Vocal Lesson

Members Count!
Toolkit
The Vocal Lesson Plan
Page 4-1
THE VOCAL LESSON PLAN

The Vocal Lesson Membership Plan was first described in Ready, SetGrow. Since that
time, it has been used successfully by a large number of Sweet Adeline
choruses.In this chapter, we have updated the original program and included some new
exercises and ideas received from many talented Sweet Adelines. We've also included
information about other membership programs:The Performance Opportunity Plan,
The Two Night Plan and the One-Day Vocal Performance Workshop Plan.
The Vocal Lesson Plan is designed to be used by choruses desiring an educational
introduction for potential new members. It is a four to six week program which
provides an opportunity for sound education in the basics of vocal production within
the non-threatening environment of a classroom.
Prospective members spend part of each rehearsal in weekly group singing lessons
taught in a class setting by the chorus director or a member of the music staff. They
also have an opportunity to join with the chorus for part of each rehearsal.
What follows is an outline of the Vocal Lesson Plan program, complete with lesson
plans,handout materials and implementation ideas.Planning and careful preparation are
crucial to the programs success.It is a good idea to begin the initial planning six months
before the scheduled lessons.
VOCAL LESSON PLANNING OUTLINE

WHEN TO SCHEDULE
Each chorus will have to evaluate their annual schedule and community calender to determine the optimum time for conducting the vocal Lessons. Many
groups begin this program at the beginning of the
school year for their geographic area. Fall is traditionally a time to examine educational possibilities and to
seek new challenges. Other groups find that January
works well because it is also a time people look for

challenges and set new goals. Still other groups report
that scheduling the lessons in the spring after competition is best. Competition pressure is over and the
chorus is more able to focus on recruiting and welcoming new members.
OBJECTIVES OF THE VOCAL LESSON MEMBERSHIP PLAN

Provide vocal instruction within a classroom setting.
Provide a non-threatening atmosphere for beginners.
Provide the opportunity for newcomers to bond with their peers immediately.
Provide organized support from the membership team, chorus and music team
throughout the membership process.
Provide a nurturing, positive, learning atmosphere with many opportunities for success.
Provide the opportunity for bonding with the chorus director.
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Members Count! Toolkit

PREPARATION AND PLANNING

1. Appoint one or two members to chair the membership recruitment team. It may be a good idea to
select one chair of the team for her enthusiasm and
the other for her organizational skills.The chair(s)
gathers a team to plan the vocal lesson program.
They appoint other members to chair committees
identified by the team as needed for success.
8. Prepare an efficient registration process that

includes enthusiastic greeting and interaction,
acquiring personal information,payment process (if
applicable), name tag, handing out packets and
information, voice placement, and immediate connection with a chorus member with whom to
hang out. (Refer to Chapter 3.)
2. Prepare advertising and promotional materials.

(Refer to Chapter 2.) Advertising is expensive, but
necessary. The lessons are free, but some choruses
charge a fee for materials.
9. Appoint and train greeters and Riser Buddies

Big Sisters. (See Chapter 3.)
3. Educate and promote the event within the chorus.

(Refer to Chapter 3.)
4. Prepare ample learning tapes and music folders.
5. Prepare guest packets. (Refer to Chapter 3, page 3-8)
6.Work with the chorus director to plan the schedule
for the guests and for the current members.During
the first hour of rehearsal when the director or
his/her appointee is teaching vocal lessons to the
guests, the music team and assistant director carry
out the directors plans for the existing chorus
(choreography review, holiday music refresher,
dueting, section rehearsals, etc.).
7. Prepare all lesson plans and handouts for the vocal
lessons. Sample Vocal Lesson Plans and Handouts
are included and may be used as guides in your
planning.The lessons are written for a 4-week program and can be easily adapted for a 5 or 6-week
program.Your own vision,creative ideas and knowledge should be added to make this program your
own.
Rev. 9/01
10. Prepare beverages and light refreshments for the

first night of the class.
11. Arrange for a separate meeting room for the guests
during the first hour of rehearsal.The guests will
need their own space apart from the chorus for the
vocal lessons.
12. Rehearse a 15-minute package to be presented to
the guests.

Page 4-3
THE FIRST LESSON NIGHT

1. Create and staff a welcome table near the door.
Everything should be in place at least 30 minutes
before the scheduled guests arrive. (See Caring For
Our Guests Chapter 3.)
2. Greeters who have been previously appointed and
trained meet guests at the door, directing them to
the registration table, the voice placement area, the
classroom for the lessons, and visiting with them
throughout the registration process, so they do not
feel abandoned. (See Chapter 3.)
3. At the registration table, guests complete the guest
profile, receive name tags, guest packets, learning
tapes, etc. Any fees for materials (optional) are collected at this time. (See Chapter 3.)
4. Another table could hold copies of The Pitch Pipe,
history books, photographs, any trophies or awards
the chorus has won and anything else you want to
brag about.
5.The director and/or music staff will voice place
each guest on arrival and assign her temporarily to
a section,based on her range. Guests should be reassured that this is not an audition but just a method
of determining which part they should try for the
vocal lessons.
FOLLOW-UP
Written notes and cards are an excellent way for
chorus leaders to contact guests following a visit to
rehearsal. Immediately following the first lesson,
send a handwritten thank you note to each guest.
Postcards with the chorus picture work well for this.
Follow-up notes from the director are especially
effective, although they could be written by a committee member. (See Chapter 3.)
Riser Buddies or Big Sisters call all guests each week
before the next rehearsal.
Let the guests know that regular phone calls (or email messages) are part of the Vocal Lesson Program.
Keep the phone calls friendly, enthusiastic and short;
answer any questions the guest might have.
Remember, todays women have very busy lives.
If a guest is absent from one of the lessons, call and
let her know she was missed.
If a guest decides that she cannot join at this time, let
her know you appreciate that she took the time to
find out more about Sweet Adelines.Thank her for
coming and keep her on your mailing list for shows
and other chorus events. (See page 3-14,Following
Up With Visitors.)
6. Chorus members are well-informed about the

schedule including the activities planned for current
members (choreography review, holiday music
refresher, dueting, section rehearsals, etc.).
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EXPERIENCES THAT WILL FOSTER

A DESIRE TO JOIN
1. Be preparedthey will come!
Director prepares thoroughly to present stimulating, fun, informative lessons as well as a plan of
what the chorus will do during the lesson time.
Administration and committees prepare thoroughly to present their orientation information
each week.
Prepare guest packets, music and learning tapes,
along with an efficient registration process that
includes enthusiastic greeting and interaction.
If you collect a materials fee, have someone available to collect the fee and make change. People
expect to pay for quality materials,so a reasonable
fee should not be a problem.The lessons are free
and if a guest does not want to purchase the materials, she can still take the lessons.
2. During the lessons, keep the whole concept
focused on improving their singing voice for application in their lives whether they join or not. If
they decide not to join, you will have made a
friend.
3. Use lots of visual and auditory examples of female
and male barbershop (videos, CDs, actual demonstrations from a quartet) that will enlighten and
impress your class as to the possibilities. Most people have no idea what barbershop is all about and
its our job to show and tell them.
4. Plan to include activities that stimulate emotional
responselaughter, tears, awe, joy in accomplishment,etc. which create a sense of bonding.
5. Director or whoever teaches the classes: Allow the
students to feel the passion that emanates from you.
6. Include the students in repeated vocal exercises and
applications of what you teach so they are physically involved during lesson time.
Rev. 9/01

7. Be completely organized in every detail (or at least

make this your goal!) so that the first impression for
your students is nothing short of A+.
8. Director: Dont forget about your chorus members who will miss having you for full rehearsals
during this time. Think of ways to keep the ties
strong on this end as well.
9. Have the chorus do a couple of mini-performances, complete with casual costume to entertain and stimulate interest.
10. Director: Use the e-mail addresses given to form
a Class of ?? e-mail g roup and write a followup letter to the group after each week.There are
always so many questions. For those who dont
have e-mail,develop an e-mail buddy system so all
guests receive the message.
11. Dont forget to do a final letter of thanks to all
those who participated, and invite them to visit
anytime.
12. Use your Web site to stimulate interest.
ADDITIONAL TIPS FOR SUCCESS

1. Dont be so desperate to add voices that you discount a true vocal problem that could be
counter-productive to the goals you have for your
chorus.
2. Sometime after the vocal lessons,hand out a survey
to new members that provides feedback on their
impression of things. Encourage total honesty.
Thank them and apply some of their suggestions.
3. Remember to keep chorus a positive, educational,
service-oriented and fun weekly experience.

Page 4-5
THE VOCAL LESSONS

The lessons are presented to the guests during the first
hour of rehearsal in a classroom separate from the
existing chorus.Appropriate handouts are distributed
each week. Instruction from the director or his/her
appointee lasts 45 minutes.The remaining 15 minutes
of the session are spent with the membership team
and various chorus leaders who deliver a planned orientation program, always accompanied by appropriate
handouts.
The lesson plans are designed to present three crucial
areas important to singing well: a fully supported
sound, a freely produced sound and a fully resonant
sound. Each lesson must incorporate vocal exercises.
Section Rehearsals:
If the guests will be learning a new piece of music,
you may wish to schedule section rehearsals to
immediately follow each weeks vocal lesson.
Section rehearsals provide a non-threatening
atmosphere for beginners to learn music.They also
provide an opportunity for the section to bond
with the newcomers.
Graduation:
Design a celebration to fit your chorus. Consider a
performance for family and friends, a performance
by the Class of ??, special certificates, or a fullscale graduation with pomp and circumstance,
mortarboards, refreshments etc.
FOUR WEEK PLAN

Week 1: Posture: the basis for all good singing
Breath: the fuel for singing
Week 2: Phonation: creating the sounds of music
Resonation: creating good vocal vibes
The inside smile
Week 3: Articulation: creating words that communicate
Fundamentals of vowels, diphthongs,consonants and dynamics
Week 4: Coordination
Fundamentals of the Barbershop Style
Graduation
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THE VOCAL LESSONS
FIVE WEEK PLAN

The inside smile
Review, questions and answers
Week 5: Fundamentals of Barbershop
Graduation
SIX WEEK PLAN

The inside smile
Review, questions and answers
Week 5: Fundamentals of Barbershop
Week 6: Graduation
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Page 4-7
REMAINDER OF REHEARSAL TIME:

Thirty-minute section rehearsals with chorus and
guests together.
Forty-five minutes with chorus and guests singing
together, perhaps music new to everyone on the first
night. This includes introducing the guests (each
receiving one clap).
Performance by Class of ??whatever they have

accomplished at their rehearsal. A teaching quartet
could sing with them for moral support and the
chorus, of course, cheers wildly!
Ten to fifteen-minute repertoire performance by the
chorus for the guests. (Class of ?? joins as repertoire increases.)
THE VOCAL LESSON PLAN SAMPLE REHEARSAL SCHEDULE

7 to 8 p.m.
Guests with chorus director for vocal lesson.

Membership chair joins the group at 7:45 p.m. for orientation.
A. Chorus members attend duet rehearsals
Lead/Bari
Bass/ Tenor OR
B. Choreography Session OR
C. Repertoire review with assistant director(s)
8:05 to 8:35 p.m.
Section rehearsals for all members and guests.
8:40 to 9:30 p.m .
Guests are introduced.

Chorus and guests on risers.
9:30 to 10:00 p.m.
Chorus performs for guests.

Guests perform for chorus.
Announcements.
Sing Harmonize the World, How We Sang Today.
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Page 4-8

THE VOCAL LESSON PLAN

SAMPLE LESSON OVERVIEW AND SCHEDULE
Rev. 9/01
Week
Lesson Topic
Orientation Topic
Materials
Week 1
Posture
Breathing
Introduction to Chorus Life
Welcome Letter
Lesson #1 Handout
Music
Learning tape
Lets Get Acquainted Brochure
Week 2
Phonation
Resonance
Membership Auditions
Lesson #2 Handout
Audition Process
Singing Barbershop Harmony Brochure
Week 3
Articulation
Vowels/Consonants
Finances
Lesson #3 Handout
Financial Info. Sheet
Ive Got Barbershop Brochure
Week 4
(4-week plan)
Coordination
Graduation
Costumes/Make-up
Lesson #4, #5 Handouts

Fundamentals of Barbershop
Costume Information
Make-up Basics
Week 4
(5-week plan)
Coordination
Review
Choreography Basics
Lesson #4 Handout
Basic Movement Sheet
Week 4
(6-week plan)
Coordination
Review
Choreography Basics
Lesson #4 Handout
Basic Movement Sheet
Week 5
(5-week plan)
Fundamentals of
Barbershop
Graduation
Costumes/Make-up
Lesson #5 Handout
Costume Information
Make-up Basics
Week 5
(6-week plan)
Fundamentals of
Barbershop
Costumes/Make-up
Lesson #5 Handout
Costume Information
Make-up Basics
Week 6
(6-week plan)
Graduation

Page 4-9
Handout
VOCAL LESSON #1, PAGE 1

POSTURE: THE BASIS FOR ALL GOOD SINGING
POSTURE is the basis of all good singing. When you study a musical instrument, you are first taught
to hold it correctly so that you have the ability to play it properly. The human voice is the most versatile and flexible of musical instruments. Since we sing with our whole body, it is important and
the basis of all good singing, to learn how to hold the body properly.
The ultimate goal in singing is a freely-produced, rich, open and resonated sound. The vocal apparatus must be relaxed. The way the body is held, its posture, has a major impact on whether the
vocal mechanism can remain relaxed and free.
Proper singing posture, from the toes up:
One foot slightly in front of the other, feet comfortably apart for good balance
Weight forward on the balls of the feet, heels on floor
Knees, relaxed and flexible
Buttocks tucked under
Chest (sternum) lifted high and spread wide
A feeling of the ribs being lifted up out of the waistline
Shoulders relaxed, as if hanging on a coat hanger
Neck relaxed, head able to move freely
Head remains level
Chin parallel to the floor, neither lifted nor lowered
Exercise & Posture Drill

Stand up as straight as possible with spine stretched tall and crown of head trying to touch
the ceiling. Raise arms horizontal to floor with palms down. One foot should be slightly ahead
of the other, with weight balanced forward on the balls of both feet. Unlock the knees and
keep them flexible. Tuck the pelvis under and slightly forward. Now turn the arms over so that
the palms are facing toward the ceiling. Notice the extra stretch that occurs in the ribs. The
chest is now very wide, separated and high. There is a lot of space between the bottom of the
ribs and the waistline. Keep everything aligned and lower the arms to a normal position. The
back of the neck is pulled back against an imaginary wall. Now put a smile on your face and
walk around the room. Restate this good posture often.
Common posture problems:

1. Locking the knees: When the knees are locked, the body is off balance. This causes body tension, which creates a tense singer. Be sure to put the weight forward on the balls of the feet
and keep the tail bone tucked under to help avoid inadvertent locking of the knees.
2. Swayback: Sometimes a singer tries to attain a lifted chest by pulling the shoulders back (and
consequently tensing them) instead of using the muscles around the rib cage to lift the ribs
out of the waistline. The intercostal muscles surrounding the rib cage are the muscles that
should be used to lift the ribs and the sternum. When the shoulders are pulled back instead
of the sternum being lifted high, and the buttocks are not tucked under but are thrust backward, sway back posture is the result. In this tense, unbalanced position, good vocal production is not possible.
3. Chest droop: As a musical phrase is sung and air is exhaled, it is easy to allow the chest to cave
in and the rib cage to drop back into the waistline. At the end of the phrase, if this occurs,
the singer has lost the height of the sternum. As you sing a phrase, consciously retain the
height of the sternum and resist the collapse of the rib cage.
Vocal Lesson #1 Handout, Page 1
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Handout

BREATH: THE FUEL FOR SINGING
BREATH is the fuel for singing. The tone we produce when we sing rests on a cushion of air; thus,
the breath is the fuel for the sounds we produce. We see, then, how important it is to supply the
fuel properly.
The muscles involved in breathing are the intercostal muscles, including the epigastrium; and the
abdominal muscles, including the diaphragm. (If you are not familiar with the epigastrium, place
your right hand just below your breast bone, where you can feel the inverted V of your rib cage.
Make a fist with your left hand, put it to your mouth and blow gently onto the fist without allowing any air out. Your right hand will feel the epigastrium pop firmly outward.)
The lungs are where the fuel is stored, but the lungs are organs, not muscles; they are elastic, but
not capable of independent movement unless the movement is initiated elsewhere. The lungs are
attached to the rib cage and to the diaphragm. When the rib cage is expanded, it pulls the lungs
upward and outward; when the diaphragm is lowered, it pulls the lungs downward. When the
lungs are stretched in this manner, through expansion of the rib cage and lowering of the
diaphragm, a partial vacuum is created and air rushes into the lungs. If the muscles are working
properly, the singer does not have to help the air into the lungs, but simply ensure that the passageway is open. It is the movement of the intercostal muscles and diaphragm that causes inhalation to occur.
BREATHING FOR SINGING: T HE DISTINCTION

What makes breathing for singing different from normal or other specialized breathing is the
action of the rib cage. In normal breathing, the rib cage expands to bring in oxygen, then collapses or lowers as the breath is used. In singing, we want to create a feeling of firm support for the
lungs in the intercostal and epigastrial muscles, so that as we use the air the rib cage does not collapse. It is a feeling of nonviolent resistance keeping the rib cage high and wide and not allowing
the ribs to drop into the waistline.
Practicing intercostal and epigastrial breathing helps the singer because successful resistance to collapse of the rib cage gives us control of the breath, allowing us to feed the cushion of air into the
tone in a steady stream (like the control provided by the adjustable nozzle of a garden hose).
Breath control provides constant support and a sense of projection of the tone being produced. We
achieve that by successfully resisting collapse of the rib cage as we sing the phrase.
ABDOMINAL MUSCLE AND BREATH SUPPORT

At the same time as we are using the intercostals to keep the rib cage high and wide, we use the
abdominal muscles for support. The abdominals need to be relaxed during inhalation, so the
diaphragm can be lowered completely, without resistance from below. As we sing, the diaphragm
gradually lifts, pushing air up and out of the lungs as the tone is produced. Because the rib cage is
kept high and wide, the diaphragm will lift gradually and we have better control of the breath.
The nonviolent resistance that keeps the rib cage from collapsing also keeps the breath from rushing out too fast. It can be compared to isometric exercises, in that we have external and internal
intercostal muscles, creating a push pull situation. We strive for balance, so we don't collapse and
push air out too fast or tense up and produce a strangled tone. With support from the abdominal
muscles and resistance to collapse from the intercostals, we achieve relaxed control.
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Page 4-11
Handout

TO RECAP, THEN, BREATH IS THE FUEL FOR SINGING.
Assuming that the upper chest is wide and the shoulders are level, neither the shoulders nor
the upper chest should rise as air comes into the lungs.
Expansion ultimately will be felt in the lower rib cage and the back. The abdominal area visibly expands during inhalation.
There should not be any audible sound upon breath intake.
During exhalation or singing, the lower abdominal muscles lift upward and inward, lifting the
abdominal bulk up against the diaphragm.
While singing, the singer must resist the urge to let the rib cage contract and go down. The
conscious maintenance of an expanded rib cage will aid the singer in developing a supported
tone.
BREATHING EXERCISES
1. Sit down. Place forearms across knees and relax head. Inhale deeply. Feel back expand and stomach relax into your lap. Exhale and pull tummy away from thighs. Keep back wide.
2. Begin with singers posture. Inhale by expanding lower rib cage as far as possible. Hiss out
breath between teeth to count of twenty. Do not let lower rib cage collapse downward until
absolutely necessary. Keep upper chest as wide as possible during entire exercise. Never let the
sternum bone collapse downward. Repeat five times.
3. Same exercise as above, but instead of hissing, count aloud to twenty. Work up to forty counts
over a period of time.
4. Take a breath and expand rib cage. Hold breath and use intercostal muscles to move rib cage in
and out 15 times. Repeat.
5. Standing in singers posture, inhale quickly by allowing lower abdominal muscles to relax and
drop down. Lift lower abdomen in eight quick motions, shushing the breath out in eight quick
motions. Do not allow the chest to fall during exercise.
6. While standing, place weight on the forward part of the feet. Lift the heels off the ground, and
slide down an imaginary wall with the back as straight as possible. Do not lean over. Now lift your
arms to shoulder height in front of you and make a circle with them. Maintaining this position,
sing.
7. Full breath standing. Lift both arms up above head with arms close to ears as you rise up on your
toes. At the same time, inhale through the nose. After a full breath has been taken, place palms
together, stretching as high as possible and hold breath to count of six. Repeat five times.
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Handout

TERMS DEFINED
Column of air: The idea is of a solid, constant source of air coming from the bottom of your
lungs through the top of your head. Imagine a blow dryer pointing up from your diaphragm.
A continuous column of air allows notes to be sung with the same excellent quality no matter
where they fall in the singer's range.
Massage your vocal cords: Tense muscles make tight, forced sound. Visualize the air coming
from the bottom of your lungs massaging your vocal cords and the sound will be smooth and
relaxed.
Energized breath: A quick, deep breath that adds energy to the vocal line.
Forward motion: The feeling/sense that the vocal line is moving toward something in anticipation, making the song interesting to listen to and keeping the tune from dragging. Proper
breathing is critical to the success of forward motion.
SOME GENERAL CONSIDERATIONS

Singers are vocal athletes and must learn to be expert breathers. The chorus only sings as well
as it breathes.
A musical phrase is like a spoken sentence.
The singer should mark breathing places on the music and memorize the breathing plan along
with the words and notes. Occasionally changes can occur from the original plan at the directors discretion.
Not enough planned breaths can cause the music to lose its energy and to sound strained.
Too many breaths make the music sound choppy and difficult for the listener to follow the
musical story.
Rhythm (or lack thereof) is strongly affected by breaths. Taking too much time to get a breath
can cause lost beats and poor synchronization.
Proper breathing is critical to the success of forward motion the feeling/sense that the vocal
line is moving toward something in anticipation, making the song interesting to listen to and
keeping the tune from dragging.
Rest assured that breath support and management are topics that are discussed, reviewed and
refined continuously. You are as close to breathing properly as your very next breath!
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Page 4-13
SAMPLE TEACHING PLAN FOR VOCAL LESSON #1

(To be used by the instructor.)
A.
Welcome
1. Introduce yourself, tell something about your background and why you love choral
music and barbershop music.
2. Tell why your chorus is offering this Vocal Instruction Program. Some possible reasons
follow.
Annual service offered to women in the community who love to sing.
Opportunity to get acquainted with other women who like to sing.
Educate women about the musical art form of barbershop harmony.
Actively seek talented individuals to help your chorus grow in size, diversity and
ability.
Primary purpose is to focus on vocal improvement for application in their lives
whether they join or not.
3. Phone calls: if your chorus plans to contact participants by phone between lessons, let
them know these calls are part of the program.
4. Announce the format for the rest of the evening.
B.
Lesson #1 - Singers Posture

1. Explain why posture is the basis of all good singing.
2. Have everyone do the Exercise and Posture Drill on page one of the Handout for Vocal
Lesson #1.
3. Ask for volunteers to demonstrate the three common posture problems on page one of
the Handout for Vocal Lesson #1.
4. Reinforce the idea that proper singing posture has a major impact on breathing.
C.
Breathing For Singing

1. Briefly describe the muscles involved in breathing. Remind participants that breathing
for singing will feel different than our normal breathing. Encourage participants to ask
questions.
2. Ask participants to do the following exercises:
Posture Drill on page one of the handout for Vocal Lesson #1.
Breathing Exercise: #1 on page one of the Handout for Vocal Lesson #1.
Exercise: Stand up. Inhale, expanding the rib cage; hold the breath by holding
the rib cage in an expanded position. Leave the throat alone; dont feel anything
there. Air will not escape until you allow it to be released. Now, blow a small
stream of air by gradually lifting and contracting the abdominal muscles. Keep the
ribs expanded. Repeat several times.
As time permits, lead the group in some of the breathing exercises on page three
of the Handout for Vocal Lesson #1. (Note: A good resource for further information and exercises is Module 7: Vocal Production, DCP Resource Modules, Sweet
Adelines International.)
Sample Teaching Plan for Vocal Lesson #1, Page 1
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Page 4-14


D.
Orientation
1. Describe the four voice parts used in the barbershop style. Have section leaders or a
quartet demonstrate each part.
2. Show them how the printed music is organized and which line is for each voice part.
3. At some time during their first lesson, each visitor should be voice-placed prior to
attending sectional rehearsals or the full chorus rehearsal.
E.
Summary
1. Use the ideas listed under General Considerations (page four of the
Handout for Vocal Lesson #1.).
2. Homework assignment:
Find times during the week to practice good posture as described in the Exercise
and Posture Drill on page one of the Handout for Vocal Lesson #1. Pay attention
to how you feel when walking this way.
3. Thank participants for coming and tell them something about the next weeks lesson:
Exercises for developing resonance and creating beautiful vocal sounds.
F.
Section Rehearsals (optional)

Your chorus may wish to schedule section rehearsals to follow each lesson, and before
everyone sings together on the risers. Sectionals allow guests to get acquainted with other
chorus members, to learn some technique of singing a particular part and to learn a new
song.
Rev. 9/01
Sample Teaching Plan for Vocal Lesson #1, Page 2

Page 4-15
Handout

PHONATION: CREATING THE SOUNDS OF MUSIC
PHONATION is the act of producing vocal sound in either speech or singing. It involves the vocal
folds (also called vocal cords), as well as the breathing mechanisms already discussed.
In addition to playing a part in the creation of sounds, the vocal folds help protect the trachea
(windpipe) respiratory system from foreign matter. They approximate, or close, when the brain
signals them to do so.
Three actions cause the vocal folds to close:
Swallowing - in which the vocal folds close so that swallowed matter is directed through the
esophagus into the stomach, and not through the trachea to the lungs;
Bearing down - (as in childbirth or elimination) or lifting heavy objects, in which the vocal folds
close in order to build thoracic pressure and provide strength;
Producing sound - in which the vocal folds close with varying levels of tension to produce the
different pitches on which we sing or speak.
The first two of these actions close the vocal folds tightly, creating a high level of tension in the
vocal apparatus. The production of sound, on the other hand, closes the vocal folds more loosely.
When the vocal folds are closed properly for singing, there is a great degree of freedom and relaxation in the vocal apparatus.
Nerve impulses originating in the abdominal area help the vocal folds to close properly for singing
or speech. Thus, the sound must start from the abdominal area as the abdominal muscles lift the
air up and out across the vocal folds. The process is fourfold:
Inhalation, or breathing in;
Suspension, a brief interlude after inhalation;
Exhalation, or breathing out and
Recovery.
Phonation occurs in step three, exhalation, and the start of the sound is called the attack or initiation. In singing, the most important word of a phrase is the first word, which requires a proper initiation.
Phonation must begin with the initiation occurring deep in the breathing apparatus, not in the
throat. When phonation begins in the throat it is called a glottal attack, because the sound is created by the shock of the glottis closing. The glottis is the elongated space between the cord-like
edges of the vocal folds. The term is sometimes used to describe the structures that surround the
space as well.
In order to initiate sound properly in singing, we must leave the vocal folds and pharynx open and
relaxed during inhalation, suspension, and the beginning of exhalation, in one continuous process.
We use the abdominal and breathing muscles, rather than glottal attack, to begin the sound. As
with any other technique for good singing, we must practice using the proper mechanisms for
phonation and attacks in order to understand how they feel when they work correctly. With sufficient practice, the seemingly complex techniques become second nature, although they always
require focus and hard work.
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Handout

EXERCISES THAT HELP THE SINGER LEARN PROPER PHONATION
Remember to stand in correct singing posture and to breathe properly. Keep in mind that you want
to achieve the correct method of phonation, placing the sound on the column of air that has
already begun deep in the chest and abdomen.
Exercise 1
Think about blowing out birthday candles. Begin to blow and then turn the breath into an ooo
sound on a comfortable pitch. Feel the tone begin in the breathing muscles. Repeat.
Exercise 2
Hiss a familiar song, such as Happy Birthday, using no words or tones, just hissing.
Exercise 3
Any sound that starts with H helps the singer begin exhalation before phonation. Start with two
short blows, then sing two short has on a comfortable pitch. Repeat. Now repeat again, singing
one step higher. Continue in this manner.
Exercise 4
This exercise is a musical means of practicing the coordinated attack and release. Observe the note
values precisely. Avoid glottal attacks. Your attacks should be smooth and quiet. Repeat for each
note value at different pitch levels and with other vowels.
Rev. 9/01

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Handout

RESONANCE: CREATING GOOD VOCAL VIBES
RESONANCE is the amplification and enrichment of tones produced by the voice. When we talk
about resonance, we're talking about singing with fullness.
Without resonance we produce a thin sound. As a matter of fact, when our tone lacks resonance
we sound like little girls (or boys) rather than women (or men).
The tone we produce should ideally be like a diamond on a black velvet pillow with the brilliance,
sparkle and projection of a diamond and the warmth, richness, body and texture of black velvet.
The velvet effect comes through proper resonance.
Sounds good, you say, but how do we produce resonance? What causes the tone to resonate? Three
different chambers serve to varying degrees as resonators for the human voice:
1. The pharynx
2. The nasal cavities
3. The mouth
The primary resonator in the human voice is the pharynx (pronounced fair-inks) the area behind
the mouth that extends down into the throat and up into the nasal area. It is divided into three
areas.
1. Laryngo-pharynx - below the back of the throat and above the larynx. Pitches below middle
C are resonated here.
2. Naso-pharynx - back of the throat, extending up into the nasal area. Pitches above the C
above middle C are resonated in this area.
3. Oro-pharynx - visible area in back of the throat. Tones between middle C and the C an octave
higher are resonated here.
The amount of resonance in the voice is determined by our ability to keep the pharyngeal, mouth
and head cavities open and relaxed while we sing. The result is what we often hear referred to as
an open, freely produced tone.
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Handout

THE SOFT PALATE
The SOFT PALATE is the membranous and muscular extension of the hard palate in the roof of the
mouth. It serves as a partition separating the mouth cavity from the nasal cavity. The soft palate
should always be raised. If you visualize an arch in the back of your throat, your palate will be
raised. When you say ah at the doctor's office, your soft palate is probably raised.
Every singer needs to keep the soft palate open and the jaw relaxed.
Soft
Palate
Uvula
Tonsil
Diagram of the palate in normal position (left) and raised (right):

When the soft palate is normal, or down, the sound is unpleasant and nasal.
While looking into a mirror, watch the uvula (the dangling lobe near your tonsils) move up
and down. When the uvula is up, the palate is in the proper position for singing.
The Pinch Test: To find out if the soft palate is raised while singing vowels, do the pinch test:
Sing a vowel and pinch your nose. If the sound/tone does not change while your nose is
pinched shut, your palate is raised. If the sound changes to a very nasal tone, the palate is
down. Test yourself often while singing. Learn to feel the difference and consciously think
about keeping the palate up. Combined with the inside smile, youll love the way you sound!
Exercise:
The following exercise shows that singers are in control of their soft palate as follows: The kuh
sound provides a reflex action that lifts the soft palate. The ng sound allows it to drop, the uh
then lifts it again.
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Page 4-19
Handout

RESONANCE AND IMAGINATION
There is probably no other aspect of singing in which imagination is more important than in learning to resonate well. If you imagine your tone coming through your cheekbones, or through your
eyes or out of the top of your head, remarkable changes in vocal resonance can take place. Because
the singer hears from the inside, sometimes it is difficult to accurately judge the quality of the
sound she is hearing. This is where a skilled teacher with a keen ear is indispensable.
Training the human resonating system to amplify, reinforce, and enrich the vocal tone is not usually accomplished in a short time. It is primarily an activity of memorizing sensations, and much of the
early learning involves trial and er ror. But it is encouraging to know that, once acquired, vocal resonance skills are learned for good. Much like learning to ride a bicycle, once you have learned, you
will retain the ability.
Larra Browning Henderson, in her book How to Train Singers, 2nd Edition 1991, says that part of
achieving resonance is a natural lifting of the soft palate, often referred to as using the inside
smile. The inside smile allows greater space in the resonating cavities of the head, gives warmth
to the tone and assists in raising the soft palate.
How to Achieve the Inside Smile

Close the mouth, but not the teeth (feeling an openness in the whole oral cavity) and smile as
though you were smiling at someone across the room, a smile you do not wish to be noticed
by others. You feel a slight lifting of the cushions under the eyes and a space opening up over
the soft palate you almost feel as though you are going to break into a yawn. The soft palate
goes up. You have not pulled it up. Both are extremely important the cushions under the eyes
and the soft palate.
Smile a natural smile, not a grimace, just dont let it show on the outside. At the same time,
lift the outside corners of your eyes and let your eyes show the natural warmth of a smile.
Grimacing or tightening the cheek muscles and pulling the corners of the mouth wide is incorrect and will create tension in the throat area.
When you use the inside smile there is a feeling of dome in the oral cavity; there is also
a yawning up sensation (never a yawning down position which creates pressure on the
back of the throat and larynx.)
The same sensation comes into the soft palate area when one is expressing surprise with a
slight gasp and the cushions under the eyes lift.
When one uses the inside smile, the tongue has a sense of freedom. It feels ready to jump into
action in any direction the singer desires. When the inside smile is dropped, the tongue feels
as if it has fallen into bed for a bit of rest.
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Handout

EXERCISES THAT HELP THE SINGER RELAX & RESONATE
When we vocalize, weve often put in a full work day and are carrying lots of tension. Many of us
keep everyday stress in the areas that need to be relaxed and free for good vocal production: the
jaw and neck. It is difficult to sing with an open, relaxed throat if we have not prepared the body
properly. Here are some techniques that will help release tension.
Exercise 1
Using your fingertips, gently massage the temples, then down the sides of the face and at the jaw
hinge. Relax and let go. You may feel the urge to yawn. Massage underneath the chin, gently
loosening the tongue muscles. With your face down, gently roll your head from side to side, keeping the shoulders relaxed and sternum high. Feel a stretch up the back of the neck. You should
begin to feel more relaxed. Pretend you have fallen asleep in a comfortable easy chair. Let your jaw
hang loose, totally relaxed. Good imagery: Be on the verge of drooling.
Exercise 2
Sing the following exercise slowly:
Exercise 3
With arms raised, knuckles placed between the molars of the upper and lower jaws, elbows high,
and using the inside smile, sing the following exercise. Let the jaw hang and use just the tongue.
This exercise also loosens the front tongue muscles.
Exercise 4
To continue to reinforce a relaxed jaw, and an open, relaxed throat, and to loosen the back tongue
muscles, sing the following excercise. The tip of the tongue should be touching the lower gum
ridge and the jaw should stay relaxed. The arm position and inside smile are the same as in exercise 3.
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Page 4-21
Handout

EXERCISES THAT HELP THE SINGER RELAX & RESONATE
Exercise 5
Use the same arm position, inside smile and good posture, as in exercise 3. Keep the tip of the
tongue touching the lower gum ridge. Allow the tongue to move freely and keep it relaxed so that
movement from one vowel to the next is smooth and clear. Get the feeling of singing the vowels
with the jaw relaxed, the molars apart, the inside smile and the sternum high and wide. Memorize
that feeling.
Exercise 6
This K exercise is used to strengthen the soft palate. When singing any word beginning with a
k the fine muscles of the soft palate are automatically activated; the palate arches upward. This
action opens up the space in the back of the mouth which gives greater space inside the mouth for
resonance and formation of words.
Exercise 7
This is another K exercise. Use it to strengthen the soft palate and develop the inside arch and
the muscles connecting to it, allowing for greater flexibility and resonance.
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Page 4-22


A.
Introduction
1. Welcome everyone. Introduce any new participants to the group.
2. Ask participants to describe where and when they completed their Lesson #1 homework
assignment. How did it make them feel?
B.
Phonation
1. Briefly explain the process of phonation.
2. Have the class stand to review correct singing posture.
3. Lead the group in one or two phonation exercises. (Page two of the Vocal Lesson #2
Handout.)
C.
Resonance
1. Use an instrument such as a guitar to illustrate resonance.
2. Describe the vocal resonators. Use the diagram on page 4-18 to illustrate the raised
soft palate.
3. Do the pinch test. (Page four of the Vocal Lesson #2 Handout.)
4. To help the singers feel the position of the soft palate, lead them in the Kuhng
exercise. (Page four of the Vocal Lesson #2 Handout.)
5. Explain the importance of imagination and lead the group in achieving an inside smile.
(Page five of the Vocal Lesson #2 Handout.)
6. Lead the group through several of the exercises described on pages six and seven of the
Vocal Lesson #2 Handout.
7. Sing a tag using proper singer's posture and an open resonant tone.
D.
Summary
1. Reinforce that
a. breath support depends on good posture and
b. phonation and resonating ability depend on good breathing technique.
2. Tell participants something about the next weeks lesson: Exercises for achieving
musical articulation and rhythmic breathing.
Rev. 9/01
E.
Orientation (Membership opportunities and audition information.)

Planned program presented by membership team and/or various chorus leaders, accompanied by appropriate handouts.
F.
Sample Teaching Plan for Vocal Lesson #2

Page 4-23
Handout

ARTICULATION: SINGING WORDS THAT COMMUNICATE
Singers are distinguished from other musicians in that their range of artistic expression includes a
literary text.
Singing words, rather than speaking them, presents special articulative requirements. Vowels are
given specific pitch and sustained according to the rhythmic dictates of the music. Thus the sung
word is necessarily a distortion of the spoken one. However, if the sung word is well articulated, it
will be as understandable as its spoken counterpart and it can carry a musical expression that
extends far beyond its literary meaning.
Everyday speech, particularly among Americans, tends to be quite imprecise, and varies with
regional differences, accents, dialects, and the like. When speech habits are carried into song, flaws
are magnified. Impure vowel sounds and unclear consonants become evident, often making it difficult to understand the words.
Over-articulation is more common in singing than in speaking, because the mouth needs to be so
much more open in singing. The tongue and lips must move farther and we must work harder to
move them greater distances. This is even more difficult in the high ranges.
Often, when we have become sufficiently familiar with the notes of a song and begin to think more
about the words, we concentrate on articulation and our delivery becomes choppy rather than
smooth and connected. Instead of forming consonants quickly and clearly, we overemphasize
them. In order to avoid this choppy delivery, we must keep the rich, round, resonant sound. This is
especially true for a cappella singers.
To form words that will be understood, and at the same time communicate a musical message and
its emotions, we must remember the principals of resonance:
an open, relaxed throat
a rich tone
pure matched vowels
Achieving An Open Relaxed Jaw and Throat During Articulation

One of the best ways to understand how to achieve an open, relaxed jaw and throat during
articulation is to sing an entire song on one open vowel sound, rather than voicing the words.
Oh is a wonderful vowel sound to use, while thinking of the operatic, cultured production
of that vowel and the concept of singing through the vowel.
After practicing in this manner, try to keep the same open, relaxed feeling as you add the
words of the song, thinking Oh, but singing the words through the open Oh feeling.
Ideally, the vocal line will be an almost continuous tone, as it was when you sang the vowel
sound only.
While vowels are the carriers of vocal tone, consonants are the interrupters of it. The sense of the
words cannot be communicated and the time and rhythm of the song cannot be accurately conveyed if the consonants are not well articulated.
In accompanied vocal music there needs to be greater emphasis on consonants so the words are
understandable to the audience over the instrumental background. But because a cappella singers
perform without accompaniment, there is nothing to sustain the momentum of the sound and the
message of the song when a break occurs. In fact, when a cappella singers over-articulate, the consonants stop the tone flow completely and there are white spaces.
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Handout

ARTICULATION, CONTINUED
Since consonants shape the tone, the better the quality, intensity and continuity of the tone, the
more precisely it can be articulated by accurate consonants. Quick, clear consonants do not chop
up a singing line, but give it shape and energy.
As much time value as possible should always be given to the vowel, particularly in legato singing.
Consonants should receive as little time value as possible, but sufficient strength and energy to project well.
Some rules of articulation:
Consonants must be thought on the same pitch as the vowel they precede, to prevent the
tonal attack from being scooped or flat.
Consonants should be articulated distinctly, freely and flexibly, rapidly, and as naturally and
plainly as in dramatic speech.
Articulate the proper sound of each consonant; do not substitute one for another.
Make vowels long, consonants short. Do not shorten the complete rhythmic length of the
vowel by anticipating the ending consonant.
VOICED AND UNVOICED CONSONANTS
Rev. 9/01
Voiced
Unvoiced
Counterpart
Other Voiced
Consonants
vine
fine
got
keep
love
th
bit
pit
not
zip
sip
raise
dip
tip
you
jeep
ch cheap
dz leads
ts pizza
gz eggs
hello
wh when
sh rush
mine
zh azure
Other Unvoiced
Consonants
excite
thing

Page 4-25
Handout

FUNDAMENTALS OF VOWELS, DIPHTHONGS, DYNAMICS
Matched Vowels:
The Barbershop style of harmony requires that vowels be matched. In other words, each chord
should sound like one voice with four different notes.
Vowels that are not matched cause the chord to sound out-of-tune, even if all the correct
notes are being sung!
Leads have the responsibility of setting the vowel sound.
Harmony parts have the responsibility of matching the Lead vowels.
When vowels are properly matched, the barbershop chord will Ring, i.e. audible overtones will be produced.
TEN BASIC VOWEL SOUNDS:

Vowel
Sample Word
Type of Vowel
ee
as in need
Tongue
ih
as in did
Tongue
eh
as in red
Tongue
as in cat
Tongue
ah
as in pot
Tongue
uh
as in mud
Tongue
oo
as in soot
Lip
aw
as in lawn
Lip
oh
as in moan
Lip
oo
as in moon
Lip
The type of vowel is a description of what is primarily used in forming the vowel sound.
For the tongue vowels, the shape of the lips does not change much because the tongue is
adjusting slightly to create the sound. For the lip vowels its just the opposite the
tongue stays in relatively the same position and the lips adjust.
It is essential that singers sing the words with long pure matched vowels and short, clean
consonants. This is the basis for excellent diction.
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Handout

DIPHTHONGS
Diphthongs are a combination of second vowels sounded within a single syllable, with the greatest
stress on the first one.
Diphthongs are turned when going from the first vowel to the second vowel.
If the diphthong is not turned, the word changes, i.e. night sounds like not.
Proper turning of diphthongs is CRITICAL to the success of barbershop singing.
Both vowels must be heard. The first or primary vowel is sustained like a normal vowel.
The secondary one is treated like a clear consonant.
The first vowel is the important vowel of the diphthong. The second vowel should be executed quickly and deliberately. You can never turn a diphthong too much, if done properly.
The most common diphthongs:
1st (sustained) vowel
Rev. 9/01
2nd vowel
Examples
ah
oo
cow, round, sound
ah
ee
pie, wise, sky, mine, night
oh
ee
boy, joy, toy
eh
ee
day, away, play
oh
oo
blow, go, though
eh
hair, there, fair
uh
ever, world, girl

Page 4-27
Handout

Exercise 1
EXERCISES FOR ACHIEVING PROPER ARTICULATION
Tongue Twisters: Sing any of the following sentences on a repeating single note.
a. Sneeze, snort, sniff, sniffle, snuff, snuffle, sneer and snicker.
b. Ninety nine nuns in an Indiana nunnery.
c. Millions of monks in a Minnesota monastery.
d. Lemon liniment, lemon liniment.
e. Clunk, junk, skunk, flunk.
Exercise 2
Sing an entire song on one open vowel sound, rather than voicing the words. Oh is a wonderful
vowel sound to use, while thinking of the operatic, cultured production of that vowel and the concept of singing through the vowel. After practicing in this manner, try to keep the same open,
relaxed feeling as you add the words of the song, thinking Oh, but singing the words through
the open Oh feeling. Ideally, the vocal line will be an almost continuous tone, as it was when you
sang the vowel sound only.
Exercise 3
Smile and get the feeling of singing the vowels with the jaw relaxed, the molars apart, the inside
and the sternum high and wide. Memorize that feeling. Two groups of vowels are suggested but
you can try some of your own.
Exercise 4
This exercise reminds you where to place your consonants. Repeat up and down the scale.
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Handout

Exercise 5
A basic 4-part harmony warm-up that is good for matching vowels. Think of a tall open sound and
use the concept of singing through each vowel smoothly from one to the next.
Exercise 6
A silly exercise good for practicing diphthongs.
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Page 4-29

A.
Introduction
Welcome everyone. Introduce any new participants to the group.
B.
Review
Lead the group through a routine of posture, breathing, phonation and resonation exercises from lessons #1 and #2.
C. Articulation
1. Describe articulation for singing, using the ideas presented on pages one and two of the
Vocal Lesson #3 Handout. Involve the group by asking them to make the sounds for
voiced and unvoiced consonants. (Page two of the Vocal Lesson #3 Handout.)
2. Explain the importance of matched vowels. Divide the class into two groups. Have each
group demonstrate a matched OH vowel using proper singing posture. Then have
each group repeat the exercise but with one or two members of the group singing an
unmatched vowel.
3. Sing Exercise #5 with matched vowels and good singing posture. (Page six of the Vocal
Lesson #3 Handout.)
4. Lead the group through an exercise using words with diphthongs or Exercise #6.
(Page six of the Vocal Lesson #3 Handout.)
5. As time permits, sing any of the tongue twisters and exercises from pages five and six
of the Vocal Lesson #3 Handout.
D. Summary
1. Reinforce the idea that singers must sing the words with long pure matched vowels
and short, clean consonants.
2. Announce the topics for the next lesson: Putting it all together. Extending your range.
E. Orientation - Finances
F. Section Rehearsals (optional)
Sample Teaching Plan for Vocal Lesson #3
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Handout

COORDINATION
All the essential elements of singing are interrelated.
Developing excellent resonating ability is significantly dependent upon good breathing
technique.
Breath support is dependent on good posture and muscle tone.
Articulative skills are effective only when resonance and tone production are good.
The process of combining these singing skills into a single, coordinated vocal technique will not be
completed quickly. It may take many months, or even years, before you begin to feel secure in your
total singing technique. You will undoubtedly develop further if you continue to work on your
vocal technique. However, in the meantime, you can thoroughly enjoy using your singing voice
while it continues to develop.
Vocal Interference
To achieve a coordinated vocal technique, you must identify and eliminate problems that can limit
its potential. The most common of these is muscular interference --- another name for tension.
Removing muscular interference involves learning to disengage certain muscles, rather than simply
to engage others. It is usually achieved through conscious relaxation. The most usual areas in which
muscular interference can take place include the tongue, the muscles of the jaw and neck, and the
abdominal muscles.
1. Tongue Tension:
Eight muscles control the movements of the tongue that are primarily used in speech and
singing. Four of these are intrinsic (inside) and four are extrinsic (outside). General tension in the
intrinsic muscles can cause inconsistent tone color among vowels and pitch discrepancies. Tension
in the extrinsic muscles causes the tongue to be pulled too far backward and downward, which
produces a covered or dark tone and vocal fatigue. The following exercise may help free tension
and allow the necessary relaxation to take place:
Exercise:
Rest the tip of your tongue on your lower lip. Consciously relax your jaw and tongue. Practice
singing some vocal exercises or the notes of a song in this position using the ah or the oh
vowel. Be aware of the extra space at the back of your mouth. Keep the same feeling as you sing
normally.
2. Jaw and neck tension:
Muscular interference of the jaw and neck muscles can cause serious disturbances to tone
production and undue vocal fatigue. Since so many people carry the tension of the day in
their necks and shoulders, extra attention should be given to relaxation exercises for
these muscles. Periodic reminders during rehearsal will also help.
Exercise to help relax jaw tension:

Consciously relax your jaw, and let it drop. Concentrate on the sensations you feel when these
muscles are relaxed. Memorize these sensations so you can recreate them at will. Vocalize a sim ple five-note descending and ascending scale with an idiot jaw. Another exercise to release jaw
tension is to sing, (using the ah vowel) and at the same time, gently move the jaw left and
right.
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Page 4-31
Handout

Vocal Interference, continued
3. Abdominal muscles:
Even these muscles can act as interfering muscles, if they do not relax during inhalation. Tense
abdominal muscles are a very common result of nervousness during performance. What happens
is a vicious cycle: the tense muscles restrict breathing, which results in inadequate breath for
singing; this causes anxiety, which results in more tension; and so on.
The most effective way to avoid tension in the abdominal muscles is to take several deep breaths
before beginning to sing and to develop a habit of consciously relaxing these muscles when
inhaling. A psychological image that may be helpful is: when you inhale, just let your belly drop.
EXTENDING PITCH AND DYNAMIC RANGES

As vocal skills develop, your range and dynamic capabilities will tend to increase naturally. Efficient
breath management is the most important element for developing a larger range and extending
your dynamic abilities.
Extending pitch range:

Probably the most basic concept in extending your pitch range is that the higher you sing the
more breath energy is required, and the lower you descend the less is needed. Breath support,
however, must remain constant at all times. Efforts to force more and more air to reach the lowest tones will not succeed. Adding more air to the highest tones will help you to reach them.
Another helpful idea is to think of a lighter more nasally resonant voice quality when you sing
up high, and a richer, fuller sound when you sing low. Be aware that you will not be able to hear
the timbre of your own tone accurately, and a teacher with a keen ear can be of great help. The
desired high tones should not be unpleasantly nasal, but nasally resonant that is, rich with high
overtones.
Extending dynamic range:

In the early stages of dynamic range extension, practice in the most comfortable part of your
pitch range, not in the high or low extremes. Be sure your breathing technique is adequate.
Singing softly requires sophisticated breath control as the diaphragm must resist the abdominal
muscles more strongly. Many singers find it easier to produce their softest tones by thinking
about a light quality with a bright, forward focus and imagining the sensation of a hum in the
tone. An effective breath technique is to consciously think of keeping the ribs expanded while
singing the soft tones.
Successful loud production is the result of a combination of well-controlled breath energy and
effective use of the resonance system. Possibly the most helpful concept in developing more volume in your tone is to imagine and feel a great deal of space in all of your resonators while maintaining strong support from the abdominal and back muscles. Sense an open throat, a free, humming sensation in the nasal cavities, a cathedral in the mouth and generous space in back of the
tongue. Never drive the voice achieve your loudest singing through generous size of the tone,
not by brute force.
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Handout

EXERCISES FOR IMPROVING VOCAL COORDINATION
Exercise 1
The purpose of this exercise is to help eliminate muscular interference of the tongue. The jaw
should be relaxed with very little or no movement. Your tongue should move freely forward and
back. Continue to as high a note as comfortable, then repeat with other vowels and gradually
increase tempo.
Exercise 2
A basic exercise to extend your high range. Remember to think of your tone production as high,
light, and forward in the mask. Use all vowels, especially ee and oo. Use a slight crescendo on
the highest note of each scale. Continue to as high a note as comfortable.
Exercise 3
An exercise to extend your low range. Remember to think of a fuller and relaxed approach as you
descend in pitch, but never force your voice. Continue to as low a note as comfortable. Use all vowels.
Exercise 4
The purpose of this exercise is to practice legato style. In spite of the intentionally awkward intervals in this exercise, make your moves from note to note accurate, smooth, graceful and connected. Continue ascending by half-steps. Begin with ee vowel, then repeat with other vowels.
Exercise 5
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Page 4-33
Handout

EXERCISES FOR IMPROVING VOCAL COORDINATION, CONTINUED
Exercise 5
This simple exercise to increase your dynamic capabilities for both louds and softs.
a. Fortissimo: As you strive for greater volume, remember to use the best possible resonance, not
just breath power, to sing loudly. Work to achieve as much space and amplification as possible in your entire resonating system. Continue to as high a note as comfortable. Begin with
the oh vowel, then, repeat with other vowels.
b. Pianissimo: Use the same exercise, but reverse the dynamics. The highest pitch of each scale is
the softest note. Continue to as high a note as comfortable, then repeat with other vowels.
Exercise 6
Sing controlled and soft in this excercise. Each time it is repeated, cut your volume in half.
Exercise 7: Relaxation Exercises

1. Shoulder lifts: Lift shoulders up to your ears, then drop your shoulders down as if they were
filled with heavy gold. Do each shoulder separately and then together.
2. Shoulder rolls: Roll the shoulders in large circles, four times backwards and four times forward.
On the final roll, the shoulders should be rotated back and down. (Note: Exercises that involve
the region around the neck and shoulders are very important. They relax the area and foster good
circulation, which improves vocal functioning.)
3. Apple picking: Pick an apple from a branch high up in a tree. Put the apple in a basket on the
floor. Pick another apple from a lower branch, and put it in the basket. Repeat.
4. Hanging wash: Carry a basket of wet towels to the clothesline. Take the towels out of the basket one by one and hang them with clothespins on the line. Try to blow the wash dry.
Rev. 9/01
Page 4-34


THE FIVE WEEK AND THE SIX WEEK PLAN
A.
Introduction
1. Welcome everyone.
2. Extend an invitation to audition and encourage questions about the audition process.
B.
Review
Lead the group through a routine of posture, breathing, resonation and articulation
exercises from lessons #1, #2 and #3.
C.
Coordination
1. Reinforce the following ideas:
Developing your singing voice takes time. However, in the meantime, you can
thoroughly enjoy using your singing voice while it continues to develop.
2. Lead the group in relaxation exercises. (Page four of the Vocal Lesson #4 Handout.)
3. Do exercise #1 to help eliminate muscular interference of the tongue. (Page three of the
Vocal Lesson #4 Handout.)
D.
Extending Pitch And Dynamic Range

1. Present the ideas about pitch extension as described on page two of the Vocal
Lesson #4 Handout. Ask the group to stand and do exercise #2 for extending the upper
range. (Page three of the Vocal Lesson #4 Handout.)
2. Lead the group in some exercises for extending dynamic range: Exercise #5 on page four
of the Vocal Lesson #4 Handout, and Exercise #6 on page four of the Vocal Lesson #4
Handout.
E.
Summary
1. Share the following ideas with the class:
As you develop your singing voice, remember (and take pride in the fact) that it is utterly uniquelike all the other components of you as a person. It may have qualities that
resemble other voices, but it will always produce a sound that is yours alone. The level
of artistry you ultimately reach is largely up to you. However you choose to use your
voice, take great pride in your ownership of it and the skills you now possess, marvel at
its possibilities, cherish its beauty, protect it from harm, and, above all, ENJOY IT.
2. Next week: The Barbershop Style.
F.
Orientation Choreography Basics

G.
Rev. 9/01
Sample Teaching Plan for Lesson #4 Five Week and Six Week Plan

Page 4-35
SAMPLE TEACHING PLAN FOR VOCAL LESSON #4 AND #5

THE FOUR WEEK PLAN
A.
Introduction
1. Welcome everyone.
2. Extend an invitation to audition and encourage questions about the audition process.
B.
Coordination
1. Reinforce the following ideas:
Developing your singing voice takes time. However, in the meantime, you can
thoroughly enjoy using your singing voice while it continues to develop.
2. Lead the group in relaxation exercises. (Page four of the Vocal Lesson #4 Handout.)
C.
Extending Pitch And Dynamic Range

1. Present the ideas about pitch extension as described on page two of the Vocal Lesson #4
Handout. Ask the group to stand and do exercise #2 for extending the upper range.
(Page three of the Vocal Lesson #4 Handout.)
2. Lead the group in some exercises for extending dynamic range: Exercise #5 and Exercise
#6 on page four of the Vocal Lesson #4 Handout.
D.
Fundamentals Of Barbershop
1. Briefly describe the elements of the barbershop style. Use the illustration of the barbershop cone on page one of the Vocal Lesson #5 Handout.
2. Sing a tag or practice the new piece of music to illustrate the barbershop style.
E.
Conclusion
End the series of lessons by reading the quote on page three of the Vocal Lesson #5
Handout, Reasons for Studying Singing by Van A. Cristy.
F.
Orientation Costumes/Make-up
1. Planned program presented by membership team and/or various chorus leaders, accompanied by appropriate handouts.
2. Show the video We Are One In Song.
G.
Graduation
Provide an opportunity for the class to sing for the rest of the chorus.
Sample Teaching Plan for Lesson #4 Four Week Plan
Rev. 9/01
Page 4-36

Handout

FUNDAMENTALS OF BARBERSHOP
The barbershop style is four-part a cappella harmony. In both male and female barbershop choruses and quartets, the four parts are lead, bass, baritone and tenor. Barbershop harmony is a combination of several characteristics unique to the style, such as chord structure (arrangement), the
cone-shaped sound, delivery (vocal energy) and interpretation. These are integral factors which
contribute to the lock-and-ring characteristic of singing in the barbershop style.
Barbershop Arrangements
Barbershop harmony makes frequent use of the major and minor triads, the dominant seventh and
dominant ninth chords. The melody is carried primarily by the lead voice, while the highest voice
sings a harmony part. The lowest voice sings a strong chord component and no chord tone is omitted throughout the arrangement. Non-harmonic tones, passing tones and non-chords are outside
the scope of barbershop harmony.
Energized Vocal Line

Energy is an intangible qualityits something we can sense and feel, but it is difficult to describe.
An above-average barbershop performance has a sound possessing energy. A significant amount
of that energy is derived from proper breath support, but a certain amount can also be attributed
to a positive, confident mental attitude and to the quality of life imparted to the voice by a lifted facial countenance and singers posture.
To convey the essence of the barbershop performance to the listener, singers must:
1. Permit breath to be managed in such a way that the vocal line demonstrates vitality and life.
2. Put heart into her voice, using it artistically to convey sincere feeling for the message of the
song. Without heart, emotion and energy, a mechanically perfect performance can be achieved but
there will be no aesthetic beauty and no thrill for either the audience or the musician.
Balance
Barbershop chords have different balance requirements than SATB chords. In SATB chords, all parts
are given the same vocal intensity and weight. In barbershop, the bass is the foundation of the
chord and sings with great depth; the lead and bari have less depth and more clarity; and the tenor
sings light and with great clarity on top of the chord (similar to snow on the mountain peak). This
unique balance is called coning.
Below are examples of the proper balance of a barbershop chord and SATB chord:
Barbershop
SATB
Soprano
Alto
Tenor
Bass
Rev. 9/01

Page 4-37
Handout

FUNDAMENTALS OF BARBERSHOP, CONTINUED
Balance, continued
When the baritone sings below the lead, she needs to sing with a richer, broader tone more like a
bass, and the lead needs to sing with a clear confident tone. When the baritone sings above the
lead, she needs to lighten her tone, and the lead needs to sing with a broader, and still confident
tone. Basses and tenors also need to learn to cone as they go into either the higher or lower parts
of their ranges. If a chord is out-of-balance, one (or more) of the parts are not properly coning.
Steps in the Barbershop Style

Perform music arranged in the barbershop style as defined in the Judging Category
Description Booklet.
Sing all the right notes and words together!
Sing all the notes in tune.
Sing with correct vocal techniques and proper barbershop balance (coning).
Pronounce words, primarily vowels, in the same waytogether!
Develop a barbershop style through phrasing and interpretation.
Develop suitable dynamics (shading, nuances, word stress).
Sing the lyrics expressively using consonants to add artistic inflection and finesse
together!
Enhance the music by executing the visual presentation as a unittogether!
Remember, every member of a barbershop chorus is a valued and vital ingredient to the
total performance, vocally and visually.
The ultimate in the musical performance is achieved when the performer reaches out at
the beginning of the performance, takes the audience in the palm of the hand and holds
it there until the performance has concluded, keeping each listener totally spellbound by
the emotional impact achieved.
Rev. 9/01
Page 4-38

Handout

AND FINALLY . . .
Excerpts from an article Reasons for Studying Singing by Van A. Cristy, William C.
Brown Company Publishers:
In a world of political, economic and personal chaos, music is not a luxury but a necessity, not
simply because it is the universal language, but because it is the persistent focus of mans intelligence, aspiration and good will.Music is an excellent insurance for any young person.
No student ever wastes her time in a voice culture class, even though she never becomes a soloist.
She is sure to carry away with her a stronger, more serviceable body as a result of her serious study
of singing, for the physical requirements necessary for good tone production are conducive to good
health. The student is taught correct posture, abdominal development, chest development, and
breath control.
Singing fortifies health, widens culture, refines the intelligence, enriches the imagination, makes
for happiness and endows life with an added zest.
Rev. 9/01

Page 4-39
Harmonize The World Handout
Rev. 9/01
Page 4-40


THE FIVE WEEK P LAN
A.
Introduction
Welcome everyone.
B.
Review
Lead the group through a routine of posture, breathing, resonation and articulation exercises from lessons #1, #2, #3 and #4.
C.
Fundamentals Of Barbershop
1. Invite a chorus quartet to demonstrate the principles of coning.
D.
Conclusion
End the series of lessons by reading the quote on page three of the Vocal Lesson #5
Handout: Reasons for Studying Singing by Van A. Cristy.
E.
Orientation Costumes/Make-up
1. Planned program presented by membership team and/or various chorus leaders,
accompanied by appropriate handouts.
G.
Graduation
Provide an opportunity for the class to sing for the rest of the chorus.
Rev. 9/01
Sample Teaching Plan for Lesson #5 Five WeekPlan

Page 4-41

THE SIX WEEK PLAN
A.
Introduction
Welcome everyone.
B.
Review
C.
Fundamental Of Barbershop
1. Invite a chorus quartet to demonstrate the principles of coning.
D.
Conclusion
End the lesson by reading the quote on page three of the Vocal Lesson #5 Handout:
Reasons for Studying Singing by Van A. Cristy.
Orientation - Costumes/Make-up
1. Planned program presented by membership team and/or various chorus leaders, accompanied by appropriate handouts.
3. Next week: Graduation.
F.
Section or Duet Rehearsals (optional)
Sample Teaching Plan for Lesson #5 Six Week Plan
Rev. 9/01
Page 4-42


THE SIX WEEK PLAN
A.
Introduction
Welcome everyone.
B.
Review
C.
Graduation Celebration
Planned event that fits your chorus. It could be a performance for family and friends,
a performance by the Class of ??, special certificates, a full-scale graduation with
pomp and circumstance, mortarboards, refreshments, etc. Use your own creativity
and make it something special.
Rev. 9/01
Sample Teaching Plan for Lesson #6 Six WeekPlan

Page 4-43
THE PERFORMANCE OPPORTUNITY PLAN

The Performance Opportunity Plan (POP) is designed to be
used by choruses who wish to target skilled singers as potential
new members.The core plan involves initiating a planned performance to which selected guests, with known musical skills,
are invited to perform with the chorus.This provides an opportunity
to teach a substantial amount of barbershop craft to experienced singers within
a specific time frame in a festive, cooperative atmosphere. A "thank you" party is g iven
for the guests on a date following the performance, at which time the guests are invited to join Sweet Adelines and to become permanent members of the chorus.
This membership plan has been used successfully by a number of Sweet Adeline choruses. As always, planning, careful preparation, a positive rehearsal environment and a
cooperative, enthusiastic chorus director are necessary for the program's success.
THIS PLAN IS SUCCESSFUL
BECAUSE:
Only musically knowledgeable individuals are invited to participate.

Targeted "guests" can participate at no cost.
The initial commitment is for a defined,relatively short period of time
(approximately six weekly rehearsals).
Singing and performing is fun, especially in anticipation of a holiday or special celebration.
OBJECTIVES OF THE PERFORMANCE OPPORTUNITY PLAN

1. To host a successful performance involving guests who are knowledgeable singers.
2. To identify skilled potential members and provide them with maximum exposure to the barbershop
art form in a positive learning atmosphere.
3. To plan organized support for the guests throughout the rehearsal and performance process by
involving the music and membership team and the general chorus membership.
4. To provide the opportunity for guests to bond with the chorus director and other chorus members.
5. To encourage excitement and enthusiasm among all participants.
Rev. 9/01
Page 4-44

THE PLAN
1.The chorus plans a performance that will have wide
community appeal.The example given on the following pages is for a (Christmas,etc.) holiday show,
but performances planned for other holidays or festive occasions, such as a 4th of July performance or
a Fall (October/November) Festival would be
equally effective.
2. Names of women with known musical capabilities
are generated by chorus members.This list is selective, not an "open door" invitation, as guests must
be musically capable to learn the performance
music within a specified time.
3. Letters of invitation are sent from the chorus director, addressed personally to each individual.
Included in the letter is the name of the chorus
member who referred her.A self-addressed,stamped
postcard for the guest to return is included to indicate her interest. It is important that each woman
receiving an invitation feel that it is an honor to be
invited, to realize that she is one of a select group.
4. Following the weeks of rehearsals and the performance, the chorus hosts a "thank you" party for
those guests who performed on the show. It is only
on this night that membership recruitment occurs.
Membership information is distributed and discussed, questions are answered.
THE CALENDAR YEAR

The chorus management team or board of directors approves the concept
of a public performance with guest participants.
July or August
1.A planning meeting is scheduled with the membership committee, chorus director and representatives
from the music staff. Decisions to be made at this
meeting include:
Date and venue for the holiday performance.
Date for the initial guest night and subsequent
rehearsals.
Guidelines for participation,such as the number
of songs guests will be required to learn and how
many rehearsal nights they will be required to
attend.
Determine whether the chorus wants to involve
other barbershop groups in the holiday performance, such as the regional champion quartet or
a local SPEBSQSA chorus.If so, contact must be
made and details arranged for interaction.
2. Meet with the chorus and ask for its support and
approval of the plan. Explain in detail the caliber of
women to invite (knowledgeable singers) and give
chorus members two weeks to submit names,
addresses and telephone numbers of prospects.
Rev. 9/01
3. Develop a letter to be sent to each guest along with

a return postcard for response. After members have
submitted their lists of recommended guests, personalize each letter and postcard. (Some computer
programs have the capability to personalize letters.)
The wording of the letter is extremely important.
Proof letters for correct punctuation and spelling.
(See Sample Letters, page 4-49 and 4-50).

Page 4-45
THE CALENDAR YEAR, CONTINUED

September
October
1. Hold a "stuff and stamp" party to prepare the guest

invitations during the first week of September.
Include the personalized response card. Request a
response by September 30.
1. As the return cards are tabulated,an alphabetical list

of the "yes" responses is made. Folders and nametags
are prepared for the guests.
2. Order music. Make or purchase learning tapes for

each voice part. (The number of guests to expect
will depend on realistic expectations and how many
invitations were sent.Statistically speaking, it would
be wise to anticipate that 25 percent of those
receiving an invitation might have some degree of
interest.)
3.The membership committee recruits a "guest
night" task force. Duties to be assigned include:
Preparation of materials to include information
presenting the basics of barbershop music. A
computer-generated calendar marked with
rehearsal dates, the performance date and the
"thank you" party date should be prepared.
Greeters (See Chapter 3.)
Members to work the registration table.
Refreshments for the first rehearsal night with
guests.
4.The chorus promotions committee plans and prepares show flyers, radio PSAs and talk-show interviews plus other promotional tactics to pave the
way for superb ticket sales.
5.The director and music committee prepare music
packets with learning tapes. Rehearsals are planned
ahead with a detailed rehearsal schedule outlined
for each night of the program.Assignments for follow-through should be made at this time.
6.The costume chair or the performance team chair
selects a costume for the holiday performance. Keep
in mind that costuming for guests should be simple
but festive. No guest should find it necessary to purchase performance clothing. For example, red
sweaters with black skirts would be appropriate.
Chorus members could wear costumes or coordinate street clothing with the attire of the guests.
2. Rehearse a 15-minute package to be presented to

the guests. Keep members excited and enthused by
giving weekly updates on the number of positive
responses from guests.
3. If other barbershop groups are involved in the holiday show, contact them to finalize details and to
coordinate the show line-up.
4.The show rehearsals with guest participants begin.
(See The First Rehearsal Night and Sample Rehearsal
Schedule, page 4-46 and 4-47)
November
1.Continue weekly member/guest rehearsals.
Introduce the guests at every rehearsal, learn their
names and get to know them well.
2. If the holiday show is co-sponsored with another
group, hold a joint rehearsal so everyone is familiar
with the schedule. Hold the rehearsal in the performance facility, if possible.
3. Finalize costumes for all performers.
4.Ticket sales now take center stage. Every chorus
dreams of additional members and additional
money! Be sure to involve guest performers in selling tickets. Remember to send ticket information
to those individuals on your original guest list who
are not participating in the show. Know how many
ticket sales are needed to cover costs, then push on
to sell tickets for profit.Knowing that the show was
a financial success will be frosting on the cake and
will add to the festive atmosphere of the "thank
you" party.
7.The director or the performance team chair selects

a master of ceremonies.
Rev. 9/01
Page 4-46

October
THE FIRST GUEST REHEARSAL NIGHT

1. Create and staff a welcome table near the door.
Everything should be in place at least 30 minutes
before the scheduled guests ar rive.
2. Chorus members are well informed and have previously received a schedule for the evening.
3. Greeters who have been previously appointed and
trained meet each guest at the door. Each guest is
asked to sign in.She is given a pre-printed name tag
and folder containing her holiday music, learning
tape, information presenting the basics of barbershop music and a computer generated calendar
marked with rehearsal dates, the performance date
and the "thank you" party date. (A packet will have
been prepared for each woman who returned the
registration card. Extra packets are available for
those who did not pre-register.)
4. Keep the first rehearsal light; allow the guests to

enjoy participating in the fellowship of chorus life.
Focus on preparations for the show; do not talk
about chorus membership. Inform the guests that
they have been selected to join the chorus for its
holiday show because of their singing ability and
because the members wish to share the excitement
of performing barbershop style music. (See sample
rehearsal schedule, page 4-47.)
5.The chorus director and music staff will conduct
voice placements during the first half of rehearsal.
Since the guests are musically inclined, they probably have a good idea what voice part they can sing.
Follow-up
The following day the membership committee
should mail a postcard, signed by the director, to
each guest who attended, thanking her for participation and telling her that the chorus members
look forward to their next rehearsal together.
Gigi Guest
1234 Guest Rehearsal Drive
Performance, Texas 12345
Rev. 9/01

Page 4-47
THE FIRST GUEST REHEARSAL NIGHT

SAMPLE SCHEDULE
6:30 p.m.
Chorus members arrive for vocal warm-ups.
6:50 p.m.
Chorus members leave the risers to greet and mingle with arriving
guests.
7:15 p.m.
The chorus director welcomes everyone and gives an overview of

barbershop harmony, the holiday show, and the evening's events.
The chorus comes to the risers to perform three or four songs with
emcee material. Immediately following the performance, the chorus
divides into sections (left to right: bass, baritone, lead and tenor.)
The chorus director and section leaders assist the guests with voice placement. The
director leads the chorus in an easy holiday song. The guests join the chorus, standing
in their appropriate voice section. The group rehearses for the holiday show for the
remainder of the evening.
9:30 p.m.
Remind the group of the next rehearsal date and time, and let them
know what music will be included in the next rehearsal.
Beverages and light refreshments follow the rehearsal.
REMAINING REHEARSALS UNTIL THE HOLIDAY SHOW

SAMPLE SCHEDULE
7 - 8:30 p.m.
8:30 - 8:45 p.m.
Member/Guest rehearsal.
Break. Guests may leave or are invited to stay to watch the regular
chorus rehearsal.
8:45 - 10:00 p.m. Member rehearsal.
It is natural that some guests who attended the first week or two of rehearsals will not
return for various reasons. If after writing to these individuals or contacting them by
phone, it is determined that they do not wish to continue, thank them for their interest and invite them to the holiday performance. Don't feel that you have lost these
guests.They have been exposed to the barbershop style and know the excitement that
can be found in ringing chords. Someday they or their friends may return to become
members.
Rev. 9/01
Page 4-48

AFTER THE HOLIDAY SHOW

NOW IS THE TIME TO INVITE GUESTS
TO BECOME A PERMANENT PART OF THE CHORUS .
The invitation should be issued by the director, chorus president or membership

chair.
Several days before the party, prepare membership handouts or brochures.Order each
guest a copy of the brochure Let's Get Acquainted from the international headquarters
sales office.This attractive and informative brochure presents an introduction to membership in Sweet Adelines International.
Involve the director in "selling" the music program of the chorus and invite guests to
join in the excitement of participating in regional competition.
A member who is knowledgeable about the Sweet Adelines organization as well as
the chorus administration should speak regarding matters of dues and other membership issues.
Invite guests back to visit the next few chorus rehearsals, giving them an opportunity to hear the chorus' regular repertoire or schedule a "rookie" class.
Don't be disappointed if some of your guests decide not to join. Some may not have
the time to commit or the monetary means to participate at this time.The chorus has
made new friends and shared a unique performance opportunity. The guests who do
decide to join the chorus already feel a part of the chorus "family" and they can immediately add to the chorus' harmony.
Invitation Ideas For The Thank You Party

When:
The first rehearsal night following the

show.
What:
The type of party is up to the chorus.

The evening could begin with a potluck
dinner served by chorus members or simply
refreshments of coffee and cake.
Why:
To thank the guests who performed with

you. Make the guests the focus of the
evening. Include singing as part of the program, after all, that's what brought everyone together!
To invite the guests to become members of
the chorus.
Rev. 9/01
Gigi Guest
1234 Guest Rehearsal Drive
Performance, Texas 12345

Page 4-49
Joyful Sounds Chorus
... for women who love to sing
September 6,2002
Dear Susan,
We need your talent and pizzazz for a special performance.
The Joyful Sounds Chorus of Sweet Adelines International invites you to participate in a
Holiday Extravaganza barbershop style! We plan to have fifty women on stage singing in harmony, and we want you to be one of the fifty!
This special invitation to perform with us is being sent to women known by Sweet Adelines
to be of high musical proficiency. Georgia Walters has recommended you to our music committee and we invite you to join us for this short-term project.
Rehearsals for the early December show will begin October 22 at 7:00 p.m. at the Lutheran
Center, 51st Street near Pine, and will be held each Tuesday evening, thereafter from 7:00 8:30 p.m. at the same location. For more information, you may call Georgia at 555-0000.
We invite you to join us on October 22 for a mini performance to introduce you to our style
of music. At that time you will receive your performance package, plus details about our
upcoming performance.
Since we have limited our invitations, we hope you will give this special consideration. To help
us prepare for you,please complete and return the enclosed card by September 30.We look
forward to hearing from you!
In harmony,
Kathy Smith
Chorus Director, Joyful Sounds Chorus
Sweet Adelines International
Sample Invitation Letter
Rev. 9/01
Page 4-50


September 6 , 2002
Dear Kim,
We need your talent and pizzazz for a special performance.
The Joyful Sounds Chorus of Sweet Adelines International invites you to participate in a
Holiday Extravaganza barbershop style! We plan to have fifty women on stage singing in
harmony, and we want you to be one of the fifty!
Although circumstances may prevent you from singing with us on a regular basis, why not
join us for this short-term project? You'll have fun, renew old acquaintances and make new
friends! And if you haven't heard us recently, you'll be delighted by our new sound!
Rehearsals for the early December show will begin October 22 at 7:00 p.m. at the Lutheran
Center, 51st Street near Pine, and will be held each Tuesday evening, thereafter from
7:00 - 8:30 p.m.at the same location.
We invite you to join us on October 22 for a mini performance. At that time you will receive
your performance package, plus details about our upcoming performance.
Since we have limited our invitations, we hope you will give this special consideration.
To help us prepare for you,please complete and return the enclosed card by September 30.
We look forward to hearing from you!
In harmony,
Kathy Smith
Chorus Director, Joyful Sounds Chorus
Rev. 9/01
Sample Welcome Invitation Letter for Former Members or Guests

Page 4-51

October 22,2002
Welcome!
We're happy you joined us for this special occasion! We hope you enjoy the evening.
Tonight's activities will begin with a short performance to introduce you to the variety found
in barbershop singing.The chorus will perform a few of its favorite songs.
Following the mini-show, I'll fill you in on plans for our holiday show to be presented on
December 7, 2002 at Schuler Auditorium. Our section leaders will help you determine which
voice part you sing: tenor, lead, baritone or bass.
Then everyone will be on the choral risers and into the act with some of our new holiday
music. After rehearsal, we'll break for some well-deserved refreshments before ending the
evening's activities.
We think we have a great show planned and we hope you will continue to attend show
rehearsals and then join us on stage.
In harmony,
Kathy Smith
Chorus Director
* Holiday Show rehearsals are scheduled for each Tuesday evening from 7 to 8:30 p.m. through
December 2.Regular chorus rehearsal will follow and you are welcome to stay for the entire evening.
Our dress rehearsal will be Sunday afternoon, December 1.To be eligible to perform on the Holiday
Show, December 7, guest performers must attend a minimum of six Tuesday rehearsals plus the
dress rehearsal.
Sample Welcome Letter
Rev. 9/01
Page 4-52

THE TWO NIGHT PLAN

The Class Concept/Vocal Lesson Program has proven to be very successful for many
choruses. However, your chorus may have valid reasons for selecting the Two Night
Plan. For example, your chorus director and/or chorus might not be willing or able to
devote the time and energy necessary for a campaign that includes weekly singing
lessons for prospective members.The "hook" of the less complex Two-Night Plan is
introducing a new song the first night with the promise of finishing it the second night.
THE FIRST NIGHT

SAMPLE SCHEDULE
7:30 p.m.
Guests are greeted and voice-placed by director.
8:00 p.m.
Physical Warm-Up.
(Guests are invited to join chorus on riser for warm-ups.)
8:10 p.m.
Vocal Warm-up and Vocal Production Work.
8:30 p.m.
Begin Teaching New Song (Chorus and guests in chairs).
9:00 p.m.
Guests are Introduced Refreshments and Social Time.
9:30 p.m.
Chorus Performs on Risers.
9:45 p.m.
Guests Join Chorus in Circle for Closing Song.
THE SECOND NIGHT

SAMPLE SCHEDULE
Rev. 9/01
7:30 p.m.
Physical Warm-up.
(Guests are invited to join chorus on riser for warm-ups.)
7:40 p.m.
Vocal Warm-up and Vocal Production Work.
8:00 p.m.
Continue Teaching New Song (Chorus and guests in chairs).
8:30 p.m.
Section Rehearsals for New Song.
9:00 p.m.
Refreshments and Social Time.
9:20 p.m.
Chorus on Risers.
Guests are introduced (one clap) and escorted to the risers.
Sing new song together.
Learn simple choreography.
Perform song!
10:00 p.m.
Guests Join Chorus in Circle for Closing Song.

Page 4-53
ONE-DAY VOCAL PERFORMANCE WORKSHOP

The One-DayVocal Performance Workshop has been successful for some choruses who
want to reach potential members within a relatively short period of time. The workshop setting has an educational appeal. It also offers opportunities for guests to get
acquainted and perform in a non-threatening atmosphere.
Objectives:
1.To host a successful one-day vocal performance workshop involving guests who are
knowledgeable singers.
2. To introduce the barbershop style and share the excitement of ringing chords with
other singers.
3.To provide an opportunity to get acquainted with potential members within a short
time frame.
4.To provide a performance opportunity in a supportive atmosphere.
Strategies:
1. Begin with careful planning, a positive rehearsal environment and an enthusiastic
chorus director. Add the enthusiasm of the current chorus members who are ready
and willing to distribute flyers,extend invitations,follow up and attend themselves,
and you have the ingredients for a successful workshop.
2.Chorus members are expected to attend the workshop.
3.The culmination of the workshop features a performance by the chorus and the
guests. Members and guests are encouraged to invite their friends and families to
attend the performance. (It is important that members invite friends and family to
make sure there is an audience.)
4. Participants will pay a fee and register ahead of time. The fee includes the cost of
lunch. If someone registers, and is unable to attend, her money is refunded.
Information about the workshop (such as costume plans) is sent to registrants prior
to the event.You may also wish to send the music, and a learning tape prior to the
workshop.
5. Participants are asked to wear black and white and bring a solid-colored long-sleeve
top for the performance. (Or some other simple costume can be planned.)
6. Participants are expected to learn and perform a song complete with choreography.
You may also wish to teach a tag so the guests have an opportunity to sing both the
tag and the new song in the performance.
7. During the workshop, participants are given information about the chorus and
Sweet Adelines International.
8. Immediately following the workshop, thank-you cards and invitations to attend further rehearsals are sent.
9. Mentors will be assigned to guests who continue to come to rehearsals following
the workshop.
10. Follow-up orientation classes are scheduled.
Rev. 9/01
Page 4-54

ONE-DAY PERFORMANCE WORKSHOP

SAMPLE SCHEDULE
9:00 a.m.
Meet & Greet.
9:15 a.m.
Introductions
The Basics of Vocal Production
9:45 - 10:15 a.m.
What is Barbershop Harmony?

Guests will be assigned to sections.
10:15 - 11:00 a.m.
Section Rehearsals.
11:00 - 11:15 a.m.
Break
11:15 - 12:00 p.m.
Riser Rehearsal
12:00 - 12:15 p.m.
The Joyful Sounds Chorus

Planned program presented by membership team and/or
various chorus leaders, to provide brief information about
the chorus.
12:15 - 1:00 p.m.
Lunch
1:15 - 2:15 p.m.
Visual Performance/Choreography
2:15 - 2:45 p.m.
Sweet Adelines International --- the big picture

Show the video We Are One In Song.
2:45 - 3:00 p.m.
Break
3:00 - 4:00 p.m.
Rehearse show package.

(The package will include the song and tag performed by all
workshop participants plus songs performed by members and
an emcee.)
4:00 - 4:30 p.m.
Change into performance costumes --- refresh make-up.

Set up chairs for guests.
4:30 p.m.
Performance.
Follow-up:Send letters of invitation to all guests.
Rev. 9/01

Page 4-55
Group Vocal Lessons

Held Mondays
June 5 June 26, 2001
7 to 10 p.m.
4th & Hanley
Sponsored by
the Joyful Sounds Chorus
Enhance and develop
your vocal skills,
learn four-part harmony,
have fun and participate
in performances
complete with
choreography
and costumes.
$10 material fee
This Can Be You As You Receive Your

FREE Vocal Instruction!
Group Vocal Lessons
Held Mondays
June 5 June 26, 2001 from 7 to 10 p.m.
4th & Hanley
Sponsored by the Joyful Sounds Chorus
Enhance and develop your vocal skills,
learn four-part harmony,
have fun and participate in performances complete
with choreography and costumes.
$10 material fee
For More Information Call:

555-3379 or 555-8554
Sample Ads
Rev. 9/01
Page 4-56

Vocal Class Registration Form

Name (please print) ___________________________________________________________________________________
Address ______________________________________________________________________________________________
City ________________________________________________ State _______________________ Zip _________________
Telephone (H) ________________________________________
(W) _________________________________________
Musical Experience ____________________________________________________________________________________

Rev. 9/01
Sample Flyer

Page 4-57
FREE Vocal Instruction with the

Sweet Adelines!
Four Week Vocal Improvement Program for Women
Mondays, June 5 26, 2001 from 7 to 10 p.m.
4th & Hanley, Sing City
Posture
Breathing
Freedom from Tension
Creating Resonance in the Voice
Range Expansion
How to Learn a Song
Singing with Energy
Singing with Artistry & Emotion

Using four-part womens a cappella barbershop
harmony as our medium through which to
demonstrate and learn
Application of principles follows each class as
you sing along with the Joyful Sounds Chorus
For more information call:

Chorus Songline: 555-8554 or JoAnn: 555-3683
Vocal Class Registration Form
Name (please print):_________________________________________________________________________________
Address: ___________________________________________________________________________________________
City, State and Zip: __________________________________________________________________________________
Telephone (H): _______________________________________________(W): __________________________________
Mail to: Joyful Sounds Chorus Vocal Lessons, Musical Drive, Sing City, USA 10100
$10 materials fee includes music, learning tape, handouts and class syllabus
Sample Flyer
Rev. 9/01
Page 4-58

SAMPLE JOB DESCRIPTION

VOCAL LESSONS COMMITTEE
Planning and careful preparation are crucial to the Vocal Lesson program success.
Planning should begin six months prior to the event.The chair and committee should
consist of people with a variety of skills.Some are creative and visionary, some are outgoing, enthusiastic salespersons, others are best at organization and implementation of
details.
There are many components in play during the Vocal Lesson nights. Details are important. Each committee member and chorus member should know in advance what has
been planned and what her individual responsibility will be to the overall success of the
evenings.
RESPONSIBILITIES:
1.Gather a team to plan the vocal lesson project. Identify and appoint other
members or chorus committees to assist in completing all necessary tasks.
2. Prepare a budget.
3.Prepare and distribute a timeline to all persons who have a task to complete.
Highlight the name and tasks for each person on the individual copies.
This helps keep all members involved aware of deadlines. It also serves as a
gentle reminder to those who tend to procrastinate. (See Chapter 1,Sample
Timeline Forms)
4. Prepare advertising and promotional materials.
5. Prepare all scripts and handouts for the lessons.
6. Prepare ample guest packets, learning tapes and music folders.
7.With the chorus director, prepare a schedule for each evening of the lessons.
8. Select and train g reeters and riser-buddies for all lesson nights.
9. Develop a plan for guest follow-up following each lesson.
10.Develop a plan for creating and staffing a welcome table near the door.
11. Prepare beverages and light refreshment for the first night of lessons.
12. Prepare an efficient registration process.
13. Orient the chorus as to their responsibilities and the planned schedule
for the 4-6 weeks of lessons.
14.Immediately following the first lesson,send handwritten thank you notes
to guests.
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Page 4-59

HOUSE CHAIRPERSON
The primary responsibility of the house chairperson is to make sure that the necessary
equipment, risers and chairs are available in the rehearsal hall and classroom(s) each
night during the Vocal Lessons.
RESPONSIBILITIES:
1. Set up enough chairs for the guests not only in the rehearsal hall, but in their
classrooms as well.
2. Set up enough tables in the registration area.
3.At the end of the evening, put away chairs and tables and dispose of all trash.
4. Provide a lost and found box for any personal belongings that may be left behind.
Rev. 9/01
Page 4-60


VOCAL LESSONS PUBLICITY
Our enthusiasm for quality vocal production, greater musical knowledge and pleasure
in performance and competition is one of the best tools for being able to attract nonmembers to the organization.
RESPONSIBILITIES:
1.Once the target markets have been determined, design and prepare appropriate
advertising and promotional materials. (See Chapter 2)
Make arrangements for newspaper, radio and television public service
announcements and other free advertising available for nonprofit organizations.
Plan and write news releases, PSAs and paid ads for all media.
Plan direct mail campaigns.
Update chorus brochures.
2. Enthusiastically promote membership to chorus members. (See Chapter 3)
Provide flyers, posters and other promotional materials to chorus members.
Produce chorus picture postcards for distribution.
Rev. 9/01

Page 4-61

RISER BUDDY
Riser buddies maintain communication with guests before and after rehearsals, during
breaks and during the week in between rehearsals.They also serve as a communication
link between the guests and the Vocal Lesson chair.
RISER BUDDIES WILL:

Arrive early.
Welcome guests and prospective members by NAME.
Exchange contact cards so youll have each others phone numbers.
Wear their nametags.
RISER BUDDY CONTACT CARD

Completed by riser buddy and given to guest.The card will contain your name and
phone number so the guest can call you if they have any questions.
GUEST CONTACT CARD

Completed by guest and given to riser buddy. The card will contain the guests name
and phone number.The riser buddy will use this card to call the guest each week of the
Vocal Lessons.
Answer the prospective members questions. If at all possible, avoid talking
while on the risers.Tell the guest that you will answer her questions later,
and then DO IT.
Give prospective members a call during the week.
- Make phone calls early in the week.
- Let them know we enjoyed having them as our guest.
- Answer any questions they may have.
- Tell them youre looking forward to singing with them next week.
Look for them the next week at rehearsal and repeat all of the above
where applicable.
Each week following the phone calls, riser buddies will report to the Vocal
Lesson chair. Let her know if the guests plan to return, will be absent, or
have decided not to continue.
If the riser buddy is unable to make the calls, inform the Vocal Lesson chair
so she can call the guests.
Rev. 9/01

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Members Count!

THE VOCAL LESSON PLAN

VOCAL LESSON PLANNING OUTLINE

works well because it is also a time people look for

OBJECTIVES OF THE VOCAL LESSON MEMBERSHIP PLAN

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PREPARATION AND PLANNING

8. Prepare an efficient registration process that

2. Prepare advertising and promotional materials.

9. Appoint and train greeters and Riser Buddies

3. Educate and promote the event within the chorus.

10. Prepare beverages and light refreshments for the

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THE FIRST LESSON NIGHT

6. Chorus members are well-informed about the

EXPERIENCES THAT WILL FOSTER

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7. Be completely organized in every detail (or at least

ADDITIONAL TIPS FOR SUCCESS

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THE VOCAL LESSONS

FOUR WEEK PLAN

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THE VOCAL LESSONS

FIVE WEEK PLAN

SIX WEEK PLAN

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REMAINDER OF REHEARSAL TIME:

Performance by Class of ??whatever they have

THE VOCAL LESSON PLAN SAMPLE REHEARSAL SCHEDULE

Guests with chorus director for vocal lesson.

8:05 to 8:35 p.m.

Section rehearsals for all members and guests.

8:40 to 9:30 p.m .

Guests are introduced.

9:30 to 10:00 p.m.

Chorus performs for guests.

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THE VOCAL LESSON PLAN

Introduction to Chorus Life

Lesson #4, #5 Handouts

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VOCAL LESSON #1, PAGE 1

Exercise & Posture Drill

Common posture problems:

Vocal Lesson #1 Handout, Page 1

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VOCAL LESSON #1, PAGE 2

BREATHING FOR SINGING: T HE DISTINCTION

ABDOMINAL MUSCLE AND BREATH SUPPORT

Vocal Lesson #1 Handout, Page 2

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VOCAL LESSON #1, PAGE 3

Vocal Lesson #1 Handout, Page 3

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VOCAL LESSON #1, PAGE 4

SOME GENERAL CONSIDERATIONS

Vocal Lesson #1 Handout, Page 4

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SAMPLE TEACHING PLAN FOR VOCAL LESSON #1

Lesson #1 - Singers Posture

Breathing For Singing

Sample Teaching Plan for Vocal Lesson #1, Page 1

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