July 2024 | Volume 78 — No.1 | www.pitchpipemagazine.com.
Sweet AdelineS internAtionAl
Elevating women singers worldwide through education, performance, and competition in barbershop harmony and a cappella music.
The Pitch Pipe
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INTERNATIONAL HEADQUARTERS
Tammy Talbot Chief Executive Officer
Kim Berrey
Editor-in-Chief
Stacy Pratt Staff Writer
Ben Larscheid
Graphic Designer
Joey Bertsch
Staff Photographer
INTERNATIONAL BOARD OF DIRECTORS
May 1, 2024 - April 30, 2025
Mary Rhea, International President
Thérèse Antonini, Immediate Past President
Jeanne d’Arc (JD) Crowe, President-elect
Sharon Cartwright, Secretary
Valerie Taylor, Treasurer
Joan Boutilier Vickie Maybury
Annika Dellås Janice McKenna
Elaine Hamilton Mary Teed
Jenny Harris
EDUCATION DIRECTION COMMITTEE
Marcia Pinvidic, Chair
Joan Boutilier Diane Porsch
Anne Downton Valerie Taylor
EDITORIAL REVIEW BOARD
Joan Boutilier Beth Paul
JD Crowe Kate Towne
Michelle Neller
1.918.665.0894
Advertising
1.918.622.1444 • communications@sweetadelines.com Direct all correspondence, editorial copy and photographs to communications@sweetadelines.com.
Deadlines are 60 days prior to publication. Not all submissions will be published.
All rights reserved.
@SweetAdelineIntl
From Our President
When our kids were young, we were involved in both Boy Scouts and Girl Scouts, making countless memories filled with adventures and discoveries. From mastering the art of fire building to the delicate skill of whittling, from cooking foil dinners to crafting tie dye masterpieces, from playing capture the flag to the challenge of orienteering, every moment was an opportunity for excitement and growth. Hiking became a beloved pastime, where each step was a journey into the unknown, guided by a trusty compass to ensure that we stayed true to our path.
At this year’s International Board of Directors (IBOD) installation, I requested a compass theme to symbolize my goals as international president. Last October, the IBOD and the Sweet Adelines International headquarters leadership team convened with a facilitator to carve out our next strategic plan. The April issue of The Pitch Pipe featured a snapshot of the strategic pillars they developed. These pillars are the guiding stars that will light our path for the next three years. A strategic plan isn't just a roadmap; it's the compass that steers the ship, guiding us toward our destination.
Throughout history, the compass has symbolized guidance, direction, and the spirit of exploration. Originally crafted for navigation, these humble instruments have evolved into powerful symbols of purpose and direction. Just as the needle of a compass unfailingly points north, our Mission and Vision Statements, and Guiding Principles serve as our constant reference, anchoring us to our values and purpose.
The compass symbolizes more than just direction; it embodies unity and collaboration. The Latin origins of the word "compass," meaning "together" and "step," remind us that our journey is shared.
The symbolism doesn't end there. The four cardinal directions (north, south, east, west) intersect, reminding us of the importance of balance and harmony. In a world of diverse perspectives and diverging paths, the compass encourages us to navigate with open minds and open hearts, finding unity in our differences and strength in our shared journey.
As we map out our journey forward, there are exciting stops along the route. This month, our inspiration comes from the Directors and Visual Leaders Seminar (DVLS) in Tulsa, guided on the first day by the expertise of a cappella arranger and producer, Ben Bram. We’re also celebrating the talents of both young voices in the Rising Star Quartet Contest and seasoned performers in the Diamond Division Quartet Contest. Competitors in both contests are certain to sparkle and shine!
In October, Sweet Adelines from around the world will converge in Kansas City, Missouri (USA), fondly known as "the heart of America," for the 76th Annual Sweet Adelines International Convention & Competition. This captivating city boasts a myriad of nicknames — City of Fountains, Barbeque Capital of the World, Cradle of Jazz, Paris of the Plains, City of Music to name a few. Amidst this rich tapestry, we’ll add our own flavor with world-class barbershop harmony. Join us for Monday Funday and educational classes by international champions Lions Gate Chorus (2024) and The Ladies (2023).
The journey of Sweet Adelines remains vibrant and flourishing. Our freshly minted strategic plan will stand as our guiding compass in the years ahead, steering our course and serving as a constant reminder of our objectives.
In harmony,
Mary Rhea
Hello, Sweet Adelines,
The staff members of Sweet Adelines International Headquarters are dedicated to supporting our members. For the next few issues of The Pitch Pipe, I am dedicating this space to introducing you to the headquarters staff by department.
In this issue, I would like to introduce our finance department.
This vital department enables our organization to provide our members with programs and services. Here are just a few of the many duties of the finance department:
• provides choruses with guidance related to establishing standing rules, treasurer duties, and internal controls
• assists members with establishing bank accounts, creating escrow accounts, and navigating investing options
• helps with insurance questions, setting up general ledger accounts and angel funds
• offers direction on charitable activities
• can assist chapters in developing a budget, auditing books, getting credit cards, and doing short/long-term financial planning
• can help chapters set up dues and assessment schedules, create controls for cash disbursements, and provide direction on document retention
We asked the members of our Finance Department to share how working with and for Sweet Adelines International inspires them.
C. Anthony Miller, CPA and Chief Financial Officer
Anthony is responsible for managing Sweet Adelines International’s finances, including financial planning, financial risk management, budget development, record-keeping, and financial reporting. He manages and mitigates financial, compliance, and operational risks with internal controls and monitoring. He supervises the finance, membership, and information technology departments. Anthony is also a member of the Sweet Adelines International leadership team and assists the CEO on various projects as necessary.
Anthony says, “Working for Sweet Adelines International is an absolute treat. It’s rare to find a job you truly enjoy showing up to each day and I have that. We have a great IBOD, brilliant staff leadership, a wonderfully supportive team, and, most importantly, the best members around!”
From Our CEO
Deb Debolt, Accounting Manager
Deb performs a variety of financial functions involving the general ledger system through to financial statements. To keep it simple, Deb keeps the accounting system working! Deb has been an employee of Sweet Adelines International for multiple decades and she says she loves working for Sweet Adelines International because of her “great teammates and our great members.”
Nancy Short, Accounting Coordinator
Nancy assists treasurers in their various roles as officers of the chorus. She posts payments that come in via the mail and processes outgoing checks to members and vendors. She also answers questions pertaining to the filing of IRS 990 and the submission of the annual audits.
Nancy says she loves working for Sweet Adelines International because “of the members’ grace, patience, and kindness. I believe they acquire these traits from the happiness that singing brings to them. I am overwhelmed and speechless when it comes to putting into words the joy these people bring into my life. They are certainly one of a kind and unique to this world in this day and age. I am truly blessed to be a part of this great organization.”
The Finance Department internally closes all financial statements and completes the annual audit report and the annual 990. They develop internal controls to safeguard assets and reconcile and invest our assets in the most productive, and proactive, methods possible. They are a small but mighty team that has a single goal…protect the financial longevity of our members' financial resources!
To find out more about the work of the finance department, contact them at finance@sweetdelines.com.
In harmony,
Tammy Talbot
Scoresheets: Read ‘em and weep… Or read ‘em
and leap!
Get the most from your scoresheets using the JCDB
We’ve all been there. The contest just ended, the winners were announced…and your name wasn’t called. You can’t believe this because you just gave your best performance ever! You need to get your hands on those scoresheets, find out where you placed, and read what the judges had to say about your performance. You collect them and, in the privacy of your hotel room, you read the sheets aloud. As you hear the comments, you realize that a pattern is emerging. You begin to speculate: "Do you think they gave us the wrong sheets? That sounds like what we were told last year when our scores were higher!" Sound familiar?
It’s natural to feel disappointment after working so hard to improve your scores from previous competition performances. A little weeping may commence! Ultimately, despite being unhappy with the results, you congratulate yourself for the good comments you received and the sheets go in a drawer to be analyzed later. Except “later” never happens. I speak from experience!
A great way to use your scoresheets as a tool for improvement is to take a look at the Judging Category Description Book (JCDB), the 127-page document that describes each category. Judges are trained using the JCDB. It outlines the standards they use to adjudicate competition. From the JCDB preface: “This Judging Category Description Book deals with the barbershop music and performance qualities that provide the strongest basis for competition success in a barbershop contest.”
The JCDB is the ONLY judging resource document and is the measurement by which all contest performances are adjudicated. Our judges go through rigorous testing, training, continuing education, and ongoing evaluation in their respective categories. And, while a few elements apply to all four categories, each category has its own unique characteristics. The JCDB also contains exceptional narratives and information about vocal skills and vocal production.
The JCDB can be found on the Sweet Adelines website under the Education tab (make sure you are logged in as a member). It may seem a bit daunting, but reading it alongside your scoresheet can be extremely educational.
Many competitors don’t recognize that the scoresheets are more than just an evaluation of a 6-minute performance. Scoresheets provide a significant roadmap for elevating your ongoing level of performance. Much like good driving directions to a new, unknown location, scoresheets contain a wealth of information about what needs to happen vocally and visually to achieve your goals. If they are just collecting dust in a drawer somewhere, you do yourself and the judging panel a disservice.
Go get those scoresheets and sit down with them alongside the JCDB.
Read through one category scoresheet at a time, then read the category description in the JCDB, and use the category guidelines on Pages 125-128, which are great summaries for each category by level. What are you seeing as areas you are doing well? What are areas that you know you are working on still? You may also contact judges to help clarify scoresheet comments or review your scoresheets with a trusted coach or mentor.
You might watch your performance video with your coach or mentor and ask them to point out parts that coincide with comments on the scoresheets. Was one category significantly lower than the others? Is there a pattern in the comments across the vocal skills sections in multiple categories, for example, vocal production or unity? Asking these questions can help you start to plan how to improve in the upcoming year.
So don’t let contest day be the last time you read your scoresheets! You will discover a better level of understanding about our barbershop craft and how it applies to where you are in your journey. Use the scoresheets as a springboard to your next steps to achieving greater personal satisfaction with your group's performance and skills. Go ahead…take the leap!
Patti Burklund is a Sweet Adelines International Certified Expression Judge, assistant director of Song of Seattle Chorus, and sings baritone with PrimeTime Quartet.
K“A Huge Difference In My Life”
Sweet Adelines International donor Kathy Roberts
athy Roberts grew up surrounded by music. Her father’s informal barbershop quartet rehearsed at her family home, and her mother was a music lover.
“We had a little one of those box Hi-Fis in the living room, and I was always hearing soundtracks from movies and plays and that late 1940s/1950s music,” she recalls. “Early on, I learned how to sing along and make my parents' friends laugh and say, ‘Oh, how cute. Isn't that lovely?’”
Kathy is a born performer, but at an early age, she learned not everyone appreciates a little girl – or a woman – with a big voice. After singing with a local children’s choir, she overheard one of the adults tell someone else, “Gee, she just sings a little too loud.”
Slowly, she drifted away from singing. She tried playing instruments, but it wasn’t for her. By the time she went to college and started her career, making music was no longer part of her life. Fortunately for Sweet Adelines International, she found the place where her strong voice is appreciated – literally and figuratively.
“My aunt, Edie Roberts, sang in Melodeers as I was growing up,” Kathy says. “My mom would say I should go sing with her, but at that point in my young life, Sweet Adelines didn’t seem ‘cool.’ If I had my life to live over again, I'd get into Sweet Airlines a lot faster, though. A lot younger.”
Even after Aunt Edie retired from Sweet Adelines, the family still attended Melodeers shows, including a fateful one in 1979.
“We went to one of their outdoor singing engagements, and I really liked what I heard,” Kathy says. “As shy as I was about meeting new people, I didn’t want to visit their rehearsal by myself but I didn’t want my mom to come with me. She had a friend in the chorus, and I finally agreed to go with her to a Melodeers rehearsal. Karen Breidert was the director, and the moment you see her in action or meet her, you're just hooked. There's no way out of it. You're in. I had a great time.”
The little girl with a “loud” voice had grown up to join Melodeers Chorus, where she sang lead, of course! She later spent ten years in Choral-Aires Chorus, followed by a stint off the risers but still volunteering while she lived in St. Louis, Missouri (USA), to care for her parents and pursue her career. Wanting to retire “somewhere warm,” she moved to Florida, where she now sings bass with Spirit of the Gulf Chorus.
“When I first joined, I was a fast-track administrative person because I was a CPA (Certified Public Accountant) by trade,” she
says, “My second year, I ran for the chorus board and became the treasurer. The next year, our president had to move away unexpectedly, and I became the president for a year!”
Kathy continues to volunteer for her chorus and region, but these days, she focuses on music. Health problems have kept her from competition for the last few seasons, but she hopes to make the risers for international competition in Kansas City.
“I'm turning 75 this fall, and I want to make this my swan song competition,” she says.
As a financial professional, Kathy understands what it takes to keep an organization like Sweet Adelines International financially healthy. She has established an estate gift designated for the Greatest Need Fund. In addition to the Greatest Need Fund, gifts can be directed to Education, Young Singers, the Judging Program, or several other areas. Donors providing written documentation that they have named Sweet Adelines International in their estate plan are recognized as members of the Nancy Bergman Legacy Society.
“I feel like mine is a grassroots donation, but at least I've got something I can leave for this wonderful organization that I love so much,” she says.
What is it that she loves?
“As much as I love music and barbershop and competing and being in the limelight, the friendships are my most important thing about this great organization,” she says. “I’ve had a wonderful time traveling around the world, both for competition and on singing trips like going to Scotland where my ancestors are from, going on the BUZZ Harmony Cruise, and singing with the Choral-Aires at Carnegie Hall.”
The education she has received has also been important to her.
“I also have to say a good word for education,” she says. “It took me 40 years to learn how to sing properly, but I did it, slowly but surely, through Sweet Adelines education. I am so grateful for the time I've gotten to spend doing the things that we do in Sweet Adelines…not just the singing, but all the other stuff that goes with it. It’s just made a huge difference in my life.”
If you would like to include Sweet Adelines International in your estate plan, please contact Susan Smith, chief philanthropy and adminisrative officer at susan@sweetadelines.com.
Song Evaluation Updates
YES: NOTE
(song is admissible, but there is notable information regarding its history)
Come Follow the Band Journey to the Past Pfft! You Were Gone
Did you know? Contest Scores & the SAT
These songs’ rating have changed since April 2024 to the rating listed below. For details on the new rating, visit the Song Assessment Tool (SAT) page on the Sweet Adelines website to log into the Song Evaluation Database (SED).
YES: CAUTION (song is admissible only with required action)
All of these songs remain YES: CAUTION, but additional notes and references added.
Shanghai (Why Did I Tell You I Was Going To)
1. The non-race “DEI Categories” listed in the SongEvaluation Database and the related notes in the“Additional Questions to Consider” section of song Research Documents and Arrangement Notes do not in any way affect admissibility and do not impact contest scores.
2. YES: Note does not in any way impact contest scores.
3. YES: Lyrics & YES: Caution may impact contest scores (and/or result in disqualification) only if the noted required actions are not followed.
Regional Results 2024
B+ and Above Choruses
Sweet Adelines congratulates and recognizes the accomplishments of all competing choruses. During the 2024 regional competition season, these choruses earned B+ scores (592) and above. Choruses receiving a score of 700 or higher are marked by an asterisk.
Harmony on the Sound Chorus, #1
Millennium Magic Chorus, #1
Merrimack Valley Chorus, #1
London Chorus, #2
Shoreline Sound Chorus, #2
Choral-Aires Chorus, #3
Great Lake Sound Chorus, #3
Midwest Crossroad Chorus, #3
Cincinnati Sound Chorus, #4
Capital City Chorus, #4
Scenic City Chorus, #4
Diamond Jubilee Chorus, #4
Vocal Standard Chorus, #5
Metro Mix Chorus, #5
Fox Valley Chorus, #6
Bella Voce Chorus, #8
Toast of Tampa Chorus*, #9
Sound of Sunshine Chorus, #9
Women of Note Chorus, #9
Alamo Metro Chorus, #10
Houston Horizon Chorus, #10
Crescent City Sound Chorus, #10
Verdugo Hills Chorus, #11
Diablo Vista Chorus, #12
Oregon Spirit Chorus, #12
Jet Cities Chorus, #13
Spirit of Spokane Chorus, #13
Alaska Sound Celebration Chorus, #13
Voices Northwest Chorus, #13
Queen Charlotte Chorus, #14
Greater Nassau Chorus, #15
Harmony Celebration Chorus, #15
Greater Kingston Chorus, #16
Circle of Harmony Chorus, #16
Buffalo Gateway Chorus, #17
Greater Cleveland Chorus, #17
Harbor City Music Company Chorus*, #19
Dundalk Chorus, #19
Scottsdale Chorus*, #21
OC Sound Chorus, #21
Enchanted Mesa Show Chorus, #21
Rich-Tone Chorus*, #25
OK City Chorus, #25
Gateway Chorus, #26
Alberta Northern Lights Chorus, #26
Rhythm of the Rockies Chorus, #26
Forth Valley Chorus, #31
Heartbeat UK Chorus, #31
Vocal Dimension Chorus, #31
Phoenix Chorus, #31
Ignite UK Chorus, #31
Pearls of The Sound Chorus, #32
Redland Rhapsody Chorus, #34
Circular Keys Chorus, #34
A Cappella West Chorus, #34
Perth Harmony Chorus, #34
Wellington City Chorus, #35
Stay tuned for the exciting next phase of our mission to create a strong and sustainable future for our organization.
The Particulars of Purchasing Sheet Music
Information and advice from arranger Glenda Lloyd
One of the most confusing challenges many Sweet Adelines ensembles face is legally purchasing music. It seems so complicated, and it can seem like everyone you ask has a different answer about what’s required.
The situation becomes even more complex when arrangers retire or pass away and there’s no clear way to access their music. However, legally purchasing sheet music really isn’t too difficult once you understand the process.
Who is involved in the purchasing of music?
Many different people or parties have an interest in the proceeds from purchased sheet music.
The copyright owner: The copyright owner is the owner of the song. Initially, this is usually the composer and lyricist, but those rights can be sold or inherited by others upon the death of the original copyright owner. The copyright owner automatically owns all ‘derivative works’ of the song. A derivative work is any new version created of the song, including arrangements. In other words, every arrangement made by a barbershop arranger still belongs exclusively to the copyright owner.
The publisher: The publisher is a person or business authorised to sell or license sheet music on behalf of the copyright owner. Most copyright owners delegate responsibility for licensing or selling sheet music to a publisher. There may be just one worldwide publisher for a song, or a song may have different publishers in different countries. Publishers may be large publishing houses like Alfred or Hal Leonard, small organisations, or even individuals.
Copyright collectives: Copyright collectives are organisations in each country who manage licences and royalties on behalf of music creators. Examples of copyright collectives include ASCAP or BMI in the USA, APRA/AMCOS in Australia and New Zealand or STIM in Sweden.
The arranger: The arranger is the person or people who created the arrangement of the song. They are rarely the copyright owner of the song unless they are also the composer. If the original song is in the public domain, they may be the
copyright owner of the arrangement but not the original song. Different countries have different public domain laws, so a song and its arrangement may belong to the original copyright owner in one country but be in public domain in another country where the arranger is the copyright owner of the arrangement.
The purchaser: The purchaser is the person or ensemble buying the sheet music.
Has the process changed lately?
The copyright process hasn’t really changed, but our awareness of what to do (and not do) has increased over time.
In the past, arrangers would often get permission from the copyright owner or publisher to become a publisher for their own arrangements of songs. This would allow them to sell their music directly to Sweet Adelines. However, being a publisher could be difficult. Usually, the arrangers had to pre-purchase a specific number of copies or would only have a licence to sell for a specific period or a specific number of copies at an agreed price. Arrangers might pre-purchase songs that were then never sold. Arrangers also needed to be licensed to sell their arrangement in the country of the purchaser, not just their own country.
Licencing wasn’t well understood, and many arrangers operating in good faith didn’t properly follow best practices. Sometimes arrangers sold music without being licensed or sold to ensembles in countries they didn’t have licences for. Often arrangers believed that they owned the arrangement, or thought a song was in public domain when it wasn’t. Arrangers also often charged an ‘arranger’s fee’ which wasn’t authorised by the publisher.
In recent years, publishers have become increasingly reluctant to license individual arrangers to sell their own arrangements. With the advent of email for fast communication and online selling,
they instead ask that arrangers upload their music to online music stores such as Sheet Music Plus, or insist that purchasers license arrangements directly with the publisher.
So, how do we legally purchase an arrangement?
If the song is available through an online publisher such as Sheet Music Plus, you can purchase a licence to make copies of the music directly from them. Typically, online music publishers are licensed to sell music internationally, and the music they sell does not require further clearances, regardless of your country of residence. Some barbershop organisations sell individual sheet music that’s only licensed for particular countries, so you should always check when you purchase from them whether your country is included.
If the arranger is a licensed publisher for your country of residence, you can buy copies of the music directly from them without requiring further clearance. Otherwise, the only way to get legal copies of an arrangement is to contact the publisher within your country of residence and purchase a licence to make the number of physical or digital copies of the sheet music that you need.
How do we get copies of the sheet music?
You will need a clean copy of the sheet music to make copies from. The good news is that if the publisher has given you permission to make copies and you’ve paid the fee, you can get a copy of the sheet music from literally anyone – another chorus, a friend, the learning track creator, a barbershop organisation or the arranger themselves. However, they are not permitted to sell it to you unless they are a licensed publisher themselves. You can also notate the sheet music from learning tracks or a recording of it being performed. If you do notate it yourself, it may be a good idea to send a copy of the sheet music to the publisher for their records.
Obtaining the music this way might feel wrong, but the publisher has given you permission to make the copies and you’ve paid their fee. In most cases the publisher doesn’t care where you got the original piece as long as you’ve paid for the copies you make.
Some individuals and organisations will provide clean copies of sheet music for a fee. They will usually indicate that they are not licensed sellers of the music and that the fee is a handling fee for the service of providing one copy of the music to ensembles for them to use for licensing purposes. They may offer to assist in obtaining a licence, or the ensemble may be wholly responsible for licensing the music themselves. There’s no obligation for ensembles to use these services, even if they indicate that they are representing the arranger or their estate, but you may choose to do so for the convenience.
"...legally purchasing sheet music really isn’t too difficult once you understand the process."
Working with the publisher
The first step is identifying who the publisher is for the song in your country of residence. Most countries have a copyright collective that works on behalf of music creators. Copyright collectives usually have an email address you can contact or even an online search you can access to find the publisher. Many songs have the same name, so to properly identify the song, it’s useful to know the full title of the song, the composer’s name and possibly the performer who made the song famous. If this doesn’t work, you can try contacting the publisher listed at the bottom of the first page of the sheet music, who will most likely direct you to one of the major publishing houses.
Once you’ve identified the publisher, you can contact them and request permission to make the number of copies of the music you want. They will usually respond to your request with a quote for the licence, which could be any amount. Sweet Adelines ensembles have been quoted fees from as little as a few dollars to sums in excess of $2,000 USD. Sometimes permission is refused outright or is only granted for a short period of time or for a specific performance. The publisher may request a copy of the sheet music. This is all within the control of the publisher, although you can of course attempt to negotiate.
Once you’ve reached an agreement and paid the fee, you can go ahead and make the copies of the sheet music.
But, what about the arranger?
Arrangers are essential to our organisation; without them we would have no new music to sing. However, arrangers don’t own their arrangements, and can only claim payment for their arrangements if the publisher specifically allows it. Publishers have little motivation to pay arrangers since their job is to make money for copyright owners, and they see arrangers as customers. Arrangers are significantly underpaid for their time, effort, and skill. It takes years to become a good arranger, but the fruits of their labour – their arrangements – simply don’t belong to them unless they are also the copyright owner. This makes arrangements of public domain songs very appealing for arrangers since they own the copyright to the arrangement and can sell it themselves. There are only a few ways that arrangers can legally accept payments for their arrangements:
• If they are the copyright owner, either by being the composer of the song or arranger of a public domain song.
• If they are a licensed publisher for the arrangement.
• If the publisher has agreed for them to charge an ‘arranger’s fee’ when referring purchasers to the publisher. This is actually very rare. In most cases arrangers have no legal basis for collecting an arranger’s fee.
• If the arranger participates in a publisher’s arranging program such as the ArrangeMe program belonging to Hal Leonard. This program allows arrangers to create arrangements of pre-approved songs on the condition that they are uploaded and then sold through Hal Leonard’s online retailers. Arrangers receive a small percentage of the purchase price, usually 10%. The arrangements are then available to the general public to buy. They cannot be exclusive to an individual ensemble.
Arrangers can also charge a one-time ‘work-for-hire’ fee. This fee is charged to the ensemble that requests the arrangement and provides compensation for the arranger’s time in creating the arrangement. It can be any amount that the arranger wishes to charge but can only be charged one time – not each time the arrangement is purchased. If an arranger creates an arrangement without someone requesting it, their only payment is the enjoyment of hearing it sung. A work-for-hire fee can be charged regardless of whether the arrangement is being cleared through ArrangeMe or directly with the publisher.
Arrangers are often reluctant to charge work-for-hire fees that truly reflect the time and effort that goes into creating new arrangements. Ensembles who are commissioning arrangements should consider properly compensating arrangers to ensure that there’s still plenty of new music to sing.
Do you have an arranger whose music you love to sing? You may not be able to pay them for their arrangement, but you could consider sending them a gift in support of their ongoing work.
Keep the music ringing!
The best way to keep music alive is to sing it! In recent years we’ve lost several key arrangers whose wealth of music has been the backbone of our organisation for so long. Their arrangements have become increasingly difficult to access. It’s a shame to see wonderful music being sung less and less as singers can’t work out how to legally obtain it.
Hopefully this guidance will put you on the path to making sure their music lives on.
This article is not meant to offer legal advice. Please check the laws of your own country when purchasing music
Glenda Lloyd, a songwriter and arranger, is also Master Director of Brindabella Chorus and sings bass with Skylark Quartet. She is the Region #34 copyright and licensing advisor and serves on the Region #34 Education Faculty and Sweet Adelines International Education Faculty.
"Kansas City has a musical history that is second to none..."
- Kansas City Mayor Quinton Lucas
Know Before You Go!
International Convention is right around the corner!
Check out the Sweet Adelines International website for the latest on how to register, educational classes, competition information, fun and exciting opportunities to sing and so much more!
www.sweetadelines.com/kansascity
We've Got Class!
Monday
Monday Funday
Tag Room with 2014 International Champion LoveNotes Quartet
PVIs Under Glass with Peggy Gram or Patty Cobb Baker. Pre-registration required.
Quartet Coaching Under Glass with Dale Syverson, Betty Clipman, Nicky Salt, or Renée Porzel. Pre-registration required.
Regional Management Team Networking Session with the Regional Leadership Committee (by invitation only)
Tuesday
Polishing Your Arrangements: Vertically, Horizontally, and Creatively with Kay Bromert
Beginner ACP Testing with Kay Bromert
DEI Class: Building Harmony: Strengthening Relationships Through Inclusive Dialogue with the DEI Council and Organizational Culture Strategist Justice Waidner Smith
Friday
Enhancing Quartet Performance Through Effective Communication with 2023 International Champion The Ladies Quartet
Saturday
THE imPOSSIBLE DREAM with 2024 International Champion Lions Gate Chorus
World Harmony Chorus
The World Harmony Chorus performs two songs on the international stage on Saturday evening, November 2, just prior to the Chorus Finals Awards Ceremony.
Required rehearsals are Friday, November 1 and Saturday, November 2 from 7 a.m. – 9 a.m. (0700-0900).
ONE representative from each non-competing chorus is invited to join the World Harmony Chorus at the Sweet Adelines International Convention & Competition in Kansas City, Missouri (USA).
All Events Registration to the convention is required, plus just $15 USD to register for World Harmony Chorus. Find details and registration information at www.sweetadelines.com/kansascity.
Harmony Bazaar
Barber-”shop” at Harmony Bazaar! There you’ll find a wide selection of barbershop merchandise from independent vendors as well as Sweet Adelines International Sales. Pick up gifts for new chorus members, matching souvenirs for your quartet, a little something for yourself, or whatever strikes your fancy.
A Cappella West Chorus, Region #34
World Harmony Chorus Director Jo Oosterhoff
"There's something special about Kansas City that captures your heart and never lets go. It's a city of dreams, where anything feels possible." - Paul Rudd
Ever wondered what goes on behind the scenes at International Convention? Be a convention volunteer and find out!
• All Event registration required.
• Must complete a six-hour time commitment.
• Discount off following year’s convention registration rate.
• Detailed information will be sent in mid-July to interested attendees including position descriptions and survey link to indicate availability.
• Email volunteer@sweetadelines.com for questions or to add your name to the list.
Be there from anywhere! International Convention & Competition Webcast!
If you can't be in Kansas City, make plans to watch all the excitement on the International Convention & Competition webcast with our wonderful anchors and correspondents.
Harmony Classic
Cammi MacKinlay and Kim Wonders
Quartet Semifinals, First Session
Jenny Harris and Nicky Salt
Quartet Semifinals, Second Session
Jenny Harris and Kim Newcomb
Chorus Semifinals, First Session
JD Crowe and Lori Dreyer
Chorus Semifinals, Second Session
JD Crowe and Nikki Blackmer
Quartet Finals
Jenny Harris and Caitlin Castelino
Chorus Finals
JD Crowe and Sharon Cartwright
The webcast streams live, but competition performances will be available later on the Sweet Adelines International YouTube channel.
Stay tuned for more information!
Busting Myths Around Visual Communication
Sweet Adelines International’s “new” Visual Communication category isn’t so new anymore – it’s been in effect since October 2021!
The Showmanship Category Revision Task Force was formed in 2020 to review, discuss, and propose revisions to the judging category, with specific goals to make the language clear and understandable for every member in any country or region and to be especially aware and proactive in addressing diversity and inclusion concerns. That task force’s work resulted in the Visual Communication category, which represents a notable shift in performance priorities, embracing individuality, inclusivity, and authenticity to create powerful connections with audiences through genuine expression. Quartets and choruses are adapting to the category with creativity, but some myths remain. We’re here to help dispel some of them!
“Performance is not about looks – it’s about the emotion it evokes,” said Anna Rosenberg, a Certified Visual Communications Judge and International Judge Specialist, who was a member of the Showmanship Category Revision Task Force.
For example, when it comes to makeup, costume and hair styles, Rosenberg said the goal is to communicate with the audience.
“We choose to wear makeup to allow our visual emotions to be more visible on stage to create stronger communication,” she says. “Depending on the intended message, it could include eyelashes and red lipstick or it could be dirt and black eyes if that more effectively communicates the message to the audience. Each performer on stage doesn’t need to look identical, either," she added.
According to the Visual Communication Category description, while the visual aspects of a performance “must be presented in a unified fashion in order for communication to be successfully achieved,” that doesn’t mean “all performers appear as clones of
each other within the performing unit.” Instead, choruses and quartets are invited to choose costumes that reflect their own identity and contribute to the overall emotional narrative of the performance.
This shift promotes inclusivity and celebrates each unique singer in the group.
“Our ensembles consist of performers of all abilities, shapes, colors, sizes and sensibilities,” the judging category description states. “All of our members are encouraged to bring their own unique selves to the stage to contribute to the overall visual picture… Any differences in costume such as hemlines and heel heights become unnoticeable when animated, involved facial expression keeps the audience’s attention focused on the performers’ faces.”
“Visual unity is important, but is it identical clothes that we’re after? No, it’s not,” Rosenberg said. “It has to do with communication – not that you [have] exactly the same makeup, costume or hairdo. There are no rules like that. It’s all about the message.”
Does this mean singers can’t wear identical costumes anymore?
“Of course choruses and quartets can wear identical costumes to create visual unity, but visual unity can be created in many ways when it comes to costumes,” Rosenberg said. “A theme and a message can be established by colors, patterns or different materials. As long as the holistic picture makes sense to the audience, you can choose to be identical or unified in any way you like.”
Choreography as visual communication
Choreography is another valuable tool choruses and quartets can use to promote visual communication. The overall goal of the new Visual Communication category is to create a more natural and
emotionally authentic execution of any visual plan that enhances the visual communication of the character, message, or story in each performance.
Choreography is still an amazing tool for creating visual excitement and drama. The execution of the moves is important. Your body needs to say something. A perfect arm move with no characterization behind it doesn’t communicate a message to the audience; however, an energized arm move creates a feeling in the viewers. That is our focus in all movement, whether the movement is choreographed or natural movement of individual singers.
A strong, unified presentation
One thing that didn’t change in the transition from Showmanship to Visual Communication is the fact that judges never single out performers with disabilities or special needs when
Diablo Vista Chorus (Region 12) wore different costumes in a unified color.
Forth Valley Chorus (Region 31)
wore identical costumes united in the colors of their country’s flag.
evaluating a performance.
Judges do, however, “adjudicate how every member is integrated into the ensemble to create a strong, unified presentation,” according to the Visual Communication category description.
“I don’t think we can say this enough, but judges don’t care about your size, if you have a tattoo, if you sit down, if you need visual aid, if you wear your own jewelry, if you are bald, if you are blind, if your lipstick has a different color, if your shoes have lower heels than the person next to you – we only care about how visually well you communicate with us and how effective connection is,” Rosenberg said.
When asked to give examples of choruses and quartets that demonstrated outstanding Visual Communication in line with the new judging category, Rosenberg provided several photos taken during the 75th Annual International Convention and Competition last year in Louisville, Kentucky (USA).
Vocal Standard (Region 5) wore different costumes united by color scheme and jewelry.
Scioto Valley Chorus (Region 4) wore matching clothing and shoes that enhanced the character established for their performance.
Dynasty Quartet (Region 9) wore different costumes united by color in individual styles for each performer.
Vocal Matrix Chorus (Region 14) wore makeup and costumes created for the characters of their performance.
Clever Girl Quartet (Region 25) wore costumes united by color with individual styles of fabric/material and design.
Brindabella Chorus (Region 34) wore hairstyles and costumes that matched the character of their performance.
As choruses and quartets continue to explore and embrace the updated Visual Communication category, they’ll find new ways to enhance their own performances while contributing meaningfully to all of our Sweet Adelines Guiding Principles.
Katie Fritz joined the Idaho Falls A Cappella Chorus in 2021, and she has served as IFACC membership chair since 2022. She is also a member of the Sweet Adelines International Diversity, Equity and Inclusion Council (DEIC) and is the incoming Membership Coordinator for Region #8.
Anna Rosenberg is Master Director 700 of Pearls of the Sound Chorus (#32) and sings lead in Maverick Quartet. She is a Certified Judge and Judge Specialist in Visual Communication.
W“When we sing together, we bring peace.”
Sweet Adelines International donor Nancy Peterson
e spoke to Nancy Peterson days after she and her Choral-Aires Chorus took first place in the 2024 Region 3 competition, securing their place for the 2025 international competition in Columbus, Ohio. How was the experience?
“Fabulous,” says Nancy. “Our directors are fabulous, and we were really prepared. Both our songs are wonderful Jim Arns arrangements, and our ballad, I've Grown Accustomed To Your Face from My Fair Lady is so beautiful. Our tag is so tender and gentle and it's wonderful.”
Nancy’s words exude love for barbershop music and Sweet Adelines International. That love led her to become a donor, focusing her gifts on the Sweet Adelines International Judging Program and the Scholarship for Directors of Small and Midsize Choruses.
In her 51 years as a Sweet Adeline, Nancy has benefited from the education provided by great judges, directors, and other leaders. She hopes her gifts will help Sweet Adelines become the leaders of the future.
She recently attended another chapter’s show for young singers at which a scholarship was presented.
“It just felt so great to see these young girls singing and enjoying it and already being part of a chorus and earning scholarships for their future,” she says. “Scholarships are so important.”
Reflecting on her own journey as a singer, she recalls what a difference Sweet Adelines International has made in her life.
“In the early 1970s, my baby was a year old, sleeping through the night,” she says. “In those days, of course, mothers were expected to be homebodies. I saw in the newspaper an ad for women who liked to sing. It was once a week, so I thought it would be a good opportunity. While my baby was sleeping, I could get out and see some women of all ages who liked to sing, and I always liked to sing. I went, and I liked it, and I joined.”
A white rabbit was her sign that this once-a-week hobby would become much more.
“I went to my first regional weekend when Dale Syverson was directing in Region 3,” she says. “Their chorus put on a Disney-based performance for the region. She came out dressed as a white rabbit, and I think maybe there was some tap dancing going on. After I saw that, I knew I would be a lifer!”
At the time, Nancy was singing in her first chorus, Lake
County Chorus from Waukegan, Illinois (USA). Moves took her to McHenry County Chorus, and she was there when the Lake County and McHenry County merged into Chain of Lakes Chorus – where she was thrilled to be directed by Jim Arns. She took a break, returned a few years later to sing with Riverport Chorus (then directed by the great Di Porsch), and then went to Melodeers Chorus, where she again had Jim Arns as a director. Eventually, she found her way to Choral-Aires Chorus, where she happily sings lead, as she has for most of her career (she has occasionally sung tenor when needed).
Nancy says the intergenerational and international friendships she’s gained through Sweet Adelines are her favorite part of being in the organization. Along with winning her first gold medal with Melodeers, her favorite memories involve travel and meeting new people.
“A very special memory for me was the year Melodeers and Rönninge Show Chorus both competed at International in Indianapolis,” she recalls. “Rönninge came early from Sweden and did a show for us, and our chorus hosted some of the members in our homes. That was very, very cool, getting to know each other that way.”
Over the years, Nancy has seen many changes in Sweet Adelines International, and she feels hopeful for the future.
“When I joined Sweet Adelines, I didn't realize that people were excluded in the beginning,” she says. “When it was brought to my attention, I thought how wonderful it is that we now go out and make it a point to include everyone. There is more and more emphasis on diversity, and I'm real proud of that.”
After all, she says, music can be a powerful way to bring people together.
“I think that when we sing together, we bring peace.”
To learn how you can support Sweet Adelines International, visit www.sweetadelines.com/give or contact Chief Philanthropy and Administrative Officer Susan Smith, philanthropy@sweetadelines.com or Assistant Director of Philanthropy Becky Duncan, becky@sweetadelines.com.
Conversations for a Rewarding Quartet Journey
music.” Of course, it’s great to sound good together, but there’s so much more to it than that! When we look back to the early days of Lustre almost 20 years ago, we credit our tradition of “commitment conversations” for helping us establish agreements, practices, and habits that created a foundation for a successful quartet adventure.
experience, whether you’re in a new quartet, joining an established quartet, or well down the path of your quartet’s journey.
When to Have Commitment Conversations
committed to “trying it out” for a few months. We checked in with each other in September, deciding to “make it official” by register ing as a Sweet Adelines International quartet. In December 2005, we refined our goals and committed to competition. After the 2006 regional contest (our first), our “commitment conversations” became an annual ritual.
make new commitments to each other and the quartet, and decide whether to re-register with Sweet Adelines for another year. We draft goals and plans, and work during the next year to fulfill them.
we’re “all in” together, and that there will be opportunities to adjust that commitment in the future. It may sound depressing to think about an “off-ramp” for your quartet, but it’s not! Planning a grace ful exit is one of the best ways to remain friends after the journey ends.
Skill Development: What expectations will you have for learning music? How often will you be coached? By whom? Do you have specific skills or categories you want to focus on? How will you address them?
Performances: Where do you want to perform? How often? Will you focus on paid or volunteer performances?
Music: What style of songs do you want to learn and perform? Do you want to focus on barbershop only, or include other styles? Are there types of songs you prefer to avoid?
Image: How do you want to be perceived as a quartet, both by audiences and by fellow Sweet Adelines? What are your priorities around attendance at regional and international events? What cos tumes help with that image? What online presence do you want?
Communication Methods: How will you contact each other be tween rehearsals? Email, phone, text, messaging app, other? How will you use technology like Google Drive or Dropbox, etc., to aid your communications?
Holding regular Commitment Conversations has been a lifeline for Lustre from our earliest days as a chapter quartet, through our
Interpersonal Communication: Can you commit to be kind, open, honest, and respectful with your fellow quartet members? Can you agree not to talk (gossip or complain) about other quartet members without them there? (These rules have gotten Lustre through many challenging times.)
We hope you’ll find this strategy meaningful and helpful !
Lustre Quartet formed in 2005 as a chapter quartet in Region 19's Harbor City Music Company. From being the 10th Place, Novice Quartet at their first regional competition in 2006, to becoming Regional Champions in 2010, to becoming the 2018 International Champions, they have shown the world what it means to stick it out, keep trying, and make your quartet dreams come true. Members are Kate Morrical Towne (tenor), Lori Crouter (lead), Lori Dreyer (baritone), and Jenny Harris (bass).
HarmonyRoundup Harmony Roundup is a place to share your adventures and achievements!
Let us know what your chorus or quartet has been doing in your community. Email your submissions and photos to communications@sweetadelines.com.
Where We Sang:
Bayou Blend Chorus (#10) sang the U.S. national anthem for a University of Louisiana baseball game, and Charleston Sound Chorus (#9) sang it for a South Carolina Stingrays hockey match. Gothia Show Chorus (#32) sang at the Jubileumsfestival celebrating the 400th anniversary of their hometown of Gothenburg, Sweden. Queen Charlotte Chorus (#14) performed at Charlotte SHOUT, an arts festival in Charlotte, North Carolina (USA). Honey Bunches of Notes (#1) sang at the Milford Arts Council open mic in Milford, Connecticut (USA).
How We Sang:
High Desert Harmony (#12) received a generous donation from their local Elks Club (an American fraternal order founded in the 1800s by theater workers). Indian Blue Chorus (#34) performed at Perth Town Hall and His Majesty’s Theatre during Singing in the City in their hometown of Perth, Australia. The event, sponsored by their local chapter of the Australian National Choral Association presented 25 choral performances across the city. San Diego Chorus (#21) performed at the San Diego
SINGS! Concert in La Jolla, California (USA). The full-day event is produced by the Choral Consortium of San Diego, and features fifteen vocal ensembles from across San Diego, California (USA) and Tijuana, Baja California (Mexico). Region 26 secured the “Meet Me Downtown” City of Edmonton and “From Touchdown to Takeoff” Explore Edmonton grants to support their regional convention.
Why We Sang:
Two Region 34 choruses sang for new Australians at their local citizenship ceremonies: Coastal Charisma Chorus at the City of Gold Coast Citizenship Ceremony and Endeavour Harmony Chorus at the Georges River Council Citizenship Ceremony. In celebration of World Down Syndrome Day (March 21), and in honor of a beloved, joyful member of the extended chorus family, Bay Area Showcase Chorus (#12) wore mismatched socks to rehearsal. They wrote, "Everyone’s uniqueness makes the world more beautiful!" Baton Rouge Chorus (#10) sang at the 100th birthday celebration of World War II veteran Nolan "Country" Ruiz on the day Plaquemine, Louisiana (USA) declared Nolan Ruiz Day. Ruiz served as a pilot in the Air Force and spent two years as a prisoner of war in Germany after his plane was shot down.
Sound Celebration Chorus (#5) hosted a table at the Women Entrepreneurs Showcase in Springfield, Illinois (USA).
Lady Shave-Porvoo Chorus (#32) esiintyi Signhild Kempe-Järvensivun taidenäyttelyn Nu och då avajaisissa Helsingin Luckanissa. (Lady Shave-Porvoo Chorus [#32] sang at the opening of Signhild Kempe-Järvensivu's Paintings: Now and Then exhibition at the Luckan Centre in Helsinki, Finland.)
London City Singers (#31) sang for runners and spectators at the London Landmarks Half Marathon.
Vocal Dimension Chorus (#31) performed at the Sing Into Spring concert with the Include.org choir, an ensemble for people with communication needs.
Golden Sands (#11) sang at their local Relay for Life event. Relay for Life recognizes people affected by cancer and supports cancer research.
Dazzling Diamonds Chorus (#25) performed at the 40/29 & Arkansas CW NWA Women's Expo, an event sponsored by a local news affiliate in Bentonville, Arkansas (USA). The theme of the event was “Celebrating Women.”
Gainesville Harmony Show Chorus (#9) spent their 50th anniversary singing at a naturalization ceremony at the federal courthouse in Gainesville, Florida to welcome new U.S. citizens.
Wollongong Harmony Chorus (#34) sang for Northern Illawarra Neighbour Aid (NINA), an organization whose goal is to assist community members in maintaining an independent lifestyle. Their eldest chorus member, Isla, is part of NINA and joined them for some songs. They write, “Singing in the community is always such a joy!”
Emma Riley of Vocal Dimension Chorus (#31) was named Hero of the Year at the British Diversity Awards. According to the organization’s website, the awards “celebrate leading diversity and inclusion champions, recognising achievements over the past year across ethnicity, age, disability, sexual orientation, gender identity and religious beliefs.”
Harmonix
Region
performed
The
Chorus (Satellite
#30)
at the 2nd Women's Voice Choir Festival at Yamada Sakura Hall in the Shibuyaku Cultural Center in Tokyo, Japan.
Members of SouthCity Soundz Chorus (#35) held a successful comfort items collection drive for local Tōtara Hospice.
Hot Ginger Chorus (#34) was honoured to take a small group to Monto (a five-hour drive!) to serve as opening act for the world premiere of Silk Rags: The Musical, part of The Silk Rags Project. The musical was directed by Hot Ginger Chorus member Maxene Cooper. Silk Rags uses entertainment to teach people ways to help when a friend is diagnosed with cancer. The event raised $2,500 AUD for the Australian Cancer Research Foundation.
Break a (tu)lip! April is tulip month in the Skagit Valley region of Washington (USA). Harmony Northwest Chorus (#13) performed at several events celebrating the beautiful flowers.
Island Hills Chorus, joined by members of Heart of Long Island Chorus (both #15) presented The Climb: A Musical Journey of Women on their Quest for Equal Rights, a show presenting highlights along the road to equality for U.S. women from 1776 to today, at West Islip Public Library in New York.
Manawatu Overtones Chorus (#35) sang at a local Rotary Club’s High Tea Fundraiser to help raise money for the Grassroots Trust Rescue Helicopter.
In preparation for International Women's Day (March 8), Singing Unlimited (#31) performed a lunch concert. They write, "We sang songs from our repertoire that have everything to do with 'empowering women' and diversity. / We zongen nummers uit ons repertoire die alles te maken hebben met ‘empowering women’ en diversiteit."
Kawartha Music Company (#16) sang at McHappy Day in support of Ronald McDonald House Charities (RMHC) of South Central Ontario (CAN). RMHC provides temporary housing to the families of hospitalized children.
A Pause in the Music: A Singer's Journey Through Sudden Hearing Loss
A Q&A with author and singer Chika Deane
“To all my friends at the Greater Auckland Chorus, I must tell you about the devastating event that happened to me this week after Tuesday’s rehearsal…”
Thus began a letter Chika Deane posted to her beloved chorus on their group chat in 2022. Six years prior, Chika had lost hearing in her left ear. Now, she was losing hearing in her right ear. Chika explained to her chorus why she would not be able to continue singing with them, ending her letter, “Thank you for all the last ten years of friendship, harmonies, and fun. Wishing you all well for your adventures in the future.”
What Chika was experiencing is a condition called sudden sensorineural hearing loss (SSHL), or sudden deafness. In her book, A Pause in the Music, she describes it as “a rapid loss of hearing linked to damage to the inner ear or cochlear nerve. It can happen instantly or over a few days…Its specific cause is only identified in about 10 to 15 percent of cases; there are over 100 possible causes including infection, head trauma, auto-immune disorders or medication reactions. SSHL is a medical emergency. If untreated, the hearing loss can be irreversible.”
Chika and her chorus were devastated. Fortunately, after months of treatment and training, she was able to return to the risers. To help others affected by her condition, she wrote A Pause in the Music, published in early 2024. We spoke with Chika about the book and how she’s doing now.
How long have you been a Sweet Adeline, and who do you sing with?
I sing lead with Greater Auckland Chorus in Region 35, and I’ve been with them for 12 years – my whole time as a Sweet Adeline. I also sing with three other Japanese singers who are former Sweet Adelines who live in different areas of the country. We are not a registered quartet, but we sometimes meet and do our thing just for fun. We call ourselves Wasabi because we are green and hot!
Six years prior to your second episode of hearing loss, you had lost hearing in your left ear which turned out to be permanent. Your second episode of sudden hearing loss resulted in partial
loss, and treatment seemed to improve it. Do you still wear a hearing aid in the right ear?
Yes, I do. I actually wear hearing aids in both ears. The left one is a type called CROS (contralateral routing of signals). It is a kind of transmitter, so the sound coming from the left transfers to the right ear. I have quite weak hearing in the right ear as well, but my right ear is always the receiver of the sound as well as the amplifier. The hearing aid on the right side amplifies sound.
What inspired you to write a book about your experience?
I've always been a writer from a young age. Before I got married and had children, I worked in Tokyo as a rock journalist and in publishing as well. So writing is kind of my hobby as well as my job. What inspired me to write this book was that my surgeon, an ENT (ear, nose, and throat) specialist, asked me to keep a journal for each day about my hearing and how I was feeling. Those records then became the inspiration for this book.
This is my second book. Several years ago, I looked after a friend who had terminal cancer. She was an immigrant from an Asian country, like me, and she was living on her own, quite close to me. I helped take care of her until she passed away, and I wrote a story about how we reacted to each other, how we supported each other, that kind of thing. I didn't really publish it widely but I shared it with some of the chorus members, and it was quite well received, so I thought maybe I could do something like that this time on a little bit bigger scale.
In Chapter 4, you write, “‘Can I still sing with my chorus? That was my biggest worry after losing my hearing in one ear.” What makes your chorus and singing barbershop so important to you?
I always loved music and singing as well. In the 80s, I was a music journalist, mostly about rock music. But barbershop is really my thing – the chord progressions, the overtones. I got hooked after singing it for a while! It wasn't like that when I started, but as you progress and you get better, you can start hearing subtle things, and that really got me.
When I lost hearing in my second ear, I lost the ability to hear overtones. I still can't hear them. And I did lose hearing the resonance of people’s voices, but quite recently I got new hearing aids that use new technology, and I'm kind of starting to hear a little bit of resonance now, so I'm so happy about that. My hope is to someday find one that allows me to hear overtones again.
After the hearing loss and recovery, your chorus needed tenors for their trip to international competition in Phoenix. You took on the challenge – with three months until contest! What inspired you to do that?
I didn't really want to make hearing loss a barrier for anything. I am a lead, but I sometimes sing tenor at Christmas time because Greater Auckland Chorus goes to so many places to sing carols, and often we don’t have enough tenors, so I help out that way. It was actually daunting to be onstage in Phoenix. The audience was really loud, which is great, but I did not hear the pitch and could not hear anybody around me at first, but I worked it out.
In the book, you say, “Funnily enough, I now feel that I have a better ‘musical ear’ than before my second episode of hearing loss.” Can you explain a little more about that?
I listen more carefully. Now I think maybe I could have done better all these years if I had listened this carefully before! Anybody can listen to the very small, fine tuning, but with hearing loss, I really have to focus on it. I have to listen very carefully to notice things. It’s active listening rather than just a passive thing.
We cannot give medical advice, of course, but what advice or encouragement do you have for singers who are facing hearing loss? Of course, the experience differs from person to person. It’s a very personal thing, but I say try to stick to what you can do. You are forced to listen more carefully, so you might find better fine-tuning or overtones. Because you listen carefully, you might find things that you hadn't noticed before. It’s easy to be pessimistic, especially at first, but it’s so important to do your best to be positive.
You write that your chorus supported you through this experience. What advice do you have for choruses who have a member with hearing loss?
Think of the “little things.” For example, when we change places on the risers, the director asks, “Are you okay there?” With hearing loss, where you stand makes a big difference. Little things like that make me feel supported and valued.
What’s next for you and Greater Auckland Chorus?
I might write a novel or some short stories. I have a few short stories written, so I might just publish them together as a book. I may write some stories in Japanese also. And Greater Auckland Chorus is going to compete in Harmony Classic in Kansas City. I hope to be with them!
MEMBERSHIP MOMENTUM: Retention
The third in a three-part series on membership recruitment and retention
In this series of three Q&A articles, Vickie Maybury (Master 700 Director, Skyline Chorus) and Kathy Scheel (Master Director, Oregon Spirit Chorus) address questions about their philosophy and approach for keeping the momentum going through the natural attrition of chorus membership. Both directors have enjoyed success in building and maintaining members and are eager to share what worked for their choruses.
Bringing in new members is important to a performing organization, but so is retaining the ones we have. Sweet Adelines who stay with the organization contribute continuity, experience, and invaluable organizational knowledge. A focus on retention ensures that we keep members thriving and happy.
How do you approach retention?
Vickie: We’ve crafted a marketing message that aligns with our culture. Our marketing team is active and effective, and we do a lot on Facebook and typically boost those posts. We are in a metro area that attracts young adults starting their careers who are looking for connection, so Meetup, Instagram, and Nextdoor have also been effective for us. When someone marks interest in an event, our social media team reaches out via private message. The membership manager contacts all guests who register and shares additional information about the chorus and the director (me) and what guests can expect during their visit.
Kathy: Most of our success has come from Facebook, where we create an event and boost it using keywords (singing, harmony, acappella, barbershop, chorus, etc.); anyone with those keywords in their Facebook profile will see our flyer. When someone marks their interest, we send a Facebook message; when they respond, we offer them a Zoom chat to get acquainted, find out their singing
experience, tell about our barbershop art form, share samples of our music, and decide what part they’ll sing. We follow up with an email that’s copied to the membership team with a screenshot from the Zoom so they know who to watch for.
This proactive approach has resulted in guests having a very positive and comfortable experience on their first visit to Oregon Spirit because the intake process is seamless. The guest is greeted with a warm smile, given a music folder and a name badge, welcomed by me and the membership chair, and introduced to their chorus buddy who helps with the music and introduces them to others. This “Zooming to Membership Growth” process has resulted in guests feeling a connection to the chorus and therefore being more likely to return.
How do you plan and prepare for chorus guests?
Vickie: There has been a big shift in how we interact with guests in recent years. The chorus is the membership team. We have a friendly greeter team that welcomes, prepares a nametag, shares a music folder, and generally helps people get settled. The membership manager keeps the chorus updated on registration numbers as the educational series unfolds. On the risers, we connect guests with a buddy who sings their part.
Kathy: Our membership coordinator has built an efficient team that’s excited about their jobs! They prepare folders with information about the chorus, our current songs, a sheet titled How to Learn a Song Quickly, and a letter of welcome which the greeter provides to each guest. For open houses, each section stands in the four corners of the room, and after voice placement, the guest is escorted to her section to meet her new friends, establishing that
Vickie Maybury
Master 700 Director, Skyline Chorus
Kathy Scheel
Master Director, Oregon Spirit Chorus
very important instant connection! The chorus buddy chair assigns someone to guide the guest through their first few months, and we always introduce the guest to the chorus (with wild applause).
How do you get started in engaging with potential new singers?
Vickie: Our leadership team discussed the attributes and qualities of singers in our high-performance culture—what kept them engaged and committed. We then developed our three-week Sing Like a Champion education series, presented in a “lecture/ lab” approach. The “lecture” occurs in a classroom separate from the chorus, taught by the music team and me. These sessions are recorded on video in case a guest must miss one, and they are also shared with the chorus so they can also experience the lesson and have a sense of who the guests are.
Our directing team keeps the chorus moving forward while I’m with the guests. The “lab” occurs with the chorus on the risers after the “lecture” when guests get to experience and apply what they’ve learned. Following each rehearsal, we send guests materials that include short educational videos created by our musical leaders and information about Skyline Chorus and Sweet Adelines International.
This model is a great start to developing key relationships between our guests and our musical leaders. It also provides an opportunity to engage guests/new members in our culture that’s anchored in education, high expectations, and shared leadership. These educational workshops have also helped us fill learning gaps because singers are exposed to concepts, vocabulary, and other elements to help them move forward on their personal journeys and make more immediate contributions to Skyline’s collective journey.
The series is organized as follows:
Week 1: Vocal production, breathing/alignment, how barber shop is unique
Week 2: Phonation/resonance, articulation, diphthongs, tuning Week 3: Performance, Storytelling
Kathy: We have three open houses each year:
January (Sing 2023) for those who want to add singing as one of their New Year’s resolutions;
July (Summer Singin’) for those who want to do something new for the summer, and;
October (Christmas Chorus) for those who just want a short-term commitment (a few always end up staying).
The evening starts with a group voice lesson to teach basic vocal skills, followed by a simple tag in four-part harmony so they can get that buzz from hearing and feeling those chords. The chorus performs a couple of songs and then we go into sectionals to meet the new people and teach an easy song together. When we come back together on the risers, everyone hears the song in four-part harmony for the first time, and it’s great to see the reactions as they experience the thrill of being surrounded by the sound of singing great barbershop harmony. They are hooked!
From open houses to meetups to rebranding, social media strategies and more…
Find recruitment and retention ideas that worked for other Sweet Adelines in the Ignite the Sound Resource Library!
Regional Results 2024
Region #1 North Atlantic
Quartets
First Place
Phoenix Rising • Score: 563
Terri Javery (t) Coastline Show Chorus
Vanessa LaRochelle (l) Millennium Magic Chorus
Sally Jefferey (bt) Merrimack Valley Chorus
Cathi Moore (bs) Millennium Magic Chorus
Songs: My Foolish Heart (Joni Bescos); Taking A Chance On Love (Jay Giallombardo)
Second Place
Past Curfew • Score: 558
Third Place
Honey Bunches of Notes • Score: 541
Competing Quartets: 10
Choruses
First Place
Harmony on the Sound Chorus
Karen Sweeters, Director
Score: 635 • 66 on stage
Songs: Twisted Scissors/Gorgeous/Ain't She Sweet Parody (Marge Bailey & Loraine Rochfort); Strangers Parody (Nancy Bergman & Audrey Oakley)
Second Place
Millennium Magic Chorus
Under their own direction
Score: 626 • 23 on stage
Third Place
Merrimack Valley Chorus
Carol Smolenski & Sally Jeffery, Director Score: 593 • 34 on stage
Division A
Millennium Magic Chorus
Under their own direction
Score: 626 • 23 on stage
Songs: If I Had My Way (David Harrington); Smile Medley (Clay Hine)
Division AA
Merrimack Valley Chorus
Carol Smolenski & Sally Jeffery, Directors Score: 593 • 34 on stage
Songs: I Never Meant To Fall In Love (Joe Liles) No Strings (I’m Fancy Free) (Larry Wright)
Most Improved
Cranberry Shores Chorus
Sally Beck, Director
Score: 457 • 13 on stage
Points Improved: 63
Competing Choruses: 13
Photo Attribution: Chris Marion Photography
First Place Phoenix Rising
First Place Harmony on the Sound Chorus
Division A Millennium Magic Chorus
Division AA Merrimack Valley Chorus
Regional Results 2024
Region #2 Border Lakes
Quartets
First Place
Girl Talk • Score: 672
Staci Slamka (t) Motor City Blend Chorus
Holli Houtz (l) Motor City Blend Chorus
Kathryn Summers (bt) Motor City Blend Chorus
Kendra LaPointe (bs) Motor City Blend Chorus
Songs: If I Loved You (Tom Gentry); The Best Things Happen While You’re Dancing (Steve Tramack)
First Place London Chorus
Division A Fenton Lakes Chorus
Second Place
Spectrum • Score: 611
Third Place
Lumos • Score: 600
Competing Quartets: 10
Choruses
First Place
London Chorus
Julia Beadle, Director
Score: 612 • 45 on stage
Songs: I’m Looking Over A 4-Leaf Clover/It’s A Good Day Medley (Jim Arns); How Deep Is The Ocean (Greg Backwell)
Second Place
Shoreline Sound Chorus
Diane Catellane, Director
Score: 597 • 34 on stage
Third Place
Grand Harmony Chorus
Linda Hilko & Linda Thompson, Directors
Score: 576 • 38 on stage
Division A
Fenton Lakes Chorus
Jeanne Lundberg, Director
Score: 544 • 27 on stage
Songs: Once Upon A Time (June Dale); Come Fly With Me (Kevin Keller)
Division AA
London Chorus
Julia Beadle, Director
Score: 612 • 45 on stage
Songs: I’m Looking Over A 4-Leaf Clover/It’s A Good Day Medley (Jim Arns); How Deep Is The Ocean (Greg Backwell)
Most Improved
Shoreline Sound Chorus
Diane Catellane, Director
Score: 597 • 34 on stage
Points Improved: 60
Competing Choruses: 14
Photo Attribution: Phil Steingard Studios
First Place Girl Talk
Regional Results 2024
Region #3 Midwest Harmony
Quartets
First Place
PRISM • Score: 624
Cynthia Ahlgrim (t) Melodeers Chorus
Jenelle Lambert (l) Melodeers Chorus
Janet Masters (bt) Choral-Aires Chorus
Deborah Lee (bs) Choral-Aires Chorus
Songs: I Can’t Give You Anything But Love / LOVE (Nancy Bergman); Love Letters Straight From The Heart (Jim Arns)
Second Place
Stiletto • Score: 585
Third Place
Whimsy • Score: 550
Competing Quartets: 9
Choruses
First Place
Choral-Aires Chorus
Amy Brinkman & Bonnie Fedyski, Directors
Score: 649 • 62 on stage
Songs: Smile Medley (Let A Smile Be Your Umbrella / When You’re Smilin) (Jim Arns); I’ve Grown Accustomed To His Face (Jim Arns)
Second Place
Great Lake Sound Chorus
Carol Thompson, Director Score: 608 • 40 on stage
Third Place
Midwest Crossroad Chorus
Tori Hicks, Director Score: 601 • 46 on stage
Division A
Crosstown Harmony Chorus
Kari Midtbo Schwartz, Director
Score: 577 • 28 on stage
Songs: Almost There (Kay Bromert); All The Way (Brent Graham)
Division AA
Great Lake Sound Chorus
Carol Thompson, Director Score: 608 • 40 on stage
Songs: Will It Be Me This Time (Lynnell Diamond); Make Em’ Laugh (Clay Hine)
Most Improved
Vermillion Valley Show Chorus
Marge Zimmerman, Director
Score: 507 • 25 on stage
Points Improved: 24
Competing Choruses: 11
Photo Attribution: Read Photography
First Place PRISM
First Place Choral-Aires Chorus
Division AA Great Lake Sound Chorus
Regional Results 2024
Region #4 Harmony Heartland
Quartets
First Place
Lipstick Scoundrels • Score: 654
Nancy Appel (t) Scioto Valley Chorus
Christine Pirot (l) Diamond Jubilee Chorus
Christina Scheiderich (bt) Scioto Valley Chorus
Jennifer Davis (bs) Diamond Jubilee Chorus
Songs: It’s You (Robert Rund); Almost There (Aaron Dale)
Second Place
Vivace • Score: 581
Third Place
Intrepid • Score: 570
Competing Quartets: 18
Choruses
First Place
Cincinnati Sound Chorus
Jack Johnson, Director
Score: 609 • 51 on stage
Songs: When I Fall In Love (David Wright); Cabaret (Larry Wright)
Second Place
Capital City Chorus
Kimberly Newcomb, Director
Score: 597 • 27 on stage
Third Place
Scenic City Chorus
Jennifer Cooke, Director Score: 597 • 50 on stage
Division A
Capital City Chorus
Kimberly Newcomb, Director Score: 597 • 27 on stage
Songs: In The Wee Small Hours of the Morning (Jim Arns); Hit Me With A Hot Note (Patrick McAlexander)
Division AA
Cincinnati Sound Chorus
Jack Johnson, Director Score: 609 • 51 on stage
Songs: When I Fall In Love (David Wright); Cabaret (Larry Wright)
Most Improved
Capital City Chorus
Kimberly Newcomb, Director Score: 597 • 27 on stage
Points Improved: 72
Competing Choruses: 12
Photo Attribution: Read Photography
First Place Lipstick Scoundrels
First Place Cincinnati Sound Chorus
Division A Capital City Chorus
Division AA Cincinnati Sound Chorus
Regional Results 2024
Region #5 Spirit of the Midwest
Quartets
First Place
Journey • Score: 634
Michelle Hunget (t) Kansas City Chorus
Susan Ives (l) Topeka Acappella Unlimited Chorus
Janice Wood (bt) Topeka Acappella Unlimited Chorus
Stacie Masur (bs) Chapter-at-Large Region 5
Songs: This Can’t Be Love (David Wright); The Masquerade Is Over (Ed Waesche)
Second Place
Venture • Score: 604
Third Place
Fly Girls • Score: 587
Competing Quartets: 20
Choruses
First Place
Vocal Standard Chorus
Rob Mance, Director
Score: 675 • 39 on stage
Songs: You Don’t Bring Me Flowers (David Wright); I’ve Found A New Baby (David Wright)
Second Place
Metro Mix Chorus
John Hayden, Director
Score: 595 • 34 on stage
Third Place
Sound Celebration Chorus
Terry Ludwig, Director
Score: 579 • 29 on stage
Division A
Sound Celebration Chorus
Terry Ludwig, Director
Score: 579 • 29 on stage
Songs: If I Give My Heart To You (Jim Clancy); Somebody Loves Me (Clay Hine)
Division AA
Vocal Standard Chorus
Rob Mance, Director
Score: 675 • 39 on stage
Songs: You Don’t Bring Me Flowers (David Wright); I’ve Found A New Baby (David Wright)
Most Improved
Heart of Missouri Chorus
Twilla Duvall, Director
Score: 454 • 15 on stage
Points Improved: 65
Competing Choruses: 10
Photo Attribution: Jon Peterson
First Place Journey
First Place Vocal Standard Chorus
Division A Sound Celebration Chorus
Division AA Vocal Standard Chorus
Regional Results 2024
Region #6 Northern Lights
Quartets
First Place
Spice • Score: 612
Angela Blackwood (t) City of Lakes Chorus
Heidi Dick (l) City of Lakes Chorus
Liz Miller (bt) City of Lakes Chorus
Jan Rick (bs) City of Lakes Chorus
Songs: Bye Bye Baby / Baby Won’t You Please Come Home Medley (Chari Pernert); It’s You (Robert Rund)
Second Place
Affinity • Score: 588
Third Place
Upbeat • Score: 546
Competing Quartets: 10
Choruses
First Place
Fox Valley Chorus
Heather Johnston, Director
Score: 598 • 27 on stage
Songs: Beer Barrel Polka (Kay Bromert); How Deep Is The Ocean (Bob Hopkins)
Second Place
Twin Cities Show Chorus
Derek Glenna, Director
Score: 537 • 22 on stage
Third Place
Sounds of Superior Chorus
Jason Scriver, Director
Score: 533 • 37 on stage
Division A
Fox Valley Chorus
Heather Johnston, Director
Score: 598 • 27 on stage
Songs: Beer Barrel Polka (Kay Bromert); How Deep Is The Ocean (Bob Hopkins)
Division AA
Sounds of Superior Chorus
Jason Scriver, Director
Score: 533 • 37 on stage
Songs: Once Upon A Time (June Dale); Mr. Piano Man/I Love A Piano Medley (Brian Beck)
Most Improved
Zumbro Valley Chorus
Debbie Mason, Director
Score: 472 • 24 on stage
Points Improved: 64
Competing Choruses: 12
Photo Attribution: Read Photography
First Place Spice
First Place Fox Valley Chorus
Division A Fox Valley Chorus
Division
Regional Results 2024
Region #8 Rocky Mountain
Quartets
First Place
Last Call • Score: 673
Lizzie Loomis (t) Skyline Chorus
Becky Maybury (l) Skyline Chorus
Lily Radack (bt) Chapter-at-Large Region 8
Laura Barnick (bs) Skyline Chorus
Songs: Hooray For Love (Larry Wright); A Nightingale Sang in Berkeley Square (Joni Bescos)
Second Place
Kindred • Score: 629
Third Place
Nothin’ But Treble • Score: 619
Competing Quartets: 19
Choruses
First Place
Bella Voce Chorus
Anna-Lisa Glad & Jeana Womble, Directors
Score: 607 • 38 on stage
Songs: Almost There (Kay Bromert); Love Me Tender (David Wright)
Second Place
High Country Chorus
Rebecca Richards, Director Score: 576 • 49 on stage
Third Place
High Plains Harmony Chorus
Annette Lambrecht & Julie Ann Palagi, Directors
Score: 544 • 24 on stage
Division A
High Plains Harmony Chorus
Annette Lambrecht & Julie Ann Palagi, Directors
Score: 544 • 24 on stage
Songs: In The Wee Small Hours of The Morning (Jim Arns); Between You and the Birds and the Bees and Cupid (Aaron Dale)
Division AA
Bella Voce Chorus
Anna-Lisa Glad & Jeana Womble, Directors
Score: 607 • 38 on stage
Songs: Almost There (Kay Bromert); Love Me Tender (David Wright)
Most Improved
Grand Mesa A Cappella Chorus
Collette Mayers & Susanna Sorensen, Directors
Score: 498 • 23 on stage
Points Improved: 33
Competing Choruses: 12
Photo Attribution: Read Photography
First Place Last Call
First Place Bella Voce Chorus
Division A High Plains Harmony Chorus
Division AA Bella Voce Chorus
Regional Results 2024
Region #9 Coastal Harmony
Quartets
First Place
Radiant • Score: 651
Abbie Owens (t) Toast of Tampa Show Chorus
Hannah Paschal (l) Toast of Tampa Show Chorus
Emma Paschal (bt) Chapter-at-Large Region 9
Katie Vincent (bs) Chapter-at-Large Region 9
Songs: Oh Look At Me Now, (Aaron Dale); Love Letters (Straight From The Heart), (Jim Arns)
Second Place
Bubbly • Score: 613
Third Place
Cantiamo • Score: 603
Competing Quartets: 17
Choruses
First Place
Toast of Tampa Chorus
Tony DeRosa, Director
Score: 739 • 74 on stage
Songs: The Place Where The Lost Things Go (Clay Hine); Trip A Little Light Fantastic/ Step In Time Medley (Clay Hine)
Second Place
Sound of Sunshine Chorus
Gayle Burton, Director
Score: 610 • 33 on stage
Third Place
Women of Note Chorus
Alex Rubin, Director Score: 597 • 42 on stage
Division A
South Florida Jubilee Chorus
James Kastler, Director
Score: 535 • 30 on stage
Songs: When I Leave The World Behind (Joni Bescos); Come Dance With Me (Larry Wright)
Division AA
Sound of Sunshine Chorus
Gayle Burton, Director
Score: 610 • 33 on stage
Songs: In The Wee Small Hours Of The Morning (Jim Arns); How Many Hearts Have You Broken? (Jim Arns)
Most Improved
Shore Notes A Cappella Chorus
Iris Christ, Director
Score: 509 • 22 on stage
Points Improved: 42
Competing Choruses: 12
Photo Attribution: Read Photography
First Place Radiant
First Place Toast of Tampa Chorus
Division A South Florida Jubilee Chorus
Division AA Sound of Sunshine Chorus
Regional Results 2024
Region #10 Great Gulf Coast
Quartets
First Place
Saving Grace • Score: 618
Elise Zufall (t) Chapter-at-Large Region 12
Kelly Leary (l) Chapter-at-Large Region 10
Kieley Morales (bt) Chapter-at-Large Region 10
Marisa Garza (bs) Alamo Metro Chorus
Songs: It’s You I Like (Cay Outerbridge); Howdja Like To Love Me (David Wright)
Second Place
Hot Note • Score: 605
Third Place
Essence • Score: 594
Competing Quartets: 11
Choruses
First Place
Alamo Metro Chorus
Ryan Heller, Director Score: 650 • 44 on stage
Songs: The Touch of Your Lips (Brent Graham); Five Minutes More (Clay Hine)
Second Place
Houston Horizon Chorus
Janet Burnett, Director Score: 599 • 35 on stage
Third Place
Crescent City Sound Chorus
Mary Beth McMurray, Director Score: 597 • 23 on stage
Division A
Crescent City Sound Chorus
Mary Beth McMurray, Director Score: 597 • 23 on stage
Songs: A Wonderful Day Like Today (Joey Minshall); If I Ruled The World (Renee Craig & Nancy Bergman)
Division AA
Alamo Metro Chorus
Ryan Heller, Director Score: 650 • 44 on stage
Songs: The Touch of Your Lips (Brent Graham); Five Minutes More (Clay Hine)
Most Improved
Crescent City Sound Chorus
Mary Beth McMurray, Director Score: 597 • 23 on stage
Points Improved: 59
Competing Choruses: 11
Photo Attribution: Read Photography
First Place Saving Grace
First Place Alamo Metro Chorus
Division A Crescent City Sound Chorus
Division AA Alamo Metro Chorus
Regional Results 2024
Region #11 Sequoia Pacific
Quartets
First Place
Troubadour • Score: 636
Marlee Delia Honton (t) Santa Monica Chorus
Linda Borg (l) Chapter-at-Large Region 11
Carolyn Yoshida (bt) Santa Monica Chorus
Leah Tanzy-Roberts (bs) Santa Monica Chorus
Songs: Next Time I Love (Larry Wright); Hooray For Love/ Let’s Do It Medley (Larry Wright)
Second Place
Shenanigans • Score: 616
Third Place
The Valkyries • Score: 565
Competing Quartets: 10
Choruses
First Place
Verdugo Hills Chorus
Tammy Ragsdale, Director
Score: 598 • 44 on stage
Songs: Wonderful Day Like Today (Joey Minshall); All The Things You Are (Joey Minshall)
Second Place
Lady Luck Showtime Chorus
Jan Sloan & Rose Hettinga, Directors
Score: 541 • 29 on stage
Third Place
Antelope Valley Showcase Chorus
Raj Samaroo, Director
Score: 538 • 15 on stage
Division A
Lady Luck Showtime Chorus
Jan Sloan & Rose Hettinga, Directors Score: 541 • 29 on stage
Songs: There Goes My Heart (Nancy Bergman & Lloyd Steinkamp); Cry Baby (Nancy Bergman & Marcia Hill)
Division AA
Verdugo Hills Chorus
Tammy Ragsdale, Director Score: 598 • 44 on stage
Songs: Wonderful Day Like Today (Joey Minshall); All The Things You Are (Joey Minshall)
Most Improved
Antelope Valley Showcase Chorus
Raj Samaroo, Director Score: 538 • 15 on stage
Points Improved: 43
Competing Choruses: 12
Photo Attribution: Wyeth Lilley
First Place Troubadour
First Place Verdugo Hills Chorus
Division A Lady Luck Showtime Chorus
Division AA Verdugo Hills Chorus
Regional Results 2024
Region #12 Pacific Shores
Quartets
First Place
Equilibrium • Score: 635
Merry Herbst (t) Emerald Valley Chorus
Ginna Kayser (l) Emerald Valley Chorus
Melissa Kahn (bt) Emerald Valley Chorus
Lauren Kahn (bs) Emerald Valley Chorus
Songs: Almost There (Aaron Dale); What Kind Of Fool Am I? (Kevin Keller)
Second Place
LiveWire • Score: 614
Third Place
Seismic Sound • Score: 579
Competing Quartets: 14
Choruses
First Place
Diablo Vista Chorus
Caitlin Castelino, Director
Score: 687 • 66 on stage
Songs: This Can’t Be Love (David Wright); With You (David Wright)
Second Place
Oregon Spirit Chorus
Kathy Scheel, Director
Score: 597 • 42 on stage
Third Place
Mission Valley Chorus
Angela Suraci, Director
Score: 590 • 37 on stage
Division A
Emerald Valley Chorus
Lauren Kahn, Director
Score: 533 • 23 on stage
Songs: Wildflowers Know (Lauren Kahn); We Were Wrong (Lauren Kahn)
Division AA
Oregon Spirit Chorus
Kathy Scheel, Director
Score: 597 • 42 on stage
Songs: When You Look In The Heart Of A Rose (Jay Giallombardo); The Joint Is Jumpin’ (Nancy Bergman)
Most Improved
California HEAT Chorus
Angela Suraci, Director
Score: 431 • 13 on stage
Points Improved: 43
Competing Choruses: 15
Photo Attribution: Read Photography
First Place Equilibrium
First Place Diablo Vista Chorus
Division A Emerald Valley Chorus
Division AA Oregon Spirit Chorus
Regional Results 2024
Region #13 North by Northwest
Quartets
First Place
Rhapsody • Score: 622
Rachel Pack (t) Jet Cities Chorus
Julie Hagstrom (l) Song of Seattle Chorus
Anna Chamberlain (bt) Jet Cities Chorus
Connie Alward (bs) Grand Olympics Chorus
Songs: Time After Time (Jim Arns); Someone Like You (Larry Wright)
Second Place
Rewind • Score: 606
Third Place
Happenstance • Score: 603
Competing Quartets: 21
Choruses
First Place
Jet Cities Chorus
Rachel Pack, Director
Score: 618 • 29 on stage
Songs: Turn On The Sunshine (Aaron Dale); If I Give My Heart To You (Jim Clancy)
Second Place Spirit of Spokane Chorus
Mike Elliott, Director Score: 612 • 25 on stage
Third Place
Alaska Sound Celebration Chorus
Peggy Benton, Director Score: 610 • 37 on stage
Division A
Jet Cities Chorus
Rachel Pack, Director Score: 618 • 29 on stage
Songs: Turn On The Sunshine (Aaron Dale); If I Give My Heart To You (Jim Clancy)
Division AA
Alaska Sound Celebration Chorus
Peggy Benton, Director Score: 610 • 37 on stage
Songs: All The Things You Are (Joey Minshall); Everybody Step (Carole Prietto)
Most Improved
Jet Cities Chorus
Rachel Pack, Director Score: 618 • 29 on stage
Points Improved: 44
Competing Choruses: 21
Photo Attribution: InSpirit Studioz Photography
First Place Rhapsody
First Place Jet Cities Chorus
Division A Jet Cities Chorus
Division AA Alaska Sound Celebration Chorus
Regional Results 2024
Region #14 Heart of the Blue Ridge
Quartets
First Place
Firestorm • Score: 587
Jean Roberts (t) Chapter-at-Large Region 14
Bettina McDougal (l) Virginia Coast Chorus
Debra Rasnick (bt) Virginia Coast Chorus
Krista Costa (bs) Greater Richmond Chorus
Songs: Once Upon A Time (June Dale); Ya Gotta Know/ I Can’t Give You Anything But Love Medley (Nancy Bergman)
Second Place
Crescendo! • Score: 585
Third Place
Yes Ma’am • Score: 549
Competing Quartets: 10
Choruses
First Place
Queen Charlotte Chorus
Debora Scott, Director
Score: 622 • 45 on stage
Songs: Yes Sir, That’s My Baby (David Wright); All The Way (Larry Wright)
Second Place
Vocal Matrix Chorus
Dr. Kimberly Graham, Director Score: 587 • 37 on stage
Third Place
Greater Richmond Chorus
Vera Crouse, Director Score: 587 • 36 on stage
Division A
Carolina Style Chorus
Jean Denaher, Director Score: 561 • 25 on stage
Songs: My Foolish Heart (Joni Bescos); How Many Hearts Have You Broken (Jim Arns)
Division AA
Queen Charlotte Chorus
Debora Scott, Director
Score: 622 • 45 on stage
Songs: Yes Sir, That’s My Baby (David Wright); All The Way (Larry Wright)
Most Improved
Queen Charlotte Chorus
Debora Scott, Director Score: 622 • 45 on stage
Points Improved: 28
Competing Choruses: 12
Photo Attribution:
Rich Gorberg • Freeze-Frame Photography
First Place Firestorm
First Place Queen Charlotte Chorus
Division A Carolina Style Chorus
Division AA Queen Charlotte Chorus
Regional Results 2024
Region #15 Greater NY/NJ
Quartets
First Place
Yellow Brick Road • Score: 642
Diane Duff (t) Chapter-at-Large Region 15
Heidi Wilson (l) Liberty Oak Chorus
Patricia Danner (bt) Chapter-at-Large Region 15
Shayna Atkinson (bs) Liberty Oak Chorus
Songs: Paralyzed (Brian Mustrull); What Kind of Fool Am I? (David Harrington)
Second Place
Rosegold Four • Score: 641
Third Place
Illuminate • Score: 624
Competing Quartets: 22
Choruses
First Place
Greater Nassau Chorus
Harriette Walters, Director
Score: 678 • 41 on stage
Songs: Hit Me With A Hot Note (Patrick Alexander); All The Things You Are (Joey Minshall)
Second Place
Harmony Celebration Chorus
Jack Pinto, Director
Score: 618 • 48 on stage
Third Place
Hickory Tree Chorus
Carolyn Schmidt, Director Score: 579 • 28 on stage
Division A
Hickory Tree Chorus
Carolyn Schmidt, Director Score: 579 • 28 on stage
Songs: What I Did For Love (Carolyn Schmidt); Atlantic City Medley (Carolyn Schmidt)
Division AA
Greater Nassau Chorus
Harriette Walters, Director
Score: 678 • 41 on stage
Songs: Hit Me With A Hot Note (Patrick Alexander); All The Things You Are (Joey Minshall)
Most Improved
Heart of New Jersey Chorus
Jeanne Elmuccio, Director Score: 526 • 21 on stage
Points Improved: 31
Competing Choruses: 14
Photo Attribution: Lindsey Fish
First Place Yellow Brick Road
First Place Greater Nassau Chorus
Division A Hickory Tree Chorus
Division AA Greater Nassau Chorus
Regional Results 2024
Region #16 Lake Ontario
Quartets
First Place
Firefly • Score: 643
Rachel Beach (t) North Metro Chorus
Aileen Carney (l) Canadian Showtime Chorus
Susann McKinley (bt) North Metro Chorus
Sharon Demy (bs) North Metro Chorus
Songs: A Wonderful Day Like Today, (Joey Minshall); Time After Time, (Jim Arns)
Second Place No Compromise • Score: 606
Third Place
Full Swing • Score: 594
Competing Quartets: 12
Choruses
First Place
Greater Kingston Chorus
Andria Coward & Susan Marriott, Directors Score: 620 • 41 on stage
Songs: A Wonderful Day Like Today (Joey Minshall); How Deep Is The Ocean (Rob Hopkins)
Second Place
Circle of Harmony Chorus
Barbara Hodge, Director Score: 601 • 55 on stage
Third Place
Orangeville Show Chorus
Joan Borden, Director Score: 581 • 38 on stage
Division A
The Heartland Singers Chorus
Hannah Barton, Director Score: 581 • 26 on stage
Songs: The Way You Look Tonight (Mark Hale); You Make Me Feel So Young (Mark Hale)
Division AA
Greater Kingston Chorus
Andria Coward & Susan Marriott, Directors Score: 620 • 41 on stage
Songs: A Wonderful Day Like Today (Joey Minshall); How Deep Is The Ocean (Rob Hopkins)
Most Improved
Barrie Soundwaves Chorus
Lella Brown, Director Score: 519 • 19 on stage
Points Improved: 48
Competing Choruses: 13
Photo Attribution: Photos By Wayne
First Place Firefly
First Place Greater Kingston Chorus
Division A The Heartland Singers Chorus
Division AA Greater Kingston Chorus
Regional Results 2024
Region #17 Great Lakes Harmony
Quartets
First Place
DayBreak • Score: 642
Nancy Conway (t) Chapter-at-Large Region 17
Sara Clevenger (l) Greater Harmony Chorus
Margie Manuel (bt) Greater Harmony Chorus
Allison Hengelsberg (bs) Greater Harmony Chorus
Songs: When You Look In The Heart Of A Rose (Jay Giallombardo); Let’s Do It (Let’s Fall In Love) (Joey Minshall)
Second Place
Blue Phoenix • Score: 601
Third Place
AfterGlow! • Score: 586
Competing Quartets: 19
Choruses
First Place
Buffalo Gateway Chorus
Diane Porsch, Director Score: 663 • 68 on stage
Songs: If You Love Me, Really Love Me (Nancy Bergman); Redhead (Brent Graham)
Second Place
Greater Cleveland Chorus
Marilynn Schroeter, Director
Score: 612 • 44 on stage
Third Place
Voices in Harmony Chorus
Jennifer Jones, Director Score: 580 • 35 on stage
Division A
Pride of Toledo Chorus
Dawn Seigner, Director Score: 509 • 17 on stage
Songs: Old Songs, Old Friends (Vicki Uhr); Diamonds Are A Girl’s Best Friend Medley (Carolyn Schmidt)
Division AA
Greater Cleveland Chorus
Marilynn Schroeter, Director Score: 612 • 44 on stage
Songs: What I Did For Love (David Wright); This Can’t Be Love (David Wright)
Most Improved
Pride of Toledo Chorus
Dawn Seigner, Director Score: 509 • 17 on stage
Points Improved: 46
Competing Choruses: 16
Photo Attribution: Jon Peterson
First Place DayBreak
First Place Buffalo Gateway Chorus
Division A Pride of Toledo Chorus
Division AA Greater Cleveland Chorus
Regional Results 2024
Region #19 Atlantic Bay-Mountain
Quartets
First Place
Alchemy • Score: 633
Katie Knorr (t) Valley Forge 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: I’ll Be Easy To Find (Joey Minshall); Put ‘Em In A Box, Tie 'Em With A Ribbon (Marsha Zwicker)
First Place Harbor City Music Company Chorus
Second Place Rampage • Score: 601
Third Place
Midnight Society • Score: 584
Competing Quartets: 14
Choruses
First Place
Harbor City Music Company Chorus
Michael Gellert, Director Score: 725 • 94 on stage
Songs: I Wish You Love (David Wright); I’ve Found A New Baby (David Wright)
Second Place
Dundalk Chorus
Jennifer Williams, Director Score: 609 • 42 on stage
Third Place
Vocal Harmonix Chorus
Lori Jo Whitehaus, Director Score: 566 • 37 on stage
Division A
Valley Forge Chorus
Deborah Dahlen-Kirsch, Director Score: 553 • 29 on stage
Songs: Auld Lang Syne (Clay Hine); Side By Side (Bill Stauffer)
Division AA
Dundalk Chorus
Jennifer Williams, Director Score: 609 • 42 on stage
Songs: You Don’t Bring Me Flowers (David Wright); Make ‘Em Laugh (Clay Hine)
Most Improved
Cape Shore Chorus
Patricia Weeks, Director Score: 471 • 19 on stage
Points Improved: 59
Competing Choruses: 19
Photo Attribution: Troy Angell • Angell Photography
First Place Alchemy
Division A Valley Forge Chorus
Division AA Dundalk Chorus
Regional Results 2024
Region #21 Golden West
Quartets
First Place
PHX • Score: 612
Mary Slade-Branham (t) Scottsdale Chorus
Katherine Blodgett (l) Scottsdale Chorus
Jacqueline Fernandez (bt) Scottsdale Chorus
Sarah Slade-Branham (bs) Scottsdale Chorus
Songs: Kiss Me Goodnight (Brent Graham); Someone Like You (Larry Wright)
Second Place
Dragonfly • Score: 612
Third Place
SoloVoce • Score: 600
Competing Quartets: 13
Choruses
First Place
Scottsdale Chorus
Lori Lyford, Director
Score: 728 • 75 on stage
Songs: Softly As I Leave You (Brent Graham); Top of The World Medley (David Wright)
Second Place
OC Sound Chorus
Bonnie McKibben, Director Score: 600 • 43 on stage
Third Place
Enchanted Mesa Show Chorus
Audrianna Aargon, Director Score: 596 • 37 on stage
Division A
Simply A Cappella Chorus
Wendi Young, Director Score: 535 • 20 on stage
Songs: Almost There (Aaron Dale); At Last (Nancy Bergman)
Division AA
OC Sound Chorus
Bonnie McKibben, Director Score: 600 • 43 on stage
Songs: A Tisket A Tasket (David Harrington); If Ever I Would Leave You (Clay Hine)
Most Improved
Enchanted Mesa Show Chorus
Audrianna Aargon, Director Score: 596 • 37 on stage Points Improved: 41
Competing Choruses: 11
Photo Attribution:
Rich Gorberg • Freeze Frame Photography
First Place PHX
First Place Scottsdale Chorus
Division A Simply A Cappella Chorus
Division AA OC Sound Chorus
Regional Results 2024
Region #25 Heart of America
Quartets
First Place
Wildfire! • Score: 653
Rachel Radcliff (t) Chapter-at-Large Region 25
Erin Goeke (l) Rich-Tone Chorus
Jennifer Foster (bt) OK City Chorus
Jen Le Claire (bs) Rich-Tone Chorus
Songs: Flirty Eyes, (Nancy Bergman); Young and Foolish, (Brent Graham)
Second Place
Vocal Audacity • Score: 606
Third Place
Madison Avenue • Score: 600
Competing Quartets: 19
Choruses
First Place
Rich-Tone Chorus
Dale Syverson, Director
Score: 715 • 80 on stage
Songs: Climb Ev’ry Mountain (Clay Hine); Wonderful Day Like Today (Joey Minshall)
Second Place
OK City Chorus
Mary Rhea, Director
Score: 658 • 77 on stage
Third Place
Wichita Chorus
Melynnie Williams, Director
Score: 589 • 26 on stage
Division A
Wichita Chorus
Melynnie Williams, Director
Score: 589 • 26 on stage
Songs: What’ll I Do (Renee Craig); The Moment I Saw Your Eyes (Joe Liles)
Division AA
Note-ably North Texas Chorus
Lindsay Chartier, Director
Score: 455 • 34 on stage
Songs: At Last (Nancy Bergman); A Wink and a Smile (Kim Brittain)
Most Improved Chorus
Note-ably North Texas Chorus
Lindsay Chartier, Director Score: 455 • 34 on stage Points Improved: 72
Number of Competing Choruses: 15
Photo Attribution: Jon Peterson
First Place Wildfire!
First Place Rich-Tone Chorus
Division A Wichita Chorus
Regional Results 2024
Region #26 Canadian Maple Leaf
Quartets
First Place
Glisten • Score: 605
Jenna Kellas (t) North Metro Chorus
Lindsay Giovos (l) Rhythm of the Rockies Chorus
Lisa Hunszinger (bt) Alberta Northern Lights Chorus
Sarah Pelton (bs) North Metro Chorus
Songs: This Can’t Be Love (David Wright); My Foolish Heart (Joni Bescos)
Second Place
Lumina • Score: 595
Third Place
JETSET • Score: 586
Competing Quartets: 18
Choruses
First Place
Gateway Chorus
Lisa Greenough, Director Score: 645 • 53 on stage
Songs: Make Someone Happy (Joey Minshall); Joint Is Jumpin (Greg Volk)
Second Place
Alberta Northern Lights Chorus
Lisa Hunszinger, Director
Score: 613 • 36 on stage
Third Place
Rhythm of the Rockies Chorus
Jo-Anne Killips, Director
Score: 603 • 38 on stage
Division A
Southern Accord Chorus
Jill McLeod, Director Score: 533 • 22 on stage
Songs: Zing, Went The Strings Of My Heart (Joey Minshall); If I Give My Heart To You (Jim Clancy)
Division AA
Gateway Chorus
Lisa Greenough, Director Score: 645 • 53 on stage
Songs: Make Someone Happy (Joey Minshall); Joint Is Jumpin (Greg Volk)
Most Improved Chorus
Battlefords Blend Chorus
Jo Carter, Director Score: 487 • 15 on stage
Points Improved: 49
Competing Choruses: 15
Photo Attribution: eyeLight Canada Photo & Video
First Place Glisten
First Place Gateway Chorus
Division A Southern Accord Chorus
Division AA Gateway Chorus
Regional Results 2024
Region #31 Quartet of Nations
Quartets
First Place
Vida Loca • Score: 640
Rachel Thomas (t) Lace City Chorus
Melanie King (l) Lace City Chorus
Helen Abbott (bt) Lace City Chorus
Eleanor Blackeby (bs) Lace City Chorus
Songs: You Don’t Know Me (Jim Clancy); Diamonds Are A Girl’s Best Friend Medley (Larry Wright)
Second Place
Last Minute • Score: 637
Third Place
Northern Soul • Score: 611
Competing Quartets: 19
Choruses
First Place
Forth Valley Chorus
David Sangster, Director Score: 687 • 99 on stage
Songs: Ain’t Misbehavin’ (David Sangster); You’ll Never Walk Alone (Rosalind Johnson & David Sangster)
Second Place
Heartbeat UK Chorus
Nancy Kelsall, Director Score: 656 • 72 on stage
Third Place
Vocal Dimension Chorus
Valerie Taylor, Director Score: 617 • 38 on stage
Division A
Milltown Sound Chorus
Kim Nuttall, Director Score: 590 • 27 on stage
Songs: Next Time I Love (Larry Wright); Georgia May (Aaron Dale)
Division AA
Vocal Dimension Chorus
Valerie Taylor, Director Score: 617 • 38 on stage
Songs: All The Things You Are (Joey Minshall); Come Fly With Me (Kevin Keller)
Most Improved Chorus
Milltown Sound Chorus
Kim Nuttall, Director Score: 590 • 27 on stage
Points Improved: 48
Competing Choruses: 11
Photo Attribution: Event-photos.co.uk
First Place Vida Loca
First Place Forth Valley Chorus
Division A Milltown Sound Chorus
Division AA
Regional Results 2024
Region #32 Nordic Light
Quartets
First Place
Maverick • Score: 656
Jean Ellis (t) Chapter-at-Large Region 32
Anna Rosenberg Adlerstam (l) Pearls of the Sound Chorus
Sofia Hagman (bt) Pearls of the Sound Chorus
Susanna Balsvik (bs) Chapter-at-Large Region 32
Songs: What I Did For Love (David Wright); Almost There (Aaron Dale)
Second Place
Milli Blink • Score: 629
Third Place
Epitones • Score: 623
Competing Quartets: 9
Choruses
First Place
Pearls of the Sound Chorus
Anna Rosenberg Adlerstan & Rasmus Krigstrom, Directors Score: 683 • 46 on stage
Songs: Not While I’m Around (Steve Tramack); A Wonderful Day Like Today (Joey Minshall)
Second Place
Key Town Eskilstuna Chorus
Annika Christensen & Sara Johansson Selander, Directors Score: 564 • 44 on stage
Third Place
Västerås Show Chorus
Rosie Westholm, Director Score: 556 • 28 on stage
Division A
Västerås Show Chorus
Rosie Westholm, Director Score: 556 • 28 on stage
Songs: A Dream Is A Wish Your Heart Makes (Joey Minshall); Almost There (Aaron Dale)
Division AA
Pearls of the Sound Chorus
Anna Rosenberg Adlerstan & Rasmus Krigstrom, Directors Score: 683 • 46 on stage
Songs: Not While I’m Around (Steve Tramack); A Wonderful Day Like Today (Joey Minshall)
Most Improved Chorus
Key Town Eskilstuna Chorus
Annika Christensen & Sara Johansson Selander, Directors Score: 564 • 44 on stage
Points Improved: 49
Number of Competing Choruses: 5
Photo Attribution: Eric Ideler
First Place Maverick
First Place Pearls of the Sound Chorus
Division A Västerås Show Chorus
Division AA Pearls of the Sound Chorus
Regional Results 2024
Region #34 Southern Cross
Quartets
First Place
Skylark • Score: 648
Joanne Oosterhoff (t) A Cappella West Chorus
Avril Hughes (l) Brindabella Chorus
Kirsten Richardson (bt) A Cappella West Chorus
Glenda Lloyd (bs) Brindabella Chorus
Songs: My Foolish Heart (Joni Bescos); A Wonderful Day Like Today (Joey Minshall)
Second Place
Alouette • Score: 640
Third Place
Pocket Dimension • Score: 583
Competing Quartets: 22
Choruses
First Place
Redland Rhapsody Chorus
Louise Brannon, Director
Score: 621 • 54 on stage
Songs: A Wonderful Day Like Today (Joey Minshall); Maybe This Time (Clay Hine)
Second Place
Circular Keys Chorus
Vicki Dwyer, Director Score: 611 • 32 on stage
Third Place
A Cappella West Chorus
Joanne Oosterhoff, Director Score: 611 • 72 on stage
Division A
Geelong Harmony Chorus
Michelle Roy, Director Score: 529 • 23 on stage
Songs: Brand New Shoes (Donya Metzger); All The Way (Tom Gentry)
Division AA
Redland Rhapsody Chorus
Louise Brannon, Director Score: 621 • 54 on stage
Songs: A Wonderful Day Like Today (Joey Minshall); Maybe This Time (Clay Hine)
Most Improved Chorus
Geelong Harmony Chorus
Michelle Roy, Director Score: 529 • 23 on stage
Points Improved: 43
Competing Choruses: 13
Photo Attribution: Kirsten Graham Photography
First Place Skylark
First Place Redland Rhapsody Chorus Division A Geelong Harmony Chorus Division AA
Regional Results 2024
Region #35 New Zealand
Quartets
First Place
Fire & Ice • Score: 637
Jane Martin (t) Chapter-at-Large Region 35
Catriona Hay (l) Christchurch City Chorus
Jane Esera (bt) Chapter-at-Large Region 35
Henrietta Hunkin-Tagaloa (bs) Chapter-at-Large Region 35
Songs: My Foolish Heart (Joni Bescos); I Can’t Give You Anything But Love/ I’ve Got A Feeling I’m Falling (Nancy Bergman)
Second Place Level Up! • Score: 609
Third Place
Renew! • Score: 592
Competing Quartets: 14
Choruses
First Place
Wellington City Chorus
David Brooks & Jo Hodgson, Directors
Score: 618 • 45 on stage
Songs: If I Had My Way (David Harrington); Fly Me To The Moon (Kohl Ktizmiller)
Second Place
Faultline Chorus
Carolyn Currington, Director
Score: 587 • 44 on stage
Third Place
Dunedin Harmony Chorus
Robyn Abernethy, Director
Score: 542 • 29 on stage
Division A
Dunedin Harmony Chorus
Robyn Abernethy, Director
Score: 542 • 29 on stage
Songs: Mr Wonderful (Kay Bromert); The Old Piano Roll Blues (Morris Rector & Joni Bescos)
Division AA
Wellington City Chorus
David Brooks & Jo Hodgson, Directors
Score: 618 • 45 on stage
Songs: If I Had My Way (David Harrington); Fly Me To The Moon (Kohl Ktizmiller)
Most Improved Chorus
Dunedin Harmony Chorus
Robyn Abernethy, Director
Score: 542 • 29 on stage
Points Improved: 34
Competing Choruses: 11
Photo Attribution: Clive Copeman Photography
First Place Fire & Ice
First Place Wellington City Chorus
Division A Dunedin Harmony Chorus
Division AA Wellington City Chorus
Regional Results 2024
2024 Wildcard Quartets
Region #15
Rosegold Four • Score: 641
Meredith Glemboski (t) Greater Nassau Chorus
Vera Crouse (l) Greater Richmond Chorus
Harriette Walters (bt) Greater Nassau Chorus
Leigh Anne Dorman (bs) Greater Nassau Chorus
Songs: Everybody Loves My Baby Medley (Larry Wright); He Touched Me (Larry Wright)
Photos: Lindsey Fish
Region #34
Alouette • Score: 640
Diane Jenkins (t) Circular Keys Chorus
Vicki Dwyer (l) Circular Keys Chorus
Kaitlyn Dwyer (bt) Circular Keys Chorus
Crystal Forbes (bs) Circular Keys Chorus
Songs: If I Had My Way (David Harrington); This Can’t Be Love (David Wright)
Photos: Kirsten Graham Photography
Region #31
Last Minute • Score: 637
Martina Gierse (t) No Borders Show Chorus
Krista Moller (l) No Borders Show Chorus
Katy Taylor (bt) Chapter-at-Large Region #31
Anne-Miek De Nijs (bs) No Borders Show Chorus
Songs: Come Fly With Me (Carolyn Schmidt/Kevin Keller); My Foolish Heart (Joni Bescos)
Photos: Events-photos.co.uk
Alouette
Rosegold Four
Minute
Kindred
Illuminate
Epitones
Nothin' But Treble
Regional Results 2024
Region #8
Kindred • Score: 629
Christine Weaver (t) Skyline Chorus
Robin Mickle (l) Skyline Chorus
Dawn Hewitt (bt) Skyline Chorus
Kim Andrews (bs) Skyline Chorus
Songs: I'ts You (Robert Rund); Between You And The Birds and Bees And Cupid (Aaron Dale)
Photos: Read Photography
Region #11
Shenanigans • Score: 616
Nicki Agner (t) Antelope Valley Showcase Chorus
Missy Elam (l) Song of Atlanta Chorus
Elizabeth Sloan (bt) Chapter-at-Large Region #11
Merideth Frehner (bs) Harborlites Chorus
Songs: Ya Gotta Know How to Love / I Can't Give You Anything But Love Medley (Nancy Bergman); Love Me And The World Is Mine (David Wright)
Photos: Wyeth Lilley
Region #15
Illuminate • Score: 624
Rebecca King (t) Merrimack Valley Chorus
Alicia Caron (l) Spirit of Syracuse Chorus
Jennifer Hunter (bt) Saratoga Soundtrack Chorus
Cherie LaDuke (bs) Coastline Show Chorus
Songs: It's A Sin To Tell A Lie (David Wright); Next Time I Love (Larry Wright)
Photos: Lindsey Fish
Region #12
LiveWire • Score: 614
Christine Jacobs (t) Mission Valley Chorus
Karen Fish (l) Diablo Vista Chorus
Margaret Leggett (bt) Chapter-at-Large Region #12
Lysanda Lee (bs) Mission Valley
Songs: How Many Hearts Have You Broken (Jim Arns); Bandstand In Central Park (Nancy Bergman)
Photos: Read Photography
Region #32
Epitones • Score: 623
Hedvig Rosendahl (t) Stockholm City Voices Chorus
Magdalena Hansols (l) Chapter-at-Large Region #32
Annie Ekman (bt) Stockholm City Voices Chorus
Karin Bjernesten (bs)Stockholm City Voices Chorus
Songs: Almost There (Aaron Dale); May I Never Love Again (Renee Craig)
Photos: Eric Ideler
Region #9
Bubbly • Score: 613
Dana Dunlevy (t) Toast of Tampa Chorus
Carol Beckmann (l) Toast of Tampa Chorus
Lana Owens (bt) Toast of Tampa Chorus
Gari Brindle (bs) Toast of Tampa Chorus
Songs: I've Got a Feeling I'm Falling (Larry Wright); I Never Meant to Fall in Love (Joe Liles)
Photos: Read Photography
Region #8
Nothin' But Treble • Score: 619
Helena Herrington (t) Chapter-at-Large Region #8
Mindy Butler (l) Chapter-at-Large Region #8
Ashlee Olson (bt) Chapter-at-Large Region #8
Stephanie Osmond (bs) Chapter-at-Large Region #8
Songs: Something Good (Clay Hine); Diamonds Are A Girls Best Friend Medley (Larry Wright)
Photos: Read Photography
LiveWIre
Shenanigans
Bubbly
Pre-Order by September 1!
Custom Kansas City Competition Apparel
Front:
2024 Kansas City Convention & Competition Logo
Back (choice of):
Competing Chorus OAP
Competing Harmony Classic OAP
Competing Quartet OAP
Competing Chorus Roster
Available in a variety of styles and colors!
Important Dates:
July 28
Chorus leadership register chorus and provide roster
Sept. 1
Last day to order apparel online for delivery before contest week
Oct. 1
All orders shipped (unless picking up at GMI booth in KC)
Virtual Memorial Wall
Honor the memory of a Sweet Adeline by having their name added to the Sweet Adelines International Virtual Memorial Wall. Memorial donations help continue the legacy of our beloved members by providing funds for the events, education, and other programs that keep our organization thriving.
To find out how to give a memorial gift in the name of a Sweet Adeline, visit www.SweetAdelines.com/Give or email Becky Duncan, Assistant Director of Philanthropy at becky@sweetadelines.com.
In Memory • April-June 2024
Melanie Markowich, Cincinnati Sound, #4
Charlotte Fagerlund, SeaSide Singers, #32
Aileen Gray, Voices United, #11
Patricia Easley, Sacramento Valley, #12
Jean Emard, Grand Olympics, #13
Cheryl Suhr, High Country, #8
Anita Barry, Jersey Harmony, #15
Elle Rutsatz, Pacific Mist, #26
Margaret Crapoff, Friendship VII #17
Nancy Matronic, Acapella Soundsations, #13
Barbara Lingo, TuneTown Show, #4
Mary Smith, Spirit of Evansville, #4
Memorial Gifts
Susanne Gray Minnesota Valley
Linda Carovillano Member-at-large
Betty Lou Surber
Pacific Shores
Suellen West
Sparkling City
Sam Flynn, Indian Blue, #34
Susan Lansdown, Redland Rhapsody, #34
Katherine Lehman, Ringing Hills, Region #19
Patricia Bowen Simply A Cappella, #21
Lindi Bortney, Member-at-Large
Former Sweet Adelines honored with a Memorial Gift
Wilma Cornell A Cappella Bay Show
Advanced to Certified Director
Dawn Haggerty, Greater Harrisburg, #19
Vivian Gerrietts, Heart of Illinois, #3
Alana Butikofer, Idaho Falls A Cappella, #8
Debra Rasnick, Coastline Show, #1
Dave Carlisle, River Blenders, #5
Sandy Salsbury, Northern Blend, #2
Hannah Barton, The Heartland Singers, #16
Sandy Salsbury, Northern Blend, #2
Hannah Barton, The Heartland Singers, #16
Advanced to Harmony 500 Director
Karla Callaway, Texas Harmony, #10
Alana Butikofer, Idaho Falls, #8
Kimberly Graham, Vocal Matrix, #14
Annette Wallace, Acappella Omaha, #5
Jeanne Elmuccio, Heart of New Jersey, #15
Dawn Seigneur, Pride of Toledo, #17
Deborah Dahlen-Kirsch, Valley Forge, #19
Elvera Collier, Peach Arch, #26
Janice Caravan, Desert Sounds, #26
Jennifer Winsor, Gainsville Harmony, #9
Iris Christ, Shore Notes, #9
Sarah Rae, Foveaux Harmony, #35
Lynette Smith, Coastal a Cappella, #34
Advanced to Master Director
Anna-Lisa Glad, Bella Voce, #8
Jan Sloan, Lady Luck Showtime, #11
Rose Hettinga, Lady Luck Showtime, #11
Raj Samaroo, Antelope Valley Showcase, #11
Elizabeth Orr, Voices United, #11
Lee Hays, ChannelAire, #11
Debora Scott, Queen Charlotte, #14
Jo-Anne Killips, Rhythm of the Rockies, #26
Lisa Hunszinger, Alberta Northern Lights, #26
Jennifer Squires, Perth Harmony, #34
