Japan and Vietnam in 1968. They shared this account of a performance at a base in Korea: “It was here we decided we’d like to tell these men how much we appreciate what they’re doing for us; that we are proud of the job they’re doing for our country, and proud that we could bring them a part of it. Those were the words, and the song was ‘This Is My Country.’ As they became aware of the words, these men got to their feet and stood silently until we finished.

Then, still standing, they applauded until we thought our hearts would break.”

The Space Age: Indian River Chapter (Florida, USA) wrote in their 1962 bulletin that their leaders were “the only people going away from Cape Canaveral as John Glenn was scheduled to go into orbit. They were scheduled to go to a Regional Meeting, which they did, transistor radios under their arms.” Lots of Sweet Adelines chapters featured space themes in their shows. Dayton Chapter’s 1964 show was described in The Pitch Pipe: “The chorus dressed as airline hostesses, directed by a spaceman who came out of a rocket on stage. Then their star quartet came from the rocket also to wind up the show.” Capt. May O’Hara of Mission Belles Chapter (San Antonio, Texas, USA) tested astronaut snacks as a dietitian at the School of Aerospace Medicine at Brooks Air Force Base – “the only woman in the Air Force assigned to this project,” according to the Spring 1968 issue of The Pitch Pipe.

Unusual performances: Littleton-Skyline Chapter performed in Denver at the National Chiropractic Association’s “Miss World Posture Contest” in 1964. The same year, Coldwater Chapter of Michigan performed when Mrs. America came to celebrate their town being named “Washing Capital of the U.S.A.” While there, Mrs. America hand washed the clothes of several celebrities as a public relations stunt! Four out of eight members of the Atlanta Dogwood Chapter who entered the Lenox Square Cherry Desert Contest won top awards and put the prize money in their chapter treasury. In 1966, Bountiful Chapter had their performance taped and “with the aid of the communication satellite, Telstar, they presented a truly outstanding show for our South American neighbors down in Bolivia,” as Vi Smythe reported in the Spring 1966 issue of The Pitch Pipe. She also reported that The Irish Hills Chapter “entertained at the National Corn Picking Contest. U.S.Vice President Hubert Humphrey was in attendance.”

Left to right are Bonnie Anderson, Bea Howell, Melba Champion and Lee Schrier, members of Atlanta Dogwood Chapter who won top awards in the Lenox Square Cherry Dessert Contest in 1965.

Panama Canal Zone: The Crossroads Chapter from Cristobal, Canal Zone in Panama was chartered in August 1961. In 1966, one of their quartets, The Pan-Canettes, won their region’s quartet competition! The Winter 1968 issue of The Pitch Pipe includes an article detailing many of their adventures, like the time they performed onboard a huge U.S. Navy ship in torrential rain: “Have you ever stood in a tropical downpour, wearing a Kelly green satin vest of not the most expensive material? Green rivulets flowed all over the place. It seemed that the fellows liked us even better when we stuck it out. Audience and performers were soaked; we had coffee afterward anyway. Rain does funny things to an audience.”

“The Sweet Adstronauts” pick-up quartet from Peninsula Chapter, left to right: Diane Broadley, Margaret Winslett, Pat Noll and Lois Carran.

Television appearances: By the 60s, television was in full swing, and Sweet Adelines were swinging with it! Many quartets and choruses appeared on television shows, especially The Original Amateur Hour hosted by Ted Mack, a forerunner of today’s talent search reality shows. Verna Newell performed on a variety show called Party Line with her quartet, The Honey Bees, and ended up hosting it for the next 22 years! Several celebrities appeared on the show during its long run.

Truly International: In 1966, Lois Napier became our first president from Canada. A member of Toronto Chapter and founder of Scarborough Chapter, she sang baritone in The Fortissa Mrs. Quartet and had served on the International Board of Directors since 1963. In 1967, several Canadian chapters (including Scarborough) performed at EXPO ’67, the International Exposition in Montreal, QC (Canada). In the Autumn 1968-Winter 1969 issue of The Pitch Pipe, “Tooraloora Ginsburg” wrote, “Word reaches me that we are in contact with folks who are interested in starting chapters in Okinawa, [Japan], Sydney, Australia, and Liss, England. Zat so?” It was so, for we now have chapters in all of those countries and many more!

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From the cover of the 1966 convention album

1960 • Detroit, MI, USA 1961 • Colorado Springs, CO, USA 1962 • Toronto, ON, CAN 1963 • Berkeley, CA, USA 1964 • Minneapolis, MN, USA 1965 • Denver, CO, USA 1966 • Houston, TX, USA 1967 • New York City, NY, USA 1968 • Oklahoma City, OK, USA 1969 • Honolulu, HI, USA

1959-60 • Maxine Connett 1960-61 • Dolly Householder 1962-63 • Garee Rogers 1964-65 • Judy Rowell 1966- April 30, 1969 • Lois Napier Anderson* 1969-1971 • Helen Ryan Members of the Merrill Chapter (Wisconsin) prepare for a television appearance on Share a Song Day.

Share a Song Day: Sweet Adelines organized Share a Song Day on May 18, 1967. Choruses and quartets from all over sang at hospitals, nursing homes and other locations. In celebration of the Canadian Centennial, U.S. and Canadian choruses arranged “border incidents.” Regent Jeanne Hogan (Region #2, River Rouge, Michigan, USA) described the hands-across-the-border event she participated in: “I can’t begin to tell you what a great feeling it was standing out there on the Canadian shoreline, looking across at the beautiful Detroit skyline. It made you feel as though you were singing for the whole world, and knowing that other Sweet Adelines were doing the same, you could almost say this was true.”

Growth: In 1960, we had 9,067 members in 284 chapters.

In 1969, we had 18,763 members in 490 chapters.

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*The fiscal year was changed from Nov. 1 to May 1, affecting terms of office.

1960 • Gibson Girls 1961 • Lyrics 1962 • Sea-Adelines 1963 • Heathertones 1964 • Note-Cracker Sweets 1965 • Shalimars 1966 • Piper-Ettes 1967 • Hurricane Honeys 1968 • Gaytones 1969 • Metropolitans

Sweet Adelines

International Sales Presents: Singer Series Pins Long rehearsals. Late practice. Careful attention.

Choreography. Costumes. Competition.

You earned every chord, every smile, every point!

Show your pride with Singer Series Pins 500, 600 and 700-point versions.

$19.95 USD

Exclusively offered by Sweet Adelines International

To purchase, contact Sweet Adelines International Sales Department at Sales@sweetadelines.com or call 1.918.622.1444 ext. 112 or toll free 1.877.545.5441.

Monday-Friday 8 a.m.- 4:30 p.m. CDT (2 p.m.-10:30 p.m. GMT)

73rd Annual Convention and Competition Sept. 16-21, 2019 • New Orleans, La., USA

Barbershoppin' the Big Easy!

The gumbo is simmering. The beignets are hot.

New Orleans is ready. Are you?

Prepare yourself for the thrill of ringing chords, cheering crowds, sparkling crowns, tag singing, stellar classes and fun with old friends and new. It’s almost time to go Barbershoppin’ the Big Easy!

Tour New Orleans in Comfort!

To-Do List • Register for Convention • Book a room • Make travel arrangements • Sign up for Harmony Parade and Family Chorus • Get excited!

Visit www.sweetadelines.com/neworleans for complete details on registration, housing, tours and more!

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Coach tours designed with Sweet Adelines in mind

New Orleans is a city so rich in history, culture, architecture and art that it’s hard to know where to begin. Fortunately, New Orleans is full of tour guides whose knowledge of their city is second only to their love for it. Whether you want an overview of the city or a specialized tour, you’ll be able to find it easily in the Crescent City.

We have partnered with a tour company to offer several tours especially for Sweet Adelines on the Sunday and Monday prior to convention. All tours depart from the New Orleans Marriott (one of the Convention hotels). To make reservations or find out more, visit the International Convention and Competition section under the Events tab at www.sweetadelines.com.

Harmony Parade Is Coming to New Orleans!

Get ready for a quartetting adventure!

This year, New Orleans will host one of the most fun parades in the world! No, not Mardi Gras. The first-ever Sweet Adelines International Harmony Parade kicks off in New Orleans on Monday, Sept. 16, 2019! Harmony Parade is an afternoon of ever-changing pick-up quartets made up of singers from all over the Sweet Adelines world! Here’s how it works: Who? Singers must be able to sing their part alone in a quartet. Event facilitators are Education Direction Committee members Corinna Garriock, tenor of the 2012 International Champion Quartet, Martini and Certified Music Judge Mary Rhea, director of OK City Chorus, baritone of the 2010 International Champion Quartet, Zing! and Certified Sound Judge.

What? Singers will spend the afternoon singing in as many quartet combinations as possible. Singers will choose three other people to sing with, then repeat the process until all possibilities are exhausted. At the end of the afternoon, quartets assigned by random drawing will prepare a song to perform for the other Harmony Parade participants.

When? Monday, Sept. 16, from 1–4:30 p.m. at the Sheraton Hotel as part of the International Education classes.

Come Join the Family Chorus!

How do I register? Ten to 15 singers for each voice part will be accepted on a first-come, first-chosen basis.

Singers will identify their voice part (and second choice) on the registration form so an equal number of parts are represented. To register, visit www.sweetadelines.com neworleans/harmony-parade. You will be provided learning tracks after registration. Music must be purchased through the sales department.

The Family Chorus is made up of current Sweet Adelines members who register with at least one female relative (mother, daughter, grand-daughter, aunt, daughter-in-law, etc.). The chorus performs on the International stage on Saturday, Sept. 21, immediately following the chorus finals.

(Participating relatives do not need to be members of Sweet Adelines International.)

Everyone and her grandma will be there.

Sweet Adelines powerhouse mother/daughter duo Queen of Harmony Debbie Cleveland and Jenny Allen will direct.

Cleveland has been a public school choral director for 33 years and a youth barbershop clinician all over the U.S. She has won the NAfME Music Educator of The Year award for both SA and BHS and is on the International Faculty. She is a two-time gold medalist lead (Showtime, 1994 and “the BUZZ”, 2005).

Allen started singing bass in the Toast of Tampa Chorus at age 11 and has won two Rising Star Quartet Championships (BarbieShop, 2003 and Royal Blush, 2010). She also has two Top 5 Chorus medals with Toast of Tampa Chorus and four Top 5 quartet medals as the bass of Windsor.

For more information, visit www.sweetadelines.com/ neworleans/family-chorus.

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Be where the action is…No matter where you are!

Sweet Adelines International Competition Live (and Free!) Webcast 18th Annual International Competition Webcast • Sept. 17-21, 2019 Can’t make it to New Orleans?

Park yourself and your friends on the couch with drinks and snacks, and let us bring New Orleans to you via our live webcast!

The free webcast is just one benefit made possible by donations to Sweet Adelines International. Your donations also support youth outreach and development, music scholarships and leadership education and training. To watch the webcast and make a donation, visit www.sweetadswebcast.com.

If you miss a performance, no problem. All competitor performances will be available on our YouTube channel.

Tuesday, Sept. 17, 2019 Event

Stream Time (CDT)

State of the Organization

5:15–6 p.m. (10:15–11 p.m. UTC, Sept. 17)

Harmony Classic

6–10:30 p.m. (11 p.m.–3:30 a.m. UTC, Sept. 17)

Wednesday, Sept. 18, 2019 Event

Stream Time (CDT)

Quartet Semifinals

10 a.m.–9:30 p.m. (3 p.m.–2:30 a.m. UTC, Sept. 18)

Thursday, Sept. 19, 2019 Event

Stream Time (CDT)

Chorus Semifinals

10 a.m.–9 p.m. (3 p.m.–2 a.m. UTC, Sept. 19)

Friday, Sept. 20, 2019 Event

Stream Time (CDT)

Quartet Finals

11:30 a.m.–5 p.m. (4:30 p.m.–10 p.m. UTC, Sept. 20)

Coronet Club Show (Available for $20 USD)

8–10:30 p.m. (1–3:30 a.m. UTC, Sept. 21)

Saturday, Sept. 21, 2019 Event

Stream Time (CDT)

Chorus Finals

11:30 a.m.–6 p.m. (4:30 p.m.–11 p.m. UTC, Sept. 21 )

Visit www.sweetadswebcast.com to donate and to watch the competition.

YSF Needs YOUR Awesome Items for Music Education!

Seeking Donations for Young Singers Foundation Auction Give the gift of music education to young singers around the world by donating an item to the annual Young Singers Foundation auction. Led by Kate Veeder and her hard-working volunteers, the event has helped fund more than 200 scholarships and countless barbershop education programs reaching over 75,000 young singers.

Some favorite fundraising items: Vacation homes/getaways • Airline miles • Private stock beverages or wine collections Gift cards to national/international brands • Jewelry/high-end fashions • Novel SA memorabilia

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To donate items or to volunteer to work at the New Orleans auction booth, contact Kate Veeder, IantheKate@gmail.com. | July 2019

Ain’t We Got

Youth Festival YWIH Youth Festival Brings the Fun! This year, Young Women in Harmony (YWIH) will host the Ain’t We Got Fun YWIH Youth Festival, a barbershop singing workshop for women ages 25 and younger. Director for this one-time-only chorus is Melody Hine, baritone of 2018 Rising Star Champion quartet Hot Pursuit who recently opened for Disney’s DCappella. Choreographer is Lisa Greenough, director of Gateway Chorus and Showmanship Judge. The workshop culminates with a performance on the International stage immediately preceding the Harmony Classic competition. Participants will receive complimentary admission to Harmony Classic.

Who? Singers ages 25 and younger. Singers need to register by Sept. 1 to receive music and learning tracks ahead of the event. For information on registration (including attendance for groups of 10 or more), email education@sweetadelines.com or visit www.sweetadelines.com/neworleans/youth-festival.

What? Barbershop workshop and performance led by Melody Hine of Hot Pursuit and Lisa Greenough, director of Gateway Chorus and Showmanship Judge.

When? Tuesday, Sept. 17. Workshop from 9 a.m.–7 p.m. (Please bring your lunch.) Performance around 6 p.m., immediately preceding the Harmony Classic competition.

Where? The festival will take place at the New Orleans Marriott. The performance will be held on the International stage at the Smoothie King Center. All participants will receive complimentary admission to Harmony Classic.

For more information, contact education@sweetadelines.com.

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y n o m r a H p u d n u o R

By the 1960s, Sweet Adelines had grown so much that The Pitch Pipe started collecting interesting news from around the regions and combining it into one story. We’ve decided to try Harmony Roundup in the same style for this issue.

It allows us more space to share your adventures and achievements. If you like it, we’ll continue. Let us know!

Where We Sang Three Sweet Adelines groups were chosen to open for DCappella, Disney’s touring a cappella extravaganza co-founded by a cappella powerhouse Deke Sharon.

The groups who performed on tour were quartets Hot Pursuit and LoveNotes and Region #15’s Sirens of Gotham Chorus. San Francisco Sound Wave Chorus sang at the opening of San Francisco’s first Night of Ideas on Feb. 2. The event, launched in Paris by the French government in 2015, is a seven-hour marathon of debates, readings and performances. It has been held in 120 international cities since its inception. In March, a group from Rich-Tone Chorus performed at the huge music and film festival, South by Southwest (SXSW) in Austin, Texas.

How We Sang Greater Cleveland Chorus was voted runner-up in the Best Vocal Group category of Cleveland Scene Magazine's Best of Cleveland competition. Capital Accord Chorus finished filming for DC Filmmakers Group’s Community Outreach Through Singing video, which will be submitted for screening at the Wheaton Film Festival in November. We have four name changes: Profile Chorus is now Northern Voices A Cappella Chorus, Somerset Hills Chorus is now Singsational Chorus, Ontario Heartland Chorus is now The Heartland Singers and Key Town Harmony is now Key Town Eskilstuna. Adjust your fan clubs accordingly!

Why We Sang Region #16’s Circle of Harmony Chorus was featured in the Grandmothers to Grandmothers concert benefiting the Burlington Ubuntu Grandwomen. The organization supports grandmothers in Sub-Saharan Africa who care for children orphaned or affected by HIV/AIDS. Sounds of the Valley Chorus of Chico, Calif. (USA) performed for volunteers who came to help after wildfires devastated their community in November.

Sounds of the Valley Chorus report that members of Vocal Harmonix Chorus of Lancaster, Penn. (USA), in lieu of their chorus Christmas gift exchange, sent the Chico community a generous donation for victims of the fire.

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Members of Evergreen Chorus (Region #15) with some of the purses they collected for their Pocketbooks for Women campaign. Chorus members filled the bags with toiletries and donated them to Grace Smith House, a not-for-profit domestic violence agency serving Dutchess County, N.Y. (USA) and surrounding areas. Photo courtesy of Evergreen Chorus member Kathy Gray.

In April, our 2019 Queens of Harmony, ClassRing, brought their doll to Sweet Adelines International Headquarters to be installed in the Hughes Gehrke Champion Showcase! From left to right are Mary Duncan (baritone), Hailey Parks (bass) and Michaela Johnston (tenor). Lead Heather Havens, present in spirit, joined the ceremony via FaceTime!

July 2019 |

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SCOTTSDALE CHORUS CELEBRATES WITH A SWEET ADELINES MILESTONE Doll of color installed in Sweet Adelines International collection

J

ust inside the doors of Sweet Adelines International Headquarters in Tulsa, Okla. (USA) stands the Hughes Gehrke Champion Showcase.

Inside are 118 dolls wearing one-of-a-kind, handmade outfits, each representing a Sweet Adelines champion quartet or chorus. Representing Arizona’s Scottsdale Chorus, the 2019 Sweet Adelines International Chorus Champions, a doll of color was installed in the collection in April.

Like many of the dolls in the collection, the Scottsdale doll is from the Barbie brand. Her hair is pulled up in a band, and she wears the bright blue, sequined outfit the chorus wore in finals competition. In her hands, she holds a jump rope made of multi-colored beads. A small blue trampoline is also included in the display. These props were used by the chorus in their memorable and energetic finals performance, which was based on the theme “Jump!”

Scottsdale director Lori Lyford said the chorus deliberately chose a doll of color to represent the chorus.

“Our associate chorus director, Jana Gutenson, came up with the idea,” said Lyford. “She said, ‘Why don’t we have an African-American Barbie?

There are no Barbies of color in the display.’ It just seemed like the right time.”

Like many things Scottsdale Chorus does, choosing the doll was a group effort. They asked Taylor Daniels, a Scottsdale member who is African-American, to make the final choice from among several potential dolls. (Daniels also sings bass with the popular quartet C’est La Vie.) Recently-retired chorus member Kathy Barnett, a long-time costume designer for Scottsdale, made the doll’s clothing from material left over from the finals costumes. Current member Linda Nelson made the accessories. Lyford explained that the jump rope represents one of the choruses’ core values: Recognizing the importance of each individual’s contribution to the whole.

“We did a bonding activity at our chorus retreat where each member chose a different-colored, inch-long plastic tube and put their name on it,” she said. “We strung a jump rope together because ‘Jump’ was our theme. It wasn’t complete unless everybody’s bead was in there. Everybody was part of the jump rope. The doll’s jump rope with multi-colored beads represents that jump rope we used. We still have our jump rope, in fact.

It’s wrapped around our trophy.”

Scottsdale Chorus is known for widening the boundaries of the barbershop music they love. Their joyful and innovative performances have brought them six International championships along with many other awards. Lyford said the 2019 doll reflects the values that make the chorus successful.

“We’re certainly not afraid to be at the leading edge of something that might be new, something that might be different, whether it’s in our performances or how we organize our chorus or how we run things,” said Lyford. “The music we sing isn’t always super-traditional. We don’t play barbersport. In other words, we don’t always play it safe. We push the envelope. In choosing this doll, we just wanted to open the door and say, ‘You know what? We talk about diversity. Let’s really do something.’ I’m very proud of the decision that we made.”

Fostering genuine inclusivity means making many large and seeminglysmall choices as you maintain and develop the culture of your group, whether that is your quartet, chorus or region. If your group has news to share about how you create a supportive and nurturing environment for all singers, let us know by writing to communications@sweetadelines.com.

Also, consider attending some of the classes on fostering diversity and inclusivity at International Convention in New Orleans or at other Sweet Adelines education events.

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Seize The Day A New Album from ClassRing

Watch for ClassRing’s second CD coming soon - reserve your copy now! To preorder, visit our website at www.classringquartet.com, or email us directly at classringqt@gmail.com.

We are excited to share some old favorites and some brand new songs on this CD! We can’t wait to see everyone in New Orleans!

For updates, info, and events, follow ClassRing Quartet on Facebook and Instagram.

B+

Choruses

2019 Regional Results B+ and Above Choruses

Sweet Adelines congratulates and recognizes the accomplishments of all competing choruses. During the 2019 regional competition season, these choruses earned B+ scores (592) and above. Choruses receiving a score of 700 or higher are marked by an asterisk.

Coastline Show Chorus, #1 Farmington Valley Chorus, #1 Merrimack Valley Chorus, #1 Motor City Blend Chorus, #2 London Chorus, #2 River City Sound Chorus, #3 Midwest Crossroad Chorus, #3 Metro Nashville Chorus, #4 Pride of Kentucky Chorus, #4 Scenic City Chorus, #4 River Blenders Chorus, #5 Metro Mix Chorus, #5 City of Lakes Chorus, #6* Spirit of Harmony Chorus, #6 Skyline Chorus, #8* Velvet Hills Chorus, #8 Spirit of the Gulf Chorus, #9

O-Town Sound Chorus, #9 Alamo Metro, #10 The Woodlands Show Chorus, #10 A Cappella Unlimited Chorus, #10 Crescent City Sound Chorus, #10 Santa Monica, #11 Pacific Empire Chorus, #12 Song of Sonoma Chorus, #12 Pride of Portland Chorus, #13 Spirit of Spokane Chorus, #13 Song of Atlanta Chorus, #14* Carolina Harmony Chorus, #14 Vocal Matrix Chorus, #14 Greater Richmond Chorus, #14 Liberty Oak Chorus, #15 Harmony Celebration Chorus, #15 Sirens of Gotham Chorus, #15

North Metro Chorus, #16* York Harmony Chorus, #16 Circle of Harmony Chorus, #16 Buffalo Gateway Chorus, #17 Greater Harmony Chorus, #17 Voices in Harmony Chorus, #17 Greater Harrisburg Chorus, #19 Valley Forge Chorus, #19 Vocal Harmonix Chorus, #19 Dundalk Chorus, #19 Jersey Sound Chorus, #19 Harborlites Chorus, #21* Rich-Tone Chorus, #25* OK City Chorus, #25 Wichita Chorus, #25 Springfield Metro Chorus, #25 Westcoast Harmony Chorus, #26

Gateway Chorus, #26 Heartbeat UK Chorus, #31 Aberdeen Chorus, #31 No Borders Show Chorus, #31 Vocal Dimension Chorus, #31 Surrey Harmony Chorus, #31 Pearls of the Sound Chorus, #32 Alba Show Chorus, #32 Gothia Show Chorus, #32 Snowflake Singers Chorus, #32 Endeavour Harmony Chorus, #34 Brindabella Chorus, #34 Melbourne Chorus, #34 Northern Beaches Chorus, #34 Waikato Rivertones Chorus, #35 Greater Auckland Chorus, #35

July 2019 |

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Region #1

Regional Results 2019 North Atlantic

Quartets First Place

VOCE • Score: 647 Deana Sargent (t) Saratoga Soundtrack Chorus Cheryl Brusket (l) Chapter-at-Large, Region # 1 Angie Kunasek (bt) Millennium Magic Chorus Beth Paul (bs) Millennium Magic Chorus Songs: Cry Baby (M. Hill and N. Bergman); Once Upon a Time (J. Dale)

Third Place

Phoenix Rising • Score: 577 (Coastline Show Chorus, Sound of New England Chorus) Number of Competing Quartets: 23

Second Place First Place VOCE

Saffron • Score: 612 (Harmony on the Sound Chorus, Chapter-at-Large, Region #1)

Choruses First Place

Coastline Show Chorus Gail Jencik, Director Score: 646 • 57 on stage Songs: Love Letters Straight from Your Heart (J. Arns); It’s a Sin to Tell a Lie (D. Wright)

Second Place First Place Coastline Show Chorus

Farmington Valley Chorus Cheryl Wilcox, Director Score: 641 • 42 on stage

Third Place

Merrimack Valley Chorus Eileen Gioe, Director Score: 604 • 41 on stage

Division A

Sound of New England Chorus Marion Devokaitis, Director Score: 563 • 28 on stage Songs: Love Letters Straight from Your Heart (J. Arns); Takin’ a Chance on Love (J. Giallombardo)

Division AA

Division A Sound of New England Chorus

Coastline Show Chorus Gail Jencik, Director Score: 646 • 57 on stage Songs: Love Letters Straight from Your Heart (J. Arns); It’s a Sin to Tell a Lie (D. Wright)

Most Improved Chorus

Farmington Valley Chorus Cheryl Wilcox, Director Score: 641 (+38) • 42 on stage Number of Competing Choruses: 14 Photos: E.R. Lilley Photography

Division AA Coastline Show Chorus

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| July 2019

Region #2

Regional Results 2019 Border Lakes

Quartets First Place

The Vibe • Score: 619 Abby Sella (t) Chapter-at-Large, Region #2 Sarah Eggerstedt (l) Chapter-at-Large, Region #2 Heather Kingham (bt) Grand Traverse Show Chorus Trisha Coley (bs) Carolina Harmony Chorus, Region #14 Songs: You Turned the Tables on Me (N. Bergman); Kiss Me One More Time (N. Anderson)

Third Place

Spectrum • Score: 590 (Motor City Blend Chorus) Number of Competing Quartets: 15

Second Place First Place The Vibe

Girl Talk • Score: 617 (Motor City Blend Chorus; Chapter-at-Large, Region #2)

Choruses First Place

Motor City Blend Chorus LeAnn K. Hazlett and Sylvia Karpinsky, Directors Score: 669 • 90 on stage Songs: I’ve Grown Accustomed to His Face (J. Arns); Ain’t He Sweet/Yes Sir, That’s My Baby Medley (C. Hine)

Second Place First Place Motor City Blend Chorus

London Chorus Julia Beadle, Director Score: 606 • 48 on stage

Third Place

Grand Harmony Chorus Chris Arnold, Director Score: 589 • 49 on stage

Division A

Grand Traverse Show Chorus Jill Watson, Director Score: 585 • 25 on stage Songs: My Foolish Heart (J. Bescos); I’ve Got a Feeling I’m Falling (N. Bergman)

Division AA Division A Grand Traverse Show Chorus

London Chorus Julia Beadle, Director Score: 606 • 48 on stage Songs: Once Upon a Time (J. Dale); I Love a Piano (J. Bescos)

Most Improved Chorus

Song of the Lakes Chorus Maria Christian, Director Score: 549 (+26) • 25 on stage Number of Competing Choruses: 12 Photos: Jon B. Petersen Photography

Division AA London Chorus

July 2019 |

25

Region #3

Regional Results 2019 Midwest Harmony

Quartets First Place

Prism • Score: 614 Tori Adams (t) Vermillion Valley Show Chorus Jenelle Lambert (l) Melodeers Chorus Janet Masters (bt) Choral-Aires Chorus Debbie Lee (bs) Choral-Aires Chorus Songs: Smile Medley (C. Hine); All the Way (T. Gentry)

Third Place

Chicago Mix • Score: 573 (Melodeers Chorus) Number of Competing Quartets: 16

Second Place

By Request • Score: 585 (Yahara River Chorus, River City Sound Chorus)

First Place Prism

Choruses First Place

River City Sound Chorus Joan Boutilier, Director Score: 623 • 36 on stage Songs: All the Way (T. Gentry); No No Nora (C. Hine)

Second Place

First Place River City Sound Chorus

Midwest Crossroad Chorus Tori Hicks, Director Score: 616 • 43 on stage

Third Place

Great Lake Sound Chorus Carol Thompson, Director Score: 559 • 28 on stage

Division A

Great Lake Sound Chorus Carol Thompson, Director Score: 559 • 28 on stage Songs: Auld Lang Syne (C. Hine); I’m Looking Over/It’s a Good Day Medley (J. Arns)

Division AA Division A Great Lake Sound Chorus

River City Sound Chorus Joan Boutilier, Director Score: 623 • 36 on stage Songs: All the Way (T. Gentry); No No Nora (C. Hine)

Most Improved Chorus

East Central Harmony Chorus Becky McDuffee, Director Score: 419 (+1) • 16 on stage Number of Competing Choruses: 14 Photos: Jon Read Photography

Division AA River City Sound Chorus

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| July 2019

Region #4

Regional Results 2019 Harmony Heartland

Quartets First Place

Infinity • Score: 627 Kellie Phifer (t) K-Town Sound Show Chorus Leah Christian (l) K-Town Sound Show Chorus Joy Sullentrop (bt) Cincinnati Sound Chorus Kris Wheaton (bs) Chapter-at-Large, Region #4 Songs: If I Had My Way (D. Harrington); ‘Deed I Do/Put Your Arms Around Me Honey Medley (J. Bescos)

First Place Infinity

Third Place

Adrenaline • Score: 591 (TuneTown Show Chorus; Coastline Show Chorus; Chapter-at-Large, Region #8; Chapter-at-Large, Region #21) Number of Competing Quartets: 24

Second Place

Don’t Call Me Shirley • Score: 615 (TuneTown Show Chorus)

Choruses First Place

Metro Nashville Chorus Kim Wonders, Director Score: 662 • 46 on stage Songs: If Ever I Would Leave You (C. Hine); Oh, Look at Me Now! (A. Dale)

Second Place First Place Metro Nashville Chorus

Pride of Kentucky Chorus Debbie Hite, Director Score: 651 • 62 on stage

Third Place

Scenic City Chorus Jennifer Cooke, Director Score: 621 • 66 on stage

Division A

K-Town Sound Show Chorus Kellie Phifer, Director Score: 508 • 22 on stage Songs: Where Does the Time Go? (N. Bergman); I Can’t Give You Anything but Love/L-O-V-E Medley (N. Bergman)

Division A K-Town Sound Show Chorus

Division AA

Metro Nashville Chorus Kim Wonders, Director Score: 662 • 46 on stage Songs: If Ever I Would Leave You (C. Hine); Oh, Look at Me Now! (A. Dale)

Most Improved Chorus Capital City Chorus Kim Newcomb, Director Score: 580 (+34) • 48 on stage

Number of Competing Choruses: 17 Photos: Jon Read Photography

Division AA Metro Nashville Chorus

July 2019 |

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Region #5

Regional Results 2019 Spirit of the Midwest

Quartets First Place

Take 4 • Score: 616 Melissa VanHousen (t) Chapter-at-Large, Region #5 Chacey Rembecki (l) Chapter-at-Large, Region #5 Kristen Drummond-Mance (bt) Vocal Standard Chorus Wendy Spilker (bs) Women of Note Chorus, Region #9 Songs: Love Letters (S. Delehanty); Anything Can Happen If You Let It (N. Bergman)

Third Place

Fever! • Score: 596 (Lincolnaire Chorus, Acappella Omaha Chorus, Chapter-at-Large, Region #8; Chapter-atLarge, Region #5) Number of Competing Quartets: 13

Second Place First Place Take 4

Eclipse • Score: 604 (Chapter-at-Large, Region #5)

Choruses First Place

River Blenders Chorus Diane Huber, Director Score: 624 • 77 on stage Songs: I Never Knew/You Were Meant for Me Medley (R. Craig); You Don’t Know Me (C. Walker, E. Arnold)

Second Place First Place River Blenders Chorus

Metro Mix Chorus Beverly Hamilton, Director Score: 599 • 45 on stage

Third Place

Kansas City Chorus Michelle Hunget, Director Score: 589 • 54 on stage

Division A

Topeka Acapella Unlimited Chorus Susan Ives, Director Score: 495 • 28 on stage Songs: Sing Me That Song Again (E. Waesche); The Trolley Song (D. Wright)

Division AA Division A Topeka Acapella Unlimited Chorus

Metro Mix Chorus Beverly Hamilton, Director Score: 599 • 45 on stage Songs: My Foolish Heart (S. Alsbury); Alexander's Ragtime Band (B. Beck)

Most Improved Chorus

Sound Celebration Chorus Terry Ludwig, Director Score: 563 (+32) • 36 on stage Number of Competing Choruses: 17 Photos: Jon B. Petersen Photography

Division AA Metro Mix Chorus

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| July 2019

Region #6

Regional Results 2019 Northern Lights

Quartets First Place

Spice • Score: 622 Angela Blackwood (t) Chapter-at-Large, Region #6 Heidi Dick (l) City of Lakes Chorus Liz Miller (bt) City of Lakes Chorus Jan Rick (bs) City of Lakes Chorus Songs: Come Take Your Place in My Heart (J. Clancy); Bye Bye Baby/Baby Won’t You Please Come Home Medley (C. Pernert)

First Place Spice

Third Place

Upbeat • Score: 554 (City of Lakes Chorus) Number of Competing Quartets: 9

Second Place

Affinity • Score: 569 (Spirit of Harmony Chorus)

Choruses First Place

City of Lakes Chorus Scott Kvigne, Director Score: 701• 90 on stage Songs: He Was There (N. Bergman); Hot Time in the Old Town (R. Craig)

Second Place First Place City of Lakes Chorus

Spirit of Harmony Chorus Judy Weipert, Director Score: 594 • 30 on stage

Third Place

Sounds of Superior Chorus Jason Scriver, Director Score: 563 • 42 on stage

Division A

Spirit of Harmony Chorus Judy Weipert, Director Score: 594 • 30 on stage Songs: All the Way (B. Graham); How Many Hearts Have You Broken? (J. Arns)

Division AA Division A Spirit of Harmony Chorus

Sounds of Superior Chorus Jason Scriver, Director Score: 563 • 42 on stage Songs: If I Give My Heart to You (J. Clancy); My Baby Just Cares for Me (N. Bergman)

Most Improved Chorus

Sounds of Superior Chorus Jason Scriver, Director Score: 563 (+97) • 42 on stage Number of Competing Choruses: 13 Photos: Jon Read Photography

Division AA Sounds of Superior Chorus

July 2019 |

29

Region #8

Regional Results 2019 Rocky Mountain

Quartets First Place

Ruby Blue • Score: 618 Cindy Wadsley (t) Skyline Chorus Rebecca Richards (l) High Country Chorus Heather Tavel (bt) High Country Chorus Joceyln Nguyen-Reed (bs) Chapter-at-Large, Region #8 Songs: Baby Mine (A. Reimnitz); Jazz Me Blues (A. Minnhane)

Third Place

Escapade • Score: 594 (High Country Chorus, Chapter-at-Large, Region #8) Number of Competing Quartets: 23

Second Place First Place Ruby Blue

Fringe • Score: 596 (Chapter-at-Large, Region #8)

Choruses First Place

Skyline Chorus Vickie Maybury, Director Score: 728 • 122 on stage Songs: The Nearness of You (A. Reimnitz); Strike Up the Band (D. Wright)

Second Place First Place Skyline Chorus

Velvet Hills Chorus Darin Drown, Director Score: 637 • 71 on stage

Third Place

Bella Voce Chorus Anna-Lisa Glad and Jeana Womble, Director Score: 574 • 30 on stage

Division A

Bella Voce Chorus Anna-Lisa Glad and Jeana Womble, Directors Score: 574 • 30 on stage Songs: No One Cares (N. Bergman, S. Alsbury); Doctor Jazz/Jazz Holiday Medley (M. Coffman, B. Sellers)

Division AA Division A Bella Voce Chorus

Mountain Jubilee Chorus Stevie Dugdale, Director Score: 527 • 34 on stage Songs: Love Letters (C. Healey); I Just Found Out About Love (B. Beck)

Most Improved Chorus

Grand Mesa A Cappella Chorus Colette Mayers and Susanna Sorensen, Directors Score: 464 (+28) • 22 on stage Number of Competing Choruses: 13 Photos: Jon Read Photography

Division AA Mountain Jubilee Chorus

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| July 2019

Region #9

Regional Results 2019 Coastal Harmony

Quartets First Place

Ringtones • Score: 613 Abbie Owens (t) Toast of Tampa Chorus Janelle Young (l) Chapter-at-Large, Region #9 Lana Owens (bt) Toast of Tampa Chorus Gari Brindle (bs) Toast of Tampa Chorus Songs: He Was There (N. Bergman); Goody Goodbye (G. Avener)

Third Place

LadyBug • Score: 598 (A Cappella Bay Show Chorus, Chapter-at-Large, Region #9) Number of Competing Quartets: 23

Second Place

Duly Noted • Score: 611 (Toast of Tampa Chorus, Spirit of the Gulf Chorus)

First Place Ringtones

Choruses First Place

Spirit of the Gulf Chorus Karen Breidert and Deanna Kastler, Directors Score: 668 • 105 on stage Songs: The Song’s Gotta Come from the Heart (D. Wright); Auld Lang Syne (C. Hine)

Second Place First Place Spirit of the Gulf Chorus

O-Town Sound Chorus Kay L. Webb, Director Score: 608 • 33 on stage

Third Place

South Florida Jubilee Chorus James Kastler, Director Score: 581 • 39 on stage

Division A

A Cappella Bay Show Chorus Denise R. Helbig, Director Score: 570 • 29 on stage Songs: I Can’t Give You/Flyin’ High Medley (N. Bergman); There Goes My Heart (N. Bergman/L. Steinkamp)

Division AA Division A A Cappella Bay Show Chorus

O-Town Sound Chorus Kay L. Webb, Director Score: 608 • 33 on stage Songs: Time After Time (J. Arnes); When the Red, Red Robin Goes Bob, Bob Bobbin’ Along (G. Volk)

Most Improved Chorus

Southern Company Chorus Linda Versoza, Director Score: 492 (+37) • 22 on stage Number of Competing Choruses: 14 Photos: Jon Read Photography

Division AA O-Town Sound Chorus

July 2019 |

31

Region #10

Regional Results 2019 Great Gulf Coast

Quartets First Place

Essence • Score: 608 Katarina Pano (t) Chapter-at-Large, Region #10 Melissa Linnenburger (l) Rich-Tone Chorus Kerry Parker (bt) Alamo Metro Chorus Tianna Coffey (bs) Chapter-at-Large, Region #10 Songs: ‘Deed I Do (L. Wright); Time After Time (J. Arns)

Third Place

Fusion! • Score: 553 (A Cappella Unlimited Chorus, Alamo Metro Chorus) Number of Competing Quartets: 13

Second Place

Saving Grace • Score: 601 (A Cappella Unlimited Chorus, Chapter-at-Large, Region #10)

First Place Essence

Choruses First Place

The Woodlands Show Chorus Betty Clipman, Director Score: 683 • 64 on stage Songs: Love Letters Straight From Your Heart (J. Arns); I’m Looking Over a 4-Leaf Clover/ It’s a Good Day Medley (J. Arns)

Second Place First Place The Woodlands Show Chorus

Alamo Metro Chorus Ryan Heller, Director Score: 617 • 46 on stage

Third Place

A Cappella Unlimited Chorus Kathryn Dane, Director Score: 596 • 23 on stage

Division A

A Cappella Unlimited Chorus Kathryn Dane, Director Score: 596 • 23 on stage Songs: The Way You Look Tonight (M. Hale); This Can’t Be Love (D. Wright)

Division A A Cappella Unlimited Chorus

Division AA

Alamo Metro Chorus Ryan Heller, Director Score: 617 • 46 on stage Songs: The Sunshine of Your Smile (T. Gentry); Smile Medley (C. Hine)

Most Improved Chorus Sparkling City Chorus Kathy Littlefield, Director Score: 425 (+47) • 16 on stage

Number of Competing Choruses: 17 Photos: Jon Read Photography

Division AA Alamo Metro Chorus

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| July 2019

Region #11

Regional Results 2019 Sequoia Pacifica

Quartets First Place

SwingTime • Score: 637 Sally McLeish (t) Agoura Hills Harmony Chorus Shawnna Allen (l) Carpe Diem Chorus Courtney Anderson-Georges (bt) Carpe Diem Chorus Susan Kegley (bs) Carpe Diem Chorus, Pacific Sound Chorus, Region #13 Songs: I Wanna Be Around (J. Giallombardo); Kiss Me Goodnight (B. Graham)

Third Place

Vixen • Score: 586 (Santa Monica Chorus, Harborlites Chorus, Region #21, Chapter-at-Large, Region #11) Number of Competing Quartets: 12

Second Place First Place SwingTime

Gotta Sing! • Score: 598 (Santa Monica Chorus)

Choruses First Place

Santa Monica Chorus Laura Pallas Singer, Director Score: 651 • 44 on stage Songs: A Nightingale Sang in Barkeley Square (J. Bescos); How Many Hearts Have You Broken? (J. Arns)

Second Place First Place Santa Monica Chorus

Verdugo Hills Chorus Tammy Ragsdale, Director Score: 586 • 51 on stage

Third Place

Agoura Hills Harmony Chorus Monica Tautkus, Director Score: 539 • 36 on stage

Division A

RiverOaks Chorus Theresa Schonbach, Director Score: 470 • 23 on stage Songs: You Are My Sunshine (V. Uhr); Liar Medley (R. Craig)

Division AA Division A RiverOaks Chorus

Santa Monica Chorus Laura Pallas Singer, Director Score: 651 • 44 on stage Songs: A Nightingale Sang I Barkeley Square (J. Bescos); How Many Hearts Have You Broken? (J. Arns)

Most Improved Chorus Santa Monica Chorus Laura Pallas Singer, Director Score: 651 (+49) • 44 on stage

Number of Competing Choruses: 11 Photos: Wyeth Lilley

Division AA Santa Monica Chorus

July 2019 |

33

Region #12

Regional Results 2019 Pacific Shores

Quartets First Place

RetroActive • Score: 650 Andi Giles (t): Pacific Empire Chorus Stephanie Beard (l): Pacific Empire Chorus Patty Pennycook (bt): Pacific Empire Chorus Susan Smith (bs): Pacific Empire Chorus Songs: I’ve Got a Feeling I’m Falling (L. Wright); If I Were the Only Girl I the World (L. Wright)

Third Place

Verve • Score: 585 (Bay Area Showcase Chorus, Diablo Vista Chorus, Chapter-at-Large, Region #12) Number of Competing Quartets: 23

Second Place First Place RetroActive

LiveWire • Score: 604 (Diablo Vista Chorus, Mission Valley Chorus)

Choruses First Place

Pacific Empire Chorus Patty Pennycock, Director Score: 628 • 41 on stage Songs: If I Had My Way I (D. Harrington); ‘Deed I Do Medley (J. Bescos)

Second Place First Place Pacific Empire Chorus

Song of Sonoma Chorus Sharon Carlson, Director Score: 604 • 54 on stage

Third Place

Mission Valley Chorus Angela Suraci, Director Score: 557 • 59 on stage

Division A

Oregon Spirit Chorus Kathy Scheel, Director Score: 509 • 27 on stage Songs: After I’m Gone (R. Craig); I’ll Be Seeing You (T. Lippincott)

Division AA Division A Oregon Spirit Chorus

Pacific Empire Chorus Patty Pennycock, Director Score: 628 • 41 on stage Songs: If I Had My Way (D. Harrington); ‘Deed I Do Medley (J. Bescos)

Most Improved Chorus

San Francisco Sound Wave Diane Myrick, Director Score: 550 (+28) • 37 on stage Number of Competing Choruses: 16 Photos: Jon Read Photography

Division AA Pacific Empire Chorus

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| July 2019

Region #13

Regional Results 2019 North by Northwest

Quartets First Place

Wink • Score: 622 Kay Keating (t) Chapter-at-Large, Region #13 Melanie McGuire (l) Olympia Chorus Megan Hofkamp (bt) Chapter-at-Large, Region #13 Connie Alward (bs) Grand Olympics Chorus Songs: May I Never Love Again (R. Craig); Put Your Arms Around Me, Honey (A. Dale)

Third Place

Vocalocity • Score: 603 (Alaska Sound Celebration Chorus) Number of Competing Quartets: 24

Second Place First Place Wink

Fourcast • Score: 609 (Harmony Northwest Chorus, Voices Northwest Chorus, Chapter-at-Large, Region #13, Lions Gate Chorus, Region #26)

Choruses First Place

Pride of Portland Ryan Heller, Director Score: 678 • 63 on stage Songs: There is No Greater Love (N. Bergman, R. Heller, J. Minshall); Strike Up the Band/Everybody Step Medley (A. Dale)

Second Place First Place Pride of Portland

Spirit of Spokane Mike Elliott, Director Score: 598 • 35 on stage

Third Place

Northwest Harmony Nancy Kurth, Director Score: 579 • 40 on stage

Division A

Rolling Hills Chorus Lucy Heinkel, Director Score: 555 • 24 on stage Songs: When You Wish Upon a Star (N. Bergman); Seventy-Six Trombones (N. Bergman)

Division A Rolling Hills Chorus

Division AA

Spirit of Spokane Mike Elliott, Director Score: 598 • 35 on stage Songs: I Never Meant to Fall in Love (J. Liles); On the Sunny Side of the Street/Sunny Side Up Medley (N. Bergman)

Most Improved Chorus Sound Harmony Chorus Elizabeth Davies, Director Score: 516 (+76) • 19 on stage

Number of Competing Choruses: 21 Photos: E.R. Lilley Photography

Division AA Spirit of Spokane

July 2019 |

35

Region #14

Regional Results 2019 Heart of the Blue Ridge

Quartets First Place

Presto! • Score: 620 Lindsay Patrick (t) Song of Atlanta Chorus Jennifer Cooke (l) Scenic City Chorus, Region #4 Kathe Schellman (bt) Song of Atlanta Chorus Kay Crouch (bs) Metro Nashville Chorus, Region #4 Songs: I Love Jazz/Take Me Down to the Land of Jazz Medley (D. Wright); When I Fall in Love (D. Wright)

Third Place

Grit & Grace • Score: 582 (Song of Atlanta Chorus, Chapter-at-Large, Region #14) Number of Competing Quartets: 17

Second Place First Place Presto!

REV’L • Score: 588 (Greater Richmond Chorus)

Choruses First Place

Song of Atlanta Chorus Becki Hine, Director Score: 718 • 73 on stage Songs: Baby Won’t You Please Come Home (C. Hine); Next Time I Love (L. Wright)

Second Place First Place Song of Atlanta Chorus

Carolina Harmony Chorus Susie Smith, Director Score: 616 • 22 on stage

Third Place

Vocal Matrix Chorus Nancy Field, Director Score: 602 • 55 on stage

Division A

Carolina Harmony Chorus Susie Smith, Director Score: 616 • 22 on stage Songs: My Foolish Heart (J. Bescos); Big, Bad Bill is Sweet William Now (J. Arns)

Division AA Division A Carolina Harmony Chorus

Vocal Matrix Chorus Nancy Field, Director Score: 602 • 55 on stage Songs: Time After Time (J. Arns); How Many Hearts Have You Broken? (J. Arns)

Most Improved Chorus

Heart of Columbia Chorus Jamy Claire Archer, Director Score: 524 (+70) • 31 on stage Number of Competing Choruses: 15 Photos: Rich Gorberg, Freeze-Frame Photography

Division AA Vocal Matrix Chorus

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| July 2019

Region #15

Regional Results 2019 Greater NY/NJ

Quartets First Place

Harmony • Score: 642 Diane Duff (t) Greater Nassau Chorus Heidi Wilson (l) Chapter-at-Large, Region #25 Harriette Walters (bt) Greater Nassau Chorus Leigh Anne Dorman (bs) Greater Nassau Chorus Songs: I’m Through With Love (L. Diamond); Good Luck Charm (A. Dale)

Third Place

Perfect Fourth • Score: 587 (Spirit of Syracuse Chorus, Metro Nashville Chorus, Region #4) Number of Competing Quartets: 21

Second Place First Place Harmony

Brown Eyed Girls • Score: 596 (Sirens of Gotham Chorus, Chapter-at-Large, Region #15)

Choruses First Place

Liberty Oak Chorus Katie Blackwood, Director Score: 677 • 91 on stage Songs: When I Fall in Love (D. Wright); After You’ve Gone (R. Craig)

Second Place First Place Liberty Oak Chorus

Harmony Celebration Chorus Scott Brannon, Director; Jeannie Fruelich and Kat Britt, Acting Directors Score: 638 • 49 on stage

Third Place

Sirens of Gotham Chorus Mira Taferner, Director Score: 628 • 37 on stage

Division A

Saratoga Soundtrack Chorus Jenn Hunter, Director Score: 558 • 29 on stage Songs: I Can’t Give You Anything But Love/L-O-V-E Medley (N. Bergman); If You Love Me, Really Love Me (N. Bergman)

Division A Saratoga Soundtrack Chorus

Division AA

Harmony Celebration Chorus Scott Brannon, Director; Jeannie Fruelich and Kat Britt, Acting Directors Score: 638 • 49 on stage Songs: In the Wee Small Hours of the Morning (J. Arns); Make ‘Em Laugh (C. Hine)

Most Improved Chorus Sirens of Gotham Chorus Mira Taferner, Director Score: 628 (+31) • 37 on stage

Number of Competing Choruses: 15 Photos: Jon B. Petersen Photography

Division AA Harmony Celebration Chorus

July 2019 |

37

Region #16

Regional Results 2019 Lake Ontario

Quartets First Place

S.L.A.M! • Score: 620 Linda Morrison (t) Pineridge Chorus, York Harmony Chorus Martha DeClerq (l) York Harmony Chorus Stephanie Foley (bt) North Metro Chorus Annmarie Foley (bs) North Metro Chorus Songs: How Many Hearts Have You Broken? (J. Arns); If Ever I Would Leave You (C. Hine)

Third Place

Walkin’ on Sunshine • Score: 586 (Greater Kingston Chorus) Number of Competing Quartets: 13

Second Place First Place S.L.A.M!

SoundByte • Score: 603 (Image City Sound Chorus, Spirit of Syracuse Chorus, Chapter-at-Large, Region #16)

Choruses First Place

North Metro Chorus Erin Howden, Director Score: 750 • 114 on stage Songs: Hooray for Love (A. Dale); I Will (J. Giallambardo)

Second Place First Place North Metro Chorus

York Harmony Chorus Martha DeClerq, Director Score: 627 • 46 on stage

Third Place

Circle of Harmony Chorus Barbara Hodge, Director Score: 600 • 48 on stage

Division A

Ontario Heartland Chorus Hannah Barton, Director Score: 582 • 28 on stage Songs: Beyond the Sea (E. Gain); Taking a Chance on Love (J. Giallambardo)

Division AA Division A Ontario Heartland Chorus

York Harmony Chorus Martha DeClerq, Director Score: 627 • 46 on stage Songs: What Kind of Fool Am I? (K. Keller); I Love Jazz Medley (D. Wright)

Most Improved Chorus Harmony North Chorus Catherine Robertson, Director Score: 540 (+ 101) • 22 on stage

Number of Competing Choruses: 14 Photos: Jon B. Petersen Photography

Division AA York Harmony Chorus

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| July 2019

Region #17

Regional Results 2019 Great Lakes Harmony

Quartets First Place

Lucille • Score: 624 Erin Cardin (t) Scottsdale Chorus, Region #21 Jennifer Recker (l) Chapter-at-Large, Region #17 Emily O’Brien (bt) Harborlites Chorus, Region #21 Loren Vaughn (bs) Chapter-at-Large, Region #15 Songs: My Melancholy Baby (J. Bescos); Hurray for Love (L. Wright)

Third Place

Surefire • Score: 609 (River Raisin Chorus, Greater Harmony Chorus, Battle Creek Chorus) Number of Competing Quartets: 16

Second Place First Place Lucille

Wicked • Score: 618 (Greater Harmony Chorus, Chapter-at-Large, Region #17)

Choruses First Place

Buffalo Gateway Chorus Diane Porsch, Director Score: 673 • 75 on stage Songs: You’re the Flower of My Heart Sweet Adeline (J. Minshall); Smile Medley (C. Hine)

Second Place First Place Buffalo Gateway Chorus

Greater Harmony Chorus Michael Hengelsberg, Director Score: 622 • 50 on stage

Third Place

Voices In Harmony Chorus Jennifer Jones, Director Score: 598 • 39 on stage

Division A

Lake Ridge Legacy Chorus Dave Smotzer, Director Score: 581 • 29 on stage Songs: Time After Time (D. Wright); Don’t Break the Heart that Loves You (G. Volk)

Division AA Division A Lake Ridge Legacy Chorus

Greater Harmony Chorus Michael Hengelsberg, Director Score: 622 • 50 on stage Songs: The Bandstand in Central Park (N. Bergman); Sailin’ Down the Chesapeake Bay (J. Arns)

Most Improved Chorus Little River Chorus Betsy Fowler, Director Score: 521 (+90) • 21 on stage

Number of Competing Choruses: 17 Photos: E.R. Lilley Photography

Division AA Greater Harmony Chorus

July 2019 |

39

Region #19

Regional Results 2019 Atlantic Bay-Mountain

Quartets First Place

GQ • Score: 668 Amanda McNutt (t) Chapter-at-Large, Region #19 Katie Gillis (l) Chapter-at-Large, Region #19 Ali Hauger (bt) Toast of Tampa Show Chorus, Region #9 Katie MacDonald (bs) Chapter-at-Large, Region #19 Songs: When You’re Smiling (D. Harrington); I’ve Found a New Baby (D. Wright)

Third Place

Famous Janes • Score: 641 (Harbor City Music Company Chorus) Number of Competing Quartets: 21

Second Place First Place GQ

All Fired Up • Score: 666 (Vienna Falls Chorus, Chapter-at-Large, Region #19)

Choruses First Place

Greater Harrisburg Chorus Claire Domenick, Director Score: 685 • 73 on stage Songs: Somewhere Over the Rainbow (C. Hine); This Can’t Be Love (D. Wright)

Second Place First Place Greater Harrisburg Chorus

Valley Forge Chorus Jan Muck, Director Score: 637 • 28 on stage

Third Place

Vocal Harmonix Chorus Lori Jo Whitehaus, Director Score: 615 • 41 on stage

Division A

Valley Forge Chorus Jan Muck, Director Score: 637 • 28 on stage Songs: You’ll Never Know (J. Clancy); Sweet Georgia Brown (G. Avener, J. Spiecker)

Division AA Division A Valley Forge Chorus

Vocal Harmonix Chorus Lori Jo Whitehaus, Director Score: 615 • 41 on stage Songs: Changes Medley (R. Craig, J. Lund); My Foolish Heart (J. Bescos)

Most Improved Chorus

Shades of Harmony Chorus Lori Ludlum, Director Score: 504 (+59) • 23 on stage Number of Competing Choruses: 20 Photos: Job Photography

Division AA Vocal Harmonix Chorus

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| July 2019

Region #21

Regional Results 2019 Golden West

Quartets First Place

C’est la Vie • Score: 606 Caitlin Klemballa (t) Scottsdale Chorus Melanie Esquivias (l) Scottsdale Chorus Krista Moller (bt) Scottsdale Chorus Taylor Daniels (bs) Scottsdale Chorus Songs: If I Had My Way (N. Bergman, D. Harrington); Exactly Like You (S. Kitzmiller)

Third Place

Muse • Score: 582 (OC Sound Chorus, Tucson Desert Harmony Chorus, Chapter-at-Large, Region #21) Number of Competing Quartets: 19

Second Place First Place C’est la Vie

Dragonfly • Score: 596 (Harborlites Chorus)

Choruses First Place

Harborlites Chorus Pam Pieson, Director Score: 723 • 84 on stage Songs: A Bundle of Old Love Letters (J. Bescos); The Trolley Song (D. Wright)

Second Place First Place Harborlites Chorus

Tucson Desert Harmony Chorus Karen Meade, Director Score: 579 • 41 on stage

Third Place

Enchanted Mesa Show Chorus Denise King, Director Score: 552 • 41 on stage

Division A

Simply A Cappella Chorus Topher Keene, Director Score: 520 • 26 on stage Songs: At Last (N. Bergman); Almost There (A. Dale)

Division AA Division A Simply A Cappella Chorus

Tucson Desert Harmony Chorus Karen Meade, Director Score: 579 • 41 on stage Songs: Baby Face (J. Bescos); I Never Meant to Fall in Love (J. Liles)

Most Improved Chorus

Simply A Cappella Chorus Topher Keene, Director Score: 520 (+28) • 26 on stage Number of Competing Choruses: 12 Photos: Rich Gorberg, Freeze-Frame Photography

Division AA Tucson Desert Harmony Chorus

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Region #25

Regional Results 2019 Heart of America

Quartets First Place

Rendition • Score: 602 Tracy Fuller Ferdman (t) Rich-Tone Chorus Kayla Fuller (l) Rich-Tone Chorus Courtney Robinson (bt) Rich-Tone Chorus Teresa Batten (bs) Chapter-at-Large, Region #25 Songs: You Turned the Tables on Me (N. Bergman); Once Upon a Time (J. Dale)

Third Place

Perfect Storm • Score: 572 (Emerald City Chorus) Number of Competing Quartets: 20

Second Place First Place Rendition

Vertigo • Score: 589 (Rich-Tone Chorus, Top of the Rock Chorus)

Choruses First Place

Rich-Tone Chorus Dale Syverson, Director Score: 738 • 91 on stage Songs: On My Own (J. Minshall); South Rampart Street/That’s A Plenty Medley (C. Hine)

Second Place First Place Rich-Tone Chorus

OK City Chorus Mary Rhea, Director Score: 624 • 58 on stage

Third Place

Wichita Chorus Melynnie Williams, Director Score: 601 • 25 on stage

Division A

Wichita Chorus Melynnie Williams, Director Score: 601 • 25 on stage Songs: What’ll I Do (R. Craig); Deed I Do/ Put Your Arms Around Me Honey Medley (J. Bescos)

Division A Wichita Chorus

Division AA

OK City Chorus Mary Rhea, Director Score: 624 • 58 on stage Songs: Can’t Help Lovin’ That Man of Mine (B. Beck); Things Are Looking Up (D. Briner)

Most Improved Chorus

Sooner Sensations Show Chorus Jeff Sykes, Director Score: 500 (+40) • 20 on stage Number of Competing Choruses: 26 Photos: E.R. Lilley Photography

Division AA OK City Chorus

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Region #26

Regional Results 2019 Canadian Maple Leaf

Quartets First Place

No Strings • Score: 624 Stephanie Ball (t) Rhythm of the Rockies Chorus Jennifer Auld-Roach (l) Rhythm of the Rockies Chorus Karri Quan (bt) Lions Gate Chorus Laura Holmes (bs) Rhythm of the Rockies Chorus Songs: I’ll Be Easy to Find (J. Minshall); No, No Norman (C. Hine)

Third Place

VITA • Score: 569 (Westcoast Harmony Chorus) Number of Competing Quartets: 21

Second Place First Place No Strings

Delirium • Score: 608 (Lions Gate Chorus, Alberta Heartland Chorus)

Choruses First Place

Westcoast Harmony Chorus Anne Downton, Director Score: 654 • 52 on stage Songs: All the Things You Are (J. Minshall); I Don’t Care if the Sun Don’t Shine/ Steppin’ Out Medley (N. Bergman)

Second Place First Place Westcoast Harmony Chorus

Gateway Chorus Lisa Greenough, Director Score: 610 • 50 on stage

Third Place

Alberta Heartland Chorus Lisa Hunszinger, Director Score: 577 • 30 on stage

Division A

Alberta Heartland Chorus Lisa Hunszinger, Director Score: 577 • 30 on stage Songs: Bandstand in Central Park (N. Bergman); Ain’t He Sweet/Yes, Sir, That’s My Baby Medley (C. Hine)

Division A Alberta Heartland Chorus

Division AA

Westcoast Harmony Chorus Anne Downton, Director Score: 654 • 52 on stage Songs: All the Things You Are (J. Minshall); I Don’t Care if the Sun Don’t Shine/ Steppin’ Out Medley (N. Bergman)

Most Improved Chorus

Alberta Heartland Chorus Lisa Hunszinger, Director Score: 577 (+10) • 30 on stage Number of Competing Choruses: 14 Photos: Milos Tosic

Division AA Westcoast Harmony Chorus

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Region #31

Regional Results 2019 Quartet of Nations

Quartets First Place

Nightfall • Score: 613 Emma Rollson (t) Heartbeat UK Chorus Alex Bowden (l) Heartbeat UK Chorus Claire Booles (bt) Ignite UK Chorus Ros Kipps (bs) Sheffield Harmony Chorus Songs: The Moment I Saw You (J. Liles); If You Love Me, Really Love Me (N. Bergman)

Third Place

Chaos • Score: 586 (Lacy City Chorus) Number of Competing Quartets: 17

Second Place First Place Nightfall

Sound Central • Score: 601 (Milltown Sound Chorus, Heartbeat UK Chorus)

Choruses First Place

Heartbeat UK Chorus Nancy Kelsall, Director Score: 682 • 73 on stage Songs: Yes, Sir, That’s My Baby/Get Me to the Church Medley (D. Wright, S. Marron); Next Time I Love (L. Wright)

Second Place First Place Heartbeat UK Chorus

Aberdeen Chorus Sophie Radcliffe, Director Score: 638 • 67 on stage

Third Place

No Borders Show Chorus Stuart Sides, Director Score: 635 • 52 on stage

Division A

Milltown Sound Chorus Kim Potter, Director Score: 585 • 24 on stage Songs: Once Upon a Time (J. Dale); Cabaret (L. Wright)

Division AA Division A Milltown Sound Chorus

No Borders Show Chorus Stuart Sides, Director Score: 635 • 52 on stage Songs: When I Fall in Love (D. Wright); This Could Be the Start of Something Big (S. Kitzmiller)

Most Improved Chorus

Mayflower A Cappella Sarah Gill, Director Score: 562 (+78) • 45 on stage

Number of Competing Choruses: 16 Photos: Ian Dearman

Division AA No Borders Show Chorus

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Region #32

Regional Results 2019 Nordic Light

Quartets First Place

Ambush • Score: 662 Erica Anna Forsgren (t) Chapter-at-Large, Region #32 Ann-Louise Svensson (l) Rönninge Show Chorus Karin Sjöblom (bt) Rönninge Show Chorus Eva Stahl (bs) Rönninge Show Chorus Songs: Love Medley (Ya Gotta Know How to Love/ I Can’t Give You Anything but Love (N. Bergman); If I Love Again (E. Waesche and N. Bergman)

First Place Ambush

Third Place

Aska • Score: 609 (Chapter-at-Large, Region #32) Number of Competing Quartets: 19

Second Place

Gig-a-Bite • Score: 616 (Rönninge Show Chorus, Key Town Harmony Chorus)

Choruses First Place

Pearls of the Sound Chorus Rasmus Krigström and Anna Rosenberg, Directors Score: 687 • 54 on stage Songs: I Wish You Love (D. Wright); This Can’t Be Love (D. Wright)

Second Place First Place Pearls of the Sound Chorus

Alba Show Chorus Åsa Fagerström, Director Score: 610 • 49 on stage

Third Place

Gotha Show Chorus Dan Molloy and Marie Ronstadt, Directors Score: 605 • 111 on stage

Division A

Farsta Harmony Bell Chorus Anniet Holm, Director Score: 492 • 23 on stage Songs: I’ve Got a Feeling I’m Falling (N. Bergman); A Nightingale Sang in Berkeley Square (J. Bescos)

Division AA Division A Farsta Harmony Bell Chorus

Pearls of the Sound Chorus Rasmus Krigström and Anna Rosenberg, Directors Score: 687 • 54 on stage Songs: I Wish You Love (D. Wright); This Can’t Be Love (D. Wright)

Most Improved Chorus

Gothia Show Chorus Dan Molloy and Marie Rondstadt, Directors Score: 605 (+48) • 111 on stage Number of Competing Choruses: 14 Photos: Dick Gillberg

Division AA Pearls of the Sound Chorus

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Region #34

Regional Results 2019 Southern Cross

Quartets First Place

Enchant • Score: 656 Joanne Oosterhoff (t) A Cappella West Chorus Avril Hughes (l) A Cappella West Chorus Kirsten Richardson (bt) A Cappella West Chorus Lindsey Dyer (bs) A Cappella West Chorus Songs: Changes Medley (B. Sellers); When I Fall in Love (D. Wright)

Third Place

Obsession • Score: 615 (Vocalescence Chorus) Number of Competing Quartets: 23

Second Place First Place Enchant

Debacle • Score: 635 (Brindabella Chorus)

Choruses First Place

Endeavour Harmony Chorus Lea Baker, Director Score: 643 • 66 on stage Songs: Love Letters Straight from Your Heart (J. Arns); My Honey’s Lovin’ Arms (D. Wright)

Second Place First Place Endeavour Harmony Chorus

Brindabella Chorus Glenda Lloyd, Director Score: 628 • 57 on stage

Third Place

Melbourne Chorus Traci Voss, Director Score: 608 • 57 on stage

Division A

Murrumbidgee Magic Chorus Judith Ferguson, Director Score: 506 • 28 on stage Songs: I Guess I Always Will (J. Liles); Hey Mister Stay! (J. Minshall)

Division AA Division A Murrumbidgee Magic Chorus

Brindabella Chorus Glenda Lloyd, Director Score: 628 • 57 on stage Songs: On My Own (G. Lloyd); When the Red, Red Robin Comes Bob, Bob, Bobbin’ Along (G. Volk)

Most Improved Chorus

Coastal A Cappella Chorus Linda Wareham, Director Score: 558 (+14) • 31 on stage Number of Competing Choruses: 17 Photos: Kirsten Graham Photography

Division AA Brindabella Chorus

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Region #35

Regional Results 2019 New Zealand

Quartets First Place

Third Place

ROXY • Score: 633 Elizabeth Moncrieff (t) Wellington City Chorus Jocosa Bruce (l) Greater Auckland Chorus Claire Takacs (bt) Wellington City Chorus Shelley Phillips (bs) Wellington City Chorus Songs: I Never Meant to Fall in Love (J. Liles); Oh, Look at Me Now (A. Dale)

ZEAL • Score: 611 (Christchurch City Chorus) Number of Competing Quartets: 20

Second Place First Place ROXY

Fire & Ice • Score: 618 (Wellington City Chorus, Christchurch City Chorus, Chapter-atLarge, #35

Choruses First Place

Waikato Rivertones Chorus Kate Sinclair, Director Score: 628 • 40 on stage Songs: I’ve Got a Feeling I’m Falling (N. Bergman); Their Hearts Were Full of Spring (A. Dale)

Second Place First Place Waikato Rivertones Chorus

Greater Auckland Chorus Jocosa Bruce, Director Score: 595 • 39 on stage

Third Place

Dunedin Harmony Chorus Robyn Abernethy, Director Score: 542 • 25 on stage

Division A

Foveaux Harmony Chorus Sarah Rae, Director Score: 479 • 23 on stage Songs: This Joint is Jumpin’ (N. Bergman); Time After Time (J. Arns)

Division AA Division A Foveaux Harmony Chorus

Waikato Rivertones Chorus Kate Sinclair, Director Score: 628 • 40 on stage Songs: I’ve Got a Feeling I’m Falling (N. Bergman); Their Hearts Were Full of Spring (A. Dale)

Most Improved Chorus

Greater Auckland Chorus Jocasa Bruce, Director 595 (+5) • 39 on stage Number of Competing Choruses: 8 Photos: Clive Copeman Photography

Division AA Waikato Rivertones Chorus

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Regional Results 2019

2019 Wildcard Quartets

Duly Noted

Region #1 Saffron • Score: 612 Christine Bulgini (t) Chapter-at-Large, Region #1 Amanda Fowski (l) Chapter-at-Large, Region #1 Penny Schroeder (bt) Harmony on the Sound Chorus Sue Berry (bs) Chapter-at-Large, Region #1 Songs: I’ve Got a Feeling I’m Falling (N. Bergman); What Kind of Fool Am I? (D. Harrington)

Saffron

Wicked

Region #2 Girl Talk • Score: 617 Staci Slamka (t) Chapter-at-Large, Region #2 Holli Slamka (l) Chapter-at-Large, Region #2 Kathryn Summers (bt) Motor City Blend Chorus Kendra LaPointe (bs) Chapter-at-Large, Region #2 Songs: Red, Red Robin Comes Bob, Bob, Bobbin’ (D. Briner); All the Way (T. Gentry)

Girl Talk

All Fired Up

Region #4 Don’t Call Me Shirley • Score: 615 Deb Box (t) Tune Town Show Chorus Becca Grimmer (l) Tune Town Show Chorus Caki Gray (bt) Tune Town Show Chorus Robin Williams (bs) Tune Town Show Chorus Songs: No, No Norman (Parody) (C. Hine); If You Love Me, Really Love Me (Parody) (N. Bergman)

Don’t Call Me Shirley

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Famous Janes

Regional Results 2019 Region #9

Region #32

Duly Noted • Score: 611 Raegan Stauffer (t) Toast of Tampa Chorus Madison Slamka (l) Spirit of the Gulf Chorus Kaley Anna (bt) Spirit of the Gulf Chorus Emily Hitt (bs) Spirit of the Gulf Chorus Songs: Somewhere Over the Rainbow (C. Hine); Love Medley (N. Bergman)

Gig-a-bite • Score: 616 Annika Christensen (t) Key Town Harmony Chorus Jeanette Gellervik (l) Rönninge Show Chorus Kirsten Braun (bt) Rönninge Show Chorus Marie Henriksson-Jalonen (bs) Rönninge Show Chorus Songs: Love Medley (N. Bergman); If I Love Again (E. Waesche, N. Bergman)

Gig-a-bite

Region #17

Region #34

Wicked • Score: 618 Nancy Conway (t) Greater Harmony Chorus Katie Accetta (l) Greater Harmony Chorus Alyssa Lang (bt) Chapter-at-Large, Region #17 Allison Hengelsberg (bs) Greater Harmony Chorus Songs: Lulu’s Back in Town (N. Bergman); Lover Come Back (N. Bergman)

Debacle • Score: 635 Georgina Spencer (t) Brindabella Chorus Caitlin Launt (l) Brindabella Chorus Tanya Kavanagh (bt) Brindabella Chorus Glenda Lloyd (bs) Brindabella Chorus Songs: You Turned the Tables on Me (N. Bergman); If Ever I Would Leave You (C. Hine)

Debacle

Region #34

Region #19

Obsession • Score: 615 Jules Beckitt (t) Vocalescence Chorus Nicky McGrath (l) Vocalescence Chorus Avery Vaughn (bt) Vocalescence Chorus Jenifer Howson (bs) Vocalescence Chorus Songs: Between You and the Birds and the Bees and Cupid (A. Dale); There Goes My Heart (N. Bergman, L. Steinkamp)

All Fired Up • Score: 666 Amanda Marshall (t) Chapter-at-Large, Region #19 Alicia Carter (l) Chapter-at-Large, Region #19 Dawn Clifford (bt) Chapter-at-Large, Region #19 Laura Cleverly (bs) Vienna-Falls Chorus, Region #14 Songs: There Goes My Heart (N. Bergman, L. Steinkamp); Between You and the Birds and the Bees and Cupid (A. Dale)

Obsession

Region #19 Famous Janes • Score: 641 Sue Taylor (t) Harbor City Music Company Chorus Jennifer Kuethe (l) Harbor City Music Company Chorus Kathleen Mannherz (bt) Harbor City Music Company Chorus Amanda Clements (bs) Harbor City Music Company Chorus Songs: Sunny Side of the Street (L. Wright); I’ll Be Easy to Find (J. Minshall)

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Accolades As of Feb. 12 through April 16, 2019

DIRECTOR CERTIFICATION PROGRAM Advanced to Approved Director

Judy Pugh, Crystal Chimes, #25 Jamee Billings, Toast of Tampa, #9 Wendy Hoople, Chinook Winds Show, #26 Advanced to Certified Director

IN MEMORY

— Feb. 1, 2019 through April 30, 2019

Helene Purdy, Festival Sounds, #2 Joyce Campbell, Chapter-At-Large, #3 Audrey Mullinnix, Harmony Celebration, #15 Mary Keener, Maple Mountain, #17 Margaret Barnes, Riverlights Harmony, #2 Barbara Spiers, Pride of Kentucky, #4 Sarah Moore, North Metro, #16 Mary Bickner, Vallee de Croix, #6 Patricia Lipscomb, Chapter-At-Large, #19 Thea Prairie, Sounds of Superior, #6

Kathy Myers, Colorado Spirit, # 8

Elaine Hadidiacos, Pride of Baltimore, #19

Jonathan Albertini, Coastal Charisma, #34

Joan Melling, West Shore, #17

Melody Templeton, Hilton Head Shore Notes, #9

Sandie Spain, Spirit of the Lakes, #3

Kimberly Heilbrun, South Florida Jubilee, #9 Melissa Lindholm, Emerald City, #25

Tamah Nakamura, Na Leo Lani, #12 Velma Bridges, San Diego, #21 Patricia Gadow, Yahara River, #3

Jamie Bearden, Note-Ably North Texas, #25

Debbie Pederson, Pacific Edge, #26

Vivien Daley, Christchurch City, #35

Linda Dunn, Lone Star, #10

Robyn Abernethy, Dunedin Harmony, #35

Kathy Shaver, Lake Ridge Legacy, #17

Alison Souter, Aberdeen, #31 Dorothy Main, Aberdeen, #31

Barbara Swenson, OK City, #25 Ann Reynolds, Almost Heaven, # 4 Jenny Lawson, Surrey Harmony, #31

Amy Fleming, Desert High Harmony, #12

Carole LeMoine, Heart O' Wisconsin, #6

Anda van Stegeren, Singing Unlimited, #31

Ina Dow, Chapter-At-Large, #12

Leanne Wheeler, Waikato Rivertones, #35 Jennifer Winsor, Gainesville Harmony, #9 Jason Scriver, Sounds of Superior, #6 Linda Vinall, Onkaparinga Harmony, #34 Harmony 500 Director

Dana Evans, Emerald City, #25 Rowena Harper, Waikato Rivertones, #35

CLASSIFIEDS DIRECTOR WANTED- ISLAND GROVE CHORUS Island Grove Chorus, Region #1, located in Abington, Mass. on Boston’s South Shore, is seeking a director. We are a chorus of 24 women with heart, kindness, a sense of humor and willingness to work hard. We won the Audience Choice Award twice in Open Division. We have a Fall and holiday show every year, and we do many sing-outs throughout the year.

Check us out at islandgrovechorus.org Email Addie at adelene@comcast.net or call 508-864-2676.

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If you are interested in submitting an article for consideration in a future issue of The Pitch Pipe, email communications@sweetadelines.com.

• Articles should be in a Word document, not to exceed 500–800 words and include a byline with chorus/quartet to which you belong • Submitted photographs should be high resolution (300 dpi) in a jpg, tiff, png or pdf format and include names from left to right.

We receive many submissions, and because we publish quarterly, space is limited. Due to production time, article content is determined in advance. If an article is not published immediately after submission, it is kept on file for future issues. It may also be published via social media or in a condensed format in the Harmony Roundup section of the The Pitch Pipe. Articles may be edited for length, style and grammar.

For a complete list of submission guidelines, visit: www.sweetadelines.com/pitchpipemagazine

SAVE THE DATE Oct. 12-17, 2020 75th Diamond Anniversary & 74th Annual International Convention and Competition Louisville, Ky. USA