new music for handbells and handchimescorresponding chimes in place for the number of ringers you...

Fall/Christmas 2015

New Music for Handbells and Handchimes

from

New Music for Handbells and Handchimes

from

2 1-800-JHS-BELL (1-800-547-2355) 8am - 6pm (est) Mon. - Fri. Email: [email protected] Become a Fan on Facebook!

Innovative music for successful ringing!“ringTrue Handbell Music” offers innovative compositions that grant the wishes so often voiced

by ringers and directors: Split-Level pieces for different levels of ringers; flexible formats for variable numbers; compatible scores for double choirs; scores in different keys and variable ranges; quick presentations for children; reproducible options; songs with ringing options; focused pedagogical

pieces; belltree pieces; small ensembles…and more!

Kath Wissinger, composer/director/teacher/ringer, has over 90 compositions already in print. She writes inventive pieces for conferences and workshops, pedagogical pieces and songs for her students, challenging pieces for her adult ringers, and special projects and commissions. Thanks to

“ringTrue Handbell Music” and Jeffers’ “In-house” printing, now she has the freedom to share these creative compositions with you: Eight categories of creative music for ringing: Chord Stories,

Split-Level, Class ring, Celebrations, First String, little gems, Sing & Ring and TrueMusic.

You just need to decide – Which ones “ringTrue” for you?

ringTrue Category descriptions:

Chord Stories: Adorable Level Zero children’s presentations that work up quickly. Folk tale and Bible story characters are represented by carefully assigned rung patterns and chords by 2 to 18 ringers on 2 or 3 octaves. Narration, complete instructions and set-up sheets are included – all materials are reproducible. Perfect for first ringing experiences.

Split-level: Level 2 music that includes specific Level 1 positions for beginning ringers. Core positions for L2 ringers carry the melody and 8th note rhythms, while L1 positions play easier patterns. Some pieces are set in various keys, offering the L2 and L1 positions in different ranges – use the setting that best suits your needs.

Class ring: Concert-worthy music that also carefully teaches a skill - for all ringers! Carefully constructed pieces focus on specific skills in range appropriate positions. Solid pedagogical principles guide the composition process, and specific exercises prepare your ringers to successfully ring each piece with ease.

Celebrations: Easy collections for concert, worship and outreach ringing This first release, Christmas Miniatures, offers 5 favorite carols with no accidentals and no pages turns– to make ringing without tables and pads possible in an outdoor, mobile or limited-space setting – like Salvation Army kettles.

First String: Belltree pieces using an octave more or less Fascinated with belltrees? These lyric pieces stand alone as inspiring belltree solos - some offer options for duets and accompaniments.

little gems: Clever solos, duets, trios and ensembles in versatile settings Cool Cats (Praise to the Lord) is the first in this series – a cheeky little trio which can also be played by more ringers. Four score settings are included in the folio: Individual-stave parts and complete grand staff scores – in both 2 and 3 octave ranges.

Sing & Ring: Vocal settings for children and adults with bells in accompaniment Catchy children’s songs with a variety of optional bell accompaniments are now available. All score parts are reproducible

TrueMusic: Well-crafted concert and worship pieces High-quality originals and arrangements directly from the composer to you – including commissions, pop and patriotic pieces, hymns and originals appropriate for worship, concert, festival.

www.HandbellWorld.com Fax Order Anytime to 803-781-3020 Follow Us on Twitter! 3

Suggestions for Assigning, Teaching and Performing Noah’s Ark

Deciding on assignments and set-up

• “Noah” is represented by chords played “quarter, quarter, half-note” – The G’s and C’s play every note in the pattern. The F’s play only the quarter notes, and the E’s play the half note. So the E and F are best given to one person – who plays E-E-F (which is easier than just playing the F.) The G’s and C’s can be given to any number of ringers, who play on every note. (The 2 oct. version is shown at right.)

• “God” is represented by a D major chord played three times: half-note, half-note, whole-note-hold-it. All ringers ring the same rhythm pattern with all chimes. (2-3 oct. version shown below)

All of these patterns can easily be taught by rote – but the Set-Up sheets help remind ringers their patterns, too. Note that time signatures are not needed in the set-up sheets – note values alone allow these patterns to be demonstrated and mimicked. It’s not always necessary, but, as a remembering aid, a mnemonic can be devised for any pattern (such as “God – is – great……!”) These are the two main characters, so if you have four ringers their assignments could be: Ringer #1 (Noah - part 1) - E5 and F5 Ringer #2 (Noah - part 2) - C5 and G5 Ringer #3 (God - part 1) - D5 and F#5 Ringer #4 (God - part 2) - A4 and A5

Adding more ringers to the group allows more notes to be added to either “Noah” or “God” - or to expand the character list by adding “Ark” – which uses 2 thumb-damped chimes playing left-right-left-right-left-right-left. Adding yet more ringers allows any or all existing characters to have more notes added and/or to add still more characters (“Townspeople,” “Animals,” “Rain”) until an entire 3-octave chime or bell set is fully utilized. Ideally, three or four ringers per part is maximum – to help them coordinate their part together as a small group. To accommodate even more ringers, some parts can be shared by 2 ringers (especially simple chords). Note that some character parts are carefully assigned to make rhythm parts easy for novice ringers to play and remember. “Townspeople” is a good example. So splitting up such parts to include more ringers may make these parts more difficult to play. Whatever your needs, feel free to rewrite rhythms and assignments (making new Set-Up Sheets), to create additional character parts, to add percussion instruments or more sets of chimes/bells - all to allow your ringers to be involved, confident and successful. Puppets or actors could also be employed to broaden the scope of the presentation and involve more people.

From Introduction to Performance

Preparation: Noting varying skills in your group of ringers, assign each character according to ability. Have set-up sheets and corresponding chimes in place for the number of ringers you anticipate (as in photo at right.) Note that once ringers pick up their chimes, they will be able to see their rhythm pattern on the sheet. Note also that Part 3 is empty – which is okay. See more assignment examples at the bottom of the page. First Rehearsal: Teach all ringers proper ringing stroke and damp. Then, one character at a time, assign a few ringers to a specific character’s chimes and immediately explain, direct and let them practice their part a few times. Make sure chimes are picked up in proper order – left hand and right hand as placed on the set-up sheets. (A stronger leader in each group can be very helpful but isn’t necessary. As each character group practices their part, they learn to respond to each other and play together.) Then move to the next group of ringers, demonstrate their character’s pattern and have them practice. Once all parts are assigned and practiced; I suggest you have one more go-around with each group playing their character once or twice as you say the character name: say “Noah,” and direct the “Noah group” to play when you pause. This allows you to reinforce their pattern and also helps them to understand the timing of their response. Now it’s time to read through the story the first time. Emphasize a character’s name (underlined in the script) and emphatically pause at first, which cues the specific character’s group to play. There will be mistakes and laughter. You will forget to pause, they will forget to ring. Then practice without giving them obvious visual cues, since they will be facing the audience (not you) for their performance. With just two or three run-throughs at this one rehearsal and a quick warm-up pre-performance, they will be ready to enthrall their audience. Performance: Set-up Sheets are laid out in order with chimes on them. Ringers find their chimes and stand in order with their character groups, all facing the same direction they will face the audience. Staging works well with ringers in a line, character groups standing together, with narrator in the middle; though the arrangement can be very flexible. Determine which end of the line will lead onto stage, so this set-up and order is preserved when facing the audience. A quick check of characters off-stage (say it, play it) will remind them of rhythm patterns and correct any misplaced order or chimes. Everyone files out on stage and performs. Have fun! In this example 2 ringers will play “God,” and 2 other ringers will play “Noah.” Noah, Part 1, will hold the E5 in left hand and F5 in

right hand, picking them up exactly as they are placed on the set-up sheet. In this example, more ringers have been added to both parts, so

they are fully staffed now: 3 ringers for “Noah” and 4 ringers for “God.” Note that 2 ringers, one in each character, have only one chime. Some parts may be split for two ringers to share to allow more people to participate, but make sure the parts don’t become more difficult ion the process.

Noah’s Ark – narrative

Feel free to adjust or change as needed. Some character parts can play while you are talking – particularly rain where

noted **.

This is the story of Noah, a strong faith, a challenge and an amazing journey.

A long time ago, there came a time when God was very displeased with people in general –

they had adopted wicked ways and were not following his wishes. But there was one man who

wasn’t wicked, and his name was Noah.

God called to Noah one day and told him to build a huge boat, called an Ark, and to fill it with

two of every kind of animal. Noah looked around at the desert and must have thought,

“There’s no water to float the Ark in!” - and - “How in the world will I gather up all these

animals?” – and – “I don’t even know how to build an Ark!” But Noah had a strong faith and

wanted to obey, so he said to God, “I will do as you command.”

As the Ark began to take shape, the townspeople came by to make fun of Noah. “There’s no

water for miles and miles around to float this Ark in!” the people taunted, “Are you sure you

heard God correctly? You must be crazy to think you can convince any animals to get into this

Ark!” And then, laughing, the people went away and continued their wicked ways.

At last the Ark was finished, and, two-by-two, the animals from all over came to be loaded in.

Noah also called his family to come on board the Ark, but not the townspeople. The huge

door on the Ark was closed, and it began to rain**. The townspeople probably got tired of

laughing and went home. It rained** more, pouring down, for 150 days until the land was

flooded**.

The animals and Noah and his family, safely in the Ark, floated on the water** for a long time,

until they landed on a mountain top. Noah let all the animals off the Ark, and God promised to

never do this again to the people and showed this by throwing a Rainbow** across the sky.

Chord StoriesChord StoriesChord StoriesChord Stories Quick Adventures in Ringing

Created by Kathleen Wissinger

What are Chord Stories? - Pair a Bible Story, Folk Tale, Fairy Tale or Fable narrative with chimes/bells that represent characters and objects, playing specific notes in chords or patterns for each character – taught either by rote or notation. No other equipment (tables, pads, etc) is required; the set-up is mobile and quick. Flexible instructions are offered to include from 2 to18+ ringers using 2 or 3 octaves. (Chimes are indicated, but handbells could also be used.)

Background: Chord Stories were developed to allow non-ringers to quickly work-up a fun performance-worthy presentation with the goal “Everybody gets to ring!” I developed Chord Stories leading 2

nd – 5

th graders at a week-

long music conference: We first met on Monday morning for 45 minutes – and we were scheduled to play for opening worship on Tuesday morning! Monday morning, after getting to know each other, experimenting with ringing chimes for the first time, finding notes on the staff and ringing chords, echoing rhythms and such; we spent the last 10 minutes on a Chord Story. The following morning we had a quick pre-service run-through off-stage. For most of the ringers, Monday was the first time they had ever touched a chime, and they were confident performing for the entire conference Tuesday morning. A key to Chord Stories is establishing each character’s musical signature while assigning each chime and each ringer to only one character, utilizing all available chimes in your range. This offers a very flexible set-up for the largest possible number of ringers in many different situations. While originally created for children’s groups, Chord Stories can also be a fun activity for teens and adults (ringers and/or non-ringers) to offer a quick children’s sermon, scripture reading enhancement, campfire program or talent show presentation. Feel free to adapt the characters, instruments and assignments to suit your group. Assignments for Chord Stories are offered in a hierarchy of characters and chords, depending on the number of ringers and the range of chimes available. Ringers who cooperatively play a character stand together when rehearsing and performing - not in “keyboard order” at all. A few ringers can represent one or two main characters with just a few notes, while a larger number of ringers might represent more characters using more chimes. “Two to four ringers per character” is ideal so they can coordinate with each other.

• See the Set-up Sheets for 2 and 3 octave options as well as for suggestions for the order to add characters and the order to add chimes to each character (Ringer Part 1, then Part 2, etc.)

o Note the Part Number indicates the order ringers might be added, NOT the order they ring in.

• Some parts (like “Rainbow” in Noah’s Ark) can include many extra ringers, even including chimes used in other characters. See Set-Up sheets for directions.

Basic Set-up Sheet templates are included – which depict each character’s assigned chimes and rhythm pattern. A “Snapshot” of all parts is included for the director. Character patterns can be taught by rote, but each set-up sheet shows a rhythmic representation of the pattern to be played - as a reminder for both director and ringers. These set-up sheets also allow chimes to be pre-positioned in their correct character groups before rehearsal or performance, so ringers can quickly (and accurately!) find their chimes. The set-up sheets should be placed on tables or floor in

the same order each time, so ringers can quickly learn where to find their specific character’s chimes, know where to stand and easily return the chimes when finished. You may create extra set-up sheets if you want to include extra instruments or a larger range of chimes. The director should understand how each character works so that rote teaching is quick and clear. Vocalizing a part and pointing to each ringer in turn will help them understand how their character works. Remember that chimes will not be in keyboard order for the most part, and the depictions of the parts in the set-up sheets don’t exactly represent the intervals being played – they are a cartoon of simple rhythms for the high/low chimes in hand. When necessary for clarity, set-up sheets do indicate left or right hand chime when a single chime is used. For example: The two ringers for “Townspeople” in Noah’s Ark play a well-known taunting rhythm often associated with the words “Nanny, nanny, boo-boo!” Ringer #1 has B5 and C#6, playing them both twice for the first “Nan-ny” and playing only the RH chime (C#6) for the first “Boo.” Ringer #2 plays LH (A#5) chime on the second “Nan-“ and RH chime (D#6) on “-ny” (an easy rhythm when you play both notes involved) and then the LH chime on the last “-boo.” Together the two ringers create a complete character statement as “The Townspeople.”

RE1001R Noah’s Ark – Chord Stories Level Zero 2-3 octaves Kathleen Wissinger

A Quick Musical Adventure for Novice or non-Ringers

2 or 3 octaves bells or chimes Parts for 2 to18 (or more) ringers

Narration and Complete Instructions Included

All reproducible for original purchaser

NOAH’S ARK Kathleen WissingerAllows non-ringers to learn their parts on-the-spot and then confidently perform an engaging presentation: a narrative with characters brought to life by ringers playing chords and patterns representing different characters. “Noah’s Ark” includes Noah, God, the Ark, Animals, Townspeople and Rain. The clever assignment system easily expands to allow from 2 to 18 or even more ringers to flesh out these characters using 2 or 3 octaves. Characters may be taught by rote or by using the Set-Up sheets which show the notated pattern. All materials are included and are reproducible. 2-3 octaves Handbells or Handchimes & Narration/ Parts for 2-18+ Ringers Level ZeroRE1001R $20.00

http://www.handbellworld.com/music/MusicPiece.cfm?Piece=15571

https://www.handbellworld.com/music/MusicPiece.cfm?Piece=16199


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Noah’s Ark Assignments – 2 Octaves

Character and Position Number

Noah

1. _____________________________

2. _____________________________

3. _____________________________

Ark

1. _____________________________

2. _____________________________

Animals

1. _____________________________

2. _____________________________

God

1. _____________________________

2. _____________________________

3. _____________________________

Townspeople

1. _____________________________

2. _____________________________

Rain

1. _____________________________

2. _____________________________

This page may be reproduced as needed only by the original purchaser.

Noah’s Ark Assignments – 3 Octaves


Noah

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Ark

1. _____________________________

2. _____________________________

3. _____________________________

Animals

1. _____________________________

2. _____________________________

God

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Townspeople

1. _____________________________

2. _____________________________

Rain

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Noah’sArk–Characters

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From Introduction to Performance

Preparation: Noting varying skills in your group of ringers, assign each character according to ability. Have set-up sheets and corresponding chimes in place for the number of ringers you anticipate (as in photo at right.) Note that once ringers pick up their chimes, they will be able to see their rhythm pattern on the sheet. First Rehearsal: Teach all ringers proper ringing stroke and damp. Then, one character at a time, assign a few ringers to a specific character’s chimes and immediately explain, direct and let them practice their part a few times. Make sure chimes are picked up in proper order – left hand and right hand as placed on the set-up sheets. (A stronger leader in each group can be very helpful but isn’t necessary. As each character group practices their part, they learn to respond to each other and play together.) Then move to the next group of ringers, demonstrate their character’s pattern and have them practice. Once all parts are assigned and practiced; I suggest you have one more go-around with each group playing their character once or twice as you say the character name: say “Stone,” and direct the “Stone group” to play when you pause. This allows you to reinforce their pattern and also helps them to understand the timing of their response. Now it’s time to read through the story the first time. Emphasize a character’s name (underlined in the script) and emphatically pause at first, which cues the specific character’s group to play. There will be mistakes and laughter. You will forget to pause, they will forget to ring. Then practice without giving them obvious visual cues, since they will be facing the audience (not you) for their performance. With just two or three run-throughs at this one rehearsal and a quick warm-up pre-performance, they will be ready to enthrall their audience. Performance: Set-up Sheets are laid out in order with chimes on them. Ringers find their chimes and stand in order with their character groups, all facing the same direction they will face the audience. Staging works well with ringers in a line, character groups standing together, with narrator in the middle; though the arrangement can be very flexible. Determine which end of the line will lead onto stage, so this set-up and order is preserved when facing the audience. A quick check of characters off-stage (say it, play it) will remind them of rhythm patterns and correct any misplaced order or chimes. Everyone files out on stage and performs. Have fun!

In this example for 2 particiapnts: 1 ringer will play “Stone” and 1 other ringer will play “Traveler.” “Stone,” Part 1, will hold the C#5 in left hand and F#5 in right hand, picking them up exactly as they are placed on the set-up sheet. In this example, more ringers have been added to both parts, so “Stone” is now fully staffed by 2 ringers and “Traveler” now has two ringers with 2 more Parts (3 and 4) available. Some parts may be split for two ringers to share to allow more people to participate, but make sure the parts don’t become more difficult in the process.

Stone Soup - Chord Story Narrative Characters: Traveler - Villagers - Stone - Iron pot - Food

In this wide world, there are comings and goings that can change lives. Here is the tale of one such meeting. Wandering the world, a traveler whistled as he walked, carrying an iron pot tied to his backpack and, in his pocket, a smooth round stone. As he neared a small village, the traveler thought, “Surely, I will find generosity and kindness in such a beautiful place.” Times had been hard in this town. The villagers feared he would ask for something to eat and a place to sleep, so they closed up their barns, hid all their food (one chord) and watched from behind shuttered windows. Looking around the empty village square, the traveler stopped at the water pump, filled up his iron pot with fresh water and built a small fire. A villager (Ringer#1) came out of hiding to see the fire and asked, “What are you doing?” “I have been walking a long time. I’m tired and hungry, but I would never ask you to give me any food, of course! So I thought I would make some soup.” And with that he pulled the stone from his pocket, turned it three times in his hand, and dropped it into the iron pot. “This kind of stone generally makes a fine soup, but tonight it will be rather thin, as I’ve been using it for many weeks. If I only had a handful of barley and perhaps some rice, it would be so much better.” The villager (#1) said, I might have a little bit put aside” and, gathering some from tins he had hidden, dropped the grains into the soup. With a little smile, the traveler slowly stirred the iron pot, clinking the stone with a spoon. Another villager (#1 and #2) came out to see what was happening and was told about soup made from a stone. “Ah, yes, this is a wonderful soup,” said the traveler, “and if I only had a bit of meat and some potatoes, it would be good enough for company!” The second villager said, “I may have a little of each put away for a rainy day.” She went to get them from her larder and tossed the meat and potatoes into the iron pot. The traveler smiled and continued to stir the soup, clinking the stone in the iron pot, while more villagers (#1, #2 and #3) looked on in wonder. By now all the villagers had come out of hiding to see what was happening. “A bit of cabbage and a few carrots would make this soup good enough for the best in the land,” said the traveler. “And some tomatoes and beans would make it fine enough for royalty!” The villagers exclaimed it would be nice, just once, to eat something that special. So they went to their root cellars and hidden caches, and into the soup they threw their cabbage and carrots, tomatoes and beans (repeat pattern as you speak). The soup continued to bubble in the iron pot – and they all marveled at the wondrous stone they heard clinking along the bottom. All at once he stopped stirring the iron pot, scooped up the stone and said, “It is ready!” Feeling pretty fine by now, the villagers brought out bowls and spoons, bread and cheese, plates, tables and chairs. It was a feast for everyone! They ate and drank until they were tired and sleepy! “Thank you so much!” said the villagers, “We will never know want now that we know how to make this wonderful soup. And to think - it was made with only a stone!” “Well,” said the traveler, “It always helps to have a little something to season it with.” (Food

chord vibrato or any pattern you wish for the grand finale.)

Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.

Printed and distributed exclusively by Jeffers Handbell Supply www.Handbellworld.com

Chord StoriesChord StoriesChord StoriesChord Stories Quick Adventures in Ringing

Created by Kathleen Wissinger

What are Chord Stories? - Pair a Bible Story, Folk Tale, Fairy Tale or Fable narrative with chimes/bells that represent characters and objects, playing specific notes in chords or patterns for each character – taught either by rote or notation. No other equipment (tables, pads, etc) is required; the set-up is mobile and quick. Flexible instructions are offered to include from 2 to 18+ ringers using 2 or 3 octaves. (Chimes are indicated, but handbells could also be used.)

Background: Chord Stories were developed to allow non-ringers to quickly work-up a fun performance-worthy presentation with the goal “Everybody gets to ring!” I developed Chord Stories leading 2

nd – 5

th graders at a week-

long music conference: We first met on Monday morning for 45 minutes – and we were scheduled to play for opening worship on Tuesday morning! Monday morning, after getting to know each other, experimenting with ringing chimes for the first time, finding notes on the staff and ringing chords, echoing rhythms and such; we spent the last 10 minutes on a Chord Story. The following morning we had a quick pre-service run-through off-stage. For most of the ringers, Monday was the first time they had ever touched a chime, and they were confident performing for the entire conference Tuesday morning. A key to Chord Stories is establishing each character’s musical signature while assigning each chime and each ringer to only one character, utilizing all available chimes in your range. This offers a very flexible set-up for the largest possible number of ringers in many different situations. While originally created for children’s groups, Chord Stories can also be a fun activity for teens and adults (ringers and/or non-ringers) to offer a quick children’s sermon, scripture reading enhancement, campfire program or talent show presentation. Feel free to adapt the characters, instruments and assignments to suit your group. Assignments for Chord Stories are offered in a hierarchy of characters and chords, depending on the number of ringers and the range of chimes available. Ringers who cooperatively play a character stand together when rehearsing and performing - not in “keyboard order” at all. A few ringers can represent one or two main characters with just a few notes, while a larger number of ringers might represent more characters using more chimes. “Two to four ringers per character” is ideal so they can coordinate with each other.

• See the Set-up Sheets for 2 and 3 octave options as well as for suggestions for the order to add characters and the order to add chimes to each character (Ringer Part 1, then Part 2, etc.)

o Note the Part Number indicates the order ringers might be added, NOT the order they ring in.

• Some parts (like “Rain” in Noah’s Ark) can include many extra ringers, even including chimes used in other characters. See Set-Up sheets for directions.

Basic Set-up Sheet templates are included – which depict each character’s assigned chimes and rhythm pattern. A “Snapshot” of all parts is included for the director. Character patterns can be taught by rote, but each set-up sheet shows a rhythmic representation of the pattern to be played - as a reminder for both director and ringers. These set-up sheets also allow chimes to be pre-positioned in their correct character groups before rehearsal or performance, so ringers can quickly (and accurately!) find their chimes. The set-up sheets should be placed on tables or floor in

the same order each time, so ringers can quickly learn where to find their specific character’s chimes, know where to stand and easily return the chimes when finished. You may create extra set-up sheets if you want to include extra instruments or a larger range of chimes. The director should understand how each character works so that rote teaching is quick and clear. Vocalizing a part and pointing to each ringer in turn will help them understand how their character works. Remember that chimes will not be in keyboard order for the most part, and the depictions of the parts in the set-up sheets don’t exactly represent the intervals being played – they are a cartoon of simple rhythms for the high/low chimes in hand. When necessary for clarity, set-up sheets do indicate left or right hand chime when a single chime is used. For example: For “Iron Pot” – Part 1 can play D6 -A5-D6 (left-right-left) alone. Add a ringer, and Part 2 plays B4-D5-B4 in the same rhythm. Add Part 3 similarly on G4-A4-G4. If you have 3 octaves and a 4

th available ringer, Part

4 rings G5-D4-G5, fully staffing the character of the “Iron Pot.”

RE1002R Stone Soup – Chord Stories Level Zero 2 or 3 octaves Kathleen Wissinger

A Quick Musical Adventure for Novice or Non-Ringers

2 or 3 octaves chimes or bells Parts for 2 to 18 (or more) ringers

Narration and Complete Instructions Included

All reproducible for original purchaser

StONE SOuP Kathleen WissingerAllows non-ringers to learn their parts on-the-spot and then confidently perform an engaging presentation: a narrative with characters brought to life by 2 to 18 or more ringers playing chords and patterns representing different characters. “Stone Soup” is a European/Scandinavian folktale introducing the characters of The Traveler, Iron Pot, Stone, Villagers and Food (it’s also known as “Nail Broth” popularized by the Danny Kaye Tells Six Stories From Faraway Places album). Characters may be taught by rote or by using the Set-Up sheets which show the notated pattern. All materials are included and are reproducible. 2-3 octaves Handbells or Handchimes & Narration/ Parts for 2-18+ Ringers Level ZeroRE1002R $20.00




Traveler–3oct.

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Stone Soup Assignments – 2 Octaves


Traveler

1. _____________________________

2. _____________________________

3. _____________________________

Stone

1. _____________________________

2. _____________________________

Villagers

1. _____________________________

2. _____________________________

3. _____________________________

Iron Pot

1. _____________________________

2. _____________________________

3. _____________________________

Food

1. _____________________________

2. _____________________________

3. _____________________________

This page may be reproduced as needed only by the original purchaser.

Stone Soup Assignments – 3 Octaves


Traveler

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Stone

1. _____________________________

2. _____________________________

Villagers

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Iron Pot

1. _____________________________

2. _____________________________

3. _____________________________

4. _____________________________

Food

1. _____________________________

2. _____________________________

3. _____________________________

StoneSoup–Charactersfor2or3octaveranges

Beloware“snapshots”ofeachcharacter‐fullystaffed‐tohelpyouteacheachpatternbyrote.

Playanyorallnoteswithinyourtwooctaverange.

Playanyorallnoteswithinyourthreeoctaverange.


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Echoes of the Past - A2 Octave Score

Kathleen Wissinger

*

2:15

*Opt. solo C instrument, suspended bells, belltree or bell duet/trio m. 3-10 on melody line



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2 OctavesHandbells Used: 16

Echoes of the Past - A For Makenna, Mariah, Charles and Timothy RCS 2009

and for William, Jakob, Iain, Peter, Makaela, Rachel RCS 2011

by Kathleen Wissinger

Rehearsal suggestions:

1. When teaching new ringers the Level 1 part, omit all techniques at first and focus on note reading

and good ringing technique. Then teach echoes with left and right hand bells and add them to the score.

Note echo and mart symbols between the staves apply to similar notes above and below.

2. Marts can be taught next, making sure bells are brought to a safe distance from the pad just

before marting. About 4" is a good height to "hover" above the pad. You can refer to this as a

"Hover mart" to remind them not to mart from shoulder height. Marts should be performed

with the entire bell meeting the pad horizontally, not tipped forward or pulled to the edge of the pad.

3. Mnemonics can help ringers grasp the rhythms of the melody. Use this ditty or make up your own:

A. I remember echoes of the past, I remember the past. Come on a journey with me and my comrades, echoes discovering.

B. Long time ago when the echoes were forming, star in the sky and ground far below.

Long time ago when the echoes were forming - echoes discovering.

2 Octave Score

Split-Level Series

Level 2 positions A5-G6

Five Level 1 positions G4-B5 (AB5 is L1+)

Note: Echoes of the Past - A (2 oct.) is NOT compatible

with Echoes of the Past - B (3-5 oct.)



between staves apply to treble and bass notes

EcHOES Of tHE PASt A & B Kathleen WissingerThis mesmerizing piece features a repetitive Level 1 echo pattern in the lower bells and a Level 2 modal melody in treble. Two different versions in the folio allow a custom fit for ringers: “A” for 2 octaves contains the L2 melody from A5-G6 while G4-G5 ringers play the L1 echo patterns – and “B” for 3-5 oct. has the L2 melody from F5-C7 and 5 L1 positions from C4-E5. “B” also offers a L1 C3-B3 bass score. Rehearsal notes are included as well. Note: “A” and “B” are not compatible. Part of the “Split-Level Series” which features Level 2 pieces with specific Level 1 positions, to seamlessly integrate new or beginning ringers into an established group; also useful for multiple-grade ensembles in schools. Split Level 2 Oct & 3-5 Oct HB Level 1/2 RE2001AB $5.00

RE2001AB Echoes of the Past A & B Level 1/2 (Split-Level) 2 oct.(A) & 3-5 oct.(B) Kathleen Wissinger




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Echoes of the Past - BKathleen Wissinger, ASCAP

*

2:15

3 Octave Score



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3 OctavesHandbells Used: 24

Echoes of the Past - B For Makenna, Mariah, Charles and Timothy RCS 2009

and for William, Jakob, Iain, Peter, Makaela, Rachel RCS 2011


Split-Level Series

Level 2 positions F5-C7

Five Level 1 positions C4-E5

Note: Echoes of the Past - B (3-5 oct.) is NOT compatible

with Echoes of the Past - A (2 oct.)

Rehearsal suggestions:

1. When teaching new ringers the Level 1 part, omit all techniques at first and focus on note reading

and good ringing technique. Then teach echoes with left and right hand bells and add them to the score.

Note echo and mart symbols between the staves apply to similar notes above and below.

2. Marts can be taught next, making sure bells are brought to a safe distance from the pad just

before marting. About 4" is a good height to "hover" above the pad. You can refer to this as a

"Hover mart" to remind them not to mart from shoulder height. Marts should be performed

with the entire bell meeting the pad horizontally, not tipped forward or pulled to the edge of the pad.

3. Mnemonics can help ringers grasp the rhythms of the melody. Use this ditty or make up your own:

A. I remember echoes of the past, I remember the past.

Come on a journey with me and my comrades, echoes discovering.

B. Long time ago when the echoes were forming, star in the sky and ground far below. Long time ago when the echoes were forming - echoes discovering.

3 Octave Score (Opt. 4-5 Oct. Bass Score included)



between staves apply to treble and bass notes

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Kathleen Wissinger, ASCAP

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2-5 Octaves: (L2) D5-F6 + opt. (L1) C4-C5, G6-C7, C3-B3Handbells Used: 11-30 (32 - C#5 and C#4 are optional)

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Kathleen Wissinger(ASCAP)

Morning Song A Split-Level Series: Up to Six L1 positions C4-C5 and A6-C7 (plus C3-B3)

For Rachel, Mikaela, William, Peter, Iain, Jakob - RCS 2012

Brightly

Opt.

Opt.

Note: D5-F#6 are the core L2 positions, add L1 positions starting G6 up - and C5 down (Add 2 more ringers for C3-B3 for L2, 3 or 4 ringers for L1 - or thin the bass a bit for L1)

Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.Printed and distributed exclusively by Jeffers Handbell Supply www.Handbellworld.com

(Intro)

(A)

Split-Level Series

This versatile series targets mixed ringing groups with different levels of experience among members: a multiple-grade class in which younger ringers join an experienced group each year, an established group welcoming new ringers into the fold, or simply a group of mixed abilites in which everyone wants to be successful. The core ringing positions are Level 2 (L2) and, in this piece, up to 6 optional positions are Level 1 (L1). In addition, these are simply fun pieces for any L2 group to play.

Split-Level pieces are also a welcome addition to Festivals and massed ringing - allowing all ringers to confidently participate in performance. Make sure everyone is using scores in the SAME KEY!!

Morning Song is presented in two different keys for flexibility. These two scores cannot be played together. Select the setting that best suits your ringers' needs. Both versions feature 5 core Level 2 ringing positions and from zero-to-six optional Level 1 positions within 3 octaves.

"Morning Song A" (2-5 oct.) has a core of five Level 2 ringers from D5-F#6. These Level 2 ringershandle the melodic line and all 8th notes. The remaining six L1 postions in 3 oct. (C4-C5 and A6-C7) areoptional and can be added as needed. I suggest you add positions from the core outward: -- For example, if you have 2 new ringers, they can ring: 1. GA6 and B6C7 - or - 2. GA4 and B4C5 - or - 3. B4C5 and GA6. --L1 Ringer #3 can be added at 1. B4C5 - or - 2. EF4 or GA6 - or - 3. GA4 or B6C7...and so on. --Bass ringers for C3-B3 may be added: 2 ringers at L2 with weaving, or 3 or 4 ringers with 1 to 2 bells each with L1 parts. Thin notes as needed for ease of ringing.

"Morning Song B"(3 oct.) works similarly, except the 5 core L2 positions are in a higher range: A5-C7, with the 6 L1 positions covering F5G5 down to C4D4. This version requires a 3-octave treble range for the L2 positions and can accomodate zero to six L1 ringers from F5 down.

Note: "Matinata I, II & III" - another offering in the Split-Level Series, is the same melody and layout as "Morning Song" but is set in the key of C and offers in 3 compatible scores: each offering a different number of L1 positions: Score I has one to six L1 positions (F5-C7); Score II has two L1 positions (FG5 and AB5); and Score III is an all-L2 piece. The Matinata I, II, III collection is NOT compatible with either of the Morning Song scores.

Some Split-Level pieces offer learning scores in a reproducible Master format for beginning ringers - starting with very easy L1- scores with whole and half notes, moving to L1 scores with quarter notes,and on to L1+ scores as articulations are added. Ringers may perform from any one of these versions. Check the Jeffers website www.HandbellWorld.com to see what's currently available.

I have learned from some of the best pedagogues in the handbell world that all ringers can play successfully and confidently when they are properly trained and given music they can understand. Split-Level pieces have proven time and again in classroom, rehearsal, Festival and concert to be an excellent resource to develop confident capable ringers. allowing all ringers to play to the best of theirability.

With my best wishes, Kathleen Wissinger [email protected]

Class ring Series One more note on Morning Song/Matinata - they are also set for specific ringing ease to teach 8th notesto further assure ringing success: all 8th note pairs in these pieces are played within a usual ringing position - so all ringers will play "1-and" or "2-and" or "3-and" - but never "....and-1" or "...and-2" which is a more complex rhythmic skill. See the Unison Exercise sheet provided on Page 5.

1

MORNING SONG A & B Kathleen WissingerFeatures a Level 2 piece with specific Level 1 positions to seamlessly integrate new or beginning ringers into an established group; also useful for multiple-grade ensembles and multi-level Festivals. Features a sprightly melody that relies on a core of 5 L2 ringers using 8th notes, while the optional “outlying” L1 positions invite newer ringers to confidently play with simpler chords and quarter notes. Offered in 2 settings in different keys to allow flexible assigning of your L1 ringers. A variety of techniques are used, and a Unison Exercise sheet is included. Morning Song is a great teaching piece for your L2 ringers as the 8th note pairs are all rung by individual ringers, making them much easier to count and ring. Split Level 2-5 Oct HB & 3 Oct HB Level 1 RE2302AB $5.00

RE2302AB Morning Song A&B L1/2 (Split-Level) 2-5 oct.(A) & 3 oct. (B) Kathleen Wissinger

SPLITSPLITSPLITSPLIT----LEVEL SeriesLEVEL SeriesLEVEL SeriesLEVEL Series & Class ring SeriesClass ring SeriesClass ring SeriesClass ring Series

Morning SongMorning SongMorning SongMorning SongA&B

by Kathleen Wissingerby Kathleen Wissingerby Kathleen Wissingerby Kathleen Wissinger

2 score choices - each with up to 6 optional L1 positions

A. 2-5 oct. with 5 core L2 positions (D5-F6) and opt. 4th/5

th bass

B. 3 oct. with 5 core L2 positions (F5-C7)

Note: Scores A and B are NOT compatible. Choose the one that fits your group.

(Same tune as Matinata I, II & III (RE230312 & RE30023) – but NOT compatible!)

All 8th

note pairs are within individual positions.




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Note: Ab5-C7 are core L2 positions, add L1 positions starting F5 down

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Double voicing

"Not my notes"

Basic 8th notes

These unison exercises will prepare ringers for the rhythms, patterns and techniques they will encounter in Morning Song. Assign everyone's left hand bell to the space note, and everyone's right hand bell to the line note (Note names do not matter!) Everyone counts and rings the same measure at the same time. To make it sound better: try assigning a C, E, G or Bb (making a C7 Chord) to the left hand and a Sharp or Flatto the right hand (making a pentatonic chord.) Marting lightly at first allows ringers to hear themselves and self-correct rhythm problems. Lines B and C introduce the techniques required. Line D requires ringers to count and read past notes that are not theirs, and Line E shows how to follow stem directions for doublevoicing. You can also draw these and additional exercises on a white board to encourage confident masteryof these skills.

Techniques

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Handbells Used: 13, (20), (22), (24) Kathleen Wissinger, ASCAP

Processional Praise (a bonus piece!)

2, 3, 4, or 5 Octaves

Ringers 1a ( C4, G4) and 1b (F4, C5)

Ringers 2a (D5, F5) and 2b (G5,A5)

Assignment suggestions below: Ringer A is stems down notes, Ringer B is stems up in each line

Ringers 3a (C6, D6) and 3b (E6, F6)

Ringers 4a (G6, A6) and $b Bb6, C7)

Ringers 5a (D4, E4) and 5b (A4, Bb4)

*Last chord for all: F, A, C as cued by director

Each ringer plays a single line (4 measures) - repeating as needed Start with Line 1, then add lines in order. Play F chord after M. 3 for ending

Ringer 6a (5 oct. - C3, F3) and Ringer 6b (4 oct. - A3, Bb3) - more ringers might share these bells)



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Madelaine, Josie, Maddie, Colin, Virginia, Mary, Josiah, Henry, Aidan, Hudson, Ada, Alana, Micah, Jax & William

2:00 Performance

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Kathleen Wissinger (ASCAP)



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PROVIDENcE Kathleen WissingerThis cheery piece will delight your ringers and audience with its bold chords, catchy melody, Mixolydian mode and many techniques. “Providence” allows ringers to experience more challenging and harmonically-interesting music in an easy-to-read score. The many techniques (mart lift and mart (mallet for bass), echo, vibrato, LV, thumb damp, shake and ring touch) as well as bell changes and rhythm patterns can be taught and practiced with the included Unison Exercise sheet. Once they’ve mastered this sheet, your ringers will be well-prepared to ring “Providence” with assurance. It is ideal for school programs, concerts, worship and Festival settings. A bonus piece “Processional Praise” is included as well.3-5 octaves Level 1+ RE3003 $5.00




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Unison Exercises can be a tool to introduce all ringers to the rhythms and techniques required in a piece,at the same time! Each ringer adopts the score as "his own" - with left hand bell as the space note and right hand bell as the line note. To make it sound better, everyone can hold a C, E, G or Bb in left hand and asharp in the right hand. Remind them that note names DO NOT MATTER in this exercise. Practice eachline without techniques first; try marting, if needed, to let everyone correct their rhythms. Note: For Line 5,a third bell is needed (placed between the two bells in hand, acting as the flat in m.17 and sharp in m. 20.) Ringers can learn to mark their music by putting an "x" just past the note they need to table damp to preparefor the accidental. Practice each line individually, then string a few together. Contact me for more ideas.

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Kathleen Wissinger ASCAP



OptionalPiano

Belltree

2:45

1

A tHANKfuL HEARt Kathleen Wissinger An initial offering in the new “First String Series” (featuring belltree pieces for one octave, more or less), “A Thankful Heart” will become a favorite for its lovely theme and versatility– play it as a simple, poignant belltree solo on 8 bells using either G5-G6 or C6-C7 or add the piano accompaniment for a fuller presentation. All scores are included, with the solo portion removable from the piano score. Other options include playing a 4iH duet or allowing 3 or 4 ringer to play the melody line LV, or even on a solo instrument like oboe or flute. The changing meter perfectly reflects the flow of the melody. Instructions for setting up a belltree are included. Perfect for any time a thoughtful piece is called for.2-3 octaves Belltree Solo w/Opt Piano Rating: E RE5001 $5.00

RE5001 A Thankful Heart Belltree Solo Easy 2 or 3 oct. Kathleen Wissinger (8 bells - may also be rung by 2-4 ringers - opt. piano accompaniment)

First String SeriesFirst String SeriesFirst String SeriesFirst String Series

By Kathleen WissingerBy Kathleen WissingerBy Kathleen WissingerBy Kathleen Wissinger

Belltree Solo For C6-C7 or G5-G6 (both ranges included) Opt. Piano accompaniment




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Play freely throughout

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A !ank"l HeartKathleen Wissinger, ASCAP


Solo Belltree score for G5-G6G5, A5, B5, C6, D6, E6, F6, G6

(Optional piano intro)

Play freely throughout

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75

A Thankful Heart

By Kathleen Wissinger

Welcome to the magical world of Belltrees!

“A Thankful Heart” was written specifically to be played on a single one-octave belltree, easy to travel with, set-up, move around and perform with. It is a calm, thoughtful piece that can be played very nicely on belltree alone – or with the provided optional piano accompaniment. It can also be rung by 2 ringers using 4iH or by 3 or 4 ringers. Two versions are offered – select the one that best serves your needs. 1. G5-G6 (2 oct. range) in the bell tree and a piano accompaniment 2. C6-C7 (3 oct. range) in the bell tree and a piano accompaniment To string your bells for the belltree, hold the lowest bell and thread the next higher bell’s handle through the lowest bell’s handle. Next thread the 3rd lowest bell’s handle through the 2nd lowest bell’s handle, and so on. You will end up with a string of 8 bells, the scale crisscrossing from side to side in order from lowest to highest bell. The castings should not touch each other or the handles - if needed, add spacer disks, clips or rubber bands to the handles to keep the bells properly spaced. Only one string is required for this piece. Sample Belltree string The usual arrangement of the string when hung on the belltree stand is with the highest bell casting on the right hand side (as shown in the photo). For this piece – it will be either the G6 or the C7. Your right hand mallet will play mostly the bells on the right side of the string and the left mallet the left side – but feel free to cross over as needed for musical effect - and when playing thirds, of course. Try to hang the belltree high enough so the center of the bell string is about shoulder height. Make sure your belltree stand is secure, weighing down the base with sandbags or extending base legs with PVC pipes slipped over them. Experiment with different hardness mallets in the space you will perform. The “First String Series” from ringTrue Handbell Music focuses on belltree pieces using an octave string, more or less. Check listings at www.Handbellworld.com to see new releases. For an authoritative and complete introduction to creating and using belltrees, please see A Bell Tree “Keyboard” Manual by Barbara Brocker (Tree-O Publishing #TO117) Best wishes!! Kathleen Wissinger 2015


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Kathleen Wissinger ASCAP



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Belltree

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Trumpet Tune

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Welcome to the magical world of Belltrees!

“Trumpet Tune” was written specifically to be played on a single one-octave belltree (with one extra bell), easy to travel with, set-up, move around and perform in small or large spaces – even outdoors! Its bright iconic theme is easily recognized and is perfect for use in wedding, concert or worship. A number of options are possible using the various settings in the folio: 1. Play as a belltree solo using either a string from G5-G6 (2 oct. range) or from C6-C7 (3 oct. range) 2. Play as a duet using one tree (ringing from both sides) or two bell trees in the same key. 3. Use Part 1 of the duet as an easier belltree solo. 4. Ring as a 4iH duet or small ensemble from the Solo score in either key. 5. Mix Part 1 of the duet on bells (or even another instrument) with a C instrument on Part 2 of the duet. To string your bells for the belltree, hold the lowest bell and thread the next higher bell’s handle through the lowest bell’s handle. Next thread the 3rd lowest bell’s handle through the 2nd lowest bell’s handle, and so on. You will end up with a string of 8 bells, the scale crisscrossing from side to side in order from lowest to highest bell. The castings should not touch each other or the handles - if needed, add spacer disks, clips or rubber bands to the handles to keep the bells properly spaced. Only one string is required for this Mixolydian mode piece, with the major 7

th tone (F#6 or B6) hanging behind as an individual bell, for the trills – at the same

level as the top note in the string. To trill, use a single mallet between the two bells. The usual arrangement of the string when hung on the belltree stand is with the highest bell casting on the right hand side (as shown in the photo). For this piece – it will be either the G6 or the C7. Your right hand mallet will play mostly the bells on the right side of the string and the left mallet the left side – but feel free to cross over as needed for musical effect - and when playing thirds, of course. Try to hang the belltree high enough so the center of the bell string is about shoulder height. Make sure your belltree stand is secure, weighing down the base with sandbags or extending base legs with PVC pipes slipped over them. Experiment with different hardness mallets in the space you will perform in. The “First String Series” from ringTrue Handbell Music focuses on creative Belltree pieces using an octave of bells, more or less. Check listings at www.Handbellworld.com to see new releases as well as many other pieces in the ringTrue catalog. For an authoritative and complete introduction to creating and using belltrees, please see A Bell Tree “Keyboard” Manual by Barbara Brocker (Tree-O Publishing #TO117) Sample Belltree string Best wishes!! Kathleen Wissinger 2015

tRuMPEt tuNE arr. Kathleen WissingerPart of the “First String” series of belltree pieces of one octave, more or less, Jeremiah Clarke’s “Trumpet Tune” is iconic for wedding processionals and will alos be welcome as a festive note in worship and concert. A solo of medium difficulty, it also offers options for easier duets and an easier single-line solo as well as a 4iH duet or small ensemble piece – all using either a 2 or 3 octave range (all scores are included in one folio). This well-crafted arrangement (bright and fully harmonized with a mobile set-up) will prove adaptable to almost any venue or situation, (especially where space may be limited) - even outdoors. An instruction sheet for setting up your belltree is also included.2-3 octaves Belltree Solo or Duet Rating: E or MD RE5002 $5.00

RE5002 Trumpet Tune Belltree Solo/Duet Easy or Med.Diff. 2 or 3 oct. Clarke/arr. Wissinger

First String SeriesFirst String SeriesFirst String SeriesFirst String Series

Jeremiah Clarke (1674-1707) Arranged by

Kathleen Wissinger

Belltree Solo or Duet C6-C7 or G5-G6 (both ranges included)




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cOOL cAtS Kathleen WissingerA cheeky little piece that can be played as a trio (with one 4iH part) or a small ensemble, Cool Cats will add a jazzy touch to your concert. The 4iH part can also be played using a Belltree. You’ll need one folio per ringer. Offered in both 2 and 3 octave ranges; four score options are included in one folio to accommodate ringers’ scoring preferences and available bell range. Part of the “small gems Series” (ringTrue Handbell Music) featuring solo, duet, trio and small ensemble pieces with flexible performance options.2-3 octaves trio/Quartet/Ensemble Rating: E/M RE6001 $6.00




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No Greater LoveFor the Redeemer Ringers on their 20th Anniversary;

True proclaimers of Spirit and love through their lives and their music

Church of the Redeemer, Mechanicsville, VA 2014




1

NO GREAtER LOVE Kathleen WissingerThe delicate, intricately-woven melodic line of “No Greater Love” will capture your listener’s hearts from the start. Perfect for Lenten services as well as for general worship, its carefully scored mart lifts can even evoke the nails on the cross. The mart lifts may be played on an alternate 2 oct. set of bells. Thoughtful yet strong, “No Greater Love” (Level 3, covering 3-5 oct. with optional 3-5 oct. chimes) will be a welcomed addition for any memorial service, dedication, concert or Festival setting.3-5 octaves w/ Opt 3-5 Oct Handchimes Level 3 RE8001 $5.00

RE8001 No Greater Love Level 3 3-5 oct. (Opt. 3-5 oct. Chimes) Kathleen Wissinger

Kathleen Wissinger

For the Redeemer Ringers on their 20th

Anniversary;

True proclaimers of Spirit and love through their lives and their music

Church of the Redeemer, Mechanicsville, VA 2014




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5


tHROuGH tHE StORM (HOPE ENDuRES) Kathleen WissingerA masterful and heart-felt tribute to the 32 victims and the 14 survivors of the 2007 Virginia Tech shooting, “Through the Storm” personifies the range of emotions felt by all who experience great joy, immense loss and courageous hope. This score seamlessly transitions between contrasting sections, and a simple stark motif recurs. The main theme is beautifully lyric, and a vocal solo option for the final reprise is included. “Through the Storm” will be a powerful and inspirational interlude for worship, memorial or celebratory service. This very special piece was commissioned by the VTV Family Outreach Foundation and premiered in Denver, Colorado by the Timberline Ringers.3-6 octaves w/ Opt 3-4 Oct Handchimes & Vocal Level 4 RE8002 $6.00




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*

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Semper ParatusFor the Men and Women of the U.S. Coast Guard

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q = 96 - 110

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VAN BOSKERCK

arr. Kathleen Wissinger

(ASCAP)

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Handbells used: 37, (48), (58), (64)

œb œ œ œ#( œb ) œ œb œ œ œ œb œ œb œ œ œ#( œb ) œ œb œ œ œb œ œb œ œb œ( œb ) œ œ#

( ) 3 oct omit [ ] 4 + oct. omit

optional

&

?

‚ ‚ ‚ ‚# ‚ ‚# ‚ ‚b ‚ ‚ ‚ ‚ ‚ ‚

3 octaves

Handchimes used: 20, (21)

Opti onal voicing: Mm. 65-end - Opt. Belltree (C6-C7, opt. A5-Bb5, D7-F7) or Alternate 1 octave bell set C5-C6

or C Instrument

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

Bb5 only in Mm. 65-74, if using chimes in this section

Semper Paratus(ALWAYS READY) U.S. Coast Guard Hymn

SEMPER PARATUS (ALWAYS READY)

By CAPTAIN FRANCIS SALTUS VAN BOSKERCK

© 1938 (Renewed) WB MUSIC CORP.

This Arrangement © 2014 WB MUSIC CORP.

All Rights Reserved - Used by Permission of ALFRED MUSIC

Arranged by Kathleen Wissinger (ASCAP)

Printed in the U.S.A. and distributed exclusively by Jeffers Handbell Supply www.Handbellworld.com

2

SEMPER PARAtuS (ALWAyS READy) arr. Kathleen WissingerFinally! The missing piece for Armed Service tributes and patriotic concerts: “Semper Paratus (Always Ready)” – the U.S. Coast Guard marching song. Skillfully arranged to honor this branch of the armed service, Semper Paratus features a fully orchestrated Level 3 score on 3-7 oct. handbells, with options for 1 or 3 octaves of chimes plus optional scores for countermelody on belltree, C instrument or alternate bell set. An excellent choice for festivals, concerts, school programs and patriotic or military presentations.3-7 octaves w/ Opt Belltree/Handchimes or c Inst. Level 3RE8003 $5.00

RE8003 Semper Paratus L3 3-7 octaves VAN BOSKERCK/arr. Kathleen Wissinger (Opt. 1 or 3 oct. Belltree/Chimes/Alt. bells or C Instr.)

Dedicated to the Men and Women of the United States Coast Guard

By CAPTAIN FRANCIS SALTUS VAN BOSKERCK Arranged by Kathleen Wissinger




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Semper ParatusOptional score for Chimes (C5-C6) , Alternate Bell Set or C Instrument

arr. Kathleen Wissinger (ASCAP)

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Semper ParatusOptional Treble ending - without "piccolo" counter-melody

Opt. double one octave higher - top notes or all stem-up notes to end

58 .....

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72

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74

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14


SAKuRA I arr. Kathleen WissingerBeginning ringers will love presenting this grand piece based on a beloved Japanese folk song. Melody is played in block chords throughout, allowing all to practice good ringing stroke and damping skills. Children may wish to sing with the first verse (text is included). Part of the “Class ring Series” (ring True Handbell Music) which offers carefully crafted concert scores that teach specific skills, making them worthy of classroom time as well. Also compatible with Sakura II (a Level 2 version), Sakura I is ideal to showcase multiple grades in a school program or as an all-inclusive piece in a multi-level Festival setting.3 or 5 octaves Handbells or Handchimes Level 1RE30011 $4.00




SAKuRA II arr. Kathleen WissingerThis enchanting Japanese folk song will inspire your ringers. A fine teaching piece for matching ringing strokes on chords and playing melodic 8th note lines with balanced tone and rhythm – as both clefs play each part in turn. Bold and full, Sakura II will become a favorite concert or Festival piece whether played alone or paired with other ringing ensembles playing Sakura I (a compatible Level 1 version). Part of the “Class ring Series” (ring True Handbell Music) which offers carefully crafted concert scores that teach specific skills, making them worthy of classroom time as well.3 or 5 octaves Handbells or Handchimes Level 2RE30012 $4.00




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œ œ œ œ œ œb( ) œ œ œ œ œ œ œ œb( ) œ œ

(Bb5 and Bb6 are optional)


opt.

3 Octaves: C4-E5 + opt. F5-C7 (Opt. Bb5, Bb6)Handbells Used: 11 - 23 (25)

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44

44

1 wwwwwœ œ Œ Ó

(Intro)

Œœ œ œ œ œ œ

www

F

q = 110

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(A)

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5 ˙˙˙˙˙

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&

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7˙˙˙˙˙

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8œœœ

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˙

˙œ œ œ

9˙˙˙˙

˙˙˙˙˙

œ œ œœ

œ˙˙ ˙

˙

2


Matinata ISplit-Level Series: Zero to Six L1 positions - F5-C7


Brightly


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˙˙

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(Coda)

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30˙˙˙˙˙˙

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4

Matinata I - Wissinger

Split-Level Series

This series targets mixed ringing groups with different levels of experience among members: a multiple-grade class in which younger ringers join an experienced group each year - or an established group welcoming new ringers into the fold, or simply a group of mixed abilites in which everyone wants to be successful - or even a L2 group with some easy 4iH positions. A core of ringingpositions is Level 2 (L2) and other specific positions are Level 1 (L1). In addition, these are simplyfun pieces for any L2 group to play.

Matinata is presented in three different versions for flexibiity. These three scores are all compatible. Select the setting that best suits your ringers' needs. These versions feature core Level 2 ringing positions and options for from zero-to-six Level 1 positions. All three scores include an optional L1 Bassscore for C3-F4 for more flexibility. Unison Exercises are also included to teach rhythms and techniques.

Matinata I (3-5 oct.) (RE230312) has a core of five Level 2 ringers from C4-E5. These Level 2 ringershandle the melodic line and all 8th notes. The remaining L1 postions (F5-C7) are optional and can be added as needed. I suggest you add positions from the core upward: -- For example, if you have 2 new ringers, they can ring: F5G5 (fill this position first) and A5B5 -- One more L1 ringer can be added at C6D6....and so on.

Matinata II (3-5 oct.) (also RE230312) works similarly, except its core L2 positions include C6-C7, leaving F5G5 and A5B5 as the two available L1 positions.

Matinata III (3-5 oct.) (RE30023) includes all ringers in L2 positions, and, because the second "B" section is embellished, does not employ a repeat - but plays straight through. Measure numbers tocomply with the other scores are included (#12, #13, etc.)

Note: "Morning Song A/B" - another offering in Class ring and Split-Level Series - is the same melody and general layout as "Matinata," but it is set in two additional different keys (D and Ab) to offer 2-3 oct.and 3 oct. option and additional variety of L1 positions in the bass clef range. These two scores are not compatible with each other, nor are they compatible with any Matinata scores.


I have learned from some of the best pedagogues in the handbell world that all ringers can play successfully and confidently when they are properly trained and given music they can understand. Split-Level pieces been proven time and again in both classroom and rehearsal to be an excellent resource to develop confident capable ringers.


Class ring Series

One more note on Matinata and Morning Song - they are created for specific ringing ease to teach 8thnotes. To further assure ringing success: all 8th note pairs in these pieces are played within a usual ringing position - so all ringers will play "1-and" or "2-and" or "3-and" - but never "....and-1" or "...and-2" - which is a more complex rhythmic skill. See the Unison Exercise sheet provided.

1

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.

.

.

.

10˙˙˙˙

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13

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(B)

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p

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p

14

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15

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16

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.

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17

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18˙˙˙˙

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b œœ

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œ œ œœœ œ œ œ

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* Optional - omit Bb5 and Bb6

20

˙˙˙

œœœ

Œ

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˙˙˙

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f

F

SK 21˙˙˙˙˙

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(A)

˙˙

˙

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Matinata I - Wissinger

LV

R

3

MAtINAtA I & II, MAtINAtA III Kathleen Wissinger“Split-Level” pieces for Level 1 and 2 ringers - Just what you’ve been waiting for! The innovative “Split-Level Series” features Level 2 pieces with specific Level 1 positions, to seamlessly integrate new or beginning ringers into an established group; also useful for multiple-grade ensembles in schools and multi-level Festivals. Please note: Morning Song A&B (RE2302AB) is the same tune as Matinata I, II & III but is set in different keys – so neither Morning Song A nor Morning Song B are compatible with any Matinata settings. All three Matinata settings ARE compatible. “Split-Level” continued on page 40

RE 230312 Matinata I & II Level 1/2 3-5 oct. Kathleen Wissinger

Split-Level & Class ring Series

Matinata I & II


Two Compatible L2 Scores with up to six L1 positions

+ Opt. L1 Bass 4th/5th oct. score

Compatible with L2 Matinata III (RE 30023)

(SametunebutNOTcompatiblewithMorningSongRE2302AB)




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21

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˙œ œ œ œœ œ

23

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24

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26˙˙

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28 ˙˙˙˙˙

œ œ œ œ

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œœ

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(Coda)

** Chimes may RT for mart, Vib. for echo

f

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30 ˙˙˙˙˙˙

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˙˙˙˙

Matinata II - Wissinger

8

4

4

1

œ œ œ œ

A2

œ œ œ œ œ œ

3

œ œ Œ œ œ Œ

4

Œ œ œ Œ œ œ

44

5

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B6

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7

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8

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9

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C10

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11

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12

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44

13

˙

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D14

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15

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16œ œ

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44

17

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˙˙˙˙

˙˙

˙˙

E18

˙˙˙

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œœ

œœ œ œ

19

œ œ œœ

œ˙˙˙

˙˙˙

20


˙˙˙

˙˙

˙˙




Double voicing

"Not my notes"

Basic 8th notes

These unison exercises will prepare ringers for the rhythms, patterns and techniques they will encounter in Matinata. Assign everyone's left hand bell to the space note, and everyone's right hand bell to the line note (Notes names do not matter!) Everyone counts and rings the same measure at the same time. To make it sound better: try assigning a C, E, G or Bb (making a C7 Chord) to the left hand and a Sharp or Flatto the right hand (making a pentatonic chord.) Marting lightly at first allows ringers to hear themselves and self-correct rhythm problems. Lines B and C introduce the techniques required, Line D requires ringers to count and read past notes that are not theirs, and Line E shows how to follow stem directions for doublevoicing. You can quickly draw these exercises on a white board to encourage confident mastery of these skills.

Techniques

9

&

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.

.

.

.

10


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13

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p

P

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14

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15

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16

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b œœ

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20

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f

SK

7

Matinata II - Wissinger

LV

R

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œ œ œ œ œ œb( ) œ œ œ œ œ œ œ œb( ) œ œ

(Bb5 and Bb6 are optional)


opt.3 Octaves: C4-E5 + opt. F5-C7 (opt. Bb5 and Bb6)Handbells Used: 11 - 23 (25)

&

?

44

44

1wwwwwœ œ Œ Ó

(Intro)

Œœ œ œ œ œ œ

www

F

q = 110

2˙˙˙˙

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œ

œ

˙˙˙

œœ

œ

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www

&

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4˙˙˙˙˙˙˙

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(A)

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œœœ œ œ

SK

SK

5

œ œœ œ

˙˙˙˙

˙

˙˙˙˙

˙˙

˙

œ œœ œ

6œ œ œ œ

œ œ

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˙

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˙˙

˙œ œ œ œœ œ

&

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7

œ œ œœ œ œ

˙˙˙˙

œ

œœœœ

œ

œœœ

˙˙

˙

œ œ œœ œ œ

8

˙˙˙

œ œ œœœœ

œ

œ

˙

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˙˙

˙

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9 œ œ œœœ œ

˙˙˙

˙˙˙

œ œ œœœ œ

˙˙

˙


Matinata IISplit-Level Series: Two L1 positions - F5-B5


Brightly


6

pieces for Level 1 and 2 ringers - Just what you’ve been waiting for! Matinata’s sprightly melody centers on a core of 5 or 9 L2 ringers using 8th notes, while the L1 positions (from zero to 6 ringers in Matinata I - and 2 ringers in Matinata II) invite newer ringers to confidently play with simpler chords and quarter notes. Offered in 2 compatible settings for 3-5 octaves to allow flexible assigning of your L1 ringers to select the best range for them. (Matinata III (RE30023), a separate version with all L2 positions, is also compatible with Matinata I and II.) A variety of techniques are used in appropriate ranges, and a Unison Exercise sheet is included to prepare your ringers for the rhythms and techniques used in the piece. Of special note: All 8th note pairs in Matinata are rung by individual ringers, making the 8th notes much easier to count and ring.Matinata I & II: RE230312 3-5 Octaves Handbells or Handchimes– Level 1/2 $5.00Matinata III: RE30023 3-5 Octaves Handbells or Handchimes– Level 2 $5.00


4

4

1

œ œ œ œ

A2

œ œ œ œ œ œ

3

œ œ Œ œ œ Œ

4

Œ œ œ Œ œ œ

44

5

Œ œ œ ˙

B6

Œ œ œ ˙

7

œ œ œ Œ œ

8

œ œ Œ œ

RTœ

RT

44

9

œ Œ œ Œ

C10

Œ œ Œ œ

11

Œ œ œ œ œ

12

˙ ˙

4

413

˙

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D14

œ œœ

œ œœ

15

œœ œ œ œ œ

16œ œ

œœ

œ œ

44

17

œ œ œœ œ œ

˙˙˙˙

˙˙

˙˙

E18

˙˙˙

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œœ

œœ œ œ

19

œ œ œœ

œ˙˙˙

˙˙˙

20


˙˙˙

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Double voicing

"Not my notes"

Basic 8th notes

These unison exercises will prepare ringers for the rhythms, patterns and techniques they will encounter in Matinata. Assign everyone's left hand bell to the space note, and everyone's right hand bell to the line note (Notes names do not matter!) Everyone counts and rings the same measure at the same time. To make it sound better: try assigning a C, E, G or Bb (making a C7 Chord) to the left hand and a Sharp or Flatto the right hand (making a pentatonic chord.) Marting lightly at first allows ringers to hear themselves and self-correct rhythm problems. Lines B and C introduce the techniques required, Line D requires ringers to count and read past notes that are not theirs, and Line E shows how to follow stem directions for doublevoicing. You can quickly draw these exercises on a white board to encourage confident mastery of these skills.

Techniques

2

Split-Level Series

This series targets mixed ringing groups with different levels of experience among members: a multiple-grade class in which younger ringers join an experienced group each year - or an established group welcoming new ringers into the fold, or simply a group of mixed abilites in which everyone wants to be successful - or even a L2 group with some easy 4iH positions. A core of ringingpositions is Level 2 (L2) and other specific positions are Level 1 (L1). In addition, these are simplyfun pieces for any L2 group to play.

Matinata is presented in three different versions for flexibiity. These three scores are all compatible. Select the setting that best suits your ringers' needs. These versions feature core Level 2 ringing positions and options for from zero-to-six Level 1 positions. All three scores include an optional L1 Bassscore for C3-F4 for more flexibility. Unison Exercises are also included to teach rhythms and techniques.

Matinata I (3-5 oct.) (RE230312) has a core of five Level 2 ringers from C4-E5. These Level 2 ringershandle the melodic line and all 8th notes. The remaining L1 postions (F5-C7) are optional and can be added as needed. I suggest you add positions from the core upward: -- For example, if you have 2 new ringers, they can ring: F5G5 (fill this position first) and A5B5 -- One more L1 ringer can be added at C6D6....and so on.

Matinata II (3-5 oct.) (also RE230312) works similarly, except its core L2 positions include C6-C7, leaving F5G5 and A5B5 as the two available L1 positions.

Matinata III (3-5 oct.) (RE30023) includes all ringers in L2 positions, and, because the second "B" section is embellished, does not employ a repeat - but plays straight through. Measure numbers tocomply with the other scores are included (#12, #13, etc.)

Note: "Morning Song A/B" - another offering in Class ring and Split-Level Series - is the same melody and general layout as "Matinata," but it is set in two additional different keys (D and Ab) to offer 2-3 oct.and 3 oct. option and additional variety of L1 positions in the bass clef range. These two scores are not compatible with each other, nor are they compatible with any Matinata scores.


I have learned from some of the best pedagogues in the handbell world that all ringers can play successfully and confidently when they are properly trained and given music they can understand. Split-Level pieces been proven time and again in both classroom and rehearsal to be an excellent resource to develop confident capable ringers.


Class ring Series One more note on Matinata and Morning Song - they are created for specific ringing ease to teach 8thnotes. To further assure ringing success: all 8th note pairs in these pieces are played within a usual ringing position - so all ringers will play "1-and" or "2-and" or "3-and" - but never "....and-1" or "...and-2" - which is a more complex rhythmic skill. See the Unison Exercise sheet provided.

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Matinata - Bass ScoreOptional score for L1 chimes or bells - C4-F4 for extra ringers

3, 4 or 5 OctavesHandbells Used: 2 - 12

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10

Kathleen Wissinger (ASCAP)

RE 30023 Matinata III Level 2 3-5 oct. Kathleen Wissinger

Class ring Series

Matinata III


Compatible with Matinata I & II (RE230312)

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opt.3 Octaves: C4-E5 + opt. F5-C7 Handbells Used: 11 - 25

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Matinata IIIAll L2 Positions


Brightly

Chimes may RT for mart, Vib. for echo


1:50

3

PRSRTD STDU.S. POSTAGE

PAIDIRMO, SC

29063PERMIT NO 22

JHSRE0615

SHIP tOName:Attn:Address:city: State: Zip: Phone: Ext:

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PO Box 1728 • Irmo, SC 29063-1728 (803) 781-0555 • Fax: (803) 781-3020

email: [email protected] • www.HandbellWorld.com

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PO Box 1728Irmo, SC 29063-1728

StOcK # tItLE LEVEL Oct. ADD. INfO ARRANGER Qty. uNIt PRIcE tOtAL PRIcE

MRE1001R Noah’s Ark 0 2-3 Parts for 2-18+ Ringers/ Handbells or Handchimes/ Narration Wissinger $20.00

MRE1002R Stone Soup 0 2-3 Parts for 2-18+ Ringers/ Handbells or Handchimes/ Narration Wissinger $20.00

MRE2001AB Echoes of the Past A & B 1/2 Split Level 2 Oct & 3-5 Oct HB Wissinger $5.00

MRE2302AB Morning Song A & B 1/2 Split Level 2-5 Oct & 3 Oct HB Wissinger $5.00

MRE3003 Providence 1+ 3-5 Wissinger $5.00

MRE5001 A thankful Heart E 2-3 Belltree Solo w/ Opt. Piano Wissinger $5.00

MRE5002 trumpet tune E/ MD 2-3 Belltree Solo or Duet Wissinger $5.00

MRE6001 cool cats E/M 2-3 Trio/Quartet/Ensemble Wissinger $6.00

MRE8001 No Greater Love 3 3-5 Opt. 3-5 Oct. Handchimes Wissinger $5.00

MRE8002 through the Storm (Hope Endures) 4 3-6 Opt. 3-4 Oct. Handchimes & Vocal Wissinger $6.00

MRE8003 Semper Paratus (Always Ready) 3 3-7 Opt. Belltree/ Handchimes or C Instr. Wissinger $5.00

MRE30011 Sakura I 1 3 or 5 Handbells or Handchimes Wissinger $4.00

MRE30012 Sakura II 2 3 or 5 Handbells or Handchimes Wissinger $4.00

MRE230312 Matinata I & II 1/2 3-5 Handbells or Handchimes Wissinger $5.00

MRE30023 Matinata III 2 3-5 Handbells or Handchimes Wissinger $5.00

new music for handbells and handchimescorresponding chimes in place for the number of ringers you...

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