| Our Quartets Tin Pan Alley
(Free Arrangements) Guidelines for
Forming a Quartet Quartet Registration Club 21 |
GUIDELINES FOR FORMING A QUARTET
ORGANIZING THE QUARTET
Participation in a quartet provides a unique opportunity for four singers who share similar
interests with respect to their goals and development as a musical, performing unit. However, to
be successful, it involves more than singing together a few minutes following chorus rehearsal
each week. Quartet members must work both individually and as a unit on all aspects of vocal
production and performance skills. Decisions regarding administrative responsibilities and
educational opportunities are important to a quartet and must be shared by and coordinated to the
satisfaction of all four members.
QUARTET GOALS
Quartets form for a variety of reasons and usually continue when the blend of voices and
personalities is mutually satisfying. The quartet continues to develop as a performing unit
because the members share similar goals. Before the decision is made to become an organized quartet, members should devote time to
discussing their goals as individual quartet members and as a performing unit. For example:
-
Do all four members want to perform exclusively for civic organizations or on
chorus shows and afterglows?
- Or do all four members also want to compete in regional competition?
- What are the members' goals relative to competition?
- to compete for the fun and educational benefit?
- to place in the top five regionally?
- to be the regional champion?
- to become an international semifinalist?
- to become a Sweet Adelines International Champion Quartet?
The goals that are identified for the quartet will determine the level of commitment required
from each member. As the quartet develops, or as personal priorities change, goals also may
change and should be evaluated periodically and, if necessary, amended.
In addition to musical and performance goals, potential quartet members need to consider the
personal relationships that will develop within a quartet. The key to success in this area is open
communication. Each member should be responsible for providing honest feedback in an
appropriate manner when necessary. Expectations and disappointments should be openly
discussed within the quartet. It is important to remember that emotional issues, and issues that
involve one's pride, are the hardest ones to confront.
When a quartet is first forming, just like with a marriage, all parties want to believe that this is a
relationship for life. Unfortunately, this is not always the case. Too often a minor or major
disagreement develops and a quartet does not know how to deal with and resolve the conflict. A
potential quartet would be wise to draw up a pre-quartetting agreement. The contract should
outline such things as:
● How will the quartet deal with disagreements?
● Will selection of songs, costumes, dismissal of a member, etc. be a unanimous decision or a majority vote?
● If a member leaves the quartet, what are the financial obligations regarding
quartet property, such as music and costumes?
● What are a member's responsibilities regarding property ownership, financial
matters, administrative assignments?
● How often should the quartet relationship be reviewed?
ADMINISTRATIVE ASSIGNMENTS
While most decisions regarding the quartet should be made by the unit, many administrative
tasks are best assigned to specific members according to individual skills. The following areas
are examples of task assignments that could be made:
Quartet Contact
The quartet registration form specifies that one member be designated as the quartet contact. As
the quartet's official liaison with international headquarters, the contact receives all
correspondence regarding competitions and quartet education programs. This key person is
responsible for meeting deadlines for submitting required paperwork to and corresponding with
international headquarters and the region.
Performance Manager
A member of the quartet may be responsible for making all arrangements regarding quartet
performances. In this capacity she usually finalizes, in advance, such details as fees (amount and
payment details), performance start and finish time, dressing/warm-up room provisions, sound,
stage and lighting requirements, etc.
Financial Manager
It is important that an accurate record of the quartet's expenses and income be maintained. A
member of the quartet should be responsible for maintaining the funds and remitting payment for
expenses.
Travel Manager
If the quartet is traveling as a unit, one member accepts the responsibility of making travel and
housing arrangements.
These are merely a few of the tasks that may be assigned, based upon the needs of the
performing unit. Care in assigning responsibilities will result in less worry about administrative
details, freeing the quartet to enjoy the benefits of singing and attaining their goals.
CHOOSING A NAME
Registration
Since no two Sweet Adelines International quartets may use the same name, each quartet should
register its chosen name, for protection purposes, with international headquarters. To register, a
completed "Quartet Registration Form" should be sent to international headquarters, along with
the $60.00 registration fee. Payment may be made by check, Visa, MasterCard or Discover
Card. Registration may also be made online at our website www.sweetadelineintl.org A Quartet
Registration Packet, containing current information for quartets, will be supplied to each
registered quartet.
Points to remember are:
(1) Quartets must be registered by January 15 prior to competing in regional contests. A
$25.00 late fee will be charged to any quartet registering between January 16 and
April 30. A request for a waiver of this policy must be made, in writing, to
Director of Music Services Carol Schwartz before a late registration may be
approved.
(2) A member may belong to more than one registered quartet, but she may compete in
only one quartet per Sweet Adelines International contest.
(3) The name of a registered quartet is protected from registration by another quartet for
the fiscal year of initial registration. To assure retention of the quartet name, the
quartet must register the name each succeeding fiscal year (May 1). If the quartet
name has not been registered by July 31 of the fiscal year, it will become
available to another quartet.
(4) It is necessary to notify international headquarters in the event of a change in quartet
personnel or a change of address of the contact.
(5) A change in the name of a quartet may not be made except at the beginning of each
fiscal year.
It is also important to note that all requirements for charter renewal of the quartet member's
chapter must be met before quartet registration can be processed at international headquarters.
Should the quartet registration be received at international headquarters before the chapter's
charter renewal is processed, the registration will be held until the chapter renews its charter.
Restrictions on Registration
Following are the various restrictions on choosing and registering a quartet name:
(1) The names of current or past International Championship Quartets are protected and
may not be used or registered by another quartet.
(2) The names of International Semifinalist Quartets (those placing 2-20 in the
International Quartet Competition) are protected and may not be used or
registered by another quartet for a period of five (5) years from the end of the
fiscal year when the latest ranking as International Semifinalists was achieved.
(3) The name of an International Semifinalist Quartet which loses its ranking as a result
of personnel changes may not be used nor registered by remaining members or
another quartet for a period of five (5) years from the date when the latest ranking
as International Semifinalist was achieved.
(4) The names of Regional Championship Quartets are protected and may not be used nor
registered by another quartet for a period of one (1) year from the end of the fiscal
year when the latest ranking as Regional Championship Quartet was achieved.
(5) The name of a Regional Championship Quartet which loses its ranking as a result of
personnel changes may not be used nor registered by remaining members or
another quartet for a period of one (1) year from the date when the latest ranking
as Regional Championship Quartet was achieved.
THE MUSICAL PRODUCT AND VISUAL PRESENTATION
The International Board of Directors has adopted the following mission statement for the
international organization: Sweet Adelines International is a worldwide organization of
women singers committed to advancing the musical art form of barbershop harmony through education and performance.
As a representative of Sweet Adelines International, as well as its individual chorus(es), a quartet
will want to promote the best possible barbershop sound and style. Therefore, planning, time
and effort must be devoted to developing the musical product and visual presentation.
Quartet Rehearsal
Rehearsal is essential to the mastery of any technique. Listed below are recommendations
regarding quartet rehearsals.
● Rehearsals should be held on a regular basis and with dates planned far enough in
advance to avoid scheduling conflicts.
● When rehearsing for an important performance, consider a retreat type setting to
help in avoiding all distractions.
● Rehearsals are often held in members' homes; however, they should be free from
interruption.
● Rehearsals usually last about three hours, with longer rehearsals scheduled for
coaching visits or competition preparation.
Just as it is important to schedule quartet rehearsals on a regular basis, it is important to plan
each rehearsal in advance. The following are recommended for each rehearsal plan:
● Perform approximately 20-30 minutes of vocal and physical warm-up exercises;
● Review and polish repertoire material, as needed, including choreography;
● Learn new music, including interpretation and choreography; and,
● Refine any performance packages.
MUSICAL PRODUCTION
Vocal Production
Perhaps the most important part of the musical product is vocal production. As a member
develops her singing technique, the musical quality improves. When all four members of a
quartet improve, the overall quality of the performance of the unit improves.
The foundation for good barbershop sound and technique is breath support. Without it, harmony
accuracy is difficult to maintain, appropriate balance between all four parts will not be attained
and dynamic levels will not vary. Good breath support comes only with knowledge and practice.
Balance and Blend
The quality that makes barbershop harmony different from other choral music is the unique way
in which the four parts blend to produce a cone-shaped sound. In order for the quartet to achieve
this cone-shaped sound, each member must understand how and where her part fits within the
cone. She also must understand the characteristics of each of the other three parts and how they
interrelate.
Tenor
In barbershop harmony, the tenor is the highest part and is sung above the melody. The
tenor sings with sufficient maturity of sound to complement the lower voices while
maintaining clarity and brilliance. Excessive vibrato is removed.
Lead
The lead in a barbershop quartet is responsible for conveying the interpretation, emotion
and inflection of the song, with the other parts supporting her with inflection, artistry and
finesse. Since the lead generally carries the melody, she sings with authority, clarity and
consistency between the extremes of her range.
Baritone
The baritone part in barbershop harmony is sung sometimes above and sometimes below
the melody. Although singing within the same range as the lead, the baritone must sing
with a depth of tone in order to fill the gap between the lead and bass.
Bass
The lowest note in a barbershop chord is that of the bass. Since the bass provides a firm
foundation for the cone, this part is sung primarily in the lower register with a mellow
and melodic quality. The tone produced should be rich, full and broad with clarity and
focus and a minimum of vibrato. Her vocal quality should complement that of the lead
voice.
The Judging Category Description Book provides additional detail for each part.
Music
The primary consideration for selecting music is whether or not the song and the arrangement
are suitable for the group. For example, because of the musical demands inherent in the
arrangement, some chorus songs are not suitable for quartets. Likewise, a contest arrangement
sung by an international championship quartet may be too difficult for a quartet that has not
competed on the international stage.
The following factors should be considered when selecting music:
● Musical capabilities of the quartet and individual members;
● Members' experience in singing barbershop harmony;
● Vocal range of each part; and
● Appropriateness of the arrangement, including the lyrics, to the quartet's style and
image. One of the most difficult tasks is choosing competition material.
The music category section of
the Judging Category Description Book explains the category requirements of contest
arrangements.
Copyright Requirements
It is the policy of Sweet Adelines International to require that all necessary permissions,
grants of rights, and licenses for the use of musical works in any public performance and
on any recordings have been secured. That all applicable fees and/or royalties are paid for
such uses.
Sources of Music
There are several sources of music from which quartets may select appropriate material.
●International Headquarters
The sales department at international headquarters maintains a list of all music published
through Sweet Adelines International. This list is distributed periodically, free of charge,
to all chapters and to individuals upon request. Songs on this list have been approved by
the international organization as quality barbershop arrangements. Each song is coded for
level of difficulty, tempo (ballad or uptune) and suitability for contest. This music is
available from the international headquarters sales department.
●Arrangers' Music List
Distributed by the international headquarters sales department, this is a list of songs
submitted by arrangers. These arrangements have received the necessary clearance from
the copyright holder(s). The sheet music is available either from the arranger or
international headquarters, as indicated on the list.
●Arrangers
A directory of all members of the International Music Arrangers Program (IMAP) is
available to members of Sweet Adelines. A quartet may write directly to an arranger for
information about non-published arrangements. When a quartet wants to obtain a song
performed by another group and does not know who the arranger is, it is appropriate for
the quartet to contact the performing group.
VISUAL PRESENTATION
The visual charasteristics of the barbershop style include high energy, natural body movement
(in addition to planned choreography), facial animation, and unity of a contemporary
appearance. The visual presentation of a quartet enhances the musical product and should never
detract from it. This portion of a performance takes time to plan, rehearse and polish to achieve
the desired overall impression of unity and precision. Several areas make up the visual presentation of a quartet's performance. Refer to the JCDB for the importance of each area in relation to competition.
Choreography
Planned movements are used to illustrate the lyrics, as well as to add emphasis to specific
phrases. Gestures are planned so they appear natural and spontaneous, and complement the
quartet's style and image.
Movement should never detract from the musical production. Therefore, all gestures should be
rehearsed - the entrance, the choreography, the bow for each song, the quartet's stance between
songs, and the final bow and exit. When perfected, these result in a unit effect that enhances the
musical presentation.
Costume
The quartet's costume, as well as its choreography, should achieve a unit impression. The
costume should be appropriate for the occasion and for the quartet's image. The style should be
complimentary to all four members. If the costume is inappropriate for even one member of the
quartet, it might result in a comedic impact, detracting from both the musical and visual
presentation.
Within a contest, in order not to distract attention away from current performers, awards from
other competitions should not be worn. In addition, awards won with previous quartets or
choruses should never be worn by individual members of a quartet when the current quartet is in
costume.
Make-up
Total communication with the audience is not achieved without discernible facial expressions.
Facial expressions can be enhanced with the proper use of make-up. While make-up is only a
small portion of the visual presentation, it should be worn during all presentations, with the
occasion dictating the style and amount.
The primary component of a barbershop performance is unity, both in the musical production
and visual presentation. With a unit sound, individual voices are heard only as components of
the total chord, not as specific notes. Unity in the visual presentation means that neither the
costume, make-up, nor physical movement detracts from the overall visual effect. Finally, total
unity of performance is achieved when the musical and visual presentation complement and
enhance one another.
PERFORMANCES
A performance is any planned presentation by the quartet - from the two songs in a regional
competition performance to the 10-12 minute package prepared for the international quartet
finals to a program presented on a show. Regardless of the type of performance, the following
components of an entertaining package remain constant, with only the number of songs or
amount of spoken material varied:
● The material should be appropriate to the occasion.
● The singing must display basic musicianship skills.
● The emcees should display confidence and poise, and the content of the material
should be in good taste.
● The quartet should display poise and the ability to handle unexpected situations.
● The performance package should exemplify creativity.
Entertaining performance packages don't happen spontaneously. Instead, they are the result of
careful planning, diligent rehearsal, and a professional presentation. When all four members are
well rehearsed - both individually and collectively - the quartet will be relaxed and able to focus
its energy on communicating with the audience.
PLANNING AND PREPARATION
Music Selection
The number of songs to be included in the package depends on the quartet's repertoire and the
length of the program. A performance of 15 to 20 minutes requires approximately 5-8 songs,
depending on how much spoken material is included.
The type of audience should be considered when selecting material for a program: An audience
of barbershoppers might appreciate hearing ballads, residents in a nursing home might prefer to
hear cheerful uptunes. Quartets are often asked to perform their national anthem at sporting
events. Whatever the event or occasion, all Sweet Adeline performing groups are expected to be
mindful of subject matter, lyrics or presentations that may offend members and/or audiences.
Once the songs are selected, determine the sequence. The program should begin and end with
enthusiasm and excitement that gains the audience's attention, then leave them wanting more.
Ballads and novelty numbers should be placed in the middle of the performance. Although it is
not necessary for all songs to have a common theme, it is important that the progression from
one segment to the next be logical and smooth. Therefore, consideration must be given to the
selection and placement of spoken material.
Emcee
The emcee's presentation is important to the success of a performance package. She is
responsible for introducing each song as well as for providing a smooth transition between
segments and mood changes. The emcee should be poised, with an intuitive sense of timing as
to when to begin talking after a song, or when to end a story and introduce the next segment.
The emcee should always be a positive reflection of the quartet's image while still recognizing
and maintaining her own style and strengths. A quartet whose emcee has the ability to tell a joke
or story and maintain the audience's attention will want to spotlight that talent. However, it is
important to remember that the quartet was engaged for a musical performance, not stand-up
comedy, and most of the performance should consist of singing.
Regardless of her individual style, the emcee should consider the following factors when
planning the content and delivery of material:
● Know the audience.
● Material should be appropriate for the situation.
● Material should enhance the musical aspect of the performance.
● Avoid off-color jokes and use of profanity.
● Material should not surprise or embarrass other quartet members.
Whenever a quartet performs in public, it represents its own chorus(es) as well as the
international organization. So no matter how large an audience or how important the
performance, every aspect of the presentation - the musical quality, visual performance, and
emcee material - should always be in keeping with the professional standards of the
organization.
GUIDELINES FOR AUDITIONING QUARTETS
In order to help assure quality from quartets, chapters generally require that the quartet pass an
audition prior to their first public performance. If a quartet has members from more than one
chapter, they should audition for all chapters involved. If there is a personnel or voice part
change, the quartet should audition again.
The chorus may choose to have the audition conducted by the chorus director, the music
committee, or a specially formed audition committee. Regional Education Coordinators are to
audition all Chapter-at-Large quartets. The auditioning quartet will be required to perform two
or three songs, including emcee material. A quartet that is formed specifically to sing at a onetime
performance, (chapter show, church service or club meeting, for example) should be
auditioned, but needs no emcee material unless the performance requires it.
The purpose of auditioning performing quartets is not only to assure the quality of our
performing groups, but also to assist groups in improving the quality of their performances. In
order to help the quartet members feel more at ease, the audition committee provides an advance
letter explaining the audition procedure and areas to be evaluated.
THE QUARTET COACH
Because it is impossible for individual members of the quartet to hear the unit's sound as a
whole, it is difficult for them to evaluate balance and blend, to pinpoint the cause of harmony
inaccuracy, or to critique the visual presentation. A tape recorder, video camera and monitor can
be valuable tools during a quartet rehearsal. By reviewing the rehearsal on tape, each member
can determine areas where she needs to make adjustments.
Many quartets have also made arrangements to be coached on a regular basis. The coach is a
"fifth ear" who hears and watches the unit, and who can provide direction which will enable the
quartet to improve singing technique, as well as visual presentation. A quartet coach may be the
chorus director, a knowledgeable chorus member, a member of the regional team faculty, a
member of the International Music Faculty, or anyone who can effectively fit the needs of the
quartet.
Selecting a Coach
It is important that the quartet select the coach most compatible with the unit at their particular
stage of development. Before selecting a coach, the quartet should carefully and honestly
answer the following questions together:
(1) What is the quartet's experience, both in the art form and as a performing unit?
(2) What are the goals of the quartet?
(3) What are the quartet's specific needs?
(4) How much can the quartet afford to spend for coaching?
(5) How often is a coaching session desired?
(6) Who is available that meets the quartet's needs?
Working With the Coach
Once a candidate is identified, the quartet should approach the individual regarding availability,
fee and expense requirements, and personal expectations. The quartet should provided the coach
with background information about the quartet, including their degree of experience, specific
needs, and goals. All arrangements regarding fee, expenses, and dates of coaching sessions
should be confirmed in writing.
In order to achieve maximum results from a coaching session, the quartet must be well prepared.
Each member should know her music so well that she can stop and start at any point in any song.
She should be just as familiar with the choreography.
The coaching session is an intense workout, both physically and mentally. Standing and
performing, perhaps for several hours, each member must maintain concentration on what is
being said and how the direction relates to her. Members should keep in mind that the coach's
comments are directed to improve the unit as a whole, and at individuals only as they fit into that
unit.
Sometimes when a face-to-face coaching session is not possible, an audio and/or video tape can
be quite beneficial. Many Education Coordinators have developed a "coach-by-tape" program,
and several coaches use this system for interim coaching sessions. In making a tape, the quartet
will want to present the complete package to be critiqued, using the best equipment available.
The coach can then listen to the performance and evaluate each song, just as if she were on site.
A productive coaching session is one in which all five individuals work together to achieve the
net result - a better quartet. No coach is perfect, and the quartet may later decide not to
incorporate all her suggestions. The advantage to working with a quartet coach, either in person
or by tape, is that she can listen to and watch the unit, discern the problem areas for each part,
critique the presentation objectively, and assist with the various facets of the performance, such
as interpretation, lyrical expression, and the visual effect. Having a quartet coach does not
guarantee success on the competition stage, but working regularly with a "fifth ear" will help the
quartet achieve its potential as a musical unit.
CONCLUSION
Singing in a quartet can be challenging, exciting, and self-fulfilling. The challenge lies in the
effort to develop the technique of singing and performing in the barbershop style. Performing
for an audience is exciting; for the quartet can share with many people simultaneously an
appreciation and love for music, the universal language. Self-fulfillment results from the
realization that because of hard work, a great deal of time, and much commitment on the part of
each member, the quartet's goals have been met and a musical unit has evolved.
Many people will base their opinion of Sweet Adelines International on the performance of one
quartet. Therefore, it is essential that every quartet present a musical and visual image which
reflects positively on the organization and on the art form of barbershop harmony.
BASIC CRITERIA FOR PUBLIC PERFORMANCE
Each chapter and quartet, as a part of Sweet Adelines International, is committed to advancing
the musical art form of barbershop harmony through education and performance. In order to
promote this appreciation, each chapter and quartet must present a professional performance that
enhances the music and emphasizes the appropriate image.
In order to ensure the quality of our public performances, the Educational Coordinator (ED) is
responsible for evaluating the musical abilities of chapters and prospective chapters, including
their readiness for public performance. In addition, chapters are expected to establish quality
control and auditioning procedures for quartets which represent their chapters. Although quality
is difficult to specify, minimum standards must be established.
Listed below are the Basic Criteria for Public Performance adopted by the International Board
of Directors. These criteria are used by the EDs in determining if a prospective or established
chapter may perform in public. The International Board of Directors strongly urges chapters to
use these same basic criteria when auditioning quartets.
BASIC CRITERIA FOR PUBLIC PERFORMANCE
I. PERFORMANCE
A. Musical Performance
1. Performing groups and their audiences enjoy variety (including novelty or
comedy songs, solos, and songs with modern chords) in a performance.
However, the performance should include predominant use of barbershop
arrangements sung in barbershop style as defined in the Judging Category
Description Book.
2. Public performances should include the following musical skills
a. Correct notes and words
b. In sync and in tune
c. Energy and forward motion
B. Visual Performance
1. Correct stage stance and posture
2. Even spacing between chorus and quartet members
3. Synchronization of planned movement
4. Display of appropriate facial expression and poise
5. Energy and emotional connection with the audience
C. Appropriateness
1. Subject matter, lyrics or presentation should not be offensive to members
and/or audience
2. Length of performance should fit the occasion and the audience
D. Emcee
1. Material is planned ahead and relevant to the audience
2. Delivery enhances the performance and creates a sense of continuity
throughout the program
3. Uses appropriate material in good taste. Good singing is the emphasis;
joke telling should be minimized and used with caution
II. UNIT APPEARANCE
A. Costume
1. Proper fit
2. Clean, pressed and in good repair
3. Appropriate for venue and audience
B. Grooming
1. Hair that is neat, clean, and styled suitably for the costume
2. Appropriate stage or street makeup applied in a uniform manner
III. MEMBERS AS AMBASSADORS
A. All performance related contacts between Sweet Adelines and the public should
be business-like and pleasant. A generic plan, either formal or informal, should be
developed that assigns responsibilities and ensures that all performance related
administrative details are properly handled.
B. Each chorus and quartet member should be aware that any interaction is a chance
to make a positive impression. Of particular importance are:
1. Interaction between the performance coordinator and those who hire the
group to perform
2. Interaction between the performing group and the audience, before, during
and after the performance
3. Interaction with personnel at the performance site
|
