Harmony Rag March 2014 Edition

March 2014

Are you ready?

Stage is set for the first ever convention in Nottingham

Target The Top flyer

Contents FEATURES

13



Singers Guide to Powerful Performances

Some insights on how to create a powerful performance

17



Preparing for contest

Using sports analogy to get you ready for the contest stage

Sweet Adelines International

USUALS 4

QUARTET OF NATIONS REGION 31



RMT Updates

Sweet Adelines International is a

9



Regional Buzz

worldwide organisation of women

9



Warmed Up

18



Coaching Directory

19



Calendar of Events

singers committed to advancing the musical art form of barbershop harmony through education, competition and performance

Ready… set…

The contest season is upon us and I’m sure that you are excited as I am about our very own, Target The Top – including the new venue and the Open Division contest. I could go on and on but before the show kicks off, we’ve compiled some great insights to help you prepare for your performance. I hope you will find them useful and inspiring.

As for convention preparation, the RMT and Convention Team are buzzing and working hard to get everything ready so that when you arrive in Nottingham in May, you’ll have as fantastic an experience as you have at past conventions – maybe even more! We are also inviting the great British public to come and see the best ladies barbershop performances in the UK and the Netherlands so we’ve been advertising this fabulous event in and around Nottingham.

Wishing you all the best in your preparations and looking forward to seeing you in May!

Charl CHARL ASUIT COMMUNICATIONS COORDINATOR charlasuit@gmail.com

t charlie74

3 | March 2014 | Harmony Rag

Harmony Rag is published quarterly in March, June, September and December by the Regional Management Team (RMT) of the Quartet of Nations in digital format. The June issue is also published in print format.

Materials sent for publication are at the author’s/contributor’s risk and while every care is taken, neither the Quartet of Nations RMT nor Sweet Adelines International accept any liability for loss or damage.

Send all queries, copy and images to the Harmony Rag Editor, harmonyrag@sweetadelines.org.uk Deadlines are one (1) month prior to publication

headquarters we urge you to make the necessary

RMT FEBRUARY MEETING The Quartet of Nations RMT met last February in Nottingham. Whilst the main focus was around the convention in May, here are the key matters discussed and agreed:  The proposal from a new videographer – Ian

updates to your chapter officer list as needed.

Updates can be made with the new automated Charter Renewal and Chapter Officer Update form online in the Members Only section under Chapter Activity/Reports > Charter Renewal & Officers and can only be made by the President/Team Coordinator, Membership Chair or Treasurer. Please do not send

Dearman – for convention has been

your chapter officer updates to International

accepted.

headquarters staff. We strongly suggest you have all

 Single event tickets prices agreed – £25 for each competition and £20 for the show; 25% concessions to apply for under 16s and over 60s.  Workshop for directors agreed.  Faculty booked and allocated for the education workshops in 2015 – Karen Briedart, Darlene Rogers, Vickie Dennis, Lynda Keever, Britt-Helené Bonnedahl and Alyson Chaney.  Alyson Chaney continues on as a member of the international faculty.  Revamp work for regional website is underway.  Applications for the Marketing Co-ordinator post to be accepted until end of March.

chapter officer positions for the coming fiscal year posted by the charter renewal deadline of 31st May. To login:  Go to www.sweetadelineintl.org and click on Member Login  Enter your Member Name: last name first initial (e.g. Jane Smith would be smithj) and your Member Number: your membership number, then click on Log In  A blue navigation bar will appear under the main red navigation bar – click on the link for More Member Options  Under the Options Open to Members Only, click on the link to Chapter Activity/Reports.

Note: The former link to Chapter Member Reports has been renamed Chapter Activity/Reports

MEMBERSHIP MATTERS Instructions for updating chapter officers

 You will be asked to log in again with the same criteria you entered in Step 2, click Logon when you have entered your login information (you can bookmark this page or add it to your favourites so you can skip steps one through

The time is coming to renew your charter and

four every time you need to log in)

update your chapter officers. Although your charter

Note: The former link for Chapter Activity reports

renewal invoice will not be payable until after 1st

has been changed to Chapter Member Activity

May, this is a reminder that chapter officer updates can be made anytime in the Members Only section of the Sweet Adelines International website. To ensure all chapter officers are receiving important updates and helpful messages from International

Harmony Rag | March 2014 | 4

 In order to update your chapter officers click on the link for Charter Renewal & Officers  Make sure your chapter name appears and click on Select Chapter

 Make sure your chapter contact information is up to date and click on Continue Update  Use this Update Chapter Officers page to make all changes to your chapter officer list To resign an officer:  Find the chapter officer’s name (in the “Name” column)  Click on the drop down arrow next to their

 Click the “Add New” button to submit the new chapter officer position  Do this for each new chapter officer position that needs to be added  Click the “Continue” button  A pop-up box will appear that says “Make sure all changes are saved. Do you wish to continue?”  Click OK  Your new officers have been updated

position title (under the “Position” column)  Select the position from which they are resigning (for example: if they are resigning from the Treasurer’s position, select Xpired Treasurer)  Under the “To” column in the corresponding row enter the date in which they are resigning (today’s date or earlier – the “To” date cannot be set for a future date)  Do this for each resigning officer  When you are ready to submit your changes click the button labelled “Update All Records”

MEET MAGGI, HELEN AND MEL In the December 2013 issue, we announced the names of three new appointees to the regional leadership team – Maggi McEwan is the incoming Team Co-ordinator, Helen Glavina is the Quartet Liaison and Melanie Rice is the Young Women in Harmony (YWIH) Co-ordinator. We’ve asked each one to share a bit more about themselves.

 Your resigned officers have been updated and

Maggi McEwan

they will no longer appear on your chapter

Having come from a

officer list Note: If you do not resign an officer before their expiration date they will be removed from your Chapter Officer list after their expiration date and you will no longer see them listed.

To add an officer:  At the bottom of the screen, under “Add New Chapter Officer,” enter the member’s ID number in the space provided (in the ID field)  Under “Position” click on the drop down arrow to select the position for the officer you are adding  Under the “From” and “To” column enter in the dates that the officer will begin her position and end her position (For example: From 5/01/2013, To 4/30/2015)

musical family, I didn't make a decent sound on the instruments available at home - piano, organ, accordion, drums – so I turned to my own inbuilt instrument, my voice! I enjoyed life as a soprano in a traditional choir until I was 18 when sadly I started smoking. I then had a period as an alto, again in a 'formal' choir and in my Uni Gilbert and Sullivan Society. After a period of nearly 20 years in the wilderness, when singing in the shower was the best I could muster, I saw an advert for a singing course in barbershop. That was 9 years ago and I had a new passion in my life. Having come to barbershop from choral, I was frankly a bit sniffy about it, thinking myself to be a bit superior. Well that particular illusion was soon shot down in flames. I very soon

5 | March 2014 | Harmony Rag

learned to have the utmost respect and admiration

of Portsmouth and Raphael, 23, a Paediatric

for the skilful techniques of barbershop.

Dietician. My husband Stuart is in taxation and I

Within my own chorus, Spinnaker, I have had the pleasure of seeing our numbers swell from around 25 to the current 80 and I have been privileged

retired in 2012 after 17 years of teaching in an inner city comprehensive and 21 years as a Principal Lecturer at the University of Portsmouth.

enough to be President for some years. In spite of

We live in semi-rural Hampshire with 2 British Blue

having learnt so much over the last 9 years, I am very

Shorthairs and 29 fish!

aware that I am still a baby compared with some of my highly experienced colleagues. Every day is an adventure.

I count myself as very lucky to have a second 'barbershop family ' and I know I shall never be without friends.

Outside my barbershop life, I am a 62 year old ex Brummie who has lived on the south coast since 1969 apart from 2 years spent in France and Exeter whilst studying. I married in 1984 and have 2 wonderful children, Piers, 26, works at the University

I am very excited to be taking over the reins of Team Co-ordinator from the lovely Sheila and I hope that I shall be able to justify the trust people have placed in me. One of my aims is to 'touch base' with as many barbershoppers as possible so beware, the hand on your shoulder may be mine!

Helen Glavina I am the Music Director for Rhapsody UK Chorus based in Peterborough

MOOR HARMONY Prospective barbershop chorus in Wadebridge, North Cornwall need to recruit a new Musical Director We are a hard working chorus who won the last two music competitions we entered locally and are at stage 2 of our application to join Sweet Adelines International Following the departure of our Director, we wish to continue to improve and to follow our path to chartering under the ambition and inspiration of a new leader – position to begin, if possible after Convention May 2014 Are YOU or do you KNOW someone who might be interested?

Please send CV application or requests for further details to Sally Poxon moorharmony@live.co.uk

Harmony Rag | March 2014 | 6

and also the Baritone with Simply4 quartet.

I have been singing with barbershop choruses for almost 20 years. Simply4 was formed 10 years ago although the newest line up with Sharyn, Miriam and Barbara has been together for just 4 years.

I am hoping to develop my ideas for regional quartet education. I have a keen interested in watching new quartets develop and wish to promote this in every chorus. With the successes on the International stage from our Region, 2014/15 is looking very exciting! I am sure we can all benefit from these experiences, particularly of Finesse.

I will shortly be looking at ways of enlarging the

in 2009 to be with my now husband, Steve. A few

quartet information available on our regional

years’ later, I was missing singing and wanting a new

website.

challenge. I applied for the Musical Director role with

But for now, can I just say how exciting it is to be part of Region 31. I look forward to communicating and possibly meeting with some of you over the next few months.

London City Singers. Directing a chorus had always been a dream and I was thrilled when this dream became a reality in March 2013. I have sung in many quartets and am currently singing with Accent! I also provide vocal, expression, and showmanship coaching to individual singers, quartets and small

Melanie Rice I’ve been singing since

choruses.

childhood, so it was only a

In my role as YWIH Co-ordinator, I would like to work

matter of time before I

towards increasing awareness of Sweet Adelines

found Sweet Adelines

International and signing within the education

International. Instantly

systems and schools, and organising music

hooked on the harmonies,

education workshops geared to young singers and

I became a member in

quartets. I am really looking forward to working with

1991 in Burlington Ontario, Canada. After singing

the YWIH chorus in May. Who knows, maybe we will

Lead with Bayside Harmony Chorus I transferred to

take a YWIH chorus (or quartets) to

my dream chorus, North Metro, in Toronto Ontario,

compete/perform in the YWIH Festival someday!

where I switched to singing Tenor. I then resigned from Sweet Adelines International to move to the UK

CHECK THE REGIONAL WEBSITE FOR DETAILS – DEADLINE FOR APPLICATIONS END OF MARCH

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TARGET THE TOP: CONTEST ORDER OF APPEARANCE In case you missed the announcement last Monday, 17th March, here is the order of appearance for the 2014 Region 31 Convention.

Quartet contest – Friday, 09 May Contestant

Quartet

1

Fortuity (evaluation)

2

Chatterbox

3

Accent!

4

Mayhem

5

Domino

6

Simply4

7

Backbeat

8

Carousel

9

Raise The Roof

10

Q Music

11

Wicked!

12

Spark

13

Incognito

14

Mac4

15

Farenheit

16

Hot Note

17

Blonde Ambition

18

Vocal Zone (open division)

19

Footlights (open division)

Harmony Rag | March 2014 | 8

Chorus contest – Saturday, 10 May Contestant

Chorus

1

Forth Valley (open division)

2

Moor Harmony* (evaluation)

3

Vocal Dimension (evaluation)

4

Singing Unlimited* (evaluation)

5

Cheshire A Cappella

6

Rhapsody UK

7

Somerset Hills

8

Hillfoot Harmony

9

Solent Sounds

10

Phoenix

11

Spinnaker

12

Milltown Sound

13

Celtic Chords

14

Aberdeen

15

DaleDiva

16

Plymouth Mayflowers

17

Lace City

18

Viva Acappella

19

Champagne Cornwall

20

London City Singers

21

Flying High Singers (open division)

* Prospective chorus

traditional meal in an old brewery, a visit to the

PRAGUE ADVENT CHORAL MEETING

castle and shopping at the markets. We got to grips

Submitted by Penny Wade

with the transport system using buses, metros and

Fourteen singers from the City of Roses Chorus

opportunities for impromptu singing which went

attended the Prague Advent Choral Meeting in the

down well with bystanders. All in all a very enjoyable

last weekend of November 2013. The chorus sang in

trip and one we hope to repeat in future years.

trams and waiting around for these gave us lots of

three venues, the St Nicholas Church, Old Town Square, Manesti Miru Christmas Market and St Salvator Church in the Old Town. The audiences, made up of residents of Prague and members of choirs from Ireland, Sweden, Switzerland, England, Spain and Portugal, gave the chorus a very warm welcome and were very enthusiastic in their response to our thirty minute spots comprised mainly of carols and Christmas songs. They particularly liked the fact that we were all women, sang without accompaniment, wore bright red and sparkly costumes and were obviously enjoying ourselves! We enjoyed listening to the other choirs and had the opportunity to get to know and sing with some of them during a supper trip on the river.

Prague is a beautiful city and we made the most of our time there, fitting in a concert or two, a

Alyson Chaney presents a new regular column about how to devise a great vocal warm up routine for your chorus. She would love to hear from you too, so if you have any great warm-ups to share please email Alyson at alysonchaney@yahoo.co.uk and she’ll include, with your permission, your favourite warm up(s) so that we can, as a region, put together a useful resource.

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I have always loved planning, researching and collecting warm-ups to use at rehearsals and coaching sessions.

I’ve collected warm-ups from all over the place – other choruses, other directors, regional and international events, choral workshops, the internet ….you name it, I’ve been there!

First of all, here’s a handy acrostic to help you remember what you need to do in any warm up session. This acrostic was the brain child of two members of the Lace City Music Team, Helen Willis and Deborah Pollard, and I think it encapsulates very succinctly what we need to do to prepare our instruments. Why not download it, blow it up and display it in your chorus rehearsal room so that everyone knows what the purpose of warm-ups is?

For this first piece, I’m going to introduce you to some warm-ups you can do at home to help you expand all your breathing spaces. These will form an integral part of the chorus warm-up session too. Of course, good alignment is crucial too from the start of your rehearsal and I have included some exercises to improve and maintain good alignment (posture).

First prepare your instrument: imagine you are a clarinet – make sure all your holes are lined up!

Make the champion’s stance a constant part of your warm-up routine: raise both arms above your head and bring them down slowly by your sides and feel how high and wide you are standing, ready to sing.

Say the following rap as you carry out the actions: toes pressed, knees bent, pelvis tilted, ribcage lifted, shoulders relaxed.

Another great starter for any warm-up is the “pint of air” exercise: imagine you are drinking a pint of air – stand the (imaginary!) pint glass in front of you, grasp it and bring it to your lips. Take a drink of that air – and listen to the silence! This simple exercise highlights proper core breathing – and is one of the best demonstrations of this important technique that I know.

Repeat the “pint of air” exercise: this time lay your other hand on your abdomen so you can feel where you are expanding.

A great exercise to engage the core and tone up those breathing muscles: it’s the sip sip, hiss hiss exercise.

Sip in air twice, then hiss out twice, making sure the last hiss expels most of your breath. Repeat the sequence five times. You can increase the number of sips and hisses too if you wish, again remembering that the last hiss should get rid of the air.

Harmony Rag | March 2014 | 10

Another good exercise is the 3, 5, 7, 13 sequence: hiss 3 times, then 5 times, then 7 times, then 13 times, making the last hiss a little longer each time. Change the sound to “ch”, then “sh”, then finally “ff”. Think of 13 as being 3 lots of 4 plus 1 to get the rhythmic pulse.

Remind yourself of the warm air space: put your hand in front of your mouth and exhale as if you were trying to fog a mirror. Feel how warm the air is. You should always breathe into this “warm air space” to produce a rich, resonant, supported sound.

Another exercise to encourage warm air singing: breathe in and sigh out, firstly unpitched, then on a pitch. If you find yourself yawning whilst doing this exercise, that’s good! Yawning is good!

Remember the acronym S P L A T: Singers Please Loosen Abdominal Tension.

Last year I was privileged to attend most of the Rönninge Chorus rehearsals in Honolulu and for the record about half of their long and extensive warm-up consisted of breathing and phonation exercises before a single syllable was sung!

Next time I’ll look at some phonation warm-ups and hopefully include any you’d like to share. Thanks in advance for your contributions. I’d like to thank the members of my chorus (Lace City) in particular for being guinea pigs and for being on the receiving end of some crazy warm-ups over the years.

All the best to you. ― Alyson

11 | March 2014 | Harmony Rag

With classes aimed at both directors and their assistants, the day will begin with registration from 8.30am–9.15am followed by a short welcome and introduction to Master Director 700, Kim Vaughn!

Kim has a wealth of musical experience both as a coach, teacher and singer. As a vocal teacher and member of the National Association of Teachers of Singing, Kim holds a BA in Music Education and an MA in Vocal Pedagogy.

SATURDAY, 4 OCTOBER 2014 Jury’s Inn Hotel Broad Street, Birmingham

She has been directing the fabulous San Diego Chorus since 1985. The chorus has enjoyed many successes, including winning the International Championship in 2002. Kim has won the International Quartet Champion title three times, with High Society, Savvy and A Cappella Gold, the first woman ever to achieve this. She also directs Pacific Coast Harmony, a men’s barbershop harmony chorus based in California.

Kim is a Sound Category judge as well as a member of Sweet Adelines International faculty and travels all over the world coaching choruses and quartets.

Kim is very much looking forward to working with Region 31 directors and her classes will include Analytical Listening, How to Raise Your Level, Artistry, Finesse & Interpretation Skills, The Sound Category and How It Affects You. The day will at end at 6.30pm after a short Q&A session – then time to relax in the bar!

Registration opens on 19th March and the cost for the day, including tea/coffee and a hot buffet lunch is £75.00.

Come and join Kim Vaughn, Master Director 700 of San Diego Chorus for a music education day designed specifically for chorus directors and assistant directors

For full details of how to register, please go to http://sweetadelines.org.uk/tunein.htm

SINGERS GUIDE TO POWERFUL PERFORMANCES We spend hours and hours in the rehearsal room for every performance and even more so in the lead up to convention. We do it not just because we want to win at contest but also because of that drive and passion to share our music with other people – to let the music and our performance affect our audiences in the same way as they have affected us. Jeannie Deva generously gave permission to publish some excerpts from her book Singer's Guide to Powerful Performances, which gives some insights on how to create a powerful performance not just for convention but for every performance.

Four Basic Fundamentals to Creating a Each of us sings for our own reasons, but usually we

Powerful Performance

share one main motivation — we love it. We have

1. The power of purpose

something we want to share with others. This is a wonderful thing. To give to others is honourable, and audiences certainly respond favourably to this quality in a singer. We always remember performances that have moved us emotionally, inspired and transported us, and ignited our inner fire. A memorable performance makes us feel vibrantly alive and always remains fresh in our consciousness. It’s often this very experience that inspires each one of those of us who choose this profession to become a singer in the first place. Let’s take a broader look at the elements that contribute to this triumphant achievement before we apply specific exercises that will enable you to hone in on the details.

Many singers have great voices. So what? If you have nothing to say and no reason to say it, does the tone and command over your instrument really matter?

When we focus on vocal technique and performance skill — both a necessary part of the process — it’s easy to lose sight of why we’re singing. Vocal skill is simply a tool, a vehicle, through which you can communicate with your audience. It’s important to recognise that it is you, the performer, who gives something to the audience — not the other way around. This is because the performance shouldn’t be about you but rather what you want your audience to experience from the performance.

Stardom isn’t a good reason to sing...

I’ve asked many singers who are just starting out, “Why do you sing?” or “What is your purpose when you perform?” and I have often heard, “I want to be a

13 | March 2014 | Harmony Rag

star.” Neither stardom nor even a successful

to complete involvement with the meaning

performance career, for that matter is likely to be in

you choose to give the song.

their future. That’s because they are focused on

 Be aware of your audience and include them

what the performance can give to them. This is

within the reach of your performance. By

backwards.

reach, I mean extend your attention/awareness/energy/spirit with the

The audience is always the first concern. Whether

purpose of including the individuals that

you’re adapting your performance to a specific

comprise the audience.

venue or to fit a predetermined theme, hired to create an ambient atmosphere in a restaurant or club or sing for a charity fundraiser, you can achieve a memorable performance if you recognise the importance of creating an intended experience for your audience.

2. Your mental approach or attitude can influence your audience Surely, we’ve all experienced the difference between watching a performer who is comfortable with themselves and certain of their ability to do the tasks at hand and one who fumbles about in doubt and incompetence. How do these two different types of people make you feel? The voice is a finely tuned instrument that can relay emotions and thoughts, whether intentional or unintentional. If you’re uncertain or filled with self-doubt, your audience will know. If issues distract you that are outside of your performance, your voice will sound bland; you’ll have no connection to the song and your audience will respond in kind. Self-confidence comes from demonstrating ability; ability advances through action. If you lack confidence now, learning and practicing will help you achieve it. In the meantime, you can transcend how you feel about your own capabilities by practicing some of the following steps:  Approach singing and performing with an “I can” attitude. If you don’t believe you can, then start with “I will.”  Commit to each song you sing. This is essentially achieved through a commitment

Harmony Rag | March 2014 | 14

3. Stage presentation and performance skills A performance is a multimedia, multisensory creation and experience...

Your voice, while the single most important facet, is only one of several sensory creations that will influence your performance and audience.

A performance is visual...

Unlike a recording, your visual stage presentation is an important element of any performance. This includes what you and the rest of the chorus/quartet wear, how all of you are positioned on the stage, how you move, how you interact with the audience, the lighting, and anything and everything that goes into the visual aspect of the show.

Perform in the present...

Performance is a live communication between the singer and audience in present time. Don’t create mental image pictures of someone and sing to that person in your mind. That will remove you from the present and diminish your vitality and the emotion of the song. Sing with the intention that each person in your audience receives and understands what you’re expressing right at this moment.

Work it out beforehand...

Many singers learn their songs and think that constitutes preparation for performance.

Unintentionally, they now approach the actual

Ideally, vocal

performance (the show) in a slapdash way and just

development

hope it works. To perform on a fully professional

should result

level, your performance will require detailed pre-

in your

planning, practice and development of each

command of

ingredient of the show prior to arriving in front of an

an

audience.

expressive,

Study shortens the path...

The technique of performance includes isolating and eliminating anything that would distract your audience from complete immersion in the song and

spontaneous and passionate voice that’s free of

your performance of it.

limitations.

Many successful performers develop their skills over

intonation,

a long period of time by a hit-or-miss approach.

tone, range

However, if you isolate and work on each aspect of

and vocal embellishments (if you use them) should

your performance as you would your technical skills,

be advanced to the point of effortless execution.

you’ll be able to acquire these performance skills

When you’re confident you can use your voice freely

much faster. The development of your performance

without restriction or vocal fatigue, you’ll be better

skills is the gateway through which your voice and

able to direct your attention and energy to your

expression can shine out to your audience.

audience.

4. Vocal skills

A properly exercised voice will easily provide you with

Your voice is an instrument of communication and

everything...

good vocal technique is the route to full and free expression. Good technique also provides career longevity by preventing vocal blowout. Excellent vocal technique enables you to sing freely with passion and conviction.

Ample vocal technique provides peace of mind...

Your pitch,

Your vocal training should enable you to express everything you hear and feel. Therefore, it should include:  A clarification of misconceptions about how your voice works so that you aren’t subconsciously interfering with its natural

If you’re uncertain whether or not you’ll sing on pitch

function – singers become involved with all

or have adequate range to perform the entire song

sorts of gimmicks to remedy vocal problems

without your voice cracking, you’ll tend to introvert

that wouldn’t exist in the first place if they’d

and withdraw from your audience. This will be

learned the natural workings of the voice.

evident in your performance. Vocal difficulty of any

 The development of the stamina to sing as

kind, whether it’s cracking notes, throat tension,

many hours as you require as aggressively as

vocal fatigue, or hoarseness, can interfere with your

you choose: With a true understanding of the

stage presence and cause you to hold back.

voice and the right exercises to develop vocal muscles, singing becomes easier and your

15 | March 2014 | Harmony Rag

confidence grows. Confidence in your voice is

of professionalism, allowing your individuality to

a major milestone to a powerful and

shine.

unforgettable performance.

Stamina is the result of proper muscle tone...

[Excerpt from the eBook: Singer’s Guide

Some singers can sound great for a song or two, but

to Powerful Performances available for

lack vocal stamina. If they sing longer than their

all tablets in iTunes, Amazon, etc.]

undeveloped vocal muscles can tolerate, they suffer from a blown-out voice. This is the singer who may

---------------------------------------------------------

be cautious about really 'giving it their all' for fear of losing their voice. Some say that if you sing for too many hours it’s 'over-singing' and that vocal

Jeannie Deva is recognised

problems are inevitable. I don’t find this to be true. It

as one of the top celebrity

is how you sing, not for how long you sing that will

voice and performance

wear out your voice.

coaches and originator of

Through my research and experience I have found that if singers try to use muscles that aren’t adequately developed, they’ll compensate with force and effort. This can cause strain and pitch problems.

A gymnast would never think to compete without adequate muscle training. Singers are vocal athletes; yet, too many singers try to sing without adequate preparation and muscular development.

If you train your vocal muscles so they can function easily and you warm up properly prior to rehearsals and shows, your voice will effortlessly respond to

The Deva Method®, Complete Voice Technique for Stage and Studio™. She has trained choruses, quartets and regional coaches for Sweet Adelines International as well as Grammy award winners and multi-platinum recording artists. Visit www.DevaVocals.com for information on her popular video exchange online vocal school. For information on her method and more: www.JeannieDeva.com Reprinted with permission

your musical ideas and convey your passion. This

© 2014 All Rights Reserved. Jeannie Deva and The

frees you to give peak performances that capture

Deva Method are registered trademarks owned by

the attention and hearts of your listeners.

Jeannie Deva Enterprises Inc.

I have spent most of my life researching how the voice works and how to develop it for use without compromise. I’ve accumulated the simplest, most factual and straightforward techniques that quickly help both seasoned professionals and beginners overcome barriers to freedom of expression. As singing becomes effortless you can focus on your unique vocal identity. This raises you to a new level

Harmony Rag | March 2014 | 16

PREPARING FOR CONTEST

By Elaine Hamilton, Region 31 Education Co-ordinator and Coach

around places in your home or work where you will see them every day. You may or may not be a fan of these, but the brain works in mysterious ways and, if you tell yourself something often enough, it often

I can remember when part of the preparation for

comes true. Self-fulfilling prophecies and all that!

contest involved checking a long list of things that

YOU can choose what to tell yourself.

had to be worn to travel in, to watch the quartet contest in, to do the walk on in, etc. All of which had to be accompanied by multiple changes of nail varnish! I'm not sure now whether these things added to the stress levels, or if it actually took your mind off the contest itself!

In the lead up to contest, think about what marginal gains you can make. For example, prior to competing, Bradley Wiggins ensured he avoided people with colds to prevent upper respiratory infections and had excellent hand hygiene for the same reason. I'm told he even had no paint on his

One of the biggest changes over recent years in over

bicycle, so the drag was minimised, but I'm not

a variety of competitive settings, not just singing, has

suggesting we don't wear make-up! In identifying

been how much weight is now given to the right

marginal gains, you need to be totally honest with

mental preparation. As part of the build up to the

yourself and work out where you can get the biggest

Olympic Games in London, different sporting

gain. Keep it realistic and achievable, whilst always

disciplines employed people whose specific job was

bearing in mind the positive outcome you want to

to ensure the athletes were properly prepared

achieve. Visualising a positive outcome is also a very

mentally and 'in the right space' in their heads for

successful method used by athletes. They see their

the contest that was to follow. And we are no

whole performance, up to and including the gold

different! So‌ whilst you are ensuring you keep

medal being placed around their neck. Now gold

hydrated, vocalising every day, practising your songs

may not be what you're aspiring to, however you

and your choreography, I thought it would also be

could visualise the whole performance, including

beneficial to think about your mental preparation.

reading the score sheets afterwards and seeing a

The desirable, common theme amongst competitors is the accurate execution of well learned skills -

certain number of points, or an increase by a certain number from last year.

under extreme stress – and we need to prepare in

On competition day, your inner dialogue should be

order to achieve this. Readiness to perform is

as if you're with your most supportive best friends.

physical, technical, tactical and mental, the danger of

Preparation on the day is about being around the

just addressing one area is like if you only have a

right people and having adequate time for the

hammer in your toolbox. You need to prepare all of

physical, technical and mental preparation. Get it

these areas to ensure a successful outcome. There

right and there is a swing for the better. The last half

are many limitations in human performance, e.g.

hour should be calm, mental rehearsals with a focus

technical, physical, and psychological. You need to

on only the positive. Then...... you're ready!

look at which factors are modifiable and, if they are, what are the most effective methods to enhance them? A lot has been written about jotting down positive mental affirmations and posting them

I hope the competition brings you everything you wish for yourself and your chorus or quartet. Be ready in all ways!

17 | March 2014 | Harmony Rag

ELLIE BLACKEBY, Lace City

NANCY KELSALL, Heartbeat UK

mills_ellie@hotmail.com

nancykelsall@hotmail.com

ANNE CARGILL, Aberdeen

SANDRA LEA-RILEY, Heartbeat UK

annecargill2012@btinternet.com

sandraleariley@virginmedia.com

ALYSON CHANEY, RMT Workshop Coordinator,

DOROTHY MAIN, Aberdeen

Lace City

themains@talktalk.net

alysonchaney@yahoo.co.uk GLENN CHANEY, Lace City glennsings@yahoo.co.uk EMMA DUGUID, Vocal Dimension duguidemma@gmail.com NORMA FERRIER, Forth Valley norma.ferrier@whec.edin.sch.uk ELAINE HAMILTON, RMT Education Coordinator, CAL elainemrssh@aol.com TANYA JENKINS, CAL tunefultan@virginmedia.com

Enthusiastic ladies’ harmony chorus seeks

Musical Director The Humber Belles, a chorus of 35 keen and hardworking a cappella singers, meet on Thursday evenings in the main auditorium of Great Grimsby’s Central Hall. Our singing is mainly four part harmony with a strong barbershop bias.

Members of LABBS and currently Open Choir Champions of the Cleethorpes Music Festival 2013 we seek a Musical Director to take us forward to greater challenges.

For further information please contact: Chairman – Pam Oxley (01472) 882671 tenorpam@gmail.com Secretary – Anne Storey (01472) 280043 anne.storey1945@ntlworld.com Current MD – Vere Conolly (01472) 695836 vereconolly@yahoo.com

Harmony Rag | March 2014 | 18

NICKY SALT, CAL nicky.salt@hotmail.co.uk DAVID SANGSTER, Forth Valley carsonsangster@aol.com VALERIE TAYLOR, Vocal Dimension valerie.taylor@privacysolutions.co.uk GWEN TOPP, Aberdeen gmtopp@yahoo.co.uk MICHELLE WALKER, Lace City shelbywalks@yahoo.co.uk LYNDA WOOD, Phoenix lynda@pottonwoods.co.uk

2014 09 - 11 May

Target the Top: Quartet of Nations Region 31 Annual Convention

Nottingham

23 - 26 May

BABS 40th Annual Convention

Harrogate

25 - 26 July

A Cappella Harmony Academy

Tulsa

22 - 24 August

BABS Harmony College

Nottingham

04 October

Tune In: A day of music education for Directors and Assistant Directors

Birmingham

30 October - 02 November

LABBS Convention

Harrogate

03 - 08 November

Sweet Adelines International Convention

Baltimore

Email harmonyrag@sweetadelines.org.uk if you want to include your event in the calendar for free. Event flyers and posters are subject to advertising guidelines.

COPY DEADLINE The next Harmony Rag will be issued in the end of June. Please send all contributions to harmonyrag@sweetadelines.org.uk by

31 May 2014

19 | March 2014 | Harmony Rag

Coaching for 2014 As part of the 3-year education plan set out for Region 31, choruses are entitled to claim the cost of coaching fees (up to a maximum of £250) in 2014. To apply for this funding: 1. Choose the coach, who you think would best help your chorus, and make the necessary arrangements 2. Pay the coach directly 3. Download the coaching fee reimbursement form to claim up to £250 of the coach’s fees – DOC, DOCX, PDF 4. Submit completed form along with a copy of the receipt to Nuala Hobden (nualahobden@yahoo.com), Finance Co-ordinator of the Quartet of Nations, Region 31 Note that the funding can only be used for coaching and not any other purpose.

The coaching should be carried out in 2014 only. Deadline for submitting claims is 31 December 2014.