The Heartbeat September—2012, Volume 9, Issue 5 The official newsletter of the Heart Of Florida Chorus, Central Florida Chapter, Barbershop Harmony Society The chapter meets every Thursday evening at 6:30 p.m. in North Lake Presbyterian Church, 975 Rolling Acres Road Lady Lake, Florida heartoffloridachorus.org Memories of a Barbershop Quilt The HOF Chorus Enjoys A Picnic By Barbara and Larry Robinson By Elbie Ford, Dick Gordon and Dick Beck With photos by Jim Gehrlein and Dick Fischer My wife, Barbara, got out an old photo album of some of her quilting projects, to show to her friends. I was pleasantly surprised to see that she had some photos of a barbershop quilt she had made (at my request). In 1995, back in those "good old days" (no, we didn't call it the gay nineties), the custom was for each of the 16 District of the Barbershop Harmony Society to donate/bring a gift (approximately $250.00 value) to each International Convention, as prizes in the HeartSpring Charity Raffle. (Maybe I should insert some background information for our newer members who won't know about our former charity). The Werners enjoying the picnic and Anniversary The annual chorus picnic took on a new twist this year in the form of a surprise 50th wedding anniversary party for Scotty and Linda Werner. The surprise apparently leaked out to their friends at the Magic Kingdom and much magic happened in The Villages. The night before the party a money tree mysteriously appeared in Dick and Gail Beck's back yard and was presented to the honorees. In the early days of the Society, the Board of Directors was searching for a program that would unify all of the (Continued on page 8) In keeping with what has become expected, the food was outstanding thanks to the efforts of our gals who prepared their favorite pot luck dishes and the culinary endeavors of pulled pork coinsures Keith and Elmo. The evening was made complete when our Amateur Hour host Dick Gordon orchestrated and MC'd the annual talent contest. (Text continued on page 3. Photos on pages 9 and 10) Page 2 Sept./Oct. THE HEARTBEAT From the Top By President Brent Bierma The Family Recently one of our members had a fall, and needed care from relatives that were not in our area. His wife had passed away, and family was in other states. He was not close to his neighbors and had few friends. Fortunately for our brother, he had a built-in support system from our chorus members, who visited him almost daily, and helped him with the transition to another living arrangement. He has made this move closer to his relatives, and we are confident they have made good plans for their father. If something happened to me or to you, wouldn’t you want this support? I would, if I were in similar circumstances. It makes me proud to be in a group that has these kind of people in our chorus, and there were several. Thank you. How do we make “harmony?” It doesn’t happen as well if one or two people sing without the others needed to make a glorious sound. Only by everyone adding their part, can the richness of the harmony be realized. And it’s no different with leadership in our choruses. Sure, a few will step up and make the necessary adjustments in their lives to add their “notes” to the humming along of the chorus. But like most organizations, it’s the majority being served by a minority of our membership. Please check out the web site once again, as it has been updated by John Fleming. Under the Who Does What page, there are many names who keep the organization humming nicely. This list does not cover all of the services which some unnamed members render. It would be nice to thank them for their service to each of us, and I’d like to add my appreciation to these gentlemen (and ladies!). If you look closely at this list, you will see that several of the responsibilities are followed by names that appear under another heading as well. Some are filling several roles within the organization of our chorus. Sometimes that’s by choice, and other times it is by necessity. Right now, our Nominating Committee is searching for men who are willing to serve in some key roles. Some of you have good reasons to decline their offer, and I am not going to judge the others. However, I ask you to weigh the possibilities carefully. Is there something you could contribute, a talent that could be put to good use? It’s not fair to expect the same group of guys to give of themselves year after year, while others have not stepped up to the plate who could serve. Would those who serve be playing more golf, going to more events, or travelling more? Probably. Are there things they miss because of their service to all of us? You know the answer. Is their time less valuable? Please consider these issues, and offer your name to fill some of the spots. It is an honor to serve, and the rewards of offering your time and talents can also give an added purpose to your life. Let’s keep our chorus alive and well. Just as family members need to all contribute to live in harmony, so do we. Thought for the Day: No matter how much you push the envelope, it’ll still be stationery. In keeping with the election atmosphere, I’ll say this: I’m Brent Bierma, and I approve this message. Gue st Edi to ri a l Preserving And Encouraging Membership By Larry Robinson Editor’s note: Larry recently posted some of his thoughts on the Harmonet, inadvertently. I copied and pasted them and edited them somewhat, because I thought he had raised quiet a few good points which I will publish. Is there one facet of our hobby that: 1. Attracts members? 2. Retains members? 3. Determines/limits music selection? 4. Fits all comers? I believe I know what that is! It's each individual's feeling of belonging and musical acceptance into the brotherhood at whatever talent level his group finds acceptable. But, I don't mean, just on the first visit, or the first year—I mean every individual, every week! I don't think it matters what size group you are, or what music you sing, or if you have to audition for admission. These variables may determine where a potential member may or may not be welcomed, but, it's the ringing chords and the brotherhood that clinches the deal. When I think of O.C. Cash and Rupert Hall—traveling salesmen, on the road—looking for two other guys to form a quartet, I try to imagine what they would consider a successful singing experience. In my opinion, they probably didn't really care about the quality of the singing. I'm sure they hoped for the best . . . but they had to take what they got, and they were not trying to entertain an audience (the first invitation specifically said "private room" so as not to "offend the public's ears.") Their only criteria seems to be an enthusiasm for barbershop chords and good fellowship. And I believe those should be the only criteria for acceptance. (See next page) Sept./Oct. (From page 2) See Guest Edtorial As the early chapters began to spring up. Most people of that era were used to performing socially for their own amusement. It was prior to Radio/TV/Movies, and nearly every group had at least one member who knew how to run a fun program at each get together. It was just a logical extension of those common parlor games. The Program VP would work hard to insure that every attendee got a chance to sing by creating quartet/octet variations . . . he had singing games, pick up quartet challenges, and a parade of registered quartets (usually every week). My first chapter had a terrific Program VP (he put me in a pick up quartet in a fun contest . . . then, asked us to sing on the chapter show! But in my subsequent chapters, there was less and less program and more chorus rehearsal. The Society, as it is today, is not as friendly, encouraging and fun, as it was when I joined in 1985. And I long for those old style chapters. I don't feel that we need to worry so much about our public image. We need to look inward and decide if we want to preserve a brotherhood, or the musical style that brought us together? I have seen the eyes of numerous guests light up with delight, as they are the center of attention, and asked to sing at every break in the program. Then within weeks of their membership, they are pushed out of the limelight and left to fend for themselves (no more quartering, no more pats on the back. Not even a hello or where've you been. By the end of the year, they are contemplating leaving the Society. Have you ever felt that way? As you grow as old as I am now (75) and your voice begins to show its age, is this the kind of Society you want to belong to? The music brought us together, but the brotherhood transcends the music, and that is what will preserve our great hobby. (From page 1) Page 3 THE HEARTBEAT See The HOF Enjoys A Picnic The Talent Show at the picnic began with a great rendition of an old English story by Ron Scott. Keith Mullen followed with verse one and three of his song. Verse two was lost to a senior moment, but Keith still managed to win second place. While Ron Scott won the contest. The show then took a dive as Dave O'Dwyer and Dick Gordon performed a ukulele duet as the Anorexics, singing and plucking "Tiptoe Through the Tulips"--OY VEH. They were named the Anorexics because Dave looks like he's suffering with the disease and Dick is living proof that there is a cure. (These are Dick Gordon's words!) The highlight of the show was the Sun Chords, as they honored Scott and Linda's 50th Wedding Anniversary by singing "Let Me Call You Sweetheart," complete with the bass patter. (See next column) Board Happenings By Secretary Jim Busko Board of Director's meeting—Central Florida Chapter-BHS, June 2012. Directors in attendance were: Brent Bierma , Rich Casanzio, Fran Donahoe, Harold Lathom, Dave Holmberg and Wayne Page. Absent were: John Fleming, Jeremy Reynolds, Paul Smith, Scott Werner, Pat Haley, Jim Busko, Also present: Tom Hogshead, Assistant Secretary. President Brent Bierma asked that our next meeting should be in September. It was approved by consensus. Discussion about Harmony Explosion was offered by Brent. Rich Casanzio will approach the local schools in the Fall to encourage more participation by the schools in Harmony Explosion. He will try to get guys in football programs interested. The minutes of the May 2012 meeting were not approved but should be approved at the next meeting. Harold Lathom presented the treasurer's report which was accepted. He also brought up the fact that he had not received any bills from Paul Smith regarding publicity. Discussion followed after he brought up the fact that our check to Iquartet had not been endorsed. That quartet had dropped out of going to the International Convention at Portland. Results of the May Planning meeting were presented by Brent Bierma. The revised budget will be available in the Members Only section of our web site. There was no report from Paul Smith since he was absent. Wayne Page brought up the fact that we need to get our website up to date and keep it up to date. We also need to get some chorus recordings on the site for prospective clients to be able to hear our craft work. Music Committee Report: Rich Casanzio reported that the contract with Pursuit needs to be signed. He will contact Ken Carter to see what we have done in the past to compensate quartets. Rich again pointed out that we need to let people know we have a website. The Extravaganza was a success. Mainstreet and Pursuit are going to Portland but IQuartet has withdrawn. There was board consensus that the $500 given to IQuartet is all they will get, with the balance to be divided between the other quartets. Fran Donahoe gave a presentation about our 10-year Anniversary program for our Christmas Show. He is working up special ads that he will be selling and also business card size ads that our membership will sell. Fran will have a more complete presentation at the September meeting. He is anxious to get started right now on the business card size ads. The fabulous Four Sharps finished the show with a couple of their favorites. Page 4 C R a f t O R n E R Sept./Oct. THE HEARTBEAT Reading Music — Key Signatures by Jeremy Reynolds I recently attended Harmony University, the Society sponsored education program. It was a wonderful week of learning, singing, getting to know barbershoppers from all over the globe and, of course, eating ice cream. It was one of the most rewarding experiences of my barbershop career and I recommend it. One of the first courses that you take, because it is a prerequisite for many other courses, is Theory of Barbershop. I had actually not intended to take the course because I figured I already knew a lot of theory. I actually took the course, due to a mix-up in my course schedule and I needed to fill that hour. There was nothing in it that dramatically altered my knowledge but it was interesting nonetheless. My instructor was Dr. Jay Krumholz, who is a professional music theorist and currently teaches music theory at a college in Spokane, Washington. He has also taught at the Eastman School of Music, Oberlin Conservatory and DePauw University. One of the first things Jay said in the course is that you really need to learn the key signatures to the point where they are second nature. In other words, you don’t have to figure them out. And whenever you pick up a piece of music, that’s the first thing you should look at. Why is the key signature so important? Well, I was in a quartet for two years when the bass inquired as to why there are different key signatures. At that time, I hadn’t really given it much thought but it made me think about it. I told him the reason is that the key signature – indeed the key itself, is so that you know where do is. That’s do as in do, re, mi. Remember in “The Sound of Music” when Maria was teaching the kids to sing, she said “when you speak, you begin with A B C, when you sing, you begin with do, re, mi.” But then again, why do we have different keys. Can’t we just sing everything in the same key? The answer is that different songs have different ranges. In order to make it comfortable for the singers to sing the music, you have to set it in a key that fits their range. The range, of course, it the lowest note you can hit all the way to the highest note you can hit. So how many key signatures are there? Imagine a piano. Count the number of notes from one note to its next octave. Don’t count the octave since it duplicates the beginning note. There are seven white keys and five black keys. That makes twelve. Do can start on any of those (Continued on page 5) The songs we sing . . . “Let Me Call You Sweetheart” Leo Friedman and Beth Slayer Whitson wrote “Let Me Call You Sweetheart” in 1910 and Henry Burr and the Peerless Quartet had a #1 hit with it in 1911. It quickly became a popular standard, and has been recorded many times over the years by many artists including Bing Crosby, Oliver Hardy (of Laurel and Hardy), and even Alfalfa Switzer of “The Little Rascals.” The song's simple chord structure and waltz rhythm makes for easy wood-shedding and rearranging and makes it a popular community sing-along. It's also quite popular among quartets at contest. The young lady who modeled for the original sheet music cover might have been Virginia Rappe, the subject of the 1921 Roscoe “Fatty” Arbuckle scandal. “Let Me Call You Sweetheart” has become one of our Barberpole Cat songs and is in our repertoire of Valentine Sing-out songs By Ginger Cullen The HeartThrobs exists for the purpose of supporting the Heart of Florida Chorus. All spouses, widows, and significant others are automatically considered members. A few times a year the group likes to get together to socialize and reconnect as we look forward to upcoming Heart of Florida events. The group was hosted by Dee Burns and Barbara Wakefield on September 14th. All sixteen attendees enjoyed the “Coffee and Chat” session. The group felt that no further HeartThrob gatherings need to be planned until after the new year. In the meantime everyone will look forward to seeing one another at future Heart of Florida activities. Ginger Cullen has updated the email and phone list for future HeartThrob communications. She can be reached at 352-391-5106 and at [email protected]. Sept./Oct. Page 5 THE HEARTBEAT (From page 4) See Reading Music — Key Signatures notes, so it makes sense that there would be twelve key signatures. The reason there are sharps and flats is so that we can maintain the same relationships between notes. That is, no matter where you start, there is a whole step between each note and the next higher one except between mi and fa, and between ti and do, where there is a half step between notes. When I taught this basic lesson last year, I didn’t ask you to memorize each key signature. My thinking is that while we may sing in any key, we only start a song in a few keys. So I asked you to memorize nine of them. These are C(no sharps or flats) and the ones for 1 to 4 sharps and 1 to 4 flats. At one time or another, you will start a song in each of those nine keys. So it is important for you to memorize them. In order, the sharped keys are G (1 sharp), D (2 sharps), A (3 sharps) and E (4 sharps). The flatted keys are F (1 flat), Bb (2 flats), Eb (3 flats) and Ab (4 flats). If you memorize these nine, it will be enough for now. When you get more familiar with reading music, you can add the other three. Five sharps is B, five flats is Db. Six sharps is F#, six flats is Gb. Of course, these both represent the same starting note. For now, you can ignore these last ones. It’s a Rule! 30 rules to help you become a better Barbershopper By coach, Brent Graham 1. Nothin' beats right notes! 2. If you're a whole step away from another part, use equal balance. 3. When the bass is on the 3rd, pray. 4. If you’re in the right key at the end of the song, blame the lead. 5. If the tenor is lower than the D next to middle C, sing loud. 6. The flat 6 is always tuned low, except when it isn't! 7. Sing 2, 3, 6 and 7 on the high side. 8. If a chord is voiced within an octave, use equal balance. 9. If you're on an inside 3rd or 7th, use equal balance. 10. If the arranger gives you a chance to breathe, BREATHE! 11. The less time you have to breathe, the better breath you get. 12. Breathe through the space you want to sing in. 13. If you're listening, you're late. 14. Sing the interpretation you know. 15. Take the beats out of the music. 16. Let the rhythm sing itself. 17. Dissociate your hands from the downbeats. Ev Nau to Retire from Harmony Foundation International Dear Friends and Colleagues: I knew this day would come, but now that it is actually happening, it is an emotional event. Since June of 2005, Ev has been a loyal friend and an able partner in the change and growth of Harmony Foundation International. His retirement plans will be staged over a rather lengthy period as follows: He will officially conclude his work on Wednesday, October 31, 2012. • He will be available to serve the Foundation in special projects as assigned through the International Convention in Toronto in July, 2013. Following that convention he will officially retire with 25 years of service to the Barbershop Harmony Society and Harmony Foundation International. • Between now and the end of October he has a busy schedule of travel for the Foundation. He has miles to go and dollars to raise before he can sleep. Please join headquarters staff in wishing Ev and his family well in this new chapter of life. Clarke Caldwell, CEO, Harmony Foundation International 18. Bell chords should grow in volume ters. Aas each singer en- 19. Dynamics are overrated. 20. Sing with power, not force. 21. Right note, right time, right intonation, right resonance - that's all it takes. 22. Always rehearse in performance mode. 23. If you can't start anywhere in a song, you don't know your music well enough. 24. Don't sing in Bb, F or C. 25. Don't let a $35 pitch pipe beat you. 26. Best barbershop still inside. 27. Movers add color and interest; holders add volume. 28. Miss one rehearsal, you know; miss two rehearsals, your director knows; miss three rehearsals, everyone knows! 29. Only hold yourself accountable to the level you want to attain. 30. Listen to good barbershop every day. Page 6 Sept./Oct. THE HEARTBEAT Woodshedding - An Introduction (Part 1 of 5 in a series) —provided to PROBE by Toban Dvoretzky, Ex-President of AHSOW (From the PROBE website) "Authentic woodshedding" is the way our Society began. A tenor, bari and bass harmonizing to a lead's melody without referring to a printed or familiar arrangement. Authentic woodshedding is one of the most productive and fulfilling activities that barbershoppers could choose to do. The question has arisen: "Is woodshedding an art that one has to be born with, or can it be learned?" As with most other skills, effective woodshedding is— and can indeed be—learned. A basic sense of circle-offifths (barbershop) chord-progressions is necessary. Barbershoppers can gain this sense in several ways. Folks with jazz or piano backgrounds have a beginning advantage, as should anyone with a year or two of college-level music theory. Barbershoppers who have sung more than one voice part in their chorus or quartet also have an initial advantage. Barbershoppers who don't read music, or those whose first or only musical experience began when they entered barbershopping, can also most definitely learn to woodshed. The prerequisite is an understanding of scales and intervals (the space between one note and the next). AHSOW strongly recommends that prospective woodshedders invest in the voice-part-predominant Barberpole Cat tapes produced by the Society. The Barberpole Cat songs are especially strong, pure barbershop, and listening to them intently and repeatedly will impart a strong sense of the *patterns* typical of each of the barbershop voice-parts. Another brand-new resource is the Barbershop Multimedia CD-ROM, recorded by the Studio One quartet (http:// www.studioone quartet .com/ CDs_and_Soft wa re/ recordframe.htm). Studio One has recorded all 65 songs in the Heritage of Harmony Songbook (Written and edited by Burt Szsabo, available from Harmony Marketplace.) with four-part separation. Each recorded song is available for playback from CD-ROM software. Go to the web address above or contact Dave Warkentin ([email protected]) for more information. This sounds like a wonderful way for barbershoppers of all levels to learn more about the various barbershop voice parts and the patterns most common to each. Feel free to contact AHSOW, Inc. at any time with inquiries about woodshedding. Ancient Harmonious Society Of Woodshedders, Inc. Lance Lubin, President 727-410-5696 [email protected] Ahsow webpage: www.ahsow.org Song Titles submitted by Jim Styer, Battle Creek, Michigan From the PROBE website Black is the Color of My Love's True Hair. Don't Cut through the Wheatfield, Granny, You're Going Against the Grain. Don't Go Through the Screen Door, Mother, You'll Only Strain Yourself. Every time we throw a party, she beats me to the punch. Get down to the railroad tracks, Mother, and find your father some ties. Head to the roundhouse, Nellie; he can't corner you there. I can row a boat, canoe? I don't want to set the world on fire, I just want a little heat in the car. I found a Cadillac of a woman, driving a Ford pickup. I Had an Apartment Up Front and She Had A Flat Behind. I loved my wife for her nickels until I found the maid's quarters. I met her at the Laundry, but she left with the Tide. I put a bar in my car and now I'm driving myself to drink. I took my girl out in the cornfield and kissed her between the ears. I used to play the trombone, but then I heard it slide. I Want A Girl Just Like the Baghdad Had. I'll never forget what's her name. I'm so miserable since you've been gone, it's almost as if you were here. If you can't get an upper berth in Hawaii, you can always get aloha. If you were the only girl in the world, you would probably be my sister. I'm going to miss you if you go, but if you stay I won't. I wouldn't take you to a dog fight, even if I thought you could win. Let me call you sweetheart, because I can't remember your name. My grandfather wore long underwear, but he kept his trap shut. She got the Gold Mine, and I got the Shaft. She was only a gin maker's daughter, but I loved her still. She was only a mortician's daughter, but anyone cadaver. She was so ugly, she made my cat bark! There's No Gettin' Over You So Get Up And Answer The Phone. They can lock me up for loving you, but they can't keep my face from breaking out They can't play poker in St. Louis anymore, because the Cards are in Phoenix. When Banana Skins Are Falling, I'll Slide Right Back to You. (A real song) When they operated on Dad, they opened up mother's male. While I was out jogging, she was runnin' around on me. Sept./Oct. Page 7 THE HEARTBEAT Ads for the Christmas Program WHAT WEAKENS A CHORUS? By President Brent Bierma by Chuck Woodhouse, Seattle SeaChordsmen We are being asked to sell one business card for our Christmas Program Brochure at a cost of $50. For those of you not at the rehearsal a recent night, when Barbara Donohoe presented the way to complete the printed sheet which we will use. As she stated, it works better if the business can email their logo to her for printing in the program November 30. The sheets will be at rehearsal again next week. The email address for business card ads is [email protected]. I'll tell you what weakens a chorus. It's the guy that's not there. It's the fellow who says, "I've got a mediocre voice, so they don't need me." The heck we don't. Give me fifty mediocre voices, properly trained, and I'll give you a magnificent chorus. Take one voice away, and it's the crack in the dam, so to speak. She and Fran will contact businesses, trying to provide them with exclusivity within their trade (one dentist, one barber, etc.). If you have referrals that you are quite sure will purchase an ad in the larger formats (quarter page, half, or full, please send the information to her and Fran. If this works out as planned, this will be a successful fund-raiser for our chorus. We have had to curtail some activities and expenses this year that are essential to the health of our chorus. Let's all do our part to either sell or buy one card. Thanks. Church One-Liners Submitted by Tom Hogshead Don't let your worries get the best of you; remember, Moses started out as a basket case. Some people are kind, polite, and sweet-spirited... until you try to sit in their pews. Many folks want to serve God, but only as advisors. It is easier to preach ten sermons than it is to live one. The good Lord didn't create anything without a purpose, but mosquitoes come close. When you get to your wit's end, you'll find God lives there. People are funny; they want the front of the bus, the middle of the road, and back of the church. Opportunity may knock once, but temptation bangs on the front door forever. You're not coming because the guy in front of you is always accusing you of being flat, sharp or making wrong moves? Well, the guy in front of him is doing the same to him. And so it goes. Take it with a grin and a grain of salt. After all, the director is boss (along with your wife, of course). Too tired to go tonight? What a day you've had. Let me tell you something . . . go anyway. Just being around a lovable crazy bunch of guys can do wonders to the spirit, not to mention the many bottom of the lungs breaths we take in order to sing through our phrases. That old oxygen can rejuvenate you and make you feel like you've had eight hours of sleep. Honest, it works. You're not going because you don't like the programs, or this, or that? Heck, man . . . you may be right but no one's going to know it. How can they when you're not there? Board meetings are open to one and all. Your officers will lend a willing ear. Your input-- yes I mean YOUR input--is as "Welcome as the Flowers in May." Your suggestions, ideas and even criticisms are vital to our success as a chapter. So hang in there. Be a voice! You love to sing. You know you do. You love the camaraderie, the thrill of singing to an audience, and the ensuing applause. Smiling down at those nasty old judges with your heart in your mouth. Ah, competition, the spice of life. How sweet it is! Yes sir, I mean you. You are so very important to our chapter. You know I miss your grin, your firm handshake, your screwing up a note or word, and how you laugh when I do. You know what weakens a chorus? It's the guy who's not there. Del Webb – Spruce Creek Show October 5 at 7 p.m. Quit griping about your church; if it was perfect, you couldn't belong. Attire: Tuxedo with Gold Vest, Bow Tie and Pocket Hanky, black shoes and socks. And a SMILE. If a church wants a better pastor, it only needs to pray for the one it has. Performance Schedule: God Himself doesn't propose to judge a man until he is dead. So why should you? 5:30 p.m. Chorus rehearsal, for approximately 1 hour in the Craft Room Some minds are like concrete—thoroughly mixed up and permanently set. 6:30 p.m. Doors open Peace starts with a smile. 7:30 – 9 p.m. Chorus on stage, entrance march up center isle I don't know why some people change churches. What difference does it make which one you stay home from? 5 p.m. Set Up Risers 7 p.m. Show starts—Ventriloquist - first ½ hour 9:00+ p.m. Mingle with audience—refreshments available Page 8 THE HEARTBEAT (From page 1) See Memories of a barbershop quilt North American Chapters in a charitable service project that we could point to with pride. They investigated a not -for-profit group called, the Institute of Logopedics. They worked with children with learning disabilities—and had discovered that, quite often, music had a therapeutic effect on their patients. Our Executive Director, Joe Liles, wrote a song called, "We Sing That They Shall Speak," to be sung as a medley with, "Keep The Whole World Singing." and soon all of our meetings and performances ended with this medley. Every chapter was invited to donate some of the proceeds of their performance fees to the institute and to collect Campbell's Soup labels (which the school could use to get equipment). Many of our quartets/members visited the school, and the school had a display of plaques honoring our help. Then, in the late 1980s Logopedics changed their name to HeartSpring. By the early 1990s, the effectiveness of our participation had been diluted by other benefactors, and our visits were no longer encouraged. To fill that void, the Society began a new charitable effort called SingAmerica/SingCanada, and our donations were now directed to the Harmony Foundation, then our official affiliation with HeartSpring ended. Now, back to my memory. In 1995, I was the Ontario Division VP for the Seneca Land District (Western NY and Northwest Pennsylvania) and the subject of our district gift came up at a board meeting. I went home and asked Barbara if she would be willing to make a quilt to be raffled off at the Miami Convention? She agreed to take on that challenge, and asked for historical information to create a "harmonious" quilt design. My vision of the quilt was just a colorful copy of our Society Logo, but, as I told Barbara about the background and meaning of the gift, she began to conceive a much more elaborate and dramatic vision. Her final version was a perfect overview of our Society and its dedication to the HeartSpring charity—all done in needle and thread! Sept./Oct. Society Logo; In the Upper Left corner: the 1995 Miami Convention Logo; In the Lower Right corner: The HeartSpring Logo. The background (surrounding these logos) has twenty-four quilt blocks with pink (actually thin red and white striped) eight pointed stars (they kinda look like four guys in a quartet square, don't they?); sixteen on a white background (representing the 16 barbershop districts), and near the top: six stars on a dark background (representing the six affiliate barbershop nations in the Northern Hemisphere: BABS, IABS, BING, SNOBS, DABS and SPATS), And, near the bottom, two stars on a dark background (representing the two affiliates in the Southern Hemisphere: AAMBS and NZABS). Needless to say it was a huge attraction at its unveiling, at the SLD Spring Convention. And, in July, it looked great in the display area at the Miami Convention Center. I could tell Barbara was pleased, because she took every opportunity to "loiter" near the display, often lending a hand selling raffle tickets, and explaining the quilt to attendees. I must admit, I bought quite a few raffle tickets and the majority of them went into the fishbowl in front of our quilt. They actually had to add a second bowl to hold all the tickets. On Saturday, the winners were announced. A couple from Michigan won the quilt and I won a $250 Gift Certificate for Omaha Steaks! And, best of all, HeartSpring got a sizeable donation. Unfortunately, a few years later—when we ceased our affiliation with HeartSpring, the district gifts at international were discontinued. I must admit, i really miss seeing those displays. Some of the district donations were unique, one-of-a-kind creations. I recall stained glass designs, carved wood quartets, and (my favorite), a Barbershop Quilt! In the center: A thirty-six inch, full color, rendition of the Ta g Ti me I defy you to find three other guys and try this tag. We used to sing this in Michigan and that third chord from the end is quite hard. You need a good baritone to pull this off. Sept./Oct. THE HEARTBEAT Page 9 Photos from the HOF picnic Keith Mullen prepares things in the kitchen. Alnng with Elmo Wagner they prepared the meat for the bash Ron Scott reads his Old English Story to start the Talent Show Keith, singing “Nobody” during the Talent Show. It took Second Place The Sun Chords singing “Let Me Call You Sweetheart” for Scott and Linda Werner’s 50th Dick and Dave dueting “Tiptoe Through the Tulips.” The 4-Sharps singing two of their favorites Page 10 Ba r be r shopper O f the Yea r Ha l l of Fa me Joe Pfeifer Wayne Page Marty Martin Ken Carter Dave Kirkpatrick Joe Burns Jim Gehrlein Elbie Ford Elmer (Elmo) Wagner 2003 2004 2005 2006 2007 2008 2009 2010 2011 Chapter Eternal Our brothers who have passed but will always be on the risers with us in our hearts Charlie Borders Floyd Guernsey Harry Olds John Raymond Emil Bajus Don Himmelman David MacEllven Nick Nichol John Burnett Bill Davidson Dutch Schultz Sept./Oct. THE HEARTBEAT Gil Mason Mel Lee Don Polley Bob Yenney George Murphy Bud Mason Spike Kenn Marty Martin Hugh McLeish Lloyd Cole Jim Miller September Birthdays John Fleming Joe Pfeifer Ken Carter 1 12 29 October Birthdays Lou Nicharot Dick Pederson Don Barnes Tom McCarrol Frank Moore Jim Christensen Erhard Oppenheimer Dick Lord Bob Wakefield 1 2 17 18 21 22 23 24 27 HOF Chapter Quartets Four Sharps Joe Pfiefer, tenor Rich Casanzio, lead Don Barnes, baritone Jim Castenian, bass We Always Welcome Guests Russ Vriezen Jim Brown Ed Cash Eldersburg, MD Summerfield, FL Summerfield, FL Over the Hill Gang Jeremy Reynolds, tenor Norb Schneider, lead Ralph Peckham, baritone Pat Haley, bass So Far So Good Jerry LaDue, tenor Dave Kirkpatrick, lead Dick Fischer, baritone Jerry Weisenreder, bass More photos of the picnic Sun Chords Lee Shawcross, tenor Wayne Page, lead Joe Burns, baritone Dick Gordon, bass The Life Of the Party Lee Shawcross, tenor George Randolph, lead Don Hausmann, baritone Doc Weir, bass Dick Beck M C’s the Anniversary Further Adieu Ken Thomas, tenor Paul Smith, lead Jim Gehrlein, baritone Jim Castanien, bass HarmoniX Jeremey Reynolds, tenor John Bird, lead Ken Wantuck, baritone Brent Bierma, bass The Werners enjoy the procedings Senior Moments Bob Vincuilla. tenor Norb Schneider. Lead John Carter, baritone Mo Foisy, bass Linda has her say about things (I wish I could recall what was said!) Sept./Oct. Page 11 THE HEARTBEAT The 2011 Heart of Florida Leadership Team President: Brent Bierma 352-750-2272 [email protected] Board Member-At-Large (1 Year) Scott Werner 352-259-2572 [email protected] Board Member-At-Large (1 Year) David Holmberg 352-259-2209 Executive V. P. Fran Donohoe 352-726-6409 [email protected] The Heartbeat Staff Senior Editor: Elbie Ford 352-484-1216 [email protected] Staff Reporter: Larry Robinson 352-357-7328 [email protected] [email protected] Board Member-At-Large (1 Year) Wayne Page 352-750-6980 [email protected] Immediate Past President: Pat Haley 352-753-3351 [email protected] V. P. Program: Jeremy Reynolds 352-751-4845 [email protected] HOF Director Team Front Line Director and Lead Section Leader: Scott Werner 352-259-2572 [email protected] V. P. Media and PR Paul Smith 352-561-1902 Assistant Director and Baritone Section Leader: Don Barnes 352-259-8634 [email protected] [email protected] V. P. Membership: [email protected] Bass Section Leader Pat Haley 352-753-3351 [email protected] V.P. Music and Performance: Richard Casanzio 352-350-2869 [email protected] Tenor Section Leader Joe Pfiefer 352-751-2415 [email protected] John Fleming 352-430-1445 Secretary: Jim Busco 352-409-2462 [email protected] Treasurer: Harold Lathom 352-350-2115 [email protected] PRESIDENTS CLUB Brent Bierma Current President Wayne Page Ken Carter 2003-2004 2005-2006 Marty Martin 2007-2008 Dave Kirkpatrick 2009 Pat Haley 2010-2011 Snow Bird Reporter: Ron Dudley 603-569-1314 [email protected] Articles with no byline are written by the editor. Clip art courtesy of the Barbershop Harmony Society. Deadline Deadline for articles submitted for publication in the Heartbeat shall be the 20th of the month. Purpose and Mission Statements 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 its 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. 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. The Heartbeat The Heartbeat—Sept./Oct. 2012 Printing of The Heartbeat done by Ultrex Printing, Inc. 302 Oak Street, Suite A Lady Lake, FL 32159 352-205-8222 See them for your printing needs. Place Postage Here Elbert Ford 1520 152nd Place Ocala FL 34473 Phone 352-484-1216 Cell: 352-817-8559 Email: [email protected] WITHOUT MUSIC, LIFE WOULD BE A MISTAKE. — Friedrich Nietzsche October 5—7 p.m. Performance at Del Webb Country Club October 5—7 Sunshine District Fall Convention, Punta Gorda, Florida, in the Charlotte Harbor Event and Conference Center November 4—8:30 a.m. Saddlebrook, Veterans Softball Game November 30—7 p.m. Christmas Show, NL Presbyterian Church February 7, 2013—7 p.m. Umatilla High School, Umatilla Key Club Concert March 2—7 p.m. Annual Spring Show with the Ditchfields and the Headliners, TBD True Facts: Wisconsin forklift operator for a Miller beer distributor was fired when a picture was published in a newspaper showing him drinking a Bud Light. Quebec City, Canada, has about as much street crime as Disney World.