Minutes of Sacred Harp Singings

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Camp Fasola

Camp Lee, Anniston, Alabama

July 3-7, 2006

Monday, July 3

Arrival and check-in began at 4:00 p.m., followed by dinner at 6:00 p.m. and an orientation meeting and class singing.

7:30 p.m.—Monday Night Class Singing

Camp Director David Ivey welcomed over 140 campers of all ages to the fourth annual session of Camp Fasola. He noted that this was the largest session so far. The total number of 147 (t? b?) included fourteen teachers and counselors and 133 total registered campers, of whom sixty were youth, and eighty-seven were adults. Campers came from twenty-one U.S. states, two Canadian provinces, Korea, and Switzerland.

Camp counselors and teachers were introduced; rules were explained.

Leaders: Jeff Sheppard 34b; David Ivey and Karen Ivey 37b; Coleman Berueffy, Turner Berueffy, and Thomas Willard 282; Liz Meitzler and Rachel Ivey 312b; Drew Smith, Blake Sisemore, and Rodney Ivey 142; Judy Caudle 76t; Sarah Jenkins, Micah Rodgers, Cheyenne Ivey, and Jennifer Latimer 354b; Lela Crowder 122 (for Bobby Jackson); Tom Malone and Jesse Pearlman Karlsberg 299; Bridgett Hill and Malik Williams 87; Lynne deBenedette and Laura Clawson 203; Shane O’Neal 49b; Dana Borrelli and Jennifer Allred 300; Karen Willard 35; Aldo Ceresa 430; Jo Pendleton and Jonathan Pendleton 24 (t? b?); Amanda Reeves, Amber Reeves, and Annie Reeves 551; Rachel Allred and Allison Dodson 215; Katy Moore and Annie Grieshop 189; Joyce Walton and Shelbie Sheppard 414; April Dell, Mary Elizabeth Lee, and Kendra Strickland 358; Joanne Fuller 48t; Blake Tanedo, Brian Tanedo, and Marvin Reeves 128; Sam Sommers 569t; Julie Lee and Riley Lee 47b; Liz Meitzler 67; Idy Kiser, Andrew Kiser, Caleb Kiser, and Tony Kiser 39t; Max Berueffy 138t.

David Ivey complimented the class for staying together and noted that it was a very good singing, especially for the first night (he noted that there had been class singing improvements during camp week every year). He reminded campers that they would be experiencing a variety of teaching styles and should take advantage of each one. A question was asked about how to avoid hoarseness, and it was recommended that campers get rest, drink plenty of water, and take care not to strain their voices.

The devotional was given by Sam Sommers, and a special blessing was asked for Bobby Jackson.

Tuesday, July 4

9:00 a.m.—Rudiments Sessions

After breakfast there were three sessions on the rudiments. The adult session was taught by Hugh McGraw, David Ivey taught the older youth, while Joyce Walton and Judy Caudle worked with the younger children.

Hugh McGraw was introduced by Jeff Sheppard, who referred to Mr. McGraw’s long singing experience, including his travels to support many singings around the country, and his role in publishing the Sacred Harp songbook.

Hugh McGraw began by asking new singers to raise their hands, and then asked the entire class to consider how they would answer the question “What is music?” He mentioned some of the history behind the fa-sol-la notes used in Sacred Harp (SH), including the fact that the rudiments developed from an ancient written scale. He noted, though, that merely reading the rudiments would not teach one to sing, pointing out that one could, after all, read a book about how to swim but never learn to do it, and fall out of a boat and drown despite the reading. He led the class in singing scales, first major, then minor, noting that the most important aspects of SH singing are tonality, time, and accent. The class was asked how to tell whether a tune is major or minor (by looking at the last bass note). Mr. McGraw referred to the time signatures used in SH and showed how to beat time for each. He pointed out that pitching is relative (not keyed to any instrument), and that the key given out by the keyer may vary a bit depending on time of day, tune called, number of singers, etc., but will generally be close to the written key. He opined that singers who lead should be able to key their own songs, although he recognized that most leaders depend on a front-bench tenor to do this, and many leaders rely on the front bench to set the pace of the tune as well.

Individual members of the class were called up to lead, which led to further observations on leading practice and keying. Leaders: Mike Thompson 111t; James M. Wagner 480; Lynne deBenedette 48t; Bill Caldwell 344; Tom Malone 283; Pamela Regan 71; Aubrey Hemminger 84; George Sigut 341; Aldo Ceresa 203; Keith Willard 32t; Ann Webb 142; Kristie Harju 39t; Janet Szymanski 82t; Jennifer Allred 378b; Liz Meitzler 131b.

Mr. McGraw concluded by noting the great number of scheduled days of singing available to us each year and closed with 462.

10:30 a.m.—Morning Elective Session

After a snack, campers had a choice of outdoor activities or exercise. During the same hour Hugh McGraw gave a well-attended and informative elective class on the history of the Sacred Harp Publishing Company. He began by noting that the book had been revised four times, but that songs had been added at other points, as well. He related some of the history behind the 1936 edition, including the Denson purchase of the copyright from the James family, and the process of selling $25 shares to finance publication. He described Paine Denson’s work on the content of the revision, the removal of songs from the James book and addition of new tunes, and mentioned a difficulty that arose then when a favorite song of a particular family was dropped. He spoke about the 1960 changes to the book, and related some of the history surrounding the copyright renewal in that year. A number of songs were added, but he and others in attendance recalled that a few of its peculiarities (paper used, binding) made the first printing a less than satisfactory book.

Mr. McGraw’s talk gave the class a good sense of how the process of adding and dropping songs from the book worked over the years. Songs were added at several points, but there was generally great care taken before dropping a song, and committee members working on revisions (in particular the 1991 edition) had to make a very good case for removing a tune. David Ivey pointed out that there were no major disagreements in the committee, notwithstanding that it included singers from different parts of the country. In answer to a question about how the next revision will be done, McGraw replied that he expected that candidate songs will be collected and tried first before any decision would be made to add them to the book. He noted that while many songs are composed, relatively few find their way into the book, even in the case of experienced composers who already have tunes in the book.

The rest of the hour was devoted largely to personal reminiscences of other singers with whom Mr. McGraw worked on the editions and at the Publishing Company.

1:00 p.m.—Sacred Harp’s Patriotic Heritage

All campers convened after lunch for a class taught by John Plunkett about songs of a patriotic nature. John Plunkett mentioned the military experience of members of the B.F. White family, including service in the War of 1812. He asked several campers to lead specific tunes, and offered comments between some of the songs on their history, discussing the meaning and context of the poetry or the popularity of a given song at particular times.

Leaders: Karen Ivey 36b; Jesse Pearlman Karlsberg 110; David Ivey, Rodney Ivey, and Josh Rogan 137; Joyce Walton 148; Aldo Ceresa 160t; Shelbie Sheppard 242; Jeff Sheppard 334; John Plunkett 346; Mary Elizabeth Lee 358; Tom Malone 479. John Plunkett recognized all those who had served in the armed forces, and Hugh McGraw and Josh Rogan led 487. Leaders: Max Berueffy 280; Julie Lee 340; Joel Jenkins 76b; Gary Rogan, Liz Rogan, Katherine Rogan, and Josh Rogan 319; Pete Matthewson 569b; Mike Hinton and Sam Flory 490; Michael Thompson 318; Donna Bell and Paige Gilbert 568 (for Bobby Jackson); John Plunkett “My Country ‘Tis of Thee” from the Cooper Book. The class closed with prayer offered by Sam Sommers.

2:30 p.m.—Afternoon Elective Session 1

In addition to the recreational outdoor activities offered at this time, there were two elective classes. Tom Malone taught a class on the composer Jeremiah Ingalls and his tunes; Jeff Sheppard and Shelbie Sheppard, joined by Hugh McGraw and Joyce Walton, shared reminiscences about singing. In the latter session Jeff Sheppard described his first memories of being taken to singings in the 1930s, when, as he put it, he was “underfoot most of the time.” He spoke of how members of his family moved to Fitzgerald, Georgia, in the 1920s and, along with other transplanted Alabamians, worked toward the growth of SH singing in that area. Mr. Sheppard spoke of always having known a lot of SH singers, and of the way that singing accompanied him through days of working and traveling (at lunch time, in the evenings, even going somewhere by car). He and Hugh McGraw told how they’d met after McGraw had begun singing, and they both noted how long-lived and durable their SH friendships have been. The Sheppards and McGraw went on to describe some of the adventures they’d had in years of traveling to singings. Joyce Walton said that she’d started singing in 1952, and at singings had met the Sheppards and McGraw, as well as a number of other singers. She considered that she owed SH people a good part of her life, and noted how SH draws people closer together. Shelbie Sheppard remarked that she was sure those in the class would collect memories as well, including who liked to sing a particular song, how one made the acquaintance of specific singers, and what one remembered happening at particular singings.

4:00 p.m.—Rudiments Review

Three sessions were held concurrently to review the rudiments. Karen Willard took the adult class, Jeff Sheppard worked with more experienced adults, and Hugh McGraw took the class for young people. He had the class sing the scales, both major and minor, and went over rudiments connected to length of notes, repeats, and beating time. The class was encouraged to practice every day. Then individual class members were called up and asked to lead and (when possible) key their songs.

Leaders: Brian Tanedo 59; Shane O’Neal 33b; Jason Hollis 32t; Bentley McGuire 53; Blake Tanedo 100; Katy Moore 384; Lauren Hall 455; James S. Wagner 504; Riley Lee 49b; Rebecca Eldridge 37t; Rachel Shavers and Rachel Ivey 324; Malik Williams 87; Drew Smith 30b; Rachel Allred 216; Hugh McGraw 46.

5:00 p.m.—Afternoon Elective Session 2

During this hour campers had a choice of either recreational activities or two SH elective sessions. Rene Greene helped campers test their knowledge of all things SH in the first of two Sacred Harp Game Shows. David Ivey led a class on the basics of leading. He began by reminding the class, first, to observe other leaders and watch what they do; second, to note that leading is equal parts confidence and humility. He cautioned the class that leading is not meant to be any kind of performance or conducting, noting that “it’s not really about you.” Leading, he said, is about what you can do to help the class sing a song, and in SH we call it “leading a lesson.” Leading, he went on, is perhaps connected to democratic roots of our country, certainly in the sense that SH singers want everyone to have a chance to lead. The most basic requirement is that you be willing to do it, bearing in mind that experienced SH singers enjoy watching (and helping) new people lead. The front bench of the tenors will help leaders both new and experienced, and is there to do as much or as little as the leader needs.

What is necessary for leading? First, preparation. Have in mind songs you know and have worked on (listen to recordings), and have more than one song, in case yours is used before you are called. You should look at the time signature of the song; make sure you know whether to beat in two or in three, and whether the song starts on a downbeat or with a rest, so that you would start singing on the upbeat. Check to see if there are repeats. Many songs have repeats, but you don’t necessarily need to use all of them. You definitely don’t want to repeat more than one verse (repeat only the last one). As for singing through a song from notes to words with no loss of time (not stopping between notes and words, or between verses), Mr. Ivey said that he does not prefer the practice because it often isn’t clear whether the leader is repeating or starting the next verse. If a song begins on an upbeat, it is perfectly fine to beat out the initial rest, although not many people in practice tend to do it.

The mechanics of leading: face the tenors, especially at the start of the song. If you can, sing the tenor part; if you can’t do this yet, it’s something for you to work toward doing. When the pitch is given, sound it, and sing the notes and words. If it’s a fugue, don’t worry about turning to bring in the parts, if you are not yet comfortable doing so; it’s more important to keep moving your hand according to the beat. If the song has a bird’s eye, don’t hold it too long and run people out of breath, and watch the front bench if you need that support. When your song is over, don’t bow, or do anything as though you’d just finished a performance, because that’s not what leading is. Mr. Ivey went over the comments in the rudiments about beating time, emphasizing the need for modest strokes (no large swings or grabbing motions). If the song is fast, your strokes will be shorter, as it’s difficult to beat time quickly with a longer arm motion.

The class practiced by singing 34t with everybody leading, as well as 39b (emphasizing beating through to the end of the last measure), 155, and 348b (to practice triple time). The class then heard about tempos: the ideal speed, although at the leader’s discretion, is meant to be neither too slow nor too fast. The class practiced 43, which has a change in time, and it was noted that the class has a responsibility to the leader, just as the leader has to the class: paying attention, singing and remembering to sound the chord when the key is given (throughout the day), and looking up to watch the leader. The lesson closed with a reminder to leaders to be courteous, not to do all the verses of a song, and to smile and enjoy the experience.

7:00-8:30 p.m.—Tuesday Evening Class Singing

Leaders: Tom Malone 371; Trevor East and Riley Lee 47b; Eugene Forbes 162; Annie Grieshop 40; Jason Hollis 142; Scott Kennedy 68b; Allison Dodson 300; Terry Wootten 345b; Aubrey Hemminger 178; Joyce Walton 383; Kristie Harju and Karen Swenson 278b; James S. Wagner 53; Adrian Eldridge, James Eldridge, Katherine Eldridge, Rebecca Eldridge, and Virginia Eldridge 277; Janet Szymanski and Liz Meitzler 235; Marvin Reeves, Brian Tanedo, Blake Tanedo, and Brittany Tanedo 218; Mary Elizabeth Lee and Kendra Strickland 171; Pam Regan and Joanne Fuller 179; Ann Webb 384; Cheyenne Ivey, Paige Gilbert, and Jonathan Pendleton 354b; Rodney Willard and Barbara Willard 63; Linda Marker and Liz Meitzler 159; Connie Stanton 497; Mike Thompson 163b; Lauren Hall and Blake Sisemore 376; Mike Hinton 340; B.J. Schnorenberg and Tony Kiser 87; Bentley McGuire 168; Beverly Coates 143; Glenn Latimer, Leah Latimer, Austin Latimer, and Jennifer Latimer 358; Richard Schmeidler 473.

Beverly Coates gave the devotional, contrasting things of substance with things that lack substance. She noted that SH is a lasting joy, and that all of us, especially the young people, are blessed to have it. The class was requested to look at the first two verses of 176b, and younger singers were reminded how good it is to have peers who are also SH singers, how singing has helped both younger and older singers get through difficult times, and how important it is to take advantage of these gifts while we can. She reminded the class to go to every singing possible, and to take every opportunity you have to lead, because we don’t know what lies ahead. The class sang 176b, and the closing prayer was given by Terry Wootten.

Wednesday, July 5

9:00 a.m.—Rudiments Sessions

After breakfast, campers’ second full day began with three sessions on the rudiments. David Ivey taught the class for older youth. Judy Caudle and Joyce Walton taught the youngest singers; in the class the children both practiced scales and took turns getting up and leading. The adult class was taught by Terry Wootten. He began by recalling how he’d learned to sing himself, singing with his family members and learning from them, and then, later, taking his book out with him on the tractor when he was working out in the fields. He emphasized for the class that one of the most important things about singing is staying together (he noted that sometimes the rests can be the best part of the song). The class went over the basics of the rudiments, including time signatures, and sang major and minor scales as well as different intervals on the scales. To illustrate beating in three, the class sang 30b, and Mr. Wootten pointed out that songs in triple time are often sung too slowly.

He noted that he had spent a number of years singing as a boy without going to a singing school, although members of his family, would go over the scales when they would get together to sing. Eventually he was sent to a singing school taught by Leonard Lacy, and then, later, to another taught by Hugh McGraw. The process got him interested in singing songs he hadn’t sung before, and he realized that learning the rudiments meant he could work out for himself songs that were new to him.

A question was asked about songs that have accidentals; Mr. Wootten answered that the most important thing was to beat time correctly, and that many singers tend not to sing them. The class sang 64 and then, to work on accent, 274t. Another question was about why beating tunes in four was more common in some places and not done at all in others. He answered that in his home church at Antioch he grew up singing in four, so it was common for him, but he cautioned that there were plenty of songs in the book that he wouldn’t think of doing in four, such as 222 or 454.

Another question was about keying and whether everyone should learn to key. It’s a good idea to have one or two spare people in your home community who can key, in case the person you usually rely on can’t do it for some reason, but it’s also true that not everyone can learn to do it well.

The lesson closed with a reminder to sing with good accent and to work on staying together.

10:30 a.m.—Morning Elective Session

After a snack, campers had a choice of outdoor activities or two elective classes. Shelbie Sheppard led a session devoted to cooking and carrying food to SH singings. Those cooking for singings should be prepared to bring a lot of food, especially if they’re hosting the singing at their own church or in their own town. This means using the largest size pans you have, and making a number of dishes, although she pointed out that it’s easier to make a slightly smaller variety of dishes and bring a larger dish of each one, than it is to make small portions of a lot of dishes. The class also learned how to pack food to carry to a singing so that it will stay hot or cold. If you have to heat something, you can get it ready the night before and put it in the oven early in the morning before you leave your house for the singing. Then you take it right out of the oven and pack it into a box or cooler insulated with towels or crumpled up newspaper (“diapering” hot dishes in old towels). You can layer pans in a large box or cooler with cooling racks or cutting boards in between the pans for support, and it’s a good idea to get inexpensive supplies (pans, serving utensils) at discount stores. Cold dishes can also be prepared a day early (don’t add mayonnaise ahead if you can’t keep the dish cold), and carried the same way (separately from the hot dishes).

The class learned how to make Miss Shelbie’s dressing, and received the recipes for a number of her dishes, including taco salad, “pink food,” and “purple food.” She had brought a pan of the latter with her, which the class happily sampled along with grape salad.

In the other elective session David Ivey taught a class on odes and anthems. The class began with the definitions from the rudiments of “anthem” and “ode.” Not all multi-page songs are anthems (for example, 280 is not an anthem). They are generally not in poetic meter, and the words generally do not rhyme. There are twenty-one of them in the 1991 revision of the book, and three were removed from the 1971 revision. Of the twenty-one currently in the book, seventeen are in major keys, and fourteen tune writers are represented. The class sang a number of the book’s odes and anthems, and worked on singing and leading them well. It was also noted when it is (or is not) a good idea to lead them. Leaders: David Ivey 225b; Terry Wootten 232; Joyce Walton 234; Tom Malone 240; Liz Meitzler 245; Judy Caudle 250; Bob Meek 260 (for Bobby Jackson); Aldo Ceresa 320; Jeff Sheppard 355; Karen Swenson 507; Jeannette DePoy 518; David Ivey 268.

1:00 p.m. Afternoon Session

After lunch the campers gathered for a group photo session, and then went on to one of three afternoon classes. Terry Wootten led a class for the young people on the rudiments, and Karen Willard led the adult class. David Ivey taught an advanced class on keying songs. He noted that by listening to recordings we can get a better sense of how good keyers work, and that how the pitch is given is just as important as what is given. It is necessary to know the major and minor scales well, and to know which notes to give in which order (which notes will be most helpful to the singers for that given song). Most experienced singers will be able to tell if the pitch is too high, or too low, even if they don’t key themselves. It shouldn’t be too high, although you do want to try to get it as high as is comfortably possible to sing. When just getting started and wanting to learn to key, try keying your own song at a smaller singing, or work on learning to key tunes in a particular key first. It is Mr. Ivey’s preferred practice to sound the tonic (“fa” for major and “la” for minor) first, and follow with the other first notes of the parts.

The class used 37b as an example, and a number of singers practiced keying that song. There was a question about keying differently at different times of the day; experienced pitchers tend to key fairly consistently, although there is a tendency to key a bit differently early in the day, or very late in the day. The class went on to practice keying 144, 40, 45t, 155, and 182, and it was noted that the speed at which a song is sung will affect how it needs to be keyed. If two songs are written in the same key, but one is likely to be sung slower than the other, it will probably not be pitched as high.

Keying practice: If you’re keying your own song, don’t key before singers are on the right page, especially those on the front bench of the tenors. If you do want a pitch, look at the front bench and make sure they know. If you’re leading, and you want a particular person to key your song, that’s the leader’s privilege to choose. Things to avoid: having several people keying at once; interrupting the person keying while he’s trying to find the pitch, or second-guessing the keyer. A good “key person” will recognize the need to change the key, or else the class will sing the notes and it will become clear that the key needs to be raised or lowered. The pitching process is never to be a competition.

The class went on to practice giving pitches for a number of major and then minor tunes.

2:30 p.m. Afternoon Elective Session I

Again campers had a choice of outdoor activities or two elective classes. Jeff and Shelbie Sheppard taught a class on leading; different members of the class volunteered to lead, and comments were offered to help them become more effective and graceful leaders. During this process, a number of points were raised. One was the need to stand up straight and to keep from swinging the arm unnecessarily vigorously. It is not good to grab or snatch with the hand while leading, or to drop the hand or arm so low that it cannot be seen. At all costs, avoid bouncing and stomping in the center of the square, the former being very distracting, and the latter being downright rude to other singers. Find a way to feel the rhythm without doing either of those things.

In the other elective session during this hour, Tom Malone taught a class on “landmark tunes.” This idea deals with the various positions tunes have occupied consistently in the book even as subsequent editions were published, and what the rhyme and reason was in ordering the songs in that way. Many tunes have been on the same page of the book since the original 1844 edition. He pointed out that all of us as singers acquire “personal” landmarks, tunes that are tied to our own singing experience. This may include the first songs we learned to lead, or the favorite tunes of dear friends and family members. Newer singers probably have a set of similar tunes that they learn well early on (for example, a lot of newer singers are likely to have learned 40 or 155 as fugues), and groups of singers are likely to relate to a number of songs in the book in similar ways.

Mr. Malone then asked the class to consider how the book organized songs, looking first at the first half of the book. The first songs in the book were originally called “pieces used by worshipping assemblies,” meaning that they were meant for larger groups of people to sing; this original Part I of the book ends in the current edition with 162. The next section, which went through number 224, originally included songs meant for “singing schools and societies.” This included the complex fuguing tunes, or “class tunes.” Following this, up through page 260, were odes and anthems. After this, appendixes were added to the book, one in 1850, one in 1859, and one in 1869 (the last edition B.F. White worked on), and these brought the book up through page 461. These additions brought to the book spirituals, popular and camp meeting tunes, and each appendix featured many tunes by composers like L.P. Breedlove and the Reeses.

During the course of the hour the class sang a number of these “landmark” songs that had remained in the same positions. Mr. Malone concluded by noting that the original layout of the book is still perceptible in the current revision.

4:00 p.m. Rudiments

After a snack, campers gathered in one of three sessions to review the rudiments: one for youth, led by the youth teachers, and two for adults, one led by Karen Willard, and the other led by Terry Wootten. In the youth session the young people practiced getting ready for the evening singing, which they would be leading on their own.

5:00 p.m. Afternoon Elective Session II

In the hour before dinner, campers had a choice of recreational activities or one of two elective sessions. One, taught by Tom Malone, dealt with New England composers and their styles. The other elective session was the second part of the Sacred Harp Game Show.

7:30 p.m. Class Singing Led by Youth

The evening singing concluding this second day of camp was led by youth campers. Officers: Chairman—Blake Sisemore; Vice Chairman—Drew Smith; Arranging Committee—Liz Kiser and Alex Makris; Secretary—Mary Elizabeth Lee. Shane O’Neal served as chaplain, and the devotional closing the singing was given by Blake Tanedo, Brian Tanedo, and Katy Moore.

The singing opened with the Boys Youth group leading 407; Blake Sisemore and Drew Smith led 28t. The opening prayer was offered by Shane O’Neal. Leaders: Blake Sisemore, Drew Smith, and Jackson Harcrow 101t; Liz Kiser, Alex Makris, and Mary Elizabeth Lee 229; Shane O’Neal 47b; Brian Tanedo and Blake Tanedo 196; Katy and David Moore 37t; April Dell and Dinah East 28b; Paige Gilbert and Cheyenne Ivey 146; Tony Kiser, Caleb Kiser, and B.J. Schnorenberg 59; Jason Hollis and Bentley McGuire 222; Riley Lee 160b; Blake Tanedo and Andrew Kiser 518; Rachel Ivey and Rachel Shavers 277; Lauren Hall 424; Malik Williams, Brandon Acton, and Tony Kiser 294; James Eldridge and Rebecca Eldridge 117; Seth Allred and Rachel Allred 203; Jennifer Latimer, Anna Latimer, Cheyenne Ivey, Rebecca Eldridge, and Micah Rodgers 144; Mary Elizabeth Lee, Kendra Strickland, Macy Crawford, Brittany Tanedo, Dinah East, Kalee Duncan, and Amanda Reeves 147t; Paige Gilbert, Jordan Walters, and Erin Cole 303; Liz Kiser, Rachel Ivey, Allison Dodson, Ashley Reeves, Rachel Allred, Heather Sutton, Rachel Sutton, Lauren Hall, Alex Makris, Amber Reeves, and Katie Moore 142; Jackson Harcrow, Trevor East, and Will Kirby 49b; Rachel Allred, Rachel Reeves, Amber Reeves, Brittany Tanedo, and Allison Dodson 361; Brooks Berueffy, Turner Berueffy, and Coleman Berueffy 124; James S. Wagner, T.J. Willard, and Coleman Berueffy 106; T.J. Willard, Coleman Berueffy, James S. Wagner, Bentley McGuire, and Brandon Acton 36b; Blake Sisemore, Drew Smith, Jackson Harcrow, Will Kirby, and Rodney Ivey 448t; Boys Counselors—Aldo Ceresa, Rodney Ivey, Tom Malone, Jesse Pearlman Karlsberg 365; Girls Counselors—Lela Crowder, Sarah Jenkins, and Jennifer Allred 336; Joyce Walton and Judy Caudle 227; Terry and Sheila Wootten 209.

The devotional began with Jennifer Latimer, Anna Latimer, Cheyenne Ivey, Rebecca Eldridge, and Micah Rodgers leading 45t. Katy Moore spoke about the Sacred Harp “family”, and Tony Kiser, Caleb Kiser, James S. Wagner, and Malik Williams led 34t. Blake Tanedo reminded the class why we sing, namely to praise God on high. The 13-15 year old campers led 30b as a group. Following this Brian Tanedo spoke about why we sing, and of Jesus’ sacrifice for us. The 16-20 year old campers led 33t. The devotional closed with Blake Sisemore leading 46, and Shane O’Neal offered the closing prayer.

Thursday, July 6

9:00 a.m. Rudiments Review

After breakfast the last full day of camp commenced with three concurrent sessions reviewing the rudiments. As before, the youngest campers worked with Judy Caudle and Joyce Walton. David Ivey worked with the older youth, and adult campers were taught by Karen Willard. In all three classes rudiments were covered, scales were reviewed, and campers sang songs.

10:30 Morning Elective Session

Campers had a choice of outdoor activities or an elective class led by David Ivey, called “The Best of the Un-Greatest Hits.” In this hour campers had the opportunity to sing some of the songs rarely led at all day singings, and which appear rarely in the Minutes Book. A small number of songs are sung a lot, but there are many tunes that will get called no more than 1-5 times during the course of a year. The class sang some of the tunes that fell into this group. Leaders: James M. Wagner 407; Bridgett Hill 465; Tom Malone 116; Richard Schmeidler 169; Aldo Ceresa 275t; Lynne deBenedette 293; David Ivey 41; Beverly Coates 423; Joyce Walton 493; Karen Willard 69b; Sam Sommers 80t; David Ivey 462; Judy Caudle 399t; Tom Malone 130; Richard Schmeidler 266; David Ivey 461; James M. Wagner 534; Aldo Ceresa 83b.

As the songs were sung, both David Ivey and other singers present recalled that certain of these tunes were loved and used by singers who are no longer with us. It was also pointed out that, because minutes are not taken at many local monthly or weekly singings, it was likely that some of these tunes were actually used more often than appeared from the Minutes Book. Finally, there was discussion of how songs were taken out of revised editions of the book, and David Ivey explained that the committee members used both the Minutes Book and sang the songs suggested for removal themselves. They considered whether the song was difficult to lead or sing, and whether it was a favorite or special song to someone still living. The hour closed with David Ivey leading 92.

1:00 p.m. Afternoon Elective Session

During this hour after lunch, campers had a choice of outdoor activities or two electives sessions. One, taught by Tom Malone, dealt with spiritual and camp meeting songs. The other, taught by the Sheppards, was on SH traditions and decorum to be observed during a singing. The latter class emphasized what one should do to run a singing, including the order in which things are done. The chairman, often the previous year’s one, opens by singing a song, after which there is prayer. At some point there will be a motion to go into a business session, and elections will be conducted for a new chairman and other officers if they have not been chosen already.

The Sheppards cautioned that it is not always workable to rely on singers to “sign up” for committees and choose how they will serve the singing; there is a balance to be struck between getting enough people to help, and getting the right people assigned to the right jobs, so that everything is done competently.

The chairman of a singing should be someone who will promote your singing and support it. The way to get singers from other places to come to your singing is by going to theirs, and the chairman should lead the way in this. Other officers’ roles: the secretary should be able to hear and take down the numbers and leader names correctly, and put the minutes together reliably. As for noting every word said (in Memorial Lessons, for example): it is not necessary or desirable to take down or submit in the minutes every word, especially since what is said is likely to be abbreviated in the Minutes Book for space purposes. The Memorial List itself is something that some singers overload; it is for singers and those who support them, not for famous people or other groups. In dressing for a singing; the Sheppards cautioned those present to remember to dress appropriately for the place you are going; in most cases this means dressing as for a special occasion or church. The arranging committee at a singing should be able to speak clearly and should know the names of singers (and be able to say them).

In addition, singers were cautioned to take their time in the square seriously (don’t bounce or perform) and not to mistreat the music or mistake it for folk music (be respectful of the tradition).

2:30 p.m. Lemonade Making

Bud and Sammie Oliver came to camp for the day and showed campers how to make Lookout Mountain lemonade. The recipe takes six dozen lemons, ten pounds of sugar, and five gallons of good water. Mr. Oliver remembered that when he was young, lemonade was a treat they got only on singing day, not even on the Fourth of July. It made everyone happy, he said, noting that “if you’re there, and you’re happy, you’re going to go away blessed.” When the lemonade was ready , campers gathered to drink it.

3:30 p.m. “Awake My Soul” Film

All campers gathered for a showing of Matt and Erica Hinton’s documentary about Sacred Harp. The film showed interviews with a number of singers who were at camp, and gave all present a great sense of both the present and past of Sacred Harp in this country. Matt and Erica Hinton were present as well.

5:00 p.m. Afternoon Elective Session II

Other than a choice of outdoor activities, campers had the opportunity to attend a session taught by Karen Willard on Sacred Harp resources (books, recordings, and other sources of information).

7:00 p.m. Community Singing

The last full day of camp concluded with an open community singing. Approximately 170 singers, including a number of family members and friends of campers, were present. The class was brought to order by David Ivey and Karen Ivey leading 90. Chaplain Sam Sommers led the class in prayer. Leaders: Jeff Sheppard and Shelbie Sheppard 556; Ann Patton and Ann Webb 503; the Kiser family 448t; Kalee Duncan and Amanda Reeves 59; Tony and Sandy Ivey 107; Brian Tanedo, Blake Tanedo, Trevor East, and Andrew Kiser 47b; Bill Caldwell and Pete Matthewson 66; Rachel Allred and Allison Dodson 300; Bud Oliver and Sarah Jenkins 42; Rachel Shavers, Rachel Ivey, and Heather Sutton 480; Lynne deBenedette and Jennifer Allred 448t; Darrell Swarens and Bob Meek 268; Sharon DuPriest, Daphne Causey, and Joan Aldridge 200; B.J. Schnorenberg and Brandon Acton 87; Aubrey Hemminger, George Sigut, Lynn Wilson, and Laurie Dempsey 143; Laura Wilson and Jeannette DePoy 430; Louis Hughes and Allison Dodson 335; Terry Barber and Annie Grieshop 128; Malik Williams and Bridgett Hill 74b; Bentley McGuire and Jason Hollis 142; Terry Wootten and James Eldridge 542; Lauren Hall and Alex Makris 40; the Willard family 318; James S. Wagner, Turner Berueffy, and Coleman Berueffy 358; Joanne Fuller and Pam Regan 32t.


The class was brought back by Rodney Ivey leading 108 (t? b?). Leaders: Aldo Ceresa and Jesse Pearlman Karlsberg 440; Connie Stanton and Scott Kennedy 178; Nate Green and Norma Green 322; Rodney Ivey and Reba Dell Windom 192; Karen Swenson, Kristie Harju, and Donna Gunderson 77b; Shane O’Neal and April Dell 47t; LaRue Allen and Judy Caudle 361; Tom Malone and Lela Crowder 436; Paige Gilbert, Cheyenne Ivey, and Laura Clawson 186; Seth Allred 336; Julie Lee, Riley Lee, and Mary Elizabeth Lee 207; Beverly Coates and Cheryl Foreman 499; the Latimer family 277; the Sand Mountain boys (Drew Smith, Blake Sisemore, Scott Ivey, Daniel Sears, Jackson Harcrow, and Will Kirby) 112; Liz Kiser and Katy Moore 48t; Brittany Tanedo, Blake Tanedo, and Brian Tanedo 282; the Eldridge family 159; Pam Nunn and Rene Greene 222; Loyd Ivey 30t; Kendra Strickland, Kelly Duncan, Micah Rodgers, Dinah East, and Macy Crawford 45t; Joyce Walton and Allison Dodson 428; the Reeves family 182; Jonathan Pendleton and Jo Pendleton 354b; Henry Schuman and Donna Bell 102; Liz Meitzler 114.

The secretary reported that fifty-one songs had been led by 128 leaders, and the class closed with prayer by Sam Sommers.

Friday, July 7

9:15 a.m. Parting Hand

After breakfast campers had time to pack their gear, and then convened in the Ark, where they visited with one another. A certificate of participation in Camp Fasola was presented to each camper, and then all took the parting hand and said their goodbyes.

SHMHA President—Jeff Sheppard; Camp Director—David Ivey; Secretary—Lynne deBenedette.