Minutes of Sacred Harp Singings

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Camp Fasola 2013, Youth Emphasis

Camp Lee, Anniston, Alabama

July 1-5, 2013

Monday, July 1

Arrival, Registration, and Orientation

Registration for Camp FaSoLa 2013; Youth Session, began at 4:00 p.m. Campers were issued t-shirts, procedures lists, maps, and identification badges. Campers had free time for recreation; followed by counselor orientation sessions, and then followed by dinner at 6:00 p.m. Every one attending camp met with David Ivey in Lakeview Lodge at 7:00 p.m. for orientation and instruction.

Class Singing

7:30 p.m. Led by the counselors.

Stuart Ivey brought the class to order by leading 82t. Drew Smith offered the opening prayer. Leaders: Lela Crowder, Anna Bowen, Katy Brown, Jessa Cherones, Katelyn Cornett, Julie Edwards, Cheyenne Ivey, Dylenn Nelson, and Paula Oliver 142; Stuart Ivey, Tom George, Tony Kiser, Will Schnorenberg, Ethan Schultz, and Damian Wootten 143; Rachel Rudi, Karis Askin, Courtney Baine, Anna Marie Bethune, Sara Beth Bledsoe, Eva Grace Horsley, Madison Lathery, Mattie Sue Pruitt, and Lilly Underwood 87; Drew Smith, William Brown, Thomas Cherones, Wyatt Denney, Nick King, and Jonathan Pendleton 101t; Lauren Bock, Mary Andrews, Mary Francis Clay, Emily Cornett, Lainey Martin, Holly Mixon, Tullaia Powell, and Sierra Saylors 59; Alvaro Witt-Duarte, William Clay, Ethan Corbett, Justin Corbett, Russ Pope, River Skrenes, and Nicholas Thompson 86; Jeannette DePoy, Karen Ivey, David Ivey, and Pam Nunn 61; Jonathon Smith and Nathan Rees 440; Bridgett Kennedy and Judy Caudle 411; Daire O’Sullivan, and Renata Pekowska 148; Lynn Wilson and Laurie Dempsey 68b; Avery Powell, Jasper Powell, and Hollie Powell 564; Idy Kiser, Liz Kiser, and Tony Kiser 112; Jesse Pearlman Karlsberg and Aldo Ceresa 375; Dan Brittain and Sam Sommers 157; Joanne Fuller and Devereux Fuller 159; Amy Armstrong and Jane Armstrong 84; Tarik Wareh and Faiz Wareh 56b; Molly Merrett, Emma Rose Brown, and Sasha Hsuczyk 29t; Tim Morton, Marcus Whitman, Willis McCumber, and Jackson Fleder 204; Christine Andrews and Mary Andrews 58; Ellen Lueck and Erin Johnson-Hill 275 (t? b?); Kimberly Haas, Becky Wright, and Rachel Hall 42; Robert Raymond, Bea Sachs-Hamilton, and Myles Louis Dakan 312b; Gigi Flynn, Evangeline Schultz, Jo Pendleton, and Susan Cherones 282; Holly Hauck and Amandeep Gill 512; Daniel Bearden and Erik Schwab 294. Stuart Ivey led 49t as the closing song, followed by Alvaro Witt-Duarte leading the devotional. Drew Smith offered the closing prayer.

Tuesday, July 2

Every day there are lessons, electives, opportunities for recreation or relaxation, recess periods with snacks, and an evening class singing, along with opportunities to socialize.

Electives

7:00 a.m. Campers could choose to hike, swim, or sing on the Dining Hall porch. Breakfast followed at 8:00 a.m.

Lesson: Rudiments I/Adults

9:00 a.m. Teacher-Samuel Sommers. Samuel Sommers welcomed the class and led 31t. He offered an opening prayer. Sam began by stating that the only requirement to sing Sacred Harp is the desire to sing Sacred Harp. There are many traditions that surround singing Sacred Harp music, but while at singing school we will refer to the rudiments. In the rudiments, we read that music is broken into time, tune, and accent. The leader keeps time, sets the pace, and chooses the verses to sing. The leader is always right. Sam reviewed the seven modes of time from the rudiments. A slow mode of time is 2/2; medium is 4/4; faster is 2/4. Sam states that every song has a beginning, middle, and end. Every measure has beginning, middle, and end. Habits are something we all have; the more good habits we use, then the less room there is for bad habits. There are two modes of triple time, 3/2 and 3/4. Compound time is 6/4 and 6/8. Sam suggests not to bounce your leading motion on the downward stroke. These strokes are not lightning bolts; use modest upward and downward strokes. You may indicate the end of a song by keeping your arm motion small. The class sang 394. Rests have a beginning, middle, and end. Rests have the same integrity as notes. A rest is a character that indicates a rest from singing. The class sang 254. It is always important to keep time, especially when there is a change in the mode of time. You should always have your book in hand when leading. If you would like to pass your book off when you sing the words you may, but do not drop it! A dot by a note increases a note by half the note’s original length. A fermata or “birds-eye” indicates a time stop. Watch for the leader’s preference. Hold a palm up for a “birds-eye” and make a small motion to continue. There is more than one right way to do things in Sacred Harp; however, there is a wrong way. The songs in the book deserve their respect. You may pitch your song or ask someone else but you may not correct a pitch without permission. There is only one D.S. in the songbook found in 438. It means to go back to the sign and sing from there. Repeats at the beginning of a song are not optional, but those at the end of the song are optional. The class practiced singing “The Star Spangled Banner”. Russ Pope led 117 and the class was dismissed.

Lesson: Team Tunesmith I-Sacred Harp Composition 101 (t? b?)

10:30 a.m. Teacher-Aldo Ceresa.

Aldo welcomed the class, and stated that Sacred Harp is not without rules, but has a different set of rules, customs and patterns. Almost every rule has exceptions, but these patterns are part of the language of this music. Studying the Sacred Harp songbook reveals such patterns. Aldo asked “Who are we writing for?” He said, “We are writing for the Sacred Harp singers.” If singers like your music, if it follows the patterns they expect, then they will want to sing it. Most importantly, talk to each other and learn from living composers like Dan Brittain. Using pianos and computers can be misleading when writing. Sing your music. Traditionally, start by writing the tenor, then bass, next treble, and finally alto. A hand-out was given to each class member entitled “Camp Lee” (Second). The song had just the tenor line written and the other three parts were left blank. The Team Tunesmith exercise was groups of three taking turns writing harmony parts and jointly arranging the song. The finished song will be sung at the composium later in the week.

Elective: Songs in Major and Minor

10:45 a.m. Teacher-Dan Brittain. Dan began by saying it’s not about learning new songs, it’s about learning to read. The difference in major and minor are the half steps. There are only two songs in the 1991 Edition of The Sacred Harp that switch major and minor keys. Those are “Christian’s Song” and “Anthem on the Savior”. Half steps in a major scale happen behind the “fa”. The visual, audio, and technical differences of whole and half steps are simply that one is closer than the other. Those who grew up with this particular singing tradition automatically understand the difference between natural and harmonic minor scales. In 48t, the tenor has no fourth or seventh; it is a five note or “pentatonic” scale. The same goes for 56t and 73t. Many of these pentatonic tunes are old folk tunes or hymns, and are very old. To learn this music as a newcomer or non-lifelong singer, one must listen and not just read what is written. There are many vocal nuances, including frequent omission of accidentals, to be learned by listening more than reading correctly. Singing a scale of thirds, wherein, you go up a third, down a second, etc., helps train the ear on whole and half steps. Home exercises on the same theme are singing in fourths, fifths, and sixths. It is very unusual to have a seventh interval jump, but there is one in 146 and 82t. In the second line of 431, there is a sudden second chord, which can be a hard jump because it is not expected. The class discussed 355, 240, and 320 as having difficult intervals, common missteps, as well as songs with key changes. When it comes to colloquial differences in rhythms, it is important to watch the leader, using the book mostly for reference and for the leader to be familiar enough with the tune to make eye contact and maintain control of the song.

Lesson: Music of Edmund Dumas

1:00 p.m. Teacher-Dan Brittain.

The class sang Dumas songs from The Sacred Harp, 1991 Edition, Cooper Book, James Book, and White Book. Dan Brittain gave a brief description of style. He referred to songs “Come On, My Friends”, page 271b (JB and WB) and “The Good Physician” page 176b (CB; JB, and WB), and pointed out that these songs include several seventh intervals, which is rare. When the Missouri Harmony was re-done, the revision committee chose the older three part version of “Missouri”, found on page 438t. “Endless Distress” page 372 (JB) has interesting harmony using only one chord. “The Wonder” on page 292b (CB; JB, and WB) exhibits only slight harmonic changes and mostly one chord. “The Teachers Farewell” on page 444b (CB; JB, and WB) was used many times at the end of singing schools. In “Ceylons Isle” (Vocal Triad, 1872), the chorus is not recorded elsewhere, and was possibly written by Dumas or borrowed from local oral tradition. The White Book version was slightly altered and the words borrowed from two hymns. Ben Bath led “The Dying Minister”, and Dan pointed out that it has parallel octaves. “Edmonds” 115 (SH) was originally written in three parts (WB), and the alto was added later. Karen Ivey led 34t (SH), in the style of T.H. Ross from Florida. Emma Rose Brown led 378t (SH) and Dan noted that this song has a sweeter harmony than most Dumas pieces. Dumas most likely learned his writing skills from other composers. Approximately twenty-five percent of Dumas’s songs are in four parts. Leaders: Lauren Bock 405; Becky Wright 323t; Ellen Lueck 418; Aldo Ceresa 329; Nathan Rees 310; Marcus Whitman 288.

Lesson: Learning Songs/Youth

1:00 p.m. Teachers-Rachel Rudi and Drew Smith.

This class practiced singing and leading familiar and unfamiliar songs. Drew Smith and Rachel Rudi led 437. Drew explained the S.T. A.R. S. method of learning about a song. It stands for Signature, Time, Accent, Rhythm, and Special. Campers were instructed use the word Stars to help learn a song. S stands for Signature and indicates the key in which the song is written. T stands for Time and indicates the mode of time. A stands for Accent. The primary accent falls on the first character following the measure bar. R stands for Rhythm and means to look for anything tricky in the song, such as a time change. S stands for Special and means to look at the beginning measure, noting whether singing starts on the upbeat or downbeat; if any other dynamics are found in the song, such as D.C. or a fermata; is the song a fuging tune, and are there any other notations. Leaders: Holly Mixon 442; Rachel Rudi and Sierra Saylors 481; Jade Thompson 467; Jessa Cherones 40; William Clay 231; Jane Armstrong 113; Tommy Cherones 45t; Russ Pope 549; Ethan Corbett and Ethan Schultz 178; William Brown 358; Karis Askin 268.

Elective: Singing Together

2:30 p.m. Teachers-Jesse Pearlman Karlsberg and Lauren Bock.

Good leading and good accent result in singing together; however, it is also attentive listening and connecting with each other while singing. Jesse and Lauren asked the class “What makes a good singing?” Answers were enthusiasm, friends, food, balanced parts, respecting tradition, passion, unity, and welcoming atmosphere. All singers can help make a singing better! Accent is one way, by pushing forward on a note and equally important, holding back on a note. Why study accent? Accent unlocks the music and places emphasis on the text. It is the glue that holds singers and songs together. Accent can make an otherwise boring part more interesting. Bridgett Kennedy demonstrated leading 168 with emphasis on the alto. Accent greatly helps guide the tempo, words, and music in a song like 360 that has a lot of notes. Style is another way to sing together. Many may have heard someone say “if you can hear your neighbor, then you are not singing loud enough”. Wrong! Hearing neighbors will help to blend the voices of the class. Use full voice or speaking voice when singing. Sacred Harp is sung with no vibrato. Leading helps the class sing together. Tempo is the important thing to convey when leading. Leaders add style and connect with the class. A leader’s style needs to be an acceptable minimum. Relax and be confident, but it is not a performance. Lastly, look up from your book! We not only build relationships during fellowship time, but also during singing! Nathan Rees led 374, and the class was dismissed.

Lesson: Learning Songs/Adults

4:00 p.m. Teacher-Dan Brittain.

Dan stated that to learn songs one could go through the whole book and learn each individual song, but that would take a very long time. The best way is to look for patterns that are common in many Sacred Harp songs. The class looked through the book for songs that had recurring runs or patterns of notes. Songs reviewed for similar runs were 72t, 177, 121, 72b, 109, 404, 70t, and 434. Dan stressed the importance of learning and practicing intervals, especially one through six. Also, listen to what the other parts are doing. Many are doing the same thing.

Elective: True Stories from the Minutes Books

5:00 p.m. Teachers-Jesse Pearlman Karlsberg, Nathan Rees, and Mark Godfrey.

The minutes of Sacred Harp Singings record the proceedings at our singings. They also comprise a rich dataset and a compilation of fascinating stories. This class looked both at charts and graphs illustrating Sacred Harp singing trends and stories written down by secretaries. Jesse Karlsberg and Nathan Reese talked about their research. They found that there was an increase in singings since 1995. The data showed them how many songs were led per year, and how many song leaders per year. They both increase overall; however, there was a noticeable jump in 2003 of new song leaders. The hypothesis is that this was due to the release of the movie “Cold Mountain”. They shared the way the data looks across the country. The class compared maps of 1995 and 2013. Many more states held singings in 2013. Data showed that one-song lessons have become more common as opposed to multiple song lessons or leaders singing for a certain amount of time. The class looked at the minutes from the 1880 Chattahoochee Convention. Those minutes revealed a much more eloquent language in which minutes were recorded. More recent convention minutes revealed numerous comical stories. Jesse showed the class a chart of the number of songs during the time frame. Each leader in the minutes book was represented by a dot on the chart. Lastly, the class walked through the new iOS app, developed by Mark Godfrey and designed by Lauren Bock, with which users can explore Sacred Harp songs, singers, and singings.

Class Singing

7:30 p.m. Led by Youth Boys. Tom George and Jonathan Pendleton led 32t to bring the class to order. Leaders: Tony Kiser and Will Schnorenberg 457; Guy Bankes and Anna Bowen 475; Max Bruce, Ben Sachs Hamilton, and Jesse P. Karlsberg 335; Laura Russell and Michael Darby 480; Faiz Wareh, Avery Powell, and Jasper Powell 410t; Tullaia Powell, Hollie Powell, and Ruby Francis 277; Cassie Allen and Amandeep Gill 268; Bridgett Kennedy and Teresa Saylors 448t; Tim Morton, Marcus Whitman, and Daniel Bearden 94; Judy Caudle, Elizabeth Kiser, and Daire O’Sullivan 176t; Dan Brittain and Samuel Sommers 309; Susan Cherones and Jo Pendleton 72b; Ben Bath and Jackson Fleder 192; Katy Brown, William Brown, and Sally Langendorf 40; Ethan Schultz and Evangeline Schultz 38b; Justin Corbett and Ethan Corbett 105; Lilly Underwood and Anna Marie Bethune 75; Willis McCumber and Emma Rose Brown 138t; Richard Ivey and Wyatt Denny 87; Renata Pekowska and Jonathon Smith 63; Cheyenne Ivey and Nicholas Thompson 35; Mary Francis Clay and Lainey Martin 45t; Joanne Fuller and Devereux Fuller 131b; Mary Andrews and Christine Andrews 300; Paula Oliver and Holly Mixon 142; Keke and Drew Smith 59; Damian Wootten and Russ Pope 51; Gigi Flynn, Rachel Hall, and Aldo Ceresa 542; Myles Louis Dakan and Robert Raymond 504; Amy Armstrong, Holly Hauck, and Sasha Hsuczyk 187; Alvaro Witt Duarte and Lauren Bock 126; Stuart Ivey, Rachel Rudi, and Lela Crowder 472; Lynn Wilson and Idy Kiser 503; Nathan Rees and Erik Schwab 205. Tom George led 146 as the closing song. A devotional was held at the campfire. David Ivey made remarks, and the class was dismissed.

Wednesday, July 3

Electives

7:00 a.m. Campers could choose to hike, swim, or sing on the Dining Hall porch. Breakfast followed at 8:00 a.m.

Lesson: Rudiments II/Youth II

9:00 a.m. Teachers-Stuart Ivey and Richard Ivey. Stuart and Richard led 52t to bring the class to order. Students had pictures of musical notes, and were asked to line up from shortest to tallest, then exchange their notes (papers) to form a scale. The record time was set by the group at 26. 5 seconds. A new group of students did the same exercise in 36 (t? b?). 3 seconds. Stuart Ivey reviewed the lesson from Tuesday. Richard Ivey taught the class accent patterns for each mode of time. The class sung the following examples of each mode: 313b, 59, 47b, 284, and 67. A camera crew arrived! The class repeated the scale exercise for the cameras. The first group set a record of 15 seconds! The second group set an all-time record of 12. 5 seconds! The class practiced “The Star Spangled Banner” before the camera crew departed. Richard Ivey completed the lesson on accent, reviewing page 16 of the Rudiments. Stuart’s homework assignment was to look for weird notations in the Rudiments, like slurs and fermatas. The class was dismissed.

Lesson: Rudiments II/Adults

9:00 a.m. Teacher-Samuel Sommers. Samuel led 24b as the opening song, and then offered a special prayer for Jeff and Shelbie Sheppard. Sam’s opening statement was that we are all Sacred Harp singers. One has only to have the desire to sing Sacred Harp. Everyone can sing Sacred Harp. The class reviewed the previous session about rhythmics and melodics. Rhythm is important to be able to sing at the right time, and in the right place. Melodics is defined as a succession of pleasing tones. The class reviewed scales, tonics, and clefs. The class practiced the major scale. Sam went over the seven modes of time, and the class practiced songs with time and key changes. Before leading a song, the leader needs to know the following things: the mode of time; if there are repeats, rests, or other dynamics; when to bring in parts, and any other tricks that are notated. An experienced volunteer led 354b to show clear and distinct leading, connecting with the class, and knowing the song. Song selection is important. Buell Cobb led 39t, and asked to sing words only. Sam advises the class to not make generalizations about how things are done. Sing the song as written, unless you have a very good reason to do otherwise. The class sang 419, singing the tenor line only, and were asked to be mindful of the rests, slurs, and joined flags. The class sang the tenor line of 358, observing intervals and scales. Sam encouraged students to practice scales and intervals endlessly.

Elective: Dinner on the Ground

10:30 a.m. Teacher-Karen Ivey.

Karen began by explaining to the class the importance of dinner on the ground. It is the main time for socializing among the singing community, particularly in the days before phones and social media, and it nourishes the singers. Traditionally, each cook would have their own space on the table to serve their dinner. A cook’s space was often a site for status recognition and was wrought with political undertones. Now, most dinner tables are divided into sections of meats, desserts, and vegetables. Types of healthy vegetable dishes have become more popular. Karen told the story of when she brought broccoli to a singing, and though originally discouraged, her dish was finished at the end. Karen then showed the class how to pack multiple dishes in towels and baskets using rubber bands to help secure the tops. The class made chocolate and strawberry punch bowl cakes, and served them at the dining hall for lunch.

Lesson: Learning Songs/Youth

1:00 p.m. Teachers-Lauren Bock and Stuart Ivey.

Stuart Ivey began the class by leading 452. Stuart explained D.C., Fine, and repeats. Jade Thompson and Nick King led the third verse of 452. Lauren Bock and Russ Pope dissected the song beginning on page 250, and made note of the time changes, repeats, and first and second endings. Stuart Ivey, Eli Hinton, and Sierra Saylors led 209. The class discussed fuging tunes and bringing in parts. Leaders: Stuart Ivey, Jasper Powell, and Jade Thompson 59; Jessa Cherones and Thomas Cherones 178; Anna Hinton, Ruby Francis, Devereux Fuller, and Wyatt Denney 282. The class went over the importance of good posture, and singing with a full and confident voice. Stuart explained the memorial lesson time at a singing. He spoke about how certain individuals were known for their actions in and out of the square. Stuart Ivey and Lauren Bock led 87 in memory of Bud Oliver. The remaining class time was spent singing. Leaders: River Skrenes 285t; Mattie Sue Pruitt, Madison Lathery, Karis Askin, Sara Beth Bledsoe, and Eva Grace Horsley 42; Holly Mixon and Anna Hinton 442.

The Memorial Lesson

1:00 p.m. Teacher-Judy Caudle.

Judy Caudle welcomed the class and led 354b. She spoke of the different types of lessons that are common in Sacred Harp, but focused on the memorial lesson. She gave a brief history of this old tradition, and talked about many ways a memorial lesson may be conducted. She spoke of familial connections within the Sacred Harp community, and then turned the class over to the memorial committee.

Tarik Wareh and Faiz Wareh conducted the lesson for the sick and shut-ins. Tarik spoke, and Faiz led 81t in honor of the following: Sammie Oliver, S.T. Reed, Josie Hyde, Daphene Causey, Jeff Sheppard, Shelbie Sheppard, Mike Nunn, Jim Hearne, Barrett Patton, C.T. Williams, Josephine Denney, Carlene Griffin, Tat Bailey, Charles Kitchens, Mary Kitchens Gardner, Toney Smith, Betty Hanf, and Lucille Erwin.

Amy Armstrong and Daire O’Sullivan conducted the lesson in memory of the deceased. Amy spoke, and Daire led 30b in memory of the following: Bud Oliver, Lessie Dean Reed, Gertrude DeLong, Mary Ola Porter, Roy Porter, Dalton Thompson, Gertrude Shaddix—Alabama; Violet Thomason—Georgia; Jane Hoey—Massachusetts; Clayton Ezell—Tennessee; Eva Padgett—Florida; Jean Hurwitz—New York; Marjorie Sommers—Indiana; Don Buswell—Arkansas; Dean Russell—Ohio; Langdon Smith—South Carolina; Helena Hsu—Hawaii; Barbara Hall—New Hampshire. Marcus Whitman closed the memorial service with prayer.

Lesson: Accent

4:00 p.m. Teacher-Nathan Rees.

Nathan Rees conducted the class on accent and explained why we sing with accent in Sacred Harp. He read the definition of accent from Paine Denson’s rudiments. Accent should be natural, and work with the flow of the words. Nathan said it can be confusing and daunting, but the point is to get familiar with accent to the point it does not require one to think about it. Accent is described as the rhythmic pulse. Accent keeps the class together, and adds flavor and interest to the music. There is primary accent and secondary accent. The primary accent or whole accent is the first beat of the measure. Secondary accent or half accent is backing off the emphasis of a note. Accent in a song is not making notes extra loud, pounding, chopping, or barking, but is putting emphasis or stress on the note. Nathan gave the analogy of a balloon on top of the water and pushing the balloon into the water. The class sang 445, and were instructed to over emphasize the accent to see the effect. It is sometimes harder to sing accent on the notes, and easier to sing accent on the words. The class practiced using accent in different modes of time. In 3/4, accent can be a little tricky because the secondary accent is immediately followed by another primary accent; however in 45t, the accent is already built in. For practice in triple time, the class sang 347. In compound time, think about the secondary accent as the second half of the measure, rather than the fourth beat. Accent really adds character to the sound of compound time. For practice, the class sang 360. To practice accent in a song that changes time, the class sang 227. Nathan led 93, and the class was dismissed.

Elective: Sacred Harp Publishing Company—History & Role

5:00 p.m. Teacher-Karen Rollins.

Karen Rollins is the Executive Secretary of the Sacred Harp Publishing Company, and shared the history and activities of the organization. The Sacred Harp Publishing Company was formed in the 1930s in Winston County, Alabama. Paine Denson and others wanted to revise the B.F. White Book, and ultimately have it published. Karen passed around editions of the 1936 and 1966 books. In April, 1935, the organization was formed, and officially called the Sacred Harp Publishing Company. Whit Denson was President and Paine Denson was Secretary. The financial status was unstable in the beginning. In 1945, it became very dire. In 1959; Hugh McGraw became the secretary. In 1969, the company agreed to give citations to deceased singers. The Board meets annually, and the stockholders meet every two years. At first, they met in churches, then later at the museum. In 1973, the company voted to become non-profit and in 1974, it became a 501 (C)3. Bylaws were very similar to the original bylaws. Dead stock became an issue that took years of work to settle. Now, the company is in good financial shape. In 1986, a revision committee was appointed. The 1991 Edition of The Sacred Harp was the result. The company has sold records, cassettes, and books. The company also did a newsletter. In 2001; Amanda Denson suggested the company put aside money for scholarships, which they did.

Class Singing

7:30 p.m. Led by Youth Girls.

Holly Mixon led 87 to bring the class to order, and then offered an opening prayer. Leaders: Cheyenne Ivey, Julie Edwards, and Dylenn Nelson 129; Ruby Francis and Devereux Fuller 282; Jonathan Pendleton and Stuart Ivey 268; Nicholas Thompson, Judy Caudle, and Jane Armstrong 542; Susan Cherones, Jessa Cherones, and Thomas Cherones 178; Russell Pope, Ethan Corbett, and Justin Corbett 250; Amandeep Gill, Marcus Whitman, and Amy Armstrong 182; Tullaia Powell, Anna Marie Bethune, and Lilly Underwood 146; Nick King, William Brown, Katy Brown, and Sally Langendorf 285t; Zilpha Cornett and Emily Cornett 354b; Lela Crowder and Alvaro Witt Duarte 391; Elizabeth Kiser and Cassie Allen 426b; Karis Askin, Madison Lathery, Sara Beth Bledsoe, Eva Grace Horsley, and Wyatt Denney 63; Nathan Rees and Samuel Sommers 232; Gigi Flynn, Ethan Schultz, and Evangeline Schultz 31t; Dan Brittain and Joey Brackner 36b; Daniel Bearden and Max Bruce 380; Erica Martinez and Jackson Fleder 189; Paula Oliver and Tom George 477; Katelyn Cornett and William Clay 168; Molly Merrett and Ben Sachs-Hamilton 481; Teresa Saylors, Damian Wootten, and Sierra Saylors 448t; Ben Bath, Lindsay Kruse, and Rachel Rudi 270; Kimberly Haas, Robert Raymond, and Erik Schwab 89; Erin Johnson-Hill and Jonathon Smith 224; Drew Smith and Mattie Sue Pruitt 183; Becky Wright and Ellen Lueck 153. Holly Mixon led 46 as the closing song. A devotional was led by Eva Grace Horsley and Madison Lathery. Lauren Bock, Eva Grace Horsley, and Madison Lathery led 472, followed by the closing prayer.

Thursday, July 4

Electives

7:00 a.m. Campers could choose to hike, swim, or sing on the Dining Hall porch. Breakfast followed at 8:00 a.m.

Lesson: Rudiments III/Youth II

9:00 a.m. Teachers-Stuart Ivey and Richard Ivey.

Richard Ivey began the class by leading 448b. Tom George offered the opening prayer. Stuart Ivey pointed to 277 as an example of dynamics. He referred to page 20 of the Rudiments to explain. Further examples of dynamics were reviewed on 245 and 177. The class reviewed 222, and discussed the differences in slurs, joined notes, and triplets. Joined flags help us to determine accent, and what syllable to sing on what note. Triplets allow three notes of equal length to be sung in the duration of two notes. The class sang 31t as an example, with mention of 188 and 268. Stuart talked about proper breathing techniques. He addressed the proper length of a fermata. The class looked at songs on pages 198, 59, 316, and 550. Holly Mixon led 550. Stuart talked about choice notes, as in 348b, and dismissed the class.

Lesson: Rudiments III/Youth I

9:00 a.m. Teachers-Lauren Bock and Drew Smith.

Drew and Lauren reviewed the major and minor scales, flagged notes, fermatas, slurs, and ties. Campers were given notes, rests, and measure bars that were made out of felt. They had to arrange themselves into four measures in the 2/4 mode of time. Upon returning from short recess, the class was told that eight people had paper shaped notes taped under their chairs. The eight people with notes lined up in order of height and were instructed to exchange notes with each other until they formed a minor scale. A second group of eight did the same exercise. Each group was timed to determine the fastest group. The class sang 503, taking notice of the slurs. Leaders: Wyatt Denney 40; Madison Lathery, Karis Askin, Sierra Saylors 268. Emily Cornett, Mary Francis Clay, and Lainey Martin led 45t to close the lesson.

Lesson: Rudiments III/Adults

9:00 a.m. Teacher-Samuel Sommers.

Samuel led 92 to bring the class to order, and followed by offering a prayer. Sam began by saying “I am a Sacred Harp singer like everyone here. The only requirement to sing Sacred Harp is to have the desire to sing Sacred Harp. There are not many rules, but we have lots of traditions”. Sam reviewed scales and modes of time. Today’s topic was accent. Accent is a stress of voice or an emphasis on one note, word, or part of a sentence more than another. Accent is not louder. Some say it is like a rocking chair. The class sang 61 and 278t to practice. Accent is a part of rhythmics. There is a primary accent when the hand starts down. There is a secondary accent when the hand comes up. For practice, the class sang 278b. Sam stated in 3/4 time, the accent should be less on two rather than more on one, and that will give a drive or a pulse to the song. The class practiced singing accent on 369, 133, 370, 97, 86, and 62. Sam reminded the class that accent is done with the voice, not the hand. The class ended after practicing “The Star Spangled Banner”.

Elective: Arranging Committee

10:45 a.m. Teacher-Jesse Pearlman Karlsberg.

The class covered what to consider when arranging a singing. It is determining and announcing the order of song leaders. Successful arranging is more than just calling names; it is one of the key ingredients in an excellent singing. Jesse said the good arranging takes a great deal of attention to detail. He said that the Arranging Committee should try to follow an arc for the day, as well as within each session. That means that the singing will begin gently, then rise to a peak, and then taper off toward the end. Committee members should pronounce names clearly and correctly. Try to spread out family members and church members throughout the day, and space leaders by gender. Serving on the Arranging Committee can be stressful, but also rewarding.

Elective: Songs of P. Dan Brittain

10:45 a.m. Teacher-Dan Brittain.

The class heard stories, and sang Dan Brittain’s songs from The Sacred Harp, Missouri Harmony, and other sources. Dan learned of this tradition in West Georgia, in the early 1970’s. The following songs were written and led by Dan Brittain: 353, 481, (about a General with bone cancer, originally written in 2/2 but changed to 4/4), “Poland Camp Fasola”, “Dean Street” (written for the third Irish singing and his first for an international gathering), “Beard” (named for Kelly Beard of Texas), “Blessed Hope”, “Despair” (inspired by 9/11, and written for part of a fundraising effort for survivors’ children), “Cowlins” (named for Doug Cowlins of Toronto”, “Hauff” (written for Judy Hauff), “Maquoketa” (written for the first Iowa singing), “Memorial Anthem” (written with Bruce Randall and text written by Karen Willard, and sung for the first time at Camp Fasola last year). The class sang 472, and was dismissed.

Lesson: Leading Songs/Boys

1:00 p.m. Teachers-Scott DePoy and Richard Ivey.

Scott and Richard assisted and advised the young boys as they practiced leading. They advised if the class is singing faster than the leader, the leader should make eye contact, use broader, slower strokes, and step up to the front bench to convey the message. Scott DePoy posed as the bad leader. He led 48t and 155. The class of young boys critiqued the bad leader, and told him what he was doing wrong. The correct techniques suggested by the class were to beat time correctly, bring in parts, and sing the tenor part as the leader. Wyatt Denney assisted the bad leader to correctly lead 155. Leaders: Faiz Wareh 474; William Brown 231; Wyatt Denney 87; Jasper Powell 59; Jonathan Pendleton 46; Nicholas Thompson 270; Russ Pope 551; River Skrenes 271b; Tarik Wareh 272; Nick King 94; Justin Corbett 119; Damian Wootten 58. The class concluded that Scott DePoy improved as a leader.

Lesson: Rees(e)‘s Pieces

1:00 p.m. Teacher-Jesse Pearlman Karlsberg. The class sang songs and learned about the lives of Sacred Harp composers and revisers, J.P. Reese and H.S. Reese. The Sacred Harp, 1991 Edition, includes thirty-one songs by the Reese brothers. The class also explored some of the Reese brothers’ less accessible music, including newly rediscovered pieces published in a rare 1870 songbook edited by E.T. Pound titled “The Vocal Triad”.

Elective: Leading Workshop/Adults

2:30 p.m. Teachers-Bridgett Kennedy and Judy Caudle. Campers practiced leading songs with helpful suggestions from Bridgett Kennedy and Judy Caudle. Issues addressed in the class were: bringing in parts, how to hold a fermata, leading with confidence, communicating with the class, leading with smooth strokes, correcting bouncing, chopping, and scooping motions, and keeping time. Leaders: Evangeline Shultz 454; Erica Martinez 163t; Tarik Wareh 272; Rachel Hall 316; Daire O’Sullivan 65; Nicholas Thompson 480; Katy Brown 485; Susan Cherones 173.

Elective: Death and Dying in The Sacred Harp

2:30 p.m. Teacher-Jeannette DePoy. The Sacred Harp has many songs that talk about death and dying. Jeanette DePoy provided statistics on how many songs in the Sacred Harp discuss death and dying compared with other topics. Death and dying are major topics in the songbook. The class sang and discussed songs that speak to death and dying in the following ways: songs that describe what the place we go after death will not be like: Jeannette DePoy 460 and Scott DePoy 65; songs that describe what the place we go after death will be like: Jeannette DePoy 392 and Holly Hauck 235; songs that describe death as rest: Jeannette DePoy 48t and Jackson Fleder 390; songs that describe life as being hard: Jesse Pearlman Karlsberg 83t; songs that describe longing to leave this world and go to heaven: David Ivey 384 and Renata Pekowska 181; songs that tell us not to cry: Jeannette DePoy 339 and 122; songs about the dying having an opportunity to say goodbye: Scott DePoy 410t and Jeannette DePoy 414; songs that are cautionary or contain a warning: Willis McCumber 404; songs that say we are going to die: Henry Johnson 348b; songs that mention meeting again on the other side: Amandeep Gill 267 and Erin Johnson-Hill 55. Jeannette DePoy led 146, and Henry Johnson closed with prayer.

Elective: Patriotic—Secular Songs

4:00 p.m. Teacher-John Plunkett.

In celebration of July 4th, John Plunkett led the class in some patriotic and secular Sacred Harp songs from the 1991 edition and other sources. John introduced the subject of secular songs from the first and second paragraphs of a handout. Jonathon Smith played “Jefferson and Liberty” on the flute. John Plunkett then led “Jefferson and Liberty”. “Jefferson and Liberty” is a song written by Robert Treat Paine, 1800. John told the class that Billings wrote “Chester” during the time of the Revolution and it became known as the “The Battle Hymn of the Revolution”. Karen Ivey led 479 with the original words written by Billings. Leaders: Nathan Rees 110; Liz Kiser 137; John Plunkett 242; Jesse Roberts 346; John Plunkett “Star of Columbia”, 487. Songs written during political campaigns were discussed. John led “Sacred Love” written by Foy Frederick, and “My Country ‘Tis of Thee”. The class was dismissed with prayer offered by Jesse Roberts.

Elective: Team Tunesmith II—Composium

4:00 p.m. Teacher-Aldo Ceresa.

Aldo welcomed the class of Tunesmiths, and gave each team member a packet that included tunes written by composers in the class. The team members were asked to make musical comments on each composer’s song as they sang. The composers were Daniel Bearden, Tom George, Rebecca Wright, Timothy Morton, Jesse Pearlman Karlsberg, and Aldo Ceresa.

Elective: Tunebook Creation and Revision

4:00 p.m. Teacher- Rachel Hall.

Rachel Hall and Myles Dakan gave the class modern and historical processes of creating a tune book, with a presentation of how books were created along with some examples. Myles called the class to order by leading 264t (ShH). Rachel traced the history of the opening song as an example of how tunes change and how parts are added or modified over time. The class reviewed two earlier versions of “Pisgah” 58 (SH), one from the Kentucky Harmony (1817), and one from Johnson’s Tennessee Harmony (1818). Rachel discussed the process of tunebook compilation as approached by Ananias Davisson, who drew on New England tunes, folk hymns, camp meeting songs, and other sources, and B.F. White, who involved the singing community in shaping the repertoire of the Sacred Harp. Rachel and Myles then discussed the considerations that go into compiling a new tunebook today, including song selection and modification, historical research, business sense, and community development. The class sang 172 from Walker’s Pocket Harmonist, and discussed its potential merits for inclusion in a tunebook. David Ivey discussed the considerations that went into the 1991 revision of the Sacred Harp, including song removal, mainly for the lack of use, selection of new compositions, and selection of older tunes, some of which had been in earlier versions. The class sang 251 (ShH), and was dismissed.

Community Singing

7:00 p.m. Led by Young Adults.

David Ivey welcomed the class and led “The Star Spangled Banner”. Erin Johnson-Hill welcomed singers and guests. The Young Adults sang a new composition called “Squares”. Erin Johnson-Hill led 32t. Daniel Bearden offered the opening prayer. Leaders: Ellen Lueck 31b; Emma Rose Brown and Daire O’Sullivan 37b; Jessa Cherones and Dylenn Nelson 299; Laura Russell and Michael Darby 318; Sierra Saylors and Teresa Saylors 209; Erik Schwab 228; Karis Askin and Katy Brown 475; Ethan Schultz, Evangeline Schultz, and Marcus Strickland 448t; Christine Andrews, Sasha Hsuczyk, and Molly Merrett 163t; Emily Cornett, Madison Lathery, and Beth Anne Clay 178; Guy Bankes 287; Elizabeth Kiser, Idy Kiser, and Lela Crowder 40; Jesse Roberts 121; Amy Armstrong, Jane Armstrong, and Erin Mills 215; Jeff Sheppard, Rene Greene, and Pam Nunn 556; Reba Windom and Betty Shepherd 216; Micah Roberts 384; Carol Huang 454; Bridgett Kennedy, Judy Caudle, and Nicholas Thompson 522; Faiz Wareh 474; Aldo Ceresa and Marcus Whitman 260; Katelyn Cornett, Sara Beth Bledsoe, and Mattie Pruitt 282; Tony Kiser, Scott Ivey, and Georgie Marsh 324; Renata Pekowska and Holly Hauck 547; Joanne Fuller, Devereux Fuller, and Ruby Francis 129.

RECESS

Leaders: Nathan Berry and Lindsay Kruse 35; Amandeep Gill and Tim Morton 335; Lainey Martin, Mary Francis Clay, and Tullaia Powell 274t; Jo Pendleton, Lynn Wilson, and Laurie Dempsey 523; Matt Hinton and Anna Hinton 300; Loyd Ivey 426b; Mary Andrews, Anna Bowen, and Holly Mixon 268; S.T. Reed and Wayne Reed 421; Sally Langendorf and Tarik Wareh 314; William Clay, Justin Corbett, and Thomas Cherones 358; Delone Cobbs and Jennifer Clay 77t; Alvaro Witt Duarte and Samuel Sommers 528; Rachel Rudi, Deidra Montgomery, and Emma Rose Brown 548; Kevin Barrans 74b; Richard Ivey, Damian Wootten, and Jonathan Pendleton 388; Willis McCumber and Ben Bath 432; Cassie Allen, Daphene Causey, and Sharon DuPriest 242; Ethan Corbett and Will Schnorenberg 213b; Henry Johnson 52b; Myles Dakan and Ben Sachs-Hamilton 497; Jackson Harcrow, Drew Smith, and Tom George 34t; Becky Wright, Rachel Hall, and Kimberly Haas 76b; Susan Cherones, Dennis George, and Rodney Ivey 492; Robert Raymond 107; Nicholas King, Wyatt Denney, and William Brown 297; Jackson Fleder and Erica Martinez 406; Lilly Underwood, Anna Marie Bethune, and Eva Grace Horsley 46; Jesse Pearlman Karlsberg, Nathan Rees, Lauren Bock, and Jonathon Smith 392; Erin Johnson Hill, Ellen Lueck, Daniel Bearden, and Jane Armstrong 347. Daniel Bearden offered the closing prayer, and the class was dismissed.

Friday, July 5

Following breakfast at 8:00 a.m., campers met in the Ark to take the parting hand.

SHMHA President—Jeff Sheppard; Camp Director—David Ivey