Classic Baroque Solos V Arr

Code No. 2724 CLassiC baroque soLos V arr. anderson & Derousse solo Handbells & organ

Level 3-4 Classic Baroque Solos V

Solo Handbell Arrangements by Organ Arrangements by Christine D. Anderson Cathy DeRousse

A Division of HopePublishing Company AGAPE Carol Stream IL 60188 Since 1892 www.hopepublishing.com 800-323-1049

Classic Baroque Solos V

Solo Handbell Arrangements by Christine D. Anderson

Organ Arrangements by Cathy DeRousse

Code No. 2724

A Division of HopePublishing Company AGAPE Carol Stream IL 60188 Since 1892 www.hopepublishing.com 800-323-1049

Warning: It is illegal to copy any portion of this book. CONTENTS

Air – G.F. Handel ...... 1

Jesu, Joy of Man’s Desiring – J.S. Bach ...... 4

Rondeau – Jean Joseph Mouret ...... 12

Sicilienne – J.S. Bach...... 18 1 Air from Water Music Great: Fl. 8' Swell or Pedal: Fl. 16', 8' G.F. Handel Organ Arrangement by Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP)

Andante ( = 60-69) 1 2 3

Handbells

Organ

4 5 6

7 1 2 8 9

10 11 12

13 14 15

16 17 18

Classic Baroque Solos V 3

19 20 21

22 23 24

26 25 27

Classic Baroque Solos V 4

Jesu, Joy of Man’s Desiring Swell: Strings 8' Great: Flute 8' Pedal: Flute 16', 8' J.S. Bach Organ Arrangement by Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP)

( . = ca. 56) 1 2 3

Handbells

(Cue-sized notes to be played if soloist only plays chorale tune.)

Organ Sw.

4 5 6

7 8 9

10 11 12

13 14 15

Classic Baroque Solos V 6

16 2 17 18

19 20 21

22 23 24

Classic Baroque Solos V 7

25 26 27

28 29 30

31 2 32 33

Classic Baroque Solos V 8

34 35 36

37 38 39

40 41 42 2

2 2

Classic Baroque Solos V 9

43 44 45

46 47 48 2 49

50 51 52

Classic Baroque Solos V 10

53 54 55

56 57 58

59 2 60 61

Classic Baroque Solos V 11

62 63 64

65 66 67

68 69 70 71

rit.

Classic Baroque Solos V 12

Rondeau Swell: Fl. 8' Str. 8' Great: Pr. 8' Ped: Fl. 16', 8' Str. 16' Jean Joseph Mouret Organ Arrangement by Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP)

( = 120-128) 1 2 3

Handbells

Organ Gt.

4 5 6

7 8 9 10

11 12 13 14

15 16 17 18

Sw.

Classic Baroque Solos V 14

19 20 21 22

23 24 25 26

27 28 29 30

Classic Baroque Solos V 15

31 32 33 34

Gt.

Sw.

35 36 37 38

Sw.Gt. Sw.

39 40 41 42

Gt.

Classic Baroque Solos V 16

43 44 45 46

Sw.

47 48 49 50 51

52 53 54 55

Gt.

Classic Baroque Solos V 17

56 57 58 59 60

61 62 63 64

65 66 67 68

poco rit.

Classic Baroque Solos V 18

Sicilienne

Great: Flute 8' Swell or Pedal: Flute 16', 8' J.S. Bach Organ Arrangement by Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP)

Lento ( = 92) 1 2 3

Handbells

Organ

4 5 6

7 8 9

10 11 12

13 14 15

Classic Baroque Solos V 20

16 17 18

19 20 21

22 23 24

Classic Baroque Solos V 21

25 26 27

28 29 30

31 32 33

rit.

Classic Baroque Solos V

Christine D. AnDerson's solo hAnDbell ArrAngements

Code No. Title Piano Accompaniment 1706 AmericA, the BeAutiful Anna Laura Page 1766 Angels we hAve heArd on high Jane Holstein 2330 As the deer Cathy DeRousse 1983 Be still, my soul Anna Laura Page 1707 BeAch spring Valerie Stephenson 1728 BeneAth the cross of jesus Douglas Wagner 1569 Bring A torch Daniel Kramlich 2301 Bronze prAise (collection) Cathy DeRousse 1695 children of the heAvenly fAther Douglas Wagner 1541 christmAs rejoicing Anna Laura Page 1618 clAssic BAroque solos Daniel Kramlich 1657 clAssic BAroque solos ii Daniel Kramlich 1878 clAssic BAroque solos iii Daniel Kramlich 2688 clAssic BAroque solos iv Daniel Kramlich 1835 come, thou fount of every Blessing Arnold Sherman 1865 crown him with mAny crowns Gregory Varner 1648 ding dong! merrily on high Douglas Wagner 1495 he is Born Daniel Kramlich 1834 holy, holy, holy Daniel Kramlich 1526 how firm A foundAtion Anna Laura Page 1653 i love thee Douglas Wagner 1669 i sing the mighty power of god Daniel Kramlich 1439 it is well with my soul John Carter 1700 it’s A smAll world Jane Holstein 1729 jesus, lover of my soul Daniel Kramlich 1696 jingle Bell rock Jane Holstein 1469 lenten medley Daniel Kramlich 1377 like A river glorious John Carter 1587 like A shepherd Anna Laura Page 1936 the lord’s prAyer Albert Hay Malotte 1376 melodies from childhood John Carter 1378 morning joy John Carter 1935 my story, my song John Carter 1649 o come, o come, emmAnuel Daniel Kramlich 1576 o the deep, deep love of jesus Anna Laura Page 1532 o worship the king Anna Laura Page 1454 pArAde of the tin soldiers John Carter 1675 prAise to the lord Douglas Wagner 1769 quiet hymn meditAtions Douglas Wagner 1555 rejoice, the lord is king Anna Laura Page 1598 rejoice, ye pure in heArt Bengamin Harlen 1849 the rock Douglas E. Wagner 1661 A sAcred hArp tune Anna Laura Page 2170 shenAndoAh Daniel Kramlich 2102 soldiers of the cross Joseph Martin 1245 songs for the solo ringer (collection) Daniel Kramlich 2509 songs for the solo ringer ii (collection) Anna Laura Page 1527 spinning song Albert Ellmenreich 1896 tAke my life And let it Be John Carter 2235 to god Be the glory Gregory Varner 1656 when morning gilds the skies Douglas Wagner 1714 yAnkee doodle vAriAtions Douglas Wagner

HAnDBell PARt Classic Baroque Solos V

Solo Handbell Arrangements by Christine D. Anderson

Organ Arrangements by Cathy DeRousse

Code No. 2724

A Division of HopePublishing Company AGAPE Carol Stream IL 60188 Since 1892 www.hopepublishing.com 800-323-1049

Warning: It is illegal to copy any portion of this book.

CONTENTS

Air ...... 10 Jesu, Joy of Man’s Desiring ...... 12 Rondeau ...... 16 Sicilienne ...... 18

4 Solo Performance: Sparkle or Splat?

The goal of solo ringing is to achieve a smooth, flowing melody line following the natural rise and fall of the phrase. To ring as musically and gracefully as possible, consider these suggestions:

1. Equipment matters! Make sure you ring on a single eight-foot table, or that two or three tables meet exactly across, with no height difference. Check that foam pads are firm, with no thickness difference between pads. Pre-covering foam pads with any fabric will cause technical difficulties; use one solid piece of pinwale corduroy as a top cover.

2. Lay out bells in keyboard order from C5-C7, with the natural notes in one row closest to you and the sharps and flats in a separate row above them. It doesn’t matter whether you use all the bells in this range or not. It is essential to get a visual “feel” for your keyboard. Don’t take any bells off the table just because they aren’t used in a song. Bells below C5 and above C7 may be added as needed, but C5-C7 should be considered your “instrument.” Return every bell to its proper place on the table unless there is a logistical reason to put it out of order.

3. “Glue” each note into the next with no breath in between. A little LV is actually desirable, used judiciously.

4. Never cross one hand over the other when ringing in a step-wise pattern. Instead, pass a bell from one hand to the other, weave, or cross one arm over the other when there is at least one bell between notes being rung. Legato ringing is the goal!

5. Keep bells very close to the table when ringing quickly, ringing with a “can-opener” stroke. When the note value or tempo allows, raise the bell upright. Keep bells in motion as much as possible. Strive for economy of motion, but make every motion have meaning.

6. Do not delay moving your hands from one bell to the next. Think ahead.

7. If you cannot perform a song without the score in front of you, you are not ready to perform. Memorizing a solo is essential to a performance laced with sparkle. Communicate the message of the music through facial expression and body language.

8. Adjust your handbells so they ring easily, but don’t have an unwanted back ring. Keep your bells in excellent condition for maximum performance.

9. Reserve shoulder or waist damping for bells to be rung again; all other bells damp at the table. Finger damping makes a graceful alternative to shoulder damping.

10. Because solo ringing is such a visual art, make sure your bell table and personal appearance are as pleasing and interesting to look at as possible. Think about what colors are appealing, dress for the occasion, and be well-groomed. Approach the bell table with confidence and an attitude conveying to the audience the mood of the music about to be presented.

11. There is absolutely no substitute for practice! Short, frequent bursts of rehearsal often are more effective than long periods spent at the bell table. The difference between a performance that sparkles and one that splats is usually a direct result of the hours – or lack thereof – spent in preparation.

Advanced solo ringers often choose to ignore choreography in favor of figuring it out themselves. We all approach blocking out a solo our own way, according to our ringing experience and the different ways our brains attach to our hands. Some soloists choose to ring a melody line single bell style while others see opportunities to use all the varied multiple bell-in-hand techniques. Placing bells out of normal keyboard order is also helpful. Therefore, there are no markings for Jesu, Joy of Man’s Desiring and Sicilienne. The choreography in the duet version of Jesu, Joy of Man’s Desiring is not the only way to approach the piece; feel free to change who rings what as works for you. For even more fun and challenge, add a third ringer. Another idea is to have one ringer (or duet partners) ring the triplets on bells, and another ringer play the chorale on handchimes. 6 Solo Ringing Exercises When solo ringing, it is important to maintain legato ringing while replacing bells in their original place on the table – and without crossing hands or passing a bell from one hand to the other constantly. How is this possible and still ring at a normal tempo? These exercises will help develop the skills necessary for successful solo ringing. This idea will work: cover your bare foam pads with a white sheet, lay out your bells in two rows, the castings being about 2 inches apart.

Draw the outline of each bell on the sheet with a black marker, with the note name written on the “bell.” When you are practicing these exercises, and learning a new song, use this “Suzuki method” to keep your bells from becoming askew on the table, and to get used to how close together the bells need to be.

1. Scale Weaving There are exceptions, but generally replace a bell in the exact spot from where it was picked up. Be careful not to clang bells together. As skill is developed, your motions will become less exaggerated than in the learning process. Do not put one bell down until the next bell is rung. A slight overlap of sound is actually desirable whenever possible. Strive to never let a break in sound between notes occur, only between phrases as though you are taking a breath in singing.

A. llrr ll rrrrrr ll ll B. rrll rr llllll rr rr

A. Ring C scale, starting with left hand on C. Ring C while right hand picks up D and moves it to the right of E to ring. Put down C at the same moment that D rings. Pick up E with left hand. Move both hands together to the left so that E is rung directly above C as D is placed in its space on the table. Pick up F with right hand and put E in its place as the F is rung. Continue in this manner up the scale and back down.

B. Repeat scale pattern, starting with C in the right hand. Many times you will start a phrase with the lower bell in your right hand, or the upper bell in your left hand.

C. Practice scale weaving in all key signatures.

D. Increase your tempo while still maintaining legato ringing.

2. Three Bell Weaving

llllllrrrrrr

Using F5, G5 and A5, ring these three bells repeatedly in that order, alternating hands, always keeping bells in keyboard order. Your “Suzuki” cloth will help in reminding you where to lay bells down. Do not cross hands or pass a bell. Left hand rings F as right hand picks up G and moves it to the right of A. Ring G as F is put down; left hand picks up A. Both hands move left; ring A in the air space above and slightly left of F, and lay G in its normal space. Before moving left hand, right hand picks up F; both hands move right until left hand with A is over the A space. Lay down A at the same time F rings – to the right of A. Pick up G in left hand; both hands move left to lay down F. Right hand picks up A while left hand replaces G. Now you are back to the beginning, left hand on F. The weave is the very essence of solo ringing! Once mastered, it becomes easy and so natural you won’t even think about the technique.

3. Three Bell Passing

llllr-lrrrr r-l r-l r-l

rrrrl-rllll l-r l-r l-r

Passing a bell from one hand to the other frees the first hand to change direction and reach for the next bell, sustaining a smooth, legato melody line. Only pass a bell when absolutely necessary. Bare hands or gloves with dots on the palms may hinder a quick pass. Use the longest note available for the pass. In this exercise, table damp all bells and ring close to the table.

4. Can-opener Technique

l In order to ring fast passages at the correct tempo while still ringing legato, this exercise will help develop the technique of ringing close to the table with a can-opener stroke. Bells need to be adjusted to ring easily on the strike point, but not give a back-ring. Though good handbell technique calls for a bell to be rung and held upright, that style of ringing will not allow for fast or graceful ringing. An over-the-ear type microphone worn by the ringer will pick up the sound of each bell beautifully, even when the bell is held horizontally instead of vertically. This exercise should be practiced in a variety of keys to get the feel of ringing quickly on both the natural notes close to the ringer and the sharps and flats farther away. Start slowly, going up and down the scale, gradually increasing speed. Take special note of any breaths between notes and slow down to a tempo that allows legato ringing again. 8

5. Shoulder-Table Damping Combination

etc. ss ss 1. ls s ss 2. r Start with either hand and work out the shoulder-table damping combination in this exercise. Remember the rule: use the bell again, keep it at your shoulder; finished with that bell, lay it back on the table. For quick damping, while getting a bell out of the way of the other hand, damping at the waist or with a finger may be substituted for shoulder damping. Continue going up and down the scale, increasing in speed but still ringing smoothly.

6. Triplet Exercise 3 123 3 4 5 3

3 3 3 6 7 8 9 10 3

3 3 3 The melody in “Blessed Assurance” gives a challenge to solo ringing! The triplets are followed by an interval jump. Practice this exercise with these variations, keeping bells very close to the table.

A. Keeping bells in keyboard order, start with left hand and weave quickly, passing a bell from one hand to the other on half notes.

B. Reverse keyboard order of the first two bells, and ring just one measure at a time to become familiar with the way reverse order lays under your hands. Start with left hand in the ascending measures, right hand in the descending measures.

7. Cross-Over 12345678

continue pattern As long as there is at least one bell between notes, it is OK to pass one hand over the other to reach for the next bell, as in a broken chord. Weaving would be awkward, slow down the tempo and increase the likelihood of bells crashing. Important: do not release one bell to the table until the next bell has been rung. Variation to the cross-over in this exercise is to practice displacing a bell temporarily in any available space. 9

Choreography and Notations r, l - right hand, left hand: start with hand indicated, alternating hands until a change is noted.

r-l, l-r - Ring bell in first hand, pass to other hand without damping.

No shoulder damps are notated; damp judiciously at shoulder, waist, table, or with fingers, allowing sounds to overlap as much as possible.

D5 E5 F5- Place D in the space between E and F .

X - Return bells to normal keyboard order.

F G - right hand, F over G.

- Mallet on suspended bell; - mallet with bell on the table.

Performance Notes for Jesu, Joy of Man’s Desiring - This piece may be rung as a solo, duet, or trio. The chorale is written for either Ringer 1, 2, or 3 to ring on handchimes, for Ringer 2 or 3 to ring on a separate set of handbells, or for the soloist to ring the chorale as well as the 8th notes. If one ringer chooses to ring all notes, then ignore stem direction. Duet partners: alto ringer plays notes with stems down, soprano ringer plays notes with stems up. However, the stem directions are only suggestions, and you might come up with a better choreography. Keep the running 8th notes as smooth as possible, and don’t try to ring too fast at the expense of legato. There are many opportunities for traveling 4-in-hand as well as other advanced techniques.

Classic Baroque Solos V 10 Level 3 Air G.F. Handel Organ Arrangement by from Water Music Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP) D5 E5F5 G5 Andante ( = 60-69) B5C6 1 l l-r 2 3

4 l-r 5 6 E6F6

1 2 7 G G 8 X 9 X

10 B5C6 l-r 11 12 l-r r-l

G F 13 X 14 l-r 15 B C

F G 16 17 X B C 18 l-r

© 2015 Agape (a Division of Hope Publishing Company) Carol Stream, Illinois 60188. www.hopepublishing.com 800.323.1049 All Rights Reserved. International Copyright Secured. The copying of this music is prohibited by law and is not covered by CCLI, LicenSing, or OneLicense.net. 11

F 19 20 l-r r-l 21 X

22 l-r 23 B C 24

F 26 25 E F 27 l-r

Air - Solo Hints Handbells used: D5 - G6 1. No shoulder damps are marked; damp only when absolutely necessary, overlapping bell sounds as much as possible and finger damping as well as table, shoulder, and waist damping. 2. There are many opportunities to use traveling 4-in-hand and other 2-in-hand techniques. This choreography is based on single bell ringing, but look for opportunities to ring more smoothly with two bells in hand.

Classic Baroque Solos V 12

Level 4 Jesu, Joy of Man’s Desiring Solo/Duet/Trio Organ Arrangement by (See p. 9 for performance notes) J. S. Bach Cathy DeRousse (ASCAP) Solo Handbell Arrangement by ( . = ca. 56) Christine D. Anderson (ASCAP) D5 F6 E5 F5 G6 1 2 3 4

5 6 7 8

Ringer 3 9 10 11 12

Ringer 2 Ringer 1

F G 13 14 15

C D 16 17 18

A E 2

19 20 21

22 23 24

25 26 27 28

F C G D 29 30 31

32 33 34

Classic Baroque Solos V 14

35 36 37

38 39 40 41

2 42 43 44

2 2 45 46 47 48

A C 2

49 50 51

(switch places)

Classic Baroque Solos V 15

52 53 54 55

2 56 57 58 59

60 61 62

63 64 65

66 67 68

69 70 71

rit. to end Classic Baroque Solos V 16 Level 3 Rondeau Jean Joseph Mouret Organ Arrangement by Solo Handbell Arrangement by Cathy DeRousse (ASCAP) Christine D. Anderson (ASCAP)

Handbells used: 10 bells Handchimes used: 15 chimes

( = 120-128) A Bell Tree 1 2 3 4

5 6 7 8

9 10 11 12

13 14 15 16

B Handchimes 17 18 19 20

21 22 23 24

A Bell Tree 25 26 27 28

29 30 31 32

C Handchimes 33 34 35 36 37

38 39 40 41 42

43 44 45 46

47 48 49 52

A Bell Tree 53 54 55 56

57 58 59 60

61 62 63 64

65 66 67 68

poco rit.

Rondeau - Solo Hints To keep upside-down handchimes from rolling over, cut a strip of eggcrate foam and place the clappers into the indentations. Strike the very tip of the chimes very gently with a soft mallet. Placing chimes in a chime rack invented and sold by Dr. Paul Rosene is an excellent option. Mark notes on back side of chimes, since you cannot see the designation on the front.

Classic Baroque Solos V 18

Level 4 Sicilienne Organ Arrangement by J. S. Bach Cathy DeRousse (ASCAP) Solo Handbell Arrangement by Christine D. Anderson (ASCAP) Lento ( = 92) 1 2 3 4

7 5 6

8 ossia 9

10 11

12 14

15 16 17

18 19 20

21 22 23 24

26 27

28 29 30

31 32 33

rit.

Classic Baroque Solos V