New Music for Handbells and Handchimes New Music for Handbells

Transcription

Fall/Christmas 2015
New Music for
Handbells and
Handchimes
from
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.
2
1-800-JHS-BELL (1-800-547-2355) 8am - 6pm (est) Mon. - Fri.
Email: [email protected]
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RE1001R
Noah’s Ark – Chord Stories
Level Zero
2-3 octaves
Kathleen Wissinger
A Quick Musical Adventure for Novice or non-Ringers
NOAH’S ARK
2 or 3 octaves bells or chimes
Parts for 2 to18 (or more) ringers
Chord Stories
Narration and Complete Instructions Included
All reproducible for original purchaser
Kathleen Wissinger
Allows 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 Zero
RE1001R $20.00
Quick Adventures in Ringing
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 **.
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.)
This is the story of Noah, a strong faith, a challenge and an amazing journey.
Background: Chord Stories were developed to allow non-ringers to quickly work-up a fun performance-worthy
nd
th
presentation with the goal “Everybody gets to ring!” I developed Chord Stories leading 2 – 5 graders at a weeklong 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.
they had adopted wicked ways and were not following his wishes. But there was one man who
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.
A long time ago, there came a time when God was very displeased with people in general –
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
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 setup 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.
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.
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.”
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-leftright-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.
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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. Note also that
Part 3 is empty – which is okay. See more assignment examples at the
bottom of the page.
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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.
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3
Noah’s Ark Assignments – 2 Octaves
Noah’s Ark Assignments – 3 Octaves
Character and Position Number
Noah’s Ark – Characters Below are “snapshots” of each character ‐ fully staffed ‐ to help you teach each pattern by rote. Character and Position Number
Noah
Noah
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
Play any or all notes within your two or three octave range. 4. _____________________________
Ark
Ark
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
Animals
Animals
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
God
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
4. _____________________________
Townspeople
Part 3 Part 2 Part 1 God
Townspeople
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
Rain
Rain
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
4. _____________________________
Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
Printed and distributed exclusively by Jeffers Handbell Supply www.Handbellworld.com
This page may be reproduced by original purchaser for practice and performance E4 F4 Part 4 C4 G4 – C5 G5 – E5 F5 NOAH ‐ 2 oct. G4 – C5 G5 – E5 F5 Part 3 Part 2 Part 1 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance 4
NOAH ‐ 3 oct. This page may be reproduced as needed only by the original purchaser.
This page may be reproduced by original purchaser for practice and performance Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance E6 F#6 ‐ Bb6 C7 D6 C6 ‐ F6 G6 ‐ A6 B6 Animals ‐ 3 oct. Part 3 Part 2 Part 1 ARK ‐ 2/3 oct. Animals ‐ 2 oct. Part 2 Part 1 GOD ‐ 2/3 oct. Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance C#5 D#5 ‐ E6 F#6 Part 2 Part 1 Part 3 Part 2 Part 1 A5 – A4 B4 ‐ D5 F#5 Part 4 D4 F#4 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
Townspeople ‐ 2/3 oct.
This page may be reproduced by original purchaser for practice and performance D#4 G#6 Parts 4/5 C#4 – (C#5 D#5) – G#4 A#4 Part 3 Part 2 Part 1 (Plus all other sharps) Rain ‐ 2/3 oct.
Part 2 Part 1 A#5 D#6 – B5 C#6 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
RE1002R
Stone Soup – Chord Stories
Level Zero
2 or 3 octaves
Kathleen Wissinger
A Quick Musical Adventure for Novice or Non-Ringers
Stone Soup
Kathleen Wissinger
Allows 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 Zero
RE1002R $20.00
2 or 3 octaves chimes or bells
Parts for 2 to 18 (or more) ringers
Narration and Complete Instructions Included
Chord Stories
All reproducible for original purchaser
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
nd
th
presentation with the goal “Everybody gets to ring!” I developed Chord Stories leading 2 – 5 graders at a weeklong 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 setup 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 B4th
D5-B4 in the same rhythm. Add Part 3 similarly on G4-A4-G4. If you have 3 octaves and a 4 available ringer, Part
4 rings G5-D4-G5, fully staffing the character of the “Iron Pot.”
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.)
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.
7
Stone Soup – Characters for 2 or 3 octave ranges Stone Soup Assignments – 2 Octaves
Stone Soup Assignments – 3 Octaves
Below are “snapshots” of each character ‐ fully staffed ‐ to help you teach each pattern by rote. Play any or all notes within your two octave range. Traveler
Traveler
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
4. _____________________________
Stone
Stone
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
Villagers
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
4. _____________________________
Iron Pot
Iron Pot
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
Villagers
Play any or all notes within your three octave range. Food
Part 3 Part 2 Part 1 4. _____________________________
Food
1. _____________________________
1. _____________________________
2. _____________________________
2. _____________________________
3. _____________________________
3. _____________________________
This page may be reproduced by original purchaser for practice and performance C#4 D#4 Part 4 G#4 D#4 – A#5 A#6 – G#5 D#6 1-800-JHS-BELL (1-800-547-2355) 8am - 6pm (est) Mon. - Fri.
Traveler – 3 oct.
Traveler – 2 oct.
Part 2 Part 3 Part 1 C6 – A#4 F5 – A#5 F6 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced as needed only by the original purchaser.
E5 G6 – C5 G5 – D#6 E6 Opt. ‐ Part 1 starts alone ‐ then add parts as villagers gather Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance Villagers – 2 oct.
Stone – 3 oct.
This page may be reproduced by original purchaser for practice and performance Opt. ‐ Part 1 starts alone, then add parts as villagers gather
C4 F4 Part 4 C5 C7 – F5 C6 – G#6 A6 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance F#4 A#4 – C#5 F#5 Part 2 Part 1 Part 3 Part 2 Part 1 Villagers – 3 oct.
Stone ‐ 2 oct.
Part 2 Part 1 Part 3 Part 2 Part 1 C#5 E5 – G#5 C#6 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance www.HandbellWorld.com
9
G#4 D#5 – F#5 B5 – F#6 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance Food ‐ 2 oct.
Iron Pot ‐ 3 oct.
This page may be reproduced by original purchaser for practice and performance L R L B6 G5 D4 Part 4 Part 4 Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
This page may be reproduced by original purchaser for practice and performance E4 E5 – B5 C#6 – E6 F#6 G4 A4 – B4 D5 – D6 A5 Part 1 Part 2 Part 3 Part 3 Part 2 Part 1 1-800-JHS-BELL (1-800-547-2355) 8am - 6pm (est) Mon. - Fri.
Food ‐ 3 oct.
Iron Pot ‐ 2 oct.
Part 1 Part 2 Part 3 Part 3 Part 2 Part 1 G4 A4 – B4 D5 – D6 A5 L R L Copyright © 2015 Kathleen Wissinger All Rights Reserved. Printed in U.S.A.
RE2001AB
Echoes of the Past A & B
Level 1/2 (Split-Level)
2 oct.(A) & 3-5 oct.(B)
Echoes of the past A & B
Kathleen Wissinger
Kathleen Wissinger
This 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 C4E5. “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
2 Octave Score
Echoes of the Past - A
& 44 ˙
P
? 44 ˙
Intro
by Kathleen Wissinger
.
& œ˙
5
Note: Echoes of the Past - A (2 oct.) is NOT compatible
with Echoes of the Past - B (3-5 oct.)
2 Octaves
Handbells Used: 16
&
œ
œ
œ
œ
œ
œ
œ
œ
?
œ
œ
#œ
œ
between staves apply to treble and bass notes
œ
œ
œ
œ
?˙
j
œœœœ
˙
˙
˙
˙
˙
˙
6
13
j
œ œ˙ œ œ
˙˙
˙˙
œ.
˙
˙
3 A
2
˙
*
˙
7
w
˙
˙
˙
˙
10
˙
œ
œ
œ
œ
œ
&˙
˙
˙
˙
˙
?˙
.
& œ˙˙˙
? ˙˙
4
j
œ œœœœ œ œ ˙
˙
˙ ˙
Kathleen Wissinger
˙
˙
˙
œ œ œ œ œ œ8 œ œ œ œ œ
˙
˙
˙
˙
˙
˙
˙
˙
12
j
œ˙˙ . œ œ˙ œ œ œ œ˙˙ œ ˙˙˙˙
˙˙
˙˙
˙
˙
F
˙˙
˙˙
˙˙
˙˙
11 A
9
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.
2:15
2 Octave Score
Moderato q = 88
For Makenna, Mariah, Charles and Timothy RCS 2009
and for William, Jakob, Iain, Peter, Makaela, Rachel RCS 2011
Split-Level Series
Level 2 positions A5-G6
Five Level 1 positions G4-B5 (AB5 is L1+)
2
Echoes of the Past - A
˙
˙
14
ẇ˙
˙
˙˙
œ œ œ œ œ œ 16œ œ œ œ œ
˙˙
˙˙
˙˙˙
˙˙˙
˙
˙
˙˙
˙˙
˙˙
˙˙
15
˙˙˙
˙˙
*Opt. solo C instrument, suspended bells, belltree or bell duet/trio m. 3-10 on melody line
3
18
ẇ
œ
œ
œ
œ
˙
œ
˙˙
& ˙˙
˙˙
˙˙
˙˙
? ˙˙
œ˙˙ œ œ œ˙ œ œ œ œ œ œ œ
˙
w
˙
f
˙˙
ww
˙˙
19 B
17
˙˙˙
˙˙
œ œœœ œ œ œœ˙
& ˙˙
˙˙
˙˙ # ˙˙
˙˙
˙˙
˙
? ˙˙
23
& ˙œ˙˙
? ˙
œ œ œ œ ẇ˙
˙˙
˙
˙˙
˙˙
27 A
œ.
& ˙˙˙
? ˙˙
j
œ œ˙ œ œ
˙˙
˙˙
21
25
29
22
26
œ˙
˙
˙˙
20
œ
œ œ˙œ˙ œ œ w œ œ œ œ
w
˙˙
ww
24
28
j
œ˙˙ . œ œ˙ œ œ œ œ˙˙ œ ˙˙˙˙
˙˙
˙˙
˙
˙
F
˙˙
˙˙
˙˙
˙˙
˙˙˙
˙˙
34
& ˙œ˙˙ œ œ ˙œ˙ œ
˙˙
? ˙˙
36
& œ˙˙˙
? ˙˙
œ
Sk
˙
œœœ
œœ
œœœ
œœ
wẇ
˙˙
˙˙
37
œœœ
œœ
œ˙˙ .
˙
˙˙
œœœ
œœ
35
œ œ œ œ œ œ 40 œ œ œ œ
˙˙
& ˙˙˙
œœœ œœœ
œœœ œœœœ
˙
œœ œœ
œœ œœ
˙˙
? ˙˙
39
ẇ
˙˙
˙˙
˙˙˙
˙˙
œ œœœ œœ
˙˙
˙˙˙
˙
˙˙
˙˙
31
œ˙ œ œ œ œ
˙˙˙
˙˙
˙˙
˙˙
32
42
œ œ œ œ œ 43 œ œ œ œ 44ww
œ
www
& www
ww
rit.
ww
ww
? ww
j
œ œœ œ œœ œ
œœ œœ
œœ œœ
A
˙œ˙ .
˙
˙˙f
j
œ œœ œ œœ
œœ œœ
œœ œœ
Coda
30
Echoes of the Past A - Wissinger
33
38
ẇ˙
˙
˙˙
Sk
41
œœœ
œœ
4
œœœ
œœ
œ˙˙ œ œ œ œœ
œœ œœ
˙
œœ œœ
˙˙
˙˙
˙˙
˙
˙˙
45
U̇
˙
˙˙
F
˙
u
Echoes of the Past A - Wissinger
11
3 Octave Score
5
6
Echoes of the Past - B
Intro 1
4
&b 4
5
& b œ.
Split-Level Series
Level 2 positions F5-C7
Five Level 1 positions C4-E5
? b ˙˙
Note: Echoes of the Past - B (3-5 oct.) is NOT compatible
with Echoes of the Past - A (2 oct.)
&
?
œ
œ
œ
œ
œ
œ
œ
œ
œ
bœ
œ
œ
œ
œ bœ
œ
between staves apply to treble and bass notes
œ
œ
œ
œ
œ bœ
œ
œ
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

˙˙
6
˙˙
˙˙
&b œ œœœ œ
˙˙
? b ˙˙
13
œ.
& b ˙œ .
? ˙˙˙˙
b
10
j
œ œœœ
œ œ˙ œ œ
˙˙
14 R
15
˙
˙˙˙
˙˙
˙˙
˙˙˙
˙˙
˙˙
R
j
œ œ œ œ œ 12 œ œ ˙
œ
˙˙˙
œ œ œ œ œ œ˙
˙
˙
˙˙ ˙˙˙
˙˙˙
˙˙
œ.
œ˙ .
F˙
˙˙˙
w
ẇ
˙˙
˙˙
w
˙˙
˙˙
8
11
˙˙
˙˙
œ œœœ œœ œ œœœ œ
A
9
œ.
˙˙
7
w
˙˙
*
˙˙
˙˙
j
œœœœ
4
j
œœœœœ œ œ ˙
3 A

P
? b 44 ˙˙
For Makenna, Mariah, Charles and Timothy RCS 2009
and for William, Jakob, Iain, Peter, Makaela, Rachel RCS 2011
3 Octaves
Handbells Used: 24
2:15
Kathleen Wissinger, ASCAP
Moderato {q = c 88}
3 Octave Score (Opt. 4-5 Oct. Bass Score included)
œ œ œ œ œ œ 16 œ œ œ œ œ
œœ œ œ œœœ œ œ œ œ œ œ œ
˙
˙
˙
˙
˙˙
˙
˙
˙˙˙
˙˙
˙˙˙
˙˙
*Opt. solo C instrument, suspended bells, belltree or bell duet/trio m. 3-10 on melody line
7
œ œœ œ
& b ˙œ œ œ œ˙ œ
˙
˙˙˙
? b ˙˙˙
17
18
œ œœœ œ
& b œœœ œœ œœ œœ œœ
29
&b
?b
œ.
œ˙ .
˙˙
˙˙
22
˙˙˙
˙
œ œœ œ
& b œœœœ œ œ œœœœ œœœ
˙˙˙˙
? b ˙˙˙˙
25
19
˙˙
˙˙
21
? ˙˙˙˙
b
wR
w
˙˙˙˙
œœœ œ œ ˙˙
œœ œ œ n ˙˙˙
˙˙
n ˙˙
˙˙
˙
w
w
j
œ œœœ
œ œœœ
˙
˙˙˙
23
A
27
R
26
B
œœœ œ œ œœœ œ œ 20 œœœ œ œ œ œœ
œœ œ œ œ œ œ œœ
œœ œ
˙˙
ww
˙˙˙
˙˙
ww
˙
˙˙
˙˙
œ.
œ˙ .
F
˙˙
˙˙
˙˙˙˙
R
30
w
ẇ
˙˙
˙˙
31
˙
˙˙˙
œœœ œ œ œœ œœ œ 24 œœœ œœ œœ œœœ œœ
œœ œ œ œœœ œ œ œ œ œ œœ œœ
˙˙
ww
˙˙˙
˙˙
ww
˙
R
j
œ œ œ œ œ 28 œ œ ˙
œ œ˙ œ œ œ œ˙ œ ˙˙˙˙
˙˙ ˙˙˙
˙˙˙
˙˙
œ œ œ œ œ œ 32 œ œ œ œ
œœ œ œ œœœ œ œ œ œ œ œ œœ
˙
˙
˙
˙
˙˙
˙
˙˙˙
˙˙˙
˙˙˙
˙˙
Echoes of the Past B - Wissinger
12
œ œœ œ
& b ˙œ œ œ œ˙ œ
˙˙˙
? ˙˙˙˙
b
33
œœ ..
& b œ˙œ ..
37
? b ˙˙˙˙
40
&b
?b
œ
œ˙
˙˙
˙˙
j
œ
œ
ww
ww
ww
˙˙
˙˙
œœ œ œ
œœ œ œœ
œœ
œ
œœœœ œœœœ
œ œ œœ œ
œ œ œœ œœœ
œ œ
œœœœ œœœœ
www
& b wwœœ œ œ œ
w
? b www
43
34
A
35
œœ œœ
œ œ
www
ẇ
j
œ œœ œ œ œ 36 œœ
œ œœœ œ œœœœ œ œ˙œ
œœœœ œœœœ ˙˙˙˙
38 Sk
˙˙
˙˙
41
œœ
œœ
˙
˙˙
˙˙
œ
œœœ ..
.
˙œ .
˙˙f
˙˙
39
œ œ
œœœœ œœœœ
œ œ œ œœ
œ œ œœœ œœœ
œœœœ œœœœ
ww
ww
ww
rit.
ww
ww
44
œœ
œœ
œ˙
˙˙
˙˙
œœ
œœ
˙˙˙
˙˙˙
˙œ œ
œœœœ œœœœ
œ œ œœœœ
œ œ œœœœ
œœœœ
œ œ
œœ œ
œœœœ
ww
ww œ œ
œ
w
Œ
ww
ww
Sk
8
Coda
42
45
˙˙
˙˙
˙˙
˙˙
˙˙
œ
U˙
˙˙
˙
F
˙˙
˙
u
Echoes of the Past B - Wissinger
Bass 4th/5th Oct. Score
9
22
?
Optional: 4-5 Octaves
Handbells Used: 4, (7)
?
bœ
œ
œ
œ
œ
œ
Moderato {q = c 88}
Intro
2
? 4
b 4 ˙
P ˙
4
n˙
˙
?
3
b ˙
˙
˙˙
28
˙˙
˙
A 5
˙˙
˙
6
˙
?
˙
?
7
b ˙
˙
b ˙
˙
˙˙
˙
8
˙˙
˙
˙˙
˙
9
10
b ˙
˙
b ˙
˙
A 11
?
b ˙
F ˙
˙˙
˙˙
˙˙
16
˙˙
20
˙
˙
˙˙
ww
˙˙
˙
˙˙
?
˙˙
˙˙
˙˙
?
b ˙
˙
43
21
˙
˙
b ˙
˙
˙
˙
?b w
w
˙˙
A 27
˙
F ˙
˙˙
˙˙
˙˙
30
˙˙
33
˙˙
˙˙
˙˙
A 35
œ œ
œ œ
.
˙˙
.
38
œ œ
œ œ
.
.
.
.
˙˙
œ œ
œ œ
.
˙˙
.
42
˙˙
44
œ œ
œ œ
.
.
39
41
œ œ
œ œ
˙˙
36
œ œ ˙
œ œ f ˙
.
.
40
18
˙˙
˙˙
˙˙
b ˙
˙
˙˙
w
w
32
37
14
17
˙˙
B 19
?b
13
˙˙
˙˙
˙˙
˙
12
15
b ˙
˙
˙˙
˙
?
˙
˙
˙˙
34
?
˙
˙
29
˙˙
10
24
26
31
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b ˙
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25
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1
23
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.
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.
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rit.
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Echoes of the Past B Bass -Wissinger
F
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13
RE2302AB
Morning Song A&B
L1/2 (Split-Level)
2-5 oct.(A) & 3 oct. (B)
MORNING SONG A & B
Kathleen Wissinger
Kathleen Wissinger
Features 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
SPLITSPLIT-LEVEL Series & Class ring Series
Morning SongA&B
1
For Rachel, Mikaela, William, Peter, Iain, Jakob - RCS 2012
Split-Level Series
2
Morning Song A
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/5th 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.
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.
(Same tune as Matinata I, II & III (RE230312 & RE30023) – but NOT compatible!)
Split-Level Series: Up to Six L1 positions C4-C5 and A6-C7 (plus C3-B3)
All 8th note pairs are within individual positions.
Opt.
2-5 Octaves: (L2) D5-F6 + opt. (L1) C4-C5, G6-C7, C3-B3
Handbells Used: 11-30 (32 - C#5 and C#4 are optional)
œ œ œ œ
œ œ #œ œ œ #œ
œ œ #œ œ œ
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 ringers
handle the melodic line and all 8th notes. The remaining six L1 postions in 3 oct. (C4-C5 and A6-C7) are
optional 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.
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)
#œ œ œ œ œ #œ
œ œ œ #œ œ œ
œ œ œ #œ œ
Opt. C#4 and C#5
Opt.
Brightly
# wœ œ
& # 44 www œ œ œ œ œ œ
(Intro)
1
2
F
? # # 44
"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.
#4 ˙
& # ˙˙˙
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.
? ## œ
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 their
ability.
Œ
˙˙
˙
P˙
8
˙˙
#7 ˙
& # ˙˙œœ œ œ ˙œœ œœ œ
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 notes
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 on Page 5.
œ
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F
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P
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(A) 5
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Kathleen Wissinger
(ASCAP)
3
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rit. RT
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f
24 ˙
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27 ˙
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Morning Song A - Wissinger
14
23 ˙
˙
œ œ ˙œ
(Coda)
? ##
(A)
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˙
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& # ˙˙˙œ œ œ ˙˙œ œ
? # # ˙˙˙
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œ
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& # ˙˙œ œ œ
? # # ˙˙˙
˙
LV
15 ˙
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˙
œ
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˙
œ
œ
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˙˙
˙
# 16 ˙˙ ..
& # ˙˙˙œ... ˙
? # # œœ
11 ˙
˙
œ œ œ˙˙ œ œ
œ
Morning Song A - Wissinger
Eighth Note Pairs - Unison Exercise
5
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 Flat
to 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 double
voicing. You can also draw these and additional exercises on a white board to encourage confident mastery
of these skills.
Morning Song B
Split-Level Series: - Up to Six Level 1 positions C4-G5 (plus C3-B3)
bœ œ bœ bœ œ
bœ œ bœ bœ œ
bœ bœ œ bœ œ bœ
3 Octaves: (L2) A5-C7 + opt. (L1) C4-G5
Handbells Used: 11-23 (25)
&
opt.
Note: Ab5-C7 are core L2 positions, add L1 positions starting F5 down
A
?
Basic 8th notes
1
2
3
4
4 œ œ œ œ œœœ œœœ œœŒ œœŒ Œ œœŒ œœ
4
5
6
C
10
44 œ Œ œ Œ
D
12
Œ œ Œ œ Œ œœœ œ ˙
˙
"Not my notes"
14
13
4
4 ˙
œœœ
œ œœ
15
16
œœ œ
œœœ œ œœœœœ
œ œœ
Double voicing
17
44
18
19
20
˙˙ œ ˙˙œ œ ˙˙ ˙˙ œ œ ˙œ œ œ
˙ ˙˙
œ˙ œ ˙ œ ˙œ œ ˙œ
œ˙ œ ˙˙˙œ œ œ ˙œ œ œ
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4
b b b ˙˙˙
b
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b
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7
8
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b ˙˙
& b b b ˙˙œ œ œ ˙˙ œ œ œœ œ ˙˙˙
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9
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(A)
Œ
21
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b ˙œ œ ˙˙œ
& b b b ˙˙˙ œ ˙˙˙ œ œ ˙˙œ œ œ ˙˙ œ œ
22
23
? b b b ˙˙
b
˙˙
˙˙˙
25
b ˙œ œ œ œ˙˙ œ
& b b b ˙˙
˙
˙˙
˙
26
24
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˙
œ
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˙˙ œ
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28
bbbb
Œ
˙˙œ œ ˙˙œ œ œ 27 ˙˙œ
œœœ œœœ
œ
œ
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œ
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œœœ œœœ 30 ˙˙˙
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˙˙
&
˙˙
Œ œ
RT RT
œœ œœ
˙
œœ œœ ˙˙
? b b b ˙˙
b
(Coda)
RT
RT
˙˙
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˙
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Morning Song B - Wissinger
(A)
? b b b œœ œ œœ
b
? b b b ˙˙
b
13
15
œ œ 14 œ œ
œœ œ œœ œ ˙˙˙œ œ ˙˙˙œ œ œ
b œ˙ œ œ˙˙˙
˙˙˙
& b b b ˙˙˙
œœ
˙˙
˙
œ
(B)
˙˙
œœœ F 5 ˙˙
œœ œ œ ˙˙œ œ ˙˙œ œ
12
œœœ œœœ
˙˙˙
œ
8
˙˙ œ 11 ˙˙
œ
œ œ œ œ œ œœœœ
b ˙˙
& b b b ˙˙˙œ œ œ ˙˙
œ
˙˙
10
? b b b ˙˙
b
bœ
Kathleen Wissinger
(ASCAP)
7
bœ
œ
2
3
œ
œw œ œ œ œ
b b b 4 www œ œ œ œ œ œ œ ˙˙˙œ œ ˙˙˙˙
œœœ
w
b
&
4w
œœ
œ Œ ww
œ œœ œœ œ ww
? b b b 44 ww
œ
b
8
11
bœ
(Intro) 1
œ œœŒ œ œœŒ œ œ
Techniques
bœ
œ
opt.
RT RT
9
E
7
Œ œœ˙
œ
bœ
Gb5 and Gb4 are optional
Brightly
B
44 Œ œ œ ˙
6
Morning Song B - Wissinger
15
6
Processional Praise
(a bonus piece!)
2, 3, 4, or 5 Octaves
Handbells Used: 13, (20), (22), (24)
&œ
?
œ
œ
œ
œ
œ
œ
bœ
œ
œ
œ
œ
œ
œ
Assignment suggestions below: Ringer A is stems down notes, Ringer B is stems up in each line
œ
œ
œ
œ
œ
œ
bœ
œ
bœ
œ
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
Option: start procession with percussion parts hand drum and finger cymbals
Ringers 1a ( C4, G4) and 1b (F4, C5)
1
? 44 œ ˙
œ
œ œ ˙
œ ˙
œ
œ œ ˙
*
..
*Last chord for all: F, A, C as cued by director
Ringers 2a (D5, F5) and 2b (G5,A5)
2
& 44 œ œ œ œ œ
Ringers 3a (C6, D6) and 3b (E6, F6)
3
& 44
œœœœœ œ
˙
˙
œ œœœ œ
˙˙
˙˙
œœœœœ œ
Œ
b œœ œœ œ œ œ œ w œ ˙
Œ Œ
Ringers 4a (G6, A6) and $b Bb6, C7)
4
& 44
Ringers 5a (D4, E4) and 5b (A4, Bb4)
? 44 b ˙ . œ œ œœ
5
Œ
w
*
*
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˙
..
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..
Œ
Œ Œ
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b˙ . œ
œ
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Œ
*
w
..
..
? 44 b w
Ó
Ringer 6a (5 oct. - C3, F3) and Ringer 6b (4 oct. - A3, Bb3) - more ringers might share these bells)
6
˙
ww
bw
Ó
*
˙
ww
..
16
PROVIDENCE
Kathleen Wissinger
This 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 easyto-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 $5.00
1
œ œ œ œ
&b œ œ œ œ
Providence
9
For the 5th grade ringers, RCS #$%5
Madelaine, Josie, Maddie, Colin, Virginia, Mary, Josiah, Henry,
Aidan, Hudson, Ada, Alana, Micah, Jax & William
2:00 Performance
œ œ
œ œ
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œ
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b
œ
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œ
œ
bœ œ
œ bœ œ œ #œ œ œ
opt.
3-5 Octaves
Handbells Used: 34, (43), (51)
&
œ #œ
bœ œ œ #œ œ œ bœ œ
œ œ bœ œ #œ œ
œ
œ
œ
œ
( ) 3 oct. omit
?
opt.
Kathleen Wissinger (ASCAP)
Allegro q = 110
1
2
4
&b 4


F
? b 44 œœ ˙˙
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5 R
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3
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* M. 7 only: 3 oct play Bb4 and F5 (not F4), 4-5 oct. omit Bb4 and F5
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30
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Handbells Used: 13, (20), (22), (24)
1
6
Processional Praise
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 a
sharp in the right hand. Remind them that note names DO NOT MATTER in this exercise. Practice each
line 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 prepare
for the accidental. Practice each line individually, then string a few together. Contact me for more ideas.
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RE5001
A Thankful Heart
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)
By Kathleen Wissinger
2
A Thankful Heart
1
Belltree Solo
For C6-C7 or G5-G6
(both ranges included)
Opt. Piano accompaniment
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
First String Series
2:45
Opt. piano accompaniment for G5-G6 Belltree
Kathleen Wissinger ASCAP
Freely, thoughtfuly q = 72
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A !ank"l Heart
A Thankful Heart
Solo Belltree score for G5-G6
G5, A5, B5, C6, D6, E6, F6, G6
By Kathleen Wissinger
Play freely throughout
q = 72
A
& b 44 ! Ó
Welcome to the magical world of Belltrees!
2
1
(Optional piano intro)
“A Thankful Heart” was written specifically to be played on a single oneoctave 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.
œ œ œ œ
& b 43
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
˙
&b
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
œ œ œ
&b
17
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)
21
&b
Best wishes!!
- remove this insert sheet from the score for C6-C7 belltree part
25
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Kathleen Wissinger
2015
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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.
œ œœ 3
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4
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& b 45
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.
œ œ œ œ ˙
4
9
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œ
11
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& b 43
‰œœœ ˙
P
45 œ n œ œ œ .
5
8
3
9
A Thankful Heart
Solo Belltree score for C6-C7
C6, D6, E6, F6, G6, A6, Bb6, C7
Play freely throughout
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19
piu mosso
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11
12
A Thankful Heart
Freely, thoughtfuly
Opt. piano accompaniment for C6-C7 Belltree
q = 72
1
b
& b c
Belltree
Œ
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A Thankful Heart C6-C7 piano - Wissinger
F
piu mosso
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ped. ad lib
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Kathleen Wissinger ASCAP
16.
b 3
& b 4
21
RE5002
Trumpet Tune
Belltree Solo/Duet
Easy or Med.Diff.
2 or 3 oct.
Clarke/arr. Wissinger
First String Series
Jeremiah Clarke (1674-1707)
Arranged by
Kathleen Wissinger
TRUMPET TUNE
arr. Kathleen Wissinger
Part 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
Trumpet Tune (A)
Trumpet Tune
Belltree Solo or Duet
C6-C7 or G5-G6
(both ranges included)
Suggested String C6 to C7 with Bb6; and B6 behind (opt. D7)
Jeremiah Clarke
(ASCAP)
Opt. play melody only first time
œ œ. œ 2 œ. œ . œ œ
1 œ
œ
4
J
œ
b
& 4
f
. j
4 œ.
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&b
Œ
*Ÿ
j
8
œ˙
7
œœ . œ œœ . œ œœ . n œ œœ . œ n œœ . œ œ œ .
.
&b
Jeremiah Clarke, arr. by Kathleen Wissinger
Brightly
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
th
7 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.
œœ .. œœ œœ .. œœ œœ œ
&b
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.
œœ . œ œœ . œ œœ . œ œœ .
f
15
Sample Belltree string
Trumpet Tune (A) Duet Pt 2
Belltree Duet - Part 2
Jeremiah Clarke
(ASCAP)
1
Ÿ
. œ œ . œ œ . n œ œ . œ 8 n œ . œJ ˙
œ
&b
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9
œ 14œ . œ œ . œ œ
œ 16Ÿœ .
œ ˙
J
Brightly
4
&b 4
4
œ œ œ
Œ
&b
5
œ. œ œ. œ œ œ
10
F
œ.
15
&b
œ
3

7
13
..
2

&b œ œ œ œ
&b
œ
1
œ
œ
œ œ.
F
œ
œ œ œ
œ œ œ œ
8
4
Jeremiah Clarke
(ASCAP)
Opt. play melody-only first time
&b
œ
.. .. œ œ œ . J
F
œ œ . ( œœ )12œ . œ œ . œ œ
10
11 œ
œ. œ œ. œ œ
œ
J
œ
b
&
7
15
..
Belltree Duet - Part 1 (May be played as a solo)
œ œ œ. œ 2 œ. œ . œ œ
3
œ œ œ œ
œ
4
J
œ
b
& 4
f
4
œ. œ œ. œ œ œ œ 5 œ œ œ. œ 6 œ. œ œ. œ œ
J
œ
b
&
&b
j
œ œ ˙
Trumpet Tune (A) Duet Pt 1
Brightly
13
**Ÿ
œœ 16 œœ .
&b
f
j
œ
œ œ œ
.. œ œ œ œ . œ œ œ
F
9
**Trill (G6-F6) is accomplished with two mallets
Best wishes!!
Kathleen Wissinger
2015
3
œ œ. œ œ œ œ.
œ œ. œ œ
œ 14œœ . œ œ . œ œ
œ
œ. œ œœ. œ
œ
œœ œœ .. œ œœ ..
œœ œœ ..
œœ .
&b .
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)
œ œ œ œœ
11
13
&b
3
j
œ œ œœ œ œœ . œ œ œœ 12 œœ .. œœ œœ . œœ œœ œ
.
*Trill (B6-C7) is accomplished with single mallet between front and back
10
22
2
Belltree Solo
6
œ
œ
œ
œ œ œ œ .. .. œ
P
9
œ
œ
œ. œ œ. œ
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œ œ œ œ œ œ œ 12œ . œ . œ œ
œ
œ
œ
11
œ
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14
œ œ.
œ
œ œ. œ
œ.
œ 16œ
œ
˙
..
5
Trumpet Tune (B) Duet Pt 1
Trumpet Tune (B) Duet Pt 2
Belltree Duet - Part 1 (May be played as a solo)
Belltree Duet - Part 2
Suggested String G5 to G6 with F6; and F#6 behind (opt. A6)
Suggested String G5 to G6 with F6; and F#6 behind (opt. A6)
Jeremiah Clarke
(ASCAP)
Brightly
4 œ œ œ . Jœ œ . œ œ . œ œ
œ œ œ œ
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œ
f
4
5
6
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J
&
œ
1
2
3
Ÿ
8
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.
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& œ.
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13
&
15
f
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œ 16 œ .
œ ˙
J
1
..
5
7
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8
15
œ
œ œ.
6
9
œ
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10
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œ
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P
& œ. œ œ. œ œ œ
& œ.
3

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13
œ
&
F
œ
Jeremiah Clarke
(ASCAP)
2

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9
œ14 œ . œ œ . œ œ
4
&4
4
.. .. œ œ œ . œJ
F
10
11
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œ
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& œ œ. œ
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7
Brightly
6
11
œ
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œ
14
œ œ.
œ
œ œ. œ
œ.
œ œ
16
œ
˙
..
23
COOL CATS
Kathleen Wissinger
A 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
24
25
26
27
RE8001
No Greater Love
Level 3
3-5 oct. (Opt. 3-5 oct. Chimes)
NO GREATER LOVE
Kathleen Wissinger

Kathleen Wissinger
The 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
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
2
1
No Greater Love
.
‰ jœ œ œ œ œ
&Œ œ œ œ
Œ
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
&
?
**
Optional - 3, 4 or 5 Octaves
Handchimes Used - 26, (29), (33)
&
‚ b‚
?
‚ b‚
‚ b‚
‚
‚
‚
‚ b‚
‚
‚ b‚
‚
‚ b‚ b‚
‚
‚ b‚
‚
‚ b‚
Mart Lift may be played (rung or marted) on a 2-octave alternate bell set using
A4, B4, C5, D5, Eb5, E5, F5, G5, A5, C6, D6, Eb6, E6, F6, G6
‚
‚ b‚
‚
4
Œ œ œ
Œ
Œ
&Œ œ œ
œ
**
P
LV
LV
LV
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J
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& œ˙œ . b œ œ œ œ
*
F
.
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17
18
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19
2
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œ
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& Œ œœ œ
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F
LV
LV
LV
LV
œ
? œ œ ‰ Jœ ‰ Jœ œ œ ‰ Jœ ‰ Jœ œ œ ‰ Jœ ‰ Jœ œ œ œ œ œœ œ
6
7
8
R
˙˙ ...
˙
œ œ # œœœ
˙.
# ˙œ˙ ..
œ œ
œœ
#œ
œ
Ó
œœ œ
20
œœœ
œ
œœ
œœ
˙˙
œ œ̇ b œ œ œ
˙.
*
* echo on beat 2.5
j
23
œ œ œ œ.
œ œ œ b œœœ ...
œœ b œ œœœ œœœ œ œ 22 œœ ..
& œœ˙ . b œ œ œ œ œ b œœ˙ ...
*
***
˙.
b ˙˙
? ˙˙˙ ...
˙.
˙.
˙.
œ œœ
˙.
œ œœ œ ˙ .. œ œ
Œ̇
J
LV
j j
œ
œ
b
œ
œ
œ
œ
œ
œœ
œ œ ‰ œ ‰ œ
b ˙˙
˙.
21
5
3
œœ
16
œ #œ œ
œ œ œ œ œ œœ
œœ œœ
œ œ
J œ œ œ
˙˙ ..
˙˙ ..
œ œ œœ
œœ
œ
LV
LV
? œ œ ‰ œJ ‰ Jœ œ œ ‰ Jœ ‰ œ œ
J
‚
‚
3
2
j
15
œ œ œ œ œ
œ
œ œ
œ
14
13
.
‰ jœ œ œ œ œ
&Œ œ œ œ
Œ
R
‚ b‚ b‚
Moderato q = 78
1
œ
R
LV
LV
? œ œ ‰ œJ ‰ Jœ œ œ ‰ œJ ‰ Jœ œ œ œ # œ œ
bœ œ œ
œ b œ œ œ œœ bb œœ œœ b œ œ œ
œ
#
œ
b
œ
œ
b
œ
œ
)
b œ œ œ (# œ
b œ) œ b œ œ œ b œ œ b œ œ
( ) 3 oct. omit [ ] 4 oct. omit
œ #œ
œ # œ œ( # œ b œ ) œ b œ œ (
b
œ
œ
b
œ
œ
bœ œ bœ œ œ
œ bœ œ bœ œ œ #œ œ
3:45 performance time
3, 4 or 5 Octaves
Handbells Used: 35, (45), (57)
j
œ œ
œ #˙
œ œ Œœ ˙
12
11
10
9
24
*** 3 oct. do not play stem down bass notes Mm. 21-36
No Greater Love - Wissinger
3
4
28
j
œ œ
œ
œ œ œœ œœ œœœ # ˙˙˙
j j R
j LV
œ œ œ ‰ œ ‰ œ œœ œ˙ # œ œ
œ ˙
˙.
‰ œj œ œœ œœ
Œ œœ œ
f
LV
j j LV
j
? œ œ ‰ œ ‰ œ œ œ ‰ œ ‰
˙.
˙.
œœ
œœ œ œœ œœ
& œœœ œ œœœ # œœœ
œœ
26
25
& Œ
œ
œ
29
œ
? œœ
œ
œœ # œœœ
œ œ
œ
‰ œj œ œœ œœ
œœ
œ
Œ
LV
j
œ œ ‰ œ ‰
˙.
30
27
31
œœ ..
Œ
œ œ
œ
.
Œ œ œ
Œ
& ˙˙˙ ... œœ œ
Œ̇
j j LV
j j R
LV
? œ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ œ œ
˙.
p˙
P ˙.
33
piu mosso q = 84
37
35
34
b œ n œ œœ œ œ
& b œœ . œ œ . œ œ
P
œ.
? bb œ .
38
œœ œœ œ
œ
œ ..
œ
œœ œ œœ œ # œœ˙
œ ˙
œ
œ
œ
œœ
œ
œ
œœ
œ
œœ
œ
œ # œœœ
œ
œ
œœ œœ œœ œœœ
œœ
œ.
œ œ
J
œ œ œ.
œ œ
œ œ
J
J
39
36
R
œ˙ . # œ ˙
œ˙ . œ ˙
˙ ..
˙
40
˙˙˙ ...
˙˙ ..
œ
bb
bb
œœ .
.
49 œ
b b œœ œ œœ
& b b œœ˙ œ œœœ
? b b b ˙˙
b˙
œ.
œ.
œ
œ
œ œ.
œ œ.
J
44
œœœ œœ
œœ œ
œœ œ œœ
J
œ
œ œ
50
œ œ
Œ
b œœœ œ œœ œ
œ œ œ b œœ
œ
œ œœ
˙˙
˙
˙
51
b œœ œœ
Œ
4 and 5 oct. double top note
b œ ˙
& b nn œœœœ n ˙˙˙˙
52
œœ œ œ œ œ œ
? b b œœ ..
œœ œ 42œœ œ œ œ 43œ
œœ œ œœ œ œœ œ œœ œ œœœ
œœœœ
***
45
46
47
œ
œ
b œœ œœœ œœ œœœ œœ œœœ œ œ œœœ œœ œœ œœœ # œœœ
b
& œ
œ œ œ œ œœ œœ œ œ œœ œ œœ # œœ
F
j
œ.
œœ .
œœ œœ œ œœ œœ
? b b œœœ ..
œœ .
.
œ œ œœ
œ
œ
œ
.
œ ..
œ ..
J œœ œœ œ
32
œœ œœ œ
#œ
œ
œ
œ œ œ œœ œ œ œœ œœ œœ
j R
œ œœ
œ
41
b œ œ œœ
& b œœ œœ œœ
? b n œœœ
b
œ
53
‰ œj œ œœ
Œ œ
f a tempo
rall.
œœ œœ
n ˙œ œ
œ
œ
˙˙
œ œœ œœ
[ ]
œ
œœ œœ œœœ ...
œ.
œ
Œ
œœ
œœ
œœ
œœ
[œ]
œ
54
œ
œœ
œœ
œ œ œ œ
œ œ
Œ
˙˙˙
œœ œ œ
˙.
˙.
48
˙˙ ..
˙˙ ...
œ̇ œ œ œ
œ œ
œ˙ œ
˙ ..
œ
b bb œœœœ
bœ
œœ
œœ
œœ
b bb œœœ
bœ
œœ œœ œœ œœ
œ
œ
j
œ œ
œœ
œœ
œ
œ
œ
œœœœ
œ
55
œ œœ œ n ˙˙˙
œœœ
œœ
n œœ œ œ
œ˙
*** 3 oct. do not play stem down bass notes Mm. 44-59
28
5
b œœ œ œœ
& b œœœ œ œœœ
œ
n œœœ
œ
59
nœ
b œœœ œœœœ n œœœ œœœ
b
& œœ œ œœ œœ
œ
? b b œœœ
œ
œ
63
b œ
& b b œœ‚
? b b ‚‚‚·
b .
n œœ
œœ
œœ
œœ
œœ œœ
·œ œ
60
œœœ œœ
·œ œ
? b ‚‚‚
b b ·· .
.
··
·
œ
‰ œj œœ œœ œœ œ
œœ
œœ
œœœ
[œ]
œ
˙˙
˙˙
˙˙
58
œœ
œ
œœ
œœ
œ
œœ œ
œœ œœ œœ œœœ
œ œ œ œ
œœ
œœ
œœ
œœ
œœœ
[œ ]
œ
œœ
œ‚
œœ
œœ·
‚‚‚
·.
·.
···
œ
œœœ
‚
œœ
œœ·
64
68
61
œœœ
œœ
62
65
˙˙ ..
˙˙ ...
˙‚
‚‚
‚
·.
66
‚‚
‚
‚‚
‚‚
‚
œœ
œœ
·
··
·
¥
œœœ
œ
‚‚ ‚
‚ ‚
( ‚·· ..) ‚‚ ‚
LV
˙˙˙ ...
˙‚ . Œ
R
‚‚ ‚‚
·‚ . ‚
**** Opt. - 3+ oct. range may play stem-up notes on chimes,
or shelley chime and bell (i.e. D6 bell + D6 chime) measures 70-77;
5 oct. may Shelley top note or all stem-up notes (i.e. D6+D7)
70
‚
‚‚
‚
œœ
‚œ
f
‚‚
‚‚
[ · .]
·.
œœœ
‚‚
‚‚
‚
œœ
‚œ‚
‚
œœ œœ
œ· œ
75
b b œœ‚œ
b
&
‚
œœ
œœ
‚‚
‚‚
‚
****
69
b
&bb
? b b ‚‚‚
b ·.
··
··
œœ
œœ
œ
71
œœœ
œœ]
œ
[
œ
œ œ œ œœ œœ œœ b b b œœœ‚
œ
œ
œ
œ
œ œ
œ
F
œœ œ œ œ œ
‚‚
b
œ

˙.
b b ‚‚· .
˙.
··
·
b œœ
& b b œ‚œ
67
57
œœ œ n œœ
œ
œ
œ
œ
? b b œœœ
œ
6
5 oct. double top note
56
œœ
œ‚
‚‚
‚‚
œœ
œ‚
‚
‚‚
œœ
œ‚
‚‚
‚
‚ ‚
? b b ‚‚‚ ‚‚
b ·.
œœ
œ‚
‚‚
76
‚‚
‚
83 ‚
b b ‚‚‚ ‚‚ ‚‚‚
b
&
œ.
œ
J
œ
? b b œœœ ) œœœ
b(
œ
‚‚
œœ
œ‚
‚
œœ
œ‚
‚‚
‚
·
‚‚
‚
79 ‚
b ‚ ‚‚ ‚
& b b œœ .. ‚ œ
J
œ
œ
œ
œ
? b œ ( œœ )
bb œ œ
œ
˙˙˙ ..
·· .. .
œœ
œ‚
‚
‚‚
‚
‚‚
‚‚
‚‚
‚‚
‚
‚‚
‚
n ···
œ
œ
œœ œ n( œœœ ) n ˙˙˙
œœ
˙
œ
R
˙˙ ..
˙‚‚ .
‚‚‚
·.
·.
74
‚‚
‚‚‚
‚‚‚
œœ
œ‚‚
‚‚‚
‚
·.
‚‚
‚
œœ
œ‚
‚
‚‚‚
‚
œœ
‚œ
‚‚‚
Œ F ‚‚ ..
Œ
‰ œ œ
>
f
œ
n ‚‚ . · œ
œ
‚· . J œ œ œ œ ( œœœ ) œœ
œ
.
œ
j
‚
‚
œ
‚‚ ..
‚‚ ..
‰ œ œ
>
œ
œ
œ œ ( œœœ ) œœ
œ
œ
j
‚‚‚
‚œ
œ
n œœ‚
‚
˙˙
˙·
·
77
‚‚ n ‚‚
‚· ‚
80
73
81
78
‚‚ ‚‚ n ‚‚‚
‚ n ‚‚ ‚
œœœ œ n œœœ n œœœ
œœ n œœ n œœ
84
‚‚ ‚‚ # n ‚‚‚‚ ‚ ‚‚‚‚ ‚‚‚
‚
‚
n‚
œ œ Œ
Œ œ
œ
œœ
# œ œ n œœ n œœœ
œ
n œœ
œ
œ #œ
85
82
Œ
Œ
·.
n ··· ...
˙ œ. œ œ œ n œ n œ
˙.
œœ
œ‚
‚
72
29
THROUGH THE STORM (HOPE ENDURES)
Kathleen Wissinger
A 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
30
31
32
33
RE8003
Semper Paratus
L3
3-7 octaves
Semper Paratus (Always Ready)
VAN BOSKERCK/arr. Kathleen Wissinger
(Opt. 1 or 3 oct. Belltree/Chimes/Alt. bells or C Instr.)



Finally! 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 3
RE8003 $5.00





2
3
Dedicated to the Men and Women
of the United States Coast Guard
Semper Paratus
By CAPTAIN FRANCIS SALTUS VAN BOSKERCK
Arranged by Kathleen Wissinger


(ALWAYS READY)
Ÿ
b
w
& b b b b b 44 œw
ß
Œ
? b b b b 44 w
bb
w
3 Ÿ
b b ww
& b b œ œœ .. œœ œœœ
ßF
? b b Œw œ . œœ œœ
bb w
Ÿ
6 w
w
bb œ œ œ œ
b
& œœ œœ ... œœ
œ œ
œ
bœ œ œ
œ b œ œ œ œœ b œ œœ b œ œ œ
#œ
bœ œ œ
b
œ
œ
)
œ
#
œ
(
b
œ
œ
b œ œ b œ œ œ b œ œ ( # œ b œ) œ
optional
3 -7 octaves
Handbells used: 37, (48), (58), (64)
?
b œ) œ #œ
b œ œ œ b œ œ b œ œ b œ (œ
œ b œ œ b œ œ œ (# œ b œ ) œ
bœ œ œ (#œ bœ) œ bœ œ œ
( ) 3 oct omit
[ ] 4 + oct. omit
optional
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
3 octaves
Handchimes used: 20, (21)
&
?
‚
‚
‚
b‚
‚
#‚
‚
‚
‚
‚
‚
‚
#‚
‚
‚
‚
‚
‚
‚
? b œœ
bb w
‚
‚
Bb5 only in Mm. 65-74, if using chimes in this section
‚
2
1
U.S. Coast Guard Hymn
9 œ.
b œœ ..
& b b œœ .
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
œ
? b b œœœ
b
VAN BOSKERCK
(ASCAP)
q = 96 - 110
Briskly
Arranged by Kathleen Wissinger (ASCAP)
&
Semper Paratus
For the Men and Women of the U.S. Coast Guard
œœ
œ
4
œœœ
œœ
œ
bbbb
œœ
œ
w
bbbb
œœ
œ
œœ œ œœ œ
œ
œ
5 Ÿ
ww
w
œœœw œ œ œ ‰ œ œ œœ œ . œ œœ œ œœ œ b b b
œ.
.
œ
œœ
œœ
f
œœ
œ
œœœ .. œ œœ œ œœœ œ
œ .. œ œœ œ œ
˙˙ ..
˙˙ ..
˙œ . œ
œœ
œ
œ œ œ
7
œœ œœœœ
œ
œœœ
œ
œœ
œœœ
œ
œœ
œœ
wœw
œœ œ . œ œ ‰ œ œ
œœœ œœœ œœœ œ œœœ œ œœ œœœ
w
w œ
œœœ
œœ
œ
j
œ œ
œ œœ
œ œœ
œœœ
œ . œœ œœ
F
œœ .. œ œœ
œ
10
œœ
œ
œœ
œ
œœ
œ
8
œœ
œœ
œœ
œ
11
œœ
œœ
œœ
œ
˙˙ ..
˙˙ ..
œ˙ . œ
œ
œœ
œœœ
œœ
œ
œœ
œœ
œ
œœ ..
œœ ..
œ.
œ
œ
œœ œ œœ œ œœœ
œœ
œ
œœ
œ œœ
œ œœ
J
œœ œ
œ œœ œ
bbb
œœ
œœ
œ
œœ
œ
Printed in the U.S.A. and distributed exclusively by Jeffers Handbell Supply www.Handbellworld.com
b œœ ..
& b b œœœ ...
12
? b b œœœ
b
15
b
&bb
œœ
œœ
? b b œœœ
b
œ œœ
œ œ
J œ
œœ œœœ
œ œ
œœœ
œœ
13
œœ
œ
16
œœ
œœ
œœ
œ
18
œœ
b b ˙˙˙˙ ....
b
&
œœ œœ œ œ œ œœœ
19
21
? b b œœœœ
b
œœ œœ
œ œ
œ œ
J
œœœ
œ
œ
œ œ œœ œœœœ
22
œœ
œœ
œœ œ n œœœ
œ
ww
ww
ww
œœ œœ
œ œœ
œœ œ œ
œ œ
œœ
œ
œ . œ œœ
œ . œ œœ
subito p
œœœ œœœ œœœ
œ
œœ
œœ
œœ
17
œœ
œœ
œœ
œœœ
œœ
20
œœ œ œœ
œ
œœœ
œœ
œœ
œœ
œ. œ œ œ œ œ
œ. œ œ œ œ
œœ
œœ
œœ
œ
œ
œ
œ
J
4
14 Sk
˙˙ ..
˙˙ ..
˙œ . œœ
œœ ..
œœ ..
œ.
? b œœœ ... œ œ œ œœ œ œœ œ œœœœ
bb
œ
œ
b œœ œœ
& b b œœ œœœ
J
œœ n œœœ
œœ n œœ
œœ
œ
œœ
œœ
œ
œœ œ œ
œœ
œ
œœ .. œ œœ œ œœœ œ
œœ .. œ œœ œ œ
œ
œœœœ
œœ
23
5
b
œ œ œ œ œ œ œ œ œ.
& b œœœ .. œ œ œœ œœ ..
œ œœ ..
œ œœœ
J
J
J
F
œœœ œœ ..
œœ œœ ...
œœ œœ œ œ
? b œœœ ....
.
œ œœ .
œ œ œ
b œ
J œœ .
J
J
24
25
j26
œœ œœ œ œœœ œ œœ œ œœ œ
œ œ
œ œ
œ œœ
œœœ
œœ
œ
œœ
œ
j
œœ ..
œ œ
œœœ ..
œœ
œ
œ œœ
œœ
œœœ
œ
œœ
œœ
b œ.
j
œ
œ œ œ œ œ œ œ œ.
& b n œœ œ œœœ œœ .b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
œœ
œ
? b œœœ
b
œœ
œ
œœ ..
œœ ...
œ
œœ
œ
œ
J
œœœ n œœ
œ
œœ
œœ
œ
œ . œ œœœ
œ . œ œœ
œœœ
œœ
œœ
27
œœ n œœœ
œœ œœ
œ
n œœ
œœœ
29
œ œ œœœ .. œ œ œœœœ œœœ ...
œ.
œ
J œ.
œ
b œ
& b œœœ œœ œœœ œ œœœœ œ œœœ œœ
30
œœ œœ
œœ n œœ
? b b œœœ
œ
n œœœœ œ b b
>
œœ œ n œœœ
œ
œ
28
bb
32
b œ
& b b œœ
‰
f
? b b ‰œ
b
œ œ œ
œœ
œ
œœ
œ œ
œ.
œ
œ œ ‰ œ
k k
Jk
*
kœœ kœœ ‰ kœœj
[œ
œ]
œœ œ œœ
œ
œ
‰ Jœ ‰
k
j
‰ k ‰
œ œœ [ œœ ]
31
œœ ...
œœ .
œ.
œœŒ
œ
œœ
Jk
kœj
œ
33
œœœ ˙˙
˙
J ˙
œ
j
œ
œ
œœ œœ
œœ œ
œ œœ œœ œ
œ œ œœ œœ
b œœœœ
bbb
œ œ œœ
œœ
œœ
œ
œœ
œ
bbb
˙˙ ..
˙˙ ..
œœ
‰ œk œk ‰
‰
œ
œœ
œ
œœ
œœ œ œœ
Jk ‰ Jk ‰ Jk
kœœ kœœ ‰ kœœj ‰ kœœj ‰ kœœj
œ
œ
œ
* Notes may table mallet (all or bass) or thumb damp (treble)
34
j
35
œ.
œœ
œ œ
˙
b b œœœ ... œ œ
œœœ
œœ œ ˙˙˙ ....
œ
b
&
‰ œk œk ‰ Jœ ‰ Jœ ‰ Jœ ‰
k
k
k
‰ œk œk ‰ œkj ‰ œkj ‰ œk j ‰
œ
? bb œ
œ
œ œ œ
b
34
j
œ
œœ
Jk
kj
k k
? b ‰œ œœ œœ ‰œ œœ
bb
36
b
&bb
œœœ ...
œœ ..
‰ œœk œœk ‰
œœ
œœ
œœ œ œœ
‰
‰
Jk
j
‰ œœk œ‰
œ
38
œœ
n œœœ
b œ
& b b œœ œœ œœ œœ œœ n œœ œœ
‰ k k‰ J ‰ J
k
k
j
j
k
k
k
k
? b b ‰œ œ œ ‰œ œœ œ‰ n œœ
b
40
b œ
œ. œ
& b b œœ‰ œ œ ‰ œ
k k
Jk
kj
k k
? b œ‰ œœ œœ [ ‰œ ] œœ
bb œ
œ
œ
œœ œœ
k k
œk œk
j
œœ ..
œœ
.
n
œ
œ
.
œ
œœ ‰ œ œ ‰ œ
k k
Jk
Jk
j
kœ ‰ œœk œœk ‰ n œœk j
œ
œ
39
œœ
www
œœœ
www
œ
œ
‰ J ‰
k
j
k
‰ œœ ‰
œ
œ
œœ œ œœ œ
œ‰ œ œ‰ œœ
Jk
Jk
j
k
‰ œ ‰ œk j
œ œ [ œœ ] œ
œ
œ
41
‚
‚
‚
‚ ‚
‚
‚
œœ ‰ œœ ‰
Jk
Jk
kœœj ‰ œkjœ ‰
œ
œ
œœ œœ ‰
k k
kœœ œkœ ‰
œ
œœœ ...
œœ .. œœ œœ
‰ k k
k k
? b ‰œ œœ œœ
bb
œ
˙˙˙ ..
˙ ..
‰ œœk œœk ‰ Jœœ
k
‰ œœk œœk ‰ œœkj
œ
œ
œ
œ
œœœ
œ
œ
œ
‰ J ‰ œœJ
k
k
‰ œœkj ‰ œœkj
œ
œ
œ
œ
8
53
Œ
‚‚
‚‚
‚‚ ‚‚ ‚‚ ‚‚
‚
‰ j
‚ ‚ ‚ ‚ ‚‚
œœœ
œœ
J
j
œœœ œ œœ
œ
‚‚
‚‚
‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚‚
‚‚ ‚ ‚ ‚ ‚
œ œ œ œœ œ
œ
‰ œ œ œ
œœ
Opt. double one octave higher - top notes or all stem-up notes to end
58 .
œœ . œ œ œ œœ œœœ ˙˙˙˙ ...
œ œ œœœ œ œ œœœ
j
j
j
j
‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
60 ˙ .
59 œ .
œ œœ
œœ ..
œœœ
˙.
œœ
œ.
œ
œœ œ ˙˙ .. œ
œ
b
œ
&
œ
œ
œ
œ
œ
‰ ** œJ œ
j
j
j
j
j
? ‰œ œœ ‰œ œœ ‰œ œœ œ‰ œœœ œ‰ œœ
b
œ
œ
œ
œ
œ
œ
œœ
‰ *
f Rj
‰ œ
?b œ œ
œ
57
œœœ
&b
j
œœ ‰
œ
œ
œ
œ‰
œ
˙
˙
R
œœœ
œ
œœœ
j
œœ ‰
œ
œ
œ œ œ œœ
J
**
j
j
œœ ‰œ œ
œ
b
œ
j
œœ
œœ
œœ
œ œ
j
œ‰ œœ
œ
** Single 8th notes are part of bass pattern
43
˙.
œœ
œœœ
œœ
œ œ ˙˙˙ ...
œ
œ
‰ J ‰ J ‰
k
k
kj
kj
œ‰ œ œ‰ œœ ‰œ
œ
œ
œ
œœ
œœ
œœ œ œœ
‰
‰
Jk
j
‰ œœk œ‰
œ
œ
œ
œœœ
œ
œœœ
œœ
œœ
œ
œ
œœœœœ
œ
‰ œœ œœ ‰
& œœ œœ œœ œ
j TD
œœ œœ
œœ œœ œ œ œ
œ œ œ
œœ
œ
œœ œœ œœ
œ œ œœ œ
TD TD
48
?œ
œ
9
j
œ
œ
‰ œJ
k
‰ œœkj
œ
œ
œœ
œœ
œœ
œœ
œœ
œ
J
j
? b b œœœœ
b
œ
k
b
&bb
œœ
Jk
j
œkœ
‚ ‚ ‚ ‚ ‚.
? ‚ ‚‚ ‚‚‚ ‚‚ ‚ .
j
42 œ .
œ
bb b œœœ ... œ œ
œ
&
‰ œk œk ‰ Jœ
k
‰ œk œk ‰ œkj
œ
? bb
œ
b œ
œ
b
&bb
œ
Jk
j
œœk
56
j55
R
œœœ œœœœ œœ œœœ œœœ œœœ # œœœ œœ n œœœœ œœœœ .... œ œœœ œœœ œœ œ œœ œœ b
œ œ œ œ œ œ
œ œ œ œ
œ
*Mm. 57-70: Opt. - Counter-melody line may be played
on chimes, alternate bell set or C instrument
7
44
& ‚‚ ‚ ‰ ‚ ‚‚ ..
54
6
46
52
?‚
œœ
œœ
œ‰ œ ‰œœ
Jk
j
‰ œœk ‰
œ
œ
37
‚ ‚ ‚ ‚
‚ ‚.
‚
& ‚‚‚ ‚ ‚‚‚‚ ‚ ‚‚‚ # ‚‚‚‚ ‚‚‚ n ‚‚‚‚ # ‚‚‚‚ .... ‚‚ ‚‚‚‚‚ ‚ ····
51
œœ
œœ
œ
‰ Jœ ‰ œJ ‰ œJ
k
k
k
j
j
j
‰œ œk ‰ œœk ‰ œœk
œ
œ
j
61
œœ ..
œ œœ
œœ ..
b
& œ œ œ œ œœ œœœ
j
j
? ‰œ œ ‰œ œœ ‰œ
b œ
œ
œ
œœ
& b œœœ
63
‰
?b œ
œ
œœ
œœ
œ
œ œ œ
n œœ
n œœœ
œ
j
œœ ..
œ
œœ .. œ œ n œœœ
‰ k k ‰ œ
Jk
‰ œœk œœk ‰ n œœkj
œ
œ
œ
œ
45
œœ
Jk
j
œk
47
˙˙ ..
˙ .. œ œ
‰̇ k k
‰ k k
œ œœ œœ
œ
wŸwœ )
œœ
&b
‰
j
‰ œ
?b œ œ
œ
(
œœ ..
œœ ..
b
& œ œ
‰ J
**
j
‰
? œ œœ
b
œ
Sk
67
œœ
œœ
‰ Jœ ‰ Jœ
k
k
j
j
‰ œœk ‰ œœk
œ
œ
œ
œ
‰ Jœ ‰
k
‰ kj ‰
œ œœ œ
œ
œ
œ
49
œœ
œœ
œœ œ œœœœ
œœ œœ œœœ
œ œ n œœ
œ
nœ
nnn
œ ‰ œJ
Jk
k
kœj ‰ œœkj
œ œ
nnn
œ
œ œ.
j
‚‚
‚‚
œœ œœ œœ œœ œœ ..
œ œœ œ œ .
‰
Legato
50
Œ
‰ j
œ œ œ œ œœ
œœ œ
F
œœ œœ œœ œœ œœ œœ œœ œœœ
œœ œœ œœ œ œ œ œ
œœ
œœ
62
œ œ
œ
j
j
œœ œ‰ œœ
œ
œ
œ
œœ
œœ
œ
œœœ œ
64
ww
ww
œ
j
j
œœ ‰ œœ œ‰ n œj ‰ œœj ‰
œ œ
œ
œ
œ œ œ
œ
œ
65
œ
œœ œœ
k k ‰ Jœ
k
j
œk œk ‰œ œk
œ
‰
j
œœ ..
œ œœ
œœ ..
œ œ œ œ œœ œœœ œ
‰ J
j ** j
j
‰œ œœ ‰ œœ ‰ œœ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
œ œ œ
j
œœœ ‰
œ
œ
66 .
œœ . œ œ œ œœ œœœ ˙˙˙˙ ...
œ œ œœœ œ œ œœœ
j
j
j
j
‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Sk
j
68 ˙ .
œœ
œ œœ
˙.
œ œœœ œ œœœ œ ˙˙ .. œ
œ
œ
œ
œ
œ
j
j
j
j
‰œ œœ ‰ œœ ‰ œœ œ‰ œœ
œ
œ
œ
œ
œ
œ
œ
œœœ
œœ‰ œ
J
‰ œj
œ œ
œ
j
j
j
œœœ ‰œ œœœ ‰ œœœ
œ
œ
œ
Sk
œœœ
j
œœ ‰
œ
œ
œ
œ‰
œ
œœœ
œ
œœœ
j
œœ ‰
œ
œ
œ œ œ œœ
J
**
j
j
œœ ‰œ œ
œ
œ
j
œœ
œœ
œœ
œ œ
j
œ‰ œœ
œ
35
j
œœ ..
œ
.
œ
& b œœ . œ œ œ œœ
j
j
? b ‰œ œ ‰œ œœ
œ
œ
‰
œ
œ
œœœ
œœœ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œœœ
œœ
69
Sk
œœ
& b œœœ
J
71
?
œœœ
b œ
œ
œœœ
œœœ
œœœ
J
œœœ
œ
œœ
œœ
œœœ
œœ
œœ
œ
œ œ
œ
j
œœ œ‰ œj
œ œ
œ
&b Œ
œœ
œœ
œ
œœ
œœ
œœ
Œ
?b w
w
œœœ
œœ
œ
œœœ
œ
œœœ
œœœ
73
75
&b
œœ
72
74
œœ
œœœ
J
j
œœœ
œ˙
‰ œœ ‰ œœ
œ
œ
œ
œ
76
œœ
œœ
œœ
œœœ
œœœ
J
j
œ
œœ
œœœ
œœœ
* Opt. C#5 for alternate bell or chime
œœ
œœ
œœ
œ
œœœ
œ
œ
˙˙
œ˙˙
œ
œ œ œœœ
œ œ œœœ
œ œ œœœ
œ œ œœœ
œ œ œ
œ
œœ
œœ
‰
(
Semper Paratus
11
Optional Treble ending - without "piccolo" counter-melody
œœ
œœ )
œ
œœ n œœ
œœ n œœ
œœ œ œœ œ
˙˙ ...
˙
& b œ˙˙ .. œ
Sk
œœ 67 œœ ...
œœœ ..
œœ
œ
‰ œ ‰ œ œ œ œœ . œ œ
63
Sk
œœ ..
.
& b œœœœ . œœ
‰
69
Sk
j
œ
œœœ
72
œœ œœœœ
b
& œœœ œœ
J
œœ
œœ
œ œ
œœ 70 Skœœ ..
œœ
œœ œ œœœ .. œ œ
œœœ
œœ
œ
J
œœœ
œœ
œ œ œ œ œ œ œ 58œ œ œ œ œ œ œ œ œ œ 59 œ
4 ‰œ
œ
œ
œ œ œœœ œ
b
& 4
f
60
61
62
œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œœœ œ œ œœœ œ œ œ
b
64
65
œ
œœ œ œ œ
œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ ‰ œ
œœ œ
œ œœœ œ œ œœœ œ
&b
Ÿ
&b w
72
73
Ÿ
w
74
˙
70
œ œœœ œ œ œ œ
˙
75
wŸ
76
œœœ
œœœ
71
œœ
œœœ
J
œœœ
œœ
œ
œ œ œœœ
œ œ œœœ
œœœ
œœœ
œœ
œœ
œ
J
œœ
œœ
œœ
œœ
˙˙˙
˙˙
˙˙˙
˙˙
œ œ œœœ
œ œ œœœ
œ œ œ
œ
œœ
œœ
74
œœ
œœ
œ œ
arr. Kathleen Wissinger (ASCAP)
57
Ÿ
w
71 *
Ÿœ œk
‰ œ œœ œœ
* Opt. 8va to end
58
& b 44 ‰ œ œ œ œ œ œ œ œ œ
f
59
&b œ
61
&b œ
œ œœœ œ
œ
œ œ œ
œ
œ
œ œ œ
œ
œ œ œ
&b ‰ œ œ œ œ œ œ œ œ œ
67
œ
œ œ œ œ œ œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ
66
œ œ œ œ œ œ œ œ œ œ œ
68
&b œ
œ
64
&b œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ
œ œ œ
œ œ œ
œ
69
œ
œ
œ
70
œ œ œ œ œ œ œ œ œ œ
* 71
&b
œ œ œ
62
63
&b
œ œœœ œœœ œœœ œ
60
65
67
68
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ
b
&
66
69
œœ
œœ
œœ
œœ
œœ
œ
Œ
76
œœ # œœ
œœœ œ œœœ
˙˙ ...
˙˙
œ˙ .. œ ‰ œ œ œ
Sk
68
Optional score for Chimes (C5-C6) , Alternate Bell Set or C Instrument
57
36
j
œ
œœ
œœ
œœœ
œœ œ
œœ
œœ
œ
Semper Paratus
12
63
j
œ œœ
œ œœœ
œ œ œ
73
œœ
œœ
75
œ
œ. œ œ
œ œ
b
& ‰ œœ ‰ œœ ‰ œœœ ‰ œœœœ
Optional score for Belltree (C6-C7, opt. A5-Bb5, D7-F7) or C Instrument
&b
œœ
œœ
œ œ
65
œœœ 64 ww
œœ œœ .. œ œœ œ œœ
ww
œœ
œœœ œ wœ œ ‰ œ ‰ œ ‰ œ œœ œ œœ . œ œœ œ œœ
œœ
& b œœœ œ
13
&
j
œœ 62 œœ ..
œ œœ
œœ
œ
.
œœ œ œœ . œ œ œœ œœ œ
58
j
60 ˙ .
61
œœ ..
˙˙ ..
œ œœ
œœœ
.
œ
˙
.
.
b
œ
& ˙œ . œ ‰ œ œ œ œœ œ œœ œœ ‰ œœœ œœœ œ
œœ
œœ )
œ
.
Semper Paratus
œœ
œœœ
œœ œ
œœ 59 œœ ...
œœ .
œœ
œœ œ œœœ .. œ œ
˙.
œ œ .. œ œ œ œœ ˙˙ ..
& b 44 œœœ œ œœœ . œ œœœ œœ œœœ œœœ œ˙˙ .. œ œ œ
‰ ‰
57
œ
(
j
œ œœ
œ œœœ
œ œ œ
Opt. double one octave higher - top notes or all stem-up notes to end
66
œ
œ
j
œ œ œœ
œœ
œ
k
œœ
œœ
œ
œœ
œœ
œ
10
˙˙˙
˙˙
˙˙˙
˙˙
˙˙
˙œ
œ
œ . œ œ œ œ œœ
œœ ‰ œœ
œ ‰ œœœ
‰
‰ œ
‰ œ ‰
?b œ œ œ
œ
œ
j
œœ ..
œ œœ
# œœ
œœ ..
œ
œ œ œ œ œ œœœ œ # œœœœ
{ }
*
j
j
‰œ œœ ‰ œœ œ œ # œœœ
œ
œ œ # œœ
œ
œ
œ
#œ
70 Sk
Ÿ
w
72
Ÿ
w
73
Ÿ
w
74
œ œ œ œ œ œ œ #œ
75
˙
˙
Ÿ
w
76
Œ
Ÿ
œ œœœ
œ
k
* Mm. 71 to end - Optional
Note: trill to the higher note, shaking the two bells is also okay
14
Processional Praise
(a bonus piece!)
Handbells Used: 13, (20), (22), (24)
&œ
?
œ
œ
œ
bœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
bœ
œ
bœ
œ
˙
1 ? 44 œ
œ
œ œ ˙
œ ˙
œ
*
œ œ ˙
..
4
œœœ œ
2 &4 œ
4œœœœœ œ
3 &4
˙
˙
œ œœœ œ
˙˙
˙˙
œœœœœ œ
Œ
bœ œ œ œ œ œ w œ ˙
4œ œ
Œ Œ
4 &4
5
? 44 b ˙ . œ œ œœ
Œ
w
*
*
˙
˙
..
˙˙
˙˙
..
Œ
Œ Œ
*
b˙ . œ
œ
œ œ
Œ
*
w
..
..
6 ? 44 b w
Ó
˙
ww
bw
Ó
*
˙
ww
..
37
Sakura I
Beginning 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 1
RE30011 $4.00
38
Sakura II
This 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 2
RE30012 $4.00
39
RE 230312
Matinata I & II
Level 1/2
3-5 oct.
Matinata I & II, Matinata III Kathleen Wissinger
Split-Level & Class ring Series
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
Matinata I & II
2
1
Matinata I
Split-Level Series
Two Compatible L2 Scores with up to six L1 positions
+ Opt. L1 Bass 4th/5th oct. score
Split-Level Series: Zero to Six L1 positions - F5-C7
Compatible with L2 Matinata III (RE 30023)
3 Octaves: C4-E5 + opt. F5-C7 (Opt. Bb5, Bb6)
Handbells Used: 11 - 23 (25)
(Same tune but NOT compatible with Morning Song RE2302AB) 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 ringing
positions is Level 2 (L2) and other specific positions are Level 1 (L1). In addition, these are simply
fun 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 Bass
score for C3-F4 for more flexibility. Unison Exercises are also included to teach rhythms and techniques.
&
Brightly q = 110
1
& 44
F
? 44
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.
SK
˙˙
˙
& ˙˙˙
SK
? ˙˙˙
4
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.
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 8th
notes. 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.
opt.
(Bb5 and Bb6 are optional)
?
Matinata I (3-5 oct.) (RE230312) has a core of five Level 2 ringers from C4-E5. These Level 2 ringers
handle 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 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 to
comply with the other scores are included (#12, #13, etc.)
œ œ (bœ ) œ œ
bœ œ œ œ œ œ
œ œ œ œ œ ( )
œ
bœ
œ
œ
œ
œ
œ
œ
œ
(A)
˙˙
˙
& ˙˙
7
? ˙˙œ
2
ww
ww
wœ œ Œ Ó
Œ
www œ œ œ œ œ œ
œœ
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Œ
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œœœ
8
3
˙˙˙
œ œ
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5 ˙
P
˙˙
œœ F
œ œ œ
œœœ
œœ
œœ œ
œœœ œ
œ
˙˙
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(Intro)
˙˙
œ
œ
˙œ
œœ
œ˙
˙
œ
œ
˙˙
˙˙˙
˙
œ œ ˙˙˙
Kathleen Wissinger
(ASCAP)
www
w
œw œ œ œ œ
œ œ œ
ww
6
˙˙
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9
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4
3
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& ˙˙
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10
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13
& ˙œ˙
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p ˙R
˙
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w
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Œ
˙˙˙ œ œœ œ œœ œ
16
17
& ˙˙˙
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.
? ˙˙˙œ.. ˙
b *œœ
& b œœ
œœ
œœœ
œ
14
? ˙˙
19
w
.. wwww
w
12
˙œ œ œ œ˙˙
œ
œ œ œ œœ œœœ
(B)
p
œœ
œœ
œ
˙˙
˙˙˙
11
œ
œœ
˙˙
˙˙œ
œ
œœ
œ ˙˙˙
œœ
œ
*
? b œœœ œ œœ œ œœœ
œœ
œœ
˙˙˙
œ œ
20 SK
˙˙
˙
˙˙
˙˙
œ
˙˙
˙
w
.. wœ œ
œ
œœ f
œ œ œ
˙˙
˙˙˙
˙
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˙
&˙
˙˙˙
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˙
˙˙˙
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œ
œ
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˙˙
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˙
œœœ
œœ
œœ œ ˙˙
œ˙ œ ˙˙˙
˙
˙
˙
˙œ œ œ
œ ˙˙
œœ
œœ
24
26
˙˙
˙˙
˙˙
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œœ
œœ
œ
29
ww
˙˙˙
www
˙˙
&Œ œ œ Ó
f
rit.
? wœw Œ œ œ œ œ ˙˙˙ œ œ œ œ
(Coda)
RT
œœ
œœœ
œ
RT
RT
RT
œœ
œ
œœ
œœœ
œ
œœ
œ
30
˙˙
˙˙
˙˙
˙˙
˙˙
œ
œœœ ..
œ
*
˙˙
˙˙˙
œ˙˙ œ œ ˙œ œ œ ˙˙œ œ œ œ
27
œœ œœ
œ œ ..
*
˙˙
˙˙
˙˙
˙˙
˙˙
* Chimes may RT for mart and Vib for echo
(A)
˙˙˙
˙˙
˙˙
˙˙
œ
? œ˙˙ œ œ œ˙˙ œ
28
œ œ œ œ
F˙˙˙
21
œ œ
23
? ˙˙ œ œ œ ˙œ œ œ ˙œ˙ œ œ ˙œ œ
25
15
˙˙
˙
œ œ ˙œ Œ
Œ
ww œ
w
Œ
Œ
œ
LV
18
œœ
œœ
˙˙
& ˙˙˙
22
œ
˙œ
œ
* Optional - omit Bb5 and Bb6
Matinata I - Wissinger
40
Matinata I - Wissinger
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
$5.00
Matinata III: RE30023 3-5 Octaves Handbells or Handchimes– Level 2
$5.00
7
6
10 ˙
œ
˙œ œ œ ˙œ œ œ 11 ˙˙œ œ œ
˙˙˙
˙˙
œ œœœœœ
& ˙˙
˙
˙
œ
Matinata II
Split-Level Series: Two L1 positions - F5-B5
3 Octaves: C4-E5 + opt. F5-C7 (opt. Bb5 and Bb6)
Handbells Used: 11 - 23 (25)
œ œ (bœ ) œ œ
bœ œ œ œ œ œ
œ œ œ œ œ( )
&
opt.
(Bb5 and Bb6 are optional)
?
& 44
F
? 44
2
ww
˙˙
ww
˙˙
wœ œ Œ Ó
Œ
www œ œ œ œ œ œ ˙˙˙œ œ
(Intro)
SK
˙˙˙˙˙
& ˙˙
(A)
œœ
œœœ
œ
4
SK
? ˙˙˙˙
˙˙ œ
œ
œ
œ œœœ
˙
&˙
œœ
˙˙
˙˙œ œ
˙˙
œ
œ œ
œ œ ˙œ
œœ œ
œœœ œ
œ
˙œ
œ
Kathleen Wissinger
(ASCAP)
6
˙œ œ œ
˙˙˙
˙
PR
?p˙˙
16
& ˙˙˙
œ œ
œœ˙
˙˙
b œœ
& b œœ
˙œ˙ œ œ
œ
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? b œœœ
œ
17
œ
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.
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19
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& ˙˙
˙œ œ
˙˙
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˙œ
œ
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& ˙˙˙œ
? ˙˙˙
24
œ
œ
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& œœ
26
? œ˙˙ œ œ
œ
˙œ
˙˙˙
˙
˙œ
22
23 ˙
˙˙ œ œ œ ˙œ
˙
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˙˙˙ œ œ ˙˙œ œ œ
˙
˙˙ œ œ œ ˙œ
˙
œ œ œ˙ œ œ
œ
œ
œ
œ
˙œ
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œ
˙œ
œ œ
œ œ
25
27
˙œ˙
˙
œ
œ
˙œ˙
œ
œ
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˙˙˙ œ œ
˙
LV
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
œœ
œ
œœ
˙œ̇
œ
(Coda)
RT
˙˙
œ œ œ œ 29 œœ
œœ
œ
˙˙˙
œ
œ
œœ
œ
œ
œ
˙˙
&Œ œ œ œ
œ
œ
f
rit. RT
? œœœ Œ œ œ œ œ ˙˙˙ œ œ œ œ œœœ
28
œ
RT
œœœœœ
œœ
œœ
œ
RT
30
˙˙
˙˙
˙˙
˙˙
˙˙
9
˙œ˙
œ
œ œ 18 œ
œ œ œœ œ
œ œ œœ Œ
Œ
ww œ
w
œœ
œœœ
œ
˙˙
˙
˙˙˙
œ
20 SK
œ
˙˙
˙
˙˙
œ
œ œ
œœ œ œ
œ
œœ
Ó
œ œ œ œ
œœ
œœ
œœ
œ
œ
Œ
œ
œ
œ
f
A
œœ˙
˙˙
œ
œœ˙
œ
**
˙˙
˙
˙˙˙
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
self-correct rhythm problems. Lines B and C introduce the techniques required, Line D requires ringers to
voicing. You can quickly draw these exercises on a white board to encourage confident mastery of these skills.
œ œ
Basic 8th notes
1
2
œœ
œœœ
œ
œœ
œ
3
4
4
B
5
6
..
..
˙˙
˙˙
˙˙
˙˙
˙˙
C
Œ œœ˙
9
E
8
Techniques
10
44 œ Œ œ Œ
D
7
RT RT
44 Œ œ œ ˙
œœ
œ
œ
8
œœ œ
œœœ
˙œ
**
15
Matinata II - Wissinger
œœ
œœ
œœ
œ
œ œœœœœ
œ
œœœ œ
œœœ
œ œ
œœ œ ˙˙˙
21
œ
.. œœœ œ
œœ
œ
w
œ œ wœ Œ Ó
Œ
˙˙˙ œ œœ œ œœ œ
˙
œ ˙œ
˙
˙˙ œ œ œ ˙œ
˙˙˙
˙˙˙ œ œ
˙
9
14
&p˙œ˙
wœw œ œ œ œ œ œ
œ
w
˙˙ œ œ œ ˙œ
œ
13
œw œ œ œ œ
œ œ œ
www
w
3
œœ œ
˙
˙œ œ
˙˙
˙˙
œœ œ 8 ˙ œœ œ
œœœ
˙˙ œ œ
œ œ ˙˙˙
7
? ˙œ˙
5
œ œ
œœ
œ
œ
œ
12
(B)
Brightly q = 110
1
bœ
œ
œ
œ
œ
œ
œ
? œ˙˙ œ œ ˙œ œ œ œ˙˙ œ œ œ œœœ
w
.. wwww
w
œœ
œœœ
œ
11
12
˙
"Not my notes"
14
15
16
œœ œ
44 13 œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ
œ
œ
œ
˙
Double voicing
17
44
˙˙ œ ˙˙œ œ 18˙˙ ˙˙ œ œ
˙˙œ œ ˙˙ œ ˙œ œ ˙˙œ
œ ˙
19
œ˙ œ œ
˙˙
20
˙ ˙˙
œ˙˙ œ ˙˙˙œ œ œ ˙œ œ œ
˙ ˙
˙
** Chimes may RT for mart, Vib. for echo
Matinata II - Wissinger
41
10
Matinata - Bass Score
Optional score for L1 chimes or bells - C4-F4 for extra ringers
3, 4 or 5 Octaves
Handbells Used: 2 - 12
œ
œ bœ œ œ œ œ
œ œ œ œ œ
?
q = 110
Kathleen Wissinger (ASCAP)
1
2
? 44 w
F w
6
3
˙ ˙
˙ ˙
7
?˙
˙
11
5
œ œ ˙
˙ ˙
œ
P˙ ˙
9
13
˙˙
˙
p
œœœ œœ .. www
w
10
˙˙
œ œ œœ œ ˙˙
œ
œ
12
? ˙
˙˙
ww
w
8
˙˙
˙
˙˙
4
˙˙
˙
˙
˙
œ œ ˙˙
œ œ ˙
˙˙
˙
˙
14
15
˙˙
˙
˙˙
20
16
17
21
? ˙
F ˙
18
˙˙ ˙
˙ ˙
? œ œ ˙
œ ˙
22
˙
˙˙
˙
˙
26
? ˙˙ ˙
˙ ˙
27
19
˙˙ ˙˙
˙
23
˙
˙
b œœ œ œœ œ œœ œœœ ˙˙
œ
24
˙˙
˙
œ œœ œœ œ ˙˙
œ
œ
28
29
25
˙
˙
˙
˙
30
˙ œœ œœ .. ˙ œ œ ˙ œœœ œœœ ˙˙ ˙˙
˙˙ œ. . ˙ œ œ ˙˙ œ. œ.
˙˙
f
.
Mm. 27 & 29 " " = may be pluck, mallet, RT or mart for bells - RT or hand damp (for chimes)
RE 30023
Matinata III
Level 2
3-5 oct.
Kathleen Wissinger
Class ring Series
Matinata III
Split-Level Series
Compatible with Matinata I & II (RE230312)
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 ringing
positions is Level 2 (L2) and other specific positions are Level 1 (L1). In addition, these are simply
fun pieces for any L2 group to play.
(Same tune but NOT compatible with Morning Song RE2302AB) 2
1
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 Bass
score 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 ringers
handle 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. 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
self-correct rhythm problems. Lines B and C introduce the techniques required, Line D requires ringers to
voicing. You can quickly draw these exercises on a white board to encourage confident mastery of these skills.
A
Basic 8th notes
1
2
5
6
44 Œ œ œ ˙
C
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 8th
notes. 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.
E
8
RT RT
10
44 œ Œ œ Œ
D
7
Œ œœ˙
Techniques
9
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.
4
B
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 to
comply with the other scores are included (#12, #13, etc.)
3
4
11
12
˙
"Not my notes"
14
15
16
œœ œ
4 13 œ œ œ œ œ œ œ œ œ œ œ
œ œœ
4 ˙
œ
œœ
œ
Double voicing
17
44
20
˙˙ œ ˙˙œ œ 18˙˙ ˙˙ œ œ 19œ˙ œ œ
˙˙œ œ ˙˙œ œ œ
œ˙ œ ˙ œ ˙œ œ ˙œ
œ
˙˙ œ ˙˙˙ œ ˙˙
˙˙
˙
˙
œ ˙˙
˙
42
3
4
Matinata III
˙˙œ œ ˙œ œ œ ˙˙œ
œ
˙˙
˙˙˙ œ œ œ
& ˙˙
˙
˙
? ˙˙œ œ œ ˙œ œ œ œ˙˙ œ œ œ
1:50
10
All L2 Positions
3 Octaves: C4-E5 + opt. F5-C7
Handbells Used: 11 - 25
œ œ bœ œ œ
bœ œ œ œ œ œ
œ œ œ œ œ
&
opt.
Chimes may RT for mart, Vib. for echo
?
œ
œ
œ
œ
Brightly q = 110
1
& 44
F
? 44
2
ww
˙˙
ww
œ
wœ œ Œ œ œ œ ˙˙
Œ
www œ œ œ œ œ œ ˙˙˙œ œ
SK
˙˙˙˙˙
& ˙œ œ œ
(A)
œœ
œœœ
œ
SK
? ˙˙˙˙
œœ
œ
˙˙ œ
œ
œ
œ œœœ
& ˙˙
œœ
7
? ˙œ˙
œ œ ˙œ
œœ œœ
œœ
˙
Kathleen Wissinger
(ASCAP)
œ
w
6
˙˙
˙
œ œ œ œ
œ œ
œœ œ 8 œœ ˙ œ
œœœ
œ˙ œ
˙
œ œ ˙˙˙
œ
œ
ww
w
3
œ
˙˙
˙
˙˙œ œ ˙˙˙œ œ
˙
5
œ
œœ œ
œœœ œ œœ
œ œ
(Intro)
4
bœ
œ
œ
11
13
R
˙
& ˙œ˙ œ
œœ
œœ
? ˙˙˙
œœ
œ
œœ˙
œ
œ
F
œœ œœ
Œ
16
œœ œ œ 19 b œœ
œ b œ œ œœœ œ œœ œœ
œœ
œ
œ
œ œ
œ œ œ œ b œœœ œ œœ
œ œœ œ
17
20
œ
ww
œ œ
œ
œœ œ œ ˙˙˙
œœ
œ
˙.
˙˙
œœ œ
œ œ œ ˙œœ. ˙
œ œ œ ˙˙˙
œœ œ œœ œ ˙œ˙ œ
˙œ˙ œ œ
˙˙
˙œ˙ œ œ
LV
15
˙˙ œ œ œ ˙œ
œ œ
˙œ œ œ
œœ
œœ œ œ
œ œ œ
œœ
œœ œœ
œ œ
14
& ˙œ˙ œ ˙œ˙ œ œ ˙˙˙
p
Œ
˙˙˙ œ
˙˙˙
? ˙˙˙
œœœ œ œœœ œ œœ 18 œœ
& œœœœ œ œœœ œœ œ œœœ Œœ
Œ
P
˙˙
ww œ
? ˙˙˙
˙
w
œœœœ œ œ
œ œ
œœ
œœœ
œ œ
(B)
˙˙œ œ œ ˙œ
˙˙˙ œ œ
˙˙˙
˙
˙œ œ œ 9
˙˙œ œ œ
œ
˙
œœœ
œœœ
œ
* See note below
12
21
˙˙
˙˙œ œ
(A)
˙˙
œ
œ œ
œ
˙œ œ
˙˙
˙˙
˙œ
22
œ
˙˙œ œ œ ˙œ
˙˙˙ œ œ
˙˙˙
˙
˙˙œ œ œ œ˙
œ œ
* Easier performance option: Repeat Measures 12-27 and then skip to Coda at M. 44
5
24 œ
˙˙ œ
œ
œ
œ œœœ œœœœ œ œœ ˙ œœ ˙˙œ œ œ
& ˙˙
œœ œ
˙˙
˙˙
23
? ˙˙œ œ œ ˙œ œ œ ˙˙˙
˙˙œ œ ˙œ œ œ 27 ˙˙œ
œ
œ
˙˙
˙˙˙ œ œ œ œœœœœ
& ˙˙
˙
˙
œ
? œ˙˙ œ œ ˙œ œ œ ˙˙œ œ œ œ œœœ
*
œœ œœ œœ œœœ œ 30 œ œ œ œ œœ œœ
œ œ œ
& p˙˙œ œ œ˙˙œ œœ œœ œœœ
P
Œ
œ
˙˙
˙˙˙
œœ œ
?p˙˙˙
˙
29
#14
(B)
œœ œ œ œœ œ
œ œ œ œœ
& œ˙˙ œ
œœ
#16
#17
32
33
.
? ˙˙˙œ..
˙
˙˙
˙
œ
(#12, #13, etc. = Repeat "measure
numbers" for compatible scores)
œœ 28 œœœ
œœœ
œ œ œ œ œ
œ
œ œ œœ
œœ
œ
œœ
œ
œœ œ
œ
#12
31
œœ œœ œœ œ œ œœœ œ œœ œ
œœ œ
œ œ ˙˙˙
œ
œ œ ˙˙œ
#18
34
œœ
œœ
œ
Œ
ww
w
#20
#19
35
36 SK
b œœ œ œ
œœ œ œœ œ œœ œ ˙œ˙˙ œ
& b œœ
œ
˙˙
œœ
? b œœœ œ œœ œ œœœ
˙
˙
œ ˙œ
œ œ
œ œ œœœ œ œ œ
œ œœ œ œ
Œ
œ œ œ œ
œ
˙˙(A)
˙œ œ
œ
œœ œ ˙˙œ œ ˙˙˙˙
Œ
˙
˙
œœ f
œ œ œ ˙œ œ œ œ
#21
37
œœ
œœ
6
39 ˙
40 œ
˙˙œ œ œ ˙œ
œ
˙
œ
˙˙˙ œ œ ˙˙˙œ œ œ œœœœ œœœœ œ ˙˙œœ œœ ˙˙œœ œœ œ
& ˙˙˙
œ
œ œ
˙
˙
˙
#23
#22
38
#24
? ˙˙ œ œ œ ˙œ œ œ ˙˙œ œ œ ˙œ œ œ ˙˙˙
œ˙ œ œ
œ˙ œ œ œ
œœ œ
˙
& ˙˙
œœ œ œ
œœœœœ
œœ
œœ
œ
#25
41
#15
œœœ œœ œ œœœ œ œœ
œœœ
œ œ
œ œ œœ œ œ
œœ œ ˙˙˙
œ˙ œ œ œ
œ
œœ
˙˙
œœ œ œ
˙
œ˙ œ œ œ
˙
˙œ
˙œ œ œ
26
#13
25
Matinata III - Wissinger
? ˙œ˙ œ œ œœ˙
˙˙
˙
& ˙œ˙
#28 (Coda)
44
f
? œœœ
œ
#26
42
˙˙œ œ ˙œ œ œ 43 ˙˙œ
˙˙
˙˙ œ
˙˙˙ œ œ œ
˙
˙
˙˙œ œ œ œ˙ œ œ ˙˙œ œ œ
œ
#27
RT
œ œ œ œ 45 œœ
œœ
œ
œ
œ
œœ
œ
œ
œ
˙˙
œ œ œœ
œ
œ
rit. RT
Œ
œ œ œ œ ˙˙ œ
œ
˙ œ œ œ œœ
#29
RT
œœœœœ
œœ
œœ
œ
RT
#30
46
˙˙
˙˙
˙˙
˙˙
˙˙
œœ
œœœ
œ œ
œœ
œ
˙˙
˙˙
˙˙
˙˙
˙˙
43
44
PRSRTD STD
U.S. POSTAGE
PAID
IRMO, SC
29063
PO Box 1728
Irmo, SC 29063-1728
PO Box 1728 • Irmo, SC 29063-1728
(803) 781-0555 • Fax: (803) 781-3020
email: [email protected] • www.HandbellWorld.com
PERMIT NO 22
1-800-547-2355 • www. HandbellWorld. com
 Bill Account
 Check Enclosed
 Purchase Order
Customer PO#:
 Credit Card
 Visa
 Amex
 MCard
 Discover
JHSRE0615
Name on Card
Ship To
Signature
Attn:
Name:
Address:
Card #
Exp
Stock #
Title
City:
State:
Phone:
Zip:
Ext:
Level
Oct.
Add. Info
ARRANGER
Qty. Unit 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/
2-3
MD
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
Wissinger
$4.00
MRE230312
Matinata I & II
1/2 3-5
Wissinger
$5.00
MRE30023
Matinata III
Wissinger
$5.00
2
3-5
Total
Price

New Music for Handbells and Handchimes New Music for Handbells

Transcription

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