barbershop quartet manual

THE STEPS PROGRAM STEPS TOWARD CHARTERING

STEP ONE

Sweet Adelines International P.O. Box 470168, Tulsa, Oklahoma 74147-0168 U.S.A.

9110 S. Toledo, Tulsa, Oklahoma 74137 U.S.A. 918-622-1444 • 800-992-7464 • Fax 918-665-0894

Internet: www.sweetadelineintl.org e-mail: [email protected]

Revised 03/10

THE STEPS PROGRAM STEP ONE

SWEET ADELINES INTERNATIONAL

VISION STATEMENT

Sweet Adelines International is a worldwide organization of women singers

committed to advancing the musical art form of barbershop harmony through education and performance.

MOTTO

“Harmonize the World”

GOALS

Sweet Adelines International will be the primary provider and resource for education, training and coaching in the development of women's four-part

barbershop harmony.

Sweet Adelines International will be financially stable and secure.

Sweet Adelines International will be recognized throughout the world as the leading organization for women's four-part barbershop harmony.

THE STEPS PROGRAM STEP ONE Page 1-3

STEP ONE TOWARD CHARTERING WHAT IS SWEET ADELINES INTERNATIONAL? Our organization was founded in 1945 under the name Sweet Adelines in America, Inc. In 1991 the name was changed to Sweet Adelines International, which better expresses the international scope of the organization. This nonprofit, educational organization has grown to 25,000 members throughout Australia, Canada, England, Finland, Germany, Japan, Netherlands, New Zealand, Scotland, Sweden and United States, with prospective chapters in Africa, Israel and United Arab Emirates. Sweet Adelines International is an international association in which every member receives the same services and has an equal opportunity to serve in an elected or appointed position. A chartered chapter consists of 15 (plus director) or more women who have fulfilled the established qualifications for membership in Sweet Adelines International and whose application has been approved by the International Board of Directors. Each chapter is primarily a chorus that sings four-part harmony, barbershop style, and rehearses regularly with a chorus director. The members of each chorus elect a board of directors or management team to organize the business affairs of the chapter and to conduct regular business meetings. The board of directors elects the officers from among its members. For additional information, refer to the Chapter Guide. Each individual chorus is a part of the international organization. As representatives of Sweet Adelines International, a chorus' performance standards should be of the highest possible caliber. For this reason, all choruses audition prospective members. Auditioning of members should begin now. Refer to the section entitled Audition Procedures for more information. A chorus must be approved for public performance by the Regional Education Coordinator in its region before accepting any singing engagement. It is important that the chorus meet the basic criteria for public performance by singing the right notes and words, with all four voice parts represented in the proper balance and blend. The Basic Criteria for Public Performance are described in the Step One materials. Quartets are formed on a voluntary basis from members of one or more choruses. Registration with international headquarters entitles a quartet to compete in regional competition, and protects the quartet's name from duplication by another quartet or chapter. Remember, you must be a member of Sweet Adelines International to register a quartet. When an individual becomes a member of a Sweet Adelines International chorus, she also becomes a member of the geographic region to which the chorus is assigned. She may participate in all membership activities sponsored at the regional and international levels. Chapters of Sweet Adelines International are assigned to regions, which are governed by a regional management team. The regional management team is responsible for the smooth operation of the region. Regional Membership Coordinators work with prospective chapters of Sweet Adelines International, and assist them through chartering. The Membership Coordinator of each region will visit prospective chapters at least twice during the chartering process, providing knowledgeable assistance in building chapter administration. Membership Coordinators are also active in membership recruitment and retention. Please keep your Membership Coordinator informed of your progress. Each region also has an Education Coordinator, who plans and implements the musical training within the region. The Education Coordinator also offers musical guidance to prospective chapters of Sweet Adelines International. Your Education Coordinator will contact you to plan the first of two required musical visits.


Both the Membership Coordinator and the Education Coordinator are recommended by their respective region and are appointed by the international organization. Each of these representatives has much to offer your prospective chapter. It is to the benefit of every chapter to encourage 100% attendance during the visits of the Education Coordinator and the Membership Coordinator. Every year, each region holds a regional competition, which includes a chorus and quartet competition. All chorus members are encouraged to attend and learn by observing the performances of other quartets and choruses. Information on dates and location of the next regional competition may be obtained by contacting the Education Coordinator or visiting the region’s Web site. All competitions are held under the supervision of the international organization. The first-place chorus and quartet from each regional competition are eligible to compete in the international competition held each year during the international convention. The winning quartet becomes the International Champion Quartet and the winning chorus is named International Champion Chorus. The international convention provides an excellent opportunity for new members to really feel a part of Sweet Adelines International. The full scope of convention activities includes quartet and chorus competitions, educational sessions, social activities, and singing throughout the convention city. Convention week even includes a chorus contest for small and medium size choruses that qualify and a Rising Star Quartet contest for women aged 25 and under. No one is a stranger at a Sweet Adelines International convention. It is a time when barbershop harmony lovers from all over the world gather to enjoy this unique art form. Through regional events, schools and conventions, all members have an opportunity for frequent participation and fellowship with others who share the same hobby, as well as opportunities to exchange ideas and discuss local challenges. Regional events are generally held in conjunction with a show or an education class. Participation in these events provides enthusiasm and know-how for choruses. All members are encouraged to attend as often as possible. INTERNATIONAL LOGO Use of Sweet Adelines International logos is regulated by the international organization. If such trademarks are to be used on an item to be sold, permission must be granted in advance by the international organization and a licensing agreement must be signed. The International Board of Directors reserves the right to withdraw permission for the use of logos at any time it deems necessary. For logo/licensing procedures, refer to the Logo/Licensing Procedure section of the Web site, www.sweetadelineintl.org/logo.cfm. Logos can also be downloaded from the “Downloadable Logos” web page on the Sweet Adelines International Web site. INCORPORATION Sweet Adelines International is incorporated under the laws of the State of Oklahoma. The incorporation of the international organization does not mean that the affiliated chapters are incorporated. Each chapter must evaluate for itself the advantages and disadvantages of incorporation. For additional information, refer to the Chapter Guide. THE INTERNATIONAL STRUCTURE A 12-member International Board of Directors manages Sweet Adelines International. Twelve members are elected by the membership and two members are appointed by the International Board of Directors. Choruses are canvassed for suggestions of potential nominees to the board. Four members are elected annually from a slate of eight nominees to serve a three-year term. The International President, President-Elect, Secretary and Treasurer are elected by the International Board from its members. The International Board of Directors meets three times each year to formulate all policies of the organization. The Education Direction Committee (EDC) has five members, appointed annually by the Executive Committee and ratified by the International Board of Directors. This committee plans, supervises and evaluates the work of the following committees:

• International Faculty Coordinators


• International Music Arrangers Program Coordinators

• Judge Specialists

• Director Education Committee

• Published Sales and Marketability Committee

• Young Women in Harmony Program Coordinators The subcommittees just described report to the EDC because they are directly related to education or educational planning. Having a different direction, the following six committees report directly to the International Board of Directors:

• The Membership Committee

• The Nominating Committee

• Regional Leadership Coordinators

• Young Singers Foundation Management Committee

• Editorial Review Board

Most business of an administrative nature is transacted through international headquarters located in Tulsa Okla. The building includes general offices, computer facilities, music/stock sales and a shipping department, as well as conference rooms for board, committee and staff meetings. SELECTING A CHAPTER NAME Decide the chapter name and the location where the chapter will meet as soon as possible. A chapter name will give your group its own identity and will be helpful in promoting and marketing your chapter. Approval for choosing a chapter name became necessary as Sweet Adelines International grew into an organization comprising hundreds of chapters and quartets. Policy was adopted in order to avoid confusing names of chapters with other chapters or even quartets. Prospective chapters are free to choose a name that has significance to the group. Most chapters select names indicative of the area or locale in which the chapter is located. Duplicate and/or similar chapter or quartet names are not permissible; further, a chapter should not use a chorus name separate from the official name. The words “the” and “chorus” are not included in the official registered name. A form is included in your Step One materials that gives detailed instructions on how to choose a chapter name. TAX INFORMATION Sweet Adelines International is a nonprofit, tax exempt organization qualifying under Section 50l (c)(3) of the United States Internal Revenue Code. Under this ruling the organization is classified as a corporation organized and operated exclusively for educational purposes. To maintain a tax exempt status, all 501 (c)(3) organizations are required to file annual reports with the Internal Revenue Service. At the close of each fiscal year (April 30), all United States chapters and prospective chapters with gross receipts of more than $25,000 are required to file Form 990 or 990EZ, and Schedule A. Additionally, the chapter must file a 990-T if gross income from an unrelated trade or business is $1,000 or more. Prior to the close of each fiscal year, international headquarters mails each United States chapter and prospective chapter general guidelines for filing the 990 forms. If a chapter or prospective chapter is required to file the 990


forms, international headquarters will provide assistance and forms upon request. A copy of the forms filed with the IRS should be mailed to international headquarters. All Sweet Adelines United States chapters and prospective chapters, as well as the regional and international governing bodies, must satisfy these filing requirements annually in order to protect the tax exempt status. Choruses not under United States government jurisdiction are not required to submit these forms. It is suggested that these groups consult their tax authorities before chartering to learn whether there are any filing requirements within their country. Many states have filing requirements that apply to nonprofit organizations. Each chapter and prospective chapter should check with the appropriate state agency to see if there are any filing requirements. Sweet Adelines International's exemption from federal income tax does not necessarily exempt chapters and prospective chapters from filing requirements and tax requirements on the state and local levels. Each chorus must be responsible for obtaining the necessary forms and for filing on a timely basis. This information should become part of the chapter's or prospective chapter's files and should be passed on to each treasurer. (See Help Section — Understanding the Required Tax Forms) PUBLICITY You're anxious for your prospective chorus to grow and we hope each member will want to help spread the news. Here are a few suggestions for a public relations campaign:

• To assist your chorus in becoming more visible and recognized in the community, your members should be aware of the need for publicity. The public relations handbook Selling Sweet Adelines is provided to prospective choruses and contains information on contacting the media, recruiting members, community service and other helpful information.

• As you prepare publicity materials to distribute, include facts about Sweet Adelines International selected from this literature. Emphasize that Sweet Adelines International is for women who enjoy singing! Be sure to include the date, time and place of your meeting (a map to your rehearsal site is helpful), and the name and phone number of a person who may be contacted.

Be creative in your marketing and public relations. Brainstorm ideas with other members. Here are a few ideas to consider:

• As a general rule, newspapers will list your meeting in their calendar of events section. Send news releases to the media when you are sponsoring a special event or program as well.

• Consider buying an advertisement in your local school's music/band concert program or in the school

yearbook. Request that local high school and college music teachers announce your rehearsals to their students. Ask local merchants to insert a small flyer, which you provide, into all their sacks, or to use full-size flyers as food place mats. Ask permission to put flyers in shops, church bulletin boards, apartment building complexes, etc. The ideas are endless.

• The most effective way to advertise your chorus and get results is to tell everyone you meet. Each day, you

may meet dozens of women, all of whom are prospects for Sweet Adelines International. Experience has shown that word-of-mouth is the most effective form of communication you can use to build your chorus.

o Currently one of the most popular means of word of mouth marketing is through social media.

Utilize online resources to build an image and reputation for your chorus through social networking sites such as Facebook, Twitter, Youtube, etc., You can also start and join in conversations through appropriate blogs, discussion boards and Web sites to recruit women to join your chorus.


• Build your own Web site to create an online presence. Most people are using the Internet to find information about anything they need and if your chorus cannot be found online you may be taking the risk of losing prospective members. By having your own Web site it will validate your chorus and draw women in to your rehearsal.

• Carry business cards with you at all times.

• Make sure every prospective member has the correct basic information about your chorus and our

organization. Always proof-read any chorus materials before releasing them to the general public.

• The International sales department has a number of professional tools for membership recruitment purposes for sale, such as multimedia mini-CDs and brochures.

Remember, very few women walk into chorus rehearsal on their own. Most are guests, invited by someone who has shown a personal interest in them. Publicity only plants the seeds, but chorus members must harvest. In the next section, Planning for Guests, are suggestions for making the guests who attend your rehearsals feel welcome. PLANNING FOR GUESTS We all want guests to visit our chorus, so be prepared for them. The first few weeks a guest attends chorus rehearsal are important ones. Make her feel welcome! The following is a sample of activities for a guest's first eight weeks of chapter life. First Week Create and staff a welcome table near the door. The welcome table should be set up each week, 20 to 30 minutes prior to the start of the meeting. (Early birds should see that you are ready to welcome them.) The table should have two or three charismatic women present to greet visitors. The welcome table may include the following items:

• Guest music folder (should contain all the music for that night)

• Chorus brochure (with photo and pertinent information about your chorus)

• Guest registration book (listing name, address, phone and how they heard about you)

• Adhesive name badges

• Prospective member brochures (Customize your own through the online marketing center or purchase them from the international sales department at headquarters)

• Copies of The Pitch Pipe magazine Greeters’ welcome guests, give them a guest music folder, have them sign the guest book and apply a name badge. Guests should be taken first to the director and introduced. The director should determine their voice part and introduce them to their section leader. As the rehearsal begins, guests should be introduced to the president by the section leader and then to the whole group. Members should applaud. During the rehearsal section leaders need to stand by their guests. The section leader is available to answer questions, help guests with their part and offer encouragement. Guests should be invited for coffee after the rehearsal. Guests should receive a handwritten note or letter the next week, thanking them for their visit. Guests should receive a phone call asking if they have any questions about the chorus. Guests should be asked if they plan to attend the next rehearsal.


Second Week Give guests audition music and procedures. Sing and enjoy. Third Week Sing and enjoy. Fourth Week Call and set up a practice audition. (See Audition Procedures following this section.) Conduct practice audition, taping included, with section leader or director or both in the room. Remind her that this is for her benefit, to feel what it's like singing in a quartet situation, to ask questions about her part, etc. Usually, because the pressure is off, thinking it's only a practice, she will pass and be a week ahead. Fifth Week Call and set up time for real audition. Hold real audition as described above. Have music staff/committee meet immediately after rehearsal to listen to tape and make decision on audition tape. Tell the prospective member her results immediately. Sixth Week If needed, re-audition during sixth week. Hold choreography audition if this is a part of your admittance procedure. Distribute next song to be learned, etc., to the prospective member. Seventh Week Collect application, check for all dues owed, etc. Route application through chorus board of directors. Present application with results of audition(s) to chorus membership during business session. (All guests should be out of the room. Guests may be served light refreshments and given a brief orientation about Sweet Adelines International during this time.) Vote by secret ballot. The secretary will need to send a letter to the prospective member to inform her of the results of the vote. Eighth Week Ask all guests to sit down (or find their places in the chorus) after they have been introduced, except the new member. The new member is introduced, accepts applause from the membership and guests, and is presented with the appropriate membership gifts (e.g. chorus name tag, new member booklet, chorus music folder, mailbox folder, etc.) as the historian takes photos for scrapbook. These are suggestions. Feel free to adjust this example to best benefit your chorus. Most of all, guests must be made to feel that you expected them, that you are glad to see them, and that you want them to come back.


AUDITION PROCEDURES All prospective members must be auditioned. The purpose of an audition is to determine potential ability. The audition determines if the prospective member can sing accurately without exaggerated vocal problems, can sing her own part independently, and can be trained to sing in the barbershop style. The audition is a selection tool that should be used to establish and maintain high standards of quality in the chorus. Auditions should be held privately, in a separate room away from where members are rehearsing or socializing, with as much consideration of the prospective member as possible. Since the prospective member will be understandably nervous, it is important to establish a friendly, warm, caring, supportive atmosphere before the actual audition begins. This is an excellent opportunity for the director to become better acquainted with the prospective members. Only the director and audition staff or music committee (sometimes the section leaders) should be present during the audition. Or, you might consider asking the Education Coordinator or her designated representative to conduct the initial auditions during her first visit. She can then assist the director in establishing an audition procedure and determine appropriate criteria for passing the audition, as well as provide direction in assigning voice parts. Very few members will come to the chorus fully trained in the art of singing four-part harmony, so give the newcomer a chance to prove herself. If she can't get through her audition because of nervousness or sheer stage fright, invite her to try again. Encourage her to continue to attend rehearsals. With the security that will come from more singing experience, she’s likely to pass her audition with flying colors. On the other hand, we all know individuals who are tone deaf and will not be an asset to the chorus. They may be vivid personalities, full of boundless enthusiasm and energy, but if they can't sing, they're not going to be happy in an organization dedicated to singing. Good judgment and infinite care must be exercised in determining whether a prospective member is basically tone deaf, or if she is simply too nervous at the time of audition to perform up to her capabilities. The most common audition procedures are: I. Individual audition, using piano

A. Director plays scales and intervals on piano or keyboard and has prospective member sing along. The purpose is to determine voice part, vocal range and quality, as well as how well she can match notes and intervals.

B. Director asks prospective member to sing a familiar song, such as Happy Birthday, in whatever

key she chooses.

C. Director asks prospective member to sing a few vocal exercises consistent with her voice part. II. Individual audition, using tape

Director plays learning tapes for selected song(s) from repertoire; prospective member sings her part with tape, preferably without using music. Director listens to be certain she is singing her part accurately.

III. Audition with quartet

Prospective member sings her part of selected songs(s) with three other members singing the other three parts, preferably without using music. (The audition quartet is usually composed of the section leaders.) Director and section leaders listen to be sure she is singing her part accurately.

There are two voting options for accepting prospective members into the chapter; both admittance procedures are listed in the Help Section under Chapter Membership Admittance. Chapters may select the voting procedure that works best for them.


Once the procedure has been selected, the chapter must continue with the same procedure for the fiscal year. Additional information regarding chapter membership is contained in the Chapter Guide and Policy Book. BASIC CRITERIA FOR PUBLIC PERFORMANCE In order to assure quality in the public performances of our choruses, the Education Coordinator or her designee in each region has the responsibility of evaluating the musical abilities of choruses and prospective choruses, including their readiness for public performance. Also, choruses are encouraged to establish an auditioning procedure for quartets that represent the chorus in public performances. It is difficult to specify exactly what “quality” is, and it is certainly unfair to use the level achieved by an international champion chorus or quartet as the standard by which all other choruses and quartets are measured. However, minimum standards can be established. The International Board of Directors has adopted the following basic criteria for public performance. These criteria will be used by the Education Coordinator or her designee in determining if a prospective or established chorus may perform in public. The International Board of Directors strongly urges choruses to use these same basic criteria when auditioning chapter quartets. If you have questions about the following criteria, or if your chorus and/or quartets would like help to improve in specific areas, contact your Education Coordinator. The following criteria shall be used in determining a group's readiness for public performance. I. Performance

A. Musical Performance 1. Performing groups and their audiences enjoy variety (including novelty or comedy songs, solos,

and songs with modern chords) in a performance. However, the performance should include predominant use of barbershop arrangements sung in barbershop style as defined in the Judging Category Description Book: “Four-part harmony, barbershop style, is a combination of several characteristics unique to this form of music, such as chord structure (arrangement), the cone-shaped sound, delivery and interpretation. These are integral factors that contribute to the ‘lock-and-ring’ characteristics of singing in the barbershop style.”

2. Public performances should include the following musical skills: a. Correct notes and words

b. In sync and in tune c. Energy and forward motion B. Visual Performance 1. Correct stage stance and posture

2. Even spacing between chorus and quartet members 3. Synchronization of planned movement 4. Display of appropriate facial expression 5. Energy and emotional connection with the audience

C. Appropriateness

1. Subject matter, lyrics or presentation should not be offensive to members and/or audience. 2. Length of performance should fit the occasion and the audience

D. Emcee 1. Material is planned ahead and relevant to the audience


2. Delivery enhances the performance and creates a sense of continuity throughout the program 3.Uses appropriate material in good taste. Good singing is the emphasis; joke telling should be minimized and used with caution.

II. UNIT APPEARANCE A. Costume

1. Proper fit 2. Clean, pressed and in good repair

3. Appropriate for venue and audience B. Grooming 1. Hair that is neat, clean, and suitably styled for the costume

2. Appropriate stage or street makeup applied in a uniform manner III. MEMBERS AS AMBASSADORS

A. All performance-related contacts between Sweet Adelines and the public should be business-like and pleasant. A generic plan, either formal or informal, should be developed that assigns responsibilities and ensures that all performance-related administrative details are properly handled.

B. Each chorus and quartet member should be aware that any interaction is a chance to make a

positive impression. Of particular importance are:

• Interaction between the performance coordinator and those who hire the group to perform • Interaction between the performing group and the audience, before, during and after the

performance • Interaction with personnel at the performance site.

CONDUCTING A BUSINESS MEETING The chair and secretary elected by your group are the temporary officers charged with the responsibility of guiding you through the procedures that lead to chartering a chorus of Sweet Adelines International. The chair has the responsibility of conducting any business meetings of your group. She is the official contact with Sweet Adelines International at regional and international levels. It may be necessary to elect additional temporary officers as the needs of your group increase. For example, once dues are established, a treasurer should be elected. Temporary committees may be set up to efficiently conduct the various activities. Your chorus should also have a historian, to begin recording the important events of this very special period of your development. During your group's business meeting, orderly informality should be the aim. Maintaining order is every member's responsibility; orderly meetings are shorter meetings. Start your meeting off right by using a printed agenda and simple common-sense parliamentary procedures. Your early meetings should address:

• A regular meeting place

• Chorus dues

• Selection of a chorus director

• Committees needed to function effectively


• Review of information on Sweet Adelines International In some choruses a résumé of actions taken at the meeting is read to the membership at chorus meetings. Some choruses use a newsletter to publish actions taken or use other methods of keeping the membership informed. The résumé is read for information only and no action is taken on the résumé. RECORDING MEETING MINUTES The recording secretary should study the example provided in the Help Section. It shows the suggested methods to:

Record convening of meeting and adjournment

Record those present/absent

Record approval of the previous minutes Record recommendations Identify (in the margin) subjects discussed, for ready reference FINANCIAL OBLIGATIONS In order to give your chorus an accurate idea of the expenses involved in becoming a member of Sweet Adelines International, you will want to make the members aware of the following: Chorus Dues One of a chorus' early decisions is determining the amount of dues. Dues should include international fees and any regional dues as well as money needed to operate the chorus. Chorus dues should be discussed in detail after you have some idea of the expense involved in operating a chorus, taking into consideration any rent for the meeting hall, cost of music, and your director's compensation. International Fees Following is an explanation of the fees due to the international organization, which must be budgeted into the chorus dues. International Dues International dues for each chartering member of your prospective chapter are due when you apply for chapter membership. Members of a prospective chorus do not pay international dues until they apply for charter. (Some regions limit the amount of time a chorus may stay in prospective status. Check with your Regional Membership Coordinator. International limits the amount of time a group can remain in prospective status in that once a prospective chapter enters Step Two, chartering must occur within two years.) International dues are retained at the international level to provide educational programs for Sweet Adelines International members, judges, arrangers, directors, faculty and administrative personnel. This budget also allocates funds for the administrative expenses necessary to plan and coordinate membership programs. The anniversary date for payment of International dues will be the date the chorus charters. If there are preexisting members of Sweet Adelines in your chorus, the International dues are due on their respective anniversary dates. Chartering Fee Choruses applying for membership with Sweet Adelines International pay a nonrefundable chartering fee. This fee is paid in installments: $25 when applying for prospective status (Step 1), $25 for Step 2 and $75 when applying for


charter, for a total of $125. After you become a chartered chapter you will pay the rechartering fee every year at rechartering time. Chapter Liability Insurance Fee Each chorus of Sweet Adelines International in North America is covered under a Sweet Adelines International general liability insurance policy. Chapters are required to pay a yearly premium with their Application for Charter Renewal, due May 1. Prospective choruses in Step Two as of May 1 are required to pay this fee at that time. FINANCIAL PLANNING Good chapter financial management happens through careful planning. It is strongly urged that a prospective chapter begin collecting dues through the use of an escrow plan, which spreads the cost of dues over a 12-month period. Members may be lost each year when faced with the decision of whether they can afford to pay the entire dues amount at one time. Good financial planning and the use of escrow accounts will ease the financial burden for the member and enhance membership retention. Implementing an escrow system of dues collection is both manageable and easy on the member's pocketbook. Please refer to the Help Section entitled Membership Retention Through Good Financial Planning at the back of this booklet or consult the Finances Chapter of the Chapter Guide for further information on escrow plans. HISTORIAN The historian records and preserves the history and significant events of your chorus. Your historian should be a person with a deep sense of reverence for the past, with some literary perception, with a feeling for persons and places; she should be research minded and have a knowledge of filing, an infinite capacity for patience, skill with scissors, glue and ink, and above all, an orderly mind. She should love her job! The historian is, or may appoint someone to be, the chorus photographer. Photos should be taken of all events lending historical significance. Photos should also be taken of all new members upon their acceptance into the chorus. These photos may be included in the history book or given to the new member as a souvenir. The history book should be on display at special occasions such as guest nights, parties, retreats, chorus shows, etc. The history book should contain such items as pictures of important meetings, people and events in the life of the chorus, mementos of programs, news clippings, honors, etc. Be sure to record important events, such as the first official meeting, election, quartet and chorus appearance and the first convention attended. PLANNING CHORUS REHEARSALS When a Sweet Adelines International chorus is first organized, the excitement of learning to sing barbershop chords and listening for that scalp-tingling ring seems to be enough to keep enthusiasm high. As the chorus matures, however, some of this initial enthusiasm may wane. Before this happens, an alert board will realize that its chorus rehearsals must be more than just work, and that only planned meetings containing something of interest for every member will keep the chorus enthusiastic and progressive. No one program is effective forever and occasional variety adds interest. Experiment with various schedules until you find one that is convenient for your director and pleases the majority of your members. Since Sweet Adelines International is primarily a singing organization, make every effort to keep the nonmusical segment of your rehearsal as short as possible. It is certainly necessary to keep the membership well informed, but this can be accomplished effectively in a few minutes and in a variety of ways. Just as the chair must prepare well in advance in order to have a well-spaced, effective business meeting, so must the chorus director plan her chorus rehearsal so that time will be utilized to the best advantage. While the planned rehearsal will be allotted the largest segment of the evening, other activities should also be included. Remember the importance of guests, quartets, pick-up quartets, woodshedding and education classes, as well as just plain fun. A well-planned rehearsal will ensure that all of these facets of our organization are included, if not in every meeting, often enough that each member is able to enjoy what she likes best about Sweet Adelines


International. If the rehearsal schedule is segmented with other activities during the evening, the break in routine will act as a stimulant and the members will return to the chorus singing with renewed vigor. CHORUS DIRECTORIt would be wonderful if new choruses could begin with the services of a chorus director well versed in the techniques of barbershop harmony. This is rarely the case. Selection of a chorus director is of great importance because the success of a chorus is highly dependent on the ability of the director and the cooperation between chorus and director. (See Help Section — Where's a Director for Us?) Consideration should be given to the potential director's barbershop experience and technical musical training. A chorus is extremely fortunate if it is able to secure a director who has both qualifications. A director who is inexperienced in barbershop harmony should be encouraged to attend as many Sweet Adelines International activities as possible, such as regional education classes and international directors' seminars. The Education Coordinator will be glad to work with your director and perhaps suggest the name of a coach who could develop the director's skills. Recordings of outstanding Sweet Adelines International quartets and choruses can also be of great value. Similarly, a director who is familiar with barbershop techniques, but who has little musical training or directing experience, would do well to seek such musical instruction. Sweet Adelines International wants each of its choruses to have as director the most qualified person available. Each chorus should select the person with whom it can work most easily. A director's success frequently lies in the ability to obtain the cooperation and respect of every chorus member. Every member should give the director professional courtesy. The director is there to teach, and the members are there to learn. Members should be encouraged to try their hand at chorus directing. Each chorus should have at least one member functioning as assistant director. The duties will vary from one chorus to the next, depending on the director's strengths and weaknesses. She will work with the director and serve in the director's absence. Often chorus directors will volunteer their services, especially if they are members of the chorus, but a member director shouldn't be taken for granted indefinitely. The amount of time and effort expended by a member director is the same as that expended by a nonmember director. Compensate your director as soon as your treasury permits you to do so. The Chapter Guide is included in Step One materials and you will want to study the section regarding chorus/chorus director relationships and the U.S. governmental reporting requirements for compensation paid to a director. If you should not be able to obtain a director immediately, all is not lost. Many Sweet Adelines International choruses have continued to learn songs while attempting to fill the position. First of all, try to get guest chorus directors from neighboring Sweet Adelines International choruses. Persons who are unable to accept the position permanently may be willing to help you. Invite a guest quartet for an evening, requesting them to teach you a song. Select members from your group and let them take turns directing something someone else has taught you. You might find one of these temporary directors is willing to be trained as your permanent chorus director. If so, send your director to the regional music school nearest you; provide any available literature; and most of all, support your director by making every effort of assistance while you learn together. Occasionally, misunderstandings occur between a chorus and its director, usually over areas of responsibility or authority. Lines of communication should be established and kept open. Cooperation, not competition, between chorus director and administration is the key to a successful operation. A chorus director is the musical leader and, as such, should be consulted on matters involving the musical aspect of the chorus. The officers and chair are the administrative leaders; they are responsible for seeing that business functions are carried out in a smooth and timely manner. Whatever you do, don't give up! Do your very best to maintain your singing caliber so that you can attract a director by your quality. Loss can be turned into gain merely by the effort of each individual. As part of the international music education program, seminars are conducted periodically. This enables members to receive instruction in such specialized subjects as arranging or judging, or general subjects such as vocal techniques,


chorus singing, quartet singing, or chorus directing. You will never forget the thrill of singing in a 150 to 350-voice chorus directed by some of the most talented Sweet Adelines — our International Faculty.


BARBERSHOP TECHNIQUES Singing barbershop harmony is an exciting experience. Many thrills are in store for the new member as she explores the various facets of this unique form of music. She will experience the excitement of ringing a chord, a feeling of accomplishment as each new song is learned, and the challenge of learning to apply vocal techniques that will help to perfect the artistry of the musical performance. Those whose musical experience includes participation in other vocal groups will discover several characteristics that make the barbershop sound distinctive. Harmony Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords that vertically support each melody note. Barbershop harmony makes frequent use of the major and minor triads and the barbershop (dominant) seventh and dominant ninth chords. Sixth, major seventh and ninth chords are used only when demanded by the melody. Chords containing the minor second interval are not used. It is the frequent use of the major triad and dominant seventh chords that characterizes barbershop harmony and gives it a unique beauty and richness. Voice Parts The voice parts in barbershop harmony for women have different names and functions than they do in other vocal styles. The tenor part is equivalent in range to Soprano I or II but functions as a harmony part above the melody. The lead part (Soprano II/Alto I) has the melody line. The baritone part (Alto I/Alto II) harmonizes above and below the melody. The bass part, (equivalent in range to the traditional men's tenor part) supplies the harmonic foundation of the chord. The tenor sings the highest note in a chord, the bass the lowest, the lead the melody, and the baritone sings the all-important missing note. Balance of Sound Church or glee-club music is balanced cylindrically, all voices singing with equal weight and intensity. Progressive jazz (when sung in harmony) and modern harmony are sung with inverted-cone balance, i.e., the top voice sings with more weight and intensity and the lower voices sing with less weight and intensity. Proper barbershop balance is just the opposite and can be illustrated by the cone shown here. Tenor - In barbershop music the tenor is the highest of the voice parts and is a harmony part sung above the melody. One of the primary characteristics of barbershop music is a cone-shaped sound, which means the tenor must sing with a lighter production than the lower voices, without sacrificing clarity or brilliance. Her quality must complement, but never overshadow, the lead. The tenor sings mostly in her upper register (head voice), but she must be able to use her heavier lower register (chest voice) for lower notes in her range. Arrangements sometimes require that the tenor sing below the lead. When this occurs, the tenor must broaden her quality so that the chords remain in balance. Lyric sopranos generally make good tenors. The coloratura, dramatic or mezzo soprano must be able to lighten the voice quality and remove excessive vibrato in order to fulfill this voice part. Lead - The lead is one of the two middle voice parts in barbershop music and usually sings the melody. Because she carries the melody, the lead must sing with authority, clarity, and with a consistent quality throughout her range. The lead sings with just enough vibrato to add color and warmth to the sound. It is essential that she possess an accurate sense of pitch. The lead sings the melody; therefore, she is the one responsible for conveying the interpretation, emotion and inflections of the song. The other three parts literally follow her lead in delivery of dynamics and tempo, and support her inflection, artistry and finesse. Baritone - The baritone is the other of the two middle voice parts in barbershop music — a harmony part sung below or above the melody, depending on where the melody is situated. Baritone differs from the alto part in traditional choral music because the baritone frequently crosses over the melody (lead).


Though the baritone and lead sing in the same basic range, the techniques for singing the two parts are different. The baritone must be constantly aware of her position in the chord and be flexible enough to adjust her tone when needed. When she is singing below the lead, she uses a rich, full sound that helps to solidify the relationship between lead and bass. When she is above the lead she uses a lighter production, similar to that used by the tenor. The baritone sings a relatively straight, well-produced tone with a minimum of vibrato. The baritone is written in the bass clef, an octave lower than it is sung. Bass - In barbershop music, the bass is the lowest of the four voice parts — a harmony part sung below the melody. The bass part, like the baritone part, is written in the bass clef, an octave lower than it is sung. Because one of the primary characteristics of barbershop music is its cone-shaped sound, the bass must sing with a heavier tone quality than that used by the upper voices. She will usually sing with more volume as well. The harmonic structure of barbershop music assists the bass in providing a firm foundation for the sound. Usually she sings the root or fifth of each chord. Other chord tones may be sung by the bass in passing or for special effect. The lead sings the melody and the bass provides the harmonic foundation. Ideally, the bass and lead work as a team, establishing a strong and accurate relationship. Consequently, the bass sings a relatively straight, well-produced tone with a minimum of vibrato. Balance of Voices An ideal balance of singers in a barbershop chorus is shown in this 4-3-2-1 formula: 4 - basses 3 - leads 2 - baritones 1 - tenor This ratio can be projected to show the ideal number in each section for any size group: 8 basses 12 16 40 6 lead 9 12 30 4 baris 6 8 20 2 tenors 3 4 10 20 30 40 100 Interpretation Barbershop songs usually fall into one of three general categories:

1. Strong rhythmic arrangements are often called uptunes. An example of such an uptune would be Seventy-Six Trombones from “The Music Man.”

2. Swing tempo songs such as I Don't Want To Walk Without You 3. Ballads sung in ad-lib style such as If I Loved You

In rhythmic uptunes and swing tempo songs it is important to maintain a steady rhythmic pulse even though the singers are singing a cappella. A ballad demands a different approach.


Ballad Flow In formal music training, a concerted effort is made to adhere to rhythmic values as notated by the composer or arranger. Whether the music is a rousing march or a tender ballad, it is performed as written in both vocal and instrumental music. The barbershop ballad is characterized by an ad-lib presentation. This ad-lib delivery is a characteristic that distinguishes performances in the barbershop style from those in other choral styles. Barbershop interpretive style permits relatively wide liberties in the treatment of note values. Words of importance or chords of exceptional beauty may be held, pauses may be added to create new meaning, and word flow may be adjusted to help the text come alive. Effective changes in tempo and dynamics may also enhance the performance. Most ballads are treated in a free, rubato style, interpreted and crafted by the director's own musicality. It is this freedom of interpretation that gives a barbershop ballad its uniqueness and beauty. Developing lyric flow in a barbershop ballad, outside the written rhythmic notation, is a challenge for the chorus director. Use of the Pitch Pipe To establish pitch (tonality), the key note (tonic note) is normally sounded by the pitch pipe. Then each section sings a prescribed note of the tonic chord: Basses and leads sing do an octave apart, baritones sing sol below the lead, tenors sing mi above the lead. A vowel such as ah or oo is used. This method of pitch-taking establishes a sense of tonality with the singers. Many chorus directors then have the singers move to the first chord of the song. HOW TO TEACH BARBERSHOP HARMONY Teaching barbershop harmony can be a rewarding experience. There's nothing quite like hearing the exciting chords build around you as a result of thorough teaching. The Five-Step Method Before putting all four parts together, it is important that each section learn its part. There are many methods that may be effectively utilized in the teaching of barbershop harmony. The common five-step method combines two popular teaching techniques: learning from music and learning by rote. This method gives the experienced singer as well as the singer who does not read music an opportunity to learn to read her part. The five steps are: 1. Director sings phrase; section listens, follows and reads music without singing 2. Section sings phrase with director; section follows and reads music while singing 3. Section sings phrase while director listens; section reads music while singing 4. Section puts music down; sings phrase with director without using music 5. Section sings phrase without music while director listens Step 1: Director Sings Phrase to Section It has been demonstrated through experience that the singer mimics what she hears. At this initial point, then, it is sometimes possible to teach facets of the finished performance without stressing or even mentioning them. Rather than teaching a passage note-for-note, it can be sung with interpretation and at the tempo desired as an end result. If the phrase contains intervals too difficult to learn a tempo, the teacher may slow down, but only after the section has heard it sung as it should be. Male directors are encouraged to sing in their natural range so as to avoid reaching for uncomfortably high parts. If it is too high, and it will be in most cases other than the bass part, the part may be sung an octave lower. The section


will sing it in the correct octave without any explanation. However, for female directors who cannot reach the bass part, it is preferable either to have a bass sing the line or to use the piano. Step 2: Section Sings Phrase with Director, using Music After members of the section have heard and seen the phrase, they are given the opportunity to put this information to use. They sing along with the director, still following their music. Step 3: Section Sings Alone, using Music; Director Listens If notes are being sung incorrectly, they should be corrected at this time. Ensuring that everyone in each section is singing the right note is the primary concern during the teaching process. It is important not to progress beyond this step until the notes are correct in all sections. Step 4: Section Sings Phrase with Director, without Music A frequent complaint of directors is that the chorus is too dependent on written music. Therefore, at this point the director might want the chorus to put the music down and watch. To further help them remember what was on paper, the director might move her hand up and down to visually demonstrate the pattern of the part while singing with the section. Step 5: Section Sings Alone, without Music; Director Listens The director should not settle for inaccuracy. If wrong notes are being sung, they should be corrected. If necessary, some or all of the steps may be repeated. The director should remain with the section until all are singing the correct notes. Some voice parts are easier to learn than others. There will be times when it will not be necessary to go through all five steps; there will be other times when the director may have to go through some steps more than once. If the section grasps the part, the director should not insist on the entire routine. The important steps are Step 1 and Step 5. Any others may be used as necessary to ensure the section learns its notes correctly. Putting the Parts Together Once the sections learn their parts individually, other steps are involved in putting the four parts together:

1. Using the five-step method, teach the lead (or melody) part of a short phrase. The length of a

phrase is determined by the eventual interpretation, the difficulty of the phrase or both.

2. Using the five-step method, teach the tenor part the same phrase.

3. Combine lead and tenor parts. Here it may be desirable for the director to sing the tenor harmony part with the lead section, while the tenor (or other) section listens, illustrating how the parts fit together before having the harmony section sing with the leads. When harmony parts are being combined with the melody, the chorus director should always remain with the section being taught. In other words, at this point the director should stay with the tenors, moving her hand in the tenor part pattern rather than attempting to direct as she normally would. Another point to remember is, when parts are brought back together, it is a good idea for the chorus director to sing the first few notes of each part to refresh their memories rather than just give a starting pitch. Remember, the singers are not using the music.

4. Using the five-step method, teach the baritone part the same phrase.

5. Using the five-step method, teach the bass part the same phrase. Some directors prefer to reverse

the order of teaching bass and baritone.


6. Combine the lead, tenor, baritone and bass parts, as in Step 3.

7. Go over the same phrase, listening to chords one at a time. The chorus needs to learn to identify the sound of barbershop harmony and to recognize the sound of a well-tuned chord. The passage should be sung chord by chord until each chord is accurate. This step will not always be necessary, but it is a particularly good idea for beginning groups or for phrases containing difficult parts. The best barbershop harmony is sung with the ears as well as with the voice, and the learning process is the best time to emphasize what is perhaps the most important factor in singing barbershop harmony, the ability to listen.

8. Go over the same phrase a tempo.

9. Go on to the next phrase, using the process outlined in steps 1 through 8. Tie each section's part

into what they have just learned by singing the last few notes of the phrase already learned, illustrating how they get from there to here.

10. Tie both phrases together. Continue in this manner throughout the song. It will not always be

necessary to go back to the beginning. You might continue tying phrases together until the verse is learned; then start anew. Go back to the beginning frequently, though, so the singers will retain what they have learned.


HELP SECTION Examples and Information Building Your Chorus Chapter Membership Admittance Copyright and Music Licenses Membership Retention Through Good Financial Planning Material Available from International Headquarters Minutes of a Meeting Schedule of a Typical Chorus Rehearsal Where's a Director for Us?


BUILDING YOUR CHORUS In an attempt to give the prospective chapter and director a good foundation, the following is suggested:

1. Begin to develop an assistant director, section leaders, librarian and choreographer. As songs are learned, guide section leaders to make voice part learning tapes.

2. Establish a procedure for testing voices for part placement.

3. Establish an audition procedure for all new members and for performance readiness. Ask

the Education Coordinator for assistance with initial auditioning.

4. Establish an audition team (fast-learning quartet, most accurate singers, future section leaders).

5. Establish vocal production craft with assistance from the Education Coordinator,

coaching tapes, etc.

6. Expose chorus to good barbershop sound and style by playing recordings of top choruses and quartets (international competition recording). Recordings can be purchased through international sales. An order form is enclosed.

7. Purchase a copy of the Judging Category Description Book for both the director and

chorus. (Your chorus will receive a complimentary copy when you charter.)

8. Develop repertoire of four or five songs with costumes, makeup and emcee material.

9. After the Education Coordinator has made her first visit, submit a monthly tape of a rehearsal to the Education Coordinator or her representative for evaluation and comments.

10. Have all members and director attend an international or regional event.

11. Submit an application for the director to the Director Certification Program.

12. Conduct at least a portion of the rehearsal on risers.

13. Encourage quartet singing.

14. Strive to have more than the required “15 plus a director.” That way, if you lose a

member or someone cannot make a performance, you will have enough people to continue.


CHAPTER MEMBERSHIP ADMITTANCE Policy Book, Section III, Div. C, 4 There are two voting options for accepting prospective members into the chapter; both admittance procedures are listed. Chapters may select the voting procedure that works best for them. Once the procedure has been selected, the chapter must continue with the same procedure for the fiscal year. Option #1: Vote by Chapter Membership

Admittance to Membership

Step 1 - A prospective member attends at least three (3) rehearsals of the chapter before being auditioned by the chorus director or a qualified music committee.

Step 2 - Regardless of the outcome of the prospective member's audition, she must be

told the results as soon as possible.

Upon passing the audition, a prospective member receives a standard form “Application for Membership,” along with a copy of the chapter's bylaws and standing rules, for her review.

If a prospective member does not pass the process of auditioning as stated in the chapter's standing rules, she does not receive the “Application for Membership” form. She should be informed that a prospective member might audition again after a period of one (1) year.

Step 3 - The chapter membership chair presents the completed “Application for

Membership” and the results of the audition to the chapter's board of directors** for evaluation and recommendation to the chapter before the membership votes.

Step 4 - The chapter membership MUST have the opportunity to vote on an applicant.

Applications are accepted by a two-thirds (2/3) affirmative vote of the members present and in good standing* at a regular meeting of the membership or a special meeting called for that purpose. A special meeting requires at least ten (10) days advance notice. Voting may be by secret ballot.

Step 5 - If the chapter membership accepts the application, the Certification of

Membership form, with the required International dues, is submitted to international headquarters for processing. Upon acceptance, a membership card is issued to the chapter for the applicant. Once the chapter receives the membership card, it immediately notifies the applicant in writing that she has been accepted for membership. If the application is denied by the international organization, notification is sent to the chapter with a copy of the letter to the applicant.

Step 6 - If the chapter membership declines the application, the applicant must be

notified in writing and informed that a new application may be considered after a period of one (1) year, provided the prospective member passes the audition. A copy of the letter of notification is forwarded to international headquarters.

Option #2: Vote by Chapter Board of Directors ** If the chapter elects to use OPTION #2 of the membership admittance procedures, the chapter membership MUST be allowed to give input to the board regarding any prospective member. The method for giving and receiving input should be determined by the chapter membership at the same time that OPTION #2 is selected.


Admittance to Membership

Step 1 - A prospective member attends at least three (3) rehearsals of the chapter before

being auditioned by the chorus director or a qualified music committee.

Step 2 - Regardless of the outcome of the prospective member's audition, she must be told the results as soon as possible.

Upon passing the audition, a prospective member receives a standard form “Application for Membership,” along with a copy of the chapter's bylaws and standing rules, for her review.

If a prospective member does not pass the process of auditioning as stated in the chapter's standing rules, she does not receive the “Application for Membership” form. She should be informed that a prospective member might audition again after a period of one (1) year.

Step 3 - The chapter membership chair presents the completed “Application for

Membership” and the results of the audition to the chapter's board of directors** for evaluation and recommendation. Before the board** votes, the chapter membership must be allowed to give input to the board regarding any prospective member. Procedures should be defined in the chapter's standing rules.

Step 4 - Applications are accepted by a two-thirds (2/3) affirmative vote of the chapter's

board of directors** present and voting. Voting may be by secret ballot. Step 5 - If the chapter's board of directors** accepts the application, the Certification of

Membership form, with the required International dues, is submitted to international headquarters for processing. Upon acceptance, a membership card is issued to the chapter for the applicant. Once the chapter receives the membership card, it immediately notifies the applicant in writing that she has been accepted for membership. If the application is denied by the international organization, notification is sent to the chapter with a copy of the letter to the applicant.

Step 6 - If the chapter's board of directors** declines the application, the applicant must be notified in writing and informed that a new application may be considered after a period of one (1) year provided the prospective member passes the audition. A copy of the letter of notification is forwarded to international headquarters.

*Good standing for membership voting privileges is defined as being up-to-date in the payment of all dues and assessments to the chapter, region and international organization. Any member whose dues are current may vote to approve or disapprove an application. ** Or chapter management team


COPYRIGHTS AND MUSIC LICENSES It is illegal to reproduce copyrighted music without the permission of the copyright owner. Careful attention to choosing your sources of music will help you avoid legal problems. There are several sources from which appropriate music may be selected. Located at international headquarters, international sales maintain a list of all music published through Sweet Adelines International. This list is distributed periodically to all chapters and will be mailed to individuals upon request. Songs on this list have been approved by the international organization as quality barbershop arrangements. Each song is coded for level of difficulty, categorized as a ballad or uptune and labeled for contest suitability. Distributed by the music services department, the Arrangers' Music List consists of songs submitted by arrangers. These arrangements have received the necessary clearance from the copyright holder(s). Available upon request, the list indicates whether the music can be obtained from the arranger or international headquarters. The Barbershop Harmony Society, the men's barbershop organization, maintains music listings similar to those described above. Sweet Adelines choruses in the United States must obtain a license from the American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI) for performance events sponsored by the chorus when admission will be charged. These licenses may be obtained through international headquarters. Choruses in Canada should contact the Society of Composers, Authors and Music Publishers of Canada (SOCAN), whose address is listed below: Society of Composers, Authors and Music Publishers of Canada 41 Valley Brook Drive Don Mills, Ontario M3B 2S6 Canada Phone 416-445_8700 Fax 416-445_7108 Choruses in other countries should contact the appropriate agency in their country for this information. See the Chapter Guide for more information.


MATERIAL AVAILABLE FROM INTERNATIONAL HEADQUARTERS Enclosed with this booklet are listings of available sales items and sheet music. Members of a prospective chapter may purchase items at the member price as long as they are in our computer system listed as a member of a prospective chapter. However, they may not purchase a membership pin or other items that have a membership connotation. Orders must be accompanied by a check or money order in U.S. funds; please do not send currency or two-party checks. International sales also accepts VISA, MasterCard and Discover on orders of $7.50 or more. Be sure to include shipping and handling charges on all orders. A copy of the Chapter Guide is included in Step One. The Chapter Guide is a helpful procedure book. Additional copies of this important Sweet Adelines International procedural guide are available from international sales at any time. Sweet Adelines International members receive the official publication of the organization, The Pitch Pipe. This quarterly magazine features many educational and informative articles. Each prospective chorus of Sweet Adelines International receives one complimentary subscription. Nonmembers may subscribe to The Pitch Pipe by contacting international headquarters. MEMBERSHIP RETENTION THROUGH GOOD FINANCIAL PLANNING As in most membership organizations, the Sweet Adelines International annual dues are a major source of revenue for our $4 million annual budget. Training programs for our music and administrative leaders as well as quality educational programs at regional and international levels are funded through this budget. Our professional association staff and maintenance of our international headquarters in Tulsa, Oklahoma, is also included in this budget. The best way for chapters to plan ahead for payment of all dues is to escrow the dues. The chapter and International dues could be collected monthly or quarterly. Regional assessments vary, but they, too, may be included in the monthly or quarterly dues collection. Of course, members always have the option of paying an entire year in advance, if they wish. Now, when it is time to charter, the international dues are in the chapter treasury and ready to be submitted to international headquarters. Your members don't have to decide whether they can charter, because financial management has made it easy. As the chapter matures, you will discover that March and April is traditionally a heavy expense time of year, with regional competition, travel and costumes. Escrowing dues helps the individual member handle costs. The Finances Chapter of the Chapter Guide outlines this preferred method of dues collection. International headquarters suggests to you that this particular system not be optional. It is easier for everyone (and especially the treasurer!) if it is consistent. If you have any questions about this escrow system, feel free to call international headquarters. This proven system will assist your chapter in maintaining its valued members through sound financial planning.


MINUTES OF A MEETING (EXAMPLE)

Apple Blossom Chapter, Sweet Adelines International Meeting of Board of Directors (or Chapter)

December 15, year A meeting of the board of directors of the Apple Blossom Chapter, Sweet Adelines International, was held at the home of Mary Songbird, 3335 Crestford Drive, Yuba, California, on Monday, December 15, year. The meeting convened at 7:40 p.m.

Those present and comprising a quorum of the board were: Mary Songbird, President; Lori Tenor; Gwen Music; Lois Pitchpipe; Peggy Staff; Ann Woodshed; Sara Note; Virginia Tag; and Dorothy A. Cappella, who recorded the minutes. Board members absent: Virginia Toobusy, Sue Gottawork Others present: Barbara Eagerbeaver, Helen Busybody, Marjorie Vigor

The minutes of the regular meeting of the board of directors held on November 5, year, were read and approved. The corresponding secretary read the following correspondence: Letter from international headquarters dated 9/6/year Letter from San Gabriel Mission Playhouse dated 9/8/year Letter from Sherry Mahon (member) dated 9/15/year The treasurer read an itemized report of receipts and disbursements showing a balance on hand as of

November 8, year, of $_________. The report was filed for audit. The costume committee reported that . . . and made the recommendation that . . .

Ann Woodshed moved that the recommendation of the costume committee that . . . (quote recommendation) . . . be adopted. The motion was seconded and carried. The application for membership and results of individual auditions of the following persons were read: Margaret Newcomer, Nancy Greenhorn, Marie Transfer, Dolly Former Member.

Peggy Staff moved that the board recommend they be accepted for membership. The motion was seconded and carried. There being no further business, the meeting was adjourned at 10:00 p.m.

CONVENED

QUORUM

MINUTES APPROVED

MOTION CARRIED

MOTION CARRIED

ADJOURNED

SCHEDULE OF A TYPICAL CHORUS REHEARSAL Following is a sample rehearsal schedule. Use your own variations. Try to maintain your schedule, but be flexible when special situations require last-minute changes. 1. Begin on time 2. Vocal warm-ups for 10 minutes

3. Sing an opening song

4. Acknowledge, welcome and introduce your guests. Make them feel at home. You might want to sing a welcoming song such as You're as Welcome as the Flowers in May.

5. Chorus rehearsal — 45 minutes

6. Quartet promotion — 20 minutes, include activities aimed at encouraging members to experience the excitement of quartet singing

7. Announcements and important business — 5 minutes. You might choose to distribute information to

members via individual files or mailers, instead of or in addition to the 5_minute meeting. 8. Break — 5 minutes 9. Planned program — 10 to 20 minutes. This should include time for education about Sweet Adelines

International as well as quartet and chorus craft. 10. Chorus rehearsal — 45 minutes 11. Informal harmonizing and refreshments

UNDERSTANDING THE REQUIRED U.S. TAX FORMS All United States chapters, regions, and prospective chapters in existence during the period May 1 to the following April 30 are required to file 990 Forms annually with the IRS if their annual gross income is more than $25,000. Additionally, a 990-T form must be filed if gross income from an unrelated trade or business is $1,000 or more. Prior to the close of each fiscal year, international headquarters will mail to your treasurer general guidelines for filing the 990 forms. The treasurer should review the information and determine if the chapter's records will provide the needed information. International headquarters will provide assistance and forms upon request. Here is a short description of the tax forms your chapter may be required to file: Form 990EZ The 990EZ may be used if gross receipts during the year were less than $100,000 and total assets at the end of the year were less than $250,000. Schedule A must be filed with the 990EZ if gross receipts are more than $25,000. Form 990 If gross receipts are greater than $100,000 and/or ending assets are greater than $250,000 then Form 990 must be completed along with Schedule A. Schedule A This schedule provides additional information and must be filed with the 990EZ or 990 as previously defined. Form 990-T All chapters and regions will file 990-T only if gross receipts from unrelated trade or business are $1,000 or more. Verification of Audit United States chapters, Canadian chapters and prospective chapters are sent a Verification of Audit form to complete in March. The form is to be returned to international headquarters by July 15. An internal audit committee or an independent third party such as an accounting firm should audit the region’s books and financial records. When making arrangements for a third party to conduct the audit, be sure to discuss the fee. It is not necessary for the auditor to do a complete audit and issue a formal or unqualified opinion. The auditor should primarily seek to verify bank balances and the proper recording of receipts and disbursements. 1099-MISC This form will not be supplied to you. However, 1099-MISC tax forms are available in a number of locations such as the United States Post Office, IRS offices or your own accountant's office. Forms may also be ordered from the IRS, but your order may take several weeks to be filled. Your chapter is required to file this form with the IRS when payments of $600 or more are made to any person, such as your director, in one taxable year. The amount of reimbursement for documented allowable expenses will not be considered in determining the $600. Therefore, reimbursement for air fare, housing and mileage are examples of items that would not be included in the $600. The form 1099-MISC must be mailed to the recipient by January 31 following the close of the prior calendar year. The chapter must file Form 1099-MISC and a 1096 Transmittal Form with the Internal Revenue Service by February 28 of each year.

WHERE'S A DIRECTOR FOR US? by Marge Bailey When a chorus finds itself without a director, things can fall “out of tune” on many levels. After all, the musical director is the driving force of a Sweet Adeline chorus. The director is the person to whom the members look for music education and growth. Without its musical leader, the chorus can become disorganized and the team fall apart. Or, members can work closely together to develop an even stronger team spirit. Often, panic sets in: “What are we going to do?” “Will we still be able to have our show?” “Compete?” “Who's going to run the rehearsals?” “What if people don't show up at rehearsal?” “What if we can't find anyone?” “What's going to become of us?” The first priority for chorus leaders is to calm the fears and take care of the immediate needs of the chorus. There may be an assistant director who can fill in for a while. And this is a perfect opportunity to utilize guest directors — Sweet Adelines, Barbershop Harmony Society or local choir directors who may not have the desire to direct another group on a permanent basis, but who are more than willing to do one or more guest spots. These rehearsals can keep the members interested and excited: Just think! A new person, a different rehearsal plan. If there is an immediate need — a show, competition or performances in the works — there may be another director who will step in to help. Even if the substitute can not be there every week, she or he can do last minute polishing. Once the immediate problems have been solved it is time to look for a permanent director. The Chapter Guide contains good instructions for choosing a chorus director, including guidelines for chronological procedures, the appointment of a director search committee, how to advertise, and how to interview and audition candidates. This process is one in which the entire chorus should be involved. There should be a consensus of the goals of the chorus and individual chorus members' expectations of the function of the director. Time must be found for chorus members to meet a potential new director. Thirty minutes or so of social time at the end of rehearsal can provide each member an opportunity to say a few words and get a first impression of the personality and style of this individual. Many times a potential director may be in the midst of the chorus — an assistant director known to everyone. It is important for the chorus members as well as the assistant director to understand that there will be a period of adjustment. The new “from-the-risers” director often must find a way to separate herself from her chorus friends in order to become an effective leader. This not only causes difficulty for the director, but misunderstanding for her chorus friends — and for other chorus members who worry about her “favorites” getting preferential treatment. The chorus must commit to helping the assistant get the training that will enable her to become an effective front-line director. Good sources for names of potential directors are your Education Coordinator and Membership Coordinator, and international faculty and board members. They are often out in the field and know who might be available. The Education Coordinator also knows which members are enrolled in the Director Certification Program, but be aware that even a master director may not be right for your group. For many choruses, the interpersonal skills of the director are at least as important as his or her credentials, if not more so. What's the most important part of the search for a new director? Check credentials and references. Communicate with other choruses, the Education Coordinator, and anyone who might have first-hand knowledge about a candidate. If you become aware of difficulties in any area, be certain that you get as much detailed information as possible. A chorus is often anxious to get back to normal; the members feel they are getting very little response and hurry into a choice of director even though they are aware of an uncomfortable situation — a case of “marry in haste, repent in leisure!” All along the way, it is crucial to remember that your members are willing to give up hours of their busy lives every week, as well as some Saturdays and even weekends away from home, to get together to sing. When it becomes necessary to use singing time to deal with yet more director problems, the group often is unhappier than when there was no director at all. Therefore, the director interviews, meetings with the board and meetings with the chorus should lead to a strong contract that clearly outlines the responsibilities of all the parties involved. When a choice has been made there will be a glorious honeymoon period. However, both the director and chorus members will need patience as the chorus gets back to serious work. There will be a time of adjustment as everyone gets used to new relationships, new styles and new personalities. If careful consideration has been given to the

choice of a director, without panic or hurry, the relationship can develop into a mutually beneficial experience and everyone can get back to the business of sharing the joy of singing.

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