member handbook - womens chorus, ann arbor &...
TRANSCRIPT
Member Handbook
August 2011/Revised July 2012; September 10, 2013; March 12, 2014
Dear New Voices in Harmony Member,
Welcome to an exciting, new adventure… and
congratulations for choosing something special just for
you! You deserve it!
The benefits of your membership will exceed far
beyond anything you can imagine today. While it is the
love of singing that attracted you to our fine chorus, it is
the relationships you will gain, the experiences you will
share and the joy of learning and performing that will
keep you fulfilled and coming back week after week,
year after year.
As a team, we share friendship, personal growth, and
harmony, as well as strong music education. We work
hard and we play hard…all in joy. We think of Tuesday
night rehearsal as the highlight of the week, a time to
make music, magic, and memories together.
Thank you for sharing your dreams and making the
Voices in Harmony Chorus a part of your life. We truly
believe we have an exciting future, and we’re thrilled
that you have chosen to be a part of it.
In Harmony and Love,
The Voices in Harmony Chorus
Sweet Adelines International www.sweetadelineintl.org
Welcome
Table of Contents Page 1
Section 1: VIH Chorus Overview Page 2
Our History, Mission Statement, Core Values and Strategic Goals Page 2
Chorus Structure and Leadership: Administrative, Musical, Teams, Committees Page 2
People in Our Chapter: Meet Our Directors Page 3
Our Music and Administrative Leaders: Music, Management, Visual Team Page 4
Contact Information: Addresses, Telephone, Websites, Email Addresses Page 5
Section 2: SAI International History, Structure and Resources Page 6
Sweet Adelines International History Page 6
Sweet Adeline Vision Statement and Slogan Page 6
Structure Page 6
Sweet Adelines International Website Overview and Content Page 6
Annual Convention and Webcast Page 7
Online Sales Page 7
Pitch Pipe Publication Page 7
Educational Resources Page 7
Yahoo Email Groups and Social Media Page 7
Membership Options Page 7
Other Member Benefits Page 7
Section 3: SAI Great Lakes Region 17 Regional Structure and Resources Page 8
SAI Great Lakes Region 17 Overview Page 8
Great Lakes Region 17 Mission Statement Page 8
Structure Page 8
Region 17 Website Overview and Content Page 8
Annual Regional Competition Page 8
The Beacon Page 8
Music Schools and Educational Resources Page 8
Yahoo Email Group Page 8
Section 4: Chorus Life Page 9
Buddy Program Page 9
Finances Page 9
Dues and Other Expenses, Costumes and Make Up Page 9
Kathy Vanderweele Memorial Fund; Fundraising, Support Your Chorus Page 9
General Norms and Expectations Page 9
Communication Page 10
Email, Website, Business Meetings Page 10
Music and Music Learning Page 10
Availability and Care of Music; Timeframe for Learning, Learning Tracks Page 10
Music Learning Method, Taping for Quality Page 10
Section 5: Rehearsal Specifics Page 11
Rehearsal Schedule Page 11
Rehearsal Agenda Page 11
Punctuality Page 11
Attendance and Notification Page 11
Riser Behavior Page 11
Supplies Page 11
Section 6: Calendar, Events and Activities Page 12
Regional Contest Page 12
Annual Show Page 12
Education Program Page 12
Ensembles Page 13
Retreat Page 13
Coaching Page 13
PVIs (Partner Vocal Instruction) Page 13
Performances Page 13
Guest Nights Page 13
Social Activities Page 13
Summer Activities Page 13
Section 7: Additional Member Resources Page 14
Voices in Harmony Website Tour Page 15 – 17
The Magic of Singing Barbershop Harmony; Parts of the Chord Page 18
Elements of a Quality Performance; Your Role as Singer; How to Go to Contest Page 19
Standing Rules Page 20 - 26
Effective Strategies for Learning Music Page 27 – 28
Contest Taping Program Page 29
Costume Policy Page 30
Costume Expenses for Chorus Members Page 31
Glossary of Common Terms Page 32
Voices in Harmony Member Talents and Skills Profile Page 33
New Member Re-Recruitment Survey Page 34
Chorus Calendar
Chorus Roster
1
Section 1:
VIH Chorus Overview
Our History Voices in Harmony has a fascinating history dating back to 1978 when the chorus chartered with
Sweet Adelines International as the Ann Arbor Chapter. The chorus grew in membership quickly,
winning the Region 17 annual competition in 1982 and 1984, representing Region 17 in international
competition in Detroit in 1983 and Kansas City in 1985. The chorus split into two choruses in 1992 (Ann
Arbor and prospective Riverside Union) but reunited in 1993 as the County Connection Chorus under
the director of Kathy VanderWeele, who served as director until her death in 2004. The chorus was
known as the County Connection Chorus until 2008 when the membership voted to change the
chorus name to Voices in Harmony.
Our Mission Statement
“Quality a Cappella Harmony, Fun and Friendship for Women”
Our Core Values Commitment, Competence, Continuous Improvement, Friendship, Fun, Inclusion, Quality
Our Strategic Goals 1. Music and Performance Quality
2. Member Engagement & Cultural Health
3. Financial Health
4. Community Involvement and Visibility
Chorus Structure and Leadership Administrative Leadership:
Voices in Harmony is managed administratively by a Management Team elected by the membership
every spring. Team members include a team coordinator, communications coordinator, the musical
director, membership coordinator, treasurer, fundraising coordinator, social activities coordinator,
costume coordinator, music librarian and members at large. The team conducts a strategic
planning session every year in May/June. Decisions are made using a consensus model. Meetings
are held on the second Tuesday of each month prior to rehearsal and are open to members with
prior notification. The chorus also has a chorus performance manager who handles details
pertaining to public and private performances.
Musical Leadership: Voices in Harmony’s Music Team is comprised of the Musical Director, Assistant Directors, Section
Leaders, Vocal Production Specialist, Visual Team Leader and the director’s Administrative Specialist.
Ad hoc members include the music librarian, the make-up coordinator and the costume
coordinator. The role of the VIH Music Team is to plan for and carry out the long range plan for
musical improvement as well as to plan for and carry out weekly rehearsals. The Team meets
monthly on the fourth Tuesday of the month prior to rehearsal. The VIH Visual Team is comprised of
the Visual Team Leader and four assistants.
Chorus Teams and Committees Voices in Harmony has a well-established foundation of teams which carry out various components
of chorus business and operations. In additional to the Music, Visual and Management Teams,
important administrative teams include Membership, Costume and Make Up, Annual Show and
Fundraising. All members are welcome to learn about and join any administrative team. 2
Section 1:
VIH Chorus Overview
People in our Chapter
Meet Our Director, Lynne Peirce
Lynne Peirce became the musical director of the Voices in Harmony
Chorus in January 2005. A Sweet Adeline since 1985 and front line
director since 1999, Lynne brings an array of experience and an
abundance of enthusiasm to her role.
A certified musical director in both the Sweet Adelines (2005) and
men’s Barbershop Harmony Society (2002) Lynne is an active quartet
performer and competitor, coach, emcee, script writer and music
arranger. Lynne has served the local Sweet Adeline regions as Vice-
Regent, Chapter Coordinator, Administrative Education Coordinator
and DCP Coordinator. She founded and directed the Region 2
Mother-Daughter Chorus and is on the Region 2 faculty as a chorus
director instructor. She serves Region 17 as Director Coordinator,
director of the Young Women in Harmony Chorus and script writer for
the Encore Club, the Region 17 former quartet champions.
Lynne is married to her best friend Tom. She retired in 2012 after 43
years at the University of Michigan Hospitals in the field of
organizational development and staff and leadership education.
Meet Our Assistant Directors, Jennifer Jones, Mary Su and Sue Townsend
Jennifer Jones has been a member of Sweet Adelines and Voices in Harmony since 1996.
She achieved her director certification in 2005 and sings baritone with the chorus. Jennifer
serves as baritone section leader and handles chorus publicity and marketing, as well as
serving on the show committee and chorus management team. She has sung in school
choirs, select ensembles, college groups and church choirs and is happy to have
discovered Voices in Harmony. She works at the University of Michigan Health System in
Obstetrics & Gynecology.
Mary Su has been a member of Sweet Adelines and Voices in Harmony since 2001. She
sings tenor in the chorus and serves as the chorus Historian. She has sung in a variety of a
capella groups, including a mixed 8 part chorus that focused on the Big Band music of the
forties and a college madrigal chorus. She loves the rich, exciting sounds of close
harmony! Mary is a full-time mom, living in Dexter with her husband Bill, and two children,
Gregory and Theresa.
3
Sue Townsend joined Sweet Adelines in 1978 and has served in many capacities over the
years including assistant director, choreographer and section leader. Sue sang lead for
many years and in 2010 switched to bass. She has been a member of four different
Sweet Adelines choruses and earns the award each week for farthest distance traveled
to rehearsals. Sue has a minor in music and was musical director and choreographer for
the Parma Elementary Drama Club for 9 years. Sue is a retired developmental
kindergarten teacher for Parma Schools and lives in Parma with husband Steve.
Section 1:
VIH Chorus Overview
Our Music and Administrative Leaders
VIH Music Team
Musical Director: Lynne Peirce
Assistant Directors: Jennifer Jones, Mary Su, Sue Townsend
Administrative Specialist: Brenda Bernhardsson
Vocal Production Specialist: Sara Clevenger
Lead Section Leaders: Jennifer Jones, Terry Mull, Kay Stone, Becky Sukach
Bass Section Leaders: Theresa Briggs, Ginny Cole
Baritone Section Leaders: Brenda Bernhardsson
Tenor Section Leaders: Nancy Kingsbury, Mary Su
Visual Team: Kathy Sanderson, Brittni Woods, Mary Pat Conen, Joelle Emerson
Music Librarian: Mary Su
Ad Hoc Members: Barbara Williams, Make Up; Stephanie Janowski, Costumes;
Chorus Performance Manager: Jennifer Jones
VIH Management Team 2013-2014
Team Coordinator: Jennifer Jones
Communications Coordinator: Brenda Bernhardsson
Musical Director: Lynne Peirce
Treasurer: Theresa Briggs
Fundraising Coordinator: Mari-jane Trombly
Membership Coordinator: Jill Burton
Social Activities Coordinator: Barbara Williams
Costume Coordinator: Stephanie Janowski
Members at Large: Sandy Clark, Ginny Cole, Lisa Garnes, Eileen Gimson, Susan
Jones, Sue Kren, Corky Peck
VIH Visual Team
Team Leader: Kathy Sanderson
Members: Mary Pat Conen, Joelle Emerson, Brittni Woods. Ad Hoc:
Jennifer Jones, Terry Mull, Lynne Peirce, Sue Townsend,
Membership Roster
Our current chorus roster is in the Member Login area on the Voices in Harmony website at ths
location: This is a Google Doc document and you can edit your own information. Please check it
periodically to make sure it’s current and print a copy for your own records.
4
. Section 1:
VIH Chorus Overview
Contact Information
Address and Telephone Contact Information:
VIH Rehearsal Address:
UAW Hall Local 898, 8975 Textile Road, Ypsilanti, MI 48197
734 482-8320
VIH Mailing Address:
P.O. Box 970597, Ypsilanti, MI 48197
VIH Voice Mail:
734-612-7580
Sweet Adelines International Headquarters:
P.O. Box 470168, Tulsa OK 74147-0168
1-800-992-SING (7464)
Sweet Adelines International Sales:
1-877-545-5441
Websites:
Voices in Harmony Website: www.voicesinharmonychorus.org
Sweet Adelines International Website: www.sweetadelineintl.org
SAI Great Lakes Region 17 Website: www.region17online.com
Barbershop Harmony Society Website: www.barbershop.org
Pioneer District BHS Website: www.pioneerdistrict.org
SAI Border Lakes Region 2 Website: www.sweetadelinesregion2.org
Email Addresses:
Absent Email Address: [email protected]
Director Lynne Peirce: [email protected]
VIH Business Email Address: [email protected] (Note: use is limited to
VIH leadership for priority chorus-only business)
VIH Play Email Address: [email protected] (can be used by any chorus
member for communications of general interest to our members but not official “business”)
Lead Section Members: [email protected]
Bass Section Members: [email protected]
Baritone Section Members: [email protected]
Tenor Section Members: [email protected]
Email addresses for section leaders and all members are included on the member roster
located on the VIH website in the Member Login section.
5
Section 2: SAI International History, Structure and Resources
Sweet Adelines International History
Sweet Adelines was founded by Edna Mae Anderson of Tulsa, Oklahoma in 1945. Original
members were wives of men who were members of the men’s barbershop society, at that time
called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in
America (SPEBSQSA). The organization’s original mission was to “teach and train its members in
musical harmony and appreciation” and the mission has changed very little to this day. Within
four years the organization had grown to 1,500 members in 35 chapters and 60 quartets in 14
states. A system of governance and means of adjudication was created. The first contest was
held in Tulsa in 1947 for quartets only. Chorus contests started in 1973. Today the organization is
international, with over 25,000 members in countries across the globe.
Sweet Adeline Vision Statement and Slogan
“Sweet Adelines International is a worldwide organization of women singers committed to
advancing the musical art form of barbershop harmony through education and performances.”
Our slogan is “Real Women… Real Harmony… Real Fun”
Structure
Sweet Adelines International is run by an International Board of Directors which is elected by the
membership and functions as the governing and decision-making body of the organization.
The International committees include the SAI Executive Committee (comprised of the president,
immediate past president, president elect, treasurer and secretary) as well as the Education
Committee, Director Education Committee, Judge Specialists, Nominating Committee, Bylaws
and Rules, Editorial Review Board, Membership Committee, Regional Leadership Committee,
Published Music/Sales/Marketing Committee, International Faculty Coordinators and Young
Singers Foundation Committee. Sweet Adelines trains and certifies both judges and arrangers.
Sweet Adelines is divided into geographic regions, each governed by a Regional Management
Team of elected and appointed coordinators for the purpose of providing de-centralized
education as well as running annual chorus, quartet and Rising Star competitions.
Sweet Adelines International Website – Overview and Content
The SAI website is a wealth of information and resources. It has both public and member-
protected sections which provide information on Membership, Education, Competition, Events
and publications such as the Pitch Pipe. Information on the administrative structure of SAI is
available, as well as a Media Center and Press Room, where you can view picture of Sweet
Adeline quartet champions dating back to 1947 and chorus champions dating back to 1973.
The Members Only section requires a log-in: your username is your last name and first initial, and
your password is your membership number. Periodically logging in will bring you to an update
page. If your information is correct, click on the “Return to Home” link in the upper right hand
corner. If corrections in your information need to be made, you can make those corrections,
enter them and then go to the “Return to Home” link.
One of the most valuable sections of the website is the Education section located at
http://www.sweetadelineintl.org/Education_Center/Home.html If you have a need to know
anything about vocal and visual performance, you will find it here! 6
Section 2: SAI International History, Structure and Resources, Continued:
Annual Convention and Webcast
The International Convention and Competition is held annually late in the year (usually
October/November). The contest features 1) Quartet Semi-Finals and Finals; 2) Chorus Semi-
Finals and Finals; 3) Harmony Classic (Division A Small Chorus Contest and Division AA Midsize
Chorus) and 4) the Rising Star (Young Women in Harmony) Quartet Contest.
Annual competitions are webcast across the world. Members can sign up for the webcast on
the SAI website www.sweetadelineintl.org There is no fee for the webcast but donations are
encouraged to offset cost. Video clips from the 2011 Sweet Adelines International Chorus,
Quartet, Harmony Classic Division A and Division AA and Rising Star contests are available at this
web address: http://www.sweetadelineintl.org/recordings.cfm
Online Sales
SAI has an endless supply of items available for sale online including music, educational CDs,
videos and DVDs, learning tracks, jewelry, stationary, books and various novelty items:
https://secure.sweetadelineintl.org/sai/members_online/members/createorder.asp?action=start
Sale items are also available at the SAI International convention, and additional Sweet Adelines
promotional items including clothing are available through Café Press:
http://shop.cafepress.com/sweet-adelines
Pitch Pipe Publication
The Pitch Pipe is the official magazine of SAI and is published quarterly. All four issues are
published digitally and distributed to members via email. Archived editions are available on the
SAI website in the Marketing Center of the Members Only area.
Educational Resources
SAI provides a variety of educational resources to support its educational mission. Many
resources are available under the Education tab of the SAI website
http://www.sweetadelineintl.org/education-main.cfm In addition to the on-line resources,
education is offered at International and Regional music schools.
Yahoo Email Groups and Social Media
You will find SAI on Facebook: http://www.facebook.com/#!/SweetAdelinesIntl
Join a Yahoo discussion group for members and fans of SAI. The “Digest” option summarizes the
emails into one per day: http://launch.groups.yahoo.com/group/SweetAdelinesInt/
Membership Options
SAI offers many membership options for women including active adult membership, youth
membership, lifetime membership, associate membership, chapter-at-large membership.
Membership discounts are offered multi-year memberships. For more information visit:
http://www.sweetadelineintl.org/membership-options.cfm
Other Member Benefits
SAI Platinum Plus Master Card: http://www.sweetadelineintl.org/mbna.cfm
World Travel Service: http://www.sweetadelineintl.org/worldtravel.cfm
7
er Section 3:
SAI Great Lakes Region 17
Regional Structure and Resources
SAI Great Lakes Region 17 Overview
VIH is one of 17 chapters in Lake Erie Region 17, which includes choruses and quartets in western
Pennsylvania, northern Ohio, southern Michigan and northeastern Indiana.
Great Lakes Region 17 Mission Statement
“Great Lakes Region 17, Sweet Adelines International, promotes barbershop harmony
through educational opportunities which inspire and motivate our members to work
together towards musical excellence and personal growth.”
Structure
Region 17 is governed by an eight-member Regional Management Team (RMT). Positions are
both elected and appointed by SAI. Each member serves a two-year term. Positions include
Team Coordinator, Director Coordinator, Education Coordinator, Communications Coordinator,
Events Coordinator, Finance Coordinator, Marketing Coordinator, Membership Coordinator.
The team is also open to associate members who serve a one year term.
Region 17 Website – Overview and Content
The Region 17 website is maintained by the Regional Communication Coordinator. The website
includes the following content: Choruses; Quartets, Events, Young Women in Harmony,
Documents, Regional Management and an “About Us” section. The website contains the latest
on upcoming events such as Regional contest, Harmony Weekend music schools, archived
editions of the Beacon newsletter, the Regional Directory and handouts from music schools. The
Chorus section includes a map of Regional choruses and pictures. A special section for quartets
contains quartet newsletters and pictures of all Region 17 quartets. The website address is
www.region17online.org
Annual Regional Competition
The Regional competition is held every spring (usually in May) in Cleveland Ohio at the
Renaissance Marriott. Quartets compete on Friday evening and choruses on Saturday.
Regional events include a Thursday evening reception and show featuring the competing
quartets (but open to all members), a Regional breakfast on Saturday morning, and a Show of
Champions on Saturday afternoon following the chorus contest.
The Beacon
The Beacon is the Regional newsletter. Archived editions (under the former title “Signals of
Seventeen”) are available on the Region 17 website at
http://www.region17online.org/documents.php
Music Schools and Educational Resources
The Region sponsors two music schools, called “Harmony Weekends”, each year in January and
September. The winter school at Sawmill Creek Resort in Huron Ohio features the Rising Star
quartet contest for young women as well as regional and international faculty who offer expert
classes. The fall schools are held in Independence or Perrysburg Ohio and also feature regional
and international faculty. Copies of educational handouts from music schools dating back to
2007 are located http://www.region17online.org/documents.php
Yahoo Email Groups
Region17 utilizes email to stay in contact with various groups including members, chorus
directors, quartets and administrative leadership groups. You will be automatically put on any
group you need to be added to. 8
Section 4:
Chorus Life
Buddy Program
The Buddy Program pairs new members with a veteran member who fills the role of friend and
mentor for the new member’s first year. While the new member has a wide support system
which includes the director and section leaders, the Buddy fills a very special place in a new
member’s life to answer questions, find answers she can’t answer and just BE THERE.
Finances
Dues: Chorus dues are paid monthly by cash or check to the chorus treasurer. Dues can also be
paid on the VIH website using PayPal. A portion of your dues is held in escrow to pay
International and Regional expenses. The majority of your dues stay in the chorus to cover costs
for music, the rehearsal hall, riser set up, director and coaching expenses. A financial report is
provided annually to members to show how our dues are budgeted and spent.
Expenses: The chorus works diligently to keep member costs as low as possible. You can expect
to pay for meals at chorus functions, some of your costume expenses, chorus make up, your
food and lodging at music schools and contest, your contest registration, contest picture and
your registration for our annual spring retreat. These expenses are consistent year-to-year which
makes them easier to budget for. Expenses paid to the chorus should be paid by check made
out to “Voices in Harmony”. Be sure to list the items you are paying for on the check, especially
when paying for more than one thing.
Kathy VanderWeele Memorial Fund: VIH provides funding for chorus expenses for members who
find themselves in need of financial assistance. The Fund can help with contest and music
schools as well as retreat. The Fund cannot be used for dues. Applications are available on the
VIH website in the Member-Only area.
Fundraising: The chorus sponsors two forms of fundraising to help offset member costs: chorus
fundraising and member fundraising. Chorus fundraising is done through performances,
occasional cashiering of a Poker Room in Ypsilanti, our annual poinsettias sales, Singing
Christmas Cards and summertime 50/50 raffles. Proceeds are applied to general expenses
which keeps our dues consistent. Member fundraising offers SCRIP gift card sales and an annual
flower bulb sale, where 100% of the proceeds goes to the member for chorus expenses.
Support Your Chorus: VIH participates in ongoing rewards programs including the Meijer
Community Rewards Program, I-Give, and GoodSearch. Refer to the Support Your Chorus
document in the Member Log-In section on the VIH website.
General Expectations and Norms
By now you’ve noticed some chorus norms. Here are four very important ones:
1. Music and visual plans are memorized… however new members should take their time
and not put pressure on themselves to learn all of the music at once. Your section leader
can help you prioritize music learning based on what events are coming up.
2. Accuracy in performance is essential. Accuracy is defined as singing correct notes and
words and singing the correct breathing plan. Good tools and an appropriate amount
of time are allowed for learning music accurately. Taping is done on the “off-the-paper”
date on some songs to ensure a song has been learned accurately.
3. Talking among members while on the risers is discouraged to minimize disruptions and
show respect to the person up front. Members are encouraged to ask questions when
needed by raising their hand and to keep a notebook with them to jot down questions.
4. Member input and involvement is highly valued. Please bring suggestions and feedback
to the Management Team or Music Team outside of rehearsal so your suggestion can be
given the time and consideration it deserves. 9
Section 4:
Chorus Life, Continued
Communication: VIH has several effective means of timely, relevant communication:
Email: A weekly Rehearsal Preview email is sent by the director which includes the schedule
and learning focus for the next rehearsal. Regular “Newsy Notes”, the chorus calendar and
rosters are sent when updated. Each section has an email list used by the section leaders to
communicate information to their sections. VIH is sensitive to our members being overwhelmed
with email, so members are asked to refrain from using the full-chorus email list unless they have
urgent chorus business. A member can request routine announcements be included in an
email from the team coordinator or director or added to the weekly business meeting.
Website: VIH has an exceptional website located at www.voicesinharmonychorus.org
The Member Login area contains links to download music and view an abundance of tools,
materials and documents. The website can be used to pay dues and notify our membership
team of an impending absence. A “Website Tour” is located in the Additional Member
Resources section at the end of this handbook.
Business Meetings: Brief business meetings are held during each regular rehearsal. Typically
announcements are made by the team coordinator and team leaders. Members can share
information as well by notifying the team coordinator prior to the meeting. Information shared
during the business meeting should be limited to information that is relevant to the chorus
members. An annual meeting is held in May/June to present the new strategic plan.
Music and Music Learning:
Availability and Care of Music: A hard copy of each piece of current repertoire music is
provided to each new member and additional music is available on the VIH website in the
member download area. Due to copyright laws, music can’t be copied and used for any
purposes other than performance with the chorus. Duplicate copies are not routinely given if a
copy is lost. Should this occur, contact the Music Librarian (see page 4) or your section leader.
Timeframe for Learning: The time frame for learning a new piece of music is five to six weeks
depending on the difficulty of the piece and events which interrupt the learning schedule. The
week of introduction is week one and the off-the-paper date is typically week five or six.
Learning tracks and music are always available prior to a song’s introduction and members are
encouraged to begin learning music early. See the document “Effective Strategies for Learning
Music” in the “Additional Member Resources” section at the end of this handbook.
Music Learning Tracks: Recorded learning tracks are available for all repertoire and contest
songs in all singing parts. They are located in the music download area of the VIH website. If
you are not able to create your own learning CD, ask your section leader about obtaining a
copy. Learning tracks are always available prior to a new song being introduced.
Music Learning Method: The chorus has adopted a highly effective music learning method
created by Jay Giallombardo, a men’s International champion quartet singer and chorus
director from the Barbershop Harmony Society. The method involves a series of repetitions of
listening to the learning tracks without singing, singing on a word sound, and miming the music.
The chorus uses this method for learning during four consecutive weeks during section
rehearsals. Members are expected to use this process at home as well for consistent learning. A
new piece of music should be practiced at home using this same method as much as possible.
Taping for Quality: To ensure timely learning and accuracy in notes, words and breaths,
members are expected to participate in the taping program. Compliance with the taping of
contest songs by the deadline date (which is published many months in advance of the
deadline date) is required for participation in contest. The process includes taping, self-
evaluation and a review of the tape by the section leader. Information is available in the Taping
Policy document in the Additional Member Resources of this handbook and the VIH website. 10
Section 5:
Rehearsal Specifics
Rehearsal Schedule
Voices in Harmony rehearses year-round on Tuesdays from 7:00 p.m. to 9:30 p.m. except under
special circumstance such as coaching or a social event. The chorus typically takes a one week
break over the Fourth of July and breaks the last two weeks of December through New Year’s Day.
In cases of inclement weather, rehearsal can be canceled. This decision is made when there is a
severe weather warning announced by the National Weather Service or it is otherwise determined
travel would be unsafe. Members are notified via email and telephone.
Rehearsal Agenda
An agenda for each weekly rehearsal is published prior to the rehearsal and sent to members via
email. It is called the “Rehearsal Preview”. A typical agenda includes a learning focus for the
evening with supporting vocal skill building, physical warm up, visual skill building, review of select
repertoire pieces, focused rehearsal (working specific pieces needing detailed work), creative
learning activities, “craft” (education or drill on a particular learning topic), section rehearsals,
business and “just for fun” stuff. You can expect a fast moving and FUN rehearsal every week.
Punctuality
Members are encouraged to arrive at rehearsal at least fifteen minutes prior to start time to check
mailboxes, take care of any business or just visit and enjoy some social time. Physical warm ups start
promptly at 7:00. All components of rehearsal are important and planned to integrate into a full
package of fun and learning.
Attendance and Notification
Because our members are important and participation is essential to growth and quality, members
are expected to attend rehearsals and coaching unless they are unable due to illness, a conflict or
other commitment. Members can notify the membership team, director and section leaders that
they will be absent by sending an email to [email protected]. A link to this
address is available on the VIH website in the Member Log-In section. Members unable to attend
the annual spring retreat must notify the director personally so she can plan accordingly.
Riser Behaviors:
While on the risers, members are encouraged to ask relevant and timely questions by raising their
hand. Members are discouraged from talking to other members while on the risers unless it is an
urgent matter which can’t wait until a break. Non-urgent questions should be held for the section
leader or director and asked during sectional time or a break. Due to allergies, fragrances and
fragranced personal items should not be used on chorus days. Water bottles and music should not
be placed on the risers due to the items becoming a trip hazard. Members are encouraged to
leave the risers when they need to and sit down if they are unable to stand for a portion of the
rehearsal. Cell phones should be turned off in the rehearsal hall during rehearsal.
Supplies
Access to a computer with email and internet capability is extremely important, and members find
it helpful to have software for burning CDs of chorus music. Members should own their own
recording device such as a hand held tape recorder or digital recorder. Many enjoy owning a
pitch pipe also, as well as a binder or other place to organize their music. A tote bag to carry music
and your recording device is helpful. Members also find water bottles or water bottle holders on a
cord are helpful for having water on the risers. 11
Section 6:
Calendar, Events and Activities
Regional Contest
Regional contest is an exciting time for Voices in Harmony, something which we carefully plan and
prepare for year-round. The contest performance is a two song package, usually comprised of an
uptune (quick tempo song) and ballad. Voices in Harmony is fond of themed “character”
packages, having done characters such as WWI-era mothers of soldiers, ragdolls, 1915-era boys in
knickers and caps and Irish immigrants.
While the contests are Friday (quartets) and Saturday (choruses), many members arrive at the
convention site a day early… on Thursday… to settle in and enjoy the experience and social time
with other chorus members. Members dress in VIH logo-ware to cheer on competing chorus
quartets on Friday night. Saturday is jam-packed with an optional Regional breakfast, then
rehearsal in our designated rehearsal room. Members dress and apply make up in their rooms, then
meet prior to going into “pattern”, the formal route to the stage. After an exciting contest
experience, members remain in the audience to cheer on the remaining choruses and await the
announcement of awards. A Show of Champions follows the contest with the top three quartets
and choruses performing. VIH traditionally plans a pizza party on Saturday after the Show of
Champions and hosts a popular hospitality room in the hotel on Saturday night, which is visited by
quartets and friends from other choruses. It is an unforgettable weekend of joy, no matter the
outcome of the contest.
For more on how to personally prepare for contest, see “How to Go to Contest” in the Additional
Member Resources section at the end of this handbook.
Annual Show
The VIH annual show is the premiere fundraising and performance opportunity of the year. The
shows are typically held in October or December in locations which include our UAW 898 rehearsal
hall, the Towsley Auditorium/Morris Lawrence Building at Washtenaw Community College or a local
church. The combined Music Team and Show Committee plan the theme and songs for the show,
which features the chorus, chorus quartets and other local talent. The great majority of tickets are
sold by chorus members to friends and family, and tickets are available on the VIH website using
PayPal. In cases where we will create a printed program, patron ads are also sold.
Education Program
Education is fundamental to the mission and values of Sweet Adelines International and the Voices in
Harmony Chorus. The chorus year and weekly rehearsals reflect the long- and short-range plans for
learning activities that are focused on our current level of performance and our priorities to “move to
the next level”. Our educational program is based on five key areas of learning in vocal performance
and five areas in visual performance. Vocal learning areas include 1) Physical and Vocal Energy; 2)
Accuracy and Intonation; 3) Unified Words and Word Sounds; 4) Musical Unity Singer to Singer; Section
to Section. Visual learning areas include 1) Physical Energy and Movement; 2) Characterization and
Motivation; 3) Kinesthetics; 4) Personal Physical Expression – Face and Body and 5)
Choreography/Visual Song Drill. Members will see formal and informal learning activities that support
these learning priorities. Additional educational topics include music theory, conducting, sight singing,
analytical listening and emceeing. Instructors include the VIH music team members and VIH
coaches. 12
Section 6:
Calendar, Events and Activities,
Continued
Ensembles
Members who desire additional challenge and performance opportunities may be eligible for one
or more of our vocal ensembles, which include Voices in Faith (VIF), Voices in Quartets (VIQ) and
Voices in Pop (VIP). Rehearsals are independent from within the chorus rehearsal setting. All
require members be current on their chorus music and attendance to be eligible for membership.
Retreat
The annual retreat is held at YMCA Storer Camp in Napoleon, Mi, six to eight weeks prior to contest.
Faculty for the retreat is usually a long-distance coach with credentials which include certified
judge, master director and/or International quartet champion. The retreat begins on Friday
evening and ends Sunday at noon. Attendance for the entire weekend is expected unless a
member is unable to attend, in which case they will discuss their availability with the director who
can then plan activities accordingly. Cost is in the $80.00 range, which includes lodging and meals.
Coaching
Voices in Harmony utilizes expert resources for coaching. The schedule is planned and published
up to a year in advance. Most coaching sessions are on Tuesdays. Every other year VIH will coach
on two Sunday afternoons with our visual performance coach, Cindy Hansen-Ellis, from Colorado.
PVIs (Partner Vocal Instruction)
PVIs are scheduled annually in the fall and available to all members. New members are entitled to
one free PVI upon joining the chorus and paid for the entire membership when the budget allows.
The cost is $25.00 for a full hour. The sessions are with two or more singers and facilitated by Vicki
Gibson and Kendra LaPointe, a mother-daughter team from the Lansing area. Both voice
instructors are International quartet champions. A “PVI Status Report” is available on the VIH
website to help members summarize their personal priorities for improvement.
Performances
Public performances provide important visibility and income for the chorus. Performances occur
throughout the year for small groups through full chorus, including private functions, festivals,
assisted living/retirement facilities and community service events. Members are encouraged to
participate when able and to assist in identifying performance opportunities in their communities.
Guest Nights
VIH holds guest nights each year, including events to introduce friends, family and acquaintances
to our hobby; a Friends/Family Night two weeks prior to contest to present our contest package;
and an annual social event with the Huron Valley Harmonizers, a local men’s barbershop chapter.
Social Activities
Rehearsal nights are busy, so to enable our culture of inclusion and family, regular social events are
planned throughout the year. You can expect a group of chorus friends to stop at our
neighborhood Aubree’s on the way home from rehearsal, and the chorus calendar includes social
events such as the annual Tiger Game and a VIH-sponsored cruise every other year.
Summer Programs
VIH is the place to be during the summer months! With special programs such as the Summer
Quartet program, Five Minutes of Talent, Mystery Quartets and a regular schedule of creative and
fun rehearsal activities, it’s obvious why attendance is so high even in the summer! 13
Section 7: Additional Member Resources The following chapter contains important information for the new member. Items with an
asterisk (*) are located on the VIH website in the member log-in area.
VIH Website Tour
The Magic of Singing Barbershop Harmony; Parts of the Chord; Elements of
a Quality Performance; Your Role as Singer; How to Go to Contest
*Standing Rules
*Effective Strategies for Learning Music
*Contest Taping Policy
*Costume Policy
*Costume Expenses for Members
Glossary of Common Terms
*Voices in Harmony Talents and Skill Profile
*Re-Recruitment Survey
*Chorus Roster
*Chorus Calendar
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Voices in Harmony Website Tour
Voices in Harmony has an outstanding website designed by VIH member Kathy Sanderson.
Here’s a guided tour so you can make the most of your visit!
Home Page: The Home Page includes links to both public and member-only (password
protected) pages of the website. It includes a banner ad for Sweet Adelines International, a
link to VIH on Facebook, a calendar of upcoming events and a link to a map of our rehearsal
location. The page includes a link to sound bites of actual chorus performances, as well as
pages providing information specific to potential new members, audiences and donors. A
Quartets page includes a picture and bio of our VIH quartets. Banner ads on the website will
change based on upcoming events, such as our annual show. The ribbon on the top of the
page includes other barbershop links, a Photo Gallery of recent contest pictures, a “Contact
Us” link to connect the viewer to chorus leadership and the important Member Login link.
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Voices in Harmony Website Tour. Continued:
The public “About Us” page provides an overview of the chorus includes a letter from the
director and a list of members.
The public “Join Us” page provides detailed information for women interested in membership.
It also includes links to Frequently Asked Questions, the VIH Mission and Values and a map to
our rehearsal hall.
The public “Hire Us” page offers information, a press kit and sample press releases for
individuals and groups who are researching the chorus for a potential performance. The
page contains a long list of venues where VIH has performed.
The public “Support Us” page lists methods for both potential sponsors and chorus members to
utilize rewards programs and Paypal as to support the chorus.
16
Voices in Harmony Website Tour. Continued:
The Member Information page is the “go-to” spot on the website for members. The page
provides links to download music and learning tracks, pay dues, a link to the “Absent” email
notification as well as the current calendar, roster and costume policy. Learning tools and
modules are included, as well as a link to the amazing list of items in the VIH Resource Library! 17
The Magic of Singing Barbershop Harmony:
An Orientation for Our New Voices in Harmony Members
Barbershop music, with its close, unaccompanied four-part harmonies and ringing chords, is a uniquely American
folk art. Originally called “close harmony” it was first sung by African American musicians in the late 1800’s and
reflected similar harmonies and style of traditional gospel, such as the characteristic “call and response”.
“Close harmony” continued through the turn of the century and was aided by the simply melodies and lyrics of
the times. Singers improvised harmonies with a variety of four part chords. When the printing press was adapted
to produce musical notation, there was an advancement of close harmony singing with printed arrangements.
At the turn of the century amateur singers, usually men, could often be heard singing improvised harmony at
picnics, on street corners and yes, in barbershops. Minstrel and Vaudeville shows continued to feature what
were now called “barbershop” quartets, who sang in front of the curtain while performers and stage hands
prepared for the next act. It was convenient to use a quartet for this purpose, since no props or instruments were
required.
With the invention of Victrolas and radio, informal quartet singing became less common. In the
1930’s a group of men hoping to preserve this unique harmony formed what is now called the
Barbershop Harmony Society. A decade later, several wives of these men founded Sweet
Adelines.
Barbershop singing has remained popular today because it has stayed true to its roots, which
encouraged improvisation of the popular music of the day. This is why so many different styles
of songs are sung in what is now typically called “four part a cappella harmony in the
barbershop style”.
The barbershop harmony of today is a highly stylized art form requiring the same high degree of singing skill as
other types of choral music.
The Parts of the Chord
Barbershop harmony is sung in four parts: lead, tenor, baritone and bass. Its chord structure and approach make
it different from other kinds of choral singing. One unique characteristic of barbershop harmony is that the
melody, sung by the lead voice, is below the tenor harmony. This follows the pattern of many early American
hymns written for men and women, with the melody in the male tenor voice and the women harmonizing above.
Also distinctive is the “cone” shaped balance of parts, with the higher voices in the chord (tenor and
lead/occasionally baritone) singing with less weight and intensity than the lower voices. Finding the right part for
your voice is the initial step. Any woman of average singing ability, with or without vocal training, will find a part
that fits her range and vocal quality.
Lead is the melody and is sung in the range between A below middle C, and C above middle C. The lead singer
frequently has more “color” or character and authority to her voice, making her voice stand out from the clearer
ones of the other voices in the chord.
Tenor is a harmony part sung consistently above the lead. Although tenor is the highest voice in barbershop
harmony, it should not be confused with soprano of conventional singing groups. The tenor should have a light,
sweet, pure tone that will compliment but not overpower the lead voice.
Baritone covers approximately the same range as lead. The baritone harmony notes cross the lead notes;
sometimes sung below and sometimes above. Baritones must constantly adjust their balance to accommodate
their position in the chord. The baritone should sing with a clear quality without color or vibrato. The baritone
part is written in the bass clef and sung an octave higher than written.
Bass singers should have a rich, mellow voice and be able to sing the E flat below middle C easily. Basses should
not be confused with the alto of conventional groups. Many altos can sing the bass part, but others are much
better suited to lead or baritone, depending on range and vocal quality. Like the baritone part, bass is written in
the bass clef and sung an octave higher than written.
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The Elements of a Quality Performance: Sound, Music, Singing, Expression and Showmanship
While an audience member experiences the art form of barbershop music as a whole, the overall quality of a
performance can be broken down into four elements: Sound, Music, Expression and Showmanship. Those four
elements are the areas where the quality of a barbershop performance is judged in contest.
Sound: The Sound Category is defined as quality, in-tune vocalization with a high degree of unity, consistency
and artistry. The major elements are intonation; unity, balance and blend, vocal quality, expansion and ring.
Music: Music is defined as the song and arrangement as performed: it’s suitability to the barbershop style; the
suitability to the skill of the performer and the musicianship in bringing the song and arrangement to life.
Expression: The Expression Judge evaluates the degree to which the performer achieves artistic singing in the
barbershop style, evaluating unity of word sounds, flow, diction and synchronization; expansion and artistry.
Showmanship: Showmanship is the net impact of the performance upon the audience. Major elements are a
sincere, heart-felt delivery; audience rapport; artistry and expressiveness; and unity of vocal and visual elements.
Your Role as Singer
As a new member, you may be feeling a little overwhelmed. There is so much to learn! Here are some great tips:
Every week is a week of learning. Try to attend. If you are unable to, try to find out what you missed.
Use the tools available to you to accommodate your learning style, including printed music and learning
tracks. Bringing your own tape recorder and taping full chorus and section rehearsals will speed up the
learning process. Seek out your section leader for help. They are eager to help you be successful!
Internalize and apply learning taught during rehearsals and coaching sessions. Make notes and practice.
Sing through/listen to your music between rehearsals so we can spend our Tuesdays fine tuning and
polishing the performance and having fun!
Lastly, be patient and don’t stress over the fact that you can’t learn everything immediately. This is a
journey for all of us, and that is what makes it so exciting and wonderful.
How to Go to Contest
The primary purpose of competing is to have fun, entertain a wonderfully supportive barbershop audience, and
make ourselves better performers by taking what we learn from the experience and applying it in all of our
performances. At VIH, we prepare and go to contest as a “family.” We bring friends and family members with us
to support us. We go to enjoy the whole experience of convention, not just focusing on the aspect of
competition. We do the best we can do and learn from it.
Certainly in the traditional sense, only one chorus can “win” the contest, but with the right attitude we simply
can’t lose! Winners accept their current stage of development and perform to their highest level of potential,
knowing what is felt and performed from the heart is far greater than any ribbon placed over it. And let’s not
forget the audience. An audience knows when a singer is singing from the heart. The joy and exhilaration you
receive by “winning the audience” is an experience that a performer never forgets.
To properly prepare for contest, you should:
1. Approach the performance with confidence. There are many people in the audience who would never
be in your shoes, but love to sit and be entertained by you.
2. Before taking the stage, visualize everything going the way you want it to; the way you look and feel, the
way you sound, the way you want the audience to respond, everything.
3. Enjoy yourself! Everything you do transfers to the audience. The more fun you have, the more positive
energy you put forth, the more they feel part of the performance.
4. Give gifts to the audience. Competitors who have not gotten past the technique of singing are simply
doing what it takes to earn points or win. In essence, they are trying to "take a prize" rather than "give a
gift" to the audience. Artistry exists when you demonstrate true love for the music you are performing in a
real and unpretentious manner. The result is an overpowering communication with the audience.
5. Audiences hear what they see and what they feel. If the performer is enjoying herself and are passing on a
genuine feeling of passion for the music, audiences will never see minor mistakes and imperfections.
Competitions are valuable because they give us a way to stand up, be counted, and grow. We should always
strive to do our personal and collective best, but too much emphasis on winning takes positive potential away
from the experience and can result in a loss of perspective on what contest is all about. Competitors need not
enter a contest with any special mind set different from any other performance. To give the audience a
memorable experience and to receive back from them the gratitude for your gift is the crucial goal of any
performance. If you have succeeded in that, you have won.
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Standing Rules Voices in Harmony, Sweet Adelines International
Ypsilanti, Michigan
Section 1: Chapter Membership A. Eligibility
1. Membership is open to any woman who meets the audition requirements and whose application is accepted by the membership.
2. Prospective members are auditioned in a group setting at the discretion of the director to insure
they can match pitch, carry their part independently, and blend with the rest of the group. 3. After passing the audition, a prospective member receives the standard “Application for
Membership” form and a copy of the chapter bylaws and standing rules.
B. Acceptance 1. Applications for membership and the results of the audition are reviewed by the director, musical
leaders, and chair of the membership committee. 2. Applications are accepted by a majority vote of the members present and in good standing at a
regular meeting of the membership. 3. Applicants not accepted for membership are eligible to reapply in one year or at the discretion of
the director. 4. Applicants will receive verbal notification of the results of their audition and membership in the
chorus.
C. Dues 1. Annual Dues are $312 or $26 per month. $125.00 is held in escrow for the member’s annual
international and regional assessments. $187 is retained by the Chorus for operating expenses. Dues are to be kept current.
2. International dues are payable upon acceptance into membership. A monthly fee of $26 is
payable on the first Tuesday of each month. Of that amount, $7.50 is held in escrow to cover the following year’s international dues.
3. Dues are payable by cash or check to the finance coordinator. Checks should be made payable to
the Voices in Harmony Chorus. Advance payment of dues is acceptable. 4. Any member default in payment of dues greater than three months can be suspended from all
privileges of membership, and if, after written notice by the finance coordinator, default is not corrected within 30 days, membership may be terminated.
5. Students under the age of 25 are able to join at ½ price and pay ½ the monthly dues.
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D. Attendance Requirements 1. Weekly attendance is important and expected. When a member misses a rehearsal she is
responsible for learning what was missed. Advance notification of missed rehearsals is encouraged.
2. Attendance is expected at coaching sessions. Extenuating circumstances should be addressed
with any member of the management team as soon as the conflict arises. 3. Any member who is absent for 4 consecutive rehearsals without notifying a member of the
management team is not in good standing with the chorus. E. Leave of Absence
Any member who expects to be absent from four or more consecutive rehearsals is required to request a leave of absence through the membership coordinator. Dues must be kept current during the leave of absence.
F. Good Standing
1. Good standing for chorus privileges is defined as being up-to-date in payment of dues and other financial obligations to the chorus, in addition to meeting attendance requirements.
2. A member will be notified in writing by the membership coordinator that she has lost good
standing with the chorus. 3. Chorus privileges are defined as follows:
a. Participation in competition b. Participation in chorus shows c. Voting on chorus business d. Eligibility for nomination to any elected chorus position e. Participation in chorus singing engagements
4. Good standing is restored by bringing dues current and attending 3 consecutive rehearsals.
G. Responsibilities of the Chapter Member 1 New member nametags are provided at Chorus expense. If a member’s nametag is lost,
replacement is at the member’s expense. 2. The chorus provides and owns the standard costumes. Each member is required to maintain her
costumes in a condition suitable for appearance with the chorus. Members may be required to pay a nonrefundable costume usage fee. The fee will subsidize the chorus’ costs for the purchase and maintenance of costumes.
3. Each member should make every effort to attend each performance given by the chorus. 4. Each member is expected to demonstrate performance readiness, both vocally and visually, to
the satisfaction of the chorus director, assistant director(s), or section leaders, before participating in a chorus performance.
5. Chorus property shall include costumes, music, history books, manuals, risers, stage properties,
equipment, committee files and any other goods.
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6. One copy only of each piece of music will be provided each member free of charge. If that copy must be replaced, a fee will be charged to the member. The additional copy must still be returned when membership terminates.
7. Music purchased with chapter funds and provided to members is copyrighted with permission to
perform such song and is considered to be on loan to the member. It must be used for rehearsal purposes only and must be returned when membership terminates.
H. Quartet Requirements
1. A chorus quartet is any quartet with at least one person holding membership in the Voices in Harmony Chorus.
2. Prior to accepting outside singing engagements, new chorus quartets must perform for the
chorus and meet chorus and director approval. 3. Quartets wanting to be part of the chorus website, may work with the Webmaster to design and
update a page at their own expense. I. Termination of Membership
1. Resignation a. Should a member voluntarily resign from the chorus, a written notice must be submitted
to the management team. All chorus property must be returned (costumes must be clean) in order to receive a refund of any portion of International Per Capita fee being held in escrow for the following year.
2. Transfer to Another Chapter a. If a member wishes to leave the chapter but not the organization, she may apply for
transfer to another chapter or to chapter-at-large. b. If the transferring member has not decided where to relocate her membership, she may
apply to international headquarters for transition status by submitting a “Request for Transition Membership Status” form. The member is permitted a 60-day transition period during which all privileges of international and regional membership are retained.
3. Chapter-at-Large
a. If a chorus member finds they are not able to remain a part of the Voices in Harmony Chorus in either active membership or Associate Membership but wishes to remain a member of the international organization, she may transfer to Chapter-at-Large (CAL).
b. Membership in CAL may be granted to those who desire a limited affiliation with the organization.
c. To apply for CAL, the member requests the form from international, completes and returns the form to International. Applications are acted upon by the CAL Board of Directors through international headquarters. The effective date of transfer is determined by this action. The chorus will be notified by International.
4. Associate Membership
The chapter allows for associate membership. An Associate Member: a. Must be a current or former member b. May not compete or perform with the chorus c. Enjoys all the privileges of active membership (she may vote, receive the Pitch Pipe, etc.)
except performing or competing. 22
d. May reapply at any time for active status and re-audition to become a performing member
e. Pays the chorus yearly $125 ($90 for International, $35 for Regional Assessment)
5. Forfeiture a. Membership can be suspended or terminated by the management team if a member is
absent, without notification or a granted leave of absence, from 3 consecutive rehearsals and does not, after written notice, either return to the chapter or contact the team coordinator within specified number of days.
b. Membership is automatically suspended if a member is default in the payment of dues (accumulation of 3 months) or other financial obligations. Membership is terminated if default is not remedied within specified number of days in written notice. A payment plan can be set up with the finance coordinator to cover financial obligations and dues. Payments must be received on time to remain in good standing with the chorus.
6. Removal
a. Only the International Board of Directors may revoke membership in Sweet Adelines International.
J. Reinstatement of Membership Former members who have allowed their membership to terminate and wish to rejoin the chapter must
meet the eligibility and acceptance requirements as stated in Section I of these standing rules.
Section 2: Meetings A. Chorus Rehearsals Regularly scheduled meetings for chorus rehearsal are held on Tuesday evenings at 7:00 PM.
B. Business Meetings 1. Necessary business may be conducted on the date of a regular chorus rehearsal, or at a special
meeting called for that purpose. 2. The team coordinator may, when necessary, call a special chapter business meeting, preferably
with advance notice.
3. A quorum for the transaction of business at any chapter business meeting shall consist of a majority of the membership in good standing.
C. Annual and Election Meetings
The annual meeting to elect the management team is held after January 1 but before April 30 at a chorus rehearsal or a specially called business meeting.
Section 3: Management Team
A. Meetings 1. The management team meets the 2nd Monday of each month or at other dates determined by
the team. 2. Team meetings are open to the membership; day, time and place shall be announced in advance.
Chorus members shall notify the coordinator of intent to attend meetings. 23
3. The May team meeting shall be a joint meeting of the retiring and newly established teams. 4. Special meetings of the management team may be called by the team manager or by a majority
of the team members as needed. Notification of time, place and purpose of the meeting is to be given to each member in advance.
B. Eligibility
To be considered for the management team, it is recommended that the member should be a chorus member for six months. They must be a member in good standing as defined by these standing rules.
C. Term of Office 1. The term of office for all positions on the management team is one year, except for the chorus
director. 2. The chorus director automatically becomes a member of the management team for the duration
of her contract. 3. The number of consecutive terms a member of the management team may serve is not limited. 4. Per Sweet Adelines International, management teams consist of up to 12 members, including the
director. Voices in Harmony management team may decide upon consensus to increase this number, if warranted. Positions include: Team Manager, Finance Coordinator, Recording Secretary, Communications Coordinator and Corresponding Secretary. Other members of the management team may chair a committee or simply serve as a member of the team.
D. Vacancies
In the event of a vacancy on the management team, the remaining team members appoint a chapter member to fill the unexpired term, if necessary.
E. Duties and Responsibilities 1. The management team has the responsibility to enforce the rules and regulations necessary to
manage the chapter. 2. The management team is accountable to the membership for the efficient operation of the
chapter and effective communication with the members. 3. Each team member shall notify the chorus coordinator when intending to be absent from a team
meeting.
Section 4: Committees
A. Appointment and Term 1. The management team appoints the chairs of all standing committees, with the exception of the
nominating, choreography and music committees. The team coordinator appoints the chair of the nominating committee and the director appoints the chair of the choreography and music committees with approval from the management team.
2. Standing committees and teams are: visual performance, membership, finances, public relations
and marketing, show, and music. 24
3. Standing committee chairs choose committee members and meet as needed. 4. Special committees may be appointed by the management team as needed for a specific task.
B. Nominating Committee 1. The nominating committee consists of at least 3 members. 2. The chair of the nominating committee is appointed by the team coordinator.
3. This committee prepares a slate of nominees, listing the qualifications of each. Prior to
determining the slate, chapter members are invited to submit applications. The slate is distributed to the membership at least 10 days prior to the election meeting.
4. Absentee ballots are sent upon request to any member in good standing who is unable to attend
the election meeting. Absentee ballots must be received by the team coordinator prior to the election.
Section 5: Chorus Director
A. The chorus director’s duties shall be set forth in detail in written agreement. The chorus director’s agreement shall be reviewed, changed, and renewed by the management team, which includes the director, in April.
B. In the event the chorus director wishes to terminate his/her service, thirty (30) days notice shall be given
to the chorus stipulated in this agreement. C. The chorus director’s term of service can be terminated only by vote of the membership as stipulated by
the agreement. The management team must give at least a one-week notice of intent to all qualified voting members and to the chorus director prior to taking this action.
D. Assistant chorus director(s) shall be chosen and evaluated by the chorus director with consensus of the
management and music teams.
Section 6: Regional and International Activities A. Regional Bylaws and Standing Rules – Every chapter member is bound by the regional bylaws and
standing rules B. Team Coordinator/President Meetings – The team coordinator should attend each meeting (or send a
representative) sponsored by the region and report the meeting’s outcome to the chapter. C. Regional/International Contest - Each member competing shall be a member in good standing. Eligibility
includes mastery of notes and words per requirements set by the music team or at the discretion of the director.
Section 7: Finances
A. Operating Income Operating income is derived from the following sources: dues, fund raising, performances, grants, donations, etc. and shall be submitted to the finance officer in a timely fashion.
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B. Expenses 1. All sales receipts with an expense voucher must be submitted to the finance officer within thirty
days, to receive reimbursement. 2. Members traveling on business must be authorized by the management team. They shall be
reimbursed for actual expenses incurred as determined by the management team, not to exceed: a. Housing – actual cost not to exceed single rate b. Mileage – allowance for gas, tolls, and parking
3. Music Schools/Seminars An amount to be determined by the management team shall be budgeted for a representative’s expenses to attend an international music school or seminar. a. Interested members may make application to the management team b. Representatives receiving such money shall be selected by the management team c. Amount and distribution of such money will be made by the management team.
C. Disbursement of Funds
1. Authorization of Expenses a. Budgeted items are authorized without further approval
b. Expenditures over budget are submitted for approval to the management team c. Two management team member signatures are required on each chorus check
D. Audit Procedures
A. The records maintained by the chorus finance coordinator shall be audited annually by July 15. Verification shall be sent to international headquarters.
B. The management team shall appoint an auditor from within or outside the chorus, to perform the audit by July 15.
E. IRS Forms
During the year for which the 990 form is to be filed, the finance coordinator or other qualified person shall prepare, in duplicate, the required IRS forms in compliance with the rules established by Sweet Adelines International and the Internal Revenue Service. This shall be completed by September 15 following the fiscal year.
Section 8: Amendments
These standing rules shall be reviewed annually by the management team. Standing rules may be amended: A. With previous notice by a majority of the membership present and in good standing. B. With no previous notice by a 2/3 vote of the members present and in good standing at a regular
or special meeting. Revised by Voices in Harmony Chorus Chapter membership on June 15, 2010. Jennifer Jones, Team Coordinator
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Effective Strategies for Learning Music
Learning new music is one of the most enjoyable experiences for a singer. It is also likely the most
important function and responsibility in the role of chorus member. Correct notes, words and breaths
are foundational to bringing a song to a quality, performance-ready level. Inaccuracies in notes,
words and/or breaths are simply not an option.
At Voices in Harmony, tools are provided to assist our singers in learning music that accommodates
every preferred learning style. Sheet music is provided for visual learners, learning tracks for auditory
learners, and section and full chorus “focused” rehearsals for tactile learners. The most effective
approach, however, is a multidimensional one: to use all available tools to learn the music quickly and
accurately.
Here are some important things you should know:
New songs will typically be introduced to the chorus in one of two ways: in sectionals using the learning
tracks or in the full chorus using the quartet teaching method. You will be informed when the song is
scheduled to be introduced. If a singer is going to be absent the week a song is introduced, it is
recommended she have a friend tape the rehearsal for her.
Singers are advised to bring a tape recorder to record when a song is taught. Not doing so eliminates
an excellent learning resource.
Learning tracks for all new songs are available on the VIH website for download several weeks prior to
a new song being introduced to the chorus. You will be informed when the song is available for
download so you can begin working on it. The sooner you begin, the more time you have!
Members are expected to obtain their own learning tracks. If you are unable to create your own CD,
ask your section leader to have a CD made for you. Expect to compensate whoever is making your
CD.
Songs are taught at rehearsal but learned at home. Singers are expected to spend the necessary time
it takes to learn the music promptly and accurately away from rehearsal. The time you will need to
devote to this will reflect your own learning style and speed, but the “off the paper” target date is the
same for everyone.
Singers are expected to be completely “off the paper” – notes, words and breaths memorized - in four
weeks. The four week period includes the first week the song is introduced. The “off the paper” date
also pertains to singers who have been absent.
Beginning the fifth week of a new song, music should not be brought to the risers (the exceptions are
guests and new members who have joined the chorus after the song is introduced). If a singer still
requires the music on or after the fifth week they are invited to listen to the song as it is performed but
are requested not to sing along for fear of confusing other singers. This also allows the Music Team
members to identify inconsistencies and inaccuracies which occurred in the learning process that may
need to be addressed. Singers are, however, expected to continue to bring sheet music to rehearsal
so it is available in sectionals.
27
Effective Strategies for Learning Music, continued:
Learning music is one of the most important things a chorus member does. Here are ten steps for
getting the most reward from your efforts. You will notice that the first few steps involve listening only.
That will be difficult for visual learners who prefer to learn from the paper, but the LISTENING aspect of
mastering and performing an cappella harmony arrangement is of fundamental importance, whether
you are singing the melody or harmony.
1. Have the right tools. Every chorus member must have a method of making recordings and
playing and listening to the learning tracks.
2. Download a copy of the learning tracks from the VIH website. You can do this as soon as
you are informed the tracks are available. Most tracks come in “all four parts”, “part
predominant” and “part alone”.
3. Listen to the “all four parts” recording several times without looking at the music. Repeat this
until you are very familiar with the melody. Do not sing along or hum along. You need to
accurately learn and retain the melody and your own voice will create interference.
4. Next, listen to the “part predominant” version several times. Do not sing along. Again, you need
to accurately learn and retain your part and your own voice will create interference.
5. Next listen to the “part alone” version several times. Again, do not sing along. Notice, though,
what your inner voice expected the note to be and where your inner voice was incorrect. Replay
that portion until you have learned that part correctly.
6. When you have become familiar with the piece and your part, begin listening to the tracks
while looking at the music. Do not sing along. Make a note of places that you expect to be
challenging. Also, note section-specific reminders. If desired, use a highlighter to highlight your
part.
7. It is an excellent strategy to sing through the whole song many times so you become familiar
with the “big picture”. Next, work particular phrases where you seem to be making errors.
8. When you feel you are secure on the music, write or type out the lyrics to the song while you
sing your part aloud or sing it in your inner voice. Record breath marks also, as well as lyrics
other parts have, such as pick-ups. Write those in parentheses.
9. When you have become comfortable on the song, record yourself singing it. You can do
that using the paper only, singing against the learning track, or singing along with the chorus
during rehearsal.
10. Listen to the recording while looking at the music, checking the music for accurate notes and
breaths. Circle in pencil notes you are concerned about. You may not be able to identify
every small note error at first, only perhaps that you went up when the note went down, but
eventually you will become skilled at identifying the distance between half steps, whole steps,
thirds, fifths, etc. Check the learning track again to confirm any concerns.
It is important to note that learning tracks can be depended upon for correct notes and words for the
most part. Tracks are purchased professionally pre-recorded and minor changes can be expected
during or after the learning process. Bringing your own tape recorder and recording sectionals and
rehearsals will provide you an up-to-the-minute tape whenever you need it.
Congratulations! You have been patient, and so has the music. Now let’s bring it to life, knowing you
can perform it with the confidence and quality it deserves. ENJOY!
28
Voices in Harmony
Contest Taping Program 2013
Program Purpose:
A. To ensure accurate performance of the contest songs through individual taping, self-
assessment and private, third party evaluation (“Basic” skill assessment level);
B. To continuously improve individual skills and vocal technique through individual taping,
self-assessment and private, third party evaluation (“Advanced” skill assessment level).
Program Expectations:
1. All singers will fully participate and meet all taping deadlines to be eligible to compete.
2. The taping program will formally begin on January 8, 2013. Singers may begin turning in tapes
and completed self-assessment to their section leader on January 15, 2013. All initial tapes must
be turned in by February 25, 2013. The ONLY exceptions are new members, who will tape within
four weeks of joining the chorus.
3. All singers will strive for accuracy of notes, words and breaths on contest material.
4. All singers will respond to recommendations by the tape evaluator and make the necessary
corrections and repeat tapings to achieve accuracy (“Basic” skill level).
5. Singers may continue taping and assessment to improve personal quality (skill and vocal
technique “Advanced” skill level).
6. Section leaders and the director will develop a plan for singers who are unable to achieve
note/word accuracy by contest time.
Process:
1. The deadline for taping will be established and published annually allowing for a minimum of
four weeks of practice taping if needed.
2. At least one complete run-through for taping will be done in each weekly rehearsal.
3. Using a hand held recording device, each singer will record herself performing the two contest
songs while on the risers during the taping run-through. The songs will be recorded “back to
back” at the beginning of the tape.
4. The singer will listen to the recording, comparing it against the colored sheet music. The singer
will note suspected inaccuracies in notes, words or breaths. (Note: planned “sneak” breaths
taken in place of a word should be noted on the self-assessment.)
5. The singer will refer to learning tracks or seek help to correct errors. The singer will continue
taping/self evaluation until she believes the tape is accurate.
6. When the singer believes her tape is accurate, the tape will be labeled with the singer’s name
and the date. The singer will turn the tape and the colored copy of the sheet music in to the
section leader or other designated tape evaluator.
7. The tape evaluator will listen to the recording, noting any note or breath inaccuracies on the
colored sheet music. The tape evaluator will return the tape and the sheet music the following
week or another agree-upon time.
8. If the singer has incorrect notes or words she will be required to continue to work toward the
goal of accuracy until accuracy can be demonstrated. The method for demonstrating
accuracy will be agreed upon between the singer and the section leader based upon what is
most efficient and effective in that specific situation.
9. Methods to demonstrate accuracy after the initial taping may include re-taping, singing alone
or in a quartet (entire song or section) or observation on the risers.
10. Singers are encouraged to turn in tapes at any time for feedback from the section leader for
“Advanced” skill assessment, which includes intonation, accurate intervals, resonation, vocal
energy, synchronization. 29
Voices in Harmony
Costume Policy
July 2011
The Voices in Harmony Chorus has costumes for competition, show and casual
performances. The Voices in Harmony costume chairperson will provide details of the current
costume's components during new member orientation. The contest costume for the Voices
in Harmony Chorus may be changed each year depending on the visual image that best suits
our contest music package. The chorus, as much as possible, pays for the cost of the fabric
and decorations. However, in rare instances, the chorus member may be responsible for
having the costume made or putting their personal costume together.
A new member may find that the chorus wears their costumes a little looser than normal attire
to provide ease of movement while doing choreography. The Costume Committee should be
consulted to insure proper fit and uniformity.
Costumes purchased by the chorus remains the property of the VIH Chorus. When a member
leaves the chorus, the costumes must be returned to the Costume Committee
chairperson. Anything purchased totally by the chorus member such as makeup, black pants,
shoes, etc. are the property of the member. If a chorus member loses a garment that is
provided by the chorus, they will be required to pay for the replacement. The member will
pay both for the fabric and the sewing of the garment. If the member needs a new garment
because of size changes, the chorus member will be required to return the old garment and
the chorus will pay for fabrication of the replacement garment. Information regarding the
care of costumes will be provided for each specific costume.
For ALL performances, makeup should be heavier than normal daily wear. At contest, certain
eye shadow colors, false eyelashes (or heavy mascara), a heavy darker base foundation and
blush are required for the bright stage lights. A listing of all current makeup colors is available
from the Costume committee.
Personal jewelry is not worn at competition with the exception of wedding rings. It is important
NOT to wear any perfumes, scented body lotions, hairsprays, or scented deodorants. Many
members have allergies to fragrances.
For casual performances, hairstyles should be suited for the special event. At contest,
hairstyles should be off the face, with some fullness around the head. See a Costume
committee member for more details.
July 2011
30
Voices in Harmony
Costume Expense for Chorus Members
General: Costs for costumes vary from year to year. These costs are approximate and do not
need to be purchased all at once. Some costume costs are covered by the chorus, some
shared with members and some are the responsibility of the chorus member.
The chorus will provide:
Blue sequined vest
Black sleeveless dress
Black/multicolored jacket
Pink scarf
Chorus members are responsible for:
Chorus members are responsible for:
Christmas sweater, blouse, vest, Red, Green, Black Varies
Black pant (either Briggs NY ,Worthington (Penneys) Sag Harbor (Meijer) $15-25
Black plain leather flats Varies
Black MOCK turtleneck (Lands End, Meijer, Penneys, Sears) $10-20
Mixture of cotton and polyester holds color best
Khaki Pants Varies
Logo wear, pink, white, tan Varies
White blouse, shirt, tee shirt, turtleneck Varies
Off Black pantyhose Varies
White tennis shoes (Keds type) Varies
White socks Varies
Character costumes in accordance with performance plan
Jewelry: Generally provided unless otherwise notified
Makeup is the responsibility of the chorus member: Prices vary by manufacturer.
Lipstick, nail polish, eye shadow, blush (colors vary based upon costume)
Foundation:_Individual color (either MaryKay or your own foundation approved by the
Costume Committee)
Eyeliner: Black or Brown
Mascara: Black (or false eyelashes-optional)
Eyebrow Pencil: Black or Brown
September 2013 31
Glossary of Common Terms
Afterglow
Cast party after a show or performance
All-in-One Undergarment worn under costumes
Break a Leg! Said to wish someone well in performance
Chest Voice (Register) Lower range of voice
Chorus Position Downstage foot slightly in front of the other foot, facing the director
Cone An image or diagram used to graphically depict the balance of barbershop sound
Coning The art of adjusting to maintain the proper balance of a barbershop chord
Coronet Club Association of all past International Champion Quartets
Diphthong Two vowel sounds sung on one note, greatest stress on first vowel: A =Ay-ee, O = Oh-oo, I = Ah-ee
Double Two parts on the same note, usually an octave apart (bass on low F, lead on F above middle C.)
Downstage Toward the front of the stage
Dynamic Contrast Planned volume changes to enhance performance of song
Embellishment Swipe or other musical addition to song for added interest
Back Rails Rails attached to top riser row
Forward Motion Sense of lyrical flow, with vocal line moving toward something in anticipation, especially in ballads
Hang Ten (on Risers) Standing forward to the front edge of the riser
Hard Palate Firm part of the roof of the mouth
Head Voice (Register) Upper range of voice
Inside Smile Lifting of the soft palate
Interval The distance between two notes
Intro First part of a song
Key Letter name of the scale in which a song is written. This note is blown on the pitch pipe (tonic)
Mask Facial muscles under the eyes into the temples, around the nose, in the lip, and from the temples
down to the chin
Off the Paper Being able to sing your part without referring to the music
Overtone Unsung tone heard above the highest tone of a properly balanced and matched chord
Patter Harmony parts singing different words while lead sings melody
Physical Warm-Ups Warming up of body to provide a suitable environment for the singing mechanism to operate
Pickups Beginnings of phrases sung by only one voice
Pitch Pipe A musical instrument used to help singers begin in the same pitch; electronic pitch pipes also are
used. The Pitch Pipe is the name of the magazine published by Sweet Adelines International.
Progression A sequence of chords
Quartet Etiquette Showing courtesy by not singing along with a foursome, giving positive response when quartet is
performing
Queens of Harmony International champion quartet
Ringing Chord When a barbershop chord is balanced, overtones and a “ring” are produced
Ripple/Wave Choreographed move that starts at one side of the chorus and travels to the other side
Sectional A rehearsal of the sections which usually occurs during regular rehearsal time.
Skill Building A regular part of the rehearsal where vocal exercises are used to teach and reinforce a vocal of
visual skill
Soft Palate Soft, squishy part behind hard palate
Stage Left The performer's left, when onstage facing the audience
Stage Right The performer's right, when onstage facing the audience
Stagger Breathing In chorus singing, taking a quick breath in other than a planned breathing place, usually within a
word or by omitting a word
Swipe Two or more chords used to embellish a melody note, sung on one word or syllable
Tag Last part of a song
Take It From the Edge Start at the beginning of the music, or "take it from the top"
Tidilly Tiny swipe done by one part
Traffic Pattern Designated and carefully timed path followed by choruses and quartets on competition day
Tuning Refers to the ability to sing both "in key" and "on pitch"
Upstage Toward the back of the stage
Unison Two or more voice parts singing the same note
Vocal Warm-Ups Getting the voice ready to sing
Woodshedding The art of singing barbershop "by ear," without a written musical arrangement
\
Members of the Voices in Harmony Chorus have the opportunity to learn many new skills as well as
share the skills and talents they bring to the chorus. Please complete the following information and
return this form to Jill Burton or Shirley Southgate, Membership Team Leaders, within one month.
Name: ________________________________________ Date: _____________
Talent or Skill
I would like to share
this talent or skill
I would like to develop
this talent or skill
Art/Graphic Design
Choreography/Visual Performance
Coaching: Quartet/Chorus
Conducting/Directing
Finance/Accounting
Fund Raising
Grant Writing
Leadership/Management
Public Relations/Marketing/Media
Membership Recruitment and Retention
Mentoring/Buddying
Music: Arranging
Music: Sight Reading
Music: Theory
Project Management
Emceeing/Public Speaking
Quarteting
Visual Performance: Costume Design
Visual Performance: Costume Construction
Visual Performance: Make Up
Vocal Production: Teaching
Script Writing
Show Production
Social Events Planning
Strategic Planning
Web Site Design/Maintenance
Other:
Other: 33
Voices in Harmony
Member Talents and Skills Profile - 2013
Voices in Harmony New Member Re-Recruitment
Survey
Over the last year, you joined Sweet Adelines International, an organization of
nearly 30,000 women who sing barbershop harmony. You also joined a family
that we call the Voices in Harmony Chorus.
Voices in Harmony strives to be a warm and inclusive organization where
members are valued as people and challenged as singers. An organization
where we are encouraged to grow, to laugh, to learn. An organization where
you feel loved and welcomed each week… where everybody knows your
name. Because it is important that we have been successful in creating a
culture that will make you want to always be a part of us, we need your
feedback.
Think back to the time when you made the decision to join the Voices in
Harmony.
What were the top three reasons you joined?
Now… what are the top three reasons you stay?
Please return this form to Jill Burton by______________________. And thank you!
This information will help us continue to create and maintain a chorus where we
each want to belong. 34