THE HEARTBEAT

2017 International Chorus Contest Qualifiers

By Larry Robinson

The November 10th edition of “LiveWire,” a weekly

online, interactive newsletter of the Barbershop

Harmony Society, BHS, included a list of choruses that

have been invited to sing at the 2017 International

Barbershop Harmony Convention at Las Vegas in July.

The listing is ranked by the qualifying scores from

preliminary contests. I reviewed the prelim score

sheets and added the “number of men on the risers”

for as many choruses as I could find. The qualifying

scores are unbelievably high; and the chorus sizes are

astonishingly small.

Mic Tester: The Marcsmen - (SWD) – 80.1 - 23 men

1. The Vocal Majority - (SWD) – 95.0-139 men

2. Central Standard - (CSD) – 92.9 - 56 men

3. Masters of Harmony - (FWD) – 92.9 - 88 men

4. Toronto Northern Lights - (ONT) – 92.4 - 57 men

5. Zero8 - (SNOBS) – 91.1

6. Sound of the Rockies - (RMD) – 88.3 - 76 men

7. Parkside Harmony - (MAD) – 87.8 - 46 men

8. Great Northern Union - LOL) – 87.8 - 76 men

9. Southern Gateway Chorus - (JAD) – 86.0 - 62 men

10. Kentucky Vocal Union - (CAR) – 85.4 - 37 men

11. Voices of Gotham - (MAD) – 85.4 - 36 men

12. The Alliance - (JAD) – 84.8 - 32 men

13. The Men of Independence - (JAD) – 84.8 - 49 men

14. Saltaires - (RMD) – 83.6 - 29 men

15. Heralds of Harmony - (SUN) – 83.5 - 49 men

16. Fog City Singers - (FWD) – 83.4 - 26 men

17. Northwest Sound - (EVG) – 82.7- 68 men

18. The Cottontown Chorus - (BABS) – 82.4

19. Sound of Illinois - (ILL) – 82.3 - 74 men

20. Voices of California - (FWD) – 81.9 - 65 men

21. Atlanta Vocal Projec - (DIX) – 81.9 - 30 men

22. Circle City Sound - (CAR) – 81.8 - 64 men

23, SmorgasChorus - (CSD) – 81.2 - 34 men

24, Vocal Revolution - (NED) – 81.1 - 53 men

25. Pacific Coast Harmony - (FWD) – 81.1 - 25 men

(Continued on page 2)

January 2017

Volume 14 – Issue 1

Clouds Darkening Over the Heart Of Florida Chorus

By Fran Donohoe, President

Sadly we begin 2017 with an immediate crisis in

leadership. The District requires we submit our leadership

team by 12/31 at the latest. We have not been able to

comply as certain positions remain unfilled. Scott had

made it clear that we must have a leadership team in place

in order for him to continue as Director in 2017.

In 2016 our Director has worn several hats besides being

responsible for the musical product. He has served as our

liason to the Charter High School Music Boosters and

coordinator with New Covenant Church for our Christmas

Show as well as selling many ads for our Christmas Show

program.

In 2016 we’ve added some excellent new members and

our sound did improve but we need some help to run this

ship. That is as plain and direct as I can say it. Our

Installation banquet is on hold as of today. We need a

complete slate of officers in order to hold this event which

we have held for the past 13 years.

We have Valentines Day fast approaching—which

separately requires a team to organize, sell and arrange

quartets to perform. This event is the second largest

revenue producer for our Chorus and will be here before

you know it.

So you can see that this is for real--a big problem. You

can sit back and say the President is full of it and just likes

to write nasty letters OR you can come forward to help

out.

Barbershop is “LA COSA NOSTRA”(our thing) . . . don’t

let it go. Fran Donohoe, President

Page 1

We meet at North Lake Presbyterian Church in The Villages every Thursday evening. Doors open at 6:00. We are located behind Home Depot on Rolling Acres

Road. You’ll find access off Griffin Road, also.

Without music, life is a journey

through a desert. - Pat Conroy

W e N e e d

Dolor Sit Amet

Issue | Date January 2017 The Hear tbeat

Page 2

(From page 1) See The 2017 Convention

26. Midwest Vocal Express - (LOL) – 80.8 - 42 men

27. Voices Incorporated (EVG) – 80.8

28. Great Lakes Chorus - (PIO) – 80.8 - 53 men

29. Sound Con0nection - (BHA) – 80.4

30. Carolina Vocal Express - (NSC) – 80.1

31. Upstate Harmonizers - (SLD) – 74.3 - 31 men

In 1997 there were even choruses with over 100 men and

the 21 choruses totaled 1852 men, for an average of 88

men per group. In 2007 there were five choruses over 100

men, and the 31 choruses totaled 2071, for an average of

86 men per group. In 2017 only one chorus (of the 27 I

could find) qualified with over 100 men. The 27 choruses

totaled 1439, for an average of 52 men per group.

It would appear that, we are "weeding out" members, to

achieve higher performance levels. And as a result, nearly

500 fewer competitors are buying convention registrations.

In my opinion, the drive to excellence is a "lose – lose”

proposition. I wonder, if we became a “hobby” again;

would those members be welcomed back?

Volume 14 – Issue 1

Why Are They Called "Barbershop Quartets?"

By Kara Kovalchik, seen in the “PROBEMOTER”

Barbershop vocals are characterized by the second tenor (the “lead”) carrying the melody, with the first tenor singing harmony above him. The lowest voice, the bass, provides the foundation, and the baritone fills in the middle spaces. All done a cappella, of course.

Even though barbershop is considered an American invention, the idea had its roots in England. During the 1600s, Muzak was not yet available, so British barbers kept a cittern (a stringed instrument similar to a lute) handy for their customers to strum while awaiting their shave and haircut. Sometimes customers got inventive and did things like fill candlesticks with coins to add a little percussion to the mix. The resulting cacophony was referred to as “barber’s music.”

Flash forward to 1830s America. The local barbershop is a common gathering place for average guys—the ones who couldn’t afford to join posh social clubs, and who didn’t hang out in saloons (which still had something of a stigma at that time). Sometimes to while away the hours on his feet, the barber would start crooning a tune. Eventually, patrons added their harmonies in a call-and-response type format.

By 1890, both the proliferation of printed sheet music and the presence of a piano in most middleclass homes made barbershop-style singing a bona fide fad. How did the oversized mustaches, striped jackets and straw hats become synonymous with the genre? It started with Vaudeville.

Barbershop quartets were often used in front of the curtain to entertain while other acts were setting up. In order to be seen by those in the “cheap seats” they donned distinctive costumes.

Editorial By Elbie Ford, Editor

It has become a realty. We are definitely at a crisis point in

the chapter. Fran has been our President for three years

and is looking for someone new for 2017. We also have

the office of Music VP vacant. The District, according to

their rules, gives a chapter until January 1st to send in a full

slate of officers. After that date, I have no idea what they

will do or what we will do.

Scott has given us the ultimatum of having those offices

filled by the end of January or else he would not be our

Director. I don’t think any of us can blame him. It has got

to be discouraging to see the membership decreasing and

board positions going unfilled. We are in danger of losing

one of the best directors we could ever sing under.

I can remember selling my house in Michigan and getting

an email from Bob Werkema (A former member and sold

Real Estate in Traverse City) about a chapter being started

here in 2003 and that Scott Werner was to be the Director!

I could hardly wait to get moved down here to experience

him. The first week I was here I went to my first chapter

meeting at the church off CR42. I transferred my

membership as soon as possible. I even volunteered to be

your bulletin editor, but Don Himmelman had that nailed

down. I finally got the editorship when Ron Hesketh was

through. I’ve been very pleased with that!

I became a barbershopper in Traverse City, Michigan in

1972. I sang lead but changed to bari to be in quartets. I

sang in 63 competitions between chorus and quartet until

2004 when I moved here. (Continued on page 6)

Ten Reasons We Sing Flat By Adam Scott From The Harmonizer

Few things frustrate us more than flatting. We sing a phrase or two, then sound the pitch only to hear that we have already gone flat. Any of the following ten factors can be a root cause of pitch problems. 1. Body alignment issues. 2. Heaviness in the sound. 3. False/poor start. 4. Mismatched vowel choices. 5. Inefficient breath management. 6. Insufficient initial muscle memory. 7. Insufficient overall muscle memory. 8. Oversinging. 9. Standing too close to other singers. 10. Not tuning perfect 4ths/5ths.

Dolor Sit Amet

Issue | Date

Page 3

January 2017 Volume 14 – Issue 1 The Heartbeat

HEARTTHROBS By Roz Fischer

Well, here it is--another new year, full of hope and

activities. Christmas is now behind us, ornaments and the

tree have been stashed into the attic for another year, and

we all face a new year of resolutions. I think this year will

be my year NOT to make any resolutions. That way I

won't feel disheartened when I break the plans that I have

so anxiously put into place for 2017. The most common

resolution is to lose weight. I can't tell you how many

people I have lost in my lifetime by losing pound after

pound, only to look in the rear view mirror to find them

again.

In reflection back to the December activities, big accolades

go to our president, Fran Donohoe, for all the work done

for the major show on December 4th. The performance

done by our gentlemen at the Umatilla High School on

December 8th was spectacular, and there was a nice crowd

of people there to enjoy the show. The party at the

McCarroll's home following the performance was, once

again, a very beautiful, memorable event. Judi and Tom

are such gracious hosts to open their home to all of us and

provide delicious food, as well. Those attending the

performance and the party had a great time. The weather

has been gorgeous all through December, to allow us to

visit friends and share the Christmas activities with others.

Since I ate my way through the month of December, I now

have to get serious about losing weight AGAIN.

Let's use 2017 to be kinder to everyone we contact, to keep

a smile on our faces, even when we don't feel particularly

happy, to attend more of our gentlemen's performances, to

be more patient with other drivers on the road, to be more

appreciative of the things others do for us, to contact more

friends 'just to say hello,’ to thank others more often for

what they do. If we all try to be kinder and gentler with

others, perhaps we can spread happiness and make

America a more wonderful place to live. We already live

in the best country in the world. Now we just have to

appreciate this fact. To all of you, have a wonderful,

healthy 2017, with love and happiness in your heart.

COMPLIMENTS AND COMPLAINTS AND CURRENT EVENTS

By Roz Fischer

Hi friends, A new year brings a new column, which I have

not really finalized in my mind. I think it will contain

news of upcoming events for the ladies, such as luncheons,

compliments to those who have gone above and beyond to

make our lives better, and even a few complaints---should I

get any from the readers.

I would like to plan a ladies luncheon on January 26th

at Olive Garden. The time will be noon. This is a new

day, a Thursday, since previous luncheons have been

held on Fridays. Some of the HeartThrobs have voiced

a desire to have luncheons again, so I am going to try

to schedule them on a different day of the week each

month. I hope we have a good turnout for this first

luncheon on January 27th. Please RSVP me at 750-

6755, so I can be sure to have enough seating for us.

Mark your calendars and call me should you need a

ride. Stay happy and hopeful. We are all fortunate to

be alive.

Page 3

Thank You, Heart Of Florida From HeartThorb Rose Boden

I want to send out a big thank you too all the members

of The Heart of Florida Chorus. You all have made

my husband, Hans Boden very happy. You

welcomed him into your family with open arms. I

have seen other groups and in my opinion they seem

too be a bit clicky and very rude, but you all are the

kindest people I have been around. Not only do you

share his love and passion for music but you all are

like a group of brothers--willing to help each other out

and that means the world too me. You have brought

such joy and happiness to him. So, please keep up the

good work!

A Story That Will Warm Your Heart A couple were in a busy shopping center just before Christmas. The wife suddenly noticed that her husband was missing and as they had a lot to do, she called him on the cell phone and said " Where are you, you know we have lots to do." He said "Do you remember the jewelers we went into about ten years ago, and you fell in love with that diamond necklace? I could not afford it at the time and I said that one day I would get it for you?" Little tears started to flow down her cheek and she got all choked up. "Yes, I do remember that shop" she replied. "Well, I am in the gun shop next door to that."

January 2017 Volume 14 – Issue 1

T h e H e a r t b e a t

Page 4

A Barbershop Quartet Job Description (Bari’s)

By Ron Knickerbocker, as seen in The Voice Of Rushmore, John Elving-editor

An exhaustive survey of our Society forces one to conclude that baritones are, almost without fail, the most tal- ented, the best looking, the most under-rated, and the most humble members of the BHS. For many years it was agreed—at least within our Society—that baritones should be seen but not heard. In the last 20–25 years the role of the baritone has changed significantly (but not the jokes about baritones—those will never change). Baritones have the same basic responsibilities as the tenor: Balance, Pitch, and stay out of the way.

1. Balance – If you listen critically to nearly any non-quartet baritone, (as well as a great many quartet bari’s) you will find that they sing out of balance most of the time. They are too loud when they are above the melody and not loud enough when they are below the melody. A. The bari’s balance responsibility changes often, dictated to a great extent by whether he is above or below the melody. i. The general rule is when the bari is above the melody, sing more like a tenor; when below the melody, sing more like a bass. B. Be aware of not only whether you are above or below the melody, but also how far above or below the lead you are. i. The closer you are to the tenor, the more nearly your volume must match the tenor’s volume. ii. The closer you are to the bass, the more nearly your volume must match that of the bass. iii. The closer you are to the lead, the more near- ly your volume must match the lead’s volume. C. When the bari is assigned the same note as another voice part, the bari should surrender the note. I. Usually, the bari will double the bass, but occasionally he can double the lead. If the bari is singing the same note as the tenor, someone is probably wrong! D. Be aware of what part of the chord you are singing. i. Bass nearly always sings root or fifth of barbershop chords. The tenor nearly always sings thirds or sevenths. The bari can sing any part of the chord at any time. ii. Baris’ must recognize when they are singing roots or fifths and FILL. Sing with lead quality and power, but learn when to “throttle back.”

2. Tuning – It is usually preferable to tune to the bass rather than the lead because it is easier to tune to a note below you than to one above you. Also, basses nearly always sing roots or fifths while leads can have any part of the chord at any time. As a rule, thirds and fifths have to be tuned a bit sharp, while minor sevenths should be tuned a little flat. The statement about fifths

(Continued on page 6)

Wally Guay In His Own Words By WallyGuay, sent to Larry Robinson

(Editor’s note) Wally Guay sent the story of his mis-hap

and what followed to Larry Robinson. Everything that

follows is in Wally’s words.

When you've had a close call, familiar things become

more important. Please let the guys know I enjoy the

cards they have sent. I read them all daily. I am at

Avante Rehab in Tavares, which is only about six short

blocks from my house.

As you already know I will be in the audience to cheer

you on next week. I am looking forward to that and am

very happy I can be there.

You may not know the whole story and so here is the

abridged version:

I was rewiring the mast on my 26 foot sailboat, which

currently sits on my trailer in my driveway. The 34 foot

mast is laying atop the cabin with the top a few feet astern

and the base of the mast about six feet forward of the bow

and about nine feet above the ground. I was on a step-

ladder at the bow trying to pull the antenna wire thru with

my fish cable. The wire and fish cable came apart and I

fell backwards, winding up behind our car. I called for

help to no avail and a familiar line from a sermon came to

mind: "I can hardly wait to see what good may come of

this." I crawled to the front of the car and called again.

This time I was able to get the attention of my wife. I

was taken to the hospital by ambulance.

The following morning I had surgery on my hip. In the

recovery room I heard words you don't want to hear from

a doctor. My anesthesiologist looked across my stretcher

at the instruments he said, "Oh crap! He tanked." He

gave orders to several people and started moving me. As

my stretcher rolled along I could see his face. He asked if

I knew what just happened and then told me I had just had

a "massive heart attack" but there is no need to worry as

the "catch lab is very close and fully manned." I felt them

make the incision in my right groin and within a few

minutes they had installed a stint in my coronary artery on

the right side of my heart.

The heart surgeon told me the artery was 100% occluded.

If I had not fractured my hip where would I have been

when I had that heart attack. The doctors told my blood

pressure went to zero. God works in strange ways. I may

have more work to do. The story does not end here but

that's enough for now. I can hardly wait to see the good

that comes of this. Fair winds and following seas, my

friend. Wally

Dolor Sit Amet

Issue | Date T h e H e a r t b e a t

Volume 14 – Issue 1

ueue

What Really Happens When A

Singing Voice Gets Old By Justin Davidson, for the New York Magazine

The singer’s most delicate and irreplaceable apparatus is the larynx, the object of immense care and constant torture. Like everything else in the body, that agile apparatus tends to lose its powers over time. Within the throat’s protective enclosure, two supple bands of tissue flutter over an opening the size of a penny like a pair of doll’s-house curtains. But that description doesn’t get across the repeated violence to which humans subject their vocal cords. Over the course of a singer’s career, millions of collisions can leave the vocal cords scarred and stiff. If you want to get a feeling for what it’s like to sing through that level of damage, try plucking a few notes on an ancient rubber band.

The voice is the most primal of instruments; it’s also among the most technologically advanced. A voice can swoop in milliseconds through a dizzying range of timbres and techniques. The mechanism responsible for that cartoonish variety rests in a dense bundle of musculature and nerves. “All the vocal muscles would fit into one corner of one facial muscle. Nothing else in the body moves with that precision or speed.”

When people sing or speak, the lungs expel a column of air that travels up through the windpipe, where it is obstructed by the vocal cords. “As pressure builds up, it pushes the cords aside and makes them vibrate.”

It’s not the vocal cords that give a voice its richness, personality, or depth, however. Adele’s brassy beam of sound, Renée Fleming’s iridescent pianissimos, and Tom Waits’s smoke-and-whiskey croak all acquire most of their character after the vibrating air has pushed past the vocal folds and goes swirling around inside the resonating chambers of the head. The size of the tongue, the palate’s curve, the shape of the nose—that whole internal topography changes little over time, which is why you may still recognize an old flame’s voice on the phone even if you haven’t heard it for 40 years.

As we age the cords have a harder time vibrating at high frequencies, so the voice’s default pitch drops. Thinner, more sluggish vocal cords pull even the ordinary speaking voice down a notch or two and reliably cut off the high part of one’s range.

In every genre and style, some singers defy the years, thanks to wise artistic choices, good training, or plain luck (Tony Bennett celebrated his 90th birthday). Time has it in for singers more than for other musicians. Singers’ careers start later and end earlier, which means that their voices begin to go just as their wisdom peaks.

What O.C. Cash Forgot To Tell Us By Bill Gibbons

1. Every chorus requires a contest to sustain it's own

sense of worth. Attractive it is.

2. Contests: The judge's jokes are always funny.

3. Chorus Directors: If you let the chorus discover your

standards, they'll use them against you.

4. Headquarters Hotel: Never try to adjust your clothing

in a crowded elevator.

5. The less you know about singing lead, the more

attractive it is.

6. Go figure: If the quartet is stubborn and wins, it has

guts. If it is stubborn and loses, it's dumb.

7. The three other parts can reform, but a bass is forever.

8. There is a pessimist in your chapter who thinks the old

days were better. You know who I mean. You also

know the optimist who believes that things are getting

better. Trust me on this one, they're both wrong.

9. No member of the chorus is completely useless--he can

always be used as a horrible example.

10. The amount of food prepared for an Afterglow, as a

percentage of the guest's requirements, is either 84

percent or 192 percent.

11. When a barbershopper tells you, "I'm as good a singer

as you are," it means that he thinks he is better.

12. We spend our lives buying new-stuff and throwing

away old-stuff. Exception: we never throw away an

old pitch pipe. Interesting.

13. The talent of a tenor is inversely proportionate to the

weight of his music bag.

14. No quartet or chorus will ever do "Down Our Way"

well. A classic case of "no respect for the too

familiar."

15. Give pause to joining a chapter that has the local

nursing homes singing for them.

16. The only reason our pitch pipes have 13 notes is some

wise guy (usually a bari) can "prove" that we dropped a

half note.

17. A million of our standards glorify the ole south,

Mammy and paddle wheelers. Another half-million of

them give veneration to the mid-Atlantic States, all the

way north to Coney Island (Baby). Given this strongly

biased geographical heritage, whose idea was it to

build our temple to barbershopping in Nashville,

Tennessee.

18. Contests: You gotta believe in luck. How else can we

explain the success of those we don't like?

19. I prefer poor voices to poor ears because sometimes

they take a rest.

20. Judges who think they know everything about

barbershopping are very irritating to those of us who

do.

Page 5

January 2017

Dolor Sit Amet

Issue | Date Volume 14 – Issue 1 January 2017

T h e H e a r t b e a t

Page 6

Things Have Changed For Us Seen on the Internet, author unknown

1966: 2016:

Long hair Longing for hair

KEG EKG

Acid rock Acid reflux

Moving to California because it's cool Moving to Arizona because it's warm

Trying to look like Marlon Brando or Liz Taylor Trying NOT to look like Marlon Brando or Liz Taylor

Seeds and stems Roughage

Hoping for a BMW Hoping for a BM

Going to a new, hip joint Receiving a new hip joint

Rolling Stones Kidney Stones

Screw the system Upgrade the system

Disco Costco

Parents begging you to get your hair cut Children begging you to get their heads shaved

Passing the drivers' test Passing the vision test

Whatever Depends

(From page 4) See Barbershop Quartet Job Description and sevenths is justified by mathematics. The statement about tuning thirds sharp is true only because we sing thirds VERY flat from long years of habit.

A. A common trap for baritones is to assume that, just because two consecutive notes are writ- ten the same, they are sung the same. If they are parts of different chords, the bari might need to switch from a 7th (slightly flatted) to a 3rd (slightly sharp), or vice versa. Listen.

3. Stay out of the way of the musical flow.

A. Soft pedal hard consonants and

B. Energize singable consonants.

The task of singing baritone is often accomplished when no one is aware of your part being sung. A quartet baritone soon discovers that he sometimes has no vocal identity. When he does (roots of chord modulations), he can shine.

OBTUSE HUMOR by Bill Vockell

as seen in Concho Capers Paul White, Editor

1. ARBITRATOR: A cook that leaves Arby’s to work at McDonalds. 2. AVOIDABLE: What a bullfighter tries to do. 3. BERNADETTE: The act of torching a mortgage. 4. BURGLARIZE: What a crook sees with. 5. CONTROL: A short, ugly inmate. 6. COUNTERFEITERS: Workers who put together kitchen cabinets. 7. ECLIPSE: What an English barber does for a living. 8. EYEDROPPER: A clumsy ophthalmologist. 9. HEROES: What a guy in a boat does. 10. LEFTBANK: What the robber did when his bag was full of money. 11. MISTY: How golfers create divots. 12. PARADOX: Two physicians. 13. PARASITES: What you see from the top of the Eiffel Tower. 14. PHARMACIST: A helper on the farm. 15. POLARIZE: What penguins see with. 16. PRIMATE: Removing your spouse from in front of the TV. 17. RELIEF: What trees do in the spring. 18. RUBBERNECK: What you do to relax your wife. 19. SELFISH: What the owner of a seafood store does. 20. SUDAFED: Brought litigation against a government official. 21. INNUENDO: Italian Suppository. 22. BIGAMIST: An Italian Fog.

(From page 2) See Editor ia l I was President two times, Program VP, Membership VP

and Bulletin Editor. At present the BE is about all I can

do.

There has to be some one of you members who can do

this. Let’s save our Director and our chapter!

Sermonette Seen in Concho Capers, Paul White, editor

Live beneath your means. Return everything you borrow. Stop blaming other people. Admit it when you make a mistake. Give clothes not worn to charity. Do something nice and try not to get caught. Listen more; talk less. Every day take a 30-minute walk. Strive for excellence, not perfection. Be on time. Don’t make excuses. Don’t argue. Get organized. Be kind to people. Be kind to unkind people. Let someone cut ahead of you in line. Take time to be alone. Cultivate good manners. Be humble. Realize and accept that life isn’t fair. Know when to keep your mouth shut. Go an entire day without criticizing anyone. Learn from the past. Plan for the future. Live in the present. Don’t sweat the small stuff. It’s all small stuff.

Dolor Sit Amet

Issue | Date

President:

Fran Donohoe 352-637-4369 franairways@tampabay.rr.com

Music VP:

Keith Mullen 352-259-9893 kmullen2003@yahoo.com

Marketing and PR VP:

Dick Baird 352-753-0455 rmbaird777@gmail.com

Chapter Development VP:

Reed Johnson 716-628-1341 reed@reedjohnson.net

Senior Editor:

Elbie Ford 352-438-8882 elbieford@aol.com

HeartThrobs Editor:

Roz Fischer 352-750-6755 rozfish@comcast.net

Staff Reporter:

Larry Robinson 352-357-7328 larry4lead@comcast.net

T h e H e a r t b e a t

The Central Florida Chapter Leadership Team

Board Member At-Large:

Roy Field 357-326-4024 rfield31@cfl.rr.com

Secretary:

Jim Busko 352-409-2462 jimbusko2003@yahoo.com

Treasurer:

Fran Tougas 507-381-2261 tougasfm@gmail.com

50-50 Chairman:

Don Applegate 859-437-0232 Dapple@icloud.com

The Heart Of Florida Music Team

Front Line Director and Lead Section Leader:

Scott Werner 352-259-2572 lovebbshp@aol.com

Bass Section Leader:

Pat Haley 352-753-3351 phaley@comcast.net

Presentation Coach:

Jan Haley 352-753-3351 phaley@comcast.net

Assistant Director and Baritone Section Leader:

Don Barnes 352-259-8634 dode@thevillages.com

Tenor Section Leader:

Joe Pfiefer 352-751-2415 the4sharps@comcast.net

Librarian: Elmo Wagner 352-753-0449 phylmo22@gmail.com

The Heartbeat Staff

Staff Photographer:

Mary Tougas 507-381-2261 tougasfm2gmail.com

Heartbeat Mailer:

Dolores Burns 352-259-8732 joeburns5@embarqmail.com

Heartbeat Distributor:

Joe Burns 352-259-8732 joeburns5@embarqmail.com

Presidents

Club Fran Donohoe

Current Pres ident Wayne Page 2003-2004 Ken Carter 2005-2006 Marty Martin 2007-2008 Dave Kirkpatrick 2009 Pat Haley 2010-2011 Brent Bierma 2012-2013

Mission Statement We are an organization of

community-minded singers, dedicated to spreading the joy of close harmony in our

schools and in our community.

Page 7

Volume 14 – Issue 1 January 2017

Purpose The Purpose of this chapter shall be three-fold:

1) To perpetuate the old American institution, the barbershop quartet. 2) To promote and encourage vocal Harmony and good fellowship among the members. 3) To encourage and promote the education of its members and the public in music appreciation of barbershop harmony.

The chapter activities shall be conducted without personal gain for its individual members and any profits or other inurenments to the chapter shall be used in promoting the purposes of the Society, district or chapter.

The deadline is the 20th of the month. Articles with no

byline are written by the editor. Clip art is by courtesy of the Barbershop Harmony Society

Barbershopper Of the Year Joe Pfeifer 2003 Wayne Page 2004 Marty Martin 2005 Ken Carter 2006 Dave Kirkpatrick 2007 Joe Burns 2008 Jim Gehrlein 2009 Elbie Ford 2010 Elmo Wagner 2011 Rich Casanzio 2012 John Fleming 2013 Dick Fischer 2014 Fran Donohoe 2015

Birthdays

Only three for January

Jim Busko 10

Jerry Weisenreder 14

Mo Foisy 31

Chapter Eternal

Our brothers who have passed, but will always

risers with us, in our hearts be on the.

Charlie Borders Gil Mason Floyd Guernsey

Mel Lee Harry Olds Don Polley

John Raymond Bob Yenney Emil Bajus

George Murphy Don Himmelman Bud Mason

David MacEllvin Spike Ken Mike Nichol

Marty Martin John Burnett Hugh McLeish

Bill Davidson Lloyd Cole Dutch Schultz

Jim Miller Carl Rostec Wally Costello

Verne Manning Bill Hoag Harod Lathom

Bill (Doc) Weir Larry Nuckles Russell Gilliam

Elmer Starret Erhardt Oppeheimer Don Benbow

Freeman Morrison Bob Werkema Tom Holbrook

Rich Casanzio

Important Websites C e n t ra l F lo r id a C h a p te r w w w .h e a r to f f lo r id a c h o u rs . o rg B a rb e rs h o p H a rm o n y S o c ie ty w w w .b a rb e rs h o p .o rg H a rm o n ize r w w w .b a rb e rs h o p .o r g /h a rm o n ize r S u n s h in e D is t r i c t w w w .s u n s h in e d is t r i c t .o rg H a rm o n y M a rk e tp la c e w w w .h a rm o n y m a rk e tp la c e .c o m U p d a te y o u r in fo rm a t io n w w w .b a rb e rs h o p .o rg /e b u s in e s s

Dolor Sit Amet

Issue | Date

President’s Council

Ambassadors Of Song Don Applegate Don Barnes Joe Burns Jim Busko Dick Casanzio Jim Castanien Bill Cullen* Fran Donohoe Dick Fischer John Fleming Jim Gehrlein Dick Gordon Pat Haley Tom Hogshead Reed Johnson Dave Kirkpatrick Bill Leslie Gene McCoy Dave Mann Keith Mullen Joe Pfeifer Bob Wakefield Ken Wantuck Scott Werner *not a chapter member

We always Welcome Guests

Donald DeWolfe The Villages, Florida

William Bechett Eustis, Florida

Heart Of Flor ida Quartets Four Sharps Sun Chords Joe Pfeifer, tenor Lee Shawcross. tenor Rich Casanzio, lead John Fleming, lead Don Barnes, bari Joe Burns, bari Jim Castanien, bass Dick Gordon, bass

So Far, So Good Further Adieu Jerry LaDue, tenor Lee Shawcross, tenor Dave Kirkpatrick. lead Paul Smith, lead Dick Fischer, bari Jim Gehrlein, bari Jerry Weisenreder, bass Jim Castanien, bass

H a r m o n i X Lee Shawcross, tenor Willie Williams, lead Ken Wantuck, bari Brent Bierma, bass

Page 8

Volume 14 – Issue 1 January 2017 T h e H e a r t b e a t

Return Address: Delores Burns 121 Costa Mesa Drive The Villages FL 32159

Send To:

Printing of The Heartbeat done by: Ultrex Printing, Inc. 302 Oak Street Lady Lake FL 32159 352-205-8222 jhicks@ultrexprinting.com See them for all your printing needs

Place

Postage

Here

January 14-15--Leadership Academy--Marriot Residence Inn--Ocala, Florida.

January 17-22 Mid-Winter Convention—San Antonio

March 10-12--SUN District Spring Convention—Airport Marriott—Orlando, Florida

July 2-9 International Convention—Las Vegas

Dick Baird Bill Cullen* Pat Haley Larry Robinson

Jerry Yahn Peter Wells