from the corner office - long island harmonizers nassau … · · 2015-02-28of a military theme...

C all it heading down the

home stretch. Refer to it as a final push. However you care to express it, we know you are currently feeling shared excitement building in a myriad of ways. We are swept up in a flurry of pleasures as we think about choreographed moves, take the scheduling of additional rehearsals in stride, look forward to extra coaching help, while exhibiting a fierce determination to make this, our 65th Annual Show, a resounding success.

“The flea that doubts doesn't jump nearly as high,” writer Marty Rubin is quoted as saying. The Long Island Harmonizers chorus and quartets have no such reservations that could impede their upcoming performances. Every member of our Nassau Mid‐Island Chapter knows with absolute certainty that, following our preparedness, our audiences will be comfortably in their seats at 8:07 pm on April 25 and 3:07 pm a day later, listening to introductory remarks by emcee Nancy Massaro, and ready for pure barbershop as well as pure fun. “Always remember to take your vitamins,” was the solid suggestion by a second writer identified on the web as Pablo. “Take your Vitamin A for Action,” Pablo urged, “Vitamin B for Belief, Vitamin C for Con‐fidence ,Vitamin D for Discipline, and Vitamin E for Enthusiasm!!” Count on us having all of that, plus the healthy desire to showcase improvements that have marked our singing strides since 2014. Bring it on! We’ll be ready.

BH

S t. Patrick's Day was first celebrated in America in 1737,

organized by the Charitable Irish Society of Boston, including a feast and religious service. This first celebration of the holiday in the colonies was largely to honor and celebrate the Irish culture that so many colonists had been separated from.

Early celebrations continued this modest tradition. In New York, the first celebration took place as a small gathering at the home of an Irish protestant. St. Patrick's Day parades started in New York in 1762 by a group of Irish soldiers in the British military who marched down Broadway. This began the tradition of a military theme in the parade, as they often feature marching military units. The holiday eventually evolved from the modest religious dinner into the raucous holiday we know today.

The President’s Corner P.2 Keep It Simple, Stupid P.3 How Soon is SOON? P.4

Testing Your Street Smarts P.5 Rupert Hall P.6

My Wild Irish Rose P.7 The Undisputed Master P.9

Parting Shots P.10 The 65th Annual Show Flyer P.11

The History of St. Patrick's Day & Why it's Celebrated

Toosday Toons ‐ ‐ March, 2015

A publication of the Nassau Mid‐Island Chapter of the Barbershop Harmony Society, a nonprofit, charitable and educational society.

Chapter meetings are held at 7:30 PM on Tuesdays at Winthrop Hall, Church of the Advent, 555 Advent Street, Westbury, New York.

All articles not accompanied by a byline have been written by the editors and do not necessarily reflect the opinion of the members nor of the officers of the Nassau Mid‐Island Chapter. Opposing points of view are welcomed and encouraged.

All editorial submissions must be received no later than the 21st of every month prior to the upcoming issue in order to be considered for publication.

Editor

Bob Heim [email protected]

Assistant Editor Bill Ruth

[email protected]

Additional Contributing Team George Seelinger Maurice Debar Eva Milauskas Bill Vesely

Design & Wiz‐bang Dan Gilmartin,

Chapter Webmaster

Chapter Census (December, 2014)

Life ‐ 1 Regular‐ 27

Senior (SL) ‐18 Senior (SN) ‐ 9

Total ‐ 55

www.LongIslandHarmonizers.org

We are a 501(C)(3)

Not‐For‐Profit Organization

First, The Good News

T he weather people say that this has been the coldest February in twenty years, but cheer up! Valentines Day has come and

gone and no matter what it feels like now, Spring is almost here! Baseball! Golf! The beach! The Spring Show! That's the good news!

Unfortunately, there's also some bad news. At our most recent Board meeting, we reviewed our financial posi‐tion and approved the budg‐et for this year. We lost money last year and are pro‐jected to lose even more in 2015. It would be irresponsi‐ble for us to allow this trend to continue for long and unless we re‐verse it, we'll be broke in just a few years. We have no intention of letting this happen, but we need your help. Either we produce more revenue by selling more show tickets and journal ads and finding more singout opportunities, or we'll have to change the way we op‐erate.

No other chapter in our area provides so many benefits to its mem‐bers without charging them. Except for a nominal fee for the sum‐mer golf shirts, we do not charge members for uniforms. We pro‐vide them with free sheet music and learning tracks and pay for their attendance at Division and District conventions if we compete, and even pay some of their lodging and meal expenses at these events. We pay for their participation in Leadership Academy. All of these policies are subject to review if we can't improve the balance sheet to at least the break even point. Another savings could be elimination of one or both of our dinner dances or increasing what members are required to pay for attendance.

I don't like any of these cutbacks. Our social activities and tradi‐tions are a big part of what makes our chapter so special.

The venue for this year's show is a beautiful auditorium and I'm real‐ly looking forward to singing there! However, the seating capacity is significantly smaller than our past venues. With just a little more effort we should be able to fill the place, and wouldn't it be great to sing for a packed house? Let's do it.

Toosday Toons

From the Corner Office George Seelinger, Chapter President


I get confused easily. . . ask my wife! I try to simplify arrangements so as not to tax my easily

confused brain. Unfortunately, the more you experience barbershop singing , the more complicated it gets. You can't just sing the song; there is more to it than just the notes and words. Singing in the shower for your own amusement is one thing but performing for an audience is quite another. Singing alone in one part is a simple trick but harmonizing with three other guys takes skill. In the shower your only commitment is to the soap. Performing requires a commitment to the song . . . musically, physically, mentally and facially.

What are some of the musical complications? The basic one is steadfastness to the keynote or key. This is the order set up by the position of notes in the scale which determine their proper tuning. People with perfect pitch should have no trouble with this. Or do they? In barbershop the tuning of a note can vary with its position in each successive chord. Do you tune horizontally to the scale or vertically to the chord? We are told to sing thirds high and sevenths low and least in the chords. How do you accomplish this? Singers who are left brain dominate sit on the edge of their chair chaffing at the bit to calculate exactly how to do this. Right brainers dismiss all that falderal. They relax and sing naturally. They simply make the note fit. Since barbershop is a ear based system, they will probably accomplish the task easier! Sing the note at the pitch that sounds correct. Fifths have a place where they intuitively lock; thirds naturally sparkle when sung just right on the high side.

Singing in tune in the barbershop style is singing in tune with nature. It is the harmony of the universe that you studied in High School physics. It is demonstrated by examining the vibration of a violin string. It not only vibrates at its full length in one full sweep back and forth, it also vibrates in parts, i.e. in equal half's and in thirds etc. Perfect intervals are those whose ratios of vibration are expressed in small whole numbers. Did I just write that? Keep it simple stupid! In other words, if you were to move

the bridge of that violin to the exact middle of the finger board, it would produce a note an octave above the original pitch as a result of vibrating at exactly twice the frequency of the vibration of the full length of the string. You don't have to move the bridge for this to occur! It happens automatically when you bow the string. It vibrates as a whole, in half's, in thirds etc. simultaneously. These other inner vibrations create real audible notes. However they are much softer than the primary note or fundamental. They are called overtones and give each instrument or voice its individual character or timbre. Since the note vibrating is the result of the string dividing itself in half, it vibrates at twice the frequency; its ratio is 1:2. The note produced by vibrating in thirds produces a ratio of 2:3 (a fifth). The intervals of the octave (1:2), the fifth (2:3) and the fourth (3:4) are in a ration of small whole numbers which Pythagoras christened as "perfect."

Einstein was a physicist but he had to prove his Theory Of Relativity with math. Singing is musical math. The math must be perfect for the ringing tones of barbershop. If we have two people singing at 100 vps, their notes will add up to 200 vbs to produce an octave. However, 99 and 100 add up to no discernable note. (Actually it creates a vibrato effect. ) For you right brainers who can't make heads or tails of this discussion . . . simply read . . .sing perfectly in tune!


Get Well Wishes: Bess Bell, Dave D’Antonio,

Dan Gilmartin, Marilyn Goodman, Gene & Dorothy Kammerer, Jane Marrin, Mary McCoy,

Sally O’Connor, Joan Rampolla, Bob Roth, Bill Schlageter,

Steve Stojowski, Jack & Susan Szaluta, Joel Trent, Diane Vesely

"Take a music bath once or twice a week for a few seasons, and you will find that it is to

the soul what the water bath is to the body."

‐ Oliver Wendell Holmes (1809 ‐ 1894)

How Soon is Soon?

I t’s coming up next month.

The date that has so much

significance for barbershoppers.

April 11th. What will be 77 years

after those four‐part harmony

aficionados found themselves

answering the invitation to sing

on a roof garden terrace of a

Tulsa hotel.

What happens when YOU hear the date? What emotion stirs deep

within you? Pride? Not surprising. You share it with those who

realize they’re a part of the largest organization of its kind. Not only

reflecting strength in numbers but a strong sense of commitment to

its future.

Right now our brother Chapters are making arrangements for special

events; citations from local community officials and so on.

Meanwhile, it is appropriate, early on, to engage in some personal

contemplation. Time to spend a moment or two in advance of the

11th to give thanks for the give‐

backs that singing barbershop

provide. Fine educators,

innovative approaches, healthful

benefits, and the exhilaration of

“Keeping the Whole World

Singing.”

In the big picture, being "a part"

has produced togetherness to an

astounding degree. We should

indeed be thankful that barber‐

shopping plays such a major

role in our lives.

Celebrations in March Birthdays:

Mary Colonna (3), Patricia Laughlin (8), Charles Muscanera

(12), Joel Fairman (12), Wayne Lazar (14), Patricia Seelinger (17),

Maurice Debar (22), Bob Roth (28), Lois Verity (29)

Anniversary:

Karl and Lynda Boersma (17)


Irish humor...a few examples:

T he Irish attempt at scaling Mount Everest was a valiant effort, but it failed: They ran out of

scaffolding. The walls in my flat, says Murphy, are so thin, that every time I ask my wife a question, I get three different answers. ‘I was going to give him a nasty look but he already had one!’ Irish dog sitting in front of the fire chewing on a bone. When he stood up his leg fell off… How would you recognize an Irish pirate? He’s the one with patches over both eyes. Paddy, says Mary, if you were stranded on a desert island who would you like most to be with you? My uncle Mick replies Paddy…What’s so special about him asks Mary? He’s got a boat says Paddy.

A Lovely Irish Toast:

Always remember to forget The troubles that passed away But never forget to remember

The blessings that come each day Amen

Answers on Page 10

STREET “SEENS” - A QUIZ

WHO/WHAT ARE ASSOCIATED

WITH THESE PLACES?

2011 East Sandusky Ave., Bellefontaine, OH The historical marker here draws attention to four brothers who recorded well over 1,200 songs. Their illustrious dad was the proprietor of a bar‐bershop, in a nearby town. 110 7th Avenue North A 30 ft. X 26 ft. reproduction of this man’s art graces one wall of this “Music City” building. 34‐56 107th Street, Corona, Queens A barbershopper in his youth, the house at this address, now a fascinating museum located here, contains memorabilia centering on the life and times of this jazz great known as much for his gravelly voice as his horn. 40 Lafayette Place, Kenilworth, NJ The legacies of this man were shifted to this loca‐tion in a move from Union, NJ. Its roof did not have much of a pitch but the product, familiar to every barbershopper, assuredly did. 1600 Vine Street, 1637 Vine Street and 6538 Hollywood Boulevard This mega‐entertainer who’s voice was a part of a barbershop four in his youth, and as a budding singer on Ted Mack’s Amateur Hour, rates three stars (one for recording, another for television and a third for motion pictures) on Hollywood’s Walk of Fame. 1001 Fifth Avenue, Pittsburgh, PA The location of the Consol Energy Center, it plays host this year to Barry Manilow’s One Last Time Tour, Neil Diamond’s World Tour, and most im‐portantly, this.

1

2

3

4

5

6


“Water‐Ways” and “Plane” Truths

BARBERSHOP STYLE Ever know a barbershopper reluctant to sing at the drop of a boater? Anywhere? Anytime? I thought not. Lobbies, and elevators. Packed in a small space or with plenty of room. Give ‘em an audience, all the better. Take these foursomes. The examples of their singing enthusiasm are found during a cruise, in an airport terminal not too long ago, and in a serenade to passengers traveling on a commercial jet. Try and hold a barbershopper back? It’ll never happen. First, take a listen to the a capella group Mosaic, (winners of MTV’s Top Pop Group) singing on Royal Caribbean’s Liberty of the Seas back in 2009. It’s at: http://youtu.be/wvPU1‐aSOBA We also invite you to check out these barbershopers breaking out in song, more recently, in an airport terminal. You’ll find it at: http://youtu.be/Iyd_iexrTYQ Then there’s these four whose rendition of Under the Boardwalk was happily received by a planeload US Airways travelers aboard a delayed flight. It’s at: http://youtu.be/GQNs_HA32Js

From That Other Founder‐

Rupert Hall

W hen Rupert Hall talked

about the men he had

known, the men who did so

much to further barbershop

harmony, one instantly realizes

that it is impossible to take them

one by one, do a sketch on them and then put

them aside and go on to the next man. By the very

nature of the organization, they pop up again and

again, like characters in a novel viewed through

many lenses until finally they are understood, for

their strengths and their weaknesses. In talking to

Rupert Hall, it was suggested that perhaps his

memory, stretching back over the years, had

deliberately glossed over certain irritating traits in

the personalities of the people he knew, for he

spoke of them with a definite 'sweetness of mind'.

His reply is not only profound, but interesting and

ringing true.

"About this 'great sweetness', let me say that very

few of us ever had an opportunity to view the bad

side of a man's character, if such a side existed at

all. We sang together, laughed together, and

seldom did we know of his business life, or his

personal affairs. We only knew him as a good

harmony singer. Of course it made a difference if a

man drank too much, but we could excuse this

weakness if he loved harmony. I know some

chapters had strong and sometimes bitter

differences among members, but I never was

involved, so now, if I talk kindly about a man, it is

because I never saw his bad side, if he had one.

This to me is the strange attraction of our

fellowship, our ability to get along with one

another."


I nterpretation of a song is really a very

tricky business. Most people don't understand it fully. (Not that I know it all) To me interpretation is the transfer of emotions imbedded in the lyrics and harmonies of a song through the singer, to the listener. Music is such wonderful thing that it allows for both a participant and spectator to become part of the song. I have often heard it said by directors, let’s concentrate on the words and notes, we will put the interp in later. What they are really saying is, once we learn the words and notes we will be able to apply interpretive devices such as louds, softs. crescendos, pauses and other means to create emotions that we as a singer want to transfer to our audiences. What I suggest you do, is read through the music you plan to sing. Determine in your own mind what the message of the song is. Of course your determination may be a bit different than others but what you need to do is come to agreement with your other singers! Decide, what message do we want to convey to our audience? It is very important that you all are interpreting the song with the same basic fervor or thought process. That way your audience will understand the message of the music just as you are telling it. So many times individual members of quartets send different messages across the footlights. This will cause the audience to become confused. Think about it, if you all are singing the same word or phrase and your bass is frowning, your bari is neutral and the lead is smiling and the tenor is off in la la land somewhere, (all are thinking of different things) what kind of a message is being

sent! (Extreme example but hopefully you get the point.) I have heard quartet members say to judges, gee, we sang the song just like the blah blah champion quartet did, why did we get such a poor interp score? This is the very thing that

interpretation is not!!!! It is not just phrasing and louds and softs. Interpretation is something that is the total responsibility of the singer(s) and at the same time the privilege of the singer(s) to create emotions as they are performing and feeling them. It can't be a copy or a facade and be effective. Do you think that Barbara Striesand allows any one else to tell her how to sell a song? She may allow someone to suggest the use of some interpretative device, but she sells the song with her own inner feelings. It's the same with a quartet or chorus. The singer(s) must transfer an emotional message that can be understood by the audience for everyone to get full benefit of the music. Why do you think people come to listen to your quartet? It is because your music makes them feel good! Many times I have been at men's and women's contests in the audience and when a soft passage is being sung by a quartet a big lump forms in my throat. Why? Because the quartet has created emotions from the heart and sent them across the footlights allowing me as a spectator to become involved in the music the same as they are. Wow! That is some powerful stuff. This will work and be effective for both quartets and choruses. It’s why people listen to your music.

Why People Listen To Your Music

From: Down Our Way, February, 2015 Issue, Lake Lanier, GA Chapter—BHS, Jack Martin, Editor/Publisher

By Jack Martin


B y the end of the 19th century, though the Irish (especially the Irish Catholics) were

still facing resentment and obstacles to

integration into our society, there was much

more acceptance and the country (America) was

recognizing the contribution of the Irish.

In Lockport New York, a young man

of Irish extraction named

Chancellor John Olcott began

writing music about the Irish and

Ireland that would come to define

much of what we recognize today as

Irish music. That young man

revered his Irish heritage and

created an Irish persona, Chauncey Olcott

whose music took the world by storm for the

first two decades of the 20th century.

Olcott collaborated in composing many Irish

ballads, but My Wild Irish Rose was his own

composition. His widow, Margaret O'Donovan

Olcott, told the story, after his death, of how My

Wild Irish Rose was composed. In 1898 they were

visiting Ireland and while they were walking at

Glengaris, County Cork, a young boy gave her a

flower. She asked the name of it and he replied,

"Sure, it's a wild Irish Rose." She put the rose in

an album and later when he asked her for

suggestions for a title for a tune to be included

in the score of A Romance In Athlone, she

opened the album, pointed to the flower and

said, "There's the title for your new song."

Other Irish ballads that Chauncey Olcott made

famous were Mother Machree, A Little Bit of

Heaven, Sure They Call It Ireland, and When Irish

Eyes Are Smiling. In many respects, Olcott could

fairly be called the father of the Irish ballad in

America.

They WROTE ‘EM IN THE GOOD OLD

DAYS

The Song:

My Wild Irish Rose


All editorial submissions must be received no later than the 21st of every month prior to the upcoming issue in order to be considered for publication. - The Editor.

Do you have the “write” stuff?

R ecords may be made to be broken. But the one credited to the late Jerry Orloff, is

certainly quite a feat, indeed — one that leaves any barbershopper who strives hard to snag new members for his Chapter, and thus add to his “Man of Note” total, in absolute awe. Jerry, who left us at age 82 for heaven’s chorus, was responsible for attracting more than 200 singers as new members for the Society. He became the proud recipient of more “Man of Note” pins than anyone else. Truly a masterful record‐holder in that department. No one knows how many residents of Aptos, an unincorporated area of Santa Cruz county in California consisting of several small communities were asked “Do you like to sing?” by Jerry. He asked men in grocery stores, gyms, doctor’s offices, the post office and anywhere/everywhere else, observed a local story in the Capitola Soquel Times. Assuredly, Orloff’s zeal about barbershopping came largely into play in looking for new men to qualify. Aside from a great many appearances in the U.S., Jerry, a member of the Santa Cruz Chapter of the BHS (the Gold Standard Chorus), literally traveled the world showing his joy for four‐part harmony in his appearances in England, Sweden, Wales and Russia, and as far away Australia and New Zealand. Orloff was a member of Metafour Quartet (a coed mixed foursome that included his wife, Kim). In 2001, Jerry and Kim created the quartet Hao Yun Qui, with Brian and Holly Beck, of

Dallas, TX, and from 2001‐2003, the quartet made several trips to the Far East, teaching at universities and senior organizations in Northern China. The group taught standard American songs in English as well as several

native Chinese folk songs that they had arranged in barbershop style and learned in the original Mandarin. Jerry was inducted into the International Barbershop Society’s Hall of Fame in 2011. Orloff’s career included being a play‐by‐play announcer for a time for the Saint Paul Saints when he lived in Minnesota, but he is not

alone with barbershop and baseball connections. The late Bobby Bragan, a barbershop tenor, was once manager of the Pittsburgh Pirates baseball team, and Vincent Edward “Vin” Scully, voice of the Los Angeles Dodgers, was once a barbershopper as well. Research shows there was even a barbershop foursome made up of ballplayers called O For Four. One thing for sure, Jerry Orloff “knocked it out of the park” when it came to recruiting new members, an accomplishment that continues to produce admiration from all of us.

End Notes

In Pinning Down Interest In

Barbershopping, Jerry Orloff

Was The Undisputed Master

All editorial submissions must be received no later than the 21st of every month prior to the upcoming issue in order to be considered for publication. - The Editor.

Do you have the “write” stuff?

Kim Orloff, wife of the late Jerry Orloff, placed a 13‐diamond encrusted Man of Note pin on the barbershop record‐holder and widely revered member of the Society.


All In A Chord Bill Ruth, Tenor

Steve Brausa, Lead

Bernie Genzer, Bass

George Seelinger, Baritone

Contact: [email protected]

Cloud 9 Jon Ayers, Tenor

Vinnie Colonna, Lead

John Brolly, Bass

Wayne Lazar, Baritone


Just Duckie Harold Verity, Tenor

Steve Brausa, Lead

Maurice Debar, Bass

George Seelinger , Baritone


Long Island Express Bill Ruth, Tenor

Gene Kammerer, Lead

Joe Massaro, Bass

Bob Roth, Baritone


No Treble At All Bernie Genzer, Tenor

Bill Vesely, Lead

Ken Wunsch, Bass

Wayne Lazar, Baritone


Quatrain Bob Kelly, Tenor

Steve Marrin, Lead

Al Fennell, Bass

Paul Santino, Baritone

Contact: Smarrin1aol.com

Chapter Quartets

AND Then There Is This: John and Kathy Brolly’s New Grandson

ADAM PATRICK WESSINGER Son of Adam and Kerry Wessinger

(their daughter) Born: 10 am, January 23, 2015

Weight: 8 lbs. 0 oz. Length: 21 inches

CONGRATULATIONS TO ALL! (How appropriate that “singer”

is part of his last name.)

Answers to “Street Seens” on page 7

WHLI AM radio morning host Paul Richards (at right

in photo) interviewed NMI members Hal Verity ‐ ten‐

or; Steve Marrin ‐ lead; Maurice Debar ‐ bass; and

George Seelinger ‐ baritone about our annual “Singing

Valentines” program, urging Long Island listeners to

book.

(At right) News 12 Long Island’s television

audience learned about this year’s “Singing

Valentines” program and heard Jon Ayers,

Wayne Lazar and other members in song,

following the TV channel’s filming prior to

quartet delivery dates.

Valentines wishes in four‐part harmony included those offered to nuns gathered at Sacred Heart

Academy in Hempstead, and a quartet appearance for Sonia Gray, shown with her husband, Tom,

who made the arrangements.

1. The Mills Brothers.

2. Norman Rockwell ‐ BHS Head‐

quarters.

3. Louis (Satchmo) Armstrong.

4. William Jacob Kratt Sr.

5. Frank Sinatra.

6. The 2015 BHS International

Convention.

Toosday Toons ‐ ‐ March, 2015 WE LOOK FORWARD IN CELEBRATING THE YEARS, THE FUN

from the corner office - long island harmonizers nassau … · · 2015-02-28of a military theme...

Documents