Bulletins will be published monthly (well sort-of) for distribution at the first (or second, or maybe third or ...) meeting of each month (except July and August). Deadline for material to be included will normally be the last Monday before publication (unless advertised otherwise). When you’re done reading this bulletin, recycle it by passing it along.

We support our charities financially, and by good works. We sent money to Heartspring in 1996. We sang at the Early Learning Centre's annual spring fund-raising banquet last May. We could reach a little and include the sing-outs we did at Nursing Homes, the Cancer Clinic, and the Saskatchewan Legislature, and so on, all of which helps make us look a little better in terms of charitable services.

The Harmonizer reported that several chapters helped out in a number of ways. The Big Orange Chorus, Jacksonville, Florida, participated in a five-mile walkathon for the American Cancer Society, "serenading the more than 7,000 other participants along the way". The Sons of the Severn, of Maryland, held a benefit concert in support of the "North County Emergency Outreach Network for needy and homeless people" last June. "For Over Par, the 1995 Oregon senior quartet champion, has raised nearly $6,000 over the past two years for 'Habitat for Humanity'". And another Florida chapter donated $500 to the "Hibiscus Children's Center for abused, abandoned and neglected children".

I cite these examples of charitable works, NOT for a minute to suggest that we are not doing enough, but only to show that if we DO do something for charity, we would not be the only chapter in the Society.

In the January issue of Sharp Notes, I asked, what should the Terms of Reference be for this Committee? I guess our members need more time to mull that question over. Meanwhile, I am going to suggest that we get serious about the two charities we have taken on. We did raise a good deal of money on our Valentine Day project, for Heartspring. (When the bills are all paid, and we have a net figure to report, I will announce it in a future Sharp Notes). We will make it possible for Heartspring to realize some more money through the labels we send it, thanks to Jared, who looks after them. But what about the Early Learning Centre? We were kind of closely involved with that organization at one time. We gave one of our annual Awards of Harmony to Anne Luke, the Director, for her work in spreading harmony through the work that the Centre does. Do we want to put on a benefit for them, like some of our American cousins seem to be doing? Or what? Since we have trouble most of the time to field a crew for what John LeBoldus used to call "Ways and Means", maybe we could get some help from the Early Learning Centre, on Bingo nights, and turn over an appropriate share of the proceeds? There is never enough time at our meetings to discuss these matters, so I am using this device, and hope some time, to get Bruce to give me a few minutes to ask for some guidance at one of our meetings. So take this as notice, that I'll be calling on your help, finally TO DEFINE TERMS OF REFERENCE!

We now have learning tapes for most of our repertoire. Purchase tape 1 and 2 for $1.50 each.

Tape 1 has the following music:

Side A: Just Plain Barbershop, Young Men in Harmony (6 songs)]

Side B: Strictly Barbershop

Tape 2 has the following music (* songs for show)

1. Dream (*)
2. Georgia On My Mind
3. I’ll Fly Away
4. I’m Alone
5. I’m Sittin on Top (different version) (*)
6. If I Could Write A Song (*)
7. My Daddy’s Still Singing
8. O’ Canada
9. Shenandoah (*)
10. So Long Mother
11. (I’ll be a) Song and Dance Man (*)
12. They Wrote ‘em in the Good Ol’ Days (*)
13. Under the Boardwalk (*)
14. What a Wonderful World
15. Who’s Sorry Now
16. Home on the Range (*)

We are (still) looking for a Chorus "song" which we can adopt and use in all of our programs. If you have suggestions of appropriate songs, or feel like putting pen to ink and submitting an original composition, we’d love to hear from you. Contest details to follow…

Don't forget to save Campbell labels and UPCs for Jared!

INTERNATIONAL CONVENTION June 29-July 6, 1997 - Indianapolis, IN

In a segment of ABC's World News Tonight with Peter Jennings that aired in late February, researchers reported that children who are given music lessons at an early age score up to 30 percent higher in other academic subjects at school than children who have no music training.

Today's technology allows researchers to trace brain wave patterns very accurately. The study of music among pre-schoolers establishes a network of learning and memory paths that are also used in other disciplines—mathematics in particular.

This proves the worth of the Society's programs, such as SingAmerica & SingCanada, to help bring music back into communities and schools.

Figures for February 1997, show the Society has grown over the previous year for 12 straight months, the first growth spurt of its kind since 1984. At the end of February, the Society had 33,830 members, up 721 over February of 1996. Membership renewals continue to be heavy and new applications are picking up after a slow start. Add to that the number of new extension sites, licenses and charters, and we have every reason to believe that the trend will continue.

"Planes, Trains and Automobiles" is the theme for the 1997 Harmony College. Registration is now open for Harmony College and Directors College, July 27–August 3, at Missouri Western State College, St. Joseph. Mo.

To obtain a registration form and a comprehensive listing of courses available for study, call Lani Dieter at (800) 876-7464 or send e-mail to HCDC@spebsqsa.org.

At the end of February, the registration count for the Indianapolis convention was already 9,018. It's gonna be a biggie—get your registration in today!

From: Steve Walker <swalker@link.ca>

Subject: It's barbershop but it ain't music..

This is a barbershop question in the truest sense of the word, but has nothing to do with music, and please forgive me if it's been asked before but .........

When looking at one of those rotating barberpoles that were mounted outside so many old barbershops, do the stripes appear to be moving up, or moving down? Is there a standard to such things, or is it like water going down the drain - in the northern hemisphere it turns one way and in the southern hemisphere it turns the other way?

There aren't any of the moving ones around here any more (they would have frozen solid if there were) so I can't do the obvious thing and go and have a look at one.

Does anyone know of a real, genuine barberpole that they can check out and post the result.

From: noteman@exec.tscnet.comSubject: barbershop era

In response to Ross Stover who posted on 02-22-97:

• Anyhow, I noticed they had many songs from beyond the "barbershop era",
• like 1960-90, and a shortage of familiar barbershop classics. Did this bother
• anyone else?

I feel the urge to "unlurk" with a "Hold on there, Puget Buddy".

If there is a "barbershop era" and we are no longer in it, (1960-90) then we are but curators of a dying folk art form. Maybe we should have a funeral. I think that I would even like to sing at that one. I have done a few funerals, and I called on all my barbershop skills to present a suitable tribute in an a'cappella quartet style. It wasn't barbershop, but we rang those "Golden Bell" cords as if we were on a competition stage.

So, I am not quite ready to put the lid on the barbershop box just yet.

The traditions of barbershop were probably formed when some guy picked up a New Tune and presented it to his buddies. If they liked the tune, they would mess with it. They would change the meter to fit the mood of the words. They would embellish the implied harmony until it had 7ths enough for everybody, add tiddles enough to please themselves, and construct a reprise (tag) that would suck tears from every eye in the house. That was barbershop, and for me, that is what it is today.

I get just as much enjoyment out of hearing an "old" song done over with new harmonies or interpretation, as I get from hearing a new tune that has been properly "messed" with so that it appeals to my barbershop years (I mean ears, but, I like it both ways).

Part of our tendency to divide barbershop along "new" and "old" lines is partially due to the fact that a "good" tune written in 1910 has had ten or twenty barbershop arrangements done on it by now. Out of those, two or three are outstanding. Those outstanding arrangements have been "authenticated" by their success as competition scores. A tune released today may have to meek along for several years before falling on the right set of ears and be sung by the right four gents at the right competition in order to be accepted as Barbershop.

I can say that the classic barbershop recordings I listen to from the 50s, 60s, 70s, 80s, and 90s demonstrates distinctive changes in what can be done with old tunes, what can be done with new tunes, and what is considered the best of barbershop.

I have visited this soapbox before. It goes something like: Let's do some quartetting. OK, what are we going to sing? I don't know, how about singing the polecats? Are you sure? Well, the Society publishes them in a book and you get an award if you learn to sing them all, they must be all right. But, we don't sing them very well. What do you mean, we know them forwards and backwards, besides, those are the good Old Tunes, you can't do better than that.

Then I explain that "those good old polecats" are not the standard for barbershop, they are the "Dick and Jane" first readers of barbershop. They are the "secret handshake" of barbershoppers. They are the type of songs that almost any four barbershoppers can sing successfully the first time. What I am looking for in a repertoire is the most challenging music four men can sing with "class" after months of rehearsal. There should be a place in barbershop for polecats to Leading Edge, comedy to concert, conventional to experimental. I think the most discriminating Puget barbershopper can not help but be carried away to 7th heaven by the Most Happy (Masters of our Hobby) doing "Easy Street".

From: baedke@netins.net (BAEDKE)

Subject: The Simpson's BBshop quartet songs to be released

In looking through some magazines on recordings that will soon be released I noticed that a recording of music from the Simpson's TV show is due March 18. The recording called "Songs in the Key of Springfield" (Rhino Records 72723) presents around 50 songs and background music. Song #25 is listed as

25. HOMER'S BARBERSHOP QUARTET (Medley)

a. ONE LAST CALL - Principal Skinner & Apu

Thought all of you Simpson barbershop fans might enjoy!

"Although all cat games have their rules and rituals, these vary with the individual player. The cat, of course, never breaks a rule. If it does not follow precedent, that simply means it has created a new rule; and it is up to you to learn it quickly if you want the game to continue." Sidney Denham, English Writer

Watch for your next bulletin on April 21^st

(Deadline for submissions – April 14^th)

Articles in this bulletin do not necessarily reflect the views of the chapter. Unless carrying a byline, they are those of the editor. Items received may be referred to the executive before publication. All chapter officers and members are encouraged to submit articles to the Sharp Notes. Submissions will be credited to the author. Please address any comments, suggestions or submissions to the editor -- Bruce Fish.