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At the dawn of the baby boom era, women who enjoyed
singing close harmony formed an organization known today as Sweet
Adelines International, a respected source of education in the
barbershop style.
The date was Friday, July 13, 1945 when Edna Mae
Anderson of Tulsa, Oklahoma brought a few women together in her
home. There will be only two requirements for admission, newspaper
accounts of the day read. The meetings will be for women, only,
and no prima donnas are wanted.
The article continued, “The
organization (named Sweet Adelines on August 13th) is going to be
all for fun, and we want plenty of members who are interested in
having a good time and who enjoy singing.” Mrs. Anderson got more
than she bargained for.
By year’s end, the chapter incorporated in
Oklahoma. Anderson was the president. It had 85 members and a
chapter name, Atomaton (We have an atom of an idea and a ton of
energy) that recognized the new nuclear age.
Within four years, the organization had grown to 1,500 members
singing in 35 chapters and 60 quartets in 14 different states,
adopted bylaws, and elected national officers. It created a system
for annual national competitions to select the best women’s
barbershop quartet. Chorus competitions were added in 1973.
These pioneer members possessed singing experience that ranged from
talented amateur and semiprofessional to graduates of
baccalaureate vocal music programs. They brought experience as
working women and homemakers into the organization and infused it
with their determination and organizational abilities.
Systems of governing and parliamentary procedure, finances and
leadership development which they created have stood the test of
time and remain virtually unchanged, though updated in response to
technological advances.
The original purpose for which Sweet Adelines was organized in
1945 was educational; to teach and train its members in musical
harmony and appreciation, Anderson stated.
One goal was to create
and promote barbershop quartets and other musical groups. Another
goal was to give public and private performances for learning and
general appreciation of all the things pertaining to barbershop
music.
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BARBERSHOP MUSIC
INFORMATION STYLE |
Barbershop music has four parts: tenor, lead,
baritone and bass – with melodies that are easily remembered.
Barbershop harmonic structure is characterized by:
* a strong bass line
* melody in an internal part
* complete chords without any non-chord tones
* mostly major triads, dominant 7th chords and dominant 9th chords
with
other chords used in passing as required by the implied harmony
* traditional harmonic movement and resolutions
Barbershop has a recognizable form using lyrics that are clear and
understandable. Properly tuned barbershop chords are congruent
with the physics of sound, creating an overtone when sung at their
best.
Energy and physical involvement are required from the barbershop
singer in a degree of intensity not usually found in other choral
forms. An important and vital part of an uptune is rhythmic
interest.
Barbershop music is emotionally satisfying to both the listener
and the performer.
But the best part is ……….
You can’t do it alone
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