The Pitch Pipe October 2013

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October 2013 | Volume 67 — No.2

PitchPipe T h e

Vo i c e

o f

S w e e t

A d e l i n e s

I nt e r nat i o na l

celebrating Success Striking Chords and Having a Ball

We’ve got our gear... How about YOU! For all these


CALL International Sales toll-free (U.S. & Canada) at 877.545.5441 (outside U.S. & Canada, CALL 918.622.1444) EMAIL the sales team at OR

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

8 Something for Everyone Judge Specialist Marcia Pinvidic explains the changes you’ll see with the 2014 Regional Contest.

10 The Music We Sing Kim Vaughn writes about the influence the songs of Broadway has on barbershop harmony and what inspires Sweet Adelines to sing them.

October 2013 | Volume 67 — No.2

Special Notes President’s Message …………………………… 4 HQ Matters …………………………………… 5 IBOD Nominees ……………………………….. 6

Departments Bulletin Board ………………………………… 3 Membership Matters ………………………… 18 Harmony Roundup …………………………… 20 Satellite Spotlight …………………………… 21 In Memory …………………………………… 27 Accolades ……………………………………… 27

12 The Evolution of Costuming (Part 3 in a series of 3)

Tori Postma and Cathy Conley write about the costumes of the 1980s through today, unity, trends and the new open division in 2014.

Classifieds …………………………………… 27

Involvement Longevity Awards …………………………… 9 Regional Management Teams ……………… 22 Baltimore Registration ……………………… 23 Young Singers Foundation ………………… 25

14 Just Trav’lin’ Along, Singin’ Our Song

Lori Decter Wright, Interim Director of Education at International HQ, shares the experience and the details of Side By Side 2013: Directors’ Seminar, Judge and Faculty Training.

16 An Evening with the Champions Elizabeth Hardcastle tells the story of the Coronet Club — then and now.

The Overtone Society ………………………… 26 Regional Dates and Deadlines ……………… 27

About the Cover Members and friends raised funds, generated awareness and had a ball during the Bowling for Barbershop campaign. Members, staff and the International Board raised nearly $92,000 since May. Melodeers, Upper Chesapeake, Golden Sands and Harmony Celebration chorus members featured — these choruses, teams and members raised the most money in the Bowling for Barbershop campaign. Keep an eye out for future International fundraising campaigns and events like this one! A full Bowling for Barbershop report will be included in the January 2014 issue.

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October 2013 | Volume 67 — No.2 Sweet Adelines International A worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education, competition and performance. International Headquarters 9110 S.Toledo • Tulsa, OK 74137 P.O. Box 470168 • Tulsa, OK 74147-0168 Telephone 918-622-1444 • Toll-free 800-992-7464 Fax 918-665-0894 Email: Use one of the following departmental prefixes: admindept@ conventions@ education@ exec@ commdept@ member@ music@ sales@ followed by: Office hours: 8:00 a.m. to 5:00 p.m. (Central Time) Monday – Friday International Board of Directors May 1, 2013 – April 30, 2014 Renée Porzel, International President Cammi MacKinlay, Immediate Past President Marcia Pinvidic, President-Elect Paula Davis, Secretary Peggy Gram, Treasurer Joan Boutilier Anne Cargill Betty Clipman Patty Cobb Baker Fran Furtner Carole Persinger Dale Syverson Education Direction Committee Betty Clipman, Chair Joan Boutilier, Patty Cobb Baker, Cammi MacKinlay, Diane Porsch Editorial Review Board Patty Cobb Baker, Marilyn Cox, Emma Duguid, Debra Griffiths, Marcia Pinvidic The Pitch Pipe Editor Joey Mechelle Stenner INTERNATIONAL HEADQUARTERS Kelly Bailey, Executive Director Keesha Cashmore, Controller Lori Decter Wright, Interim Director of Education Jennifer Hughes, Director of Meetings & Convention Services Carol Schwartz, Director of Music Services Joey Mechelle Stenner, Director of Communications Robert W. Baker III., Director of Advancement Tammy Talbot, Deputy Administrator THE PITCH PIPE (ISSN 0882-214X) (USPS 603-060) is published quarterly: January 1, April 1, July 1 and October 1 by Sweet Adelines International, 9110 South Toledo, Tulsa, OK 74137. Periodicals paid at Liberty, Mo. POSTMASTER: Send address changes to THE PITCH PIPE P.O. Box 470168 Tulsa, OK 74147-0168. Canadian Post Agreement Number: 1453408. Send Canadian change of address information and blocks of undeliverable copies to: P.O. Box 1051, Fort Erie, ON L2A 6C7 Direct all correspondence, editorial copy, and photographs to: Linda Clark Davis, editorial assistant, at the International Headquarters address. Deadlines are 60 days prior to publication.


October 2013 | The Pitch Pipe

the Bulletin Board

to vote or not to vote

Stay i n Touc h

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u Honolul ores ion Sc it t e p m o C

to hear from you. Send your submissi ons, suggestions an d ideas to Joey Mechelle Stenn er at joey@sweetad

Tori Postma

Kim Vaughn

Cathy Conley

IBOD, International President-Elect, Editorial Review Board, Judge Specialist Moderator, Certified Judge (expression), International Faculty, Certified Director, City of Gardens Chorus, Region 26

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

Past IBOD, International Faculty, Certified Judge (showmanship), Master Director, Mountain Jubilee Chorus, Region 8


Marcia Pinvidic,

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

October 2013 | The Pitch Pipe


Special Notes

President’s Message

Heroes Among Us Renée Porzel, International President


here are heroes among us. We cross paths with them at work and in our social lives. They are in our families, and we sing with them every week. They are warriors who are waging a battle only they can understand. These courageous women are fighting illnesses, and our love and support for them is so important. My role as president gives me a rare and precious view into the heart and soul of who we are and what makes us so special. Every day I hear of another member facing her new reality — another one of us being challenged. Every day I am amazed and humbled at the way they deal with their illnesses, and the way our members help them make it through their treatment. And every day, I see the power of music, singing and friendship in all of our lives. In almost every one of our choruses there is someone fighting right now. They inspire us and help us keep things in perspective. They go to radiation and chemotherapy appointments — and then concentrate on making sure they can get to rehearsal. They get up on the risers, wearing a wig or a sequined hat, and they sing. They smile through the night and appreciate the way it feels to stand among women who remind them they are beautiful and brave. They love knowing they can take off their wigs when their heads are too warm, and they celebrate the fact that singing for three hours a week helps them feel like themselves. Their chorus friends arrange meals for their families, drive carpool for their children, and go with them for treatments and doctor appointments. There is a special bond between women, and an even more precious bond when one of us needs help.


These incredible heroes will tell anyone who will listen that their choruses and quartets are saving their lives. They credit singing with keeping them moving forward, offering them respite from feeling sick, and giving them goals

October 2013 | The Pitch Pipe

during their journey. They use weekly rehearsals or upcoming shows and contests as milestones to reach. They rely on the women they know through singing to give them courage and appreciate their unconditional support. Our connection with each other begins when we become members of this singing organization, but it becomes something even more powerful when we realize we have a network of women who will do whatever we need them to do when we are having a tough time. They recognize when we need a helping hand and we know we will return the favor if they ever need help. Many of us make the choice to get a mammogram because our chorus friends expect it, and that is a wonderful example of why we need each other. Far too many of us are familiar with the way it feels to wait for the phone call sharing test results. Far too many of us have held the hand of a friend as she faced treatment. Far too many of us have lost someone dear to us. It may sound silly to someone who does not know the power of music, but to us, it is abundantly clear — we need music in our lives and we need each other. This terrible disease has affected my family too many times. My mother’s sister, Jeanne, died of breast cancer 40 years ago, at the age of 48. She discovered a lump, but did not want to worry her husband and family. She did not seek treatment or tell anyone about her discovery and the cancer quickly spread. Years later, my mom got the frightening news that she, too, had breast cancer, and four years ago my sister faced the same diagnosis. My mom is a 23-year survivor and my sister, Audrey, just celebrated four years cancer free. Our family celebrates them and their good health every day. It is painful to realize that my aunt might have lived a long life if she had received early treatment. She did not have a chorus full of women friends to push her to go to the doctor.

Times were different and women did not have the resources or information to take control of their health the way women do today. We all know early detection saves lives and we must hold each other accountable for getting tested every year. There is not a day that goes by that my aunt is far from my thoughts, and the legacy she left the women in my family is powerful. Every one of us gets regular mammograms and is diligent about making sure we do everything possible to stay healthy. She taught all of us a valuable lesson, and early detection saved the lives of my mom and my sister. We are determined that the women in our lives will take advantage of the technology and treatments available today. At this time of year, all over the world, organizations raising awareness cover everything in pink and push the conversation about breast cancer into the forefront of social consciousness. Athletes, nurses, flight attendants, doctors, waitresses, students and teachers all wear pink ribbons. Products in the stores and ads in magazines encourage us to be aware and take steps to stay healthy. Show extra support to all the women in your chorus who are fighting any kind of illness, and make sure they know how much you love them. Remember to sing to them and with them, and surround them with the strength that makes our organization so unique. And then — make an appointment for a mammogram for yourself. Stay well and take good care of yourself and the women in your life. They matter and so do you. With love,

Renée Porzel International President

Special Notes

HQ Matters The Legacy of Song The other night, as I was putting my daughter and son to bed, we were singing various songs — it’s our bedtime routine. I found myself looking down at their little hands as they were held in mine. At ages two and four I already look back with joy and sorrow over the years that have gone by since they were brought into this world. I remember hearing for the first time the irritated cry of my daughter as she took her first breaths, and how strange and amazing that moment was when I first became a mother. As I looked down at those little fingers I was reminded of how fast the time goes — of how sudden this life seems to slip by, as the minutes seem to turn to decades in the blink of an eye. As we were singing our nightly songs, I remembered the songs that my mom used to sing to me when she was putting me to bed. I remember those special times with just the two of us when we would tell stories, and laugh and sing.

I hope with all my heart that my children will remember these times that we spend together and know how special they are and how they have made me a better person. I remember when I first started singing to them, right from the very beginning. At my first doctor’s appointment when we just found out we were going to be parents, I was terrified! My heart was racing and that strange and incredible feeling was mixed with panic because of all the unknowns that were surely around the corner. In the waiting room of the doctor’s office that day my husband and I were alone. He started singing because he didn’t know what else to do as he put his hand on my tummy and smiled. I will never forget that moment. That simple song and memory will be etched in my heart always. I have been singing to them from the beginning — the very beginning — and this singing plays a large part in the memories I am creating with my children, much like the soundtrack of memories that my mom gifted to me. Isn’t it funny how music transcends time? I adore the fact that hearing a simple tune can bring you back to a point in time. In the game of life, the pure joy of a melody crosses all boundaries; it reminds us that there are things that are not only real and true, but that there are elements to create that are timeless and pure. Those moments serve to ensure a lasting legacy to those with whom we share our lives. As I was staring down at those little hands, I was reminded of the importance of life’s precious moments. The moments when songs are sung, melodies are made and memories are etched. How divine that our beloved organization is centered around the achievement of harmony. How magnificent it is that we join together hand in hand to create memories of melodies and shared moments in this life. How incredible to be a part of something where we

Kelly Bailey, Executive Director share our souls, merge our strengths, build our courage, and become together something greater than we are alone. The songs we sing are indeed the backdrop to the relationships we make, the steps that we take to propel us forward in life, the love that we share with others, and even the process where we get to know ourselves. It is a beautiful thing to hope that the songs I sing to my children will be the same songs that they will sing to my grandchildren. Our melodies are very much a legacy that exists long after our mortal bodies are gone away. They will forever serve as the background for the memories we made and the life we lived. As we look to convention week in Honolulu, I can’t wait to be part of the rich harmony that will be enjoyed both on stage and off. My heart yearns for the connections that I will be privileged to make as I meet new faces that represent the eclectic tapestry of hearts and voices comprising this dynamic, life-changing organization. I am honored to be part of Sweet Adelines International, and want to thank each of you for the harmony you bring to my day, to my soul, to my heart, and to my life. In harmony,

Kelly Bailey Executive Director

October 2013 | The Pitch Pipe


Sweet Adelines International BOARD Nominees This slate of eight candidates has been nominated to fill four expiring terms on the International Board of Directors beginning May 1, 2014, and ending April 30, 2017. The following information was written and submitted by each nominee. To read full bios, visit:

Special Notes

Ballots are due at International headquarters by 3:00 p.m. Central Time, Wed., Dec. 4, 2013. If you have any questions, please contact the deputy administrator or corporate secretary at International headquarters at 800.992.7464 or 918.622.1444. Anne Cargill Aberdeen Chorus Region 31 19-Year Member

Paula Davis Velvet Hills Chorus Region 8 29-Year Member

Education: Master of Arts Degree in French and Psychology

Education: Bachelor of Music Education and Masters Work in Music Education

Specialized Training: Bachelor of Arts, Honours Nursing Studies Current and Past Occupations: Retired, Nurse Manager, Assistant Director of Nursing List five significant leadership roles you have held in Sweet Adelines International: Education Coordinator 2002-2006, Editorial Review Board 2008-2009, Regional Leadership Committee 2009-2011, Public Relations Chair Aberdeen Chorus 2007-2011, International Board of Directors 2013-Present How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? As well as bringing a European perspective to the Board’s activities, my recent appointment to the Board has served to focus my attention on the challenge of attracting and retaining members, and I hope to direct my full attention and ability to this goal. What is your vision for the International organization? My vision is that the organization will continue to grow, attracting and appealing to women of all ages and backgrounds. Education will result in women achieving even greater heights of musical excellence as well as enabling ordinary women to grow in confidence in many other aspects of their lives. Jeanne d’Arc (JD) Crowe Canadian Showtime Chorus Region 16 17-Year Member Education: Business Administration Specialized Training: Customer Service, Human Resources, Coaching and Mentoring, Leading Highly Effective Teams, Change Management Current and Past Occupations: Payroll Operations Manager at NAV CANADA (Air Navigation Service Provider), Aeronautical Information Services Publishing Manager, Executive Officer Manager


Specialized Training: Worked in commercial insurance for 10 years, teaching seminars, church choir director 10 years with workshops for adults, children and bell choirs Current and Past Occupations: Private Voice Teacher, Middle School and High School Choral Director, Administrative Assistant/Customer Service Representative for commercial insurance, Church Music Director List five significant leadership roles you have held in Sweet Adelines International: International Board Member for two years (appointed for a third year currently), Certified Expression Judge and Expression Judge Specialist, Regional Leadership Committee Chair for two years (appointed for a third year currently), International Faculty, Regional Management Team member (Education Coordinator of Region 10, Directors’ Coordinator of Region 8) How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? By combining a deep love of this organization and its membership while employing a visionary and service-oriented approach to leadership. I bring my heart and mind to the governing experience with the goal of insuring our future in membership growth and development, financial stability and education while encouraging all of us to find joy in our journey together. What is your vision for the International organization? My vision would be to spread our special harmony with women everywhere – to grow and strengthen membership and educational opportunities, to be financially strong and secure for future generations, to promote and celebrate members’ contributions at every level and to walk into our future with the confidence, joy and harmony that singing together creates and multiplies. Elaine Hamilton Chapter-at-Large Region 31 22-Year Member Education: High School Graduate

List five significant leadership roles you have held in Sweet Adelines International: Regional Membership Coordinator (six years), Chorus Musical Staff — Visual Team member (eight years), Quartet Member (five years), Chorus Administration — Team Leader (five years), Chair of Regional Convention (seven years)

Specialized Training: Management, Coaching, Presentation and Leadership training throughout my working career, studied piano for 12 years and qualified at Grade 7 level. Have attended two IES events and almost all of Region 31 education events. I also attended the Side By Side event in Pittsburgh in July 2011.

How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? I am known as a starter and in the last 10 years have successfully launched new businesses at NAV CANADA. This included setting-up the infrastructure, establishing the processes and procedures, working with developers to customize software applications and hiring and training staff. I feel I could assist the IBOD navigate through change and yet uncharted waters.

Current and Past Occupations: Before my retirement in 2012, I worked in large, world-wide financial institutions. My career was varied, but for the past 15 years I worked for an International Bank as a Trainer, Recruitment Team Leader and HR/Personnel Team Leader. Now that I have retired, I have decided to volunteer and am currently working in the café at Edinburgh Prison two days per month. I continue to coach choruses, quartets and individuals within Region 31.

What is your vision for the International organization? My vision sees Sweet Adelines International at the forefront and highly recognized as a mainstream and popular art form. It has us as a household name. It is accessible to all women and is fresh and enticing to young women!

List five significant leadership roles you have held in Sweet Adelines International: Head of Visual Team for eight years and Assistant Chorus Director for five years with Forth Valley Chorus, Member of Region 31 Regional Coaching Directory (current), RMT Directors’ Coordinator for

October 2013 | The Pitch Pipe

2.5 years, RMT Education Coordinator from May 2010 to present, Young Singers Foundation Committee member from May 2012 to present and have been invited to serve another year on this committee. How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? I would bring qualities of creativity, balanced with attention to detail, an ability to see the bigger picture and awareness of cost efficiency. I have good listening skills, am able to communicate effectively and I am committed to education and inclusion for all – my enthusiasm is infectious! What is your vision for the International organization? My vision is for us to continue to inspire women of all ages to be the best they can be, through continued excellence in education and continued respect for each other, balanced with prudent spending. We have something unique and fabulous and we need to cherish and nurture it.

Education: Bachelor of Education, Essential Skills Diploma, E.S.L. Major (English as a Second Language) Current and Past Occupations: Retired E.S.L. Instructor, Assistant Department Head at Community College List five significant leadership roles you have held in Sweet Adelines International: International President, Education Direction Committee, Nominating Committee Chair, Membership Committee Chair, Education Coordinator RMT How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? As Immediate Past International President, I believe I have demonstrated strong leadership and governance skills, and — I’m not done yet! I am passionate about the future of our organization and our continued growth in the areas of membership, education, competition, and financial stability. I am visionary and unafraid to tackle hard issues. What is your vision for the International organization? By thinking globally and acting locally, we personify our mission statement. The joy of group singing is an unparalleled experience, so by exposing women to this life-changing experience, we inspire them to join us. By providing an opportunity for choruses and quartets to perform packages on the contest stage, we will ensure growth and appeal to a wider audience. Marcia Pinvidic City of Gardens Chorus Region 26 34-Year Member Education: High School Graduate Specialized Training: Leadership Seminars, Public Speaking Course (UVIC), Royal Conservatory of Toronto Piano (eight years) Current and Past Occupations: Retired/Property Management, Bookkeeper/ Owner Overhead Door company, Service Coordinator (HVAC industry) List five significant leadership roles you have held in Sweet Adelines International: International Board of Directors 2010-2013, International President-Elect, International Treasurer, Judge Specialist Moderator, Judge Specialist (Expression) How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? In my teaching/ judging roles, I have met many members of the organization. I have the ability to see the big picture and to use lateral thinking to solve problems and create new ideas. I have a positive, logical approach that will help the organization as we move into the future with its great promise and challenges. What is your vision for the International organization? I would like to see a wider acceptance of the art form so it can remain relevant and draw musicians to our ranks. The possibilities of having professional performers in our ranks will become real and acknowledgement of our music will come in ways such as winning a Grammy.

Education: 3 years of studies in Music Education/Business Specialized Training: Private piano and voice lessons — 15 years, Dance training — 10 years, attendee at every Sweet Adelines International education event since 1991, numerous Regional workshops and training sessions Current and Past Occupations: Choreographer, Showmanship Instructor, Voice Coach, Bank Teller, Retail Store Manager List five significant leadership roles you have held in Sweet Adelines International: International President and Board member, Certified Showmanship Judge, Showmanship Judge Specialist (two years), International Faculty member since 1999, Education Direction Committee member (seven years) How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? My involvement on the Board is fueled by intense passion for the education and personal growth Sweet Adelines offers women. I am dedicated to helping our organization thrive. I have tools from my business background to keep the fiscal health of the organization in mind, while creatively dreaming of our future successes. What is your vision for the International organization? Our organization will continue to provide an inspiring, educational environment for women to learn the musical side of our craft, as well as administrative and organizational skills. We will continue to be the worldwide premier women’s singing organization, and our members will share their love of music through competitions and community performances that showcase our treasured art form.

Special Notes

Cammi MacKinlay Lions Gate Chorus Region 26 27-Year Member

Renée Porzel Melodeers Chorus Region 3 23-Year Member

christina Temperante City of Lakes Chorus Region 6 24-Year Member

Education: BA, Business Administration; MBA, Finance Specialized Training: Critical Thinking Skills Current and Past Occupations: CEO/Partner, Volkart May and Associates (marketing services company); 22 years of finance and marketing at 3M; President of Women’s Health Division, Medamicus; President of Biomedical Division, Hutchinson Technology, Inc. List five significant leadership roles you have held in Sweet Adelines International: Music Team Chair, City of Lakes Chorus; Transition Team Chair, Regions 6 and 22; Marketing Coordinator, Region 6; Chorus President, Vallee de Croix; Chorus Treasurer, Vallee de Croix How do you feel you can contribute to Sweet Adelines International as a member of the International Board of Directors? I bring strategic thinking and visioning combined with a proven track record of execution against specific achievable goals. By leveraging the strengths of high-performing teams of large, diverse staffs, I am able to create opportunities for successful multi-million dollar businesses to grow. What is your vision for the International organization? Sweet Adelines International will be recognized as the world’s premiere vocal organization, applauded for the quality and reach of our vocal education, our legendary global competitions and the rich diversity of our worldwide membership.

October 2013 | The Pitch Pipe


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

2014 Regional Contest (Something for Everyone)


By Marcia Pinvidic, Judge Specialists Moderator

s the regional competition season approaches, many quartets and choruses are preparing to compete. For some, it represents the opportunity of winning awards, qualifying for International competition and singing on their region’s Show of Champions. Many others look forward to the educational experience, not expecting awards but looking forward to competing and receiving scores in order to measure their musical progress. And there are those for whom competition is not as appealing. Perhaps their experiences have not been enjoyable or successful. Perhaps they are discouraged with the results and disappointed with their own performance on the contest stage. These groups love to sing barbershop and enjoy the fun and camaraderie of the regional competition weekend and listening to all the other quartets and choruses perform. But they can learn so much more by taking part in the contest. Starting with the 2014 regional contests, there may in fact be a way for all of these groups to find a place on stage that suits their personalities, personal goals and performance style. The new competition options offer three ways to compete in regional contests.

What’s different about 2014? I’m glad you asked. Before we get into all the changes, let me tell you what hasn’t changed. The standard competition option — sing two competition songs and receive number scores, scoresheets and compete for placement in the region — is still alive and well. It is now referred to as the International Division. The Evaluation Only option — sing two competition songs and receive written scoresheets with level scores only — is also still the same. Judging and scoring for these options will be conducted the same way it always has been. Now, here’s what’s new: The Open Division — designed to meet the needs of those quartets and

choruses who love to perform in their communities and on their chorus shows and performances, but do not find competition as appealing or successful. We have all heard from a coach that we need to sing our contest music with the same joy and energy that we sing our other music. It looks like we are having fun, we are more confident and we can relate more closely to the music. But, something about having to “compete” feels different from performing. Okay, then how about performing at contest instead of competing? How about putting together a short entertaining package of two or three songs and tying them together with a script? How about entering the Open Division? That’s right — the Open Division means you can perform a package of songs and show everyone why your community loves you and why you always feel good about those performances! We have all admired the wonderful finals packages seen at International and recognize there is more opportunity for creativity in these performances. And now, we have the opportunity to perform one of these packages in the comfort of our own region. When planning an Open Division performance, include one contest song in your set. Pick something you like, a song that suits your skill level and personality. Then add one or more songs that you really sing well and enjoy singing. Present it on stage as you would to your favorite audience back home. Sounds like fun, doesn’t it? For their part, the judges will give you a written scoresheet with comments about the contest song and the packaging of the whole thing. You will receive level scores only and will not compete for placement in the contest. Although competitors in the Open Division are not eligible for medals and placement, they are the only ones eligible for the Audience Choice Award. Recently I coached a local chorus and two of the chapter quartets. It was a fun-filled day with

Quartets and choruses that want to qualify for Harmony Classic or the International Quartet or Chorus Semifinals must compete in the International Division at regional contest.


October 2013 | The Pitch Pipe

Quartets & choruses that choose the Open Division: • pay the same registration fee as the traditional contest • perform a 10 minute package that includes one contest song • use the same lighting and staging options that are available to the International Division competitors • may be eligible for Audience Choice award • perform for evaluation only and receive level scores • serves to meet the three-year competition requirement for choruses

Order of appearance • Quartets: Evaluation Only, International Division, Open Division • Choruses: – One riser configuration: Evaluation Only, International Division, Open Division – Two riser configurations: Evaluation Only, International Division, Open Division, riser change, Open Division, Evaluation Only, International Division • Competitors choose which division they want and may not change from International Division to Open Division (or vice versa) after the first draw for order of appearance has been conducted.

When it came to the question of whether or not they would compete, their differences became clear. The chorus is a competitive, high achieving group. They have won awards, competed at International competitions and love the idea of being evaluated. Their music selection included several songs that would be suitable for contest. For this group, the International Division suits them just fine!

The first quartet includes experienced quartet singers who have competed before and singers who would be competing for the first time. They have already decided to compete and have chosen their competition songs. Because they have only been together for a short time, they decided to compete For Evaluation Only this year, using the feedback they get to plan for next year. For the second quartet, the Open Division sounded more appealing. The music they sing is mostly non-contest, and they love singing it. They are not competitive so they think the performance package would be less intimidating and learning one competition song was less daunting for them. By the end of the session, although each group had different goals and reasons for competing, they all decided to take part in the upcoming regional contest.

What a great example of how the new competition options can work — different strokes for different folks — and something for everyone! n

Want More Info? For more detailed information refer to the Competition Handbook on the Sweet Adelines International website ImgUL/files/CompetitionHandbook.pdf and page 12-13 of the October 2012 issue of The Pitch Pipe.

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

wonderful singing and educational moments. During the day, I started the session by asking each group to tell me about themselves and their goals. These groups had a lot in common — they are each singing with people with whom they genuinely enjoy spending time, they wanted to be able to perform for audiences and they were all interested in doing it better and learning more about their craft.

Longevity Awards

Sweet Adelines International congratulates these chapters celebrating milestone anniversaries. Although some 20 chapters existed before 1947, it was decided at the first national convention in October of that year that all chapters would officially recharter as part of the new national organization. Thus, chapter longevity is determined as of October 31 of each year. Chapters celebrating landmark anniversaries after October 31 are recognized the following year. 60 Years Sound Celebration, #5 - Springfield, Ill. Seattle Shores, #13 - Seattle, Wash.

50 Years Grand Mesa, #8 - Grand Junction, Colo. Azalea City Harmony, #10 - Mobile, Ala. Twin County, #15 - Massapequa Park, N.Y. Jersey Sound, #19 - Cinnaminson, N.J. Song of the Pines, #21 - Prescott, Ariz. 45 Years Champlain Valley, #1 - Plattsburgh, N.Y. Calumet Corner, #3 - Hammond, Ind. Lake Country, #6 - White Bear Lake, Minn. Texas Harmony, #10 - Irving, Texas Pride of Portland, #13 - Portland, Ore. Hickory Tree, #15 - New Providence, N.J. Seven Valley, #15 - Cortland, N.Y. North Metro, #16 - Toronto, ON, Canada Lawton Harmony, #25 - Lawton, Okla. Rich-Tone, #25 - Richardson, Texas 40 Years Twin Forks, #6 - Grand Forks, N.D.

35 Years Shoreline Sound, #2 - St. Clair Shores, Mich. River Blenders, #5 - Chesterfield, Mo. River City Harmony, #6 - Yankton, S.D. Harmony Shores, #9 - Panama City, Fla. Cradle of Texas, #10 - Sugar Land, Texas Carolina Harmony, #14 - Raleigh, N.C. Sweet Georgia Sound, #14 - Warner Robbins, Ga. Voices in Harmony, #17 - Ypsilanti, Mich. Diamond State, #19 - Newark, Del. El Paso Sungold, #21 - El Paso, Texas 30 Years Fenton Lakes, #2 - Fenton, Mich. Seaway Sounds, #2 - Sarnia, ON, Canada Vallee de Croix, #6 - Stillwater, Minn. Harmony of the Gorge, #13 - Hood River, Ore. Little River, #17 - Angola, Ind. Shenandoah Valley, #19 - Winchester, Va. Prairie Gold, #26 - Regina, SK, Canada Rönninge Show, #32 - Rönninge, Sweden Vasteras, #32 - Vasteras, Sweden Melbourne, #34 - Melbourne, Vic, Australia 25 Years Scioto Valley, #4 - Dublin, Ohio Alamo Metro, #10 - San Antonio, Texas Brazos Crossing, #10 - Rosenberg, Texas Carousel Harmony, #15 - Vestal, N.Y. Crystal Chimes, #25 - Hot Springs Village, Ark. Palz Pepper, #30 - Kaiserslautern, Germany

New Land Singers, #31 - Lelystad, Netherlands 2 0 Y e ar s Sound of New England, #1 - Bloomfield, Conn. Sound of Madison, #3 - Madison, Wis. Pride of Baltimore, #19 - Baltimore, Md. Sounds of Hawkes Bay, #35 - Napier, New Zealand Southern Sounds, #34 - Frankston, Vic, Australia 1 5 Y e ar s TuneTown Show, #4 - Nashville, Tenn. Seneca Soundwaves, #15 - Canandaigua, N.Y. Circle of Harmony, #16 - Oakville, ON, Canada Chesapeake Harmony, #19 - Severna Park, Md. Arbutus Sounds, #26 - Sunshine Coast, BC, Canada Southern Accord, #26 - Lethbridge, AB, Canada Endeavour Harmony, #34 - Sydney, NSW, Australia Foveaux Harmony, #35 - Invercargill, New Zealand Taranaki Harmony, #35 - New Plymouth, New Zealand 1 0 Y e ar s Red Cedar Sounds, #6 - Colfax, Wis. Summer Springs, #9 - Belleview, Fla. DelMarVa, #19 - Berlin, Md. Coffee Bean Show, #32 - Gavle, Sweden Headliners, #34 - Ballina, NSW, Australia


55 Years Columbus, #4 - Columbus, Ohio Crystal City, #4 - Newark, Ohio Cedar Sounds, #5 - Cedar Rapids, Iowa L.A. South Towns Show, #11 - Torrance, Calif. Mission Valley, #12 - Los Gatos, Calif. a cappella joy, #13 - Bellevue, Wash. Brooklyn, #15 - Brooklyn, N.Y. Rochester, #16 - Rochester, N.Y. Dundalk, #19 - Baltimore, Md. Lehigh Valley, #19 - Bethlehem, Pa. Magic City, #26 - Saskatoon, SK, Canada

40 Years(continued) South Valley Sound, #11 - Bakersfield, Calif. Magic of Harmony Show, #14 - Newport News, Va. Song of the Valley, #15 - Monroe, N.Y. Heart of the Island, #26 - Lantzville, BC, Canada

5 Y e ar s Bayou Blend, #10 - Broussard, La. Panther City, #10 - Ft. Worth, Texas Heart of Columbia, #14 - Columbia, S.C. Saratoga Soundtrack, #15 - Saratoga Springs, N.Y. Delaware Valley Show, #19 - Springfield, Pa. ArkAppella Show, #25 - Rogers, Ark. Celtic Chords, #31 - North Truro, Cornwall, UK Heartbeat UK, #31 - Stockport, Cheshire, England Stockholm Starlight, #32 - Stockholm, Sweden A Cappella West, #34 - Murdoch, WA, Australia

October 2013 | The Pitch Pipe


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

The Music We Sing,

The Songs of



By Kim Vaughn, San Diego Chorus, Region 21

he American Broadway Theater has provided the Barbershop world with hundreds of amazing songs, songs that are sung in contests and shows across America and around the world. We open our shows with famous Broadway “openers” like Cole Porter’s Another Opening, Another Show from “Kiss Me, Kate” or There’s No Business Like Show Business, Irving Berlin’s great song from “Annie Get Your Gun.” We break hearts with songs like Stephen Sondheim’s Send in the Clowns from “A Little Night Music” or Harold Arlen and Ira Gershwin’s The Man That Got Away from “A Star is Born.” We inspire with You’ll Never Walk Alone from “Carousel” or Climb Every Mountain from “The Sound of Music,” both from the awesome song list of Rodgers and Hammerstein. There is indeed something special about songs from Broadway. Richard Kaplan, author of “The Musical: A Look at the American Musical Theater” says it this way. People do not behave in real life as they are made to do in a musical show because song raises the listener and the singer to a higher artistic level than does ordinary speech. Song invests its ideas with a radiant emotional power that gives sentiment the wings to soar above reality. Song recalls in the listener personal experiences of deep and highly charged feeling, permitting an audience to feel together what has been felt before alone. Pg. 3 Historically, the American Broadway musical is a unique concoction made of elements from European Operetta, Minstrel shows, Burlesque, Variety shows and a host of other forms. Its Americanization was complete however by the early 1900s when George M. Cohan, who brought us Give My Regard’s To Broadway and You’re A Grand Old Flag, left Vaudeville and began producing his own shows — like Forty-Five Minutes From Broadway — complete with choreography and scene changes. Composers like Jerome Kern (with lyricist Herbert Reynolds) and Victor Herbert left their operetta backgrounds behind and began writing show songs like They Didn’t Believe Me and Toyland easily using only popular American vernacular. The point of a musical however remains this — to either tell a story through song and dance (along with scenery and lighting) OR to showcase the talents of specific writers or performers. These two distinct goals then result in two specific types of musicals — “book “ shows or “list” shows. Songs from list shows were modeled on the thirty-two bar Tin Pan Alley formula so that they could function both as part of a show and also as independent songs. These songs were then grouped together and staged with an eye to selling as many copies of the song as possible. A list musical then was simply a list of what were meant to be hit songs surrounded by a very flimsy story line. Follies were a good example of list musicals and the greatest Broadway Follies producer of all was Florenz Zeigfield. Zeigfield produced twenty-three of these revues between 1907 and 1931. They were spectacular extravaganza’s filled with beautiful girls in amazing costumes with between act performances by stars such as Fannie Brice, Bert Williams, W.C. Fields, Eddie Cantor and Will Rogers — just to name a few. Zeigfield commissioned over 500 songs for these revues by composers such as Jerome Kern, Victor Herbert and Irving Berlin, some of which, like Shakin’ The Blues Away, Mandy or Shine On Harvest Moon, we still sing today.


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A book show then contained music that was fully integrated into a well-made story with serious dramatic goals that was able to evoke genuine emotions — other than laughter. The three main components of a book musical are its music, lyrics and script. The first really successful book show was Rogers and Hammerstein’s “Oklahoma!,” produced in 1931. However, with less popular success, “Oklahoma!” was preceded in 1927 by Jerome Kern and Hammerstein’s “Showboat,” and also in 1931 by George and Ira Gershwin’s Pulitzer Prize winning “Of Thee I Sing.” In all these shows the music was written so that it followed a specific script and the music the characters sang had to make sense. This new approach proved to be very popular with audiences. Jerome Kern, who was such an integral part of this change to the book show, died in 1945 leaving behind more than 700 songs composed with lyricists George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg. Here are just a few: Old Man River

Can’t Help Lovin’ Dat Man

A Fine Romance

Smoke Gets In Your Eyes

The Way You Look Tonight

I Won’t Dance

I’m Old Fashioned

I’ve Told Every Little Star

The Song Is You

Till The Clouds Roll By

Look For The Silver Lining

All The Things You Are

Long Ago And Far Away While audiences loved the new shows, the eventual result of book shows was that fewer Broadway songs became quite so popular. Book shows also impacted the overall form and style of theater songs as composers were no longer limited to the earlier thirty-two bar format but could have long, extended verses meant to further the story line. For example, before you get to the beautiful chorus of Hello Young Lovers from “The King and I,” there is this equally lovely, and long verse — written by Richard Rodgers and Oscar Hammerstein II: When I think of Tom, I think of a night, When the earth smelled of summer And the sky was streaked with white, The soft mist of England Was sleeping on a hill. I remember this, And I always will ... There are new lovers now On the same silent hill, Looking on the same blue sea. And I know Tom and I are a part of them all — And they’re all a part of Tom and me.

As always, Irving Berlin proved to be the exception to the rule that songs for Broadway book shows would not turn into popular songs. In 1945 he took on a project left by Jerome Kern’s sudden death and wrote all of the words and music for “Annie Get Your Gun.” The result was There’s No Business Like Show Business, Doin’ What Comes Natur’lly, You Can’t Get A Man With A Gun, They Say It’s Wonderful, Anything You Can Do, I Got Lost In His Arms, and I Got The Sun In The Morning. Every one of them became a hit.

However, this new duo brought about what is thought to be the most successful collaboration of the American Musical Theater. From 1943 until Hammerstein’s death in 1960 Rodgers and Hammerstein wrote the music for some of the most famous musicals ever written – “Oklahoma!,” “Carousel,” “Allegro,” “South Pacific,” “The King and I,” “Flower Drum Song” and “The Sound of Music.” In addition they wrote the music for the film “State Fair” and the television musical “Cinderella.” Collectively, their musicals earned thirty-four Tony Awards, fifteen Academy Awards, two Pulitzer Prizes and two Grammy Awards. Like Irving Berlin, they were again exceptions to the usual rule that book songs did not become hugely popular.

Songs by Rodgers and Hammerstein: Oh What A Beautiful Mornin’

The Surrey With The Fringe On Top

Kansas City

I Cain’t Say No

People Will Say We’re In Love

Many A New Day

(When I Marry) Mister Snow

If I Loved You

June Is Bustin’ Out All Over


A Fella Needs A Girl

Some Enchanted Evening

There Is Nothing Like A Dame

Bali Ha’i

I’m In Love With A Wonderful Guy

Younger Than Springtime

Happy Talk

Honey Bun

This Nearly Was Mine

I Have Dreamed

You’ll Never Walk Alone

I Whistle A Happy Tune

Hello Young Lovers

Getting To Know You

You Are Beautiful

We Kiss In A Shadow

I Have Dreamed

Shall We Dance

I Enjoy Being A Girl

A Hundred Million Miracles

The Sound Af Music

My Favorite Things


The Lonely Goatherd

Climb Every Mountain


It Might As Well Be Spring

Ten Minutes Ago I Saw You

I’m Gonna Wash That Man Right Outta My Hair Other famous song writing duets of book shows include John Kander with Fred Ebb and Alan Jay Lerner with Frederick Loewe. Kander and Ebb were a highly successful team known not only for their stage musicals but also for writing the song New York, New York, which became a signature song for Frank Sinatra. The team was associated with two actresses, Liza Minnelli and Chita Rivera, for whom they wrote a

Lerner and Loewe were the team that brought the world some of Broadway’s most successful musical shows including “My Fair Lady,” “Camelot” and “Brigadoon.” Typical of book shows however fewer of these songs became popular but we certainly sing On The Street Where You Live, I Could Have Danced All Night, Get Me To The Church On Time, Almost Like Being In Love and If Ever I Would Leave You. Harold Arlen wrote more than 550 songs, 11 Broadway shows, five Cotton Club shows and 24 movies. His first professional hit was Get Happy, a pretty good start for the man who would eventually stop trying to be a performer himself and settle down into composing songs for others. His original lyricist was Ted Koehler. It was the 1930s and the great Depression had arrived. Arlen and Koehler could find no work on Broadway, but Arlen loved jazz and was drawn like a magnet to Harlem. He and Koehler found work at the Cotton Club where they were very popular with regulars Cab Calloway and Duke Ellington. While there the duo wrote I Love A Parade, Between The Devil And The Deep Blue Sea, I Gotta Right To Sing The Blues, I’ve Got The World On A String and Stormy Weather. But Arlen is probably best remembered for writing the score to the movie “The Wizard of Oz” with lyricist E.Y. Harburg. His other songs include It’s Only A Paper Moon, Last Night When We Were Young, Blues In The Night, Hooray For Love, Let’s Fall In Love, Come Rain Or Come Shine, Lydia The Tattooed Lady and That Old Black Magic.

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

In 1943, Oscar Hammerstein II, a pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. Hart, who died in 1943, and Rodgers wrote such musicals as “Jumbo,” “On Your Toes,” “Babes in Arms,” “The Boys from Syracuse,” and “Pal Joey,” and brought us great songs like Manhattan, Falling In Love With Love, Little Girl Blue and My Funny Valentine.

considerable amount of material for the stage, concerts and television. Their list of musicals is very impressive and includes “Cabaret,” “Zorba,” “Chicago,” “The Act,” “Woman of the Year,” “And the World Goes Round,” “Kiss of the Spider Woman,” “Fosse” and “The Scottsboro Boys.” Songs from their shows include And All That Jazz, Cabaret, Chicago, My Coloring Book, For Once In My Life, Maybe This Time, Razzle Dazzle and Coffee In A Cardboard Cup.

Jule Styne, who started out as a vocal coach in Hollywood for Shirley Temple and Alice Fay, fashioned some of our most memorable songs for musical films and the Broadway stage. He wrote more than 20 Broadway shows including “Bells Are Ringing,” “Funny Girl,” “Gentlemen Prefer Blondes” and “Gypsy” with such collaborators as lyricists Frank Loesser, Sammy Cahn, Leo Robin, Betty Comden and Adolph Green, Bob Hilliard, Bob Merrill and Stephen Sondheim. These talented combinations gave us classics such as The Christmas Waltz, Don’t Rain On My Parade, Diamonds Are A Girl’s Best Friend, Everything’s Coming Up Roses, Every Streets A Boulevard In Old New York, I Don’t Want To Walk With You, I’ll Walk Alone, I’ve Heard That Song Before, Just In Time, Let Me Entertain You, Let It Snow! Let It Snow! Let It Snow!, Make Someone Happy, Papa, Won’t You Dance With Me, The Party’s Over, People, Time After Time and Three Coins In The Fountain. Jerry Herman wrote the scores for “Hello, Dolly!,” “Mame,” and “La Cage aux Folles.” He was nominated for the Tony Award five times, winning twice. His list of more than 200 songs includes such hits as Before The Parade Passes By, Hello Dolly, It Only Takes A Moment, So Long Dearie, We Need A Little Christmas, If He Walked Into My Life, Mame and I Won’t Send Roses. Cy Coleman’s Broadway debut came at age 24. Over the next 50 years he wrote music for such musicals as “Wildcat,” “Seesaw” and “Sweet Charity” with collaborators Dorothy Fields, Carolyn Leigh, Betty Comden and Adolph Green. His music, often combined with the jazz idioms he picked up as a young musician, paired well with traditional Broadway songwriting. He wrote such songs as If My Friends Could See Me Now, Big Spender, Witchcraft, Pass Me By, Hey, Look Me Over, The Rhythm Of Life, The Best Is Yet to Come and For Once In My Life. The Broadway show that had the biggest influence on the world of Barbershop harmony was Meredith Willson’s “The Music Man.” The

October 2013 | The Pitch Pipe


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

School Board quartet was actually played by the1950 International Quartet Champions (SPEBSQSA), the Buffalo Bills and songs like 76 Trombones, Til There Was You and Lida Rose/Will I Ever Tell You became national favorites as well as a part of our regular repertoire. Stephen Sondheim spent his musical apprenticeship under the great Oscar Hammerstein II, and worked with Leonard Bernstein (“Westside Story,” “On the Town,” “Wonderful Town,” “Candide”) writing lyrics for “Westside Story,” which really began his Broadway career. Titles like these, from “Westside Story,” “A Funny Thing Happened on the Way to the Forum,” “Anyone Can Whistle,” “Follies,” “Into the Woods,” “Dick Tracy” and “A Little Night Music” clearly remind us that his songs are special. And we have certainly found a place for them in our a cappella world — Broadway Baby, Back In Business, Children Will Listen, Comedy Tonight, Do I Hear A Waltz, Everybody Says Don’t, I Feel Pretty, Maria, One Hand, One Heart, Send In The Clowns and Tonight are just a part of his list. Today’s newer, more modern Broadway is filled with talented composers and lyricists such as Frank Wildhorn (“Jekyll and Hyde,” “The Scarlet Pimpernel,” “Dracula, the Musical”), David Yazbek (“The Full Monty,” “Dirty Rotten Scoundrels” and “Women on the Verge of a Nervous Breakdown”) and Stephen Schwartz (“Godspell,” “Pippin” and “Wicked”). Schwartz also contributed lyrics for a number of successful films, including “Pocahontas,” “The Hunchback of Notre Dame,” “The Prince of Egypt” and “Enchanted.” Songs like This Is The Moment, Day By Day, Prepare Ye The Way Of The Lord, Corner Of The Sky, Popular, Defying Gravity and For Good are a new part of our Barbershop world. Songs and singers have power unlike any other in ways to touch people. Our musical resources are varied but valid if they can move us as well as our audiences. There are new songs every year and some are destined to become popular classics. Great songs from newer shows like “Wicked,” “The Lion King,” “Newsies,” “Rent” and “Chicago” are already gracing our stages and there are surely more to come. Who knows, maybe next we’ll hear from “Spiderman” and maybe we’ll even get something from Cindy Lauper’s “Kinky Boots.” I can hardly wait! n

Pa r t III of III

The Evolution of

Sweet Adelines Costumes through the Decades

By Tori Postma, Mountain Jubilee, Region 8 & Cathy Conley, Chapter-at-Large, Region 24 If you have been a Sweet Adeline for any length of time, I’ll bet you have a guest room closet full of bright, sequined and glitzy costumes, and your vacuum bag is always full of glitter. Over the years our costumes have changed, as women’s lives have changed. Years ago when a new member joined Sweet Adelines, she was looking for a night out. Today’s woman would love a night at home! Our lives as women in the 21st century are busy and hectic, and we are juggling careers, home and families, and our hobby to the point that our costumes need to be functional and easy to care for. Costuming has changed as radically over the last 33 years, as it did in the first 35 years. Women’s fashions have changed to reflect our busy lifestyles, and in general, modern society dresses more casually and comfortably. Today’s fabrics are easy to care for and require much less ironing and dry cleaning than in the past. Our chorus costumes have migrated from (almost exclusively) full-length evening gowns to a wide variety of dresses, skirts and often tunics and pants that are colorful and easy to dance in. Our quartet costumes also reflect this variety of choices, but still retain that formal eveningwear look. (After all, it needs to look good with a crown!) (Touché [1])


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The Eighties In the 1980s, the influence of the fashion world, with the fluffy tops and full skirts (remember the prom dresses?), plus the wedding dress of Princess Diana, influenced many a costume for our Sweet Adelines competitors. All Star Jubilee [2] (known as the teeny weeny queenies), 1981 International Quartet Champion looked luscious in their dresses on their diminutive bodies, and champions 4 For The Show [3], looked downright regal. The introduction of the electronic age in the 80s and 90s set us all on a whirlwind path into the future. Sweet Adelines quickly saw the future possibilities with the new forms of communication and

[2] [3]


efficiency. Computers, cell phones, CDs which replaced tapes and records and video cameras quickly changed our lives. Simulcasts showed us the way to communicate with all of our Sweet Adelines, and bridged the gap for our International choruses and quartets.

Unity For years, all choruses and quartets were expected to dress in a totally uniform manner. As the Entertainment Packages became our final contest sessions, and more characterization and variety of music was encouraged, our members started to stretch the limits to a greater degree. Some quartets started to wear a uniform style, but in differing colors. Soon some contestants were designing costumes to fit each quartet member, using the same fabric and making each individual different but retaining unity overall. These were creative and very successful looks, and reflected the quartet image, and the music being sung. (Moxie Ladies [4]) Choruses have also designed costumes with a variety of styles and looks, to flatter different body types, but retain unity, and add a bit of whimsy. For instance, Harborlites [5] wore lime green pants and tunics, and Skyline’s Cruella Deville red and black package, where at least five differing costumes were designed and spread throughout the chorus. So many choruses have been extremely creative in their design for finals packages. Witness Kansas City’s strange and wonderful “Under the Sea” package, where Director Jo Kraut was a giant jellyfish, and a pair of snails crawled across the stage the entire 15 minutes, so slowly we never saw them move. All of these costume plans were successful and memorable, however, unity was, and is still a vital part of our visual performance, and will affect scores and audience impact if the costumes are too divergent. If there is an obvious plan, and uniform fabric, color and design choices are apparent, as

Each year, many choruses choose to wear a certain style that would establish their image and personality. Ramapo Valley Chorus [6] under the direction of Renee Craig, was instantly recognizable when they reappeared in tavern/cabaret dresses complete with petticoats, and presented their high-spirited performances. Gem City established a solid and believable personality each year with their Southern style long black dresses, changing only the color of their ruffled trim. The audience knew what to expect from this championship chorus, and received the same excellence each year in their International appearance. Then Rönninge established their special style and Swedish attitude, which was very upbeat and exciting to our audiences. They continue to set a strong style statement today.

The Nineties It appears that fashion guidelines go up and down, just like the hemlines. Anything goes. We have a choice of “the Grunge look,” or the elegant appearances of the rich and famous. Ralph Lauren transformed denim into a fashion statement, which soon became the uniform of casual Fridays. Sweet Adelines quartets and choruses have become more and more inventive. In New Orleans for the 50th anniversary in 1995, the unique and futuristic costume of Dale Syverson’s Rich-Tone Chorus [7], was a showstopper. The green spandex suit with one green leg and one leg covered in a black net costume, accentuated with a sequin apron like skirt, really set the tone for the Mardi Gras theme.

The New Century Sweet Adelines International leapt enthusiastically into the 21st century. It embraced all the new technology, which encouraged a forwarding thinking approach to the future of the

organization. Therefore the members also gazed forward with new creative ideas.

Trends to Consider Carefully Many contestants today are wearing bright geometric or psychedelic print tops. These can be very successful. The colors and size of the print need to be carefully considered when using large, bright prints, so that the attention is still on the faces of the singers, and that the movement of all that print does not detract from the performance. The same caution should be given to a costume in a solid sequin fabric. In some bright colors, it becomes the focal point, and can detract from the singers’ faces. Some quartets are following fashion trends today with extremely high platform stiletto heel shoes. These are so fabulous, and youthful looking, BUT the competitors must be very sure that all performers can walk energetically and confidently in them. The performance may be affected by a singers’ inability to move freely and naturally.

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


well as congruence with the music being sung, and the character being portrayed, then it may be to the performers advantage to try a varied approach. Otherwise it is always best to go with a unit appearance.

New Open Division in 2014 With the NEW and exciting Open Division starting in 2014, Sweet Adelines throughout the organization will be exploring and developing new entertainment skills, and costumes will be changing and developing in new directions, to meet the needs of the performances in this new and creative venture. In the Open Division, the performers will sing one contest song, and at least one other song, presenting 10 minutes of a “mini-show” complete with emcee material and anything else the performer wishes to present. This will not be for placement, but will be judged by the audience for “most entertaining.” The judges will also be writing a score sheet for educational purposes, and Open Division contestants will receive a Level Score ( B, B+, etc.) It is to be expected that all sorts of creative and fresh ideas will occur with these new possibilities, and it will be fascinating to watch how costuming will progress in the future.

* * *

As the organization continues to evolve and grow into the future, costuming will continue to reflect the changing styles, and will still be a fascinating and enjoyable part of our Sweet Adelines experience. Sweet Adelines to infinity and beyond! n

[6] [7]

October 2013 | The Pitch Pipe


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

Trav’lin’ Along, Singin’ Our Song… Just

By Lori Decter Wright, Interim Director of Education, HQ Staff

Deke Sharon works with Verdugo Hills Showtime Chorus during the Judge Training


ide By Side 2013: Directors’ Seminar, Judge and Faculty Training took place on the gorgeous campus of Chapman University in Orange, Calif. over the third weekend in July. Nearly 300 attendees gathered together to expand their skills in creating the art and craft of barbershop harmony. Side By Side 2013 Planning Committee Co-chairs Peggy Gram and Carole (Kirkpatrick) Persinger planned a weekend chock full of sessions for all, experiential learning opportunities and social gatherings for networking. Thursday, July 18 kicked-off the educational weekend with a day filled with intensive directors’ classes taught by top-notch faculty. More than 40 Novice Directors –front-line directors with three or fewer years leading their choruses– spent the day with Master Faculty Karen Breidert and Kathy Carmody. At the same time, 40 additional directors participated in our first-ever Directors’ Lab, led by Master Director 700 Lori Lyford and Master Director Darlene Rogers. Meanwhile, International Judges participated in Judge Training under the leadership of Judge Specialist Moderator Marcia Pinvidic and the 2013-14 Judges Specialists: Ruth Ann Parker (Sound), Sharon Babb (Music), Paula Davis (Expression) and Peggy Gram (Showmanship). Three demonstration quartets and choruses —Touché, Dolce and Cadence Quartets and San Diego, Verdugo Hills Showtime and Agoura Hills Harmony Choruses– were brought into the judge training to present contest sets for which the judges wrote International Scoresheets. The Judges observed each ensemble present a 10-minute performance package for which they wrote Open Division Scoresheets. After each performance, guest faculty for the day and a cappella expert Deke Sharon worked with the ensembles in a master class approach which led judges to develop a deeper understanding of the judging criteria outlined in the new Open Division contest, debuting at Regional Competition next year. Friday, July 19, brought judges and directors together for classes focused on all four judging categories and developing a deeper understanding of how excellence in executing basic skills outlined on the scoresheets are truly the foundation for all great barbershop performances no matter if they are on the concert stage in the community or on the competition stage at Regional or International contests. These skills are the tools we use to express emotion, to connect with each other and to communicate with our audiences. They are developed in the rehearsal hall but they are refined through performing not only on the contest stage but on the concert stage, as well. An overarching message permeated the weekend — expression, connection and communication are the primary goals of making music. Ideally, quartets and choruses present performances in their communities on a regular and frequent basis. Doing so not only strengthens the ensemble’s overall artistry, experience and professionalism, but it brings joy to lives of audience members and touches them in a way that only a cappella harmony can. By performing in the community, quartets and choruses can raise their profile and directly connect with other women who wish to sing with others, thus gaining the best chance of inspiring them to join this amazing organization. After dinner, attendees had the opportunity to discuss a variety of topics during our Table-Top Discussions. It’s akin to “speed dating” the experts from within Sweet Adelines International with nine others. Every 20-minutes participants rotated among 40 different discussion topics that were facilitated by a veritable who’s who of Sweet Adelines leaders such as Ann Gooch, Peggy Gram and Carole (Kirkpatrick) Persinger, as well as trendsetters such as Becki Hine, Judy Pozsgay and Kim Wonders. Music was played on the sound system to signal the time to rotate between topics, which led to an impromptu dance party every 20 minutes. There’s nothing like 300 leaders from Sweet Adelines spontaneously launching into YMCA by the Village People or laughing together while grooving to the electric slide!

Carole (Kirkpatrick) Persinger facilitates one of the 40 topics offered on Friday evening


October 2013 | The Pitch Pipe

Saturday afforded directors the opportunity to delve more deeply into the barbershop craft with breakout sessions offered by experienced masters — Marge Bailey, Kathy Carmody, Betty Clipman, Åse Hagerman, Sandy Marron and Dale Syverson– teaching topics such as music selection, vocal

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

Side By Side 2013 attendees gather for a group photo after the wildly popular table-top discussions in the Sandhu Conference Center on Friday evening.

Chorus Directors and Assistant Chorus Directors from across the globe mixed and mingled during Saturday evening’s reception. (Left To Right: Mike Elliot, Krista Chmiel, Paul Olguin, Elizabeth Davies, Lynnette Pope and Naila Taylor)

Sunday, the majority of attendees checked out of the dorms and journeyed home to their choruses filled with new insights, ideas and tools to enhance the work they do with thousands of Sweet Adelines every week. Thirty-eight members, the majority of which had been teaching all week long, remained on campus for an additional day of training specifically for International Faculty. Despite having just gone through three jam-packed days of education, this dedicated crew brought all of their energy and enthusiasm to their sessions designed by IFP Training Coordinator Diane Porsch, as they explored new techniques for teaching and delivering world-class education to our membership.

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

skills development, conducting skills, and using technology. The 2013 International Champion Quartet Touché was in residence all week, performing during the special events and demonstrating in classes. Saturday evening they wrapped up the wonderful weekend with a spellbinding performance. There wasn’t a dry eye in the house after their emotionally captivating rendition of The First Time Ever I Saw Your Face. Touché then graciously acted as the judging panel in a fun (and funny) talent show featuring several of the event’s attendees performing non-barbershop acts. The creative juices were flowing for sure! We had a hula dancer, classical duet, vocal a cappella rhythm band, hysterically funny fashion show and a fully costumed cabaret singer who accompanied herself on a keyboard while singing a clever parody, to name a few.

Side By Side 2013 is the third Directors’ Seminar/Judge Training that I’ve had a hand in helping to organize. I always come away in awe of the level of excellence that shines through during the classes and networking sessions put together for the attendees. I never fail to be immensely inspired by the moment when the “light bulb” clicks for someone in class or discussion group. You can almost see it. And I love how excited everyone is about taking newly gained skills and concepts back to their choruses and the singers they coach.

* * * Next July, chorus and quartet members and anyone with an interest in singing a cappella harmony will have the opportunity to experience their very own “aha moments” during the 2014 A Cappella Harmony Academy scheduled for July 25-26, 2014 in Tulsa, Okla. We’re bringing in Lisa Forkish, executive director of the Women’s A Cappella Association, arranger, educator and co-founder of University of Oregon’s all-female a cappella group Divisi, which inspired the story of the Barden Bellas featured in the movie “Pitch Perfect,” as our Guest Faculty. Karen Breidert, Peggy Gram, Cammi MacKinlay, Marcia Pinvidic, Renée Porzel, Judy Pozsgay, Mary Rhea, Dale Syverson and Melanie Wroe will share their knowledge and experience as the scheduled teaching faculty for the 2014 academy. The academy is open to members and non-members alike and promises to be a not-to-be-missed event chock full of fun and memorable moments. The emphasis of the weekend will be upon expanding singers’ and ensembles’ performance skills. There is a Quartet Track for quartet-mates wishing to learn and perform together throughout the weekend. Quartets who register to attend the academy together will be eligible to be selected to perform in showcases throughout the weekend. Additional educational offerings include several workshops offered on Thursday, July 24, 2014. These exclusive, intensives will be limited to 50 attendees in each section and are offered at an additional fee to enhance your academy experience. They include a Performance Packaging Boot Camp with Judy Pozsgay and Melanie Wroe; a leveled, Directors’ Lab with Jim Arns and Joan Boutilier for front-line, contracted chorus directors as well as a Musical Leaders’ Workshop geared toward Assistant Directors, Section Leaders and Music Team members. Registration opens in November 2013 and we expect to sell out. So mark your calendars and make plans to take a trip down Route 66 to the hometown of Sweet Adelines International. For more information please visit the 2014 Academy webpage on our website or contact the education department staff: n

October 2013 | The Pitch Pipe


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

Maxx Factor (2011)

Cracker Jills (1957)


An Evening with the Champions — Then and Now


By Elizabeth Hardcastle, St. Louis Harmony Chorus, Region 5

ctober 26, 1958, the Cracker Jills (1957), hosted a reception at International Convention in Peoria, Ill., for newly crowned quartet champion, the Sweet and Lows. Singing, laughing and reminiscing together left them wanting more! Joined by the Quarternotes (1951), three Notabelles (1955), one Junior Miss (1956), and one Johnson Sister (1948) they envisioned an organization, “exclusively for members of Queens of Harmony quartets,” their purpose being to form closer relationships among the champion quartets, the International organization and all Sweet Adelines members. The Coronet Club was born!

Houston Girls’ Night Out

Socializing and singing for one another was great fun — all that talent! In 1966 in Houston, at the Rice Hotel, five quartets thrilled the audience-filled ballroom with ringing chords and Barbershop classics — the Quarternotes (1951), Cracker Jills (1957), Sea-Adelines (1962), Note-Cracker Sweets (1964) and the Shalimars (1965) entertained an enthusiastic crowd. Renee Craig’s original arrangements of Coronet Waltz and Champion Strut debuted that night. “An Evening with the Champions” was a huge success! Since that time, the Coronet Club Show has remained an annual event on the convention schedule with Denver’s 2012 Masquerade Show being the 47th. From the beginning, Craig’s original songs and arrangements of Barbershop classics filled the Coronet Club repertoire. She was prolific, inspired and charismatic. Her penchant for variety added sparkle to each show. Dixieland groups, the 5th Army concert band, the Mummers Band and other outside talent graced the Coronet stage, as well as our champion quartets and chorus.


October 2013 | The Pitch Pipe

Shows became larger and more technically complicated. A tech staff was a necessary and welcome addition. Videotaping our shows since 1981 has given us priceless archives — so many wonderful, once in a lifetime performances. With Renee’s retirement after the 2008 International Convention in Honolulu, the Show Committee assumed more responsibility for planning and executing the annual shows, planning at least three years in advance. Remember the old joke? There are those who make things happen; those who watch what happens; and, those who wonder what happened? In the case of the Coronet Club, they all make things happen! In the early years, members chipped in $2 each for dues! But as our membership and audiences grew, the business part of the Club became more complicated. In 1994, “The Coronet Club of Sweet Adelines International” became a totally self-supporting entity, incorporated as a non-profit corporation, affiliated with Sweet Adelines International, managed by an elected Board of Directors from our Club membership. These days, our annual Show expenses total more than the cost of a brand new, luxury car! Proceeds from the annual show are retained by the Club for operating funds, after all the show expenses are paid. The Coronet Club funds Queens’ Colleges, covers expenses of staffing and operating Queen’s Court in Harmony Bazaar, donates funds to YWIH, hosts a reception for all competing quartets at International, provides backstage assistance and encouragement for all International Quartet competition sessions, provides beautiful crowns for the new champions, and hosts a dinner for them immediately following their win. And that’s just naming a few line items! Coronet Club Chorus Show preparation and production is unique as we are an International chorus — a true long distance chorus! With only three rehearsals during Convention week, a brief tech rehearsal prior to the show, and the stage

Lovely Coronets in Denver

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

Royal Workshops!

The faculty for these events was: Peggy Gram, Sandi Wright, Betty Clipman, Joan Boutilier, and Diane Porsch. The champions at these events were: Maxx Factor, Martini and “the Buzz”. Also at each workshop was an onsite coach who provided quartet coaching and PVIs all day and evening. They were Heather Brooks, Jean Barford and Kendra LaPointe. An extremely dedicated group of Coronet Club members organized these events: Karen Breidert, Janell Paviolitis, Sheila Martinez, Patty Pennycook, Amy Brinkman, Bonnie McKibben, and Lee Davison. The evaluations from attendees were outstanding. Not only did participants rave about the classes, but also they commented about the value and fun of just networking with queens, after-hours discussions and tag singing, and fellowship. All the scripts, the teaching, the coaching, and the organizing are done with love from the Coronet Club to all quartets, future quartets, and interested individuals. No one who works on these Queens’ Colleges or teaches at them receives any stipend of any kind. This is the queenly way of giving back to the organization — with enthusiasm about the future of quartetting and performing! So stay tuned for the next time Queens’ Colleges are offered — it’s a royal way to spend a weekend!

Denver Masquerade 2012 being artfully decorated in less than an hour, the Coronets must come prepared! Music and learning tracks are available to them on the Coronet Club website months before Convention. Back in the day, sheet music and learning cassette tapes were snail mailed. Choreography is taught during the onsite rehearsals. And every Coronet Club director shares this little irksome fact: they NEVER have a full Chorus until the live performance Friday evening! Many Coronets are coaching, judging, or competing during the week but come to rehearsals when possible and make certain they know their stuff. Each director brings a unique style and skill set to our Chorus. They are EXTRAORDINARY!

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

Last fall the Coronet Club once again sponsored a series of Queens’ Colleges in three great locations. The first one was held in Philadelphia, the second one in Chicago, and the third one in Las Vegas! Attendees came from all around — some total quartets present, some partial quartets, and lots of individuals who just wanted to improve their own vocal and performing skills. The theme was “3 P’s: Polish, Poise, and Performance.” All classes are written and taught by Quartet Champions and there is also a Championship Quartet at each workshop to provide demonstrations, teach and coach.

Nashville 2009

This year, 2012 BHS Silver Medalists Musical Island Boys are our guest performers in Hawaii. True Polynesians, this young, exciting quartet from New Zealand will bring their infectiously energetic style of performance to our stage! The Coronet Club Chorus and Queen’s Men will be singing all NEW, fun and exciting arrangements! Many of your favorite Queen quartets and our newest Queens Touché will be there! And you should come dressed in your most colorful island clothing, and be ready to party!

Totally Groovy – Seattle 2010

Honolulu and Baltimore shows are going to blow you away! Artful and fun new music, ringing chords, clever staging, and video highlights will fill your senses … and your heart. Also, our pre-show party has become an event all its own! It’s the place to be on Friday night. And if you can’t make it, join us on the webcast. Thanks to Renee Craig and our Club founders, the Coronets are ready to share another “Evening with the Champions” with YOU! n

October 2013 | The Pitch Pipe


Departments M em b e r s h i p m a tte r s

The Evolution of Membership Today! By Ann-Marie Dowling, Membership Manager, HQ Staff


weet Adelines International is 68 years in the making, and throughout those years it’s quite evident that membership has changed drastically. Not just in the numbers that we’ve tracked from year to year or in the diversity of our membership, but also the member benefits, the ever-growing resources available, improvements to member services and much more. Membership is on the decline, and now we must grow to secure our future. Membership is the lifeblood of our organization, and that means that each member plays an important role in the preservation of Sweet Adelines International. While the International Membership Committee, along with the membership department at headquarters, are making advancements in building and retaining membership, these efforts can be futile without the support of our established members. Sweet Adelines International cannot develop on its own, but it must be a joint effort between the organization and its members. Nothing can evolve in isolation, which means that as member expectations and demographics change, member services, resources, initiatives and directives must change, too. But, most importantly, the members must keep pace with the ever-growing changes happening around them.

The Marketing Center The Members Only Marketing Center is constantly changing and improving, and it is where a vast number of resources are stored for choruses to tie together promotional efforts with the International organization. By utilizing this exciting archive of professional and fun resources, your chorus can create a cohesive brand that will ultimately identify Sweet Adelines International’s familiar and revered image to communities, prospective members and supporters around the globe. You will find: • The Training Library – The Real Guide To Growth Membership Handbook – The Member Handbook Template – Social Media Guide – An archive of membership related articles – Handouts from RMT Forums on membership – Press templates • Ad Builder/Templates – including the ever-popular ad customization program where choruses generate professional, customized artwork and ad material while maintaining the look and feel of the International brand. Additional templates are also available in other formats on this page. • Logos and Graphics – find the Graphic Standards Manual, providing graphic specifications for chapters to follow when developing ad materials to ensure consistent visual representation of Sweet Adelines International in all communications initiatives. A thorough archive of logos are also available including: corporate, YWIH, YSF, The Overtone Society, membership drive, event logos and more. Please note: If you plan to use the official logos on items you will be selling, a trademark agreement must be in place — contact the executive and corporate services department at International HQ to secure an agreement.


October 2013 | The Pitch Pipe

• Global Membership Drive Resources – Campaign Templates – Promotional Videos – Press Materials/Templates – Global Membership Drive Event Samples: Ads, Marketing Plans, Website/Social Media Pages and Press Coverage • The Pitch Pipe – view archived versions of every digital issue of The Pitch Pipe magazine and the former Pitch Pipe Lite e-magazine.

• Development – offering links and resources to assist chapter in seeking funding sources.

Social Media Marketing Few things seem to change as fast as the online world of social media. Sweet Adelines’ presence in the digital world is building everyday, but with the help of each member, the reality of our organization becoming a household name is not so far-fetched. Social media has become the ultimate source for word-of-mouth marketing and it’s virtually cost-free! Engage with members and prospective members on the variety of social media sites hosted by Sweet Adelines International. Share your stories, start conversations and reach out to your social media community to generate a broader awareness of our organization.

D I nevpoa lr vt emme ennt ts

• Webinars – view archived recordings of every webinar that has been presented live from the International Membership Committee and membership department.

January 2014 Global Open House The Global Open House concept has become a popular event for chapters throughout the world. Year after year this campaign continues to make an impression within our organization and among the general public. We believe the success of this campaign, plus its consistency, will entice more chapters and members to get involved and generate a ripple effect in public awareness and membership growth. As mentioned earlier, evolution does not exist in isolation! Participation from our chapters and regions at the grassroots level is the ultimate key to preserving and strengthening this organization. This is our chance to secure the future of Sweet Adelines International and inspire women across the globe! Reminder: Send in your chapter’s goals, plans, ads, news features and more and don’t forget to share your experiences on the Global Open House Facebook Event Page.

Membership Processing Member’s needs, expectations and circumstances continue to modernize and change — it is our priority at International to be proactive when serving members. Through the years extensive updates have been made to the membership registration and administration processes to ensure that our members are receiving the most convenient and user-friendly means of doing business with Sweet Adelines International. Membership processing is constant; therefore, new and innovative procedures will always be emerging. During the past year, many membership forms have been automated — printed pieces have been omitted in an effort to save time and money and the process of renewing members each month has been simplified. There are plenty more changes on the horizon. As technology and the world changes, so do we! Stay informed of all things membership by opting in to emails and text messages from International HQ — text sweetadelines to 24587. Like and follow us on Twitter and Facebook.

Involve Yourself and Evolve With Sweet Adelines International! n

October 2013 | The Pitch Pipe





SVC sings in NYC! What do you get when you take over 70 Sweet Adelines singers from California across the country to sing in New York City? Why, you get Sacramento Valley Chorus and their once-in-a-lifetime experience of singing at Carnegie Hall! Over Memorial Day weekend in May, the women of Sacramento Valley Chorus had the distinct and thrilling pleasure of performing at one of the most prestigious concert halls in the world: Carnegie Hall! With four standing ovations at the end of our performance, we could not have asked for a more wonderful end to our trip — the audience was electric! Our performance was full of energy and love from Beautiful Doll to Shenandoah, and ending with God Bless the USA and a rousing rendition of New York, New York, we gave new meaning to “raising the roof!” For now, we say goodbye to New York City and Carnegie Hall, knowing that one day we will be back on that stage, making a whole new set of wonderful memories to last another lifetime!

Barbershop on the Sea Recently, four of us from the Upper Chesapeake Chorus decided to take a girls’ cruise! We procrastinated, researched and finally decided on a five-night cruise out of Tampa to Grand Cayman and Cozumel. Not intentionally, but interestingly enough, we had all four parts! Reading the daily activity sheet, we found out that there was a Talent Show during the cruise and so we decided to sign up. Three of us, Linda, Vicki and Lacey are current quartetters, but our baritone, Marilyn, was a quartet newbie! We practiced two of our chorus songs and decided we would go for it! We called ourselves The CozuMel-odies! There were eight acts allowed — several solo singers and a young pianist. At the rehearsal, we watched a few of the soloists tentatively sing through their songs and then they called us up. We sang our first song and got a rousing ovation from the stage band! The music director asked us if we had another one we could sing as well. He loved it, we were in! The night of the show, the big decision was what to wear! We hadn’t planned on this, but we did all have something black and white. Problem solved. We were to report to the big show auditorium at 8:45 p.m. Of course, our dinner seating was at 8:15 p.m., so we rushed through dinner and pleaded with our tablemates to come and cheer us on. They assured us that they would. We got to the auditorium and were told that we would be last in the line up. The place was packed and the audience was very supportive of the singers and musicians who went before us. Then it was our turn! We were a little nervous, but mostly excited. We sang our first song, Fly Me To The Moon, and the crowd erupted! We were overwhelmed. After our second song, All My Lovin’, we got a standing ovation. What a hoot and what a “maiden voyage” for our baritone, Marilyn. For our efforts we (along with all the participants) received a “14K gold” plastic trophy and a bottle of champagne for each of us! The best part of this experience is that for the remainder of the cruise, people stopped us to say how much they enjoyed hearing us and how wonderful the harmony was. We always told them it was BARBERSHOP and that we were Sweet Adelines. On the last morning of our cruise we were enjoying breakfast out on one of the decks, and a couple came up to us and the woman told us how much she loved our performance. She went on to say that she had sung in Sweet Adelines many years ago, but now that her children were grown, she was inspired now to go back. We hugged and told her, “YES, do it! You need to keep singing!” We loved our cruise, but of course, our favorite part was sharing barbershop harmony on the wide-open sea!


October 2013 | The Pitch Pipe

Satellite Spotlight

Harmonizing the World By Janine Ross, Membership Specialist, HQ Staff


Prospective Harmunichs

(Munich) As you may have read in our April Satellite Spotlight, members of Prospective Harmunichs Chapter recently held a very successful workshop in Spalt, Germany. We would like to congratulate them on a job well done! One of our Sweet Adelines Satellite Mentors, Patsy Meiser, traveled to Germany with the Tropical Harmony Chorus summer tour and had a great time singing and visiting with the ladies of the Harmunichs. The Prospective Harmunichs Chorus put together a great party at the Augustiner-Keller Beer Garden, the largest and oldest beer garden in Munich, and these ladies all shared great

Tokyo Chorus

(Tokyo) Tokyo Chorus has been a chartered chapter of Sweet Adelines since November 1979 and they are still making beautiful music today. These members are dedicated to their craft and are very active all around Tokyo. Their chorus members range in age from 20 years old to 65 years old. Together they provide joy to their community by singing for civic and charitable events as well as performing a summer show and a Christmas show every year. Sweet Adelines International Satellite Mentors work diligently to support our satellite choruses and keep our connection to each other strong. Tokyo Chorus works closely with its mentor, Gerry Papageorge, and she visits them often. Gerry recently returned from a visit to Tokyo and has great things to report! During her visit earlier this summer she was able to

food, singing, friendship…and some beer. Since most of the members of Prospective Harmunichs Chorus speak English it was very easy for these two choruses to bond and by the end of the day everyone was laughing, hugging and truly enjoying the experience of coming together. So, if you or your chorus ever has the opportunity to visit Germany be sure to drop by and visit, we hear the Prospective Harmunichs are great hostesses!

Tokyo Chorus

Prospective Harmunichs with Tropical Harmony Chorus


Shhhh… Can you hear it? Yes, the sounds of our Satellite choruses making beautiful music far across the globe. Though we may not be able to hear it with our own ears, it’s happening every day, every week. Prospective and chartered chapters of our Sweet Adelines International family from as far away as Japan and Germany continue to rehearse, sing and have fun as they work hard to stay connected to our organization. We have recently heard whispers as far away as South Africa — how great would that be if Sweet Adelines were singing in South Africa?! The possibilities are endless if we all work together.

help Tokyo Chorus members prepare for an upcoming show scheduled for July. They were able to work on all of their show songs as well as rewrite one of their tags. In Gerry’s words, her visit “was awesome.” The Tokyo members look forward to Gerry’s next visit in November. In the meantime, Tokyo Chorus is working with International Headquarters staff and Region 21’s RMT on plans to compete in Region 21 in 2014. Stayed tuned for updates on their progress in a future Satellite Spotlight!

Prospective Harmunichs

Corrections From July Issue The following items were incorrectly listed in the July 2013 issue of The Pitch Pipe. We continue to strive for editorial excellence, and regret the published errors. Pg. 16: Region 1’s Division A Chorus winner, Millennium Magic [WRONG PHOTO] Pg. 17: Region 2 had two Most Improved Choruses: Seaway Sounds, Michelle St. Onge-Mitchell, director. Score: 433 (+52)

Millennium Magic

Pg. 26: Region 11’s contest was held in Bakersfield, Calif., not Kansas City, Mo. Pg. 37: Region 24’s Most Improved Chorus, Columbia River, was directed by Paul Olguin, not Ken Hughes Pg. 39: Region 1’s First Place Quartet, Easy Street [WRONG PHOTO]

Easy Street

October 2013 | The Pitch Pipe



Regional Management Teams (name, region number, position) Leslie MacDonald, 1, Communications Coordinator Julie Jeffery, 1, Directors’ Coordinator Carolé Mensing, 1, Education Coordinator Patti Lavernoich, 1, Events Coordinator Ruth Widerski, 1, Finance Coordinator Debra Richard, 1, Membership Coordinator Jessie Oslán, 1, Marketing Coordinator Wendy Davies, 1, Regional Team Coordinator Martha Delargey, 2, Communications Coordinator Lois Kelly, 2, Directors’ Coordinator Nancy Liedel, 2, Education Coordinator Anne Norman, 2, Events Coordinator Lisa Gilkey, 2, Finance Coordinator Mary Patrick, 2, Membership Coordinator Judith Sirut, 2, Marketing Coordinator Dorothy Davenport, 2, Regional Team Coordinator Sherry Berkley, 3, Communications Coordinator Jacalyn Compton, 3, Directors’ Coordinator Lynda Keever, 3, Education Coordinator Kate Steimel, 3, Events Coordinator Lisa Pitney, 3, Finance Coordinator Cindy Slowik, 3, Membership Coordinator Kathryn Harry, 3, Marketing Coordinator Mary J. Mortillaro, 3, Regional Team Coordinator Bethany Grate, 4, Communications Coordinator Kim Wonders, 4, Directors’ Coordinator Bev Miller, 4, Education Coordinator Kathie Holloway, 4, Events Coordinator Mary (Peggy) Taylor, 4, Finance Coordinator Bonnie Morgan, 4, Membership Coordinator Sue Pelley, 4, Marketing Coordinator Sharon Terrell, 4, Regional Team Coordinator Lora Wright, 5, Communications Coordinator Annette Wallace, 5, Directors’ Coordinator Karen Koch, 5, Education Coordinator Joan Roberts, 5, Events Coordinator Pat Kies, 5, Finance Coordinator Peggy Leon, 5, Membership Coordinator Judy Kaeser, 5, Marketing Coordinator Janet Nolte, 5, Regional Team Coordinator Linda Rubis, 6, Communications Coordinator Connie Miller, 6, Directors’ Coordinator Judy Weipert, 6, Education Coordinator Joan Grootwassink, 6, Events Coordinator Carol Peterson, 6, Finance Coordinator Valerie Salley, 6, Membership Coordinator Christina Temperante, 6, Marketing Coordinator Rosemary Komadowski, 6, Regional Team Coordinator Judy Murphy, 8, Communications Coordinator Judy Vidal, 8, Directors’ Coordinator Marilyn Cox, 8, Education Coordinator Sue McCormick, 8, Events Coordinator Brenda Hershiser, 8, Finance Coordinator Pati Bouman, 8, Membership Coordinator Jamie Ryan, 8, Marketing Coordinator Susan Johnsen, 8, Regional Team Coordinator Rhonda Payton, 9, Communications Coordinator Holly St. John, 9, Directors’ Coordinator Dayve Gabbard, 9, Education Coordinator Susan Giesler, 9, Events Coordinator Cathy Frey, 9, Finance Coordinator Kelly Chism, 9, Membership Coordinator Irene Zimmer, 9, Marketing Coordinator Lisa Deprez, 9, Regional Team Coordinator Karla Fenton, 10, Communications Coordinator


October 2013 | The Pitch Pipe

Sheri Strawther, 10, Directors’ Coordinator Ronda Michele Perez, 10, Education Coordinator Marilyn Turner, 10, Events Coordinator Cheryl Pyle, 10, Finance Coordinator Carol Mouché, 10, Membership Coordinator Tammy Mathis, 10, Marketing Coordinator Gail Eltgroth, 10, Regional Team Coordinator Viena Zeitler, 11, Communications Coordinator Bobbette Gantz, 11, Directors’ Coordinator Monica Tautkus, 11, Education Coordinator Patricia Vincent, 11, Events Coordinator Marcia Bosma, 11, Finance Coordinator Lou Burgess-Schroff, 11, Membership Coordinator Lillian Zellmer, 11, Marketing Coordinator Cathylee Tautkus, 11, Regional Team Coordinator Leah Brooks, 12, Communications Coordinator Barbara Vander Putten, 12, Directors’ Coordinator Gwen Marks, 12, Education Coordinator Bonnie Garlow, 12, Events Coordinator Patricia Hitch, 12, Finance Coordinator Kathy Hebert, 12, Membership Coordinator Kevran Day, 12, Marketing Coordinator Kathy Triolo, 12, Regional Team Coordinator Pat Breen, 13, Communications Coordinator Nancy Kurth, 13, Directors’ Coordinator Nikki Blackmer, 13, Education Coordinator Judy Galloway, 13, Events Coordinator Daniela Stiles, 13, Finance Coordinator Sharon Stockstad, 13, Membership Coordinator Jordan Sahlin, 13, Marketing Coordinator Sally Wallace, 13, Regional Team Coordinator Julia Olsen, 14, Communications Coordinator Cheri Danner, 14, Directors’ Coordinator Nancy Field, 14, Education Coordinator Beverly Coe-Cotton, 14, Events Coordinator Sharon LeDuc, 14, Finance Coordinator Debra Runyon, 14, Membership Coordinator Beth Snider, 14, Marketing Coordinator Missy Wurthmann, 14, Regional Team Coordinator Loretta Peskin, 15, Communications Coordinator Carole Argulewicz, 15, Directors’ Coordinator Eileen Welsh, 15, Education Coordinator Patricia Miller, 15, Events Coordinator Barbara Wright, 15, Finance Coordinator Dolly Power, 15, Membership Coordinator Tricia Zichello, 15, Marketing Coordinator Dana Dunlevy, 15, Regional Team Coordinator Kagey Gray, 16, Communications Coordinator Sonne Durphy, 16, Directors’ Coordinator Pamela Calveric, 16, Education Coordinator Sandra Blamowski, 16, Events Coordinator April Stoness, 16, Finance Coordinator June Donovan, 16, Membership Coordinator Cathy Stovold, 16, Marketing Coordinator Martha DeClerq, 16, Regional Team Coordinator Nancy Chapple, 17, Communications Coordinator Lynne Erskine Peirce, 17, Directors’ Coordinator Kay Seymour, 17, Education Coordinator Cathy Dunlap, 17, Events Coordinator Karen May, 17, Finance Coordinator Carolyn Lee Macomber, 17, Membership Coordinator Ruth Bates, 17, Marketing Coordinator Kathy Fazekas, 17, Regional Team Coordinator Marge Grossman, 19, Communications Coordinator Claire Domenick, 19, Directors’ Coordinator

Sherry Stanton, 19, Education Coordinator Liz Danielski, 19, Events Coordinator Dee Postles, 19, Finance Coordinator Patricia Gasper, 19, Membership Coordinator Brenda Cunningham, 19, Marketing Coordinator Sarah Nainan-Newhard, 19, Regional Team Coordinator Mary Branham, 21, Communications Coordinator Patricia Hickey, 21, Directors’ Coordinator Jana Gutenson, 21, Education Coordinator Judy Huffman, 21, Events Coordinator Darla Jackson, 21, Finance Coordinator Christina Robertson, 21, Membership Coordinator Kat Shaver, 21, Marketing Coordinator Sue Bowdoin, 21, Regional Team Coordinator Connie Light, 25, Communications Coordinator Julie McCune, 25, Directors’ Coordinator Elizabeth Brite, 25, Education Coordinator Judy Winters, 25, Events Coordinator Betty Coleman, 25, Finance Coordinator Karen Fay Phillips, 25, Membership Coordinator Sharon Hammer, 25, Marketing Coordinator Sharon Hightower, 25, Regional Team Coordinator Joanne Johnson, 26, Communications Coordinator Joey Minshall, 26, Directors’ Coordinator Anne Marteniuk, 26, Education Coordinator Leda Wagner, 26, Events Coordinator Judy McAlpine, 26, Finance Coordinator Elaine Liebelt, 26, Membership Coordinator Yvonne Meyer, 26, Marketing Coordinator Lynda Elliott, 26, Regional Team Coordinator Charl Asuit, 31, Communications Coordinator Petrina Bache, 31, Directors’ Coordinator Elaine Hamilton, 31, Education Coordinator Deborah Pollard, 31, Events Coordinator Nuala Hobden, 31, Finance Coordinator Fiona McGlashan, 31, Membership Coordinator Liz Tomes, 31, Marketing Coordinator Sheila Grant Doherty, 31, Regional Team Coordinator Anna Sarnefalt, 32, Communications Coordinator Annika Christensen, 32, Directors’ Coordinator Viveka Boettge, 32, Education Coordinator Kerstin Brindbergs, 32, Events Coordinator Anna-Lena Nordin, 32, Finance Coordinator Elisabeth Landgren, 32, Membership Coordinator Heli Seppälä, 32, Marketing Coordinator Karin Hentschel-Wallin, 32, Regional Team Coordinator Sharon Cartwright, 34, Communications Coordinator Engelina De Jong, 34, Directors’ Coordinator Lea Baker, 34, Education Coordinator Debra Griffiths, 34, Events Coordinator Janette Mahoney, 34, Finance Coordinator Valerie Norris, 34, Membership Coordinator Susan Grigson, 34, Marketing Coordinator Kali Caramia, 34, Regional Team Coordinator Patricia Veen, 35, Communications Coordinator Christine Thompson, 35, Directors’ Coordinator Jocosa Bruce, 35, Education Coordinator Miriam Spragg, 35, Events Coordinator Mary Ann Zorovic, 35, Finance Coordinator Julie Scoggins, 35, Membership Coordinator Sandy Gunn, 35, Marketing Coordinator Mabel Knight, 35, Regional Team Coordinator

Early R e g i B i rd strat Form ion ! Regi ster tod a & Sa VE! y

68 th Annual Convention and Competition | November 3 – 8 | Baltimore Convention Center OFFICE USE ONLY

CONTACT INFORMATION Member # (if applicable):


Registration #:

Badge Name (First Name ONLY):



Address: City, State:

Country, Zip/Postal Code:

Daytime Phone:



Additional Registrant Name: Member Number or City/State:

Please write the name of the additional registrant attending with you in the Contact Info. No member number is needed if they are a non-member, but please list the non-member’s city and state. If you have more names to register, please use the chorus registration spreadsheet on the Sweet AdelineS internAtionAl website. It can be found under the convention tab.

PAYMENT INFORMATION o Enclosed is my check. Make check payable to Sweet Adelines International. o Please use my credit card (Check one):

o Visa

o MasterCard

Card Number:

o Discover Expiration Date:

Card Holder’s Signature: I REQUIRE SPECIAL SEATING BECAUSE OF A DISABILITY. PLEASE CHECK IF APPLICABLE: o I will be in a wheelchair and will use a regular seat. o I will be in a wheelchair and will remain seated in it. o I require a reserved seat for a companion. Please give a general description of your disability and list any ADA services that you require:

BALTIMORE REGISTRATION GUIDELINES 1. To sit together you must register together! If your registration payment is not included with the group you want to sit with, seating with that group is not guaranteed. If more than five people are registering, please use the chorus registration spreadsheet on the website. Registrations received without names will receive a blank badge. 2. Pre-Registration closes September 1, 2014. After September 1, tickets may be purchased for pickup onsite. Seats will be assigned based on availability. 3. Send out only one form of payment for the group. Multiple checks or credit card numbers included with one registration are not accepted. For your convenience, this form may be photocopied. 4. Make check/money order payable to Sweet AdelineS internAtionAl. Your canceled check or credit card statement is your receipt. There is a $10 service charge on all returned checks. 5. Registrations are transferable and refunds of 50% of the registration may be granted on a case-by-case basis until September 1, 2014. No refunds will be granted after this date. 6. Registrations will not be accepted before November 7, 2013, and will be returned if received before that date. 7. All-Events registration fee includes admission to all competition and most education sessions. The Coronet Club Show* is a separately priced event. Coronet Club Show tickets must be purchased through the Coronet Club. *See back page for more information.



Sweet AdelineS internAtionAl Attn: Event Coordinator P.O. BOx 470168 Tulsa, OK 74147-0168

FAX TO: 918.388.8083 (credit card payments only) EMAIL TO: QUESTIONS? CALL: 800.992.7464 ext. 136 OR 918.388.8036

EARLY REGISTRATION – BY MAY 2, 2014 8001 International Chorus Competitor All-Events 8002 International Quartet Competitor All-Events 8003 Convention Assistant All-Events 8004 Member All-Events 8005 Non-Member All-Events 8010 Youth Member or Non-Member All-Events


FEE $150 $150 $85 $160 $175 $100

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RELEASE OF CLAIMS RELEASE OF CLAIMS SIGNATURE GUIDELINES: 1. All members (competing and non-competing) must sign and return with completed registration form. 2. Non-members do not need to sign. 3. Make copies of the release form for the number of registrations signing. 4. Registrations will not be processed if the release form is not signed and returned with the registration form. 5. A blank sheet of paper can be used to gather signatures. On the blank paper, please print your name and member number and sign. RELEASE OF CLAIMS: I agree and acknowledge that I am participating in the 2014 International Convention & Competition (“Event”) on my own accord. I give this acknowledgement freely and knowingly and I represent and warrant to you that I am physically and mentally fit and that, as a result, able to participate, and I do hereby assume responsibility for my own well-being. I am fully aware that possible physical injury might occur to me as a result of my participation, and I agree to assume the full risk, including risk which is not specifically foreseeable, of any injuries, including death, damages or less regardless of severity, which I may sustain as a result of participating in any and all activities connected with or associated with the Event. In consideration of the right to participate in the Event, I hereby waive any and all rights or claims I may have as a result of participation in the Event against

Sweet AdelineS internAtionAl, its directors, officers, employees, members, staff, and all individuals assisting in instructing and conducting these activities, and I hereby

fully release and discharge them from any and all claims resulting from injuries, including death, damages, or loss, which may accrue to me or my heirs arising out of or in any way connected with my participation in the Event. I further agree to indemnify, defend, and hold harmless Sweet AdelineS internAtionAl, its directors, officers, employees, members, staff, and all individuals assisting in instructing and conducting these activities from any and all claims resulting from injuries, including death, damages, or loss, which may accrue to me or my heirs arising out of or in any way connected with my participation in the Event. Print Name:



The Coronet Club Show | November 7, 2014 PAYMENT INFORMATION


o Enclosed is my check. Make check payable to The Coronet Club. o Please use my credit card (Check one): o Visa o MasterCard o Discover Card Number: Expiration Date: Card Holder’s Signature:

Name: Chorus: Address: City, State:

Country, Zip/Postal Code:


o I will be in a wheelchair and will use a regular seat. o I will be in a wheelchair and will remain seated in it. o I require a reserved seat for a companion. Description of your disability and list any ADA services that you require:

Daytime Phone: Email: Chapter:


2014 Coronet Club Show • November 7, 2014 CORONET CLUB REGISTRATION GUIDELINES 1. To sit together, you must register together. If your registration payment is not included with the group you want to sit with, seating with the group is not guaranteed. Tickets are assigned in the sequence as orders are received. 2. Pre-registration closes September 1, 2014. After September 1, tickets may be purchased and will be available for pick-up on-site at the Coronet Club booth. Seats will be assigned based on availability. Pre-registration tickets will be mailed in September 2014. 3. Send only one form of payment for the group. Multiple checks or credit card numbers included with one registration are not accepted. For your convenience, this form may be photocopied. 4. Make check/money order payable to the Coronet Club. Your canceled check or credit card statement is your receipt. There is a $10 service charge on all returned checks. 5. Tickets are transferable, but not refundable. To purchase tickets, please return the information and send payment to the Coronet Club Ticket Chair. Please do not send your payment for this event with your Convention Registration. Please be sure to fill out the Contact Information and the Payment Information box on the front of this form.

MAIL TO: The Coronet Club Show Attn: Donna Bates 1852 Somerfield Lane Crystal Lake, IL 60014


QUESTIONS? CALL: 815.356.9047

2014 Coronet Club Show • November 7, 2014 CORONET CLUB REGISTRATION REGISTRATION


Coronet Club Show (by Sept. 1)


VIP (limited, on-site only)


Tickets on-site (After Sept. 1)



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The Young Singers Foundation’s heartbeat is to see the lives of youth changed through music. The Foundation would like to thank all who applied for a grant for the June 2013 cycle and congratulates the following YSF grant recipients:


• Harborlites, “Diva Day Young Women in Harmony Festival” - $3,000 • Virginia Children’s Chorus, “The Gift of the Magi” - $1,500 • 2014 Greater Cincinnati Harmony Festival - $2,500 • San Francisco Girls Chorus, “Need-Based Scholarship Program” - $2,500 • Colorado Springs Children’s Chorale – “Southern Colorado In Harmony Festival,” “Senior Citizen Outreach,” “School Blitz Program” - $5,000 • Heartland Chamber Chorale, “Side-by-Side in Song” - $4,000 • River Blenders, “Shop for the Ring Youth Harmony Festival” - $2,000 • Region 34, “Young Women in Harmony Sydney Start-up Project” - $3,860 • Metro Nashville, “Young Women in Song & Harmony” - $2,000

The Voice Box

Health Tips for Sweet Adelines By Dr. Rachael Gates, Singing Health Specialist My voice gets so tired when I’m trying to memorize music. What should I do? Singing a song over and over is not the most efficient or effective way to memorize a piece of music — it may help stick the song in your muscle memory, but if the voice is tired, your muscle memory could be memorizing bad habits that often accompany tired vocal production as well. You want to sing songs when your voice is fresh and strong. Memorizing can be very quick when varied approaches are applied to learning a given piece: • If a recording is available, listen to it once to grasp the general style and tradition of the piece. • Write the text on a piece of paper. Look for patterns –such as repetitive lines– and break it up into sections. • Learn the music of the song and put with the text. Study the musical expression of the text. Pay attention to what the dynamics, melody, harmonies and accompaniment are doing when you sing the text. Is it mirroring the feelings expressed? • Speak the text as though it’s a story or monologue. Decide to whom you’re talking and experiment to discover new ways of expressing the text. Continue this process as you go on to the next approach. • Choosing a section of the text, stick the paper in your pocket and take a walk, going over that section and referring to the paper as needed. Speak it, sing it under your breath or just lip-sync it. Do this during mundane tasks such as showering, washing dishes and riding in the car. Avoid constantly building off the beginning to avoid an over-learned beginning and a less polished ending. • Write the text out again and again from memory, referring to the paper in your pocket as needed. • Give the paper to someone else and have her test your memorization. • Now sing it with good technique and all the nuances, emotions and colors you found throughout the memorization process. I promise your performance will be more unique and expressive. And if you forget a word, though it will be less likely, your brain will have many ways of recalling it.


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

October 2013 | The Pitch Pipe



Honor someone you love this holiday season!


ith the holidays quickly approaching, capitalize on this unique time to honor or commemorate someone you care about by donating in his or her name to The Overtone Society.

You have personally been impacted by Sweet Adelines International — why not give back and simultaneously recognize someone you love? It’s the perfect gift — plus with the end of the year fast approaching, what better time to donate to the organization you believe in before 2013 is officially over! Donate as a gift to your director, Sweet Adelines sister, chorus, family members or anyone who means a lot to you and to whom you’d like to show how you believe not only in him/her, but also in the power of music and life change that Sweet Adelines International brings to people around the world.

Donate today and help Sweet Adelines International continue to impact lives through music one person at a time.


October 2013 | The Pitch Pipe

CLASSIFIEDS Costumes for Sale

Attention small/medium choruses. We have 51 sets of blue long sleeve jersey tunics with matching pants for a great deal of $25 per set or a great offer. These costumes look purple under certain stage lights but are very versatile. Everybody looks great in this color! Please contact Gena Plooster, visual coordinator and assistant director of Black Hills Showcase Chorus, at or 605-390-3825 and get your fabulous new costumes now!

For sale: 48 Rivar’s lined tunic style top w/ bell sleeves, diagonal hemline and neckline. Royal blue dance glitter fabric. Excellent stage-appeal with just the right amount of glitter. Sizes run from 6 to 32. $40 each. For more information, please email Kate Cooper at katecooper46@ Attention SMALL Choruses. For sale: 37 sets of gorgeous, dazzling red costumes. Flash style tunic top in red dangle sequins, red stretch velvet pants. Hand washable, easy care. Made by Rivar’s. $45 per set, S&H separate. For photo visit or Find us on Facebook! Contact Debbie at Stunning Rivar’s Black 2-piece pants outfit. Weskit top with long sleeves designed to Velcro in and out, creating a versatile vest option. Black on black baby dot sequin jacket front. Hand washable. Sizes S-4X — 45 sets at $30 each, 7 extra jackets with no sleeves plus 10 extra pants — all at $10 each. Shipping additional. For pictures and inquires contact: Connie Kilts, or 319-396-6440.

Heidi Bosco, Spirit of the Gulf, Region 9 Darlene Boyer, West Shore, Region 17 June Bressler, ChannelAire, Region 11 Karen Brooke, Member-at-Large June DeGraw, Arbutus Sounds, Region 26 Eleanor Eaglesham, Geelong Harmony, Region 34 Lilian Gelberg, Santa Monica, Region 11 Peggy L. Hall, Chapter-at-Large, Region 2 Brenda Hendricks, A Cappella West, Region 34 Dolores Humphries, Rich-Tone, Region 25 Gail Johnson, Voice of Vermillion, Region 10 Donna Lainchbury, London, Region 2 Margaret H. Lockard, Spirit of Detroit, Region 2 Kim Malin, Alberta Gold, Region 26 Patricia J. Richardson, Brisbane City Sounds, Region 34 Virginia Ann Simoneaux, Baton Rouge, Region 10 Opal L. Strawther, Spirit of Southeast Texas, Region 10 Carol A. Telep, Great Lakes, Region 2 Rosalind Williams, Spirit of the Gulf, Region 9


Mid-calf length duster vests by Designing Women; black, slinky, sparkly material; rhinestone-trimmed neckline; 46 embellished with gold stars, sizes XS,S,M,L,XL, and 4X , $15 each and 19 without stars, sizes XS,S,M,L,XL,2X,3X, $10 each. Each type worn once at regional competition; excellent condition. Shipping extra. Pictures on Contact Bette Lowenstein, 970-523-3464, e-mail

In Memory


(As of September 1, 2013) Advanced to Certified Director Patty Cobb Baker, Golden Sands and Harborlites, #21 Elaine Bakos, Greater Cleveland, #17 Leila Brown, Orangeville, #16 Diane Hingston, Bluewater, #2 Goldie James, High Country, #8 Laura Lewis, The Blend, #8 Mary Lou McKinney, Indi-Anna, #17 Pam Pieson, Harborlites, #21 Trish A. Tuffin, Northern Beaches, #34 Geesje N. Van de Linde, Northern Beaches, #34 JoAnn Wilson, Greater Cleveland, #17

October 2013 | The Pitch Pipe


Sweet ening the Pot Sweet!

A dds Members hip Inc entive Campa ign

This is your last chance in 2013 to earn dues incentives and extra bonuses for adding new members! To further strengthen the One Voice, One Message Global Membership Drive and the 2013 Global Open House campaigns, this membership recruitment program is designed to reward members for their efforts. YOU HAVE UNTIL DECEMBER 31!


October 2013 | The Pitch Pipe

+5 members = free dues for 1 year ($90


+10 members = free dues for 2 years ($180


+15 members = free dues for 2 years and The Pitch Pipe recognition ($180+ value) +20 members = free 3-year membership and The Pitch Pipe recognition ($243+ value) +25 members = engraved brick on the HQ patio, free three-year membership, The Pitch Pipe recognition AND International Convention acknowledgement ($343+ value)



is t h at ?

DON’T MISS OUT! Fill in the “referred by” field on all new member applications and reap the rewards! When members come together as a unified, harmonious organization – anything is possible.

One Voice, One Messa g e !


North Metro is taking its parade to Hawaii! Join us at the Chorus Music Education Class at 9:00 a.m. on Friday, November 8, 2013.

Don’t forget to visit us at our booth in Harmony Bazaar!

CONNECT WITH YOUR CHORUS ONLINE, ANYTIME Groupanizer’s members-only sites help you organize repertoire, manage mailing lists, invoice members, and more.

Announcing our new ‘Smart Public Sites’ for 2013! » Responsive (mobile) designs » Easy ‘you can do it’ editing » Quartet Pages » ‘Smart Site’ Auto-Formatting Features » Social Media Integration » Online Store for Tickets and CDs Your Personality. Your Style. Your Audience.

October 2013 | The Pitch Pipe











October 2013 | The Pitch Pipe

October 2013 | The Pitch Pipe




from the Elegant Crown City Ballroom . . . a Spectacular Evening Awaits You!

Friday, November 7, 2014 8:00 pm Baltimore, Maryland

So Danca is proud to be a 2013 Platinum Sponsor of the Sweet Adelines International.

Represented by: Dancewear Hawaii 1513 Young St, #204 Honolulu, HI 96826 Tel: (808)943-2623

Shop Só Dança at the upcoming 2013 SAI Convention in Honolulu brought to you by Dancewear Hawaii!

November 4 - 9

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