Guidelines for Regional Conventions Handbook

GUIDELINES FOR REGIONAL CONVENTIONS

2016 Edition

SWEET ADELINES INTERNATIONAL

Mission Statement

Sweet Adelines International is a worldwide organization of women singers committed to advancing the musical art form of

barbershop harmony through education, competition and performance.

TABLE OF CONTENTS SECTION A INTRODUCTION Guidelines for Regional Conventions ......................................................... A-1 Introduction ................................................................................... A-1 Using the GRC .................................................................................. A-1 Introduction to Regional Conventions ........................................................ A-3 Supervision and Coordination ........................................................... A-3 SECTION B CONVENTION PERSONNEL Official Panel ...............................................................................................B-1 General Information ...........................................................................B-1 Chair of the Official Panel .................................................................B-1 Panel Secretary ...................................................................................B-2 Events Coordinator ......................................................................................B-4 Basic Responsibilities ........................................................................B-4 Project Schedule .................................................................................B-5 Chair of the Regional Convention ...............................................................B-8 Basic Responsibilities ........................................................................B-8 Position Requirements .......................................................................B-9 Project Schedule ...............................................................................B-10 Competition Coordinator ...........................................................................B-14 Basic Responsibilities ......................................................................B-14 Project Schedule ...............................................................................B-16 Official Panel Liaison ................................................................................B-19 Basic Responsibilities ......................................................................B-19 Position Requirements .....................................................................B-19 Project Schedule ...............................................................................B-20 Directors’ Coordinator, Education Coordinator and Finance Coordinator B-24 Project Schedule ...............................................................................B-25 SECTION C CONVENTION COMMITTEES Convention Steering Committee ..................................................................C-1 Convention Assistance Chapter ...................................................................C-2 Subcommittees .............................................................................................C-3 Afterglow ....................................................................................C-3

All-events/Tickets ........................................................................................C-3 Awards ....................................................................................C-3 Backstage Assistant .........................................................................C-4 Bulletins ....................................................................................C-4 Convention Secretary .......................................................................C-4 Decorations/Signage ........................................................................C-4 Finance ....................................................................................C-5 Host Committee ...............................................................................C-5 Hospitality ....................................................................................C-5 Housing ....................................................................................C-5 Photography ....................................................................................C-6 Program .………………………………………………….............C-6 Public Relations ...............................................................................C-6

GUIDELINES FOR REGIONAL CONVENTIONS TABLE OF CONTENTS Page - 1

(Sweet Adelines International 2016)

Security ....................................................................................C-6 Show of Champions .........................................................................C-7 Transportation ....................................................................................C-7 Warm-up Rooms ..............................................................................C-7 SECTION D CONVENTION PREPARATIONS Budget ............................................................................................... D-1 Revenues ................................................................................... D-1 Expenses ................................................................................... D-1 Division of Profit ............................................................................ D-2 Site Selection and Inspections .................................................................... D-3 Introduction ................................................................................... D-3 Initial Site Inspection ...................................................................... D-3 Site Selection Factors ...................................................................... D-4 Geographic Location ........................................................... D-4 Safety Considerations ......................................................... D-4 Hotels ....................................................................... D-4 Outside Restaurants ............................................................ D-6 Competition Facility ........................................................... D-6 Stage ....................................................................... D-7 Shells ....................................................................... D-8 Curtain ....................................................................... D-8 Lighting Standards ...................................................... D-8 Signal System/Headphones ......................................... D-9 Sound System ............................................................. D-9 Recordings ................................................................ D-11 Judging Areas ............................................................ D-11 Traffic Pattern ........................................................... D-12 Photography Area ........................................... D-12 Warm-up Area ................................................ D-12 Holding Area ................................................... D-12 Purse Drop Area .............................................. D-12 Restroom Facilities ......................................... D-12 Space For Regional Personnel ........................ D-12 Hours ..................................................................... D-12 Seating ..................................................................... D-12 Facility/Union Personnel .......................................... D-12 Restrictions ............................................................... D-13 Costs ..................................................................... D-13 Americans with Disabilities Act ............................... D-14 Contract Negotiations ................................................................... D-14 Re-inspections ............................................................................... D-15 Working Inspection ....................................................................... D-15 Hotel ………..................................................................... D-15 Competition Facility ......................................................... D-16 Wrap-Up …………………………………………………………. D-17 Glossary of Hotel Terminology .................................................... D-18 Glossary of Food and Beverage Terminology ................................ D-20



SECTION D CONVENTION PREPARATIONS (continued) Glossary of General Meeting Management Terminology .......................... D-22 Glossary of Room Setup Terminology ....................................................... D-24 Official Schedule of Events ...................................................................... D-26 Quartet Competition Schedule ...................................................... D-26 Chorus Competition Schedule ........................................................ D-27 Schedule for Other Convention Events ......................................... D-27 Traffic Pattern and Schedule ..................................................................... D-28 Planning the Traffic Pattern .......................................................... D-28 Contestant Needs .............................................................. D-28 Facility ..................................................................... D-28 Traffic Pattern Schedule ........................................................................... D-28 Sample Traffic Pattern .............................................................................. D-29 Official Panel Arrangements ..................................................................... D-30 Housing ................................................................................. D-30 Transportation ............................................................................... D-30 Meals ................................................................................. D-31 Hospitality ................................................................................. D-31 Registration ................................................................................. D-32 Supplies/Equipment ...................................................................... D-32 Rest Area ................................................................................. D-33 Correspondence ............................................................................. D-33 Trial Scoring Judges' Arrangements ......................................................... D-35 Housing/Transportation/Meals ..................................................... D-35 Registration ................................................................................. D-35 Supplies/Equipment ...................................................................... D-35 Seating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... D-35 Scoring Packets ................................................................... D-35 Supplies ..................................................................... D-35 Rest Area ................................................................................. D-35 Correspondence ........................................................................... D-35 Performance Licenses ............................................................................... D-36 ASCAP/BMI ................................................................................. D-36 SOCAN ................................................................................. D-37 Convention Bulletins ................................................................................ D-38 Awards ............................................................................................. D-40 Presenters ................................................................................. D-40 Ordering Awards ............................................................................. D-40 Most Improved Chorus Award………………………………….…D-41 Audience Choice Awards ............................................................... D-41 Chorus Recognition Awards ........................................................... D-41 Regional Awards ........................................................................... D-41 SECTION E CONVENTION WEEKEND Official Inspections ...................................................................................... E-1 Pages …………… ......................................................................................... E-1 Other Information ........................................................................................ E-2 Sound/Lighting ................................................................................ E-2



SECTION E CONVENTION WEEKEND (continued) Audio and Video Recording . . .…... . . . . . . . . . . . . . . . . . . . . . . . . .E-2 Marketing Coordinator or Public Relations Chair ........................... E-2 Curtain Call .................................................................................... E-2 Postcompetition Meeting ................................................................... E-2 Quartet Inspection ............................................................................ E-2 Chorus Inspection ............................................................................ E-2 Competition sessions ................................................................................... E-3 Quartet Competition ........................................................................... E-3 Chorus Competition ........................................................................... E-3 Contestant Briefings ....................................................................................... E-4 Joint Briefing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-4 Quartet Briefing. …… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E-4 Chorus Briefing ................................................................................ E-4 Joint Briefing Check List ............................................................................... E-5 Quartet Briefing Check List ........................................................................... E-8 Chorus Briefing Check List ......................................................................... E-10 Format for the Introduction of the Official Panel ...................................... E-12 Emcee Instructions ..................................................................................... E-14 Regional Quartet Competition Emcee Script ............................................. E-16 Regional Chorus Competition Emcee Script ............................................. E-17 Awards and Announcement of Results ........................................................ E-19 International Awards ...................................................................... E-19 Division A and Division AA Chorus Awards ............................. E-19 Most Improved Chorus Award ........................................................ E-19 Audience Choice Awards .............................................................. E-20 Regional Awards ............................................................................ E-20 Guide for Announcing the Official Quartet Results .................................. E-21 Guide for Announcing the Official Chorus Results ................................... E-23 Official Results .......................................................................................... E-26 Photocopying and Distributing Results ........................................... E-26 Contestant Packets ......................................................................... E-26 SECTION F POSTCOMPETITION Final Reports ................................................................................................ F-1 Postcompetition Meetings ............................................................................ F-1 Official Panel ................................................................................... F-1 Hotel ……….................................................................................... F-1 Convention Steering Committee ...................................................... F-1 Billing for Official Panel Expenses ............................................................. F-1



APPENDICES Appendix I Public Relations Appendix II Americans with Disabilities Act Appendix III Forms/Instructions/Diagrams: Video Recording (Digital) Regional Competitions (pg.1-2) Video Recording (DVD) Regional Competitions (pg.3-4) Audio Recording Regional Competitions (pg.5-6) Instructions to Regional Pages for Official Panel (pg.7) Instructions to Regional Pages for Trial Scorers (pg. 8) Sample Quartet Traffic Pattern Schedule Sample Chorus Traffic Pattern Schedule Riser Placement Diagrams Judging Pit Diagram Final Pose Cue Sheet Sample Sample Quartet Open Division Cue Sheet Sample Chorus Open Division Cue Sheet Sample List of Competing Members form Sample Quartet Audience Choice Award Ballot Template Sample Chorus Audience Choice Award Ballot Template Sample Award Order form Appendix IV Sound system guidelines Appendix V Guidelines For Evaluation By Video



SECTION A

GUIDELINES FOR REGIONAL CONVENTIONS INTRODUCTION The purpose of the Guidelines for Regional Conventions (GRC) is:

To specify internationally approved procedures related to every aspect of the competitions.

To provide necessary information and guidelines to those responsible for conducting a regional convention/competition.

The GRC is simply a tool used when planning your regional convention. Because the specific needs, regional standing rules and resources of each region vary, the book identifies those responsibilities that must be carried out and additional details that may be utilized if regional resources allow. USING THE GUIDELINES FOR REGIONAL CONVENTIONS Section B: Convention Personnel This section describes the internationally approved responsibilities that assigned convention personnel must carry out. A project schedule is included for each position as a guide to ensure that all required responsibilities are met. This type of project schedule was developed in place of checklists to allow for the individuality of each region. The Notes section is structured so that specific details exclusive to a region can be included. The Comments section allows for the recording of results on an ongoing basis and is used as a follow-up when preparing final reports. Target dates already included are those required by international. Other target dates are at the discretion of the region. Section C: Convention Committees This section outlines the regional convention administrative committee structure(s) that may be used by a region. It also includes suggestions for various subcommittees that may be utilized by regions if they are congruent with the overall administrative structure. Section D: Convention Preparations This section details the preparations for a regional convention. Not all specifications are used by all regions. The planning process determines which are appropriate for the needs and resources of the region. Section E: Convention Weekend This section details the events that occur over a regional weekend. As with Section D, not all regional convention weekends include the same events. Section F: Postcompetition This section outlines the events that occur following the competition and convention.

GUIDELINES FOR REGIONAL CONVENTIONS INTRODUCTION Page A-1


Appendices The appendices are included to provide additional resource material, if needed. Abbreviations The following abbreviations are used throughout the GRC:

CC Competition Coordinator CHC Chapter Coordinator CRC Chair of the Regional Convention

COC Communication/Technology Coordinator DC Directors’ Coordinator ED Education Coordinator EDC Education Direction Committee EVC Events Coordinator FC Finance Coordinator IHQ International Headquarters MEC Membership Coordinator MKC Marketing Coordinator OPL Official Panel Liaison PC Panel Chair PS Panel Secretary RTC Regional Team Coordinator Distribution International headquarters provides one copy of the GRC to the following: CC CRC DC ED EVC OPL Additional Copies Electronic copies of the GRC can be found on our website www.sweetadelines.com. Hard copies of the GRC may be ordered directly from the international sales department for a cost of $15 plus shipping and handling. Regions may photocopy material from the GRC. Revisions Periodic revisions to the GRC are provided to those on the distribution list. Additional copies of the revisions may be obtained from the international sales department for a nominal cost.



http://www.sweetadelines.com

INTRODUCTION TO REGIONAL CONVENTIONS Sweet Adelines International is a worldwide organization of women singers committed to advancing the musical art form of barbershop harmony through education and performance. In addition, Sweet Adelines International is a singing organization that provides for achievement through competition. The regional competition provides each chorus and registered quartet the opportunity to measure its achievement in the performance of the art form of barbershop harmony. Winners of the regional competitions qualify to compete in international competition. SUPERVISION AND COORDINATION Annual regional quartet and chorus competitions are held under the supervision of the international organization, and are governed by its policies of competition judging and the procedures outlined in the GRC. All personnel involved in the planning and implementation of a regional convention should be familiar with this information. Responsibility for the smooth operation of the regional convention is a coordinated effort among many people at the international, regional and chorus levels. The following is a list of key personnel and committees and a brief explanation of their roles in the overall structure: Education Direction Committee Supervises regional competitions on behalf of the international organization. The EDC reviews and approves policies and procedures relating to the competition, approves the assignment of official judging panels and appoints the Competition Coordinators. Music Services Serves as the liaison between the region and the international organization. Each fall, Music Services distributes a project schedule that lists when, to whom and what attachments are included in the regional convention/competition mailings. Education Coordinator Attends postcompetition meeting with the official panel. Directors’ Coordinator Attends postcompetition meeting with the official panel. Events Coordinator Oversees all of the activities and business relating to the regional convention. In conjunction with the regional management team, she has the ultimate responsibility for ensuring that the regional convention proceeds in accordance with international and regional policies and procedures. Convention Steering Committee Responsible for planning the regional convention/competition.



Chair of the Regional Convention As Chair of the Convention Steering Committee, the CRC appoints committee members and chairs, in accordance with regional standing rules and/or procedures. She has the overall responsibility and authority of ensuring that committee chairs are fulfilling their responsibilities according to plan. Convention Assistance Chapter Assists the Convention Steering Committee with the operation of the regional convention. Competition Coordinator Responsible for coordinating those areas of the regional convention that are directly related to the quartet and chorus competitions. Official Panel Liaison Responsible for coordinating all arrangements for the official panel and trial scorers.



SECTION B

OFFICIAL PANEL GENERAL INFORMATION Panel Assignments In accordance with policy, the selection of the official panel for each regional convention is made by the Judge Specialists and approved by the EDC Chair and the International President. An official panel consists of four category judges and one panel secretary. One judge is assigned as the panel chair, or a fifth judge may be assigned in a supervisory capacity only. Final panel invitations are issued in September. Music Services notifies the appropriate regional personnel as soon as selections have been finalized. Any changes to the panel prior to the convention weekend are communicated to the appropriate personnel. Panel Expenses The region is responsible for the actual housing expenses (three nights for U.S. and Canada and up to five nights for Non-North American regions) for all panel members. Each region is also responsible for an equal share of the total expenses for regional official panel members for portal-to-portal transportation and per diem at $50 per day for four days in the U.S. and Canada; $75 per day for up to seven days for Non-North American regions. International headquarters invoices the region for their share of the pool as soon as all official panel expense reports have been submitted. CHAIR OF THE OFFICIAL PANEL The panel chair is the final authority in all decisions that concern the official panel. She is also the final authority in all decisions that relate to the operation of the competition sessions, including the sound system, lighting, staging, etc. Since last-minute changes may result in increased labor and equipment costs, it is best to ensure well in advance of the contest weekend that the established technical standards are met. It is necessary that the panel chair communicate and work closely with the CC and OPL prior to the contest weekend. All emergency decisions relating to the judging of contestants are made by the panel chair, including:

• Late arrival or absence of a panel member. • Equipment failure or distortion. • Audience disturbance of major proportion. • Unauthorized audio or video recording by news media or audience members.

The panel chair contacts the CC or OPL immediately, if any changes need to be made. BASIC RESPONSIBILITIES (Panel Chair)

1. Prior to the convention weekend, reviews and approves the following: a. staging information b. housing, transportation and meal arrangements for the official panel c. inspection schedule d. traffic pattern

GUIDELINES FOR REGIONAL CONVENTIONS CONVENTION PERSONNEL Page B-1


2. Either contacts personally or has her designee contact the CC to set up a Thursday evening or Friday morning meeting to verify and distribute judging packets and panel secretary supplies.

3. Contacts ED to set up a time following the chorus competition to meet briefly to deliver observation forms from the judging panel. Spend a brief time discussing the forms before handing them over.

4. Attends the quartet and chorus briefings, whenever time permits. 5. Conducts the official inspection for the quartet and chorus competitions. 6. Conducts the level video viewing in the official panel's rest area/parlor at the hotel prior

to both competitions. 7. Prior to contest, she collects all scoresheets of the competitors who have withdrawn

from the contest. 8. Maintains awareness of levels during contest. Verifies placement for awards. 9. Notifies CC and/or CRC if any Open Division competitor is disqualified (can be

designated to panel secretary). 10. Supervises the PS in the preparation of contest results. 11. Conducts the announcements of the international awards. Introduces the official panel

prior to the announcement of the official results of the chorus contest. 12. Following each contest session, meets with the official panel and trial scorers to review

the overall competition and collect observation forms. Put copies of the forms in the official Observation Form envelope.

13. Prepares follow-up documentation as directed by the international organization. PANEL SECRETARY The panel secretary is assigned to each official panel. Assignments are made by the Judge Specialists, under the supervision of the EDC and with the approval of the International President. As a member of the official panel, the panel secretary is entitled to the same reimbursable expenses and amenities that the judges receive. It is the region's responsibility to provide the panel secretary with supplies needed to complete her responsibilities and to provide arrangements for photocopying and faxing the official results. BASIC RESPONSIBILITIES (Panel Secretary) 1. Receives pre-data Excel sheet with preliminary information filled in by CRC, or her

designee, 10 days prior to competition weekend. 2. Receives Open Division cue sheets from CC and distributes them to official panel and

trial scorers, if applicable. 3. Meets with CC prior to the quartet competition and receives and inspects stopwatches.

Makes sure page receives a stopwatch and instructions so that she can assist in keeping time during contest.

4. Lists the choruses eligible to compete for Division A and Division AA awards on the appropriate worksheets and completes Most Improved Chorus Award worksheet after the CC delivers the List of Competing Members forms.

5. Times contestant performances, records competition scores and prepares the official tabulated results.



6. If designated by the panel chair, notifies CC and/or CRC if any Open Division competitor is disqualified.

7. Prepares the introduction of the official panel and the announcement for the official results of both contests.

8. Works with the official panel liaison in the photocopying and distribution of scoresheets, audio and video recordings, and tabulated results following each competition session.

9. Distributes a copy of the official tabulated results (regional tabulation form and final results report) to members of the official panel and trial scoring judges.

10. Emails in Excel format or faxes official tabulated results plus the quartet and chorus summary of winners to international headquarters to be received no later than 8:00 a.m. (CST) Monday following the competition weekend. Notes any changes to competitors, i.e., changing from International Division to Evaluation Only, and notifies IHQ.

11. Mails official judging papers, trial scoring work, postcompetition reports, Open Division cue sheets, original observation forms and original Lists of Competing Members to international headquarters. Notes any changes to competitors, i.e., changing from International Division to Evaluation Only, and notifies IHQ.



EVENTS COORDINATOR (as relates to the regional convention)

The EVC oversees all of the activities and business relating to the regional convention. In conjunction with the regional management team, she has the ultimate responsibility for ensuring that the regional convention proceeds in accordance with international and regional policies and procedures. BASIC RESPONSIBILITIES 1. Announces the Convention Steering Committee and CRC. 2. Attends all meetings of the Convention Steering Committee. 3. Assists in preparation of the convention budget. 4. In accordance with regional standing rules and/or procedures, approves convention

expenses. 5. In cooperation with the CRC and CC and in accordance with regional standing rules

and/or procedures, participates in the inspections and approves the selection of convention facilities.

6. Participates in contract negotiations. 7. In cooperation with the CRC and CC, prepares the proposed Schedule of Events.

Submits it to the Director of Music Services and Membership for approval. 8. Reviews all published materials before printing. 9. Corresponds with chapters and quartets regarding eligibility, deadline dates and regional

assessment delinquency. 10. Notifies the Director of Music Services and Membership of competitors who have

not paid their regional assessment. 11. In conjunction with the CRC and CC, determines the riser configuration, including

whether or not the alternate riser configuration option will be offered. Conveys the decision to all chapters and to international.

12. Announces official panel members to the region. 13. In cooperation with the Convention Steering Committee and in accordance with regional

standing rules and/or procedures, determines the following: a. award presenters

b. emcees c. Show of Champions participants

d. mic-testers e. pages (official panel and trial scorer)

14. Issues letters of invitation. 15. Informs CRC of acceptances to invitations. 16. Forwards Emcee Instructions received from international to emcees. 17. Forwards instructions received from international to pages. 18. In cooperation with the CRC, meets with the appropriate hotel personnel to review the

convention weekend. 19. Completes international and regional reports, as designated. 20. Forwards the GRC and appropriate files to successor, if applicable. 21. Ensures that all regional personnel have forwarded their GRCs and appropriate files to

their successors, if applicable.



EVENTS COORDINATOR Regional Convention Project Schedule

PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

I. Announce Regional Positions Attend all meetings A. Convention Steering Committee B. Chair of the Regional Convention

II. Budget

A. Assist in preparation of convention budget III. Inspection and approval of convention facilities CRC, CC

A. Geographic location B. Hotels

1. Headquarters hotel 2. ADA compliance 3. Housing

a. Headquarters b. Overflow

4. Function Space 5. Complimentary rooms 6. Restaurant facilities

a. Hours b. Space c. Room service

7. Elevators 8. Parking 9. Transportation 10. Duplicating/FAXing equipment 11. Charges

a. Guest rooms b. Function space c. Convention registration area d. Ways and means e. Other conventions f. Sound-proof rooms

C. Outside restaurants D. Competition facility

1. Stage a. Type b. Dimensions

2. Shell/backdrops 3. Curtain 4. Lighting 5. Signal system 6. Sound 7. Judging areas

a. Judging pit b. Rest area c. Restrooms d. Hospitality




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

8. Traffic pattern a. Photography b. Warm-up c. Holding d. Purse drop e. Restrooms

9. Hours 10. Seating 11. Facility/union personnel 12. Restrictions

a. Recording b. Ticket sales c. Photography sales d. Hospitality

13. Charges a. Rental b. Labor c. Security d. Function space e. Equipment f. Staging g. Other

14. ADA compliance 15. Contract

IV. Prepare proposed schedule of events CRC, CC V. Chapter/Quartet correspondence

A. Eligibility B. Deadline Dates C. Regional assessment delinquency

VI. Riser Configuration CRC, CC

A. Decide if Alternate Riser Configuration will be used B. Convey decision to all chapters and international

VII. Working Inspection CRC, CC A. Confirm hotel arrangements B. Confirm Competition Facility Arrangements

VIII. Miscellaneous

A. Announce official panel members to region B. Notify Music Services of regional assessment delinquencies C. Approve all printed materials

IX. Issue invitations/forward instructions Convention Steering Committee

A. Award presenters B. Emcees C. Show of Champion participants




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

D. Mic-testers E. Pages

X. Forward acceptances to CRC

CONVENTION WEEKEND Task

Notes

In Cooperation With

Target Date

Comments

I. Attend Inspection II. Official Panel meeting immediately ED, DC after chorus competition

POST COMPETITION Task

Notes

In Cooperation With

Target Date

Comments

I. Hotel Meeting (review) II. Complete designated reports III. GRC and appropriate files

A. Forward to successor, if applicable B. Ensure that all regional personnel forward these documents where applicable



CHAIR OF THE REGIONAL CONVENTION (CRC) The Chair of the Regional Convention (CRC), appointed in accordance with regional standing rules and procedures, is the general chair of the convention weekend, including competition. In accordance with regional procedures, if the responsibility for the convention weekend lies with a regional convention planning committee, in conjunction with the regional management team, the CRC is appointed by the EVC; if a host chorus has accepted this responsibility, the chapter appoints the CRC. As Chair of the Convention Steering Committee, the CRC appoints committee members and chairs, in accordance with regional standing rules and/or procedures. She has the overall responsibility and authority of ensuring that committee chairs are fulfilling their responsibilities according to plan. BASIC RESPONSIBILITIES

1. Appoints sub-committees and chairs. 2. As Chair of the Convention Steering Committee, supervises the preparation of the

minutes and correspondence. 3. Ensures that all international and regional policies and procedures are being followed. 4. Assists in the preparation of the convention budget. 5. In cooperation with the EVC and CC, and in accordance with regional standing rules and

procedures, participates in the inspections and approves the selection of convention facilities.

6. Schedules meetings with hotel, competition facility and convention assistance personnel.

7. Upon site approval and in accordance with regional standing rules and procedures, makes all arrangements regarding the convention site:

a. insurance b. security c. performance licenses d. stage hands

8. In cooperation with the EVC and CC, determines the schedule of events. 9. At the hotel and competition facility, finalizes arrangements and prepares function sheets

for all required room set-ups, including: a. rehearsal b. warm-up c. photography (if applicable) d. Ways & Means

e. All Events pick-up f. pre-keyed housing g. single ticket sales

h. postcompetition events i. hospitality rooms 10. Approves the busing company and official photographer. 11. Reviews all published materials before printing. 12. In cooperation with the EVC and CC, determines the riser configuration, including



whether or not the alternate riser configuration option will be offered. Makes arrangements for the configuration(s).

13. Working with the OPL, finalizes all arrangements for the official panel and trial scorers at the hotel and competition facility, including transportation arrangements.

14. Working with the CC, finalizes all arrangements for the traffic patterns, traffic pattern schedules and corresponding transportation, briefings, sound, lighting and photography.

15. Submits proposals for an official photographer to the regional management team and finalizes arrangements.

16. Using the pre-data Excel sheet sent from IHQ, inserts all preliminary information for Announcement of Quartet and Chorus Official Results scripts and sends to the panel secretary 10 days prior to competition weekend. Can delegate to CC or someone else.

17. Ensures that official photographs of the championship quartet and chorus, the Division A first place winner and the Division AA first place winner are forwarded to the Pitch Pipe editor at IHQ.

18. Coordinates the Audience Choice Award ballot distribution and collection, per instructions sent by IHQ, to determine the quartet and chorus Audience Choice Award winners. (See Audience Choice Awards, Section E, page 20.)

19. Ensures that the appropriate awards have been received and are available for presentation at the competition facility. Contacts the current champion chorus to make arrangements to receive the traveling plaque.

20. Finalizes all arrangements for the awards ceremony. 21. With the CC, ensures that the presentations run smoothly. 22. If applicable, finalizes all public relations plans. 23. Communicates with contestants regarding their placement in the official order of

appearance. 24. Attends official inspections. 25. Attends quartet and chorus briefings. 26. Remains available throughout the convention weekend wherever needed.

27. In cooperation with the EVC, meets with the appropriate hotel personnel to review the convention weekend.

28. Completes international and regional reports, as designated. 29. Forwards GRC and regional files to successor, if applicable. POSITION REQUIREMENTS

1. Strong organization, administrative and leadership skills. 2. Thorough understanding of regional and international policies and procedures, especially

in the area of regional convention/competition. 3. Excellent communication and interpersonal skills with people at all levels.

4. Ability to make decisions, as well as delegate responsibility and authority.



CHAIR OF THE REGIONAL CONVENTION Regional Convention Project Schedule

PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

I. Appoint Subcommittees and Chairs A. Supervise preparation of minutes and correspondence II. Budget III. Inspection & approval of convention facility EVC, CC A. Geographic location B. Hotels (meetings as needed) Appropriate convention assistance personnel 1. Headquarters hotel 2. ADA compliance 3. Housing a. headquarters b. overflow 4. Room set-ups a. prepare function sheets b. finalize arrangements 5. Complimentary rooms 6. Restaurant facilities a. hours b. space c. room service 7. Elevators 8. Parking 9. Transportation 10. Duplicating/FAXing equipment 11. Charges a. guest rooms b. function space c. convention registration area d. ways and means e. other conventions f. sound-proof rooms C. Outside restaurants D. Competition facility (meetings as needed) Appropriate convention assistance personnel 1. Stage a. type b. dimensions 2. Shells/backdrops 3. Curtain 4. Lighting/Sound 5. Signal system 6. Judging areas a. judging pit b. rest areas c. restrooms d. hospitality




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

7. Traffic pattern a. photography b. warm-up c. holding d. purse drop e. restrooms 8. Hours 9. Seating 10. Facility/Union personnel 11. Restrictions a. recording b. ticket sales c. photography sales d. hospitality 12. Charges a. rental b. labor c. security d. function space e. equipment f. staging g. other 13. ADA compliance 14. Contract a. negotiations b. finalize and sign IV. Proposed Schedule of Events EVC, CC V. Transportation A. Approve busing company B. Membership busing C. Contestant busing CC D. Official panel arrangements OPL VI. Riser Configuration A. Determine if alternate riser configuration will be offered EVC, CC VII. Traffic Pattern and Schedule CC

1. Finalize all arrangements VIII. Official photographer

1. Submit proposals to RMT 2. Finalize arrangements

IX. Bulletins A. Set schedule of mailings B. Proof and approve




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

X. Working Inspection EVC, CC A. Confirm hotel arrangements B. Confirm competition facility arrangements C. Prepare function sheets and forward: 1. Hotel 2. Competition facility XI. Make arrangements for risers A. Delivery B. Set-up C. Pick-up XII. Review Official Panel Arrangements OPL A. Housing B. Transportation C. Meals D. Hospitality E. Registration F. Supplies/Equipment 1. Hotel 2. Judging pit 3. Duplicating/Faxing G. Rest Area H. Correspondence XIII. Review Trial Scoring Judges Arrangements A. Housing/Transportation/Meals B. Registration C. Supplies/Equipment D. Rest Area E. Correspondence XIV. Obtain Performance Licenses XV. Awards A. Order from International Sales Awards Chair 1. Chorus medals 2. Chorus ribbons 3. Division A and Division AA Chorus Award ribbons 4. Most Improved Chorus Award medals 5. Audience Choice Quartet Award ribbons 6. Audience Choice Chorus Award ribbons 7. Quartet Medals B. Verify receipt from Music Services 1. Chorus certificates

2. Division A and Division AA Chorus Award certificates 3. Most Improved Chorus Award certificate 4. Audience Choice Quartet Award certificates




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

5. Audience Choice Chorus Award certificate 6. Chorus Recognition Award certificates 7. Competition Coordinator Certificate C. Regional Traveling Chorus Plaque D. Regional Awards XVI. Review/Finalize Recording Arrangements CC XVII. Finalize Public Relation Plans, if applicable XVIII. Notify competitors of order of appearance Upon receipt from IHQ XIX. Wrap-up Meeting EVC, CC XX. Miscellaneous

A. Proof and approve all printed materials B. Using pre-data Excel sheet received from IHQ, insert 10 days prior preliminary information in official results script cards


Notes

In Cooperation With

Target Date

Comments

I. Attend Inspection A. Schedule changes B. Review name pronunciations II. Attend Quartet and Chorus Briefings III. On-site During Competition A. Remain available at all times B. Periodically check with regional personnel IV. Supervise Competition Ceremonies

POST COMPETITION Task

Notes

In Cooperation With

Target Date

Comments

I. Hotel meeting EVC 1. Forward photos to IHQ III. Complete international and regional reports IV. Forward GRC and files to successor, if applicable



COMPETITION COORDINATOR (CC) Appointed annually (on recommendation from the EVC and CRC) by the Judge Specialists and approved by the Education Direction Committee, the Competition Coordinator is responsible for coordinating all aspects of the regional convention directly related to competition. She works in conjunction with the EVC, CRC and the panel chair. The annual term of appointment shall be September 1 through August 31 of any given year. BASIC RESPONSIBILITIES

1. In cooperation with the EVC and CRC and in accordance with regional standing rules and/or procedures, participates in the inspections and selection of competition facilities.

2. In cooperation with the CRC and the EVC, determines the schedule of events. 3. Approves the plans for the competition stage and handles all related responsibilities. 4. In coordination with the EVC and CRC, determines the riser configuration, including

whether or not the alternate riser configuration option will be offered. 5. Coordinates with the panel chair a time for the sound check, briefing(s) and inspection. 6. Approves the plans and handles all related responsibilities for the backstage movement of

contestants. 7. Sends traffic pattern to the panel chair for approval after initial order of appearance is

sent from IHQ. Ensures traffic pattern follows recommendations from IHQ. (See Official Schedule of Events, Section D, pages 26-27.)

8. Supervises the curtain movement, if applicable. 9. Supervises the signal system used between the panel chair and backstage. 10. Ensures that all appropriate safety precautions are taken in the backstage area. 11. Makes arrangements for video and audio recording the regional competitions,

including deciding who will be producing the recordings and what equipment is needed.

12. Provides instructions to personnel responsible for the recordings. 13. Purchases and labels, according to international instructions, a sufficient quantity of

video and audio recordings. 14. Provides recording media (e.g., DVDs or flash drives) to personnel responsible for

making the recordings. 15. Supervises recording during competition. 16. Delivers the recordings (if available) to the OPL immediately after each contest

session. 17. Sends the master recordings to international headquarters, according to

international instructions, within two weeks following the convention weekend. 18. Conducts quartet and chorus director briefings. 19. Collects List of Competing Members form from all competing choruses at

briefing. Gives lists to panel secretary. 20. Collects cue sheets from Open Division contestants at briefing and makes copies

(one for each member of the judging panel, panel secretary, trial scorers, if applicable, and technical crew) to give to panel secretary.

21. Working with the CRC, finalizes all arrangements for the traffic patterns, traffic pattern schedules and corresponding transportation, briefings, sound, lighting and photography.



22. Makes copies of the traffic pattern for the panel chair and technical crew. 23.Participates in the official inspections. 24. Receives from international headquarters the official judging packets and panel

secretary supplies. 23. Meets with panel chair or her designee on Thursday evening or Friday morning to

verify and distribute judging packets and panel secretary supplies. 24. Reviews and finalizes emcee cards. 25. With the CRC, ensures that the awards presentation runs smoothly. 26. If applicable, notifies emcee of any disqualified Open Division competitor (as

confirmed by panel chair or panel secretary) prior to the announcement of the Audience Choice Award.

27. Ensures that information on the championship quartet and chorus, the Division A first place winner and the Division AA first place winner are sent to IHQ for publication in the Pitch Pipe. The form is sent from IHQ.

28. Completes international and regional reports as designated. 29. Should the Competition Coordinator be a competitor, her backstage

responsibilities must be assigned temporarily to someone familiar with her instructions and procedures.

30. Forwards GRC, files and CC pin to successor, if applicable.



COMPETITION COORDINATOR Regional Convention Project Schedule

PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

I. Initial Site Inspection EVC, CRC A. Stage 1. Type 2. Dimensions 3. Curtain 4. Entrance/exit 5. Shell/backdrop 6. Riser configuration EVC, CRC a. # of sections b. back rail c. alternate configuration option 7. Safety B. Lighting C. Sound D. Signal system E. Audio/Video personnel and recording equipment F. Judging Areas 1. Pit 2. Official panel rest area 3. Other rest area 4. Restrooms G. Traffic Pattern Schedules CRC 1. Transportation 2. Photography 3. Warmup 4. Holding 5. Backstage 6. Accessibility for disabled 7. Privacy from public 8. Restrooms 9. Estimate staffing needs H. Hours I. Seating J. Facility/Union personnel K. Restrictions L. Costs M. ADA compliance II. Proposed Schedule of Events EVC, CRC III. Working Inspection EVC, CRC A. Confirm stage arrangements B. Provide specifications to facility personnel 1. Stage set-up 2. Lighting 3. Sound 4. Judging pit diagram




PREPARATIONS Task

Notes

In Cooperation With

Target Date

Comments

5. Competition schedule C. Finalize facility personnel plans 1. Lighting 2. Sound 3. Audio/video recording 4. Security D. Finalize accessories (i.e., tables, chairs) E. Reinspect traffic pattern IV. Contestant Communications Bulletin or individual mailing 90 days prior A. Stage diagram B. Riser configuration C. Photography information D. Shell/backdrop usage E. Curtain/lighting usage F. Entrance and exit directions G. Memo requesting final pose specs. (Choruses only) H. Final pose form I. Open Division cue sheets (Open Division competitors only) V. Traffic Pattern Schedule Final order of CRC, PC 30 days prior A. Develop appearance/late entries 1. Time allocated to each station 2. Intermissions/breaks 3. Double session 4. Mic-testers 5. Past champion performances VI. Miscellaneous A. Signs for traffic pattern developed


Notes

In Cooperation With

Target Date

Comments

I. Official Inspection Technicians must be available CRC, PC A. Preparations Must be completely set-up prior 1. Lighting to arrival of panel chair. 2. Sound 3. Stage a. risers b. shell/backdrop c. mark lines 4. Judging areas 5. Signal system 6. Order of appearance/withdrawals





Notes

In Cooperation With

Target Date

Comments

7. Tape down cords and cables B. Mic-testers (Quartet and Chorus) C. Verify stopwatches are in working order D. Instruct panel chair on signal system II. Distribute judging packets and panel secretary supplies III. Review and finalize emcee cards IV. Attend contestant Briefings 1. Review late withdrawals 2. Review traffic pattern/schedule changes 3. Lists of Competing Members form (chorus) a. copy to panel secretary b. copy to CRC for regional files 4. Final pose forms (chorus) a. copy to video recording personnel 5. Cue sheets from Open Division contestants a. copies to panel secretary 6. Point out trip spots 7. Competitor walk-through V. Meets with panel secretary A. Stopwatches to panel secretary/page VI. On Site Competition A. Instruct emcees on use of signal system B. During competition 1. Supervise signal system 2. Supervise curtain/lighting 3. Supervise recordings during competition 4. Give competitors' audio/video recordings to panel secretary 5. Update panel chair on delays or problems 6. Greet quartets/choruses backstage – remind of “trip spots” 7. Assist with award presentations CRC

POSTCOMPETITION Task

Notes

In Cooperation With

Target Date

Comments

I. Collect Stop watches from PS and Page II. Complete international and regional reports Within two weeks of convention weekend III. Send competitor information to IHQ Comm. Department IV. Upload master recordings to Dropbox and send to international headquarters Within two weeks of convention weekend V. Forward GRC, files and pin to new CC, if appropriate Sept. 1 VI. Answer CC question(s) on postcompetition report for following year



OFFICIAL PANEL LIAISON (OPL) Appointed as a member of the Convention Steering Committee, the OPL is responsible for all convention activities relating to the official panel. These responsibilities may be divided as follows among several committees: Escort/transportation/housing Trial Scoring Judges Judging areas Contestant Packets/duplication BASIC RESPONSIBILITIES 1. In cooperation with the CRC, arranges panel housing.

2. Communicates regularly with panel members, informing them of all convention arrangements.

3. Arranges transportation for panel members. 4. Facilitates meal functions. Makes reservations and arranges transportation as required.

Does not issue invitations unless directed to by the panel chair. 5. Arranges complimentary convention registrations. 6. Provides each panel member with a regional convention program. 7. Notifies CRC of hospitality needs in the official panel's rest area/parlor. Provides

reasonably comfortable chairs, preferably padded with straight backs, for members of the judging panel.

8. Notifies CRC of supplies/equipment needs at competition site. 9. In accordance with regional standing rules and procedures, and as outlined in Section D,

makes arrangements for trial scorers. 10. In cooperation with the CRC, makes arrangements for the photocopying and faxing of

official results. 11. Prepares contestant packet envelopes in advance. 12. Attends official inspections. 13. Attends briefings. 14. Following each competition session, works with the panel secretary in distributing

contestant packets and official results. 15. Distributes or mails contestant packets that are not picked up during the allocated time. 16. Completes international and regional final reports, as designated. 17. Forwards GRC and files to successor, if applicable. POSITION REQUIREMENTS

1. Experience with the International Judging Program or Panel Secretary Program preferred. 2. Strong organization and administrative skills. 3. Excellent communication and interpersonal skills. 4. Ability to make decisions, as well as delegate responsibility. 5. Must be flexible.



OFFICIAL PANEL LIAISON Regional Convention Project Schedule

PREPARATIONS (official panel unless otherwise noted) Task

Notes

In Cooperation With

Target Date

Comments

I. Select committee members A. Escort/transportation B. Judging pit/rest area C. Trial scoring judges D. Duplication/contestant packets II. Housing Arrangements CRC A. Individual rooms B. 24 hour accessible rest area/parlor C. Check-in/check-out procedures D. Room services hours/menu E. Housekeeping tips III. Transportation Arrangements A. Arrange vehicles B. Assign drivers and escorts 1. Airport to hotel 2. Hotel/competition facility 3. Restaurants 4. Hotel to airport IV. Correspondence A. Panel Chair confirmation 60-90 days prior 1. Configuration of housing 2. Transportation 3. Meals 4. Judging pit 5. Bulletins 6. Stage/technical/riser arrangements 7. Schedule of events B. Entire Panel Upon receipt of info from IHQ 1. Confirm flight information 2. Headquarter hotel information 3. Housing arrangements 4. Hospitality questionnaire 5. Convention mailings/bulletins 6. Convention city info. 7. Schedule of events 8. Special events info. 9. Address and phone number C. Entire Panel 30 days prior 1. Reconfirm flights 2. Name of escort 3. Transportation 4. OPL's room number 5. Schedule changes





Notes

In Cooperation With

Target Date

Comments

V. Meals A. Selection of restaurants B. Determine schedule C. Make reservations/separate checks With PC approval VI. Hospitality A. Receive panel questionnaires B. Arrange for purchase of food VII. All Events Registration 90 days prior A. Notify CRC B. Arrange for badges, etc. in hotel rooms VIII. Contestant Packets Upon receipt from IHQ A. Label envelopes B. Insert materials as instructed IX. Supplies/Equipment A. Hotel - notify CRC of needs 90 days prior 1. DVD Player 2. 25" television B. Judging pit - notify CRC of needs 90 days prior 1. tables 2. chairs 3. lighting 4. calculator with tape 5. water 6. wastebaskets 7. miscellaneous C. Rest area - notify CRC of needs 90 days prior 1. tables 2. chairs 3. restroom facilities D. Duplicating/Faxing - notify CRC of needs 90 days prior 1. confirm location 2. confirm operation 3. confirm costs X. Trial Scoring Judges A. Correspondence Upon receipt from IHQ 1. Hotel reservation info. 2. Convention bulletins 3. Transportation 4. Convention city info. 5. Registration pick-up 6. Schedule of events





Notes

In Cooperation With

Target Date

Comments

B. Supplies/equipment - notify CRC of needs 1. Seating 2. Miscellaneous C. Rest Area - notify CRC of needs D. All Events Registration

CONVENTION WEEKEND (official panel unless otherwise noted) Task

Notes

In Cooperation With

Target Date

Comments

I. Transportation A. Confirm vehicle arrangements B. Confirm schedules 1. Drivers 2. Escorts C. Confirm flights with airport II. Housing A. Confirm arrangements 1. Individual rooms and 24-hour accessible rest area/parlor 2. Check-in/check-out 3. Confirm hospitality in rest area 4. Confirm video equipment 5. Confirm AEB in rooms B. Greet panel members 1. Assist to rooms 2. Review schedule 3. Review meal arrangements IV. Judging Pit/Rest Area A. Official inspection Pit must be set-up prior B. Supervise competition set-up 1. water 2. supplies 3. snacks C. Supervise hospitality set-up V. Trial Scoring Judges A. Housing 1. Confirm arrangements 2. Greet and assist with check-in 3. Review schedule 4. Review transportation arrangements B. Judging pit/rest area 1. Supervise competition set-up 2. Supervise hospitality set-up




CONVENTION WEEKEND (official panel unless otherwise noted) Task

Notes

In Cooperation With

Target Date

Comments

VI. Attend Briefings VII. Duplication/Contestant Packets A. Confirm duplicating facilities B. Contestant packets at distribution site VIII. Duplication of Official Results panel secretary IX. Distribution of Contestant Packets A. Get recordings from CC (if available) B. Insert original of scoresheets C. Insert copies of official results (tabulation & final report) X. Distribute Tabs & Final Report to Regional Personnel RMT, CC, CRC

POSTCOMPETITION (official panel unless otherwise noted) Task

Notes

In Cooperation With

Target Date

Comments

I. Complete international and regional reports Two weeks after competition II. Forward GRC and files to successor, if applicable Sept. 1



DIRECTORS’ COORDINATOR EDUCATION COORDINATOR FINANCE COORDINATOR (as relates to the regional convention) ED is responsible for meeting with the panel chair immediately following the chorus competition to collect the observation forms. ED computes and presents any regional awards not presented within the framework of the contest. FC signs all contracts on behalf of the region.



DIRECTORS’ COORDINATOR EDUCATION COORDINATOR FINANCIAL COORDINATOR

Regional Convention Project Schedule


Notes

In Cooperation With

Target Date

Comments

I. ED calculates regional awards and supervises non-competition ceremonies II. ED meet with official panel immediately EVC following chorus competition III. FC signs all contracts on behalf of the Region EVC



SECTION C

CONVENTION STEERING COMMITTEE The Convention Steering Committee is responsible for the development and implementation of plans to achieve the smooth operation of a regional convention. The responsibilities may be carried out by a regional convention planning committee or a host chapter. Each region should look at its own needs to determine which structure provides the most effective results. The administrative structure for the Convention Steering Committee may be adapted to either structure. All responsibilities of the Convention Steering Committee must be defined in regional standing rules and procedures.

1. Regional Convention Planning Committee The members of this committee, including the CRC and OPL, are members of the region appointed by the Events Coordinator and/or the Regional Management Team, in accordance with regional standing rules and procedures. The convention assistance chapter provides assistance as needed.

2. Host Chapter

A host chapter is selected in accordance with regional standing rules and/or procedures and is responsible for planning and executing the regional convention. The CRC, OPL and all members of the Convention Steering Committee are members of this chapter (with the exception of international appointees). A host chapter that is competing may choose to perform first or last, or may choose to remain in the draw for order of appearance. The chapter indicates this on the entry blank submitted to international headquarters.

While the structure of the Convention Steering Committee varies from region to region, the CRC serves as its chair. The CC and OPL are members of the committee while the EVC attends all meetings. A list of suggested subcommittees, along with an outline of responsibilities, is included in this section. It is not necessary for all subcommittee chairs to be members of the Convention Steering Committee; however, they must report to the CRC, CC, OPL or EVC.

GUIDELINES FOR REGIONAL CONVENTIONS CONVENTION COMMITTEES Page C-1


CONVENTION ASSISTANCE CHAPTER The Convention Assistance Chapter is selected in accordance with regional standing rules and procedures and is designated to assist the Convention Steering Committee in the execution of the regional convention. All responsibilities of the Convention Assistance Chapter and its relationship to the Convention Steering Committee should be defined in regional standing rules and/or procedures. If the Convention Assistance Chapter is competing, it may choose to perform first, last or where drawn in the order of appearance. The chapter indicates this on the entry blank submitted to international headquarters. In regions where a host chapter is used as the Convention Steering Committee, members of the host chapter assume the responsibilities of the Convention Assistance Chapter and designated subcommittees, unless otherwise noted. The Convention Assistance Chapter is responsible for assisting the appropriate committee by:

1. Providing staff for the competition information desk at the hotel. 2. Providing assistance for hotel registration, all events/ticket sales and pick-up, and

regional ways and means sales areas. 3. Escorting competitors to the competition facility. 4. Acting as guides for traffic patterns, ticket takers, ushers, door watchers and backstage

assistants at the competition facility. 5. Providing staff for various stops in the traffic pattern (i.e., warm-up rooms, hotel

departure check-in, photography, stage entrance/exit). 6. Supervising the unloading, assembling, disassembling and loading of risers. 7. Providing van drivers as needed by the OPL for transporting the official panel. 8. Providing van drivers as needed for transporting the official photographer. 9. Providing a floater at both the hotel and competition facility to assist the members of

the Convention Assistance Chapter assigned to the traffic patterns. 10. Providing one person to staff the Convention Assistance Chapter office at the

headquarters hotel throughout the weekend. During the competition, this person is responsible for telephone communications between the hotel and the CRC at the competition facility.

11. Providing three to five additional members to be used on an as-needed basis. 12. Assisting in any other way designated by the Convention Steering Committee, in

accordance with regional standing rules and procedures.



SUBCOMMITTEES Outlined below are several suggestions for subcommittees to handle various aspects of the convention weekend. It is the responsibility of the Convention Steering Committee to determine which committees are appropriate for the administrative structure of its region. Unless specifically noted, it is not necessary for the chair of each subcommittee to be a member of the Convention Steering Committee. Each subcommittee designated by the Convention Steering Committee maintains minutes of all meetings and provides copies to members of the Convention Steering Committee. Immediately following the convention weekend, each subcommittee meets to discuss the convention and identify areas that may need improvement for the next convention. A final report including this information is presented to the Convention Steering Committee. AFTERGLOW If the region has an Afterglow, this committee coordinates all aspects of this event. ALL EVENTS/TICKETS The price of all events registrations (and events to be included) and individual tickets is established by the Convention Steering Committee and approved in accordance with regional standing rules and procedures. Subcommittee responsibilities include:

1. Printing of tickets. 2. Preparing complimentary All Events Registration badges for the official panel, trial

scorers and any others designated. 3. Preparing other All Events Registration badges. 4. Determining a method of distribution for registrations, tickets and programs through

mail or hotel pick-up. 5. Notifying the CRC of needs associated with the method of distribution at least 90 days

prior to the convention (e.g., tables, chairs). 6. Setting up the registration, information areas and ticket sales at the hotel. 7. Staffing the registration, information and ticket sales areas in the hotel and competition

facility with members of the convention assistance chorus. Note: Publicizing in advance that All Events Registrations are transferable but not

refundable is recommended. AWARDS The chair of this subcommittee works directly with the CRC. Committee responsibilities include:

1. Ordering quartet and chorus medals (or ribbons), including most improved and audience choice, from the international sales department.

2. Stringing chorus medals on cords long enough to easily go over contest hairdos. (Royal blue for first place; red for second place; white for third place; yellow for fourth place; green for fifth place; and black or teal for most improved. Division A deep purple for first, medium purple for second and pale purple for third; Division AA hot pink for first, medium pink for second and pale pink for third.) Make sure the knots do not slip. The medals should be bunched in groups of ten for easy counting and distribution.



3. Attaching quartet medals to ribbons. (Same colors as chorus medals.) 4. Collating audience choice award ballots (50 per contest) and distributing ballots to 50

random audience members, per instructions sent to CRC from IHQ. (See Audience Choice Awards, Section E, page 20.)

5. Determining physical arrangements for awards presentation. 6. Notifying the CRC of needs associated with the awards presentation at least 90 days

prior to the convention (e.g., tables, chairs). 7. Working with the CRC to ensure that all awards are at the appropriate distribution site. 8. If applicable, purchasing Director Recognition Awards and any other designated

regional awards. 9. Verifying per item cost, selling any extra medals to eligible choruses and turning over

extra supplies to the appropriate personnel. BACKSTAGE ASSISTANT Working with the CC, subcommittee responsibilities include:

1. Assisting with set-up of the backstage area prior to the competition. 2. Assisting with inspections and contestant briefings. 3. Assisting in the assignment of members of the convention assistance chorus to help in

the traffic pattern. 4. Assisting with the traffic pattern during the competition.

BULLETINS This subcommittee produces convention bulletins as specified by the Convention Steering Committee. Refer to Convention Bulletins. CONVENTION SECRETARY Responsibilities include:

1. Recording the minutes of each Convention Steering Committee meeting. 2. Following the approval of the CRC, distributing the minutes to the following: CRC, CC,

EVC, OPL, other committee members, host chapter president (if applicable) and Regional Management Team.

3. Preparing correspondence as requested by the CRC. 4. Maintaining a file of all minutes, reports from all subcommittees, financial statements

and correspondence regarding regional convention. 5. Forwarding the file to the CRC, including final committee reports, following the

regional convention weekend. DECORATIONS/SIGNAGE Subcommittee responsibilities include:

1. Preparing decorations for designated locations, based upon the theme of the convention. 2. Preparing and displaying signs for the traffic patterns.



FINANCE The financial chair of the regional convention may be the Finance Coordinator or host chapter treasurer, or she may be a member appointed to that position by the CRC and/or EVC. If the financial chair is not the FC or host chapter treasurer, it is necessary to establish procedures for authorizing checks to be written and for forwarding a record of all deposits made that relate to the regional convention. Responsibilities include:

1. Supervising the development and adherence to the regional convention budget, unless regional procedures provide that the Convention Steering Committee plans the budget.

2. Maintaining accurate and current records of all receipts and disbursements. 3. Forwarding check requests to the CRC and/or EVC/host chapter president for approval

before paying. 4. Presenting a written report at each Convention Steering Committee meeting, including

the balances for each budgeted item. 5. Notifying the CRC and EVC of any variances to the budget. 6. Preparing a final written financial report following the regional convention and

forwarding it to the CRC and any other appropriate regional personnel. 7. Forwarding the financial files to the CRC for inclusion in the convention files.

HOST COMMITTEE This subcommittee selects the hosts and notifies each contestant of its respective host. Each host is responsible for:

1. Contacting the assigned group prior to convention to discuss any special needs, advising them of plans and providing any additional assistance as needed.

2. Meeting and personally welcoming the assigned group upon arrival at the convention site and advising them of scheduled rehearsal and transportation times.

3. Accompanying the assigned group to the contestant briefing and walking through the traffic pattern with the CC or backstage assistant.

4. Accompanying and remaining with the assigned group at rehearsals and throughout the competition.

HOSPITALITY This subcommittee is responsible for providing as many comforts as possible for Sweet Adelines International guests who are not members of the official panel. HOUSING This subcommittee works with the CRC in:

1. Establishing procedures for competitor and guest hotel reservations. 2. Providing this information to the Bulletin Committee for publication. 3. Staffing the pre-keyed housing area at the hotel (if applicable) with members of the

convention assistance chorus.



PHOTOGRAPHY In accordance with regional standing rules and procedures, arrangements are made with a photographer to take the official picture of each contestant in a specially designated area, either prior to or following the contestant's performance. Responsibilities include:

1. Prior to the convention weekend, providing contestants with the following information through the convention bulletin or an individual mailing:

a. instructions and prices for ordering photographs. b. location and set-up (risers, table/chair, primp supplies) of photography area. 2. Assigning a member to assist the photographer on site. 3. Assigning a member to collect photography orders on site, unless all orders are received

by mail prior to the convention weekend. PROGRAM This subcommittee is responsible for all aspects of the convention program, including printing, advertisement sales and distribution. The program should include:

1. Names of the official panel members. 2. Names of contestants (quartet members and chorus directors). 3. Designation of Open Division competitors (for help with Audience Choice Awards). 4. Schedule of events. 5. Any additional information provided by the Convention Steering Committee. 6. Current quartet and chorus champion pictures, if designated. 7. A message from the Regional Management Team, CRC, CC and/or Convention

Steering Committee, if desired. 8. Additional information as requested by international. The CRC, CC and COC proofread and approve the contents of the program before it is printed. PUBLIC RELATIONS This subcommittee is responsible for all public relations regarding the regional convention weekend. (Refer to Appendix I.) The chair of this committee may be the Marketing Coordinator or a member of the Convention Steering Committee. This should be specified in the regional standing rules and procedures. SECURITY At the competition facility, this subcommittee is responsible for:

1. Assigning members to open and close doors upon CRC directions. 2. Assigning members to collect tickets from individual purchasers. 3. Assigning members to act as ushers during competition sessions and advising them of

any facility restrictions. Note: Some facilities require that professional ushers and ticket takers be hired.



SHOW OF CHAMPIONS This subcommittee is responsible for planning and implementing the Show of Champions, including order of appearance, emcee(s), performers, length of each performance, etc. Specifications for the Show of Champions should be included in the regional standing rules and procedures. TRANSPORTATION Working with the CC and CRC, this subcommittee is responsible for coordinating the busing between the hotel(s) and the competition facility. Its responsibilities include:

1. Contacting bus companies for price comparisons and availability. 2. Submitting information to the CRC for approval. 3. Presenting contracts to the CRC and EVC or FC for signatures and initial deposit, if

required. 4. Working directly with the busing company throughout and until the completion of the

convention weekend. 5. Making all arrangements for communications between the competitors hotel check-in

point(s) and the competition facility drop-off point, and between the audience hotel(s) pick-up and competition facility drop-off points (cell phones or two-way radios may be used).

6. Following approval of the Schedule of Events: a. arranging buses to transport mic-testing quartet and chorus to official inspection.

b. arranging audience bus times for hotel departure and return. c. arranging transportation for those attending the quartet and chorus briefings.

7. Following the approval of the traffic pattern schedules, arranging for contestant busing between the hotel and competition facility.

8. Making copies of the traffic pattern schedule and distributing to personnel working the traffic pattern. The personnel should be instructed to make note of the actual arrival and departure times of each contestant for future planning purposes.

9. Ensuring that all departure locations are marked at both the hotel and the competition facility.

10. Ensuring that there is one last bus to transport all late workers, including officials, back to the hotel after both evening sessions.

WARM-UP ROOMS Subcommittee responsibilities include maintaining the appropriate supplies in warm-up rooms. For example:

1. Water and cups (no ice) OR bottled water (not cold) 3. Tissues; Q-tips 4. Vaseline 5. Hair spray 6. Eyelash glue; nail glue; clear fingernail polish; double-sided scotch tape 7. Sewing kit 8. First aid kit including throat lozenges, antacids



SECTION D

CONVENTION PREPARATIONS BUDGET The expenses of hosting a regional convention are borne by the region or by the host chapter, depending upon the regional standing rules. In some regions the cost of the convention is shared, in which case, the budget indicates which expenses are to be borne by each. The region advances to the host chapter funds to cover payments that must be made before income is received. The following items are considered in determining the estimated budget. Additional items may need to be included, and some of the suggested items may be omitted. Be sure to ask for a written estimate of projected expenses from the facility. All expenses are paid in accordance with regional standing rules and policies. Revenues

1. Advanced funds from the region 2. Revenue from All Events Registrations 3. Single ticket sales to the public (include state sales tax, if applicable) 4. Advertising in the printed program 5. Photography 6. International reimbursement for recording expenses 7. Other

Expenses

1. Competition facility rental fees 2. Other competition facility expenses:

a. stage crew b. supplementary lighting c. sound d. electrician

e. security f. ushers g. cleaning h. trash hauling

3. Official panel expenses (for five members) a. region's portion of portal-to-portal expenses b. four days @ $50 per day ($200 x 5 = $1,000) c. actual cost of housing Note: Minimum budgeted amount is $4,000. d. hospitality for official panel in their hotel lounging area/parlor e. hospitality for official panel and trial scoring judges rest areas f. judging pit supplies, water, snacks

4. Events Coordinator a. travel/housing/per diem b. administration

5. Competition Coordinator expenses a. travel/housing/per diem b. administration

GUIDELINES FOR REGIONAL CONVENTIONS CONVENTION PREPARATIONS Page D-1


6. Chair of the Regional Convention expenses a. travel/housing/per diem b. administration c. miscellaneous

7. Official Panel Liaison a. travel/housing/per diem b. administration

8. Convention Steering Committee (including EVC) a. travel/housing/per diem b. administration

9. Public Relations/Advertising 10. Awards

a. chorus medals b. chorus ribbons c. quartet medals d. quartet ribbons e. regional awards 11. Busing/special transportation/van rental 12. Decorations/props 13. Function room space

a. meetings b. postcompetition events c. rehearsals 14. Miscellaneous a. flowers b. facility and hotel staff gratuities c. backstage warm-up room supplies and water d. photography room primp supplies

e. emcee out-of-pocket expense f. postcompetition copying charges

15. ASCAP/BMI license fees 16. Printing a. programs b. registration badges c. tickets d. bulletins e. signs 17. Audio and video recording 18. State sales tax 19. Reimbursement to region for advanced funds 20. Other Division of Profit This is determined by the region's standing rules.



SITE SELECTION AND INSPECTIONS INTRODUCTION Selecting an appropriate site for a regional convention is essential. The success of the convention depends on facilities that fulfill the unique requirements of a Sweet Adelines International convention/competition. In order to ensure the booking of a sufficient number of hotel rooms and a nearby competition facility, most regions make their selections three to five years in advance. Several regions have adopted permanent sites, or a two- or three-year rotation of permanent sites. The regional standing rules include the following under Site Selection:

1. Who is included in site inspections (EVC, CRC and CC). 2. What expenses for inspections are reimbursable. 3. Who is reimbursed – region or host chorus. 4. Who selects the site. (The EVC and/or the Regional Management Team should have final

approval.) 5. When is the site selected. 6. Who has the authority to negotiate and sign contracts on the region's behalf.

INITIAL SITE INSPECTION The site inspection is important for two primary reasons.

1. Written information and specification sheets from the hotel and competition facility give a basic idea of the layouts. However, physically inspecting the site(s) gives a better understanding of how the facilities meet the region's needs for:

a. Room availability. b. Room sizes and ceiling heights. c. Sufficient area available backstage. d. Contestant traffic pattern (walking distances, stairs, alternates to stairs). e. Transportation between facilities. f. Restaurant facilities.

2. The negotiation process to determine specific needs, as well as to define specific costs and terms of contract(s), begins during the site inspection. Answers to the following are obtained during this time:

a. Number of rooms to be blocked b. Hotel function space to be blocked c. Staging, lighting, sound system, labor, dressing/rehearsal room available at the

competition site Following each site inspection, a report is prepared for the Regional Management Team including specific information about the facilities and estimated costs.



SITE SELECTION FACTORS Several factors are considered in selecting the site for a regional convention, including the following: Geographic Location

1. Airport proximity If at all possible, the regional convention is held in a city with a large airport served by major airlines. This may result in greater accessibility and lower fares for members, regional personnel and the official panel.

2. Major highway accessibility. 3. Alternate modes of transportation available. 4. Convenience for members.

Safety Considerations 1. The safety and security of our members are of paramount consideration in competition site

selection. 2. Whenever possible the hotel and competition facility should be located in a "safe" area of

the city. If the area is questionable, additional security measures must be taken even if additional costs are incurred, i.e., police security guards.

3. Signs must be posted within the competition facility directing competitors and other personnel to all backstage areas and traffic pattern locations.

4. Security personnel are essential at all entrances and exits of the competition facility before, during and following the competition sessions.

5. Locate and mark buzzers on the outside of locked doors that have no handles for reentry, if there is a potential chance that a competitor or backstage personnel could be locked out. Mark the inside of such doors to alert members that the door is not designed for reentry.

6. Use of back alleys as part of the traffic pattern is discouraged. In the event this is necessary, the area must be well lighted and staffed with security personnel.

7. In precompetition mailings, all members should be cautioned to stay in groups as they move around the city, and to and from the competition site.

8. Choruses are encouraged to enlist a member from their local police department for training members regarding personal safety.

Hotels

1. Headquarters hotel There must be sufficient housing to meet regional needs, including the estimated number of contestants and other members and nonmembers attending the convention. The hotel designated as the headquarters hotel is the center of activity for all regional convention events except the competition sessions when they are held at an alternate facility. The headquarters hotel should provide sufficient housing to accommodate most, preferably all, of the convention participants.

2. Americans with Disabilities Act The hotel must be in compliance with the American with Disabilities Act (U.S. sites only) and should have a clause in the contract stating so and indemnifying Sweet Adelines International against violations. (Refer to Appendix II.)

3. Housing The following is taken into consideration when determining hotel needs: a. If it is not possible for all attendees to be housed in the same hotel, additional hotels



should be within walking distance. b. A sufficient number of quad and triple rooms. c. Adequate room, closet, bathroom and mirror space.

d. Workable procedure for hotel registration and check out. e.* Official Panel requirements. (1) Headquarters hotel only

(2) Three nights (Thursday, Friday and Saturday, with guaranteed late Thursday arrivals)

(3) Each judge and the panel secretary will have a private room. (4) A readily accessible meeting/lounging space. The parlor/suite set up may be used

provided each member of the panel has her own private sleeping room. (5) Panel housing should not be near hospitality suites. f.* Convention Steering Committee (or Host Chapter)

(1) Four nights - Wednesday through Sunday (2) Two-bedroom suite with adequate living room to be used for meetings, storage, etc.

*These rooms are blocked at the time the contract is signed. 4. Function space

The headquarters hotel should have: a. Sufficient meeting rooms for the region's needs, including:

(1) Pre-keyed housing (2) All Events Registration/Single ticket sales (3) Ways and Means (4) Convention headquarters/information desk (5) Rehearsal (6) Backstage traffic pattern (if needed at the hotel) (7) Regional dining functions.

b. Available rooms for chorus rental for their dining or hospitality purposes. If more than one hotel is used, function space may be needed in other hotels.

NOTE: Block all possible function space needed at all hotels when contract is signed. 5. Complimentary rooms

It is not uncommon for a hotel to provide complimentary suites for the official panel, meeting rooms, or roll-away beds free of charge in exchange for paid guest rooms or food functions. Because hotels in most downtown areas are empty on weekends, there is a great deal of negotiation clout when there is the possibility of a convention filling the hotel.

6. Restaurant facilities Convention schedules are such that the heaviest demand does not always agree with the standard hours that restaurants expect to be busy. Arrangements may need to be made for extra staff and extra operating hours to fulfill needs for late Friday night, Saturday morning, Saturday afternoon and Saturday evening. The following information is ascertained:

a. Types of restaurants available with their seating capacity b. Hours of operation (Are they extendable, if necessary?) c. Food costs d. Extra help available during peak times e. Sandwich bars/buffets/late evening menus f. Room service hours and menus

7. Elevators a. Number available b. Sufficient to accommodate an entire competing chorus



c. Capacity d. Computerized so that only one at a time stop on a floor e. Manually keyed and/or run for use by competitors only f. Freight elevators available for use during the chorus competition

8. Parking Determine if there are sufficient spaces available at reasonable prices

9. Limousine/airport transfer availability 10. Duplicating/Faxing equipment a. Duplicating facilities available for use b. Location c. Costs (with or without the region supplying paper) d. Key and/or code needed for access to the equipment e. Necessary to have hotel/auditorium personnel operate the equipment f. Backup system available 11. Charges

a. Although hotels are reluctant to commit to specific rates for guest rooms more than a year in advance, the rates at the time of the site inspection may be used for comparative purposes in the report. However, the contract with the hotel, in order to be legally considered a contract, must contain a formula for how the rates are determined for the future year. The two most common formulas are:

(1) A set percentage off the rack (published) rate (2) To quote a rate for the current year, with the rate for the meeting year not to exceed

an increase of a specified percentage b. Additionally for the report, it is important to determine what charges, if any, will apply

to: (1) Function space (2) Tables and chairs (3) Set-up of meeting rooms (4) Parking 12. Miscellaneous

Depending on the region, determine if: a. Check-in/check-out for each room or an entire chorus may be handled by one member b. An entire chorus may be housed on one floor c. An All Events Registration table and convention information table may be set up in the

lobby or on the mezzanine level d. Ways and Means sales are allowed e. There will be any other groups housed in the hotel that weekend f. Meeting rooms may be locked and rekeyed, if needed g. Rooms are soundproof Outside Restaurants Determine the location, hours of operation and price ranges of restaurants in the area. Competition Facility The facility in which the competitions are held is usually (1) an auditorium with full stage; (2) an arena with a portable stage; (3) a hotel ballroom with a small permanent stage; or (4) a hotel ballroom with a portable stage. When selecting a facility, always remember what is best for the competitor while taking into consideration the cost-effectiveness for the region.



Regardless of the site, the same factors must be considered during the site inspection. 1. Stage

a. Whether a stage is permanent or constructed, the same dimensions apply: (1) Large enough to accommodate the approved riser configuration.

(a) Stage width must accommodate sufficient risers for the largest chorus in the contest. (See Riser Placement Diagrams, Appendix III, pages 20-27.)

(b) The following figures include using 18-inch choral risers, a fourth step and the floor: Without inverted section (alternate):

• Six 6-foot sections accommodate up to 70 members. • Seven 6-foot sections accommodate 70-90 members. • Nine 4-foot sections accommodate 70-90 members. • Ten 4-foot sections accommodate 80-100 members. • Eleven 4-foot sections accommodate 90-110 members.

With inverted section (standard): • Seven 6-foot sections accommodate 70-90 members. • Nine 6-foot sections accommodate up to 100 members. • Eleven 4-foot sections accommodate 90-110 members. • Eleven 6-foot sections accommodate 120 or more.

(c) If the alternate riser configuration is being used by the region, it should be available for any chorus that feels this configuration would be more suitable for them.

• Using the alternate configuration is a regional option. • The alternate configuration is formed by removing the inverted section

and one or two sections from both sides. • Lighting and sound are set to accommodate both riser configurations

whenever possible. If different settings are used both must be approved by the panel chair.

• The alternate configuration may be moved forward on the stage as long as (2) through (5) listed below are met.

(2) Sufficient room in front of the risers for the director. (3) Sufficient room in front of the risers for choreography.

(4) Sufficient room for the emcee lectern. (5) Sufficient room between the risers and the edge of the stage for contestants to enter

and exit. (6) Ceiling must be at least 12 feet above the stage. (7) Height of the stage must be a minimum of 32 inches. b. If it is necessary to construct a stage, the safety of the contestants is the primary

consideration. (1) Staging should be locked together for solidity and safety. (2) It must be strong enough to accommodate the combined weight of the largest chorus

in the region and the corresponding riser configuration. (3) A stage surface must be provided to ensure a smooth stage. Dance flooring or carpets

are appropriate. (4) Ramps/stairs leading up to the stage should have railings and lights. (5) A safety rail must be included around the edges of the backstage area. (6) Entrances, exits and backstage areas should be piped and draped.



(7) Any extensions to an existing stage must be the same height as the permanent stage. 2. Shells

a. Quartet Competition A shell is optional for the quartet competition. A backdrop or pipe and drape may be used. If a shell is used, it should be neutral in color and no decorations may adorn it.

b. Chorus Competition A shell or backdrop is required. If a chorus shell is not available, an orchestra shell, a stage flat or a curtain may be used.

3. Curtain A curtain is not required for chorus competition; however, most auditoriums and theaters with a permanent stage usually have a front curtain available.

a. If a curtain is used, the following information is to be determined: (1) How long does it take to open/close the curtain? (2) Does the curtain open/close vertically or horizontally? (3) Is the curtain electronic or manual? (4) Does the facility require union personnel to operate the curtain? b. If lighting is used in lieu of a curtain, the following procedures are followed: (1) Stage lights are dimmed to half-stage lighting so the contestants can see as they enter

the stage and risers. (2) When the director signals the chorus is ready, the stage lights are taken out, except

for the spotlight on the emcee lectern. (3) As the contestant is announced, the stage lights are brought up to 100%. (4) After the chorus' final bow, the stage lights are again taken out and then brought up

to half-stage lighting as the chorus exits the risers and stage. 4. Lighting Standards

NOTE: The following suggestions for equipment are intended to be used as a starting point when working with the technicians. These are not requirements.

During the initial site inspection, the CC investigates the lighting facilities and determines whether or not it is necessary to rent additional equipment and what the approximate costs are. The CC may choose to have an incident light meter available during the inspection to check the degree of lighting and eliminate any dark areas.

The following specifications should be considered whenever possible: a. General (1) Lighting must be uniform for all contestants in the same contest session. No special

lighting effects may be used by any contestant in the International Division or Evaluation Only sessions.

(2) The intensity of stage lighting must be consistent for the entire performing group. (3) In an auditorium situation, overhead and front lighting should be used. Forward

lights should be focused so no shadows are cast. If footlights are used, they should not be brighter than the overhead lights.

(4) In a hotel ballroom, fixed mini-spots need to be focused on the stage. (5) For International Division and Evaluation Only contestants, lighting should be white;

however gels may be used in forward lighting. Only pink, flesh-tone or bastard amber gels are used. At least one follow spot is needed and should be checked and operated by experienced personnel. This is used for the introduction of the official



panel prior to the announcement of the chorus results. (6) For Open Division contestants, regions may choose to offer the following lighting

options for non-contest songs: red, lavender, blue, amber, green or magenta. Traditional white lighting is to be used for the contest song.

(7) The emcee lectern spot may be fixed lighting on a dimmer board. (8) Lighting technician(s) must focus lighting prior to auditorium inspections and be

available to operate during inspections, contest sessions and shows. (9) Lighting in the auditorium while contestants are on stage should be set low enough

so that performers can see that there are people in the audience. A 20-40% setting is recommended. Between contestants, lighting should be brought to 80% for the safety and convenience of the audience.

b. Quartet (1) Both overhead and front lighting is necessary. (2) The lighting must be focused in such a way as to prevent shadows on the faces of the

quartet members. (3) All stage lighting may be brought up during a quartet's performance, beginning with

their entrance and ending with their exit. Or, a follow-spot may be focused on them from their entrance through their exit.

c. Chorus (1) A combination of overhead and front lighting is necessary to achieve an overall un-

shadowed effect. Lighting must be consistent and un-shadowed from 6-1/2 feet above the highest tier of risers to the smallest member in the front row. The area in front of the risers to the downstage edge must be lighted with the same consistency in order to allow for choreography.

(2) Follow spots should not be used on the director alone. The director’s face should be sufficiently illuminated so that she can be seen clearly by the chorus. This can be accomplished by dedicating a fixed overhead instrument for this purpose.

(3) Check the lighting on the director to ensure that she is clearly seen by the chorus.

Final decisions regarding the adequacy of the lighting are made by the panel chair at the official inspection. However, because last minute changes may result in increased labor and equipment costs, it is best to ensure well in advance of the contest weekend that the established lighting standards can be met.

5. Signal System/Headphones Communication must be established between the panel chair, the backstage area and the emcee. There are two possible ways of accomplishing this:

a. Many regions have already built their own signal system. b. Many facilities have headphones that are utilized by the panel chair, the competition

coordinator, and lighting, sound, audio, and video technicians. 6. Sound System For more detailed information on sound systems, refer to Appendix IV.

The purpose of using an amplification system for competition is to enable the audience to hear the performances. If sound monitors are available in the competition hall, they should be used. Amplification for the competitor, as well as the audience, is very important. The judging panel must hear contestants without the benefit of amplification whenever possible. In order to achieve this, it may be necessary to distribute several speakers throughout the hall. However, hearing a small amount of amplification in the pit is acceptable if needed to assure that both the competitors and the audience can hear.



The following should be determined: a. Amplification (1) What sound system is available? (2) Is supplemental equipment required? If so, how much does it cost? (3) Are acoustics satisfactory from the standpoint of the competitors, the judges and the

audience? (4) Is the sound technician available to set the sound during the inspection and to operate

the system during contest sessions and shows? (5) Are equipment and personnel available for making the official audio cassette

recordings and video recordings? Is it necessary to rent equipment? If so, how much does it cost?

(6) What microphones are available? (Ideal microphones are 48-volt, phantom-powered, studio condenser microphones with a cardioid pattern, 1-inch-diameter capsule.) For choruses, microphones may be placed close to the downstage edge of the stage in foam mouses; Crown PCC-160 (phase coherent cardioid) microphones are preferable. a. Quartet Contest

Two cardioid microphones are required. They are securely mounted so they cannot be moved if struck by a performer. A preferred mounting is on a single microphone stand with a stereo bar placed in a cross-fired position (120-130 degrees, tails-out). Microphones are positioned so the patterns are directed between quartet members #1 and #2, and between quartet members #3 and #4. The best option is to use a boom-type microphone stand placed in the pit, so there is no physical contact between the stage floor and the microphones. The level of both microphones is set equally to maintain the natural balance of the quartet's sound. The average quartet microphone height is between 5’4” and 5’6”. The use of stage monitors is optional, but encouraged. Open Division quartets must have a microphone for emcee work.

b. Chorus Contest Microphones may be suspended overhead, placed on the floor, or both. If suspended:

1) Three microphones should be used. 2) Microphones should be suspended at least as high as the heads of the

singers on the highest riser and at least two to four feet in front of the risers.

3) Microphones should be positioned so the patterns are directed at the chorus, not at the floor.

4) Levels should match the curvature of the risers (outside microphones set equally; the center microphone slightly higher).

5) Open Division choruses must have at least one standing microphone for emcee work. You may use three as is used at international contest. Lavaliere mics are not allowed.

Floor microphones are used only if microphones cannot be suspended. Two or three are placed on boom-type stands in the pit with their levels set equally. Floor microphones often pick up noise of foot movement and may distort the audience and recording sound.



Frequently, improper wiring cables, or inpatch bays, result in two adjacent microphones being out of phase, causing a significant sound cancellation. A phase test to ensure that all microphones in each group are in phase should be made by the sound technician.

Often, there is a problem of system saturation and clipping at various frequencies at peak volume. This results in a noticeable distortion of sound quality and sometimes is accompanied by a rumble, a momentary ring-off at certain frequencies, or even a steady, deafening, ringing sound. Should this occur, the system test should be stopped at once until the sound technician has made the necessary corrections. Successful system tests result in pleasant, well-balanced sound at all volume levels throughout the auditorium, with minimal reverberation and with minimal or no amplified sound being audible at the judges' tables.

Through proper use of pan controls and auxiliary outputs on the primary mixing console, compliance with these microphone techniques provides the necessary sound pick-up for feeding the auditorium sound system as well as for providing stereo audio feed for the audio and video recording equipment.

Final approval for the use of sound amplification rests with the panel chair. If she determines during the on-site inspections or mic-testing performances that amplification is excessive or that it interferes with the panel's evaluation of the contestant performances, she has the prerogative to request that the gain be lowered or that amplification not be used. The sound technician should be instructed that once the sound system has been approved by the panel chair, no changes are to be made except as authorized by her.

7. Recordings (Refer to Appendix III for summary.) The CC is responsible for supervising the official recordings of the competitions. Although she is responsible, the task may be designated to someone else. Sufficient space must be available for the recording technician(s). Arrangements should also be made to test and set the recording levels prior to the start of each contest session, preferably during the official inspection by the panel chair. If recording in stereo, check dials to ensure that both channels are recording. If dials are not available, perform a test recording of each channel and play to ensure that both channels are recording.

Be sure to include each contestant’s introduction on the recording so they can be identified. Please make every effort to have good lighting for the recordings. These recordings play a very important part in the judging programs review process. Please view your recordings before sending them to headquarters to make sure they are of the best possible quality.

8. Judging Areas a. Judging Pit (Refer to Appendix III for diagram.) (1) Ten feet away from the front of the stage. (2) Sufficient room for three tables, approximately 8’ by 30”, enough space for a person

to walk in front of the tables and enough space behind the tables so visibility of the panel's work from the audience is not allowed.

(3) Electrical outlets for six high-intensity lamps and a calculator. (4) Space for trial scorers' tables. (In lieu of tables, trial scorers and their page

exclusively may be seated in the front center rows of the auditorium with at least two empty rows behind them.)



b. Rest Areas (1) A room close to the backstage area for the panel to use prior to and following each

contest session and during intermission. (2) Restroom facilities nearby and separate from those used by the audience and

competitors. (3) A rest area and restroom facilities close to backstage also are provided for the trial

scorers, emcees and pages. (4) Refreshments must be permitted in the rest areas. Determine if they must be catered

by the facility or if the region may provide them. 9. Traffic Pattern a. Photography Area (1) A room that accommodates riser height and width requirements and allows for depth

for the photographer. (2) There is no interference from light fixtures. (3) There is an appropriate background behind the risers to frame the chorus pictures. (4) The riser type and configuration is set for optimum photography. (5) Pipe and drape are used for the appropriate setting for quartet pictures. b. Warm-up Area (1) A warm-up area is available to each competing group, either at the hotel or

competition facility. (2) If in the backstage area, the warm-up area is soundproof to the stage and auditorium. (3) Risers are preferred, but are not required. (4) It accommodates the largest competing chorus. c. Holding Area(s) (1) Space accommodates the largest competing chorus. (2) All except one area is soundproof from the stage and auditorium. (3) One area is available backstage where the competitor waits for the conclusion of the

preceding performance. d. Purse drop area. e. Restroom facilities. f. Space for regional personnel, stagehands, technicians and awards tables. 10. Hours

Determine exactly what hours are needed at the facility and find out if the facility is available for all events.

11. Seating a. Does the competition facility provide sufficient seating for the estimated number of

attendees and competitors? b. Are there pillars or other obstructions to the view?

c. If the facility is a hotel ballroom or arena, is tiered seating available? 12. Facility/Union Personnel

Requirements regarding the use of facility/union personnel vary. Check union regulations for the number of hours of continuous work allowed before a break is required and the total number of hours per day before overtime is in effect.

Some facilities require that only union labor or personnel employed by the facility itself be used. Others allow members (or friends and family) to serve as stagehands, technicians and ushers. It is necessary to determine facility requirements when using the following:



a. Sound technician b. Lighting technician c. Stage hands d. Curtain puller e. Security

f. Box office g. Ushers

h. Ticket takers i. Audio and video recording technicians

j. Emergency personnel k. Other

13. Restrictions It is important to learn, in advance, if the competition facility has any restrictions that affect the convention, especially in the following areas:

a. Recordings b. Ticket sales

c. Photography sales d. Use of non-union labor

e. Food from outside f. Parking of work-related vehicles g. Traffic restrictions of surrounding streets, including loading and unloading of buses

It is sometimes possible to avoid these restrictions. For example, if it is explained that the purpose of the audio and video recording is for educational and archival purposes, not commercial, restrictions against audio and video recording are usually waived.

14. Costs For accurate evaluation of a facility, it is important to know what is and is not included in the basic cost. The following costs should be determined during the site inspection: a. Competition facility rental

b. Labor (1) Stage hands

(2) Sound, lighting and recording technicians c. Security d. Box office e. Ushers f. Ticket takers g. Meeting rooms h. Sound equipment (in-house or outside rental)

i. Supplemental lighting equipment (in-house or outside rental) j. Staging (platforms, backdrop drapes, curtain, etc.)

k. Table and chair rental l. Recording fee(s)

m. Fees for ticket sales n. Catering o. Cleaning p. Water service

q. Overtime costs r. Signal system/Headphones



s. Others 15. Americans with Disabilities Act (U.S. sites only)

Ensure that the competition facility is in compliance with the ADA and has a clause in the contract stating so and indemnifying Sweet Adelines International against violations. (Refer to Appendix II.)

CONTRACT NEGOTIATIONS To ensure that facilities are available, that costs are established, that all specified requirements are met, and that both parties understand what has been agreed to, everything is put in writing. All required housing and function space is blocked. The contract is signed by both parties and is binding. Any changes must be agreed to, in writing, by both parties. Contract negotiations are approached in a professional manner. It is a business operation on behalf of the region and is treated accordingly. All needs are anticipated far in advance so as to be incorporated in the contract. Although it may not be possible to include exact costs in a contract more than a year in advance, every effort should be made to specify a base price and a maximum percentage increase, especially in the competition facility rental fee. A date for determining the exact charges is specified so that a convention budget may be prepared. This date is no later than one year prior to the convention weekend. If the competition is being held in a facility other than the headquarters hotel and unavailability of that facility would necessitate changing convention dates or moving the convention to another city, a contingency clause should be added to any hotel contracts. Suggested wording for this clause could be:

"The performance of this agreement by Region X of Sweet Adelines International is contingent upon the availability of the XX Theater as the site for the region's vocal music competitions. If for any reason beyond the control of said region the XX Theater shall not be available, or shall not be in acceptable condition, or have conditions present that would interfere with the a capella music competition, this agreement will be terminated without penalty by written notice from the region to the hotel."

Be very careful about signing hotel contracts with "attrition" or "slippage" clauses that require you to pay for all of the sleeping rooms you block whether you use them or not. If the hotel refuses to remove the clause or at least modify it so you don't have to pay 100% of the cost of unused rooms, you may want to find another hotel. Run some of the possible figures yourself to see if it is something the region would be willing and able to pay before you sign the contract. Most hotels will work with you on these clauses. The ones who will not should be avoided. Contracts for a public facility such as a convention center, arena, or auditorium are written in a different frame of reference than for a hotel. These are leases for facilities used for everything from rock concerts to sporting events to conventions and trade shows. These leases frequently contain inappropriate specifications for Sweet Adelines purposes and a great deal of legal jargon. They are usually very one-sided. They should be read very carefully and the most objectionable clauses removed or amended. You may need to have legal counsel review the contracts and advise you.



RE-INSPECTIONS Re-inspections by regional personnel occur if the hotel/facility has undergone management or ownership or construction changes after the contract has been signed. WORKING INSPECTION Approximately four months prior to the convention weekend, the CRC, CC, EVC, OPL and other key convention personnel arrange for a working inspection of the facilities to be used for the convention. Meetings should be arranged with the appropriate hotel(s) and competition facility staff. This is the final inspection prior to the convention weekend to ensure that proper arrangements have been made. Hotel The purpose of this inspection is to: 1. Provide a written schedule (function sheet) of each activity to be held in the hotel. 2. Inspect all blocked function rooms and suites, and sample guest rooms. 3. Confirm all costs for: a. guest room rates b. function room charges c. labor and equipment 4. Confirm check-in/check-out procedures. a. Advance room assignments

Since choruses register as a group, this is most feasible. Prekeyed housing, with separate pick-up from the front desk, is ideal. All room assignments and keys for those arriving on the same day may be picked up by one member of the chorus or one occupant of each room. CAL members are also able to obtain their keys this way. Those arriving prior to Friday should check-in at the front desk.

b. Room charges If arrangements are made in advance, most hotels allow:

(1) All room charges for a specific chorus to be paid with one chorus check for the entire amount.

(2) All room charges for a specific chorus to be paid with one credit card for the entire amount.

5. Determine a method to be used for housing reservations. a. A convention housing chair makes all reservations, using rooming lists provided by each

chorus/CAL member. b. Utilize the hotel reservation service provided by the city's convention bureau. c. Have each chorus and individual CAL member register directly with the hotel.

d. Whichever method is selected, all participants follow the same procedure. Advise the hotel(s) and convention bureau(s) of the procedure and request that no exceptions be made.

6. Verify hours of operation for hotel restaurants and room service. 7. Establish location of events for: a. Convention registration b. Information desk c. Ways and Means 8. Verify method used to hang signs (size and type). Arrange for hotel easels, if appropriate.



9. Verify the location and procedure of All Events Registration/Single ticket sales desk. 10. Verify arrangements with the hotel(s) for Ways and Means sales. Clearance with the hotel(s)

is usually necessary for: a. Restrictions against selling food items. b. State and/or city vendor's permit (contact state and local authorities). c. State and/or city sales tax (contact state and local authorities). 11. Finalize areas to be used as function space.

The CRC provides the hotel(s) with specific room setup information (function sheet) for each regional function. If there are any changes, the hotel is notified immediately so adjustments can be made. The CRC is responsible for releasing function space to choruses for their use.

12. Finalize food function details. The CRC deals directly with hotel catering for regional food functions. Regional policy determines whether or not choruses should make arrangements for their events directly with the hotel or with a regional convention committee member. All menus and costs are decided prior to the event to allow for prepaid meals. A detailed contract is signed by both parties.

13. Finalize restaurant facilities. The CRC is responsible for finalizing the hotel arrangements for food availability for the membership, including buffets, continental breakfast bars, sandwich bars, cash bars in the lobby/mezzanine and extension of hours for restaurants, lounges and room service (late night limited menu).

14. Arrange for the duplication and faxing of results. The OPL finalizes arrangements for duplicating results for contestants and faxing results to headquarters.

15. Determine a location for the distribution of contestant packets. Obtain permission from the hotel to post the official results in an appropriate area.

Following this meeting, the CRC confirms in writing to hotel personnel all commitments and arrangements that have been made, including setup requirements. Any additional changes are confirmed in writing and signed by both parties. Competition Facility The purpose of this inspection is to: 1. Walk the entire traffic pattern; inspect all rooms and areas to be used. 2. Meet with the stage manager and provide him or her with complete written instructions and

specifications regarding, among other things: a. Stage b. Lighting c. Sound d. Judging pit diagram 3. Schedule of all competition activities, including official inspections and the time that setup

should be completed for each function. 4. Finalize plans for lighting and sound and required personnel. 5. Finalize requirements regarding water stations, chairs, tables, table coverings, electrical

outlets, wastebaskets, etc. 6. Confirm the following information:

a. Stage dimensions b. Type and colors of curtain(s) and/or backdrop c. Color of shell(s)



d. Any other information needed for contestant communications If it is impossible to comply with the specifications of any aspect of the staging, the CC advises the panel chair immediately. WRAP-UP Following this meeting, the CRC confirms in writing to the competition facility personnel all commitments and arrangements that have been made, including setup requirements. Any additional changes are confirmed in writing and signed by both parties. On Thursday morning prior to the convention weekend, the appropriate hotel staff meets with the CRC, CC, OPL and other regional personnel having housing responsibilities to: 1. Make introductions. 2. Distribute and review finalized event orders for all function space. 3. Explain to the staff in detail exactly what is expected from hotel personnel. 4. Ask and answer any last minute questions.



GLOSSARY OF HOTEL TERMINOLOGY CONVENTION HOTELS: Headquarters Hotel Convention registration, meetings, meal functions, etc. are usually held here. The official panel is housed here. Overflow Hotel Used for sleeping rooms when the number of rooms required exceeds the number of rooms available in the headquarters hotel. FACILITY: The Facility section lists general terms used in areas of group function management in hotels, resorts, and conference centers including sleeping room accommodations. See the Food and Beverage and Room Setups Sections for specific terminology relating to those areas of group function management. BLOCK:

(1) Number of rooms reserved for one group. (2) To assign space. BOOK: To sell room space. CABANA: Room adjacent to pool area, with or without sleeping facilities. CONCIERGE:

(1) Facility staff that provides special services such as tickets to local events, transportation, and tour arrangements.

(2) Designated area in facility providing special amenities and service to guests. CONFIRMATION: Written acknowledgment of a reservation request. CONFIRMED RESERVATION: Oral or written agreement by a facility to accept a request for an accommodation; to be binding the agreement must state the intent of the parties, the particular date, the rate, type of accommodations, and the number to be accommodated; oral agreement may require guest credit card number. CONVENTION RATE: Rate negotiated for convention attendees by the planner should be included in the contractual agreement. CONVENTION SERVICE MANAGER: Facility manager who is responsible for all details of an event. CUT-OFF DATE: Designated day when the facility will release a block of sleeping rooms to the general public. DIRECT BILLING: Accounts receivable mailed to individuals or firms with established credit.



DOUBLE-DOUBLE ROOM: Room with two double-size beds suitable for two to four persons. DOUBLE ROOM: Room with one large bed for two persons. FOLIO: Form on which all charge transactions incurred by a registered guest are recorded. GUARANTEED LATE ARRIVAL: Guest room that is guaranteed by credit card or advance payment if arrival is later than six p.m. GUARANTEED RESERVATIONS: Pre-paid reservation held until agreed arrival time, or check-out time the next day, whichever occurs first. Guest is responsible for payment if reservation is not canceled. INCIDENTALS: Expenses other than room and tax, billed to a guest's account. KING ROOM: Room with king-sized bed suitable for one or two persons. LANAI: Room with a patio or balcony overlooking a garden or water. MASTER ACCOUNT: Form on which authorized charges incurred in a facility by a group are recorded. NO-SHOW: Reservation not used or canceled. OFF-SEASON: Facility occupancy is at its lowest level. ONE FOR FIFTY OR 1/50: Facility complimentary room policy – one complimentary room night for every 50 room nights picked up. OUTLETS: Restaurants and lounges within a facility. OVER-BOOKING: Accepting reservations for more guest rooms than are available; usually due to anticipated no-shows. PICK-UP: Number of facility guest rooms actually used out of a room block. PRE-CONVENTION BRIEFING: Meeting with planner and facility department heads to review purpose and details of event. PUBLIC SPACE: Space in a facility that is available for public use. QUADRUPLE (QUAD): Room with two or more beds for four persons. QUEEN ROOM: Room with one queen-size bed suitable for one or two persons. RACK RATE: Facility's standard, pre-established guest room rates.



REGISTRATION CARD: Signature form used by facility when registering a guest. ROOM NIGHTS: Number of rooms blocked or occupied multiplied by number of nights each room is reserved or occupied. ROOMING LIST: List of facility guests and room data supplied to facility prior to arrival. RTI: Room, tax, incidentals. RUN-OF-THE-HOUSE RATE: One rate for facility guest room block. Does not include suites. SEASON: Period of time when facility occupancy is at its highest level. SHOULDER: Intermediate time, in the hospitality industry, between peak and low seasons. SINGLE ROOM: Guest room occupied by one person. SPACE: Area in a facility where a group's private functions may be held. STAY OVER: Guest who stays at facility beyond stated departure date. STUDIO: Room with couches that convert to beds. TENTATIVE HOLD: Space temporarily held by a facility pending a definite booking. TURNDOWN SERVICE: Early evening service in which beds are prepared for sleeping. WALK: Guest holding confirmed reservation sent to another facility because of over-booking. WALK-IN: Guest requesting accommodations without a reservation. GLOSSARY OF FOOD AND BEVERAGE TERMINOLOGY The Food and Beverage section lists terms used in the area of group food and beverage function management including banquets, receptions, and other activities. Consult a standard dictionary of cookery terms for descriptions of individual food items. A LA CARTE: Menu with price stated for each item offered, as opposed to a fixed price for an entire meal. BEO: Banquet event order. BY THE BOTTLE: Liquor served and charged for by the full bottle. BY THE DRINK: Liquor served and charged for by the number of drinks served. BY THE PIECE: Food purchased by the individual piece, usually for a reception.



CALL BRAND: Brand of liquor, distinguished from HOUSE BRAND, selected by a customer according to personal preference. CAPTAIN: Person in charge of banquet service at food functions. CASH BAR: Private room bar set-up where guests pay for drinks individually. CHEF'S CHOICE: Selection of food items to best complement the entree. CORKAGE: The charge placed on beer, liquor, and wine brought into the facility but purchased elsewhere. The charge sometimes includes glassware, ice, and mixers. COVER: Table setting for one person. COVERS: Actual number of meals served at a food function. DOUBLE CLOTH: Use of two tablecloths on a banquet table for decorative purposes. DRY SNACKS: Snacks such as pretzels, potato chips, and corn chips served at receptions. ENERGY BREAK: Refreshment break where nutritious foods and beverages are served, occasionally including some form of exercise. HOSPITALITY SUITE: Room or suite of rooms used to entertain guests. HOUSE BRAND: Medium or lower priced brand of liquor as distinguished from CALL BRAND. HOUSE WINE: Moderately priced wines carried by the facility. INCLUSIVE: Rates, which includes gratuities and taxes. MINIMUM: Smallest number of covers and/or beverage for a function; surcharge may apply if minimum is not reached. OPEN BAR: Private room bar set-up where drinks are paid for by a sponsor. OVER-SET: Number of places set over the guarantee. PLUS-PLUS (++): Addition of taxes and gratuities to a price when not included, designated by ++. PREMIUM BEER: Higher priced beer. PREMIUM BRAND: Brands of liquor listed by a hotel or an establishment that are the most expensive brands at that establishment.



PRE-SET: Placement of food on banquet tables prior to the seating of guests. REFRESH: To clean room after or between meetings, refilling water pitchers, changing glassware, and other general housekeeping. REFRESHMENT BREAK: Time between sessions where coffee and/or other refreshments are served. ROLL-IN MEAL: Light buffet meal on a cart. SERVICE CHARGE: Charge for the services of waiters/waitresses, housemen, technicians, and other food function personnel. WATER STATIONS: Tables with pitchers of water and glasses for self-service. GLOSSARY OF GENERAL MEETING MANAGEMENT TERMINOLOGY The General Meeting Management section lists terms used in the areas of group communication, on-site and off-site group function management, and terms common to the meetings industry. AUTHORIZED SIGNATURE: Signature of person(s) with authority:

(1) to charge to facility master account, (2) to guarantee payment, and

(3) to contract for space, services and supplies. BREAK OUT SESSIONS: Small group sessions, within the meeting, formed to discuss specific subjects. CANCELLATION CLAUSE:

(1) Provision in a contract that outlines penalties if cancellation occurs, both parties for failure to comply with terms of the agreement.

(2) (Entertainment) Provision with artist's contract, which allows artist to cancel within a specified period of time prior to play date.

CLINIC: Workshop-type educational experience where students learn by doing. COLLOQUIUM: Informal participatory discussion on group-selected topics. COMP: Abbreviation for complimentary. CONCURRENT SESSIONS: Sessions scheduled at the same time. CONFERENCE: Participatory meeting designed for discussion, fact-finding, problem solving and consultation. CONVENTION BUREAU: Service organization that provides destination promotion and sometimes offers personnel, housing control and other services for meetings and conventions.



FORUM: Open discussion with audience, panel and moderator. FUNCTION SHEET: Detailed instructions for a particular event also known as banquet order, event order or resume sheet. FUNCTION SPACE: Space in facility where private functions or events can be held. HOLD HARMLESS: Clause in contracts ensuring that a group or company will not be responsible in the event of a claim. LETTER OF AGREEMENT: Document outlining proposed services, space or products, which becomes binding upon written approval by both parties. MODERATOR: Person who presides over panel discussions and forums. OVERFLOW: Attendees booked into facilities after headquarters facilities are full. PANEL: Discussion with a moderator and two or more participants. PBX OPERATOR: Switchboard operator PLENARY SESSIONS: General assembly for all participants. PROPERTY: Lodging establishment such as a hotel, motel, inn, resort, conference center or meeting facility. RAPPORTEUR: Monitor who evaluates conference sessions. RESUME SHEET: See FUNCTION SHEET. ROOM SETUP: Layout of tables, chairs, other furniture, and equipment for functions. SEMINAR: Lecture and dialogue allowing participants to share experiences in a particular field under the guidance of an expert discussion leader. SITE INSPECTION: Personal, careful investigation of a property, facility or area. SPECIFICATIONS: Complete description of meeting requirements. STAGING GUIDE: Compilation of all function sheets, scripts, instructions, room set-up diagrams, directory of key personnel, forms and other material relating to the event. SUPPLIER: Facility, company, agency, or person offering space, goods and services for meetings. SYMPOSIUM: Event at which experts discuss a particular subject and opinions are gathered.



VENUE: (1) Meeting site or destination. (2) Entertainment location of performance such as hall, ballroom, auditorium, etc.

WALK-THROUGH: (1) Review of meeting details. (2) Site inspection. (3) Inspection of function room prior to function. (4) Inspection of trade show floor prior to opening. WORKSHOP: Training session in which participants, often through exercises, develop skills and knowledge in a given field. GLOSSARY OF ROOM SETUP TERMINOLOGY The Room Setups lists terms used in the areas of meeting room equipment and layouts. AIR WALLS: Movable barriers that partition large areas into smaller areas. May be sound resistant, but not necessarily soundproof. AUDITORIUM OR THEATER SETUP: Chairs only set up in rows facing head table, stage or speaker. Variations are semicircular and V-shape. BOARD OF DIRECTORS SETUP: Tables set in rectangle or oval shape with chairs on both sides and ends. BOARD ROOM: Room set up permanently with a fixed table and suitable seating. CABARET TABLE: Small round table (15-30 inch in diameter) used for cocktail type parties. Also known as club table. CONFERENCE STYLE SETUP: See BOARD OF DIRECTORS SETUP. DAIS (Pronounced 'day-iss'): Raised platform on which the head table is placed. DRAPES: Decorative material hung to partition an area, adorn a room, or provide privacy. FLOOR SETUP DIAGRAM: Floor plan with specific requirements (dais, tables, chairs, etc.) drawn to scale. HOLLOW SQUARE SETUP: Tables set in a square (or rectangle) with chairs placed around perimeter. Center inside tables is hollow. HORSESHOE: Tables set up in round-cornered U-shape with chairs placed outside. Chairs inside if needed. LECTERN: Reading stand with slanted top. Can be a tabletop lectern or one that stands on the floor.



PODIUM: Speaker's platform. PRE-FUNCTION SPACE: Area adjacent to the main event location. ROPING: Plush-covered chain used to define traffic areas. Can be attached to stanchion. ROUND: Banquet table, usually 60 inch in diameter. Also available in 66 inch and 72 inch diameters. SCHOOLROOM SETUP: Tables lined up in a row, one behind the other on each side of center aisle with chairs facing head table. SERPENTINE: Series of tables set in curving shapes, often S-shaped. SHOEHORN: Term referring to overcrowding. SIDE CHAIR: Armless chair. SOUNDPROOF WALL: Barrier that prevents sound from carrying to and from adjacent rooms. Usually a permanent wall. STANCHIONS: Decorative posts which hold markers or flags to define traffic areas. Ropes may be attached. TURNOVER: Time to break down and reset a room. WRITING CHAIRS: Chairs with attached writing surfaces.



OFFICIAL SCHEDULE OF EVENTS The schedule of events for a regional convention is agreed upon by the EVC, CC and CRC in coordination with the panel chair. Once agreed upon, it is submitted to the Director of Music Services and Membership on a Proposed Schedule of Events form for final approval. The Director of Music Services and Membership reviews the schedule to ensure that enough time is allocated for the competition events and that the starting time for each competition session is best for the contestants and the official panel. Once the Director of Music Services and Membership has approved the proposed schedule, any subsequent changes must be submitted for approval. When setting the schedule, the following are taken into consideration:

1. Travel time between facilities for the official panel. 2. Time after each session for the panel to meet with trial scorers. 3. Sufficient break time during each competition session for official panel to eat and relax. 4. Time at the beginning of the quartet and chorus contest for any announcements.

QUARTET COMPETITION SCHEDULE Set the required times for competition. The quartet contest is held on the Friday of the convention weekend. Starting time is based upon the number of contestants, with a reasonable amount of time allocated for an intermission. Ideally, the contest should end no later than 10:00 p.m. Because the exact number of contestants is unknown at the time the schedule is proposed, actual competition time must be estimated. Use the prior year's number of contestants as a guide. The CC sends the schedule to the panel chair for approval prior to publicizing for contestants. If there is a need to change the schedule due to the number of contestants or any other unforeseen circumstance, the panel chair is contacted. Multiple sessions for quartet contests are warranted when there are 30 or more competitors. Each session should have 10 to 15 competitors scheduled. Provide substantial snacks, rather than full meals between sessions, keeping the breaks shorter, 30-60 minutes in duration. Confirm plans for multiple sessions with the panel chair.

Event Minimum Time 1. Official inspection (usually held Friday morning or early afternoon) One hour 2. Quartet briefing 30 minutes (may be combined with chorus

briefing) 3. Curtain call (Official Panel, CC, Emcee, Pages, etc.) 15 minutes prior to start of each

session 4. Opening remarks 3-5 minutes 5. Quartet competition One hour, plus 11 minutes per

Evaluation Only or International Division quartet and 14 minutes per Open Division quartet, including mic-testers and performance of outgoing champions



CHORUS COMPETITION SCHEDULE Set the required times for competition sessions. The chorus contest is held on the Saturday of the convention weekend. Starting time is based upon the number of contestants, with a reasonable amount of time allocated for an intermission. Ideally, the contest should end no later than 6:00 p.m. Because the exact number of contestants is unknown at the time the schedule is proposed, actual competition time must be estimated. Use the prior year's number of contestants as a guide. The CC sends the schedule to the panel chair for approval prior to publicizing for contestants. If there is a need to change the schedule due to the number of contestants or any other unforeseen circumstance, the panel chair is contacted. Event Minimum Time 1. Official inspection One hour

(may be held immediately following the quartet official inspection, Friday evening immediately following the quartet competition or Saturday morning)

2. Chorus directors briefing 30 minutes (may be combined with quartet briefing) 3. Curtain call (Official Panel, CC, Emcee, Pages, etc.) 15 minutes prior to start of each session 4. Opening remarks 3-5 minutes 5. Chorus competition One hour, plus 11 minutes per (The one hour may need to be extended Evaluation Only or International depending upon the regions' events, e.g., Division chorus and 14 minutes per

director recognition, etc.) Open Division chorus, including mic-testers and performance of outgoing champions SCHEDULE FOR OTHER CONVENTION EVENTS Determine any additional functions occurring over the convention weekend and set the schedule for each. This schedule may include:

1. Chorus rehearsals 2. Regional Management Team meeting 3. Regional Annual Membership meeting 4. Installation of regional officers 5. Education classes 6. Postcompetition celebrations (e.g., Afterglow, Show of Champions, Regional Awards) 7. Mass sing

Ensure ample time between events so that participants may rest and attend meal functions.



TRAFFIC PATTERN AND SCHEDULE The traffic pattern and traffic pattern schedule, determined by the CC, is the planned backstage movement of contestants beginning with the competitors' starting point and ending with their exit from stage. The traffic pattern allows for easy movement from start to finish while the time pattern allows for a steady unrushed pace for contestants. PLANNING THE TRAFFIC PATTERN The following factors govern the design of the traffic pattern: Contestant Needs

1. Accessibility a. minimum number of stairs b. little or no movement through public area

2. Minimum amount of walking 3. Vocal warm-up prior to stage 4. Opportunity for water, tissues, etc. 5. Relaxed, unhurried atmosphere

Facility

1. Distance between rooms, as well as that of the entire traffic pattern 2. Number of rooms available 3. Accessibility to backstage area 4. Suitability/adaptability of room for intended function

a. Soundproof warm-up room b. Suitable backdrop in photography room

5. Facilities for contestants with physical disabilities 6. Availability of tables and chairs, as needed 7. Accessibility to restroom facilities

Ideally there should be two warm-up rooms, to be assigned on an alternating basis. If possible, each room has two doors so that as one contestant exits, another may enter. However, rarely does a facility provide for an ideal traffic pattern. Therefore, the CC provides contestants with as much information as possible. TRAFFIC PATTERN SCHEDULE The traffic pattern schedule is developed to allow for a smooth, non-rushed atmosphere during the contest and to allow the contestants, official panel and backstage personnel to know the flow of the contest at any given time. To develop the traffic pattern:

1. Decide what stations are needed within the traffic pattern. 2. Decide how much time is allotted for each station, including time on stage. 3. Estimate the amount of time needed for movement between stations. 4. Begin with the time the first performer enters the stage and work backward (be sure to

include the mic-tester, if applicable). 5. Include the intermission(s) on the schedule.

a. Intermissions are usually scheduled for 20 minutes, but announced for 15.



b. It is customary for the intermission to fall one competitor past the halfway point in the contest.

c. If there are 10 or fewer competitors, the panel chair may choose not to have an intermission.

d. If both riser configurations are used, a short intermission will need to be scheduled between sessions to allow time to change the riser configuration. An additional intermission may be needed either earlier or later in the contest if the sessions have a disproportionate number of contestants.

SAMPLE TRAFFIC PATTERN Station Purpose Time Allotted #1 – Hotel/bus Meet host, board bus, 10 minutes travel to competition site 10 minutes #2 – Arrive Walk to primp/photo 2 minutes #3 – Primp/Photo Adjust hair, makeup; official photo 10 minutes* #4 – Leave Photo Walk to warm up 1 minute #5 – Warm-up Warm up voices, water, etc. 10 minutes #6 – Holding area Walk to stage area; deposit 2 minutes purse bags #7 – Backstage On stage 11-14 minutes *Quartets and regions that do not have onstage photography for choruses Remember that this pattern is a guide for the backstage movement of contestants. Adjustments may need to be made during the contest itself. The contestants should not be hurried from one station to the next just so the contest proceeds on schedule. They must receive the total allotted time in the warm-up room and be allowed adequate time at each of the other stations. Refer to Appendix III for a sample regional competition traffic pattern.



OFFICIAL PANEL ARRANGEMENTS When panel assignments are completed, the Music Services Assistant notifies the EVC, CRC, CC and OPL of the names and addresses of the panel members assigned to their region. It is important to remember that the members of the official panel are V.I.P. guests of the region and are accorded every consideration. HOUSING The region is responsible for the housing of the official panel at the headquarters hotel. The panel rooms are blocked as early as possible and billed to the master account. Room arrangements are as follows:

1. Three nights – Thursday, Friday and Saturday (guaranteed for late Thursday arrivals). 2. One private sleeping room for each judge and one panel secretary. 3. A readily accessible meeting/lounging space. The parlor/suite set-up may be used provided

each member of the panel has her own private sleeping room. 4. Panel housing should not be near hospitality suites. 5. The OPL checks in the panel members and picks up all keys prior to arrival. Arrangements

are made for panel members to open a folio so they may charge incidentals without having to wait in lines.

6. Arrange for housekeeping tips. 7. Verify room service hours and menu. 8. The OPL or her assistant greets panel members upon arrival at the hotel, gives them a brief

tour of the facilities and updates them on any schedule changes. TRANSPORTATION With the approval of the CC, the OPL is responsible for making all transportation arrangements for the official panel. She works with the transportation chair or deals directly with rental companies herself when arranging for vehicles. A driver and an escort should accompany the panel at all times. Those assigned understand their responsibilities and are familiar with all routes and facilities assigned. The panel is reminded on each trip of where, when and by whom they are to be met next. Transportation arrangements should be as follows:

1. Airport to hotel The OPL and CRC determine the best means of transportation to the hotel (personal vehicles, rented vehicles, van, hotel courtesy van, airport limo or taxi). a. Confirm flight arrangements before leaving for the airport. b. An escort carrying a sign with the member's name is assigned to each flight.

c. If public transportation is used, an escort still meets the flight and assists the panel member.

d. If the flight is late, or the distance from the airport is far, the escort accompanies the panel member to the hotel.

e. Escorts and transportation are scheduled appropriately based on times between flights and distance between terminals.

f. If a trial scorer is arriving at the same time as a panel member, she is included in the travel arrangements.



2. Between hotel and competition facility Two seven-passenger vans are ideal. Each vehicle needs a driver and escort. If possible, include trial scorers. a. Official inspections b. Show of Champions c. The OPL may need a separate vehicle immediately following the quartet contest to

expedite a speedy return to the headquarters hotel for duplication and distribution of results.

d. The panel secretary and the OPL may need a separate vehicle immediately following the chorus contest to expedite a speedy return to the headquarters hotel for the duplication, faxing, emailing and distribution of results.

3. Restaurants Escorts and drivers are needed to take panel members to meals away from the hotel and competition facility.

4. Hotel to airport Make schedule allowing travel time and the required hour before flight time.

MEALS The OPL should confer with the panel chair as to meal arrangements. Facilities used should be prompt, take reservations and must be able to provide separate checks for each meal (including room service). HOSPITALITY It is appropriate for the region to supply hospitality in the official panel's lounging area/parlor. Some recommendations are outlined below; however, the OPL should send a hospitality request form to each panel member for input. Providing liquor or specialty items is not a requirement; it can be purchased by the region, or provided for later reimbursement from the panel members. 1. Panel lounging area and/or sleeping rooms

Electric coffee pot with instructions Coffee, tea and condiments Assorted soft drinks, juices, (wine – optional) Fruit, cheese, crackers, chips Utensils

2. Panel rest area – competition facility Coffee, tea and condiments Assorted soft drinks, juices Vegetable/fruit/cheese platter Sandwiches (if schedule allows) Candy Popcorn Utensils NOTE: Facility may require use of its own catering.

3. Judging pit Mints, trail mix, M&Ms (plain and peanut)

Water (bottled water may be preferred)



REGISTRATION Complimentary convention registrations are provided by the region for official panel members. The OPL arranges with the appropriate regional personnel so that registrations, badges, tickets and programs are in the panel's hotel rooms when they arrive. SUPPLIES/EQUIPMENT

1. Judging Pit Ninety days prior to the convention weekend, the OPL notifies the CRC of setup needs for the judging pit. The judging pit is located approximately 10 feet from the front of the stage with an aisle between the pit and the first row of the audience. The area is roped off so non-official contest personnel are prevented from entering.

The following supplies/equipment are needed: a. Tables

(1) three 8’ (or 6’) x 30” (2) skirted on side facing stage

(3) must be smooth surfaced or covered b. Chairs

(1) padded seats (2) straight back, if possible (3) arms (4) comfortable height c. Lighting

(1) six high intensity lamps and extra bulbs (2) extension cords (3) electrical outlets

d. Calculator having full sized keyboard with capability of running tape (1) quiet, electronic (no battery operated) (2) cover digital display with masking tape (3) extra rolls of tape (Use regular tape, not heat sensitive)

(4) don't use types that turn themselves off automatically (5) back-up machine

e. Water Bottled water or pitchers of ice water and cups are available throughout the competition sessions and checked at each intermission. Providing bottled water for the panel secretary in lieu of pitchers is recommended because of computer equipment.

f. Wastebaskets A wastebasket is available at each table. The OPL instructs the pages where to empty them during intermission.

g. Signal system CC provides; OPL instructs the panel chair on its operations.

h. Stopwatches i. Other supplies

(1) Judges (a) scratch pads (b) paper clips (chair only) (c) ball point pens



(2) Panel secretary (a) scratch pads (b) paper clips (c) black lead (#2) pencils (d) pencil sharpener (e) white-out (f) scotch tape (g) erasers

(h) felt tip pen j. Miscellaneous

(1) tissues (2) cough drops

(3) antacid (4) Tylenol, etc.

2. Duplicating Area a. Staplers/staples b. Contestant envelopes

3. Fax machine availability REST AREA Ninety days prior to the convention weekend, the OPL notifies the CRC of any set-up needs for the official panel's rest area. The rest area is a room at the competition facility where the panel can relax before the contest and during any intermissions. It is as close as possible to the backstage area and easily accessible to the judging pit and a restroom that is not available to the general public. The rest area provides a comfortable seating area and tables. The postcompetition meeting will be held in the rest area. CORRESPONDENCE

1. The first regional communication to members of the official panel is sent as soon as their flight information is received from international headquarters and should include the following: a. Confirmation of flight information b. Headquarter hotel information

c. Housing arrangements d. Hospitality questionnaire

e. Copies of convention mailings/bulletins f. Convention city information g. Schedule of events/special events information h. OPL's address and phone numbers

2. The panel chair is contacted 60-90 days prior to the convention regarding: a. Configuration of sleeping rooms to lounging room/parlor. b. Specific arrangements for: (1) transportation (2) meals (3) judging pit

3. Thirty days prior to the convention, the second communication is sent including: a. Confirmation of arrival times and flight numbers b. Name of escort who meets them at the airport gate



c. Transportation arrangements d. OPL's planned arrival and hotel room number, if known e. Any changes in the convention schedule



TRIAL SCORING JUDGES' ARRANGEMENTS Trial scoring judges are requested to notify international headquarters by February 1 of their intent to trial score. It is the responsibility of the trial scorer to contact the OPL directly for information on housing, convention schedule, transportation, etc. The trial scorer is to forward a copy of their itinerary to the OPL as soon as they have completed their travel arrangements, this is to be done by February 15. The trial scorer must also notify Regional Personnel immediately of any changes in travel plans. HOUSING/TRANSPORTATION/MEALS The region is not expected to provide housing, transportation or meals for trial scorers. However, assistance in making reservations at the headquarters hotel and the convention information/schedule are provided. REGISTRATION Complimentary convention registrations are provided by the region for trial scoring judges. The OPL arranges with the appropriate regional personnel so that registrations, badges, tickets and programs are picked up at a designated point. SUPPLIES/EQUIPMENT Seating Seating is provided for the trial scorers. The OPL coordinates these arrangements with the CRC. If space allows, tables and chairs are set up behind the official judging panel. If not, the first two or three rows in the center of the regular auditorium seating are blocked off. If possible, there is an empty seat between each two trial scorers and a space equal to at least one row of seats between the last row of the trial-scoring section and the first row of the audience. Scoring Packets Scoring packets for the trial scoring judges are prepared at international headquarters and mailed directly to the CC 30 days prior to contest. She is responsible for bringing these to the competition site. Supplies The region is not responsible for providing supplies for the trial scorers. However, if possible, lamps, scratch pads, pens, water, cups and wastebaskets are appreciated. REST AREA If space allows, it is preferred that the official panel and the trial scorers have separate rest areas. Hospitality arrangements are the same for both rest areas. If appropriate, the pages and emcees may join the trial scorers in their rest area. CORRESPONDENCE Trial scorers are sent the following information as soon as the region is notified of their intent to trial score:

1. Hotel reservation information 4. Schedule of events 2. Convention city information 5. Convention bulletins 3. Available transportation 6. Where to pick up convention registration



PERFORMANCE LICENSES Three organizations, ASCAP, BMI and SESAC, represent the owners of virtually all copyrighted music in the U.S.A. The purpose of these organizations is to protect the rights of composers and authors and to insure that they receive fair compensation for the performance of their works. Sweet Adelines International serves as the clearinghouse for the collection of license fees and issues the license certificates to the chapters. A performance license application form can be obtained online at www.sweetadelineintl.org or by calling Music Services. ASCAP/BMI PLEASE SUBMIT YOUR REQUEST NO LATER THAN 10 DAYS FOLLOWING YOUR EVENT. When applying for a license, submit the following information: 1. Chapter name, chapter number, region number 2. Region name (if this is a request for a regional event) 3. Date of performance (competition) 4. Name of facility 5. Location of facility (city and state) 6. ASCAP rate calculation based on seating capacity and gross revenue (minimum $25.00) 7. BMI rate based on seating capacity only (minimum $20.00) 8. Enter total enclosed and member information for the person who is to receive the license **A separate license must be purchased for each performance, e.g., matinee and evening shows on the same day require two applications. ASCAP RATE Fill in the blanks and check the appropriate box for your event to calculate the ASCAP fee: **Minimum fee is $25.00 Ticket Price $ times Tickets Sold = Gross Revenue $_________

□ Seating capacity is 0 - 2,500 - Gross Revenue $ times .0068 = Total ASCAP Fee $_________ (**or Minimum Fee of $25.00) □ Seating capacity is 2,501 - 5,000 - Gross Revenue $ times .0045 = Total ASCAP Fee $_________ □ Free admission event at a location with seating capacity of 5,500 or less = Total ASCAP Fee is $25.00 Example: Ticket Price $ 10 times Tickets Sold 750 = Gross Revenue $ 7,500 With seating capacity of 1,000 multiply times .0068 = Total ASCAP Fee $ 51.00 With seating capacity of 3,000 multiply times .0045 = Total ASCAP Fee $ 33.75



BMI FEE (Based on seating capacity only.) Seating Capacity Rate 0 - 1,500 $20 1,501 - 2,500 $30 2,501 - 5,000 $50 SOCAN SOCAN is the Society of Composers, Authors and Music Publishers of Canada and serves the music users, composers and publishers of Canada. Effective January 1, 1991, public performance of music in Canada requires a license from SOCAN and the license fees paid to SOCAN in accordance with the terms of the tariffs filed with the Canadian Copyright Board. When a region holds its regional convention in a location in Canada, SOCAN is contacted to report the number and types of performances held at convention. SOCAN provides the reporting forms and instructions. There is no advance payment of fees. The retroactive payment of licensing fees is due along with the reports. The tariff rate set by the government is 2% of gross receipts from admission sales, exclusive of sales and amusement taxes. Where no admission fee is charged, a minimum of $20 per event applies. SOCAN also requests that a program be submitted showing the titles and other available particulars of the musical selections performed at all events. Instructions are included in the materials sent from SOCAN. SOCAN personnel may be contacted at the following location:

SOCAN 41 Valleybrook Drive

Toronto, Ontario M3B 2S6 (416) 445-8700 Fax (416) 445-7108

Countries other than the U.S.A. and Canada Copyright laws vary from country to country and the methods of meeting requirements may vary also. Check your local regulations.



CONVENTION BULLETINS Well in advance of the convention, at least one bulletin with instructions and information about the regional convention is provided to all chapter and CAL members in the region. More than one such bulletin may be mailed, if designated by the Convention Steering Committee. Copies of all bulletins should be sent to the CRC, CC, OPL, EVC, official panel members and trial scoring judges. The EVC, CC and CRC proof and approve all bulletins before distribution. The following information is included:

1. Time and place Convention dates, competition facility, headquarters hotel and any overflow hotels (if possible, travel instructions and a map are helpful).

2. Restaurants Information regarding restaurants in the area around the hotel and competition facility, including price range and hours. Additional instructions for chapter function arrangements.

3. Housing Instructions regarding hotel reservations, check-in and check-out.

4. All Events Registration/single ticket sales All prices, registration and purchasing instructions.

5. Schedule of Events Not to be published until approved by the Director of Music Services and Membership.

6. Official panel List of all five panel members.

7. Chorus functions/rehearsal schedule Information regarding how choruses may make arrangements for individual functions. Complete schedule of chorus rehearsal times.

8. Briefing sessions Indicate the time and attendance requirements for each session.

9. Photography Advise contestants: a. when/where pictures are to be taken b. prices c. ordering instructions

10. Purses Instructions regarding purses in the traffic pattern.

11. Stage Arrangements No later than 90 days prior to convention, the following information regarding stage arrangements is communicated to all contestants:

a. exact stage dimensions b. diagram of stage, including entrance, exit, risers, curtain, microphones, distance from

edge of stage to front of risers c. which riser configuration(s) will be used, including number and length of sections,

number of steps, and use of back rails. If both alternate and standard configurations will be offered, indicate the order they will be used in competition.

d. color and size of shell or backdrop e. curtain usage

12. Backstage Area Information and instructions regarding the traffic pattern.



13. Competition facility restrictions Information regarding smoking, eating, etc., restrictions at the competition facility.

14. Order of Appearance This should only be printed after the Final Order of Appearance is received from international headquarters.

15. Traffic pattern and schedule Include a copy of the full traffic pattern and time schedule, if desired.

16. Remind members of the following: a. regional competition policies b. deadline for new members/personnel changes c. quartet registration deadlines d. deadlines for entry blanks to be submitted to international headquarters e. instructions for notification of withdrawn f. explanation of each competition session g. competitors may not change from Open Division to International Division or Evaluation

Only, or vice versa, after the Final Order of Appearance h. explanation of any awards given



AWARDS The culmination of each competition is the announcement of results. The CRC is responsible for planning a smooth presentation of the awards. PRESENTERS The EVC issues letters of invitation to award presenters according to regional procedures. She may include the following:

International Board members Regional Management Team members Competition Coordinator Chair of the Regional Convention Quartet champion (if not a competitor) President and director of current championship chorus Host chorus president

Approximately three weeks prior to the convention weekend, the CRC provides pertinent competition information to the presenters, including where and when they should be present for specific competition functions. The CRC receives from international headquarters a pre-data Excel sheet for the Announcement of Results for both the quartet and chorus contests. She, or her designee, completes all preliminary information and adds or includes any additional regional awards for placements designated by the international organization. She emails this to the panel secretary 10 days prior to competition weekend, reviewing name pronunciations as necessary. ORDERING AWARDS Based upon the number of contestants in each contest, the following awards are provided by the international organization and are mailed to the CRC no later than 30 days prior to the competition weekend: Awards

1 - 5 place chorus certificates 1 - 3 place Division A Chorus Award certificates

1 - 3 place Division AA Chorus Award certificates Most Improved Chorus Award certificate Audience Choice Quartet Award certificates Audience Choice Chorus Award certificate

It is the CRC’s responsibility to arrange for the placement of the appropriate chorus's name on each certificate following the announcement of results. The international organization also provides a traveling plaque for the regional chorus champion. It is the CRC's responsibility to ensure that the plaque is available for presentation to the new chorus champion. The chorus champion is responsible for having the plaque engraved, in accordance with instructions provided by international headquarters.



The region will award placements 1 - 5 for each quartet and chorus contest given the competitor scores 400 points and above. If the competitor places in the top 5 and does not reach a total score of 400 points, they can be recognized, but are not given an award. The region may purchase the following medals through international sales. Orders are filled in the order they are received, with priority given to the earliest regional competitions. 1 - 5 place quartet pins

1 - 5 place chorus medals (The region usually attaches these to blue, red, white, yellow and green cording before the awards presentation.)

All of the Division A (small) and Division AA (midsize) awards are presented, regardless of the number of contestants. The region may purchase medals or ribbons through international sales. MOST IMPROVED CHORUS AWARD Recognizing the improvements made by choruses from year to year, the Judge Specialists and EDC agree to present a Most Improved Chorus Award. This award is presented to the chorus(es) who improved the most since the previous year’s regional contest. There is no minimum score required for eligibility. Medals and ribbons are available for purchase though international sales. AUDIENCE CHOICE AWARDS In recognition of the audience’s role in a successful performance, the Judge Specialists, EDC and International Board of Directors agree to present an Audience Choice Award to one quartet and chorus in the Open Division category. The certificates will be completed and sent to the CRC 30 days prior to convention weekend. Only Open Division competitors are eligible for the Audience Choice Awards. The Audience Choice Award is presented regardless of the number of Open Division contestants, as long as there is at least one competitor. Announcement will be made by the emcee at the end of each competition, prior to the introduction of the panel chair. Ribbons are available for purchase through international sales. CHORUS RECOGNITION AWARDS Recognizing the importance of regional competition, the Judge Specialists and EDC agree to present each competing chorus with a certificate. The certificates will be completed and sent to the CRC 30 days prior to convention weekend. The Directors’ Coordinator, or other representative of the Regional Management Team, if she is a competing director, will make the presentation at the end of the chorus competition to the directors of each competing chorus, prior to the introduction of the panel chair. REGIONAL AWARDS Some regions have regional awards in addition to those designated by the international organization. Any awards the regions wish to give out in addition to the international awards are the responsibility of the regional management teams. Panel Chairs may allow the presentation of non-score-related regional awards and recognitions to take place prior to intermissions or during the final tabulation of official results. The presentation of these awards should last no longer than 10 minutes and should be included on your traffic pattern schedule. It is important to communicate your plan to incorporate these awards with the panel chair.



All score-determined regional awards must be presented outside the framework of the competition session and at a time other than the official awards, such as during the show of champions or at your regional meetings. The ED, or her designee, is responsible for determining who wins these awards and obtaining the awards prior to the convention weekend.



SECTION E

CONVENTION WEEKEND OFFICIAL INSPECTIONS The panel chair conducts an official inspection of the competition facility prior to each competition session. The quartet inspection is held on Friday prior to the contest. The chorus inspection is held in conjunction with the quartet inspection or on Friday night immediately following the quartet contest. The CC, CRC and EVC work together to determine a time for the inspections. These times are submitted for approval on the Proposed Schedule of Events. The competition coordinator ensures that the competition facility, including the stage, lighting, sound and recording equipment are ready for the official inspection at the scheduled time. The purpose of these inspections is to test and have the panel chair approve:

1. Stage lighting 2. Stage setup, including placement of:

a. microphones b. shell(s) c. lectern d. risers

3. Appropriate sound levels and placement of speakers 4. Judging areas 5. Backstage pattern

Lighting, sound, audio and video technicians need to attend the inspection to test and set recording levels. Pages Make arrangements with pages to review their instructions. Remind them that their primary responsibility is to collect the scoresheets from the judges following each contestant's performance. As soon as the judge has completed her scoresheet, the page collects and delivers the original to the panel chair and the first copy to the panel secretary. JP-1s (if appropriate) are picked up from the judges at the end of each contest. The page will assist the panel secretary from her seat in front of the pit by also keeping time during contest and assisting as needed after contest. To ensure the panel secretary has ample time to provide important instructions to the pages, it is necessary that pages attend the Panel Chair Inspection. Please alert your pages of this requirement so they may plan their schedules accordingly. Any member of the official panel may ask a page to deliver a message, in addition to delivering scoresheets. Ask pages to empty all wastebaskets at the beginning of each intermission and immediately following each contest session. Remind pages that the information on the scoresheet, and all other information relating to the judging and scoring of the contest, is confidential. Pages are advised never to discuss this

GUIDELINES FOR REGIONAL CONVENTIONS CONVENTION WEEKEND Page E-1


information with anyone at any time. Pages do not read the scores or comments or write down any information pertaining to scores or scoresheet comments. Encourage pages to enjoy the contest, but ask them to refrain from applauding. Other Information Sound/Lighting Since a preliminary check of the sound and lighting systems was made during the official inspection, this check is routine. During the performance of the mic-testers, the sound judge checks the sound at the table, the showmanship judge checks lighting from the table, and the expression and/or music judge may check the sound in the house. NOTE: Regions are instructed to have a noncompeting chorus available during the official chorus inspection. The panel chair determines if a mic-testing chorus is to perform before the first contestant performance. Audio and Video Recording If applicable, audio recording personnel using recording equipment need to change the CD after every 12th performance. The CC arranges a signal with the backstage personnel so that the CC does not signal the emcee to announce the next contestant until the recording personnel are ready. Likewise, she arranges a signal with the video recording personnel when the appropriate recording media needs to be changed. Confirm with the CC that a test video and audio recording have been done and reviewed to ensure a quality recording. Marketing Coordinator or Public Relations Chair Review plans for electronic media coverage. Curtain Call Review with Competition Coordinator Announce that there is a curtain call backstage 15 minutes prior to the scheduled start of the quartet and chorus contests, and that all officials are required to be present at this time. The contest will begin on time. Postcompetition Meeting Remind the ED that the postcompetition meeting with the panel chair will be held following the chorus competition. This brief meeting allows for the deliverance of the observation forms from the judging panel. Quartet Inspection A noncompeting quartet is available to test the sound and lighting during the official inspection. The panel chair instructs the CC to mark toe lines when sound and lighting is approved. Refer to Appendix IV, page 3, for more information regarding quartet toe line. The quartet is requested to sing a song or tag with loud volume and very soft volume. Sound is checked from the judging pit and the audience seating. Chorus Inspection A noncompeting chorus of at least 30 members is available to test the sound and lighting during the official inspection.



The chorus is requested to sing a song or tag with loud volume and very soft volume. Sound is checked from the judging pit and the audience seating. The panel chair has final approval for all arrangements regarding the stage and the judging pit. Her responsibility is to ensure that the organization's requirements for the competition have been met and that the contestants are performing under appropriate conditions. Note: Once the lighting and sound has been approved, they cannot be changed unless

authorized by the panel chair. COMPETITION SESSIONS The CC coordinates with the CRC, EVC and panel chair in making all arrangements regarding testing the sound and lighting systems for the contest. Since the official inspections are done with an empty house, some minor adjustments may be needed before the start of the competitions; hence, the purpose of the mic-testing quartet and chorus. If amplification is not necessary, a mic-testing chorus is not used. Quartet Competition A noncompeting quartet serves as the mic-testing quartet. The process for determining how the quartet is selected and who invites the quartet to perform is outlined in regional procedures. If the mic-testing quartet desires to perform for Evaluation Only or Open Division, they may do so at the end of the contest session. Chorus Competition If determined necessary, a noncompeting chorus of at least 30 members serves as the mic-testing chorus. The process for determining how the chorus is selected and who invites the chorus to perform is outlined in regional procedures. If the mic-testing chorus desires to perform for Evaluation Only or Open Division, they may do so at the end of the appropriate session. Final approval for the use of sound amplification rests with the panel chair. If she determines during the on-site inspections or mic-testing performances that amplification is excessive or that it interferes with the panel's evaluation of the contestant performances, she has the prerogative to request that the gain be lowered or that amplification not be used. The sound technician is instructed that once the sound system has been approved by the panel chair, no changes are to be made except as authorized by her.



CONTESTANT BRIEFINGS Short contestant briefing sessions held prior to competition sessions and conducted by the CC are included in the Schedule of Events. The purpose of the briefing session is to answer last-minute questions, review competition information, announce and distribute last-minute changes in the time and traffic patterns, and make any additional announcements. Joint Briefing Briefings for quartets and choruses may be combined for the common information. The combining of the two briefings could save a considerable amount of time. At lease one member from each quartet, the chorus president and director, the CC, CRC, emcee and, if possible, the panel chair attend the briefing. This format allows the panel chair, as well as other members of the panel, to make only one appearance instead of attending two briefings. The emcees should attend in order to confirm the correct pronunciation of names. Quartet Briefing The quartet briefing, if held separately, is held late enough to accommodate late-arriving competitors. The CC, CRC and at least one quartet member attend the quartet briefing. If at all possible, the panel chair also attends the briefing. The emcees should attend in order to confirm the correct pronunciation of names. If at all possible, quartets are provided an opportunity to view the stage with the floor markings in place. It is suggested that they walk on stage from the appropriate direction, sing a tag, bow, and exit. Chorus Briefing The chorus briefing is held at a convenient time either Friday afternoon or Saturday morning. If Saturday, it should be early enough not to interfere with a director whose chorus has an early draw in the contest. The CC, CRC and the competing chorus directors and presidents attend the chorus briefing. If at all possible, the panel chair attends the briefing. The emcees should attend in order to confirm the correct pronunciation of names. If at all possible, the president and director are provided an opportunity to view the stage with the chorus shell and floor markings in place. It is suggested that they walk on stage and up on the risers from the appropriate direction.



JOINT BRIEFING CHECKLIST Welcome quartets Call roll - quartets:

a. Obtain hotel name and room number of contact. b. Obtain performance information (uptune/ballad; ballad/uptune). c. Check pronunciation of names. d. Offer quartets opportunity to view the stage with the floor markings in place if possible.

Quartet specific announcements Welcome choruses ______ Call roll - choruses:

a. Obtain hotel name and room number of contact. b. Obtain performance information (uptune/ballad; ballad/uptune). c. Check pronunciation of names.

Introduce regional personnel and attending members of the official panel Announce any withdrawals of contestants and time changes due to the

withdrawals. ______ Review stage markings and other stage arrangements. (quartets) Review the Time and Traffic Pattern. Announce that each contestant is expected

to adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each area.

______ Announce the schedule for the official photograph and review procedures for

ordering pictures. Remind quartet members to have their poses ready prior to their photography time. Remind choruses that poses should be planned.

______ Remind contestants of the penalty for being late. Any contestant not ready to

perform in the contest at the time designated is penalized 25 points, loses position and appears at the end of the contest. NOTE: If failure to appear is due to circumstances beyond the control of the contestants, the penalty may be withdrawn at the discretion of the panel chair and a majority of category judges. If it is determined that tardiness was premeditated in order to lose position and appear at the end of the contest, the contestant is disqualified.

______ Review information received regarding any member(s) needing special assistance in the traffic pattern, e.g., wheelchairs.



______ Announce that only competitors, their hosts and coaches may enter the

backstage area. ______ Review the format for announcing contestants. ______ Review information about the stage, including entrances and exits, riser

configuration, stage markings, curtain movements (if applicable), opening and closing poses. (choruses)

______ Review microphone placement for Open Division competitors.

______ Remind Open Division contestants of the penalty for not following the sequence of their cue sheet. Deviation from submitted prepared program results in disqualification and no scoresheet.

______ Remind contestants that no scoresheets are given to any competitor who is

disqualified. ______ Remind directors that their individual foot tapping or singing may be heard by

the judges and picked up on the official recording. ______ Announce how and where competitors enter the auditorium to be seated

following their performance. ______ Announce when and where scoresheet packets are available. Only a member of

the quartet or the chorus president or director may pick up the packet unless written authorization is submitted.

______ Review the signal system.

______ Review eligibility requirements for Audience Choice, Most Improved Chorus

and regional awards and when they are presented. ______ Review the procedures for the announcement of awards. ______ Review any director recognition. ______ Review procedures for ordering recordings. ______ Make any additional announcements regarding postcompetition events and

emergency contact numbers. ______ Collect forms from each director describing the final bow.



______ Collect cue sheets from Open Division contestants. ______ Collect List of Competing Members forms. This list is used to determine which

choruses are eligible for the Division A and Division AA awards. ______ Give one copy of each List of Competing Members form to the panel secretary.

Give one copy to the CRC to maintain for regional files.



QUARTET BRIEFING CHECKLIST Welcome quartets Call roll:

a. Obtain hotel name and room number of contact. b. Obtain performance information (uptune/ballad; ballad/uptune). c. Check pronunciation of names. d. Offer quartets opportunity to view the stage with the floor markings in place if possible.

Introduce regional personnel and attending members of the official panel Announce any withdrawals of contestants and time changes due to the

withdrawals.

Review the Time and Traffic Pattern. Announce that each contestant is expected to adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each area.

______ Review information received regarding any member(s) needing special

assistance in the traffic pattern, e.g., wheelchairs. ______ Announce the schedule for the official photograph and review procedures for

ordering pictures. Remind quartet members to have their poses ready prior to their photography time.

______ Remind contestants of the penalty for being late. Any contestant not ready to



backstage area. ______ Review stage markings and other stage arrangements. ______ Review the format for announcing contestants. ______ Remind Open Division contestants of the penalty for not following the sequence

of their cue sheet. Deviation from submitted prepared program results in disqualification and no scoresheet.



______ Announce how and where quartets enter the auditorium to be seated following their performance.

______ Announce when and where scoresheet packets are available. Only a member of

the quartet may pick up the packet unless written authorization is submitted. ______ Remind contestants that no scoresheets are given to any competitor who is

disqualified. ______ Review the signal system. ______ Review eligibility requirements for Audience Choice and regional awards and

when they are presented. ______ Review the procedures for the announcement of awards. ______ Review procedures for ordering recordings. ______ Make any additional announcements regarding postcompetition events and

emergency contact numbers. ______ Collect cue sheets from Open Division contestants.



CHORUS BRIEFING CHECKLIST ______ Welcome choruses

______ Call roll: a. Obtain hotel name and room number of contact. b. Obtain performance information (uptune/ballad; ballad/uptune). c. Check pronunciation of names. ______ Introduce regional personnel and attending members of the official panel.

______ Announce any withdrawals of contestants and time changes due to the

withdrawals.

______ Review the Time and Traffic Pattern. Announce that each contestant is expected to adhere to the schedule and be ready to move from one station to the next when the signal is given. All contestants are given the full allotted time in each area.

______ Review information received regarding any member(s) needing special

assistance in the traffic pattern, e.g., wheelchairs. ______ Announce the schedule for the official photograph and review procedures for

ordering pictures. Remind them that poses should be planned. ______ Remind contestants of the penalty for being late. Any contestant not ready to



backstage area. ______ Review information about the stage, including entrances and exits, riser

configuration, stage markings, curtain movements (if applicable), opening and closing poses.

______ Review the format for announcing contestants. ______ Review microphone placement for Open Division competitors. ______ Remind Open Division contestants of the penalty for not following the sequence

of their cue sheet. Deviation from submitted prepared program results in disqualification and no scoresheet.



______ Remind contestants that no scoresheets are given to any competitor who is disqualified.

______ Remind directors that their individual foot tapping or singing may be heard by

the judges and picked up on the official recording. ______ Announce how and where chorus members enter the auditorium to be seated

following their performance. Announce when and where scoresheet packets are available. Only the president

or the director of the chorus may pick up the packet unless written authorization is submitted.

______ Review the signal system. ______ Review eligibility requirements for Audience Choice, Most Improved Chorus

and regional awards and when they are presented. ______ Review the procedures for the announcement of awards. ______ Review any director recognition. ______ Review procedures for ordering recordings. ______ Make any additional announcements regarding postcompetition events and

emergency contact numbers. ______ Collect forms from each director describing the final bow. ______ Collect cue sheets from Open Division contestants.

______ Collect List of Competing Members forms. This list is used to determine which

choruses are eligible for the Division A and Division AA awards. ______ Give one copy of each List of Competing Members form to the panel secretary.

Give one copy to the CRC to maintain for regional files.



FORMAT FOR THE INTRODUCTION OF THE OFFICIAL PANEL AT REGIONAL COMPETITIONS The panel secretary prints the introduction of the official panel from the excel spreadsheet. Panel Chair: Before announcing the official results of the contest, I'd like you to meet your official panel and their regional assistant(s). Please limit your applause to one clap following each introduction, until everyone has been introduced.

Serving as page for the official panel, from _ ____________ (home city and state) (name)

(If your region has a trial scoring judge(s), introduce the page)

Serving as page for the trial scoring judge(s), from ____________ (home city and state) (name)

Our panel secretary, from __________________ (home city and state) (name)

INTRODUCTION OF JUDGES: Serving in the category of , from ______ (home city and state) _________ (name) Serving in the category of , from ______ (home city and state) (name) Serving in the category of , from _________ (home city and state) ______________________________ (name) The panel may now be seated.



INTRODUCTION OF TRIAL SCORERS: Serving in the category of , from ______ (home city and state) _____ (name) Serving in the category of , from _________ (home city and state) ___________________________ (name) Serving in the category of , from ____________ (home city and state) ___________________________ (name) The trial scorers may now be seated NOTE: No officers or chairs, past or present, regional or international, are introduced except in cases where a current international president is known to be in the audience at the time introductions are made. A sample introduction is:

We are very honored to have with us in the audience today the international president of Sweet Adelines International from

_____ ____________________________________

(home city and state) (name)



EMCEE INSTRUCTIONS The competition coordinator ensures that the emcee cards are delivered to the emcee. Make arrangements ahead of time to meet with the competition coordinator to obtain emcee cards. Take time to review the cards for accuracy. As well as announcing contestants, the emcee of a Sweet Adelines competition must establish and maintain control of the audience so that its members are courteous and attentive during each performance and enthusiastic in their response when a performance is concluded. House and Contest Restrictions This information is included on the script. Mic-testers This information is included on the script. Signal System The emcee must become familiar with the signal system used, as well as the back-up system, should it become necessary to use. Announcement of Contestants All contestants should be announced in the same manner and with the same voice inflection. They should be read exactly as written. The emcee is to announce the contestant who has withdrawn, and then immediately announce the next competing contestant. The format for the introduction of performances for Evaluation Only is as follows: QUARTET INTRODUCTION: We are ready for Contestant # 1 Performing for Evaluation Only

From: Middle Chorus and Sweet Chorus READY TO GO! Note: Instructions to close the doors and have everyone be seated are only used as needed. CHORUS INTRODUCTION: We are ready for Contestant # 1 Performing for Evaluation Only

From: Middle of the World, Canada Under the direction of: Debbie Director SWEET CHORUS!

Note: Instructions to close the doors and have everyone be seated are only used as needed.



The format for the introduction of performances for International Division is as follows: QUARTET INTRODUCTION: We are ready for Contestant # 1

From: Middle Chorus and Sweet Chorus READY TO GO! CHORUS INTRODUCTION: We are ready for Contestant # 1


The format for the introduction of performances for Open Division is as follows: QUARTET INTRODUCTION: We are ready for Contestant # 1 Performing for Open Division

From: Middle Chorus and Sweet Chorus READY TO GO! CHORUS INTRODUCTION: We are ready for Contestant # 1 Performing for Open Division


In the event a contestant has withdrawn, make the following announcement at the time that contestant would have appeared in the contest: "CONTESTANT #6 HAS WITHDRAWN." Followed by, "WE ARE NOW READY FOR THE NEXT CONTESTANT." Intermission The panel chair states when the intermission will fall. The emcee announces the intermission following the performance of the last contestant who performs prior to the intermission. Announcements Only announcements related to the competition itself may be made from the lectern during the contest session. Emergency announcements should not be made without the approval of the EVC, CRC or CC. Special Instructions Ask the CRC or EVC if you are responsible for announcing any part of the program other than the actual contest (e.g., introduce outgoing champions, etc.).



REGIONAL QUARTET COMPETITION EMCEE SCRIPT Opening remarks: Before beginning today's contest, I need to remind you of a few contest restrictions:

1. Photography of any kind, recording or use of video or movie equipment during a competition session is prohibited except as authorized by the International Board of

Directors. 2. Please turn off cell phones and any electronic devices that make noise so they will not

sound during a contestant's performance. 3. There is to be no smoking in the auditorium.

NOTE: Ask the CRC if there are any other restrictions and insert here. In order to make certain the sound level is set correctly, a non-competing quartet has been invited to test the system for us. We are ready for the mic-testing quartet. Everyone please be seated; please close all doors.

From Name of chorus/choruses Name of quartet Following the performance of the last contestant, the emcee may be asked to announce the performance of the outgoing champion. Following the performance of the last contestant before intermission:

What amazing performances! Let’s give our competitors another hand! If you haven’t

already turned in your audience choice quartet award ballots, do so now. There will now be a minute intermission.

The emcee will announce the Audience Choice Quartet Award winner:

Earlier today, 50 members of the audience were randomly chosen to select the audience choice quartet from the following Open Division contestants: Scores were not considered in the voting and the results do not affect placement of the top five. It gives me great pleasure to announce that the Audience Choice Quartet Award goes to _______________________________________! Please step forward to receive your award.



After the announcement of the Audience Choice Award winner, the emcee may be asked to introduce the panel chair, who will announce the results.

The chair of the official panel will be announcing the results of this contest session. It is my pleasure to introduce our judge and panel chair, (category) from , _____________________________ (home city and state) (name) REGIONAL CHORUS COMPETITION EMCEE SCRIPT Opening remarks: Before beginning today's contest, I need to remind you of a few contest restrictions: 1. Photography of any kind, recording or use of video or movie equipment during a

competition session is prohibited except as authorized by the International Board of Directors.

2. Please turn off cell phones and any electronic devices that make noise so they will not sound during a contestant's performance.

3. There is to be no smoking in the auditorium. NOTE: Ask the CRC if there are any other restrictions and insert here. In order to make certain the sound level is set correctly, a non-competing chorus has been invited to test the system for us. We are ready for the mic-testing chorus. Everyone please be seated; please close all doors.

From (town) under the direction of (director's name) (chorus name) Chorus!

Following the performance of the last contestant, the emcee may be asked to announce the performance of the outgoing champion. Following the performance of the last contestant before intermission:

What amazing performances! Let’s give our competitors another hand! If you haven’t already turned in your audience choice chorus award ballots, do so now.

There will now be a minute intermission.



The emcee will announce the Audience Choice Chorus Award winner:

Earlier today, 50 members of the audience were randomly chosen to select the audience choice chorus from the following Open Division contestants: Scores were not considered in the voting and the results do not affect placement of the top five. It gives me great pleasure to announce that the Audience Choice Chorus Award goes to _______________________________________Chorus! Please step forward to receive your award.

After the announcement of the Audience Choice Award winner, the emcee will introduce the DC or other Regional Management Team member, who will present the chorus recognition awards. It is my pleasure to introduce (name) , (position) for Region # , who will present certificates of recognition to the directors of our competing choruses. The emcee may be asked to introduce the panel chair, who will announce the results.

The chair of the official panel will be introducing the members of the official panel and announcing the results of this contest session. It is my pleasure to introduce our (category) judge and panel chair, from (home city and state), (name).



AWARDS AND ANNOUNCEMENT OF RESULTS International policy states that only awards designated by the international organization are announced by the panel chair. Panel secretaries tabulate results for these designated awards only. Additional awards (e.g., trophy, plaque) provided by the region to the winners of international awards are presented at the time the announcement is made. International Awards To be eligible to win these international awards (with the exception of the most improved chorus award and audience choice awards), the contestant must score at least 400 points. The following placements are designated as international awards:

1 - 5 place quartets 1 - 5 place choruses Most Improved Chorus award 1 - 3 place Division A (small) awards 1 - 3 place Division AA (midsize) awards Audience Choice Quartet award Audience Choice Chorus award

The 1-5 quartet and 1-5 chorus placements are awarded when five or more contestants compete in a competition. The awards are announced in reverse numerical order:

Number of Number of Contestants Placements Number of Awards Three Three Three Four Four Four Five or more Five Five

Division A (small) and Division AA (midsize) Awards In addition to the standard chorus competition, awards will be presented to the first through third highest scoring choruses in the following two categories: Division A Chorus 15 - 30 members Division AA Chorus 31 - 60 members The number for determining eligibility for these awards includes all performers on stage at any given time (not including the director). The number turned in at the directors’ briefing is the final number used by the panel secretary when determining which choruses meet the criteria of each division. CCs are responsible for delivering these forms to the panel secretary immediately following the briefing. Most Improved Chorus Award To be eligible for the Most Improved Chorus Award, a chorus must: Have competed in the preceding regional competition; Have at least 15 singing members on stage at any given time.

No minimum score is required to earn a Most Improved Chorus Award. The panel secretary receives a copy of the preceding regional competition tabulations and a list of chapter name changes to calculate the award. The panel chair also receives a copy of the chapter name changes to ensure that procedures are followed.



Audience Choice Awards Only Open Division competitors are eligible for the Audience Choice Awards. The Audience Choice Award is presented regardless of the number of Open Division contestants, as long as there is at least one competitor. Scores are not considered in the voting as it is based on the audience’s perception. The CRC, with her committee, distributes ballots to 50 random quartet audience members and 50 random chorus audience members who must stay for the duration of their respective Open Division contestants’ performances. Those with ballots tear out the slip for their favorite Open Division performance. Volunteers then collect the slips at the conclusion of the quartet and/or chorus contest. The competitor with the highest number of slips is determined the winner. The CC or CRC, or her designee, provides the name of the winning competitor to the emcee for announcement. If there is only one Open Division competitor, the Audience Choice Award ballots are not distributed and the Audience Choice Award is presented to that competitor. If there are no Open Division competitors, the Audience Choice Award ballots are not distributed and the Audience Choice Award is not presented. Regional Awards The eligibility requirements for regional awards should be outlined in the regional standing rules but may not conflict with international policy. Eligibility for regional awards based on performance requires a total score of 400 points or above. The ED, using the official tabulated results, is responsible for determining the winners of regional awards. The 400 point minimum does not apply to regional awards recognizing improvement.



GUIDE FOR ANNOUNCING THE OFFICIAL RESULTS OF THE REGIONAL QUARTET COMPETITION The panel secretary sends a copy of the announcement script to the CRC and CC the week of competition. The panel secretary prints the announcement of results from the excel spreadsheet on site for the panel chair to use. Now, it's time to announce the winners of the awards presented by the international organization. All quartets may pick up their scoresheet packets at (location) (times) Any other announcements __ Instructions to quartets for receiving awards The fifth place medals will be presented by: __ (name and title) (name and title) With a score of , the fifth place winner is ! (quartet name) (quartet name) The fourth place medals will be presented by: (name and title) (name and title) With a score of , the fourth place winner is ! (quartet name) The third place medals will be presented by: (name and title) (name and title) With a score of , the third place winner is ! (quartet name) The second place medals will be presented by: (name and title) (name and title) With a score of , the second place winner is ! (quartet name) Quartets winning regional competitions qualify to compete at the international competition. Region # ’s quartet champion will represent us as competitor number in the order of appearance at the 20 international quartet competition in ___________________________________________________________________________ (city and state) The first place medals will be presented by:_______________________________________ (name and title) If additional awards (e.g., trophies, flowers) are to be presented to the quartet champion, that information should be inserted here. And now, with a score of _____ points, the 20 quartet champion of Region # is !

(quartet name)



If the region sings The Winners’ Song to the new champion quartet, this would be the appropriate time. We would like to ask our new champions to sing for us, after which (name) (name) will direct all of us in ________________________________________________________ (Choose Harmonize The World or How We Sang Today)



GUIDE FOR ANNOUNCING THE OFFICIAL RESULTS OF THE REGIONAL CHORUS COMPETITION The panel secretary sends a copy of the announcement script to the CRC and CC the week of competition. The panel secretary prints the announcement of results from the excel spreadsheet on site for the panel chair to use. Now it's time to announce the winners of the awards presented by the international organization. All choruses may pick up their scoresheet packets at (location) (times) Only the director or president may pick up this material. Any other announcements: Instructions to choruses for receiving awards: The Most Improved Chorus Award will be presented by: __________________________________________________________________________

(name and title) Having improved a total of points, the winner of the Most Improved Chorus Award is the Chorus! Division A, or small, Chorus Awards are presented to no more than three eligible choruses in each region. These are the choruses that score the most points – at least 400 – and have between 15 and 30 singing members on stage. The third place Division A chorus award will be presented by: (name and title) (name and title) The winner of the third place Division A chorus award is the Chorus! The second place Division A chorus award will be presented by: ___________________________________________________________________________ (name and title) The winner of the second place Division A chorus award is the Chorus! The 5 Division A first place chorus winners achieving the highest total scores will be invited to compete in Harmony Classic held Tuesday evening at the International Competition in 20___. Choruses achieving this rank will be notified by international headquarters.



The first place Division A chorus award will be presented by: _________________________________________________________________________________ (name and title) The winner of the first place Division A chorus award is the Chorus! Division AA, or midsize, Chorus Awards are presented to no more than three eligible choruses in each region. These are the choruses that score the most points – at least 400 – and have between 31 and 60 singing members on stage. The third place Division AA chorus award will be presented by: (name and title) (name and title) The winner of the third place Division AA chorus award is the Chorus! The second place Division AA chorus award will be presented by: ___________________________________________________________________________ (name and title) The winner of the second place Division AA chorus award is the Chorus! The 5 Division AA first place chorus winners achieving the highest total scores will be invited to compete in Harmony Classic held Tuesday evening at the International Competition in 20___. Choruses achieving this rank will be notified by international headquarters. The first place Division AA chorus award will be presented by: ___________________________________________________________________________ (name and title) The winner of the first place Division AA chorus award is the Chorus! The fifth place award will be presented by: ___________________________________________________________________________ (name and title) With a score of points, the fifth place chorus is the Chorus!



The fourth place award will be presented by: ___________________________________________________________________________ (name and title) With a score of points, the fourth place chorus is the Chorus! The third place award will be presented by: ___________________________________________________________________________ (name and title) With a score of points, the third place chorus is the Chorus! The second place award will be presented by: (name and title) (name and title) With a score of points, the second place chorus is the Chorus! The chorus winning regional competition qualifies to compete at the international chorus competition. The 20 regional chorus champion will represent Region # in the 20 international chorus competition in . (city and state) If the champion chorus is unable or chooses not to compete, the second place chorus will be invited to compete. All members of the first place chorus, please come to the stage to receive your awards. The first place awards will be presented by:_______________________________________ (name and title) If additional awards (e.g., medals, trophies, flowers) are to be presented to the chorus champion, that information should be inserted here. And now, the 20 champion of Region # , with a score of points, the Chorus! If the region sings The Winners’ Song to the new champion chorus, this would be the appropriate time. We would like to ask our new champions to sing for us, after which their director will direct all of us in____________________________________________ (Choose Harmonize The World or How We Sang Today)



OFFICIAL RESULTS PHOTOCOPYING/ PRINTING IN JUDGES PIT A signature from the panel chair is no longer required on printed final official results, however, if the results are photocopied you will need a signature from the panel chair. After the tabulation sheet(s) are approved by the panel chair and returned to the panel secretary, she collects the contestant copies (original) of all scoresheets from the panel chair and accompanies the OPL to the copying area. The panel secretary, in cooperation with the OPL, has the option to print results in the judges pit or make enough photocopies of the final results report for distribution. The OPL is responsible for obtaining video and/or audio recordings from the CC, if available. DISTRIBUTING RESULTS See below for distribution list:

1 copy for each contestant packet 1 copy for each member of the official judging panel 1 copy for each trial scoring judge 1 copy each for Regional Management Team members, CC and CRC 1 copy to post at Sweet Adelines International registration area 1 copy for use in web posting, if requested, or, if the technology is available, this information may be sent via email

Original to the panel secretary to be sent to international headquarters The panel secretary checks to make sure the first copy of each scoresheet is dark enough to read. If it is not, she makes a copy of the original to include in the materials returned to headquarters. The panel secretary emails or faxes to international headquarters all spreadsheets including the tabulation sheet, final results report, quartet summary of winners, and chorus summary of winners to be received by 8:00 a.m. (CST) the Monday morning after convention. NOTE: The panel secretary makes any necessary adjustments to the copier to ensure that

legible copies are made. Once the contestant packets are distributed, the panel secretary ensures that members of the official panel and trial scoring judges receive their copies. The OPL distributes to regional personnel. NOTE: The above distribution is required by the international organization. It is

important that contestant packets are distributed as soon as possible following each contest session. Additional copies requested by the region are not made until after packets have been distributed. The panel secretary is not required to supervise additional photocopying.

CONTESTANT PACKETS The panel secretary and the OPL are responsible for the distribution of the contestant packets following each competition session. This may occur 20-30 minutes following the announcement of results. To avoid competitors gathering while official results are being tabulated, designate a distribution location other than the pit. Announce to the competitors when, where and for how long packets will be distributed. Materials not picked up by this deadline are distributed by the assigned regional personnel.



International headquarters provides the OPL with a supply of contestant packet envelopes, official panel directory, Evaluating Your Contest Performance, Performance Levels Guidelines and Entertainment Package Guidelines (Open Division competitors only). Each contestant packet should contain one copy of each of the following: Final results spreadsheet

Official panel directory Evaluating Your Contest Performance

Performance Level Guidelines Entertainment Package Guidelines (Open Division)

The original of each judge's scoresheet Recording of contest performance in digital or DVD format (if applicable) Audio recording of contest performance (if applicable)

Promotional items for International events, if provided NOTE: The panel secretary receives a memo from the CC to be included in the champion

quartet and champion chorus contestant packets. These memos include instructions for receiving entry forms and information for the international competition.

Quartet packets are given to a member of the quartet only. Chorus packets are given to the chapter president or chorus director only. Exception to this procedure may occur when the quartet or chorus director/president provides written permission authorizing another individual to pick up the packet. The panel secretary remains with the OPL until all contestants have had sufficient time to collect their materials. Uncollected contestant packets are distributed by the assigned regional personnel later during the weekend or mailed following the convention weekend.



SECTION F


GUIDELINES FOR REGIONAL CONVENTION CONVENTION POST COMPETITION Page F-1

POSTCOMPETITION FINAL REPORTS Each committee and subcommittee should submit a final report to the Convention Steering Committee detailing the work of her committee and offering suggestions for next year's committee. Additionally, the EVC, CC and OPL should prepare final reports regarding their responsibilities. From these reports, the CRC should prepare a final report for regional and international files. The international organization also designates certain convention personnel to submit postcompetition reports for review by the Judge Specialists. These people are notified prior to the convention if they are to submit a report. POSTCOMPETITION MEETINGS Official Panel Immediately following the chorus competition, the panel chair meets with the ED briefly to deliver observation forms from the official panel. These forms allow the judges an opportunity to provide suggestions for improvement for the region musically and for the overall convention. The completed forms are sent to Sweet Adelines International Headquarters where personalized communication is created for each Regional Education Coordinator about trends. Hotel The CRC and the EVC meet with the appropriate hotel staff, either in person or on the phone. The purpose of this meeting is to review the convention weekend and discuss any problems that may have occurred. Convention Steering Committee The Convention Steering Committee meets following the convention weekend to review the convention and begin the planning and budgeting for the next convention. This meeting may not occur for several months following the convention weekend. BILLING FOR OFFICIAL PANEL EXPENSES The amount allocated to each region as panel expenses will be deducted from each region's rebate as soon as all of the official panel expenses have been received at international headquarters. Regions will be notified if there is any change to this procedure.

APPENDIX I

GUIDELINES FOR REGIONAL CONVENTIONS APPENDIX I

PUBLIC RELATIONS Page 1


PUBLIC RELATIONS

INTRODUCTIONThe Marketing Coordinator or the Public Relations Chair and her committee are responsible fordeveloping a complete public relations campaign that includes goals, objectives, tactics,identified publics, targeted media and budget allocations.

The public relations plan should be created by the committee with final approval from theregion's leadership. The actual planning process is dynamic and should be allowed to unfoldnaturally. The give and take within the committee will result in a thorough plan that earns thesupport and endorsement of the region's leadership. Planning is a time consuming process but asit continues, new ideas may develop within the committee. Traditional ways of doing thingsmay be questioned. New solutions to old problems may present themselves.

The first time through the planning process may prove more difficult than in subsequent yearswhen the plan can be modified to meet new objectives. Do not become discouraged. Thecomplete plan becomes a checklist of milestones that should be modified by circumstances.

The plan should be finalized in the July or August preceding the spring convention. This allowsthe public relations committee sufficient time for recruiting volunteers and implementation. Once the plan has been completed, the public relations chair should make individual committeeassignments based upon the parameters established by the plan. For example:

• Graphics coordinator• Publicity photo coordinator• Copywriter• Mailing list coordinator• Media contact• Spokesperson• Mailing sub-committee

Desired results can be achieved if a specific plan is developed and implemented. The traditionalfour-step process is outlined below.

I. Research Gather facts that are important to the event. Be sure they are accurate. From these facts,examine existing problems, analyze the situation and develop goal statements. A sample goalstatement is:

"Increase awareness of the quality of talent that exists in this region's quartets and choruses among five targeted publics."




II. AdaptationThe goal statement is the basis from which measurable objectives can be developed. Examplesof measurable objectives are:

• Increase the amount of media coverage by 20 percent over last year. • Sell 100 more tickets than last year to the post competition event. • Establish a foundation for improving our relationships with three other vocal groups in

the hostess city.

Define the targeted publics and list them in the order of their importance. Examples of thesemight be: • Members within this region. • Other vocal music groups including school choruses and church choirs. • Other women's groups ranging from professional organizations to social clubs. • The general public. • The media.

Next, list the tactics that should be developed and applied toward achieving the goals. Make arealistic assessment of the personnel, time, and financial resources available when developingtactics. Suggested tactics might include: • News conferences • News releases • News kits (which include releases, feature stories, photos, video, audio and brochures) • E-mail outreach • Web site updates • Social media postings (through Facebook, MySpace, Blogs, Twitter, etc.) • Marketing brochures • Regional newsletters • Flyers • Window displays • Specialty items (t-shirts, coffee mugs, etc.) • Special promotions • A media partnership • Speeches • Paid advertising • Posters • Direct mail campaigns • Personal letters • Public service announcements




III. StrategyList each target public and the objectives each public can help you achieve. For example:

Other vocal music groups including school choruses and church choirs (public)selling more tickets (objective)improving relationships with other vocal music groups (objective)

Divide the tactics among the objectives allocated to your targeted publics. For example:

Other vocal music groups (public) selling more tickets (objective)

direct mail (tactic)personal letters (tactic)special promotions (tactic)

Remember that tactics that are directed towards a specific public may also impact other publics. For example, news releases and public service announcements impact targeted publics as muchas they do the media.

IV. EvaluationThe successful plan concludes with a program for realistically evaluating results. As thecampaign is under way, appoint individuals to monitor each tactic and collect results. At theconclusion of the event review results and measure the degree that objectives were achieved byeach tactic. Prepare a report that accommodates both positive and negative evaluations of theevent. This evaluation can become the basis for projecting the success of future regionalconventions. Share the evaluation report with the region's leadership.

MEDIA OUTREACH

1. Develop comprehensive regional media lists. Use the state press associations in yourregions as resources for developing these lists of dailies and weeklies. Often, the media guidesare available online or through your local library.

2. Create a regional convention press release and distribute to the local media. Try creatinga press release that includes the theme and graphics of the regional convention. You may want tocall a chapter in the convention city to be the subject of this kind of story. Ensure that you arereaching all print, television and radio media contacts in your local area. Work with the media totime this story to appear early in the week of the regional convention. Impact decreases if thestory runs earlier than this.

3. Develop a list of all arts and community calendars in the host city. Check the localchamber of commerce, local arts council and its Web sites for assistance in compiling this list. Some calendars are published quarterly and others monthly, weekly or daily. Some printcalendars run photos. Meet information and photo requirements and deadlines of each calendar.

4. Attract the support of a media partner. Approach a television or radio station about beinga media sponsor of the regional convention. This lends an air of greater credibility to the event




in the minds of your target audience while the media partner benefits from being identified withan activity such as this. This is a unique method of advertising because the primary goal ofobtaining media sponsorships is to get the commercial airtime or advertising space donated. Themedia will work with you because of the visibility you can provide them as a sponsor as well asthe opportunity to partner with an important community resource— a local Sweet Adelineschorus. Most media general managers are interested in making a contribution to organizations inthe community. Ask the media sponsor to run PSA schedules, help with printing of somematerials such as posters, programs, specialty items, etc. Also ask to provide a news personalityor DJ to take part in the post competition event. Because the media partner will need to see thatthere's something in the partnership for them, be prepared with facts on how many people attendthe event, how many cities in their broadcast area are reached, etc.

5. Prepare a customized news release and fact sheet for the hometown media of eachcompeting quartet and chorus. Be sure ticket information is included in the release. Distribute these releases according to your time line, but be sure to distribute them in time tomeet the deadlines of non-daily newspapers. This is an external as well as internal publicrelations tactic that will make choruses and quartets more aware of support from the regionallevel of Sweet Adelines International. Distribute news releases by e-mail, fax, mail or throughsocial media outlets. Use your best judgment as to which distribution method will best reachyour media contacts.

6. Look carefully at the music/news formats of radio stations in the host city. Select a fewstations that reach your target publics, i.e. Big Band, easy listening, classical, all news, etc., aremore likely to attract ticket buyers. Provide the promotions director of selected stations with anannouncement of the regional convention as well as five coupons good for admission. Promotional announcements are as good as PSAs or news stories in building interest by thepublic about the event. Morning drive and afternoon drive times are when the audience islargest. Let the radio personalities decide how they will give away the tickets, i.e. call-ins, triviacontests.

WORKING WITH MEDIA TO OBTAIN COVERAGE OF REGIONAL COMPETITION

The following guidelines pertain primarily to electronic media coverage inside the competitionarena and traffic pattern. Please remember there are ways to obtain media coverage of regionalcompetition without resorting to allowing electronic media inside the competition venue.

1. There should be an active Public Relations Subcommittee reporting to the ConventionSteering Committee. The chair of this subcommittee may be the Regional Public RelationsChair or a member of the Convention Steering Committee, depending upon each region'sstanding rules.

2. The Public Relations Committee will write to the Chair of the Official Panel at least threeweeks prior to her assignment to inform the chair that electronic media coverage inside thecompetition venue has been sought and that the required assurances can be made withconfidence.

3. The final authority to allow electronic media inside the competition arena to record actual




competitors as they perform is the panel chair. You should be aware that this means even on sitethe chair may decide electronic media will be a distraction or interfere with the competition. Herdecision will not be challenged.

4. The committee must be in a position to make the following assurances before decidingwhether or not to seek electronic media coverage:

• The subcommittee will assure the quality of the competitor on stage at the time media areinside the competition venue represents the organization's Mission Statement and Goals,especially the goal that "Sweet Adelines International will be recognized throughout the world asthe leading organization for women's four-part barbershop harmony."

• The subcommittee will assure that media will not interfere with the official panel.

• The subcommittee will assure that all media – electronic as well as print– will notinterfere with competitors in the traffic pattern and that only those competitors that agree tobeing filmed, taped, photographed, and/or interviewed as presented to media for news gathering.

• The subcommittee will assure that each media representative who comes to thecompetition venue will be escorted by a member of Sweet Adelines International throughout thenews gathering process.

• The subcommittee will assure that a knowledgeable spokesperson will be available tomedia to discuss the organization, the art form, and/or the actual competition event if sorequired.

5. The chair of the Public Relations Subcommittee will obtain a copy of the order ofappearance and the traffic pattern from the competition coordinator.

6. The chair of the Public Relations Subcommittee will rely on the Marketing Coordinator todetermine to which competitors the media should and/or should not be given access.

7. The Public Relations Subcommittee will arrange for and train personable escorts who will beassigned to accompany the media representative throughout the news gathering process. Thisescort will assure that restrictions are adhered to regarding noise, additional lighting, blockingthe view of ticket holders and interfering with the judging process and competitors in the trafficpattern.

8. The Public Relations Subcommittee will arrange for knowledgeable spokespersons to beavailable to media.

USING THE INTERNET TO GAIN PUBLICITYDistributing your press information via the Internet provides an immediate and cost-effectiveway to reach key journalists. Begin cultivating online relationships with those key reporters bycalling a targeted journalist in the morning (deadline pressure tends to increase by the afternoon)and confirm that they welcome e-releases. If e-releases are accepted, obtain the direct e-mail




address of the journalist. Don’t send your messages to general e-mail boxes that go to an entirenewsroom. Ask whether the contact would prefer the release, photographs and graphics as an e-mail message or e-mail attachment. Most journalists do not open attachments, so avoid sendingan attachment unless it is requested.

E-release Format Adjust the format of your e-release using similar guidelines as a traditional press release but withthe following additions:

Direct E-mail address Send the e-release directly to the journalist’s e-mail address.

Subject Line In 50 characters or less, enter the headline of the press release. Remember to alwaysinclude Sweet Adelines International in the subject line.

Message Enter your press release into the message of the e-mail using the following format:· In 50 characters or less, enter the headline of the press release in the Subject Line.

Remember to always include Sweet Adelines International in the subject line.· Use plain text rather than HTML or other markup language.· Enter your press release into the message of the e-mail using the following format:

· Begin with the words For Immediate Release · Double space and include the dateline by entering the city name and state

abbreviation where the news originates, followed by the date of the press release. · Place a dash after the dateline and follow the dash with the body of the e-release.

Single-space the text and double space between paragraphs.· Limit the e-release length to 250-500 words.· End the e-release with a boiler plate – a standard descriptive paragraph about

Sweet Adelines International and your chorus/region.· Follow the e-release with instructions for obtaining additional information,

beginning with a phrase such as “For More Information, “To scheduleinterviews,” or “To obtain photos and artwork” with links to Web pages with thisinformation.

· Close with contact information in this order: · Contact person’s name· Chorus/Region name· Contact person’s phone number including area code· Contact person’s e-mail address· Chorus/Region Web site address

· In order to distribute media information to journalists on-site, prepare a traditionalprinted version of the e-release to include in media kits.




Online Pressroom Increasingly, journalists interested in finding out more about your region will turn toonline pressrooms for information, including current and past press releases, designatedpublic relations contacts, downloadable images, special announcements andorganizational background.

The online pressroom is an integrated section within your already existing regional Website. Provide a direct link to the online pressroom from the Web site’s home page, andinclude the link within the sub-navigation menu as well. To keep your pressroom a usefultool to journalists, make the section easy to navigate and quick to access. Include thefollowing contents:

· Post current press releases immediately upon distribution. · Post a searchable archive of past press releases in date order with short summaries

of content for quick scanning.· Post a calendar of upcoming events.· Post reprints, clips or links to recent media coverage. This is an important section

for building credibility. It shows that your subject is newsworthy and of publicinterest.

· Include the names and contact information for chorus approved mediaspokespeople.

· Summarize background information about your chorus with links to moreexpansive information.

· Provide downloadable photos and artwork authorized for media use. This sectionis valuable for those media contacts that do not want to accept attachments. Youcan embed a link to this downloadable graphic area in the e-release and direct thejournalist to this link.

· Prepare your downloadable graphics with appropriate digital resolution. Ingeneral your image will need a resolution of 250-300 DPI (dots per inch) forprint, and 72 DPI for digital use. JPEG files are usually universally accepted.

· Label the graphics/photos in your downloadable section with clearly labeledcaptions and cutlines. The caption is the title of the photo. The cutline is the photodescription that is required by nearly all media outlets.

· Make it easy for journalists to find a graphic file by referencing the e-release thatthe artwork accompanies.

· Provide references to any other resources that you feel is pertinent, such asbarbershop history, barbershop style, membership information, etc.

· Maintain your online pressroom to serve as an up-to-date, 24-hour media resourcethat provides an informative overview of your region.




SAMPLE PUBLIC RELATIONS PLAN FOR A REGIONAL CONVENTION

APRIL 4-5

Goal: Increase awareness of Sweet Adelines International Regional Conventionin the convention city.

Objectives:(1) Sell 35 more individual tickets than last year through the arena box office to competition session.(2) Sell 100 more individual tickets than last year to the "Show of Champions."(3) Increase print and electronic publicity by 50 percent.

Target Publics:Media MembersOther vocal music groups in the host communityVocal music instructors in the host communityOther performing arts groups in the host communityGeneral public

Tactics:News releasesMedia kitsBroadcast PSAsSpecial promotions (ticket give-aways on targeted radio)Direct mail/e-mail blastsFlyersPersonal lettersSpecialty itemsMedia sponsorshipPostersWindow displaysWeb sites

Publics/Objectives MixMedia Sources Increase print and electronic publicity by 50%.

Other vocal music groups in the host communitySell 35 more individual tickets than last year through the arena boxoffice to each competition session.Sell 100 more individual tickets than last year to the "Show ofChampions."

Vocal music instructors in the host community Sell 35 more individual tickets than last year through the arena box




office to each competition session. Sell 100 more individual tickets than last year to the "Show of

Champions."

General public Sell 35 more individual tickets than last year through the arena box


Champions."

Other performing art groups in the host community Sell 35 more individual tickets than last year through the arena

box office to each Competition session.Sell 100 more individual tickets than last year to the "Show ofChampions."

Publics/Objectives/Tactics MixMedia Increase print and electronic publicity by 50%.

Media kitsNews releasesBroadcast PSAsSpecial promotionsMedia sponsorship

Other vocal music groups in the host community Sell 35 more individual tickets than last year through the arena box office to each competition session. Sell 100 more individual tickets than last year to the "Show of

Champions."FlyersDirect mail/e-mail blastsPersonal lettersT-shirtsMedia sponsorship

Vocal music instructors in the host community Sell 35 more individual tickets than last year through the arena box

office to each competition session.Sell 100 more individual tickets than last year to the "Show ofChampions."

FlyersPostersPersonal lettersMedia sponsorship




General public Sell 35 more individual tickets than last year through the arena box


Champions."All tactics but specialty items are applicable to this public

Other performing art groups in the host community Sell 35 more individual tickets than last year through the arena box


Champions."FlyersPostersPersonal lettersMedia sponsorship

Targeted Media/Public MixMorning newspaper Media Members Other singers Vocal music instructors General public Other performing arts groups

Afternoon newspaper Media Members Other singers Vocal music instructors General public Other performing arts groups

Host city's suburban newspapers Media

Members Other singers Vocal music instructors General public Other performing arts groups

Newspapers in the home cities of competing choruses and quartets Media Members

Monthly society tabloid




Media Members Other singers Vocal music instructors General public Other performing arts groups

Major television network affiliates Media Members Other singers Vocal music instructors General public Other performing arts groups

Oldies radio station Listeners

Public radio station Listeners

Personal letter from the EVC to other singing groups in the host city Other vocal music groups

Personal letter from the EVC to vocal music instructors in the host city Vocal music instructors

Personal letter from the EVC to other performing arts groups in the hostcity Other performing arts groups

Implementation Calendar

July: Finalize public relations plan and solicit approval from all regionalleaders.Public relations committee.

August: Develop theme and graphics.For effectiveness, one committee member should be givenauthority to work with regional leaders and artists on thisproject from concept to implementation. This will requirefunding from the budget for artist fees, supplies, camera work, etc.unless graphic services are donated.

September: Secure media sponsorship.Public relations committee chair with EVC participation.




October: Arrange to have publication-quality color and black and whitephotos taken of regional winners during international competitionfor use in promoting the spring regional competition. Analternative plan is to write each chapter president requestingpublication-quality photos that are representative of the chorus andits activities. Individual committee member. This will require funding.

November: Select and duplicate photos for press kits.Public relations committee chair. This will require funding.

December: Write copy for personal letters from EVC to targeted publics; writecopy for all news releases, features stories, flyers, posters,specialty items, etc.Individual committee member responsible for all copy writing.

December: Send materials to the printer.Committee member responsible for graphics. This will requirefunding unless the media sponsor agrees to help with the expenses.

January: Assemble contact lists of other singing groups, vocal music instructors and other arts groups within easy traveling distance tothe event.Developing these lists should be assigned to as many membersof the committee as necessary. If possible, one member shouldassume responsibility for saving this data on the computer solists can be updated annually.

January: Decide upon a spokesperson. Decide whether or not to host anews conference to announce the regional convention. This is anopportune time to use the media sponsor and break the story withthe sponsor first with follow-ups in print media.Committee person solely responsible for media contact work.Another person should be assigned to be spokesperson.

February: Research and finalize all pertinent contact lists; develop labels.Each public can be the responsibility of an individualcommittee member. Be sure to factor postage and long-distancephone charges into the budget.

February: Mail or email personal letters to targeted publics.Mailing committee of two to three members.

February: Distribute PSA copy and graphics to television stations.Media contact person.

March: Distribute flyers to targeted publics.




Entire PR committee and assistance chapter.

March: Contact merchants and set up window displays where access is provided. Free tickets to the "Show of Champions" could be givenin exchange for display space. Committee member.

Three weeks before the convention on April 4-5

March 14: Distribute media release with customized information about the quartets/chorus competing from that town.Media contact.

March 21: Distribute give away tickets and media kit to radio stations.Committee person responsible for contacting promotionsdirectors at radio stations.

March 27: Alert media about upcoming publicity event.Media contact.

March 31: E-mail or fax a reminder to electronic media about the publicityevent. Call the assignment editors later in the day to see if you canget a commitment from them to cover the publicity event.Media contact.

April 3: Call to remind all media of the time, location and restrictions thatare applied to media coverage of the competition.Media contact.

April 4: Have the spokesperson on hand at the quartet competition.Media contact and other committee members should watch forand escort media who appear at the competition.

April 4: E-mail or fax results to media in winners' home towns.Copywriter should prepare releases. Any committee membermay fax.

April 5: Have the spokesperson on hand at the chorus competition.Media contact and other committee members should watch forand escort media who appear at the competition.

April 5: E-mail or fax results to media in winners' home towns.Copywriter should prepare releases. Any committee membermay fax.




SAMPLE NEWS RELEASEPre-Event(Sent to media in home towns of competing choruses and quartets)

REPRESENTING: ABC ChapterSweet Adelines International

CONTACT: Jane DoePublic Relations Chair555-1234 (weekdays)555-9876 (evenings and weekends)

FOR IMMEDIATE RELEASE

Local Sweet Adelines groups to compete for regional honors.

March 14, 2010, Your Town, WV – The ABC Chorus and pair of local

barbershop quartets will join more than 700 women who will compete in Capital

City April 4-5 in the Sweet Adelines International Region 45 annual competition

at the Cap Cities Arena. A capella presentations of songs from the 1890 to the

1990s -- that have been arranged for women's four-part harmony – are presented

in costumed, choreographed production numbers.

"Performances and competitions help develop our members confidence

and build pride in their achievements," says Ruth Rowe, events coordinator for

the area that includes West Virginia and portions of Indiana, Kentucky, and Ohio.

"Razzle Dazzle" is the theme of the competition which is open to the

public. Singers from 15 choruses and 19 quartets will vie for regional titles and

opportunities to advance to international competition.

(more)




Quartet competition begins at 7 p.m. Friday, April 4; chorus competition

is set for 1 p.m. Saturday, April 5. Tickets are $8 for non-reserved seats at each

of the contests and are available through the Cap Cities Arena Ticket Office, 555-

5544.

A special "Show of Champions" performance, also open to the public,

begins at 8:30 p.m. Saturday in the Greensleeves Auditorium of the Arena.

Tickets are $10 each and will be sold only at the door beginning at 8 p.m.

Among the guest stars appearing on this special program are the 1967

Sweet Adelines International Queens of Harmony "BLTT" and the 1990-91

quartet champs from Region 45, "Echo!" Also performing will be the UWV

Chorus of Wheeling, WV, which, as winners of the Region 45 chorus competition

in 1996, will compete in the international contest this October in Salt Lake City,

Utah.

This year's winning quartet also will compete again this fall in Salt Lake

City; this year's winning chorus will compete in 1998 in Nashville.




SAMPLE FACT SHEET(goes to each media source along with all releases and in media kits)

WHO: Voice of the Coast, Region 45Sweet Adeline International, a non-profit music education organization for women, founded in 1945Perpetuates and enhances the barbershop music art form – one ofonly four forms of music native to the United States.

WHAT: Annual Quartet and Chorus CompetitionIncludes 19 quartets and 15 chorusesRegion 45 includes West Virginia and portions of Ohio, Kentuckyand Indiana More than 700 women will compete

WHERE: Cap Cities Arena, 107 S. Broadway Ave.

WHEN: Quartet competition begins at 7 p.m. Friday, April 4Chorus competition begins at 1 p.m. Saturday, April 5

WHY: Annual regional competition decides the best quartets andchoruses in the region. Winners of the contests are eligible tocompete on the international level. The winning quartet willcompete internationally this October in Salt Lake City, Utah. Thewinning chorus will compete internationally in November of 1998in Nashville, Tennessee.

HOW: Competition tickets are $8 for non-reserved seats. Available at the Cap Cities Arena Ticket Office, 555-5544. Tickets to the "Show of Champions" are $10 each and areavailable only at the door of Greensleeves Auditorium beginningat 8 p.m. Saturday, April 5.

RESTRICTIONS: BECAUSE SOUND AND LIGHTING ARE CRITICALTO CREATING EQUAL AND CONSTANT CONDITIONS FOR EACHCOMPETITOR, ADDITIONAL LIGHTING (FLASH OR OTHERWISE)CANNOT BE USED. AMPLE OPPORTUNITIES FOR INTERVIEWS ANDFILMING EXIST OFF STAGE WHERE JUDGES WILL NOT BEDISTRACTED. WE WILL WORK WITH YOU ANY WAY WE CAN TOFACILITATE YOUR COVERAGE OF THIS COLORFUL, HIGHLY VISUALEVENT.




SAMPLE NEWS RELEASE FAX TO WINNERS HOMETOWN MEDIA

PLEASE DELIVER TO: Terry Baker, city desk, West Virginia Gazette

REPRESENTING: ABC ChapterSweet Adelines International

CONTACT: Jane DoePublic Relations Chair555-1234 (weekdays); 555-9876 (evenings andweekends)

FOR IMMEDIATE RELEASE

West Virginia Sweet Adelines Sweep Regional Competition

April 5, 2010, Capital City, WV – Sweet Adelines groups from Benton,

Johnsonville and Smith captured all the top prizes here this weekend at the Voice

of the Coast Region 45 competition.

With 64 members on stage, the Johnsonville chorus, directed by Annie

Page, received first place medals Saturday afternoon in annual competition that

saw more than 700 women participating from West Virginia and portions of

Indiana, Kentucky and Ohio. Second place went to the O-State Chorus of

Youngstown, Ohio; third was Derby Pie Chorus of May, Kentucky; fourth was

the Forever Singing Chorus of Grand, Indiana; and fifth was the Summer Winds

Chorus of Parkersburg, West Virginia.

On Friday evening, 1-2-3-4, composed of members from the Johnsonville

Chorus, captured first prize in competition among 19 quartets. Members of 1-2-

3-4 are Linda Ryan, tenor; Leslie Hall, lead; Paula Bullock, baritone, and Anna

America, bass.

The quartet will compete on the international level at the Sweet Adelines




international convention this October in Salt Lake City. The chorus will compete

internationally in 1998 in Nashville, Tenn.

The Freshman Chorus from Smith, directed by RoseMary Henderson,

was named Most Improved Chorus and also took the blue ribbon in the Small

Chorus Awards competition. This group had 23 members on stage and edged out

Benton Chorus which captured second place.

Sweet Adelines International is a non-profit music education organization

for women. It was founded in 1945 and has almost 30,000 members throughout

the world who sing four part harmony, barbershop style, without musical

accompaniment.

APPENDIX II

AMERICANS WITH DISABILITIES ACT (ADA) (in conjunction with U.S. sites only) Title III of the Americans with Disabilities Act prohibits discrimination against disabled individuals by those who operate places of "public accommodations" such as hotels, restaurants, retail stores, arenas and other places where the public is likely to enter or congregate. The Department of Justice has stated that entities such as Sweet Adelines International become subject to the Act when they lease space for a meeting or convention at a hotel, convention center or similar facility. As a "public accommodation," the sponsoring organization is responsible for compliance with the Act and must take steps to assure that all displays and/or meeting functions are accessible to individuals with disabilities. Additionally, the sponsoring organization must provide what the regulations call "auxiliary aids" (such as qualified interpreters, Braille programs, assistive listening devices, closed caption decoders, etc.) for meeting participants who need them. The legal responsibility for compliance rests with the sponsoring organization, however, the practical compliance burden may be shifted, in whole or in part, to the meeting facility. In order to do that, you must have a clause in the contract stating the facility complies in all respects with the Act as well as an indemnification clause by which the facility holds the sponsoring organization harmless from ADA violations within the scope of the facilities activities. The outcome is that you must book only facilities that comply because you can't make structural changes to the facility. It is imperative to include language on both the registration and housing forms requesting information on special needs that disabled attendees might have (be sure to include transportation needs such as a van or bus with a lift if you are providing transportation between a hotel and competition site). If you have asked for that information and it was not supplied, you are not responsible to have the "auxiliary aids." The facility or the local Convention and Visitors Bureau should be able to provide you with a list of organizations or individuals which can provide the auxiliary aids and services required by the ADA. Contact the Meetings and Convention Services Department at international headquarters for sample contract clauses if the facility does not have one.

GUIDELINES FOR REGIONAL CONVENTIONS AMERICANS WITH DISABILITIES ACT

APPENDIX II Page - 1


APPENDIX III

Page - 2

VIDEO RECORDING (DIGITAL) REGIONAL COMPETITIONS

The region is required to make a video recording of all contestants competing in the regional quartet and chorus competitions. The region has the option to make the recording in a digital format. A digital recording is a method of converting video to digital signals, going direct from video camera to either an external or internal data storage device. Instead of saving the digital recording to a DVD, the region saves it to an external hard drive provided by international headquarters. The digital recordings may serve as both the audio and video recordings supplied to the contestant, in lieu of a CD and/or DVD. If the contestant does not wish to purchase a digital or video recording of their performance, the region must provide an audio recording or file to them at no cost.

The master recordings of both competitions should be in the highest quality possible. The videos should then be compressed to a more manageable file size (h.264 preferred), and each individual performance file uploaded to Dropbox within two weeks of the competition. The region may provide competitors a link to their specific file for download. Alternatively a copy of the compressed performance video file can be transferred onto a USB flash drive to be handed out. Contestants may purchase additional copies of their performance only. The region may continue to provide a CD and/or DVD to competitors if they choose to do so.

The International Organization reimburses the region $800 to help defray the regional costs such as chorus/quartet medals and audio/video recording expenses. A sum of $400 will be issued to each region in February. If the digital master recordings are labeled according to instructions and the Dropbox files are shared with international headquarters within two weeks of the competition, the region will be reimbursed the remainder of the $800 stipend. The video files must be received in good viewing and listening condition. The check will be made payable to the region and sent to the finance coordinator of each region.

Authorized video recordings of regional quartet and chorus competitions are made solely for the use of the Judge Specialists and the Education Direction Committee. The region may produce a regional video, in accordance with the recording procedure outlined in the Policy Book. The ED may make a copy of the master recording for her sole use in evaluating the quartets and choruses in her region.

EQUIPMENT 2TB External Hard Drive (provided by headquarters) PC or Mac computer with video processing software Color camera with monitor and zoom lens Flash drives (if files are to be distributed this way) Good Internet connection Adapters necessary to interface with the auditorium sound system Steady tripod base

To insure good quality, use the best available video camera and recorder. A camera that operates well in low light is advisable. Recording in HD (High Definition) is not required, but preferred. If HD is not possible, record in 16:9 SD (Standard definition). Video files must be recorded in MP4 format. If more specifics are needed, contact Music Services.

GUIDELINES FOR REGIONAL CONVENTIONS FORMS/INSTRUCTIONS/DIAGRAMS

APPENDIX III Page - 1


Page - 4

PERSONNEL Unless a professional video camera operator is used, two people are normally required: the camera operator and the person in charge of monitoring. The monitor is responsible for determining the appropriate view for the camera, so she should be familiar with all aspects of Sweet Adelines competitions. RECORDING INSTRUCTIONS The video recording begins with the announcement of the contestant and continues until the end of that contestant's visual performance. For a chorus, the performance is concluded when either the lights go out or the curtain closes. For a quartet, the performance concludes when the contestant is no longer in view. LABELING COMPETITOR TRACKS Video recordings on the external hard drive must be labeled as follows:

Master Drive Label the competitor tracks as follows (no spaces): ______, R Region #____, (Quartet/Chorus), Competitor Number (year) For example: 20XXR1Quartet1 Attach with the drive a list of each contestant's name in the order of their appearance. Note: If a contestant has withdrawn, mark the name and number with the notation

"Withdrawn." Contestant Recordings Provide a digital copy to each competitor. Label each digital file with the contestant’s name and the contestant’s number. Only one contestant should be recorded on each file.

SOUND The sound for the video recording is received through the auditorium sound system and may require special equipment. This must be determined prior to the competition so that all necessary equipment is acquired and in place prior to the convention weekend. CAMERA PLACEMENT The camera should be centered in the auditorium, either on the main floor or in the first row of the balcony. It should be placed in such a way that a clear view of the stage is possible while interfering with the view of the least number of persons in the auditorium. Enough seats should be blocked off to assure sufficient room for equipment and personnel. When positioning the camera, the official panel's seating must be taken into consideration so that there is no interference with the picture. (See Appendix V for additional camera speficitions on panning, zooming, etc.)




Page - 5

VIDEO RECORDING (DVD) REGIONAL COMPETITIONS If the region chooses to record to DVD only, the DVD recording must include all contestants competing in the regional quartet and chorus competitions. The master recording of both competitions must be returned to international headquarters. A DVD may also serve as the audio recording supplied to the contestant in lieu of a CD. Contestants may purchase additional copies of their performance only. If the contestant does not wish to purchase a digital or video recording of their performance, the region must provide an audio recording or file to them at no cost. EQUIPMENT Digital Video Disc (DVD) recorder Color camera with monitor and zoom lens Master DVD – Master to international headquarters Competitor DVDs – Individual contestant (each labeled with contestant's name) Adapters necessary to interface with the auditorium sound system Steady tripod base To insure good quality, use the best available video camera and recorder. A camera that operates well in low light is advisable. PERSONNEL Unless a professional video camera operator is used, two people are normally required: the camera operator and the person in charge of monitoring. The monitor is responsible for determining the appropriate view for the camera, so she should be familiar with all aspects of Sweet Adelines competitions. RECORDING INSTRUCTIONS The video recording begins with the announcement of the contestant and continues until the end of that contestant's visual performance. For a chorus, the performance is concluded when either the lights go out or the curtain closes. For a quartet, the performance concludes when the contestant is no longer in view. Master DVDs: Record approximately 10 competitors per DVD. When recording to DVD, each competitor should be on its own track. DVDs should be recorded in order of performance.




Page - 6

LABELING DVDs Video recordings should be labeled prior to the competition as follows: Master DVD Label the DVDs and cover(s) as follows: ______, Region #____, (Quartet/Chorus), DVD #___ of ____ (year) Attach to the DVD a list of each contestant's name in the order of their appearance and indicate their track number. Note: If a contestant has withdrawn, mark the name and number with the notation "Withdrawn."

Contestant DVDs Label each DVD with the contestant's name and the contestant’s number. Only one contestant should be recorded on each DVD.

SOUND The sound for the video recording is received through the auditorium sound system and may require special equipment. This must be determined prior to the competition so that all necessary equipment is acquired and in place prior to the convention weekend. CAMERA PLACEMENT The camera should be centered in the auditorium, either on the main floor or in the first row of the balcony. It should be placed in such a way that a clear view of the stage is possible while interfering with the view of the least number of persons in the auditorium. Enough seats should be blocked off to assure sufficient room for equipment and personnel. When positioning the camera, the official panel's seating must be taken into consideration so that there is no interference with the picture. (See Appendix V for additional camera speficitions on panning, zooming, etc.)




Page - 7

AUDIO RECORDING REGIONAL COMPETITIONS The region may make an audio recording of all contestants competing in the regional quartet and chorus competitions. If the region chooses to provide an audio recording, contestants should receive a recording of their contest performance only. Regions may provide competitors with a CD or DVD of their performance for audio purposes. If the contestant does not wish to purchase a digital or video recording of their performance, the region must provide an audio recording or file to them at no cost. Refer to the Video Recording Regional Competition section above for specifications for DVD recordings. EQUIPMENT Compact disc recorder Audio dubbing equipment Microphones Master CDs – to be returned to international headquarters Separate recordings for quartet and chorus contests Competitor CDs – One good quality CD for each contestant 15 minute recordings, if possible RECORDING INSTRUCTIONS The recording begins with the emcee's announcement of the contestant number and name, and ends with the initial applause following song #2. When recording to CD, each song should be on its own track. No more than 12 competitors should be on a single CD. RECORDING LEVELS In the quartet competition, a mic-testing quartet is used at the official inspection and at the beginning of the competition to establish the recording level. Use "louds" to set a volume level so that the indicator peaks or distorts only on extreme louds. Once the volume level is established, do not change it unless absolutely necessary. A recording with some distortion shows a true indication of the volume levels used by the contestants is preferable to one adjusted to boost a small-sounding group and quiet a full-sounding group. A mic-testing chorus is available during the official inspection so that the panel chair may check the sound and lighting systems. The recording level for the chorus contest should be checked at this time. Since choruses are farther from the microphones, it may be necessary to increase the volume from the level used for the quartet contest. During the performance of Contestant #1 some final adjustments may need to be made. Attempt to establish a final level at this time. TONE CONTROLS If the machine used has tone controls that affect the recording, record at a flat response.




Page - 8

LABELING CDs CD’s should be labeled prior to the competition as follows:

CD #_____ Contestant # ___- ____ ___, Region # ___ (Quartet/Chorus) (Year) Table of Contents:

Label the CD cover table of contents as follows:

Track 1-2 #1 Contestant Name

3-4 #2 Contestant Name 5-6 #3 Contestant Name Etc. NOTE: If a contestant has withdrawn, mark the name and number and note "Withdrawn."

Contestant CDs Label each CD with the contestant name and the contestant number. Record only one contestant on each CD.




Page - 9

INSTRUCTIONS TO REGIONAL PAGES For the Official Panel

Pages for the regional competition are appointed by the EVC and must be members in good standing of Sweet Adelines International. One page should be appointed for each competition session. Seating for the page should be made available near the panel secretary's table. A rest area with refreshments and restroom facilities should be provided separate from the official panel. General Responsibilities 1. Attend official inspection. 2. Assist the panel secretary by also keeping time during contest. 3. Following each contestant's performance, pick up the original and first copy of

the completed scoresheet from each judge after she has finished writing. (Do not wait until all judges have completed their scoresheets to collect all papers at once.) Give the original to the panel chair and the first copy to the panel secretary.

4. If the panel secretary discovers an error on a scoresheet, she signals that the

scoresheet must be returned to the panel chair during the next break. The panel chair checks the scoresheet and signals that it be taken to the appropriate judge, who corrects and initials both copies. After the correction, deliver them back to the panel chair and the panel secretary (original to panel chair and first copy to the panel secretary). Do not deliver any papers during a performance; wait until the contestant has completed both songs.

5. Be attentive to possible signals from the panel chair, panel secretary or a judge. 6. Empty wastebaskets at the beginning of each intermission and immediately

following each competition session. The OPL instructs where this should be done. If requested, replenish supplies for official panel members.

7. Remain in the judging pit at the conclusion of the contest until released by the

panel chair. Help the panel secretary as needed. NOTE: All information related to the judging and scoring of a regional competition is

confidential and should not be discussed with anyone at any time. Pages are not to read scores or comments and are not to write down any information relating to scores or scoresheet comments for any contestants. The panel chair will dismiss a page who does not maintain confidentiality.




INSTRUCTIONS TO REGIONAL PAGES For Trial Scorers Pages for the regional competition are appointed by the EVC and must be members in good standing of Sweet Adelines International. If the region has been notified that trial scorers will be in the region, one page should be appointed for each competition session. Seating for the page should be made available near the trial scorers' table, if applicable. A rest area with refreshments and restroom facilities should be provided separate from the official panel. General Responsibilities 1. Attend official inspection. 2. Following each contestant's performance, pick up the completed original

scoresheet from each trial scorer after she has finished writing. (Do not wait until all trial scorers have completed their scoresheets to collect all papers at once.) Clip together and maintain each trial scorer’s scoresheets separately.

3. Take all completed trial scoring papers to the rest area. 4. At the conclusion of each contest, collect any JP-1s from the trial scorers

and place in the appropriate packet. Trial scorers may choose to keep their observation forms.

5. Return all trial scoring scoresheets to the panel secretary. NOTE: All information related to the judging and scoring of a regional competition is

confidential and should not be discussed with anyone at any time. Pages are not to read scores or comments and are not to write down any information relating to scores or scoresheet comments for any contestants. The panel chair will dismiss a page who does not maintain confidentiality.




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l ris

ers

incl

udin

g 4t

h st

ep a

nd fl

oor.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ,

this

can

be

redu

ced

to 3

ʼ to

prev

ent

loss

of s

ound

.

This

con

figur

atio

n ac

com

mod

ates

up

to 7

0 ch

ous

mem

bers

com

forta

bly.

4ʼ

4ʼ 6”

6ʼ 6”

6ʼ5ʼ 6

”5ʼ

4th

Step

3rd

Step

2nd

Step

1st S

tep

Floo

r

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

33ʼ

5ʼ

5ʼ

17ʼ

GUIDELINES FOR REGIONAL CONVENTIONSFORMS/INSTRUCTIONS/DIAGRAMS

APPENDIX III


APPENDIX III

Dia

gram

for 9

or 1

1 - 4

ʼ sec

tions

of 1

8” c

hora

l ris

ers

WIT

HO

UT

usin

g re

vers

e se

ctio

n, a

nd in

clud

ing

4th

step

and

flo

or. S

olid

line

s in

dica

te d

imen

sion

s fo

r 9 s

ectio

ns, b

roke

n lin

es in

dica

te d

imen

sion

s fo

r 11

sect

ions

.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

sers

and

cur

tain

is 5

ʼ; th

is c

an b

e re

duce

d to

3ʼ t

o pr

even

t los

s of

so

und.

9 se

ctio

ns a

ccom

odat

es 7

0-90

cho

rus

mem

bers

; 11

sect

ions

acc

omod

ates

90-

110.

5ʼ

5ʼ

12ʼ 9”

34ʼ 9

”

4th

Step

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

3rd

Step

2nd

Step

1st S

tep

Floo

r

40ʼ 6

”

5ʼ

5ʼ

4ʼ 3” 4 3ʼ

9” 3ʼ 6” 3ʼ

3” 3ʼ

4th

Step

3rd

Step

2nd

Step

1st S

tep

Floo

r

6ʼ 6” 6ʼ

5ʼ 4ʼ 6” 4ʼ

5ʼ 6”

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

Dia

gram

for 7

- 6ʼ

sec

tions

of 1

8” c

hora

l ris

ers

WIT

HO

UT

usin

g re

vers

e (in

verte

d) s

ectio

n, in

clud

ing

4th

step

and

flo

or.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ;

this

can

be

redu

ced

to 3

ʼ to

prev

ent l

oss

of s

ound

.

This

con

figur

atio

n ac

com

odat

es 7

9-90

cho

rus

mem

bers

com

forta

bly.

5ʼ

5ʼ

36ʼ 3

”


APPENDIX III


APPENDIX III

4th

Step

3rd

Step

2nd

Step

1st S

tep

Floo

r

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

6ʼ 6

”

6ʼ

5ʼ

4ʼ 6

”

4ʼ

7ʼ

5ʼ 6

”

4ʼ 6

”

5ʼ

5ʼ 6

”

6” 6ʼ 6

”

Dia

gram

for 7

- 6ʼ

sec

tions

of 1

8” c

hora

l ris

ers

usin

g re

vers

e (in

verte

d) s

ectio

n, in

clud

ing

4th

step

and

floo

r.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ;

this

can

be

redu

ced

to 3

ʼ to

prev

ent l

oss

of s

ound

.

This

con

figur

atio

n ac

com

odat

es 7

9-90

cho

rus

mem

bers

com

forta

bly.

5ʼ

5ʼ

9ʼ 7”

39ʼ 6

”


APPENDIX III

5ʼ

11ʼ 6”

5ʼ

37ʼ 6

”

Dia

gram

for 1

0 - 4

ʼ sec

tions

of 1

8” c

hora

l ris

ers

WIT

HO

UT

reve

rse

(inve

rted)

sec

tion.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ (

as s

how

n); t

his

can

be re

duce

d to

3ʼ if

nec

essa

ry

to p

reve

nt lo

ss o

f sou

nd.

This

con

figur

atio

n ac

com

odat

es 8

0-10

0 ch

orus

mem

bers

com

forta

bly.

4th

Step

3rd

Step

2nd

Step

1st S

tep

Floo

r

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

4ʼ 3” 4ʼ

3ʼ 6” 3ʼ

3” 3ʼ

3ʼ 9”


APPENDIX III

5ʼ

22ʼ

50ʼ 4

”

4th

Step

3rd

Step

2nd

Step

1st S

tep

Floo

r

6ʼ 6

”6ʼ

5ʼ

4ʼ 6

”4ʼ

7ʼ

5ʼ 6

”

4ʼ 6

”5ʼ

5ʼ

6”

6” 6ʼ 6

”

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

Dia

gram

for 1

1 - 6

ʼ sec

tions

of 1

8” c

hora

l ris

ers

usin

g re

vers

e (in

verte

d) s

ectio

n, in

clud

ing

4th

step

and

floo

r.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ;

this

can

be

redu

ced

to 3

ʼ to

prev

ent l

oss

of s

ound

.

This

con

figur

atio

n ac

com

odat

es 1

20 o

r mor

e ch

orus

mem

bers

com

forta

bly.

Dia

gram

for n

ine

six-

foot

sec

tions

of 1

8” c

hora

l ris

ers

usin

g re

vers

e (in

verte

d) s

ectio

n, in

clud

ing

4th

step

and

floo

r.

Max

imum

dis

tanc

e be

twee

n fro

nt e

dge

of ri

ser a

nd c

urta

in is

5ʼ;

this

can

be

redu

ced

to 3

ʼ to

prev

ent l

oss

of s

ound

.

This

con

figur

atio

n ac

com

odat

es 1

00 o

r mor

e ch

orus

mem

bers

com

forta

bly.

5ʼ

5ʼ

13ʼ 1”

47ʼ 4

”


APPENDIX III

6ʼ 6

”4ʼ

6”

6ʼ

5ʼ

4th

Step

32” h

igh

24” h

igh

16” h

igh

8” h

igh

Leve

l

3rd

Step

2nd

Step

1st S

tep

Floo

r

5ʼ 6

”6”

5ʼ

4ʼ

7ʼ

4ʼ 6

”6ʼ

6”

5ʼ 6

”


APPENDIX III

Judg

ing

Pit D

iagr

am

Audi

ence

Stag

e C

ente

r

Judg

eJu

dge

Judg

ePa

nel S

ecre

tarie

s

8ʼ

(6

ʼ)8ʼ

(6ʼ)

8ʼ

(6

ʼ)

Judg

e

Tu

rn

in

at

cho

rus

bri

efi

ng

. T

his

fo

rm

MU

ST

be

use

d.

No

oth

er f

or

m w

ill

be

acc

epte

d.

20X

X R

EG

ION

AL

CH

OR

US

CO

MP

ET

ITIO

NS

AM

PL

E F

INA

L P

OS

E F

OR

M

CO

NT

. #

CH

OR

US

NA

ME

SO

NG

TIT

LE

Lis

t so

ng

titl

e an

d c

hec

k a

pp

rop

riat

e b

ox

to i

nd

icat

e if

son

g i

s an

up

tun

e or

a

bal

lad

. I

f a

med

ley

is u

sed

, li

st A

LL

son

gs i

ncl

ud

ed i

nth

e m

edle

y.

CH

OR

EO

GR

AP

HY

Bri

efly

des

crib

e an

y sp

ecia

l m

ove

s, i

nd

icat

ing

loca

tion

on

sta

ge.

FIN

AL

PO

SE

Bri

efly

des

crib

e fi

nal

bow

an

d p

ose.

Q B

AL

LA

D Q

UP

TU

NE

Q

PA

RO

DY

Q B

AL

LA

D Q

UP

TU

NE

Q

PA

RO

DY

NO

TE

:P

leas

e u

se l

aym

an's

ter

ms;

i.e

., d

on't

use

a c

ue

ind

icat

ing

the

nu

mb

er o

f m

easu

res

into

a s

ong.

OPT

ION

AL

LIG

HTI

NG

EMC

EES

WO

RK

List

song

title

s and

che

ck a

ll bo

xes t

hat a

pply

. If a

med

ley

is

used

, lis

t AL

L so

ngs i

nclu

ded

in th

e m

edle

y.

Plea

se c

heck

whi

ch so

ng is

to b

e ju

dged

as y

our c

onte

st so

ng.

Trad

ition

al W

hite

/Whi

te is

use

d du

ring

com

petit

ion

song

s. W

hite

, com

bine

d w

ith o

ne

addi

tiona

l col

or (R

ed, L

aven

der,

Blu

e, A

mbe

r, G

reen

, or M

agen

ta),

is fo

r non

-con

test

song

s on

ly. I

ndic

ate

addi

tiona

l lig

htin

g co

lor i

f de

sire

d.*I

f ava

ilble

from

regi

on.

Bri

efly

des

crib

e em

cee

wor

k an

d w

hen

it oc

curs

, tha

t is b

efor

e or

af

ter t

he so

ng.

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

Con

test

ant #

:

2016

Reg

iona

l QU

ART

ET O

pen

Div

isio

n C

ue S

heet

Qua

rtet N

ame:

You

MU

ST tu

rn in

a c

opy

of th

is fo

rm to

you

r re

gion

's C

ompe

titio

n C

oord

inat

or A

T T

HE

BR

IEFI

NG

. Thi

s for

m M

UST

be

used

. No

othe

r for

m w

ill b

e ac

cept

ed!

PLA

NN

ED A

CTI

VIT

Y

Bri

efly

des

crib

e an

y sp

ecia

l mov

es,

indi

catin

g lo

catio

n on

stag

e.

This

song

is:

U

ptun

e

Bal

lad

This

song

is:

U

ptun

e

Bal

lad

This

song

is:

U

ptun

e

Bal

lad

PLE

ASE

USE

LAY

MA

N'S

TE

RM

S; D

ON

'T U

SE A

CU

E IN

DIC

ATIN

G T

HE

NU

MB

ER

OF

ME

ASU

RE

S IN

TO A

SO

NG

Not

e: T

imin

g be

gins

at t

he fi

rst w

ord

spok

en o

r the

firs

t cho

rd o

f the

firs

t son

g, w

hich

ever

beg

ins t

he p

erfo

rman

ce, a

nd c

ontin

ues t

hrou

gh th

e fin

al c

hord

of t

he la

st so

ng o

r the

last

wor

d sp

oken

, whi

chev

er c

oncl

udes

the

perf

orm

ance

. The

pre

pare

d pr

ogra

m m

ust l

ist a

ll pl

anne

d ac

tivity

occ

urrin

g on

stag

e af

ter c

ompl

etio

n of

the

entra

nce

and

follo

win

g th

e of

ficia

l int

rodu

ctio

n. P

lann

ed a

ctiv

ity o

ccur

ring

prio

r to

the

first

wor

d sp

oken

or t

he fi

rst

chor

d of

the

first

song

, whi

chev

er b

egin

s the

per

form

ance

, will

resu

lt in

dis

qual

ifica

tion

if in

the

opin

ion

of th

e pa

nel c

hair

and

a m

ajor

ity o

f jud

ges o

n th

e pa

nel t

he ti

me

spen

t is e

xces

sive

and

resu

lts in

a d

elay

of t

he c

onte

st.

ENTR

AN

CE

is p

erm

itted

from

stag

e le

ft ( L

),

cent

er st

age

( C )

and

stag

e rig

ht (

R ).

* In

dica

te fr

om w

hich

dire

ctio

n ea

ch m

embe

r will

en

ter b

y m

arki

ng th

e ap

prop

riate

pos

ition

num

ber

with

a le

tter.

*If

offe

red

by re

gion

Page 1 of 2

1.

2.

4.

3.

OPT

ION

AL

LIG

HTI

NG

EMC

EES

WO

RK

List

song

title

s and

che

ck a

ll bo

xes t

hat a

pply

. If a

med

ley

is

used

, lis

t AL

L so

ngs i

nclu

ded

in th

e m

edle

y.

Plea

se c

heck

whi

ch so

ng is

to b

e ju

dged

as y

our c

onte

st so

ng.

Trad

ition

al W

hite

/Whi

te is

use

d du

ring

com

petit

ion

song

s. W

hite

, com

bine

d w

ith o

ne

addi

tiona

l col

or (R

ed, L

aven

der,

Blu

e, A

mbe

r, G

reen

, or M

agen

ta),

is fo

r non

-con

test

song

s on

ly. I

ndic

ate

addi

tiona

l lig

htin

g co

lor i

f de

sire

d.*I

f ava

ilble

from

regi

on.

Bri

efly

des

crib

e em

cee

wor

k an

d w

hen

it oc

curs

, tha

t is b

efor

e or

af

ter t

he so

ng.

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

Is y

our p

acka

ge st

artin

g w

ith sp

oken

wor

d?

Yes

No

Is y

our p

acka

ge e

ndin

g w

ith sp

oken

wor

d?

Y

es

No

This

song

is:

U

ptun

e

Bal

lad

PLE

ASE

USE

LAY

MA

N'S

TE

RM

S; D

ON

'T U

SE A

CU

E IN

DIC

ATIN

G T

HE

NU

MB

ER

OF

ME

ASU

RE

S IN

TO A

SO

NG

PLA

NN

ED A

CTI

VIT

Y

Bri

efly

des

crib

e an

y sp

ecia

l mov

es,

indi

catin

g lo

catio

n on

stag

e.

This

song

is:

U

ptun

e

Bal

lad

2016

Reg

iona

l QU

ART

ET O

pen

Div

isio

n C

ue S

heet

You

MU

ST tu

rn in

a c

opy

of th

is fo

rm to

you

r re

gion

's C

ompe

titio

n C

oord

inat

or A

T T

HE

BR

IEFI

NG

. Thi

s for

m M

UST

be

used

. No

othe

r for

m w

ill b

e ac

cept

ed!

Qua

rtet N

ame:

Con

test

ant #

:

Page 2 of 2

FIN

AL

POSE

Bri

efly

des

crib

e fin

al b

ow a

nd p

ose

at th

e en

d of

th

e pe

rfor

man

ce.

This

song

is:

U

ptun

e

Bal

lad

Cho

rus N

ame:

Con

test

ant #

:

OPT

ION

AL

LIG

HTI

NG

MIC

RO

PHO

NES

EMC

EES

WO

RK

PLA

NN

ED A

CTI

VIT

Y

List

song

title

s and

che

ck a

ll bo

xes t

hat a

pply

. If a

med

ley

is

used

, lis

t AL

L so

ngs i

nclu

ded

in th

e m

edle

y.

Plea

se c

heck

whi

ch so

ng is

to b

e ju

dged

as y

our c

onte

st so

ng.

Trad

ition

al W

hite

/Whi

te is

use

d du

ring

com

petit

ion

song

s. W

hite

, com

bine

d w

ith o

ne

addi

tiona

l col

or (R

ed, L

aven

der,

Blu

e, A

mbe

r, G

reen

, or M

agen

ta),

is fo

r non

-con

test

song

s on

ly. I

ndic

ate

addi

tiona

l lig

htin

g co

lor i

f de

sire

d.*I

f ava

ilble

from

regi

on.

Indi

cate

mic

(s) u

sed

for e

ach

non-

cont

est s

ong.

* C

ente

r sta

ge is

fix

ed in

the

quar

tet c

onfig

urat

ion.

*If a

vailb

le fr

om re

gion

.

Bri

efly

des

crib

e em

cee

wor

k an

d w

hen

it oc

curs

, th

at is

bef

ore

or a

fter t

he

song

.

Bri

efly

des

crib

e an

y sp

ecia

l mov

es,

indi

catin

g lo

catio

n on

stag

e.

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

SON

G T

ITLE

:

Contest S

ong? Yes N

o

Page 1 of 2

This

song

is:

Upt

une

Bal

lad

2016

Reg

iona

l CH

OR

US

Ope

n D

ivis

ion

Cue

She

etYo

u M

UST

turn

in a

cop

y of

this

form

to y

our

regi

on's

Com

petit

ion

Coo

rdin

ator

AT

TH

E B

RIE

FIN

G. T

his f

orm

MU

ST b

e us

ed. N

o ot

her f

orm

will

be

acce

pted

!

Not

e: T

imin

g be

gins

at t

he fi

rst w

ord

spok

en o

r the

firs

t cho

rd o

f the

firs

t son

g, w

hich

ever

beg

ins t

he p

erfo

rman

ce, a

nd c

ontin

ues t

hrou

gh th

e fin

al c

hord

of t

he la

st so

ng o

r the

last

wor

d sp

oken

, whi

chev

er

conc

lude

s the

per

form

ance

. The

pre

pare

d pr

ogra

m m

ust l

ist a

ll pl

anne

d ac

tivity

occ

urrin

g on

stag

e af

ter c

ompl

etio

n of

the

entra

nce

and

follo

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ID Number1234567891011121314

Director(s):

The number listed below is used in determining eligibility for the Division A Small Chorus Awards (15 -‐ 30) and the Division AA Mid-‐size chorus awards (31-‐60). Eligibility is determined by the number of singing members on stage.

TOTAL number of singing members on stage (director not included in count):

List of Competing Members

Should a complaint regarding ineligibility of any participant be registered with international headquarters within 30 days following the competition, and should that complaint be verified, we understand that our chorus will be disqualified and any rank earned will revert to the next highest scoring chorus.

Signed by:

Chapter President

Chapter Director

As officers of said chorus we certify that all participants in the Regional Chorus Competition in Region # _____ are in good standing in the chapter and the chapter is current in the payment of Per Capita Fees (processed at international headquarters).

NOTE: Regional competitions are considered to be the culmination of the region's fiscal year. When competitions are held after April 30 (the end of the fiscal year), "good standing" shall be interpreted as pertaining to the payment of Per Capita Fees for the fiscal year represented by the competitions, i.e., the year that just ended.

INSTRUCTIONS:Fill out the list below in ALPHABETICAL ORDER with members' information and signatures, or attach a list in ALPHABETICAL ORDER with the name, Sweet Adelines International I.D. number and signature of each performer including director(s) who will be appearing on stage. Should a performer not be able to compete after this form is completed, draw a heavy line through the entire line, and correct the TOTAL number listed below. Two copies of this form and the list of competing members (only if it is a seperate document) is to be submitted to the COMPETITION COORDINATOR during the chorus directors’ briefing at the regional competition. Please DO NOT mail to international headquarters.

Date of Competition: Region: Contestant Number:

Chapter Name:

Member Signature Member NameBy signing below, I agree to all competition rules as stated on the registration form and signed by the president and director.

15161718192021222324252627282930313233343536373839404142434445464748495051525354555657585960616263646566

CHORUS NAME:By signing below, I agree to all competition rules as stated on the registration form and signed by the president and director.


676869707172737475767778798081828384858687888990919293949596979899100101102103104105106107108109110111112113114115116117118


119120121122123124125126127128129130131132133134135136137138139140141142143144145146147148149150151152153154155156157158159160161162163164165166167168169170


171172173174175

♪ ♫

♪ ♫

♪

♫

Regional Quartet To place your vote for the Audience Choice Quartet,

simply tear off the attached sheet corresponding to the

performance you have selected.

Only quartets eligible for the Audience Choice Award have a ballot.

(Ballots will be collected at the end of all performances)

♪ ♫

♪ ♫ ♪

♫






♪ ♫

♪ ♫

♪

♫






Quartet Performance: Contestant # To designate this Quartet as the Audience Choice,

simply tear off and turn in this ballot sheet.











♪ ♫

♪ ♫

♪

♫

Regional Chorus To place your vote for the Audience Choice Chorus,



Only choruses eligible for the Audience Choice Award have a ballot.


♪ ♫

♪ ♫ ♪

♫






♪ ♫

♪ ♫

♪

♫






Chorus Performance: Contestant # To designate this Chorus as the Audience Choice,












REGIONAL COMPETITION AWARDS ORDER BLANK

NAME ID# REGION NAME #_____________________________ ADDRESS COMPETITION DATE _______________________ CITY/STATE/ZIP PHONE ____________________________________

QTY. ITEM # ITEM NAME UNIT PRICE TOTAL COST

JW0101 REGIONAL CHAMPIONSHIP CHORUS MEDAL $3.50/EACH

JW0102 REGIONAL SECOND PLACE CHORUS MEDAL $3.50/EACH

JW0103 REGIONAL THIRD PLACE CHORUS MEDAL $3.50/EACH

JW0107 REGIONAL FOURTH PLACE CHORUS MEDAL $3.50/EACH

JW0108 REGIONAL FIFTH PLACE CHORUS MEDAL $3.50/EACH

JW0310 1ST PLACE DIVISION A CHORUS MEDAL $4.00/EACH

JW0327 2nd PLACE DIVISION A CHORUS MEDAL $4.00/EACH

NV0014 2ND PLACE DIVISION A CHORUS AWARD RIBBONS (LAVENDER) $1.00/EACH

JW0328 3RD PLACE DIVISION A CHORUS MEDAL $4.00/EACH

NV0015 3RD PLACE DIVISION A CHORUS AWARD RIBBONS (LILAC) $1.00/EACH

JW0311 1ST PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

JW0329 2ND PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

NV0017 2nd PLACE DIVISION AA CHORUS AWARD RIBBONS (NEON PINK) $1.00/EACH

NV0018 3rd PLACE DIVISION AA CHORUS AWARD RIBBONS (LT. PINK) $1.00/EACH

JW0330 3RD PLACE DIVISION AA CHORUS MEDAL $4.00/EACH

JW0111 MOST IMPROVED CHORUS AWARD MEDAL (TURQUOISE) $5.00/EACH

NV0021 MOST IMPROVED CHORUS AWARD RIBBONS (TURQUOISE) while supplies last $1.00/EACH

NV0058 AUDIENCE CHOICE CHORUS RIBBONS (STEEL LILAC) $1.00/EACH

NV0059 AUDIENCE CHOICE QUARTET RIBBONS (STEEL LILAC) $1.00/EACH

NV0008 GOLD AWARD CERTIFICATES (PKG. OF 5) IMPRINTED WITH EMBLEM IN BLUE $5.00/PKG.

1ST - JW0312 2ND - JW0313 3RD - JW0314

REGIONAL QUARTET 1ST - 3RD PLACE MEDALS SET OF TWELVE $252.00/SET

JW0315 REGIONAL QUARTET 4TH PLACE MEDALS, SET OF FOUR $74.00/SET

JW0316 REGIONAL QUARTET 5TH PLACE MEDALS, SET OF FOUR $74.00/SET

SHIPPING, HANDLING & INSURANCE (all prices in USD($)): United States $20.00 Canada $25.00 Outside US/Canada $30.00

TOTAL

CHARGE TO: □ MASTERCARD □ VISA □ DISCOVER

CARD NUMBER ┌─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┬─┐ └─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┴─┘ EXPIRATION DATE / / SIGNATURE Be sure all numbers and expiration date are given and listed correctly. A $10 service charge will be assessed on all returned checks. MAIL TO: SWEET ADELINES INTERNATIONAL OR FAX (918) 665-0894 ATTN: Sales Department OR E-mail [email protected] 9110 S. Toledo Ave. [email protected]

TULSA, OK 74137 PAYMENT MUST ACCOMPANY ALL ORDERS Visa/MasterCard/Discover Orders accepted by phone, fax, or web

SWEET ADELINES INTERNATIONAL • 9110 S. TOLEDO AVE. • TULSA, OK 74137 • PHONE 918-622-1444 • FAX 918-665-0894 TOLL FREE SALES DIRECT 877-545-5441

APPENDIX IV

GUIDELINES FOR REGIONAL CONVENTIONS Appendix IV Page 1


Sweet Adelines

Microphone and Sound System Guidelines

This document establishes a common source of microphone and sound system guidelines for the membersof the Sweet Adelines. These guidelines provide:

C A level of understanding and confidence for discussing microphone and sound system requirementsfor quartets and chorus groups with venue and contract sound engineers. You will know why to askfor specific equipment and setups as well as what to ask for.

C A consistent microphone and system design technique to be used at local, area, and district levelevents.

The MicrophoneThe beginning of the sound system chain is the microphone. No sound system can make up for poormicrophones, and no show–whether it is held in the local grange hall or on the international championshipcompetition stage–will provide a fair representation of the talents of the performers to the audience withoutgood microphones.

Microphone RecommendationsAny reasonably large city will have an audio rental company that will provide - via UPS if necessary - rentalmicrophones of studio quality. Rental rates vary, but you can expect to pay about twenty dollars permicrophone per day of usage. You do not pay for the time during which the microphones are in transit, onlywhen they are in use.

The following lists provide the names of commonly available small diaphragm cardioid condensermicrophones, which are suitable for use with both quartets and choruses. We do not recommend largediaphragm condenser microphones - the choice for vocal recording - for Sweet Adelines events. When floormonitor speakers are used at the singing position, the typical loss of pattern control at low frequencies inthese microphones results in feedback. In simple terminology, the monitor is picked up by the microphonesand re-amplified; causing what is known as feedback. Small diaphragm microphones provide better lowfrequency pattern control and therefore can be used successfully with floor monitor speakers.

Recommended Microphones

“A” List “B” List

Sennheiser MKH 40 AKGC391B

Audio-Technica 4051a AKG C460-CK61 or 480-CK61

AKG C451B AKG C460-CK61 or 480-CK61

Schoeps MK4 AKG C451E

Neumann KM140, KM84, KM 184 Shure SM81

DPA 4011



Figure A

Figure B

Quartet Microphone SetupA pair of the same microphones, such as two DPA 4011's cardioid condenser microphones, should bemounted to a single mic stand using a device called a “stereo bar.” A stereo bar is a simple flat bar thatattaches at the center of a standard mic stand and has a slug at each end for attaching a standard mic clip tothe bar. Microphones attached in such a manner can then be aimed by adjusting the clips to point the capsulesin relationship to the performers.

Choosing a Mic StandIf the stage is a permanent one, we recommend an Atlas Soundolier MS25 stand with a boom attachment.This is a heavy-duty stand with a tripod-shaped heavyweight cast iron base. It is capable of supporting themicrophones on a boom without additional weights to hold the stand in place. The boom attachment placesthe vertical portion of the stand out of the way of hand gestures by the performers.

Aligning the MicrophonesThe microphones should be at mid-chest height for a “standard” five-and-a-half-foot tall barbershop singeror higher. The microphones should be adjusted so the capsules are at the same point in space, perfectlyaligned vertically with one atop the other, and as close as possible without the microphone bodies touchingeach other (Figure A). Since you can actually see the capsules on most of the microphones we recommend,this should be easily accomplished before placing the windscreens on the mics.

When viewed from the top, looking down at the mics (Figure B), the capsules should create a pickupradius of about 180 degrees horizontally. So, if you begin with the capsules 90 degrees to each other andincrease that angle by moving the capsules another 15 degrees each, you should be close to correct. Thecapsules should appear to crossfire and aim at quartet singing positions one and four. Only mic-tests,which are described later, will confirm the accuracy of the alignment.



Marking the Toe-Line RadiusThe next essential step–critical in competition but proper for shows as well - is to mark a standard radiuson the floor that the performers are not allowed to cross. This “toe-line” radius should be approximately36 inches from the center point of the microphone setup. Mark the floor with white tape or some otherhighly visible method that the performers will be able to see even with stage lights in their eyes.

Placing the Floor Monitor SpeakersFloor monitor speakers should be placed behind the microphones, between the lip of the stage and therear of the microphone array. Place the speakers as close to the vertical mic stand as possible, and angledout to face the performers. One speaker should serve performers one and two, and the other should serveperformers three and four.

The speakers should project sound toward the least sensitive area of the microphone pattern. Withcardioid microphones, the least sensitive area is the backside of the capsule; therefore, you would aim thespeakers at the tail of those microphones. Slight adjustments may be necessary to find the best sound gainbefore feedback, but generally this location will serve the needs of the performers. Adjustment ofmonitor EQ will be necessary to maximize the available gain before feedback. You will need theassistance of the person operating the sound system to make this adjustment, and you should suggest thefirst adjustment to be a reduction in the very low frequency response to the speaker.

Testing the MicrophonesThe off-axis pattern variations of the microphones are sufficiently different to require the followingsteps, although the setup may appear to match the preceding instructions. Perform the following steps totest the microphones:

1. A single person, a talker, should alternately stand at quartet singing positions one and four,speaking directly on axis to each other microphones, while the sound system operator adjusts thesignal levels to match when heard in the house speakers. An appointed listener should be in thehouse to confirm this matching process.

2. The talker should stand exactly between the microphones and, while speaking, move his headwithin a one-foot side-to-side distance to assure that no coloration of the sound occurs betweenthe pickup of the two microphones. This sound variation is caused by “phasing,” which is a timedomain problem between the two capsules.

To fix a phasing problem, move one microphone along its own axis, in towards the othermicrophone or out away from the other microphone, until no “seam” or sound variation in thecoverage area can be discerned. It is important to retain the angle of the capsules to each otherand move only the relationship of the capsules in the horizontal plane. The mechanical centerbetween two microphones and the acoustical center between them may not be the same due to thephysical makeup and construction of the particular microphone model. This is a result ofconstruction techniques employed to tune the pickup pattern to the manufacturer’s designcriteria.

3. Confirm that this pair of microphones picks up all four voices with equal level. The talker shouldspeak into the mics while moving around the toe line through the four singing positions. Thelistener should perceive no apparent level difference for those four positions.



To verify the mic levels:

If the two outside singers appear to be louder than the two center singers, reduce the angle of themics from the 110-120 degree setup to a setup closer to 90 degrees.

If the center singers are too loud, increase the angle of the mics beyond the 120-degree point.This is a subtle adjustment. A couple of degrees will make a difference. Be sure to recheck thecenter pickup point if you have to make this change.

Proper setup and testing will result in a microphone array that will provide an accurate and sonicallyawesome representation of the quartet’s barbershop sound that will both interface with a mono soundreinforcement system and also provide an excellent stereo pickup for recording.

Quartet Sound System SetupWe recommend that you bring a quartet or chorus recording with which you are very familiar to thevenue and play it back over the system. To adjust the sound system, perform the following steps:

1. Walk throughout the seating areas and listen to how the system reproduces the music. Thisprocedure is also advisable for selecting a venue for a barbershop performance.

2. After comparing the sound of the recording as you know it sounds, to how the music sounds inthe hall, ask the sound system operator to make any necessary equalization adjustments - bassand treble control changes - on the CD input modules of the mix console until the recordingsounds correct. Explain to the system operator that you want the live show sound to have thesame tonal qualities as the recording.

3. Find a willing and capable quartet to test the mics. Have them take the marked positions and singwhile you and the system operator fine tune the sound. Take your time doing this. Do not rushthe process. Make small adjustments until you are satisfied.

4. Make it clear to all concerned that the system is not to be further adjusted by anyone before showtime except upon request of the panel chair. Final system tuning is best done when the hall isfull, as described next.

5. When the audience is in place, you may find that the overall sound level control will have to beincreased to compensate for the changes in acoustics that result from the hall being full ofpeople. Small changes in equalization may also be necessary.

6. The final tuning will be done during the inspection under the supervision of the panel chair. Thiscooperative effort should assure that the panel will accept the competition mic-testerperformance with little or no request for further adjustment of the sound system.

Chorus Microphone Setup and Sound System TipsThe microphones listed earlier in this document also can be used for reinforcement of a chorus.

Placing the Chorus MicrophonesThree to five microphones should be used, depending on the size of the chorus. These mics should be



hung six to eight feet in front of the front edge of the first riser step, and in an arc matching that of therisers. The axis of the microphone should be aimed down at the mouths of singers on the middle row ofrisers.

When choruses perform all or a portion of a selection off the risers, we recommend that microphonesdesigned to be placed on a flat horizontal surface, such as the Crown PCC 160, be used at the lip of astage. For example, when choreography is part of the stage presentation, these microphones will assist inretaining the full choral sound while the group is away from their riser positions. Place threemicrophones at the lip of the stage, one in the center and two others spaced eight feet on each side ofcenter, all three placed eighteen inches upstage from the lip.

Floor microphones are used only if microphones cannot be suspended. Two or three are placed on boom-type stands in the pit with their levels set equally. Floor microphones often pick up noise of footmovement and may distort the audience and recording sound.

Final approval for the use of sound amplification rests with the panel chair. If she determines during theon-site inspections or mic-testing performances that amplification is excessive or that it interferes withthe panel's evaluation of the contestant performances, she has the prerogative to request that the gain belowered or that amplification not be used. The sound technician should be instructed that once the sound



system has been approved by the panel chair, no changes are to be made except as authorized by her.

Testing the Chorus MicrophonesFollow the same guidelines as for the Quartet Microphone Setup.

1. Make sure that a talker walks the risers from end to end while a listener helps the sound operatoradjust the microphone levels until they are matched in the house. Have the talker walk forwardinto the choreography performance area of the stage and adjust the floor microphones to providereinforced sound when chorus members are off the risers. These microphones should augmentthe hanging riser microphone sound, not overpower them at any time.

2. Listen to a known CD source and adjust the sound in the house so the sound system operatorsknows your goal for finished sound.

3. Proceed with a thorough sound check with a mic-testing chorus. Take the time to make theadjustments required.

4. The final tuning will be done during the inspection under the supervision of the panel chair. Thiscooperative effort should assure that the panel will accept the competition mic-testerperformance with little or no request for further adjustment of the sound system.

APPENDIX V

GUIDELINES FOR EVALUATION BY VIDEO Purpose Choruses and quartets have the option to submit a video recording for evaluation, either International Division or Open Division, by the official panel for their regional/area competition. These options are exercised when a chorus or quartet wants the educational benefit of the evaluation but is unable to perform on stage during the annually scheduled regional/area convention. These options may prove invaluable to a chorus or quartet that cannot routinely compete every year because of expense or other reasons. It could also relieve some of the stress of the host chorus if it chooses this option rather than performing on stage along with its hosting responsibilities. Any registered quartet or chartered or prospective chorus is eligible to exercise one of these options. Note: Evaluation refers to both International Division and Open Division unless otherwise noted. Members of choruses or quartets who choose this option are still encouraged to attend their regional/area convention. Entry Procedures A chorus or quartet choosing to submit a video recording for evaluation must complete the following steps:

1. Submit a formal entry form and registration fee, adhering to all established entry deadlines: a. Choruses or quartets may choose to submit a video recording only to their

assigned region/area. b. A quartet or chartered or prospective chorus in the Satellite Area may choose,

with the approval of the Senior Director of Music Education and Member Services, which region it will participate in. This approval must be obtained at least 90 days prior to the competition date.

2. Submit the video recording, prepared in accordance with the requirements listed below, to the competition coordinator the week prior to the competition date or deliver the video to the CC, or her designee, on the Thursday of the convention weekend. Discuss with the CC well in advance of the competition which method will best fit the needs of the chorus or quartet. It is the responsibility of the chorus or quartet to ensure that the CC, or her designee, receives the video recording at the designated time.

Requirements for Video Recording

1. Ideally, the video camera used to record the performance should be able to take direct sound input from balanced microphones. If not, the DVD should be checked to ensure that the quality of the recording is sufficient for an effective evaluation.

2. One to three cameras should be used. The camera(s) should be on a stand and not hand-held.

3. The recording is to be submitted on a DVD. 4. The facility and the lighting should be suitable for a competition performance. Lighting

is to be uniform for the entire performance and no special effects are to be used. 5. Camera shots should be taken with the showmanship judge in mind. She needs to see

GUIDELINES FOR REGIONAL CONVENTIONS APPENDIX V Page - 1


facial expression, choreography, full shots, etc. It is recommended that during ballads there should be more close-ups and panning. During uptunes, wide angle shots are usually more effective for choruses and long shots should frame the chorus. Be sure to have a variety of shots without creating a jumpy video or giving the viewer a feeling of a rolling sea.

6. At the beginning of the recording, an individual is to introduce the contestant, announcing the name of the chorus or quartet. For choruses, the announcement should also include the director’s name and official location.

7. If performing for evaluation in the International Division, the chorus or quartet will perform two contest songs. If performing for evaluation in the Open Division, the chorus or quartet will perform one contest song, a minimum of one non-contest song and emcee work. The performance is subject to all contest rules, such as timing, content, etc. and should include a formal bow.

8. Microphones should be used for Open Division competitors to ensure emcee work is heard.

9. Choruses must be on risers. The chorus or quartet’s members should be in full costume and make-up. The make-up must be applied in such a manner that is appropriate for video recording.

10. The submitted video recording is the property of Sweet Adelines International and will not be returned to the chorus or quartet.

General Procedures 1. Music Services will notify the panel chair, competition coordinator and official panel

liaison of the regions/areas involved of the names of the choruses or quartets planning to submit video recordings 45 days prior to the competition weekend.

2. The competition coordinator will give the recordings to the panel chair along with the other judging papers. Scoresheets and contestant envelopes will be provided by Music Services.

3. The official panel will review the DVDs submitted for evaluation immediately following the viewing of the level DVD for the appropriate session and prior to the start of the official contest. Sufficient time must be allowed by the panel for this purpose.

4. The official panel will complete the scoresheets using a level score rather than a number. The original copy of the scoresheet will be placed in the competitor envelope and mailed by the official panel liaison to the evaluated chorus or quartet. Pre-paid postage will be on the envelopes whenever possible. If pre-paid postage is not available, the official panel liaison should submit a copy of the receipt to the Senior Director of Music Education and Member Services within 45 days for reimbursement.

5. One copy of the scoresheet, along with the video recording, is to be returned to Music Services by the panel secretary. This is to be included with the other competition material.

Restrictions 1. Submitting a video recording for evaluation does not replace the existing rule

requiring choruses to compete every three years in order to maintain their charter. 2. Choruses or quartets submitting a video recording are not eligible for any prizes or

awards. 3. A chorus or quartet submitting a video recording for evaluation may not perform on the

regional contest stage for Evaluation Only, International Division or Open Division in the same year.

GUIDELINES FOR REGIONAL CONVENTIONS APPENDIX V Page - 2


Guidelines for Regional Conventions Handbook

Documents

Transcript of Guidelines for Regional Conventions Handbook