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Exploring HandbellsTechniques & Repertoire for Handbells and Handchimes
by Betty B. Radford, with Technical Advice by Deborah RiceEdited by Matthew Dane Peavoy
Themes & VariationsBox 25109 Deer Park PO, Red Deer Alberta T4R 2M2
Email: [email protected] Web Site: www.musicplay.caToll Free Phone or Fax: 1-888-562-4647
Printed in Canada © 2018Cover Design by Craig Cassils
ISBN Number: 978-1-927062-83-8
The music included in this publication are all original compositions by Betty B. Radford. Permission is granted solely to the purchaser of this book to reproduce only the music scores for his/her ringing ensembles. The complete score must be reproduced and include the title, composer and
copyright. This permission is not transferable.
Title Page Octaves Technique Introduction 2The Ringing Sound 3Ringing and Damping 9 A Sunshine Day 12 2 octaves Ring, Damp, Vibrato A Sunny Day 13 3 octaves Ring, Damp, VibratoVibrato 14Let Vibrate 14Shake 15 Afloat 16 2 octaves Let Vibrate, Shake Floating 18 3 octaves Let Vibrate, ShakeStaccato 20Thumb Damp/Finger Damp 21Mallet on the Table/Mallet 22Pluck 23 Just Monkey Business 24 2 octaves Staccato Monkey Business 26 3 octaves StaccatoMartellato/Mart 28 Popcorn 30 2 octaves Martellato Salty Popcorn 32 3 octaves MartellatoTower Swing/Swing 34Multiple Techniques 35 In the Hammock 36 2 octaves Tower Swing Lazy Hammock 38 3 octaves Tower Swing Two Acrobats 40 2 octaves Multiple Techniques Three Acrobats 43 3 octaves Multiple TechniquesTechnical Symbols 46Acknowledgements 48
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SAMPLE
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Ring and Make Music
Exploring Handbells will give directors and ringers an opportunity to experience several techniques for handbells and handchimes. The original compositions in this book were written specifically as a way to practice and explore each technique before combining them with other handbell techniques. Each piece is playable on handbells and handchimes, although some techniques do not apply to handchimes.
The music in this collection is written for two and three octave ringing ensembles as this is where most ringers begin. The music ranges from level 1 - 2. Two and three octaves are most frequently found in schools and some community and church groups. Four and five octave ensembles are often used in intermediate to more advanced ensembles such as high schools, universities, and community and faith-based groups, while six and seven octaves ensembles are used by advanced groups.
The music in this book has no tempo marking. Choose a tempo that best works for you. These pieces were created as partner pieces, e.g. Popcorn and Salty Popcorn. They are based on the same music, but written in different keys to enable the best result for an individual two octave and three octave ensemble.
A handbell and/or handchime ensemble will develop an incredible sense of teamwork. Since each ringer contributes his/her individual notes, there are no “stars”. All have equal roles and strive for the common goal of producing music to the best of their ability. Being a part of this team gives each ringer a strong sense of belonging and being a valuable member of a group. Each member is accountable to the whole group.
These are critical human endeavours; working side-by-side with others for a mutual goal. In a handbell ensemble, every individual is an integral part of the team. As well, it has been widely documented that learning and expressing music has a profound affect on all aspects of learning and personal growth. Learning, studying and participating in music reinforces literacy, numerical, problem solving and social skills. For this reason, handbell ensembles are particularly beneficial for students and in fact all ages. Handbell ensembles offer their ringers a vehicle for accomplishment, pride, personal growth and aesthetic experiences. They are a community where the joy of music and companionship are attained.
Enjoy making music and learning together! This is the beauty of ringing handbells and handchimes.
SAMPLE
3
The Ringing Sound - Handbells
casting
mouth
lip
waist
handle
clapper
Outside of a Handbell Inside of a Handbell
How is sound produced on a handbell?
When the clapper strikes the casting of a handbell, a pitch is produced. The pitch comes from the lip, but the waist creates the overtones. Holding the handbell upright at your shoulder with the mouth parallel to the ceiling enables the combined sound to move forward. The clapper in a handbell moves back and forth in one direction only. The casting is made using a blend of 80% copper and 20% tin. This special combination makes the handbells both strong enough for ringers to use several techniques while allowing the handbells to vibrate and produce a beautiful sound.
The collar separates the bell from the handle so that the handbell can resonate and the ringer’s hand does not stop the sound. The handle is made of leather in some makes of handbells and a hard plastic in others.
crown
collar SAMPLE
6
How Handbells/Handchimes are OrganizedRinging ensembles have their handbells and handchimes organized in keyboard order from the lowest bass handbell to the highest treble handbell. The pitches are marked G4, D#6/E%6, A#5/B%5, etc. Handbells and handchimes are also organized by numbered octaves, from C to B, e.g. C4 to B4. C is the pitch where the number changes, e.g. B5 is next to C6. C5 corresponds to middle C on a keyboard.
C#Db
D#Eb
F#Gb
G#Ab
A#Bb
C#Db
D#Eb
F#Gb
G#Ab
A#Bb
C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6
C#Db
D#Eb
F#Gb
G#Ab
A#Bb
D6 E6 F6 G6 A6 B6 C7
two octave set
three octave set
Handchimes and handbells sound an octave higher than notated on the grand staff. C4 to C7 is a three octave set. G4 to G6 is a two octave set. C5/C#5 and lower are notated in the bass clef, and Db5/D5 and higher in the treble.
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Score
D5 E5 F5 G5 A5 B5 C6 D6 F6 G6 A6 B6 C7E6C4 D4 E4 F4 G4 A4 B4 C5
two octave set
three octave set
SAMPLE
7
A two octave ensemble is made up of eight ringers and a three octave ensemble has eleven. You can find the pitch written on the handle of the handbell and the pitch plate of the handchime. These positions include accidentals (e.g. A4 also includes A sharp and A flat). These assignments are considered to be standard in most choirs, however, each director may assign ringers based on his/her individual needs. When the director faces the ensemble, the lowest bass handbell will be on his/her far right and the highest treble on the left.
1. G4/A42. B4/C53. D5/E5
4. F5/G55. A5/B56. C6/D6
7. E6/F68. G6
Two Octave Ensemble
1. C4/D42. E4/F43. G4/A4
Three Octave Ensemble
Ringing Assignments
4. B4/C55. D5/E56. F5/G5
7. A5/B58. C6/D69. E6/F6
10. G6/A611. B6/C7
Foam Table LowestHighest
G6A6 F6 E6 D6 C6 B5 A5 G5 F5 E5 D5 C5 B4 A4 G4C7 B6 F4 E4F4 E4 D4 C4
Ensemble Layout
Director
SAMPLE
9
Ringing a Handbell
Before beginning to ring, stand with one foot in front of the other, knees unlocked, body balanced. Handbells and handchimes should always be placed on a padded table. Hold the handbell right under the collar. Your fingers will go around the handle as if holding an ice cream cone with the thumb pointing forward towards the director. Never wrap fingers through the handle. The weight of the handbell should rest on your hand with your fingers wrapped around the handle.
Ready to Ring Position
RSymbol
Hold the handbell upright at your shoulder. This is known as the “ready to ring” position. Move the handbell forward in a circular motion as it leaves the shoulder. The circular motion will sustain the sound.
Imagine outlining a bicycle tire with the rim of the handbell. Keep the handbell upright after the ring and be careful not to tip the casting forward. A handbell shouldn’t be held like a paintbrush with the mouth facing forward. The mouth should always face the ceiling.
You will need to adjust the size of the circle depending on the length of the note. A long note will need a larger circle and a short note will need a smaller circle. For dynamic contrast move the handbell quicker for forte and slower for piano. The ringer will need to consider both the note value and dynamics when ringing.
Holding a HandbellSAMPLE
12
A Sunshine DayBetty B. Radford
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A Sunshine Day
©Betty B. Radford, 2017
Betty B. Radford
Remember to cleanly damp the sound for each rest.
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A Sunny Day
©Betty B. Radford, 2017
Betty B. Radford
Remember to cleanly damp the sound for each rest.
Permission is granted solely to the purchaser of this book to reproduce only the music scores for his/her ringing ensembles.Themes & Variations © 2018
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A Sunshine Day
©Betty B. Radford, 2017
Betty B. Radford
Remember to cleanly damp the sound for each rest.
SAMPLE
15
Shake
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Handbell Technical Symbols
©Betty B. Radford, 2017
Betty B. Radford
Vibrato
Let vibrate Damp Ring
Tower swing/Swing
Shakechord Shake A only Staccato, Thumb damp Staccato, Pluck
Staccato, Mallet Martellato
Symbols
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Handbell Technical Symbols
©Betty B. Radford, 2017
Betty B. Radford
Vibrato
Let vibrate Damp Ring
Tower swing/Swing
Shakechord Shake A only Staccato, Thumb damp Staccato, Pluck
Staccato, Mallet Martellato
Music for LV and Shakes-Afloat - for 2 octaves (G4 - G6) of handbells or handchimes-Floating - for 3 octaves (C4 - C7) of handbells or handchimes *Practice these pieces first with LV before adding the Shake technique. For hand chimes, use vibrato instead of the shakes. Don’t forget the dynamics.
A shake is achieved by moving the handbell quickly back and forth so that the clapper strikes both sides of the handbell for the duration of the note value. Continue the circular motion during the shake. The squiggly line to the right of a note indicates a shake for that note only. SK above a chord means that all the notes in the chord in that clef will shake. A bracket to the left of a chord indicates which notes in a chord shake. Shakes on lower handbells (C4 - A4) are done much slower than on higher handbells. Ringers may use two hands to hold the lower handbells. Shakes are seldom used on handchimes. Vibrato may be used instead.
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Handbell Technical Symbols
©Betty B. Radford, 2017
Betty B. Radford
Vibrato
Let vibrate Damp Ring
Tower swing/Swing
Shakechord Shake A only Staccato, Thumb damp Staccato, Pluck
Staccato, Mallet Martellato
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Handbell Technical Symbols
©Betty B. Radford, 2017
Betty B. Radford
Vibrato
Let Vibrate - LV Damp
Ring
Shakechord
Shake A only
In LV all notes are held until the next LV notation or articulation. Keep the handbells/handchimes moving in a circular motion through M5 &6. Damp at the end on M6 and begin a new LV in M7. Damp at end of M8. New LV in M9. Damp sign at end of M10.
Ring each note. Repeated notes do not need to be damped (M1). Damp each note at the end of its note value so the sound does not extend into the next note (M2).
Shake D5 & D6 only
Shakes
Sample 1
Sample 3
Sample 4
Sample 2
Sample 1ShakesSAMPLE
26
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©Betty B. Radford, 2017
Betty B. RadfordMonkey Business Betty B. Radford&? œ œb œ œ œb œb œ œ œb œ œ œb œb œ œ
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Monkey Business
©Betty B. Radford, 2017
Betty B. Radford
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Monkey Business
©Betty B. Radford, 2017
Betty B. Radford
Permission is granted solely to the purchaser of this book to reproduce only the music scores for his/her ringing ensembles.Themes & Variations © 2018
SAMPLE
34
Tower Swing/Swing Symbols
The tower swing/swing technique is exciting to both hear and watch. To perform this technique, first take a step back from the table to ensure that your handbell will not hit the table. Ring the handbell normally, moving it to the top of the circular position. Next, swing the handbell down by extending your arm beside your leg. The mouth of the handbell should be pointing to the floor. Be careful to not swing the handbell beyond your leg and be sure you are not striking anything behind you. Return the handbell to its original ready to ring position.
This technique is notated in the score using arrows pointing up and down, usually with numbers for the beats, to tell you which beat to swing down and then up. Swing the handbell down on the arrow that points down and back up on the arrow that points up. Swings are not very effective on handchimes. Vibrato may be used instead.
Music for Tower Swing/Swing
-In the Hammock - for 2 octaves (G4 - G6) of handbells or use vibrato on handchimes. Assign G#5 to position 8.
-Lazy Hammock - for 3 octaves (C4 - C7) of handbells or use vibrato on handchimes. Assign F#6 to position 11.
*These two pieces include several accidentals. Try to match big circles with others who are ringing the dotted half notes.
? œ œ œ œ œ#œ œ œ# œ œ# œ œ œ œ# œ œ œ# œ
&2 Octaves Handbells Used: 18
&
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43
43
1 .˙# ...˙˙˙#
..˙̇# 1 2 31 2F
relaxed 2 .˙1 2 3
...˙̇̇#
∑1 2
3 œ# œ œ...˙˙˙#
..˙̇#
4 .˙1 2 3
...˙̇̇#
∑1 2
&
?
5
.˙ ...˙˙˙n#
.˙1 2 31 2
6
.˙ ..˙̇
.˙n 1 2 3
1 2
7
œ œ œ#...˙˙˙#
.˙
8 .˙
1
.....˙̇̇˙˙n
.˙ 2 3
f 1 2
&
?
9 œ œ# œ...˙̇̇
..˙̇
10 œ# œ œ....˙˙˙̇#
.˙
11 œ ˙....˙̇˙˙
.˙
12 œ ˙..˙̇
.˙
In the Hammock
©Betty B. Radford, 2017
Betty B. Radford
Swing is for dotted quarter notes only
? œ œ œ œ œ#œ œ œ# œ œ# œ œ œ œ# œ œ œ# œ
&2 Octaves Handbells Used: 18
&
?
43
43
1 .˙# ...˙˙˙#
..˙̇# 1 2 31 2F
relaxed 2 .˙1 2 3
...˙̇̇#
∑1 2
3 œ# œ œ...˙˙˙#
..˙̇#
4 .˙1 2 3
...˙̇̇#
∑1 2
&
?
5
.˙ ...˙˙˙n#
.˙1 2 31 2
6
.˙ ..˙̇
.˙n 1 2 3
1 2
7
œ œ œ#...˙˙˙#
.˙
8 .˙
1
.....˙̇̇˙˙n
.˙ 2 3
f 1 2
&
?
9 œ œ# œ...˙̇̇
..˙̇
10 œ# œ œ....˙˙˙̇#
.˙
11 œ ˙....˙̇˙˙
.˙
12 œ ˙..˙̇
.˙
In the Hammock
©Betty B. Radford, 2017
Betty B. Radford
Swing is for dotted quarter notes only
SW
tower swing down tower swing up
&
?
œ. œ.œ. œ.
∑
TD
œ8 œœ8 œœœ8
œœ8
œ8Œ Œ
œ8
œ. œ. œ.œ.
∑
Pl
œ. œœ. œœ.œ.
˙̇̇ ˙̇̇
&
?
43
43
œ4 œ4œ4 œ4
Œ œ4 Œ œ4
œœœ# 4œœ# 4
œœœ4
œœ4
Œ œ4 Œ œ4
&
?
43
43
44
44
......
˙̇˙̇̇˙
n
2 3...˙̇̇11 2
...
.˙̇̇˙
#
1
œ œ#
2
œ
3
∑1 2
˙ œ œœœœœœ .œœœœ. œœœœ
. œœœœ .œœœœ .
œœ. œœ. œœ. œœœ. œœœ
.
œœ œ œ œn œœœœ .
œœœ . œœœ .œœœ .
œœœ .
œœ. œœ. œœ. œœ. œœœ
.
2 Handbell Technical Symbols
Thumb damp Mallet on the table Pluck
Staccato in treble clef
Ring in bass clef
Staccato
Swing dotted half notes only. Ringquarter notes
Martellato, Mart
Tower swing, swing Combined techniques
Treble clef: stems down notes are staccato, stems up notes are rung. Bass clef: all notes are staccato.
Swing all notes
Sample 5
Sample 6
Sample 7 Sample 8
SAMPLE
