January/February 2014

INSIDE: : the art of reinvention • Rehearse like a champion • 2013 District Champions the AMBASSADORS ofHARMONY are proud to announce our newest recording

SOMEWHERE

THE AMBASSADORS OF HARMONY

Available NOW at aoh.org/store January/February 2014 VOLUME LXXIV NUMBER 1

HOW MANY MEETINGS have left you feeling like this? Members of Novem- ber’s Leadership Forum in Nashville were feeling extra brotherly after spending the weekend generating forward look- ing plans based on what our 800 chapters said 14 they needed most. Lorin May Features Hall of Fame class of 2013 2013 District quartet champs 9 Greg Backwell, Dr. Greg Lyne and “Bub” Thomas 21 The best quartets from the fall round of contests 5 quick fixes, quartet or chorus Welcome new members 10 Member of the 2014 Harmony University faculty 24 More than five months of members and their address quick solutions to common problems recruiters Kevin Keller, George Gipp, Barry Towner, Marty Lovick, Rik Johnson Joe Barbershopper: Gary Forsberg Masterpiece: the art of reinvention 25 He’s never won a quartet championship, but Gary is 18 Great voices and prior success only got Masterpiece yet another Barbershopper quietly making a difference so far. To go to the next level, they decided they “Montana Jack” Fitzpatrick would have to change almost everything Marty Lovick, Dr. Chris Peterson On the Cover Quartet fixin’ to be fixed cover by Eddie holt Departments

2 7 THE PRESIDENT’S PAGE Harmony How-TO Why I call 2014 the Year of the Volunteer How to rehearse like a (2012) champion 3 28 Straight Talk Stay Tuned 15 months in, you’ve boosted my optimism Alexandria rescues week for famous boy choir 4 New music genre: Steampunkbershop Letters 30 “No Strings Attached” applause ... but the cover? Member service directory 5 Where to find answers TEMPO 28 Special insert this issue hints at just the beginning The Tag Visions of Excellence garnering excellent reviews “Let’s All Sing”

January/February 2014 • The HARMONIZER 1 The Year of the Volunteer

the President’s page Shannon Elswick, Society President • [email protected] Why I call 2014 the Year of the Volunteer appy 2014, everyone! Can you believe another year tablishment of our new volunteer army. Prompted by a has come and gone already? Becky and I wish for you compelling Keynote Address by Montana Jack Fitzpat- and yours a safe, happy and successful year. rick in January, 2012, and under his capable leadership, Someone asked about my “term” of office and I the 23K Project was launched. Jack, Keith Eckhardt, Hexplained it was actually two one-year terms. (Either Roger Heer and Bud Laumann designed and man- an expression of confidence or a severe lapse of judg- aged a system that enabled us to contact over 20,000 ment by the Board.) The next question was, “What’s members by telephone and/or email during the year. the difference between the two years?” I had to think a More than 3,000 members completed opinion surveys little about that. The technical answer is rooted in the and skills assessments. I am excited to report that more bylaws and election procedures of the Society Board than 1,650 of those members have joined the list of and is, frankly, really boring. So I talked about 2013 willing volunteers. Pete Carentz has signed on as Chief and 2014 in general and what made them special. Volunteer Officer to coordinate and oversee the opera- The year 2013 was our 75th Anniversary year, and tional aspects of our “missions.” Multiple projects have what a year it was! Congratulations to all who made it launched already and many more are being planned. such a wonderful celebration. While I hesitate to start So, what about 2014? As noted above, it is still the naming names for fear important contributions will be 75th year celebration through April 11th, so we need missed, I have to give shout-outs to Border Patrol for to keep celebrating but, at least in my mind, 2014 is its Senior Championship performance in Orlando, to the Year of the Volunteer. And I say that not only the 75th Anniversary Committee for its exceptional because I am excited about the possibilities created by planning and execution, to Grady Kerr for the out- having an army of willing volunteers but also because standing 75th Anniversary International of a new and exciting energy I am beginning to see in Convention Exhibit and his work on the our existing base. 75th Anniversary issue of The Harmonizer If you think about it, the true mission of barber- and on the 75th Anniversary Board and shop is mostly in the hands of volunteers. Very few of Committee, to the Voices of Gotham our chapters have paid administrators and I am not and John and Sharon Miller for assisting aware of any paid positions, other than through some with the Webcast anniversary performance business contracts, at the district level. The District reaching 110,000 live viewers in President’s Council is 100% volunteers and they are We are an organi- 35 countries (of which 85,000 stepping up in a big way to help overhaul our focus for zation of volunteers watched the entire broadcast), to the future in response to feedback we received from 2012 champ Ringmasters, who the Chapter Visitation Program. (See Marty Monson’s who share a strong helped celebrate our 75th An- article on page 10 of this issue.) sense of purpose. niversary by singing on the Today The point is, we are an organization of volunteers Show to national audiences, to the who share a strong sense of purpose. So, what if each What if each one Ontario District for hosting a great one of us made a conscious decision to volunteer for 75th Anniversary Convention in just one more thing this year? What if each member of us made a con- Toronto, to Toronto Northern of our Society thought carefully about the gifts and scious decision to Lights and Masterpiece for their talents he has and found a way to make a difference in championship performances, to his chapter and his community? And, understanding volunteer for just all those who participated and/or all such activities ultimately inure to the benefit of our one more thing attended the Carnegie Hall Perfor- chapters and the Society as a whole, what if all of us mance led by artistic director Mark look for “out the window” opportunities to improve this year? Fortino (Director of Heart of our communities by making the music that makes a America Chorus) and to Marty difference? What a difference we could make! and our Nashville-based staff for keeping all the op- Happy New Year and Happy (continuing) 75th An- erational balls in the air while also juggling significant niversary! public awareness opportunities. And, while our 75th ’Shop ’til you drop in 2014! anniversary year is behind us, the celebration contin- ues through April 11, 2014, so there is still time to plan your own special event(s).

The 23K Project keeps building The other significant event in 2013 for me was the es- [email protected]

2 The HARMONIZER • January/February 2014 Straight talk Marty Monson, CEO/Executive director • [email protected] 15 months in, you’ve boosted my optimism appy New Year to Barbershoppers all over swell of a cappella singing, but I’m confident the world! As if an omen of how 2014 is we have the organization to help make that going to pan out, my first e-mail on New happen. If you need additional words of Years Day 2014 was from Deke Sharon, one encouragement, just ask one of those who H of modern a cappella’s biggest pioneers and attended the November Leadership Forum promoters and also the producer, music di- in Nashville. (See the ad on page 17.) rector and arranger for NBC’s The Sing-Off. Lorin May and his team of editors and He woke up the morning of Jan. 1 and all he writers continue to offer you in- had on his mind was barbershop. sight into the activities of the Deke sent wonderful words of encour- BHS. Take it all in. Shannon’s What’s in Marty’s Daytimer? agement to the BHS and our peers over at “Year of the Volunteer,” the • Jan. 8-10, 2014 Sweet Adelines International and Harmony, feedback from last month’s “No Staff kick off Inc., but also words of concern: “I fear Strings Attached” issue (keep meetings that barbershop singers will continue to those coming in), Emmanuel’s re- • Jan. 14, Site visit, remain inwardly focused at a time when hearsal techniques (BTW, my son Pittsburgh the world’s eyes are on a cappella,” he is his biggest fan!), the countless • Jan. 15, Site visit, New stated. “This surge in interest will not contributions of our recent Hall Orleans • Jan. 16, Vocal Majority last forever.” Do you know that more of Fame honorees, the wonderful visit, Dallas than 5.3 million viewers watched the insights into Masterpiece’s recipe • Jan. 21, Music Educa- finale ofThe Sing Off? for success, quartet singing quick tor’s Information Night, I’m more ener- tips from our esteemed HU faculty Nashville gized than I’ve More excited than ever (come visit Nashville this sum- • Jan. 28–Feb. 2, Mid- I’m more energized than I’ve mer), our new District champions winter Convention, Long ever been in ever been in my life—and for (a bunch of good looking lads I Beach those who know me, I know must say ... that’s what O.C. Cash • Feb. 5-8, Eastern Divi- my life—I know that’s tough to imagine. The would say), and so much more. sion ACDA, Baltimore that’s tough to past 15 months have been an In addition, I’ve included a high • Feb. 13-15, Texas Mu- education into the rich tradition level summary of our 2014 business sic Education Associa- imagine. and musical gifts the Barbershop goals, which includes details on tion, San Antonio Harmony Society has to offer. what happened at the Leadership • Feb. 19-22, Western I’m still learning and discovering every day, Forum in Nashville, November Division ACDA, Santa but my exuberance and inspiration to work 1-2. We are taking action on what Barbara “Together” is bursting at the seams. The you told us you needed attention. • Feb. 26–Mar. 1, Cen- amount of passion and opportunity exceeds One of the highlights of the week- tral Division ACDA, any Fortune 500 opportunity. Why? Because end was the reading of a manifesto Cincinnati of you! that is included on the backside We are making a difference in many lives of my Midwinter letter that came What is Marty listening to? all around the world, every single day. How with this issue. I hope you enjoy • IV many is tough to quantify, but the execution reading it and taking in all the Christmas CD and engagement into your communities is meaning of what it actually means simply amazing and comforting. We still to be a Barbershopper. Our internal theme have many chapters that need our help and for 2014 is Together, Making the Music That’s encouragement to benefit from this ground- Making a Difference. Let’s make 2014 a year we all will re- member for years to come! Cheers,

District, Society and staff leadership sing at the opening session of November’s Leadership Forum in Nashville [email protected]

January/February 2014 • The HARMONIZER 3 tempo Timely news

Special insert this issue: a taste of our rebranding tools Be sure to take a look at the special invita- tion to the Long Beach convention that came bagged with this issue of The Harmo- nizer. Folks attending the convention will be among the first to learn about our Society’s rebranding efforts, but this mailer hints at some things in the pipeline. You’ll be see- ing more of this new look in the months to come as we press forward a theme of Together, Making the Music That’s Making a Difference. More than a logo or an image, this effort will express the many ways that our entire barbershop life—singing, serving, reaching out to our communities—reflects the real value we bring to the world.

Visions of Excellence garnering excellent reviews Barbershop is increasingly be- offer the whole of the art form. As ing recognized in academia as a such, there is very little in Visions of legitimate choral art form, a lead- Excellence that is not immediately ing journal notes with a glowing applicable to every choral conduc- review. tor. Few among us would not benefit The November 2013 Choral from on-going discussions of blend, Journal, publishedVisionsofExcellence_Cover.pdf 1 2/21/2013 3:39:14 PM by rehearsal techniques, the American Choral audition procedures, Directors Association, ensemble formations, or devotes two pages to a literature selection. Each

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MY sion of CY throughout the text. Even VisionsCMY Of Excel- K those few questions that Lorin May lence: A Dialogue with The Finest Directors from are genre-specific are not Honorary Life Member Paul the Barbershop Harmony exclusionary. In Chapter Cooper of The Nylons passes. Society. The reviewer 18, for instance, the ques- Paul Cooper, a founding member praises the editorial ap- tion posed is, “What does of legendary a cappella group proach: barbershop chorus singing offer that The Nylons from 1978-90 (the “[Joe] Cerutti does not group the you can’t get in any other choral or group’s most explosive growth questions together through the use quartet medium?” The answers by years) and chorus director of the of overarching subject areas. This the interviewees fell generally into three categories: vertical tuning of Battle Creek, Mich., Chapter, gives the book a warm, organic feel; chords, ensemble cohesiveness, and passed away December 29, 2013. something far less like a textbook life-long avocational singing oppor- The Nylons invented the modern a and more like the sort of free-flowing exchange of ideas that commonly tunities. Who in the profession can’t cappella movement, and this past take place after hours at an ACDA identify with that?” summer in Toronto were inducted Conference.” Big win for the Society! into the Society as Honorary Life More tellingly, the review takes Learn from some of the best Members, with a reunion of seven special note of the high relevance directors in Society history. of the surviving members of the of barbershop directing to all cho- Order your copy for $19.99 at group. This sparked more reunion ral forms: harmonymarketplace.com or call ideas and shows, and they were “Each type of choral music has 800-876-SING. planning shows in Toronto in May. something of tremendous value to acda.org

January/February 2014 • The HARMONIZER 5 harmony how-to How to rehearse like a (2012) champion here are as many ways to reach your singing goals ized our perception of how barbershop can be sung. as there are music groups in the world. People from We started singing more openly and roundly in- different backgrounds and cultures often have stead of edgy and “twangy.” strong and different opinions about how music Break it down to smaller parts. When we work Tshould be rehearsed and delivered to an audience. on our sound, we usually break the song down into How do you reach your highest potential? There smaller parts and let half of the quartet observe is probably no right answer, but below is what we and coach the other half. We always have to pri- taught an audience at Harmony University oritize what we want to work on. Intonation in 2012 in a course entitled, “How To Re- is very important to us, but might be less hearse Like a Champion.” important to others. We try to lock octaves, fifths and fourths in as “pure” intonation as Prepare for each rehearsal we can. We try to adapt different vowels to Learn your music in advance. Even though match in resonance. we live close to each other, as much as pos- Block the vocal movement. We spend time sible we try to have the music and notes ready just blocking movements to be able to feel and for our first run-through. We are good sight readers, remember the exact mechanics of how we should but there are still things you can’t do together when produce that match. This is especially true in poly- you’re holding music in your hands. The faster you phonic sections (singing more than one melodic drop that paper, the faster you’re going to get to line at the same time), where we are singing dif- stage performance level! ferent words and vowels but still want to lock and We always use learning tracks for competition ring the chords. If you can match two different songs. Other methods may work better for you, but vowels in resonance, then vowel-matching should I use this method to memorize music: not be a problem for you. 1. Listen while reading the whole song 3-5 times. “Cheat” on certain vowels. Sometimes it may Mime the words. be effective for one or more voices to “cheat” on 2. Try to sing along with the learning track 3-5 times a vowel (sing a different vowel than is written) with sheet music, soft enough so that you can still to expand an important function that voice part hear whether you’re wrong. Articulation is key. has in a chord. Example: Singing a low “me” will 3. Without sheet music, start at the beginning of the usually make your mouth a bit too horizontal and song and sing along with the learning track with diminish the volume. Opening up to a “may” will your part missing. If you miss a note, stop. Correct produce a bigger sound and could contribute to a it. Go back from the beginning. When you have a fuller mix, depending on context. It all depends on section of the song memorized, you may move on. what it sounds like—it doesn’t always work. This 4. When a section is memorized, you may attempt might sound strange until you hear it in action, so to connect them to the sections you’ve already it’s a trial and error type of method. learned. Learn from (but don’t imitate) other groups. Each Come up with possible tweaks and interpretation in quartet or chorus has its own sound. You can learn advance. If one of us gets an idea of how the quartet a lot from groups that you admire, but trying to could tweak something in the arrangement to make sound like them might not be the way for your it closer to the way we want it, we will talk about it group. Focus on the strengths, then define what is beforehand. It may not be solved prior to the rehears- good about your own sound and develop that. al, but at least we have given it some thought so that ideas can be auditioned when we finally get together. Apply different techniques for different styles Coming from a classical background, singing Work on the sound choral music has helped us understand how to This is where all the fun begins for us in barber- intonate and sing together as a choir. Barbershop, Emmanuel Roll shop. We have had different input throughout the however, has helped us to think in a more analytic Bari, 2012 years on how we work with our sound. We started way but also with emotion and expression. It’s so quartet champ out by just imitating some of our favorite groups, great to come back to Sweden and apply some of Ringmasters, like 1978 champ and our tricks that we use in barbershop to lock inter- ringmasters@ hotmail.com 2006 champ Vocal Spectrum. Doug Harrington vals and make them zing. Swedish choral conduc- www.ringmas- was our first coach on sound and music. Later on tors like what we do with the choral sound. ters.se came David Harrington, who kind of revolution- Stay true to the style, true to the song. You may

January/February 2014 • The HARMONIZER 7 QUICK fixes

Want your quartet or chorus to instantly look or sound better? Faculty for5 the coming 2014 Harmony University Quartet College share quick and powerful remedies to five common problems

story;” how does the story unfold and resolve itself? Lack of forward motion When a verse becomes ploddy, it loses the audience’s In rubato treatments, which describes interest. Usually, we’re attempting to make a mountain most of our ballads, many groups struggle out of an emotional molehill. Audiences will give up on a with forward motion. Rubato is “freely quartet or chorus if the introduction is too long, no matter sung”—notes aren’t necessarily true to how well sung or how emotionally rendered it might be. the metronome. Forward motion is Intro for part two of a TV show. A simple con- not how fast or slow one sings at cept I use is this: “Ballads are like a two-part any given moment but the words and phrases TV show; the song begins at part two.” At coming at an appropriate pace to reflect the the beginning of part two, we would see development of the storyline. Music delivered “scenes from last week’s episode,” which in a rubato fashion should have some ebb and would review part one in no more than 30- flow to it; technically, phrases should get faster 60 seconds to set up and build interest for part and slower relative to each other. How do we get two. The format for that setup is “person, person, there successfully? place, conflict.” Conflict is not bad; it is an element of Don’t confuse verse for chorus. Most of our ballads suspense that makes us want to find out how part one’s have similar construction: verse and chorus. Where conflict will be resolved in part two.This recap of part we get off-track is confusing emotion with travel (the one is the verse. “Tonight’s episode” is the chorus. The pacing of the song). Simply, we fail to recognize the chorus shares your emotions as you work through what purpose of the verse and chorus. For almost every has transpired; it shares the resolution in the tag. song, the verse serves to introduce who you are, So, how would your delivery change if you sang where you are, and why you are singing this song. It’s the verse much like scenes from last week’s episode? simply introductory. The chorus is “the rest of the Recognize that the last phrase in the verse is the

10 The HARMONIZER • January/February 2014 “conflict,” that element of suspense that makes us • Natural (performers possess their purest innate char- want to hear “the rest of the story”! acter) In a quartet setting, have the lead sing the current deliv- Work two on two. With two sitting out beside the coach ery. Then, sing it as “scenes from last week’s episode,” that and two performing, the performers should expect brutal is, more narrative in delivery. My guess is that you will hear honesty (filtered through brotherly love) as to how well a more natural delivery that matches the ebb and flow that they are covering the components of The B.E.A.N. The the composer wrote in his lyrics. It should sound natural performers should evaluate their “body complement” to and yet have a sense of the meter of the song. It should the music. Honestly answer these questions: get you to the meat and potatoes of the chorus faster and • Do your gestures complement the song’s perfor- allow for more emotional development later in the song mance focus? when it is needed. Now you have somewhere to go! • Are your choices working well together as a unit? – Kevin Keller • Are your choices working well individually? Music judge, Contest & Judging chairman • Do you have “the look of the music” and “the look of [email protected] the sound”? • To what degree you feel your choices are “stage worthy”? Once these concepts are internalized and mastered, Visuals don’t support vocals you can move from competent/effective delivery into Inconsistent vocal and visual agreement engaging/enthralling performances. For now, stay sends a mixed message to the audience. focused and cover the B.E.A.N. Members of a group can individually or – George Gipp, Presentation judge collectively look uncomfortable on stage, [email protected] preventing an authentic image for the song and diminishing the song’s emotional impact on the audience. The root of all this is a confused Poor synchronization performance focus. I have found four major probable causes Identify the performance focus. As performers, we have when there are synchronization issues: the honor and responsibility to deliver a musical gift us- 1. Lack of voice part precision, ing one of the primary vocal/musical characteristics via frequently caused by the tuning a presentation focus choice: parts (tenor and bari) • Rhythm 2. Inability to strictly maintain the tempo. • Melody Can be caused by any or all voice parts • Lyric 3. Migration of individual voices to vowels • Harmony 4. Unmatched vowel sounds/lack of agree- So, for example, problems may occur if you incorrectly ment on word sounds apply lyrical gestures to a rhythm-focused song; you will We’ll approach this under the assump- feel uncomfortable with your delivery and tend to confuse tion that everyone is confident with your audience. This is a lose/lose! his notes and with the visual and You can discover the focus if the members of a group emotional plan. individually identify the focus of the song’s vocal/musical Precision of voice parts. Take characteristic(s). Yes, there can be multiple focuses in a a tune-up chord. Sing the phrase piece. For example, a verse sung freely can be lyrically with no note change but each focused, immediately followed by a rhythmic chorus. If voice on his tune-up note. (This the distinction is not clear, challenges occur. Discuss the exercise is often called “Johnny individual focus decisions until there is consensus. One Note.”) Note the spots Cover the B.E.A.N. Ensure all performance choices where precision drops away. This are-visually and vocally: may require a fifth person to confirm, • Believable (credible and plausible) but typically the lack of precision is ob- • Effective (successful in producing the intended result) vious to the whole quartet in one-note • Appropriate & Authentic (blending “suitable and matching. Now, slow the phrase down proper” with choices that are “genuine and true” in until any “noise” disappears. Repeat their context) successfully three consecutive times; if Johnny Appleseed District President Casey Parsons teaches participants a tag at the Society’s 2013 Leadership Forum held in Nashville Nov. 1-2. District presidents requested that the format change from training (i.e. discipline-based silos) and instead focus on creating actionable strategies for 2014 and beyond.

Together, making the music that’s making a difference Forum photos pages 14-17 by Lorin May

The year 2014 is poised to be a breakout year for on the success of BHS culture and brand. We have the Barbershop Harmony Society (BHS). We will a social responsibility to our local communities and continue to build on the monumental successes of greater society, and we will continue the long-term our year-long 75th Anniversary celebrations. If you effort to create a more philanthropic culture that sup- haven’t seen Toronto’s Saturday Night Spectacular, ports the six purpose areas of the BHS bylaws. Four of visit our YouTube channel to view the event … you these bylaws emphasize the importance of serving our won’t regret it. (Go to YouTube.com and search “Sat- communities. urday Spectacular 2013”) • We will continue and start building upon recogniz- As we began preparing for 2014 this past summer, ing gold medal (service) achievements of members, we had to be clear on our objectives. Properly align- quartets, chapters and districts at the Midwinter ing our limited staff resources and financial resources and International conventions. We encourage Tto ensure execution and achievement of those objec- districts and chapters to do the same at their local tives is critical to the progress we need to make. This levels. is a journey that we are all in together. We are still in a • Continually develop and strengthen partnerships transition, but feel very confident about our plans and with music educators, American Choral Director future progress for 2014 and beyond. Here are the 2014 Association (ACDA) and others Operational Business Goals and Objectives: • Recognize external partnerships for their collab- orative efforts in a common goal, “enriching lives through singing” and “singing for a lifetime” Our 2014 Society Business Goal 2: Rebalance financially goals and budget objectives and reduce dependency on dues Marty Monson We’re working to rebalance the way we allocate CEO/Ex. Dir. Goal 1: Stop being a best-kept secret membership dues, as well as re-establish their value. Barbershop Bagged with this issue is a partial introduction to where While we are a dues-based membership organization, Harmony Society the Society’s rebranding effort will be going; you’ll learn we need to maximize the financial impact of non-dues mmonson@ much more in the March/April 2014 issue. We have programs and offer broader opportunities for participa- barbershop.org much to share with the world, and we want to build tion. Objectives:

14 The HARMONIZER • January/February 2014 BHS Purposes: (directly from bylaws) • To perpetuate the old American institution, the , and to promote and encour- age vocal harmony and good fellowship among its members throughout the world by the formation of • Reduce dues depen- local chapters and districts composed of members • Provide new BHS projects that dency to finance overall interested in the purposes of this corporation donors may fund versus using BHS operations • To hold annual, local, district, state, national and operating funds • Utilize dues in ways international contests in quartet and chorus singing “value” is better under- • To encourage and promote the education of its Goal 4: Harness the power stood members and the public in music appreciation, and of 23,000 members truly • To promote public appreciation of Barbershop • Expand the “pond” working together quartet and chorus singing by publication and dis- from which members Build a business plan with the semination thereof; can join districts, staff and Society board • To initiate, promote and participate in charitable • Establish self-sustaining projects and to establish and maintain music schol- that meet the needs identified existing lines of business arships and charitable foundations by our chapters in 2011 via the to reduce dues depen- • To initiate and maintain a broad program of Chapter Visitation Purvey, and dencies musical education, particularly in the field of vocal then begin delivering on that • Evaluate and com- harmony and the allied arts. business plan, together. municate a simplified The rest of this article ad- “value” proposition dresses how we’ve already begun to address Goal 4 • Develop new line(s) of business for revenue generat- and what is next. ing income for the BHS that will positively impact our operating budget revenue stream by 2016. (For example, we can maximize our headquarters build- We are listening and taking action ing revenue capacity, increase music sales, learning Our May 2013 Society rebranding presentation to the tracks, and other consumables, both to Barbershop- Society Board was so well received that we elected to pers and non-Barbershoppers, and increase the give the same presentation to the District’s President’s number of ways someone can be part of the BHS.) Council in Toronto the Sunday night before the con- vention began. Goal 3: Significantly grow outreach results— Something incredibly powerful happened after that and expand to diverse ages and backgrounds presentation. Build on the successful partnership with Harmony Your district leadership decided to change the Foundation International by offering vision and plans traditional course of action and asked the BHS to to grow funding of the BHS Outreach Program admin- redirect the upcoming November Leadership Forum istration. Objectives: in Nashville to focus on the areas you told us were • Double our accumulated participants in three years most important from the Chapter Visitation Program. to 100,000 (2014-2016) versus the 50,000 in the past (Nearly all 800 chapters received a personal visit in five years (2008-2013). 2011 and shared extensive feedback.) • Increase overall outreach participants by 140% in In the July/August 2013 issue of The Harmonizer, we 2014. Encouraging more start up workshops and camps revealed the results of the CVP, but it hasn’t stopped (total projected camps and workshops are up 26% from there. Instead of focusing on the traditional silo-based 2012, including ten first time events) and increase collegiate tours into schools and communities. • Expand outreach to other age groups and ethnic diversity

Society President Shannon Elswick, CEO Marty Mon- son, and John Kasper of Tattoo Partners

In 2013, official BHS outreach efforts touched the lives of 10,000 mostly young singers. While expanding to other ages and diversi- ties, the BHS plans to touch a total of 100,000 singers between 2014 and 2017—more than could attend a game in the Rose Bowl.

January/February 2014 • The HARMONIZER 15 Five Areas of Focus Society and District leaders personally visited virtually all Society chapters in 2011 to assess each chapter’s strengths and to inquire about their individual needs. The consensus needs expressed by most chapters follow. job responsibilities (market- Society staff is already executing on an action plan for most of the day analyzing the ing, music & performance, “Modernize music.” On Nov. 1-2, 2013, more than 100 issues and creating action membership, president, attendees at the Society’s Leadership Forum proposed plans for each. In the clos- secretary, etc.) leadership action plans for the remaining four areas. ing session, I asked everyone from all 17 chapters came Shared activities to take action. The key is to together in Nashville Nov. • Enhance connections among members who want to stop talking about just ideas, 1-2 to deep dive into build- learn from other chapters but don’t know how but rolling up the sleeves and ing plans for each of the • Foster stronger fraternal/social connections beyond getting to work. The needs of following focus areas that the chapter our chapters is clear and now you said needed the most at- Modernize music we have to demonstrate we tention. (See sidebar “Five • Improve Harmony Marketplace music search and know how to “get ‘er done” as areas of Focus”) purchase capabilities they say. • Arrange and publish more popular music recogized What happened at the by today’s audiences and singers Post-forum follow-through Leadership Forum? Your district leadership has We first started the meeting Communication begun incorporating these • Overcome perceived lack of value for Society mem- singing. We Barbershoppers focus areas into their own busi- bership sometimes forget this when ness planning processes. So has • Overcome lack of awareness regarding information we begin to focus on admin- and resources the Society staff, which went istration and governance, through an exercise in prioritiz- even though we read all of Recruitment ing the 10 areas of focus from a those articles about how • Help chapters increase exposure in their respective staff viewpoint. The fact is, we singing gets everyone on communities cannot “focus” on 10 goals in the same page, especially • Help chapters learn how to find and recruit singers 2014. Instead, we chose three of singing harmony! Coaching the most high impact areas for Once we learned a new • Enhance desire for coaching by increasing the per- which our 2014 business plan song and sang a tag, we heard ception of its value could be well aligned to the re- from a third-party market- • Increase awareness and sustained use of available sults of the Forum weekend. By ing company, Tattoo, who technologies for coaching in every chapter the time you read this, staff will explained why our organi- have broken into two groups to zational brand needed some attention. As they stated, develop further details around the top three areas where “BHS is under-leveraging current mission and strengths.” we feel we can make the most impact in 2014. We then reviewed the plans to break out into four groups on Saturday and walked through what the staff What’s next? has already done to address the “modernize music” The staff plans are not yet complete, but we’re steadily area of focus. working toward finalizing and executing in three of the On Saturday, Nov. 2, we broke into four groups to 10 bulleted items among the five focus areas. I’m eager address the remaining four areas of focus; we spent to see how the leaders of our 17 districts will determine

At the end of the day, the four teams shared action plans that addressed their respective focus areas.

16 The HARMONIZER • January/February 2014 What participants loved about the Leadership Forum A high percentage of participants responded to post event surveys. 100% agreed Nashville was a great place to hold a leadership conference and 88% thought the focus areas were good to excellent (four-point scale). Here is what some respondents most enjoyed about the weekend: • The collaborative nature. Not a teaching forum, nor even a sharing Participants strategize in one of forum. A collaborative forum directed at specific problem areas and four extensive breakout sessions how best to attack them. The feeling that our input is valued and will be listened to their own priorities and action plans. Like headquarters, they • Beginning to focus on “real issues” that affect the broad body of members. cannot do everything at once, nor do all have the same priori- • Really liked this new format with the Focus groups ties or available skill sets. I am confident they will determine • The change in the format was fantastic! The subject matter was totally the right priorities for your district and be inspired to deliver different and greatly needed on the action plans created at the Forum. After all, the new • Enthusiasm and commitment of the entire group format for the Forum—doing rather than talking about • I liked the direct way we attacked the most important issues/problems • Great desire to come up with a good plan; dedicated leaders commit- Print Samplesdoing—was the District leaders’ idea, and the Society staff ted to making our Society better 100% supports this approach and alignment. • The improved communication emphasis and upbeat environment was This isn’t about tackling each focus area today, but instead very noticeable to all attendees. From the first day’s activities to the creating a way for all of us to achieve success. What is suc- visit to Harmony Hall, the people involved were friendly, enthusiastic cess? There are many measures. As Dr. Jim Henry might and anxious to get something accomplished. agree, I believe success ultimately comes when we do all we • We put the minds of the district leadership on the issues that the chap- can to ensure we celebrate many more of those little Gold ters said mattered to them. Medal Moments this year and in the years to come. I believe • Brand discussion, New music plans, Songs we learned/teaching meth- Society leadership has taken a big and important first step in ods, Camaraderie and Headquarters visit a positive and productive direction. n

Dan True Bart Vandemark Jim Waldorf Thank You! Doug Weaver The BHS Staff and District Presidents Council thank you for attending the Leadership Forum Allan Webb on Nov. 1 and 2, 2013 and helping us deliver solutions and action for our chapters. Harvey Weiss Paul Wietlisbach Society Board Shawn Bower Joe Grimme Murray Phillips Eric Winsor Shannon Elswick Jeff Bowyer Guy Haas Tony Pranaitis Woody Woods Gerry Borden Vikki Bradley Arne Helbig Terry Reichenbach Steve Wyszomierski David Calland Bob Bradley William Hogan Mike Renner Steve Zorn Dwayne Cooper Chris Buechler Christian Hunter John Rettenmayer Don Fuson Greg Busch Ig Jakovac Bob Robson Staff Skipp Kropp Bob Calderon Bob Johns Jim Rosenau Marty Monson Alan Lamson Pete Carentz Dave Kannberg Eric Saile Joe Cerutti John Miller Dwain Chambers John Kasper Steve Salamin Eddie Holt Gary Plaag Bob Coant Kevin Keller Don Salz Patty Leveille Dick Powell Bill Colosimo Frank Knoll Jim Sams Brian Lynch Bari Courts Roger Lewis John Santora Lorin May District/Society Cliff Dake Rob Macdonald Chris Scappatura Mike O’neill Volunteer Jim DeBusman Joe McDonald Lloyd Schick Dusty Schleier Leadership Larry Deters Larry Monson Chuck Schubbe Adam Scott Jim Bagby Ted Devonshire Jan Muddle Nick Schwob Joe Trauber Colin Bagwell Paul Ellinger Jeff Naughtin Steve Scott Heather Verble Kevin Barker John Elving James O’dell Mike Scott Jim Bates Mark Erikson Nate Ogg Russell Shaner Dean Beckman Denny Evans Judd Orff Steve Skolnick Russell Bell Hugo Feugen Kevin Pape Doug Smeltz Chad Bennett John Fitzpatrick Casey Parsons Steve Sommer Gordon Bergthold Bob Fox Stan Peppenhorst Steve Stripling Scott Beverley Warren Fuson Bob Peters Barry Towner Dan Bezaire Wendell Glass Glenn Phillips Jerry Troxel

January/February 2014 • The HARMONIZER 17 Masterpiece: The art of reinvention Lorin May How does a good quartet that people like become a great quartet that people love? To move up from a high plateau, Masterpiece decided to change almost everything

On a warm Toronto night in July, as the Air Canada The quartet was in no hurry to compete, but Centre audience anxiously waited for the results of debuted with a splash, placing sixth at the 2009 three rounds of competition, no one but the contest International contest. In the months that followed, administrators knew for sure who had won. Across Mark reluctantly left the group to better focus on three rounds, many top quartets had solid hits, and directing the chorus. After auditioning a number of there were many wonderful moments of harmony and highly-qualified singers, the stand-out lead was young artistry. But Masterpiece brought something special and talented Patrick Haedtler, a leader in the West- that week—something new that made the difference. minster Chorus, former lead for The Crush, and Was it the confidence and experience that comes from a front row member of the . having three former champs? Just the right match of After a few months with Patrick, Masterpiece placed talent and timing? All were factors; but the real story sixth again in 2010. With an additional year together is more about returning to the basics and reinventing and some new music, the quartet moved up to third Otheir approach to singing and performing. in 2011, and it looked as though this foursome was Born out of the mutual on the right path toward its goals of desire of four past gold medal- entertaining audiences and possibly ists to sing in a local quartet winning the gold. again, Masterpiece was born in the summer of 2007. Alan Rob Menaker (T) began his singing career more than Gordon (Gotcha!, 2004), 35 years ago in his hometown of Columbia, Md. After Mark Hale (, moving to California, Rob sang many musical styles with 2001), and Rob Menaker and the UCLA Men’s Glee Club, touring the U.S. and Far East Brett Littlefield ( , while expanding his vocal abilities. After graduating, his 1996) were members of the effortless tenor voice made him a valuable commodity to Masters of Harmony cho- many groups, culminating in a 1996 International Quartet rus from Santa Fe Springs, Championship with Nightlife. In the Masters of Har- Calif., and the quartet name mony, his vocal consistency and color have served as a was a nod to the chorus that model for the tenor singers for all 8 chorus championships. brought them together. Rob lives in Gardena, Calif., with his wife, Pat.

18 The HARMONIZER • January/February 2014 2013 District Quartet

CHAMPS Big Time (CAR) Drew Kirkman (T), Derek Guyer (L), Joel Guyer (Bs), Drew Ellis (Br) Contact Joel: 270-799-2020; [email protected] www.facebook.com/bigtimequartet

Premium Blend (CSD) Austin Veteto (T), Mark Fortino (L), Adam Veteto (Bs), Jeff Veteto (Br) Contact Jeff: 417-268-5326; [email protected] RedZone (DIX) www.PremiumBlendQuartet.com Craig Brown (T), Robert Strong (L), Adam Scott (Bs), Shawn King (Br) Contact Robert: 901-485-0489; [email protected] www.facebook.com/redzoneqt

viaVoice (EVG) Doug Broersma (L), Joseph Livesey (T), Tom Metzger (Bs), Mark Metzger (Br) The Newfangled Four (FWD) Contact Joseph: 909-643-5726; [email protected] Joey Buss (T), Jackson Niebrugge (L), Jake Tickner (Bs), Ryan Wisniewski (Br) www.vVvocals.com Contact Ryan: 702-767-1321; [email protected] www.facebook.com/NewfangledFour January/February 2014 • The HARMONIZER 21 Welcome new members! Thank you recruiters! New members who joined between July 1 and Dec. 1, 2013. Each recruiter’s name follows in italics

Cardinal Lewis Kelly Don Bowen James Gwaltney Jeffrey Christensen Hans Zander Evergreen Frank Johnson Thomas Byrd Scott Lindley Stephen Holben Zach Simpson Austin Pyle Roger Millnitz Ethan Albro Spencer Ezekial Josh Givens Joe Howard Trevor Cochrane Matthew Hale Zach Simpson Dylan Hall Esmond Robert Clark Thomas Maher Maynard Co- Mike Mays Matt Robinson Dixie Todd Bailey Conly Hobson Richard Timmer- Thomas Gillam chrane James Hansen Merlin Green Rob Cook Tracey Windley Shawn Farley man Joshua Nolte Justin Dunkak Todd Krier Kwesi Seals Jimmy Johnson Thomas Baty Kenneth Bossom William Clayton Jay Wort Harry Blanchard Charlie Hauk John Marshall David Dell Robert Cook William Fehlner Scott Wiederoder David Sampson Anthony Eck David Freeman James Storjohann Marvin Woodall Peter Berger Ronald Welwood Jeff Degler Steve Chambers Andrew Brunner David Helm Robert Brockhoff Luskey Green Mike Quesnell Don Fergie Ferguson Lewis Heath- Jackson Silvey Brian Ensign Willard Chamberlin Josh Swanson Tex Allard Gregory Brashier Thomas Wilkie man, Jr Donald Brown, II Daniel Nye Bob Jennings David Freeman Ernest Hughston Brad Brashier Daniel Fuhriman Kevin Degler Hugh St Leger Terry Fleharty Mike Scott Andrew Tipton Tony Nichols Tristan Brashier Ray Cox Lewis Heath- George Korinek Bryce Anderson Shawn Jensen Tom Tipton Jim O’Brien Brad Brashier Stuart Gagnon man, Jr Youhei Tohri J.L. Forrest Barry Gastrock Zachary Troutman Roy Stephenson Larry Breitbarth Bob Ross Mark Gould Richard Timmerman Walter Hardin Christian Jungck Jared Neidert Kenneth Phillips Mark Warns Reginald George Christopher Naoto Tsuji Matthew Fortino Roger Millnitz Bob Velazquez Ed Watson Andy Brown Duane Warner Burton Richard Timmer- Mark Fortino Harvey Klitzke Anders Sand Allen Robnett Kevin Mattson Anthony Gutierrez Robb Heady man Sean Foster Jim Nugent Tristan Weeter Josh Moore Ken Carter Bill McCay, Jr Steven Bogaerts Mike Warner Mike Mays Peter Laird Robert Sabata Kevin Rowe Joel Jacobson Del Hamilton Isaiah Hein Dave Lawson Paul Fouse Aaron Zart Del Weis Donald Schall Emory Christensen David Muralt Andrew Wheaton Clayton Yoder Caleb Fouse Tyler Manlove Gene Torrens Juan Salazar Ken Curtis Lyle Hughs Noah Jones Derek Guyer Brad Fritz Kyle Doeden Jeremy West Ted Duncan Kyle Connor Josh Honrud Joel Guyer Trey Young Phil Hunget Craig Panning John Whitehead Don Schaum Robert Weschler Steve Kari John Kephart David Young, Jr Nick Grandstaff Aaron Wolf Scott Wilcox Roger Beale Andrew Cross Terry Gose Liston Hinson, Jr. Mike Scott Skip Philson Robert Kerdus Jim Tooley Adrian Leontovich Leon Kruger Daniel Lentz Central Willie Grega David Montgomery Jacob Yochum Ron Visser James Davis Ron Kruger Steve Chambers States Austin Grega Kevin Powell Bradley Soule Timothy Williams Michael Ferguson Mike Larsen Joseph Lerza Chy Billings, III Ben Griffis Mike Koster Christian Yost Mike Williams Hans Dierenfeldt Ken Curtis Mike Mays Kyle Doeden Lyle Prunty Kyle Doeden Nick Larsen

IS THERE A BETTER WAY OR DAY TO CELEBRATE THE NATIONS AROUND THE WORLD?

WORLD HARMONY JAMBOREE2014 The MGM Grand Hotel in Las Vegas Thursday, July 3, 2014, 4:15 PM - 6:30 PM Ticket pricing: $39 only! Get your tickets NOW! Visit: www.barbershop.tix.com

Masterpiece, 2013 champion Toronto Northern Lights, 2013 champion

Including a fantastic lineup with groups like zero8 chorus, SNOBS and a unique chance to see , 1989 champion

More groups will be added during the spring.

24 The HARMONIZER • January/February 2014 Swipes ‘n’ Swaps The Upper Canada Chordsmen Chorus “New director” ads are free in The (Sharon, Ontario) is looking for a Music Direc- Harmonizer (first 50 words) to Society chap- tor and an Asst. Director. We are a 20-year-old ters. Send to [email protected]. growing chorus that is the only men’s barber- shop chorus in York Region, which has a huge DIRECTOR WANTED population within a short drive. We enjoy regular Sun Cities Chapter D101, Desert Aires performances, community events, the fellowship Barbershop Chorus needs new director. Sal- of friends and having fun together. We would ary negotiable. Conduct afternoon weekly/spe- prefer an experienced director that knows the cial rehearsals with 62 retired member chorus barbershop style but will provide training op- with aggregate total 1200 years barbershopping. portunities for someone that is willing to learn. Staging 40-50 singers, 10-15 performances Compensation is negotiable. Join us and help annually, NW Phoenix. Apply to David Moses, us grow our dynamic chorus. Contact: 289-648- 12510 Rampart, Sun City West, AZ 85375, 623- 6300 or www.uccchorus.com 537-9804, [email protected]. casualuniforms.com Jesse Cohoon Gary Meyer Robert Renner Sunshine Jay Gonzalez Jerry Beckerle Douglas Wheaton John O’Brien Matthew Alson Todd Reavis Greg Crisp Doug Drumm Robert Renner Shannon Elswick David Light 1-800-591-7063 Dan Rutzen Austin White McKay Perkins Marc Anselmo Bruce Clark www.casualuniforms.com Brendan Espin Thomas Ly Richard Grapes Stanley Slater Chance Martin Michael Melton Vinny Sortman Royce Ashcroft Carroll Hender- Ron Fletcher Rocky Joe Gibson James Prater son, III Jerry Beckerle Mountain James Terry James Burgess Michael McCarty Doug Gallant Scott Andrews Dennis Kiefer Timothy Fenton Jack Mitchell Stephen Taft Ron Andrews Brian Thoms Jared Decker Paul McCurtain Phil Glover Paul Bonilla Charles Sutter Thomas Decker Jack Mitchell Thomas Pierce Fred Mason Ian Tinney Elie Diaz Daniel Meyer Reuven Grajner Johnny Bugarin, Jr Lyle Thomas Shannon Elswick Farris Collins Gregory Mallett Bob Lano Ryan Wunibald Lee Edwards Micah Miller Jonathan Guthrie Austin Chase Dan Clark Schuyler Cunniff Greg Jefferies Dennis Wright John Chase Rashaad Everett John Miller Now on Stage... Bill Hornibrook Renato Djopar Seneca Land Shannon Elswick David Rogers Robert Laing Jerry Potts Tyler Bagnall- Chad Michael Eyer Micah Morris William Kline Michael Espinosa Shenkel Bob Reed Bret Morris Dan Austin Steve Hermanson Charles Zelows Michael Kimball Jason Olson Jonah Lazar Eric Evans Brendan Decker James Prater Duncan Gilman Gregory Mallett Ron Andrews Stephen Barrie Kevin McMahon Drew Prince Matt Macdonald Robert Ferreri Steven Harrington Mitch Greenberg Jacob Bankston 16 EXCITING Bruce Patterson James Wheeler Frank Lazipone Toby Ratcliffe Eli Ramirez Tyler Perrow Greg Gaiser Jon LeGro Johnny McDonald Marcus Kang COLORS! Darcy Smith Paul Gaiser Ward Votava David Smith Dick Tatum • Royal Blue • Gold • Red Triscott Scott John Glatter Ken Mack David Holmberg Wendell Glass • Camel/Beige • Burgundy James Macpherson Glen Schmidt Jay Holman Ben Teel Riley Tucker • Kelly Green • Brown Ben Sproule Ben Hansen Don McKeown Robert Tucker Curt Angel Dan Austin Kevin Pape Thomas Flint Chuck Waterhouse George Vierling • Augusta Green Steven Jackson Roger Nadolski Mike Booher William Wiard • Hunter Green Pioneers Leverett Ropes Thomas DePue Robert Weber Ron Wehmann • Carolina Blue Marvin Bartz Russ Josephson John Pecor Stanley Slater Andrew Hemphill • Orange • Navy Gary Grieger Jeff Smith John Slattery Kurt Wilhelm David Weick • Purple • Gray Brandon Ciesielski Fred Little Ralph Rasmusson Lance Lubin Gil Carrick • Black • White Dan Winer Mark Block George Jarrell Conor Yob Gary Deuman Scott Lowther, II Matthew Russo Southwestern Douglas Campbell IN STOCK Donald Myers Jerry Potts Brian Sagrestano Russell Banzon Eion Zink and PRICED Darin Hodde Wilbur Meiklejohn Mike Ryan Eion Zink Marcus Kang RIGHT! Dan Winer Steve Hermanson Don Peterson Jim Birght Russell Zumwalt Anthony Hoff Christopher Midgy- Griffin Shenkel Amil Lyon Stanley Borum Glenn Partridge ette Charles Zelows Grant Britt Tim Zumwalt Joel McGlothen Richard Koch Paul Van Aken Jerry Potts Russell Zumwalt Jeffrey Woodworth David Milner William Hauptner David Carleton, Jr Eric Rifenburgh Raymond Hold- Anthony von Bill Carleton Benjamin Jerzyk sworth Loewe Summers Steven Earp BlazerDepot.comBlazerDepot.com K.A. Roberson Billy Nguyen Brent Liberati Jevon Wright 888-322-7469 Jonathan Woolf Farris Collins Fred Wiginton Robert Easley Richard Sanchez Daniel O’Brien Bob Porter Dennis Prewitt For Formal Wear from Tux to Tails, Charles Nalbandian Robert Renner Andrew Willis Matt Edmonds Jerry Snyder Luke O’Brien John Slattery Michael Hood Etons, Hats, Shirts and More, go to... Jim Lamkin Robert Renner Ben Elliott HarmonyOnStage.com Adam Steider Brock O’Brien Brian Elliott

January/February 2014 • The HARMONIZER 27 stay tuned Success! Readers report what works Alexandria rescues weekq for famous boy choir he prestigious American Boychoir, prepping led, personal tour of the Capitol, augmenting the to leave for its 75th anniversary tour of the East scholastic aspect of their trip. They even arranged Coast, lost its scheduled gig on the Washing- for the boys to have a concert of their own at D.C.’s ton, D.C. leg of the trip at the last minute. The historic Scottish Rite (Masonic) Temple, where they T group would be forced to come to D.C. with no forged alliances that will generate future gigs. place to perform and nothing to do—a terrible dis- The Harmonizers themselves couldn’t have been appointment for the boys and a waste of precious more thrilled by the experience. “Being able to help touring time! Tour manager Myles Glancy had one these young singers was an honor and having them thought: call the Alexandria Harmonizers. on our show was an amazing treat for us and our pa- trons,” said Alexandria Har- monizers Master Director Joe Cerutti, Jr., who is also the Society’s youth outreach di- rector. “We’re delighted that our holiday show became a surprise occasion to share the gift of song with each other.”

A Harmonizer alumnus and a product of the Harmonizer’s own youth outreach program, Glancy thought his home chorus might be able to help fill the gap, perhaps by letting the boys sit in on their dress rehearsal for the Holiday Show. But the Har- monizer leadership had bigger plans in mind, even with only a week to go until their holiday show. The Harmonizers’ Holiday Show sells out months in advance and the scarce tickets (only 1,200) are highly coveted. The Harmonizers made a place for the Boychoir on its Friday night show (giving them a ready-made audience), volunteered to host the boys during their stay (saving them thousands in hotel charges), and arranged a staff- Small gig quickly becomes really big gig The Average Joes quartet thought it was lucky when the Boston Red Sox asked the group to sing for the historic un- veiling of a new statue for Carl ‘Yaz’ Yastrzemski. Shortly after they agreed, the team added this small aside: “Could you do us a favor and sing the National Anthem before the game?” It is *scientifically proven that audible gasps and jaw drop- page frequently occur with such events. On the big day, they opened the unveiling ceremony with a song to an audience of former Red Sox players, Boston Mayor Menino, TV cameras, and Yaz, himself. After the ceremony they serenaded Red Sox fans as they entered the ballpark. As game time neared, the men and their families were es- corted down to the field to finally sing the National Anthem for the final home game of the season. After the chords were The Average Joes: Eric Ruthenberg (T), Matt Mer- rung, Marc Rosenbaum’s (bari) two boys started the game by yelling, “PLAY BALL!” cier (L), Kirk Young (Bs), Marc Rosenbaum (Br) * Results still pending

28 The HARMONIZER • January/February 2014