[editor note - In the Nov. -Dec. 2004 edition of this bulletin, I began this "Ten Expectations of a Champion' which was from the Society web site and excepted from a master class presented by Dr. Greg Lyne and the Masters of Harmony. for continuity, please refer back to Nov-Dec 2004 issue.] continuing on...

3. Vowels that look right

Make an "oh" vowel look like an "oh." All vowels should be vertical in approach and encourage space within the mouth. Create as much space as possible without inducing tension. Avoid any vowel which looks horizontal.

4. In-line singing

Make all the vowels sound similar, each to another. That is, no vowel should pop out at the listener disturbing the musical line; they should all be of a similar character.

While an "ah" is certainly distinct from an "oh" or an "ee," it should not be different in the way it's placed, vocally, or in its inherent resonant characteristics. This is achieved by consistent vocal production, consistent placement high in the head, and a consistent approach to the musical line. At its best, there should be a continual, uninterrupted resonance (ring) throughout the entire vocal line, through the full range of word sounds and pitches.

Go for a constant placement, constant breath pressure and a minimum of jaw movement.

5. Focused Singing

The sound is simply focused into a resonant point. Start the chorus with their hands held wide apart and have them sing a unison pitch while slowly bringing the palms together in front. Have them listen to the "focusing" of the sound. This is related to #4, above, especially in the consistency of the placement of the resonance and the focus of the tone.

They will feel the tone placed in front of the bony mask, generally behind the eyes or a little higher. Always work for the feeling of resonation in the head. It should never feel like the tone is produced from the throat position. Think spin and resonance in the tone without weight in the tone. The tongue position is also critical here: tip touching lightly the lower gum ridge. Carefully monitor a relaxed tongue position. It must be carefully taught. Any tension in the tongue is counter productive.

6. Know the characteristics of your part.

There are many ways to relate the different roles of each part to the unified whole. I like the car analogy:

The chorus is a finely tuned, extremely expensive racing machine (say, an expensive high performance sports car). The leads are, of course the drivers. They are in control of both the speed and direction of this well constructed machine. They sing with lyricism and freedom and are able to negotiate all the "curves" with ease. No jagged turns, everything sounds the same throughout the range and never weight in the singing. The basses are the engine, providing a smooth, velvety, unrelenting supply of effortless, masculine power. The basses form the foundation and constancy to the barbershop sound.. The baris are the transmission: shifting from gear to gear in a smooth, effortless motion. An even quality throughout the range, the baritones bring the dignity to the barbershop sound and are the dignified Mercedes Benz's of barbershop singing. And the tenors are, well, how about the paint job? Brilliant yellow, fire engine red? Or maybe the decals. I dunno. Figure it out. They will want to work for added color, sparkle and focus in their tone to make it just right.

Another approach to part characteristics is to get the foundation from the basses, beauty from the baris, personality from the leads, and shimmer or glitz from the tenors. This works well, too.

Look for the conclusion to this article, items 7 through

That's why SPEBSQSA changed its name recently to the more explanatory Barbershop Harmony Society, did research to find out how to attract men who like to sing, encouraged arrangements of more contemporary songs, and began trying to raise its profile and develop a more up-to-date image.

"The fact is, other fraternal kinds of organizations have found the same kinds of problems we have had" Hopkins said.

Perhaps the seeds of renewal lie in groups such as Choral Pride. One of its newest members is tenor Brian Bergin, a 16-year-old junior. A quarterback on the football team, he had to wait until after the season to sign up. "I heard it last year, and I thought it would be a neat thing to do. I'd never heard [barbershop] before," he said. "It's interesting to hear how the other harmonies blend. It makes a neat sound."

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