Essentials in
Contest and Judging System

Essentials in
Contest and Judging System

BHS Contest Rules

BHS Contest and Judging Handbook

Definition of the Barbershop Style

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A guide to chorus contest for the novice Barbershopper

First time at contest? New members will feel like seasoned veterans after reading this guide.

As printed April 3, 1997 in the Rogue Rhapsody; Revised May 10, 1999 By Alan Burt, VP Chapter Development, Rogue Valley Chapter, Medford, Oregon.

This article is written as an informative piece both for our new members and for members with many years of experience on the contest stage.

We will have new members on the risers at contest as we did on our annual show. The following will serve as a contest guide for new members and as well as a reminder for seasoned contest veterans.

"How does contest differ from other public performances?"

From a strictly mechanical point of view, a contest differs in two important ways from the usual performance. First, we are judged both by our peers and by a certified panel of judges.

Second, our performance on that day is compared with the performances by other choruses or quartets ... others who also know how to sing well in the barbershop style.

One obvious observation is that contest is one of the few occasions when the audience gets to see and compare the work of a large number of barbershop choruses and quartets.

While barbershoppers are very supportive of the efforts of their peers, they are also critical reviewers of what they see and hear. Who better can evaluate what we do than others who sing our songs and practice our art? Therefore, contest introduces some subtle and some not so subtle pressures to do our personal best.

Due to these self-imposed pressures, it is not uncommon to walk off the stage when our performance is over and wonder how in the world we just managed to sing our two songs so quickly. This phenomena is not unlike highway-hypnosis where we sometimes realize that we traveled for a considerable distance and cannot remember how we got there (we were distracted for part of that time.)

When the heart pumps and the adrenaline starts flowing, we often unconsciously sing just a little faster and find that we have to watch the director even more closely so that the tempo does not get away from us.

Stage Fright

Let's get those words out into the open, stage fright. It is quite natural for seasoned entertainers to feel moments of unease before the curtain opens. It just shows that we are human. Fortunately there are techniques we can use to minimize this natural occurrence. Some ways include doing hand presses either against a wall or against our own hands. Taking deep breaths and slowly letting them out is another good method, as is Dr. Paul Mayo's alternate-nostril breathing exercise, breathing from one nostril and then the other.

It is significant to remember that a momentary shortness of breath may occur as will an increase in heart rate. But, more importantly, we know that we are well prepared and that we can do what works for us to maintain our concentration and to produce our best performance.

Be Prepared

All of the above concerns the time before the curtain opens. Now it is time to cover some points about what to do just immediately before and when the curtain opens. Think of the following suggestions as a pre-flight check off list. Just before the curtain opens:

• Arrive early and settle in
• Eat light for energy and better control
• Avoid alcoholic beverages
• Stay well hydrated
• Show respect for all performers
• Wish all performers well. We want everyone to do the best of which they are capable.
• Be sure you are in your window on the risers with your toes at the front of the risers.
• Maintain discipline so you don't miss any important message or instruction.
• As directed, shake your hands briefly at your side to release any tension.
• Rehearse the start of the songs in your mind. Imagine giving the best performance of your life!
• Look at a spot, directly in front of you, on the curtain that will correspond with someone in about the 10th to 15th row (your person)
• Do not follow the opening of the curtain with your eyes . . . keep your eyes on your person.
• Listen to the pitch, internalize what you hear . . . then take pitch carefully and deliberately.
• Keep humming the pitch as directed by the director.
• You will do only what you practiced. So practice exactly what you want to play out on that day (no scratching, hands in pockets, arms crossed, talking on the risers, etc.)

When the curtain opens:

• Cut-off the pitch as directed by the director.
• Keep your eye on the director at all times unless a choreographed move (or the SP plan) requires that you look at a specific place or requires you to follow your hand movements. Random eye movements are picked up by the judges and the audience like searchlights.
• Watch the director for tempo, dynamics, attacks and releases, and for facial expression clues. Also watch for clues to coming moves.
• Let yourself understand and sell the message of the song(s).
• As in good driving, plan ahead in your mind for where the song is going and what is required of you (anticipation).
• Maintain your concentration and focus at all times!

Between songs:

• Take deep breaths to control your breathing.
• Acknowledge your people and let them know by your posture and bow that you thank them for being there for you.
• Think ahead to the next song, the first word, and the mood of the song. Get yourself mentally prepared to sing.
• The director will not call for the pitch until the applause has died down and he knows that you can hear the pitch.
• Breathe, with your mouth shaped to the starting target vowel, on the signal from the director.
• Take a good solid tune-up. Make the tune-up so good that the audience can't wait to hear the song!
• Sing from the heart, believe what you are saying, and say and sing it better than anyone has any right to expect.
• Do your moves with conviction and finesse. Make a big production of the moves rather than an after thought.
• Let the artist in you shine through rather than the technician.
• Enjoy every single minute of your performance.
• Remember that you have the gift of singing. You are blessed.

When the curtain closes:

• Keep looking at your people even when the curtain closes.
• Don't watch the curtain close.
• Sell to your people until the curtain stops moving.
• If they are taking chorus pictures, be there when requested.
• Change quickly and then get out and see what the other chapters are doing. We came to learn and we will learn more if we experience more.

In The Weeks Ahead

• Review your music; circle spots that are a problem for you, or where you hear a problem.
• Work on your own to fix the trouble spots. Get help from your music team if you still need it!
• Practice your music at home to keep everything fresh in your mind.
• Be on time and ready to sing at each of the remaining rehearsals.
• Maintain good chorus discipline at all times. Time is precious.
• Drink lots of water in the week before the contest to stay well hydrated.
• Review your moves in front of a mirror while singing your songs. Do you buy your performance?
• Speak the words and know what they say . . . what they mean. Strive for legato singing.
• Get beyond the words and the notes to artistry.
• Get a haircut so you look and feel your best on stage.
• Get your uniform cleaned and pressed for a sharp look.

Last Minute Preparations

• Pack your uniform ahead of time and check that you have all of the items.
• Check that you have all of your toiletry articles, i.e. shaving equipment, toothbrush, etc.

Driving Tips

• Allow plenty of time to get to the contest site. We want you there safely and well rested.
• Check out how to get to the contest site and know where you are going once you get there.
• Above all else, stay calm, cool, and collected, and thoroughly enjoy the contest experience.

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