International Education Symposium
Class Handouts

ABOVE THE PIPE: HOW NEVER TO SING FLAT AGAIN – For Directors & Novice Directors only
Dr. Jim Henry outlines techniques for teaching your singers to tune horizontally and vertically, incorporating vocal and physical exercises that build the ear, the breathing mechanism, tone, blending, and vowel sounds.

ACTING 101 - EVERYTHING YOU WANTED TO KNOW ABOUT ACTING BUT WERE AFRAID TO ASK
What has acting got to do with singing? This class, taught by Janie Tamarkin, will include improvisation, theater games, scene work and packaging.

ACTING 201 - PRACTICAL MAGIC, HOW AN ACTRESS PREPARES
A more advanced examination of acting technique which will give life to your song. This class, taught by Janie Tamarkin, addresses how to use improvisation, character analysis and props.

ADDING QUALITY SINGERS
Proposed audition requirements, audition forms, voice profile sheets and music team involvement are discussed here. Existing full chorus vocal reassessments are also discussed. Learn why music teams do what they do. Taught by Diane Porsch.

AGING VOICE (THE)
Understand the physical changes in the vocal mechanism as it ages. Use exercise and support to maintain flexibility and resonance. Directors learn to integrate voices with vibrato, poor support or vocal tension. Taught by Dede Nibler.

ALL FOR ONE AND ONE FOR ALL
Join Betty Clipman as she identifies and demonstrates the elements of both an aurally and visually unified performance.

ANALYTICAL LISTENING
Designed for musical leaders this class, taught by Kim Hulbert, will help you understand, improve, prioritize and learn the skills necessary to improve your scores from one judging level to another.

ANATOMY OF THE VOICE
The physical structure and workings of the vocal tract are explained and demonstrated. Individual singers are used to demonstrate and evaluate tone production and placement. Taught by Britt-Hélène Bonnedahl.

ARE THOSE YOUR NOTES?
Explore what is expected of the other three parts, the ones you don’t normally sing, using tags and seminar songs. Taught by Darlene Rogers.

ARM WAVING FOR ADVANCED DIRECTORS B+ TO A LEVEL
Join Dale Syverson as she explores aspects of artistry and finesse in conducting. Experiment with creating teaching triggers in your conducting to get better and more consistent vocal results from your singers. This class is open to Director Track participants only.

ARRANGERS’ HOME STUDY COURSE
This class will give an overview of the Arrangers’ Home Study Course and how it can assist budding arrangers to grow as arrangers of female barbershop music. Taught by Marge Bailey.

ART OF WOODSHEDDING (THE)
Learn to trust your ears! An introduction to “ear singing.” Lots of class participation as singers learn when to move and which chords ring. Take singable melodies and create the harmonies around them. Taught by Nancy Bergman.

ARTICULATION
Learn to achieve better production of consonants, diphthongs, and continuous tone flow through demonstration and class participation. Use the seminar songs to practice the techniques demonstrated. Taught by Laura Pallas.

ASSISTANT DIRECTOR WORKSHOP: ASSISTING MY CHORUS
Third in a series of classes for assistant directors taught by Paula Davis, the session includes ways the assistant director can assess the needs of the chorus, sectional goals, individual vocal or behavioral issues and offer assistance which will benefit the entire chorus. Open only to Assistant Director Track.

ASSISTANT DIRECTOR WORKSHOP: ASSISTING MY DIRECTOR
The first class in a series developed for assistant directors taught by Paula Davis, this session focuses on the many roles of an assistant director in helping with the directing and leadership of the chorus while also developing the assistant’s skills. Find effective ways of working as a team in enhancing the musical product and the well-being of all. Open only to Assistant Director Track.

ASSISTANT DIRECTOR WORKSHOP: COMMUNICATION SKILLS
The musical leaders determine the tone of the rehearsal and the culture of the chorus. Learn skills for addressing a group at meetings, rehearsals and one-on-one while promoting direct, positive results. Taught by Paula Davis.

ASSISTANT DIRECTOR WORKSHOP: DIRECTING SKILLS I
Explore elements of directing techniques and listening skills, and apply them to your work with the chorus. Enhance your awareness of directing gesture and effect on the singer. Seek opportunities to assist your chorus with clear, precise communication through your directing skills. Taught by Paula Davis.

ATTRACTING YOUNGER MEMBERS
Discuss the factors that attract younger members and keep them involved. Image, rehearsal climate, music selection, recruiting techniques, assignment of responsibilities, adaptation to individual schedules will be included. Taught by Gail Jencik.

AWAKEN YOUR INNER DRUM

BARBERSHOP EMBELLISHMENTS & NUANCES
Join Dale Syverson and the current international champion quartet in a high-level interpretation class particularly appropriate to directors and quartet members. Technical applications of arrangement strengths will be demonstrated and discussed.

BARBERSHOP STYLE
Analyze the elements that distinguish this style of a cappella music and its performance. Use that knowledge to enhance your interpretation, coning, balance, music selection and delivery in this class. Taught by Pat LeVezu. Open only to Novice Director Track.

BASIC MUSIC THEORY - SIGHT SINGING
Use your own eyes and ears to complete a crash course in sight singing. It will give attendees basic ear training and sight-reading tools. Taught by Pat LeVezu.

BEGINNING MUSIC THEORY, PITCH
Part 1: Pitch, Scales and Key Signatures, Part 2: Intervals Identification by Sight and Sound. Taught by Charla Esser.

BEING YOUR OWN VOCAL TEACHER
Listen to yourself and use these tips and techniques for self-coaching. Taught by Peggy Gram.

BETWEEN THE LINES
Gain an understanding of what the judges experience during a contest performance from experienced judge Marcia Pinvidic. Discussions will include how the panel prepares for the contest and the process of analyzing each performance to determine scores and comments. Come prepared to take an active role in the class and to put yourself in the judge’s seat.

BREATHING & ALIGNMENT (FORMERLY POSTURE & BREATHING)
Participate in vocal exercises and warmups that demonstrate the effects of good posture on your singing voice. Learn how to support a well-produced voice. Free up the body to allow your best quality voice to emerge. Taught by Diane Huber.

BUILDING A VOCAL WARMUP ROUTINE
You need to warm up your chorus, but where do you start? Learn how to decide which warmups to use and how to put together a plan for a warmup routine for your chorus. Learn why some warmups are better than others, depending on your specific need. Taught by Dede Nibler.

CHOOSING MUSIC SUITABLE FOR THE CONTESTANT
This class will provide directors with guides for assessing the level of their chorus and themselves. Directors will be given tools to use in analyzing music and arrangements for degree of difficulty and strength as competition material. Taught by Marge Bailey. This class is open to Director Track participants only.

CHORUS IMAGE
There are two things that will help you achieve your goals. They are musical excellence and a strong positive image. Learn how to develop a strong chorus image and recognize how this image attracts singers with similar goals and expectations. Taught by Lynne Smith.

CONDUCTING FOR SINGERS - HOW TO TALK LESS & SAY MORE

COSTUMING - Learn how to update your chorus and qaurtet images during this two-part class. Discover the basics about costume color and design to enhance your performance.

DEALING WITH ORDINARY PEOPLE
There are communication techniques that employ great people skills. We sometimes focus on difficult people. The emphasis here is people skills for the rest of us who aren’t difficult. Only those in the Director track may take the Friday, Period 3 class. The Thursday, Period 4 class is open to everyone. Taught by Betty Clipman.

DEALING WITH YOUTH SINGERS
Working with adolescents can bring great joy along with great challenges. Learn from a professional educator the techniques for handling these challenges and maximizing learning and fun! Taught by Tomi McEvoy.

DEVELOPING A SUCCESSFUL PVI PROGRAM
Explore new and varied ways to set up an effective, on-going PVI program for your chorus. Discover how fun and exciting it can be for you and your chorus to design and implement a program of vocal development for each member – growing musically and bonding at the same time! Class participation will give attendees experience in handling a PVI session led by chorus leaders. Class taught by Paula Davis.

DEVELOPING RESONANCE IN THE YOUNG VOICE
Understand the unique capabilities of the healthy, developing voice. Learn effective explanations and demonstrations to help young singers understand how to resonate freely and develop a full sound without strain. Taught by Alyson Chaney.

DEVELOPMENT & IMPLEMENTATION OF AN EFFECTIVE ROOKIE PROGRAM
Explore the who, what, when, where, why and how’s of developing, implementing and maintaining a vibrant, fun and effective new member program. Receive concrete ideas ready for implementation, and brainstorm together to meet the needs of our newest members. Class taught by Paula Davis.

DIRECTING SKILLS
Hands-on directing evaluation in a group setting. Taught by Betty Clipman.

DIRECTING SKILLS FOR NOVICE DIRECTORS
A directing session for novice directors, this class will cover basic beat patterns, hand gestures, entrances and cut-offs for clarity of communication with the chorus. Class attendees will have the opportunity to practice their skills, with feedback from Master Director Harriette Walters. Open only to Novice Director Track.

DIRECTING SKILLS II
Explore and refine elements of directing techniques and listening skills while enhancing and discovering new skills that positively influence the singer/ensemble. Participants will discuss how directing skills differ for the size and level of the group while providing hands-on opportunities to improve your directing skills. Taught by Paula Davis. Open only to those who have previously attended “Assistant Director Workshop: Directing Skills I” for Assistant Directors at a previous IES.

DIRECTOR AS PERFORMER (THE)
Examine the ways a Director can become completely involved in the chorus performance, thus becoming the ultimate performer and a strong element in the total unity of the performing ensemble. Open to Director Track participants only. Taught by Tori Postma.

DIRECTORS’ PANEL DISCUSSION
Witness a panel discussion of topics of interest to directors including alternatives to competing every year and confronting problems for the good of the chorus moderated by Kathy Carmody with panel members Dr. Jim Henry, Jean Barford, Lori Lyford and Jim Arns. Open to Director and Novice Director Track participants only.

DISCOVERING ARRANGEMENT GEMS
This class, for arrangers and musicians who understand music theory, discusses chord choices, harmonization, and inversions, among other topics, that pertain to designing a singable arrangement. During the class, “gems” are revealed to answer “why” and “what” make an arrangement effective and successful. Taught by Suzy Lobaugh.

DO I REALLY HAVE TO SEE MYSELF ON VIDEO? USING VISUAL EVALUATIONS
Learn to use video cameras and evaluation sheets to critique and improve the visual level of your chorus. Class includes sample visual evaluation forms, ideas for set-up of visual evaluation rehearsal and techniques for giving positive feedback to members. Taught by Renee Porzel.

EDUCATION PLANNING PROCESS (THE)
4220 - Friday, Period 2 and 4320 - Friday, Period 3
A complete journey through the various components of planning top-notch regional education. Open to 2008-09 Regional Education Coordinators only. Taught by Heidi Zacchera.

EFFECTIVE COACHING AND COACHING TLC
Learn coaching etiquette, the order in which skills should be evaluated, benefits of effective communication, structure for a coaching session and how to handle tender egos with care. Taught by Darlene Rogers.

EMCEEING - AN ART AND A CRAFT
This class, taught by Sharon Babb, will offer general principles, purposes, and practices of Sweet Adelines emcees for various kinds of performances and events. It will explore sources of material; development of timing, spontaneity, and effective delivery; and building audience rapport. Actual emcee scenarios in which students will participate will be fundamental to this class.

EVOLUTION OF THE BARBERSHOP STYLE
This class will listen to, examine and discuss several taped examples of championship quartets from 1944 through the present in order to evaluate, recognize and appreciate the development of the barbershop style. Taught by Carole Kirkpatrick.

FINALE FOR BEGINNERS
Begin to work with the Finale music notation software program, set up your manuscript for barbershop arrangements, navigate simple note entry, speedy entry, playback controls, and lyrics. This class is for musicians with computer and mouse experience. Taught by Lorraine Rochefort.

FINDING THE KEY TO RESONANCE
Explore the three main skills that must be understood and mastered to find your most resonant voice. Enjoy learning vocal and physical exercises that can be done alone or with your chorus which will help you sing to the “buzz” throughout your range. Taught by Dede Nibler.

FIXES FOR SPOTS
This class covers vocal exercises that can aid in developing skills that will improve problem areas in music such as: choppy lyrics, clarity of lyrics, pitch problems, singing supported dynamics, vowel integrity and match, etc. Problem areas will be identified and more than one exercise will be given to help deal with those problem areas. Taught by Vickie Maybury.

FLYING SOLO USING WARMUP TAPES
Use vocal warmup tapes to your best advantage. Learn many vocal warmup exercises to build your own skills and to take back to your musical leadership roles in the chorus or quartet. Taught by Darlene Rogers.

FOUR ON THE FLOOR
Learn and practice vital techniques for the quartet’s visual and showmanship performance including the entrance, exit, pitch-taking, emceeing, and applause acceptance. Taught by Judy Pozsgay.

GETTING TO KNOW THE MUSIC
Visually and audibly identify part relationships, duets, trios and more. Incorporate skills to sing them balanced and in tune. Taught by Suzy Lobaugh.

HABITS OF A SUCCESSFUL CHORUS DIRECTOR
Being a chorus director demands a host of diverse skills in the areas of teaching, leadership, interpersonal relationships, musicianship, performance savvy, directing, and so forth. This class, taught by Dr. Jim Henry, provides ideas and models for all these important domains. Open to Assistant Director, DCP, Director, Music Educator, Novice Director and Section Leader Tracks only.

HEART AND SOUL OF RHYTHM (THE)
Reading, performing, identifying and writing rhythms, taught by Charla Esser. This class is an excellent followup to the Rhythmic Expansion Class.

HOW DID THEY THINK OF THAT? GETTING MORE CREATIVE
This class, taught by Judy Pozsgay, examines techniques and resources that can be utilized to get the creative juices flowing. Interactive exercises are included.

HOW TO BE A GREAT BARITONE
Join experienced vocal coach Shirley Kout as she examines the unique characteristics of the baritone part and its role in barbershop harmony. Class members use the seminar songs to practice the skills and understand the baritone part’s challenges and joys.

HOW TO BE A GREAT BASS
Join experienced vocal coach Diane Huber as she examines the unique characteristics of the bass part and its role in barbershop harmony. Class members use the seminar songs to practice the skills and understand the bass part’s challenges and joys.

HOW TO BE A GREAT LEAD
Experienced vocal coaches examine the unique characteristics of the lead part and its role in barbershop harmony. Class members use the seminar songs to practice the skills and understand the lead part’s challenges and joys. Thursday’s class is taught by Laura Pallas and Friday’s class is taught by Debbie Connelly.

HOW TO BE A GREAT TENOR
Join experienced vocal coach Sandy Robinson Marron as she examines the unique characteristics of the tenor part and its role in barbershop harmony. Class members use the seminar songs to practice the skills and understand the tenor part’s challenges and joys.

HOW TO BE MEMORABLE FROM THE START
You never get a second chance to make a first impression. This class will show you what the superstars do. How do they manage to grab an audience and hold it captive throughout a whole show? There are methods and theatrical tricks that are common among the megastars, and now YOU’LL know what to do. Taught by Sandi Wright.

HOW TO BEGIN TO COMMENCE ARRANGING
Master Arranger Nancy Bergman will teach beginning arrangers the basic ingredients for writing music in the barbershop style....Arranging 101.

HOW TO COACH TO THE NEXT LEVEL
Join experienced vocal coach Shirley Kout to view and analyze various CD/DVD/video performances. Class is designed for coaches who work with all levels of performances. Only Coaching Track participants may attend.

HOW TO CREATE A SHOWSTOPPER WITH AN UNEXPECTED TWIST
This class addresses the question — aside from our great vocal production, what will our audience remember long after our performance is over? Participants will explore ways to think outside the visual box as we discuss and view techniques for presenting a more memorable visual experience. Let’s “give um a show they’ll never forget.”
Taught by Leslie Forsyth.

HOW TO GET UNSTUCK
Learn how to recognize when you’re in a rut and how to make changes to instill musical growth and enjoyment for all singers. Taught by Vickie Maybury.

HOW TO GIVE YOURSELF A PVI
Listen to yourself and use these tips and techniques for self-coaching. Taught by Peggy Gram.

HOW TO MAKE YOUR MEMBERSHIP NUMBERS ROCKET
This class, taught by Alyson Chaney, will discuss ways in which chapter membership numbers can grow, and explore the singing course approach to membership recruitment which has had spectacular results in chapters across the world. Participants will get a chance to look at the singing course materials and to practice the techniques taught.

HOW TO SPEAK BARBERSHOP
(Is barbershop a foreign language?) This class will define some of those terms used by directors and coaches — such as cone, voice leading, dissonance, diphthong, circle of fifths, Pythagorean tuning, etc. Taught by Pat LeVezu.

HOW TO TEACH USING POWERPOINT®
Make your teaching more effective and efficient by learning the basics of PowerPoint® presentations. Participants should bring some of their lessons/classes to put into this presentation format. A hands-on class taught by Heidi Zacchera.

HURDLING THE HAZARDS OF THE BEGINNING ARRANGER
Master Arranger Nancy Bergman will discuss selecting the right song, choosing the right key, designing the right format, adding the right embellishments, and more. Prior attendance at a “How to Begin to Commence Arranging” class would be helpful.

I THOUGHT THIS WAS SUPPOSED TO BE FUN
Define ways to make the road to competition smooth and to find the fun along the way. Explore how to feel better prepared and to enjoy the progress of your music. Find your competition comfort level.

IN SEARCH OF ARTISTRY
Join Master Director Dale Syverson and Master Arranger Joni Bescos as they explore the characteristics of a high-level contest or show arrangement, including voicing that helps the performer to achieve a logical dynamic flow and build to the high point, use and placement of embellishments, and other arranging devices that support and enhance artistic performance. Open only to Directors.

INSTANT LEVEL FOR CHORUSES
Use chorus videotapes to understand the characteristics, strengths and weaknesses that determine judging levels. In this class, taught by Carole Kirkpatrick, understand how judges set an instant level and work from it during the rest of the evaluation. Open only to Coaching Track participants.

INTERMEDIATE MUSIC THEORY, CHORDS
Prerequisite - You MUST have existing knowledge of pitch, scales, key signatures and intervals. Part 1: Building basic barbershop chords based on their intervallic structure, Part 2: Identifying and writing barbershop chords and their voicings within the music. Taught by Charla Esser.

INTERNATIONAL FACULTY CONTRACTS
This class for Education Coordinators will cover the many aspects involved in the hiring of our international faculty for regional events. Contracts, price negotiation, communication, and the general care and feeding of faculty members will be discussed. Taught by Marcia Bosma. Open to 2008-09 Regional Education Coordinators only.
SAMPLE AGREEMENT

IS ANYONE LISTENING TO ME?
A fun, lively and interactive class that will help hone your listening and communication skills. Taught by Cammi MacKinlay.

IT’S ALL UP TO US – MARKETING
Marketing Sweet Adelines is everyone’s job. Using some of the tenets from a variety of marketing publications (including “Creating Customer Evangelists” by Ben McDonnell and Jackie Huba), this class will explore ways to involve the majority of members of your chorus or region in marketing the organization, and have them be excited about the prospects! Taught by Cammi MacKinlay.

A KINESTHETIC APPROACH TO CHORAL TECHNIQUES - For Director & Novice Director tracks only
Dr. Jim Henry describes the ways in which a CHORAL DIRECTOR can incorporate movement as physical metaphors to develop skills such as tuning, articulation, vocal support, choral blend and interpretation. Find out what peanut butter, old windows, rubber bands, beach balls, magic markers, ski lifts, taffy and onion skins have to do with choral music. Open to Director and Novice Director Tracks only.

KEYNOTE ADDRESS - Dr. Jim Henry

KINESTHETICS OF SINGING
Understand the relationship of muscle motion and the physical act of singing; relate the muscle use to sound production, texture, volume changes and interpretation. Taught by Darlene Rogers.

LEARNING YOUR INSTRUMENT
Your voice is your primary instrument of communication. This interactive class, taught by Tomi McEvoy, covers vocal production skills to improve breath support, resonance and stamina and includes tips for managing common vocal problems.

LET’S GET TOGETHER
Section unity is vital to chorus success and improved scores. This class, taught by Tomi McEvoy, covers techniques for leading section rehearsals, team building and evaluating voices. Open to Section Leader Track participants only.

LET’S NOT GET EMOTIONAL ABOUT BEING PHYSICAL
This class examines the value of physical warmups and explores techniques for encouraging chorus interest and participation. Let’s get our members up and moving! Participants will create physical routines and discuss what characteristics separate the enjoyable and beneficial from the boring and ineffective. Class taught by Leslie Forsyth. Open to Choreography Track participants only.

MAKEUP 101
Learn what really works on stage to define the facial features and enhance your communication with the audience. Consider what’s appropriate for different performance situations and different lighting. Taught by Lynne Smith.

MAKING WARMUPS FUN & PRODUCTIVE
Use your strongest people in front of the chorus to set the tone for the rehearsal night. Define the purpose of your warmup session, who should lead it, and design physical and vocal exercises to enhance your teaching. Taught by Åse Hagerman.

MANAGING STAGE FRIGHT
Stage fright is likely to occur whenever you present something of great importance to you to other people, whose judgement you fear. The art of performing under pressure is a technique that you can learn and develop. You learn to use your senses and your body awareness. This awareness includes grounding and deep breathing but also the feeling of reaching out in space. Taught by Åse Hagerman.

MARKETING TO TODAY’S WOMAN
A marketing approach taught by Sandi Wright to build membership and promote performances using basic principles of audience identification, public relations techniques and the six “P’s.”

ME & MY MP3
This class is designed to eliminate the fear factor for our members who are taking their first steps into the world of digital recording. Participants will be given information, which will permit them to record rehearsals, submit recordings to their section leaders, and more information designed for the MP3 beginner. Taught by Marcia Bosma.

MEMBERSHIP GROWTH & RETENTION: DIVA TIPS
Learn strategies and techniques to manage all the divas in your chorus, from the initial Divas/Singers Wanted campaign to assimilating the new divas into your group, while keeping everyone in the chorus happy. Taught by Cammi MacKinlay.

METER
Meter is defined by the strength and pattern of weight given to beats. Proper weighting of beats is as important for rhythmic vitality as vocal technique is to achieving a beautiful sound. A strong sense of meter helps the interpretation planning for text to fall into place, for shifting meters to be easily navigated, and for syncopation to play against the expected weight. Making meter come alive in our barbershop ballads and uptunes can transform the musical performance. Taught by Åse Hagerman.

MOVEMENT WITH ATTITUDE
This class, taught by Leslie Forsyth, is an experiential (yes, we will dance!) look at how different types of music influence the visual plan. How does the music move you? And, how do you move to that music? Explore the concept that what makes the choreography a success depends less upon what sort of moves are choreographed and more upon what we do with those moves. Open to Choreography Track participants only.

MUSIC IN THE MORNING - Charla Esser

MUSIC SELECTION FOR NOVICE DIRECTORS
This class will give novice directors an opportunity to review criteria for strong contest music selection, review newly published music for contest and performance ideas, and discuss ways to look for strengths, weaknesses and traps in songs and arrangements. Taught by Marge Bailey. Open only to Novice Director Track participants.

MUSICAL TECHNIQUES FOR SMALL CHORUSES
A class with a demo chorus, taught by Dede Nibler, highlights teaching strategies for choruses that are 35 and under in number. Pitch matching/tuning, synchronization, tone/vowel flow, accuracy, independent singing and movement are all part of this class. Learn to motivate your singers to want to be the best they can be through weekly activities that require learning/retention on the part of the singer! Open to Director, Assistant Director, Section Leader, DCP and Music Educator Tracks only.

NON-READERS CAN READ
Singers can name their notes and know their position in a chord with this easy as 1, 2, 3 approach to reading and understanding music notation. Great for finding the pitch! Taught by Suzy Lobaugh.

ON YOUR WAY UP
Learn five vital skills that will improve your scores in all four categories. Prioritize your rehearsal time to include these skills and apply them to each song in your repertoire. Taught by Tori Postma.

ORGANIZING MUSIC FESTIVALS FOR YOUTH AND/OR ADULTS
Step-by-step details for organizing an invitational festival, either for Young Women and Young Men in Harmony, or for an exchange of performances among several community groups. Taught by Lorraine Barrows.

OVERVIEW OF THE EXPRESSION CATEGORY
Details of the expression category are explained by Marcia Pinvidic through the use of the Judging Category Description Book and sample score sheets. Discussion includes: intent of the category, ways in which strengths and weaknesses show up on the category score sheets.

OVERVIEW OF THE JCDB
Use the Judging Category Description Book to define the four categories, know where to look for rule definition and understand the intricacies of scoring. Taught by Betty Clipman.                 

OVERVIEW OF THE MUSIC CATEGORY
Details of the music category are explained by Marge Bailey through the use of the Judging Category Description Book. Discussion includes: intent of the category, ways in which strengths and weaknesses show up on the category score sheets.

OVERVIEW OF THE SHOWMANSHIP CATEGORY
Details of the showmanship category are explained by Renee Porzel through the use of the Judging Category Description Book and sample score sheets. Discussion includes: intent of the category, ways in which strengths and weaknesses show up on the category score sheets.

OVERVIEW OF THE SOUND CATEGORY
Details of the sound category are explained by Sharon Babb through the use of the Judging Category Description Book and sample score sheets. Discussion includes: intent of the category, ways in which strengths and weaknesses show up on the category score sheets.

PATH TO EXPRESSIVE ARTISTIC SINGING - Charla Esser

PERFORMANCE ANXIETY - A 12 POINT PLAN TO OVERCOME PERFORMANCE ANXIETY
Learn how to deal with stage fright and nervousness. Taught by Marcia Pinvidic, an experienced judge, coach, teacher and performer, the class will explore the methods used in a program developed by a behavioral psychologist to help professional performers overcome performance anxiety.

PERFORMANCE PACKAGING FOR CHORUSES
This class, taught by Leslie Forsyth, explores the creative journey of a performance package. Learn how a single idea is transformed into an entertaining show as we follow its visual evolution from thought to stage-ready.

PERFORMANCE PACKAGING FOR QUARTETS
Use the principles that guide international championship quartets while tailoring your own quartet performance plans. Know what is appropriate for music and emcee materials, dress, preparation, timing, attention to details. Taught by Sandy Robinson Marron.

PHONATION & RESONATION
Exercises and warmups demonstrate methods for achieving good resonance, correctly produced vowels and accurate intervals. Lots of handouts and class participation. Taught by Suzi Johnsen.

PHYSICS OF SOUND: ACOUSTICAL THEORY
This class will explore the scientific aspects of sound and what affects its quality and quantity. Specific topics will include sound waves, amplification, sympathetic resonance, acoustics, microphones, sound systems, shells, riser placement, quartet standing position, and room atmosphere. Taught by Sharon Babb.

PREPARATION FOR JUDGING CATEGORY TEST
This class covers materials included in the four judging categories in preparation for testing in the Director Certification Program. Taught by Nancy Field. Open to current DCP members and Aspiring Judge Track participants only.

PRINCIPLES OF INTERPRETATION
This class will develop and explore a variety of interpretative plans for a barbershop ballad, using a strong ballad chart as the blue print. Taught by Carole Kirkpatrick.

PSYCHOLOGY OF PERFORMANCE
Approach the visual aspects of performance from a musical standpoint; understand the psychology of the performing experience and use it to your benefit. Taught by Kathy Carmody.

PUT YOUR VOCAL EXERCISES TO WORK
Relate your exercises to your songs – words, vowels, rhythm, breathing and resonance, instead of “just doing” the exercises. Taught by Suzi Johnsen.

PYTHAGOREAN THEORY
Pythagorean tuning made easy taught by Tori Postma. Anyone can understand how and why to use it. Sounds complicated, but it isn’t.

QUALITY ASSURANCE: CHORUS ENTRY OR REPERTOIRE/PERFORMANCE QUALIFYING
Different, fun and newer methods for chorus entry or repertoire qualifying are explored. Taught by Suzi Johnsen. This class is open to Assistant Director, DCP, Director, Music Educator, Novice Director, and Section Leader Tracks only.

QUALITY CONTROL WITH TAPING PROGRAMS

QUARTET IMAGE: KNOW YOUR STRENGTHS
Take advantage of your particular performing style. Define your quartet personality and image. Reinforce it with costuming, song selection and choreography that attracts more of the same. Market yourselves through your image and choice of music. Taught by Peggy Gram. Open to Quartet Track participants only.

QUARTET SKILLS FOR NEW QUARTETS
Make your quartet rehearsal more productive and rewarding for everyone. Learn techniques to maximize your use of time and build unit sound in this class taught by Tomi McEvoy.

RAISING COMPETITION SCORES B- TO B LEVEL
Join Master Director Diane Huber in viewing and analyzing various CD/DVD performances and develop strategies for raising your performance level. This class is designed for directors of choruses scoring at the B- level. Open to Director and Novice Director Track participants only.

RAISING COMPETITION SCORES C+ & BELOW
Join experienced Master Director Shirley Kout to view and analyze various CD/DVD/video performances and develop a strategy for raising performance levels. Class is designed for directors of choruses who score under 479 points at competition. Only Director and Novice Director Track participants may attend.

READY, SET, RESONATE
This class, taught by Molly Huffman, will explore how body alignment, breathing, singing space, relaxed tongue and jaw, and a relaxed body can enhance your ability to resonate properly. The class is interactive and will leave the singer with a new sense of vocal freedom!

REHEARSAL PLANNING & TEACHING SKILLS FOR NOVICE DIRECTORS
Novice directors learn the elements for a well-planned and well-paced rehearsal schedule. Warmups, repertoire review, teaching skills, attention control, clarity, variety, and closure are among the topics covered. Taught by Sandy Robinson Marron. Only Novice Director Track participants may attend.

REHEARSAL PSYCHOLOGY & STRATEGY
Plan your rehearsals so they build to the climax you intend, while satisfying the emotional and musical needs of the singers and the director. Taught by Vickie Maybury. Open to Director Track participants only.

REPERTOIRE CONSTRUCTION FOR DIRECTORS AND QUARTETS
Design a working repertoire that can be adapted to several performance situations. Give your singers a limited number of songs to perfect, but select them for versatility and audience satisfaction. Plan rehearsals to keep the current repertoire performance-ready while adding new selections. Taught by Sharon Babb.

RESONANCE & BARBERSHOP SOUND
Understand the relationship between resonance and the barbershop style of singing. Understand why resonance is important to the unit sound in quartet and chorus singing, increasing the ability to produce resonance, hear resonance, and how to train singers in consistency in resonance. Taught by Jim Arns. Only Directors and Novice Directors may take this class.

RHYTHMIC EXPANSION
Explore rhythmic awareness and development through the use of creative movement in a class taught by Charla Esser. The spiral of rhythmic consciousness and the Orff-Schulwerk process come together to help us learn to PLAY and play while we learn. Rhythm: Let’s explore it, wear it, feel it, remember it, release it, become it and create it!

SECTION LEADER WORKSHOP
A four-part workshop for section leaders, taught by Molly Huffman, will include instruction and practice in four areas: Part 1: Teaching Vocal Production Skills, Part 2: Communication Skills, Part 3: Directing Skills, Part 4: Developing a PVI Program. Only Section Leader Track participants may attend.

SENSUAL PERFORMER (THE)
Creative exercises and group discussions are designed to help participants “get outside themselves” and perform with freedom. Taught by Gail Jencik.

SHAKE YOUR GROOVE THING: SHOW ‘EM HOW WE DO IT
This class, taught by Judy Pozsgay, focuses on the who, what, when, how and why of performance and movement in barbershop. The class includes demonstrations and audience participation.

SHOWMANSHIP COACHING - DIVISION A
Watching a Division A (small) demonstration chorus, coaches and others observe showmanship coaching appropriate to this level of chorus. Musical selections used for coaching will not be used in the chorus’ Harmony Classic performance. Taught by Lynne Smith.

SHOWMANSHIP COACHING - DIVISION AA
Watching a Division AA (mid-sized) demonstration chorus, coaches and others observe showmanship coaching appropriate to this level of chorus. Musical selections used for coaching will not be used in the chorus’ Harmony Classic performance. Taught by Leslie Forsyth.

SIGHT SINGING
Learn basic fundamentals of music reading easily, quickly and enjoyably. Take home practical tools to continue building your skills. Taught by Suzy Lobaugh.

SING OUT, LOUISE
Use a seminar song to strengthen individual vocal techniques by addressing common problems and/or goals. This class, taught by Lorraine Barrows, works to enhance the unit sound through the basics of breath management, support, focus, blend and tuning.

SING WITH THE STARS
This class, taught by Molly Huffman, stresses vocal freedom, extension of range, emotional singing and the singer’s ability to “turn off the personal judgment” and SING! We will use examples of many of our favorite female vocalists...a fun class!

SINGLISH: WORD SOUNDS, NOT WORDS
A step-by-step guide for effectively using word sounds to strengthen synchronization, emotion, resonance, and tuning taught by Dr. Jim Henry.

SMALL CHORUS: SHARED RESPONSIBILITIES BETWEEN MEMBERS AND DIRECTOR
It DOES take a village to run a small chorus — or ANY chorus! It’s fun to encourage and train our members to help shoulder the load. Taught by Suzi Johnsen.

SO WHAT DO THOSE JUDGES WANT ANYWAY? CAROL KIRKPATRICK
SO WHAT DO THOSE JUDGES WANT ANYWAY? DIANE PORSCH, JO LUND
Understand the basics of the judging categories and what is rewarded in this presentation of the four categories and category weights. Realize that mistakes or vocal production problems affect all categories. Know what basic skills are presumed as essential to any performance and then define the finesse that elevates both the scores and your own enjoyment.

SPEECH THERAPY APPROACH TO VOCAL PRODUCTION
Speaking habits can build or weaken your singing voice. Use speech therapy to strengthen and support the best in your own vocal possibilities. Taught by Britt-Hélène Bonnedahl.

“SPING” YOUR SOUND INTO EXPANDED RESONANCE
Discover and develop expanded resonance using the “Spinging” technique developed by Dr. Miriam Arman outlined in her book, The Voice – A Spiritual Approach to Singing, Speaking, and Communications (revised). Taught by Shirley Kout.

START YOUR ENGINES: EFFECTIVE USE OF WARMUPS FOR MIND, BODY AND SOUL
We’ll have fun warming up our voices, minds, bodies and hearts together! A reminder of how vitally important the warmup time is and how it can be more effective for the specific needs of your group. A mixture of new and revisited warmups will engage and energize every singer while providing new insights into how to teach each one. Taught by Paula Davis.

STRESS MANAGEMENT
This class will offer and explore strategies for dealing with pressure-cooker situations that sometime arise within choruses, quartets, sections, teams, committees, and also within the lives of individual singers. It will examine the impact of group dynamics, personality types, and the crush of everyday living on the well-being of people today. Taught by Sharon Babb.

SURVIVING THE CHORUS OBSTACLE COURSE
Identify and practice win/win outcomes for common chorus problems. Communicate effectively to solve problems, deal with difficult people and prevent or resolve conflict. Taught by Marge Zimmerman.

TEN THINGS I WISH I HAD KNOWN WHEN I FIRST STARTED DIRECTING
Know the basics that would make the first year of directing so much easier. A class taught by Sandy Robinson Marron designed for novice directors and those thinking about directing. Open to Novice Director and DCP Tracks only.

THERE’S MORE TO CHOREOGRAPHY THAN DANCING
Fuller use of the stage, characters, grouping, mood creation, role playing, etc. Taught by Marcia Massey.

TO MOVE OR NOT TO MOVE...THAT IS THE QUESTION!
Learn effective methods for integrating physical warmups into your weekly rehearsals. Renee Porzel will offer song suggestions and tips for making warmups fun and valuable. Renee will also share methods for creating musically based choreography that supports your Director’s musical plan, and demonstrate methods for creating choreography that is easy to remember!

TONE & TEXTURE
Understand and produce the many varieties of sound your voice is capable of producing. Learn how to use your voice in various tones and textures, ranging from the warm ballad voice to the edgier uptune voice. Taught by Laura Pallas.

TUNE IN TO IN TUNE
In this class Betty Clipman will identify the elements of an in-tune performance and demonstrate how to achieve it. Open to Quartet Track participants only.

TUNING TECHNIQUES FOR DIRECTORS
We think it’s out of tune but why? And how do we fix it? How many ways are there to be out of tune? Kim Hulbert answers your questions and provides solutions to totally singing in tune. Open to Director Track participants only.

UNIT SOUND
Synchronization and unit sound are the essence of barbershop harmony performed well. The expression category’s requirements and common difficulties are demonstrated with the assistance of a Division AA (midsized) demonstration chorus. Taught by Darlene Rogers.

USING THE CHORUS PERFORMANCE LEVEL TAPE
Learn from judge Sharon Babb what the different levels on the chorus performance level tape mean to you as a musical leader or coach. Recognize the defining traits of each level and what to do to take your performers to the next stage. This class is open to Assistant Director, Coaching, DCP, Director, Novice Director and Section Leader Tracks only.

VOCAL HEALTH & HYGIENE
Tips and tricks to help you take care of your voice so that it is there when you need it. Suggestions to help you avoid the traps that often take away our voice in stressful situations (contest). Interactive and informative. Taught by Darlene Rogers.

VOCAL PRODUCTION FOR DIRECTORS
Kim Hulbert works with front-line chorus directors in a demonstration and discussion of the group-teaching of vocal skills during chorus rehearsals. Only participants in the Directors and Novice Directors Tracks may attend.

VOCAL USE & ABUSE
Have you ever experienced vocal fatigue or loss of notes when you sing? Do you sometimes wake up with a husky voice? Are you singing bass early in the morning and you’re a lead? Come find out why this happens and what you can do to prevent it. Taught by Dede Nibler, who has had vocal nodules twice (nothing to brag about).

WALL OF SOUND (THE)
A class taught by Tori Postma covering the breath support, resonance, diction and the energized singing required for a solid barbershop sound.

WARM UP THE INTERNATIONAL WAY
Explore fun ways to warmup your chorus by singing songs, chants, vocalises and rounds from all around the world. This will be a highly interactive session with many opportunities to practice the international warmups taught by Alyson Chaney.

WHAT MAKES IT BARBERSHOP?
This class taught by Nancy Bergman will help singers get acquainted with the chords used in barbershop harmony. In a fun and memorable way; learn how to execute barbershop “swipes” and remove the mystery from ballad interpretation in the barbershop style.

WHAT TO LOOK FOR IN AN ARRANGEMENT
Match your music to your strengths. A recipe for singing arrangements appropriate to your quartet or chorus. Taught by Suzy Lobaugh. Directors, DCP members, chorus music staff personnel, and quartet members will find this class helpful.

WHAT’S IN IT FOR ME?
Know how you and your local chorus relate to all the offerings of the international organization. Learn what’s available for resources, who’s available to help, what programs and opportunities exist, and how you can take advantage of all the exceptional educational and social opportunities offered. Taught by Lorraine Barrows.

WHERE DO I BEGIN? A STEP-BY-STEP GUIDE FOR BUILDING THE CHORUS SOUND FROM THE GROUND UP
This class, taught by Dr. Jim Henry, begins with exercises and philosophies for attitude building, and then carries on to posture, breathing, word sounds, tone, tuning, and synchronization. Dr. Henry proposes this step-by-step approach as a workable order for the growth of a great chorus. This class is open to only Assistant Director, DCP, Director, Music Educator, Novice Director and Section Leader Tracks.

WHY DO THEY LEAVE?
Member retention is often related to stress reduction. Finding and addressing the sources can change the atmosphere of the chorus and keep members happy, participating and contributing. Taught by Cammi MacKinlay.

WHY DON’T MY HANDS DO WHAT MY BRAIN IS SAYING?
Musical leaders who are just starting to “wave their hands” practice and refine conducting techniques for more effective visual communication with the chorus. Use the seminar songs for vehicles and have your directing questions ready. Taught by Marge Zimmerman.

WHY THE SONG SCORES
What is inherent in the music that makes a song a strong arrangement? What are the technical skills needed to take advantage of the possibilities? Why does one group score well with a song where another fails? Listen to Marge Bailey’s analysis.

WHY WERE THEIR SCORES SO MUCH BETTER THAN OURS?
This class taught by Marcia Massey reviews a video of choruses singing at various levels to follow the progression from fair to excellent, to hear the stumbling blocks, to hear what works, and why.

YOU CAN WRITE A SONG
What makes a good song? This six-part workshop for songwriters, taught by Lynnell Diamond, will help you learn how to get ideas for lyrics and melodies; use the right form as a framework; analyze effective music and evaluate to make your song better.

YOU HAVE TO HEAR IT TO SING IT
Participate in a collection of games, rhythm chants, exercises and interval routines to build your sight-singing skills, tuning and accuracy. Taught by Lorraine Barrows.

YOU TOO CAN BE A COACH
Become the “fifth ear” to help choruses and quartets improve. Learn basic coaching techniques and practices while developing a repertoire of skills to take performers to a new level. Taught by Carole Kirkpatrick.