ISLAND CITY CHORUS

GREATER MONTREAL CHAPTER

SPEBSQSA Inc

MINI PITCH

Date: April 17, 2000

COMING UP - ROB'S REQUIRED EVENTS

Wednesday, April 19, 2000 South Shore Interchapter Night

May 19, 2000 Keep it open for a technical/Dress rehearsal

May 20, 2000 Beginning to See The Light featuring PLATINUM, Salle Claude Champagne Tickets $18

Thursday, June 1, 2000 Olympic Pool O Canada at the Canadian Olympic Swimming Trials - 6:00 pm

Sunday, June 11, 2000 Sing-out, Place des Arts

September 22-24, 2000 Fall Forward - A retreat for the whole chorus

October 27-29, 2000 Northeast District Contest, Montréal - That's US!

COMING UP - OPTIONAL, BUT FUN and EDUCATIONAL EVENTS

June 3, 2000 Burlington Chapter Show with Michigan Jake. (Hershel Pesner has tickets - $15.00 CDN)ß NEW

April 28 - 30, 2000 Spring District Convention & Prelims & HOD Meeting Peabody, MA

July 2 - 9, 2000 International Convention Kansas City, Missouri

September 1-3, 2000 Bolton Landing Barbershop Quartet Festival, Bolton Landing, NY

A fine is a tax for doing wrong. A tax is a fine for doing well.

CHAPTER NEWS

Christmas CD in the works The Chapter Board authorised the production of a Christmas CD with the other Barbershop Choruses and quartets in the Montreal Area. This would include South Shore Saints, Sweet Adeline's West Island Chorus, and Greater Montreal Chorus and Montreal Chapter of Harmony, Inc. and their quartets. More information will be forth coming, but the main beneficiary looks to be the Missing Children's Network, and the choruses/chapters. It will also give us a chance to show off how well we can sing.

Let's join South Shore Saints on Wednesday! We missed out on celebrating Barbershop Harmony Day (April 11), but we can have fun and celebrate the Saints 40th anniversary and our 50th anniversary. Burlington and Plattsburgh are coming to join in, so it should be fun. Plan to be there. More details will be provided during business, as to location and timing.

Are you excited? The fantastic weekend we had last week has got my fire burning brightly. I am reminding myself that to get where we did was not drudgery, it wasn't magic. It was the result of everyone working a little harder than before, and having a good time getting better.

I can see us continuing to improve. We saw the tape, and we each know how we could have done that one move better, or sung with a little more passion, or directed a little slower (oops, sorry, Rob!). There were lots of things we did well, and if we keep on doing theose things and fix some of the other things…. Look out District, here we come!

Bring in the money for your tickets and advertising for our Annual Show/Concert. Our show for 2000, "Beginning to See the Light," will be on Saturday, May 20 in Salle Claude Champagne at Université de Montréal featuring PLATINUM, the 1999 Silver Medallist Quartet and the 1998 Harmony, Inc. International Champion quartet, Blue Champagne. This will be Blue Champagne's final performance. More than half the tickets are gone!

The Afterglow is confirmed for Le Buffet Dynastie de Chine and it will cost $14.00. This will be a fun part of the show, where we can unwind, and listen to the show quartets.

Advertising is an important part of the program, so ask your dentist, barber, mechanic, suppliers… We need to sell $8,000 worth of ads. Let's do it! Besides, if we don't, the costume deposit will have to be that much larger.

Here is current repertoire list:

Overture

I’ll Walk With God

Harmony

Sweet Georgia Brown

Didn’t We

Love Me and the World Is Mine

Basin Street Blues

I’m Beginning To See The Light

I Only Have Eyes For You

1. Increase lung volume - use diaphragm & chest (not shoulders)

[This is the first in a series of 5 parts to help us improve our singing. Enjoy. : ED]

If you were going to drive across country, it wouldn't make much sense to fill only 1/3 of your tank at each gas-up. That is what you are doing when you only use abdominal air support.

Hold a note/vowel using abdominal-diaphragm support only. Write down the time and duration of the note.

Diaphragm Diaphragmatic breathing is an automatic process. Muscle tension pulls the diaphragm down from, and elasticity returns it to the elevated position. This action of the diaphragm is responsible for 29% to 63% of your lung capacity for air exchange. When the diaphragm moves down, it produces a partial vacuum (negative air pressure) in the lungs (chest cavity).

This is more easily seen in the operation of a syringe, concertina, or set of bellows. When they operate, their internal dimensions are greatly increased. This increased interior space reduces the pressure on the air within. Hence, the air pressure is lower than that outside of the device (and the lungs). As Nature abhors a vacuum, the outside air, which now has a higher relative pressure, rushes in to equalise the interior air pressure to the level of that outside of the instrument (and lungs).

The diaphragm is a tough, elastic membrane attached along the bottom edge of the lower ribs. It separates the lung space from the viscera (stomach, intestines, and other lower body organs). You can draw in more air, by relaxing the abdominal wall. The diaphragm then moves lower. It follows the viscera that are allowed to move forward by the relaxed abdomen. The lower the diaphragm moves, the greater the created difference between internal and atmospheric air pressure. By controlled progressive tensing of the gut, you can then squeeze out that air (just as with the bellows, concertina and syringe). Think of the Heimlich Manoeuvre; by greater compression of the gut you can exhale more air.

Ribs. You need to elevate your ribs to further increase the internal space of the chest cavity, and hence the negative pressures within. In addition, this increases the volume of air that you can exchange. In filling the lungs more fully, you have more air to support singing. Therefore, you can sustain singing for a longer period, require fewer breaths and provide better support for singing quality and volume.

The ribs are hinged at the spine. As they rise, they increase the chest circumference. The interior air space is radically increased (side to side and front to back). This increased space produces the added, available air capacity.

Experiment Stand with your arms hanging and hands clasped. Now with your elbows anchored at your sides, raise your clasped hands. When they are straight in front of you, note how the space between your hands and your body has increased. This is basically the action of the ribs. In addition to this increase, remember that the ribs, being hinged at the spine will also increase the side to side dimension of the air cavity. This experiment illustrates how rib elevation can radically increase the volume of the lung cavity, and as a result, the amount of additional air drawn in with your rib elevation.

The ribs rise by contraction of the intercostal and other associated muscles. By consciously holding your ribs in this elevated position you greatly increase your chest circumference and hence your capacity for "containing" air with which to support your singing. Imagine two syringes, identical with the exception of circumference. It is obvious that the one with the larger diameter will have the greater internal capacity for fluid or air.

Our director, instructs us to continually raise our chest (and hence ribs) as we sing. While we "feel" that our chest is raising, the appearance to the audience is ribs staying in the elevated position, without movement. The net result is this technique helps us to maintain our elevated chest position and the maximum air space possible.

Many barbershops are not taught about this valuable available air space. This is because their coaches don't think that barbershops can do this without bobbing their shoulders up and down.

Now hold the note/vowel again. This time use both the abdomen/diaphragm & ribs. Write down the time and duration and compare it to your first attempt.

Practice is something we do at home, every day, between rehearsals!

Rehearsal is where we reinforce what we have been practising every day!

Steven Wheaton, President

Murray Phillips, Editor of the Mini Pitch