DeCadence a cappella policies -assembled in Spring 2010; edited Spring 2013 1. Membership a. Attendance b. Auditions c. Leaving/Returning to the group 2. Positions a. selection of officers b. Official Positions c. Committees, meetings 3. Songs a. arrangements b. solos 4. Rehearsals a. Rehearsal Time b. Business time c. Sectionals d. Feedback 5. Performances a. Sproul b. Semester Concert c. Gigs - paid/unpaid d. big performances 6. Feedback 1. MEMBERSHIP a. Attendance policy (approved end of Spring 2013) All members are expected to attend all weekly rehearsals in full. All members are expected to perform on Sproul and come to pre-sproul (unless they must take a class that is required). (People with other pre-excused rehearsals/commitments have specific times they must arrive before being counted as tardy) Bring up attendance issues with the designated Attendance Enforcer & Managers Allowed 1 unexcused absence per semester which can be taken for any reason, and preferably acknowledged in advance. Excused absence: midterm, final, review session, conference, etc...legitimate plans made in advance (usually academic but NOT necessarily limited to) Excused absences require at least 1 week in advance and must be cleared with Attendance Enforcer, Music Director/s, and Business Managers Illnesses counts when seriously sick (when you have a sore throat or just "sick"/no voice, then still come for choreo/business) Performances for other groups/other commitments will be evaluated on caseby-case basis DEMERIT SYSTEM: If you come on time/early to anything (i.e. right at 6:30pm for Monday Rehearsals, 7pm for Wednesday Rehearsals, 11:10am for presprouls, right at the calltime specified for gigs) then your house receives 10 attendance points but no demerits...yet Come after 6:40pm (Monday Rehearsals), 7:10pm (Wednesday Rehearsals) or 11:10am (Pre-Sprouls), then 1 demerit [aka BERKELEY TIME] Come after 7pm (Monday Rehearsals), 7:30pm (Wednesaday Rehearsals), 11:30am (Pre-Sprouls), or 20 minutes after a call time (Gigs), then 2 demerits Unexcused absence (after the 1 allowed), then 3 demerits
After 3 demerits Cannot audition for the next 2 available solos, according to restrictions, if any, based on voice part imposed by the arranger (or music directors in the case that the arranger is no longer in the group). Backup soloist sings your solos at that week's Sproul, or if there is no back-up soloist then we do not sing that song at all After 3 demerits, the count starts over Demerits are also received if you leave rehearsal early, at the discretion of Attendance Enforcer If you are consistently missing rehearsals or arriving late, you are subject to group evaluation and removal from the group. BASICALLY JUST COME TO EVERY REHEARSAL AND BE ON TIME!! b. Auditions First Round Auditions: Hierarchy for running auditions: Music Director, Asst. Music Director,... etc. Do not question the person running the audition in front of the auditonee. If the auditionee is clearly not capable of all sections of the audition, go with what the person running the audition does, sometimes we will have to skip sections for the sake of time. If you really want to hear the auditionee do something we skipped, bring it up subtly. We look at the auditionees holistically; do not base your impression of them on only one area unless that one area is so unbelievably amazing it compels you to forgive the rest. Vote for callbacks after the audition is based on thumbs. TAKE NOTES - Warmups: Down (Veevah from E) and Up (Ee-Ah from A) First three with group, auditionee keeps going solo Look for tonal accuracy, vocal control - Tonal Memory - ask them to turn away from piano - Sight Rhythms - Learning - Quartet - Solo - Optional: Beatboxing Callbacks: Led by Music Director Icebreakers! Pt. 1: Warmups, Sightrhythms, have them sing the callback pieces, learn, Sing Solo TAKE NOTES!!!!!!!! Pt. 2: Blending! During Part 1 and immediately following Part 2, any deliberation on an auditionee is based purely on "Is this person musically & vocally qualified to be in DeCadence?"; decide that before using other methods or standards to vote on whether they should be in the group or not. c. Leaving/Returning to the group Getting back into the group/getting your solo back - If you leave the group for any reason, expect to re-audition. You are not guaranteed re-entry, especially if the group is full. o You automatically get into callbacks - If a member leaves the group, that member gives up all of his or her solos - If you leave and while you re gone someone takes your solo, you don t get your solo back when you come back (if that person is still in the group)
- If you arrange a song and sing the solo, leave, come back, and the solo is still open, then you can take the solo back If for whatever reason you decide to leave the group, please give us advanced notice, especially before the next round of auditions. You can speak with the music director and business managers privately if necessary. We love you and want the best for you, even if that means you not being able to sing with us. Members who leave for study abroad may return without auditioning and get their solos back, as they have not technically left the group on a permanent basis. d. Membership Requirements Only currently registered students, faculty, and staff may be active members in a registered student organization. Only active members may vote or hold office. We will not haze according to California State Law. We will not restrict membership based upon race, color, national origin, religion, sex, gender identity, pregnancy (including pregnancy, childbirth, and medical conditions related to pregnancy or childbirth), physical or mental disability, medical condition (cancer related or genetic characteristics), ancestry, marital status, age, sexual orientation, citizenship, or service in the uniformed services (including membership, application for membership, performance of service, application for service, or obligation for service in the uniformed services.) 2. POSITIONS a. Selection of Officers There are no prerequisites for officers There are assistant positions for music director, business manager, and treasurer When MD/BM/T is unable to fulfill his/her duties, assistant assumes all duties If in the middle of the semester someone expresses interest in being assistant or the group feels that we need another assistant, part of the voting process is whether or not we need/want more assistants Members cannot be forced to take on a position Members should let the group know beforehand if they want to take on a position All members are required to take on a position and/or be involved in a committee Positions get simple majority, plurality, run-off? Run-off: there's not a majority but 2 people get the most votes, so we vote between them, plurality is most votes irrespective of majority b. Official Positions 1. Managers (primarily in charge of running rehearsals/logistics) - Music Director in charge of planning and leading rehearsals chooses setlists for Sprouls and gigs has the ultimate say in musical decisions wields the pitch pipe! - Business Manager(s) Leads business time, brings an agenda of things to vote on/go over External duties in charge of responding to outside emails schedules gigs, negotiates performance rates Internal duties
reminds members of upcoming events, gigs in charge of coordinating logistics of events - Assistant Music Director works with the Music Director on musicality, etc. leads rehearsal when Music Director is absent 2. Other Positions - Concert Coordinator in charge of making sure all the logistics of the concert are in place leads weekly concert committee meeting - Secretary records Business stuff on the Biznasty doc keeps the Biznasty updated with gigs, new policies, etc. updates the Google Calendar to reflect upcoming events - Attendance Enforcer records tardies, absences, and corresponding demerits on an Attendance Google Doc notifies people when they have reached 3 demerits, and of the consequences - Treasurer manages reimbursements from ASUC account keeps track of how much money we have (Misc. account, etc.) - Auditions Coordinator In charge of handling auditions emails during auditions season Must be able to respond quickly to regular emails schedules first round auditions notifies auditionees of status - Performance Advisor / Lead Choreographer In charge of managing choreography committee for the group works on group performance - Publicity Manager In charge of managing publicity for the group - continually thinking of new ways to market us! - CD Contact replies to CD purchases and inquiries - Party Managers Arranges for DeCadence hangage! Manages stuff for Concert afterparty?? - Graphic Media Creates graphic media for auditions, concerts, etc. publicity! - Copy Slaves / Pam Beeslys In charge of making copies for music, flyers, tickets, whatever we need You won't necessarily have to go by yourself Will get reimbursed!! [go to cheap places, keep your receipts!] Advice: go in pairs and make it bonding time :D - Webmaster / Internet Chair? In charge of regularly updating and maintaining the website and Facebook? - Youtube Manager? In charge of maintaining youtube page, uploading new vids, archiving... etc. c. Committees / Meetings 1. Rehearsal Planning Meetings Dinners!
led casually by Music Directors and Business Managers EVERYONE is invited and encouraged to come and CHILLAX! Especially if you're interested in getting more involved :D Will occur weekly+ before rehearsal at a predetermined standard time & location Discuss what we need to work on as a group musically but also cohesively and lovingly! YAY Good time for hangage The place to go to give FEEDBACK to managers, or bring up other issues with managers in private. Please do!! 2. Concert Committee see section 5b led by Concert Coordinator Generally held weekly, time determined by the Concert Coordinator Brainstorm show themes, work on skits Arrange show logistics: sound system, guest acts, venue, ticket sales, skits, date, everything! 3. Arrangement Committee see section 3a In charge of overseeing arrangements before they go to print If you arrange a song, expect to attend at least one meeting so that ArrComm has a chance to look it over with you meet after rehearsals when necessary [pre-announced] yay for good arrangements :) 4. Choreo Committee facilitated by Performance Adviser / Lead Choreographer -- does NOT mean that he or she choreographs everything. add choreo, movement, and formation to songs we are singing! arrangers have the largest say in what type of choreo goes to a song 5. Solo Critique Committee led by Music Directors but everyone is invited and encouraged to come/help/learn. held after rehearsal every few weeks or as necessary all newly chosen soloists must attend the next upcoming meeting after getting their solo. Soloists for upcoming major performances should expect to regularly attend, depending on the importance of the gig (e.g. Welcome Back, ICCAs, West Coast, Hellacappella) Soloists may ask the directors to hold a critique meeting if they feel like they would like some critique at any time. Constructive criticism only. We will cover guidelines! 6. Party Committee Plans and arranges hangouts! Ensures that the group has hella fun together for hella dayssssssss Mayhaps they also coordinate the Concert Afterparties and take care of 'spirits'? 3. SONGS a. Arrangements 1. Ye Olde Policies
DeCadence NEVER wants the audience or DeCadence members to be bored with any of our song arrangements Maxwell Fisch: "Whenever you're arranging or choosing songs, you should be arranging with the goal of making this the best song that DeCadence has ever sung." A base of at least 6 songs must be picked out (preferably before the beginning of the semester) This will be a good, solid set that would be appropriate for any gig There are certain songs that we have to know, like National anthem, Cal gigs Songs that won t offend people over 30 and people under 10 If a song doesn t fit well into the set, it will not be sung all the time If you are thinking about arranging a song, consult with the music manager (and other members if you so desire). The music manager will use his or her discretion and let you know if it fits into Decadence s repertoire You must consult with the music manager and other people with arranging experience during the arranging process in order to make the arrangement as good as it can be Consider categories and songs in terms of the flow of a set List a song and its potential (opener/closer) If you want to introduce a song and it s the middle of a semester, group should vote on it. Tell us your projected date of finish. It s subject to whether or not it fits into repertoire. Have a cut-off date for completion of arrangements and when they can get into concert, approximately a month before the first night of concert is cutoff date New arrangements should optimally be brought up before semester starts so that we can set a schedule for learning. Every time we learn a new song, formalize what the feel of the song is, pantomime how you would look singing that song, becomes part of the actual arrangement and choreography One-word description of the feel of the song (makes it easier for setmaking too) COME UP WITH A MOOD If you arrange a song, you can take the solo. (up to one new arrangement per semester) If you arrange a song and don t take the solo, solo decision goes to the group You can t arrange a song and automatically give the solo to someone else Arranger s opinion should be taken into account and given a lot of weight, but the group always has final word Does arranger have the right to pull a song? You can tweak. It should be sung until it s tweaked. At the beginning of the year, if arranger has solo and doesn t want us to sing it ever again, they can pull it from the list of songs we choose from If it s not their solo, we can t do that 2. New Policies on Song Selection! (approved Spring 2009) Before starting an arrangement, arrangers must send out an email with a link to the song, Describe how you plan on arranging it, explain how singing this song would be beneficial to the group, and any other relevant details. [Standard format will be established] Any song must be approved by at least 1/3 of the current number in the group before the song is guaranteed to be sung. [Accompany propsal with a doodle poll to expedite this process]
People can also choose to respond to the submission with comments or questions, without yet giving approval. Maxwell Fisch: "...a song doesn't have to be well known to be entertaining. Conversely, a song must be very entertaining if it is not well known." Arrangers may to lobby other members and show them how awesome a song is, and try to convince people to approve their song This way the songs in our repertoire are songs that DeCadence wants to sing, and hopefully songs that our audiences want to hear! When choosing a piece, always think first: "How will having this song in our repertoire add to DeCadence's efforts to be a totally kickass a cappella group?" 3. Completed Arrangements All arrangements must be reviewed by Arr comm before going off to print David Spies: "After a song is 60-70% learned (sproul quality) we must ask 'would the quality of this song greatly improve with VP?' If yes, designate a beatboxer such that the instrumentation of the group is not sacrificed." b. Solos Solo Voting Method (approved Fall 2009) @ Beginning: Music Manager and group discuss the feel of the song and remind auditionees to be loud and take the style into consideration. [Then take a vote to see if people are okay (or there are any strong opinions) on having everyone stay in room through the voting procedure (like with Bitches). This mostly applies when a high number of auditionees creates a quorum issue.] After Auditions: everyone gets a prelim. vote (straw-pull) (non-binding) make 2 columns one of auditionee votes and one of leftover people votes keep discussion to less than or equal to 10 minutes. <-- LOL discuss each person prelim vote (everyone s vote counts) use prelim. votes to eliminate people (with 0-2 votes) in-room people decide 1st from auditionees the winner (one with most votes) if there s a tie, re-vote and decide between the top two then separately decide the secondary soloist from the auditionees who are left through-out the whole process keep the preliminary votes of the auditionees up and separate Additions to this Policy : Auditionees will specify 1st and 2nd choice votes upon leaving the room, as opposed to giving 2 unranked preliminary votes. Everyone should be in the room when anyone is singing a solo audition (this includes hearing people again). Everyone will take notes during all auditions, remarking on positive things and things that could improvement. These will be on small, anonymous slips of paper, which the auditionee can opt to collect at the end for critique, or opt never to see them. Auditionees who have been "eliminated" as out of the running should be allowed to participate in the final vote. [BUT: From the point at which they reenter the room, no one may discuss their auditions and preliminary votes may not be visible on the board. "Eliminated" does not necessarily mean that they received less than 2 votes, just that
they are not in the final running for the top 2 or 3.] Sheet music cannot be used during solo auditions. All audition parts must be memorized. Notes Calling people back in to hear them again is okay. All auditionees who are not yet eliminated should resing the audition. Don't call auditionees back in to vote, people who are listening should make decision by themselves Be professional and constructive during discussions for solo auditions No "negative voting" yourself or others Also see: Solo Critique Committee, policies on arranging solos for 4. REHEARSALS a. Rehearsal Time Warmups Rehearsal time: run by music directors; material we work on is per their discretion, but anyone is encouraged to bring up relevant info or fixes during rehearsal as well. Minimize chatter!! Quartets will be held regularly to keep up blending and to check parts. (not necessarily SATB... sometimes SSAA or TTBB) b. Business Time Time limit for a gig discussion is 2 minutes During business time, only business manager or assistant business manager should be speaking unless a member raises hand or business manager/assistant business manager says it's time to discuss business manager/assistant business manager have power to end discussion and start vote business manager/assistant are the ones to call on people when they raise their hands All members must keep themselves aware of upcoming DeCadence events and their logistics They can keep themselves informed by looking at the business emails and Google calendar/spreadsheets. Limit business to 15 minutes. <--"Limit" loose, just to keep us on time; not actually necessarily limited; c. Sectionals Are required for every section for at least one a week for an hour 5. PERFORMANCES a. Sproul
Pre-Sproul beings at 11:10, Sproul performance begins at 12:00 Text or call if you are going to be late at all. SEE 1a on DEMERITS. Attendance will be kept All members are expected to make Sproul performances weekly, unless they have a schedule conflict involving a class required for graduation. All other absences must be cleared with the Attendance Enforcer, Music Directors, and Business Managers per the regular Attendance Policies b. Semester Concert Time and location need to be booked in advance ASAP to ensure a good location and no schedule conflicts. All members are expected to make both nights of the concert once the time is set in stone. All members are expected to assist in set-up and tear-down before and after the concert. Calltime is usually around 4pm. Concert Coordinator rules the roost! Don't forget Mad Libs :) c. Gigs - paid/unpaid Purposes of gigs should be made clear, pros and cons should be presented Decision process: First, who thinks DeCadence should do this gig? Second, who can go to this gig? Afterwards, music manager will assess who can go and figure out if we can do a set. Music manager makes final decision. Time limit for gig discussion in business time is 2 minutes If a member gets a gig, they have to go through the business manager first Should have a format to present it to business manager The group will be informed of gigs prior to meetings so members can check their schedules and inform the business managers of their availabilities. BRING CALENDARS TO REHEARSAL. When you say you can go to a gig, it is a binding contract Attendance will be kept Before we accept a gig, we must consider both "do we have one on a part" and "with the people there, can we make an impressive setlist." d. Big Performances All members are expected to make important performances (e.g. West Coast a cappella, Halloween Show, Welcome Back, ICCAs, Hellacappella, CAF etc.) Missing the performance requires prior notice and must be brought up as soon as possible to the Attendance Enforcer, Music Managers, and Business Managers so that they can accommodate logistics and the setlist. Setlists for large performances must be made as early as possible. 6. FEEDBACK Feedback meetings should be held in the middle of the semester and at the end of the semester at the very least Feedback meetings should be called whenever necessary If members feel that a feedback meeting is necessary, inform the music director and business manager
Decisions should be transparent Members should feel free to approach managers with grievances 7. CONSTITUTIONAL AMENDMENTS All amendments, additions or deletions to this document must be filed with the LEAD center in 102 Hearst Gym. 8. DISSOLUTION All unspent ASUC funds shall remain the property of the ASUC; all Graduate Assembly funds shall remain the property of the Graduate Assembly. After 5 or more years of inactivity, any privately obtained funds left in accounts will be donated to the ASUC carry forward account.