What a busy time it has been for the Shrine of Democracy Chorus. Both August and September saw many performances, and even more that we had to turn down. What a nice dilemma that is!
August was our annual Harmony Happening in Hill City and evening performance at Mt. Rushmore. Rick Spencer brought out the best in us in just one day. The addition of singers from throughout South Dakota and Colorado was great. Also, what a great addition the chorus from Billings was. We just need to get more choruses to join us up at Mt. Rushmore.
That was preceded by our annual performance at the Buffalo Chip Campground during the Sturgis Bike Rally. Unfortunately we were not able to make our usual foray into the camp area to serenade the campers. It was, however, a great time performing on the main stage with exceptionally high winds. What a challenge that was.
In just one weekend during September we had three different performances.
On Friday, September 14 we had a major performance for the district convention of the Rotary Club up at Crazy Horse. Space wise, it was a challenge. Gary Welsh couldn’t even put up the stage set that we planned on using. Wending our way through the tables on our way up was “fun,” but not as much as getting the risers and sound equipment out after we sang.
The next day we sang at the Millstone Restaurant to present the plaque to the owner in appreciation for all his support throughout the years. That was a surprise for him.
Just as much of a surprise to us was the idea that he thought we were there to sing to one of the waitresses who was retiring after many years of service. She was thrilled that we would sing for her. We were thrilled that we all knew the song we sang to her!
As October comes around, we have more performances in the works. On the 13th we sing for the opening of the Black Hills Symphony season. We will be performing two separate 15 minute segments – one before the concert and the other during intermission. In exchange for our singing, we all get free admission to the symphony concert.
A week later, October 20, will be our annual Oktoberfest. We will sing all our polkas, including the new one. After our performance it will be an evening of dancing to the sounds of the polka band, eating brats, potato salad, sauerkraut, and liquid libation.
This is in conjunction with a new Scarecrow festival to help raise funds for the Rapid City Christmas Light fund. It is hoped that through the next few years enough money can be raised to purchase Christmas lights to light up not only downtown, but all throughout the city.
This Oktoberfest is unusual for us since we will be hired as performers instead of having to produce the whole thing. We will be able to make more money than in years past.
Our performance will be held in LaCroix Hall in the Civic Center. Make sure you get the right room or you’ll end up in the dog show!
November brings us another chorus “advance”. (We are going to use that term instead of retreat because we only want to go forward, not backward!) November 10 will find us in Keystone at the Anchorage Inn as guests of Jim and Lin Gogolin. We will be working on our Christmas music, especially the three new songs, along with our show package. We are using this advance as preparation for our December performance in Newcastle, Wyoming.
December brings about our annual performances in the retirement homes. Chorus Manager Pete Stach is presently working with Henry Bradshaw to get those performances lined up.
What a busy season it has been and continues to be. It takes a lot of effort on all our part to make our performance come up to the standards that we want as a chorus. So don’t miss rehearsals. If you do, you’ll be left behind.
Gentlemen. In my 37 years with our chapter I have watched us grow from approximately 80 members to a high of 111 members.
When we did the society Bi-Centennial show in 1976 we had over 90 men on stage, learned and sang 26 songs (yes, several of them were quartet songs), and had a full house at Dakota Middle two nights (three times the size of the crowd we entertain today).
In May of 1977 we (NOT ELVIS) were the first program of any kind in the Civic Center. It was a rainy night and the parking lots hadn’t been paved yet. What a mess that was.
Were those the “Good old days”? Yes, in some respects. We had enthusiasm I haven’t seen in years. There were always more than enough volunteers to take care of whatever needed to be done. We had members running for the board positions, no one had to be begged. We had 20-30 guys at the afterglow after each practice and we “practiced” well into the wee hours of the morning. Now we’re lucky to get 25 guys at practice each week. And if practice should run a few minutes overtime...GRUMBLE, GRUMBLE, GRUMBLE, MOAN AND GROAN.
Back in those good old days we were “several” years younger and there weren’t several dozen activities, shows, etc. competing for our time. In the years since, that has changed dramatically. Therefore, we, as a group, must change our ways as well if we are to remain a thriving, vibrant, organization that will attract new members and start growing again.
Clayton has taught us a great deal about singing and how to do it properly for the best sound and presentation to our audiences. We are singing much better than we did back then.
Unfortunately, there is a great deal more he has tried to teach us that we don’t remember from one phrase to the next because some of us don’t think it’s important to do the things he asks us to do. Yet, we all are awed by the expertise of choruses like Denver and Dallas, but it seems very few of us are willing to do the things Clayton asks us to do that are necessary to sound like that.
Each one of us in the chorus joined because we had wonderful experiences with music in our lives prior to barbershop and hoped we could continue those experiences. I’m sure each of you, even the newest member, has had a thrill run up and down your spine after we’ve thrilled an audience with a song like “Swing Down Chariot” and heard them roar as they applauded. I sure have.
The problem is that to get that kind of response each and every time, we have to pay attention to Clayton ALL the time and use ALL the vocal and breathing techniques he’s tried to teach us EVERY time we sing, especially at practice. You have to remember that practice makes permanent. Perfect comes after the techniques are permanent.
I would ask you each to improve in three areas:
1. Come to practice early and warm up before practice starts. Get 4 guys and learn some tags if nothing else.
2. LEARN YOUR MUSIC AT HOME!!! With the learning CD’s this should not be a problem. There is no reason for us to have to go over and over the same thing every week because some of you don’t know your music. John comes to practice at least 45 minutes early every week, sacrificing his time, in order to have a section practice to help you learn. Unfortunately, most of you have ignored these sessions even though it’s only one night per month. Don’t you even try to tell me you don’t have time, because when it comes right down to it, you’ll find the time to do anything you really want to do. So, if you really want to sing well, why aren’t you doing it? If you don’t care about singing well, why are you here? THE BETTER WE SING, THE MORE NEW MEMBERS WE WILL ATTRACT.
3. Make an effort every day to recruit a new member. The sooner we start, the faster we will grow. It’s that simple. If you’ll change your ways in these three things there will be a magnificent change for the good in this chapter.
The September Board of Directors’ meeting convened on September 4 at President Pete Anderson’s offices. The August minutes were approved as corrected, and Jim Gogolin’s Treasurer’s Report was accepted.
Last month’s Harmony Happening was viewed as one of the best ever, and Rick Spencer had a wonderful time as clinician. The appearance of the Billings Big Sky Chorus was a great addition, and we hope they come back! The Festival Chorus created an awesome sound, and the audience was wonderful. The chorus from Beatrice, Nebraska has already expressed interest for next year, and we could well have over 100 men in the 2008 Festival Chorus.
Jim and Lin Gogolin will host our November 10 retreat at The Anchorage Inn Bed and Breakfast. If the Silver City experience is any indicator, we will have another great barbershop day!
The Board approved the standards for membership and performance which had been recommended by the Music Committee. These will be formally presented to the Chorus members in October.
Pete is still trying to arrange a date and time for the Chorus to present the Sponsorship Appreciation plaque to The Millstone Family Restaurants.
In addition to the Scarecrow Festival on October 20, for which we as a group are expected to create a scarecrow for auction, the Chorus has been asked to perform at the opening concert of the Black Hills Symphony Orchestra, as we did last year. We will sing in the theater lobby area both before the concert begins and at intermission. Once again we will have an opportunity to recruit new singers and lure back some who have been away for a while. Attire will be formal (class A), and the performance is on Saturday October 13.
If any Chorus member has equipment which belongs to the Chapter, please get a listing which includes description and serial numbers to me so we can get our valuables properly inventoried and insured.
The next Board of Directors’ meeting is October 2 at the Agents of Insurance offices, convening at 7:30. Any Chorus member is welcome to attend.
It was great to see Justin Smith back recently. He was home on leave for a week from his duties of learning a new language with the Air Force, and decided to leave his wife & kids alone (again) for one night to come to our chapter meeting.
For any of you who would like to keep in touch, here are the particulars:
Justin Smith
443 Chaplain Magsig Avenue
Box 2794
Presidio of Monterey CA 93944
Debbie Smith
514 Tallent Court
EAFB, SD 57706
PHONE: 484-6341
As you may have heard, the chapter board has adopted some “new” guidelines for our performing and competition choruses. I’d like to take the opportunity of discussing these, if I may.
First, let me address the Performing Chorus Standards as adopted. The Barbershop Harmony Society is a singing organization that specializes in a particular type of harmony – Barbershop Harmony. Although that is true, not all members will want to be singing partners in the chapter. There are many barbershoppers worldwide who are not members of the performing chorus. However, they do enjoy the barbershop style of harmony and the fellowship of like-minded men who enjoy the same music.
To be accepted into the performing chorus, members must be dues paying members of the society, district, and the chapter.
Membership in the Shrine of Democracy Chorus, not the Mt. Rushmore Chapter, will be by approval of the Music Director and Music Team, subject to certain criteria by the singer:
There are also some other guidelines for what is expected for membership in the performing chorus. Each person must be able to:
Additionally, the board has determined that there should be a second chorus – a competition chorus. Along with the requirements for being in the performance chorus, there are additional requirements for membership in this chorus.
We realize that not everyone wants, or is able, to sing in competition. That is why the board decided that it would be best to have a separate competition-oriented chorus. In addition to the guidelines for membership in the performing chorus, the following would be required.
Now, I know what many of you are saying, “This is something new. It takes away all the fun times we can have. We never did it that way before!”
In looking back over past newsletters and board minutes, our secretary, David L’Esperance has found that this is exactly what was done in years past. Standards were set and adhered to. It is only in recent years that these standards have gone by the wayside.
Like many chapters and choruses, there tends to be a slackening over the years so that choruses become more social clubs and less top quality singing organizations. That is what we do in the Barbershop Harmony Society - sing.
Are we trying to become the next Denver and end up as the third-place chorus in all of the Society? No. We do, however, need to make people aware that we are serious musicians who take pride in being the best performers in our area. If something like international, or even district placement would come along due to our great singing, then that’s icing on the cake.
Like any other group to which most of us have belonged, there are standards to meet if that group is to be considered the best. We are not just a social group. We are a performing group who should take pride in a job well done – every time we sing. The only way we can do that is to set our standards high.
Does that mean we won’t socialize and have fun? I hope not. Every time we meet together we socialize. As the saying goes, “Singing is fun – when we get good we have fun.”
As with many of us, I had to go see Gary Welsh in his official capacity as a doctor a few weeks ago. While in the waiting room, I noticed a gorgeous young redhead go into his office ahead of me.
Gary told me when I went in that this redhead told him her body hurt wherever she touched it.
“Impossible!” Gary told her. “Show me.”
The young woman took her finger, pushed on her left shoulder and screamed. Then she pushed on her elbow and screamed even more. She pushed her knee and screamed. Likewise she pushed her ankle and screamed. Everywhere she touched made her scream.
Gary asked, “You’re not really a redhead, are you?”
“Well, no,” she said. “I’m actually a blond.”
“I thought so,” said Gary. “Your finger is broken!”
Installation Banquet February 1975
Barbershopper of the Year: Marv Henzlik. Marv served as chapter president and also in a highly productive role as Music Committee Chair.
President for 1975 is Russ Halvorson. Music Director Al Pitts is thrilled with a turnout of 60 members for January rehearsals.
Show Chairman Chuck Knowlton is dividing the 60- man group into three mini-choruses in order to stimulate competition and growth in singing quality. The effort was later described by Show MC Jack Cannon as intra-chorus competition. Jack carefully enunciated both parts of that hyphenated term.
One of the outstanding former members of this chapter, Don Goad, an Air Force Sr. Master Sergeant, transferred in from Merced, CA. Don made huge contributions in both music and administration.
July 1975: Chapter bulletin wins big award.
The VOICE of RUSHMORE was awarded fifth place in the International Bulletin Contest. The announcement was made at the 1975 International Chorus and Quartet Contest and Convention in Indianapolis. A letter of congratulations was sent to Editor Del Beck. Assistant Editor was David L’Esperance.
Gold Medalist Quartet for 1975 was the HAPPINESS EMPORIUM from Minneapolis. The INNSIDERS, GRANDMA’S BOYS and BOSTON COMMON were 2, 3 and 4 respectively.
The VOCAL MAJORITY from Dallas was the winning chorus followed by the PHOENICIANS from Phoenix, Ariz. Some things don’t change. The ST. JOE PONY EXPRESSMEN from St. Joseph, Mo., representing the Central States District came in sixth. At that time Mt. Rushmore was part of the CSD.
A quartet calling themselves MOST HAPPY FELLOWS out of Seattle came in 14th. This quartet along with the RURAL ROUTE FOUR were our guest quartets at the 1977 annual show, the first event to be held in the new Rushmore Plaza Civic Center Theater. Both of these groups went on to become International Quartet Champions several years later.
This is an interesting article from the internet. It affects every chapter at some time or another. Don’t get the idea that we are referring to our chorus as a D-level chorus, or lower. But every performance we do, whether at a C-level, B-level, or somewhere else, affects our audiences, and our recruiting efforts. Today’s generation needs to know that their time will be spent in a worthwhile effort to be the best. That’s just the way it is.
“I would personally be ecstatic if even half of our choruses sang in public at a C to C+ level (say 60-65).
“Part of the problem in the discussion of quality vs. fun is the idea that it is a zero sum game where you have to sacrifice fun in order to achieve quality (or vice versa), and that is absolutely not the case.
“The other part of the problem is that people seem to believe that those who beat the quality drum are demanding A-level performances from everybody, and that’s not the case, either.
“The sad truth is that the vast majority of our choruses (and quartets, for that matter) are out *in public* performing at a D level or below. That does nothing but hurt the public image of the barbershop style. Good singers who hear that (kind of) product will be disinclined to join a barbershop chorus.
“I don’t care at all what anybody does in private. If people want to get together every week and sing for themselves, at any quality level, more power to them. My problem is when they choose to go out in public and put on a cringeworthy performance which only serves to diminish the future barbershop audience.
“Our audiences aren’t so musically unsophisticated that they can’t tell when chords are out of tune. Unfortunately, at the D level and below, out of tune chords aren’t really even the problem. There is a point at which “out of tune” becomes “non-chord” as a result of completely wrong notes.
“We also have to be cognizant of the difference between your friends and family vs. a true outsider audience. Your friends and family are always going to come to your shows and be supportive of you. There will be enthusiastic applause from them pretty much no matter what.
“The outsiders will sit through one bad show and then never come back. In the absence of a mass media outlet for quality, championship level barbershop, those peoples’ opinions of the barbershop style will be set by the D level performance they attended.
“The MoH (Masters of Harmony) recently did a performance in San Diego as part of a concert series at a local church. Traditionally, that series had focused solely on more legit forms of orchestral, chamber, and choral music. The concert series board had serious concerns about whether it would go over with the crowd (which was a sellout due to the number of people with season tickets).
“Needless to say, they were blown away, according to the feedback after the performance. “Totally unexpected” was a common theme.
“Why were they so blown away by the performance? Why didn’t they expect a quality performance to begin with? Why were their expectations so low compared to a championship performance? Because they had an idea of what barbershop was, and it was based on previous experience hearing our “average” D-level chapter shows.
“It is the responsibility of the chapter board and the chorus director to insist that our public performances aren’t detrimental to our musical image. SAI (Sweet Adelines) has their head on straight in that respect. I wish we were as concerned.”
Several people have asked, “How do we get new members in our chorus?” Each month I will have some ideas from other places that have worked for them. Try some of them. Ed.
Personal Recruiting
Find new ways to talk about barbershop every day. Find ways to mention barbershop harmony to every person you meet – every one!
Committing to Try
Committing to Ask
Committing to Promote
Contents copyright of the author and copyright © 9/5/2007
Once in a while a series of vocal instruction comes along that makes sense to everyone. This is just such a series. It will take several issues of the newsletter to cover the material, but it is worth it. Save each of these issues to remind yourself of all the lessons involved. Ed.
One of the most forgotten and least talked about aspects of singing tends to be the warm-up. Volumes have been written on how to bounce, enounce, and pronounce while singing. But how do you prepare to do that? How do you really get your body, your heart, and your mind ready to sing?
At a recent chorus rehearsal, when it was announced that it was time to warm up, one of the members said, “Warm-ups are for sissies!” I was at first dumfounded, then upset at the remark, especially when the surrounding chorus members laughed at the utterance. Then, I decided that getting mad over it was not the solution. The solution is this article.
Begin the warm-up.
The way to flexibility, confidence, and assurance in singing is to be properly warmed up. If you are properly warmed up, you will sing more, sound better and think less consciously about your voice. You will sound more natural and there will be less stress. There will be more space in your mind left for the important things, such as feeling the words and music. When you are through singing, you will feel high, not hoarse.
The process of warming up begins long before you utter a note. If you are scheduled to perform on a given evening, begin getting your mind warmed up during the afternoon. Go over the pieces you are to perform in your head. Visualize the stage, the audience, and the performers. Get enthused about singing tonight! Promise yourself to do your best.
Stretch the vocal muscles
About two hours before the rehearsal or performance, start getting your body warmed up. Remember, your vocal chords are a set of muscles—very small muscles, in fact. They are about as big around as your pinky. Being muscles, it stands to reason that they must be stretched gently before putting them into violent motion.
Runners would not dream of running a 100-yard dash without stretching or warming up their legs. They prepare properly to avoid running a poor race. Yet there are those who may think nothing of standing on the risers, singing for three hours, and then wonder why their voice is not responding or why they feel hoarse after they’re through.
The best way to start warming up your vocal chords is to gently stretch them. For vocal chords, this means humming softly to yourself. Forget volume, forget pitch. Hum at YOUR speaking voice pitch, softly sustaining the sound for as long as you can. Do this about three times. Then, begin to coordinate your breathing movements with your vocal production until the breathing becomes second nature. You’ll be better prepared for the evening’s performance if you don’t have to think about how to breathe.
Stay in “Neutral”
You may have noticed that I said at YOUR speaking voice cannot possibly warm up in the same way as a tenor with a high speaking voice. That’s because the normal resonant frequency of the vocal chords for the basses is different than for tenors. So, what is your “neutral position” is your’s alone. That’s where you must start.
Stay in your range
As the next step, from your speaking pitch, hum up and down the scale for two whole notes (1-2-3-2-1). Then take a breath, pitch it up a half tone, and do it again. Keep doing it until you can go no higher. When you cannot physically go any higher, pitch it down one half tone, and go down the scale to a little below where you started. Keep it soft, keep it constant, keep a rhythm. The whole procedure should take about three minutes.
Now, vocalize
Once you have done the humming, it’s time to do a little vocalizing. Take the same 1-2-3-2-1 pattern, only now do it by singing a vowel. The “oh” sound, for example, is a good place to start. To make sure you have the proper “oh,” start the exercise by singing “bwoh” instead of just the pure “oh” sound. This forces you to breathe properly and get the breath started slightly before the sound. Sing the vowel in 1-2-3-2-1 note pattern the same way you did the humming, only don’t force the voice to go any higher than it naturally can, and then come back down the scale. Go to a 1-2-3-4- 3-2-1 pattern, and do it again. Continue this until you have a string of about 10-12 notes being sung up and down the scale. This exercise should take about 10 to 15 minutes.
By now, you will notice that your breathing is becoming “connected” to the vocal chords, and some raspiness caused by mucous has or is being cleared away. The mind and body are coordinating the singing with less conscious effort on your part. Your throat may also start to feel “warm” (get it?).
Watch your breathing
The next step is to exercise the breathing muscles a little more. They are larger muscles and need more stretching. This is done by using a 1-3-5-3-1 pattern, three times in succession, on one breath, using the vowel sound “oh,” then “eh,” then “be.” This is progressively forward in placement, and requires progressively stronger breath support. Again, start with “bwoh” to assure good original placement and go up and down the scale with the pattern, as far as comfortable, one time. Give utmost attention to pitch. Until you become proficient with the exercise, it may help you to vocalize the sounds as “ho,” “heh,” and “hee.” The added “h” forces you to contract the diaphragm if you are not already doing so. This exercise should take about three minutes.
Warmed up yet?
Other exercises can be added if desired. For example, use a very rapid 1-2-1-2-1... pattern up and down the scale for short-interval flexibility. Add some jumps (octave jump, then down the scale, or a 1-3-5-8-5-3-1 pattern) for longinterval flexion. Also good is a medium interval pattern sung in full voice on “oh,” then at the lowest possible volume on “oo.” Spend about ten minutes on these.
Now, cool down
By the time you have finished this series, anywhere from 30 to 40 minutes have gone by, and you need to close the series by “cooling down” the muscles. Do this by repeating the same humming exercises you did to warm up. Notice that less effort is required and the sound quality will be much smoother and less raspy.
You’re through
Now shut up. Yes, that’s right. Shut up for about 10 to 15 minutes to let it all sink in and let the muscles settle. Shutting up means NO talking at all for this time. You can spend the time getting your heart and soul ready to sing. They need to get warmed up, too!
If you have a 30 to 45-minute drive to rehearsals, you can do all this in the car, but it helps to be in proper singing position to do it at its best. Either way, you will find this series of exercises will give you a “high” for singing. You should not be hoarse or tired after three hours on the risers. Believe me, this is not for sissies!
By Mark Hale, via Roger Motzkus in a Coaching Barbershop email (that said), “I learned from Mark Hale who addressed legato singing and talked of when words are produced with what he called “attack and release.” Where the beginning of the words were hammered on the beats (then released) under the guise that it’s keeping rhythm (also stereotypical of “choppy” singing). The smoother delivery of words with proper vowel emphasis allows for the rhythm that is inherent in the music.”
I wish I’d read this a year ago; it took me that long to figure out that our chorus was (and is) doing exactly this: singing the first letter or two of every word heavier than the rest of the letters. It does, in fact, make the song “choppy” and with no ‘lifting’ of sounds at the end of words and phrases, sound problems are compounded.
The last day of competition is set aside for the Collegiate Quartet Contest and the final chance for the ten best quartets of 2007 to achieve the crown of International Quartet Champions. Would MAX Q finally reach the top, or would they be bridesmaids for a fourth time?
Twenty-four collegiate quartets took their shot in the arena, and there were some very excellent presentations. Road Trip captured the trophy, edging out The Crush by a mere 7 points! The Crush, as I mentioned in part deux, finished in the 21st position in the International competition, and were the mike testers for the semi-finals. Watch for this quartet in the future!
When the convention started, MAX Q was considered by most to be the overwhelming favorites, but the week’s competition had also shown OC Times, Glory Days, Storm Front, Flipside, State Line Grocery and the rest of the top 10 weren’t planning on handing MAX Q the trophy without a real fight. Of course neither the audience nor the quartets have any idea where each ranks going into the finals.
Before the competition actually began, the Collegiate Chorus and the newly crowned Collegiate Champs, Road Trip, performed, as did the 2007 Chorus Champion Westminster, reprising their incredible presentation of Strike Up the Band/Everybody Step medley. Believe me, the You- Tube video does not do justice to the routine, and I hope the new DVD’s, when they are released by the Society, give a much greater opportunity to appreciate it.
OC Times was first out of the box, doing two Beach Boys numbers. Flipside, with Rick Spencer singing tenor, followed with Smile and Banjo’s Back In Town. MAX Q sang in the fourth slot. Their parody, called Here’s to the Losers, continued their theme of three consecutive runner-up finishes and mild “tweaking” of the judges and judging in general. Throughout the three rounds, watching the interactions of the foursome was intriguing and immensely entertaining, particularly between Lead Tony DeRosa and Bass Jeff “Mr. Ego” Oxley. Their second number, Somewhere from West Side Story, showed again their incredible singing abilities, with lots of humor mixed in.
State Line Grocery and Glory Days had the misfortune of following MAX Q, but did very, very well. State Line’s One More for the Road was superb, as was Glory Days’ At Last.
Our own RMD quartet, Storm Front, was in the number eight position. They opened with Don’t Fence Me In, and had the crowd in the palms of their hands. Their presentation scores were second only to MAX Q for the night. My next thought was “they did great, and now they will show these folks how well they can sing, too”.
Lin Gogolin can attest to this, and with my apologies to Storm Front (if they ever accidently happen to read this!!), I almost went apoplectic when they came right back with a parody of Bright was the Night; it was hugely entertaining, but musically and singing-wise did not showcase their awesome abilities. I was absolutely certain they had just thrown away an almost-certain chance at a medal.
As with the Chorus tradition, the retiring International Quartet Champion “sings away” their trophy before the medalists are announced. Once again, the magnificent sound of Vocal Spectrum filled the packed arena. Members of the Ambassadors of Harmony and Gas House Gang played a big part in the quartet’s success. As one of their songs, Vocal Spectrum announced Scarborough Fair. On their CD, they are joined by Gas House Gang. Much to the delight, cheers and tears from the crowd, the Gas House Gang, with Mike Slamka of Power Play singing baritone in place of the late Rob Henry, joined the Champs on stage for the song. I got goose bumps and a whole lot of tears just listening to the beautiful song, and to the quartet I had never been lucky enough to see before they retired.
Finally, the announcements everyone had been waiting for – the medalists for 2007:
The Fifth Place Bronze Medalist Quartet: Flipside with a point total of 7704.
The Fourth Place Bronze Medalist Quartet: State Line Grocery with 7713 points
Okay, was my feeling that Storm Front had muffed their medalist chances with the final set correct?
The Third Place Bronze Medalist Quartet: Storm Front with 7724 total points.
I thought Syd was going to squeeze the bass of the presenter quartet in half!
The Second Place Silver Medalist Quartet: OC Times totalling 8053 points.
And, the 2007 International Quartet Champions: MAX Q! with a whopping 8339 points.
Their point total is the second highest in the 14 years of the current judging system. The only higher total was from 2000 Champions PLATINUM; MAX Q baritone Gary Lewis sang tenor and MAX Q lead Tony DeRosa sang bari with PLATINUM! With the win, Tony De and Jeff Oxley join Joe Connelly as the only three-time gold medal quartet winners. Tony De also sang with 1992 Champs Keepsake, and Oxley with Acoustix in 1990 and Rapscallions in 1984. MAX Q tenor Greg Clancy adds the quartet gold to his 11 chorus golds with The Vocal Majority.
It was an incredible week in Denver, saturated with great music and fellowship and “pick-up” quartets and VERY large quartets (can you say 100+!!). Those of us who went, most for the first time, had the experience of a lifetime. The next time International is anywhere close is Minneapolis in 2014. I’d sure love to go!! Thanks, John, for allowing me to share my thoughts, and I hope I haven’t put the readers to sleep!!
~ finir ~
By the time this newsletter is published, the fall District Convention held in Albuquerque, NM this year will have come and gone. Another year of the Shrine of Democracy Chorus not attending, and coincidentally, competing.
I’m not suggesting that we are a “competition” chorus. However, we are a very good performing chorus, as evidenced by our recent requests from around the area to perform. Why not show other barbershoppers how well we perform?
The Board of Directors has decided that there wasn’t enough interest among the chorus members to attend this year. There wouldn’t have been a reasonable representation of what we are capable of doing.
They did, however, say they were making a commitment to go next year. It will be closer – Colorado Springs, CO. Set aside the dates of September 26-28, 2008 so that you will be able to go.
I know that it means time off from work for most of us, even if it is time off from doing the “honey-do” lists to which our wives keep adding. Set aside those days, take the wife and kids, and let’s party together in Colorado!
In working toward being better singers, and thus a better chorus, we have been requested to have more chorus “advances”. (“Retreat” has a negative feel to it – let’s advance in our proficiency.) We will be scheduling four “advances” per year, when possible.
We started with a retreat in Silver City in July. Our next one will be on November 10 between Hill City and Keystone at Jim Gogolin’s Anchorage Inn.
Our next “advance” is scheduled for January 18. We are fortunate to have scheduled Darin Drown, director of the third-place international chorus, Sound of the Rockies. Save the date! Place will be announced later.
Sing-cerely & Humm-bly,
SICK DAYS:
We will no longer accept a doctor’s statement as proof of sickness. If you are able to go to the doctor, you are able to come to chorus rehearsal.
SURGERY:
Operations are now banned. As long as you are a member of this group, you need all your organs. You should not consider removing anything. We accepted you intact. To have something removed constitutes a breach of agreement. If you absolutely insist, you may schedule your surgery on or around the summer season. We typically do fewer performances during that time, and many members are gone until after Labor Day.
BEREAVEMENT LEAVE:
This is no excuse for missing chorus rehearsal. There is nothing you can do for dead friends, relatives or co-workers. Every effort should be made to have nonbarbershoppers attend to the arrangements. In rare cases, where a singer must be involved, the funeral should be scheduled so as not to conflict with rehearsal or performance dates. In this way you may continue to sing on the front row without being moved to a less conspicuous spot on the risers.
YOUR OWN DEATH:
This will be accepted as an excuse. However, we require at least a four week notice, as it is your duty to train your replacement. I’m sure everyone will see the fairness of these rules. Thank you for being a member of the Shrine of Democracy Chorus.
The Mt. Rushmore Chapter and the Shrine of Democracy Chorus shall promote, encourage and perpetuate barbershop-style singing in both chorus and quartets. We will recruit and welcome interested and motivated men who like to sing four-part a cappella harmony. We shall continually strive to improve our singing and performance skills, through the use of proper resources and opportunities. An attitude of fun, fellowship and teamwork will always guide our activities.