Hush Acapella

[Alma Wass]

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Tonight, I saw my dream.

When I graduated college, I hoped one day people everywhere would have an opportunity to experience the power and joy of contemporary a cappella. Filming Pitch Perfect 2 today, the audience filled with people who flew themselves from across America just to catch a glimpse, I realized that day has come.

Watching the Treblemakers, I felt like I was again on stage with the Bubs, 25 years later. I looked back, and saw a few hundred people crammed into a chapel. And then I looked up and saw cameras and the eyes of the world.

The small celebrity of campus a cappella groups has become the international celebrity of the mass media, and the squeals of happiness and the spontaneous applause from the audience made it clear that even though this is happening on a large scale, the powerful, honest connection between singer and audience remains.

During breaks in the filming, as cameras were being moved to set up another angle for the performance on stage, many of the new Treblemakers were surrounded by people. And by people I mean extras. And by extras I mean women. Some things never change.

Logan, one of the production assistants in the office, was the mascot for his high school, so it was only natural for him to don the Barden Knight suit and run around for 12 hours while we shot the Trebles scene. My favorite moment was his silly dancing through the crowd as they performed, which I hope makes it to screen.

Chatting with Anna K, she mentioned how it's frustrating sometimes when everyone's talking and it's time to focus. It's difficult to get a group of your peers (for example, the Bellas) to all be quiet at the same time without seeming like a jerk. When she was in school they had a method: one person would say "and then a hush fell over the room" and everyone who heard that would say, loudly, "HUSH" which would collectively quiet everyone down.

Which reminded me that collegiate a cappella group Out of the Blue (at Duke University), had such a problem with chatty members that they created a new officer position called "Sargent at Arms." This person's sole job was to keep people quiet - during meetings, during rehearsal, etc . They would always vote the nicest person into this position, which meant no one would get mad at this member for telling them to shut up, since they voted her in, and she was clearly only doing it because she'd been asked to.

So, I offer both suggestions to a cappella groups out there, should they be needed. And lezbehonest: they're needed.

Rebel came very prepared to her recording session today, and didn't need to look at the sheet music, but was looking at something, so when I asked what it was, she showed me her own notation system to keep her on track.

Multicolored, with a combination of lyrics, lines, arrows and boxes in a variety of sizes, it's like nothing I've ever seen, but that's not a problem. Whatever works!

Just before jumping into the studio to record the finale with the remaining Bellas, we're weaving in additional layers and songs. What we had was fine, but for a movie-going, non-a cappella-experienced audience, we need to go all in, which means additional quotes from Who Runs The World, Lady Marmalade, Where Dem Girls At, We Got The World... all woven into We Belong.

We want it to feel like the movie's almost over, big finish, then unexpected pull back and we're into Flashlight, giving us a big exciting musical mashup finish followed by a big sweeping emotional Emily's original song finish.

Update: continued tinkering, bringing back Run The World's fantastic ending to create an even bigger sense of finality before Flashlight is revealed.

I've always believed that a cappella is universally appealing, if only you can get it in front of people. Twenty years ago contemporary a cappella was unknown, and ten years ago it was a punch line, but slowly, steadily over the years we've been able to steer and control the meme to the point that it's now embraced and appreciated. There's no doubt that it's in some ways dorky, but a self-awareness and lack of concern about image makes it cooler that it would ever be if we were precious about our style, or bristled at barbed jokes.

That's why Pitch Perfect is such a great vehicle: lots of laughs draws people in, and then a cappella is very compelling so people who knew nothing about it leave with an appreciation and respect for a cappella. Very glad we're making another one and that so many people around the world eagerly await the characters, the new situations, and the music.

Singing first soprano can be daunting, but that doesn't keep Alexis from volunteering for it at every turn. She loves singing up high and stretching her upper range, so song after song we have her on the highest part. She's not a trained a cappella singer but manages to be impressively quick in the studio - a combination of preparation and talent.

Contemporary a cappella rarely relies on the highest notes in the female range because they tend to sound choral, not pop (since popular music almost exclusively keeps female singers in their chest/belt range), but there are times when we want a high floating pitch, which means Alexis is frequently bouncing up and down over her break... and never complains.

Today we started filming the Bellas comeback performance, a medley of "Problems" and "Promises" that we simply call "Problems Promises." We similarly abbreviate the names of other medleys, such as "World Timber Wrecking" (the Bellas opening performance) "Tsunami Uprising" (DSM's first performance) "My Songs All I Do" (DSM finale)... but we don't have a similar name for the Bellas Finale because there are too many songs (it'd be something like "Run The World Dem Girls We Belong Flashlight")

Original Release- 1998 The Acappella Company

Distributor: Diamante Music Group

Available through The Acappella Company

Producer: Keith Lancaster

Chief Engineer and Mixing Specialist: John Laws

Road Manager and Sound Engineer: Robert Orr

Board of Directors: Dan Scott, Tom Kincannon, and Marvin Phillips

Art Direction: Buddy Jackson for Jackson Design

Design: Sally Carns for Jackson Design

Recording and Remixing Studio: Clifty Studios- Paris, TN

Note: With the exception of "Teaching the Truth in Love," "Special Delivery," "Let There Be Love," and "The Medley," all songs on this album are the original recordings. Please click on the album they originally appeared on for a list of group members at the time.

Members: Ken McAlpin - Bass

Gary Moyers - Baritone

Barry Wilson - 2nd Tenor

Kevin Schaffer - 1st Tenor

Words and music: Keith Lancaster 1996 Anthony K. Music (ASCAP).

This song also appeared on Act of God by Acappella.

Producers Note: "If we could only speak the truth in love the way Jesus did. It seems we go from one extreme to the other; either we timidly fail to share the truth altogether or we confront people with a detestable and offensive spirit. Jesus is the perfect role model in displaying human interaction with truth combined with unparalleled compassion. Although this song received great radio response in it's original version, we re-recorded the song with the popular concert version for Acappella: The Collection. Barry Wilson does a tremendous job on lead."

Lead: Barry Wilson

Sample: Windows Media Lyrics: Chorus:

Are we teaching the truth in love

Telling it like it is

Are we holding pure motives,

Showing that we care

Are we teaching the truth in love

A man came to my Jesus

Telling all that he had done

To fulfill the good commandments

He knew every single one

But Jesus said there's something

That indeed he did lack

The savior told the truth

He didn't hold the message back

A woman caught in evil and without an alibi

The truth, so very obvious, made no attempt to lie

With all the foes against her how she felt so all alone

Until Jesus asked the people who would throw the first stone

Sometimes it's hard to know exactly how we are to share

With our Master's words of confidence, directly, do we dare?

Should we water down the message, should we tell them only parts?

Will they see Him in our message, will they see Him in our hearts?

Are we teaching the truth in love

Telling it like it is

Are we holding pure motives,

Showing that we care

Are we teaching the truth,

Are we teaching the truth,

Are we teaching the truth in love, in love, in love Scriptural Reference: "Instead, speaking the truth in love, we will in all things grow up into him who is the Head, that is, Christ." Ephesians 4:15 Only Truth Words and music: Keith Lancaster 1993 Anthony K. Music (ASCAP)

This song also appeared on Set Me Free by Acappella and Hear It In Our Voice by The Acappella Company.

This song won the 1994 CARA for "Best Signed Professional Song."

Producer's Note: "The laughing you hear in the beginning is Gary Moyers, amused at some studio bloopers. You can tell it's a genuine laugh. We thought it would be fun to keep it in the mix. Wayburn Dean has to be one of the greatest voices I have ever heard in my life. His work on this song, on the song "Rescue," as well as many others is an outstanding expression of emotion and style."

Lead: Wayburn Dean

Sample: Windows Media Lyrics: All You ever said before no matter what it was

It was the truth - ever lovin' truth

Every time You spoke a word the voice of God was

Being heard - I know it was truth It was the truth it was nothing but the truth

Only truth comes from You

It was the truth it was nothing but the truth

And it's all You can do All You've ever done before no matter what You've chosen

It was right - You are always right

Every time You willed a way and

Everything You've had to say - I know it was right It was the truth it was nothing but the truth

Only truth comes from You

It was the truth it was nothing but the truth

And it's all You can do Chorus:

Only truth, loving truth

Only truth, loving truth (You know it was your Word

And it was the truth

every lovin' truth

You are always right, all you do is real

Truth comes from you, and it's only you) Turning to the pages of the Bible of the ages

It was real - All You do is real

Everything You've written down we all will count

On been sound - we know it was real It was Your word

It was nothing but Your word

That inspired those men

It was Your word

It was nothing but Your word

That will teach us again (verse one) Repeat Chorus Scriptural Reference: Jesus uses the phrase "I tell you the truth" over 75 times in the New Testament.

"For the law was given through Moses, grace and truth came through Jesus Christ." John 1:17 Special Delivery Words and music: Keith Lancaster 1998 Anthony K. Music (ASCAP)

Producer's Note: "The new song written just for this collection has the simple, recognizable Acappella treatment of different voices interweaving into a mehodical and unified effort. We are flattered to hear quartets around the world singing our songs and hope this becomes another avenue for believers to share their faith."

Lead: Ken McAlpin (chorus), Kevin Schaffer (verses), and Barry Wilson (stepout) Lyrics: Chorus:

You've given your love to me

Special delivery

You've given your love to me

Special delivery Repeat Chorus

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