heartbeat newsletter june 2010 - heart of florida chorusheartoffloridachorus.org/heartbeat...
TRANSCRIPT
Editor’s note: Bill gave me a file folder with maybe a
dozen articles he had written in recalling some of his
earlier days of barbershopping. After all, he joined the
Society in 1942! I’m going to feature one article per
issue in a vignette called “Bill’s Room.” In his cover
letter in the file he wrote: “About my writings, I am
going to try to use the word “I” as little as possible as it
would sound like I’m blowing my own horn, (come to think of that,
there is no one left to blow it for me). So when you read the words—
someone, the group, a member, it was suggested, it was agreed, etc., it
will doubtless mean me. I hope some of my stuff might be of interest to
someone. I will try to write about barbershop history little known or
long forgotten.
The 17 years when I edited the Seneca Land District’s Smoke Signals,
my column was called Bill’s Barbershop Banter (BBB). Some people
thought it should have been ‘BBS.’”
It Works For Me
I have been criticized for putting too much expression into a presentation
to the audience. It took me a few years to discover that one must sing
with expression, so I’ve only been doing it for 55 years or so.
When I start learning a song, I first go through the words to find what
type of facial expression goes with each phrase and then to the music to
get the intensity of the expression. Then it is time to start singing to find
the climaxes and how to treat them. A climax can be in volume change,
tempo change, or word emphasis. You MUST remember that in barber-
shop we sing phrases, not words.
You MUST of course sing to a MIRROR. You could use another person
but then you would have their expression which might not be yours. My
quartets never had a chance because we rehearsed at my house in front
of a four-foot oval antique mirror.
You use the expression every time you sing the song alone, when learn-
ing, or at rehearsal and then it is part of the song and all you need to do
is watch SCOTTY. You sing through the director to the audience. Be-
fore, between, and after a song you are “down the tiles with lots of SMILE.”
The HeartbeatThe HeartbeatThe HeartbeatThe Heartbeat
June—2010, Volume 7, Issue 6
The official newsletter of the Heart Of Florida Chorus,
Central Florida Chapter, Barbershop Harmony Society
The chapter meets every Thursday evening, 6:30 p.m.
at North Lake Presbyterian Church, 975 Rolling Acres Road
Lady Lake, Florida heartoffloridachorus.org
We are a little over a
week out from hosting
the Extravaganza. Each
of us needs to get out
among our friends and
promote the show.
When I looked last
week we had sold only about half the
house. Four quartets are counting on us to
help defray their expenses of going to
Philadelphia. Please lend a hand.
Scott has started craft sessions for each of
our sections. Going and participating in
these thirty minute sessions is only the
start of the process. Without follow
through we gain nothing. It is what we do
as individuals that count. I do believe that
we all want to improve but have a ten-
dency to put things off. Let’s make an
effort to spend just a little time each day to
practicing our craft. Then we will see what
we really can do.
Bill’s Room From Bill Davidson
From the Oval Office By President Pat Haley
Phi ladelph ia in Ju ly I t ’ s get t ing to be crunch t ime
for f ina l iz ing your p lans for the
In te rna t i ona l Convent i on . I f
you can’ t go you can st i l l ge t
the web cast
and at least
h e a r t h e
var ious con-
tests . (See
page 7 for
d e t a i l s . )
V. P. Program:
Dick Gordon
352-751-5284
V. P. Media and PR
Paul Smith
352-561-1902
V. P. Membership:
Andy Papineau
352-751-3313
Front Line Director:
Scott Werner
352-259-2572
Board Member At Large
(2 Year):
Bob Wakefield
352-259-0633
Page 2
Articles with no byline are written by the editor. Clip art courtesy of the Barbershop Harmony Society.
V.P. Music and Performance:
Ken Carter
352-259-3574
HOF Director Team Deadline
Deadline for articles submitted for
publication in the Heartbeat shall
be the 20th of the previous month.
Purpose
The purpose of this chapter shall be
three-fold:
1.) To perpetuate the old American institu-
tion, the barbershop quartet.
2.) To promote and encourage vocal har-
mony and good fellowship among its
members.
3.) To encourage and promote the educa-
tion of its members and the public in mu-
sic appreciation of barbershop harmony.
The chapter activities shall be conducted
without personal gain for its individual
members and any profits or other inurn-
ments to the chapter shall be used in pro-
moting the purposes of the Society, district
or chapter.
Mission Statement
We are an organization of community
minded singers, dedicated to spreading
the joy of close harmony in our schools
and in our community.
Purpose and Mission Statements
Assistant Director and
Baritone Section Leader:
Don Barnes
352-259-8634
The Hear tbeat
The 2010 Heart of Florida Leadership Team
June
Immediate Past President:
Dave Kirkpatrick
352-669-1713
President:
Pat Haley
352-753-3351
Board Member At Large
(2 Year)
Keith Mullen
352-259-9893
Board Member At Large
(1 Year)
Jeremy Reynolds
352-751-4845
Board Member At Large
(1 Year)
Reed Johnson
716 628-1341
Treasurer:
Harold Lathom
352-350-2115
Staff Reporter:
Larry Robinson
352-357-7328
The Heartbeat Staff
Senior Editor:
Elbie Ford
352-484-1216
Staff Photographer:
John Shaerer
352-237-9279
Craft Coordinator:
Bob Thames
352-315-1238
Additional Section Leaders, l to r:
Joe Pfiefer, 352-751-2415—Tenor;
Scott Werner—Temporary Lead (not pict.)
Temporary Secretary:
James Gehrlein
352-751-0776
Executive Vice President:
Brent Bierma
352-750-2272
The Hear tbeat Page 3 June
We Always Welcome GuestsWe Always Welcome GuestsWe Always Welcome GuestsWe Always Welcome Guests
Chapter EternalChapter EternalChapter EternalChapter Eternal
For July
Vern Manning 4
Phil Sessoms 6
Pete Wells 8
Bob Lerner 13
Keith Kuiper 19
Elbie Ford 21
George Randolph 22
John McCarthy 26
Larry Robinson 27
When I write an editorial I try to re-
main upbeat and this may sound like
a reprimand. I’m talking about the
way we open our rehearsals with
saying the Pledge of Allegiance and
singing “The Star Spangled Banner.”
I feel so honored to do that and visi-
tors have commented favorably
about it also. What I’m displeased
about is that someone (I don’t know
who or want to know) always says
“play ball” as if it’s a “necessary”
prelude to a ball game. There are
men in the chapter, as well as guests,
that risked their lives so we could
sing the National Anthem and many
others gave their all. All I’m asking
is: show some respect for our freedom.
Guests for May Dick Lord Ocala
Bob Kilroy ?
Jim Christensen ?
Andy Adelman The Villages
F. D. Flannery Pompano Beach
Our brothers who have passed but will always be on the risers
with us in our hearts
Charlie BordersCharlie BordersCharlie BordersCharlie Borders Floyd Guernsey Floyd Guernsey Floyd Guernsey Floyd Guernsey
Mel LeeMel LeeMel LeeMel Lee Harry Olds Harry Olds Harry Olds Harry Olds
Don PolleyDon PolleyDon PolleyDon Polley John Raymond John Raymond John Raymond John Raymond
Bob YenneyBob YenneyBob YenneyBob Yenney Emil Bajus Emil Bajus Emil Bajus Emil Bajus
George MurphyGeorge MurphyGeorge MurphyGeorge Murphy Don Himmelman Don Himmelman Don Himmelman Don Himmelman
Bud MasonBud MasonBud MasonBud Mason David MacEllven David MacEllven David MacEllven David MacEllven
Spike KennSpike KennSpike KennSpike Kenn Nick Nichol Nick Nichol Nick Nichol Nick Nichol
Marty MartinMarty MartinMarty MartinMarty Martin
HOF Chapter Quartets Aged To Perfection
Bobby Vincuilla, tenor
Scott Werner, lead
Ken Carter, baritone
Jerry Tobin, bass
Four Sharps
Joe Pfiefer, tenor
Rich Casanzio, lead
Don Barnes, baritone
Ric Blind, bass
Northeast Extension
Wally Costello, tenor
Jim Lawrence, lead
Dave Mann, baritone
Mo Foisy, bass
Over the Hill Gang
Jeremy Reynolds, tenor
Norb Schneider, lead
Ralph Peckham. baritone
Pat Haley, bass
So Far So Good
Jerry LaDue, tenor
Dave Kirkpatrick, lead
Dick Fischer, baritone
Jerry Weisenreder, bass
Sun Chords
Lee Shawcross, tenor
Wayne Page, lead
Joe Burns, baritone
Dick Gordon, bass
The Life Of the Party
Lee Shawcross, tenor
George Randolf or Andy Papineau, lead
Don Hausmann, baritone
Doc Weir, bass
Pres idents C lubPres idents C lubPres idents C lubPres idents C lub
Pat Haley
Current Pres ident
Dave Kirkpat r ick 2009
Marty Mart in 2007-2008
Ken Carte r 2005-2006
Wayne Page 2003-2004
Barbershopper Of the Year Ha l l o f Fame
Joe Pfeifer 2003
Wayne Page 2004
Marty Martin 2005
Ken Carter 2006
Dave Kirkpatrick 2007
Joe Burns 2008
Jim Gehrlein 2009
Editorial By Elbie Ford
Classified—For Sale: full tuxedo
in compliance with the HOF Chorus
standards. 44 short—asking $100.
Dick Lord, 307-0359.
The Hear tbeat Page 4
Board Happenings By Secretary Jim Gehrlein
Minutes for the May meeting of the Board of Directors of the Central Flor-ida Chapter, Heart Of Florida Chorus.
The following directors were present: Pat Haley, Harold Lathom, Jim Gehrlein, Ken Carter, Dick Gordon, Paul Smith, Dave Kirkpatrick and
Keith Mullen. Absent were Reed Johnson, Jeremy Reynolds, Bob Wakefield, Brent Bierma and Andy Papineau. Also present was Scott Werner and Elmer Wagner.
Secretary’s Report: The minutes of the meeting of the board of directors held in April were approved on motion. On an approved the board approved the application of Jim Christensen to transfer from the Hernando County Chapter to the Central Florida Chapter.
Jim Gehrlein also reported that the Sunshine District declined our offer to host or co-host the Fall 2010 Con-vention in Ocala. Prior arrangements have made with the Ocala and Jacksonville chapters to co-host the con-vention.
Treasurer’s Report: The Treasurer’s report for March 2010 was received on motion and approved. Harold Lathom reported that Jerry Yahn completed his review of the chapter’s financial records for the period ending December 31, 2009 and that the federal income tax re-turn for the same period was filed in May 22, 2010.
Music Directors Comments: Scott Werner stated that the early sectional craft sessions were going well but em-phasized the need to re-enforce the training with addi-tional practice outside of rehearsal nights.
Music and Performance: The board directed Ken Carter to establish a selling price for the unused riser section(s) currently in the storage unit.
Program and Chapter Development: Dick Gordon pro-nounced “Save The Polecat” to be a continuing success. On an approved motion the board directed Dick to pur-sue a sing-out/social with the Citrus County and Ocala Chapters to be held in Ocala in early November.
Marketing and Public Relations: Paul Smith has placed ads for the Barbershop Extravaganza in both the Spring Convention Program and the Sunburst. The board di-rected Paul pursue compensation of the chapter by the district as a cost of the Extravaganza.
New Business: The board discussed options for reducing
the projected budget deficit for 2010. The treasurer’s
report in June will include the revisions.
BARBERSHOP HISTORY QUIZ author: Mark Axelrod, editor of "Blue Chip Chatter,"
Teaneck, N.J
Questions:
1 - Define balance
2 - Define blend
3 - Define drop
4 - Define fifth wheel
5 - Define precision
6 - Name a type of early 19th century, sacred, vocal
American music which contributed to the barbershop
style of harmonization.
7 - Where in the United States was this type of music
most popular in the 19th century?
8 - This music enjoyed a revival in the 20th century.
Where was this revival centered?
9 - Name the greatest similarities between this style of
vocal music and barbershop.
10 - Name the greatest differences between the two
styles.
(Answers on page 6)
June
RETARDED GRANDPARENTS Submitted by Larry Robinson
After Christmas, a teacher asked her young pupils how they spent their holiday away from school. One child wrote the following:
We always used to spend the holidays with Grandma and Grandpa. They used to live in a big brick house but Grandpa got retarded and they moved to Florida.
Now they live in a stucco box and have rocks painted green to look like grass. They ride around on their bicycles and wear name tags because they don't know who they are any-more. They go to a building called a wreck center, but they must have got it fixed because it is all okay now. They do ex-ercises there, but they don't do them very well. There is a swimming pool too, but they all jump up and down in it with hats on. At their gate, there is a doll house with a little old man sitting in it. He watches all day so nobody can es-cape. Sometimes they sneak out, and go cruising in their golf carts.
Nobody there cooks, they just eat out. And, they eat the same thing every night--early birds. Some of the people can't get out past the man in the doll house. The ones who do get out, bring food back to the wrecked center for pot luck.
My Grandma says that Grandpa worked all his life to earn his retardment and says I should work hard so I can be retarded someday. too. When I earn my retardment, I want to be the man in the doll house. Then I will let people out, so they can visit their grandchildren.
The Hear tbeat Page 5
Order of appearance of quartets at the International in July
1. The Vagrants FWD
2. Crunch Time MAD
3. Masterpiece FWD
4. 3 Men & A Melody CSD
5. Evolution BABS
6. Breakout SLD
7. Vocality LOL
8. Voce LOL
9. Lucky Day SUN
10. Storm Front RMD
11. Q-tones SNOBS
12. ‘Round Midnight MAD
13. Old School MAD
14. The Allies JAD
15. Heatwave CAR
16.Fortissimo SUN
17. A Mighty Wind DIX
18. Chameleon ONT
19. Expedition LOL
20. Blend Tech NED
21. High Definition CSD
22. Fast Track EVG
23. Hot Air Buffoons JAD
24. Steel BABS
25. Eureka! SWD
26. Zamboni Brothers DIX
27. 2nd Generation MAD
28. Forefront CAR
29.The PURSUIT SUN
30. The Sting ONT
31. Men In Black NED
32. Class Ring JAD
33. The Nashville Singers DIX
34. Common Interest ONT
35. Monkey Magic BABS
36. Musical Island Boys NZABS
37. The Party PIO
38. The Real McCoy DIX
39. The Edge FWD
40. Lunch Break DIX
41. Main Street Station LOL
42. Off The Record ILL
The songs we SingThe songs we SingThe songs we SingThe songs we Sing “Let Me Call You Sweetheart”
One of the songs
(which is out of the
Barberpole Cat reper-
toire) that we sing for
our Valentine’s promo-
tion is "Let Me Call
You Sweetheart" and is
a popular song with our
audiences. It was writ-
ten in 1910 by Leo
Friedman doing the
music, with Beth Slater
Whitson writing the
lyrics. The song was
first recorded by The
Peerless Quartet.
The complete lyrics are:
(verse 1) I am dreaming dear of you, day by day. Dreaming when the skies are blue, When they're gray; When the silv'ry moonlight gleams, still I wander on in dreams, In a land of love, it seems, just with you.
(chorus) Let me call you "Sweetheart," I'm in love with you. Let me hear you whisper that you love me too. Keep the love-light glowing in your eyes so true. Let me call you "Sweetheart," I'm in love with you.
(verse 2) Longing for you all the while, more and more. Longing for the sunny smile, I adore. Birds are singing far and near, Roses blooming ev'ry-where You, alone, my heart can cheer; you, just you.
June
43. Catcher Block FWD
44. McPhly RMD
45. Ringmasters SNOBS
46. Frank the Dog MAD
47. Maverick JAD
48. Boiling Point RMD
49. Skyline CSD
50. 65 South CAR
51. Let’s Sing! DIX
The Hear tbea t Page 6
HOW TO CREATE YOUR
BEST VOICE Adapted from an article by Vocal Specialist, Stan
Sharpe—Submitted by Keith Mullen Editor’s note: Keith submitted the article I will start
below. It will be published in three parts which will
continue for the next two issues.
BREATH SUPPORT, THE FOUNDA-
TION OF GOOD SINGING: Nothing will
improve your singing, more than learning good breath support. Proper breathing is the foundation on which you can build the best voice your natural anatomy will allow. To have proper breath control we
first must understand a couple of rules.
Rule one—You cannot TAKE your biggest breath. TAKING a breath creates tension in your body and tension re-stricts the amount of air you can take in. For a big breath, you must relax and ALLOW it to happen.
Rule two—A proper singing breath is totally natural.
Proper breathing is learned at birth, watch a baby and
you will see the belly rise and fall with each breath. The
baby is breathing with the diaphragm and this is correct.
Listen to a baby cry and you will hear good vocal support!
How do I get back to this natural way of breathing? First, you have to learn what a diaphragm breath is. To do this, lay on your back and breath. You should find your stomach rising and falling with each breath just like a baby’s belly. Now stand up and breath the same way. It may feel awkward at first, because men have taught themselves to expand their chest to look manly and slim. To take a singer’s breath, the diaphragm stretches down--this forces the stomach to protrude and creates a vac-uum in the chest cavity. Air fills this vacuum and you have created a breath. The only effort necessary for a breath is to lower the diaphragm, any further physical effort will only interfere with the process.
Another way to learn proper breathing. Sit in a straight backed chair, pull your shoulders back, relax and let your arms dangle down the sides of the chair. Grasp the chair on each side with your hands. Now breath. Your shoul-ders will not be able to raise and you will be forced to breath with your diaphragm. Learn how this feels and continue to breath this way when you release your hands and stand up.
RULES: • Do not let your shoulders rise when you breath. This
is chest breathing.
• Make no effort to expand your chest when you
breath. Some expansion is natural using your diaphragm.
• Do, relax and let your belly expand when you breath.
• When you need a big breath, don’t tense up, make a
conscious effort to relax and let it happen.
NOW THAT I HAVE A PROPER BREATH, HOW DO I USE IT? Controlling the use of your air requires you to control your diaphragm. When you expel air, you should feel like there is an open pipe from your belly to your mouth with no restriction in between. Some singers try to con-trol their air by pinching it off at the throat. Doing this creates tension in the voice and puts a strain on the vo-cal cords. Imagine a balloon full of air and controlling the release of air by pinching the neck of the balloon. What sound do you get? Squeaks and squawks! Now, slip a tube into the throat of the balloon so the neck re-mains open and what happens? No noise, just the free flow of air. Unlike the rapid expulsion of air as from the balloon, you can limit your air flow by controlling the pressure with your diaphragm. On top of this free flowing column of air, you can set the tone and let it fly free.
CONTINUALLY REMIND YOURSELF TO DO THESE THINGS UNTIL THEY BECOME HABIT. PRACTICE, PRAC-TICE, PRACTICE.
CCCC R a f tR a f tR a f tR a f t OOOO
RRRR
nnnn
EEEE
RRRR
June
1 - The relative volume relationships of the four voices in
a quartet (or the four sections in a chorus).
2 - The pitch, i.e., intonation accuracy required to maxi-
mize the coincidence of overtones such that the chord
rings to greatest extent possible.
3 - A common arranging technique in which the bass
drops an octave on the last note of the song.
4 - An unwelcome interloper singing along with a quartet.
5 - A judging category referring to the synchrony (i.e.,
singing exactly together and in the same way) of attacks,
releases, and sung lyrics.
6 - Sacred Harp Singing.
7 - In New England.
8 - In the deep south.
9 - It was strictly a cappella, and arranged in four parts
(actually eight parts, see the answer immediately below).
10 - Each of the four parts were sung by both men and
women. Obviously, there was lots of doubling, and, at
minimum, this style required eight singers, but a church
choir was and is much more typical of Sacred Harp Sing-
ing than an octet. (Note: Sacred Harp Singing has been
handed down from one generation to the next, much the
same as barbershop, and is still sung and enjoyed to this
day).
Answers to the Barbershop Quiz (On page 4)
The Hear tbeat Page 7
Music Can Help the Brain Source: Arthur Winter, MD, FICS,
director of the New Jersey Neurological Institute.
As seen in The Score, Ken Steffen, editor
A prescription for music therapy is becoming more com-
mon as scientists prove how combinations of sounds af-
fect brain and body.
Humans have long used the rhythm and tempo of music
to make repetitive tasks easier. Stanford University ex-
perimenters’ recorded electrical patterns for the elbows of
women 18 to 35 years old performing tasks, and they
found music really did improve synchronization of nerves
and muscle signals.
Music is being studied intensively today for its physio-
logical effects. It has been shown to be beneficial for
muscular development, physical coordination, and sense
of timing, mental concentration, memory skills, visual
and hearing development, and stress control. The cere-
bellum, at the base of the brain, is devoted to the regula-
tion of the sort of movement we use when playing an in-
strument or dancing to music. Current research suggests
one of the cerebellum’s fundamental functions may be to
help us learn and remember movements.
Dr. Jon Eisenson, a Stanford University Medical Center
professor emeritus of hearing and speech science, has
long advocated music for stroke and brain-trauma pa-
tients unable to speak.
Many beneficial physical effects can be derived from lis-
tening and moving to music. In fact, merely listening to
music has bee found to lower blood pressure and reduce
sweating and respiratory rates.
Music can also change moods, Just thing of how rock
concert patrons behave or how you feel when you hear a
song associated with a past love.
Philly Webcast Schedule Announced Can't make it to Philly? Watch the major events from the comfort of your own home!
The Bank of America Collegiate Contest—Tuesday, June 29th, beginning at 6 p.m.
Quartet Quarter-Finals—Wednesday, June 30th, beginning at 10:00 a.m. (There will be a 1.5 hour break between halves, estimated to occur around 3 p.m. EDT.)
Quartet Semi-Finals—Thursday, July 1st, beginning at 11 a.m.
Association of International Champions Show, beginning at 7:30 p.m.
Chorus Contest, first session—-Friday, July 2nd, beginning at 10 a.m.
Chorus Contest, second session, beginning at approxi-mately 4:00 p.m.
Quartet Finals—Saturday, July 3rd, beginning at 6:00 p.m.
All times listed are in the Eastern Daylight Savings Time (EDT.)
The sign-up for the webcast will begin in early June. For more information about how to subscribe and pricing options go to the webcast page on www.barbershop.org
Prices: see the webcast page for details.
Superband Video All Week - $99.00
Individual Sessions Superband Video Tuesday - Bank of America Collegiate Quartet Contest and Quartet Finals - $40.00 Wednesday - Quartet Quarter-Finals - $30.00 Thursday - Quartet Semi-Finals Round - $35.00 Thursday - AIC Show - $25.00 Friday - Chorus Finals, sessions 1 and 2 - $40.00
Saturday - Quartet Finals - $50.00
Audio only – $10 (recommended for slower, dial-
up connections).
June
Relax with another Szabo Tag By Burt Szabo
Place
Postage
Here
The HeartbeatThe HeartbeatThe HeartbeatThe Heartbeat
Sing! Music is an outburst of the soul.Sing! Music is an outburst of the soul.Sing! Music is an outburst of the soul.Sing! Music is an outburst of the soul.
Fredrick DeliusFredrick DeliusFredrick DeliusFredrick Delius
The Heartbeat—June 2010
June 12 - Fifth Annual Barbershop Extravaganza - 7 p.m.
June 17-19 - Harmony Explosion Camp
June 28-July 4 - International Convention - Philadelphia
July 4 - NL Presbyterian Church Services - 8:30 and 11:15 a.m.
Sept. 3-6 - Labor Day Jamboree - Plantation Inn, Crystal River
October 1-3 - Fall Convention—Ocala
October 17 - Hawthorne Show - 3 p.m.
December 4 - Christmas Show - Savannah Center - 7 p.m.
March 5, 2011 - Spring Show - Savannah Center - 7 p.m.
December 3, 2011 - Christmas Show - Savannah Center 7 p.m.
Elbert Ford
1520 SW 152nd Place
Ocala FL 34473
Phone 352-484-1216
Cell: 352-817-8559
Email: [email protected]
Printing of The Heartbeat
done by Utrex Printing
306 Oak Street
Lady Lake, FL 32159
352-205-8222
See them for your
printing needs.