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Schulmerich Bells, LLC, 11 Church Road, Suite 1A, Hatfield, PA 19440 T: +1-800-772-3557, F: +1-215-257-1910, [email protected], www.schulmerichbells.com what’s INSIDE November/December 2014 • Vol. 60, No. 6 DEPARTMENTS and COLUMNS THE OFFICIAL BIMONTHLY JOURNAL OF THE HANDBELL MUSICIANS OF AMERICA Uniting People Through a Musical Art Chiming In...... 2 The American Guild of English Handbell Ringers, Inc., is a nonprofit organization established in 1954 to promote the art of English handbell ringing. As of October 1, 2011, the organization is known as the Handbell Musicians of America. The Guild strives for musical excellence through national and area From the President’s events; publications; the exchange of ideas related to techniques of ringing, composing, and arranging music; conducting; and other timely informa- Pen...... 4 tion. National events are held to bring together ringers, directors, educators, composers and handbell related businesses from all over the world, while area events allow for regional participation. These events are a prime source of new ideas for ringers, directors, educators, composers and handbell re- Executive Notes...... 6 lated businesses, thereby “uniting people through a musical art.” All members residing in the United States and its possessions are “resident” members. All other members are considered “international” members and may participate in Guild events, sharing the benefits of membership. In ad- Membership Matters...... 8 dition, a subscription-only category is available to individuals and organizations residing outside the U.S. and its possessions. OUR MISSION STATEMENT Burn the Box...... 12 The Handbell Musicians of America is dedicated to advancing the musical art of handbell/handchime ringing through education, community, and communication. The purpose of Overtones is to provide a printed resource of highest standards to support and enhance the mission of the Guild. What’s Happening...... 14 BOARD OF DIRECTORS Ed Rollins, President P.L. Grove, President-Elect Derek Nance Stephanie Rhoades Steve Shorney Jennifer Vangolen Jessica Westgard Handbells in Education How Music Works NATIONAL OFFICE STAFF Part 1...... 16 Executive Director • Jennifer A. Cauhorn [email protected] Business Manager • Shelly Horn [email protected] Tips & Tools...... 17 Publications Director • J.R. Smith 808 W. Melrose Ave. #802 • Findlay, OH 45840 [email protected] Music Editor • Dr. John A. Behnke Annual Index of Articles.....22 P.O. Box 160 • Belgium, WI 53004-0160 [email protected] Roll Over Beethoven National Event Registrar • Vickie Iverson 24 [email protected] Community Connections How Three Handbell Administrative Coordinator • Mary Willadsen Making of a Handbell Musicians introduced bells to [email protected] Jazz Ensemble...... 30 Webmaster • Kim Westendorf [email protected] popular culture Regional Membership Coordinators Jon Snyder - East - [email protected] Handbell Musicians Mary Willadsen - Central - [email protected] Ellie Hodder - West - [email protected] Roundtable...... 33 Overtones Advertising Manager • KC Congdon 309.365.2910 • [email protected] Office Assistant • Carol Twiggs Events Calendar...... 34 [email protected] COMMUNICATIONS COMMITTEE Sharon Schmidt Sondra Tucker Kathleen Wissinger J.R. Smith John Behnke Classifieds...... 35 OVERTONES IS PUBLISHED BY Handbell Musicians of America 201 E. Fifth St. • Suite 1900-1025 • Cincinnati, OH 45202 Leadership Directory...... 36 In this issue: Fanfare and Phone: 937-438-0085 Web: www.HandbellMusicians.org Allegro by Jim Smith 17 Printing: Service Printing, Columbia, South Carolina © 2014 AGEHR, Inc. d.b.a. Handbell Musicians of America Handbell Musicians of America (the Guild) supports the efforts of music publishers to enforce the copyright laws of the United States of America. Compliance with these laws is a condition of participation by clinicians and performing groups at all Guild events. The Guild makes every effort to check the accuracy of materials contained herein; however, no guarantee is extended as to any errors or omissions. The views expressed herein may but do not necessarily reflect the views held by Handbell Musicians of America, its members, areas, officials or employees. chiming IN Thoughts from the Editor by J.R. Smith The Next 60 Years

hroughout the year, we have been taking a look at the first 60 years of the Guild’s history. In my January/February column, I discussed a little bit of why we celebrate anniversaries in the first place. I had run across an article by Oprah Radio host The article points out seven keys to Rabbi Shmuley Boteach, who said, “Anniversaries thinking big: are important, not because they commemorate an earlier event, but because they help us relive it.” So • Remember everything starts small throughout the year, we have been looking back at • Think bigger by enlisting others our history in the hopes of not only commemorat- • Think big by focusing on future regrets ing it, but also reliving it and the dream our orga- • Feel it your human duty to think big nization’s movers and shakers had for the future of • Now, more than ever, is big-thinking time handbell music. The future they envisioned for the • Create big thoughts Guild is now our history, and we have an obliga- • Use the “time machine exercise” tion to expand on their vision and their tradition of thinking big. See the article on their website for explana- In looking to the future, I believe we need to tions of the seven keys. The most important key, I think not only “outside the box” but, sometimes think, is “Think big by focusing on future regrets.” even, out of the perceived realm of possibility. The website quotes writer Sydney Smith, who said, Imagine what the state of handbell ringing would “A great deal of talent is lost to the world for want be like if not for our early visionaries who dared to of a little courage. Every day sends to their graves think big—the early founders who believed there obscure men whose timidity prevented them from could be ringing festivals drawing 1,000 or more making a first effort.” people to ring en masse, or composers like Betty Our forbears certainly were not timid and ab- Garee, who believed that handbell music could be solutely had a lot of courage. We must continue to written that included far more than chords and look to the future as they did, thinking big. simple melodic lines. J.R. Smith At Area Leader meetings, we have at times done [email protected] a visioning exercise that involves going around the room and sharing what we would like to see as a major headline concerning handbells sometime in the future—no holds barred, and the sky is the As a fan of science fiction and fantasy, I limit. Some pretty wild and oftentimes seemingly thought it might be fun to take a “fan- impossible things are presented. But no matter tasy” look at our NEXT sixty years. how impossible an idea seems, there is still a desire While some of it is obviously just for fun, for something maybe more attainable behind that perhaps parts of it are not completely idea. And by scaling back on the original “fantasy” out of the realm of possibility. And... who headlines, sometimes very realistic ideas emerge. knows? It was this sort of visioning that led to the New Initiatives Campaign in 2010. I recently found an article on a website called Uncommon Help titled “How to Think Big: 7 tips to help you think big and realize your dreams” (See the article at www.uncommonhelp.me/articles/think-big/).

OVERTONES 2 NOV/DEC 2014 While on a steady rise since the New Initiatives campaign started in 2010, 2020 Handbell Musicians of In the Guild’s 100th year, its America membership membership exceeds 25,000 reaches its highest number 2054 at 15,000. Elementary and 15,000! Secondary schools as well as universities account for a large portion of the increase. 2064 Handbell Musicians of America holds its first Outer Space 2032 Ring aboard Disney Extraterrestrial’s Overtones becomes a fully newset orbiting cruise interactive digital magazine, station. including audio and video interviews and features as well as video tutorials and music to download into your favorite music page turning app .

2074 Plans are announced for Handbell Musicians of America’s contribution to the United States’ Tricentennial in 2076. A massed ringing ensemble will be created with three 50th Anniversary of Distinctly musicians from each state—one each from the Bronze—Final concert is educational, worship, and community sectors, broadcast holographically in which will perform the recently commissioned 2048 state-of-the-art 3-D holographic “Symphony for Bells and Percussion,” in various concert halls. states throughout the year. A FANTASY timeline of our NEXT 60 Years from the PRESIDENT’S PEN by Ed Rollins

Shine On!

leven years ago, I was asked to write a brief article about the upcom- ing change to AGEHR structure and governance. At the time I was a member on the board that voted to change our structure, and we felt that some words of explanation and support would help ease the transition. Though I had no idea that I might one day of AGEHR through fund-raising, grants, and become president of Handbell Musicians of endowments [Over the past three years we have America, the words I wrote 11 years ago still ring witnessed the development of the Legacy Society true today. I share them with you here, [with a and the newly formed Heritage Fund Endow- few changes/explanations in brackets]: ment.] …recognizing that governance can keep us In early March, I had the privilege of strong, but that it is our ringing and ringer/ working with a group of student ringers from director education that makes us strong [We Whitman Air Force Base in Missouri. When continue to see growth in local and area training they arrived, they gathered around the bell events and the annual Seminar.] tables and started to clean the bells that we use …continuing to promote handbells/hand- at my church. (The bells were kind of dirty chimes in education [While we are not as far because we don’t wear gloves when we ring.) I along as we would like to be in education, we told the students not to worry about cleaning continue seek new avenues for promoting hand- the bells until later. After all, they will sound bells in education and to encourage participation the same clean or dirty. They responded by with our younger population.] saying, “They sound better when they shine.” As we prepare to celebrate our Golden An- My vision for AGEHR is based on my belief in nversary [now 60th Anniversary] of the AGEHR and support of ringers like those from Whitman [now Handbell Musicians of America], I am Air Force Base; people who love to ring! They reminded of a host of individuals, planners, may not know about our organizational structure, ringers, directors, supporters, etc., who have but they benefit from the leadership, support, and enabled this organization to shine. [Many resources provided by AGEHR. May our vision thanks to past president Lee Afdahl, past board always be “to unite people through a musical art.” members Stephanie Wiltse and Phil Roberts, [Still true 11 years later] and numerous area leaders who continue to help I am excited to be working with you to help us shine.] The challenge before us is to keep make Handbell Musicians of America shine for AGEHR shining for another 50 [60] years, many more years to come. Please take time to and beyond. This can take place by… remember and to thank all those who have served …ensuring that the new form of AGEHR this organization through the years, and please governance is implemented and functions contact me with your ideas, concerns, hopes, and smoothly [What a delight to say that it is work- dreams. I’d love to hear from you as we continue ing very well!] to we make beautiful music together now and in ...assisting in the development of a new, the future. progressive, visionary structure for the Ed Rollins AGEHR Board of Directors [I believe this is a far superior governance structure than it was ten years ago, and I would further suggest that the ties between the national board/office are much more connected to the areas.] …strengthening the financial foundation

OVERTONES 4 NOV/DEC 2014

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Tables, Leg Extenders and Covers • Mallets • Gift Items • Foam Pads • Metronomes Folding Carts • Music Lights, Stands and Binders • Music Risers • Performance Gloves Teaching DVDs and Literature • Bell Polish and Polishing Cloths • And Much More! OVERTONES *Some items not included — check website for details. Shipping within the continental US only. NOV/DEC 2014 5 executive NOTES Messages from the Executive Director by Jennifer Cauhorn

Farewells and New Beginnings

or handbell musicians of america, the fall season is always a time of transition. Six Areas each year have changes in board leadership and every three years, we say farewell to outgo- ing board members as we welcome new ones. On a local level, the handbell choirs we direct and ring with are starting new seasons and often welcoming new members and/or directors as well. It is always a bittersweet time for me, particu- members. Lee’s thoughtful and compassionate larly this year, as I said farewell to three board leadership style ensured a comfortable environ- members who were the first to fulfill their entire ment for passionate discussion. Stephanie fought terms on the national board while I have been to make sure that all voices from our membership executive director. I clearly remember their first were considered as the board made decisions about meeting, six years ago, in the conference room of our future goals. Phil played counterpoint, forcing the Lorenz Company in Dayton, Ohio. Lee Af- the group to look at an issue from all angles. Their dahl, Phil Roberts, contributions and and Stephanie Wil- presence will be tse sat quietly with missed. a slightly terrified But it is also look on their faces exciting to wel- as then-president come three new John Pfeiffer led board members. them through their P.L. Grove, Derek first national board Nance, and Jen- meeting. All have nifer Vangolen shared since then experienced their that they were first national thinking, “What board meeting last have I gotten my- week, and I saw self into?” But that that same slightly reticence didn’t 2014-2017 Board of Directors (L-R) Jennifer Vangolen, Derek frightened look on last long. Soon Nance, Ed Rollins, Jessica Westgard, Steve Shorney, P.L. Grove, their faces as the they were speaking Stephanie Rhoades meeting began. I up, sharing their also saw the poten- vision, contributing to (and often leading) every tial of what they will (and already have) contribute discussion. to our organization. All three have the passion and Saying good-bye (though it’s not really good- enthusiasm for handbells and the deep sense of bye—we will still interact), I feel a bit like a proud purpose and commitment to Handbell Musicians parent, since I got to watch them blossom and em- of America required to do this job for the next six brace their responsibilities over their six-year term years. I look forward to watching them develop on the board. Not that I had anything to do with their own personal “board style” in the meetings to that—they all came in with the tools and skills to come. lead. But I had a front-row seat as they gained the confidence to use those talents for the benefit of Jenny Cauhorn Handbell Musicians of America, mostly through [email protected] the mentorship and example set by the other four

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OVERTONES NOV/DEC 2014 7 membership MATTERS Thoughts from your Regional Membership Coordinators New Benefits Coming

e’ve often told you about the many benefits of your Guild membership. But perhaps you’ve been a member for a while now, and you’re looking for something new, something beyond what overtones, area events, and online resources have already offered you. Fear not! There are two brand new membership benefits coming soon from Handbell Musicians of America. We at the Guild are constantly looking for ways The other opportunity, Member-Chats, will be to increase the value of your membership. To that a direct line to a celebrity in the handbell world. end, we have developed two new ways for handbell Every other month, we will host a live chat with musicians (ringers, directors, composers, editors, a new personality from within our talented ranks. etc.) to connect with one another and learn more Everyone will have an opportunity to submit about our art. One of the Guild’s greatest assets is questions in advance. Many of you will be able to our inclusive community. When we are together, tune in live and participate. For those not able to there are no barriers between musicians, compos- view the chats live, the recordings will be available ers, clinicians, and providers from the handbell online in the Members Resource Center. industry. Everyone is accessible, and there is abun- Barbara Brocker will be the first celebrity to dant sharing of information and resources. With step into the light with Member-Chats. Barbara This issue’s the internet as a resource, this connection can now has developed the art of the bell tree as a solo installment by be expanded around the world. In January 2015, instrument and has published over 20 bell tree ar- East RMC we will be launching two new monthly ways to rangements. For the last fifteen years, she has been connect: Member-Notes and Member-Chats. promoting the use of bell trees through teaching Jon Snyder With Member-Notes, you will receive a topical and performing at local, regional, national, and newsletter that offers detailed information on a international festivals. She will be fielding your variety of subjects, such as working with children questions about bell trees, four-in-hand technique, and youth, multiple ways four-in-hand is done solo ringing, and anything else that you may want around the world, or even how to get permission to ask. Keep your eyes open for a way to submit to arrange popular music. Each Member-Notes your questions ahead of time and possibly have issue will feature an article by a handbell expert, them included in the chat! along with links to additional resources that will These options will both be available in early assist you in your quest to perfect your knowledge 2015—check your inboxes early and often to be and skills. The links will include everything from the first to access these new opportunities. Best of videos to articles to online sites. all, they are both included in your membership! The firstMember-Notes edition will be written No extra costs, no need to plan ahead—just read, by Nick Hanson, covering an entire interactive ex- enjoy, and participate! perience in working with youth. Nick Hanson has Jon Snyder been serving as the director of handbell ensembles [email protected] at the Potomac School in McLean, Virginia, for the past six years, and as the handbell director at Bush Hill Presbyterian Church for the past four years. At Potomac, Nick’s duties include teaching instrumental music curriculum to students in grades 5–12 who participate in any of the school’s four handbell ensembles. He also teaches private handbell lessons to interested students. His directing duties at Bush Hill currently involve a teen/ adult ensemble and also a handbell ensemble for grades 4–6.

OVERTONES 8 NOV/DEC 2014 July 15-19

2015 Reach your personal performance best at Pinnacle 2015. • CLASSES focused on improving your skills as a handbell musician and as a performer for any venue – con- Hilton cert hall, school auditorium, or church sanctuary. Anatole • Nightly FEATURE performances demonstrating the diverse performance styles and genres possible with the handbell art form Dallas, • Daily SHOWCASE concerts providing more performance opportunities for choirs, ensembles, and soloists Texas in a variety to genres from all over the world. • Professional INTENSIVES giving participants the opportunity to work with some of the best professional choirs in the business and learn all aspects of starting, operating, and growing a community/professional choir.

Watch for further details at Pinnacle.HandbellMusicians.org Your Membership in the Guild...

Membership in Handbell Musicians of America now offers more benefits, more resources, more value,...is and an more investment opportunities to grow in andEducation, improve your skills Community as a handbell musician. & Communication As of October 1, 2012, a brand new set of on-line and interactive resources is available to our members. MembershipIn addition, we’ve in Handbell added the Musicians My Membership of America Rewards now program offers which more provides benefits, periodic more specials resources, more value, andand more discounts opportunities for Guild events, to grow music, and and merchandise.improve your skills as a handbell musician. We are always adding toFor our a fullcollection comparison of onlineof benefits and of interactive membership resources please refer available to the grid to on our the members.back of this page.In addition, you will enjoy the My Membership Rewards program which provides periodic specials and discounts for Guild events, music, merchandise and services from us and our Handbell Industry Council members. You may join or renew right now at www.HandbellMusicians.org

Member number if renewal ______*Membership opportunities please circle one:

Member / Contact Name ______Handbell Musician $85.00 Is this an individual or organizational membership? Sterling Handbell Musician $170.00 (Please circle one) Bronze Handbell Musician $300.00 Email address ______Gold Handbell Musician $500.00 Organization / Business name______This membership is for either an individual or an organization. If for an individual, that person may identify ONE organization that may also receive the Organization / Business phone # ______benefits of the membership. If for an organization, that organization must identify one individual as the primary contact for the membership. The Sterling, Organization mailing address______Bronze and Gold levels are for those individuals/organizations who wish to ______include a tax-deductible donation.

Home address______Handbell Industry Council $170.00 ______Sterling Handbell Industry Council $255.00 Home phone #______Bronze Handbell Industry Council $385.00 Gold Handbell Industry Council $530.00 Enclosed payment type: Visa MasterCard Check (please circle one) This membership is for businesses and organizations that provide products and services to the handbell/handchime community and wish to exhibit and/or Credit Card #______market these products and services to the community. The Sterling, Bronze and Gold levels are for those businesses or organizations that wish to include a tax- Credit Card expiration date______deductible donation. 3 digit security number on back of card ______Retired Handbell Musician $65.00 Card holder signature______This membership is for the handbell musician, aged 65 years or older, who is Credit card address same as Home or Business address? no longer actively directing or leading an ensemble or program. (please circle one) Full-time student $30.00

Mail completed form to: This is an individual membership and is for the full-time college or high school student. Handbell Musicians of America Sub-membership $10.00 PO Box 145400 This membership is for an individual member of an organization that has an Mail Location 521 existing Handbell Musician Membership. It is basically an on-line membership Cincinnati, OH 45250 only. LIST “PARENT” Handbell Musician Membership # here:______

Or fax to: 937.438.0085 **Canadian Members: Please add $15.00 USD to all memberships. All other International Members: Please add $30.00 USD to all memberships. Note: All dues are payable in U.S. dollars. All returned checks will incur a $25.00 processing fee. OVERTONES 10 NOV/DEC 2014 years orolderandNOT activelydirecting orleading, thenthe RetiredHandbellMusicianMembership isyourbestoption. †If youare65years ofageorolderandACTIVELY directingorleadingahandbell/handchime program,thentheHandbellMusician Membershipisforyou.However, ifyouare 65 organization. programsiftheyarerecognizedasanon-profit501-C3 ‡HIC Membersmayonlyapplyforgrants andscholarships,eventendorsement,accesstochime-loan mustbelinkedmay attendeventswiththegroupassociatedHandbellMusicianMembership only.*The Sub-Membership toaHandbellMusicianMembership.Sub-member Canadian membersadd$15USDandOther Internationalmembersadd$30USDtoallexceptSub-Membership membership foryou. there isaHandbellMusiciansofAmerica business oraresimplyanenthusiast, compose music,ownahandbellrelated or memberofanensemble,you Whether youareadirector, educator, YOUR needs? type bestsuits Which membership at MemberDiscount(i.e.Distinctly Attend IndividualFocused Events For 65+NotActivelyDirectingor Take aChoirorChoirsfromYour Access toChimeLoan Programs Access toScholarships&Grants Return $10RebatetoYour Area Access toMentoringPrograms Return $5RebatetoYour Area Handbell/Handchime program Access toPriority MusicClub Access toOnlineResources "My MembershipRewards" Own Login &Password to Event-Notes E-Newsletter Member DiscountPricing Access OnlineResources Organization toEventsat Print Copyof Online Only Exhibit atGuildEvents Bronze, MasterSeries) E-Notes E-Newsletter E-Notes Access toSpecial Voting Privileges Leading a Overtones Overtones

X X X X X X X X X X X X X X X Handbell Musician Membership - $85 X X X X X Sub-Membership* $10 X X X X X X X X X X X X X X X HIC Membership‡ $170

Retired Handbell X X X X X X X X X X X X X X X NOV/DEC 2014 OVERTONES Musician Membership† $65 X X X X X X X X X X X X Full-Time Student

11 Membership - $30 burn the BOX by Rima Greer

Flow

y husband is a psychologist. This is mostly a wonderful thing, but sometimes a difficult thing: He’s very kind and understanding. But he’s also professionally trained to win every argument. Living with a psychologist also means that • intense and focused concentration on the I’m exposed to some pretty interesting concepts present moment about how humans live their lives. I have found • merging of action and awareness that it pays to pay attention to this stuff—it can • a loss of reflective self-consciousness be very enlightening. Just the other day, we were • a sense of personal control or agency over the talking about the psychological concept of flow. It situation or activity was new to me, but as soon as he explained it, I • a distortion of temporal experience, one’s immediately thought of how “high” we get when subjective experience of time is altered we play bells, and I felt compelled to do more • experience of the activity as intrinsically research. rewarding, also referred to as autotelic experi- Here’s what Wikipedia says about flow: “Flow, ence also known as Zone, is the mental state of opera- Many of us recognize this list as all the stuff tion in which a person performing an activity is we experience when we’re having that optimal fully immersed in a feeling of energized focus, ringing (or other artistic) experience. Now think full involvement, and enjoyment in the process about your fellow handbell musicians who really of the activity. In essence, flow is characterized by have a hard time achieving that sense of musical- complete absorption in what one does. Proposed ity, of meshing with the group around them… by Mihály Csíkszentmihályi, this positive psychol- They’re just not joining everyone else in the flow ogy concept has been widely referenced across a of it all. Why don’t they get it? variety of fields.” Csíkszentmihályi says: Does this sound familiar? It did to me! • “One must be involved in an activity with It turns out that Csíkszentmihályi heard a clear set of goals and progress. This adds about this concept over and over when talking direction and structure to the task.” to artists who get lost in their work. These artists That’s easy: You know what notes to play, and all experienced flow as a positive experience of when and how to play them. hyper- focus. And it turns out that people have • “The task at hand must have clear and im- been discussing the concept of flow since the writ- mediate feedback. This helps the person ing of Hindu texts thousands of years ago. From negotiate any changing demands and allows Wikipedia again: “Historical sources hint that them to adjust their performance to maintain Michelangelo may have painted the ceiling of the the flow state.” Vatican’s Sistine Chapel while in a flow state. It is Easy, too: Your fellow musicians will give you reported that he painted for days at a time, and feedback, as well as the music you hear. You he was so absorbed in his work that he did not definitely get feedback right away. even stop for food or sleep until he reached the • “One must have a good balance between the point of passing out. After this, he would wake perceived challenges of the task at hand and up refreshed and, upon starting to paint again, re- their own perceived skills. One must have enter a state of complete absorption.” Even Bruce confidence in one’s ability to complete the Lee had a lot to say about flow in his book,Tao of task at hand.” Jeet Kune Do. Ah, skill. You can’t get into the flow unless Csíkszentmihályi and his research partners you have skill, and confidence in that skill. I have identified these factors that, together, create a flow Continued on page 35 experience: OVERTONES 12 NOV/DEC 2014 the title track has two-fold DISC ONE PASSAGES Requiem arr. Hart Morris meaning; signifying the various sections in a musical work Csárdás arr. Toshikazu Yoshida while acknowledging the never-ending process of moving Yearning William A. Payn through time. Waltz from Serenade for Strings trans. William H. Griffin the album epitomizes the group’s Escape Velocity Jason W. Krug PASSAGES Gwerzy arr. Clint Hagen 25-year musical journey, featuring classical arrangements, Passages William A. Payn cutting-edge original compositions and signature rock Tristesse trans. Keith Burt arrangements by The Rockin’ Raleigh Ringers on the group’s Tarantella arr. Martha Lynn Thompson Quest William A. Payn second double CD (over 100 minutes of music!) Prelude in B Major arr. Fred Gramann Toccata Allegro Mallory Ferraro, Julie Turner, and Jefferey A. Hall Malagueña arr. Martha Lynn Thompson DISC TWO THE ROCKIN’ RALEIGH RINGERS Sweet Child o’ Mine Originally performed by Guns N’ Roses, arr. Marcia M. Murphy Hey You Originally performed by Pink Floyd, arr. Marcia M. Murphy Light My Fire Originally performed by The Doors, arr. Andrew G. Metz Don’t Fear the Reaper Originally performed by Blue Öyster Cult, arr. Keith Burt Dust in the Wind Originally performed by Kansas, arr. Keith Burt Don’t Stop Believin’ Originally performed by Journey, arr. Keith Burt BONUS TRACKS LIVE FROM MEYMANDI CONCERT HALL Hold the Line Originally performed by Toto, arr. Kevin McChesney Closer to the Heart Originally performed by Rush, arr. Keith Burt Livin’ on a Prayer Originally performed by Bon Jovi, arr. Keith Burt PASSAGES r MasterCard r VISA r Discover PASSAGES (double CD) #______@ $20 ea. = $ ______Credit Card # ______Exp. Date______Additional Recordings Available Signature ______A Wintry Mix #______@ $15 ea. = $ ______Going to Extremes CD #______@ $15 ea. = $ ______(Please Print Clearly) A December Tradition Blu-ray #______@ $30 ea. = $ ______A December Tradition DVD #______@ $25 ea. = $ ______Name One Winter Evening at Meymandi DVD #______@ $25 ea. = $ ______Address Shipping & Handling ($3 for each CD, Blu-ray & DVD) $ ______Subtotal $ ______City State Zip NC residents add 6.75% tax on subtotal above $ ______( ) TOTAL ENCLOSED $ ______email phone Make checks payable to The Raleigh Ringers and Mail to 8516 Sleepy Creek Drive, Raleigh, NC 27613; Fax your order to 866-914-7578. Contact [email protected] for more information. Order Online at www.rr.org

OVERTONES NOV/DEC 2014 13

Passages-8.5x11_press.indd 1 10/28/14 12:32 PM what’s HAPPENING Handbell News and Notices

Brand New Member-Notes Help support the Guild and Member-Chats through Amazon We’re excited to announce that Handbell Musicians of An expert at your fingertips America is now an AmazonSmile participant. One of the Guild’s greatest assets is our inclusive community. When we are together, there are no barriers between musicians, composers, clinicians, and providers from the handbell industry. Everyone is accessible and there is abundant sharing of information and resources. We are about to make that a monthly reality for each and AmazonSmile is a simple way for you to support the Guild every member. every time you shop at Amazon, at no cost to you. Simply go to Beginning in January 2015, Handbell Musicians of America http://smile.amazon.com/ch/51-6019671 and sign in with your will launch Member-Chats and Member-Notes in alternating Amazon account information (or create an account if you do not months. Here’s how it will work. already have one). Member-Chats Be sure to bookmark that page so that every time you shop at Have you ever wished you could talk directly to a handbell Amazon, you’ll be helping to support the Guild. “celebrity” and ask them questions? Every other month, we will With every eligible purchase you make, Amazon will donate host a live chat with a new personality from within our talented .5% to Handbell Musicians of America. ranks. Everyone will have an opportunity to submit questions in advance. Many of you will be able to tune in live and participate. And all members will be able to access the video online after it airs live. New Mailing Addresses Member-Notes Please note that any CHECK PAYMENTS sent On alternate months, we will send you a topical newsletter to the Guild should now go to the following that offers detailed information on subjects such as working address: with children and youth or all the ways four-in-hand is done Handbell Musicians of America around the world or maybe even how to get permission to ar- PO Box 145400 range popular music. TheseMember-Notes will have a feature Mail Location 521 article by a handbell expert and links to additional resources Cincinnati, OH 45250 that will assist you in your quest to perfect your knowledge and skills. This includes membership renewal, contributions, event registration payments, invoice The best part? . . . This is a FREE resource for members of payments, etc. Handbell Musicians of America! Watch your inbox for the inaugural issues coming to you All GENERAL CORRESPONDENCE that in 2015. DOES NOT include a check payment should should be sent to: Handbell Musicians of America 201 E. Fifth Street Suite 1900-1025 Cincinnati, OH 45202

OVERTONES 14 NOV/DEC 2014 Rockin’ and Ringin’ on the Ranch

We’re All About That Bass... BELL! and that Drum and that Fun and that Treble!

Area 11 invites you to Young Ringers Camp Ages 10 - 18 June 14-18, 2015 Snow Mountain Ranch Winter Park, CO

e Best Case... College Students! Get a one-year FREE sub-membership in Handbell Musicians of America

• School must have a full membership (in school name, choir name, or director’s name) ...Case • Director must submit student names to national office to get the membership for students Closed. • Membership is free for only one year. Renewal will be at regular $10/year rate Rolling out our best for 14 years! Please visit All of your bells are protected in www.HandbellMusicians.org/ custom- t cases, and are easy to collegeoffer roll wherever you go! 1-866-532-8222 www.bellcase.com for details handbells in EDUCATION Coordinated by Kathleen Wissinger How Music Works Part 1: Pitch, Interval, Scale, and Key by Kyler Brengle

This is the first in a series of articles about how Consider the notes contained in the C major music works. Various aspects of music theory scale (the eight white keys on a piano keyboard will be explored, with ideas about applying starting on C and ending on the C above). Kyler Brengle currently these concepts either as a director or a ringer. So Middle C, represented by the written note on directs the adult handbell whether the term music theory fills you with dread the first ledger line above the bass clef, is called choir at Westminster United or is something you always wanted to know more C5 for handbells. Starting at C5 and moving up Methodist Church in about, let’s go ahead and take a bold whole-step on the staff (rising tones; hearing pitches become Maryland and also serves into learning some basic theory! higher), these seven sequential notes also have a 5 as assistant music director of Westminster Ringers, But why music theory? I just ring bells! after their letter name: C5, D5, E5, F5, G5, A5, B5 (see Diagram 1). Note the eighth sequential an auditioned community Simply put, music theory explains the basic note above C5 is another C, an octave higher, and handbell ensemble. Initially boundaries and elements of music, such as pitch, it is called C6. a high school band director, rhythm, melody, harmony, structure and expres- his public education career In Diagram 1, the highest pitch shown is C7, sive qualities. Being involved with music via path took him places other which is the highest note in a three-octave set of handbells means you are intrinsically involved than music settings, but bells, and the only 7 note within that range. Each with music theory. Just as painters must under- he has remained active in lower octave is represented by a smaller number, stand the relationships of colors, musicians should church vocal and handbell with the switch happening on each C (the lowest choirs throughout his career understand how different elements of music (mu- pitch shown is C3, the lowest bell in a five-octave and now into retirement. sic theory) fit together. Ringers are empowered set of bells). Knowing the handbell pitch naming Joining the Westminster when they understand what the music says, and system allows directors to precisely communicate Ringers in 2006, he has directors can help their ringers perform better by about specific notes and helps ringers to correctly served on their board of di- explaining nuances in the music. rectors and currently serves read the music. as an at-large member of Pitch, pitch, pitch Notes on the staff represent different pitches. the Area 3 board. His inter- The different note sounds that you hear from Often we blur the distinction between the sound est in music arranging has each of the bells in your choir are music’s building (pitch) and what we see (notes) and use note to resulted in numerous ar- blocks, each individually called a pitch. Pitches refer to both what we hear and see. rangements for Westminster can sound higher or lower depending on where Steps Ringers and local churches. they are within a scale compared to another pitch. Looking at the short section of a piano Each pitch has name. Defining a pitch name keyboard in Diagram 2, you see the note names involves a specific letter name using A through G associated with each piano key. Music is built alphabetically—from low to high note, repeating using the smallest possible interval (the distance A through G again and again—and, when hand- between any two notes) which is called a half-step bells are considered, also a number that identifies or semi-tone. On the keyboard, a half-step exists the octave where it is found. Continued on page 21

Diagram 1: Pitch names and ledger lines

OVERTONES 16 NOV/DEC 2014 for ringers, directors & educators NOV/DEC 2014

FanfareFor the Re-union and bell choirAllegro 2013 In This Issue For the Re-union bell choir 2013 Fanfare and Allegro Fanfare and Allegro 3-5 Octaves opt. by Jim Smith Handbells Used: 33, (39), (45) œ bœ œ bœ œ bœ œ œ bœ œ œ bœ œ bœ œ #œ & bœ œ bœ œ #œ œ bœ œ bœ œ œ ? bœ œ bœ œ #œ œ bœ œ #œ œ bœ bœ œ œ œ bœ œ bœ Note on usage optional of Tips & Tools PERFORMANCE NOTES 3 and 4 oct. choirs should omit notes in ( ) Materials: 4 octave choirs should omit notes in < > Permission is Moderato JIM SMITH granted to make {q = c72} ‡ copies of all Tips & ú œ œ œ ú œ‡ Tools materials for b ú œ œœ ú œ œ œ choir or classroom b b 4 ú œ œ œ ú œ bœ œ use. & 4 ú œ œœ œ ú œ bœ œ J J J J Must be a current ƒ ‡ ‡ member of the j j j j Guild and may œ ú not transfer usage ? 4 ú œ œ œ ú œ œ œ bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ rights to a non- b œ œ œ œ œ œ œ œ œ member without œ œ œ œ œ œ œ bœ œ œ œ permission. ©2014 + + + +. + + +. + + + + + + + + + + + + + AGEHR, Inc. d.b.a...... Handbell Musicians 3 ‡ of America. ú œ œ ú œ œ œ b ú œ œ ú œ œœ & b b nú œ œ ú œ œ œ nú œ œ ú œ œœ œ Please visit J J ‡j j the Overtones ú œ œ œ section of our ? b œ œ œ œ œ œ œ nœ œ œú œ œ œ œ œ œ œ œ œ website at b b œ œ œ www.Handbell- +œ œ+ + œ+ +œ nœ œ œ œ œ œ œ œ œ œ œ œ +. . . . +. . . +. +. Musicians.org +. +. +. +. +. +. +. +. +. +. to download 5 ‡ printable ú œ œ œ ú œ #n œ copies of all bb ú œ bœ œ nú œ œœ the materials in & b ú œ bœ œ nú œ #nœœ J J Tips & Tools. ‡j j ú œ œ œ œ œ œ ? b œ œ œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ b b œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œ +. +. +. +. +. +. +. +. +. + + + + + + + + + + Copyright. ©2014. . - .Jim Smith. •. Permission. . granted. to. make copies for choir or classroom use. Must be a current member of Handbell Musicians of America and may not transfer usage rights to a non-member without permission. OVERTONES NOV/DEC 2014 17 2 3 Allegro 15 7 {m q = c 102} ú nUú œ œ œ œ œ œ œ œ œ b ú ú œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ b b ú nú . œ œ œ œ & b œ œ œ œ œ œ œ œ J J œ & ú ú J œ J œ œ J J œ œ U p ú nú œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ ú .< œ > œ œ œ ? b œ œ œ œ < œ > œ œ œ b b œ œ œ œ œ (nú) . w œ b b w wœ œ œ œ R w w +. +. +. +. +. 9 > > 17 œ ( ) œ œ œ >œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ & b œ œ œ J J œ œ œ œ œ œ œ œ œ œ œ J œ J œ œ œ œ œ œ f > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b < œ > œ œ œ < œ > < œ > œ œ ? b œ œ œ œ b b œ œ œ œ œ œ œ œ b b wœ œ œ œ œ œ œ œ w œ œ > > > > 19 1. 2. 11 > > > ( ) œ œ ( ) >œ œ œ œ ú ú œ œ œ œ œ œ œ œ œ œ bb bœ œ œ nœ . bú ú b œ œ œ œ œ œ œ & b œ œ œ œ . ú ú & b b J œ œ œ œ œ œ œ œ bœ nœ bú rit. J J J œ > > p f > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ nœ . bœ œ œ œ ? œ œ œ œ ( œ ) œ œ œ b b œ œ œ bbb w w bœ œ bœ œ œ œ œ œ w > > + + > > . +. +. . +. +. Moderato 13 {q = c72} > > > 21 >œ œ œ œ œ œ œ œ œ œ ú ú œ‡ œ œ bb bœ œ œ nœ œ ú ú ú œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ bb ú nú ú œ œœ œ bœ nœ J J & b ú nú ú œ œœ œ p J J f > > > > ‡ œ œ œ œ œ œ j j œ œ œ < œ > œ œ œ œ œ œ œ ú œ œ œ ? b < œ > < œ > œ œ œ œ œ œ œ œ ú œ œ b b bœ œ œ nœ w ? b œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ w b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > œ > +. +. +. +. +. +. +. +. +. > +. +. +. +. +. +. +. +. +. +.

OVERTONES 18 NOV/DEC 2014 3

15 œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ J œ J œ œ œ œ œ J J

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17 ( ) œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ & b œ œ œ J J œ œ œ œ œ œ œ œ œ œ œ

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19 1. 2. > >œ >œ >œ ú b bœ œ œ nœ bú ú & b b œ œ œ œ . ú ú bœ œ œ nœ bú rit. ú f > > > > œ œ œ œ œ œ œ œ ? < œ > œ œ œ œ œ œ œ bbb bœ œ œ nœ . bœ œ bœ œ bœ œ œ œ œ œ > > + + > > . +. +. . +. +. Moderato {q = c72} 21 ú œ‡ œ œ ú ú ú œ œ œ bb ú nú ú œ œœ œ & b ú nú ú œ œœ œ J J ‡ œ œ j œ j ? œ œ œ œ ú œ œ œ œ œ bb œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ + + + + + + + + + ...... +. +. +. +. +. +. + + +. + Copyright ©2014 - Jim Smith • Permission granted to make copies for choir or classroom use.. . . Must be a current member of Handbell Musicians of America and may not transfer usage rights to a non-member without permission. OVERTONES NOV/DEC 2014 19 4 23 ‡ ú œ œ œ ú œ œ bb ú œ bœ œ nú œ œ & b ú œ bœ œ nú œ œ J J ‡ j j ú œ œ œ œ ? b ú œ œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ +. +. +. +. +. +. +. nœ+ œ+ + + . . +. +. +. +. +. +. +. +. . . 25 ú œ‡ œ œ ‡ ú œ œ œ ú œ œ œ bb ú œ œœ œ ú œ bœ œ & b ú œ œœ œ ú œ bœ œ J J J J ‡j j ‡j ú œ œ œ ú œ j ? œú œ œ œ œ œ œ œ œ ú œ œ œ bbb œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ + + + + + + + + + ...... +. +. +. +. +. +. +. +. +. +. +. 27 > > > > ú œ #n œ œ œ bœ nœ bb nú œ œœ œ œ œ œ & b nú œ #nœœ œ œ bœ nœ > > > > œ œ œ œ ? b œ œ œ œ œ œ œ #œ œ œ œ œ œ b b œ œ œ œ œ œ œ œ œ + + + + + œ+ +œ #œ+ +œ œ ...... +. +. +. +. Sk 29 œ œ ‡ ‡ > œ œ ú ~~~~~~ œ œ w bbb Œ Œ œœ œ ú ~~~~~~ œ œ w & œœ œœ ú ~~~~~~ œœ œœ w Sk ‡ ‡ Œ Œ œ œ ú ~~~~~~ œœ œœ ú ? b w œ œ ú ~~~~~~ œ œ Œ Œ < ú > b b w ú œ œ ú > @ Copyright ©2014 - Jim Smith • Permission@ granted to make+ copies+ for choir or classroom use. Must be a current member of Handbell Musicians of America and may not. transfer usage. rights to a non-member without permission. OVERTONES 20 NOV/DEC 2014 the piece is called the tonic note and tells us what key the piece Handbells in Education... is written in. The key is shown by thekey signature—those sharps Continued from page 16 and flats, if any, at the beginning of each staff in printed music as between any two adjacent keys, regardless of color. So C to C seen in Diagram 3. The key signature visually establishes which is a half-step, and E to F is a half-step (note: there is no black# notes will be automatically sharp or flat throughout the entire piece, note between E and F). A whole-step is measured from one key so that the music that follows adheres to the whole-step/half-step to another key with one key, and only one key, in between, requirements of the key in which it is written. Any pitches outside such as C to D (skipping over C ) or B to C (skipping over of the rules set by the key signature are accidentals. the B). Therefore, a whole-step is# actuallyb made of two half- What good are accidentals (beyond making steps. me put down the bell I really like and picking Enharmonics up another for just a couple of counts)? Notice that C and D share the same piano key on the An accidental is a note used in a piece of music that is not a keyboard (as well# as on theb handle of your bell). These are member of the scale of the key signature in effect. A given pitch examples of enharmonics, when the same pitch has two different is raised a half-step by a sharp sign or lowered a half-step using note names, depending which direction you are coming from— a flat sign —or a sharp or flat that# is in the key signature can from the note above (as a flat) or from below (as a sharp). An be cancelledb by a natural sign . Accidentals add color to the enharmonic bell might be played by two different people in one music by going outside the expectedn notes of the key signature. piece, with the G 5 rung by the F5G5 ringer and the same bell If it happens often, it’s called chromatic. For example, a com- rung in another section# of the music as an A 5 by the A5B5 poser may want to insert a C minor section in a C major piece, ringer. b so all the Es will have flat signs (accidentals) placed in front of them in this section to make them into a minor chord spelled Diagram 2 C, E , G. This one accidental will markedly change the feeling of thatb section of music, because it shifts the series of intervals to the minor. In summary • Two different pitches create an interval (the smallest possible being a half-step). • Pitches can be raised or lowered a half-step with sharps, flats, or naturals. Scales • Scales are sequences of notes using a specific order of half- Scales are the basis of melodies and harmonies in music and step and whole-step intervals. are built on specific sequences of half-steps and whole-steps. A • Key signatures show the automatic sharps/flats in a piece major scale ascending from the lowest note follows this specific that are required by the key in which it the piece written. sequence: “whole-step (from C to D), whole-step, half-step, • Notes contained within a given scale are used for melodies, whole-step, whole-step, whole-step, half-step.” This major scale with accidentals sometimes adding color. recipe of intervals can apply to any key you might start on. • Notes stacked up in specific intervals create chords (more There are several varieties ofminor scales, but common to them on that in the next article in this series). all is the beginning sequence: “whole-step, half-step, whole- How can I use music theory as it relates to step.” (Note the change in the first two intervals between the pitch? major and minor scale.) Diagram 3 compares the intervals of a At the very least, your awareness has been raised to what is major and minor scale. behind what you see and hear. You now realize there is a reason Keys for accidentals; and when someone says this section is in a major All music is based on an established scale or a specific or minor key, you now understand there is a set of rules that sequence of tones. The pitch that establishes the home base of Continued on page 33

Diagram 3: Major and minor scale

OVERTONES NOV/DEC 2014 21 Overtones 2014 Annual Index • Volume 60 FEATURES Thinking Small: Small ensembles in worship settings by Charm Peterman...... Sep/Oct p. 22 Invitation to Turkey: A Clearwater, Florida, bell choir is invited to unite with friends in Bursa, Turkey, through the musical art of COMMUNITY CONNECTIONS handbells Talk to Me: Using effective ringer-to-ringer feedback by Dr. Pattye Casarow...... Jan/Feb p. 26 by Beth Davidson and David Jordon...... Jan/Feb p. 38 If I Only Had a Cow: Handbells are a big part of GRAMMY Music Not Just for Christmas Anymore: Using your connections to Educator Award winner Kent Knappenberger’s life journey reach new audiences by Laurel Cleary...... Mar/Apr p. 26 by Shelley Merritt...... Mar/Apr p. 36 Super Bell: A Wethersfield, Connecticut annual concert that For Immediate Release: Digital press releases help promote continues to draw local support year after year events and fundraising by Terence B. Martin...... May/Jun 2014 by Steve Bailey...... May/Jun p. 34 Four Decades and Going Strong: Malmark Bellcraftsmen ROI: Rehearsals, Our Investment - Part One: Merits of rehearsing turns 40 on a weekly basis by Tim Schuback...... Jul/Aug p. 26 by Michael Glasgow...... Jul/Aug p. 24 Being of Service: Seminar class inspired by Area 7 includes ROI: Rehearsals, Our Investment - Part Two: Alternative service to the Atlanta community Rehearsal Schedules by Sandy Mullaney...... Sep/Oct p. 18 by Michael Glasgow...... Sep/Oct p. 42 A Look back at National Seminar Making of a Handbell Jazz Ensemble: An interview with the Photos by J.R. Smith...... Sep/Oct p. 29 National Seminar Jazz Band Roll Over Beethoven: How three handbell musicians introduced by Marchelle Sanchez...... Nov/Dec p. 30 bells to popular culture by Laurel Cleary...... Nov/Dec p. 24 CONDUCTING Q&A Using Found Whitechapels, Making Rehearsal CELEBRATING 60 YEARS Progress Stay...... Jan/Feb p. 42 Join us for National Seminar 2014 as we clebrate the Guild’s Festival Issues, Speaking Between Numbers, Diamond Jubilee...... Mar/Apr p. 29 Maintenance...... Mar/Apr p. 40 Margaret Shurcliff: First Lady of handbell ringing Using Handchimes, Finding the Melody, More...... May/Jun p. 38 in America begins rich and colorful history for handbell musicians...... Mar/Apr p. 18 Motivation of Volunteers; Adding Bass Chimes...... Jul/Aug p. 32 Evolution of Handbell Music...... May/Jun p. 2 Conducting Left-Handed and Thoughts on Retiring..Sep/Oct p. 44 A Timeline of Our 6-Decade History...... Jul/Aug p. 21 A History of Honorary Life Members...... Sep/Oct p. 36 TIPS & TOOLS The Next 60 Years...... Nov/Dec p. 2 Velocity and Tracking Drills Pt. 7 by Michael Keller...... Jan/Feb p. 21 Velocity and Tracking Drills Pt. 8 HANDBELLS IN EDUCATION by Michael Keller...... Mar/Apr p. 21 A Bucket List Filled with Chimes: Teaching handchimes in the Velocity and Tracking Drills Pt. 9 classroom by Michael Keller...... Sep/Oct p. 26 by Karen James...... Mar/Apr p. 24 Chiming in for Education: Area Chime Loan serves as launching TIPS & TOOLS MUSIC pad for school ringing program Bell Tree Descants and Tunes with Starting Notes by Alice Real...... May/Jun p. 32 Compiled by Barbara Brocker...... Jan/Feb p. 22 A Composition with “Class”: A sixth-grade music class writes its Bells of Praise own composition by Bob Burroughs...... Mar/Apr p. 22 by Kathleen Wissinger...... Jul/Aug p. 16 Doxology for Bells How Music Works - Part 1: Pitch, Interval, Scale, and Key by Bob Burroughs...... May/Jun p. 19 by Kyler Brengle...... Nov/Dec p. 16 A Joyful Day arr. Classical School 6th Grade and Kathleen Wissinger...... Jul/Aug p. 17 HANDBELLS IN WORSHIP Austria - Final Verse Accompaniment Hang ‘em Up: Simple ways to use bell trees in worship arr. Michael Mazzatenta...... Jul/Aug p. 19 by Barbara Brocker...... Jan/Feb p. 20 Sine Nomine (For All the Saints) Are Wedding Bells Ringing? The joys and pitfalls of playing arr. Bob Burroughs...... Sep/Oct p. 23 for weddings Fanfare and Allegro by Stephanie Wiltse...... Mar/Apr p. 20 by Jim Smith...... Nov/Dec p. 17 No Place for Handbells? Handbells in the Episcopal Church by Jackson Hearn...... May/Jun p. 18

OVERTONES 22 NOV/DEC 2014 JAN 23-26, 2015 • CINCINNATI AIRPORT MARRIOTT • CINCINNATI, OHIO

Personal and focused training in the area of your choice

Master Class in Conducting with Bill Payn For advanced conductors who wish to take their skill to the next level. Prepare one pre-assigned piece and get direct one-on-one coaching and instruction from Dr. Payn.

Master Class in Composition with Sondra Tucker Spend the weekend composing under the tutelage of Sondra Tucker. Come with a piece in progress and finish and refine your work through class collaboration and personal, private instruction.

Handbell Directors Boot Camp with Bill and Carolynne Mathis For directors of all skill levels, the course covers everything you need to know to lead a successful handbell program – conducting, rehearsal techniques, handbell maintenance, teaching ringing techniques, score study, repertoire selection, and more.

Handbell Musician Certification with Michael Glasgow and Michèle Sharik Complete two levels of handbell musician certification in Music Theory and Handbell Techniques.

Handbell Musicians Certification Instructor Accreditation with Michael Glasgow, Monica McGowan, and Michèle Sharik Special training classes for those interested in becoming an Accredited Instructor for our Handbell Musicians Certification program. Training and accreditation will be offered for Level 1 of Music Theory, Handbell Techniques, or Conducting. Students will be able to complete accreditation for two of the three courses during the 4-day event.

Details and Registration are at MasterSeries.HandbellMusicians.org Above: Gay and Alan Cooper competing in Britain’s Got Talent. Photo © REX USA/Ken McKay/TalkbackThames. Roll Over Beethoven How three handbell musicians introduced bells to popular culture

It is always appropriate to mention handbells in polite con- versation. You can talk to Grandma about handbells, for by Laurel Cleary instance, without fear that she will look at you over the top of her glasses, clasp a hand to her chest, and gasp, “Oh, my word!” Handbells need never be mentioned in the same breath as television, nightclubs, alternative rock, hip-hop, fringe festivals, or…ahem…Madonna. OVERTONES 24 NOV/DEC 2014 At least, not until recently. Thanks to the efforts of a British handbell duo and an American soloist, noticeable chinks have appeared in handbells’ wall of decorum. The wordhandbell is now—very occasionally—used in the same sentence as the word cool. Grandma would not be amused. Gay and Alan Cooper Gay and Alan Cooper, who live in Wallingford, Oxfordshire, England, began ringing together 20-odd years ago as members of the Wallingford Ringers. After Gay took a class on solo ringing and then got Alan hooked on it, they began to play as a duo. Later, they added a third member and formed a trio called Pizzazz. In addition to playing serious music, Gay admits to a fond- ness for watching television talent competition programs, particularly Britain’s Got Talent (BGT). She was therefore intrigued when a message from BGT, sent via Handbell Ringers of Great Britain to its members, appeared in late 2010. They’d never had handbells on the program and invited interested ringers to audition. Gay wanted Pizzazz to try out. “Gay was very keen,” says Alan, who does not share her enthusiasm for the show. “I was very unkeen.” The third member of Pizzazz was rather unkeen as well. But that wasn’t enough to stop Gay. So she contacted BGT. A researcher for the show asked them to send in videos of Pizzazz and also of Gay ringing solo. “I was hoping to sort of bring the other two with me,” she says, “but wanted a couple of options in case they couldn’t be persuaded.” Kristine Stout Three years later, in late 2013, a similar invitation from the American equivalent of BGT, America’s Got Talent (AGT), went out to members of Handbell Musicians of America, soliciting auditions by American ringers. Michigan soloist Kristine Stout decided to give it a try. Kristine’s handbell experience began in 1990, when her Kristine Stout in the holding area of the Greensboro audition for America’s Got Talent. Photo by Kirt Stout. church received a memorial gift of an octave of bells. She had never before seen a handbell and had no idea what to do with ing agent, driver, and equipment handler, and she does 75-80 them. So she did some research and found Handbell Musicians shows per year. of America (AGEHR at that time), through which she learned Since AGT debuted in 2006, people had periodically everything she needed to know. Four years later, her church had told Kristine she should audition. She hadn’t seen the show, three choirs, three octaves of bells, and three octaves of hand- but when she heard they were looking for handbell acts, she chimes. thought maybe she should take it seriously. She looked into it At a Guild conference in Akron, Ohio, Kristine saw solo and was soon registered to perform live at an open call audition ringing for the first time: “I bought a solo piece, took it home in Greensboro, North Carolina. and got the bells out, and said, ‘you know what, I’m going to Gay and Alan—preparation for the audition figure this out,’” Solo ringing came easily to her. She bought BGT expressed interest in the Pizzazz video. When the her own bells and started writing arrangements, using a digital Coopers were unable to convince their trio partner to go along keyboard to accompany herself. Her abilities and opportunities with the audition idea, however, the producers said they’d take to play grew quickly. the solo. The Coopers asked, what about a duet? Alan was In 2002, she and her husband Kirt quit their jobs to open unsure about the duet idea, but continued to brainstorm what Joybell Theater in Nashville, Indiana, a performance space for Gay might play. “The songs we did were not very popular,” said Kristine. They ran the theater and a gift shop for nine seasons. Alan. The producers wanted something else. During her peak year there, Kristine did 400 shows. But the “Alan kept suggesting Andrew Lloyd Webber’s ‘Pie Jesu,’” strain of doing so many shows eventually took the joy out of says Gay. “And eventually they said, ‘Well, the problem with it. They closed the theater and moved back to Michigan. Now ‘Pie Jesu’ is another contestant’s doing it, a singing dog.’” It was Kristine travels with the bells, with Kirt acting as her book- OVERTONES NOV/DEC 2014 25 Gay and Alan with BBC 1 Radio’s Greg James during one of their appearances there. James had been championing the duo during the competition. Photo by Dan Waite. an act called Pip and Puppy, a singer named Pip and her dog tive rock band called Imagine Dragons, and Kristine liked their Buddy who howls along, particularly to that song. song “Demons.” After she wrote an arrangement and sent it “At this point,” says Gay, “Alan suggested the theme from in, the producer asked for something shorter, only 90 seconds Titanic, which we’d both played solo in the past. It had a duet long. “I didn’t understand,” she said. “I write full arrangements part, but we hadn’t actually played it as a duet before. That of songs. I didn’t want to do just a 90-second something—what seemed to sort of fit the bill of being a popular song, so they good is 90 seconds?” But she persevered and eventually suc- were quite keen on that.” Gay and Alan worked up a version ceeded in writing a 90-second sample. of “My Heart Will Go On” and played it to producers over the Kristine found out, several weeks later, that she’d been se- phone. They liked it. The Coopers were set to go to the audi- lected for the audition on April 4 before the celebrity judges, to tion on January 31, 2011, before celebrity judges in the city of be held in New York. Her anticipation grew. Birmingham. Gay and Alan—the Birmingham audition Kristine—the producer’s audition The Coopers’ Birmingham audition was the last in a series of Kristine went to her audition in Greensboro on January auditions that month during which 1,000 acts were performed 29, 2014. This was an audition before a producer who would for celebrity judges. On the day of the audition, Alan was still decide, in conference with other producers, who went on to hedging his bets about whether he wanted to perform. His perform for the judges. fears were not unfounded. He knew that when BGT aired the Before her audition, Kristine didn’t entertain a serious no- auditions, they would show the good and the bad: “You can get tion of winning. She just wanted to get on the show and, as made a laughingstock of…you have to be prepared…and you she explains, to “have people know that there’s such a thing as can be all over the national newspapers, as we were.” So Alan handbells out there. That they’re a viable art form and a real hemmed and hawed. But after waiting backstage for four hours instrument, and not just for church anymore. I really wanted before being called to perform, he came around to the decision that opportunity.” The audition went very well. The producer that he might as well play. who listened to her brought in more producers to hear her, and “When we came on,” Gay says, “the audience saw this mid- they videotaped her. She felt very hopeful. dle-aged couple, me a lot shorter than Alan, so a bit of a little She was a bit concerned because the average demographic and large. So they thought, ‘What’s this?’ So on the video you for the show was the 18–35-year-old range, which meant she’d can see some of their rather surprised expressions. What they need to play more contemporary music. She had no idea what didn’t include on the program, which I think it was quite nice was on the current pop charts or if she could make that music that they didn’t, was that some of them actually started shout- sound good on handbells. Her producer suggested an alterna- ing, ‘Off! Off! Off!’ before we’d even started. I was thinking,

OVERTONES 26 NOV/DEC 2014 ‘Oh no, they don’t like us.’ But I figured, ‘Well I haven’t played made it through the auditions are pared by the judges down to a note yet, the judges haven’t buzzed, so I’ll keep going.’ And it 40 acts. This requires lots of interviewing and filming. “They was amazing that, as we played, they went silent. So then they film you for the whole weekend,” says Gay, “which is quite all started singing along with us. And when we came off, the good because, by the end of that, you’re actually losing your producer said, ‘You turned that audience around!’” fear of TV cameras.” Gay and Alan performed before three judges. All three Gay and Alan had no expectations of being chosen to judges voted them through to the next round. “We thought it continue. They just thought the weekend would be a good would be great if we could get something like 30 seconds of TV experience. In fact, they’d been told that the final 40 groups, exposure showing bells as a musical instrument…” says Gay. announced on Sunday, would be expected to stay over until “We certainly weren’t expecting to do as well as we did.” Monday—and Alan hadn’t even taken Monday off from work. Kristine—the New York audition Kristine continued to work with her producer to come up with the right thing to play for the New York audition. The producer felt none of the Imagine Dragon songs would capture the judges’ hearts in the first 10–15 seconds, which was crucial. They finally settled on Madonna’s “Like a Virgin.” Kristine had her doubts about it, but she decided to trust the producer. Kristine had a sound check on the morning of her audition. It didn’t go well. The sound technicians were rushed because the act before hers had taken a lot of extra time. She felt the sound quality of her performance suffered as a result. She then endured a long, alternately boring and anxious wait backstage. At about 8:30, her moment finally arrived. “When you get out on the stage,” she says, “it’s so bright that the only thing that shows are those four celebrity judges on their little podium. The only time I sensed the audience at all was while I was playing. They all started clapping right along with me. They were into it. They liked my song, they liked what I was doing.” Unfortunately, the judges didn’t agree. Several seconds into her performance, Howard Stern hit his buzzer. A minute later, Heidi Klum did the same. “It’s the rudest sound ever invented by humans,” says Kristine of the noise. But she continued play- Kristine backstage in New York with one of her producers. Photo by Kirt Stout. ing. Afterwards, the judges made their comments and voted. Lack of good sound mix was a common theme. They all voted But they were chosen to go on to the semifinals! And then no. That ended Kristine’s chances. things got really interesting. “We had to go to London quite a “It was hard to hear the judges’ comments after such a posi- lot of times,” says Alan. “We had to go to music rehearsals, cos- tive response from the crowd,” she said. “Once you get past the tume people measuring us up for getting clothes made. We had disappointment and the negative energy that is thrown at you, a couple of sessions with the choreographer to check that we then you consider the source. Mel B was the only musician in looked all right. We had to do a very large amount of filming, the whole group [of judges], and she was the most complimen- most of which has never been seen.” tary…She recognized the musicianship of it. She didn’t care Live musicians made the backing track for the Phantom of for the performance, but she’d never seen anything like it, had the Opera medley they’d decided upon, once they’d worked nothing to compare it to.” out their parts, which they did in a series of sessions with the For all her dissatisfaction, though, Kristine was in the top producers. They told the producers what they needed in terms 800 among a whopping 100,000 auditions—certainly an of a table and foam, and the crew built them a 15-foot table on achievement to be proud of. casters. (Fortunately, though, the Coopers brought their own foam with them, because the foam the production team sup- Gay and Alan—the semifinals plied was only about one inch thick.) For Gay and Alan, sound quality was not an issue. They “The semifinal is interesting,” Alan continues, “because seemed to have had better technicians to work with. And once instead of going up there and thinking, we might or might not they were on to the semifinals, everything, in terms of attention be on telly, you’re thinking, whatever we do, however right or to detail, ratcheted up several notches. wrong it is, 10 million people are watching it while we’re doing The decision to pass them on to the semifinals was made at what is called the Reveal Weekend, where the 200 acts that Continued on page 29

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For All of Your Handbell and Handchime Needs, 1-800-JHS-BELL www.HandbellWorld.com Roll Over Beethoven... Continued from page 27 it, which is quite nerve-wracking. And we were also the last on how it’s got to be.’ You have to fit in with the way they work… the show, which I think meant they thought we were going to It’s been really good for us because we’ve got much more used be a bit of a success...” to looking at popular music. We find a lot of our audiences Gay and Alan received one buzz during their performance, now expect the more popular stuff. We’ve got more used to from the predictable Simon Cowell. They were, however, in the learning something fast if we need to.” top three in the audience vote. The top audience vote-getter Gay sums it up by adding, “I’d really like to see this mov- goes through automatically. The judges decide between the next ing forward with a lot of handbell ringers. I see more ringers two. And this time, they chose the other act. This still meant playing popular music…You can’t pigeonhole it to churches or that Gay and Alan were among the top fifteen acts in the coun- Christmas. You want it there, but you want it in popular music try—out of the original 50,000. Good show. as well. I think we’ll have succeeded when people like will.i.am Conclusions are writing handbells into their music.” Through their experiences withBGT and AGT, Gay and Oh Grandma. I hope you didn’t hear that. Alan Cooper and Kristine Stout learned valuable lessons about More about Gay and Alan interacting with youth culture on its own terms. They realized Gay and Alan’s BGT audition: https://www.youtube.com/ what’s at stake for handbells in such interaction. As Alan puts watch?v=mA36ZbA0pNQ it: “It’s very easy to play the violin badly, but no one’s going to Gay and Alan’s BGT semifinal:https://www.youtube.com/ think badly of a violin because you don’t play it very well. But watch?v=z5WeBV92IrY if you play bells in front of, say, 10 million people, and you Gay and Alan on Greg James’ BBC Radio 1: https://www. don’t represent it very well, then that’s a bit of a worry.” youtube.com/watch?v=3xfdIw9KWSI They also accurately defined shows likeBGT and AGT. “I Gay and Alan performing at the Edinburgh Fringe Festival: think some people think of [BGT] as a kind of national talent https://www.youtube.com/watch?v=J4YzMmArLIk show,” Alan continues, “and they really need to think that it’s Gay and Alan (The Love Story):https://www.youtube.com/ an entertainment show. And it may not be very entertaining to watch?v=GMW93dtEfxQ watch somebody doing something quite well. In this country, Wallingford Ringers: http://wallingfordringers.wordpress. I don’t think anyone has ever succeeded just by standing there com and playing an instrument well. At the end of the day, the value Gay and Alan’s appearance on This Morning: https://www. is in the entertainment.” Kristine adds, “The show isn’t about youtube.com/watch?v=K4ahQHZTO-M the contestants. The show is about the judges. They’re chosen More about Kristine Stout for their personalities and how they interact with each other. Kristine’s blog: http://kristinestout2014.blogspot.com They’re the stars.” Kristine’s ‘Like a Virgin’ audition video: https://www. Kristine’s handbell career has continued along much the youtube.com/watch?v=UhKt1xRkH0o same lines as before her AGT experience (albeit with a few Kristine’s ‘Skyfall’ audition video: https://www.youtube. more popular tunes in her repertoire). Did she help raise the com/watch?v=EEyXj4K8ybU awareness of handbells? “Well,” she says, “to me it was a first Kristine’s website: http://www.joybelltheater.com/home. step. As far as I know, on AGT I’m the first handbell act that’s html ever actually played for the judges and got a little bit on TV. So slowly but surely…maybe the next time handbells come on, the judges will be more aware, take more notice, and be a little About the Author more generous. To the next people who want to try, I would Laurel Cleary began her handbell career in say, read my blog, learn as much as you can before you actually 2002 playing with the Jubilation Ringers, go, and you’ll do better than I did.” then the Chapel Ringers at Chapel Hill Opportunities for Gay and Alan as a result of their experi- Presbyterian Church in Gig Harbor, Wash- ence have increased and widened. They’ve had radio and TV ington. She then joined the handbell choir interviews, lots of newspaper coverage, invitations to perform at at First Presbyterian Church of Oceanside, festivals, with orchestras, and with hip-hop artist will.i.am. And California, for a couple of years. Now in spite of themselves, they’ve learned how to behave as celebri- she rings with a community group in the ties. Gay says, “One thing you find out doing TV and radio is San Francisco East Bay Area, a combined you sometimes don’t have a lot of time to prepare. You’re work- women’s vocal group and bell choir known ing by their rules. You can’t say, ‘This is how I’ll do it, this is together as Tapestry, under the direction of Cindy Krausgrill.

OVERTONES NOV/DEC 2014 29 community CONNECTIONS Coordinated by Sharon Schmidt Making of a Handbell Jazz Ensemble An interview with the National Seminar Jazz Band by Marchelle Sanchez I was very excited when I heard that the Hand- on keyboard at Distinctly Bronze. They are both bell Musicians of America would be coming to very accomplished musicians, and I knew they Atlanta for their annual National Seminar. I was would have the right skills and attitude to pull this even more excited when I heard that my sister, off, so I invited them to join the band. Once they Marchelle Sanchez Lisa Arnold, would be performing at this event. I said yes, I used that as leverage to approach the has been playing music played handbells with the Wesley Bell Ringers of others. Hart Morris arranged one of the songs I since she was five years Salt Lake City, Utah, when I was in high school in was planning to feature and he agreed to become old, including piano, 1990, and I had watched them and other groups our percussionist. I had heard Kevin McChesney harp and handbells. perform in the years since, but I wasn’t quite pre- play guitar at the Solo and Ensemble Extravaganza Marchelle, along with pared for the type of performance Lisa was putting (SEE) and I asked him to participate. I found our her siblings, started on. In fact, I wasn’t quite sure what it was…jazz? A trumpet player when Brian Seemann posted photos ringing handbells with band? Solo handbells? Thankfully, Lisa invited my from his drum and bugle corps on Facebook. the Wesley Bell Ring- family to see and hear her performance on the final ers (WBR) of Salt Lake OK, time to hear from your band. night, and I was pleasantly surprised. City, Utah, a high school What was your reaction when Lisa In celebration of the Guild’s 60th birthday, the church choir that tours organizers had transformed the hotel lobby into a told you about her jazz band and every summer, playing invited you to be a part of the en- concerts across the coun- nightclub, with a food buffet on one side and the try, as well as Christ- “club” on the other. There was a silent auction go- semble? mas concerts and other ing on, and there were tables throughout the open Kevin McChesney: What a cool idea! I don’t events throughout the lobby. It was clear from the atmosphere that there consider myself a jazz musician, but I was honored year. Marchelle earned was a party going on, and the jazz band added to to be a part of such a special project. her bachelor’s degree in the ambience. Michael Glasgow: I also thought it was a really secondary mathematics After the party, I had some questions for Lisa interesting idea. I wasn’t sure how it was all go- education and a master’s and the band. I’m sharing their answers here, with ing to come together, but I was thrilled that Lisa degree in biostatistics you. thought highly enough of my keyboard skills to ask and is currently working Where did you get the idea for put- me to join this group! as a Health Scientist for Tessique Houston: ting this type of performance to- I was excited; I thought that the Centers for Disease it was a great idea. However, after I found out who Control and Preven- gether? else was in the band, I did feel a bit intimidated. tion (CDC) in Atlanta, Lisa: I like jazz, and there aren’t many handbell Hart Morris: I was glad to be a part of it all; I Georgia. Marchelle enjoys musicians out there playing jazz, so I started with have played in groups like this many times, and the volunteering with Girl that premise. Also, because I’ve performed with application of it to bells was a new and different Scouts and FurKids (the jazz ensembles in my community choir, I wanted opportunity. largest no-kill rescue to share that experience at the national level. There organization for cats and are lots of talented musicians in the handbell Some of your songs featured guest dogs in the Southeastern world, and I used this opportunity to showcase as artists. What was your reason for United States), and is many as I could. When I learned that we would including them? What were their currently working to- be the entertainment for the 60th Birthday Party, I wards her Black Belt in thoughts about this idea? chose an upbeat set list for the occasion. Tae Kwon Do. Lisa: I love live jazz, and often the band invites How did you choose which musicians to ask? a fellow musician to “sit in” on a song or two. Was it based on their instruments or because I wanted to bring that feel of the jazz scene to you knew them? this event, and it also gave me an opportunity to Lisa: A typical jazz rhythm section has a include other talented musicians. I was thrilled that keyboard, bass, and drums, so I knew I needed they were all willing to be a part of this. those instruments. I am a big believer in the “they Michèle Sharik (flute): I was excited! I know can’t say yes if you don’t ask” philosophy. I heard that Lisa is passionate about what she does and Tessique Houston on bass and Michael Glasgow knew that this would be a lot of fun. I’ve always OVERTONES 30 NOV/DEC 2014 Photo ©Lisa Polucci 2014 supported the use of bells with other instruments, so this was a would all come together. natural fit. Michael G: I love standards, so the set list was a lot of fun. I Michael “Mazz” Mazzatenta (keyboard): I thought it was a knew almost all of the pieces we were playing, which was helpful great idea to offer entertainment from within our own members, in realizing that some transcription errors were pretty glaring! I and I felt honored to have been asked. thought the scores were pretty wretched, to be honest. It seemed Karen Leonard (keyboard): I was happy to be included since like whatever popped out of the transcription software was we had already been performing Hart Morris’s arrangement of slapped onto the page. Incorrect measure numbers and multi- “Beyond the Sea” all spring in our community ensemble concerts. measure rests; wrong key signatures and notes; several bizarre Bill Noss (bass): I thought there were probably a lot better “escape tones” that weren’t really part of, well, anything; and a few musicians out there than me, so I sat on the fence for a while. things that were just frankly unplayable by one human with ten Lisa kept calling and bugging me until I finally gave in. I have fingers. It made the whole thing pretty stressful, and took a lot of missed ringing with the Merrimack Valley Ringers since moving the fun out of the preparation process. to Atlanta, and it was good to be back with a few of them again. Lisa: Yeah, I felt bad about that. Since I’m not a musician by Do you all live close to each other? If not, how training, and I have no experience with composing or arranging, I trusted the tools I had on hand to do the right thing. Lesson did you schedule practices? learned: Do not trust midi files you download from the Internet; Lisa: The band came from all across the US, so there was no and definitely do not trust GarageBand (a music mixing software chance to practice ahead of time. We made use of social media in for Apple Macs) to export them properly. If I’d realized sooner order to pull this off. I used Dropbox to share recordings of each that there was a problem, I might have been able to do something song and made PDF files of all the parts. I also wrote up rehearsal about it, like picking different songs, or purchasing full scores notes for each instrument based on the set list and order. I was re- and parts that we could adapt more easily. By the time July rolled ally nervous about how it would all come together, especially since around, muscle memory had taken hold, and it would have been I hadn’t worked with any of them before and didn’t hear from hard to relearn the handbell solo part. some of them until a few weeks before the event. Tess: The song choices were great. “Fly Me to the Moon” is the Before you got together to rehearse what were song my husband and I first danced to, so I really liked seeing it your thoughts on the set list and the files Lisa on the list. A couple of the pieces were written an octave too low, provided? and there were some wrong notes, but I made it work. Mazz: I thought the set list was a good variety of jazz-style Kevin: I love jazz music! I have a collection of over 20,000 jazz music and of instruments/performers as well. I am experienced at tracks, so jazz is very much a part of my life. Lisa chose standards reading lead sheets, so my music was fine. The challenge for oth- that are wonderful and timeless. Admittedly, we had a few issues ers was to agree on edited arrangements beyond either the printed with some of the chord charts. But generally I could hear how it OVERTONES NOV/DEC 2014 31 score or audio examples. people in the band had such complementary personalities and Lisa: Because he plays trumpet, Brian had to transpose most got along great. It was gratifying to actually meet people I’d heard of his parts. The few songs with lead sheets were provided in the of, and now I was able to consider myself one of their peers. right key, and the “Beyond the Sea” part was written explicitly I thoroughly enjoyed the show and was for trumpet. Brian arranged great accompaniment parts for the amazed at all the different instruments coming songs that didn’t have any provided trumpet parts. I think we can all agree that Hart’s arrangement of “Beyond the Sea” was exactly together, yet it still stayed true to a handbell what we expected. I was excited to be able to include that in the concert. How did you feel during the sets? Was performance, as well as a transcription of “Summertime.” That it like you thought it would be? was the perfect song to showcase Michèle as a flutist. Lisa: During the performance I was just going with the flow, When did you finally get together as a band to having a good time, and enjoying the moment. It wasn’t perfect, rehearse? How do you think it went? but the crowd and the band seemed to be enjoying themselves, so I was relaxed. Lisa: Our first rehearsal was the Monday as people were arriv- Hart: It was all just quite fun: experimenting with this mix, ing. Not everyone had arrived yet, so we worked with whoever being able to play with the others for the first time, and the con- could make it that day. We compared schedules for the event cert, of course, was the highlight of it all, playing for our peers. by email, and realized that most of the musicians were also Kevin: We had a blast! I loved the whole process and the final busy teaching, learning or running the vendor booths during performance was relaxed and a lot of fun. the event. That left only evenings and lunchtimes. To make up Michael G: It was terrific in the end, as we were largely “wallpa- for taking up their mealtimes, I ordered lunch for them during per.” As a background-to-the-party band, we were able to convey rehearsals. As Brian put it, it was like we were a real jazz band, we and get into the vibe that was envisioned; very casual, very relaxed. were paid in food! Mazz: The biggest success was playing well for our audience! Michael G: I didn’t think we’d have a prayer, based on the Also, having the chance to meet and play with some of the best way the parts looked, and the expectation that several musicians musicians/artists within our guild was a real highlight of the week. play by ear. The first rehearsal, while a bit frustrating, was still Bill: I felt the venue was absolutely perfect. The band was able good, because of the willing spirit of the band members, and the to pump up the audience before each phase of the silent auction fact that most of us knew one another. Personalities and attitudes closed, and I hope we helped the Guild to raise lots of money for made the slog through the parts and on-the-fly arranging less the Heritage Fund. miserable and it helped that several accomplished composers/ar- rangers were in the band! Lisa, is there any advice you would give to Karen: I was pleasantly surprised at how well it began to others that want to arrange something like come together even at the first rehearsal. this for future events? Tess: The first rehearsal was great, it put my mind at ease; I Have a vision! For this performance I shared with the band a was a nervous coming in. video of a Duke Ellington jam session that inspired me. It sounds like there was a great camaraderie. Don’t be afraid to ask. They can’t say yes if don’t ask them. Was the band cohesive from the beginning, The worst that can happen is that they say no. Pick appropriate music or were there issues that you had to work for the venue, the occasion, and the instrumentation you have. through when you all came together? Provide recordings and a master score, and make sure all of the parts are properly edited before sending them out, even if you Kevin: It was a privilege to work with such amazing musicians. have to get someone to help you. There wasn’t a doubt in my mind that this would be special. Communicate with your band early and often. For a geo- Hart: Though all of us were experienced musicians, none of graphically diverse group, consider a conference call or a group us had played together before. It took some time to get acquaint- video chat to identify and address problems early. ed musically, but it did come together as I expected. Have effective rehearsals. Provide detailed rehearsal notes Mazz: I thought we all made it work very well for the sake ahead of time on the transitions between songs, tempos, and of the performance. There are always some personality issues or other relevant details. Schedule more rehearsals than you think challenges, but there wasn’t time to dwell on those. I think all the you’ll need, and cancel some if you don’t need them. And make performers enjoyed playing together! a rehearsal plan so you can make efficient use of the time you Karen: There were a lot of nerves on the first day as we have together. worked out the glitches with the arrangements, and then again Check out the rehearsal space and performance venue as at the final rehearsal when things didn’t go as planned, but I was soon as you can. Make sure you have all your instruments and impressed that Lisa didn’t let the situation get to her and become audio equipment ready and available for the rehearsals as well as a “Bell-zilla.” We all stayed relatively calm and relaxed through- the performance. out the week. And above all, be flexible! Don’t stress out when things don’t Bill: I was only there on the last day, since I wasn’t participat- go as planned. Be willing to compromise where you can, but ing in the seminar. By the time I got there, it was clear that the hold firm when you know it will compromise your overall vision.

OVERTONES 32 NOV/DEC 2014 handbell musicians ROUNDTABLE by Stephanie Wiltse New Overtones column to start in 2015 We are pleased to introduce a new Does your group perform full column, which will debut in the March/ concerts, or is a monthly offering April issue of Overtones. We wish Eileen in worship about all the group Laurence, coordinator of the “Handbell has time to prepare for? How do Q&A” column, a happy retirement, and you approach programing and we welcome aboard Stephanie Wiltse, music selection? who will be the coordinator of the new “Handbell Musicians Roundtable” col- What is the ideal length for a umn. This column will be similar to the rehearsal? Does this include “Handbell Q&A” in that it will present breaks, snacks, setup and tear- issues and solutions pertaining not only down, bell polishing? Do you to handbell directors but to ringers, wish it was longer or shorter? educators, composers, and worship leaders as well. It will be different as it will How do you remain personally present varied opinions on each subject regulated in the times when your from different people within the hand- schedule is less than regular? bell community both from a chosen field Do you have health regimes, a of experts and reader submissions. We regular diet, meditation or other will also ask the social media community practices in which you engage? Responses will be selected to give a to weigh in on topics from time to time. range of opinions. Some of the responses To get the ball rolling, here are a few not chosen for the print edition of Over- Responses should be specific and brief, inaugural topics for discussion. Please con- tones may appear on the website. preferably 200-300 words. Please include sider responding to one or more of them. We also invite you to submit ideas your name, city and state, which ensem- for topics you would like to see covered Do you have a strong youth hand- bles or programs your are associated with, as well. bell program? What challenges and what your primary role is (ringer, Please submit your response(s) to does this age group face? What is director, etc.) as it pertains to the topic to [email protected] the future of youth handbells in which you are responding. your church or community?

Handbells in Education... Continued from page 21 brings order to the combination of notes used to create a piece staff differently from normal for handbells as well as for of music. As a director, you can explain these aspects of music doubling directions. theory within the context of a piece you are teaching your choir. • Listen to the pitches rise, fall, or skip as you play, compar- Now let me pitch some specific ideas for both ringers and ing what you see in the score to what you are hearing to directors: assure you are playing the correct notes. • Use the handbell note naming system, specifically both a • Be willing to ask or be ready to answer questions about the letter and a number, as you ask questions about your as- music. I just love those questions like “why did they use a signment or give directions to your ringers (“The D5 needs G there anyway?” to be louder in this section, and the C 6 is coming in too Futureb articles will focus on major and minor tonalities, soon...”). # chords, rhythm, finding your way through a piece of music, and • Notice the key signature, how many sharps or flats it may music beyond music theory. have, and how that affects your ringing position. For Further Study: • Look for accidentals in your assignment, discern if there are An Understandable Guide to Music Theory by Chaz Bufe, any patterns you can recognize, and plan your bell changes Sharp Press accordingly. Harvard Dictionary of Music, Belknap Press • Check performance notes (sometimes marked with an Practical Theory by Sandy Feldstein, Alfred Publishing Company asterisk) that identify places where notes are placed on a

OVERTONES NOV/DEC 2014 33 events CALENDAR GUILD SPONSORED and ENDORSED EVENTS To be listed (space permitting), all event forms must be received in the national office at least Scan the tag with any QR code six to twelve months in advance. The events listed below are approved Handbell Musicians of reader to view our Event Cal- America sponsored and endorsed events. This listing, along with website and email contact endar on your mobile device. information, is also available on our website at www.HandbellMusicians.org.

DATE AREA EVENT LOCATION CLINICIAN CONTACT 1/31, '15 7 Mid-Winter Workshop with Debbie Rice and Twin Shoreview,MN Debbie Rice and Twin Cities Bronze Amy Maakestad Cities Bronze 651-225-9598

2/6-7, '15 4 Treasure Coast Regional Handbell Festival Vero Beach,FL Bob Avant Ryan Kasten 772-469-2306

2/6, '15 10 Snake River Handbell Conference Nampa,ID Jason Krug Phyllis Tincher 208-989-2811.

2/7, '15 8 Racing to Ring Naperville,IL IL committee Sharon Schmidt 630-430-7956

2/21, '15 8 Handbells, Handbells, Handbells! Cary,IL The Agape Ringers Sharon Schmidt 630-369-9879

2/27, '15 6 Central Alabama Handbell Festival 2015 Bessemer,AL Michael Helman Kelly Clegg Neal 256-738-3979

2/28, '15 8 Ring in the Spring 2015 Leawood,KS Jason Krug, Lauran Delancy Gwen Gepford 913-284-9641

2/28, '15 5 Area 5 Young Ringer Festival Worthington,OH Josh Fitzgerald Brenda Austin 517-663-3524

3/6, '15 4 Georgia Spring Festival 2015 Gainesville,GA Cathy Moklebust Rhonda Freeman 404-317-7141

3/6-7, '15 6 Knox Area Handbell Festival Knoxville,TN Beth Judd Becky Kidd 865-804-4721.

3/7, '15 11 Utah Spring Ring 2015 Riverton,UT Jason Wells Jane Wolfarth 801-865-4622

3/13-14, '15 3 Ocean City Festival Ocean City,MD Bill Alexander, Michael Keller Debbie Henning 410-848-5482.

3/13-14, '15 4 7th FL State Festival 2015 Fruitland Park,FL Michael Glasgow Lynne Homan 727-784-8709

3/20-21, '15 3 Synergy New Windsor,MD Bill Payn Debbie Henning 410-848-5482

3/21, '15 4 South Carolina Spring Ring Columbia,SC Roxanne Golden Betty Myers 803-788-5797

3/28, '15 7 Eau Claire Area Ring Eau Claire,WI Norma Lionberger, Ryan Poquette, Gary Polden Norma Lionberger 715-830-0806.

4/10-11, '15 3 Blue Ridge Festival Flat Rock,NC Jason Krug, Mark Gourley, Ed Tompkins Debbie Henning 410-848-5482.

4/10-11, '15 8 Nebraska Spring Ring 2015 Lincoln,NE David Weck, The Agape Ringers J. Michael Allen 402-694-3580.

4/11, '15 2 Nittany Valley Handbell Festival State College,PA Cathy Moklebust Gail Ritchey 814-234-1655

4/17-18, '15 11 Ring in Spring in Colorado Golden,CO David Harris Bev Curtiss 303-250-7202

4/18, '15 3 JuBELLation Mt. Airy,MD Larry Henning Debbie Henning 410-848-5482.

4/24-25, '15 5 Ring-re-Treat 2015 Mackinac Island,MI Fred Gramann Kay French 586-944-5621.

4/24-25, '15 3 Roanoke Festival Roanoke,VA Al Reese, Brian Childers, David Weck Debbie Henning 410-848-5482.

OVERTONES 34 NOV/DEC 2014 DATE AREA EVENT LOCATION CLINICIAN CONTACT 4/24-25, '15 10 2015 Big Sky Handbell Conference Helena,MT Lee Afdahl Contact- Fran Waddell 406-442-1038

4/24, '15 1 Directors Workshop Westminster,VT Beth Judd Patricia Pranger 802-446-2066

4/25, '15 11 New Mexico Spring Ring 2015 Albuquerque,NM Tammy Waldrop Ira Pinkston 505-881-9711

4/25, '15 1 Vermont Spring Ring Westminster,VT Beth Judd Patricia Pranger 802-446-2066.

5/1-2, '15 5 Ring-re-Treat 2015 West Baden,IN Fred Gramann Kay French 586-944-5621

5/1-2, '15 10 Siskiyou Summit Handbell Conference Ashland,OR Larry Sue Diane Barnes 541-708-0365

5/1-2, '15 2 40th Annual Handbell Festival and Workshop Pittsburgh,PA Timothy H. Waugh Kathie Knouse 724-746-0619.

5/3, '15 5 Greater Columbus Handbell Ring New Albany,OH Jason Krug Carol Neff 614-785-1230.

5/16, '15 10 Greater Puget Sound Handbell Conference Auburn,WA Michael Glasgow Jennifer Vangolen 206-931-7669

6/12-14, '15 3 Virtuoso Raleigh,NC Dr. William Payn Nancy Ritter 919-847-7574

6/14-18, '15 11 Area 11 2015 Young Ringers Camp Winter Park,CO Marilyn Lake, Bonnie Tranby Claudette Rothwell 801-698-2728.

6/27-30, '15 2 Area 2 2015 Bell Conference Scranton,PA Clinician - Bill Alexander Jackie Anderson 585-265-9054

4/15-16, '16 5 Area 5 Spring 2016 Festival/Conference Dayton,OH Kevin McChesney Susan Oxley 317-498-4293. NATIONAL EVENTS

Jan 23-26, ‘15 Master Series Cincinnati, OH National Office 937-438-0085

Feb 26-Mar 1, ‘15 Distinctly Bronze West Portland, OR National Office 937-438-0085

Jul 15-18, ‘15 Pinnacle Dallas, TX National Office 937-438-0085

classified ADS Burn the Box... WHITECHAPEL HANDBELL REPAIR Once again Continued from page 12 there is a place for stateside repair and refurbishment of Whitechapel English Handbells. New tech- always believed that you can’t really have fun doing something until you’re pretty good at it, and now I know why! It turns nicians trained at Aten English Handbell Repair. We out, I’m a flow addict. A lot of handbell musicians are. If you pride ourselves in quality work and rapid turnaround made me tell you what I love most about ringing, I would say, for all orders. Call Jared at 231-347-4540 or email at “that moment when the whole group just clicks together and [email protected]. this magic ESP thing happens—that’s when the music becomes more than the sum of its notes.” That sounds like flow to me, 3 OCTAVE SET MALMARK HANDCHIMES. Approximate- and now I know it’s a real thing! ly 15 years old. (Not used over the last 7 years) Chimes Now I need to go off and read even more about flow, and how it’s achieved by multiple people involved in the same task and cases in excellent condition. Originally acquired for together. I think this is a concept that’s really worth examin- family use only. Loaned occasionally to my church’s hand- ing for handbell musicians, and it should motivate all of us to bell choir. Asking $1000 (compared to ~$1900 new). Call help our fellow musicians to crank up their skills so they too Malcolm Skipton @ 315-252-0313 or email: skipgeer@ can join us in the collective flow. As those of us who have been msn.com there know, there’s nothing on earth quite like it! [email protected]

OVERTONES NOV/DEC 2014 35 leadership DIRECTORY Regional Membership Coordinators Jon Snyder - East (Areas 1-4) [email protected] 937-438-0085 Mary Willadsen - Central (Areas 5-8) [email protected], 937-438-0085 Ellie Hodder - West (Areas 9-12) [email protected] 937-438-0085 National Board Ed Rollins, President-Elect First Baptist Church 1112 E. Broadway Columbia, MO 65201 W: 573-442-1149 P.L. Grove, President-Elect Susan Wilber , Area Chair Kay French, Area Chair Michelle Tejada, Area Chair • 830.393.7436 510-703-4453 [email protected] [email protected] [email protected] [email protected] STATE CHAIRS STATE CHAIRS STATE CHAIRS Derek Nance, At Large Director Mobby B. Larson (CT) [email protected] Josh Fitzgerald (OH) [email protected] Adam Samuels (TX) [email protected] Sue Evans (ME) [email protected] Lindsey Fischer (IN) [email protected] Jayne Brown - (TX) [email protected] [email protected] Gail Granum (MA) [email protected] Ann Wood (MI) [email protected] Paula Barnes - (OK) [email protected] Stephanie Rhoades, At Large Director Carol Seely (NH) [email protected] Patty Saunders (KY) [email protected] Northaven United Methodist Church Patricia Pranger (VT) [email protected] Jane Smallridge (WV) [email protected] 11211 Preston Rd. Brian Tervo, Area Chair, 206.713.6103 Dallas, TX 75230 Andrew Duncan, Area Chair [email protected] W: 214-363-2479 Susan Guse, Area Chair [email protected] STATE CHAIRS [email protected] [email protected] STATE CHAIRS Barbara Mix (ID) [email protected] Shosh Meyer (OR) [email protected] Steve Shorney, At Large Director STATE CHAIRS Gary Bynum (TN) [email protected] Jennifer Vangolen (WA) [email protected] Hope Publishing Company Jill Fedon (NJ) [email protected] Janet Gingerich (AR) [email protected] Diane Hould (MT) [email protected] Cynthia Reineke (NY) [email protected] Larry Smith (MS) [email protected] 380 S. Main Place Ella Saltonstall (AK) [email protected] Carol Stream, IL 60188 Alan Hack (PA) [email protected] Shane Kennedy (AL) [email protected] Mary Caldwell (LA) [email protected] W: 630-665-3200 X131 [email protected] Susan Hahn, Area Chair • 303.771.5362 Laura Shelton, Area Chair Jennifer Vangolen, At Large Director Sandy Mullaney, Area Chair • 763.551.1755 [email protected] [email protected] 4820 40th Avenue SW Apt. B [email protected] STATE CHAIRS STATE CHAIRS Seattle, WA 98116 STATE CHAIRS Jane Wolfarth (Mountain) [email protected] TBD (DE) [email protected] 206-931-7669 Mark Zuern (ND) [email protected] Libbie Randels (Desert) [email protected] Jerry Hill (DC) [email protected] [email protected] Patricia Penn (SD) [email protected] TBD (MD) md.area3.handbellmusicians.org Ann Flisrand (MN-S) [email protected] Jessica Westgard, At Large Director Sarah Sheffield (NC) [email protected] Christina Herold (MN-TwC) [email protected] Paul Brill (VA) [email protected] Principal Financial Group Mark Bloedow (WI-S) [email protected] Michele Sharik, Area Chair 4575 23rd Ave S, Suite 1500 Tim Matthaei (WI-North) [email protected] [email protected] Ron Vert (Manitoba) [email protected] Fargo, ND 58104 STATE CHAIRS W: 701-237-4888 x123 Roxanne Golden, Area Chair Nancy Schmitt (CA-N) [email protected] [email protected] [email protected] Lori Smith (CA-C) [email protected] Kari Jacobs (CA-S) [email protected] STATE CHAIRS Dolan Bayless, Area Chair • 314.966.8167 Julie Vaquilar (SF Bay) [email protected] Lynne Homan (FL) [email protected] [email protected] Barbara Walsh (NV) [email protected] Charles Pat Cates (GA) [email protected] Karen Carlisle (HI) [email protected] Betty Myers (SC) [email protected] STATE CHAIRS Sharon Schmidt (IL) [email protected] Scott Leggett (LA-Metro) [email protected] Patrick Gagnon (IA) ia.area8.handbellmusicians.org ADDITIONAL AREA ASSIGNMENTS Cherryl Cox (KS) [email protected] Canadian Provinces: New Brunswick, Nova Scotia, PEI and Quebec, Michael Allen (NE) [email protected] Area 1; Ontario, Area 2; Manitoba, Area 7; Alberta, British Columbia Links to area websites available at Suanne Comfort (MO) [email protected] handbellmusicians.org/membership/area-connections/ & Saskatchewan, Area 10 Puerto Rico, Bahamas, Virgin Islands, Area 4 OVERTONES 36 NOV/DEC 2014 Timeless Gifts for the Holiday Season. Order Today!

Order soon to ensure shipment before Christmas! visit us online: 100% Bell Bronze! lorabell.com Proudly handcrafted in Bucks County, Pennsylvania Celebrate with Ringing Michael Mazzatenta Enhanced CD ORIGINAL TUNE • GENERAL/EASTER - Award winning composer Michael Mazzatenta Track 1/2 3-5 gives us an exciting original handbell piece with touches of jazz and syncopation with a beautiful contrasting middle section with handchimes and malleted bells. This piece 3-5 Octave • Level 2+ NON-PROFIT AGEHR Publishing’sopt. 3-oct. Handchimes L 2+ ORGANIZATION would be great for church, concert, or massed ringing. US POSTAGE AG35326 $4.95 Handbell Musicians of America PAID 201 E. Fifth Street, Suite 1900-1025 COLA., SC 2014 Handbell Music Cincinnati, OH 45202 PERMIT NO. 560 2 3 Commissioned in loving memory of Tucky Thompson by the Red Door Ringers, Dr. Homer A. Ferguson III, Director, Emmanuel Episcopal Church, Southern Pines, NC 3 4 5 œ œ Releases> œ œ œ > œ œ œ > œ œ œ > œ œ œ >œ œœ œœ œœ >œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œ Celebrate with Ringing & œ œ œ œ œ œ œ œ œ œ œ œ For Handbells (3-5 Octaves) and Optional Handchimes (3 Octaves) œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ optional If you have notw receivedw a copy of our 3, 4, or 5 Octaves œ Handbells Used: 31; (37); (48) œ œ œ bœ œ bœ œ œ bœ œ œ Sk bœ œ œ œ bœ œ Sk Sk Sk bœ) œ bœœ œ œ new sample score book and CD, you & œ œ œœ(# 7 8 > (Malletsœ used C3-E6) 6 > ~~~~~~ > ~~~~~~ > ~~~~~~  ~~~~~~ œ œ  ~~~~~~  ~~~~~~  ~~~~~~ bœ œ bœœ œ >œ œœ œœ œœ >œ œœ œœ œœ  ~~~~~~  ~~~~~~~~~~~  ~~~~~~  ~~~~~~ ? bœœ bœœ œ œœ(# ) can downloadœœ aœœ PDFœ œœ versionœœ œ  ~~~~~~ at  ~~~~~~  ~~~~~~  ~~~~~~ œ œ œ œ & œ œ œ œ  ~~~~~~  ~~~~~~  ~~~~~~  ~~~~~~ œ bœ œ boœptionœal œ œ  ~~~~~~  ~~~~~~  ~~~~~~ HandbellMusicians.org/ R 3 Octaves œ œ œ œ     Handchimes Used: 18 ? œ œ    b‚ ‚ b‚ ‚ ‚  ‚ ‚ b‚‚ ‚ ‚       & b‚ ‚ ‚ b‚‚ b‚‚ musicpromo/2014promo.pdf

PERFORMANCE NOTES: 9 > 10 11 3 & 4 octave choirs omit notes in ( ). œ œ > > 4 octave choirs omit notes in < >. œ œ œœ  œ  œ œœ œœ œ  œ œ œœ œœ œœ œ œ œ œ œ œ œ œ & œ œ œœ  œœ œœ œœ œœ œœ œ   November/December 2014 • Volume 60, Number 6 • $10.00 USA œ œ > œ œ œ œ J— J— 2 4 MICHAEL MAZZATENTA (ASCAP) If you are moving, please send mailing label with your new address. Bright and rhythmic ( = 112) œ œ œ œ œ œ œ œ œ œ   q œ œ œ œ œ œ œ œ œ œ œ   1 2 ? œ œ œ œ œ  œ œ œ œ œ  4 œ œ œ œ œ œ œ œ Celebrate with Ringing Michael Mazzatenta Enhanced CD & 4 œ œ œ œ œ œ œ œ œ œ œ œ ORIGINAL TUNE • GENERAL/EASTER - Award winning composer Michael Mazzatenta Track 1/2 3-5 œ œ œ œ gives us an exciting original handbell piece with touches of jazz and syncopation with LV> > > > 3-5 Octave • Level 2+ 12 13 14 a beautiful contrasting middle section with handchimes and malleted bells. This piece L 2+ f > would be great for church, concert, or massed ringing. opt. 3-oct. Handchimes œ œ œ œ œ œ œ œ œ œ >œ  >œ  AG35326 $4.95 œ œ œ œ œ œ œ œ   œ œ œœ œœ œœ  œ œ œœ œœ œœ œ œ œ œ œ  œ  œ œ œ œ œ 2 3 ? 4 &   œœ AGEHR Publishingœœ œœ œ œ œ œ Commissioned in loving memory of Tucky Thompson by the Red Door Ringers, œ œ Dr. Homer A. Ferguson III, Director, Emmanuel Episcopal Church, Southern Pines, NC 4  œ œ œ œ œ œ 3 4 5 œ œ J— J— Handbell Musicians> of America > œ œ œ > œ œ œ > œ œ œ > œ œ œ >œ œœ œœ œœ >œ œœ œœ œœ w w œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œ 2 4 1055 E. Centerville Station Rd. Celebrate with Ringing & œ œ œ œ œ œ œ œ œ œ œ œ Dayton, Ohio 45459 For Handbells (3-5 Octaves) and Optional Handchimes (3 Octaves) œ œ œ œ œ œ œ œ œ œ œ œ  œ œ 800-878-5459œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ  œ l  œ œ œ œ optiona w w   © 2014 The American Guild of English Handbell Ringers, Inc.  œ œ œ œ œ œ œ 3, 4, or 5 Octaves ?  œ œ œ œ œ œ Handbells Used: 31; (37); (48) œ bœ œ bœ œ www.HandbellMusicians.orgœ œ œ œ œ œ DBA Handbell Musicians of America Sk œ œ œ bœ œ bœ œ Sk Sk Sk œ œ bœ œ œ & œ œœ(# bœ) œ bœœ 1055 E. Centerville Station Rd., Dayton, OH 45459-5500  (Malletsœ œ used C3-E6) 6 7 > 8 > > ~~~~~~ œ œ  ~~~~~~ > ~~~~~~  ~~~~~~ bœœ œ > œ œœ œœ > œ œœ œœ  ~~~~~~  ~~~~~  ~~~~~~  ~~~~~~ All rights reserved. www.handbellmusicians.org Printed in U.S.A. ? bœœ œ œœ(# bœ) œ œ œœ œ œ œ œœ œ œ  ~~~~~~  ~~~~~~  ~~~~~~  ~~~~~~ œ œ bœœ & œœ œ œœ œ  ~~~~~~  ~~~~~~  ~~~~~~  ~~~~~~ l œ œ œ œ ~~~~~~    AG35326 SOLE DISTRIBUTOR: THE LORENZ CORPORATION, 501 E. Third St., Box 802, Dayton, OH 45401-0802 AG35326 œ bœ œ boœptionœa œ œ  ~~~~~~  ~~~~~~  ~~~~~~ R 3 Octaves œ œ œ œ     Handchimes Used: 18 ? œ œ     ‚ ‚ b‚ ‚ b‚ ‚ ‚    b‚‚ ‚ ‚ b‚‚    & b‚ ‚ ‚ b‚‚

PERFORMANCE NOTES: 9 > 10 11 3 & 4 octave choirs omit notes in ( ). œ œ > > 4 octave choirs omit notes in < >. œ œ œœ  œ  œ œœ œœ œ  œ œ œœ œœ œœ œ œ œ œ œ œ œ œ & œ œ œœ  œœ œœ œœ œœ œœ œ   œ œ > œ œ œ œ J— J— 2 4 MICHAEL MAZZATENTA (ASCAP) Bright and rhythmic ( = 112) œ œ œ œ œ œ œ œ œ œ   q œ œ œ œ œ œ œ œ œ œ œ   1 2 ? œ œ œ œ œ œ œ   œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ 4 5 & 4 œ œ œ œ œ œ œ œ œ œ œ œ LV> > > > New 2014 f 12 13 > 14 œ œ œ œ œ œ œ œ œ œ œ œ œ>œ  >œ  œ œ œ œ œ œ œ œ   œ œ œœ œœ œ  œ œ œœ œœ œœ œ ? 4 œ œ œ œ &   œœ œœ œœ  œœ œœ œœ œœ œœ œ > < > 4 w w J— J— > > œ œ 27 28 29 2 4 15 > > 16 > 17 >   œ œ œ œ œ œ œ œ œ œ œ œ  © 2014 The American Guild of English Handbell Ringers, Inc. ?   œ œ œ œ œ œ œ œ œ œ œ œ œ DBA Handbell Musicians of America œ œ œ œ œ 1055 E. Centerville Station Rd., Dayton, OH 45459-5500  œ œ œ œ . All rights reserved. www.handbellmusicians.org Printed in U.S.A. bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œœ  · ‚ ‚ ·. ·. ‚ AG35326 SOLE DISTRIBUTOR: THE LORENZ CORPORATION, 501 E. Third St., Box 802, Dayton, OH 45401-0802 AG35326 œœ œœ œ œ œ œ œ œœ œœ œ  & œ œ œ œ œ œ œœ œœ‚ œ œ œ œ ‚ & œ. œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ  œœ œœ œœ œœ œHandbellœ œ œ œ œ œœ œMusicœ . J +. +. +. +. +. +. +. +. +. +. +. +. 4 5 < > > >œ œ 28 29 15 > > 16 > 17 >œ  27 + + + + + + + + + + + + œ œ œ œ ...... From. AGEHR. . Publishing. . . . bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œœ  · ‚ ‚ ·. ·. ‚ œœ œœ œ œ œ œ œ œœ œœ œ  & œ œ œ œ œ œ œœ œœ‚ œ œ œ œ ‚ & œ. œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ  œœ œœ œœ œœ œ œ œ œ œ œ œœ œœ . J +. +. +. +. +. +. +. +. +. +. +. +. œ œ œ œ œ œ œ œ œ œ œ +. +. + + + + +. +. +. +. + + bœ. œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ...... œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ bœ. œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ. œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œœ œœ œ œ œœ œœ . œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ J  œ œ œ  J  œ œ œ  œ œ œ œ œ œ < > < < > < < > > 18 ( ) ( ) >œ  19 >( ) œ 20 œ œ œ œ œ œ œ 30 31 32 œ œ >œ œ œ œ œ œ œ œ œ œ œ  œ œ œ œ œ œ œ œ œ œ œ œ œ ‚ œ œ œœ œœ œœ œ œ œ œ   œ œ œ· œ œ· œ · œ‚ ‚ œ‚ ‚ ‚ ‚ ‚ & œœ œœ œœ œœ œœ œ     & œ œ œœ œœ œ œ œ œ œœ œœ œ œ J— J— J— J— +. +. +. +. + + + + + + + + 2 4 2 4 ...... +. +. +. +. +. +. +. +. +. +. +. +. œ œ œ œ œ œ    (  ) ? < œ œ œ œ    œ œ œ œ œ œ œ œ œ œ < > > < < > œ œ >    ? œ œ œœ œœ œœ œœ œ œ #œ œ œ œ < < > œ œ œ œ œ     œ œ œ œ œ œ 18 ( ) ( ) > 19 >( ) 20 œ œ œ 30 31 32 œ  œ œ œ œ œ œ œ œ > > > œ œ >œ œ < > < > < > < > 22 23 bœ œ œ 21 >œ  ( ) ( ) >œ  œ œ œ œ œ œ 33 34 35 œ œ œ œ œ œ œ >œ œ bœ œ · ‚ ‚ . œ œ Something for Everyone!œ œ œœ  œ  œ œ œ œ œ œ ‚ ‚ ‚ ‚ ‚ · ‚ ‚ œ  œ œ œ œ œ œœ œœ œ  œ œ œœ œœ œœ œ · · ‚ ‚ ‚ ·. ‚ œ œ œ œ œ ‚ & œœ œœ œœ  œœ œœ œœ œœ œœ œ œ. œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ ‚ œ œ œ œ œ œ J + + + + + + + + + + + + ‚ ‚ ‚ ...... œ œ œ œ œ œ œ  œ · · ‚ ‚ ‚ . . œ  ‚ +. +. +. +. +. +. +. +. +. +. + + œ œ œ œ œ  œ œ · . . & œ œ œ œ œ œ   & œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ    œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ < > b œ. ? œ œ œ œ œ œ œ œ  œ œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œ J— J— J— Don’tJ— feel like bothering+. +. with+. +. + + + + + + + + œ œ œ  œ œ b œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 4 2 4 ...... >œ  36 37 38 + + + + + + + + + + 24 >œ œ 25 26 b‚ ‚ . . + + ...... œ  F ‚ ‚ ·. ‚ ‚ ‚ ‚ ‚ · ‚ ‚ . . œ œ œ  Ó · ‚ ‚ ‚ & ‚ ‚ ‚ ‚ ‚ ‚ ‚ b‚ ‚ · ‚ ‚ b‚ œ œ œ œ œ    (the ) CD? You can now use œ œ œ  œ œ œ œ œ œ œ œ œ œ Ó œ œ Ó ‚ & œ œ  œ œ œ œ + + + + œ œ œ    œ œœ œœ  œ œ œ œ œ œ œ œ . . . . ? œ œ œ œ    +. +. +. +. +. +. +. +. +. +. +. +. œ œ < >    œ œ œ œ œœ œœ œœ œœ œ œ œ œ p+. +. +. +. +. +. +. +. œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ #œ œ œ œ ? œ œ œ œ bbœ œ œ œ œ œ bœ œ ? œ œ œ œ œ œ œ œ ? œ œ œ  œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ   œ œ œ œ œ œ œ œ œ  œ+. œ+. œ œ b œ+. œ+. œ œ œ+. œ+. œ+. œ+. œ œ   your smartphone to scan the AG35326 œ  AG35326 1 > > QR code at the bottom of > < > < > < > < > œ œ > 22 ( ) ( ) > 23 bœ œ 21 œ  > œ  œ œ œ eachœ œ œ page to hear 33the sample 34 35 œ œ œœ  œ œ œ  bœ œ œ œ œ œ œ œ · ‚ ‚ ‚ ‚ ‚ ·. ‚ ‚ œœ œœ œ  œ œ œœ œœ œœ œ · · ‚ ‚ ‚ ‚ ‚ ·. ‚ & œœ œœ œœ  œœ œœ œœ œœ œœ œ œ. œ recordings.œ œ Just search& œ œ yourœ œ œ œ œ œ œ œ œ œ ‚ J +. +. +. +. +. +. +. +. +. +. +. +. jphone’s app store or+. market+. +. +. +. +. +. +. +. +. +. +. A Mighty Fortress œ œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ? œ œ œ œ œ œ œ œ œ < > b œ. œ forœ œa QR code reader.? œ œ œ œ œ œ œ œ œ  œ  b œ. œ œ œ œ œ œ œ œ 2 or 3 Octaves optional œ œ œ œ œ œ œ œ œ œ œ Handchimes Used: 15; (22) ‚ ‚ #‚ ‚ ‚ ‚ 36 37 38 ‚ ‚ ‚ >œ  Simply install the software, & ‚ ‚ #‚ ‚ ‚ 24 >œ œ 25 26 b‚ ‚ œ  F · ‚ ‚ scan the appropriate·. code ‚ ‚ ‚ ‚ ‚ ‚ ‚ · ‚ ‚ ‚ œ œ Ó ‚ ‚ ‚ & ‚ ‚ ‚ ‚ ‚ b‚ ‚ · ‚ b‚ ? ‚ ‚ ‚ ‚ œ œ  œ œ œ œ œ œ œ œ ‚ ptional ‚ #‚ œ œ œ  œ œ œ œ œ œ œ œ œ œ Ó œ œ Ó ‚ ‚ o & œ œœ œœ  œ œ œ œ œ œ withœ œ your phone’s camera,+. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. p and enjoy the recording.œ œ œ œ bœ œ œœ œœ œ œ bœ œ EIN FESTE BURG ? œ œ œ œ œ œ œ œ œ œ œ œ Arranged by JOHN A. BEHNKE (ASCAP) œ  œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ With conviction ( = ca. 120) ? œ œ œ  œ œ œ œ + + + + q œ œ œ  œ. œ. œ œ b œ. œ. œ œ œ+. œ+. œ+. œ+. 1 2 3 4 AG35326 œ  AG35326 # Œ œ œ œ Œ œ œ œ 4 œ œ œ ww œ œ œ ww & 4 w œœ œœ œœ w w œœ œœ œœ w 1 f w œ œ œ w œ œ œ ? # 4 Œ œ œ œ Œ œ œ œ

5 6 7 w 8 # Œ œ œ œ   w & œ œ œ   w w w w w Œ œ œ œ œ œ œ œ œ œ ? # w w Œ œœ œœ œœ Œ œ œ œ

© 2014 The American Guild of English Handbell Ringers, Inc. DBA Handbell Musicians of America 1055 E. Centerville Station Rd., Dayton, OH 45459-5500 All rights reserved. www.handbellmusicians.org Printed in U.S.A. SOLE DISTRIBUTOR: THE LORENZ CORPORATION, 501 E. Third St., Box 802, Dayton, OH 45401-0802 AG23045 A Mighty Fortress

2 or 3 Octaves optional Handchimes Used: 15; (22) ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ #‚ & ‚ ‚ #‚ ‚ ‚ ? #‚ ‚ ‚ ‚ ‚ ‚ ‚ optional ‚

EIN FESTE BURG Arranged by JOHN A. BEHNKE (ASCAP) With conviction ( = ca. 120) q 1 2 3 4 œ œ œ œ œ œ # 4 Œ œ œ œ ww Œ œ œ œ ww & 4 w œœ œœ œœ w w œœ œœ œœ w f w œ œ œ w œ œ œ ? # 4 Œ œ œ œ Œ œ œ œ

5 6 7 8 w w # Œ œ œ œ   w w & œ œ œ   w w w w w Œ œ œ œ œ œ œ œ œ œ ? # w w Œ œœ œœ œœ Œ œ œ œ