1939 Cedrus Yearbook

Picture yourself as one-fourth of a quartet. Come around there just a little so your partners and you form a semi-circle. Sound that first word clearly, then let your voice swell in harmony with the lead, hear the other voices blend with yours. Now—sh—make those tones sweet and light,— listen to that rumbling bass giving a background to it all. Hear it? Just like the double-bass of a mammoth organ. Low—Throbbing. Take the melody—swing along daintily. Break! Now all is quiet. Start that note exactly with the others. We're coming to the climax. Sing out, let the music roll from way down inside. Now softly run the last few words, linger on the last note—then hum. Let the chord linger—linger—then die. That was a grand feeling, wasn't it? Whether you were in a barber shop, or on a concert stage you realized you weren't the whole show, but too, you realized the show couldn't have gone on without you. You were there carrying your part of the load, using what you had worked so diligently to learn. You were con1 ributing. You see how our groups have felt this semester. We have been under the pleasing and instructive leadership of Mrs. Markle, and harmony has been our reward. Harmony of personalities as well as harmony of notes. Our mixed quartet consists of Beatrice McClellan, soprano; Jane Frame, alto; Ray Sisson, tenor; and Sam Stein, bass. The men's quartet is composed of Ted James, first tenor; Ray Sisson, second tenor; Fred Lott, baritone; Sam Stein, bass. RAY SISSON, Tenor of Both Quartets. MIXED QUARTETTE—Ray Sisson, tenor; Beatrice McClellan, so- prano: Jane Frame, alto; Sam Stein, bass. MEN'S QUARTETTE—Sam Stein, bass; Fred Lott, baritone; Ray Sisson, second tenor; Ted James, first tenor. l'apc Thirty-Y