The Heartbeat

The Power of Music by Joe Liles from the Richmond, Virginia Virginian, via the

Worcester Keynotes

At the 1996 SPEBSQSA Mid-Winter Convention in Jacksonville, FL, Joe Liles (retired Executive Director of the Society) ended his keynote address with this excerpt.

My mom taught me to sing and play the ukulele before I ever at-tended grade school. I started making up songs at the age of six. There was always singing at home and church with family and friends. Music has been a golden thread throughout my life, and I can vouch for its power of communication.

Early last year, I visited my mom in a rest home in San Antonio. She has both Alzheimer’s and Parkinson’s disease. She can no longer hold a conversation and has difficulty recognizing anyone. The attendants carefully strapped her in a wheelchair and we rolled her to a lounge area where there is a piano. I sat down and played some songs for her, trying to reach out in some way. Residents of the home gathered around, and I led them all in a songfest of secu-lar and sacred songs. I stopped for a minute and explained that I was the son of Bernyce and she used to be a remarkable singer. I told them how she had inspired me and taught me to love music. Her favorite gospel song is “His Eye Is On the Sparrow.” I began to play and sing it to them. No sooner had I sung the first few words, “Why should I feel discouraged . . .” when I heard a sweet voice behind me.

I continued to play and turned my head to see my mom had lifted her head and started to sing in a small voice, not with the power of her youth, but right on pitch. “Why should the shadows fall? Why should my heart be lonely and long for heaven and home?” Right on to the chorus. Her voice began to gather in strength, and through my tears, I could no longer see the keyboard. She contin-ued, “I sing because I’m happy. I sing because I’m free, for his eye is on the sparrow and I know he watches me.”

Her radiant face soon dropped to her chest again, and she faded into her quiet world. But for a few magical, powerful moments, Mom and I were communicating. I’m grateful to music. That’s why I say we must teach the children to sing and keep the whole world singing!

CHAPTER ETERNAL Men who have passed-on from us but will always

be on the risers with us in our hearts: Charlie Borders Floyd Guernsey

Mel Lee Harry Olds

Don Polley John Raymond

Bob Yenney Emil Bajus

Smile Darn Ya Smile Reasons to Grin at Your Audience

from Le-Hi Notes, Allentown-Bethlehem, Pennsylvania Chapter

Editors note: I don’t know if this is part of your plan this week-end but it’ll help.

• To take command of the stage and the audi-ence.

• The audience knows you’re at ease and it puts them at ease.

• The audience knows you enjoy singing.

• Smiling makes you feel good.

• The audience will give you energy when you smile.

• A smile gives the director confidence.

• A smile gives the song more intensity.

• A smile helps you stay on pitch.

• A smile with an eyebrow lift makes key changes easier.

• A smile is the easiest form of visual perform-ance, and gives you the most in return.

• A smile helps place the sound for better reso-nance and projection.

The Heartbeat—May 2008, Volume 5, Issue 4 The official newsletter of the Heart of Florida Chorus,

Central Florida Chapter, Barbershop Harmony Society Chapter meets every Thursday evening, 6:30PM,

at North Lake Presbyterian Church, 975 Rolling Acres Road Lady Lake, Fl 32159 (http://heartoffloridachorus.org)

The 2008 Heart of Florida Leadership Team

V. P. Program and Chap-ter

Development:

Dick Fischer

Board Member At Large—

1 Year:

V. P. Marketing and

Public Relations:

Richard Fritch

Executive Vice Presi-dent:

Fran Donohoe

V. P. Membership:

Keith Mullen

352-259-9893

Director:

Scott Werner

352-259-2572

Secretary:

James Gehrlein

352-751-0776

Editor….……………………Elbie Ford, 352-484-1216

elbieham@hotmail.com

Circulation Manager……. Jim Martin, 352-357-6129 jimmart@juno.com

Staff Photographer…...Peter Loeper, 352-751-1999

pwopo@embarqmail.com

Roving Reporters: Don Himmelman, 352-307-1702

himmelmand@aol.com

Ron Dudley, 352-735-9585

President:

Marty Martin

352-307-5634

Sunshine Chairman:

Bob Wakefield

352-259-0633

Treasurer:

Jim Martin

352-357-6129

Board Member At Large—

1 Year:

The Hear tbeat May Page 2

The Heartbeat Staff

Articles with no byline are written by the Editor. Clip art courtesy of the Bar-bershop Harmony Society. Unless oth-erwise indicated, Photos courtesy of Peter Loeper, Staff Photographer

Immediate Past Presi-dent and

V.P. Music and Perform-ance

HOF Director Team

Assistant Director

And Emcee:

Tom Holbrook

Deadlines Deadline for articles submitted for publication in the Heartbeat shall be the 20th of the month

Purpose:

The purpose of this chapter shall be to perpetuate the old American institution, the barbershop quartet, and to promote and encourage vocal harmony and good

fellowship among its members, to en-courage and promote the education of its members and the public in music appreciation of barbershop harmony.

The chapter activities shall be conducted without personal gain for its individual members and any profits or other inurn-ments to the chapter shall be used in pro-moting the purposes of the Society, district or chapter.

Mission Statement:

Purpose and Mission State-ments of the Heart Of Florida

Assistant Director:

Don Barnes

352-259-8634

Board Member At Large—

2 Years:

Chaplain:

Don Himmelman

352-307-1702

Section Leaders:

Tenor—Joe Pfiefer, 352-751-2415

Lead—Dick Casanzio, 352-

Chorus Coach:

Don Clause

352-751-3663

Board Member At Large—

1 Year:

The Hear tbeat Page 3 May

Mail I didn’t want to realize Editors note: Below is an email I received from Don Himmelman. I have published it verbatim with his O.K. . LATEST NEWS! I've got cancer! And that's just how I got the news from some really fine doctors. So I should tell you in the very same way. I hadn't been feeling so hot since early February but attributed it to old age; you know, aches and pains. But lumps started appearing on my back and I knew they didn't belong there--fat o.k., lumps no. It didn't take the doctors long to diagnose the seriousness of it, too. Now they're still trying to figure out the best way to handle the problem, if at all. Melanoma, but also some suspicious lymph node(s), a cyst on the kidney, intestinal tract difficulties. They're talking radia-tion and chemo and other stuff which I don't understand but readily accept. I'll know better within a week what the road to travel will be.

But I think I'm ready for whatever comes. I'm a believer so I have no problem with what is in store. Woody Allen said, "I'm not afraid of dying; I just don't want to be there." At my age a person is aware of the sunset and needs the reassurance that sustains. I gladly accept that and welcome it. Elizabeth Kuebler Ross says there are five stages of dying; total denial, rage, bargaining, de-pression, and acceptance. They're not neat and precise and sometimes they're in a different order. And I confess that I think I've hit them all.

My family has been supportive too. The help here at the assisted living complex has been extraordinary and help-ful and promising to care for Sue during these times. I think I have everything in order for whatever comes. But it will be victorious, whatever and whenever.

I don't want a bunch of phone calls that I have to tell this story over and over. I hope you'll understand that I'm not snubbing you but that I'll be busy in this project and if you want further news I would be glad to send that to you, if I am able. Meanwhile, I'll just keep chugging along and trust the good Lord who has cared for me all through my lifetime, and has saved the best till last. What a promise!

Warmly and lovingly, Don Himmelman 2655 Nebraska Ave. #2032 Palm Harbor, Fl. 34684 himmelmand@aol,.com

Board of Directors Meeting By Secretary Jim Gehrlein and edited

Edited Minutes for the April Board of Di-rectors Meeting of the Central Florida Chapter The following directors were present: Marty Martin, Jim Gehrlein, Jim Martin, Ken Carter, Pat Haley, Bill Cullen, Dick Fischer, Keith Mullen, Richard Fritch and Dick Casanzio. Absent was Lloyd Cole. Also present, Bill Bernard.

Marty Martin read a letter of from the VPAA thanking the chorus for performing at the February 6th fund raiser at the Savannah Center and letters of resignation from Harry Boland and Wayne Underhill. He also read a letter from Fran Donohoe resigning the office of Execu-tive Vice President.

Secretary’s Report: The Chapter has 132 members. Cur-rently, ten members are suspended for non-payment of dues.

Treasurer’s Report: The Treasurer’s Report was received on motion.

Music and Performance: Ken Carter’s reports will be posted at rehearsal for review by chapter members.

Chapter Development: Dick Fischer reported that the Chapter’s Member’s Handbook will be distributed to the membership via e-mail after the District Convention.

Music Director's Comments: He is rethinking the chorus’ interests and involvement in the current chorus repertoire and competition schedule. Membership: Keith Mullin reported that we had four guests in March. There are no active membership appli-cations.

Marketing and Public Relations: Rich Fritch reported that representatives of the Villages Concert Band has re-quested that the chorus provide an emcee for the com-bined show on May 18th.

Unfinished Business: Portable Sound System: Ken Carter reported that the “live test” of alternative mics will be postponed until late May.

Ambassadors of Song Program and the Founder’s Club: Pat Haley reported that 30 applications had been taken by members and nine board members were participating.

Bert Boulay - Cape Cod, Massachusetts

Bill Wedge - Massachusetts

Paul Smith - Kennett Square, Pennsylvania

Lynn Smith- Kennett Square, Pennsylvania

(Paul's father)

We not only welcome guests, but seek them. Ask the guys in your circle to give us a try.

The Hear tbeat Page 4

By Ginger Cullen

The Heartthrobs were well represented as the chorus competed in Jacksonville. It is always great to see our fellows trying their best in competition.

The contest was the beginning of a very busy month for the chapter. Everyone is asked to support the Blood Drive on May 10th. For tickets to the Stonecrest show on May 17th, contact Marty and Norita Martin. On the 18th be sure to get to the church early to get a seat. No tickets required but a donation is collected during these very popular performances.

Mark you calendars. The HeartThrobs will meet again at 6:30 p.m. on Thursday evening, May 29, at the North Lake Presbyterian Church.

Events at which it is hoped to see many HeartThrobs:

May 10th - Society Blood Drive, SweetBay Supermarket, Lake Sumter Landing, The Villages.

May 17th - Chorus performance at Stonecrest, Rt. 441, Summerfield

May 18th - Chorus performance with the Village Band at North Lake Presbyterian Church

June 21st - Barbershop Extravanganza, Savannah Center

July 2-5 - International Contest in Nashville, Tennessee

The following are contacts for the HeartThrobs: Norita Martin - (352-307-5634) Welcoming and Heart-Throb Coordinator Dottie Vincuilla - (352-205-7627) Treasurer Kathleen Carter - (352-259-3574) Sales of Christmas or-naments and miscellaneous duties Roz Fischer -( 352-750-6755) - Sunshine (sending cards to both HOF and HeartThrobs members) Ginger Cullen - (352-391-5106) Communications Coor-dinator Phyllis Leathers - (352-753- 0449) - Activities Gail Beck - (352-259-4156) - Name tags ($5 per badge)

The songs we Sing

He wrote the music for “Peg ‘O My Heart”

Fred Fisher was born in Cologne, Germany on September 30, 1875. After being educated in Germany, he served in the Germany Navy and later was part of the French For-eign Legion.

Fisher moved to the United States in 1900. He began his songwriting career in Chicago and then moved to New York City where he found work on Tin Pan Alley first as a manager at the publishing firm Harms & Co. and later with Leo Feist & Co. He later formed his own publishing film.

In the early 1900’s, Fisher wrote background scores for silent films and later wrote songs for “talkies.” He also contributed special material for vaudeville and night club acts.

Collaborating with songwriters such as Grant Clarke, Joe McCarthy, Billy Rose, Alfred Bryan, Doris Fisher (daughter) and Billy Hill, Fisher wrote many hit songs of the day. He wrote the music and Alfred Bryan did the lyrics to “Peg o’ My Heart” (one of our own repertoire songs that we’re learning).

He also did the music on many barbershop songs that I’ve heard, such as, “Daddy, You’ve Been a Mother to Me,” “Come Josephine in My Flying Machine,” “I’m All Dressed Up with a Broken Heart,” “They Go Wild, Sim-ply Wild, Over Me”, “There’s a Little Bit of Bad in Every Good Little Girl,” “There’s a Broken Heart for Every Light on Broadway,” “Happy Days and Lonely Nights” and “When I Get You Alone Tonight.”

Fred Fisher died in New York City on January 14, 1942. He was the father of three children, Doris, Dan and Marvin.

May

Answers to Barbershop History Quiz for April 2008:

1- The Hometown Quartet, representing the Lodi, NJ, Chapter

2- Don Clause (Editors note: our beloved coach of the Heart Of Florida Chorus!)

3- The Easternaires, from the Jersey City, NJ Chapter

4- The Music Man

5- The Buffalo Bills which left the Broadway show to go out to Hollywood where they appeared in the movie production of this great musical

The Hear tbeat Page 5

Harmony University Keynote Address By Dr. Jim Henry

Editor’s note: This is a continuation of a speech that was delivered by Dr. Henry at Harmony Uni-versity on July 20, 2007. It is so inspiring and from his soul that I feel all of you will be inter-ested in reading this. It contains nearly 5,000 words so it will be broken down into monthly in-stallments. (Only two to go after this—hope you’re enjoying it!) How many gold medals are those testimonials worth? You’ll see several men this week wearing gold medals. But when we go home we will take our medals off and put them away in a drawer or up on a shelf. They’re just things. Inanimate objects. Of less monetary value than our cell phone, and less useful to our needs, or, even more significantly, the needs of our fellow man than a simple glass of water.

They come to us because out of the six-and-a-half billion people in the world, a whopping fifteen men decide that our seven-minute performance on a single day was bet-ter than every other chorus’s seven-minute performance at a barbershop convention that most of the world does-n’t even care about. (Just ask “America’s Got Talent.”) Is that really our sole reason for being? Are we so wrapped up in the competition that winning a gold medal is all we care about? It’s a serious question, because for some people it is. I mean, for some people, just one point from some judge, ANY judge, would be all it would take to break a tie and make their life complete again (sniffle). I went through a low period as a director when that was all that mattered to me. And little by little I started los-ing my joy. And the chorus suffered for it. Then one day the apple fell off the tree and conked me in the head. I had a revelation: It’s the JOURNEY, stupid, not the destination!

To paraphrase one of the Ambassadors baritones, Mi-chael Kunz, it isn’t THE gold medal that you need in your life, it’s the gold medal moments, the little gold medals you win every time you stand with your friends and mas-ter a new skill, or finally ring that bear of a chord. It may be when you receive that brilliant David Wright or Aaron Dale arrangement that you know is going to knock peo-ple on their butts, or rejoice at the birth of one of our fellow chorus members’ children, or weep at the death of their spouse or child.

How many gold medals do we win even before the warm-up is over on an average chapter meeting night? THE gold medal is awarded for a seven-minute perform-ance. How many gold medals do we win the other 31,535,580 seconds of the year? Thousands? Hundreds of thousands? Millions?

But the great thing is that we not only receive these gold medals, we have the power and privilege of giving them away. To the people we sing with and the people we sing for? How many lives have we changed? How many souls have we fed? How many men have we made vul-nerable enough to call their wives and whisper to them “I love you?” How many troubled teenagers have been stirred to make a better future for themselves because of a song they heard us sing. And to what extent do the actions that we inspired in one of those people impact all the other people that are a part of that person’s life?

Really, have you ever tried to fathom how great is your impact? I’m not talking to the Barbershop Harmony Soci-ety, or your chorus, or your quartet; I’m talking to you—your impact.

I’m sorry; this isn’t just a hobby. We’re not collecting stamps here. We are creating art in an age when art is being systematically shoved out of every school in the country. And we are making a positive difference, one life at a time, to a world that is in desperate need of it. Music does that.

Now, you see, we have a viable reason to sing well. For the better we perform, the more gold medals we give to our audience members and, in turn, the more we receive ourselves. And, yes, along the way, if we keep getting better and perform well enough at a barbershop contest, we win a shiny gold medal to pin on our coat or wear around our neck. Only now it has a real value because it is a tangible representation of the innumerable gold med-als that have poured into us and out of us all year long. It represents the lives of every person that has been changed, including your life, because you worked so hard and devoted so much of your self to be great at your craft. (Continued next issue)

Remembering our vets on Memorial Day By Kenneth A. Morris

Gentle Comrade Gentle comrade do not fear, Rest your weary head. I heard your call and I am here, I stand beside your bed. So gentle comrade fear no more, Your mind should be at rest, Your days of toil are o'er, You've met the steel test. Gentle comrade do not fear, You've fought both brave and true, You've left your mark on many a year, Your deeds of valor were not few. So gentle comrade rest thy head, Upon thy pillow free from care. Lie gently upon thy bed, In the beyond how well you'll fare.

May

The Hear tbeat Page 6

CRAFT-ED By John B. Shaerer

Editor’s note: John submitted this series of craft articles to be run in installments. It is a good instructive article that all of us can learn something from. It will be continued in subse-quent issues.

MAJOR AND MINOR SCALES Head back to the piano and try this. Find C. Remember, it is a white note just to the left of a group of two black ones. Play the scale, working your way up the white

keys, giving the familiar major scale, the do, re, mi, we learned as young-sters. Now, find A (the 6-th, or la of the major scale). Start with A and play up the white note again. Sounds kind of mournful or somber doesn’t it? This is a minor scale. In particular, it is the A minor scale, named for its first note.

To each major scale, there is a corresponding minor scale which uses the same notes and hence the same key signa-ture, but has its starting note the sixth note of the major scale. If the song is in a minor key and the key signature is Bb (two flats), then it is actually in G minor.

A song written in the A minor key would have the same key signature as the one in C major, so how can you tell the difference? The simplest answer is by the way it sounds. If the melody is bright and seems to keep com-ing back to C, it is in C major. If it sounds somber and keeps coming back to A, it is A minor. If neither, and there are a lot of accidentals, the composer may have changed the key on you without the key signature.

The difference between the major and minor scales is in the location of the half-tone intervals. In the major scale, all intervals are whole tones except the two half-tone in-tervals between three and four and between seven and eight. In the minor scale the two half-tone intervals are between two and three and between five and six. The interval of a third in the major scale is two whole tones (C to E). In the minor scale the third is the minor third, one and a half tones (A to C).

The real problem is what pitch to blow if the song is in a minor key. If the key signature is C, should we take the C major hum and then try to switch to minor? Or should we blow A and take the A minor hum? It is generally accepted that we will tune better with the minor hum, but

so few of our songs are in a minor key that we have trou-ble doing so. The trick is that whoever has the third in the hum must make it a minor third, and do so firmly enough that the minor chord is felt.

Here is a note from Jim Hummel who gave much to the writing of these CRAFT-ED articles. The Untouchables sang “Roses of Picardy” at the Inter-national Convention in San Francisco. The key signature is Bb, and the chorus is in Bb, but the verse is in G minor, so they blew the G and took a minor hum.

C R a f t O

R

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E

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May

Acoustix personel (left to right) Todd Wilson-T, Rick Mid-daugh-L, Jeff Oxley-Bs and Jason January-Br

Webster's Dictionary defines "acoustics" as the science of sound. Acoustix formed in January of 1990, and in a very short time realized that the blending of their vocal talents pro-duced a sound that has eluded many performers. The Texas foursome skyrocketed straight up the competi-tion ladder. In a record-setting six months, Todd Wilson, Rick Middaugh, Jason January and Jeff Oxley, won on their first attempt. Acoustix received national television exposure with ap-pearances on CNN, NBC's " Today Show" and on two different PBS programs, " Keep America Singing," hosted by Mitch Miller and " The Internet Show." They appeared live on the ABC Radio Network's nation-ally syndicated " Zippo Show", and were subsequently asked to produce a jingle package for the program. One of their biggest fans was the late Peter Jennings of ABC's World News Tonight. He heard one of their CDs and invited them to sing at a private party he hosted in New York City. On a more recent trip, Acoustix made their debut at Carnegie Hall. Popularity of the foursome has spread worldwide, includ-ing some 250 appearances covering 37 states of the USA, four provinces of Canada, Great Britain, Austria, Czechoslovakia, Hungary, Germany and the Royal King-dom of Saudi Arabia. While the average age of the quartet is only 34, they do combine over 76 years of membership in the SPEB-SQSA.

(Editors note: They were coached in Sound by our own Don Clause.)

The Hear tbeat Page 7

Concerning Tone Placement By Dr. Diane Clark

Editor’s note: I got this on an email sent out by Chad Hall to chapter members in my former cho-rus in Michigan. I happen to still be on their list.

Diane Clark is the director of the local Sweet Adeline chapter. She holds a PhD in Vocal Pedagogy and was a professor in Tennessee for many years. I personally take lessons from her. I encourage anyone interesting in de-veloping their own voice to visit her for a lesson. If you have not heard the work she had done with the local SAI chapter you are really missing out.

Here is a post she places on a discussion group called the Vocalist. I hope you find it useful in your growth as a singer. —Chad Hall

Okay, I will weigh in here on John's question, speaking about the barbershop genre. In the barbershop world, we are teaching mostly amateur (i.e., untrained) singers. These wonderful folks get most of their vocal training from their choral directors, and our organizations are now also promoting PVI sessions (Personal Vocal Instruction), so that the singers can address their individual vocal issues directly.

So how do I teach my barbershop singers? I teach them the same basics as I teach any classical voice student--alignment, breathing and support, focus, resonance, agility, freedom of face and body, dramatic expression, etc. The beginning ama-teur singer is often so far from that ideal that any good tech-niques she/he gets are completely enhancing to the barbershop sound.

Once a singer gets a mastery of the basics, then we refine/direct the sound to be more in the pop vein. Barbershop uses less vibrato, of course (more like madrigal singing). Sometimes for loud climaxes in up tunes, we want a brighter, edgier sound, so we may suggest the singer aim the resonance toward the hard palate instead of the soft palate--imagery at work here.

Terminology that differentiates those sounds in the barbershop world includes "spikes" and "velvets." I often tell my amateur singers to use "cathedral resonance" in singing their vowels--i.e., resonance in the nave and chancel (front to back, or depth), the transepts (side to side, or width), and the dome and crypt (up to down, or height). If I get a well trained classical singer (like me! :-), who is trying to learn to sing barbershop, I tell her to stay in the "small chapel!" (She doesn't need all the reso-nance she is already capable of accessing. She has to think "smaller" and more conversational, like a pop singer. In con-trast, I ask my amateur singers to imitate opera singers. It's a wonderful balancing act!)

Since the goal in barbershop singing is to ring chords, we pay a lot of attention to reinforcing overtones. Of course, this is greatly helped by teaching singers to listen to and reinforce overtones in their own individual voices. One way that I work on this is by helping each singer to discover her/his own best vowel (i.e., the one that naturally reinforces the most overtones or has the best ring, and then she can match the other vowels to this "role-model" vowel. Obviously we do this in classical singing, too, but since barbershoppers are highly motivated to find more overtones, they find this a very useful tool. It is also amazing to me what a full and rich sound the chorus gets when each singer sings her own "best" vowel, (yes, all at once!) I consider that sound as the "potential" sound for my chorus and work to get that at all times. A great, but elusive goal!

In sweetest harmony (as we say in the barbershop world), Dr. Di

BARBERSHOP HISTORY QUIZ author: Mark Axelrod, editor of "Blue Chip

Chatter," Teaneck, NJ. 1- In 1876, "I'll Take You Home Again Kath-leen" was written. This song is considered a milestone in the development of the barbershop style of harmonization because of its significant chord variation; this variation was previously absent in popular songs. What else happened in 1876 that was of momentous importance to barbershop harmony? 2- The society magazine was not always called the Harmonizer. Identify the name of its prede-cessor and the years in which it was published. 3- In the early years of the Society, arrange-ments of barbershop songs were available only from commercial publishing houses. In what year did the society begin publishing arrange-ments itself? 4- What was the problem with the commercial publishers which motivated the society to self-publish? 5- When and where was the first chorus direc-tor’s clinic held? For extra credit, name the so-ciety luminary who was the instructor.

May

Something besides “Bari” jokes Ever hear the one about the tenor who was so off-key that even the other tenors could tell?

Q: How many tenors does it take to change a light bulb? A: Six. One to do it, and five to say, "It's too high for them."

Q: How do you tell when your lead singer is at the door? A: He can't find the key and doesn't know when to come in.

Place Postage

Here

The Heartbeat

The woods would be very silent if no birds sang there except those that sing the best”

Henry David Thoreau

FOR MAY

Charles Wollert 3

Bobby Vincuilla 4

Donald Kroes 4

William Boening 7

Ralph Peckham 8

Harry O’Brien 9

Kenneth Harr 10

Bernard O’Donnell 18

Richard Sperley 28

Richard Casanzio 31 Printing of The Heartbeat done b y U L T R E X P R I N T I N G (formerly VIL-LAGE PRINT N’ COPY).

See them for your printing

Elbert Ford 1520 152nd Place Ocala FL 34473

Phone 352-484-1216 Cell: 352-817-8559

Email: elbieham@hotmail.com

The Heartbeat—May 2008

Society Blood Drive, May 10, 2008 – Sweet Bay Supermarket, Lake Sumpter Landing, The Villages

Stonecrest Show with Sweet Adelines - May 17, 2008

Show with the Villages Concert Band, North Lake Presbyterian Church - May 18, 2008

Harmony Explosion, University of Central Florida - June 12-14, 2008

Barbershop Extravanganza, Savannah Center - June 21, 2008

Show at the Ocala Methodist Church, details TBD