Minutes of Sacred Harp Singings

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Camp Fasola

Camp Lee, Anniston, Alabama

June 27-July 1, 2005

Monday, June 27

Arrival and check-in began at 4:00 p.m., followed by dinner at 6:00 p.m. and an orientation meeting. David Ivey welcomed campers and outlined the week ahead. David then introduced the teachers: Judy Caudle, Warren Steel, Richard DeLong, Jeff Sheppard, Shelbie Sheppard, Karen Willard, John Plunkett, and Jim Carnes. Roy and Louise Nelson coordinated snacks. Counselors were: Rod Ivey, John Plunkett, Clarke Lee, Henry Schuman, Dana Borrelli, Jennifer Allred, Lela Crowder, Karen Ivey, and LaRue Allen.

Monday Night Class Singing

David Ivey 32t; Jeff Sheppard 172; Jackson Harcrow 282; Frank Strickland 551; Idy Kiser 448t; Rachel Allred 442; Caleb Kiser, Tony Kiser, and B.J. Schnorenberg 87; Keith Willard 99; Don Bowen 97; Connie Stanton 171; Lauren Hall 155; Linda Shea 300; Jesse Karlsberg 196; T.J. Willard, Turner Berueffy, and Coleman Berueffy 45t; Bill Beverly 297; Mary Elizabeth Lee and Dinah East 354b; Liz Kiser 426b; Richard Schmeidler 475; Eugene Forbes 208; Annie Grieshop 40; John Plunkett 76t; Judy Caudle 345b; Donna Bell and Paige Gilbert 440; Stephen Conte 101b; Jonathan Taft and Karen Ivey 388; Allison Dodson 89; Bob Meek and Kalee Duncan 294; Dennis George 348b; Ann Webb 142; Laurie Dempsey 59; Riley Lee 277.

Paul Figura presented a devotional based on Psalm 98, “‘Make a joyful noise unto the Lord.’ When we sing together, we are bonding together. We need to focus on the message found in the words we are singing.” Paul Figura led 452 and closed with prayer. Campers had free time until lights out at 11:00 p.m.

Tuesday, June 28

Breakfast was followed by Rudiments Lessons: Youth Basics taught by Richard DeLong; Adults Basics taught by Judy Caudle; or Adult Advanced taught by David Ivey.

Adults Advanced Rudiments (David Ivey)

John Garst revised Paine Denson’s 1936 rudiments for the 1991 book. In Sacred Harp we use relative pitch. A musical tone has a pitch, accent, length, and volume. It is important to develop male trebles to have a true Sacred Harp sound. By doubling male and female voices on treble and tenor parts, we have six part harmony. We sing the notes first, a tradition that developed because tunes were taught in the early singing schools by working on the notes. Rests are as important as notes. Each part has its own staff because the parts cross each other. The brace includes all parts to comprise a tune. Some of the original tunes, especially those written in the South in the 1800s originally lacked an alto part. Many of the alto lines that we have for those songs today were added in the 1911 revision by S.M. Denson. Repeats at the beginning of a tune are required so that all the text is sung; repeats at the end are optional. Accent is not as strong in Sacred Harp singing today as it was in the past, but should be developed and emphasized. Be sure to beat time smoothly and evenly without jerky motions. Syllables can be sounded over more than one note through the use of slurs, ties, joined flags, triplets. In a triplet, sing the three slurred notes in the same time as noted for two. If the last bass note in the tune is a fa, the tune is major key; if it is la, the tune is in minor key. Don’t try to sing loudly. Sing naturally and drop down an octave if you cannot reach a high note. Can you lead a tune not in the chosen book for a singing? Check with the chair of the singing in advance.


The Nelsons served morning snacks; then campers could participate in recreational activities including the rock slide, canoeing/fishing, yoga, and hiking, or an elective class on more rudiments.

More Rudiments (Jeff and Shelbie Sheppard)

If you’re not experienced, sit by someone who is. Too many new singers are moving to alto; try to sing tenor or treble instead. Each measure of a song is full of either notes or rests. Always begin a measure with your hand up and finish with your hand up. Observe rests; keep it crisp. Tell the front bench what you’re going to do when you get up to lead. If the front tenor bench doesn’t respond to your leading, indicate with voice and hand what you want. When arranging, Shelbie says she leads the home folks early to get the singing going, then leads the visitors. Know what you’re going to lead before you are chosen, and verbalize that quickly as you move into the center of the square: page number, verses, repeats. In a small singing, leaders should lead two tunes in one lesson.


Following lunch the kids went to their lesson with Jim Carnes (T.J. and the Big Cheese: Exploring Sacred Harp History), and the adults gathered for their lesson.

The Gamut: Hearts, Voices and Hands (Warren Steel)

Our tradition goes back to the middle ages. Our fa-sol-la syllables are part of a prayer that choir boys learned to develop the strength of their voices. All music, when it is new, is modern and replaces other traditions in use. There were over 200 books printed in shape notes between 1801 and 1861. The Sacred Harp was one of the first books with refrains, a unique characteristic.


Afternoon recreation included swimming and high ropes. Elective classes were Jeff and Shelbie Sheppard’s Basics of How to Lead and Sacred Harp Resources with Karen Willard.

Sacred Harp Resources (Karen Willard)

Karen encouraged campers to use the wealth of information found at or linked from the fasola.org website. This includes an introduction to the music; lists of local and annual singings; maps; a link to Steven Sabol’s site about books, recordings, videotapes, DVDs, maps, resources for shape-note composers and publishers; Terre Schill’s site which includes Melody Assistant; Warren Steel’s homepage; and more.


Snack time again, then class with the young folks going to Warren Steel’s Taking Care of Business, and the adults going to River of Song.

River of Song, a Journey through Sacred Harp Tradition (Jim Carnes)

Jim played a lining out hymn of the Old Regular Baptists. He spoke about Dr. Watts Singing, an African-American tradition from colonial days. The singing in early in 18th century British Isles was moving towards our tradition. Isaac Watts’s words were very popular. Watts and Wesley were academics. “Plenary” was a Scottish drinking song brought into the church house; “Sawyer’s Exit” is also known as “Rosen the Bow”; “Wayfaring Stranger” was a folk tune. An academic and folk fusion continued in the early United States, with songwriters writing about contemporary events. “Ode on Science” linked the founding of our government with the enlightenment and science. “Save, Lord, or We Perish” was a picture of anguish following the devastation of the Civil War.

Then campers participated in games, horseshoes, or crafts, or an elective session on Keying Music.

Keying Music (David Ivey)

Sacred Harp uses relative pitch. The rudiments direct us to “pitch to sing comfortably.” In learning to key songs, it is helpful to listen to other people who pitch music over a period of time. Does the keyer set it comfortably? Listen to tapes of live singings which include the pitching. One must master the scales and intervals in order to give pitches to the parts. Use the song’s key as a starting point. You might try to get a key such as a “Sacred Harp F” in your head. When keying songs, sound the tonic note first. Then give the other notes for other parts and finish by sounding the tenor note as the class “sounds the chord.” If you can internalize just one pitch in your head (say, a “F” or “G”), you may be able to use that pitch as the basis for finding other keys. The tonic for minor tunes is la. Practice the minor scale a lot, and practice the intervals. Try pitching something you have on a recording, then check to see how you did. Pitch that same tune several more times that day. The pitcher should watch new leaders to see if they indicate that they might pitch their own song. You should strive to pitch a tune as high as all the parts can sing it comfortably. Many people need help getting their songs started. The leader’s mouth sometimes is even a better indication of the tempo they want than their hand. To singers in the class, don’t randomly provide a pitch from your seat because it interferes with those who are assigned to the job of keying the music.

Dinner and free time was followed by the evening singing in the Camp Lee church building.

Tuesday Night Class Singing

David Ivey led 212 to start the singing. Clarke Lee offered prayer. Leaders: Max Berueffy and Brooks Berueffy 332; Bridgett Hill 142; LaMar Schlabach 335; Marvin Reeves and Amber Reeves 144; Shane O’Neal 496; Jennifer Allred 151; Shirley Figura 278t; Duncan MacLeod 76b; J.T. Shavers 145b; Lynn Wilson 49t; LaRue Allen 373; Blake Sisemore 532; Katy Moore and David Moore 51; Sherry Lovvorn, Cali Harrod, Katie Rice, and Paige Gilbert 143; Scott Ivey and Blake Sisemore 528; Wayne Morgan 42; Erin Cole 49b; Rod Ivey and Dottie Elam 358; Martha Beverly 467; Joanne Bowman 306; Drew Smith 376; Cheyenne Ivey 282; Dana Borrelli and Magdalena Zapedowska 39t; Clarke Lee 326; Anne Patton 209; Warren Steel 448t; Allison Ivey, Jonathan Taft, and Cheyenne Ivey 217; “Happy Birthday” to Liz Kiser.

Following the singing, we had a campfire where Samuel Sommers led the devotional. Then campers enjoyed some free time until lights out.

Wednesday, June 29

Breakfast began the day, followed by Rudiments Lesson for all campers.

Adults Basic Rudiments Lesson (Judy Caudle)

We communicate the music by practicing every syllable, every note to develop our singing. Practice the scales and the intervals to master them. Rests must be observed in all parts. Sometimes other parts are singing on your rest, and sometimes there is silence in all parts. You must lead the class with your hand and your mouth to show how you want your song sung and to keep the class together.


Roy and Louise Nelson again drew a crowd for their snacks, followed by recreation: rock slide, canoeing/fishing, low ropes.

Elective classes were Shelbie Sheppard’s Preparing and Taking Dinner to Singings and The Best of the Un-Greatest Hits with John Plunkett.

The Best of the Un-Greatest Hits (John Plunkett)

Will Fitzgerald has generated frequency lists for 2003 and 2004 from the Minutes Books which can be found at www.entish.org John stated that one advantage of singing unfamiliar tunes is the experience it offers to sight-read. Always practice a tune, especially something which may be unfamiliar to others, so that you can confidently lead it.


Lunch was followed by the group photograph, then off to our next class: Sacred Harp Traditions and Decorum for the young folks with David Ivey, and the adults’ Accent and Leading Music Yesterday and Today with Warren Steel.

Accent and Leading Music Yesterday and Today (Warren Steel)

In Europe until about 1400, people sang in unison. Only soloists sang in parts. Beginning about 1400, people began to sing in parts as groups. The 1844 to 1870 editions of The Sacred Harp included measure times. The 2/4 time signature should be led briskly. There is now more variation in the timing for 4/4 songs than any other. There is some controversy over where bars have been placed. When there is a conflict between barring and the words present, give priority to accenting the important words. As an example, page 268, accenting: “would to God I had died for Thee, O Absalom, my Son, my Son.”

Afternoon recreation included swimming, hayrides, and hiking. Elective classes were Shelbie and Jeff Sheppard’s Leading Practice and Richard DeLong’s Keying Music.

Keying Music (Richard DeLong)

Richard stated that he learned to key out of necessity. It takes lots of practice. Listen to yourself and critique what you have done. Find a song for which you can hear the tonic and chord in your head. Practice keying it several times a day. Once you’ve nailed down a key, start working on a different key and chord family. Richard has developed his own list of “pet songs” to key from. Experienced singers want to hear the tonic and the 1-3-5 chord. The keyer should sound out the beginning note for each part. When keying minor music, the scale is different. Be careful and be sure to have a set of good minor “pet songs”. Some examples of good songs to use to pitch various keys: F major—318, 87; B major—155; E major—358; D major—327; A minor—300; C minor—442; D minor—455; E minor—106. Pitch a little lower in early morning. Raise pitch for an hour after lunch then bring it back down later in the afternoon.


Snack time again! Lessons for all followed: the kids go to Warren Steel’s Pitchforks and Pendulums, and the adults head to Learning and Singing Songs with Judy Caudle.

Learning and Singing Songs (Judy Caudle)

Increase your confidence in your song so that you can lead it well in the square. Signal a hold with a still hand and begin moving again to indicate the next note. To establish tempo, beat consistently, even with an initial rest. If the front bench doesn’t follow you, stop singing and tell the class what you want.

Afternoon recreation activities included games, horseshoes, yoga, and crafts. Elective sessions were Richard DeLong on Organizing and Conducting Singings, and a SHMHA Interest Group Discussion with David Ivey and Jeff Sheppard.

Sacred Harp Musical Heritage Association (SHMHA) Interest Group Discussion (David Ivey and Jeff Sheppard)

SHMHA was incorporated in 1998 as a 501(c)(3) non-profit organization. It produces the Directory and Minutes Book annually under Shelbie Sheppard’s direction. SHMHA’s charter states that its purpose is educational, cultural, and historical. Its current primary functions are to publish the Directory and Minutes book, Camp Fasola, and to attract funding to promote these and other future project. SHMHA’s annual meeting is held on the Saturday before the fourth Sunday in November at 3:00 p.m. following the Alabama State Convention. The organization depends completely on volunteers. It welcomes gifts, and a planned giving campaign might bring needed income. It does not currently have staff to carry out other fundraisers.

Camp Fasola was started with planning by Jeff and David, and has involved more people each year to operate the camp. Twenty staff people supported Camp Fasola this year. The camp operation has been better organized each year. Jeff said that SHMHA does not compete with any other organization which supports and promotes Sacred Harp. SHMHA seeks to work cooperatively with these organizations. Campers encouraged SHMHA to find a way to offer annual membership subscription to singers. There is a need to let people know about SHMHA and its work. If this were done, contributions might be increased through an information campaign. Suggested projects: continue with Camp Fasola; develop workshops; and coordinate the collection of old songbooks, recordings, etc. for preservation as a collection in an established museum or archives. Identify a library that will preserve, archive, and control books, papers, and other items entrusted to them. This library must make these items available for use by singers and researchers. A cost to control these artifacts must be determined.

Wednesday Class Singing

Boys’ chorus directed by Rod Ivey 101t, 30b, 230. It was announced that the young people will be in charge of next year’s Wednesday evening singing.

Leaders: David Ivey 90; counselors 48t; Alex Makris 119; Terry Hogg 43; Larry Devocelle and Terry Hogg 81t; Rachel Shavers, Rachel Ivey, and Heather Sutton 59; Ann Fox 135; Janice Bridges 146; Henry Schuman 318; Daniel Sears and Drew Smith 457; Samuel Sommers 96; Magdalena Zapedowska 270; Beth Branscome 290; Jason Hollis 68b; Annie Reeves and Marvin Reeves 186; Dinah East and Kalee Duncan 354b; Malik Williams and Bridgett Hill 37b; Jo Pendleton, Jonathan Taft, and Karen Ivey 34t; Laura Clawson 394; Dinah East, Kalee Duncan, and Amanda Reeves 319; Seth Allred 276; Andrew Kiser 39t; Pam Nunn presented wildly decorated flip flops to Jeff Sheppard and David Ivey; Pam Nunn and Jeff Sheppard 64; Trevor East 277; Ashley Reeves 388; Tom George 47b; Bentley McGuire 40; Ken Robinson 480; James Wagner 108t; Joey Bullard 278b; Jenny Willard 392; Jane Spencer 390; Julie Lee and Kathy Lee 128; Rodney Willard and Karen Willard 171; B.J. Schnorenberg 87; David Moore, Katy Moore, and James Wagner 455.

Announcements of local singings were made. Rodney Willard led the devotional, followed by Karen Willard closing with 345b.

Keith Willard posted daily reports of camp activities and photos to www.fasola.org/camp/diary. Keith also photographed the sets of grandparents and their grandchildren in attendance.

Thursday, June 30

Breakfast began the last full day at camp followed by Rudiments Lessons for all.

Advanced Rudiments (Warren Steel)

In Mississippi the basses sit across from the tenors with the trebles to the right, altos to the left. Raymond Hamrick traced tempos at singings from the 1940s to the 1970s and discovered that tempos increased in speed over this time. Warren tried to write an alto part to 284, “Garden Hymn”, and found that the bass part is so strong that he could not succeed. All parts are pleasing parts; treble and tenor cross a lot. Close harmony is characterized by alto and tenor parts that are sometimes slavish to the treble melody. In dispersed harmony the parts are independently melodic; they cross and move in counter directions. In England between the 1720s and the 1820s, fuging tunes were very popular. Joseph Stephenson’s publishing of “Milford” influenced other tune writers towards fugues. In the time of William Billings, it was illegal to give employees a religious day off work. While we use tunes to reflect the liturgical year now, these tunes used to be sung year around. Unique to The Sacred Harp, the alto part was originally written in the bass clef sometimes to avoid ledger lines.


Another snack time followed; then campers could participate in the rock slide, canoeing/fishing, crafts, or an elective class, Odes and Anthems with Richard DeLong.

Odes and Anthems (Richard DeLong)

There are twenty odes and anthems in the book, and leading one can be intimidating. An anthem’s text is from scripture or a prayer book or other sacred writing. It is not proper to call for one unless you can lead it well, and they should only be led in the second hour of a singing, the first hour after lunch, or during the first twenty minutes after a recess. An ode is poetry with music composed for the text: examples are 227, 242, and 260.


Following lunch, the young people attended their lesson with Judy Caudle and the adults met with Warren Steel.

Men of Rough Exteriors: Composers (Warren Steel)

Footnotes from the 1911 revision, some of which were not fully historically accurate, were removed in the 1991 revision. Soon there will be a companion volume with historical notes. Publication of information on composers is also under way, including living composers since 1960. John Plunkett and Robert Vaughn have contributed to this project. Many tunes composed in New England were by singing school teachers. Much was published prior to the Centennial celebration in 1876. Most composers were self-taught or attended singing schools. Many were farmers, teachers, or preachers. Some became prominent men in their communities. There were female composers, like sisters Sarah Lancaster, P.R. Lancaster, and M.L.A. Lancaster. “Lone Pilgrim” was composed by an American Indian, Thomas Commuck, who died in 1855. In our book, the arranger is listed instead of the composer.

Again it was time for swimming, hiking, and high ropes, or electives: Exploring the Hollow Square (Dana Borrelli’s discussion session) or Sacred Harp Traditions and Decorum.

Sacred Harp Traditions and Decorum (Jeff and Shelbie Sheppard)

In the old days, only one person in a family would lead for twenty to thirty minutes. Sometimes there would be two leaders, then a break. At the beginning of World War II, we had a farming/agricultural economy. After the war, a lot of the young men did not return to the singing tradition. Jeff and Shelbie shared past experiences at singings and with singers. Mr. Lonnie Rogers was asked to come and join Jeff and Shelbie and share his memories with the group.


Snack time again with Louise and Roy Nelson. Bud and Sammie Oliver demonstrated the Lookout Mountain method of making lemonade. Then off to a youth project led by the counselors, to Karen Willard’s Sacred Harp Resources, or to a discussion about Camp Fasola Feedback with David Ivey.

Camp Fasola Feedback (David Ivey)

Campers appreciated the golf cart transportation and enjoyed singing a song at lunch. A suggestion for a craft project for next year: cushions to personalize that could be used during camp teaching and singing sessions. It worked well to have a blessing on the porch before we enter the dining room. Rodney Ivey and John Plunkett did a super job of supervising the older boys, and Henry Schuman carefully looked after the younger boys. The classes were arranged well to minimize changing places too often. Campers indicated that the classes were excellent, as were the teachers. Attendance showed that it was good to offer recreation and optional classes for those who wanted them. David urged campers to thank the teachers personally. A suggested new class: a sight-reading session with new music. Campers wanted more opportunities to swim. All upper bunks need secure rails. Campers really liked the bigger logo on this year’s tee-shirts. David asked us how many people are too much/enough at camp. Will we have an adequate singing space that is good? Should priority be given to kids and new singers? It was suggested that the youth group may need dividing into younger kids and teens. Perhaps classes should sometimes be divided, using some adults with the younger kids. Assign some adults to help as their service project. Another option is to pair an older child with a younger one, or divide kids into experienced and inexperienced for some classes. Discussion followed about accommodating children. Those under ten must be managed at all times by an older relative or they must stay in a hotel and only attend during the daytime activities and meals. From age ten, kids are more teachable and good group behavior can be expected. It’s challenging to find experienced counselors for the kids since not many people in their 20’s with Sacred Harp background are available. Discussion ensued about covering the expenses of camp. Are the prices affordable? How can contributions and grants be acquired to support camp expenses?

Campers enjoyed one last dinner in the Grove Dining Hall and presented certificates of appreciation to the Camp Lee staff. Then it was time to join in the larger community singing which took place in the Ark.

Thursday Night Community Singing

Jeff Sheppard opened the singing with 36b. Samuel Sommers offered the opening prayer. Leaders: David Ivey and Karen Ivey 217; Rod Ivey, John Plunkett, and LaRue Allen 142; Lela Crowder and Jennifer Allred 272; Rachel Shavers, Rachel Ivey, Heather Sutton, and Alex Makris 480; Rachel Shavers and J.T. Shavers 59; Lonnie Rogers, Sherry Lovvorn, Katie Rice, Cali Harrod, Paige Harrod, and Susan Rice 143; Drew Smith and Daniel Sears 146; Bridgett Hill and Malik Williams 37b; Blake Sisemore and Jackson Harcrow 112; Keith Willard, Jenny Willard, Thomas Willard, Rodney Willard, Barbara Willard, and Karen Willard 422; Jane Spencer, Linda Shea, and Magdalena Zapedowska 105; Jo Pendleton and Jonathan Taft 24b; Amber Reeves and Rachel Allred 335; Don Bowen and Max Berueffy 283; Dinah East and Kalee Duncan 80b; Allison Dodson and Louis Hughes 300; Wayne Warren, Bud Oliver, Trevor East, Andrew Kiser, and Seth Allred 42; Coleman Berueffy and Turner Berueffy 282; Cheyenne Ivey, Paula Oliver, and Paige Gilbert 82t; B.J. Schnorenberg and James Wagner 87; Erin Cole 222; Idy Kiser, Tony Kiser, Caleb Kiser, Liz Kiser, and Andrew Kiser 312b; the twenty-something campers—Laura Clawson, Allison Ivey, Dana Borrelli, Beth Branscome, and Jesse Karlsberg 76b; Lauren Hall 216; Tom George and Dennis George 388; Clarke Lee, Julie Lee, Mary Elizabeth Lee, and Riley Lee 178; Jeff Sheppard, Shelbie Sheppard, Pam Nunn, and Rene Green 448t.


Samuel Sommers brought the class back with 319. Leaders: Judy Caudle and Steve Grauberger 145b; David Creach and Floyd Bennett 452; Jason Hollis and Bentley McGuire 354b; Aubrey Hemminger, Lynn Wilson, Laurie Dempsey, and Kathy Coulson 47b; Amanda Reeves, Amber Reeves, Annie Reeves, Ashley Reeves, and Marvin Reeves 31t; Connie Stanton, Joanne Bowman, and Janice Bridges 122; the Iowans—Annie Grieshop, David Moore, and Katy Moore 344; Kathy Lee, Trevor East, Shane O’Neal, and Joey Bullard 235; Ann Webb and Anne Patten 155; Duncan MacLeod, LaMar Schlabach, and Ken Robinson 168; Warren Steel, Mark Davis, Lisa Davis, Kurt Davis, and Natalie Davis 457; Paul Figura, Shirley Figura, and Ann Fox 39t; Bill Beverly and Martha Beverly 179; Terry Hogg and Larry Devocelle 523; Richard Schmeidler 473; Bob Meek and Eugene Forbes 340; Donna Bell and Henry Schuman 49b; Stephen Conte and Frank Strickland 176b; Caleb Allred and Will Allred 454; Reba Dell Windom, Elene Stovall, and Joan Aldridge 192; Aaron Wootten and Susan Harcrow 159; Henry Johnson, Milton Oliver, and Ed Thacker 141; Sandy Ivey, Rachel Ivey, Scott Ivey, and Tony Ivey 503; Sandra Wilkinson, Michael Thompson, and Russ Hanson 274t; Daphene Causey and Sharon DuPriest 200.

Announcements were made. Annie Grieshop thanked David Ivey, Karen Ivey, Jeff Sheppard, and Shelbie Sheppard for their leadership and dedication to Camp Fasola. David Ivey led 46 as the closing song and Louis Hughes offered the closing prayer.

Campers enjoyed free time and lights didn’t quite go out by 11:00 p.m. on our last night at camp.

Friday, July 1

After a final meal, campers packed their gear. Then all gathered in the Ark where David thanked Roy and Louise Nelson for the wonderful snacks they provided all week. He thanked the counselors: Lela Crowder, Dana Borrelli, Jennifer Allred, John Plunkett, Rod Ivey, Clarke Lee, Henry Schuman, LaRue Allen, and Karen Ivey for contributing so much to the campers’ well-being. He thanked the teachers for their excellent lessons. All campers received certificates. David challenged each camper to take what they have learned at camp and practice it in their singing community. All took the parting hand, and Chaplain Samuel Sommers closed with prayer. Hugs and tears followed, and another wonderful year at Camp ended.

Campers attended from 20 states, 2 provinces of Canada, and Poland. There were 126 full-time campers, including the teachers and counselors.

The dates for Camp Fasola 2006 will be July 3-7 (one week later than previous camp dates).

SHMHA President—Jeff Sheppard; Camp Director—David Ivey; Secretary—Martha Beverly.