Minutes of Sacred Harp Singings

Monday, July 4

Arrival, Registration, and Orientation

Registration for Camp Fasola, 2016, Youth Emphasis, 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 supper at 6:00 p.m. Every one attending camp met with David Ivey in Lakeview Lodge at 7:00 p.m. for orientation and instructions.

Class Singing.

7:30 p.m. (Counselors). Cheyenne Ivey and Beth Anne Clay brought the class to order leading 36b. Justin Bowen offered the opening prayer. Leaders: Cheyenne Ivey, Ainslie Allen, Devereaux Fuller, Ruby Francis, and Bekah Lauren Clay 159; Justin Bowen, Ezra Lloyd, Faiz Wareh, and Jairus Schultz 277; Ellen Culpepper, Mary Francis Clay, Lina Silva, Annaliza Cull, Jade Thompson, and Anna Hinton 318; James Eldridge, Gideon Lloyd, Daniel Whelan, Jared Pope, and Jedidiah Schultz 35; Beth Anne Clay, Julia Rikausrud, Lainey Martin, Mattie Sue Prewett, and Traci Naylor 354b; Tom George, Jacob Acton, Caleb Silva, and Jubal Schultz 47b; Sasha Hsuczyk, Judith Prevost, Mary Andrews, Molly Mixon, Sierra Saylors, and Tullaia Powell 209; Sam Culpepper, William Clay, Justin Corbett, Isaac Lloyd, Samuel Williams, Russell Pope, and Isaac Stiefel 63; Rachel Rudi, Lilly Underwood, Olivia Prevost, Anna Marie Bethune, Karis Askin, and Eva Grace Horsley 504; Lela Crowder, Julia Laskowski Edwards, Hadassah Silva, Noelle Silva, Anna Grace Sipe, Katherine Eldridge, Isabelle Lamarre, Tristen Lamarre, and Deborah Marsh 126; Nicholas Thompson and Judy Caudle 176b; Laura Ann Russell and Michael Darby 300; Christopher Mann 31t; Kate Coxon 328; Keillor Mose 171; Ruth Wampler 279; Corinne Ducey 162; Alex Forsyth 296; Jim Neal 30t; Bridgett Hill Kennedy 168; Daniel Bearden 91; Pam Nunn 200; Becky Wright 234; Sam Kleinman 362; Idy Kiser and Reed Schilbach 312b; Rachel Hall 500; Johnathon Kelso 447; Ivy Hauser 150; Laura Hodges 406; Jesse Flynn 65; Lori Cabirac 131b; Gedney Barclay 379. Cheyenne Ivey and Beth Anne Clay led 142 as the closing song. James Eldridge offered the evening devotional and the closing prayer.

Tuesday, July 5

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.

Lesson: Rudiments I/Youth I.

:00 a.m. Teachers—Lauren Bock and Justin Bowen. Lauren began the class explaining the basic rudiments, the names of the shapes, scales, intervals, rhythm, rests, and measures. Justin stated that music is sound that is organized, and discussed the anatomy of a page. The class sang the tenor line of 49t and 45t. Class dismissed.

Lesson: Rudiments I/Youth II.

9:00 a.m. Teachers—Stuart Ivey and Tom George. Stuart and Tom introduced themselves to the class. Stuart remarked that we come to camp to learn, not to show off. Stuart explained page 13 of the Rudiments about the definition of a musical tone. He discussed pitch, dynamics, rhythm, and accent. He said “the right note at the wrong time, is a wrong note.” The three modes of time were explained. The class practiced singing the scale, and participated in a challenge cup exercise. Campers volunteered to lead and practiced keeping time, which included a review of repeats. The class sang 37b, and was dismissed.

Lesson: Rudiments I/Adults.

9:00 a.m. Teacher—Sam Sommers. Sam led 24b, and then offered prayer. A hand-out entitled “Marking Time In Space” was provided, along with a sign-up sheet to lead a song in class. Sam stated that “singing school is to train you up in good habits!” The three modes of time were reviewed. Sam explained that the hand starts and ends in an up position in every mode of time. The mode of time suggests the speed of the song. By definition, the leader is always right! Michael Darby led 213b; Sasha Hsuczyk led 418, and Alex Forsyth led 133. A fermata or bird’s eye stops time. It’s length is at the discretion of the leader, and should be a reasonable pause. Do not continue to keep time with your hand or your foot! The class reviewed optional and mandatory repeats. Leaders: Mike Richards 50b; Gedney Barclay 420; Ciske Boekelo 289; Cecilia Kramer 71. Sam said that modest downward and upward strokes are preferred, and demonstrated his frame of modesty. The class sang 45b, and was dismissed.

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

10:30 a.m. Teacher—Aldo Ceresa. Aldo led 101t, and asked how many had never written music. He remarked that he hoped campers would gain a better understanding of the writers and songs by participating in the tunesmith challenge. Aldo gave the following tips and suggestions for writing Sacred Harp style music: each voice part has a different function; each song starts with the melody and the other parts revolve around it; Sacred Harp music is written in dispersed harmony (a crossing of voice parts, the bass range is usually between nine and ten notes, the tenor and treble play together in opposition like thunder and lightning); add shimmer to the tenor and bass chords; the alto is written last, and can do a lot of movement. The campers were divided up into seven groups of three to work on their compositions to be sung at the end of camp in the symposium. Class dismissed.

Elective: Rudiments Applied/Sightreading.

10:45 a.m. Teacher—Stuart Ivey. The class began with a time of questions and answers concerning the Rudiments. Stuart asked, “What is keeping us from gaining the skills to sight-sing unfamiliar songs?” Stuart suggested the need to go outside a comfort zone, and practice intervals. Stuart gave some web-site information to assist in learning more. Stuart remarked that he was going to pose some Sacred Harp tough love questions for campers to consider: Do you know the tenor part?; Do you know a song well?; Can you sing your part with the book closed?; Can you lead the song singing the tenor. . without looking?; Can you sing the other three parts in your range? By memory?; Can you sing your usual part while listening to the basses?; Can you sing another part while listening to your part?; Can you sing your part and hear all four parts? Stuart asked the class to consider some doable steps toward reaching these goals. He stated that if we attain these goals, and can hear all four parts, it will make our hair stand on end when we hear the chords formed by all the parts in harmony! The class sang infrequently used songs for practice. Leaders: Corrine Ducey 263; Tarik Wareh 115; Cora Wareh 459. Class dismissed.

Lesson: Sacred Harp & Wind Band Music.

1:00 p.m. Teachers—Johnnie and Nancy Vinson. Johnnie and Nancy introduced themselves to campers. Johnnie was the band director at Auburn University, and writes original music for school bands. He writes music for different levels of bands. A number four band is considered a good high school band. He exclusively wrote a score based on Sacred Harp variants for Homewood Middle School’s band in Homewood, Alabama. Nancy Vinson is a professional musician, who writes original music as well. Johnnie gave some observations about Sacred Harp music. He provided a hand-out of his original compositions inspired by Sacred Harp songs. He shared recordings of some of his new songs: “Overture on a Hymn Tune” (based on “Old Ship of Zion”); “Echoes of the Hollow Square” (based on “The Morning Trumpet”); “I’m Going Home/Warrenton”. The class sang a couple of songs. Class dismissed.

Elective: The Music and Life of Singin’ Billy Walker.

2:10 p.m. Teacher—Jonathon Smith. The class was provided a hand-out of an over-view of William Walker’s life (1809-1875). Jonathon stated that there is not a whole lot of information on Walker; most of his biography comes from his cousin, John Landrum, in “History of Spartanburg County (1900). Another resource Jonathon used was Harry Eskew’s master thesis from 1960. Walker was born in Union County, South Carolina, and moved to Spartanburg when he was eighteen. In addition to being an active singing school teacher, he was also a businessman, owning a bookstore, and was important in his community. These publications include Walker’s songs: 1835-Southern Harmony; 1846-Southern and Western Pocket Harmonist; 1867-The Christian Harmony; 1873-Fruits and Flowers. To distinguish himself from other William Walkers, he signed his name William Walker, A.S. H. (author of Southern Harmony). The class sang the following songs from the hand-out: “French Broad”, “Solemn Call”, “The Good Physician”, “Thorny Desert”, “Tender Hearted Christian”, “The Shouting Pilgrim”, “Breaker”, “Spartanburg”, and “The Last Rose of Summer”. The class sang 213t and 130. Class dismissed.

Elective: Text Meter in Sacred Harp.

2:10 p.m. Teacher—Sam Sommers. Sam led 146. Sam stated that meter is the pulse or the rhythmic structure of the poetry we sing. There are stressed and unstressed syllables in each line, and sometimes alternating. The foot is the basic metrical unit that forms part of a line of verse. The meters are iambs, trochees, spondees, anapests, and dactyls. Iambic meter is a two-syllable foot with the accent of the second syllable. In Paine Denson’s rudiments, most meters are iambic. Sam led 61, and made note that the common meter (C. M.) is similar to the common meter in 146, but the structure is very different. Sam led 127, noting the amphibrac meter text, which has three syllable feet. Sam remarked that trochaic feet lead with an accent, and many trochaic songs end with stressed syllables, for example, 8s and 7s. Sam suggested that when composing meter, mode of time should be considered; often when there is conflict, the poetry wins. Jim Neal led 370 (meter 8s and 7s, trochaic). Sam stated that most people’s common conception is that you can sing any long meter (L. M.) poetry with any L.M. tune (sometimes it works, sometimes it does not). Natalie Sims led 231 (a mix of 4s, 11s and 6s). Particular meter or peculiar meter (P. M.) does not fit other meters. Meter Hallelujah (M. H.) has syllables of which are 6, 6, 6, 6, 8, 8. Anthems do not fit a meter; often verbatim from another text. Time signature is not directly linked to meter. Odes are a poem in three parts; a srophe, antesrophe, and epoch. Sam said poetry supposedly trumps verse; in practice, poetry is often modified to fit meter. Sam led 512. Class dismissed.

Lesson: How To Beat The 7 Modes of Time/Youth.

3:30 p.m. Teacher—Stuart Ivey. Stuart explained the seven modes of time. The modes of time fall into three types: common time, triple time, and compound time. There are three modes of time in common time, 2/2, 4/4, and 2/4. There are two modes of time in triple time, 3/2 and 3/4. There are two modes of time in compound time 6/4 and 6/8. Leaders: Ezra Lloyd 49t; Jarius Schultz 37b; Cora Wareh 388; Tullaia Powell 178; Jade Thompson 45t; Lina Silva 146; Vivian Ivey 157. To demonstrate, Stuart showed the proper preparatory gestures, also using eye contact when it is appropriate. Class dismissed.

Lesson: Leading Workshop/Adults.

3:30 p.m.—Teachers—Bridgett Hill Kennedy and Judy Caudle. Teachers addressed common challenges when leading a song: confidence, how to get the tempo you want, mistakes in the square, conserving movement and energy, how to speed up and slow down the song, and songs with time changes. Leaders: Ivy Hauser 203; Nicholas Thompson 442; Isaac Stiefel 472; Zilpha Kitchens Cornett 362; Karis Askin 445; Linda Baysore 153; Sam Kleinman 564. Class dismissed.

Lesson: Time and Tempo-New Insights.

3:30 p.m. Teacher—Jesse P. Karlsberg. Jesse began with the seven modes of time. There are three modes in common time, two modes in triple time, and two modes in compound time. They were previously called moods of time. Jesse stated that 4/4, common time, is used the most. There are three hundred and twelve songs in the book, and 56 (t? b?). 3 percent of the songs are in common time. The year 1995 was the start of recording what percentage of songs were sung. The percentages are largely close to the percentages of mode songs found in the book. Tempo is the frequency (speed) of beats; the mode of time is a guide in tempo. In the Sacred Harp, modes of time suggest slower tempos in relation to more common time. B.F. White’s generation was the first generation to use the “second” to show how fast to sing the song. Thomas Jackson (T. J.) Denson, the most influential singing school teacher, taught a singing school every summer. Raymond Hamrick studied how fast singers sang songs and found that songs slowed down in some areas, and sped up in other areas. Denson preferred songs to be on the fast side. The actual tempo that is currently used is closest to B.F. White’s suggestions. We sing three out of five songs in 4/4 and now we sing them twice as fast as when B.F. White suggested the speed, but we do not sing much of anything faster than one second per measure. Class dismissed.

Elective: Keying Music.

4:45 p.m. Teacher—David Ivey. David offered some basics of keying to campers. He recommended giving all the parts their first tone, making sure the key is comfortable, and always sound the tonic. To key songs, you must know the scale very well. Make sure the key given is the best the class can sound. David advised that mistakes are going to be made, and it takes a lot of courage and practice. It works best to sound the tenor note last. A keyer needs to know their voice and what it can do. Isaac Steifel keyed 59 and Katherine Eldridge keyed 47t. David’s final comments were to only change the key if it is un-singable. Class dismissed.

Elective: Music and Influence of O.A. Parris.

4:45 p.m. Teacher—Jesse P. Karlsberg. Nicholas Thompson led 546. Jesse gave campers background on Orin Adolphus (O. A.) Parris, born December 16, 1897 in Jefferson County, Alabama, and died in 1966. A hand-out of Parris’s biography and songs was provided. O.A. Parris grew up in Winston County, Alabama. He was remembered as having a very sharp and quick mind. O.A. served in World War I as a bugler. He worked as a farmer during the day, and wrote music at night. Parris served on the Music Committee for the 1936 Denson revision. Leaders: Kate Coxon 349; Faiz Wareh 377; Sasha Hsuczyk “A Few More Years”; Aldo Ceresa “God’s Helping Hand”; Rachel Hall “Weary Rest”; Jesse P. Karlsberg “Then I’ll Be At Rest”; Daniel Bearden “A Good Time Coming”; Andre Kuney “The Grand Highway”; Justin Bowen 454. Class dismissed.

Class Singing.

7:30 p.m. (Youth Girls). Karis Askin, Katherine Eldridge, and Ainslie Allen called the class to order by leading 76b. Leaders: Emily Verrier, Anna Hinton, Devereux Fuller, and Ruby Francis 142; Annaliza Cull and Noelle Silva 47b; James Eldridge and Jared Pope 358; Paula Oliver 217; Allison Whitener and Grace Whitener 146; Jairus Schultz and Theophilus Schultz 276; Lilly Underwood 108b; Phillippe Doyle Gosselin 87; Kate Fortin 42; Jade Thompson 59; Ezra Lloyd 317; Kristopher Paprocki 222; Anna Marie Bethune 159; Justin Corbett 119; Tullaia Powell and Sierra Saylors 107; Caleb Silva 504; Anna Grace Sipe 32t; Micah Walter 426t; Esther Williams 224; Jacob Acton 282; Jesse Vear 228; Asa Horvitz 512; Patrick Friesen 214; Mary Andrews 203; Cora Wareh 302; Daniel Whelan and Rodney Ivey 277; Karis Askin and Katherine Eldridge led 82t as the closing song.

Wednesday, July 6

Lesson: Rudiments II/Youth I.

:00 a.m. Teachers—Lauren Bock and Justin Bowen. Lauren directed the class in warm-up exercises for the voice, using varying dynamics and pitch. Lauren had the campers turn to 277 to note the word fortissimo, and then to 177 to note the word softly. A review and practice of accent was done from pages 15 and 16 of the Rudiments. The class observed bad leader Scotty, who led 34t. Scotty made many mistakes while leading, and the class voiced what those were. Bad leader Scotty led 155 with more mistakes that campers helped him resolve. A game was played building measures in 3/4 time. Campers volunteered to lead songs for the remainder of the class. Leaders: Caleb Silva 27; Allison Whitener and Grace Whitener 146; Jade Thompson 40; Theo Schultz 313b; Zilpha Cornett, Idy Kiser, and Cora Wareh 362. Class dismissed.

Lesson: Rudiments III/Youth II.

9:00 a.m. Teachers—Stuart Ivey and Tom George. Stuart began the class by asking how many present had attended an all-day singing in the past year, and suggested that those who attend camp will most likely go to an all-day singing. Stuart remarked that most singers have not actually read the rudiments, but have learned through immersion. The class sang 532, applying accent to the syncopation in accordance with the Rudiments. Stuart noted that it is not necessary to know the clefs and key signatures for people who read shape notes. The class sang the triads on page 22 of the Rudiments, and reviewed major, minor, diminished, and augmented chords. Stuart directed the class in singing half-steps marked on a chart that was displayed. He noted the anomaly in the minor scale, and discussed the raised sixth. The class sang some minor scale exercises. Class dismissed.

Lesson: Rudiments III/Adults.

9:00 a.m. Teacher—Sam Sommers. Sam led 232, and then offered prayer. The class sang the major scale. Sam remarked that leading should be within a frame of modesty, unless there is a good reason. In relation to accent, Sam said it is about stress, not pronunciation. Accent should be done with the voice, not the hand. Laura Ann Russell led 37t. The Rudiments direct that text trumps accent. Sam commented that old recordings show more punch, and we should emulate that. Sam led 170. He suggested that while learning to sing, one should focus intently on one thing at a time (accuracy, accent, or watching the leader). Dynamics often get the short-shift; loudness is not virtuous in itself. The class sang 143, 412, 288, and 312b. Sam answered questions, and led 29t. Class dismissed.

Elective: Dinner on the Ground.

10:30 a.m. Teacher—Pam Nunn. Pam talked about the origins of dinner on the ground. She gave tips, ideas, and answered questions from class members on how to prepare meals for an all-day singing. Pam gave examples of what kinds of dishes work best, recipes, how to pack and transport hot and cold dishes, and much more. Campers participated in the cooking portion of the class by making punch bowl cakes to be served for dessert at the lunchtime meal. Class dismissed.

Elective: I Never Will Unloose My Hold.

10:45 a.m. Teacher—Aldo Ceresa. Aldo began by stating that holds (also known as a pause, fermata or a bird’s-eye), were rarely seen in early American music, but do occur frequently in songs in the Sacred Harp. The Rudiments in the 1991 Edition states, “a hold (pause) placed over a note or rest shows that it may be held beyond its normal length, at the reasonable discretion of the leader.” There are several types of holds. There are half-measure downbeat holds that occur at the beginning of a measure. Jesse Flynn led 48t and Zilpha Cornett led 569b, as examples. Another type of hold is the half-measure upbeat hold. Zilpha Cornett led 59 and Laura Ann Russell led 163t, as examples. There are holds on the third beat in common time. Henry Johnson led 96 and Jesse Vear led 316, as examples. Another type of hold is the full-measure hold. Cecelia Kramer led 198; Aldo led 69b, and Phillippe Gosselin led 567, as examples. Laura Ann Russell led 37t as an example of an off-beat and unusual hold. Class dismissed.

Lesson: Memorial Lesson and Learning Songs/Youth.

1:00 p.m. Teachers—Scott and Jeannette DePoy. Jeannette talked about what a memorial lesson is, what is done during one, and why memorial lessons are done. Scott talked about what to say before and during a memorial lesson, such as reading from the Bible, and saying a prayer. He stated that when choosing a song for the sick and shut-ins, it should not be about the deceased, and gave examples of songs to choose. He suggested that songs for the deceased should give hope after death, and gave some examples of songs. The teachers asked for volunteers to lead a song they would choose to sing in a memorial lesson and why. Jeannette and Scott critiqued the leading, and offered suggestions where improvement was needed. Leaders: Caleb Silva 504; Katherine Eldridge 445; William Clay 457; Daniel Whelan 163b; Jacob Acton 294; Sierra Saylors 67; Tullaia Powell 106; Jubal Schultz 235; Jared Pope 299; Jade Thompson 59; Russell Pope 549. The teachers expressed how important it is to be asked to do a memorial lesson, and how helpful memorial lessons are. Class dismissed.

Lesson: The Pleasing Sound.

1:00 p.m. Teacher—Henry Johnson. Henry presented a hand-out to the campers containing excerpts from the 1844-1869 White Book. He stated that the information he will discuss will be taken from J.L. White’s Rudiments. He discussed the early revision history of the Sacred Harp. Henry read from White’s rudiments and discussed harmony. David Ivey led 122. Henry described the history of the tune and the alto part. Henry expressed that his intention of the class was to practice listening to other parts, and staying together. He related the following thoughts: accent should be firm, but not oppressive, time and tune were more important; excessive volume is less desirable, although singing merely loud is consistent with our practice. Henry talked about each voice part, and suggested getting experience singing other parts from time to time. Henry encouraged the class to sing more softly and sweetly and avoid singing too loudly; appreciate the sound of this music. Henry discussed the following points that are suggested in the J.L. White supplementary: attempt to hit pitches in the middle; avoid adding slides following long notes; know the discrepancies between the spoken language and the sung language (such as, the pronunciation of vowels and the articles a, an, and the). Henry led the class in singing the pentatonic scale. He noted that seventy songs in the major scale and ten in the minor are purely pentatonic. Henry led 56t and 56b. Tarik Wareh led 70b and Sam Kleinman led 73t. Following a discussion about concords and discords, Tom George led “Lumpkin” (J.L. White). Class dismissed.

Elective: The Life and Music of S.M. (Seab) Denson.

2:10 p.m. Teacher-Jesse P. Karlsberg. Jesse provided the class with a handout titled “The Life and Music of Seaborn McDaniel Denson” that included photographs and a list of S.M. Denson’s compositions. Tom George led “Welcome Sweet Day” from the handout. Jesse said that S.M. Denson was the third of four children, and recognized Richard Mauldin, who was present in the class, as a descendant of brothers T.J. and S.M. Denson. S.M. and T.J. both moved their families to Winston County, Alabama, where S.M. met Joseph James. S.M. established the United Convention in Atlanta, Georgia, to have authority over book revisions. Daniel Bearden led “Mount Pisgah”. S.M. loved to write father-mother-brother songs. Sasha Hsuczyk led “Resurrected”. Cecelia Kramer led 430. S.M. wrote songs in a fairly limited range of keys. Jesse led “Winston”, a three part song. Ivy Hauser led “Cullman”. Justin Bowen led “Casander”. Sam Sommers led “Home In Heaven”. Jesse remarked that it is hard to say what style S.M. had, because he could do it all. The Union Harp was intended to be a supplement to J.L. White’s book, but White went his own way. The Union Harp had strange aspects and was approved in 1909, but was rejected in 1910. At that time, White and James had parted ways, leaving S.M. Denson having to choose between the two. S.M. chose James. Most of S.M. Denson’s compositional output was confined to a few years. In the 1954 Christian Harmony, music was credited to S.M. that he actually did not write. Jesse led “Loved Ones Over Yonder” from the handout. Class dismissed.

Elective: Learning Songs.

2:10 p.m. Teacher—Jonathon Smith. Jonathon encouraged campers to listen to recordings to learn new songs and practice intervals. The class sang 484. Jonathon gave helpful suggestions, such as learning the other parts and learning blocks of songs. Jonathon encouraged campers to sit next to experienced singers, and watch experienced leaders. The remaining time of the class was spent singing songs 419, 397, 411, 103, 374, 288, 167, 455, and 304. Class dismissed.

Elective: Leading, Singing and Remembering Jeff and Shelbie.

4:00 p.m. Teachers—Rene Greene and Pam Nunn. Rene and Pam introduced themselves as the daughters of the late Jeff and Shelbie Sheppard. Class members sang songs and recalled fond, funny, and some notorious memories of Jeff and Shelbie. Leaders: Nathan Rees 304; Jeannette DePoy 149; Joel Bassett 368; Bridgett Hill Kennedy 91; Nicholas Thompson 475; Scott DePoy 99; Mike Richards 468; Ruth Wampler 380; Jonathon Smith 211; Susan Cherones 56b. Class dismissed.

Community Singing.

7:00 p.m. (Young Adults). The 14th annual Community Singing at Camp FaSoLa was held at Camp Lee. The class was called to order by Gedney Barclay and Ciske Boekelo leading 40. Alex Forsyth offered the opening prayer. Leaders: Asa Horvitz, Laura Hodges, Nicholas Thompson, and Linda Baysore 37b; Nicholas Tuff 201; Lina Silva 65; Amber Saylors and Spencer Hegwood 59; Susan Cherones 56b; Tarik Wareh 387; Seth Wenger 49b; Erik McDonald 472; Tommy Schultz 163t; Mattie Sue Prewett, Karis Askin, and Eva Grace Horsley 224; Samuel Williams 564; Linda Baysore 176t; Cassie Allen and Ainslie Allen 217; Isaac Lloyd 444; Kyle Johnston 99; Zilpha Cornett, Idy Kiser, and Reed Schilbach 362; Mike Richards and Laura Hodges 291; Andre Kuney 269; Lela Crowder, Julia Laskowski Edwards, Hadassah Silva, Noella Silva, Anna Grace Sipe, and Katherine Eldridge 138t; Rachel Rudi, Karis Askin, Eva Grace Horsley, Anna Marie Bethune, Olivia Prevost, and Lilly Underwood 425; Ellen Culpepper, Anna Hinton, Annaliza Cull, Lina Silva, Jade Thompson, and Mary Francis Clay 155; Cheyenne Ivey, Ainslie Allen, Bekah Lauren Clay, and Ruby Devereux 146; Beth Anne Clay, Julia Rikansrud, Lainey Martin, Traci Naylor, and Mattie Sue Prewett 178; Sasha Hsuczyk, Tullaia Powell, Judith Prevost, Sierra Saylors, Mary Andrews, and Holly Mixon 475; Tom George, Jubal Schultz, Wyatt Denney, Jacob Acton, and Caleb Silva 108b; Ciske Boekelo 277; Justin Bowen, Ezra Lloyd, Spencer Hegwood, Jarius Schultz, and Faiz Wareh 276; Sam Culpepper, Isaac Lloyd, Isaac Stiefel, William Clay, Russell Pope, and Justin Corbett 120; James Eldridge, Gideon Lloyd, Jared Pope, Jedidiah Schultz, and Daniel Whelan 89; Jeannette DePoy and Scott DePoy 48t; Karen Ivey and Grace Whitener 76b; Eugene Forbes and Rodney Ivey 213b; David Saylors and Teresa Saylors 376; Adrian Eldridge and Virginia Eldridge 285t; Andy Ditzler and David Brodeur 302; Bridgett Hill Kennedy 186; Drew McGuire and Shelby Castillo 411; Kathy Williams 448b; Lloyd Ivey and Lilly Underwood 496; Richard Mauldin 168; Scott Ivey and Brianna Wells 441; Judy Caudle and Angela Myers 267; Darrell Swarens 268; Daniel Whelan, Shawn Whelan, and Natalie Sims 86; Pam Nunn, Rene Greene, and David Ivey 556. Gedney Barclay led 56t as the closing song. Alex Forsyth offered the closing prayer, and the class was dismissed.

Friday, July 8

After breakfast, everyone met in The Ark with Camp Director David Ivey for closing remarks and farewells. The group sang 62, and took the parting hand. Samuel Sommers offered the closing prayer, and camp was dismissed.

SHMHA President and Camp Director—David Ivey