It is hard to believe another month has gone by. And what a great month! Fermata the Blue competed in the Divisional Contest and did a terrific job for first time out of the box. Stan Haymaker, Dan Whipple, Dan Gonzales and Vance Heron were the tenor, lead, bari and bass of the quartet. Good job guys, we’re proud of you. That is a terrifying ordeal to face those judges for the first time.

We have acquired four new members and they are all good singers. No, they are excellent singers. If you haven’t been around lately, you have missed singing with some good guys. I can’t stress this enough. If we get more good singers, your Monday evenings will be terrific. Talk to your friends and explain how much fun you are having. If you get them to visit one time, they will thank you for it.

Lots of new stuff coming up, come on down. Remember, if you’re too busy to sing, you’re too busy.

Fermata the Blue Competes
At So Cal West
By Stanley Tinkle

Orange Quartet Chapter regulars always look forward to a performance by Fermata the Blue, a quartet that enjoys songs with spirit and rhythm. Their delightful personality is a compound of a clear and dependable lead, Dan Whipple, a stealthy bari, Dan Gonzales, a resonant bass, Vance Herron, and an impish tenor, Stan Haymaker. This listener always expects them to do the unexpected, which is a fine basis for an entertaining quartet to build on.

This month, FTB competed in the So Cal West contest for the first time, with two of my favorite songs, "Old Saint Louie" and "Ain’t Misbehavin’". They finished a respectable twelfth, in a field of about seventeen quartets. Next time you see them, remember to congratulate them before you ask them for a performance. They do make our chapter look good.

Dave Gryvnak’s Challenge
"Invite Some Good Singers"
By Stanley Tinkle

We have a good president, in case you didn’t notice. Dave Gryvnak works quietly and steadily behind the scenes to improve the pleasure quotient of the Orange Quartet Chapter. A case in point: Dave arrives before I do, around 5:50 pm every Monday, to open the place for our quartets to rehearse. Another case: when he asks you to help at some chore, Dave tries to match your skills to the task at hand. Somebody told him I could type, so here I am.

A final example: recently Dave reminded us that when we invite good singers to visit, our singing is more fun. Boy is he right. Larry, Rich, Dan and Jeff have raised our harmony quotient several notches. I’m sure they will all be in new quartets within a few weeks.

Sometimes the good singers invite themselves. Last night the quartet Skylark, all members of the Laguna Hills chapter, dropped by and shared four songs with us: "Bill Bailey", "Georgia Medley", "After You’ve Gone/Please Don’t Talk Medley" and "Crazy ‘Bout Ya Baby". Every time I hear these guys they get better. Lead Dennis Kirven and bass Michael Halpern are a strong and sure match. Bari Allen Wood is right where he should be, not quite out of sight. And tenor Fred Eastman laid two hangers on us, bright and clear, like icing on the cake. It was an exciting presentation, full of great chords. Let’s invite some more guys like these!

The Curmudgeon Returns!
by Paul Kelley

(ker-MUJ-en) n. 1. A gruff or irritable person, especially an elderly man.

Dorothy Acton requested I resurrect my old persona to offset some of the sweet stuff you nice guys call writing. (She didn't say exactly that, but I have to get this going somehow.)*

Some of you flannel mouths have already fell victim to one of my favorite complaints--that is, interrupting a conversation. If you did, you probably can agree to the curmudgeon name as it applies to me. Any lengthy explanation shouldn't be necessary. It's just downright rude.

Enough for now. I've got several subjects for the future, you lucky Yahoos!

*Editor's Note: I told Paul his curmudgeon articles somehow suited him better!

Thank You
from Sam Barker

Sam Barker wishes to thank our barbershop family for their many kindnesses after the death of his wife Phyllis. There were beautiful cards, wonderful attendance at the service for Phyllis, and much support at the Barker home after the service, both in food and refreshments and in singing. Sam especially wants to thank you for your donations in Phyllis' name to the Cancer Society. Your kindness has meant so much to Sam and his family.

How to be a great lead
Some tips from a world champion lead.
Submitted by Joe Connelly, two-time quartet gold medalist

When the audience is leaving the auditorium after a show or contest, what will they be humming? The melody, of course (music judges excluded, for reasons we can't explain here.).

It is the lead singer's job to execute (no pun intended) each melody line with precision and flair. It is this "recognizable line that is familiar to audiences and puts them at ease." Although this makes the lead part the easiest to learn, it also means that the lead singer is the most vulnerable. When you sing melody, you can run, but you can't hide.

So, what does it take to be an awesome lead singer? Let's take a look at three of my personal favorites, and observe what I consider to be their most outstanding qualities. (Keep in mind that these all-time greats were blessed with phenomenal harmony-part singers who helped support and showcase their talents.)

RICH KNAPP-- 1980 International Champion Boston Common. Rich embodies the very best of singing naturally and believably from the heart. Listeners fall in love with his no-nonsense delivery. We can all learn from Rich to trust our feelings and emotions when we perform each and every song.

KEN HATTON -- 1978 International Champion Bluegrass Student Union. Never before or since has there been a lead singer who commands the stage with more vocal energy and visual excitement than Kenny. His stage personality also evokes a positive rapport with any audience. We can all learn from Kenny to sing and perform every note with intensity and a commitment to be the best.

BOB FRANKLIN --1961 International Champion Suntones. Bob is the consummate professional showman. He is always prepared and always disciplined in his performance. He is also extremely adept at singing harmony when called upon to do so. We can all learn from Bob to be aware of our vocal role in every tune we present to an audience, and to strive to perform it flawlessly.

Top Ten Habits of Highly Effective Lead Singers

--Learn basic barbershop chord structures to be aware of proper balance. Diligently study successful leads' strengths and adapt them to your own voice and personal style.
--Plan ahead for maximum mental focus in each rehearsal and performance.
--Be fully prepared in every aspect of your music.
--Be consistent -- sing each song the same way every time.
--Practice singing the melody against a continual fixed tonal center--an electronic pitch pipe works great.
--Always rehearse as though in front of an audience.
--Develop a physical exercise plan that works for you.
--Drink a lot of water every day to keep your body and vocal cords hydrated.
--Find a great bass, baritone and tenor whom you trust musically, and who in return, have faith in you to lead them onward and upward.

Error Correction
by Dorothy Acton, Editor

Last issue I loused up Paul Kelley's article about the Gene Clements presentation. I absolutely flat-out typed the wrong word, which changed the meaning of Paul's article completely.

What I typed:
Gene in his knowledgeable and gentle way, demonstrated how to hold one's mouth to overcome that, among other things. (He was only after some salient points that evening.) All hands agreed that it was a great improvement for me and the quartet. I can't agree with all you experts.

What Paul actually wrote:
Gene in his knowledgeable and gentle way, demonstrated how to hold one's mouth to overcome that, among other things. (He was only after some salient points that evening.) All hands agreed that it was a great improvement for me and the quartet. I can't argue with all you experts.

Our 2004 Music Program
by Rich Lewis

You members who haven't been around for a while, may find some added interest in our weekly chapter activities. In addition, not all members who have been attending fully understand how this program is set up to assure them an opportunity to learn any or all of the songs that have been selected by the quartets:
---by buying the music;
---by listening to a tape or CD with your voice-part for each song selected;
---by singing in an octet with the quartet who taught the song;
---by being given an opportunity to sing your part with the other three men in that teaching quartet during either of the two 20-minute quartet 'break-out' sessions during the chapter meeting;
---and, lastly, to perform the song with the three other quartet singers in front of the always encouraging chapter members.

The plan:
Twelve songs were selected for the quartets to select five songs from that which they would like to learn. The quartets were to select songs that they would be willing to teach to the other quartets and quartet 'wannabees' in our chapter.

Based on the selection by the quartets and other non-quartet chapter members, the music was ordered and distributed @ $2.00/song per person. This included a CD or tape, with the specific part recorded for the songs selected for each man in the quartet and for those non-quartet chapter members who wanted to learn those songs. The $2.00 fee/song included the $1.65 for the music, $0.40/song/recording for ASCAP and the price of the CD or tape, the chapter picking up the difference. All the recordings were duped by our recording-maestro, Phil Roth. Phil made sure to send the 'recording fees' to Kenosha. Be sure to thank Phil for this very important effort.

Our first song, selected by chapter response to Indigo's excellent presentation, was "Let's Get Away from it All". The next ten songs presented and selected for learning by 'x' number of members, were:
1. Back in the Old Routine
2. Don't Blame Me
3. Dream A Little Dream
4. Get Out & Get Under the Moon
5. I'd Give All My Tomorrows
6. I'm Sittin' on Top O' the World
7. It Had To Be You
8. Louise
9. You Made Me Love You
10. You Must've Been A Beautiful Baby

Phil had requested "On the Sunny Side of the Street" be ordered for his quartet. The song showed up on the order list,' and several indicated they wanted the music and their part recorded for a total of 13 members interested in the song. Each member interested in a "recorded part" please ask Phil directly for the tape or CD. He may request that you return the media for him to add this song in your part.

That brings the list of songs the chapter members are interested in learning to 12! Each of the quartets has selected five (5) songs they wish to learn. Some have indicated which ones they will teach. This is an important decision for the quartet to make as it should be the first one for them to learn, providing some continuity in the song presentations by the teaching quartets.

Here are the teaching quartets and their songs selected for presentation, and, those that have been presented so far:

Indigo: "Get Out and Get Under the Moon" (Already presented)
"It Had To Be You"
"Louise"
"On the Sunny Side of the Street"
"Let's Get Away From It All" (Already presented)
Balderdash: "I'm Sittin' On Top O' the World" (Already presented)
Plaza City Serenaders: "Back in The Old Routine"

I will ask the other quartets which songs they wish to teach and encourage them to start learning that song.

Mike, our music maestro, each week shall make up an octet from the quartet that has already presented a song and those who are ready to try their skills at that song. Progressively, each week, the octet formed can have one less of the quartet members who presented the song and eventually the octets will be void of the original "teaching" quartet. And finally, a quartet can be formed to present it with members other than one of the organized quartets, giving the non-quartet members a real thrill to do it themselves, and, may even start a new quartet. (What a novel idea!)

We should keep rotating the "octet" concept with all of the songs previously presented so that by the end of the year each of the songs presented by the quartet method have been sung be all the members who were interested. This is to replace the "gang" singing of the new songs which does not really improve the members "quality" singing of that song. The only way we can accomplish an improvement in the quality of the song sung in the chorus style with our members is singing in the octet and quartet method improving their "ear" singing.

We must continue to differentiate ourselves from the presently traditional chapter that learns songs in the "chorus" method and gang sings "polecats."

We are a chapter that learns "barbershop" harmony in only the quartet method. Our 'gang' singing should be limited to our "Old Songs, Down Our Way" entry and our traditional "Keep America Singing" exit.

This applies to our old repetoire. It is a quartet repetoire and should be presented only in the quartet form-that is, a pickup quartet during our warmup at the beginning of the meeting to give the new members and guests an opportunity to hear the song in the "quartet" form, not the dischordant "gang-singing" form. There is more "leaning" than "learning" in the "gang" form of singing, and conversely, a dramatic increase in the quality of a singer in the quartet form as he has no one to lean on, and, must continually tune and match his vowels to the lead, and, balance his voice with other parts in the chord being generated.

Our "craft" nights have been well received. Gene Clements is to be thanked and congratulated for his evening with us in April. Each of the quartets used in the presentation and members who were just members of the audience have spoken to all of us on the chapter board how musically rewarding the evening was.

We are planning to have a guest barbershop-harmony "craftsman" work with us on a bi-monthly basis, that is, hopefully five nights this year. Emmett Bossing is a certified judge in balance-and-blend, harmony accuracy and stressing the importance of the lead-bass balance. I will contact him for a session the first part of June. We can follow again in August with another session with Gene, giving him and our members an opportunity to see and hear the improvement in our quartet "voicing." Please think about some other "craftsmen" we can invite to help us improve our singing in the "quartet" form and let me know who you have in mind. You or myself can make the initial contact. If you want to coordinate the evening session, please review it with your Music V P. leaving none of the arrangements to chance.

We have been spoken to by several chapter members and guests who are very pleased with our new "learning" program. They come up to us with excitement in their eyes and body language and ask "have you got that new music for me tonight?". "What about a taped part for "On the Sunny Side of the Street?" "Let's have another session with Gene".

We, the members of the Orange Quartet-Only Chapter, are encouraging those new to barbershopping to join our society. Others have joined us for the quartet experience, maintaining their membership in a 'chorus' chapter. Either way, they come to our chapter for the fun in singing a quartet.

Let's keep the fun in singing in the quartet method at our chapter rolling!

Yours in Harmony,
Rich Lewis
Music V P
singqtet@cox.net
949-857-0517

Memorial Service for James Rollins
By John Majzler

A Memorial Service was held on April 24 2004 for Jim Rollins in Villa Park California. Jim was 72 years old. He was hit by a truck while riding a bicycle. The family was devastated but still had a positive attitude.

Jim was a veteran of the Viet Nam war. He flew 143 missions as a Navy Pilot. After the War he was a pilot for United Airlines until his retirement. He also was a Scoutmaster and volunteer firefighter for Villa Park. Jim would take trips with his wife and sometimes friends in his Bonanza Beechcraft. In the Year 2001 Jim organized a sailing trip to Tahiti for his entire family.

The Celebration of Life was held in Jim’s huge back yard, which had a sloping lawn, a flower and vegetable garden, and was shaded by many old gigantic trees. The yard and patio easily held over two hundred people. Jim's three sons, daughter, and seven grandchildren tearfully spoke about how wonderful he was to them and how they will miss him. Other relatives, friends, and neighbors told us of his kindness.

The next-door neighbor at the end of his eulogy mentioned that Jim loved to sing with a quartet in college. Jim throughout his life would sing as a solo or duet with his wife his Favorite song. As the neighbor mentioned the song "MY EVALINE," I jumped up as we had Rehearsed, and said I knew that song but would need the other parts to sing as a quartet.

4/4 Harmony then sang the song MY EVALINE. As we sang we could see all the family singing with us-they knew the words from memory. The preacher asked for an encore so we sang SAN FRANCISCO BAY BLUES. We were pleased with the reception we received.

Jim Rollins had reaped the love that he had sown.

Interesting Observations

Half this game is ninety percent mental.--Yogi Berra
He can compress the most words into the smallest idea of any man I know.--Abraham Lincoln
Victory goes to the player who makes the next-to-last mistake.--Chessmaster Savielly Grigorievitch Tartakower
I dont know anything about music. In my line you don't have to.--Elvis Presley
The concept is interesting and well-formed; but in order to earn better than a C; the idea must be feasible--A Yale University management professor in response to student Fred Smith's paper proposing reliable overnight delivery service (Smith went on to found Federal Express Corp.)