112HIDDEN MESSAGE—WORD SEARCH #5

Many letters are shared.

B T H K E L I N P E S T O T F

R T H E E B A S I S S A T F A

A F F Y A R E G C B D E F I A

H R L Y E M F O K E A B R L E

M A D G D A M P U P A P L T H

S H A J K P A H P H E T U R H

A M N C O Z R O S R R D J A A

R S C S W E T J Z A E N N M N

T S E C W S E P Y S N D U V D

D R U M W N L B D E B D Y A C

L I V I Z U L E L E N D Y A H

L N N R C M A L L E T S R A I

A G W K X E T L E R A S E Z M

S H A K E X O E M H T Y H R E

O Z T N E M I N A P M O C C A

ACCOMPANIMENT BEAT BELLBRAHMS COMPOSER DAMP

DANCE DRUM ETUDE HANDBELL HANDCHIME HAYDN

KEYMALLETS MARTELLATO MARTLIFT MELODY PHRASE

PICKUP PLUCKRHYTHM RING SHAKE SWING

This material may be reproduced for classroom or choir use. This is a non-transferable license.

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Do the word search and the one-sentence hidden message will be revealed in the letters that were not selected as part of the word search. Write that message in the blanks at the bottom of the

1 2 3 4

2 35 6 7 8

2 3

1 2 3 4

5 6 7 8

1 2 3 4

1 2 3 4

Austria

Austria

This material may be reproduced for classroom or choir use. This is a non-transferable license.

Exercise #1

Exercise #2

Exercise #3

Ringers' Warm-up Exercises–#1Exercise Equipment

These exercises have two or three parts (also called voices) on each staff.The notes for the upper part/voice will have their stems going up. The notes for the lower part/voice will have their stems going down.Track your notes. Do their stems go up or down?

(In this exercise, your notes will always be in the same part/voice—either stems-up or stems-down. Your notes WILL NOT MOVE from one part/voice to the other.)

(Read stem directions and note values carefully. Your notes may move from one part/voice to another.)

(Sometimes you must ring and sustain the bell/chime in one hand while ringing the bell/chime inthe other hand. You must ring all notes regardless of stem direction.)

34

Exercise #4

(Your notes may move from one part/voice to another. Sometimes you must ring and sustain the bell/chime in one hand while ringing the bell/chime in the other hand.)

2 OctavesHandbells or Handchimes used: 17

1

Maestoso ( = 120-128)2

34

56

78

2 3

910

1112

36

Austria 2

Theme from Haydn’s String Quartet in C, Op. 76, No. 3, Emperor QuartetNational Anthem of West Germany, Das Lied der DeutschenAustrian Imperial AnthemGlorious Things of Thee Are Spoken

FRANZ JOSEPH HAYDNArranged by Martha Lynn Thompson

© 2007 The American Guild of English Handbell Ringers, Inc.1055 E. Centerville Station Rd., Dayton, OH 45459-5500

All rights reserved. www.agehr.org Printed in U.S.A.This piece may be reproduced for classroom or choir use. This is a non-transferable license.

Austria

Austria

AustriaTeaching and Rehearsal Suggestions

Teach or review Exercise #3 preceding “Études” (p. 11) followed by “Étude #3–Swing” (p. 16 or 17).

Swing

Historical InformationWhen the Austrian composer, Franz Joseph Haydn (1732–1809), visited England in 1794, he was impressed by the British national anthem and wanted to compose one for his country. He wrote this melody, probably based on a Croatian folk tune, for the Austrian imperial anthem, “God Save Franz the Emperor.” In 1922 the melodywas combined with another text and became the national anthem of the German Republic (the “Weimar Republic”). In 1952 it became the national anthem of West Germany.

Franz Joseph Haydn1732–1809

Exercise #1 teaches the rhythmic patterns of “Austria” and how swing is used in the piece. It also reinforces the concept of two parts/voices sharing a single staff—a concept introduced in “Sharing a Staff Étude” and its exercises. The notes WILL NOT move from one part/voice to the other. Divide the ringers into two groups for this exercise. Group #1—Third space and fourth line Group #2—Second space and third line

Haydn also used this tune as the theme for the variations in the slow movement of his String Quartet in C, known also as the Emperor Quartet. The tune, known as “Austria” or “Austrian Hymn,” is often associated with the text “Glorious Things of Thee Are Spoken” or “Praise the Lord, Ye Heavens Adore Him.”

Exercise #2 is the first challenging exercise. Ringers must ring all notes regardless of stem direction.

Rests are included in this exercise. Ringers must ring and sustain one bell/chime while ringing another. Sometimes ringers must ring two notes at the same time, then sustain one while repeating the other. The measures within the exercise become progressively more difficult.

Exercise #4 is the biggest challenge! Divide the ringers into three groups.

Group #1—Third space and fourth line Group #2—Second space and third line Group #3—First space and second lineNow there are three parts/voices. Ringers must track their notes regardless of stem direction. Any note may be stems-up on one beat and stems-down on the next beat.

About the Exercises

32

Exercise #3 is a bigger challenge. Again there are two parts/voices sharing a single staff. Divide the ringers into two groups.

Group #1—Third space and fourth line Group #2—Second space and third line Notes may move from one part/voice to another. Rests are included in this exercise also.

Sometimes a ringer must ring and sustain the bell/chime in one hand while ringing the bell/chime in the other hand.

Austria

AustriaTeaching and Rehearsal Suggestions

Teach or review Exercise #3 preceding “Études” (p. 11) followed by “Étude #3–Swing” (p. 16 or 17).

Swing

Historical InformationWhen the Austrian composer, Franz Joseph Haydn (1732–1809), visited England in 1794, he was impressed by the British national anthem and wanted to compose one for his country. He wrote this melody, probably based on a Croatian folk tune, for the Austrian imperial anthem, “God Save Franz the Emperor.” In 1922 the melodywas combined with another text and became the national anthem of the German Republic (the “Weimar Republic”). In 1952 it became the national anthem of West Germany.

Franz Joseph Haydn1732–1809

Exercise #1 teaches the rhythmic patterns of “Austria” and how swing is used in the piece. It also reinforces the concept of two parts/voices sharing a single staff—a concept introduced in “Sharing a Staff Étude” and its exercises. The notes WILL NOT move from one part/voice to the other. Divide the ringers into two groups for this exercise. Group #1—Third space and fourth line Group #2—Second space and third line

Haydn also used this tune as the theme for the variations in the slow movement of his String Quartet in C, known also as the Emperor Quartet. The tune, known as “Austria” or “Austrian Hymn,” is often associated with the text “Glorious Things of Thee Are Spoken” or “Praise the Lord, Ye Heavens Adore Him.”

Exercise #2 is the first challenging exercise. Ringers must ring all notes regardless of stem direction.

Rests are included in this exercise. Ringers must ring and sustain one bell/chime while ringing another. Sometimes ringers must ring two notes at the same time, then sustain one while repeating the other. The measures within the exercise become progressively more difficult.

Exercise #4 is the biggest challenge! Divide the ringers into three groups.

Group #1—Third space and fourth line Group #2—Second space and third line Group #3—First space and second lineNow there are three parts/voices. Ringers must track their notes regardless of stem direction. Any note may be stems-up on one beat and stems-down on the next beat.

About the Exercises

32

Exercise #3 is a bigger challenge. Again there are two parts/voices sharing a single staff. Divide the ringers into two groups.

Group #1—Third space and fourth line Group #2—Second space and third line Notes may move from one part/voice to another. Rests are included in this exercise also.

Sometimes a ringer must ring and sustain the bell/chime in one hand while ringing the bell/chime in the other hand.

�

AG010 - �

1

1 2 3 4

2

1 2 3 4

3

1 2 3 4

4

1 2 3 4

5

1 2 3 4

6

1 2 3 4

7

1 2 3 4

8

1 2 3 4

9

1 2 3 4

10

1 2 3 4

11

1 2 3 4

12

1 2 3 4

13

1 2 3 4

14

1 2 3 4

15

1 2 3 4

16

1 2 3 4

A

B

C

D

Silence = Rest Signs = DampSilence in music is very important. There is the silence when no one is ringing. There is also your silence when your chime/bell should not make a sound. When all ringers are to be quiet you will see rest signs.We call stopping the sound of the chime or bell damping. Your director will show you how to damp (stop)the sound.

Ring these measures following the directions on page 6.

1. How may counts does the whole rest get?2. How many counts does the half rest get?3. How many counts does the quarter rest get?

Think: A whole rest “holds” onto the line. A half rest looks like a hat.

24

AG010 - 24

Ring

1R

2 3 4

Damp on 1

1D

2 3 4

1 2 3R

4D

1 2R

3 4D

1R

2 3 4D

1R

2 3D

4

1 2R

3 4D

1R

2D

3 4

A

C

E

G

1R

2 3D

4 1 2R

3 4D

1 2 3 4R

1D

2R

3D

4

1 2R

3 4D

1 2 3R

4D

1R2 3 4

D1R

2 3 4 1D

2 3R

4D

B

D

F

H

When Should You Damp a Sound?

Pretend that the note in the box is your note.

Then ask yourself these questions:

1. On what count should I ring it?

2. How many counts (beats) does it get?

3. On what count should I damp it?

In the examples below:

Everyone ring as though the note in the box were yours.

Notice that these notes are not repeated.

Everyone count aloud.

Everyone damp on the correct beat.

R = Ring

D = Damp

= Ring

�

AG010 - �

1

1 2 3 4

2

1 2 3 4

3

1 2 3 4

4

1 2 3 4

5

1 2 3 4

6

1 2 3 4

7

1 2 3 4

8

1 2 3 4

9

1 2 3 4

10

1 2 3 4

11

1 2 3 4

12

1 2 3 4

13

1 2 3 4

14

1 2 3 4

15

1 2 3 4

16

1 2 3 4

A

B

C

D

Silence = Rest Signs = DampSilence in music is very important. There is the silence when no one is ringing. There is also your silence when your chime/bell should not make a sound. When all ringers are to be quiet you will see rest signs.We call stopping the sound of the chime or bell damping. Your director will show you how to damp (stop)the sound.

Ring these measures following the directions on page 6.

1. How may counts does the whole rest get?2. How many counts does the half rest get?3. How many counts does the quarter rest get?

Think: A whole rest “holds” onto the line. A half rest looks like a hat.

Austria

AustriaTeaching and Rehearsal Suggestions

Teach or review Exercise #3 preceding “Études” (p. 11) followed by “Étude #3–Swing” (p. 16 or 17).

Swing

Historical InformationWhen the Austrian composer, Franz Joseph Haydn (1732–1809), visited England in 1794, he was impressed by the British national anthem and wanted to compose one for his country. He wrote this melody, probably based on a Croatian folk tune, for the Austrian imperial anthem, “God Save Franz the Emperor.” In 1922 the melodywas combined with another text and became the national anthem of the German Republic (the “Weimar Republic”). In 1952 it became the national anthem of West Germany.

Franz Joseph Haydn1732–1809

Exercise #1 teaches the rhythmic patterns of “Austria” and how swing is used in the piece. It also reinforces the concept of two parts/voices sharing a single staff—a concept introduced in “Sharing a Staff Étude” and its exercises. The notes WILL NOT move from one part/voice to the other. Divide the ringers into two groups for this exercise. Group #1—Third space and fourth line Group #2—Second space and third line

Haydn also used this tune as the theme for the variations in the slow movement of his String Quartet in C, known also as the Emperor Quartet. The tune, known as “Austria” or “Austrian Hymn,” is often associated with the text “Glorious Things of Thee Are Spoken” or “Praise the Lord, Ye Heavens Adore Him.”

Exercise #2 is the first challenging exercise. Ringers must ring all notes regardless of stem direction.

Rests are included in this exercise. Ringers must ring and sustain one bell/chime while ringing another. Sometimes ringers must ring two notes at the same time, then sustain one while repeating the other. The measures within the exercise become progressively more difficult.

Exercise #4 is the biggest challenge! Divide the ringers into three groups.

Group #1—Third space and fourth line Group #2—Second space and third line Group #3—First space and second lineNow there are three parts/voices. Ringers must track their notes regardless of stem direction. Any note may be stems-up on one beat and stems-down on the next beat.

About the Exercises

32

Exercise #3 is a bigger challenge. Again there are two parts/voices sharing a single staff. Divide the ringers into two groups.

Group #1—Third space and fourth line Group #2—Second space and third line Notes may move from one part/voice to another. Rests are included in this exercise also.

Sometimes a ringer must ring and sustain the bell/chime in one hand while ringing the bell/chime in the other hand.

AGEHR Musicpublished byThe American Guild of English Handbell Ringers Dr. John Behnke, Music Editor

Check out all our music on the web at www.agehr.orgTo order call our distributor Lorenz at 1-800-444-1144, ext. 1

or contact your local music retailer.

Introducing two new and exciting Music Education Resources

The American Guild of English Handbell Ringers is dedicated to helping music educa-tors discover the endless possibilities that handbells and handchimes can provide to a new or existing music program. The Guild is happy to introduce these new educational resources by two of the top names in handbell music.

Tunes That Teachby Martha Lynn Thompson

Levels 1 and 2, 2 and 3 octaves, reproducible A unique new music education resource, based on tunes that can be used in both secular and sacred

settings. The purchaser is granted permission to copy ringer pages for use in the classroom or choir setting.

AG009 - $39.95

Beginning Busy Ringers by Kirtsy Mitchell Level 1, 3 octaves, reproducible An excellent resource for teaching music with handchimes or handbells from the very beginning. The purchaser is granted permission to copy ringer pages for use in the classroom or choir setting.AG010 - $29.95

Tunes that Teach contains 112 pages with ten complete pieces in

both 2 and 3 octave arrangements, as well

as exercises, director’s teaching guides, and ringer activity pages.

Lesson plans all follow the National Standards for

music education.

Each piece in Tunes That Teach includes a teaching guide, warm-up exercises, other educational information that follows National Standards, and full 2 and 3 octave arrangements of the piece.

Beginning Busy Ringers contains 56 pages of music, exercises, teaching guides, puzzles, and games, all designed to keep the younger ringer busy and excited to learn music.

Beginning Busy Ringers features easy to follow exercises designed to

teach basic musical terms and concepts

as well as those that pertain specifically

to handbell and handchime music.

26

AG010 - 26

DampingThese boxes stand for beats in a time signature.In each row, put your finger in the box where the note should be damped.

Director’s Note: This game may be drawn on poster board using the note values you need to work on. Students may move a chime/bell to the space where it should be damped.

A1 2 3 4 1

B1 2 3 4 1

C1 2 3 4 1

D1 2 3 4 1

E1 2 3 4 1

F1 2 3 4 1

G1 2 3 4 1

H1 2 3 4 1

I1 2 3 4 1

J1 2 3 4 1

Benefits of Membership

Local, Area and National opportunities rolled-up into 1 AGEHR Membership

Overtones, the Handbell Notation Guide and local, Area and National events are often listed as the Membership

benefits that our members can’t live without. But did you know that your AGEHR Membership also includes:

Event Insurance Awards and Recognition Print and E-Newsletters

Lending Libraries Mentors Outreach Programs Professional Networking

Industry Alliances Member-Only Web Resources Professional Development

Educational Development AGEHR Membership Discounts Certification Development

Classifieds / Job Announcements Expert Monitored Web Forums Instrument Loan Programs

Target Marketing Opportunities

for your choir’s handbell events

Local, Area and National Grants

and Event Scholarship Programs

Discounted Wells Fargo Musical

Equipment Property Insurance

… as well as the opportunity to “pay-it-forward” to ensure that handbells and handchimes continue to develop within a

vibrant, active and strong community that ensures the future of the art form that we love!

“AGHER is a great organization and provides us with LOTS of continuing information. The handbell world is changing and we need to know what is new out there. It is always fun to be the first in the area to do something new....like singing bells.”

AGEHR Member: Deedee Odell

“The opportunity to learn from excellent leaders, meeting the composers & leaders in AGEHR, as well as other [handbell and handchime ringers and directors] from our own area” are my favorite parts of events.

AGEHR MEMBER: Ann Flisrand