Document 6472310

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
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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 rgcullen@thevillages.net.
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
(d-warkentin@usa.net) 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
lance.lubin@gmail.com
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 HOFCP@hotmail.com.
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
brentsings@embarqmail.com
Board Member-At-Large
(1 Year)
Scott Werner
352-259-2572
lovebbshp@aol.com
Board Member-At-Large
(1 Year)
David Holmberg
352-259-2209
Executive V. P.
Fran Donohoe
352-726-6409
franairways@tampabay.rr.com
The Heartbeat Staff
Senior Editor:
Elbie Ford
352-484-1216
elbieham@hotmail.com
Staff Reporter:
Larry Robinson
352-357-7328
larry4lead@comcast.com
humbug486@embarqmail.com
Board Member-At-Large
(1 Year)
Wayne Page
352-750-6980
tweettweet@embarqmail.com
Immediate Past President:
Pat Haley
352-753-3351
phaleybbs@comcast.net
V. P. Program:
Jeremy Reynolds
352-751-4845
bbs10r@earthlink.net
HOF Director Team
Front Line Director and
Lead Section Leader:
Scott Werner
352-259-2572
lovebbshp@aol.com
V. P. Media and PR
Paul Smith
352-561-1902
Assistant Director and
Baritone Section Leader:
Don Barnes
352-259-8634
dode@thevillages.net
paulsmith@bluefoxsolutions.com
V. P. Membership:
john@w3gqj.net
Bass Section Leader
Pat Haley
352-753-3351
phaleybbs@comcast.net
V.P. Music and Performance:
Richard Casanzio
352-350-2869
rjcasanzio2@aol.com
Tenor Section Leader
Joe Pfiefer
352-751-2415
the4sharps@comcast.net
John Fleming
352-430-1445
Secretary:
Jim Busco
352-409-2462
jimbuskco2003@yahoo.com
Treasurer:
Harold Lathom
352-350-2115
haroldlathom@yahoo.com
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
wilronfla@yahoo.com
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: elbieham@hotmail.com
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.