The Shrine of Democracy Chorus was proud to recognize members who made a difference to the chapter this past year.
Several years ago, the Board of Directors felt that just one award to the Barbershopper of the Year did not acknowledge all of the good things that members do for our chorus. As a result the chapter started giving "Sparkplug Awards" to recognize good works. This year the chapter recognized four "Sparkplugs."
Pete Stach was recognized for his leadership and work as Chorus Manager. Pete has done a great job this past year. He took this job and has worked hard to make arrangements and schedule singouts and chorus activities. Thanks Pete.
Gary Welsh was given a "Sparkplug" for all of his work on the sets for the show and for the prize winning scarecrows he built for the Oktoberfest program. Thanks Gary.
David L'Esperance, our secretary, was singled out for his good work as the secretary, his leadership in the lead section and being the master of ceremonies for our show and singouts. Thanks Dave.
Clayton Southwick, our hard working director, was awarded a "Sparkplug" for all of his work with the chorus that is producing results in the improved quality of the singing. Thanks Clayton.
And a new award was given this year - the "Old Plug" award, which was given to Al Pitts, one of the founding members of the chapter who still sings, is active in a quartet, works on chapter projects and the music committee, and occasionally still directs the chorus. He is an excellent vocalist and great source of barbershop music and memories. He inspires and leads each week. Not bad for an "Old Plug."
The highlight of the awards was the announcement of the Barbershopper of the Year. John Elving was awarded the plaque and recognized as the 2007 Barbershopper of the Year for the Mt. Rushmore Chapter.
John has worked tirelessly for the chapter as Vice President of Music, Bulletin Editor extraordinaire, assistant director, arranging for inspirational videos, locating music, and sending the weekly schedule and announcements to all members. His efforts as editor have been recognized throughout the Society. He has been the barbershopper of the year without any doubt, and everyone was thrilled to recognize John.
John's remarks were short, but from the heart. It's not hard to do the chapter's work when it's all for something that you love. Thanks John!
The first meeting of the new year, and the first under the guidance of President Wayne Anderson, convened January 15 at the office of board member Jim Olson.
A quorum of the new board was present. The minutes of the December 2007 meeting were approved as presented, and Treasurer Jim Gogolin's report was accepted.
The success of the coaching session with Darin Drown was the first topic of the old business. His techniques and tips can make a significant gain in our sound, if we follow his lead. It's amazing how the placement of voice types within a section can change the unit and chorus sound, just by shifting a few people. His vocal tips, which reinforced what Clayton has been telling us about vowel formation and tone placement for a long time, also made a BIG difference. Those who weren't in attendance missed an incredible opportunity and have a lot of catching up to do.
The Installation Banquet and awards ceremony will be January 19 at Elk Creek Steakhouse, and will be a great time.
Rocky Mountain Harmony College is the next big adventure and 12-14 of us will be there. In addition to past International Champion Quartet Realtime, we'll get to hear the debut of the new Storm Front, as well as attend some awesome training and bust some chords!
Our next chorus challenge and significant fund raiser will be Singing Valentines. The plan is to strive for at least three working quartets for the day. The hours will be 9 a.m. to 8 p.m. The basic package will be $45 for delivery during a two-hour window; for a premium of $5 more, a performance within a one-hour time slot will be offered, and for a specific time delivery, a $10 premium will be charged. Posters, fliers and advertising should be available by chapter meeting on January 24. We need to deliver a lot of special surprises and thereby refill the piggy bank!
Chapter Development VP Steve Ferley is planning for Guest Singer Nights for May 1, which is two weeks after the spring show, and for August 28, which will be the second meeting after Harmony Happening in the Hills. Let's all try to bring at least one guest each.
As a special fund raising feature, the chapter will raffle two round-trip tickets to Denver on Frontier Airlines. Raffle tickets will cost $5 each or five for $20, and the winning ticket will be drawn at the April 19 show.
Several of the VPs met Treasurer Gogolin's call for budgets for the coming year; congratulations, gentlemen. Now all we have to do is sell, sell, sell to provide the $$ to make these budgets a reality!
The next meeting of the board will be February 5 at the offices of Jim Olson, convening promptly at 7 p.m.. NOTE THE EARLIER TIME. All chapter members are invited to attend and observe their board members at work!
Well, here we are in the new year. Do any of you remember the new year's resolutions you made a few weeks ago? Mine had something to do with a different pants size or something like that. I guess I could make it easy and buy a new pair of pants, but where's the challenge in that, right? OK, so I'll eat better and exercise more - how boring!
I do have some other goals for the year, though, and I'm going to try very hard to accomplish them. They, of course, have to do with my new role as president of the chapter. They are three in number, and actually not much different than my predecessors.
The first is better performances by the chorus. The key to this is preparation, and, of course, each of us has to do his part in that.
Clayton, the music committee, and I will expect each chorus member to put in the necessary effort to make each performance a first class event. I will encourage as much lead time as possible in making the music, choreography, and staging available early on in the preparation for each performance.
My second goal is to increase our membership, both in the chapter and in the chorus. Specifically, I want to increase our membership by twenty percent. Since I'm not exactly sure how many members we now have in the chapter, my number to shoot for is fifty. The best way to increase our numbers is to provide a good product (see goal #1).
I plan to work with the board to advertise our product a little differently than in the past. We also need to treat prospective members well by entertaining them, showing them how to entertain us first, then others. Then we need to include them in our advances whenever possible. We have several past members around town whom I want to entice to return to the fold to help accomplish goal #1.
Finally, I want to have at least three registered quartets by the end of this year. There's nothing like singing with just three other guys in front of somebody. It's kind of scary, and it takes extra work, but it's definitely worth the effort. I plan to have more quartet singing during our weekly chorus practices, so be ready to have some fun.
In the flying business, there's an acronym, TLAR, which stands for "that looks about right." We try to never fall into the TLAR trap, because we never know when we'll have to fly an approach to minimums with a twenty knot crosswind and an airplane full of people.
"That looks about right" just won't hack it. Let's not fall into the TLAR trap with our singing either. Always be prepared, take pride in every note you sing, and try to be the one the rest of the members want to emulate.
Now, let's have fun!
In an effort to "be the best that we can be," as the Army would say, the music team would like to try something a little different in preparing for our upcoming annual show. It involves how we work on our music, both at home and at rehearsal.
Everyone has learning CDs of all the music we will be using on the show. Five of the songs are ones we have already learned and performed in the last year. And three of those songs we did for Harmony Happening in the Hills this past August.
That leaves three new songs to learn. See, it's easier already! However, this is where your part of the learning comes in.
After setting the date for first run-through of the music (three weeks out), we will go through the music in chorus rehearsal. If we have the words, and especially the notes learned sufficiently, say 80% correct using the music, then we will continue working on the song. If not, then we'll try again next week for the 80% results.
When that goal has been met, then we will work in earnest during chorus rehearsal. Three weeks after reaching that goal, we will expect every performing chorus member to be off the spots (no music).
Only when we get to that point can we start to work on our musicality and performance.
What it will require of each performing chorus member is spending some time every day, say even ten minutes, learning the music on his own. It also means that we will not be spending chorus rehearsal time teaching notes and words. That is your job. The director's job is to take what we have learned and molding it into a top-notch performance.
The music team and directors are making every effort to help you learn. But we must all take the silver spoon out of our mouths and begin to feed ourselves. By doing this we will continue to become the very best group of performers in the Black Hills, and even the entire state - at least singing in the barbershop style.
Looking forward to another great show in April. We will all be more prepared than ever before. As I heard recently while watching the Rose Parade, and stated by one of the marching band directors: "Excellence is a standard, not a goal". Let's take that on as our own.
I have been asked more than a few times to define some of the acronyms used in this and other BHS periodicals and verbally by barbershoppers. From time to time, I will include some of them with explanations so you all can understand.
Singing Valentines presents a great opportunity to advance our PR & Marketing efforts to the community. A quartet showing up at a home, business, school or hospital with a rose, a card and a love song creates quite an attention-getting moment both from a personal and a public point of view.
The Singing Valentine activity is a personal service to many members of our community, and collectively it is a huge service.
If you have been with a quartet delivering a Singing Valentine in a school or place of business you have witnessed the curiosity and undivided attention of people all around the lucky one receiving the honor. Four guys running around in tuxes who frequently stop long enough to sing a tender love song do get noticed. If you are one of a delivering foursome, be sure to let everyone know who you are as you introduce the group and its mission.
Although we use paid ads and public service announcements to spread the word on our special event, you, the individual member are a highly important link on the PR team. Our '07 annual show survey told us that more people heard about the show from chapter members than from any one particular form of media. We can do this by simply telling or emailing folks about Singing Valentines; picking up a poster and placing it in a strategic place; taking plenty of fliers and handing them to people with whom you come into contact and taking those fliers and mailing them to those you do not see in person.
We need all chapter members involved in this project. Not everyone will be singing in a quartet, but many other important tasks need to be done. Check with Chairman Pete Stach to see how you can help..
The nasty cold weather decided to give us a little break for our annual installation of new officers. The temperature stayed on the top side of zero and the vast majority of our members and wives gathered at the Elk Creek Steakhouse for the festivities.
After a great meal (for the most part - I did hear of one cold entree) our MC extraordinaire, Dwight "Digger" Edstrom, called the new slate of officers to the front of the room, subjected each to a grueling interrogation to ensure their worthiness, and installed them, almost. Seems the VP of Membership/Chapter Development and the VP of Marketing got criss-crossed which required an un-install/reinstall procedure. I noticed Digger had been spending a lot of time at the bar before the ceremony. Hmmmm... In spite of that, a BIG thanks to Dwight for a job well done.
I had the very pleasant task to perform at the banquet - handing out the Spark Plug Awards. Deserving recipients were David L'Esperance, Clayton Southwick, Pete (NA) Stach, and Gary Welsh (having missed the banquet, I hope we get to award it to him before he reads about it here).
A new award was presented this year. We found a very tired old tractor plug and mounted it horizontally on the plaque and... Voila. It is now the Old Plugger award for our first old plugger, Al Pitts. He's been plugging along for a looooooooooooooong time now.
And then Jim Olson presented the prestigious Barbershopper of the Year award to our "Jack of All Trades" John Elving. No one deserved it more than you, John. Thank you for all you do for this chapter.
This idea comes from the Appleton, Wisconsin Chapter, and found in their award winning bulletin, "Fox Tales". With some adaptation to fit our needs, could this work for the Mt. Rushmore Chapter? It's definitely something to think about. How do we treat our guests? Are they treated like royalty or a royal pain? Not that they are ever treated that way, but let's think of how we really do treat them. Ed.
GUEST GREETING PROGRAM
This Guest Greeting Program (GGP) is designed to welcome men who visit to enquire about the Fox Valleyaires Chorus and the Appleton Chapter, BHS. A member of the GGP will greet him, fill out the visitor book, make a namebadge and socialize with him until the rehearsal begins.
The performer's stance
Basically, the best singing position is one where you are standing comfortably, with your weight evenly distributed on both feet, with a slight "lift" to the body, as in eager expectation. This position has the advantage of keeping your air path straight and uninterrupted. There is a straight-line relationship between your diaphragm muscles (for support), your lungs, trachea (voice box), throat, and facial cavities. This position allows you to apply only the required amount of breath support to the diaphragm and still have a consistently steady sound.
As long as you stay in this position, you will have a great deal of control over expressive nuances, intensity, color, etc. Problems begin to show up when you deviate from this relaxed, almost unconscious singing position, and begin to move your body in time with the music. The key to a consistent sound - in any position - is to try to keep the relationship of that air path as straight as possible no matter what your position.
Basic side steps
There are several basic body positions as you sing, and several basic transitions to keep in mind. Let's take the transitions first. Easy, slow steps as you sing are probably the most common of moves for the lower body. If they are done slowly, there is basically no difference than if you were standing still. The primary thing you have to keep in mind is not to step too hard, because if you do this, your sound will jolt, and the effect will be noticeable to the audience. This is usually the case for side-to-side steps as well. Do not sway from the waist as this type of movement may kink your air path. If you have to move sideways, use your lower body as a pivot point. The entire upper body should sway as one piece, and keep trying to touch the ceiling with your head. This will prevent droopy posture and droopy sound.
Advanced steps
Next in difficulty is stepping up or down (as on risers). Now the problem becomes complicated, because other muscles come into play that could affect your sound quality. A step up uses lower back muscles, and they are also being used to support the sound. As a result, if you do not compensate for the extra tension as you move up, the sound will momentarily sound forced (like when punched in the stomach). The best way around this is to see if you can time the step to coincide with a breath. That way, you are not singing at that moment, and no harm is done. If you can do this, take the breath just before stepping up. Then time the move such that you start letting out the breath and sound just before you complete the move. In that way, the attack does not sound explosive. If you are not able to time the step and are forced to sing as you move, then the best thing to do is to back off slightly on your conscious breath support while those muscles are tensed for the move. Remember, though, that if you do this, two things can happen: The note will tend to go flat, and the color will diminish. Therefore, if you are conscious of it, you can correct for the quality of sound as you go. If you do it right, the volume does not necessarily diminish.
Stepping down has its own set of problems. As mentioned before, the best approach is to step down while you are taking a breath, but this is not always possible. There is an unconscious instinct to look down to see where you are going to step. This drops the body, bends the throat, kinks the airway, and directs the sound to the floor. It takes your eyes off the director. Needless to say, none of these are good things. Against your instinct, you must train yourself to already know where you are going to step. Get to the point where you can step down without looking, keep the body raised, and face the audience so the sound goes forward.
Stepping down also involves relaxing diaphragm muscles to allow the body to bend. Some of those muscles could be engaged in breath support, and stepping down will cause loss of breath support. It takes a conscious effort to maintain control while singing.
Stepping up and down while singing takes practice, as does everything we wish to do well. A good exercise to try at home for both of these transitions is to hold a comfortable note as you climb and descend stairs. You will see the problems as they affect you. Climb up and come down the stairs facing backwards (be careful!), and facing forwards, but looking back. These are the two typical stage moves where you wish to sing towards the audience. As you get good at it, try some progressively harder notes and see what happens.
Head moves
Let's consider the upper part of the body. Head moves are the easiest to do, provided you are aware that the air paths must stay open. Jerky moves are always something to avoid, as the sound comes out jerky as well.
Looking up and down presents the possibility of complications. We already mentioned the problems of looking down when we covered stepping down; and as suggested, simply avoid it. If it is a planned move, however, the trick is to tilt slightly back as you look down. Try to do this as imperceptibly as possible, and your sound quality will be less degraded.
Looking up is good for the voice! It is probably the one move where your posture improves the sound quality. The benefit occurs if you do not tense the neck muscles and do not look up too far. Tense neck and throat muscles will pinch the sound.
Arm moves
After facial expressions, the arms are the most used parts of the body for choreography. Their use is entirely a matter of timing as far as sound production is concerned. Try this simple exercise. Stand erect with your feet together, and then raise your arms as you exhale, and lower them as you inhale. Repeat this exercise five times, and form a mental image of what your lungs are sensing. Then, reverse the procedure, and raise your arms as you inhale, lower them as you exhale for five repetitions. Normally it is easier to raise the arms as you inhale and lower them as you exhale. This is so, because your rib cage is being helped to expand as you raise your arms. Thus, the best arm moves for singing are those that allow you to take a breath as you raise the arms, and sing as you lower them. Up on the breath, down on the sound.
Any move becomes more complicated when performed at a faster tempo or in combination with other moves. So try to think the move through at home and, if all else fails, remember that the sound is paramount. Do what you have to do to preserve its quality.
Many things about this wonderful hobby of ours never cease to amaze me, and one of the prime examples is this Chorus's desire to make itself better.
Our latest "advance", as John likes to call them, helps make my point. Close to 30 guys willingly gave up their Saturday to spend the day in Hill City working with Clayton and our special guest, Darin Drown from Sound of the Rockies and Storm Front. They were working with us to find ways we can sing better and improve our chorus sound. To my eye, it was a resounding (no pun intended, John) success.
Part of the delight for me was watching two seasoned barbershop professionals work their magic on each and every one of us. The differences they were able to create, simply by manipulating the science of sound, was astonishing!
Darin's exercise of identifying voice types as 1 or 2 or 3, and then placing section members based on that evaluation, made an immediate difference both within sections and the chorus overall. The looks on many of your faces said it all.
The bass section was suddenly a more solid and powerful foundation upon which to build. The leads sounded as one group instead of nine (attending) individual voices. The (two attending) tenors floated above the crowd. Finally the baritones slid skillfully (?) into each and every "slot" the chord dictated.
The other major exercise Darin and Clayton drilled on was vowel sounds. Ironically, the technique was not new. Clayton, John, Jim Price and Al Pitts have stressed the importance of having "good vowels" nearly every week. I am convinced that somehow our chorus needs an outside influence to convince us that what we've heard many times from our leaders is, in fact, valid.
Here again, it pains me greatly to be so complimentary to the bassos, but the changes in placement of the tone and formation of the vowel sounds created a section unity we'd seldom heard before (on purpose?)..
Each of us took many things home with us at the end of the day, and my sincerest hope is they all stay with us each time we utter a sound. These work sessions have made a huge difference in our performance abilities, and I personally hope we have many more of them.
Who knows, perhaps we'll be hoisting a trophy in the air following our performance in Colorado Springs next September!
In Perfect Harmony,
David L'Esperance
This advance was truly an enjoyable experience. I'm glad we had the hour-and-a-half practice before Darin arrived.
I have only attended two advances, but this one was definitely the better of the two. Darin is really a true clinician.
The biggest thing I learned was the head-space air instead of the use of the chest voice all the time. Also we learned that the basses set the tempo so much of the time. I think Darin brought out the best tone quality I have heard yet in the chorus. The positioning of the voices on the risers I though was another important aspect of the overall tone quality.
The only downside for me was standing on the risers for four hours, although it is good practice for performances. It's not good for David L'Esperance's L-5 and my L-4! HA!!!
I would strongly suggest for all those attending the Rocky Mountain Harmony College February 8-10 in Colorado that you encourage all the members of the Denver chorus to attend our Harmony Happening in the Hills this summer, or at least one of their quartets. Darin mentioned the long drive up here and I told him I would be willing to drive down there and pick them up and then drive them back home. (It is a good excuse to take my wife down to visit our granddaughter and pick her back up again.)
Thank you for accepting me in the chapter and chorus.
Denny Dodge
What a pleasant surprise it was being named Barbershopper of the Year for the Mt. Rushmore Chapter. This honor is something that I never expected or worked toward.
As a matter of fact, I was busy fumbling around with my camera trying to get the memory card changed so I could get a picture of the BOTY when he was announced. My wife must have heard something I didn't, because she grabbed the camera to change the card and then take pictures.
Because of the importance of this award, not only in our chapter, but throughout the Barbershop world, I will cherish it for a long time to come.
This chapter means a lot to many people, and my work is only to make it the most enjoyable experience for all who take part in it. I appreciate the opportunity to serve you in the ways you have entrusted to me.
I will continue to work to make this the best chapter and chorus we can possibly make it. Also, we will continue to try to keep the Mt. Rushmore Chapter and the Shrine of Democracy Chorus in the forefront within the Rocky Mountain District and the Barbershop Harmony Society. I say we, because this is a joint venture with all of you. You are just as important to this chapter and the Society as anyone else, and without you I couldn't do what I do.
Thank you again for the honor. Now, let's get back to singing!
It's never too late to look back at our New Year's Resolutions. It seems that we make the same ones year after year. How about some new ones that will affect our chapter in a very positive way. Think about these somewhat late resolutions and stick to them for the rest of the year:
Sing-cerely & Humm-bly,
Darin Drown left us with some very important concepts which we need to remember to move us to the next level of performance competence. Out of the many that he stressed throughout his time with us, there are four that are of prime importance. These are important enough that they were the last things he stressed as he was finishing his time with us.
The two biggest concepts to remember and work on:
Two smaller concepts to remember and work on:
My favorite singing group. Some of you may not know, but the Association of Donor Recruitment Professional has teamed up with blood centers around the country and in Canada. It is designed to be the largest North American blood drive in history. I am very excited that John Elving has volunteered (I did?) to be the chairperson of this event. We are planning to do a competition with Fargo, ND and Billings, MT.
The date is scheduled to be May 10, 2008, which is a Saturday, and at a point in time when blood banks have difficulty recruiting donors to donate blood. The day is shaping up to be filled with singing, donors, singing, donors, singing, and donors. What more can I ask for. Please plan to attend and help recruit friends, family, acquaintances, and business associates.
Some facts to think about:
More information about this fun event will follow.
I was always taught to be courteous and polite, which is what I was doing when I asked John if he still needed someone for this writing assignment. I thought for sure someone would beat me to it but I'm still a lot wet behind the ears in this organization, partly because Pete and his anxious-for-the-Sun-Inn salivary glands sits behind me. I tipped my cards too soon and John called my bluff. Now you all have to suffer through my rendition of our latest sabbatical to chorus advanceville.
This was my first advance with the likes of all of you, and I found it to be a particularly enjoyable way to spend a Saturday. Six hours of mostly singing and mostly standing was a good test of mind and body endurance. The test of mind met with dismal results but our bodies fought hard against the forces of riser rigor mortis. The fruit of our labors with Darin Drown were worth any permanent damage that may have occurred.
As each of us are at different places in our choral careers and abilities I'm sure each of us came away with something different from Darin and his patient guidance. Some of you "experienced" gentlemen came away with a few pearls. I came away with a pot full of clams that I'm still sifting through. The point is we all learned something, and all of those somethings combine to make us a better chorus, which makes us happy, makes our listeners happy, and makes everyone happy. Isn't happy enjoyable?
As a blooming, budding, blossoming but never booming (unless Clayton tells me to) bass I learned that I need to sing forward (tallyho) not back. Much to the chagrin of whoever is standing in front of me I remind myself of this by physically leaning forward. This forces them to either sing out of key along with me or lean forward themselves to try and listen to someone that is proudly producing perfect pitch.
Darin also further reinforced what Clayton and John are always preaching about having your mouth and lips in the proper position to produce a proper sound. That proper sound also comes from the "column of air" that Darin used as a wonderful visual example of breath control.
So in review; control your breathing, watch your mouth, sing forward, and eat your vegetables.
For those going to Rocky Mountain Harmony College in Estes Park, Colo. - congratulations! We are being acknowledged as coming with a very large contingency. That includes close to a third of our active membership.
For those not going I want you to know what you are missing. So, here is a list of the classes and special shows you're losing out on:
If that's not enough, how about the tag singing? Or maybe you want to spend time at the afterglow. Some of you will look forward to mealtime.
For the price of admission, the best show you could possibly see is happening on Saturday evening (right after one of those meals). We all know from Darin Drown that Storm Front will be debuting their new tenor. The highlight of the evening will be a show by Realtime, 2005 International Quartet Champions.
All of this for a few hardly earned dollars, most of which is paid by the chapter. Plan now for next year at the same time.
On December 31 several present, past and hopefully future members of the Shrine of Democracy Chorus joined with other men to perform with the Black Hills Symphony. What a great celebration we had by performing in "A Celtic New Year's Eve."
Although not barbershop, a great performance was given as this group, quickly named the Black Hills Area Men's Chorus, and directed by our own Clayton Southwick, was privileged to sing Percy Grainger's piece called "Scotch Strathspey and Reel." This piece of music would more easily be recognized as "What Shall We Do With A Drunken Sailor".
Also on the program, in addition to the Black Hills Symphony, were the Kenny Putnam Trio, members of the Molly Bennett School of Irish Dancing, located in Denver, Colo., and The Young Pipers. Interestingly, the young pipers were three boys, ages 12 to 14, who all played the bagpipes very well.
According to many in the audience, the men's chorus was the highlight of the evening. Congratulations to all for a job very well done on a difficult piece of music.
A new study of university choirs suggests you can sing your way to better health. New research suggests a choral workout might be just what your body wants.
According to an article from the Canwest News Services, Victoria Meredith, a University of Western Ontario professor, participation in choral music leads to increased respiratory function, improved overall health, a heightened immune system and improved brain function. Ms. Meredith used the school's adult choirs as a "live research lab" for her research.
She also concludes that performing in a choir "can keep you younger and healthier longer". Her research pointed to similar studies that found people who sing on a regular basis require fewer doctors' visits (sorry Gary), are less prone to falls, don't need as much medication and are less likely to be depressed.
Ms. Meredith, who has worked with the Canadian Centre for Aging and Activity, studied four choirs whose members varied in age from 18 to 84, for the past two years.
Is this why we have so many "young" 65-year-olds? ED
An unnamed Wisconsin BHS chapter, we are told, decided to hold an ice-fishing contest among the four voice parts. On a cold winter weekend the guys all went to a large frozen Wisconsin lake where they began the competition.
At the end of the first day the scores were:
Basses: 42 fish
Tenors: 38 fish
Leads: 33 fish
Baritones: 0 fish
That evening the baritone section leader got his men together and said, "I suspect that some kind of cheating is taking place."
Accordingly, the next day he sent one of the baritones to spy on the other sections. The Bari hid behind bushes and trees near each of the other sites and watched the other sections as they fished. After a short time he returned with his report.
"Well," said the Bari section leader, "is there any cheating going on?"
"There sure is," the spy replied. "The guys in the other sections are cutting holes in the ice."
Barbershop is four-part, a cappella, close harmony singing. The melody is carried in the second part, called the Lead. The Tenor harmonizes above the melody, the Bass sings the low notes, and the Baritone sings the "other harmony," sometimes above and sometimes below the melody. Barbershop is a uniquely American art form, sprung from the ear-harmonizers or "woodshedders" of turn-of-the-century America. There are currently 825 chapters and over 2000 registered quartets belonging to the Barbershop Harmony Society.
The Tenor
Listening too closely to tenors will make your ears bleed. The best thing about them is that they are usually quiet. They emit squeaky noises so high that only dogs can hear them. And for some reason, tenors are perpetually happy. It makes you just want to slap them.
The Lead
The lead typically cannot read music or carry a tune. Still, his ego causes him to believe he is much, much better than he is. He sings too loud, forgets lyrics, and his tonal center resides somewhere south of Tierra del Fuego. He believes the other parts are always getting in his way. He will tell you that nobody in their right mind comes to hear, say, a bass, baritone or tenor. People love the melody. And who sings the melody? The lead, of course. So the rest of you, BACK OFF!
The Baritone
Baritones are a frequent butt of barbershop humor. I'm not sure why, but that's how it is. Listening to a baritone singing his part alone is a little like being a witness to a cat strangling. When baritones sing in the shower, their wives have been known to divorce or, in one more startling case, dismember their spouse. Still, baritones claim to be the most lovely and interesting element of barbershop harmony. Ha!
The Bass
The bass believes he is the center of the universe. He constantly complains either that the arrangement is too low or that the lead has allowed the melody to sag. Someone please explain to me why basses believe as an article of faith that their gravelly low voice makes them irresistible to women. It doesn't.
Almighty and most merciful Director,
We have erred and strayed from Thy beat like lost sheep;
We have followed too much the accidentals and tempi of our own hearts.
We have offended against Thy dynamic markings.
We have left unsung those notes which we ought to have sung
And we have sung those notes which we ought not to have sung
And there is no soft in us.
But Thou, O Director, have mercy upon us, miserable singers;
Aid with the key signature challenged;
Restore Thou them that need help learning their music;
Spare Thou them that have pencils.
Pardon our mistakes, and have faith that hereafter
We will follow Thy directions
And sing together in perfect harmony.
Over the years a well-documented practice has become socially acceptable in MOST chapters - the guy who can't quite sing his part unless he's next to, or in front of a strong singer. You may not think I understand the need to "lean," but I do. I remember my very first night at a barbershop meeting. Since I had never heard this music, I spent the entire time leaning on the guy next to me. However, I had so much fun, and wanted so much to contribute to the group, that I spent the whole week learning the songs on which the chorus was working. The following week I was a leader, not a leaner.
I realize I learn my music faster than some, but the key phrase is... "I learn my music!" Taking two or three weeks to learn your part is not unusual. Taking four or five weeks with a difficult song can be understandable. Taking eight, 10 or 12 weeks to learn easy "level one" music is unacceptable!
I'm no psychologist, nor do I play one on TV, but in my estimation there are three reasons for being a leaner. (I'm sure there are more than three, but don't try to justify them.)
I would bet that every leaner in every chapter in this country could sing the lead to God Bless America or Let Me Call You Sweetheart. Why? Because they've heard it enough, and it's a melody. That's why I say, "Be a Lead-er, not a leaner." You must sing your part as if it were the lead. Obviously I don't mean sing louder, but I do mean sing with the same feeling. If you sing bass, don't sing like you're the tuba in a marching band. Sing like you would to the most important person in your life. In order to master your part, the goal should be to walk around anywhere singing your part... ALONE! Yes, without the other three parts. Yes, without another singer standing next to you. Sing as if it were the lead... ALONE!
I have compassion and understanding for leaners. They love singing and want to contribute to this and every other chorus around the country. I wish I could help each one myself. Unfortunately I can't, and as this chorus moves forward, more responsibility and higher expectations will be put on everyone. If you can stand in front of me and sing the melody to God Bless America, and sing it in tune, and sing it well, there's hope. Do your part. Take responsibility, and use your brain to sing from your heart.
"Be a Lead-er; NOT a leaner!"
In reading through some other chapter bulletins, I found this to be of special interest.
One chapter, in their most recent bulletin lists 40 singers in the chorus. Yet they also list nine chapter quartets, all of them registered. We have close to the same number of singers, and yet we can boast one registered quartet.
When it comes time for Singing Valentines and our annual show, we can usually field three, maybe four quartets. Not a very good average for a singing society based on the quartet.
President Wayne Anderson has made one of his goals this year to have more participation in quartetting. Not that we all need to be in registered quartets, but why wouldn't you want to be?
Quartetting will definitely make you a better singer. It will sharpen your ear to be able to sing more in tune. It will bring thrills to you that you never imagined.
If you are at all interested, find three other guys who want to do it, and come early to chapter meetings to sing. Help is available. Try it, you'll like it!
The Mt. Rushmore Chapter and the Shrine of Democracy Chorus shall promote, encourage and perpetuate barbershop-style singing in both chorus and quartets. We will recruit and welcome interested and motivated men who like to sing four-part a cappella harmony. We shall continually strive to improve our singing and performance skills, through the use of proper resources and opportunities. An attitude of fun, fellowship and teamwork will always guide our activities.