Powerful Performances - Quartet Of Nations Region 31

March 2014
Are you ready?
Stage is set for the first ever
convention in Nottingham
Target The Top flyer
Contents
FEATURES
13

Singers Guide to Powerful Performances
Some insights on how to create a powerful performance
17

Preparing for contest
Using sports analogy to get you ready for the contest stage
Sweet Adelines International
USUALS
4
QUARTET OF NATIONS
REGION 31

RMT Updates
Sweet Adelines International is a
9

Regional Buzz
worldwide organisation of women
9

Warmed Up
18

Coaching Directory
19

Calendar of Events
singers committed to advancing
the musical art form of barbershop
harmony through education,
competition and performance
Ready… set…
The contest season is upon us and I’m sure that you are excited as I am about
our very own, Target The Top – including the new venue and the Open Division
contest. I could go on and on but before the show kicks off, we’ve compiled
some great insights to help you prepare for your performance. I hope you will
find them useful and inspiring.
As for convention preparation, the RMT and Convention Team are buzzing and
working hard to get everything ready so that when you arrive in Nottingham in
May, you’ll have as fantastic an experience as you have at past conventions –
maybe even more! We are also inviting the great British public to come and see
the best ladies barbershop performances in the UK and the Netherlands so
we’ve been advertising this fabulous event in and around Nottingham.
Wishing you all the best in your preparations and looking forward to seeing you
in May!
Charl
CHARL ASUIT
COMMUNICATIONS COORDINATOR
[email protected]
t charlie74
3 | March 2014 | Harmony Rag
Harmony Rag is published
quarterly in March, June,
September and December by the
Regional Management Team (RMT)
of the Quartet of Nations in digital
format. The June issue is also
published in print format.
Materials sent for publication are at
the author’s/contributor’s risk and
while every care is taken, neither
the Quartet of Nations RMT nor
Sweet Adelines International accept
any liability for loss or damage.
Send all queries, copy and images
to the Harmony Rag Editor,
[email protected]
Deadlines are one (1) month prior
to publication
headquarters we urge you to make the necessary
RMT FEBRUARY MEETING
The Quartet of Nations RMT met last February in
Nottingham. Whilst the main focus was around the
convention in May, here are the key matters
discussed and agreed:
 The proposal from a new videographer – Ian
updates to your chapter officer list as needed.
Updates can be made with the new automated
Charter Renewal and Chapter Officer Update form
online in the Members Only section under Chapter
Activity/Reports > Charter Renewal & Officers and can
only be made by the President/Team Coordinator,
Membership Chair or Treasurer. Please do not send
Dearman – for convention has been
your chapter officer updates to International
accepted.
headquarters staff. We strongly suggest you have all
 Single event tickets prices agreed – £25 for
each competition and £20 for the show; 25%
concessions to apply for under 16s and over
60s.
 Workshop for directors agreed.
 Faculty booked and allocated for the
education workshops in 2015 – Karen
Briedart, Darlene Rogers, Vickie Dennis,
Lynda Keever, Britt-Helené Bonnedahl and
Alyson Chaney.
 Alyson Chaney continues on as a member of
the international faculty.
 Revamp work for regional website is
underway.
 Applications for the Marketing Co-ordinator
post to be accepted until end of March.
chapter officer positions for the coming fiscal year
posted by the charter renewal deadline of 31st May.
To login:
 Go to www.sweetadelineintl.org and click on
Member Login
 Enter your Member Name: last name first initial
(e.g. Jane Smith would be smithj) and your
Member Number: your membership number,
then click on Log In
 A blue navigation bar will appear under the main
red navigation bar – click on the link for More
Member Options
 Under the Options Open to Members Only, click
on the link to Chapter Activity/Reports.
Note: The former link to Chapter Member Reports
has been renamed Chapter Activity/Reports
MEMBERSHIP MATTERS
Instructions for updating chapter
officers
 You will be asked to log in again with the same
criteria you entered in Step 2, click Logon when
you have entered your login information (you
can bookmark this page or add it to your
favourites so you can skip steps one through
The time is coming to renew your charter and
four every time you need to log in)
update your chapter officers. Although your charter
Note: The former link for Chapter Activity reports
renewal invoice will not be payable until after 1st
has been changed to Chapter Member Activity
May, this is a reminder that chapter officer updates
can be made anytime in the Members Only section
of the Sweet Adelines International website. To
ensure all chapter officers are receiving important
updates and helpful messages from International
Harmony Rag | March 2014 | 4
 In order to update your chapter officers click on
the link for Charter Renewal & Officers
 Make sure your chapter name appears and click
on Select Chapter
 Make sure your chapter contact information is
up to date and click on Continue Update
 Use this Update Chapter Officers page to make
all changes to your chapter officer list
To resign an officer:
 Find the chapter officer’s name (in the “Name”
column)
 Click on the drop down arrow next to their
 Click the “Add New” button to submit the new
chapter officer position
 Do this for each new chapter officer position that
needs to be added
 Click the “Continue” button
 A pop-up box will appear that says “Make sure all
changes are saved. Do you wish to continue?”
 Click OK
 Your new officers have been updated
position title (under the “Position” column)
 Select the position from which they are resigning
(for example: if they are resigning from the
Treasurer’s position, select Xpired Treasurer)
 Under the “To” column in the corresponding row
enter the date in which they are resigning
(today’s date or earlier – the “To” date cannot be
set for a future date)
 Do this for each resigning officer
 When you are ready to submit your changes click
the button labelled “Update All Records”
MEET MAGGI, HELEN AND MEL
In the December 2013 issue, we announced the
names of three new appointees to the regional
leadership team – Maggi McEwan is the incoming
Team Co-ordinator, Helen Glavina is the Quartet
Liaison and Melanie Rice is the Young Women in
Harmony (YWIH) Co-ordinator. We’ve asked each one
to share a bit more about themselves.
 Your resigned officers have been updated and
Maggi McEwan
they will no longer appear on your chapter
Having come from a
officer list
Note: If you do not resign an officer before their
expiration date they will be removed from your
Chapter Officer list after their expiration date and
you will no longer see them listed.
To add an officer:
 At the bottom of the screen, under “Add New
Chapter Officer,” enter the member’s ID number
in the space provided (in the ID field)
 Under “Position” click on the drop down arrow to
select the position for the officer you are adding
 Under the “From” and “To” column enter in the
dates that the officer will begin her position and
end her position (For example: From 5/01/2013,
To 4/30/2015)
musical family, I didn't
make a decent sound on
the instruments available
at home - piano, organ,
accordion, drums – so I
turned to my own inbuilt
instrument, my voice! I enjoyed life as a soprano in a
traditional choir until I was 18 when sadly I started
smoking. I then had a period as an alto, again in a
'formal' choir and in my Uni Gilbert and Sullivan
Society. After a period of nearly 20 years in the
wilderness, when singing in the shower was the best
I could muster, I saw an advert for a singing course
in barbershop. That was 9 years ago and I had a new
passion in my life. Having come to barbershop from
choral, I was frankly a bit sniffy about it, thinking
myself to be a bit superior. Well that particular
illusion was soon shot down in flames. I very soon
5 | March 2014 | Harmony Rag
learned to have the utmost respect and admiration
of Portsmouth and Raphael, 23, a Paediatric
for the skilful techniques of barbershop.
Dietician. My husband Stuart is in taxation and I
Within my own chorus, Spinnaker, I have had the
pleasure of seeing our numbers swell from around
25 to the current 80 and I have been privileged
retired in 2012 after 17 years of teaching in an inner
city comprehensive and 21 years as a Principal
Lecturer at the University of Portsmouth.
enough to be President for some years. In spite of
We live in semi-rural Hampshire with 2 British Blue
having learnt so much over the last 9 years, I am very
Shorthairs and 29 fish!
aware that I am still a baby compared with some of
my highly experienced colleagues. Every day is an
adventure.
I count myself as very lucky to have a second
'barbershop family ' and I know I shall never be
without friends.
Outside my barbershop life, I am a 62 year old ex
Brummie who has lived on the south coast since
1969 apart from 2 years spent in France and Exeter
whilst studying. I married in 1984 and have 2
wonderful children, Piers, 26, works at the University
I am very excited to be taking over the reins of Team
Co-ordinator from the lovely Sheila and I hope that I
shall be able to justify the trust people have placed
in me. One of my aims is to 'touch base' with as
many barbershoppers as possible so beware, the
hand on your shoulder may be mine!
Helen Glavina
I am the Music Director
for Rhapsody UK Chorus
based in Peterborough
MOOR HARMONY
Prospective barbershop chorus in Wadebridge,
North Cornwall need to recruit a new
Musical Director
We are a hard working chorus who won the last
two music competitions we entered locally and
are at stage 2 of our application to join Sweet
Adelines International
Following the departure of our Director, we wish
to continue to improve and to follow our path to
chartering under the ambition and inspiration of
a new leader – position to begin, if possible
after Convention May 2014
Are YOU or do you KNOW someone who might
be interested?
Please send CV application or requests for
further details to Sally Poxon
[email protected]
Harmony Rag | March 2014 | 6
and also the Baritone
with Simply4 quartet.
I have been singing with
barbershop choruses for
almost 20 years. Simply4 was formed 10 years ago
although the newest line up with Sharyn, Miriam and
Barbara has been together for just 4 years.
I am hoping to develop my ideas for regional quartet
education. I have a keen interested in watching new
quartets develop and wish to promote this in every
chorus. With the successes on the International
stage from our Region, 2014/15 is looking very
exciting! I am sure we can all benefit from these
experiences, particularly of Finesse.
I will shortly be looking at ways of enlarging the
in 2009 to be with my now husband, Steve. A few
quartet information available on our regional
years’ later, I was missing singing and wanting a new
website.
challenge. I applied for the Musical Director role with
But for now, can I just say how exciting it is to be part
of Region 31. I look forward to communicating and
possibly meeting with some of you over the next few
months.
London City Singers. Directing a chorus had always
been a dream and I was thrilled when this dream
became a reality in March 2013. I have sung in many
quartets and am currently singing with Accent! I also
provide vocal, expression, and showmanship
coaching to individual singers, quartets and small
Melanie Rice
I’ve been singing since
choruses.
childhood, so it was only a
In my role as YWIH Co-ordinator, I would like to work
matter of time before I
towards increasing awareness of Sweet Adelines
found Sweet Adelines
International and signing within the education
International. Instantly
systems and schools, and organising music
hooked on the harmonies,
education workshops geared to young singers and
I became a member in
quartets. I am really looking forward to working with
1991 in Burlington Ontario, Canada. After singing
the YWIH chorus in May. Who knows, maybe we will
Lead with Bayside Harmony Chorus I transferred to
take a YWIH chorus (or quartets) to
my dream chorus, North Metro, in Toronto Ontario,
compete/perform in the YWIH Festival someday!
where I switched to singing Tenor. I then resigned
from Sweet Adelines International to move to the UK
CHECK THE REGIONAL WEBSITE FOR DETAILS – DEADLINE FOR APPLICATIONS END OF MARCH
7 | March 2014 | Harmony Rag
TARGET THE TOP: CONTEST ORDER
OF APPEARANCE
In case you missed the announcement last Monday,
17th March, here is the order of appearance for the
2014 Region 31 Convention.
Quartet contest – Friday, 09 May
Contestant
Quartet
1
Fortuity (evaluation)
2
Chatterbox
3
Accent!
4
Mayhem
5
Domino
6
Simply4
7
Backbeat
8
Carousel
9
Raise The Roof
10
Q Music
11
Wicked!
12
Spark
13
Incognito
14
Mac4
15
Farenheit
16
Hot Note
17
Blonde Ambition
18
Vocal Zone (open division)
19
Footlights (open division)
Harmony Rag | March 2014 | 8
Chorus contest – Saturday, 10 May
Contestant
Chorus
1
Forth Valley (open division)
2
Moor Harmony* (evaluation)
3
Vocal Dimension (evaluation)
4
Singing Unlimited* (evaluation)
5
Cheshire A Cappella
6
Rhapsody UK
7
Somerset Hills
8
Hillfoot Harmony
9
Solent Sounds
10
Phoenix
11
Spinnaker
12
Milltown Sound
13
Celtic Chords
14
Aberdeen
15
DaleDiva
16
Plymouth Mayflowers
17
Lace City
18
Viva Acappella
19
Champagne Cornwall
20
London City Singers
21
Flying High Singers (open division)
* Prospective chorus
traditional meal in an old brewery, a visit to the
PRAGUE ADVENT CHORAL MEETING
castle and shopping at the markets. We got to grips
Submitted by Penny Wade
with the transport system using buses, metros and
Fourteen singers from the City of Roses Chorus
opportunities for impromptu singing which went
attended the Prague Advent Choral Meeting in the
down well with bystanders. All in all a very enjoyable
last weekend of November 2013. The chorus sang in
trip and one we hope to repeat in future years.
trams and waiting around for these gave us lots of
three venues, the St Nicholas Church, Old Town
Square, Manesti Miru Christmas Market and St
Salvator Church in the Old Town. The audiences,
made up of residents of Prague and members of
choirs from Ireland, Sweden, Switzerland, England,
Spain and Portugal, gave the chorus a very warm
welcome and were very enthusiastic in their
response to our thirty minute spots comprised
mainly of carols and Christmas songs. They
particularly liked the fact that we were all women,
sang without accompaniment, wore bright red and
sparkly costumes and were obviously enjoying
ourselves! We enjoyed listening to the other choirs
and had the opportunity to get to know and sing
with some of them during a supper trip on the river.
Prague is a beautiful city and we made the most of
our time there, fitting in a concert or two, a
Alyson Chaney presents a new regular column about how to devise a great vocal warm up routine for your chorus. She
would love to hear from you too, so if you have any great warm-ups to share please email Alyson at
[email protected] and she’ll include, with your permission, your favourite warm up(s) so that we can, as a
region, put together a useful resource.
9 | March 2014 | Harmony Rag
I have always loved planning, researching and collecting warm-ups to use at rehearsals and coaching sessions.
I’ve collected warm-ups from all over the place – other choruses, other directors, regional and international
events, choral workshops, the internet ….you name it, I’ve been there!
First of all, here’s a handy acrostic to help you remember what you need to do in any warm up session. This
acrostic was the brain child of two members of the Lace City Music Team, Helen Willis and Deborah Pollard, and
I think it encapsulates very succinctly what we need to do to prepare our instruments. Why not download it,
blow it up and display it in your chorus rehearsal room so that everyone knows what the purpose of warm-ups
is?
For this first piece, I’m going to introduce
you to some warm-ups you can do at home
to help you expand all your breathing
spaces. These will form an integral part of
the chorus warm-up session too. Of course,
good alignment is crucial too from the start
of your rehearsal and I have included some
exercises to improve and maintain good
alignment (posture).
First prepare your instrument: imagine
you are a clarinet – make sure all your holes
are lined up!
Make the champion’s stance a constant
part of your warm-up routine: raise both arms above your head and bring them down slowly by your sides
and feel how high and wide you are standing, ready to sing.
Say the following rap as you carry out the actions: toes pressed, knees bent, pelvis tilted, ribcage lifted,
shoulders relaxed.
Another great starter for any warm-up is the “pint of air” exercise: imagine you are drinking a pint of air –
stand the (imaginary!) pint glass in front of you, grasp it and bring it to your lips. Take a drink of that air – and
listen to the silence! This simple exercise highlights proper core breathing – and is one of the best
demonstrations of this important technique that I know.
Repeat the “pint of air” exercise: this time lay your other hand on your abdomen so you can feel where you
are expanding.
A great exercise to engage the core and tone up those breathing muscles: it’s the sip sip, hiss hiss exercise.
Sip in air twice, then hiss out twice, making sure the last hiss expels most of your breath. Repeat the sequence
five times. You can increase the number of sips and hisses too if you wish, again remembering that the last hiss
should get rid of the air.
Harmony Rag | March 2014 | 10
Another good exercise is the 3, 5, 7, 13 sequence: hiss 3 times, then 5 times, then 7 times, then 13 times,
making the last hiss a little longer each time. Change the sound to “ch”, then “sh”, then finally “ff”. Think of 13 as
being 3 lots of 4 plus 1 to get the rhythmic pulse.
Remind yourself of the warm air space: put your hand in front of your mouth and exhale as if you were trying
to fog a mirror. Feel how warm the air is. You should always breathe into this “warm air space” to produce a rich,
resonant, supported sound.
Another exercise to encourage warm air singing: breathe in and sigh out, firstly unpitched, then on a pitch. If
you find yourself yawning whilst doing this exercise, that’s good! Yawning is good!
Remember the acronym S P L A T: Singers Please Loosen Abdominal Tension.
Last year I was privileged to attend most of the Rönninge Chorus rehearsals in Honolulu and for the record
about half of their long and extensive warm-up consisted of breathing and phonation exercises before a single
syllable was sung!
Next time I’ll look at some
phonation warm-ups and
hopefully include any
you’d like to share. Thanks
in advance for your
contributions. I’d like to
thank the members of my
chorus (Lace City) in
particular for being guinea
pigs and for being on the
receiving end of some
crazy warm-ups over the
years.
All the best to you. ―
Alyson
11 | March 2014 | Harmony Rag
With classes aimed at both directors and their
assistants, the day will begin with registration
from 8.30am–9.15am followed by a short
welcome and introduction to Master Director 700,
Kim Vaughn!
Kim has a wealth of musical experience both as a
coach, teacher and singer. As a vocal teacher and
member of the National Association of Teachers
of Singing, Kim holds a BA in Music Education and
an MA in Vocal Pedagogy.
SATURDAY, 4 OCTOBER 2014
Jury’s Inn Hotel
Broad Street, Birmingham
She has been directing the fabulous San Diego
Chorus since 1985. The chorus has enjoyed many
successes, including winning the International
Championship in 2002. Kim has won the
International Quartet Champion title three times,
with High Society, Savvy and A Cappella Gold, the
first woman ever to achieve this. She also directs
Pacific Coast Harmony, a men’s barbershop
harmony chorus based in California.
Kim is a Sound Category judge as well as a
member of Sweet Adelines International faculty
and travels all over the world coaching choruses
and quartets.
Kim is very much looking forward to working with
Region 31 directors and her classes will include
Analytical Listening, How to Raise Your Level,
Artistry, Finesse & Interpretation Skills, The Sound
Category and How It Affects You. The day will at
end at 6.30pm after a short Q&A session – then
time to relax in the bar!
Registration opens on 19th March and the cost for
the day, including tea/coffee and a hot buffet
lunch is £75.00.
Come and join Kim Vaughn, Master
Director 700 of San Diego Chorus
for a music education day designed
specifically for chorus directors and
assistant directors
For full details of how to register, please go to
http://sweetadelines.org.uk/tunein.htm
SINGERS GUIDE TO POWERFUL PERFORMANCES
We spend hours and hours in the rehearsal room for
every performance and even more so in the lead up to
convention. We do it not just because we want to win
at contest but also because of that drive and passion to
share our music with other people – to let the music
and our performance affect our audiences in the same
way as they have affected us. Jeannie Deva generously
gave permission to publish some excerpts from her
book Singer's Guide to Powerful Performances, which
gives some insights on how to create a powerful
performance not just for convention but for every
performance.
Four Basic Fundamentals to Creating a
Each of us sings for our own reasons, but usually we
Powerful Performance
share one main motivation — we love it. We have
1. The power of purpose
something we want to share with others. This is a
wonderful thing. To give to others is honourable, and
audiences certainly respond favourably to this
quality in a singer. We always remember
performances that have moved us emotionally,
inspired and transported us, and ignited our inner
fire. A memorable performance makes us feel
vibrantly alive and always remains fresh in our
consciousness. It’s often this very experience that
inspires each one of those of us who choose this
profession to become a singer in the first place. Let’s
take a broader look at the elements that contribute
to this triumphant achievement before we apply
specific exercises that will enable you to hone in on
the details.
Many singers have great voices. So what? If you have
nothing to say and no reason to say it, does the tone
and command over your instrument really matter?
When we focus on vocal technique and performance
skill — both a necessary part of the process — it’s
easy to lose sight of why we’re singing. Vocal skill is
simply a tool, a vehicle, through which you can
communicate with your audience. It’s important to
recognise that it is you, the performer, who gives
something to the audience — not the other way
around. This is because the performance shouldn’t
be about you but rather what you want your
audience to experience from the performance.
Stardom isn’t a good reason to sing...
I’ve asked many singers who are just starting out,
“Why do you sing?” or “What is your purpose when
you perform?” and I have often heard, “I want to be a
13 | March 2014 | Harmony Rag
star.” Neither stardom nor even a successful
to complete involvement with the meaning
performance career, for that matter is likely to be in
you choose to give the song.
their future. That’s because they are focused on
 Be aware of your audience and include them
what the performance can give to them. This is
within the reach of your performance. By
backwards.
reach, I mean extend your
attention/awareness/energy/spirit with the
The audience is always the first concern. Whether
purpose of including the individuals that
you’re adapting your performance to a specific
comprise the audience.
venue or to fit a predetermined theme, hired to
create an ambient atmosphere in a restaurant or
club or sing for a charity fundraiser, you can achieve
a memorable performance if you recognise the
importance of creating an intended experience for
your audience.
2. Your mental approach or attitude can
influence your audience
Surely, we’ve all experienced the difference between
watching a performer who is comfortable with
themselves and certain of their ability to do the tasks
at hand and one who fumbles about in doubt and
incompetence. How do these two different types of
people make you feel? The voice is a finely tuned
instrument that can relay emotions and thoughts,
whether intentional or unintentional. If you’re
uncertain or filled with self-doubt, your audience will
know. If issues distract you that are outside of your
performance, your voice will sound bland; you’ll have
no connection to the song and your audience will
respond in kind. Self-confidence comes from
demonstrating ability; ability advances through
action. If you lack confidence now, learning and
practicing will help you achieve it. In the meantime,
you can transcend how you feel about your own
capabilities by practicing some of the following steps:
 Approach singing and performing with an “I
can” attitude. If you don’t believe you can,
then start with “I will.”
 Commit to each song you sing. This is
essentially achieved through a commitment
Harmony Rag | March 2014 | 14
3. Stage presentation and performance
skills
A performance is a multimedia, multisensory creation
and experience...
Your voice, while the single most important facet, is
only one of several sensory creations that will
influence your performance and audience.
A performance is visual...
Unlike a recording, your visual stage presentation is
an important element of any performance. This
includes what you and the rest of the chorus/quartet
wear, how all of you are positioned on the stage,
how you move, how you interact with the audience,
the lighting, and anything and everything that goes
into the visual aspect of the show.
Perform in the present...
Performance is a live communication between the
singer and audience in present time. Don’t create
mental image pictures of someone and sing to that
person in your mind. That will remove you from the
present and diminish your vitality and the emotion
of the song. Sing with the intention that each person
in your audience receives and understands what
you’re expressing right at this moment.
Work it out beforehand...
Many singers learn their songs and think that
constitutes preparation for performance.
Unintentionally, they now approach the actual
Ideally, vocal
performance (the show) in a slapdash way and just
development
hope it works. To perform on a fully professional
should result
level, your performance will require detailed pre-
in your
planning, practice and development of each
command of
ingredient of the show prior to arriving in front of an
an
audience.
expressive,
Study shortens the path...
The technique of performance includes isolating and
eliminating anything that would distract your
audience from complete immersion in the song and
spontaneous
and
passionate
voice that’s
free of
your performance of it.
limitations.
Many successful performers develop their skills over
intonation,
a long period of time by a hit-or-miss approach.
tone, range
However, if you isolate and work on each aspect of
and vocal embellishments (if you use them) should
your performance as you would your technical skills,
be advanced to the point of effortless execution.
you’ll be able to acquire these performance skills
When you’re confident you can use your voice freely
much faster. The development of your performance
without restriction or vocal fatigue, you’ll be better
skills is the gateway through which your voice and
able to direct your attention and energy to your
expression can shine out to your audience.
audience.
4. Vocal skills
A properly exercised voice will easily provide you with
Your voice is an instrument of communication and
everything...
good vocal technique is the route to full and free
expression. Good technique also provides career
longevity by preventing vocal blowout. Excellent
vocal technique enables you to sing freely with
passion and conviction.
Ample vocal technique provides peace of mind...
Your pitch,
Your vocal training should enable you to express
everything you hear and feel. Therefore, it should
include:
 A clarification of misconceptions about how
your voice works so that you aren’t
subconsciously interfering with its natural
If you’re uncertain whether or not you’ll sing on pitch
function – singers become involved with all
or have adequate range to perform the entire song
sorts of gimmicks to remedy vocal problems
without your voice cracking, you’ll tend to introvert
that wouldn’t exist in the first place if they’d
and withdraw from your audience. This will be
learned the natural workings of the voice.
evident in your performance. Vocal difficulty of any
 The development of the stamina to sing as
kind, whether it’s cracking notes, throat tension,
many hours as you require as aggressively as
vocal fatigue, or hoarseness, can interfere with your
you choose: With a true understanding of the
stage presence and cause you to hold back.
voice and the right exercises to develop vocal
muscles, singing becomes easier and your
15 | March 2014 | Harmony Rag
confidence grows. Confidence in your voice is
of professionalism, allowing your individuality to
a major milestone to a powerful and
shine.
unforgettable performance.
Stamina is the result of proper muscle tone...
[Excerpt from the eBook: Singer’s Guide
Some singers can sound great for a song or two, but
to Powerful Performances available for
lack vocal stamina. If they sing longer than their
all tablets in iTunes, Amazon, etc.]
undeveloped vocal muscles can tolerate, they suffer
from a blown-out voice. This is the singer who may
---------------------------------------------------------
be cautious about really 'giving it their all' for fear of
losing their voice. Some say that if you sing for too
many hours it’s 'over-singing' and that vocal
Jeannie Deva is recognised
problems are inevitable. I don’t find this to be true. It
as one of the top celebrity
is how you sing, not for how long you sing that will
voice and performance
wear out your voice.
coaches and originator of
Through my research and experience I have found
that if singers try to use muscles that aren’t
adequately developed, they’ll compensate with force
and effort. This can cause strain and pitch problems.
A gymnast would never think to compete without
adequate muscle training. Singers are vocal athletes;
yet, too many singers try to sing without adequate
preparation and muscular development.
If you train your vocal muscles so they can function
easily and you warm up properly prior to rehearsals
and shows, your voice will effortlessly respond to
The Deva Method®,
Complete Voice Technique
for Stage and Studio™. She
has trained choruses, quartets and regional
coaches for Sweet Adelines International as well
as Grammy award winners and multi-platinum
recording artists. Visit www.DevaVocals.com for
information on her popular video exchange
online vocal school. For information on her
method and more: www.JeannieDeva.com
Reprinted with permission
your musical ideas and convey your passion. This
© 2014 All Rights Reserved. Jeannie Deva and The
frees you to give peak performances that capture
Deva Method are registered trademarks owned by
the attention and hearts of your listeners.
Jeannie Deva Enterprises Inc.
I have spent most of my life researching how the
voice works and how to develop it for use without
compromise. I’ve accumulated the simplest, most
factual and straightforward techniques that quickly
help both seasoned professionals and beginners
overcome barriers to freedom of expression. As
singing becomes effortless you can focus on your
unique vocal identity. This raises you to a new level
Harmony Rag | March 2014 | 16
PREPARING FOR CONTEST
By Elaine Hamilton, Region 31 Education Co-ordinator
and Coach
around places in your home or work where you will
see them every day. You may or may not be a fan of
these, but the brain works in mysterious ways and, if
you tell yourself something often enough, it often
I can remember when part of the preparation for
comes true. Self-fulfilling prophecies and all that!
contest involved checking a long list of things that
YOU can choose what to tell yourself.
had to be worn to travel in, to watch the quartet
contest in, to do the walk on in, etc. All of which had
to be accompanied by multiple changes of nail
varnish! I'm not sure now whether these things
added to the stress levels, or if it actually took your
mind off the contest itself!
In the lead up to contest, think about what marginal
gains you can make. For example, prior to
competing, Bradley Wiggins ensured he avoided
people with colds to prevent upper respiratory
infections and had excellent hand hygiene for the
same reason. I'm told he even had no paint on his
One of the biggest changes over recent years in over
bicycle, so the drag was minimised, but I'm not
a variety of competitive settings, not just singing, has
suggesting we don't wear make-up! In identifying
been how much weight is now given to the right
marginal gains, you need to be totally honest with
mental preparation. As part of the build up to the
yourself and work out where you can get the biggest
Olympic Games in London, different sporting
gain. Keep it realistic and achievable, whilst always
disciplines employed people whose specific job was
bearing in mind the positive outcome you want to
to ensure the athletes were properly prepared
achieve. Visualising a positive outcome is also a very
mentally and 'in the right space' in their heads for
successful method used by athletes. They see their
the contest that was to follow. And we are no
whole performance, up to and including the gold
different! So… whilst you are ensuring you keep
medal being placed around their neck. Now gold
hydrated, vocalising every day, practising your songs
may not be what you're aspiring to, however you
and your choreography, I thought it would also be
could visualise the whole performance, including
beneficial to think about your mental preparation.
reading the score sheets afterwards and seeing a
The desirable, common theme amongst competitors
is the accurate execution of well learned skills -
certain number of points, or an increase by a certain
number from last year.
under extreme stress – and we need to prepare in
On competition day, your inner dialogue should be
order to achieve this. Readiness to perform is
as if you're with your most supportive best friends.
physical, technical, tactical and mental, the danger of
Preparation on the day is about being around the
just addressing one area is like if you only have a
right people and having adequate time for the
hammer in your toolbox. You need to prepare all of
physical, technical and mental preparation. Get it
these areas to ensure a successful outcome. There
right and there is a swing for the better. The last half
are many limitations in human performance, e.g.
hour should be calm, mental rehearsals with a focus
technical, physical, and psychological. You need to
on only the positive. Then...... you're ready!
look at which factors are modifiable and, if they are,
what are the most effective methods to enhance
them? A lot has been written about jotting down
positive mental affirmations and posting them
I hope the competition brings you everything you
wish for yourself and your chorus or quartet. Be
ready in all ways!
17 | March 2014 | Harmony Rag
ELLIE BLACKEBY, Lace City
NANCY KELSALL, Heartbeat UK
[email protected]
[email protected]
ANNE CARGILL, Aberdeen
SANDRA LEA-RILEY, Heartbeat UK
[email protected]
[email protected]
ALYSON CHANEY, RMT Workshop Coordinator,
DOROTHY MAIN, Aberdeen
Lace City
[email protected]
[email protected]
GLENN CHANEY, Lace City
[email protected]
EMMA DUGUID, Vocal Dimension
[email protected]
NORMA FERRIER, Forth Valley
[email protected]
ELAINE HAMILTON, RMT Education Coordinator,
CAL
[email protected]
TANYA JENKINS, CAL
[email protected]
Enthusiastic ladies’ harmony chorus seeks
Musical Director
The Humber Belles, a chorus of 35 keen and hardworking a cappella
singers, meet on Thursday evenings in the main auditorium of Great
Grimsby’s Central Hall. Our singing is mainly four part harmony with
a strong barbershop bias.
Members of LABBS and currently Open Choir Champions of the
Cleethorpes Music Festival 2013 we seek a Musical Director to take
us forward to greater challenges.
For further information please contact:
Chairman – Pam Oxley (01472) 882671 [email protected]
Secretary – Anne Storey (01472) 280043
[email protected]
Current MD – Vere Conolly (01472) 695836 [email protected]
Harmony Rag | March 2014 | 18
NICKY SALT, CAL
[email protected]
DAVID SANGSTER, Forth Valley
[email protected]
VALERIE TAYLOR, Vocal Dimension
[email protected]
GWEN TOPP, Aberdeen
[email protected]
MICHELLE WALKER, Lace City
[email protected]
LYNDA WOOD, Phoenix
[email protected]
2014
09 - 11 May
Target the Top: Quartet of Nations Region
31 Annual Convention
Nottingham
23 - 26 May
BABS 40th Annual Convention
Harrogate
25 - 26 July
A Cappella Harmony Academy
Tulsa
22 - 24 August
BABS Harmony College
Nottingham
04 October
Tune In: A day of music education for
Directors and Assistant Directors
Birmingham
30 October - 02 November
LABBS Convention
Harrogate
03 - 08 November
Sweet Adelines International Convention
Baltimore
Email [email protected] if you want to include your event in the calendar for free. Event
flyers and posters are subject to advertising guidelines.
COPY DEADLINE
The next Harmony Rag will be issued in the end of June. Please send all contributions to
[email protected] by
31 May 2014
19 | March 2014 | Harmony Rag
Coaching for 2014
As part of the 3-year education plan set out for Region 31, choruses are entitled to claim
the cost of coaching fees (up to a maximum of £250) in 2014. To apply for this funding:
1. Choose the coach, who you think would best help your chorus, and make the
necessary arrangements
2. Pay the coach directly
3. Download the coaching fee reimbursement form to claim up to £250 of the
coach’s fees – DOC, DOCX, PDF
4. Submit completed form along with a copy of the receipt to Nuala Hobden
([email protected]), Finance Co-ordinator of the Quartet of Nations,
Region 31
Note that the funding can only be used for coaching and not any other purpose.
The coaching should be carried out in 2014 only. Deadline for submitting claims is 31 December 2014.