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GUIDELINES FOR

REGIONAL CONVENTIONS

2018 Edition

SWEET ADELINES INTERNATIONAL

2018 Guidelines for Regional Competitions (GRC) Updates

The following updates have been made to the GRC: All references of Sweet Adelines International headquarters, have been updated to the

abbreviation IHQ. References to an audio recording being provided to contestants has been deleted. Audio

recordings are no longer required by regions separate from the digital video files. Locations in the handbook that contained “Each contestant is provided an audio recording

of its competition performance” were deleted to reflect the audio recording update. The International Board of Directors no longer requires that an Audience Choice/Bravo

Award be awarded at Regional Competition. Regions may choose to present an award of this type during their regional awards. All mention of an Audience Choice/Bravo Award has been removed.

Award certificate template will be provided via email by Sweet Adelines International to be printed by the Regions and presented to choruses placing first through fifth. Logoed certificate paper will not be provided by Sweet Adelines International to the Regions free of charge, but can be purchased by the Region through the International Sales Department. Regions are not required to purchase logoed certificate paper and may choose to use an alternative.

Section A – Introduction

Wording added to remind the regional competition personnel that they are responsible for ensuring any information regarding contest sent from international headquarters is passed along to their fellow RMT members and confirmed they received it. (Section A: pg. 4 Supervision and Coordination)

Section B – General Information

New task added to CC basic responsibilities to receive the official emcee script template from Competition Services at IHQ and then input competitor information before printing off copies for the emcee. (Section B: pg. 15, Basic Responsibilities)

Section D – Convention Preparations

Added the task of printing emcee scripts to the expenses outline. (Section D: pg. 3, Expenses, 16, F.)

The International Board of Directors has decided that International Headquarters will no longer provide logoed certificate paper to the regions. Wording has been changed to reflect this decision. (Section D: pg. 45, Ordering Awards)

Section E – Convention Weekend

New task added to remind all Open Division contestants that if disqualified during contest, they will now receive a scoresheet with levels removed. The task has been added to all briefing checklists. (Section E: pg. 6-12)

Appendix III – Forms/Instructions/Diagrams Wording added to clarify that it is the responsibility of the CC to confirm with the

videographer prior to contest that they will produce a high quality digital video master file, as well as a backup digital video file of competitors performances. (Appendix III: pg. 2, first paragraph)

References to an audio recording being provided to contestants has been deleted. Audio recordings are no longer required by regions separate from the digital video files.

Metric conversion charts were added to all riser configuration diagrams. (pg. 11-17) Appendix V – Guidelines for Evaluation by Video

Updated the requirement for video recording to be submitted as a flash drive or email link instead of a DVD. (Appendix V: pg. 2, Requirements for Video Recording #3)

Mission Statement

Sweet Adelines International is a worldwide organization of women singers committed to advancing the musical art form of

barbershop harmony through education, competition and performance.

TABLE OF CONTENTS

SECTION A INTRODUCTION Guidelines for Regional Conventions................................................. A-2

Introduction............................................................................. A-2 Using the GRC........................................................................ A-2

Introduction to Regional Conventions................................................ A-4 Supervision and Coordination................................................ A-4

SECTION B CONVENTION PERSONNEL Official Panel.......................................................................................B-2

General Information.................................................................B-2 Chair of the Official Panel ......................................................B-2 Panel Secretary........................................................................B-3

Events Coordinator..............................................................................B-5 Basic Responsibilities .............................................................B-5 Project Schedule......................................................................B-6

Chair of the Regional Convention.......................................................B-9 Basic Responsibilities..............................................................B-9 Position Requirements...........................................................B-10 Project Schedule....................................................................B-11

Competition Coordinator...................................................................B-15 Basic Responsibilities............................................................B-15 Project Schedule....................................................................B-17

Official Panel Liaison........................................................................B-20 Basic Responsibilities............................................................B-20 Position Requirements...........................................................B-20 Project Schedule....................................................................B-21

Education Coordinator and Finance Coordinator B-25 Project Schedule.....................................................................B-25

SECTION C CONVENTION COMMITTEES Convention Steering Committee..........................................................C-2 Convention Assistance Chapter...........................................................C-3 Subcommittees.....................................................................................C-4

Afterglow.................................................................................C-4 All-events/Tickets................................................................................C-4

Awards.....................................................................................C-4 Backstage Assistant.................................................................C-5 Bulletins...................................................................................C-5 Convention Secretary...............................................................C-5

Decorations/Signage........................................................C-5 Finance.............................................................................C-5 Host Committee…...........................................................C-6

Hospitality........................................................................C-6 Housing............................................................................C-6 Photography.....................................................................C-6 Program C-7 Public Relations...............................................................C-7 Security............................................................................C-7 Show of Champions.........................................................C-7 Transportation..................................................................C-8 Warm-up Rooms..............................................................C-8

SECTION D CONVENTION PREPARATIONS Budget ......................................................................................... D-2

Revenues......................................................................... D-2 Expenses D-2 Division of Profit............................................................. D-3

Site Selection and Inspections..................................................... D-4 Introduction..................................................................... D-4 Initial Site Inspection...................................................... D-4 Site Selection Factors...................................................... D-4

Geographic Location........................................... D-5 Safety Considerations.......................................... D-5 Hotels.................................................................. D-5 Outside Restaurants............................................. D-7 Competition Facility........................................... D-7

Stage........................................................ D-8 Shells....................................................... D-9 Curtain..................................................... D-9 Lighting Standards.................................. D-9 Signal System/Headphones................... D-10 Sound System........................................ D-11 Recordings............................................ D-12 Judging Areas........................................ D-13 Traffic Pattern....................................... D-13

Photography Area..................... D-13 Warm-up Area........................... D-13 Holding Area............................. D-13 Purse Drop Area........................ D-13 Restroom Facilities.................... D-14 Space for Regional Personnel.... D-14

Hours..................................................... D-14 Seating................................................... D-14 Facility/Union Personnel....................... D-14 Restrictions........................................... D-14 Costs...................................................... D-15

Americans with Disabilities Act............ D-15 Contract Negotiations.................................................... D-16 Re-inspections............................................................... D-16 Working Inspection....................................................... D-16

Hotel D-17 Competition Facility.......................................... D-18

Wrap-Up D-19 Glossary of Hotel Terminology................................................ D-20 Glossary of Food and Beverage Terminology.......................... D-23 Glossary of General Meeting Management Terminology D-25 Glossary of Room Setup Terminology...................................... D-28 Official Schedule of Events....................................................... D-30

Quartet Competition Schedule...................................... D-30 Chorus Competition Schedule....................................... D-31 Schedule for Other Convention Events......................... D-31

Traffic Pattern and Schedule..................................................... D-32 Planning the Traffic Pattern........................................... D-32

Contestant Needs............................................... D-32 Facility.............................................................. D-32

Traffic Pattern Schedule............................................................ D-32 Sample Traffic Pattern............................................................... D-33 Official Panel Arrangements..................................................... D-34

Housing......................................................................... D-34 Transportation............................................................... D-34 Meals............................................................................. D-35 Hospitality..................................................................... D-35 Registration................................................................... D-36 Supplies/Equipment...................................................... D-36 Rest Area....................................................................... D-37 Correspondence............................................................. D-37

Trial Scoring Judges' Arrangements.......................................... D-39 Housing/Transportation/Meals..................................... D-39 Registration................................................................... D-39 Supplies/Equipment...................................................... D-39

Seating D-39 Scoring Packets................................................. D-39 Supplies…......................................................... D-39

Rest Area....................................................................... D-39 Correspondence............................................................. D-40

Performance Licenses............................................................... D-41 ASCAP/BMI................................................................. D-41 SOCAN......................................................................... D-42

Convention Bulletins................................................................. D-43

Awards...................................................................................... D-45 Presenters...................................................................... D-45 Ordering Awards........................................................... D-45 Most Improved Chorus Award D-46 Most Improved Quartet Award D-46 Chorus Recognition Awards D-46 Regional Awards........................................................... D-46

SECTION E CONVENTION WEEKEND Official Inspections…..................................................................E-2 Pages............................................................................................E-2 Other Information ........................................................................E-3 Sound/Lighting.............................................................................E-3 Audio and Video Recording E-3 Marketing Coordinator or Public Relations Chair.......................E-3 Curtain Call..................................................................................E-3 Post-competition Meeting............................................................E-3 Quartet Inspection........................................................................E-3 Chorus Inspection.........................................................................E-3 Competition sessions....................................................................E-4

Quartet Competition.........................................................E-4 Chorus Competition.........................................................E-4

Contestant Briefings.....................................................................E-4 Joint Briefing E-4 Quartet Briefing E-5 Chorus Briefing................................................................E-5

Joint Briefing Check List.............................................................E-6 Quartet Briefing Check List.........................................................E-9 Chorus Briefing Check List.......................................................E-11 Format for the Introduction of the Official Panel......................E-13 Emcee Instructions.....................................................................E-14 Regional Quartet Competition Emcee Script.............................E-17 Regional Chorus Competition Emcee Script.............................E-18 Awards and Announcement of Results......................................E-20

International Awards......................................................E-20 Division A and Division AA Chorus Awards................E-20 Most Improved Chorus Award.......................................E-20 Regional Awards............................................................E-21

Guide for Announcing the Official Quartet Results..................E-22 Guide for Announcing the Official Chorus Results...................E-23 Official Results...........................................................................E-26

Photocopying and Distributing Results..........................E-26 Contestant Packets.........................................................E-26

SECTION F POST-COMPETITION Final Reports............................................................................... F-1 Post-competition Meetings.......................................................... F-1

Official Panel................................................................... F-1 Hotel................................................................................ F-1 Convention Steering Committee..................................... F-1

Billing for Official Panel Expenses............................................. F-1

APPENDICES Appendix I Public Relations

Appendix II Americans with Disabilities Act Appendix III Forms/Instructions/Diagrams:

Video Recording (Digital) Regional Competitions Instructions to Regional Pages for Official Panel Instructions to Regional Pages for Trial Scorers Sample Chorus Traffic Pattern Schedule Sample Quartet Traffic Pattern Schedule Judging Pit Diagram Riser Placement Diagrams Sample Chorus Open Division Cue Sheet Sample Quartet Open Division Cue Sheet Sample List of Competing Members form Regional Competition Awards Order form

Appendix IV Microphone and Sound System Guidelines Appendix V Guidelines For Evaluation By Video

SECTION A

GUIDELINES FOR REGIONAL CONVENTIONS Section A INTRODUCTION Page – 2

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GUIDELINES FOR REGIONAL CONVENTIONS INTRODUCTION The purpose of the Guidelines for Regional Conventions (GRC) is:

To specify internationally approved procedures related to every aspect of the competitions.

To provide necessary information and guidelines to those responsible for conducting a regional convention/competition.

The GRC is simply a tool used when planning your regional convention. Because the specific needs, regional standing rules and resources of each region vary, this book identifies those responsibilities that must be carried out and additional details that may be used if regional resources allow.

USING THE GUIDELINES FOR REGIONAL CONVENTIONS Section B: Convention Personnel This section describes the internationally approved responsibilities that assigned convention personnel must carry out. A project schedule is included for each position as a guide to ensure all required responsibilities are met. This type of project schedule was developed in place of checklists to allow for the individuality of each region. The Notes section is structured so specific details exclusive to a region can be included. Section C: Convention Committees This section outlines the regional convention administrative committee structure(s) that may be used by a region. It also includes suggestions for various subcommittees that may be used by regions if they are congruent with the overall administrative structure. Section D: Convention Preparations This section details the preparations for a regional convention. Please note not all specifications are used by all regions. The planning process determines which are appropriate for the needs and resources of the region. Section E: Convention Weekend This section details the events that occur during a regional weekend. As with Section D, not all regional convention weekends include the same events. Section F: Post-competition This section outlines the events that occur following the competition and convention.


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Appendices The appendices are included to provide additional resource material, if needed. Abbreviations The following abbreviations are used throughout the GRC:

CC Regional Competition Coordinator CHC Chapter Coordinator CRC Chair of the Regional Convention COC Communication/Technology Coordinator DC Directors’ Coordinator ED Education Coordinator EDC Education Direction Committee EVC Events Coordinator FC Finance Coordinator IHQ International Headquarters MEC Membership Coordinator MKC Marketing Coordinator OPL Official Panel Liaison PC Panel Chair PS Panel Secretary RMT Regional Management Team

Copies Electronic copies of the GRC can be found on our website, www.sweetadelines.com. Hard copies of the GRC may be ordered directly from the International Sales at IHQ for a cost of $15, plus shipping and handling. Regions may photocopy material from the GRC. Revisions Annual revisions to the GRC are provided in electronic form to the CC, CRC, DC, ED, EVC, and OPL. Additional copies of the revisions may be obtained from the International Sales Department at IHQ for a nominal cost.


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INTRODUCTION TO REGIONAL CONVENTIONS

Sweet Adelines International is a worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education and performance. In addition, Sweet Adelines International is a singing organization that provides for achievement through competition. Regional competition provides each chorus and registered quartet the opportunity to measure its achievement in the performance of the art form of barbershop harmony. Winners of the regional competitions qualify to compete in international competition. For further information regarding competition rules and advancement to the international competition, please refer to the Competition Handbook available on our website. SUPERVISION AND COORDINATION Annual regional quartet and chorus competitions are held under the supervision of the international organization, and are governed by its policies of competition judging and the procedures outlined in the GRC. All personnel involved in the planning and implementation of a regional convention should be familiar with this information, and ensure that their fellow RMT leaders have received the information as well. Responsibility for the smooth operation of the regional convention is a coordinated effort among many people at the international, regional and chorus levels. The following is a list of key personnel and committees and a brief explanation of each role in the overall structure: Education Direction Committee (EDC) Supervises regional competitions on behalf of the international organization. The EDC reviews and approves policies and procedures relating to the competition, approves the assignment of official judging panels, and appoints the CC. Competition Services Serves as the staff liaison between the region and the international organization. Each fall, Competition Services distributes a project schedule on the Regional Leadership Webpage that lists when, to whom and what attachments are included in the regional convention/competition mailings. Education Coordinator (ED) Attends post-competition meeting with the official panel. Directors’ Coordinator (DC) Attends post-competition meeting with the official panel.


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Events Coordinator (EVC) Oversees all activities and business relating to the regional convention. In conjunction with the RMT, she has the ultimate responsibility for ensuring that the regional convention proceeds in accordance with international and regional policies and procedures. Convention Steering Committee Responsible for planning the regional convention/competition. Chair of the Regional Convention (CRC) As Chair of the Convention Steering Committee, the CRC appoints committee members and chairs, in accordance with regional standing rules and/or procedures. She has overall responsibility and authority of ensuring committee chairs are fulfilling their responsibilities according to plan. Convention Assistance Chapter (or Host Chapter) Assists the Convention Steering Committee with the operation of the regional convention. Regional Competition Coordinator (CC) Responsible for coordinating those areas of the regional convention directly related to the quartet and chorus competitions. Official Panel Liaison (OPL) Responsible for coordinating all arrangements for the official panel and trial scorers.

SECTION B

GUIDELINES FOR REGIONAL CONVENTIONS Section B CONVENTION PERSONNEL Page – 2

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OFFICIAL PANEL

GENERAL INFORMATION Panel Assignments In accordance with policy, the selection of the official panel for each regional convention is made by the Judge Specialists and approved by the EDC Chair and the International President. An official panel consists of four category judges and one panel secretary. One of the four category judges is assigned as the PC, or a fifth judge may be assigned in a supervisory capacity only. Final panel invitations are issued in September. Competition Services at IHQ notifies the appropriate regional personnel as soon as selections have been finalized. Any changes to the panel prior to the convention weekend are communicated to the CRC, CC, EVC and OPL. Panel Expenses The region is responsible for the actual housing expenses (three nights for U.S. and Canada and up to five nights for Non-North American regions) for all panel members. Each region is also responsible for an equal share of the total expenses for regional official panel members for portal-to-portal transportation and per diem at $50 USD per day for four days in the U.S. and Canada; $75 USD per day for up to seven days for Non-North American regions. IHQ invoices the region for their share of the pool as soon as all official panel expense reports have been submitted to Competition Services at IHQ. CHAIR OF THE OFFICIAL PANEL (PC or PC) The PC is the final authority in all decisions that concern the official panel. She is also the final authority in all decisions that relate to the operation of the competition sessions, including the sound system, lighting, staging, etc. Since last-minute changes may result in increased labor and equipment costs, it is best to ensure well in advance of the contest weekend that the established technical standards are met. It is necessary that the PC communicates and works closely with the regional CC or OPL prior to the contest weekend. The PC is the ultimate authority regarding the inspection of the final set-up, even if it varies from what previous PCs to the region have requested. Any changes or input should be cleared through the current year’s PC. All emergency decisions relating to the judging of contestants are made by the PC, including:

Late arrival or absence of a panel member. Equipment failure or distortion. Audience disturbance of major proportion. Unauthorized audio or video recording by news media or audience members.

The PC contacts the CC and/or OPL immediately, if any changes need to be made. BASIC RESPONSIBILITIES

1. Prior to the convention weekend, reviews and approves the following: a) staging information b) housing, transportation and meal arrangements for the official panel


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c) inspection schedule d) traffic pattern

2. Either contacts personally or has her designee contact the CC to set up a Thursday evening or Friday morning meeting to verify and distribute judging packets and PS supplies.

3. Contacts ED to meet briefly following the chorus competition to discuss and deliver observation forms from the judging panel.

4. Attends the quartet and chorus briefings, whenever time permits. 5. Conducts the official inspection for the quartet and chorus competitions. 6. Conducts the level performance viewing in the official panel's rest area/parlor at the hotel

prior to both competitions. 7. Collects all scoresheets of the competitors who have withdrawn, prior to the contest. 8. Maintains awareness of levels during contest. 9. Verifies the placement of awards. 10. Notifies CC and/or CRC if any Open Division competitor is disqualified (can be

designated to PS). 11. Supervises the PS in the preparation of contest results. 12. Introduces the official panel prior to the announcement of the official results of the

chorus contest. 13. Conducts the announcements of the international awards. 14. Meets with the official panel and trial scorers following each contest session to review

the overall competition and collect observation forms and puts copies of the forms in the official Observation Form envelope.

15. Prepares follow-up documentation as directed by the international organization. PANEL SECRETARY (PS) The PS is assigned to each official panel. Assignments are made by the Judge Specialists, under the supervision of the EDC and with the approval of the International President. As a member of the official panel, the PS is entitled to the same reimbursable expenses and amenities that the judges receive. It is the region's responsibility to provide the PS with supplies needed to complete her responsibilities and to provide arrangements for photocopying and faxing the official results. BASIC RESPONSIBILITIES

1. Receives pre-data Excel sheet with preliminary information filled in by CRC, or her designee, 10 days prior to competition weekend.

2. Receives Open Division cue sheets from CC and distributes them to official panel and trial scorers, if applicable.

3. Meets with CC prior to the quartet competition and receives and inspects stopwatches. 4. Makes sure page receives a stopwatch and instructions so that the page can assist the PS

in keeping time during contest. 5. Lists the choruses eligible to compete for Division A and Division AA awards on the

appropriate worksheets and completes Most Improved Chorus Award worksheet after the CC delivers the List of Competing Members forms.


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6. Times contestant performances, records competition scores and prepares the official tabulated results.

7. Notifies CC and/or CRC if any Open Division competitor is disqualified. (If designated by the PC.)

8. Prepares for the PC the introduction of the official panel and the announcement of the official results of both contests.

9. Works with the OPL in the distribution of scoresheets, performance recordings, and tabulated results following each competition session.

10. Distributes a copy of the official tabulated results (regional tabulation form and final results report) to all official panel members and trial scoring judges, with help, if necessary, from the OPL.

11. Emails, in Excel format, official tabulated results plus the quartet and chorus summary of winners to Competition Services at IHQ. The official tabulated results are to be received by Competition Services no later than 8:00 a.m. (CST) Monday following the competition weekend.

12. Mails official judging papers, trial scoring work, post-competition reports, Open Division cue sheets, original observation forms and original Lists of Competing Members to Competition Services at IHQ.

13. Notes any changes to competitors, i.e., changing from International Division to Evaluation Only, and notifies Competition Services at IHQ.


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CONVENTION STEERING COMMITTEE EVENTS COORDINATOR (EVC) The EVC oversees all activities and business relating to the regional convention. In conjunction with the RMT, she has the ultimate responsibility for ensuring that the regional convention proceeds in accordance with international and regional policies and procedures. The annual term of appointment shall be May 1 through April 30 of any given year. BASIC RESPONSIBILITIES

1. Announces the Convention Steering Committee and CRC. 2. Attends all meetings of the Convention Steering Committee. 3. Assists in preparation of the convention budget. 4. Approves convention expenses, in accordance with regional standing rules and/or

procedures. 5. Participates in the inspections and approves the selection of convention facilities, in

cooperation with the CRC and CC and in accordance with regional standing rules and/or procedures,

6. Participates in contract negotiations. 7. Prepares the proposed Schedule of Events, in cooperation with the CRC and CC, and

submits it to Competition Services at IHQ for approval. 8. Reviews all published materials before printing. 9. Corresponds with chapters and quartets regarding eligibility, deadline dates and regional

assessment delinquency. 10. Notifies Competition Services at IHQ of competitors who have not paid their regional

assessment. 11. Determines the riser configuration, including whether or not the alternate riser

configuration option will be offered to regional competitors, in conjunction with the CRC and CC. Conveys the decision to all chapters within region and to Competition Services at IHQ.

12. Announces official panel members to the regional competition to all potential regional competitors.

13. Determines the award presenters, emcees, Show of Champions participants, mic-testers and pages to the official panel and trial scorers, in cooperation with the Convention Steering Committee and in accordance with regional standing rules and/or procedures.

14. Issues letters of invitation to the determined award presenters, emcees, Show of Champions participants, mic-testers and pages to the official panel and trial scorers.

15. Informs CRC of acceptances of afore mentioned invitations. 16. Forwards Emcee Instructions received from Competition Services to emcees. 17. Forwards instructions received from Competition Services to pages. 18. In cooperation with the CRC, meets with the appropriate hotel personnel to review the

convention weekend. 19. Completes international and regional reports, as designated. 20. Forwards the GRC and appropriate files to successor, if applicable. 21. Ensures all regional personnel have forwarded their GRCs and appropriate files to their

successors, if applicable.


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EVENTS COORDINATOR (EC)

Regional Convention Project Schedule PREPARATIONS Task Notes In Cooperation With

I. Announce Regional Positions

II. Attend all meetings A. Convention Steering Committee B. CRC

III. Budget

A. Assist in preparation of convention budget

IV. Inspection and approval of convention facilities CRC, CC A. Geographic location B. Hotels

1. Headquarters hotel 2. ADA compliance 3. Housing

a) Headquarters b) Overflow

4. Function space 5. Complimentary rooms 6. Restaurant facilities

a. Hours b. Space c. Room service

7. Elevators 8. Parking 9. Transportation 10. Duplicating/FAX equipment 11. Charges

a. Guest rooms b. Function space c. Convention registration area d. Ways and means e. Other conventions f. Sound-proof rooms

C. Outside restaurants D. Competition facility

1. Stage a. Type b. Dimensions

2. Shell/backdrops 3. Curtain 4. Lighting 5. Signal system 6. Sound 7. Judging area

a. Judging pit b. Rest area c. Restrooms d. Hospitality


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EVENTS COORDINATOR (EC) Task Notes In Cooperation With

8. Traffic pattern a. Photography b. Warm-up c. Holding d. Purse drop e. Restrooms

9. Hours 10. Seating 11. Facility/union personnel 12. Restrictions

a. Recording b. Ticket sales c. Photography sales d. Hospitality

13. Charges a. Rental b. Labor c. Security d. Function space e. Equipment f. Staging g. Other

14. ADA compliance 15. Contract

V. Prepare proposed schedule of events CRC, CC

VI. Chapter/Quartet correspondence

A. Eligibility B. Deadline Dates C. Regional Assessment delinquency

VII. Riser configuration CRC, CC

A. Decide if alternate riser configurations will be used B. Convey decision to all chapters and IHQ

VIII. Working Inspection CRC, CC

A. Confirm hotel arrangements B. Confirm competition facility arrangements

IX. Miscellaneous

A. Announce official panel members to region B. Notify Competition Services of regional assessment delinquencies C. Approve all printed material

X. Issue invitations/forward instructions Convention Steering Committee

A. Award presenters B. Emcees C. Show of Champions participants D. Mic testers E. Pages

XI. Forward acceptances to CRC


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CONVENTION WEEKEND Task Notes In Cooperation With

I. Attend Inspection

II. Official Panel meeting immediately after chorus competition ED, DC POST COMPETITION Task Notes In Cooperation With

I. Hotel meeting (review)

II. Complete designated reports

III. GRC and appropriate files A. Forward to successor, if applicable B. Ensure that all regional personnel forward these documents, if applicable.


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CHAIR OF THE REGIONAL CONVENTION (CRC) The CRC is appointed in accordance with regional standing rules and procedures and is the general chair of the convention weekend, including competition. In accordance with regional procedures, if the responsibility for the convention weekend lies with a regional convention planning committee, in conjunction with the RMT, the CRC is appointed by the EVC; if a host chorus has accepted this responsibility, the chapter appoints the CRC. The CRC appoints committee members and chairs, in accordance with regional standing rules and/or procedures. She has overall responsibility and authority of ensuring that committee chairs are fulfilling their responsibilities according to plan. The annual term of appointment shall be May 1 through April 30 of any given year. BASIC RESPONSIBILITIES

1. Appoints sub-committees and chairs. 2. Supervises the preparation of the minutes and correspondence as Chair of the Convention

Steering Committee. 3. Ensures all international and regional policies and procedures are being followed. 4. Assists in the preparation of the convention budget. 5. Participates in the inspections and approves the selection of convention facilities. 6. Schedules meetings with hotel, competition facility and convention assistance

personnel, in cooperation with the EVC and CC, and in accordance with regional standing rules and procedures.

7. Makes all arrangements regarding the convention site upon site approval and in accordance with regional standing rules and procedures, including insurance, security, performance licenses and stage hands.

8. Determines the schedule of events in cooperation with the EVC and CC. 9. Finalizes arrangements and prepares function sheets for all required room set-ups at the

hotel and competition facility, including: a. Rehearsal b. warm-up c. photography (if applicable) d. Ways & Means e. All Events pick-up f. pre-keyed housing g. single ticket sales h. post-competition events i. hospitality rooms

10. Approves the busing company and official photographer. 11. Reviews all published materials before printing. 12. Determines the riser configuration, including whether or not the alternate riser

configuration option will be offered in cooperation with the EVC and CC,. Makes arrangements for the appropriate riser configuration(s).

13. Finalizes all arrangements for the official panel members and trial scorers at the hotel and competition facility, including transportation arrangements, in coordination with the OPL.


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14. Finalizes all arrangements for the traffic patterns, traffic pattern schedules and corresponding transportation, briefings, sound, lighting and photography with the CC.

15. Submits proposals for an official photographer to the RMT and finalizes arrangements. 16. Using the pre-data Excel sheet sent from Competition Services at IHQ, inserts all

preliminary information for Announcement of Quartet and Chorus Official Results scripts and sends to the panel secretary 10 days prior to competition weekend. (Can delegate to CC or someone else.)

17. Ensures that official photographs of the championship quartet and chorus, the Division A first place winner and the Division AA first place winner are forwarded to the Pitch Pipe managing editor in Marketing and Communications at IHQ the Monday following competition.

18. Ensures that the appropriate awards have been received and are available for presentation at the competition facility.

19. Contacts the current champion chorus and arrange to receive the traveling plaque. 20. Finalizes all arrangements for the awards ceremony. 21. Ensures the presentations run smoothly, in coordination with the CC. 22. Finalizes all public relations plans, if applicable. 23. Communicates with contestants regarding their placement in the official order of

appearance. 24. Attends official inspections, in coordination with the PC and CC. 25. Attends quartet and chorus briefings. 26. Remains available throughout the convention weekend wherever needed. 27. Meets with the appropriate hotel personnel to review the convention weekend, in

cooperation with the EVC. 28. Completes international and regional reports, as designated. 29. Forwards GRC and regional files to successor, if applicable.

POSITION REQUIREMENTS

1. Strong organization, administrative and leadership skills. 2. Thorough understanding of regional and international policies and procedures, especially

in the area of regional convention/competition. 3. Excellent communication and interpersonal skills with people at all levels. 4. Ability to make decisions, as well as delegate responsibility and authority.


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CHAIR OF THE REGIONAL CONVENTION (CRC) Regional Convention Project Schedule

PREPARATIONS Task Notes In Cooperation With

I. Appoint subcommittees and chairs A. Supervise preparation of minutes and correspondence

II. Budget

III. Inspection & approval of convention facility EVC, CC

A. Geographic location B. Hotels (meetings as needed) appropriate convention assistance personnel

1. Headquarters hotel 2. ADA compliance 3. Housing

a. Headquarters b. Overflow

4. Room set-ups a. Prepare function sheets b. Finalize arrangements

5. Complimentary rooms 6. Restaurant facilities

a. Hours b. Space c. Room service

7. Elevators 8. Parking 9. Transportation 10. Duplicating/ FAX equipment 11. Charges

a. Guest rooms b. Function space c. Convention registration area d. Ways and means e. Other conventions f. Sound-proof rooms

C. Outside restaurants D. Competition facility (meetings as needed) appropriate convention assistance personnel

1. Stage a. Type b. Dimensions

2. Shells/backdrops 3. Curtain 4. Lighting/sound 5. Signal system 6. Judging areas

a. Judging pit b. Rest areas c. Restrooms d. Hospitality


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CHAIR OF THE REGIONAL CONVENTION (CRC) Task Notes In Cooperation With

7. Traffic pattern a. Photography b. Warm-up c. Holding d. Purse drop e. Restrooms

8. Hours 9. Seating 10. Facility/union personnel 11. Restrictions

a. Recording b. Ticket sales c. Photography sales d. Hospitality

12. Charges a. Rental b. Labor c. Security d. Function space e. Equipment f. Staging g. Other

13. ADA compliance 14. Contract

a. Negotiations b. Finalize & sign

IV. Proposed schedule of events EVC, CC

V. Transportation

A. Approve busing company B. Membership busing C. Contestant busing CC D. Official panel assignments OPL

VI. Riser configurations

A. Determine if alternate riser configuration will be offered EVC, CC

VII. Traffic pattern and schedule CC A. Finalize all arrangements

VIII. Official photographer

A. Submit proposals to RMT B. Finalize arrangements

IX. Bulletins

A. Set schedule of mailings B. Proof and approve

X. Working inspection EVC, CC

A. Confirm hotel arrangements B. Confirm competition facility arrangements


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CHAIR FOR THE REGIONAL CONVENTION (CRC) Task Notes In Cooperation With

C. Prepare function sheets and forward: 1. Hotel 2. Competition facility

XI. Make arrangements for risers

A. Delivery B. Set-up C. Pick-up

XII. Review official panel assignments OPL

I. Housing II. Transportation III. Meals IV. Hospitality V. Registration VI. Supplies/equipment

1. Hotel 2. Judging pit 3. Duplicating/FAX

VII. Rest area VIII. Correspondence

XIII. Review trial scoring judges arrangements

A. Housing/transportation/meals B. Registration C. Supplies/equipment D. Rest area E. Correspondence

XIV. Obtain performance licenses XV. Awards

A. Order from International Sales Awards Chair 1. Chorus medals 2. Chorus ribbons 3. Division A & AA chorus award ribbons 4. Most Improved chorus award medals 5. Quartet medals

B. Verify receipt from Competition Services 1. Chorus certificate templates 2. Division A & AA chorus award certificate templates 3. Most Improved chorus award certificate templates 4. Chorus recognition award certificate templates 5. CC certificate template

C. Regional Traveling Chorus Plaque D. Regional Awards

XVI. Review/finalize recording arrangements CC

XVII. Finalize public relations plans, if applicable

XVIII. Notify competitors of order


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CHAIR FOR THE REGIONAL CONVENTION (CRC) Task Notes In Cooperation With

XIX. Wrap-up meeting EVC, CC

XX. Miscellaneous A. Proof and approve all printed materials B. Using pre-data Excel sheets received from IHQ, insert preliminary information in script cards

10 days prior to regional convention. CONVENTION WEEKEND Task Notes In Cooperation With I. Attend Inspections

A. Schedule changes B. Review name pronunciations

III. Attend quartet and chorus briefings

III. On-site during competition

A. Remain available at all times B. Periodically check with regional personnel

IV. Supervise competition ceremonies

POST COMPETITION Task Notes In Cooperation With I. Hotel Meetings EVC A. Forward photos to IHQ II. Complete international and regional reports

A. Forward GRC and files to successor, if applicable


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COMPETITION COORDINATOR (CC) Appointed annually, with recommendation from the EVC and CRC, by the Judge Specialists and approved by the EDC, the CC is responsible for coordinating all aspects of the regional convention directly related to competition. She works in conjunction with the EVC, CRC and the PC. The annual term of appointment shall be September 1 through August 31 of any given year. BASIC RESPONSIBILITIES

1. Participates in the inspections and selection of competition facilities, in cooperation with the EVC and CRC and in accordance with regional standing rules and/or procedures.

2. Determines the schedule of events, in cooperation with the CRC and the EVC. 3. Approves the plans for the competition stage and handles all related responsibilities. 4. Determines the riser configuration, including whether or not the alternate riser

configuration option will be offered, in coordination with the EVC and CRC. 5. Coordinates a time for the sound check, briefing(s) and inspection with the PC. 6. Approves the plans and handles all related responsibilities for the backstage movement of

contestants. 7. Sends traffic pattern to the PC for approval after initial order of appearance is

sent from Competition Services at IHQ. 8. Ensures traffic pattern follows recommendations from Competition Services at IHQ. (See

Official Schedule of Events, Section D, pages 30-31.) 9. Supervises the curtain movement, if applicable. 10. Supervises the signal system used between the PC and backstage. 11. Ensures all appropriate safety precautions are taken in the backstage area. 12. Makes arrangements for performance recording of the regional competitions, including

deciding who will be producing the recordings and what equipment is needed. 13. Provides instructions to personnel responsible for the recordings. 14. Provides recording media (e.g., hard drives or flash drives) to personnel responsible for

making the recordings. 15. Supervises recording during competition. 16. Delivers the recordings (if available) to the OPL immediately after each contest session. 17. Sends the master recordings to Competition Services at IHQ, according to international

instructions sent out from Competition Services, within two weeks following the convention weekend.

18. Conducts quartet and chorus director briefings. 19. Collects List of Competing Members form from all competing choruses at

briefing and gives the lists to the PS. 20. Collects cue sheets from Open Division contestants at briefing and makes copies

(one for each member of the judging panel, PS, trial scorers, if applicable, and technical crew) to give to PS.

21. Finalizes all arrangements for the traffic patterns, traffic pattern schedules and corresponding transportation, briefings, sound, lighting and photography, in coordination with the CRC.

22. Provides copies of the traffic pattern to the PC chair and technical crew. 23. Participates in the official inspections, in coordination with the PC and

CRC.


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24. Receives the official judging packets and PS supplies from Competition Services at IHQ. 25. Receives the emcee script template from Competition Services at IHQ and inputs

competitor information into template before printing off copies for the emcee. 26. Meets with PC or her designee on Thursday evening or Friday morning to verify

and distribute judging packets and PS supplies. 27. Ensures the awards presentation runs smoothly, in coordination with the CRC. 28. Ensures information on the championship quartet and chorus, the Division A first place

winner and the Division AA first place winner are sent to the Pitch Pipe managing editor in Marketing and Communications at IHQ the Monday following competition. The form for this is sent from Marketing and Communications at IHQ.

29. Completes international and regional reports as designated. 30. Should the Competition Coordinator be a competitor, her backstage responsibilities must

be assigned temporarily to someone familiar with her instructions and procedures. 31. Forwards GRC, files and CC pin to successor, if applicable.


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COMPETITION COORDINATOR (CC) Regional Convention Project Schedule


I. Initial Site Inspection EVC, CRC A. Stage

1. Type 2. Dimensions 3. Curtain 4. Entrance/exit 5. Shell/backdrop 6. Riser configuration EVC, CRC

a. # of sections b. Back rail c. Alternate configuration space

7. Safety B. Lighting C. Sound D. Signal system E. Audio/video personnel & recording equipment F. Judging areas

1. Pit 2. Official panel rest area 3. Other rest area 4. Restrooms

G. Traffic pattern schedules CRC 1. Transportation 2. Photography 3. Warmup 4. Holding 5. Backstage 6. Accessibility for disabled 7. Privacy from public 8. Restrooms 9. Estimate staffing needs

H. Hours I. Seating J. Facility/union personnel K. Restrictions L. Costs M. ADA compliance

II. Proposed Schedule of Events EVC, CRC III. Working Inspection EVC, CRC

A. Confirm stage arrangements B. Provide specifications to facility personnel

1. Stage set-up 2. Lighting 3. Sound 4. Judging pit diagram 5. Competition schedule

C. Finalize facility personnel plans 1. Lighting 2. Sound


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COMPETITION COORDINATOR (CC) Task Notes In Cooperation With

3. Audi/video recording 4. Security

D. Finalize accessories (i.e., tables, chairs) E. Re-inspect traffic pattern

IV. Contestant communication (90 days prior to convention) bulletin or individual mailing

A. Stage diagram B. Riser configuration C. Photography information D. Shell/backdrop usage E. Curtain/lighting usage F. Entrance & exit directions G. Memo requesting chorus final pose specs. H. Final post form I. Open division cue sheets

V. Traffic pattern schedule (30 days prior to convention) CRC, PC

A. Develop final order of appearance/late entries 1. Time allocated to each station 2. Intermission/breaks 3. Double session 4. Mic-testers 5. Past champion performances

VI. Miscellaneous

A. Signs for traffic pattern developed

VII. Emcee Script A. Receive script template from IHQ B. Input competitor information C. Print off copies of script D. Deliver to appropriate emcee

CONVENTION WEEKEND COMPETITION COORDINATOR (CC) Task Notes In Cooperation With I. Official inspections technicians must be available CRC, PC

A. Preparations Must be completely set up prior to PC arrival 1. Lighting 2. Sound 3. Stage a. Risers b. Shell/backdrop c. Mark Lines

4. Judging areas 5. Signal system 6. Order of appearance/withdraws 7. tape down cords and cables B. Mic-Testers (Chorus and Quartet) C. Verify stopwatches are in working order D. Instruct PC on signal system.


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COMPETITION COORDINATOR (CC) Task Notes In Cooperation With II. Distribute judging packets and PS supplies III. Attend contestant briefings

A. Review late withdrawals B. Review traffic pattern/schedule changes C. List of competing members form (chorus)

1. Copy to PS 2. Copy to CRC for regional file

D. Final pose forms (chorus) 1. Copy to video recording personnel

E. Cue sheets from open division contestants 1. Copies to PS

F. Point out trip spots G. Competitor walk-through

V. Meet with PS

A. Stopwatches to PS/page

VI. On-site competition A. Instruct emcees on use of signal system B. During competition:

1. Supervise signal system 2. Supervise curtain/lighting 3. Supervise recordings during competition 4. Give competitors’ audio/video recordings to PS 5. Update PC on delays or problems 6. Greet quartets/choruses backstage – remind of “trip spots” 7. Assist with award presentation CRC

POST COMPETITION Task Notes In Cooperation With I. Collect stopwatches from PS and page II. Complete international and regional reports within two weeks of convention III. Send competitor information to IHQ Communication Department IV. Upload master recordings to Dropbox and send to IHQ within two weeks of convention V. Forward GRC, files and pin to new CC, if appropriate, by September 1 VI. Answer CC question(s) on post-competition report for following year


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OFFICIAL PANEL LIAISON (OPL)

Appointed as a member of the Convention Steering Committee, the OPL is responsible for all convention activities relating to the official panel. These responsibilities may be divided as follows among several committees:

Escort/transportation/housing Trial Scoring Judges Judging areas Contestant Packets/duplication

BASIC RESPONSIBILITIES

1. Arranges panel housing, in cooperation with the CRC. 2. Communicates regularly with official panel members, including all four category judges,

PC and PS, informing them of all convention arrangements. 3. Arranges transportation for all official panel members. 4. Facilitates meal functions. 5. Makes reservations and arranges transportation as required. 6. Does not issue invitations unless directed to by the PC. 7. Arranges complimentary convention registrations. 8. Provides each official panel member, with a regional convention program. 9. Notifies CRC of hospitality needs in the official panel's rest area/parlor. Provides

reasonably comfortable chairs, preferably padded with straight backs, for members of the judging panel.

10. Notifies CRC of supplies/equipment needs at competition facility. 11. Makes arrangements for trial scorers, in accordance with regional standing rules and

procedures, and as outlined in Section D. 12. Makes arrangements for the photocopying and faxing of official results, in cooperation

with the CRC. 13. Prepares contestant packet envelopes in advance. 14. Attends official inspections, in coordination with the PC, CRC and CC. 15. Attends briefings. 16. Following each competition session, works with PS in distributing contestant packets and

official results. 17. Distributes competitor packets and mails competitor packets that are not picked up during

the allocated time. 18. Completes international and regional final reports, as designated. 19. Forwards GRC and files to successor, if applicable.

POSITION REQUIREMENTS

1. Experience with the International Judging Program (IJP) or PS Program preferred. 2. Strong organization and administrative skills. 3. Excellent communication and interpersonal skills. 4. Ability to make decisions, as well as delegate responsibility. 5. Must be flexible.


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OFFICIAL PANEL LIAISON (OPL) Regional Convention Project Schedule


I. Select committee members A. Escort/transportation B. Judging pit/rest area C. Trial scoring judges D. Duplication/contestant packets

II. Housing arrangements CRC

A. Individual rooms B. 24 hour accessible rest area/parlor C. Check-in/check-out procedures D. Room services hours/menu E. Housekeeping tips

III. Transportation arrangements

A. Arrange vehicles B. Assign drivers & escorts

1. Airport to hotel 2. Hotel/competition facility 3. Restaurants 4. Hotel to airport

IV. Correspondence

A. PC confirmation (60-90 days prior to regional convention) 1. Configuration of housing 2. Transportation 3. Meals 4. Judging pit 5. Bulletins 6. Stage/technical/riser arrangements 7. Schedule of events

B. Entire panel (upon receipt of info from IHQ) 1. Confirm flight information 2. Headquarter hotel information 3. Housing arrangements 4. Hospitality questionnaire 5. Convention mailings/bulletins 6. Convention city information 7. Schedule of events 8. Special events information 9. Address and phone number

C. Entire panel (30 days prior to regional convention) 1. Reconfirm flights 2. Name of escort 3. Transportation 4. OPL’s room number 5. Schedule change

V. Meals

A. Selection of restaurants B. Determine schedule C. Make reservations/separate checks With PC approval


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OFFICIAL PANEL LIAISON (OPL) Task Notes In Cooperation With VI. Hospitality

A. Receive panel questionnaires B. Arrange for purchase of food

VII. All events registration (90 days prior to regional convention)

A. Notify CRC B. Arrange for badges, etc. in hotel rooms

VIII. Contestant packets (upon receipt from IHQ)

A. Label envelopes B. Insert materials as instructed

IX. Supplies/equipment (90 days prior to regional convention)

A. Hotel – notify CRC of needs 1. DVD player 2. 25” television

B. Judging pit – notify CRC of needs 1. Tables 2. Chairs 3. Lighting 4. Calculator with tape 5. Water 6. Wastebaskets 7. miscellaneous

C. Rest area – notify CRC of needs 1. Tables 2. Chairs 3. Restroom facilities

D. Duplicating/FAX – notify CRC of needs 1. Confirm location 2. Confirm operation 3. Confirm costs

X. Trial scoring judges

A. Correspondence (upon receipt from IHQ) 1. Hotel reservation information 2. Convention bulletins 3. Transportation 4. Convention city information 5. Registration pick-up 6. Schedule of events

B. Supplies/equipment – notify CRC of needs 1. Seating 2. miscellaneous

C. Rest area – notify CRC of needs D. All events registration


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CONVENTION WEEKEND Task Notes In Cooperation With I. Transportation A. Confirm vehicle arrangements B. Confirm schedules 1. Drivers 2. Escorts C. Confirm flights with airport II. Housing

A. Confirm arrangements 1. Individual rooms and 24-hour accessible rest area/parlor 2. Check-in/check-out 3. Confirm hospitality in rest area 4. Confirm video equipment 5. Confirm AEB in rooms

B. Greet panel members 1. Assist to rooms 2. Review schedule 3. Review meal arrangements

III. Judging pit/rest area

A. Official inspection Pit must be set-up prior B. Supervise competition set-up

1. Water 2. Supplies 3. Snacks

C. Supervise hospitality set-up IV. Trial scoring judges

A. Housing 1. Confirm arrangements 2. Greet and assist with check-in 3. Review schedule 4. Review transportation arrangements

B. Judging pit/rest area 1. supervise competition set-up 2. supervise hospitality set-up

V. Attend briefings VI. Duplication/contestant packets

A. Confirm duplicating facilities B. Contestant packets at distribution site

VII. Duplication of official results PS VIII. Distribution of contestant packets

A. Get recordings from CC (if available) B. Insert original of scoresheets C. Insert copies of official results (tabulation & final report)

IX. Distribute tabs & final report to regional personnel RMT, CC, CRC


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POST COMPETITION Task Notes In Cooperation With I. Complete international & regional reports (two weeks after competition) II. Forward GRC and files to successor, if applicable (September 1)


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EDUCATION COORDINATOR (EC) FINANCE COORDINATOR (FC)

(as relates to the regional convention) ED is responsible for meeting with the PC immediately following the chorus competition to collect the observation forms. ED computes and presents any regional awards not presented within the framework of the contest. FC signs all contracts on behalf of the region.

EDUCATION COORDINATOR (EC) FINANCIAL COORDINATOR (FC) Regional Convention Project Schedule

CONVENTION WEEKEND Task Notes In Cooperation With

I. ED calculates regional awards and supervises non-competition ceremonies II. ED meets with official panel immediately following chorus competition EVC III. FC signs all contracts on behalf of the region EVC

SECTION C

GUIDELINES FOR REGIONAL CONVENTIONS Section C CONVENTION COMMITTEES Page – 2

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CONVENTION STEERING COMMITTEE The Convention Steering Committee is responsible for the development and implementation of plans to achieve the smooth operation of a regional convention. The responsibilities may be carried out by a regional convention planning committee or a host chapter. Each region should look at its own needs to determine which structure provides the most effective results. The administrative structure for the Convention Steering Committee may be adapted to either structure. All responsibilities of the Convention Steering Committee must be defined in regional standing rules and procedures.

1. Regional Convention Planning Committee The members of this committee, including the CRC and OPL, are members of the region appointed by the EVC and/or the RMT, in accordance with regional standing rules and procedures. The convention assistance chapter (Host Chapter) provides assistance as needed.

2. Convention Assistance Chapter (Host Chapter)

While the structure of the Convention Steering Committee varies from region to region, the CRC serves as its chair. The regional CC and OPL are members of the committee while the EVC attends all meetings. A list of suggested subcommittees, along with an outline of responsibilities, is included in this section. It is not necessary for all subcommittee chairs to be members of the Convention Steering Committee; however, they must report to the CRC, CC, OPL or EVC.


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CONVENTION ASSISTANCE CHAPTER (Host Chapter)

The Convention Assistance Chapter, or host chapter, is selected in accordance with regional standing rules and procedures and is designated to assist the Convention Steering Committee in the execution of the regional convention. All responsibilities of the Convention Assistance Chapter, or host chapter, and its relationship to the Convention Steering Committee should be defined in regional standing rules and/or procedures. If the Convention Assistance Chapter, or host chapter, is competing, it may choose to perform first or last in the regional competition order of appearance, or may choose to remain in the random draw for order of appearance, conducted by Competition Services at IHQ. If there is a preference, the Convention Assistance Chapter, or host chapter, must indicate this preference to perform first or last on the entry form submitted to Competition Services at IHQ. In regions where a Convention Assistance Chapter, or host chapter, is used as the Convention Steering Committee, members of the Convention Assistance Chapter, or host chapter, assume the responsibilities of the Convention Assistance Chapter, or host chapter, and designated subcommittees, unless otherwise noted. The Convention Assistance Chapter, or host chapter, is responsible for assisting the appropriate committee by:

1. Providing staff for the competition information desk at the hotel. 2. Providing assistance for hotel registration, all events/ticket sales and pick-up, and

regional Ways and Means Sales areas. 3. Escorting competitors to the competition facility. 4. Acting as guides for traffic patterns, ticket takers, ushers, door watchers and backstage

assistants at the competition facility. 5. Providing staff for various stops in the traffic pattern (i.e., warm-up rooms, hotel departure

check-in, photography, stage entrance/exit). 6. Supervising the unloading, assembling, disassembling and loading of risers. 7. Providing van drivers as needed by the OPL for transporting the official panel members. 8. Providing van drivers as needed for transporting the official photographer. 9. Providing a floater at both the hotel and competition facility to assist the members of the

Convention Assistance Chapter, or host chapter, assigned to the traffic patterns. 10. Providing one person to staff the Convention Assistance Chapter, or host chapter, office at

the headquarters hotel throughout the weekend. During the competition, this person is responsible for telephone communications between the hotel and the CRC at the competition facility.

11. Providing three to five additional members to be used on an as-needed basis. 12. Assisting in any other way designated by the Convention Steering Committee, in

accordance with regional standing rules and procedures.


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SUBCOMMITTEES Outlined below are suggestions for subcommittees to handle various aspects of the convention weekend. It is the responsibility of the Convention Steering Committee to determine which committees are appropriate for the administrative structure of its region. Unless specifically noted, it is not necessary for the chair of each subcommittee to be a member of the Convention Steering Committee. Each subcommittee designated by the Convention Steering Committee maintains minutes of all meetings and provides copies to members of the Convention Steering Committee. Immediately following the convention weekend, each subcommittee meets to discuss the convention and identify areas that may need improvement for the next convention. A final report including this information is presented to the Convention Steering Committee. AFTERGLOW If the region has an Afterglow, this committee coordinates all aspects of this event. ALL EVENTS/TICKETS The price of all events registrations (and events to be included) and individual tickets is established by the Convention Steering Committee and approved in accordance with regional standing rules and procedures. Subcommittee responsibilities include:

1. Printing of tickets. 2. Preparing complimentary All Events Registration badges for the official panel members,

trial scorers, PS trainees and any others designated. 3. Preparing other All Events Registration badges. 4. Determining a method of distribution for registrations, tickets and programs through

mail or hotel pick-up. 5. Notifying the CRC of needs associated with the method of distribution at least 90 days

prior to the convention (e.g., tables, chairs). 6. Setting up the registration, information areas and ticket sales at the hotel. 7. Staffing the registration, information and ticket sales areas in the hotel and competition

facility with members of the Convention Assistance Chapter, or host chapter. Note: Publicizing in advance that All Events Registrations are transferable but not refundable

is recommended.

AWARDS The chair of this subcommittee works directly with the CRC. Committee responsibilities include:

1. Ordering quartet and chorus medals and/or ribbons from Sales at IHQ. (Regional Award Order Forms are available on our website.)

2. Stringing chorus medals on cords long enough to easily go over contestants hairdos. (Royal blue for first place; red for second place; white for third place; yellow for fourth place; green for fifth place; and black or teal for Most Improved Chorus medals. Division A deep purple for first, medium purple for second and pale purple for third; Division AA hot pink for first, medium pink for second and pale pink for third.) Make sure the knots do not slip. The medals can be bunched in groups of ten for easy counting and distribution.


Rev. Dec-17

3. Attaching quartet medals to ribbons. (Royal blue for first place; red for second place; white for third place; yellow for fourth place; green for fifth place. Most Improved Quartet Award is a ribbon available from Sales at IHQ.)

4. Determining physical arrangements for awards presentation. 5. Notifying the CRC of needs associated with the awards presentation at least 90 days prior

to the convention (e.g., tables, chairs). 6. Working with the CRC to ensure all awards are at the appropriate distribution site. 7. If applicable, purchasing Director Recognition Awards, Most Improved Quartet Award

and any other designated regional awards. 8. Verifying per item cost, selling any extra medals to eligible choruses and turning over

extra supplies to the appropriate personnel. BACKSTAGE ASSISTANT Working with the CC, this subcommittee’s responsibilities include:

1. Assisting with set-up of the backstage area prior to the competition, in coordination with CRC and CC.

2. Assisting with inspections and contestant briefings, in coordination with CC. 3. Assisting in the assignment of members of the Convention Assistance Chapter, or host

chapter, to help in the traffic pattern. 4. Assisting with the traffic pattern during the competition.

BULLETIN COMITTEES This subcommittee produces convention bulletins as specified by the Convention Steering Committee. CONVENTION SECRETARY Responsibilities include:

1. Recording the minutes of each Convention Steering Committee meeting. 2. Following the approval of the CRC, distributing the minutes to the following: CRC, CC,

EVC, OPL, other committee members, host chapter president (if applicable) and RMT. 3. Preparing correspondence as requested by the CRC. 4. Maintaining a file of all minutes, reports from all subcommittees, financial statements

and correspondence regarding regional convention. 5. Forwarding the file to the CRC, including final committee reports, following the

regional convention weekend. DECORATIONS/SIGNAGE Subcommittee responsibilities include:

1. Preparing decorations for designated locations, based upon the theme of the convention. 2. Preparing and displaying signs for the traffic patterns.

FINANCE The financial chair of the regional convention may be the FC or host chapter treasurer, or she may be a member appointed to that position by the CRC and/or EVC. If the financial chair is not the


Rev. Dec-17

FC or host chapter treasurer, it is necessary to establish procedures for authorizing checks to be written and forwarding a record of all deposits made that relate to the regional convention. Responsibilities include:

1. Supervising the development and adherence to the regional convention budget, unless regional procedures provide that the Convention Steering Committee plans the budget.

2. Maintaining accurate and current records of all receipts and disbursements. 3. Forwarding check requests to the CRC and/or EVC and/or host chapter president for

approval before paying. 4. Presenting a written report at each Convention Steering Committee meeting, including the

balances for each budgeted item. 5. Notifying the CRC and EVC of any variances to the budget. 6. Preparing a final written financial report following the regional convention and

forwarding it to the CRC and any other appropriate regional personnel. 7. Forwarding the financial files to the CRC for inclusion in the convention files.

HOST COMMITTEE This subcommittee selects the hosts and notifies each contestant of its respective host. Each host is responsible for:

1. Contacting the assigned group prior to convention to discuss any special needs, advising them of plans and providing any additional assistance as needed.

2. Meeting and personally welcoming the assigned group upon arrival at the convention site and advising them of scheduled rehearsal and transportation times.

3. Accompanying the assigned group to the contestant briefing and walking through the traffic pattern with the CC or backstage assistant.

4. Accompanying and remaining with the assigned group at rehearsals and throughout the competition.

HOSPITALITY This subcommittee is responsible for providing as many comforts as possible for Sweet Adelines International guests who are not members of the official panel. HOUSING This subcommittee works with the CRC in:

1. Establishing procedures for competitor and guest hotel reservations. 2. Providing this information to the Bulletin Committee for publication. 3. Staffing the pre-keyed housing area at the hotel with members of the convention assistance

chorus, if applicable. PHOTOGRAPHY In accordance with regional standing rules and procedures, arrangements are made with a photographer to take the official picture of each contestant in a specially designated area, either prior to or following the contestant's performance.


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Responsibilities include: 1. Providing contestants with the following information through the convention bulletin or

an individual mailing, prior to the convention weekend: a) instructions and prices for ordering photographs. b) location and set-up (risers, table/chair, primp supplies) of photography area.

2. Assigning a member to assist the photographer on site. 3. Assigning a member to collect photography orders on site, unless all orders are received

by mail prior to the convention weekend. PROGRAM This subcommittee is responsible for all aspects of the convention program, including printing, advertisement sales and distribution. The program should include:

1. Names of the official panel members. 2. Names of contestants (quartet members and chorus directors). 3. Designation of Open Division competitors 4. Schedule of events. 5. Any additional information provided by the Convention Steering Committee. 6. Current quartet and chorus champion pictures, if designated. 7. A message from the RMT, CRC, CC and/or Convention Steering Committee, if desired. 8. Additional information as requested by international.

The CRC, CC and COC proofread and approve the contents of the program before it is printed. PUBLIC RELATIONS This subcommittee is responsible for all public relations regarding the regional convention weekend. (Refer to Appendix I.) The chair of this committee may be the MKC or a member of the Convention Steering Committee. This should be specified in the regional standing rules and procedures. SECURITY At the competition facility, this subcommittee is responsible for:

1. Assigning members to open and close doors upon the CRCs directions. 2. Assigning members to collect tickets from individual purchasers. 3. Assigning members to act as ushers during competition sessions and advising them of

any facility restrictions. Note: Some facilities require that professional ushers and ticket takers be hired.

SHOW OF CHAMPIONS This subcommittee is responsible for planning and implementing the Show of Champions, including order of appearance, emcee(s), performers, length of each performance, etc. Specifications for the Show of Champions should be included in the regional standing rules and procedures.


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TRANSPORTATION Working with the CRC and CC, this subcommittee is responsible for coordinating the busing between the hotel(s) and the competition facility. Its responsibilities include:

1. Contacting bus companies for price comparisons and availability. 2. Submitting information to the CRC for approval. 3. Presenting contracts to the CRC and EVC or FC for signatures and initial deposit, if

required. 4. Working directly with the busing company throughout and until the completion of the

convention weekend. 5. Making all arrangements for communications between the competitors hotel check-in

point(s) and the competition facility drop-off point, and between the audience hotel(s) pick-up and competition facility drop-off points (cell phones or two-way radios may be used).

6. Following approval of the Schedule of Events: a) arranging buses to transport mic-testing quartet and chorus to official inspection. b) arranging audience bus times for hotel departure and return. c) arranging transportation for those attending the quartet and chorus briefings.

7. Following the approval of the traffic pattern schedules, arranging for contestant busing between the hotel and competition facility.

8. Making copies of the traffic pattern schedule and distributing to personnel working the traffic pattern. The personnel should be instructed to make note of the actual arrival and departure times of each contestant for future planning purposes.

9. Ensuring all departure locations are marked at both the hotel and the competition facility. 10. Ensuring there is one last bus to transport all late workers, including officials, back to the

hotel after both evening sessions. WARM-UP ROOMS Subcommittee responsibilities include maintaining the appropriate supplies in warm-up rooms. For example:

1. Water and cups (no ice) OR bottled water (not cold) 2. Tissues and Q-tips 3. Vaseline 4. Hair spray 5. Eyelash glue, nail glue, clear fingernail polish and double-sided scotch tape 6. Sewing kit 7. First aid kit including throat lozenges and antacids

GUIDELINES FOR REGIONAL CONVENTIONS Section D CONVENTION PREPARATIONS Page - 1

SECTION D


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CONVENTION PREPARATIONS BUDGET The expenses of hosting a regional convention are borne by the region or by the Convention Assistance Chapter (or host chapter) depending upon the regional standing rules. In some regions the cost of the convention is shared, in which case, the budget indicates which expenses are to be borne by each. The region advances funds to the host chapter to cover payments that must be made before income is received. The following items are considered in determining the estimated budget. Additional items may need to be included, and some of the suggested items may be omitted. Be sure to ask for a written estimate of projected expenses from the facility. All expenses are paid in accordance with regional standing rules and policies. Revenues

1. Advanced funds from the region 2. Revenue from All Events Registrations 3. Single ticket sales to the public (include state sales tax, if applicable) 4. Advertising in the printed program 5. Photography 6. International reimbursement for recording expenses 7. Other

Expenses 1. Competition facility rental fees 2. Other competition facility expenses:

a) stage crew b) supplementary lighting c) sound d) electrician e) security f) ushers g) cleaning h) trash hauling

3. Official panel expenses (for five members) a) Region’s portion of portal-to-portal expenses b) Four days @ $50 per day ($200 x 5 = $1,000) c) Actual cost of housing Note: Minimum budgeted amount is $4,000. d) Hospitality for official panel in their hotel lounging area/parlor e) Hospitality for official panel & trial scoring judges rest areas f) Judging pit supplies, water, snacks

4. EVC a) Travel/housing/per diem b) administration

5. CC expenses a) Travel/housing/per diem b) Administration


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6. CRC expenses a) Travel/housing/per diem b) Administration c) miscellaneous

7. OPL expenses a) Travel/housing/per diem b) administration

8. Convention Steering Committee (including EVC) a) Travel/housing/per diem b) administration

9. Public relations/advertising 10. Awards

a) Chorus medals b) Chorus ribbons c) Quartet medals d) Quartet ribbons e) Regional awards

11. Busing/special transportation/van rental 12. Decoration/props 13. Function room space

a) Meetings b) Post-competition events c) rehearsals

14. Miscellaneous a) Flowers b) Facility & hotel staff gratuities c) Photography room primp supplies d) Emcee out-of-pocket expenses e) Post-competition copying charges

15. ASCAP/BMI license fees 16. Printing

a) Programs b) Registration badges c) Tickets d) Bulletins e) Signs f) Emcee scripts

17. Audio & video recordings 18. State sales tax 19. Reimbursement to region for advanced funds 20. Other

Division of Profit This is determined by the region's standing rules.


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SITE SELECTION AND INSPECTIONS INTRODUCTION Selecting an appropriate site for a regional convention is essential. The success of the convention depends on facilities that fulfill the unique requirements of a Sweet Adelines International convention/competition. To ensure the booking of a sufficient number of hotel rooms and a nearby competition facility, most regions make their selections three to five years in advance. Several regions have adopted permanent sites, or a two- or three-year rotation of permanent sites. The regional standing rules should include the following under Site Selection:

Who is included in site inspections: EVC, CRC and CC? What expenses for inspections are reimbursable? Who is reimbursed – region or host chorus? Who selects the site? (The EVC and/or the RMT should have final approval.) When is the site selected? Who has the authority to negotiate and sign contracts on the region's behalf?

INITIAL SITE INSPECTION The site inspection is important for two primary reasons.

1. Written information and specification sheets from the hotel and competition facility give a basic idea of the layouts. However, physically inspecting the site(s) gives a better understanding of how the facilities meet the region's needs for: a) Room availability. b) Room sizes and ceiling heights. c) Sufficient area available backstage. d) Contestant traffic pattern (walking distances, stairs, alternates to stairs). e) Transportation between facilities. f) Restaurant facilities.

2. The negotiation process to determine specific needs, as well as to define specific costs and terms of contract(s), begins during the site inspection. Answers to the following are obtained during this time: a) Number of rooms to be blocked b) Hotel function space to be blocked c) Staging, lighting, sound system, labor, dressing/rehearsal room available at the competition

site Following each site inspection, a report is prepared for the RMT including specific information about the facilities and estimated costs. SITE SELECTION FACTORS Several factors are considered in selecting the site for a regional convention, including the following:


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Geographic Location 1. Airport proximity: If at all possible, the regional convention is held in a city with a large

airport served by major airlines. This may result in greater accessibility and lower fares for members, regional personnel and the official panel.

2. Major highway accessibility. 3. Alternate modes of transportation available. 4. Convenience for members.

Safety Considerations The safety and security of our members are of paramount consideration in competition site selection. Whenever possible the hotel and competition facility should be located in a "safe" area of the city. If the area is questionable, additional security measures must be taken even if additional costs are incurred, i.e., police security guards. Security personnel are essential at all entrances and exits of the competition facility before, during and following the competition sessions. Locate and mark buzzers on the outside of locked doors that have no handles for reentry. If there is a chance a competitor or backstage personnel could be locked out, mark the inside of such doors to alert members the door is not designed for reentry. Signs must be posted within the competition facility directing competitors and other personnel to all backstage areas and traffic pattern locations. Use of back alleys as part of the traffic pattern is discouraged. In the event this is necessary; the area must be well lighted and staffed with security personnel. In pre-competition mailings, all members should be cautioned to stay in groups as they move around the city, and to and from the competition site. Choruses are encouraged to enlist a member from their local police department for training members regarding personal safety. Hotels

1. Headquarters hotel There must be sufficient housing to meet regional needs, including the estimated number of contestants, other members, and nonmembers attending the convention. The hotel designated as the headquarters hotel is the center of activity for all regional convention events except the competition sessions when they are held at an alternate facility. The headquarters hotel should provide sufficient housing to accommodate most, preferably all, of the convention participants.

2. Americans with Disabilities Act The hotel must be in compliance with the American with Disabilities Act (U.S. sites only) and should have a clause in the contract stating so and indemnifying Sweet Adelines International against violations. (Refer to Appendix II.)

3. Housing The following is taken into consideration when determining hotel needs: a) If it is not possible for all attendees to be housed in the same hotel, additional hotels

should be within walking distance. b) A sufficient number of quad and triple rooms. c) Adequate room, closet, bathroom and mirror space. d) Workable procedure for hotel registration and check out. e) *Official Panel requirements.

i. Headquarters hotel only


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ii. Three nights (Thursday-Saturday, with guaranteed late Thursday arrivals) for U.S. and Canadian regions and up to five nights for non-North American regions.

f) *Convention Steering Committee (of Conventional Assistance Chapter/Host Chapter) i. Four nights – Wednesday-Sunday

ii. Two-bedroom suite with adequate living room to be used for meetings, storage, etc. Note:* These rooms are blocked at the time the contract is signed.

4. Function space The headquarters hotel should have: a) Sufficient meeting rooms for the region’s needs, including:

i. Pre-keyed housing ii. All events registration/single ticket sales

iii. Ways and means iv. Convention headquarters/information desk v. Rehearsal space for choruses

vi. Backstage vii. Traffic pattern (if needed at the hotel)

viii. Regional dining functions b) Available rooms for chorus rental for their dining or hospitality purposes. If more than one

hotel is used, function space may be needed in other hotels. Note: Block all possible function space needed at all hotels when contract is signed.

5. Complimentary rooms It is not uncommon for a hotel to provide complimentary suites for the official panel, meeting rooms, or roll-away beds free of charge in exchange for paid guest rooms or food functions. Because hotels in most downtown areas are empty on weekends, there is a great deal of negotiation clout when there is the possibility of a convention filling the hotel.

6. Restaurant facilities 7. Convention schedules are such that the heaviest demand does not always agree with the

standard hours that restaurants expect to be busy. Arrangements may need to be made for extra staff and extra operating hours to fulfill needs for late Friday night, Saturday morning, Saturday afternoon and Saturday evening. The following information must be ascertained at the time the contract with the hotel is signed: a) What types of restaurants are available? What is the seating capacity? b) What are the hours of operation? And, are they extendable, if necessary? c) What is the average cost/expense for dining? d) Will the restaurant have extra help/wait staff available during peak convention times, as

mentioned above? e) Do the restaurants offer sandwich bars, buffets, and/or late evening menus? f) What are the room services hours and menus of the hotel restaurants?

8. Elevators a) How many are available? What is the load capacity of the available elevators? b) Are there enough elevators large enough to sufficiently accommodate an entire competing

chorus? c) Are the elevators computerized so only one will stop on a floor at a time? d) Can they be manually keyed and/or run for use by regional competitors at the hotel only? e) Does the hotel/competition facility have freight elevators available for use during chorus

competition on Saturday? 9. Parking

Determine if there are sufficient spaces available at reasonable prices.


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10. Limousine/airport transfer availability 11. Duplicating/FAX equipment

a) Does the hotel/competition facility have computers, copy and/or fax machines available for Convention Steering Committee, or host chapter, use?

b) Where are the computers, copy and/or fax machines located within the hotel? c) What are the costs of utilizing the computers, copy and/or fax machines in the hotel?( with

or without the region supplying paper) d) Are there keys and/or codes needed for access to the equipment? e) Is it necessary to have hotel/competition facility personnel operate the equipment> f) Does the hotel/competition facility have backup computer and copy systems available if

necessary? 12. Charges

a) Although hotels are reluctant to commit to specific rates for guest rooms more than a year in advance, the rates at the time of the site inspection may be used for comparative purposes in the report. However, the contract with the hotel, in order to be legally considered a contract, must contain a formula for how the rates are determined for the future year. The two most common formulas are:

i. A set percentage off the rack (published) rate. ii. To quote a rate for the current year, with the rate for the meeting year not to exceed

an increase of a specified percentage. b) Additionally for the report, it is important to determine what charges, if any, will apply to:

i. Function space ii. Tables and chairs

iii. Set-up of meeting rooms iv. Parking

13. Miscellaneous Depending on the region of the hotel or competition facility, determine if: a) Check-in/check-out for each room or an entire chorus may be handled by one member b) An entire chorus may arrange to be housed on one floor c) An all events registration table and convention information table may be set up in the lobby

or on the mezzanine level. d) Ways and means sales are allowed. e) There will be any other groups housed in the hotel that weekend. f) Meetings rooms may be locked and rekeyed, if needed. g) Rooms are soundproof.

Outside Restaurants Determine the location, hours of operation and price ranges of restaurants in the area. Competition Facility The facility in which the competitions are held is usually

an auditorium with full stage an arena with a portable stage a hotel ballroom with a small permanent stage a hotel ballroom with a portable stage.

When selecting a facility, always remember what is best for the competitor while taking into consideration the cost-effectiveness for the region.


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Regardless of the site, the same factors must be considered during the site inspection. 1. Stage

a) Whether a stage is permanent or constructed, the same dimensions apply: i. Large enough to accommodate the approved riser configuration.

1) Stage width must accommodate sufficient risers for the largest chorus in the contest. (See Riser Placement Diagrams, Appendix III, pages 11-17.)

2) The following figures include using 18-inch choral risers, a fourth step and the floor:

Without inverted section (alternate): Six 6-foot sections accommodate up to 70 members. Seven 6-foot sections accommodate 70-90 members. Nine 4-foot sections accommodate 70-90 members. Ten 4-foot sections accommodate 80-100 members. Eleven 4-foot sections accommodate 90-110 members.

With inverted section (standard): Seven 6-foot sections accommodate 70-90 members. Nine 6-foot sections accommodate up to 100 members. Eleven 4-foot sections accommodate 90-110 members. Eleven 6-foot sections accommodate 120 or more.

3) If the alternate riser configuration is being used by the region, it should be available for any chorus that feels this configuration would be more suitable for them.

Using the alternate configuration is a regional option. The alternate configuration is formed by removing the inverted

section and one or two sections from each side. Lighting and sound are set to accommodate both riser configurations

whenever possible. If different settings are used both must be approved by the PC.

The alternate configuration may be moved forward on the stage as long as (ii-iv) listed below are met.

ii. There is sufficient room in front of the risers for the director. iii. There is sufficient room in the front of the risers for choreography iv. There is sufficient room in front of the risers for the emcee lectern. v. There is sufficient room between the risers and the edge of the stage for contestants

to enter and exit. vi. The ceiling must be at least 12 feet above the stage.

vii. The height of the stage must be a minimum of 32 inches. b) If it is necessary to construct a stage, the safety of the contestants is the primary

consideration. i. Staging should be locked together for solidity and safety.

ii. It must be strong enough to accommodate the combined weight of the largest chorus in the region and the corresponding riser configuration.

iii. A stage surface must be provided to ensure a smooth stage. Dance flooring or carpets are appropriate, if available.

iv. Ramps and/or stairs leading up to the stage should have railings and lights. v. A safety rail must be included around the edges of the backstage area.


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vi. All cords and electrical equipment backstage must be marked with glow-in-the-dark gaff tape so competitors can see all tripping hazards in the dimmed, backstage lighting.

vii. Entrances, exits and backstage areas should be piped and draped. viii. Any extensions to an existing stage must be the same height as the permanent stage.

2. Shells

a) Quartet competition A shell is optional for quartet competition. A backdrop or pipe and drape set-up may be used. If a shell is used, it should be neutral in color with no decorations.

b) Chorus competition A shell or backdrop is required. If a chorus shell is not available, an orchestra shell, a stage flat or a curtain may be used.

3. Curtain A curtain is not required for chorus competition; however, most auditoriums and theaters with a permanent stage usually have a front curtain available. a) If a curtain is used, the following information is to be determined:

i. How long does it take to open and close the curtain? ii. Does the curtain open and close vertically or horizontally?

iii. Is the curtain electronic or manual? iv. Does the facility require union personnel to operate the curtain?

b) If lighting is used in lieu of a curtain, the following procedures are followed: i. Stage lights are dimmed to half-stage lighting so the contestants can see as they enter

the stage and risers. ii. When the director signals the chorus is ready, the stage lights are taken out, except

for the spotlight on the emcee lectern. iii. As the contestant is announced, the stage lights are brought up to 100%. iv. After the chorus’ final bow, the stage lights are again taken out and then brought up

to half-stage lighting as the chorus exits the risers and stage.

4. Lighting standards Note: the following suggestions for equipment are intended to be used as a starting point when

working with the technicians. These are not required.

During the initial site inspection, the CC investigates the lighting equipment and determines whether or not it is necessary to rent additional equipment along with the approximate costs. The CC may choose to have an incident light meter available during the inspection to check the degree of lighting and eliminate any dark areas. The following specifications should be considered whenever possible. a) General

i. Lighting must be uniform for all contestants in the same contest session. No special lighting effects may be used by any contestant in the International Division or Evaluation Only sessions.

ii. Additional lighting options may be offered for Open Division competitors only, if the region chooses. Traditional white lighting is used during competition songs. White, combined with one additional color (red, lavender, blue, amber, green, or magenta) may be used for non-contest songs only.

iii. The intensity of stage lighting must be consistent for the entire performing group.


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iv. In an auditorium situation, overhead and front lighting should be used. Forward lights should be focused so no shadows are cast. If footlights are used, they should not be brighter than the overhead lights.

v. In a hotel ballroom, fixed mini-spots need to be focused on the stage. For International Division and Evaluation Only contestants, lighting should be white; however, gels may be used in forward lighting. Only pink, flesh-tone or bastard amber gels are used. At least one follow spot is needed and should be checked and operated by experienced personnel. (Please note that some competition facilities may require union personnel to operate lighting equipment, such as follow spots.) This is used for the introduction of the official panel prior to the announcement of the chorus results.

vi. The emcee lectern spot may be fixed lighting on a dimmer board. vii. Lighting technician(s) must focus lighting equipment prior to auditorium

inspections and be available to operate lighting equipment during inspections, contest sessions and shows. (Please note some competition facilities may require union personnel to operate lighting equipment.)

viii. Lighting in the auditorium (house) while contestants are on stage should be set low enough so performers can see there are people in the audience. A 20-40% setting is recommended. Between contestants, lighting should be brought to 80% for the safety and convenience of the audience.

b) Quartet i. Both overhead and front lighting is necessary to achieve an overall un-shadowed

effect. ii. The lighting must be focused in such a way as to prevent shadows on the faces of

the quartet members. iii. All stage lighting may be brought up during a quartet’s performance, beginning with

their entrance and ending with their exit. Or, a follow-spot may be focused on them from their entrance through their exit.

c) Chorus iv. Both overhead and front lighting is necessary to achieve an overall un-shadowed

effect. Lighting must be consistent and un-shadowed from 6 1/2 feet above the highest tier of risers to the smallest member in the front row. The area in front of the risers to the downstage edge (the front-edge of the stage closest to the audience) must be lit with the same consistency to allow for choreography.

v. Follow-spots should not be used on the director alone. The director’s face should be sufficiently illuminated so she can be seen clearly by the chorus. This can be accomplished by dedicating a fixed overhead light for this purpose.

vi. Check the lighting on the director to ensure she is clearly seen by the chorus. Final decisions regarding the adequacy of the lighting are made by the PC at the official inspection. However, because last minute changes may result in increased labor and equipment costs, it is best to ensure well in advance of the contest weekend that the established lighting standards can be met.

5. Signal system/headphones Communication must be established between the PC, the backstage area, and the emcee. There are two possible ways of accomplishing this: a) Many regions have already built their own signal system. b) Many facilities have headphones that are used by the PC, the CC, and the lighting, sound,

audio, and video technicians.


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6. Sound system *For more detailed information on sound systems, refer to Appendix IV. The purpose of using an amplification system for competition is to enable the audience to hear the performances. If sound monitors are available in the competition hall, they should be used. Amplification for the competitor, as well as the audience, is very important. The

judging panel must hear contestants without amplification whenever possible. To achieve this, it may be necessary to distribute several speakers throughout the hall. However, hearing a small amount of amplification in the pit is acceptable if it is necessary to ensure that the competitors and audience can hear. The following should be determined: a) Amplification

i. What sound system is available? ii. Is supplemental equipment required? If so, how much does it cost?

iii. Are acoustics satisfactory from the standpoint of the competitors, the judges, and the audience?

iv. Is the same sound technician available to set the sound during the inspection and to operate the system during contest sessions and shows?

v. Are equipment and personnel available for making the official audio and video recordings? Is it necessary to rent equipment? If so, how much does this cost?

vi. What microphones are available? (Ideal microphones are 48-volt, phantom-powered, studio condenser microphones with a cardioid pattern, 1-inch diameter capsule.) For choruses, microphones may be placed close to the downstage edge of the stage in foam mouses; Crown PCC-160 (phase coherent cardioid) microphones are preferable.

A. Quartet Contest Two cardioid microphones are required. They must be securely mounted so they cannot be moved if struck by a performer. A preferred mounting is on a single microphone stand with a stereo bar placed in a cross-fired position (120-130 degrees, tails-out). Microphones are positioned so the patterns are directed between quartet members #1 and #2, and between quartet members #3 and #4. The best option is to use a boom-type microphone stand placed in the pit, so there is no physical contact between the stage floor and the microphones. The level of both microphones is set equally to maintain the natural balance of the quartet's sound. The average quartet microphone height is between 5’4” and 5’6”. The use of stage monitors is optional, but encouraged. Open Division quartets must have a microphone available for emcee work.

B. Chorus Contest Microphones may be suspended overhead, placed on the floor, or both. If suspended:

01) Three microphones should be used. 02) Microphones should be suspended at least as high as the heads of

the singers on the highest riser and at least two to four feet in front of the risers.

03) The microphones should be positioned so the patterns are directed at the chorus, not at the floor.

04) Levels should match the curvature of the risers (outside microphones set equally; the center microphone slightly higher).


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05) Open Division choruses must have at least one standing microphone for emcee work. You may use three as is used at international contest. Lavalier mics are not allowed.

Floor microphones are used only if microphones cannot be suspended. Two or three are placed on boom-type stands in the pit with their levels set equally. Floor microphones often pick up foot movement noise and may distort the audience and recording sound.

Frequently, improper wiring cables, or in-patch bays, result in two adjacent microphones being out of phase, causing a significant sound cancellation. A phase test to ensure all microphones in each group are in phase should be made by the sound technician.

Often, there is a problem of system saturation and clipping at various frequencies at peak volume. This results in a noticeable distortion of sound quality and sometimes is accompanied by a rumble, a momentary ring-off at certain frequencies, or even a steady, deafening, ringing sound (also known as feedback). Should this occur, the system test should be stopped at once until the sound technician has made the necessary corrections. Successful system tests result in pleasant, well-balanced sound at all volume levels throughout the auditorium, with minimal reverberation and with minimal or no amplified sound being audible at the judges' tables. Through proper use of pan controls and auxiliary outputs on the primary sound mixing console, compliance with these microphone techniques provides the necessary sound pick- up for feeding the auditorium sound system as well as for providing stereo audio feed for the audio and video recording equipment.

Final approval for the use of sound amplification rests with the PC. If she determines during the on-site inspections or mic-testing performances that amplification is excessive or that it interferes with the official panel's evaluation of the contestant performances, she has the prerogative to request the gain be lowered or amplification not be used. The sound technician should be instructed that once the sound system has been approved by the PC, no changes are to be made except as authorized by the PC.

7. Recordings (Refer to Appendix III for summary.) The CC is responsible for supervision the official recordings of the competition. Although she is responsible, the task may be designated to someone else. Sufficient space must be available for the recording technician(s). Arrangements should also be made to test and set the recording levels prior to the start of each contest session, preferably during the official inspection by the PC. If recording in stereo, check dials to ensure both channels are recording. If dials are not available, perform a test recording of each channel and play to ensure that both channels are recording.

Be sure to include each contestant’s introduction on the recording so they can be identified and exclude recordings of breaks, intermissions or extraneous emcee material. Please make every effort to have good lighting for the recordings. These recordings play a very important part in the judging program’s review process. Please view your recordings before sending them to headquarters to make sure they are: a) Recorded so each competitor is recorded on individual tracks.


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b) Labeled according to the instructions laid out in Appendix III. c) Submitted in competitor, not placement, order. d) Of the best possible viewing and listening quality and submitted in .mp4 format.

8. Judging areas

a) Judging Pit (Refer to Appendix III for diagram.) i. Should be ten feet away from the front of the stage.

ii. Should have sufficient room for three tables, approximately 8’ long by 30” wide. The judging pit should also have enough space for a person to walk in front of the tables and enough space behind the tables so that the audience cannot see the official panel’s work.

iii. Should have electrical outlets for six high-intensity lamps, laptops, and a printer. iv. Should have space for the trail scorers’ table, if applicable. (in lieu of tables, trial

scorers and their page may be seated exclusively in the front center rows of the auditorium with at least two empty rows behind them and the first row of audience members.)

b) Rest areas i. Should be a room close to the backstage area for the panel to use prior to and

following each contest session and during intermission. ii. Should have restroom facilities nearby and separate from those used by the audience

members and competitors. iii. Should also be provided for the trial scorers, emcees and pages, with the same

stipulations as the rest areas designated for the official panel. Rest areas for the official panel should also be separate from rest areas for the trial scorers, emcees and pages.

iv. Must permit refreshments. Please determine ahead of time if refreshments must be catered by the facility or if the region may provide them.

9. Traffic pattern a) Photography area

i. A room that accommodates riser height and width requirements and allows for depth for the photographer.

ii. There is no interference from light fixtures. iii. There is an appropriate background behind the risers to frame the chorus pictures. iv. The riser type and configuration is set for optimum photography. v. It accommodates the largest competing chorus.

b) Warm-up area i. A warm-up area is available to each competing group, either at the hotel or

competition facility. ii. If in the backstage area, the warm-up area is soundproof to the stage and auditorium.

iii. Risers are preferred, but are not required. iv. It accommodates the largest competing chorus.

c) Holding area(s) i. Space accommodates the largest competing chorus.

ii. All except one area is soundproof from the stage and auditorium. iii. One area is available backstage where the competitor waits for the conclusion of the

preceding performance. d) Purse drop area


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e) Restroom facilities f) Space for regional personnel, stagehands, technicians, and awards tables.

10. Hours

Determine exactly what hours are needed at the facility and find out if the facility is available for all convention and competition events.

11. Seating a) Does the competition facility provide sufficient seating for the estimated number of audience

members and competitors? b) Are there pillars or other obstructions from the audience’s view of the stage? c) If the facility is in a hotel ballroom or arena, is tiered seating available?

12. Facility/union personnel

Requirements regarding the use of facility/union personnel vary. Check union regulations for the number of hours of continuous work allowed before a break is required and the total number of hours per day before overtime is in effect.

Some facilities require that only union labor or personnel employed by the facility itself be used for various duties. Others allow Sweet Adelines members (or friends and family) to serve as stagehands, technicians and ushers. It is necessary to determine facility requirements when using the following: a) Sound technician b) Lighting technician c) Stage hands d) Curtain puller e) Facility security f) Box office personnel g) Ushers h) Ticket takers i) Audio and video recording technicians j) Emergency personnel k) Other

13. Restrictions

It is important to learn, in advance, if the competition facility has any restrictions that affect the convention, especially in the following areas: a) Recordings b) Ticket sales c) Photography sales d) Use of non-union labor e) Food from outside f) Parking of work-related vehicles g) Traffic restrictions of surrounding streets, including loading and unloading of buses. It is sometimes possible to avoid these restrictions. For example, if it is explained that the purpose of the audio and video recording is for educational and archival purposes, not commercial, restrictions against audio and video recording are usually waived.


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14. Costs For accurate evaluation of a facility, it is important to know what is and is not included in the basic costs. The following costs should be determined during the site inspection: a) Competition facility rental b) Labor

i. Stage hands ii. Sound, lighting and recording technicians

c) Facility security d) Box office personnel e) Ushers f) Ticket takers g) Meeting rooms h) Sound equipment (in-house or outside rental) i) Supplemental lighting equipment (in-house or outside rental) j) Staging (platforms, backdrop drapes, curtain, etc.) k) Table and chair rental l) Recording fee(s) m) Fees for ticket sales n) Catering o) Cleaning services p) Water services q) Overtime costs r) Signal system/headphones s) Others

15. Americans with Disabilities Act (U.S. sites only)

Ensure the competition facility is in compliance with the Americans with Disabilities Act and has a clause in the contract stating so and indemnifying Sweet Adelines International against violations. (Refer to Appendix II.)


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CONTRACT NEGOTIATIONS To ensure that facilities are available, that costs are established, that all specified requirements are met, and that both parties understand what has been agreed to, everything agreed upon must be in writing. All required housing and function space is blocked. The contract is signed by both parties and is binding. Any changes must be agreed to, in writing, by both parties.

Contract negotiations are approached in a professional manner. It is a business operation on behalf of the region and is treated accordingly. All needs are anticipated far in advance so as to be incorporated in the contract.

Although it may not be possible to include exact costs in a contract more than a year in advance, every effort should be made to specify a base price and a maximum percentage increase, especially in the competition facility rental fee. A date for determining the exact charges is specified so that a convention budget may be prepared. This date is no later than one year prior to the convention weekend.

If the competition is being held in a facility other than the headquarters hotel and unavailability of that facility would necessitate changing convention dates or moving the convention to another city, a contingency clause should be added to any hotel contracts. Suggested wording for this clause could be:

"The performance of this agreement by Region X of Sweet Adelines International is contingent upon the availability of the XX Theater as the site for the region's vocal music competitions. If for any reason beyond the control of Region X of Sweet Adelines International the XX Theater shall not be available, or shall not be in acceptable condition, or have conditions present that would interfere with the a capella music competition, this agreement will be terminated without penalty by written notice from Region X of Sweet Adelines International to the hotel."

Be very careful about signing hotel contracts with "attrition" or "slippage" clauses that require payment for all sleeping rooms blocked, whether used or not. If the hotel refuses to remove the clause or at least modify it so the region won’t be responsible for paying 100% of the cost of unused rooms, the Convention Steering Committee, host chapter, and/or EVC may want to find another hotel. Run some of the possible figures to see if it is something the region would be willing and able to pay before signing the contract. Most hotels are negotiable on these clauses. The ones who will not should be avoided.

Contracts for a public facility such as a convention center, arena, or auditorium are written in a different frame of reference than for a hotel. These are leases for facilities used for everything from rock concerts to sporting events to conventions and trade shows. These leases frequently contain inappropriate specifications for Sweet Adelines International’s regional convention and competition purposes, as well as a great deal of legal jargon. They are usually very one-sided. They should be read very carefully and the most objectionable clauses removed or amended. Please have legal counsel review the contracts and advise as necessary. RE-INSPECTIONS Re-inspections by regional personnel occur if the hotel/facility has undergone management, ownership or construction changes after the contract has been signed. WORKING INSPECTION Approximately four months prior to the convention weekend, the CRC, CC, EVC, OPL and other key convention personnel arrange for a working inspection of the facilities to be used for the convention.


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Meetings should be arranged with the appropriate hotel(s) and competition facility staff. This is the final inspection prior to the convention weekend to ensure proper arrangements have been made. Hotel The purpose of this inspection is to:

1. Provide a written schedule (function sheet) of each activity to be held in the hotel.

2. Inspect all blocked function rooms and suites, and sample guest rooms.

3. Confirm all costs for: a) Guest room rates b) Function room charges c) Labor and equipment

4. Confirm check-in and check-out procedures.

a) Advance room assignments Since choruses register as a group, this is quite feasible. Pre-keyed housing, with separate pick-up from the front desk, is ideal. All room assignments and keys for those arriving on the same day may be picked up by one member of the chorus or one occupant of each room. Chapter-at-large (CAL) members are also able to obtain their keys this way. Those arriving prior to Friday of convention weekend should check-in at the front desk.

b) Room charges If arrangements are made in advance, most hotels allow all room charges for a specific chorus to be paid with one chorus check or one credit card for the entire amount.

5. Determine a method to be used for housing reservations.

a) a convention housing chair makes all reservations, using rooming lists provided by each chorus/CAL member.

b) Use the hotel reservation services provided by the city’s convention bureau. c) Have each chorus and individual CAL member register directly with the hotel. d) Whichever method is selected; all participants must follow the same procedure. Advise the

hotel(s) and convention bureau(s) of the procedure and request that no exceptions be made.

6. Verify hours of operation for hotel restaurants and room service.

7. Establish location of events for: a) Convention registration b) Information desk c) Ways and means

8. Verify method used to hand signs (size and type). Arrange for hotel easels, if appropriate.

9. Verify the location and procedure of all events registration/single ticket sales desk.

10. Verify arrangements with the hotel(s) for Ways and Means sales. Clearance with the

hotel(s) is usually necessary for: a) Restrictions against selling food items.


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b) State and/or city vendor’s permit (contact state and local authorities). c) State and/or city sales tax (contact state and local authorities).

11. Finalize areas to be used as function space. The CRC provides the hotel(s) with specific room setup information (function sheet) for each regional function. If there are any changes, the hotel is notified immediately so adjustments can be made. The CRC is responsible for releasing function space to choruses for their use.

12. Finalize food function details. The CRC deals directly with hotel catering for regional food functions. Regional policy determines whether or not choruses should make arrangements for their events directly with the hotel or with a regional convention committee member. All menus and costs are decided prior to the event to allow for prepaid meals. A detailed contract is signed by both parties.

13. Finalize restaurant facilities. The CRC is responsible for finalizing the hotel arrangements for food availability for the membership, including buffets, continental breakfast bars, sandwich bars, cash bars in the lobby/mezzanine and extension of hours for restaurants, lounges and room service (late night limited menu).

14. Arrange for the duplication and faxing of results. The OPL finalizes arrangements for duplicating results for contestants and faxing results to headquarters.

15. Determine a location for the distribution of contestant packets. Obtain permission from the hotel to post the official results in an appropriate area.

Following this meeting, the CRC confirms in writing to hotel personnel all commitments and arrangements that have been made, including setup requirements. Any additional changes are confirmed in writing and signed by both parties.

Competition Facility The purpose of this inspection is to:

1. Walk the entire traffic pattern; inspect all rooms and areas to be used. 2. Meet with the stage manager and provide them with complete written instructions and

specifications regarding, among other things: a) Stage b) Lighting c) Sound d) Judging pit diagram

3. Schedule of all competition activities, including official inspections and the time that setup should be completed for each function.

4. Finalize requirements regarding water stations, chairs, tables, table coverings, electrical outlets, wastebaskets, etc.

5. Confirm the following information: a) Stage dimensions b) Type and colors of curtain(s) and/or backdrop, if applicable c) Color and dimension of shell(s), if applicable


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d) Any other information needed for contestant communications If it is impossible to comply with the specifications of any aspect of the staging, the CC advised the PC immediately. WRAP-UP Following this meeting, the CRC confirms in writing to the competition facility personnel all commitments and arrangements that have been made, including set-up requirements. Any additional changes are confirmed in writing and signed by both parties. On Thursday morning, the week of the convention weekend, appropriate hotel staff meets with the CRC, CC, OPL and other personnel having housing responsibilities to:

1. Make introductions. 2. Distribute and review finalized event orders for all function space. 3. Explain to the staff in detail exactly what is expected from hotel personnel. 4. Ask and answer any last minute questions.


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GLOSSARY OF HOTEL TERMINOLOGY CONVENTION HOTELS: Headquarters Hotel Convention registration, meetings, meal functions, etc. are usually held here. The official panel members are housed here. Overflow Hotel Used for sleeping rooms when the number of rooms required for competitors and convention attendees exceeds the number of rooms available in the headquarters hotel. FACILITY: The Facility section lists general terms used in areas of group function management in hotels, resorts, and conference centers including sleeping room accommodations. See the Food and Beverage and Room Setups sections for specific terminology relating to those areas of group function management. BLOCK:

1. A designated number of rooms reserved for one group. 2. To assign a space for a designated purpose.

BOOK: To reserve an accommodation, such as a room or space, in advance. CABANA: The room adjacent to pool area, with or without sleeping facilities. CONCIERGE:

1. Facility staff who provides special services such as tickets to local events, transportation, and tour arrangements.

2. Designated area in facility providing special amenities and services to guests. CONFIRMATION: Written acknowledgment of a reservation request. CONFIRMED RESERVATION: Oral or written agreement by a facility to accept a request for an accommodation; to be binding the agreement must state the intent of the parties, the particular date, the rate, type of accommodations, and the number to be accommodated; oral agreement may require guest credit card number. CONVENTION RATE: Rate negotiated for convention attendees by the planner should be included in the contractual agreement. CONVENTION SERVICE MANAGER: Facility manager who is responsible for all details of an event. CUT-OFF DATE: Designated day when the facility will release a block of sleeping rooms to the general public. DIRECT BILLING: Accounts receivable mailed to individuals or firms with established credit.


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DOUBLE-DOUBLE ROOM: Room with two double-size beds suitable for two to four persons. DOUBLE ROOM: Room with one large bed for two persons. FOLIO: Form on which all charge transactions incurred by a registered guest are recorded. GUARANTEED LATE ARRIVAL: Guest room that is guaranteed by credit card or advance payment if arrival is later than six p.m. GUARANTEED RESERVATIONS: Pre-paid reservation held until agreed arrival time, or check-out time the next day, whichever occurs first. Guest is responsible for payment if reservation is not canceled. INCIDENTALS: Expenses other than room and tax, billed to a guest's account.

KING ROOM: Room with king-sized bed suitable for one or two persons.

LANAI: Room with a patio or balcony overlooking a garden or water.

MASTER ACCOUNT: Form on which authorized charges incurred in a facility by a group are recorded. NO-SHOW: Reservation not used or canceled. OFF-SEASON: Facility occupancy is at its lowest level. ONE FOR FIFTY OR 1/50: Facility complimentary room policy – one complimentary room night for every 50 room nights picked up. OUTLETS: Restaurants and lounges within a facility. OVER-BOOKING: Accepting reservations for more guest rooms than are available; usually due to anticipated no-shows. PICK-UP: Number of facility guest rooms actually used out of a room block. PRE-CONVENTION BRIEFING: Meeting with planner and facility department heads to review purpose and details of event. PUBLIC SPACE: Space in a facility that is available for public use.

QUADRUPLE (QUAD): Room with two or more beds for four persons.

QUEEN ROOM: Room with one queen-size bed suitable for one or two persons.

RACK RATE: Facility's standard, pre-established guest room rates.


REGISTRATION CARD: Signature form used by facility when registering a guest. ROOM NIGHTS: Number of rooms blocked or occupied multiplied by number of nights each room is reserved or occupied. ROOMING LIST: List of facility guests and room data supplied to facility prior to arrival. RTI: Room, tax, incidentals. RUN-OF-THE-HOUSE RATE: One rate for facility guest room block. Does not include suites. SEASON: Period of time when facility occupancy is at its highest level. SHOULDER: Intermediate time, in the hospitality industry, between peak and low seasons. SINGLE ROOM: Guest room occupied by one person. SPACE: Area in a facility where a group's private functions may be held.

STAY OVER: Guest who stays at facility beyond stated departure date.

STUDIO: Room with couches that convert to beds.

TENTATIVE HOLD: Space temporarily held by a facility pending a definite booking.

TURNDOWN SERVICE: Early evening service in which beds are prepared for sleeping.

WALK: Guest holding confirmed reservation sent to another facility because of over-booking.

WALK-IN: Guest requesting accommodations without a reservation.


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GLOSSARY OF FOOD AND BEVERAGE TERMINOLOGY The Food and Beverage section lists terms used in the area of group food and beverage function management including banquets, receptions, and other activities. Consult a standard dictionary of cookery terms for descriptions of individual food items. A LA CARTE: Menu with price stated for each item offered, as opposed to a fixed price for an entire meal. BEO: Banquet event order. BY THE BOTTLE: Liquor served and charged for by the full bottle. BY THE DRINK: Liquor served and charged for by the number of drinks served. BY THE PIECE: Food purchased by the individual piece, usually for a reception.

CALL BRAND: Brand of liquor, distinguished from HOUSE BRAND, selected by a customer according to personal preference. CAPTAIN: Person in charge of banquet service at food functions. CASH BAR: Private room bar set-up where guests pay for drinks individually. CHEF'S CHOICE: Selection of food items to best complement the entree. CORKAGE: The charge placed on beer, liquor, and wine brought into the facility but purchased elsewhere. The charge sometimes includes glassware, ice, and mixers. COVER: Table setting for one person. COVERS: Actual number of meals served at a food function.

DOUBLE CLOTH: Use of two tablecloths on a banquet table for decorative purposes.

DRY SNACKS: Snacks such as pretzels, potato chips, and corn chips served at receptions.

ENERGY BREAK: Refreshment break where nutritious foods and beverages are served, occasionally including some form of exercise. HOSPITALITY SUITE: Room or suite of rooms used to entertain guests. HOUSE BRAND: Medium or lower priced brand of liquor as distinguished from CALL BRAND. HOUSE WINE: Moderately priced wines carried by the facility.


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INCLUSIVE: Rates, which includes gratuities and taxes. MINIMUM: Smallest number of covers and/or beverage for a function; surcharge may apply if minimum is not reached. OPEN BAR: Private room bar set-up where drinks are paid for by a sponsor. OVER-SET: Number of places set over the guarantee. PLUS-PLUS (++): Addition of taxes and gratuities to a price when not included, designated by ++. PREMIUM BEER: Higher priced beer. PREMIUM BRAND: Brands of liquor listed by a hotel or an establishment that are the most expensive brands at that establishment. PRE-SET: Placement of food on banquet tables prior to the seating of guests. REFRESH: To clean room after or between meetings, refilling water pitchers, changing glassware, and other general housekeeping. REFRESHMENT BREAK: Time between sessions where coffee and/or other refreshments are served. ROLL-IN MEAL: Light buffet meal on a cart. SERVICE CHARGE: Charge for the services of waiters/waitresses, housemen, technicians, and other food function personnel. WATER STATIONS: Tables with pitchers of water and glasses for self-service.


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GLOSSARY OF GENERAL MEETING MANAGEMENT TERMINOLOGY

The General Meeting Management section lists terms used in the areas of group communication, on-site and off-site group function management, and terms common to the meetings industry. AUTHORIZED SIGNATURE: Signature of person(s) with authority:

1. To charge to facility master account 2. To guarantee payment 3. To contract for space, services and supplies

BREAK OUT SESSIONS: Small group sessions, within the meeting, formed to discuss specific subjects. CANCELLATION CLAUSE:

1. Provision in a contract that outlines penalties if cancellation occurs, both parties for failure to comply with terms of the agreement.

2. (Entertainment) provision with artist’s contract, which allows artist to cancel within a specified period of time prior to play date.

CLINIC: Workshop-type educational experience where students learn by doing. COLLOQUIUM: Informal participatory discussion on group-selected topics.

COMP: Abbreviation for complimentary.

CONCURRENT SESSIONS: Sessions scheduled at the same time. CONFERENCE: Participatory meeting designed for discussion, fact-finding, problem solving and consultation. CONVENTION BUREAU: Service organization that provides destination promotion and sometimes offers personnel, housing control and other services for meetings and conventions. FORUM: Open discussion with audience, panel and moderator. FUNCTION SHEET: Detailed instructions for a particular event also known as banquet order, event order or resume sheet. FUNCTION SPACE: Space in facility where private functions or events can be held. HOLD HARMLESS: Clause in contracts ensuring that a group or company will not be responsible in the event of a claim.


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LETTER OF AGREEMENT: Document outlining proposed services, space or products, which becomes binding upon written approval by both parties. MODERATOR: Person who presides over panel discussions and forums.

OVERFLOW: Attendees booked into facilities after headquarters facilities are full.

PANEL: Discussion with a moderator and two or more participants.

PLENARY SESSIONS: General assembly for all participants. PROPERTY: Lodging establishment such as a hotel, motel, inn, resort, conference center or meeting facility. RAPPORTEUR: Monitor who evaluates conference sessions. RESUME SHEET: See FUNCTION SHEET. ROOM SETUP: Layout of tables, chairs, other furniture, and equipment for functions. SEMINAR: Lecture and dialogue allowing participants to share experiences in a particular field under the guidance of an expert discussion leader. SITE INSPECTION: Personal, careful investigation of a property, facility or area. SPECIFICATIONS: Complete description of meeting requirements. STAGING GUIDE: Compilation of all function sheets, scripts, instructions, room set-up diagrams, directory of key personnel, forms and other material relating to the event. SUPPLIER: Facility, company, agency, or person offering space, goods and services for meetings. SYMPOSIUM: Event at which experts discuss a particular subject and opinions are gathered. VENUE:

1. Meeting site or destination. 2. Entertainment location of performance such as hall, ballroom, auditorium, etc.

WALK-THROUGH:

1. Review of meeting details. 2. Site inspection. 3. Inspection of function room prior to function. 4. Inspection of trade show floor prior to opening.


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WORKSHOP: Training sessions in which participants, often through exercises, develop skills and knowledge in a given field.


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GLOSSARY OF ROOM SETUP TERMINOLOGY The Room Setups lists terms used in the areas of meeting room equipment and layouts. AIR WALLS: Movable barriers that partition large areas into smaller areas. May be sound resistant, but not necessarily soundproof. AUDITORIUM OR THEATER SETUP: Chairs only set up in rows facing head table, stage or speaker. Variations are semicircular and V-shape. BOARD OF DIRECTORS SETUP: Tables set in rectangle or oval shape with chairs on both sides and ends. BOARD ROOM: Room set up permanently with a fixed table and suitable seating. CABARET TABLE: Small round table (15-30 inch in diameter) used for cocktail type parties. Also known as club table. CONFERENCE STYLE SETUP: See BOARD OF DIRECTORS SETUP.

DAIS (Pronounced 'day-iss'): Raised platform on which the head table is placed. DRAPES: Decorative material hung to partition an area, adorn a room, or provide privacy. FLOOR SETUP DIAGRAM: Floor plan with specific requirements (dais, tables, chairs, etc.) drawn to scale. HOLLOW SQUARE SETUP: Tables set in a square (or rectangle) with chairs placed around perimeter. Center inside tables is hollow. HORSESHOE: Tables set up in round-cornered U-shape with chairs placed outside. Chairs inside if needed. LECTERN: Reading stand with slanted top. Can be a tabletop lectern or one that stands on the floor.

PODIUM: Speaker's platform. PRE-FUNCTION SPACE: Area adjacent to the main event location. ROPING: Plush-covered chain used to define traffic areas. Can be attached to stanchion. ROUND: Banquet table, usually 60 inch in diameter. Also available in 66 inch and 72 inch diameters.


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SCHOOLROOM SETUP: Tables lined up in a row, one behind the other on each side of center aisle with chairs facing head table. SERPENTINE: Series of tables set in curving shapes, often S-shaped. SHOEHORN: Term referring to overcrowding. SIDE CHAIR: Armless chair. SOUNDPROOF WALL: Barrier that prevents sound from carrying to and from adjacent rooms. Usually a permanent wall. STANCHIONS: Decorative posts which hold markers or flags to define traffic areas. Ropes may be attached. TURNOVER: Time to break down and reset a room. WRITING CHAIRS: Chairs with attached writing surfaces.


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OFFICIAL SCHEDULE OF EVENTS

The schedule of events for a regional convention is agreed upon by the EVC, CC and the CRC in coordination with the PC. Once agreed upon, it is submitted to the Competition Services at IHQ on a Proposed Schedule of Events form for final approval. Competition Services at IHQ reviews the schedule to ensure that enough time is allocated for the competition events and that the starting time for each competition session is best for the contestants and the official panel members. Once Competition Services at IHQ has approved the proposed schedule, any subsequent changes must be submitted back to Competition Services for approval. When setting the schedule, the following are taken into consideration:

1. Travel time between facilities for all official panel members. 2. Time after each session for the official panel members to meet with trial scorers. 3. Sufficient break time during each competition session for official panel members to eat and

relax. 4. Time at the beginning of the quartet and chorus contest for any announcements.

QUARTET COMPETITION SCHEDULE Set the required times for competition. The quartet contest is held on the Friday of the convention weekend. Starting time is based upon the number of contestants, with a reasonable amount of time allocated for an intermission. Ideally, the contest should end no later than 10:00 p.m. Because the exact number of contestants is unknown at the time the schedule is proposed, actual competition time must be estimated. Use the prior year's number of contestants as a guide. The CC sends the schedule to the PC for approval prior to publicizing for contestants. If there is a need to change the schedule due to the number of contestants or any other unforeseen circumstance, the PC is contacted. Multiple sessions for quartet contests are warranted when there are 30 or more competitors. Each session should have 10 to 15 competitors scheduled. Provide substantial snacks, rather than full meals between sessions, keeping the breaks shorter, 30-60 minutes in duration. Confirm plans for multiple sessions with the PC. Event Minimum Time

1. Official inspection(usually held Friday morning or early afternoon) One hour 2. Quartet briefing 30 minutes(can combine with chorus) 3. Curtain call(Official panel, CC, emcee, pages, etc.) 15 minutes(prior to each session) 4. Opening remarks 3-5 minutes 5. Quartet competition One hour, plus 11 minutes per

Evaluation Only or International Division quartet and 14 minutes per Open Division quartet, including mic-testers and performance of outgoing champions.


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CHORUS COMPETITION SCHEDULE Set the required times for competition sessions. The chorus contest is held on the Saturday of the convention weekend. Starting time is based upon the number of contestants, with a reasonable amount of time allocated for an intermission. Ideally, the contest should end no later than 6:00 p.m. Because the exact number of contestants is unknown at the time the schedule is proposed, actual competition time must be estimated. Use the prior year's number of contestants as a guide. The CC sends the schedule to the PC for approval prior to publicizing for contestants. If there is a need to change the schedule due to the number of contestants or any other unforeseen circumstance, the PC is contacted. Event Minimum Time

1. Official inspection One hour (may be held immediately following the quartet official inspection,

Friday evening immediately following the quartet competition,

or Saturday morning.)

2. Chorus directors briefing 30 minutes(can combine with quartet) 3. Curtain Call(official panel, CC, emcee, pages, etc.) 15 minutes(prior to each session) 4. Opening remarks 3-5 minutes 5. Chorus competition One hour, plus 11 minutes per

(The one hour may need to be extended depending upon Evaluation Only or The regions’ event, e.g., director recognition, etc.) International Division chorus and 14 minutes per Open Division chorus, including mic-testers and performance of outgoing champions. SCHEDULE FOR OTHER CONVENTION EVENTS Determine any additional functions occurring over the convention weekend and set the schedule for each. This schedule may include:

1. Chorus rehearsals 2. RMT meeting 3. Regional annual membership meeting 4. Installation of regional officers 5. Education classes 6. Post-competition celebrations (Afterglow, Show of Champions, Regional Awards) 7. Mass sing

Ensure ample time between events so that participants may rest and attend meal functions.


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TRAFFIC PATTERN AND SCHEDULE

The traffic pattern and traffic pattern schedule, determined by the CC, is the planned backstage movement of contestants beginning with the competitors’ starting point and ending with their exit from stage. The traffic pattern allows for an easy, unrushed pace of movement for contestants from start to finish. PLANNING THE TRAFFIC PATTERN The following factors govern the design of the traffic pattern: Contestant needs

1. Accessibility a) Minimum amount of stair climbing as possible b) Minimum amount of movement through public areas as possible

2. Minimum amount of walking as possible 3. Vocal warm-up prior to on-stage time 4. Opportunity for water, tissues, etc. 5. Relaxed, unhurried atmosphere

Facility

1. Distance between rooms, as well as that of the entire traffic pattern 2. Number of rooms available 3. Accessibility to backstage area 4. Suitability/adaptability of room for intended function

a) Soundproof warm-up room b) Suitable backdrop in photography room

5. Facilities for contestants with physical disabilities 6. Availability of tables and chairs, as needed 7. Accessibility to restroom facilities

Ideally there should be two warm-up rooms, assigned on an alternating basis. If possible, each room has two entrances/exits with doors so as one contestant exits, another may enter. However, rarely does a facility provide for an ideal traffic pattern. Therefore, the CC provides contestants with as much information ahead of time as possible. TRAFFIC PATTERN SCHEDULE The traffic pattern schedule is developed to allow for a smooth, non-rushed atmosphere during the contest and to allow the contestants, official panel members and backstage personnel to know the flow of the contest movement at any given time. To develop the traffic pattern:

1. Decide what stations are needed within the traffic pattern. 2. Decide how much time is allotted for each station, including time on stage. 3. Estimate the amount of time needed for movement between stations.


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4. Begin with the time the first performer enters the stage and work backward (be sure to include the mic-tester, if applicable).

5. Include the intermission(s) on the schedule. a) Intermissions are usually scheduled for 20 minutes, but announced for 15. b) It is customary for the intermission to fall one competitor past the halfway point in the

contest. c) If there are 10 or fewer competitors, the PC may choose not to have an intermission. d) If both riser configurations are used, a short intermission will need to be scheduled

between sessions to allow time to change the riser configuration. An additional intermission may be needed either earlier or later in the contest if either of the scheduled sessions have a disproportionate number of contestants.

SAMPLE TRAFFIC PATTERN Station Purpose Time Allotted #1 – hotel/bus Meet host, board bus, 10 minutes travel to competition site. #2 – arrive Walk to primp/photo 2 minutes #3 – primp/photo Adjust hair/makeup; official photo 10 minutes* #4 – leave photo Walk to warm-up 1 minutes #5 – warm-up Warm up voices, water, etc. 10 minutes #6 – holding area Walk to stage area; deposit 2 minutes purse bags #7 – backstage On stage 11-14 minutes * It is only necessary to include time for photography in the traffic pattern if the region has not planned to have onstage photography for choruses. Quartets will likely always need time allotted in the traffic pattern for photography, as they rarely have their photos taken onstage. Remember this pattern is a guide for the backstage movement of contestants. Adjustments may need to be made during the contest itself. The contestants should not be hurried from one station to the next just so the contest proceeds on schedule. They must receive the total allotted time in the warm-up room and be allowed adequate time at each of the other stations. Refer to Appendix III for a sample regional competition traffic pattern.


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OFFICIAL PANEL ARRANGEMENTS When panel assignments are completed, Competition Services notifies the EVC, CRC, CC and OPL of the names and addresses of the official panel members assigned to their region. It is important to remember that the members of the official panel are V.I.P. guests of the region and are accorded every consideration. HOUSING The region is responsible for the housing of the official panel members at the headquarters hotel. The official panel members’ rooms are blocked as early as possible and billed to the master account. Room arrangements are as follows:

1. Three nights – Thursday, Friday, and Saturday (guaranteed for late Thursday arrivals) for U.S. and Canada, and up to five nights for non-North American regions.

2. One private sleeping room for each of the four category judges, one PS and, if applicable, one PC.

3. A readily accessible meeting/lounging space. The parlor/suite set-up may be used provided each member of the official panel and PS has her own sleeping room.

4. The official panel members’ and PS’ housing should not be near hospitality suites for competitors or other regional convention attendees.

5. The OPL checks in the official panel members and PS with the hotel and picks up all keys prior to arrival. Arrangements are made for official panel members and PS to open a folio so they may charge incidentals without having to wait in lines.

6. Arrange for housekeeping tips. 7. Verify room services hours and menu. 8. The OPL or her assistant greets the official panel members and PS upon arrival at the hotel,

gives them a brief tour of the facilities and updates them on any schedule changes. TRANSPORTATION With the approval of the CC, the OPL is responsible for making all transportation arrangements for the official panel members and PS. She works with the transportation chair or deals directly with rental companies herself when arranging for vehicles. A driver and an escort should accompany the official panel members and PS at all times. Those assigned understand their responsibilities and are familiar with all routes and facilities assigned. The official panel members and PS are reminded on each trip of where, when and by whom they are to be met next. Transportation arrangements should be as follows:

1. Airport to hotel The OPL and CRC determine the best means of transportation to the hotel (personal vehicles, rented vehicles, van, hotel courtesy van, airport limo or taxi). a) Confirm flight arrangements before leaving for the airport.


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b) An escort carrying a sign with each of the official panel members’ and PS’ names are assigned to each flight.

c) If public transportation is used, an escort still needs the flight and assists the official panel members.

d) If the flight is late, or the distance from the airport is far, the escort accompanies the official panel members to the hotel.

e) Escorts and transportation are scheduled appropriately based on times between flights and distance between terminals.

f) If a trial scorer is arriving at the same time as an official panel member, she needs to be included in the travel arrangements.

2. Between hotel and competition facility Two seven-passenger vans are ideal. Each vehicle needs a driver and escort. If possible, include trial scorers. a) Official inspections b) Show of Champions c) The OPL may need a separate vehicle immediately following the quartet contest to

expedite a speedy return to the headquarters hotel for duplication and distribution of results.

d) The PS and OPL may need a separate vehicle immediately following the chorus contest to expedite a speedy return to the headquarters hotel for the duplication, faxing, emailing and distribution of results.

3. Restaurants Escorts and drivers are needed to take panel members to meals away from the hotel and competition facility.

4. Hotel to airport Make schedule allowing time travel time and the required hour before flight time.

MEALS The OPL should confer with the PC as to meal arrangements. Facilities used should be prompt, take reservations and must be able to provide separate checks for each meal (including room service). Please note that good options for meals to serve to judges would include cold cuts, rolls and accoutrements to make sandwiches, salads, soups, plain meats without excessively spicy sauces and generally bland comfort foods. Spicy foods or foods with excessive seasoning are discouraged. Vegan and other dietary restricted foods should be offered as necessary. HOSPITALITY It is appropriate for the region to supply hospitality in the official panel members' lounging area/parlor. Some recommendations are outlined below; however, the OPL should send a hospitality request form to each official panel member for input. Providing liquor or specialty items is not required; it can be purchased by the region, or provided for later reimbursement from the official panel members.

1. Official panel members’ lounging area and/or sleeping rooms requirements: Electric coffee pot with instructions Coffee, tea and condiments Assorted soft drinks, juices, (wine – optional) Fruit, cheese, crackers, chips and utensils


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2. Panel rest area requirements – competition facility: (NOTE: facility may require use

of its own catering.) Coffee, tea and condiments Assorted soft drinks and juices Vegetable/fruit/cheese platter and sandwiches (if schedule allows) Candy, popcorn and utensils

3. Judging pit requirements: Mints, trail mix, M&Ms (plain and peanut) Water (bottled may be preferred)

REGISTRATION Complimentary convention registrations are provided by the region for official panel members. The OPL arranges with the appropriate regional personnel so that registrations, badges, tickets and programs are in the official panel members' respective hotel rooms when they arrive. SUPPLIES/EQUIPMENT

1. Judging pit Ninety days prior to the convention weekend, the OPL notifies the CRC of setup needs for the judging pit. The judging pit is located approximately 10 feet from the front edge of the stage with an aisle between the pit and the first row of the audience. The area is roped off so non-official contest personnel are prevented from entering.

The following supplies/equipment are needed:

a) Tables i. Three 8’ (or 6’) x 30”

ii. Skirted on side facing stage iii. Must be smooth surfaced or covered

b) Chairs i. Padded seats

ii. Straight back, if possible iii. Arms iv. Comfortable height

c) Lighting i. Six high intensity lamps and extra bulbs

ii. Extension cords iii. Electrical outlets

d) Calculator having full sized keyboard with capability of running tape i. Quiet, electronic (no battery operated)

ii. Cover digital display with masking tape iii. Extra rolls of tape (use regular tape, not heat sensitive) iv. Don’t use types that turn themselves off automatically v. Back-up machine

e) Water


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Bottled water or pitchers of ice water and cups are available throughout the competition sessions and checked at each intermission. Providing bottle water for the PS in lieu of pitchers is recommended because of computer equipment.

f) Wastebaskets A wastebasket is available at each table. The OPL instructs the pages where to empty them during intermission.

g) Signal system CC provides; OPL instructs the PC on its operations.

h) Stopwatches i) Other supplies

i. Judges A. Scratch pads B. Paper clips (chair only) C. Ball point pens

ii. PS A. Scratch pads B. Paper clips C. Black lead (#2) pencils D. Pencil sharpener E. White-out F. Scotch tape G. Erasers H. Felt top pen

j) Miscellaneous i. Tissues ii. Cough drops

iii. Antacid iv. Tylenol, etc.

2. Duplicating area a) Staplers/staples b) Contestant envelopes

3. Fax machine/computer availability REST AREA Ninety days prior to the convention weekend, the OPL notifies the CRC of any set-up needs for the official panel members’ rest area. The rest area is a room at the competition facility where the official panel members can relax before the contest and during any intermissions. It is as close as possible to the backstage area and easily accessible to the judging pit and a restroom not available to the general public. The rest area provides a comfortable seating area and tables. The post-competition meeting will be held in the rest area. CORRESPONDENCE

1. The first regional communication to members of the official panel is sent as soon as their flight information is received from Competition Services at IHQ and should include the following information: a) Confirmation of flight information


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b) Headquarter hotel information c) Housing arrangements d) Hospitality questionnaire e) Copies of convention mailings/bulletins f) Convention city information g) Schedule of events/special events information h) The OPL’s address and phone number

2. The PC is contacted 60-90 days prior to the convention regarding: a) Configuration of sleeping rooms to lounging room/parlor. b) Specific arrangements for:

i. Transportation ii. Meals

iii. Judging pit 3. Thirty days prior to the convention, the second communication is sent including:

a) Confirmation of arrival times and flight numbers b) Name of escort who meets them at the airport gate c) Transportation arrangements d) OPL’s planned arrival and hotel room number, if known e) Any changes in the convention schedule


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TRIAL SCORING JUDGES' ARRANGEMENTS Trial scoring judges are requested to notify Competition Services at IHQ by February 1 of their intent to trial score. It is the responsibility of the trial scorer to contact the OPL directly for information on housing, convention schedule, transportation, etc. The trial scorer is to forward a copy of their itinerary to the OPL as soon as they have completed their travel arrangements, this is to be done by February 15. The trial scorer must also notify the OPL immediately of any changes in travel plans. HOUSING/TRANSPORTATION/MEALS The region is not expected to provide housing, transportation or meals for trial scorers. However, assistance in making reservations at the headquarters hotel and the convention information/schedule is provided. REGISTRATION Complimentary convention registrations are provided by the region for trial scoring judges. The OPL arranges with the appropriate regional personnel so that registrations, badges, tickets and programs are picked up at a designated point. SUPPLIES/EQUIPMENT Seating Seating is provided for the trial scorers. The OPL coordinates these arrangements with the CRC. If space allows, tables and chairs are set up behind the official judging panel. If not, the first two or three rows in the center of the regular auditorium seating are blocked off. If possible, there is an empty seat between each trial scorer and a space equal to at least one row of seats between the last row of the trial-scoring section and the first row of the audience. Scoring Packets Scoring packets for the trial scoring judges are prepared by Competition Services IHQ and mailed directly to the CC 30 days prior to contest. She is responsible for bringing these to the competition site. Supplies The region is not responsible for providing supplies for the trial scorers. However, if possible, lamps, scratch pads, pens, water, cups and wastebaskets are appreciated. REST AREA If space allows, it is preferred that the official panel members and the trial scorers have separate rest areas. Hospitality arrangements for the trial scorers’ rest area should mirror the rest area of the official panel members. If appropriate, the pages and emcees may join the trial scorers in their rest area.


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CORRESPONDENCE Trial scorers are sent the following information from the OPL as soon as the region is notified of their intent to trial score:

1. Hotel reservation information 2. Convention city information 3. Available transportation 4. Schedule of events 5. Convention bulletins 6. Where to pick up convention registration


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PERFORMANCE LICENSES Three organizations, ASCAP, BMI and SOCAN, represent the owners of virtually all copyrighted music in the U.S.A. The purpose of these organizations is to protect the rights of composers and authors and to insure they receive fair compensation for the performance of their works. Sweet Adelines International serves as the clearinghouse for the collection of license fees and issues the license certificates to the chapters. A performance license application form can be obtained online at www.sweetadelines.com or by calling Competition Services at IHQ. ASCAP/BMI PLEASE SUBMIT YOUR REQUEST NO LATER THAN 10 DAYS FOLLOWING YOUR COMPETITION. When applying for a license, submit the following information:

1. Chapter name, chapter number, region number 2. Region name (if this request is for a regional event) 3. Date of performance (competition) 4. Name of facility 5. Location of facility (city and state) 6. ASCAP rate calculation based on seating capacity and gross revenue (minimum $25.00) 7. BMI rate based on seating capacity only (minimum $20.00) 8. Enter total enclosed and member information for the person who is to receive the license.

*NOTE: A separate license must be purchased for each performance, e.g., matinee and evening

shows on the same day require two applications.

ASCAP RATE Fill in the blacks and check the appropriate box for your event to calculate the ASCAP fee: *Minimum fee is $25.00 Ticket price $ times tickets sold = gross revenue $ __ Seating capacity is 0-2,500 – gross revenue $ times .0068 = total ASCAP fee $ __ Seating capacity is 2,501-5,000 – gross revenue $ times .0045 = total ASCAP fee $ __ FREE admission event at a location with seating capacity of 5,500 or less = total ASCAP fee $25.00 Example: ticket price $10 times tickets sold 750 = gross revenue $7,500 With seating capacity of 1,000 multiply times .0068 = total ASCAP fee $51.00 With seating capacity of 3,000 multiply times .0045 = total ASCAP fee $33.75 BMI FEE (based on seating capacity only.) Seating capacity Rate 0 – 1,500 $20 1,501 – 2,500 $30 2,501 – 5,000 $50


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SOCAN SOCAN is the Society of Composers, Authors and Music Publishers of Canada and serves the music users, composers and publishers of Canada. Effective January 1, 1991, public performance of music in Canada requires a license from SOCAN and the license fees paid to SOCAN in accordance with the terms of the tariffs filed with the Canadian Copyright Board. When a region holds its regional convention in a location in Canada, SOCAN is contacted to report the number and types of performances held at convention. SOCAN provides the reporting forms and instructions. There is no advance payment of fees. The retroactive payment of licensing fees is due along with the reports. The tariff rate set by the government is 2% of gross receipts from admission sales, exclusive of sales and amusement taxes. Where no admission fee is charged, a minimum of $20 per event applies. SOCAN also requests that a program be submitted showing the titles and other available particulars of the musical selections performed at all events. Instructions are included in the materials sent from SOCAN. SOCAN personnel may be contacted at the following location: SOCAN 41 Valleybrook Drive Toronto, Ontario M3B 2S6 (416) 445-8700 Fax: (416) 445-7108 Countries other than the U.S.A. and Canada Copyright laws vary from country to country and the methods of meeting requirements may vary also. Check your local regulations.


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CONVENTION BULLETINS

Well in advance of the convention, at least one regional bulletin with instructions and information about the regional convention is provided to all chapters and Chapter-at-large (CAL) members in the region. More than one such bulletin may be mailed, if designated by the Convention Steering Committee. Copies of all bulletins should be sent to the CRC, CC, OPL, EVC, official panel members and trial scoring judges. The CRC, CC and EVC proof and approve all regional bulletins before distribution. The following information is included:

1. Time and place Convention dates, competition facility, headquarters hotel and any overflow hotels (if possible, travel instructions and a map are helpful).

2. Restaurants Information regarding restaurants in the area around the hotel and competition facility, including price range and hours. Additional instructions for chapter function arrangements.

3. Housing Instructions regarding hotel reservations, check-in and check-out.

4. All events registration/single ticket sales All prices, registration and purchasing instructions.

5. Schedule of events Not to be published until approved by Competition Services at IHQ.

6. Official panel List of all five official panel members, including the four category judges, the PS, and if not one of the four category judges, the PC.

7. Chorus functions/rehearsal schedule Information regarding how choruses may arrange for individual functions. Complete schedule of chorus rehearsal times.

8. Briefing sessions Indicate the time and attendance requirements for each session.

9. Photography Advise contestants: a) When/where official photography will be taken b) Prices c) Ordering instructions

10. Purses Instructions regarding how to handle purses and other personal effects belonging to competitors in the traffic pattern.

11. Stage arrangements No later than 90 days prior to convention, the following information regarding stage arrangements is communicated to all contestants: a) Exact stage dimensions b) Diagram of stage, including entrance, exit, risers, curtain, microphones, distance from

edge of stage to front of risers


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c) Which riser configuration(s) will be used, including number and length of sections, number of steps, and use of back rails. If both standard and alternate configurations will be offered, indicate the order in which they will be used in competition.

d) Color and size of shell or backdrop, and whether or not a curtain will be used. 12. Backstage area

Information and instructions regarding the traffic pattern. 13. Competition facility restrictions

Information regarding smoking, eating, etc., restrictions at the competition facility. 14. Order of appearance

This should only be printed after the Final Order of Appearance is received from Competition Services from IHQ.

15. Traffic pattern and schedule Include a copy of the full traffic pattern and time schedule, if desired.

16. Remind members of the following: a) Regional competition policies b) Deadline for new members/personnel changes c) Quartet registration deadlines d) Deadlines for entry blanks can be submitted to Competition Services at IHQ e) Instructions for notification of withdrawal (must be submitted in writing to

Competition Services at IHQ) f) Explanation of each competition session g) Competitors may not change from Open Division to International Division or

Evaluation Only, or vice versa, after the Final Order of Appearance h) Explanation of any awards given


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AWARDS The culmination of each competition is the announcement of results. The CRC is responsible for planning a smooth presentation of the awards. PRESENTERS The EVC issues letters of invitation to award presenters according to regional procedures. She may include the following:

International Board members RMT members CC CRC Quartet champion (if not a competitor) President and director of current championship chorus Host chorus president

Approximately three weeks prior to the convention weekend, the CRC provides pertinent competition information to the presenters, including where and when they should be present for specific competition functions. The CRC receives from Competition Services at IHQ a pre-data Excel sheet for the Announcement of Results for both the quartet and chorus contests. She, or her designee, completes all preliminary information and adds or includes any additional regional awards for placements designated by the international organization. She emails this to the PS 10 days prior to competition weekend, reviewing name pronunciations as necessary. ORDERING AWARDS Based upon the number of contestants in each contest, the following awards are provided by the international organization and are emailed to the CRC no later than 30 days prior to the competition weekend from Competition Services at IHQ: Awards 1 - 5 place chorus certificate templates will be emailed 1 - 3 place Division A Chorus Award certificate templates will be emailed 1 - 3 place Division AA Chorus Award certificate templates will be emailed Most Improved Chorus Award certificate template will be emailed Award certificate templates will be provided via email by Sweet Adelines International to be printed by the Region and presented to the choruses placing first through fifth. Logoed certificate paper will not be provided by Sweet Adelines International to the Regions free of charge, but can be purchased by the Region through the International Sales Department. Regions are not required to purchase logoed certificate paper and may choose to use an alternative. It is the CRC’s responsibility to arrange for the onsite printing of certificates from the provided email templates following the announcement of results. If time does not allow for onsite printing


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of certificates prior to the awards presentation, the region can always present empty certificate folders onstage to competitors and print the certificates in time to be included in the post-competition competitor packets. Competition Services at IHQ provides a traveling plaque for the regional chorus champion. It is the CRC's responsibility to ensure that the plaque is available for presentation to the new chorus champion. The chorus champion is responsible for having the plaque engraved, in accordance with instructions provided by Competition Services at IHQ. The region will award placements 1 - 5 for each quartet and chorus contest given the competitor scores 400 points and above. If the competitor places in the top five and does not reach a total score of 400 points, they can be recognized, but are not given an international award. The region may purchase the following medals through International Sales at IHQ. Orders are filled in the order they are received, with priority given to the earliest regional competitions.

1 - 5 place quartet pins 1 - 5 place chorus medals (These can be attached to blue, red, white, yellow and green

cording before presenting awards.) Most Improved Quartet ribbons

All of the Division A (small) and Division AA (midsize) awards are presented, regardless of the number of contestants. The region may purchase medals or ribbons through International Sales at IHQ. MOST IMPROVED CHORUS AWARD Recognizing the improvements made by choruses from year to year, the Judge Specialists and EDC agree to present a Most Improved Chorus Award. This award is presented to the chorus(es) who improved the most since the previous year’s regional contest. There is no minimum score required for eligibility. Medals and ribbons are available for purchase though International Sales at IHQ. MOST IMPROVED QUARTET AWARD The Judge Specialists and Education Direction Committee (EDC) agree to provide a Most Improved Quartet Award ribbon for purchase through International Sales at IHQ. This award is presented to the quartet(s) in each region who improved the most since the previous year’s regional contest. There is no minimum score required for eligibility. This is an optional, regional award, not awarded by the international organization. CHORUS RECOGNITION AWARDS Recognizing the importance of regional competition, the Judge Specialists and Education Direction Committee (EDC) agree to present each competing chorus with a certificate. The certificate template will be emailed to the CRC 30 days prior to convention weekend by Competition Services at IHQ for her to fill out and print. The DC, or other representative of the RMT, if she is a competing director, will make the presentation at the end of the chorus competition to the directors of each competing chorus, prior to the introduction of the PC.


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REGIONAL AWARDS Some regions have regional awards in addition to those designated by the international organization. Any awards the regions wish to give out (including the Most Improved Quartet Award) in addition to the international awards are the responsibility of the RMTs. PC may allow the presentation of non-score-related regional awards (including the Most Improved Quartet Award) and recognitions to take place prior to intermissions or during the final tabulation of official results. The presentation of these awards should last no longer than 10 minutes and should be included on your traffic pattern schedule. It is important to communicate your plan to incorporate these awards with the PC. All score-determined regional awards must be presented outside the framework of the competition session and at a time other than the official awards, such as during the show of champions or at your regional meetings. The ED, or her designee, is responsible for determining who wins these awards and obtaining the awards prior to the convention weekend.

SECTION E

GUIDELINES FOR REGIONAL CONVENTION Section E CONVENTION WEEKEND Page - 2

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CONVENTION WEEKEND OFFICIAL INSPECTIONS The PC conducts an official inspection of the competition facility prior to each competition session. The PC is the ultimate authority regarding the official inspection, even if it varies from what previous PCs have requested of the region in the same competition facility. The quartet inspection is held on Friday morning prior to the contest. The chorus inspection is held in conjunction with the quartet inspection or on Friday night immediately following the quartet contest. The CRC, CC and EVC work together to determine a time for the inspections. These times are submitted for approval from Competition Services at IHQ on the Proposed Schedule of Events form. (The Proposed Schedule of Events form will be sent to the RMT from Competition Services at IHQ as part of Bulletin #2 the October preceding that current year’s regional season.) The CC ensures that the competition facility, including the stage, lighting, sound and recording

equipment are ready for the official inspection at the scheduled time.

The purpose of these inspections is to test and have the PC approve:

1. Stage lighting 2. Stage setup, including placement of: 3. Appropriate sound levels and placement of speakers 4. Judging areas 5. Backstage pattern

Lighting, sound, audio and video technicians need to attend the official inspection conducted by the PC to test and set recording levels. Please be sure to alert appropriate technicians of this requirement so they can plan their schedules accordingly. It is also important to note this time requirement when negotiating work contracts either with the facility or with the technicians directly. Pages Make arrangements with pages of the official panel to review their instructions. Remind them that their primary responsibility is to collect the scoresheets from the judges following each contestant's performance. As soon as the judge has completed her scoresheet, the page collects and delivers the original to the PC and the first copy to the PS. JP-1s (if appropriate) are picked up from the judges at the end of each contest. The page assists the PS from her seat in front of the pit by keeping time during contest and assisting, as needed, after contest. To ensure the PS has ample time to provide important instructions to the pages, it is necessary that pages attend the official inspection conducted by the PC. Please alert your pages of this requirement so they may plan their schedules accordingly. Any member of the official panel may ask a page to deliver a message, in addition to delivering scoresheets. Ask pages to empty all wastebaskets at the beginning of each intermission and immediately following each contest session. Remind pages that the information on the scoresheet, and all other information relating to the judging and scoring of the contest, is confidential. Pages are advised never to discuss this information with anyone at any time. Pages do not read the scores or comments or write down any


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information pertaining to scores or scoresheet comments. Encourage pages to enjoy the contest, but ask them to refrain from applauding or talking during the contest. OTHER INFORMATION Sound/Lighting Since a preliminary check of the sound and lighting systems was made during the official inspection conducted by the PC, this check is routine. During the performance of the mic-testers, the sound judge checks the sound at the table, the showmanship judge checks lighting from the table, and the expression and/or music judge may check the sound in the house. NOTE: Regions

are instructed to have a noncompeting chorus available during the official chorus inspection.

The PC determines if a mic-testing chorus is to perform before the first contestant performance.

Audio and Video Recording The CC should arrange a signal with the backstage personnel so the CC does not signal the emcee to announce the next contestant until video recording personnel are ready. Regions have been provided a hard drive by Competition Services at IHQ in which to store all video performances. Confirm with the CC that a test video recording has been done and reviewed to ensure a quality recording. NOTE: Audio and video recordings that are not of good listening and viewing quality

may not qualify for reimbursement of audio and video recording expenses incurred by the

regions by the international organization.

Marketing Coordinator or Public Relations Chair Review plans for electronic media coverage. Curtain Call Review with CC. Announce that there is a curtain call backstage 15 minutes prior to the scheduled start of the quartet and chorus contests, and that all officials are required to be present at this time. The contest will begin on time. Post-competition Meeting Remind the ED that the post-competition meeting with the PC will be held following the chorus competition. This brief meeting allows for the deliverance of the observation forms from the judging panel. Quartet Inspection The region must provide a noncompeting quartet to mic-test the sound and help set the lighting during the official inspection conducted by the PC. The PC instructs the CC to mark toe lines when sound and lighting is approved. Refer to Appendix IV, page 3, for more information regarding quartet toe line. The quartet is asked to sing a song or tag with both soft and loud volume. Sound is checked from the judging pit and the audience seating. Chorus Inspection Be sure to have a noncompeting chorus of at least 30 members available to test the sound and lighting during the official inspection.


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The chorus is asked to sing a song or tag with both soft and loud volume. Sound is checked from the judging pit and the audience seating. The PC has final approval of the final set-up of the stage and the judging pit. Her responsibility is to ensure that the organization's requirements for the competition have been met and that the contestants are performing under appropriate conditions. Note: Once the lighting and sound has been approved, they cannot be changed unless authorized

by the PC.

COMPETITION SESSIONS The CC coordinates with the CRC, EVC and PC in preparations for testing the sound and lighting systems for the contest. Since the official inspections conducted by the PC are done with an empty house, some minor adjustments may be needed before the start of the competitions; hence, the purpose of the mic-testing quartet and chorus. If amplification is not necessary for the audience within the competition facility, a mic-testing chorus is not used. Quartet Competition A noncompeting quartet serves as the mic-testing quartet. The process for determining how the quartet is selected and who invites the quartet to perform is outlined in regional procedures. If the mic-testing quartet desires to perform for Evaluation Only or Open Division, they may do so at the end of the contest session. A mic-testing quartet that chooses to perform for Evaluation Only or Open Division must note that they are the mic-testing quartet on their competition entry form so they can be placed last in the Order of Appearance draw at Competition Services at IHQ. Chorus Competition If determined necessary, a noncompeting chorus of at least 30 members serves as the mic-testing chorus. The process for determining how the chorus is selected and who invites the chorus to perform is outlined in regional procedures. If the mic-testing chorus desires to perform for Evaluation Only or Open Division, they may do so at the end of the appropriate session. A mic- testing chorus that chooses to perform for Evaluation Only or Open Division must note that they are the mic-testing chorus on their competition entry form so they can be placed last in the Order of Appearance draw at Competition Services at IHQ. Final approval for the use of sound amplification rests with the PC. If she determines during the on-site inspections or mic-testing performances that amplification is excessive or that it interferes with the official panel's evaluation of the contestant performances, she has the prerogative to request that the gain be lowered or that amplification not be used. The sound technician should be instructed that once the sound system has been approved by the PC, no changes are to be made except as authorized by her. CONTESTANT BRIEFINGS Short contestant briefing sessions held prior to competition sessions and conducted by the CC should be included in the Schedule of Events form submitted to Competition Services at IHQ. The purpose of the briefing session is to answer last-minute questions, review competition information, announce and distribute last-minute changes in the time and traffic patterns, and make any additional announcements. Joint Briefing Briefings for quartets and choruses may be combined for the common information. The


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combining of the two briefings could save a considerable amount of time. At least one member from each quartet, the president and director of each competing chorus, the CRC, CC, emcee and, if possible, the PC attend the briefing. This format allows the PC, as well as other members of the official panel, to make only one appearance instead of having to attend multiple briefings. The emcees should attend to confirm the correct pronunciation of contestant names. Quartet Briefing The quartet briefing, if held separately, is held late enough to accommodate late-arriving competitors. The CRC, CC, and at least one member of each competing quartet attend the quartet briefing. If at all possible, the PC also attends the briefing. The emcees should attend to confirm the correct pronunciation of contestant names. If at all possible, quartets are provided an opportunity to view the stage with the stage floor markings, including microphone toe-line, in place. It is suggested they walk on stage from the appropriate direction, sing a tag, bow, and exit. Chorus Briefing The chorus briefing is held at a convenient time either Friday afternoon or Saturday morning. If Saturday, it should be early enough not to interfere with a director whose chorus has an early draw in the contest. The CRC, CC and the competing chorus directors and presidents attend the chorus briefing. If at all possible, the PC attends the briefing. The emcees should attend in order to confirm the correct pronunciation of contestant names. If at all possible, the president and director of each competing chorus are provided an opportunity to view the stage with the chorus shell and stage floor markings in place. It is suggested that they walk on stage and up on the risers from the appropriate direction.


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JOINT BRIEFING CHECKLIST Welcome all competing quartets Call roll – all competing quartets:

1. Obtain hotel name and room number of quartet contacts and chorus presidents and directors.

2. Check pronunciation of competitor names. 3. Offer quartets opportunity to view the stage with the stage floor

markings, including the microphone toe-line in place, if possible. Quartet specific announcements Welcome choruses Call roll – choruses:

1. Obtain hotel name and room number of competing chorus presidents and directors.

2. Check pronunciation of competitor names. Introduce regional personnel and attending members of the official panel. Announce any withdrawals of contestants and time changes due to the withdrawals. Review stage markings, including the microphone toe-line for quartets, and other stage arrangements. Review the time and traffic pattern. Announce that each contestant is expected to

adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each station.

Announce the schedule for the official photographer and review procedures for

ordering pictures. Remind quartet members to have their poses ready prior to their photography time. Remind choruses that poses should be planned before they enter the stage.

Remind contestants of the penalty for tardiness causing a delay of contest. Any contestant not ready to perform in the contest at the time designated is penalized 25 points, loses their position in the official order of appearance and appears at the end of the contest. NOTE: if failure to appear is due to circumstances beyond the

control of the contestants, the penalty may be withdrawn at the discretion of the

PC and a majority of category judges. If it is determined that tardiness was

premeditated in order to lose position and appear at the end of contest, the

contestant is disqualified. Review information received regarding any member(s) needing special assistance in the traffic pattern, e.g., wheelchairs.


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Announce that only competitors, their hosts and coaches may enter the backstage area. Review the format for announcing contestants for the benefit of both the contestants and the emcee(s). Review information about the stage, including entrances and exits, riser configuration, stage markings, microphone toe-line for quartets, curtain movements (if applicable) and opening and closing poses for chorus photography. Review microphone placement for Open Division competitors. Remind Open Division contestants of the penalty for not following the sequence of their cue sheet. Deviation from submitted prepared program results in disqualification. Remind all Open Division contestants that if disqualified they will be given a

scoresheet with levels removed.

Remind directors that their individual foot tapping or singing may be heard by the judges and picked up on the official recording. Announce how and where competitors enter the auditorium to be seated following their performance. Announce when and where scoresheet packets are available. Only a member of the quartet or the chorus president or director may pick up the packet unless written authorization is submitted. Review the signal system. Review eligibility requirements for the Most Improved Chorus and regional awards (including the Most Improved Quartet Award, if applicable) and when they are presented. Review the procedures for the announcement of awards. Review any director recognition. Review procedures for ordering recordings. Make any additional announcements regarding post-competition events and emergency contact numbers. Collect forms from each director describing the final bow. Collect cue sheets from Open Division contestants.


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Collect List of Competing Members forms from choruses. This list is used to determine which choruses are eligible for the Division A and Division AA awards. Give one copy of each List of Competing Members form to the PS. Give one copy to the CRC to maintain for regional files.


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QUARTET BRIEFING CHECKLIST Welcome quartets Call roll – all competing quartets:

1. Obtain hotel name and room number of quartet contacts and chorus presidents and directors.

2. Check pronunciation of competitor names. 3. Offer quartets opportunity to view the stage with the stage floor

markings, including the microphone toe-line in place, if possible. Introduce regional personnel and attending members of the official panel. Announce any withdrawals of contestants and time changes due to the withdrawals. Review the time and traffic pattern. Announce that each contestant is expected to

adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each station.

Review information received regarding any member(s) needing special assistance in the traffic pattern, e.g., wheelchairs. Announce the schedule for the official photographer and review procedures for

ordering pictures. Remind quartet members to have their poses ready prior to their photography time.

Remind contestants of the penalty for tardiness causing a delay of contest. Any contestant not ready to perform in the contest at the time designated is penalized 25 points, loses their position in the official order of appearance and appears at the end of the contest. NOTE: if failure to appear is due to circumstances beyond the

control of the contestants, the penalty may be withdrawn at the discretion of the

PC and a majority of category judges. If it is determined that tardiness was

premeditated in order to lose position and appear at the end of contest, the

contestant is disqualified. Announce that only competitors, their hosts and coaches may enter the backstage area. Review stage markings, including microphone toe-lines, and other stage arrangements. Review the format for announcing contestants for the benefit of both the contestants and the emcee(s). Remind Open Division contestants of the penalty for not following the sequence of their cue sheet. Deviation from submitted prepared program results in disqualification.


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Remind all Open Division contestants that if disqualified they will be given a

scoresheet with levels removed. Announce how and where competitors enter the auditorium to be seated following their performance. Announce when and where scoresheet packets are available. Only a member of the quartet or the chorus president or director may pick up the packet unless written authorization is submitted. Review the signal system. Review eligibility requirements for the Most Improved Chorus and regional awards

(including the Most Improved Quartet Award, if applicable) and when they are presented.

Review the procedures for the announcement of awards. Review procedures for ordering recordings. Make any additional announcements regarding post-competition events and emergency contact numbers. Collect cue sheets from Open Division contestants.


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CHORUS BRIEFING CHECKLIST

Welcome choruses

Call roll: 1. Obtain hotel name and room number of chorus presidents and directors. 2. Check pronunciation of contestant names.

Introduce regional personnel and attending members of the official panel.

Announce any withdrawals of contestants and time changes due to the withdrawals.

Review the time and traffic pattern. Announce that each contestant is expected to adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each station.

Review information received regarding any member(s) needing special assistance in the traffic pattern, e.g., wheelchairs.

Announce the schedule for the official photographer and review procedures for ordering pictures. Remind them that poses should be planned before entering the stage.

Remind contestants of tardiness causing a delaying of contest. Any contestant not ready to perform in the contest at the time designated is penalized 25 points, loses position and appears at the end of the contest. NOTE: If failure to appear is due

to circumstances beyond the control of the contestants, the penalty may be

withdrawn at the discretion of the PC and a majority of category judges. If it is

determined that tardiness was premeditated in order to lose position and appear

at the end of the contest, the contestant is disqualified.

Announce that only competitors, their hosts and coaches may enter the backstage area.

Review information about the stage, including entrances and exits, riser configuration, stage markings, curtain movements (if applicable), opening and closing poses.

Review the format for announcing contestants for the benefit of both the contestants and the emcee(s).

Review microphone placement for Open Division competitors.


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Remind Open Division contestants of the penalty for not following the sequence of their cue sheet. Deviation from submitted prepared program results in disqualification.

Remind all Open Division contestants that if disqualified they will be given a scoresheet with levels removed.

Remind directors that their individual foot tapping or singing may be heard by the judges and picked up on the official recording.

Announce how and where chorus members enter the auditorium to be seated following their performance.

Announce when and where scoresheet packets are available. Only the president or the director of the chorus may pick up the packet unless written authorization is submitted.

Review the signal system.

Review eligibility requirements for the Most Improved Chorus Award and regional awards and when they are presented.

Review the procedures for the announcement of awards.

Review any director recognition.

Review procedures for ordering recordings.

Make any additional announcements regarding post-competition events and emergency contact numbers.

Collect forms from each director describing the final bow.

Collect cue sheets from Open Division contestants.

Collect List of Competing Members forms. This list is used to determine which choruses are eligible for the Division A and Division AA awards.

Give one copy of each List of Competing Members form to the PS. Give one copy to the CRC to maintain for regional files.


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FORMAT FOR THE INTRODUCTION OF THE OFFICIAL PANEL AT REGIONAL COMPETITIONS

The PS prints the introduction of the official panel from the excel spreadsheet. PC:

Before announcing the official results of the contest, I'd like you to meet the official panel

and their regional assistant(s). Please limit your applause to one clap following each

introduction, until everyone has been introduced. Serving as page for the official panel, from (home city and state) (name)

(if your region has a trial scoring judge(s), introduce the page) Serving as page for the trial scoring judge(s), from (home city and state)

(name)

Our panel secretary, from (home city and state) (name)

INTRODUCTION OF JUDGES

Serving in the category of , from (home city and state) – (name)




The panel may now be seated.

INTRODUCTION OF TRIAL SCORERS

I would also like to take a moment to recognize our trial scorers. Just as before, please

limit your applause to one clap following each introduction, until everyone has been

introduced.




The trial scorers may now be seated.

NOTE: No officers or chairs, past or present, regional or international, are introduced expect in

cases where a current international president is known to be in the audience at the time

introductions are made. A sample introduction is:


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We are very honored to have with us in the audience today the international president of

Sweet Adelines International from (home city and state – name!

EMCEE INSTRUCTIONS The CC received the emcee script template from Competition Services at IHQ, input competitor information, and ensured that they were delivered to the appropriate emcee. Make arrangements ahead of time to meet with the CC to obtain emcee script. Take time to review the script for accuracy. Be sure to inquire as to complicated contestant name pronunciations. As well as announcing contestants, the emcee of a Sweet Adelines competition must establish and maintain control of the audience so its members are courteous and attentive during each performance and enthusiastic in their response when a performance is concluded. House and Contest Restrictions This information is included on the script. Mic-testers This information is included on the script. Signal System The emcee must become familiar with the signal system used, as well as the back-up system, should it become necessary to use. This signal system is used to communicate between the judging pit and the backstage area. Announcement of Contestants All contestants should be announced in the same manner and with the same voice inflection. They should be read exactly as written. Difficult contestant name pronunciations should be discussed with competitors at the appropriate briefings. If there is a withdrawal of a contestant from the initial emcee cards, the emcee is to announce the contestant who has withdrawn, and then immediately announce the next competing contestant. (Example below.) The format for the introduction of performances for Evaluation Only is as follows: QUARTET INTRODUCTION:

We are ready for Contestant # 1 Performing for Evaluation Only

From: Middle Chorus and Sweet Chorus

READY TO GO!

Note: Instructions to close the doors and have everyone be seated are only used as needed.


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CHORUS INTRODUCTION:

We are ready for Contestant # 1 Performing for Evaluation Only

From: Middle of the World, Canada Under the direction of: Debbie Director

SWEET CHORUS!

Note: Instructions to close the doors and have everyone be seated are only used as needed.

The format for the introduction of performances for International Division is as follows: QUARTET INTRODUCTION:

We are ready for Contestant # 1


READY TO GO! CHORUS INTRODUCTION:

We are ready for Contestant # 1


SWEET CHORUS!

The format for the introduction of performances for Open Division is as follows: QUARTET INTRODUCTION:

We are ready for Contestant # 1 Performing for Open Division


READY TO GO!

CHORUS INTRODUCTION:

We are ready for Contestant # 1 Performing for Open Division


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SWEET CHORUS! In the event a contestant has withdrawn, make the following announcement at the time that contestant would have appeared in the contest: "CONTESTANT #6 HAS WITHDRAWN." Followed by, "WE ARE NOW READY FOR THE NEXT CONTESTANT." Intermission The PC determines when the intermission will fall. The emcee announces the intermission following the performance of the last contestant performing prior to the intermission. Announcements Only announcements related to the competition itself may be made from the lectern during the contest session. Emergency announcements should not be made without the approval of the EVC, CRC or CC. Special Instructions Ask the CRC or EVC if you are responsible for announcing any part of the program other than the actual contest (e.g., introduce outgoing champions, etc.).


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REGIONAL QUARTET COMPETITION EMCEE SCRIPT Opening remarks: Before beginning today's contest, I need to remind you of a few contest restrictions:

1. Photography of any kind, recording or use of video or movie equipment during a

competition session is prohibited except as authorized by the International Board of

Directors. 2. Please turn off cell phones and any electronic devices that make noise so they will not

sound during a contestant's performance. 3. There is to be no smoking in the auditorium.

NOTE: Ask the CRC if there are any other restrictions and insert here.

In order to make certain the sound level is set correctly, a non-competing quartet has

been invited to test the system for us.

We are ready for the mic-testing quartet. Everyone please be seated; please close all doors.

From home city and state – name of quartet Following the performance of the last contestant, the emcee may be asked to announce the performance of the outgoing champion. Wait until after the judges have completed their official panel work before making the following post-conference intermission announcement. Following the performance of the last contestant before intermission:

What amazing performances! Let’s give our competitors another hand!

There will now be a minute intermission. Please coordinate with the CC, to see if there will be any regional presentations made at the end of the intermission before proceeding with the remaining official emcee script. Following the intermission, and any potential regional recognitions, the emcee will introduce the PC, who will announce the results.

The chair of the official panel will be announcing the results of this contest session. It is

my pleasure to introduce our (category) judge and PC, from (home city and state) –

(name!)


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REGIONAL CHORUS COMPETITION EMCEE SCRIPT Opening remarks: Before beginning today's contest, I need to remind you of a few contest restrictions:

1. Photography of any kind, recording or use of video or movie equipment during a

competition session is prohibited except as authorized by the International Board of

Directors. 2. Please turn off cell phones and any electronic devices that make noise so they will not

sound during a contestant's performance. 3. There is to be no smoking in the auditorium.

NOTE: Ask the CRC if there are any other restrictions and insert here.

In order to make certain the sound level is set correctly, a non-competing quartet has

been invited to test the system for us.

We are ready for the mic-testing chorus. Everyone please be seated; please close all doors.

From home city and state – name of quartet Following the performance of the last contestant, the emcee may be asked to announce the performance of the outgoing champion. Wait until after the judges have completed their official panel work before making the following post-conference intermission announcement. Following the performance of the last contestant before intermission:

What amazing performances! Let’s give our competitors another hand!

There will now be a minute intermission. Please coordinate with the CC, to see if there will be any regional presentations made at the end of the intermission before proceeding with the remaining official emcee script. After the intermission, the emcee will introduce the DC or other designated RMT member, who will present the chorus recognition awards.

It is my pleasure to introduce (name), (position) for Region # , who will

present certificates of recognition to the directors of our competing choruses. The emcee may be asked to introduce the PC, who will announce the results.


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The chair of the official panel will be introducing the members of the official panel and

announcing the results of this contest session. It is my pleasure to introduce our

(category) judge and PC, from (home city and state), (name).


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AWARDS AND ANNOUNCEMENT OF RESULTS

International policy states that only awards designated by the international organization are announced by the PC. PS’ tabulate results for these designated awards only. Additional awards (e.g., trophy, plaque) provided by the region to the winners of international awards are presented at the time the announcement is made. (Please note, beginning in 2018, the Audience Choice/Bravo Award is a regional award, not to be announced by the PC as part of the awards from the international organization.) International Awards To be eligible to win these international awards (with the exception of the most improved chorus award), the contestant must score at least 400 points. The following placements are designated as international awards:

1 - 5 place quartets 1 - 5 place choruses 1 - 3 place Division A (small) awards 1 - 3 place Division AA (midsize) awards Most Improved Chorus award

The 1-5 quartet and 1-5 chorus placements are awarded when five or more contestants compete in a competition. The awards are announced in reverse numerical order: Number of Contestants Number of Placements Number of Awards Three Three Three Four Four Four Five or more Five Five Division A (small) and Division AA (midsize) Awards In addition to the standard chorus competition, awards will be presented to the first through third highest scoring choruses in the following two categories:

Division A Chorus 15 - 30 members Division AA Chorus 31 - 60 members

The number for determining eligibility for these awards includes all performers on stage at any given time (not including the director). The number turned in at the chorus briefing, on the List of Competing Members form, is the final number used by the PS when determining which choruses meet the criteria of each division. CCs are responsible for delivering these forms to the PS immediately following the briefing. Most Improved Chorus Award To be eligible for the Most Improved Chorus Award, a chorus must:

Have competed in the immediately preceding regional competition; Have at least 15 singing members on stage at any given time. No minimum score is required to earn a Most Improved Chorus Award.


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The PS receives a copy of the preceding regional competition tabulations and a list of chapter name changes to calculate the award. The PC also receives a copy of the chapter name changes to ensure that procedures are followed. Regional Awards The eligibility requirements for regional awards should be outlined in the regional standing rules but may not conflict with international policy. Eligibility for regional awards based on performance requires a total score of 400 points or above (excluding the Most Improved Quartet Award). The ED, using the official tabulated results, is responsible for determining the winners of regional awards. The 400-point minimum does not apply to regional awards recognizing improvement, including the Most Improved Quartet Award.


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GUIDE FOR ANNOUNCING THE OFFICIAL RESULTS OF THE REGIONAL QUARTET COMPETITION

The PS sends a copy of the announcement script to the CRC and CC the week of competition. The PS prints the announcement of results from the excel spreadsheet, provided by Competition Services at IHQ, on site for the PC to use.

Now, it's time to announce the winners of the awards presented by the international

organization. All quartets may pick up their scoresheet packets at (location)(times)

The fifth place medals will be presented by: name(s) and title(s) With a score of , the fifth place winner is (quartet name)!

The fourth place medals will be presented by: name(s) and title(s) With a score of , the fourth place winner is (quartet name)!

The third place medals will be presented by: name(s) and title(s) With a score of , the third place winner is (quartet name)!

The second place medals will be presented by: name(s) and title(s) With a score of , the second place winner is (quartet name)! Quartets winning regional competitions qualify to compete at the international

competition. Region # ’s quartet champion will represent us as competitor number

in the order of appearance at the 20 international quartet competition in

(city and state)

The first place medals will be presented by: name(s) and title(s) If additional awards (e.g., trophies, flowers) are to be presented to the quartet champion, that information should be inserted here. And now, with a score of points, the 20 quartet champion of Region # is

(quartet name)

If the region sings The Winners’ Song to the new champion quartet, this would be the appropriate time.

We would like to ask our new champions to sing for us, after which (name(s) will direct

all of us in

(Choose Harmonize The World or How We Sang Today)


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GUIDE FOR ANNOUNCING THE OFFICIAL RESULTS OF THE REGIONAL CHORUS COMPETITION

The PS sends a copy of the announcement script to the CRC and CC the week of competition. The PS prints the announcement of results from the Excel spreadsheet, provided by Competition Services at IHQ, on site for the PC to use.

Now, it's time to announce the winners of the awards presented by the international

organization. All quartets may pick up their scoresheet packets at (location)(times)

Only the director or president may pick up this material.

Any other announcements: Instructions to choruses for receiving awards:

The Most Improved Chorus Award will be presented by: (name(s) and title(s))

Having improved a total of points, the winner of the Most Improved Chorus

Award is the (name of chorus) Chorus!

Division A, or small, Chorus Awards are presented to no more than three eligible

choruses in each region. These are the choruses that score the most points – at least 400

– and have between 15 and 30 singing members on stage.

The third place Division A chorus award will be presented by: name(s) and title(s)

The winner of the third place Division A chorus award is the

Chorus!

The second place Division A chorus award will be presented by: name(s) and title(s)

The winner of the second place Division A chorus award is the Chorus!

The 5 Division A first place chorus winners achieving the highest total scores will be

invited to compete in Harmony Classic held Tuesday evening at the International

Competition in 20 . Choruses achieving this rank will be notified by Competition

Services at IHQ.

The first place Division A chorus award will be presented by: name(s) and title(s)

The winner of the first place Division A chorus award is the Chorus!

Division AA, or midsize, Chorus Awards are presented to no more than three eligible

choruses in each region. These are the choruses that score the most points – at least 400

– and have between 31 and 60 singing members on stage.


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The third place Division AA chorus award will be presented by: name(s) and title(s)

The winner of the third place Division AA chorus award is the Chorus!

The second place Division AA chorus award will be presented by: name(s) and title(s)

The winner of the second place Division AA chorus award is the Chorus!

The 5 Division AA first place chorus winners achieving the highest total scores will be

invited to compete in Harmony Classic held Tuesday evening at the International

Competition in 20 . Choruses achieving this rank will be notified by Competition

Services at IHQ.

The first place Division AA chorus award will be presented by: name(s) and title(s)

The winner of the first place Division AA chorus award is the Chorus!

The fifth place award will be presented by: name(s) and title(s)

With a score of points, the fifth place chorus is the Chorus!

The fourth place award will be presented by: name(s) and title(s)

With a score of points, the fourth place chorus is the Chorus!

The third place award will be presented by: name(s) and title(s)

With a score of points, the third place chorus is the Chorus!

The second place award will be presented by: name(s) and title(s)

With a score of points, the second place chorus is the Chorus!

The chorus winning regional competition qualifies to compete at the international chorus

competition. The 20 regional chorus champion will represent Region #

in the 20 international chorus competition in city and state.

If the champion chorus is unable or chooses not to compete, the second place chorus will

be invited to compete.

All members of the first place chorus, please come to the stage to receive your awards.

The first place awards will be presented by: name(s) and title(s) If additional awards (e.g., medals, trophies, flowers) are to be presented to the chorus champion, that information should be inserted here.


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And now, the 20 champion of Region # , with a score of points, the Chorus!

If the region sings The Winners’ Song to the new champion chorus, this would be the appropriate time.

We would like to ask our new champions to sing for us, after which their director will

direct all of us in (Choose Harmonize The World or How We Sang Today)


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OFFICIAL RESULTS PHOTOCOPYING/ PRINTING IN JUDGES PIT A signature from the PC is no longer required on printed final official results, however, if the results are photocopied you will need a signature from the PC. After the tabulation sheet(s) are approved by the PC and returned to the PS, the PS collects the contestant copies (original) of all scoresheets from the PC and accompanies the OPL to the copying area. The PS, in cooperation with the OPL, has the option to print results in the judges’ pit or make enough photocopies of the final results report for distribution. The OPL is responsible for obtaining video and/or audio recordings from the CC, if available. DISTRIBUTING RESULTS See below for distribution list:

1 copy for each contestant packet 1 copy for each member of the official judging panel 1 copy for each trial scoring judge 1 copy for each RMT member, including CC and CRC 1 copy to post at Sweet Adelines International registration area 1 copy for use in web posting, if requested, or, if the technology is available, this

information may be sent via email Original received by the PS is to be sent to Competition Services at IHQ

The PS checks to make sure the first copy of each scoresheet is dark enough to read. If it is not, she makes a copy of the original to include in the materials returned to Competition Services at IHQ. The PS emails or faxes all spreadsheets including the tabulation sheet, final results report, quartet summary of winners, and chorus summary of winners to Competition Services at IHQ, to be received by 8:00 a.m. (CST) the Monday morning after convention. NOTE: The PS makes any necessary adjustments to the copier to ensure legible copies are made. Once the contestant packets are distributed, the PS ensures that members of the official panel and trial scoring judges receive their copies. The OPL distributes to all regional personnel. NOTE: The above distribution is required by the international organization. It is important that

contestant packets are distributed as soon as possible following each contest session. Additional

copies requested by the region are not made until after packets have been distributed. The PS is

not required to supervise additional photocopying. CONTESTANT PACKETS The PS and the OPL are responsible for the distribution of the contestant packets following each competition session. This may occur 20-30 minutes following the announcement of results. To avoid competitors gathering while official results are being tabulated, designate a distribution


Rev. Dec-17

location other than the pit. Announce to the competitors when, where and for how long packets will be distributed. Materials not picked up by this deadline are distributed by the assigned regional personnel. Competition Services at IHQ provides the OPL with a supply of contestant packet envelopes, official panel directory, Evaluating Your Contest Performance, Performance Levels Guidelines

and Entertainment Package Guidelines (Open Division competitors only). Each contestant packet should contain one copy of each of the following:

Final results spreadsheet Official panel directory Evaluating Your Contest Performance Performance Level Guidelines Entertainment Package Guidelines (Open Division) The original of each judge's scoresheet Flash drive containing competitor performance (if purchased) Promotional items for International events (if provided)

NOTE: The CC will receive, as part of her 30-day mailing from Competition Services at IHQ, a

packet labeled “For the PS”. The CC is responsible for handing this packet over to the PS onsite,

as it contains a memo to the regional champion quartet and regional champion chorus. It is the

PS’s responsibility to include this memo in the appropriate contestant packets distributed onsite,

as these memos include important instructions and information to the competitors regarding the

international competition. Quartet packets are given to the designated quartet contact only. Chorus packets are given to the chapter president or chorus director only. Exception to this procedure may occur when the quartet contact or chorus director/president provides written permission authorizing another individual to pick up the packet. The PS remains with the OPL until all contestants have had sufficient time to collect their materials. Uncollected contestant packets are distributed by the assigned regional personnel later during the weekend or mailed following the convention weekend.

SECTION F

GUIDELINES FOR REGIONAL CONVENTION Section F CONVENTION POST-COMPETITION Page - 1

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POST-COMPETITION FINAL REPORTS Each committee and subcommittee should submit a final report to the Convention Steering Committee detailing the work of her committee and offering suggestions for next year's committee. Additionally, the EVC, CC and OPL should prepare final reports regarding their responsibilities. From these reports, the CRC should prepare a final report for regional and international files. The international organization also designates certain convention personnel to submit post-competition reports for review by the Judge Specialists. These people are notified prior to the convention if they are to submit a report. POST-COMPETITION MEETINGS Official Panel Immediately following the chorus competition, the PC meets with the ED briefly to deliver observation forms from the official panel members. These forms allow the judges an opportunity to provide suggestions for improvement for the region musically and for the overall convention. The completed forms are sent to Competition Services at IHQ where personalized communication is created for each EC about trends. Hotel The CRC and the EVC meet with the appropriate hotel staff, either in person or on the phone. The purpose of this meeting is to review the convention weekend and discuss any problems that may have occurred. Convention Steering Committee The Convention Steering Committee meets following the convention weekend to review the convention and begin planning and budgeting for the next convention. This meeting may not occur for several months following the convention weekend. BILLING FOR OFFICIAL PANEL EXPENSES The amount allocated to each region as panel expenses is deducted from each region's rebate as soon as the official panel expenses have been received at Competition Services at IHQ. Regions will be notified if there is any change to this procedure.

APPENDIX I

GUIDELINES FOR REGIONAL CONVENTION APPENDIX I PUBLIC RELATIONS Page - 2

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PUBLIC RELATIONS INTRODUCTION The Marketing Coordinator or the Public Relations Chair and her committee are responsible for developing a complete public relations campaign that includes goals, objectives, tactics, identified publics, targeted media and budget allocations. The public relations plan should be created by the committee with final approval from the region's leadership. The actual planning process is dynamic and should be allowed to unfold naturally. The give and take within the committee will result in a thorough plan that earns the support and endorsement of the region's leadership. Planning is a time consuming process but as it continues, new ideas may develop within the committee. Traditional ways of doing things may be questioned. New solutions to old problems may present themselves. The first time through the planning process may prove more difficult than in subsequent years when the plan can be modified to meet new objectives. Do not become discouraged. The complete plan becomes a checklist of milestones that should be modified by circumstances. The plan should be finalized in the July or August preceding the spring convention. This allows the public relations committee sufficient time for recruiting volunteers and implementation. Once the plan has been completed, the public relations chair should make individual committee assignments based upon the parameters established by the plan. For example:

Graphics coordinator Publicity photo coordinator Copywriter Mailing list coordinator Spokesperson Mailing sub-committee

Desired results can be achieved if a specific plan is developed and implemented. The traditional four-step process is outlined below.

1. Research

Gather facts that are important to the event. Be sure they are accurate. From these facts, examine existing problems, analyze the situation and develop goal statements. A sample goal statement is: "Increase awareness of the quality of talent that exists in this region's quartets and choruses among five targeted publics."

2. Adaptation The goal statement is the basis from which measurable objectives can be developed. Examples of measurable objectives are:

Increase the amount of media coverage by 20 percent over last year. Sell 100 more tickets than last year to the post competition event.


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Establish a foundation for improving our relationships with three other vocal groups in the hostess city.

Define the targeted publics and list them in the order of their importance. Examples of these might be:

Members within this region. Other vocal music groups including school choruses and church choirs. Other women's groups ranging from professional organizations to social

clubs. The general public. The media.

Next, list the tactics to be developed and applied toward achieving the goals. Make a realistic assessment of the personnel, time, and financial resources available when developing tactics. Suggested tactics might include:

News conferences News releases Press Kits (which include releases, feature stories, photos, video, audio and

brochures) Email outreach Web site updates Social media postings Marketing brochures Regional newsletters Flyers Window displays Specialty items (t-shirts, coffee mugs, etc.) Special promotions A media partnership Speeches Paid advertising Posters Direct mail campaigns Personal letters Public service announcements

3. Strategy List each target public and the objectives each public can help you achieve. For example:

Other vocal music groups including school choruses and church choirs (public)

o selling more tickets (objective) o improving relationships with other vocal music groups (objective)

Divide the tactics among the objectives allocated to your targeted publics. For example:


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Other vocal music groups (public) o selling more tickets (objective)

direct mail (tactic) personal letters (tactic) special promotions (tactic)

Remember that tactics that are directed towards a specific public may also impact other publics. For example, news releases and public service announcements impact targeted publics as much as they do the media.

4. Evaluation The successful plan concludes with a program for realistically evaluating results. As the campaign is under way, appoint individuals to monitor each tactic and collect results. At the conclusion of the event review results and measure the degree to which objectives were achieved by each tactic. Prepare a report to accommodate both positive and negative evaluations of the event. This evaluation can become the basis for projecting the success of future regional conventions. Share the evaluation report with the region's leadership.

MEDIA OUTREACH

1. Develop comprehensive regional media lists. Use the state press associations in your regions as resources for developing these lists of dailies and weeklies. Often, the media guides are available online or through your local library.

2. Create a regional convention press release and distribute to the local media. Try creating

a press release that includes the theme and graphics of the regional convention. You may want to call a chapter in the convention city to be the subject of this kind of story. Ensure that you are reaching all print, television and radio media contacts in your local area. Work with the media to time this story to appear early in the week of the regional convention. Impact decreases if the story runs earlier than this.

3. Develop a list of all arts and community calendars in the host city. Check the local chamber

of commerce, local arts council and its web sites for assistance in compiling this list. Some calendars are published quarterly and others monthly, weekly or daily. Some print calendars run photos. Meet information and photo requirements and deadlines of each calendar.

4. Attract the support of a media partner. Approach a television or radio station about being

a media sponsor of the regional convention. This lends an air of greater credibility to the event in the minds of your target audience while the media partner benefits from being identified with an activity such as this. This is a unique method of advertising because the primary goal of obtaining media sponsorships is to get the commercial airtime or advertising space donated. The media will work with you because of the visibility you can provide them as a sponsor as well as the opportunity to partner with an important community resource— a local Sweet Adelines chorus. Most media general managers are interested in making a contribution to organizations in the community. Ask the media sponsor to run PSA schedules, help with printing of some materials such as posters, programs, specialty items, etc. Also ask to provide a news personality or DJ to take part in the post competition event. Because the media partner will need to see that there's


Rev. Dec-17

something in the partnership for them, be prepared with facts on how many people attend the event, how many cities in their broadcast area are reached, etc.

5. Prepare a customized news release and fact sheet for the hometown media of each competing quartet and chorus. Be sure ticket information is included in the release. Distribute these releases according to your time line, but be sure to distribute them in time to meet the deadlines of non-daily newspapers. This is an external, as well as internal, public relations tactic that will make choruses and quartets more aware of support from the regional level of Sweet Adelines International. Distribute news releases by e-mail, fax, mail or through social media outlets. Use your best judgment as to which distribution method will best reach your media contacts.

6. Look carefully at the music/news formats of radio stations in the host city. Select a few stations that reach your target publics, i.e. Big Band, easy listening, classical, all news, etc., are more likely to attract ticket buyers. Provide the promotions director of selected stations with an announcement of the regional convention as well as five coupons good for admission. Promotional announcements are as good as PSAs or news stories in building interest by the public about the event. Morning drive and afternoon drive times are when the audience is largest. Let the radio personalities decide how they will give away the tickets, i.e. call-ins, trivia contests.

WORKING WITH MEDIA TO OBTAIN COVERAGE OF REGIONAL COMPETITION

The following guidelines pertain primarily to electronic media coverage inside the competition arena and traffic pattern. Please remember there are ways to obtain media coverage of regional competition without resorting to allowing electronic media inside the competition venue.

1. There should be an active Public Relations Subcommittee reporting to the Convention

Steering Committee. The chair of this subcommittee may be the Regional Public Relations Chair or a member of the Convention Steering Committee, depending upon each region's standing rules.

2. The Public Relations Committee will write to the Chair of the Official Panel at least three weeks prior to her assignment to inform the chair that electronic media coverage inside the competition venue has been sought and that the required assurances can be made with confidence.

3. The final authority to allow electronic media inside the competition arena to record actual competitors as they perform is the PC. You should be aware that this means even on site the chair may decide electronic media will be a distraction or interfere with the competition. Her decision will not be challenged.

4. The committee must be in a position to make the following assurances before deciding whether or not to seek electronic media coverage: The subcommittee will assure the quality of the competitor on stage at the time media

are inside the competition venue represents the organization's Mission Statement and Goals, especially the goal that "Sweet Adelines International will be recognized throughout the world as the leading organization for women's four-part barbershop harmony."

The subcommittee will assure that media will not interfere with the official panel.


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The subcommittee will assure that all media – electronic as well as print– will not interfere with competitors in the traffic pattern and that only those competitors that agree to being filmed, taped, photographed, and/or interviewed as presented to media for news gathering.

The subcommittee will assure that each media representative who comes to the competition venue will be escorted by a member of Sweet Adelines International throughout the news gathering process.

The subcommittee will assure that a knowledgeable spokesperson will be available to media to discuss the organization, the art form, and/or the actual competition event if so required.

5. The chair of the Public Relations Subcommittee will obtain a copy of the order of appearance and the traffic pattern from the competition coordinator.

6. The chair of the Public Relations Subcommittee will rely on the Marketing Coordinator to determine to which competitors the media should and/or should not be given access.

7. The Public Relations Subcommittee will arrange for and train personable escorts who will be assigned to accompany the media representative throughout the news gathering process. This escort will assure restrictions are adhered to regarding noise, additional lighting, blocking the view of ticket holders and interfering with the judging process and competitors in the traffic pattern.

8. The Public Relations Subcommittee will arrange for knowledgeable spokespersons to be available to media.


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USING THE INTERNET TO GAIN PUBLICITY

Distributing your press information via the Internet provides an immediate and cost-effective way to reach key journalists. Begin cultivating online relationships with those key reporters by calling a targeted journalist in the morning (deadline pressure tends to increase by the afternoon) and confirm they welcome e-releases. If e-releases are accepted, obtain the direct e-mail address of the journalist. Don’t send your messages to general e-mail boxes that go to an entire newsroom. Ask whether the contact would prefer the release, photographs and graphics as an email message or email attachment. Most journalists do not open attachments, so avoid sending an attachment unless it is requested.

E-release format Adjust the format of your e-release using similar guidelines as a traditional press release but with the following additions:

1. Direct Email address (send the e-release directly to the journalist’s email address. 2. Subject line

In 5- characters or less, enter the headline of the press release. Remember to always include Sweet Adelines International in the subject line.

3. Message Enter your press release into the message of the email using the following format: Begin with the words For Immediate Release Double space and include the dateline by entering the city name and state

abbreviation where the news originates, followed by the date of the press release. Place a dash after the dateline and follow the dash with the body of the e-release. Single space the text and double space between paragraphs. Limit the e-release to 250-500 words. End the e-release with a boiler plate – a standard descriptive paragraph about Sweet

Adelines International and your chorus/region. Follow the e-release with instructions for obtaining additional information,

beginning with a phrase such as “For More Information,” “To schedule interviews,” or “To obtain photos and artwork” with links to web pages with this information.

Close with contact information in this order: Contact person’s name Chorus/region name Contact person’s phone number including area code Contact person’s email address Chorus/region Web site address

In order to distribute media information to journalists on-site, prepare a traditional printed version of this e-release to include in media kits. Online Pressroom Increasingly, journalists interested in finding out more about your region will turn to online pressrooms for information, including current and past press releases, designated public


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relations contacts, downloadable images, special announcements and organizational background. The online pressroom is an integrated section within your already existing regional web site. Provide a direct link to the online pressroom from the web site’s home page, and include the link within the sub-navigation menu as well. To keep your pressroom a useful tool to journalists, make the section easy to navigate and quick to access. Include the following contents:

Post current press releases immediately upon distribution. Post a searchable archive of past press releases in date order with short summaries of

content for quick scanning. Post a calendar of upcoming events. Post reprints, clips or links to recent media coverage. This is an important section for

building credibility. It shows your subject is newsworthy and of public interest. Include the names and contact information for chorus approved media spokespeople. Summarize background information about your chorus with links to more expansive

information. Provide downloadable photos and artwork authorized for media use. This section is

valuable for those media contacts who do not want to accept attachments. You can embed a link to this downloadable graphic area in the e-release and direct the journalist to this link.

Prepare your downloadable graphics with appropriate digital resolution. In general your image needs a resolution of 250-300 DPI (dots per inch) for print, and 72 DPI for digital use. JPEG files are usually universally accepted.

Label the graphics/photos in your downloadable section with clearly labeled captions and cut-lines. The caption is the title of the photo. The cutline is the photo description required by nearly all media outlets.

Make it easy for journalists to find a graphic file by referencing the e-release that the artwork accompanies.

Provide references to any other resources that you feel is pertinent, such as barbershop history, barbershop style, membership information, etc.

Maintain your online pressroom to serve as an up-to-date, 24-hour media resource that provides an informative overview of your region.


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SAMPLE PUBLIC RELATIONS PLAN FOR A REGIONAL CONVENTION APRIL 4-5 Goal: Increase awareness of Sweet Adelines International Regional Convention in the convention city. Objectives:

1. Sell 35 more individual tickets than last year through the arena box office to competition session.

2. Sell 100 more individual tickets than last year to the "Show of Champions." 3. Increase print and electronic publicity by 50 percent.

Target Publics:

Media Members Other vocal music groups in the host community Vocal music instructors in the host community Other performing arts groups in the host community General public

Tactics:

News releases Media kits Broadcast PSAs Special promotions (ticket give-aways on targeted radio) Direct mail/email blasts Flyers Personal letters Specialty items Media sponsorship Posters Window displays Web sites

Publics/Objectives Mix

Media Sources 1. Increase print and electronic publicity by 50%.

Other vocal music groups in the host community 1. Sell 35 more individual tickets than last year through the arena box office to each

competition session. 2. Sell 100 more individual tickets than last year to the "Show of Champions."

Vocal music instructors in the host community

1. Sell 35 more individual tickets than last year through the arena box office to each competition session.

2. Sell 100 more individual tickets than last year to the "Show of Champions." General public


Rev. Dec-17

1. Sell 35 more individual tickets than last year through the arena box office to each competition session.

2. Sell 100 more individual tickets than last year to the "Show of Champions." Other performing art groups in the host community

1. Sell 35 more individual tickets than last year through the arena box office to each Competition session.

2. Sell 100 more individual tickets than last year to the "Show of Champions." Publics/Objectives/Tactics Mix

Media 1. Increase print and electronic publicity by 50%.

a. Media kits b. News releases c. Broadcast d. PSAs e. Special promotions f. Media sponsorship

Other vocal music groups in the host community 1. Sell 35 more individual tickets than last year through the arena box office to each


a. Flyers b. Direct mail/email blasts

A. Personal letters B. T-shirts C. Media sponsorship

Vocal music instructors in the host community 1. Sell 35 more individual tickets than last year through the arena box office to each


a. Flyers Posters b. Personal letters c. Media sponsorship

General public 1. Sell 35 more individual tickets than last year through the arena box office to each


a. All tactics but specialty items are applicable to this public.

Other performing art groups in the host community 1. Sell 35 more individual tickets than last year through the arena box office to each


a. Flyers b. Posters


Rev. Dec-17

c. Personal letters d. Media sponsorship Targeted Media/Public Mix

Morning newspaper Media Members Other singers Vocal music instructors General public Other performing arts groups

Afternoon newspaper Media Members Other singers Vocal music instructors General public Other performing arts groups

Host city's suburban newspapers Media Members Other singers Vocal music instructors General public Other performing arts groups

Newspapers in the home cities of competing choruses and quartets Media Members

Monthly society tabloid Media Members Other singers Vocal music instructors General public Other performing arts groups

Major television network affiliates Media Members Other singers Vocal music instructors General public Other performing arts groups

Oldies radio station Listeners

Public radio station Listeners

Personal letter from the EVC to other singing groups in the host city


Rev. Dec-17

Other vocal music groups Personal letter from the EVC to vocal music instructors in the host city

Vocal music instructors Personal letter from the EVC to other performing arts groups in the host city

Other performing arts groups


Rev. Dec-17

IMPLEMENTATION CALENDAR

July: Finalize public relations plan and solicit approval from all regional leaders. Public relations committee.

August: Develop theme and graphics.

For effectiveness, one committee member should be given authority to work with regional leaders and artists on this project from concept to implementation. This will require funding from the budget for artist fees, supplies, camera work, etc. unless graphic services are donated.

September: Secure media sponsorship.

Public relations committee chair with EVC participation. October: Arrange to have publication-quality color and black and white photos

taken of regional winners during international competition for use in promoting the spring regional competition. An alternative plan is to write each chapter president requesting publication-quality photos that are representative of the chorus and its activities. Individual committee member. This will require funding.

November: Select and duplicate photos for press kits.

Public relations committee chair. This will require funding. December: Write copy for personal letters from EVC to targeted publics; write copy

For all news releases, features stories, flyers, posters, specialty items, etc. Individual committee member responsible for all copy writing.

December: Send materials to the printer.

Committee member responsible for graphics. This will require funding unless

the media sponsor agrees to help with the expenses.

January: Assemble contact lists of other singing groups, vocal music instructors and

other arts groups within easy traveling distance to the event. Developing these lists should be assigned to as many members of the committee as necessary. If possible, one member should assume responsibility for saving this data on the computer so lists can be updated annually.

January: Decide upon a spokesperson. Decide whether or not to host a news

conference to announce the regional convention. This is an opportune time to use the media sponsor and break the story with the sponsor first with follow-ups in print media. Committee person solely responsible for media contact work. Another person should be assigned to be spokesperson.


Rev. Dec-17

February: Research and finalize all pertinent contact lists; develop labels.

Each public can be the responsibility of an individual committee member. Be sure to factor postage and long-distance phone charges into the budget.

February: Mail or email personal letters to targeted publics.

Mailing committee of two to three members. February: Distribute PSA copy and graphics to television stations.

Media contact person. March: Distribute flyers to targeted publics.

Entire PR committee and assistance chapter. March: Contact merchants and set up window displays where access is provided.

Free tickets to the "Show of Champions" could be given in exchange for display space. Committee member.

Three weeks before the convention on April 4-5

March 14: Distribute media release with customized information about the

quartets/chorus competing from that town. Media contact.

March 21: Distribute give away tickets and media kit to radio stations.

Committee person responsible for contacting promotions directors at radio stations.

March 27: Alert media about upcoming publicity event.

Media contact. March 31: Email or fax a reminder to electronic media about the publicity event.

Call the assignment editors later in the day to see if you can get a commitment from them to cover the publicity event. Media contact.

April 3: Call to remind all media of the time, location and restrictions that are

applied to media coverage of the competition. Media contact.

April 4: Have the spokesperson on hand at the quartet competition.

Media contact and other committee members should watch for and escort media who appear at the competition.

April 4: Email or fax results to media in winners' hometowns.


Rev. Dec-17

Copywriter should prepare releases. Any committee member may fax. April 5: Have the spokesperson on hand at the chorus competition.

Media contact and other committee members should watch for and escort media who appear at the competition.

April 5: Email or fax results to media in winners' hometowns.

Copywriter should prepare releases. Any committee member may fax.


Rev. Dec-17

SAMPLE NEWS RELEASE Pre-Event (Sent to media in home towns of competing choruses and quartets) REPRESENTING: ABC Chapter

Sweet Adelines International CONTACT: Jane Doe

Public Relations Chair 555-1234 (weekdays) 555-9876 (evenings and weekends)

FOR IMMEDIATE RELEASE

Local Sweet Adelines groups to compete for regional honors.

March 14, 2010, Your Town, WV – The ABC Chorus and pair of local barbershop quartets will join more than 700 women who will compete in Capital City April 4-5 in the Sweet Adelines International Region 45 annual competition at the Cap Cities Arena. A capella presentations of songs from the 1890 to the 1990s - arranged for women's four-part harmony – are presented in costumed, choreographed production numbers.

"Performances and competitions help develop our members confidence and build pride in their achievements," says Ruth Rowe, events coordinator for the area that includes West Virginia and portions of Indiana, Kentucky, and Ohio. "Razzle Dazzle" is the theme of the competition which is open to the public. Singers from 15 choruses and 19 quartets will vie for regional titles and opportunities to advance to international competition.

Quartet competition begins at 7 p.m. Friday, April 4; chorus competition is set

for 1 p.m. Saturday, April 5. Tickets are $8 for non-reserved seats at each of the contests and are available through the Cap Cities Arena Ticket Office, 555-5544.

A special "Show of Champions" performance, also open to the public, begins

at 8:30 p.m. Saturday in the Greensleeves Auditorium of the Arena. Tickets are $10 each and will be sold only at the door beginning at 8 p.m. Among the guest stars appearing on this special program are the 1967

Sweet Adelines International Queens of Harmony "BLTT" and the 1990-91

quartet champs from Region 45, "Echo!" Also performing will be the UWV Chorus of Wheeling, WV, which, as winners of the Region 45 chorus competition in 1996, will compete in the international contest this October in Salt Lake City, Utah.

This year's winning quartet also will compete again this fall in Salt Lake City;

this year's winning chorus will compete in 1998 in Nashville.


Rev. Dec-17

SAMPLE FACT SHEET (goes to each media source along with all releases and in media kits)

W HO: Voice of the Coast, Region 45

Sweet Adeline International, a non-profit music education organization for women, founded in 1945 Perpetuates and enhances the barbershop music art form – one of only four forms of music native to the United States.

W HAT: Annual Quartet and Chorus Competition

Includes 19 quartets and 15 choruses Region 45 includes West Virginia and portions of Ohio, Kentucky and Indiana More than 700 women will compete

W HERE: Cap Cities Arena, 107 S. Broadway Ave. W HEN: Quartet competition begins at 7 p.m. Friday, April 4

Chorus competition begins at 1 p.m. Saturday, April 5 W HY: Annual regional competition decides the best quartets and choruses in the

region. Winners of the contests are eligible to compete on the international level. The winning quartet will compete internationally this October in Salt Lake City, Utah. The winning chorus will compete internationally in November of 1998 in Nashville, Tennessee.

HOW: Competition tickets are $8 for non-reserved seats.

Available at the Cap Cities Arena Ticket Office, 555-5544. Tickets to the "Show of Champions" are $10 each and are available only at the door of Greensleeves Auditorium beginning at 8 p.m. Saturday, April 5.

RESTRICTIONS: BECAUSE SOUND AND LIGHTING ARE CRITICAL TO

CREATING EQUAL AND CONSTANT CONDITIONS FOR EACH COMPETITOR, ADDITIONAL LIGHTING (FLASH OR OTHERWISE) CANNOT BE USED. AMPLE OPPORTUNITIES FOR INTERVIEWS AND FILMING EXIST OFF STAGE WHERE JUDGES WILL NOT BE DISTRACTED. WE WILL WORK WITH YOU ANY WAY WE CAN TO FACILITATE YOUR COVERAGE OF THIS COLORFUL, HIGHLY VISUAL EVENT.


Rev. Dec-17

SAMPLE NEWS RELEASE FAX TO WINNERS HOMETOWN MEDIA

PLEASE DELIVER TO: Terry Baker, city desk, West Virginia Gazette REPRESENTING: ABC Chapter

Sweet Adelines International CONTACT: Jane Doe

Public Relations Chair 555-1234 (weekdays); 555-9876 (evenings and weekends)

FOR IMMEDIATE RELEASE West Virginia Sweet Adelines Sweep Regional Competition

April 5, 2010, Capital City, WV – Sweet Adelines groups from Benton, Johnsonville and Smith captured all the top prizes here this weekend at the Voice of the Coast Region 45 competition.

With 64 members on stage, the Johnsonville chorus, directed by Annie Page, received first place medals Saturday afternoon in annual competition that saw more than 700 women participating from West Virginia and portions of Indiana, Kentucky and Ohio. Second place went to the O-State Chorus of Youngstown, Ohio; third was Derby Pie Chorus of May, Kentucky; fourth was the Forever Singing Chorus of Grand, Indiana; and fifth was the Summer Winds Chorus of Parkersburg, West Virginia.

On Friday evening, 1-2-3-4, composed of members from the Johnsonville Chorus, captured first prize in competition among 19 quartets. Members of 1-2-3-4 are Linda Ryan, tenor; Leslie Hall, lead; Paula Bullock, baritone, and Anna America, bass.

The quartet will compete on the international level at the Sweet Adelines international convention this October in Salt Lake City. The chorus will compete internationally in 1998 in Nashville, Tenn.

The Freshman Chorus from Smith, directed by RoseMary Henderson, was named Most Improved Chorus and also took the blue ribbon in the Small Chorus Awards competition. This group had 23 members on stage and edged out Benton Chorus which captured second place.

Sweet Adelines International is a non-profit music education organization for women. It was founded in 1945 and has almost 30,000 members throughout the world who sing four part harmony, barbershop style, without musical accompaniment.

APPENDIX II

GUIDELINES FOR REGIONAL CONVENTION APPENDIX II AMERICANS WITH DISABILITIES ACT Page - 2

Rev. Dec-17

AMERICANS WITH DISABILITIES ACT (ADA) (in conjunction with U.S. sites only)

Title III of the Americans with Disabilities Act prohibits discrimination against disabled individuals by those who operate places of "public accommodations" such as hotels, restaurants, retail stores, arenas and other places where the public is likely to enter or congregate. The Department of Justice has stated that entities such as Sweet Adelines International become subject to the Act when they lease space for a meeting or convention at a hotel, convention center or similar facility. As a "public accommodation," the sponsoring organization is responsible for compliance with the Act and must take steps to assure that all displays and/or meeting functions are accessible to individuals with disabilities. Additionally, the sponsoring organization must provide what the regulations call "auxiliary aids" (such as qualified interpreters, Braille programs, assistive listening devices, closed caption decoders, etc.) for meeting participants who need them. The legal responsibility for compliance rests with the sponsoring organization, however, the practical compliance burden may be shifted, in whole or in part, to the meeting facility. In order to do that, you must have a clause in the contract stating the facility complies in all respects with the Act as well as an indemnification clause by which the facility holds the sponsoring organization harmless from ADA violations within the scope of the facilities activities. The outcome is that you must book only facilities that comply because you can't make structural changes to the facility. It is imperative to include language on both the registration and housing forms requesting information on special needs that disabled attendees might have (be sure to include transportation needs such as a van or bus with a lift if you are providing transportation between a hotel and competition site). If you have asked for that information and it was not suppl ied, you are not responsible to have the "auxiliary aids." The facility or the local Convention and Visitors Bureau should be able to provide you with a list of organizations or individuals who can provide the auxiliary aids and services required by the ADA. Contact the Meetings and Convention Services Department at IHQ for sample contract clauses if the facility does not have one.

APPENDIX III

GUIDELINES FOR REGIONAL CONVENTION APPENDIX III FORMS/INSTRUCTIONS/DIAGRAMS Page - 2

Rev. Dec-17

VIDEO RECORDING (DIGITAL) REGIONAL COMPETITIONS

The region is required to make a video recording of all contestants competing in the regional quartet and chorus competitions in a digital format. A digital recording is a method of converting video to digital signals, going directly from video camera to either an external or internal data storage device. Instead of saving the digital recording to a DVD, the region saves it to an external hard drive provided by Competition Services at IHQ. It is the responsibility of the CC to confirm with the videographer prior to contest that they will produce a high quality digital video master file, as well as a backup digital video file of all competitor performances. The master recordings of both competitions should be of the highest quality possible. The videos should then be compressed to a more manageable file size (h.264 preferred) in .mp4 format, and each individual performance file uploaded to Dropbox within two weeks of the competition. The region may provide competitors a link to their specific file for download. Alternatively, a copy of the compressed performance video file can be transferred onto a USB flash drive to be included in the contestant’s competition packet, if they chose to purchase a copy. Contestants may purchase copies of their performance only. The international organization reimburses the region $1,000 USD to help defray the regional costs of video recording expenses. A sum of $500 USD will be issued to each region in February of the year of the regional competition. If the digital master recordings are labeled according to instructions laid out in the Guidelines for Regional Convention (GRC), section D, and the Dropbox files are shared with Competition Services at IHQ within two weeks of the competition, the region will be reimbursed the remainder of the $1,000 USD stipend. It is the responsibility of the CC or her designee, to ensure all video recording guidelines are met prior to submission to Competition Services at IHQ in .mp4 format. The check will be made payable to the region and sent to the FC of each region. Authorized video recordings of regional quartet and chorus competitions are made solely for the use of the Judge Specialists and the Education Direction Committee. The region may produce a regional video, in accordance with the recording procedure outlined in the Policy Book. The ED may make a copy of the master recording for her sole use in evaluating the quartets and choruses in her region. Any competitor interested in posting their regional competition performance on YouTube, social media or their website must have Sweet Adelines International’s permission before posting and sharing. Please email Competition Services for permission. EQUIPMENT

2TB External Hard Drive (provided by Competition Services at IHQ) PC or Mac computer with video processing software Color camera with monitor and zoom lens Flash drives with adequate storage space for video files (if applicable)


Rev. Dec-17

Good internet connection Adapters necessary to interface with the auditorium sound system Steady tripod base

To ensure good quality, use the best available video camera and recorder. A camera that operates well in low light is advisable. Recording in high definition (HD) is not required, but preferred. If HD is not possible, record in 16:9 standard definition (SD). Video files must be submitted to Competition Services in .mp4 format. (It would likely be easier to record in .mp4 format, rather than have to convert the files over from .mov format later.) If more specifics are needed, please contact Competition Services. PERSONNEL Unless a professional video camera operator is used, two people are normally required: the camera operator and the person in charge of monitoring. The monitor is responsible for determining the appropriate view for the camera, so she should be familiar with all aspects of Sweet Adelines competitions. RECORDING INSTRUCTIONS The video recording begins with the announcement of the contestant by the emcee and continues until the end of that contestant's performance. For a chorus, the performance is concluded when either the lights go out or the curtain closes. For a quartet, the performance concludes when the contestant is no longer in view, or exits the stage. LABELING COMPETITOR TRACKS Video recordings on the external hard drive must be labeled as follows:

Master Drive Label the competitor tracks as follows (no spaces):

Year, Region # , (Quartet/Chorus), Competitor Number: Competitor Name

For example: 20XXR1Quartet1:QUARTETNAME!

Attach with the drive a list of each contestant's name in the order of their appearance, not the order of their placement.

Note: If a contestant has withdrawn, mark the name and number with the notation

"Withdrawn."

Contestant Recordings If a digital copy is provided to, or purchased by competitors, label each digital file with the contestant’s name and the contestant’s number. Only one contestant should be recorded on each file.


Rev. Dec-17

SOUND The sound for the video recording is received through the auditorium sound system and may require special equipment. This must be determined prior to the competition so that all necessary equipment is acquired and in place prior to the convention weekend. CAMERA PLACEMENT The camera should be centered in the auditorium, either on the main floor or in the first row of the balcony. It should be placed in such a way that a clear view of the stage is possible while interfering with the view of the least number of persons in the auditorium. Enough seats should be blocked off to assure sufficient room for equipment and personnel. When positioning the camera, the official panel's seating must be taken into consideration so that there is no interference with the picture. (See Appendix V for additional camera specifications on panning, zooming, etc.)


Rev. Dec-17

INSTRUCTIONS TO REGIONAL PAGES For the Official Panel

Pages for the regional competition are appointed by the EVC and must be members in good standing of Sweet Adelines International. One page should be appointed for each competition session. Pages are encouraged to enjoy the contest, but asked to refrain from applauding or talking during the contest. Seating for the page should be made available near the panel secretary's table. A rest area with refreshments and restroom facilities should be provided separate from the members of the official panel. General Responsibilities

1. Attend official inspection. 2. Assist the PS by also keeping time during contest. 3. Following each contestant's performance, pick up the original and first copy of the

completed scoresheet from each judge after she has finished writing. (Do not wait until all judges have completed their scoresheets to collect all papers at once.) Give the original to the PC and the first copy to the PS.

4. If the PS discovers an error on a scoresheet, she signals that the scoresheet must be returned to the PC during the next break. The PC checks the scoresheet and signals that it be taken to the appropriate judge, who corrects and initials both copies. After the correction, deliver the original back to the PC and the first copy to the PS. Do not deliver any papers during a performance; wait until the contestant has completed their entire performance.

5. Be attentive to possible signals from the PC, PS or a judge. 6. Empty wastebaskets at the beginning of each intermission and immediately following

each competition session. The OPL instructs where this should be done. If requested, replenish supplies for official panel members.

7. Remain in the judging pit at the conclusion of the contest until released by the PC. Help the PS as needed.

NOTE: All information related to the judging and scoring of a regional competition is

confidential and should not be discussed with anyone at any time. Pages are not to read

scores or comments and are not to write down any information relating to scores or

scoresheet comments for any contestants. The PC will dismiss a page who does not maintain

confidentiality.


Rev. Dec-17

INSTRUCTIONS TO REGIONAL PAGES For Trial Scorers

Pages for the regional competition are appointed by the EVC and must be members in good standing of Sweet Adelines International. If the region has been notified that trial scorers will be in the region, one page should be appointed for each competition session. Pages are encouraged to enjoy the contest, but asked to refrain from applauding or talking during the contest. Seating for the page should be made available near the trial scorers' table, if applicable. A rest area with refreshments and restroom facilities should be provided separate from the official panel. General Responsibilities

1. Attend official inspection. 2. Following each contestant's performance, pick up the completed original scoresheet

from each trial scorer after she has finished writing. (Do not wait until all trial scorers have completed their scoresheets to collect all papers at once.) Clip together and maintain each trial scorer’s scoresheets separately.

3. Take all completed trial scoring papers to the rest area. 4. At the conclusion of each contest, collect any JP-1s from the trial scorers and place in

the appropriate packet. Trial scorers may choose to keep their observation forms. 5. Return all trial scoring scoresheets to the panel secretary.

NOTE: All information related to the judging and scoring of a regional competition is

confidential and should not be discussed with anyone at any time. Pages are not to read

scores or comments and are not to write down any information relating to scores or

scoresheet comments for any contestants. The PC will dismiss a page who does not maintain

confidentiality

GUIDELINES FOR REGIONAL CONVENTIONFORMS/INSTRUCTIONS/DIAGRAMS

APPENDIX IIIPage - 7

CONT#

CHORUSNAME

HOTEL CHECKIN

BUSLEAVES HOTEL

ARRIVE PRIMP/PHOTO

LEAVEPHOTO

WARM UP EXITWARM UP

ONSTAGE

Welcome 1:00Mic-testers 1:05

1 Eval Only, Intl. Div., alt. risers 1:02 1:00 1:10 1:00 1:10 1:11 1:09 1:112 Eval Only, Intl. Div. 1:01 1:11 1:09 1:11 1:09 1:10 1:20 1:223 Intl. Div. 1:00 1:10 1:08 1:10 1:20 1:21 1:31 1:334 Intl. Div. 1:11 1:09 1:19 1:21 1:31 1:32 1:42 1:445 Open Div. 1:13 1:23 1:33 1:35 1:45 1:46 1:56 1:586 Intl. Div. 1:24 1:34 1:44 1:46 1:56 1:57 2:07 2:097 Open Div. 1:38 1:48 1:58 2:00 2:10 2:11 2:21 2:238 Intl. Div. 1:49 1:59 2:09 2:11 2:21 2:22 2:32 2:349 Intl. Div. 2:00 2:10 2:20 2:22 2:32 2:33 2:43 2:4510 Intl. Div. 2:11 2:21 2:31 2:33 2:43 2:44 2:54 2:5611 Open Div. 2:25 2:35 2:45 2:47 2:57 2:58 3:08 3:1012 Intl. Div. 2:36 2:46 2:56 2:58 3:08 3:09 3:19 3:21

13 Eval Only, Intl. Div., std. risers 3:17 3:27 3:37 3:39 3:49 3:50 4:00 4:0214 Open Div., std. risers 3:31 3:41 3:51 3:53 4:03 4:04 4:14 4:1615 Intl. Div. 3:45 3:55 4:05 4:07 4:17 4:18 4:28 4:3016 Open Div. 3:59 4:09 4:19 4:21 4:31 4:32 4:42 4:4417 Intl. Div. 4:10 4:20 4:30 4:32 4:42 4:43 4:53 4:5518 Intl. Div. 4:21 4:31 4:41 4:43 4:53 4:54 5:04 5:06

Outgoing Champions and Directors' RecognitionAwards Ceremony

All ends at 6:00

INTERMISSION (30 minutes)

Regional Chorus CompetitionSample Traffic Pattern Schedule

GUIDELINES FOR REGIONAL CONVENTIONFORMS/INSTRUCTIONS/DIAGRAMS

APPENDIX IIIPage -8

CONT#

QUARTETNAME

HOTEL CHECKIN

BUSLEAVES HOTEL

ARRIVE PRIMP/PHOTO

LEAVEPHOTO

WARM UP EXITWARM UP

ONSTAGE

Welcome 4:00Mic-testers 4:05

1 Eval Only, Intl. Div. 3:26 3:36 3:46 3:48 3:58 3:59 4:09 4:112 Eval Only, Intl. Div. 3:37 3:47 3:57 3:59 4:09 4:10 4:20 4:223 Intl. Div. 3:48 3:58 4:08 4:10 4:20 4:21 4:31 4:334 Intl. Div. 3:59 4:09 4:19 4:21 4:31 4:32 4:42 4:445 Intl. Div. 4:10 4:20 4:30 4:32 4:42 4:43 4:53 4:556 Open Div. 4:24 4:34 4:44 4:46 4:56 4:57 5:07 5:097 Intl. Div. 4:35 4:45 4:55 4:57 5:07 5:08 5:18 5:208 Intl. Div. 4:46 4:56 5:06 5:08 5:18 5:19 5:29 5:319 Open Div. 5:27 5:37 5:47 5:49 5:59 6:00 6:10 6:1210 Intl. Div. 5:38 5:48 5:58 6:00 6:10 6:11 6:21 6:2311 Intl. Div. 5:49 5:59 6:09 6:11 6:21 6:22 6:32 6:3412 Intl. Div. 6:00 6:10 6:20 6:22 6:32 6:33 6:43 6:45

13 Intl. Div. 6:48 6:58 7:08 7:10 7:20 7:21 7:31 7:3314 Intl. Div. 6:59 7:09 7:19 7:21 7:31 7:32 7:42 7:4415 Intl. Div. 7:10 7:20 7:30 7:32 7:42 7:43 7:53 7:5516 Intl. Div. 7:21 7:31 7:41 7:43 7:53 7:54 8:04 8:0617 Intl. Div. 7:32 7:42 7:52 7:54 8:04 8:05 8:15 8:1718 Open Div. 7:46 7:56 8:06 8:08 8:18 8:19 8:29 8:3119 Intl. Div. 7:57 8:07 8:17 8:19 8:29 8:30 8:40 8:4220 Intl. Div. 8:08 8:18 8:28 8:30 8:40 8:41 8:51 8:5321 Intl. Div. 8:19 8:29 8:39 8:41 8:51 8:52 9:02 9:0422 Intl. Div. 8:30 8:40 8:50 8:52 9:02 9:03 9:13 9:1523 Open Div. 8:44 8:54 9:04 9:06 9:16 9:17 9:27 9:2924 Open Div. 8:58 9:08 9:18 9:20 9:30 9:31 9:41 9:4325 Intl. Div. 9:09 9:19 9:29 9:31 9:41 9:42 9:52 9:54

Outgoing Champions, if applicableAwards Ceremony

All ends at 10:00

INTERMISSION (35 minutes)

Regional Quartet CompetitionSample Traffic Pattern Schedule

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Conversions from feet to meters. (Diagram is not to scale)

33’ = 10.06m 5’6” = 1.68m 11’ = 3.35m 5’ = 1.52m 6’6” = 1.98m 4’6” = 1.37m 6’ = 1.83m 4’ = 1.22m

Diagram for 6-6’ (1.83m) sections of 18” (0.46m) choral risers using included 4th step and floor. Maximum distance between front ege of riser and curtain is 5’ (1.53m); this can be reducted to 3’ (0.91m) to prevent loss of sound. This configuration accommodates up to 70 members comfortably

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Floor

34ʼ 9”

40ʼ 6” Diagram for 9 or 11 – 4’ (1.22m) sections of 18” (0.46m) choral risers WITHOUT using reverse section, and including 4th step and floor. Solid lines

indicate dimensions for 9 sections, broken lines indicate dimensions for 11 sections. Maximum distance between front edge of risers and curtain is 5’ (1.53m); this can be reduced to 3’ (0.91m) to prevent loss of sound. 9 sections accommodates 70-90 chorus members; 11 sections accommodates 90-110.


40’6” = 12.34m 4’ = 1.22m 34’9” = 10.59m 3’9” = 1.14m 12’= 3.66m 3’6” = 1.07m 5’ = 1.52m 3’3” = .099m 4’3” = 1.30m 3’ = 0.91m

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5ʼ

4th Step

3rd Step

2nd Step

1st Step

Floor

36ʼ 3”

Diagram for 7-6’ (1.83m) sections of 18” (0.46m) choral risers using included 4th step and floor. Maximum distance between front ege of riser and curtain is 5’ (1.53m); this can be reducted to 3’ (0.91m) to prevent loss of sound. This configuration accommodates up to 70-90 members comfortably


39’6” = 12.04m 5’6” = 1.68m 9’ = 2.72m 5’ = 1.52m 6’6” = 1.98m 4’6” = 1.37m 6’ = 1.83m 4’ = 1.22m

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6ʼ 6” 4ʼ 6”

6ʼ

5ʼ 6”

5ʼ

4ʼ 6”

5ʼ 5ʼ 6” 6”

6ʼ 6”

4th Step 3rd Step

2nd Step

1st Step

4ʼ 7ʼ Floor

39ʼ 6”

.

Diagram for 7-6’ (1.83m) sections of 18” (0.46m) choral risers using included 4th step and floor. Maximum distance between front ege of riser and curtain is 5’ (1.53m); this can be reducted to 3’ (0.91m) to prevent loss of sound. This configuration accommodates up to 70-90 members comfortably

Conversions from feet to meters.

(Diagram is not to scale) 39’6” = 12.04m 5’6” = 1.68m 9’ = 2.72m 5’ = 1.52m 7’ = 2.13m 4’5” = 1.37m 6’6” = 1.98m 4’ = 1.22m 6’ = 1.83m

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11ʼ 6

”

5ʼ

37ʼ 6”

Diagram for 10 - 4ʼ (1.22m) sections of 18” (0.46m) choral risers WITHOUT reverse (inverted) section. Maximum distance between front edge of riser and curtain is 5ʼ(1.52m) (as shown); this can be reduced to 3ʼ (0.91m) if necessary to prevent loss of sound.

This configuration accommodates 80-100 chorus members comfortably.


37’6” = 11.43m 3’9” = 1.14m 11’ = 3.35m 3’6” = 1.07m 5’= 1.52m 3’3” = 0.99m 4’= 1.22m 3’ = 0.91m

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5ʼ

22ʼ

6ʼ 6”

6ʼ 5ʼ 6”

5ʼ

4ʼ 6”

4ʼ 6”

5ʼ 5ʼ 6”

6” 6ʼ 6”

4th Step 3rd Step 2nd Step

1st Step

4ʼ 7ʼ Floor

50ʼ 4”

Diagram for 11 - 6 ̓sections of 18” (0.46m) choral risers using reverse (inverted) section, including 4th step and floor. Maximum distance between front edge of riser and curtain is 5ʼ(1.52m); this can be reduced to 3ʼ(0.91m) to prevent loss of sound. This configuration accommodates 120 or more chorus members comfortably.

Conversions from feet to meters.

(Diagram is not to scale) 50’4”= 15.34m 5’6” = 1.68m 22’= 6.71m 5’ = 1.52m 7’= 2.13m 4’6” = 1.37m 6’6” = 1.98m 4’ = 1.22m 6’ = 1.83m

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13ʼ 1

”

5ʼ

6ʼ 6” 4ʼ 6”

6ʼ 5ʼ 4th Step

5ʼ 6” 5ʼ

5ʼ 6” 6”

3rd Step 2nd Step

4ʼ 6” 6ʼ 6”

4ʼ 7ʼ

1st Step

Floor

47ʼ 4”

.

Diagram for nine six-foot sections of 18” (0.46m) choral risers using reverse (inverted) section, including 4th step and floor. Maximum distance between front edge of riser and curtain is 5ʼ(1.52m); this can be reduced to 3ʼ (0.91m) to prevent loss of sound. This configuration accommodates 100 or more chorus members comfortably


47’4” = 14.43m 5’6” = 1.68m 13’ = 3.96m 5’ = 1.52m 7’= 2.13m 4’6” = 1.37m 6’6” = 1.98m 4’ = 1.22m 6’ = 1.83m

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GUIDELINES FOR REGIONAL CONVENTIONS

FORMS/INSTRUCTIONS/DIAGRAMSAPPENDIX III

Page - 17

Chorus Name: Contestant #:

OPTIONAL LIGHTING MICROPHONES EMCEE WORK CHOREOGRAPHY

List song titles and check all boxes that apply. If a medley is used, list ALL songs included in the medley.

Please check which song is to be judged as your contest song.

Traditional White/White is used during competition songs. White, combined with one additional color (Red, Lavender, Blue,

Amber, Green, or Magenta), is for non-contest songs only. Indicate additional

lighting color if desired.*If availble from

region.

Indicate mic(s) used for each non-contest song.* Center stage is fixed in the quartet

configuration.*If availble from region.

Briefly indicate whether emcee work

occurs before, during or after the song.

Briefly describe any special moves, indicating location on stage.

SONG TITLE:

Contest Song? Yes No

SONG TITLE:


SONG TITLE:


Check all that apply

Stage Left

Stage Center

Stage Right This song is: Uptune Ballad


Stage Left

Stage Center

Stage Right

2018 Regional CHORUS Open Division Cue SheetYou MUST turn in a copy of this form to your region's Competition Coordinator AT THE BRIEFING. This form MUST be used. No other form will be accepted!

Note: Timing begins at the first word spoken or the first chord of the first song, whichever begins the performance, and continues through the final chord of the last song or the last word spoken, whichever concludes the performance. The prepared program must list all planned activity occurring on stage after completion of the entrance and following the official introduction. Planned activity occurring prior to the first word spoken or the first chord of the first song, whichever begins the performance, will result in disqualification if in the opinion of the panel chair and a majority of judges on the panel the time spent is excessive and results in a delay of the contest.

PLEASE USE LAYMAN'S TERMS; DON'T USE A CUE INDICATING THE NUMBER OF MEASURES INTO A SONG


Stage Left

Stage Center


This song is: Uptune Ballad

Is your package starting with spoken word? Yes No Is your package ending with spoken word? Yes NoPage 1 of 2



Page - 18








region.






SONG TITLE:


SONG TITLE:

FINAL POSE

Contest Song? Yes NoBriefly describe final bow and

pose at the end of the performance.

SONG TITLE:


Is your package starting with spoken word? Yes No Is your package ending with spoken word? Yes No



Stage Left

Stage Center



Stage Left

Stage Center



Stage Left

Stage Center


2018 Regional CHORUS Open Division Cue Sheet



Page - 19








region.






SONG TITLE:


SONG TITLE:


SONG TITLE:



Stage Left

Stage Center



Stage Left

Stage Center

Stage Right

2018 Regional QUARTET Open Division Cue SheetYou MUST turn in a copy of this form to your region's Competition Coordinator AT THE BRIEFING. This form MUST be used. No other form will be accepted!

Note: Timing begins at the first word spoken or the first chord of the first song, whichever begins the performance, and continues through the final chord of the last song or the last word spoken, whichever concludes the performance. The prepared program must list all planned activity occurring on stage after completion of the entrance and following the official introduction. Planned activity occurring prior to the first word spoken or the first chord of the first song, whichever begins the performance, will result in disqualification if in the opinion of the panel chair and a majority of judges on the panel the time spent is excessive and results in a delay of the contest.



Stage Left

Stage Center


This song is: Uptune Ballad

Is your package starting with spoken word? Yes No Is your package ending with spoken word? Yes NoPage 1 of 2



Page - 20








region.






SONG TITLE:


SONG TITLE:

FINAL POSE

Contest Song? Yes NoBriefly describe final bow and

pose at the end of the performance.

SONG TITLE:


Is your package starting with spoken word? Yes No Is your package ending with spoken word? Yes No



Stage Left

Stage Center



Stage Left

Stage Center



Stage Left

Stage Center


2018 Regional QUARTET Open Division Cue Sheet

GUIDELINES FOR REGIONAL CONVENTIONSFORMS/INSTRUCTIONS/DIAGRAMS

APPENDIX IIIPage -21

Yes NoPerforming for Evaluation Only?

INSTRUCTIONS:

Fill out the list below in ALPHABETICAL ORDER with members' information and signatures, or attach a list in ALPHABETICAL

ORDER with the name, Sweet Adelines International I.D. number and signature of each performer including director(s) who will

be appearing on stage. Should a performer not be able to compete after this form is completed, draw a heavy line through the

entire line, and correct the TOTAL number listed below. Two copies of this form and the list of competing members (only if it is

a separate document) is to be submitted to the COMPETITION COORDINATOR during the chorus directors’ briefing at the

regional competition. Please DO NOT mail to international headquarters.

List of Competing Members

Chapter Co-Director

*In the case of co-directors, only count one director in the official on-stage count.

Chapter Director

Chapter President

Signed by:

Should a complaint regarding ineligibility of any participant be registered with international headquarters within 30 days

following the competition, and should that complaint be verified, we understand that our chorus will be disqualified and any

rank earned will revert to the next highest scoring chorus.

NOTE: Regional competitions are considered to be the culmination of the region's fiscal year. When competitions are held after

April 30 (the end of the fiscal year), "good standing" shall be interpreted as pertaining to the payment of Per Capita Fees for the

fiscal year represented by the competitions, i.e., the year that just ended.

As officers of said chorus we certify that all participants in the Regional Chorus Competition in Region # _____ are in good

standing in the chapter and the chapter is current in the payment of Per Capita Fees (processed at international headquarters).

Region:

Contestant Number:

Director(s):

Director(s):

Chapter Name:

Date of Competition:

TOTAL number of singing members on stage (director not included in count ):

The number listed below is used in determining eligibility for the Division A Small Chorus Awards (15 - 30) and the Division AA

Mid-size chorus awards (31-60). Eligibility is determined by the number of singing members on stage.

*Please note, by signing above, the director does not need to sign the list below.



ID Number

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

By signing below, I agree to all competition rules as stated on the registration form and signed by the president and director.

Member Signature Member Name



ID Number

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90


Member Name Member Signature



ID Number

91

92

93

94

95

96

97

98

99

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

133

134

135


Member Name Member Signature

GUIDELINES FOR REGIONAL CONVENTION APPENDIX III FORMS/INSTRUCTIONS/DIAGRAMS Page – 25

REGIONAL COMPETITION AWARDS ORDER BLANK

NAME ID# REGION NAME #_____________________________

QTY. ITEM # ITEM NAME UNIT PRICE TOTAL COST

JW0101 REGIONAL CHAMPIONSHIP CHORUS MEDAL $3.50/EACH

JW0102 REGIONAL SECOND PLACE CHORUS MEDAL $3.50/EACH

JW0103 REGIONAL THIRD PLACE CHORUS MEDAL $3.50/EACH

JW0107 REGIONAL FOURTH PLACE CHORUS MEDAL $3.50/EACH

JW0108 REGIONAL FIFTH PLACE CHORUS MEDAL $3.50/EACH

JW0310 1ST PLACE DIVISION A CHORUS MEDAL $4.00/EACH

JW0327 2nd PLACE DIVISION A CHORUS MEDAL $4.00/EACH

NV0014 2ND PLACE DIVISION A CHORUS AWARD RIBBONS (LAVENDER) $1.00/EACH

JW0328 3RD PLACE DIVISION A CHORUS MEDAL $4.00/EACH

NV0015 3RD PLACE DIVISION A CHORUS AWARD RIBBONS (LILAC) $1.00/EACH

JW0311 1ST PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

JW0329 2ND PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

NV0017 2nd PLACE DIVISION AA CHORUS AWARD RIBBONS (NEON PINK) $1.00/EACH

NV0018 3rd PLACE DIVISION AA CHORUS AWARD RIBBONS (LT. PINK) $1.00/EACH

JW0330 3RD PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

JW0111 MOST IMPROVED CHORUS AWARD MEDAL (TURQUOISE) $5.00/EACH

NV0025 MOST IMPROVED QUARTET AWARD RIBBON (TURQUOISE) $1.00/EACH

NV0065 BRAVO AWARD CHORUS RIBBON (NEON GREEN) $1.00/EACH

NV0066 BRAVO AWARD QUARTET RIBBON (NEON GREEN) $1.00/EACH

NV0058 AUDIENCE CHOICE CHORUS RIBBONS (STEEL LILAC) $1.00/EACH

NV0059 AUDIENCE CHOICE QUARTET RIBBONS (STEEL LILAC) $1.00/EACH

NV0008 GOLD AWARD CERTIFICATES (PKG. OF 5) IMPRINTED WITH EMBLEM IN BLUE $5.00/PKG.

1ST - JW0312 2ND - JW0313 3RD - JW0314

REGIONAL QUARTET 1ST - 3RD PLACE MEDALS SET OF TWELVE $252.00/SET

JW0315 REGIONAL QUARTET 4TH PLACE MEDALS, SET OF FOUR $74.00/SET

JW0316 REGIONAL QUARTET 5TH PLACE MEDALS, SET OF FOUR $74.00/SET

SHIPPING, HANDLING & INSURANCE (all prices in USD($)): United States $20.00 Outside US/Canada $30.00

Orders are due back 30 days prior to Regional Competition. Late orders will incur fees of the cost for expedited shipping. TOTAL

GUIDELINES FOR REGIONAL CONVENTION APPENDIX III FORMS/INSTRUCTIONS/DIAGRAMS Page - 26 NAME_______________________________________ ID#______________ REGION NAME#_________________________________

ADDRESS____________________________________________________ COMPETITION DATE______________________________

CITY/STATE/ZIP_______________________________________________ PHONE__________________________________________

CHARGE TO: □ MASTERCARD □ VISA □ DISCOVER

CARD NUMBER ┌─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┐

└─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┘ EXPIRATION DATE / /

SIGNATURE

Be sure all numbers and expiration date are given and listed correctly. A $10 service charge will be assessed on all returned checks.

MAIL TO: SWEET ADELINES INTERNATIONAL OR FAX (918) 665-0894

ATTN: Sales Department OR E-mail: [email protected]

9110 S. Toledo Ave. OR Phone: 918-622-1444

TULSA, OK 74137 OR Toll Free Sales Direct: 877-545-5441

PAYMENT MUST ACCOMPANY ALL ORDERS Visa/MasterCard/Discover Orders accepted by phone, fax, or web

mailto:michelle@sweetadeline

APPENDIX IV

GUIDELINES FOR REGIONAL CONVENTION APPENDIX IV MICROPHONE AND SOUND SYSTEM GUIDELINES Page - 2

Rev. Dec-17

SWEET ADELINES MICROPHONE AND SOUND SYSTEM GUIDELINES

This document establishes a common source of microphone and sound system guidelines for the members of the Sweet Adelines. These guidelines provide:

A level of understanding and confidence for discussing microphone and sound system requirements for quartets and chorus groups with venue and contract sound engineers. You will know why to ask for specific equipment and setups as well as what to ask for.

A consistent microphone and system design technique to be used at local, area, and district level events.

The Microphone The beginning of the sound system chain is the microphone. No sound system can make up for poor microphones, and no show–whether it is held in the local grange hall or on the international championship competition stage–will provide a fair representation of the talents of the performers to the audience without good microphones. Microphone Recommendations Any reasonably large city will have an audio rental company that will provide - via UPS if necessary - rental microphones of studio quality. Rental rates vary, but you can expect to pay about twenty dollars per microphone per day of usage. You do not pay for the time during which the microphones are in transit, only when they are in use. The following lists provide the names of commonly available small diaphragm cardioid condenser microphones, which are suitable for use with both quartets and choruses. We do not recommend large diaphragm condenser microphones - the choice for vocal recording - for Sweet Adelines events. When floor monitor speakers are used at the singing position, the typical loss of pattern control at low frequencies in these microphones results in feedback. In simple terminology, the monitor is picked up by the microphones and re-amplified; causing what is known as feedback. Small diaphragm microphones provide better low frequency pattern control and therefore can be used successfully with floor monitor speakers. Recommended Microphones

"A" List "B" List

Sennheiser MKH 40 AKGC391B

Audio-Technica 4051a AKG C460-CK61 or 480-CK61

AKG C451B AKG C460-CK61 or 480-CK61

Schoeps MK4 AKG C451E

Neumann KM140, KM84, KM 184 Shure SM81

DPA 4011


Rev. Dec-17

Quartet Microphone Setup A pair of the same microphones, such as two DPA 4011's cardioid condenser microphones, should be mounted to a single mic stand using a device called a “stereo bar.” A stereo bar is a simple flat bar that attaches at the center of a standard mic stand and has a slug at each end for attaching a standard mic clip to the bar. Microphones attached in such a manner can then be aimed by adjusting the clips to point the capsules in relationship to the performers. Choosing a Mic Stand If the stage is a permanent one, we recommend an Atlas Soundolier MS25 stand with a boom attachment. This is a heavy-duty stand with a tripod-shaped heavyweight cast iron base. It is capable of supporting the microphones on a boom without additional weights to hold the stand in place. The boom attachment places the vertical portion of the stand out of the way of hand gestures by the performers. Aligning the Microphones The microphones should be at mid-chest height for a “standard” five-and-a-half-foot tall barbershop singer or higher. The microphones should be adjusted so the capsules are at the same point in space, perfectly aligned vertically with one atop the other, and as close as possible without the microphone bodies touching each other (Figure A). Since you can actually see the capsules on most of the microphones we recommend, this should be easily accomplished before placing the windscreens on the mics. Figure A

When viewed from the top, looking down at the mics (Figure B), the capsules should create a pickup radius of about 180 degrees horizontally. So, if you begin with the capsules 90 degrees to each other and increase that angle by moving the capsules another 15 degrees each, you should be close to correct. The capsules should appear to crossfire and aim at quartet singing positions one and four. Only mic-tests, which are described later, will confirm the accuracy of the alignment.


Rev. Dec-17

Figure B

Marking the Toe-Line Radius The next essential step–critical in competition but proper for shows as well - is to mark a standard radius on the floor that the performers are not allowed to cross. This “toe-line” radius should be approximately 36 inches from the center point of the microphone setup. Mark the floor with white tape or some other highly visible method that the performers will be able to see even with stage lights in their eyes. Placing the Floor Monitor Speakers Floor monitor speakers should be placed behind the microphones, between the lip of the stage and the rear of the microphone array. Place the speakers as close to the vertical mic stand as possible, and angled out to face the performers. One speaker should serve performers one and two, and the other should serve performers three and four. The speakers should project sound toward the least sensitive area of the microphone pattern. With cardioid microphones, the least sensitive area is the backside of the capsule; therefore, you would aim the speakers at the tail of those microphones. Slight adjustments may be necessary to find the best sound gain before feedback, but generally this location will serve the needs of the performers. Adjustment of monitor EQ will be necessary to maximize the available gain before feedback. You will need the assistance of the person operating the sound system to make this adjustment, and you should suggest the first adjustment to be a reduction in the very low frequency response to the speaker. Testing the Microphones The off-axis pattern variations of the microphones are sufficiently different to require the following steps, although the setup may appear to match the preceding instructions. Perform the following steps to test the microphones:

1. A single person, a talker, should alternately stand at quartet singing positions one and four, speaking directly on axis to each other microphones, while the sound system operator adjusts the signal levels to match when heard in the house speakers. An appointed listener should be in the house to confirm this matching process.

2. The talker should stand exactly between the microphones and, while speaking, move his head within a one-foot side-to-side distance to assure that no coloration of the sound occurs between the pickup of the two microphones. This sound variation is caused by “phasing,” which is a time domain problem between the two capsules.


Rev. Dec-17

To fix a phasing problem, move one microphone along its own axis, in towards the other microphone or out away from the other microphone, until no “seam” or sound variation in the coverage area can be discerned. It is important to retain the angle of the capsules to each other and move only the relationship of the capsules in the horizontal plane. The mechanical center between two microphones and the acoustical center between them may not be the same due to the physical makeup and construction of the particular microphone model. This is a result of construction techniques employed to tune the pickup pattern to the manufacturer’s design criteria.

3. Confirm that this pair of microphones picks up all four voices with equal level. The talker should speak into the mics while moving around the toe line through the four singing positions. The listener should perceive no apparent level difference for those four positions.

To verify the mic levels:

If the two outside singers appear to be louder than the two center singers, reduce the angle of the mics from the 110-120 degree setup to a setup closer to 90 degrees.

If the center singers are too loud, increase the angle of the mics beyond the 120-degree point. This is a subtle adjustment. A couple of degrees will make a difference. Be sure to recheck the center pickup point if you have to make this change.

Proper setup and testing will result in a microphone array that will provide an accurate and sonically awesome representation of the quartet’s barbershop sound that will both interface with a mono sound reinforcement system and also provide an excellent stereo pickup for recording. Quartet Sound System Setup We recommend that you bring a quartet or chorus recording with which you are very familiar to the venue and play it back over the system. To adjust the sound system, perform the following steps:

1. Walk throughout the seating areas and listen to how the system reproduces the music. This procedure is also advisable for selecting a venue for a barbershop performance.

2. After comparing the sound of the recording as you know it sounds, to how the music sounds in the hall, ask the sound system operator to make any necessary equalization adjustments - bass and treble control changes - on the CD input modules of the mix console until the recording sounds correct. Explain to the system operator that you want the live show sound to have the same tonal qualities as the recording.

3. Find a willing and capable quartet to test the mics. Have them take the marked positions and sing while you and the system operator fine tune the sound. Take your time doing this. Do not rush the process. Make small adjustments until you are satisfied.

4. Make it clear to all concerned that the system is not to be further adjusted by anyone before show time except upon request of the panel chair. Final system tuning is best done when the hall is full, as described next.


Rev. Dec-17

5. When the audience is in place, you may find that the overall sound level control will have to be increased to compensate for the changes in acoustics that result from the hall being full of people. Small changes in equalization may also be necessary.

6. The final tuning will be done during the inspection under the supervision of the panel chair. This cooperative effort should assure that the panel will accept the competition mic-tester performance with little or no request for further adjustment of the sound system.

Chorus Microphone Setup and Sound System Tips The microphones listed earlier in this document also can be used for reinforcement of a chorus. Placing the Chorus Microphones Three to five microphones should be used, depending on the size of the chorus. These mics should be hung six to eight feet in front of the front edge of the first riser step, and in an arc matching that of the risers. The axis of the microphone should be aimed down at the mouths of singers on the middle row of risers.


Rev. Dec-17

When choruses perform all or a portion of a selection off the risers, we recommend that microphones designed to be placed on a flat horizontal surface, such as the Crown PCC 160, be used at the lip of a stage. For example, when choreography is part of the stage presentation, these microphones will assist in retaining the full choral sound while the group is away from their riser positions. Place three microphones at the lip of the stage, one in the center and two others spaced eight feet on each side of center, all three placed eighteen inches upstage from the lip. Floor microphones are used only if microphones cannot be suspended. Two or three are placed on boom- type stands in the pit with their levels set equally. Floor microphones often pick up noise of foot movement and may distort the audience and recording sound. Final approval for the use of sound amplification rests with the panel chair. If she determines during the on-site inspections or mic-testing performances that amplification is excessive or that it interferes with the panel's evaluation of the contestant performances, she has the prerogative to request that the gain be lowered or that amplification not be used. The sound technician should be instructed that once the sound system has been approved by the panel chair, no changes are to be made except as authorized by her. Testing the Chorus Microphones Follow the same guidelines as for the Quartet Microphone Setup.

1. Make sure that a talker walks the risers from end to end while a listener helps the sound operator adjust the microphone levels until they are matched in the house. Have the talker walk forward into the choreography performance area of the stage and adjust the floor microphones to provide reinforced sound when chorus members are off the risers. These microphones should augment the hanging riser microphone sound, not overpower them at any time.

2. Listen to a known CD source and adjust the sound in the house so the sound system operators knows your goal for finished sound.

3. Proceed with a thorough sound check with a mic-testing chorus. Take the time to make the adjustments required.

4. The final tuning will be done during the inspection under the supervision of the panel chair. This cooperative effort should assure that the panel will accept the competition mic-tester performance with little or no request for further adjustment of the sound system.

APPENDIX V

GUIDELINES FOR REGIONAL CONVENTION APPENDIX V GUIDELINES FOR EVALUATION BY VIDEO Page - 2

Rev. Dec-17

GUIDELINES FOR EVALUATION BY VIDEO Purpose Choruses and quartets have the option to submit a video recording for evaluation, either International Division or Open Division, by the official panel for their regional/area competition. These options are exercised when a chorus or quartet wants the educational benefit of the evaluation but is unable to perform on stage during the annually scheduled regional/area convention. These options may prove invaluable to a chorus or quartet that cannot routinely compete every year because of expense or other reasons. It could also relieve some of the stress of the host chorus if it chooses this option rather than performing on stage along with its hosting responsibilities. Any registered quartet or chartered or prospective chorus is eligible to exercise one of these options. Note: Evaluation refers to both International Division and Open Division unless otherwise

noted.

Members of choruses or quartets who choose this option are still encouraged to attend their regional/area convention. Entry Procedures A chorus or quartet choosing to submit a video recording for evaluation must complete the following steps:

1. Submit a formal entry form and registration fee, adhering to all established entry deadlines: a) Choruses or quartets may choose to submit a video recording only to their

assigned region/area. b) A quartet or chartered or prospective chorus in the Satellite Area may choose,

with the approval of the Senior Director of Music Education and Member Services, which region it will participate in. This approval must be obtained at least 90 days prior to the competition date.

2. Submit the video recording, prepared in accordance with the requirements listed below, to the competition coordinator the week prior to the competition date or deliver the video to the CC, or her designee, on the Thursday of the convention weekend. Discuss with the CC well in advance of the competition which method will best fit the needs of the chorus or quartet. It is the responsibility of the chorus or quartet to ensure that the CC, or her designee, receives the video recording at the designated time.

Requirements for Video Recording

1. Ideally, the video camera used to record the performance should be able to take direct sound input from balanced microphones. If not, the recording should be checked to ensure that the quality of the recording is sufficient for an effective evaluation.

2. One to three cameras should be used. The camera(s) should be on a stand and not hand- held.

3. The recording is to be submitted via flash drive or emailed link to the CC. 4. The facility and the lighting should be suitable for a competition performance. Lighting

is to be uniform for the entire performance and no special effects are to be used.


Rev. Dec-17

5. Camera shots should be taken with the showmanship judge in mind. She needs to see facial expression, choreography, full shots, etc. It is recommended that during ballads there should be more close-ups and panning. During uptunes, wide angle shots are usually more effective for choruses and long shots should frame the chorus. Be sure to have a variety of shots without creating a jumpy video or giving the viewer a feeling of a rolling sea.

1. At the beginning of the recording, an individual is to introduce the contestant, announcing the name of the chorus or quartet. For choruses, the announcement should also include the director’s name and official location.

2. If performing for evaluation in the International Division, the chorus or quartet will perform two contest songs. If performing for evaluation in the Open Division, the chorus or quartet will perform one contest song, a minimum of one non-contest song and emcee work. The performance is subject to all contest rules, such as timing, content, etc. and should include a formal bow.

3. Microphones should be used for Open Division competitors to ensure emcee work is heard.

4. Choruses must be on risers. The chorus or quartet’s members should be in full costume and make-up. The make-up must be applied in such a manner that is appropriate for video recording.

5. The submitted video recording is the property of Sweet Adelines International and will not be returned to the chorus or quartet.

General Procedures

1. Competition Services will notify the PC, competition coordinator and official panel liaison of the regions/areas involved of the names of the choruses or quartets planning to submit video recordings 45 days prior to the competition weekend.

2. The CC will give the recordings to the PC along with the other judging papers. Scoresheets and contestant envelopes will be provided by Competition Services.

3. The official panel will review the performances submitted for evaluation immediately following the viewing of the level performances for the appropriate session and prior to the start of the official contest. Sufficient time must be allowed by the panel for this purpose.

4. The official panel will complete the scoresheets using a level score rather than a number. The original copy of the scoresheet will be placed in the competitor envelope and mailed by the official panel liaison to the evaluated chorus or quartet. Pre-paid postage will be on the envelopes whenever possible. If pre-paid postage is not available, the official panel liaison should submit a copy of the receipt to the Senior Director of Music Education and Competition Services within 45 days for reimbursement.

5. One copy of the scoresheet, along with the video recording, is to be returned to Competition Services by the PS. This is to be included with the other competition material.


Rev. Dec-17

Restrictions 1. Submitting a video recording for evaluation does not replace the existing rule requiring

choruses to compete every three years in order to maintain their charter. 2. Choruses or quartets submitting a video recording are not eligible for any prizes or

awards. 3. A chorus or quartet submitting a video recording for evaluation may not perform on

the regional contest stage for Evaluation Only, International Division or Open Division in the same year.

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