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Registration Materials
The materials in this packet may be
downloaded from Area 1's website at:
area1.handbellmusicians.org/festival-conference
Use the Course Selection Worksheet in this packet to organize
your Festival schedule. When you have entered your information
and course selections on the included Course Selection Form,
please complete your registration at bit.ly/FC2015AttendeeReg
Questions? registrar.area1@handbellmusicians.org
CONTENTS:
General Inforrmation / Instructions ......................................2
Inddividual Course Selection Instructiions ..............................6
Course Selectiion Worksheet ...................................................9
Course Selectiion Form ......................................................... 13
Course Descriptions ............................................................. 15
1
Handbell Musicians Of America Area 1 Festival/Conference 2015
June 25 – June 28, 2015 - University of Massachusetts at Amherst
General Information and Instructions
Festival/Conference 2015 will be held Thursday, June 25,
through Sunday afternoon, June 28. Once again we’ve
lined up a talented team of directors and instructors!
Debbie Rice will lead the Bronze and Coppers division
ringers, and Tim Waugh will direct the Tins and Massed
divisions. In addition, The Agape Ringers, Chicago's
premier handbell ensemble, will perform in the Thursday
evening opening concert AND teach classes on Friday
and Saturday. The Agape Ringers' director David Weck
will lead our Coppers Plus and Bronze Festival Choirs.
This year we've also added a Coppers Festival Choir,
which will be led by Area 1's own Ed Henderson.
Important Opening Day Times:
Thursday Afternoon, June 25
1:00 - 5:00 PM Registration Check-In/Set Up
3:00 - 5:00 PM Exhibits Open
4:30 - 5:00 PM Faculty Meeting
4:30 - 6:00 PM Dinner
6:30 - 7:45 PM Massed Rehearsal
7:00 - 7:30 PM Chaperones Meeting
8:15 - 10:00 PM Opening Bell & Concert
featuring The Agape Ringers
Ringers should plan on attending all Massed rehearsals
and all rehearsals for their division. Directors who
intend to ring in the final concert should attend all
applicable rehearsals whenever possible.
Each group should plan to ring all Massed music and all
the music within its ringing division. You are required to
purchase your own copies of the music and rehearse the
music ahead of time. Repertoire information is available
at http://bit.ly/FC2015PreReg.
Copyright Policy
Handbell Musicians of America Area 1, Inc. respects all
copyright laws and will strictly enforce them during all
Area-sponsored events. The use of photocopied music is
not allowed unless written permission from the copyright
holder accompanies each photocopy. This includes all
music played in massed concerts, mini-concerts, and
classes. Arrangements of music not in the public domain
are also illegal unless the copyright holder grants
permission. Area 1 expects all Festival/Conference
participants to cooperate with these policies in order to
protect the Guild, participating individuals, and their
respective organizations from legal action.
Housing Options
Check-in and set up will be on Thursday afternoon
from 1-5 PM. The closing ceremonies will take place on
Sunday afternoon following our 3 PM public concert,
presented by the Tins, Coppers, Bronze, and Massed
choirs. Please invite your family and friends!
Housing will be offered in dormitory facilities on
campus, providing each resident with a twin bed,
dresser, desk and chair. All meals and linens (2 sheets,
pillow with pillow case, blanket and 2 towels) are
included. Coin-operated laundry facilities are available.
Registration will begin on April 1, 2015. An “Early Bird”
discount will be offered for all registrations completed by
April 30, 2015. The registration deadline is May 15, 2015.
Traditional non-air-conditioned residence hall rooms
are arranged for double occupancy, but single occupancy
may be requested. Public bathrooms are centrally located
on each floor.
Please direct all registration questions to:
Susan Schultz and Sue Wilber, Co-Registrars
at registrar.area1@handbellmusicians.org
The Registration Fee covers housing (linens provided), all
meals from Thursday dinner through Sunday lunch, and
most workshops, classes, rehearsals, and scheduled
events. Registration also includes a complimentary
Festival/ Conference T-shirt for all registered
participants.
Air-conditioned suites will be offered in the newly
constructed Commonwealth Honors College
Residential Community directly across from our
rehearsal space at the Mullins Center Arena. Each
suite provides sleeping accomodations for four people
in various combinations of single and double
bedrooms, a bathroom with two sinks, a shower and a
toilet, and a shared kitchen and/or living-room area.
2
REGULAR ATTENDEE DOUBLE OCCUPANCY
The registration fee for traditional double occupancy
housing is $345 ($375 after May 1). Air-conditioned
double occupancy rooms are offered for $420 ($450 after
May 1).
REGULAR ATTENDEE SINGLE OCCUPANCY
The traditional single room rate is $385 ($415 after May
1). Air-conditioned single rooms are offered for $460
($490 after May 1).
CHAPERONES: Participants under age 18 must be
chaperoned; one adult (age 21+) chaperone must be
present for every 6 ringers under 18. Chaperones will
meet briefly at the beginning of F/C to learn
expectations and emergency and disciplinary procedures.
Adults attending only as chaperones may register at a
reduced rate, but may not attend classes or ring. Nonringing companions may also register at the Chaperone
rate. The Chaperone rate for traditional housing,
double-occupancy is $245 ($275 after May 1). The
Chaperone rate for double-occupancy air-conditioned
housing is $320 ($350 after May 1).
COMMUTERS: You may live close to Amherst, or you
may prefer to stay in facilities other than college dorms.
The Commuter option is a reduced registration fee that
will provide you with lunch, dinner and all Festival
activities, but requires that you make your own
arrangements for housing and breakfast. The Commuter
rate is $250 ($280 after May 1).
UMass Hotel at the Campus Center
Those registering as commuters may wish to stay at the
Campus Center Hotel. A limited number of rooms have
been reserved at a special conference rate of $110/night
plus taxes and fees. Complimentary continental breakfast
is served daily. One complimentary parking pass for the
Campus Center Parking Garage, per room, per night will
be available at check-in. Check-in is at 3 PM on the arrival
date. Checkout time is 11 AM. Those wishing to reserve
one of these rooms should contact the hotel directly by
May 27, 2015 and use the Group Code BELLC to secure
this special rate.
Contact the UMass Hotel at the Campus Center at
www.umasshotel.com or by phone at (877) 822-2110
Parking
Free parking will be available in the University parking
lots. If you wish to use the underground garage at the
Conference Center, you may do so for a fee.
Special Needs/Handicapped Accessibility
Most of the UMass campus is handicapped accessible.
The dining hall, dormitories and ringing arena are close
to each other and are handicapped accessible. Those
with mobility impairments will be given a special
information packet about handicapped parking and
handicapped entrances on campus, but you need to let us
know about your special needs during the Attendeee
registration process. We can provide refrigerators in
dorm lounges for those who have medication that needs
refrigeration. Please indicate if you have this need on your
registration form. Special dietary, housing or accessibility
needs must be detailed during the registration process, as
adequate time must be provided to accommodate these
needs.
GENERAL INSTRUCTIONS
Registering Your Group
One person from each group (the Group Registrar)
should complete the online group registration found at
bit.ly/FC2015GroupReg. There you will indicate the
division in which your group will be ringing, how much
space you will need on the ringing floor, the details
about any performance selection that you may wish to
share, and whether or not you will be willing to loan
equipment for classroom use. If, as Group Registrar,
you are registering more than one group, you must
repeat this process using a separate email address for
each group.
Once this step has been completed, the Group Registrar
will be assigned a "Group Registration Number".
The Group Registrar should share the Registration
Materials document and the "Group Registration
Number" with each planned attendee from their
group. This document contains the class descriptions
and other information necessary for each member of
your ensemble to complete the registration process
online at bit.ly/FC2015AttendeeReg.
Please note: If you have pre-registered your group, you
have already been given an event ticket with an
identification number. Because there may be some
groups registering without having previously preregistered, we have decided to issue new event tickets
during the Group Registration process in order to
maintain a consistent database. This new event ticket
will be your Group Registration Number.
3
All ringers are encouraged to attend our Festival/
Conference, whether they can attend with a full
ensemble or not. If you are planning on attending the
Festival with a small group and would like to be
“adopted” to ring with another choir as "orphans," you
may indicate this during the Group Registration process.
Whenever possible, matches will be made based on
ringing division and geographical location (for prefestival rehearsal purposes). Please note that participation
in the Bronze Division has been pre-determined by an
audition process, so orphan ringers cannot be assigned to
a Bronze choir.
Individuals planning to attend Festival/Conference on
their own will need to register first as an "Orphan"
group of one to obtain a Group Registration Number,
and then as an Attendee to complete their registration.
Attendee Registration
Each member of a group is required to register
independently online at bit.ly/FC2015AttendeeReg.
Attendees will use the Group Registration Number
provided by their Group Registrar to identify
themselves as members of that group. Payment of the
Registration Fee for each attendee will be accepted
during the online Attendee Registration process either
by credit card or check.
During the online registration process, each attendee will
be asked to indicate their desired housing option, badge
information and t-shirt size, and will have the
opportunity to choose the workshop courses and classes
that they would like to attend. This process ensures that
adequate numbers of sessions will be offered, and
prevents class overcrowding. All attendees should read
the course descriptions carefully and be realistic about
their own abilities when choosing classes. We encourage
directors to discuss courses with their ringers to help
them make choices that will benefit them the most.
Each registrant should choose and record their desired
classes on the enclosed Individual Course Selection Form, and
then use that information to complete the registration
process at bit.ly/FC2015AttendeeReg. Class
assignments will be confirmed at completion of the
registration.
GROUP REGISTRATION INFORMATION
The following information will be collected during the
Group Registration process. The only fees that will be
collected during the Group Registration process will be
those associated with the rental of any tables that your
group may require.
Multiple Groups
If you are registering more than one group, you must
complete the Group Registration process separately for
each ensemble. You will be asked to provide a unique
email address for each group for communication and
identification purposes.
If part of your group is ringing with the Tins division
and some with the Coppers division, you should register
all Tins division ringers as one group, and all Coppers
division ringers as a second group. You must ring in the
division in which you register; no changes may be made
at Festival/Conference. You should note that due to the
separation of the divisions on the ringing floor, it is not
physically possible for more than one group to use the
same bells; you may, however, split your bell set between
groups.
Table Requirements
Tables are set up on the ringing floor in a straight line
within your ringing division. You will be asked to specify
the space requirements for your ensemble in total table
length (ft). You may bring your own tables or rent tables
which we’ll have set up and ready when you arrive. A
fee for table rental will be collected during the online
Group Registration.
Equipment Loans
We always need the loan of handbell sets for use in
classrooms. If you are coming without a full choir and are
willing to bring your unused bell or chime sets, foam
padding or both, you will be compensated with a
generous stipend depending on the equipment loaned and
whether you bring the equipment with you or we pick it
up. You will have an opportunity to offer to lend your
bell/chime set and foam during the online Group
Registration process.
Orphan Ringers
During the Group Registration process, you will be asked
if there are open positions within your Tins or Coppers
choir that you would be willing to have filled by
“orphan" ringers attending the Festival on their own.
4
Mini-Concert Registration
Included in the Group Registration process is an opportunity to request to perform a music selection during one of
our evening Mini-Concerts (recitals). Registrants of Festival/Conference 2015, regardless of group size or abilities, are
encouraged to participate in mini-concerts. This is a great way to boost the confidence of your group as they
perform in front of the most understanding audience in the world! Whether your group performs or not, please take
this rare opportunity to watch, listen, and learn from other groups. There's no better way to get new ideas for your
group or to be inspired toward new goals.
Please note: each Group, Ensemble, or Solo Ringer will be limited to one selection and six (6) minutes
performance time, including setup. If by chance there are more groups requesting performance opportunities
than the allotted concert time will accomodate, the final selection of performers will be made at the discretion of
the Mini-Concert Committee. Selection will be based on the overall goals and needs of the mini-concert
program. You will be notified prior to the Festival as to which mini-concert time you are scheduled.
OTHER INFORMATION
Bronze Division Groups
Participation of ensembles in the Bronze Division of the Festival has been determined through an audition process.
Only those ensembles that have been notified by the Bronze Audition Committee of their acceptance may register
in the Bronze Division.
Class Card Exchange
Before Festival begins, all registrants will receive a list of the classes to which they have been assigned. When
arriving at Festival each registrant will receive Class Cards to be handed in when attending classes. We will have a
Class Card Exchange board where there will be cards for classes that still have available spaces, and where people
can turn in class cards for any classes they do not want to attend. If you are unable to register for a class that you
really want, or if your interests change between now and the Festival, you may find the Class Card Exchange helpful.
Registration Confirmation
You will receive a confirmation of your registration by email immediately upon completing the online registration
process. In June you will receive a detailed packet about your classes, what you will be expected to bring, check-in
instructions, driving directions, etc. There are many recreational and entertainment opportunities in and around
Amherst. Information about these opportunities will be sent in the June packet. You can find more information
about the campus and its facilities at www.umass.edu.
Refund Policy
Registration cancellation/refund requests must be made via email to registrar.area1@handbellmusicians.org on
or before June 1, 2015. You will receive a full refund minus a $20 per-participant processing fee. No refunds can
be made for cancellations received after June 1. A registration may be transferred to another person; however,
class selections cannot be changed. Housing assignments may be changed based on availability at the new date. A
class card exchange system will be in place during the Festival/Conference to facilitate class changes.
5
Individual Course/Class Selections
With The Following Pages, You Will Make Your Course and Class
Selections for Festival/Conference 2015.
Step 1: REVIEW COURSE OFFERINGS
Course Descriptions can be found beginning on page 14.
Each attendee should review the offerings and make note of those courses that are of particular interest.
Step 2: ASSESS LEARNING OBJECTIVES
What do you most want to achieve in this F/C? Improve your technique? Work on sight-reading? Learn solo or ensemble skills?
Discuss with your director the areas on which he or she feels you should focus. Return to the Course Descriptions and make
note of any additional courses or classes that might be of interest to you based on your learning objectives. We suggest that
your group get together to select courses, taking as many different courses as possible, so that everyone can share their
knowledge with the group after returning from F/C.
Step 3: MAKE COURSE SELECTIONS
Use the 4-page Course Schedule Worksheet, found on pages 9-12 (see sample below)
to plan your course/class selections.
Step 4: FILL OUT YOUR COURSE
SELECTION FORM When you have
finished marking your Course Schedule Worksheet,
transfer the Course/Class Numbers of your choices to the
Course Selection Form, found on page 14 (sample at right).
Step 5: REGISTER ONLINE
Use this form when registering online
at bit.ly/FC2015AttendeeReg
6
A Glossary of Terms Used in the Course Selection Worksheet/Form
Block
— denotes a time period (example: 3.1)
Course — Multi-session course: Mini-Track (2 sessions) or Track (3 sessions)
Session — A particular class period of any Mini-Track or Track (example: a, b, c)
Class
— A single class
E
— For Everyone
D
— For Directors
C, B — Festival Choir notation (Coppers, or Bronze)
Sample Worksheet Labeling/Numbering
Most Mini-Tracks (2-session courses) are
offered more than once. Most Tracks
(3-session courses) are only offered once.
Most Classes (1 session each) are offered
Courses (Mini-Tracks/Tracks)
Classes
designated as
Making Course Selections Using the Course Schedule Worksheet
The goal of this process is to select a course or class for every available time block in which
you do not have a rehearsal. Please remember to leave time for lunch.
Important Note on Lunch Times: Lunch will be available during blocks 2.3 & 2.4 on Friday,
and blocks 3.3 & 3.4 on Saturday. Special lunch arrangements will NOT be available for those
attendees who are booked into classes and/or rehearsals throughout the lunch period. If you
completely fill in your lunch blocks on either Friday or Saturday, the Registrars will assume that
you do not mind missing lunch that day.
Suggested Track/Mini-Track Selections By Division
TINS
815E.1 Beginning Multi-Bell ProblemSolving (2.3, 3.4)
815E.2 Beginning Multi-Bell ProblemSolving (2.6, 3.1)
817E.1 Introduction to Solo Ringing /
Traveling 4-in-hand (2.2, 2.6)
817E.2 Introduction to Solo Ringing /
Traveling 4-in-hand (3.1,3.4)
971E.1 Get On Board! (2.3, 2.5, 3.1)
COPPERS
815E.1 Beginning Multi-Bell
Problem Solving (2.3, 3.4)
816E.1 Advanced Multi-Bell
Problem Solving (3.6, 4.1)
817E.2 Introduction to Solo Ringing/
Traveling 4-in-hand (3.1, 3.4)
824E.1 Introduction to Ensemble Ringing (3.4, 3.6)
832D.1 It’s All About Techniques (3.1, 3.7)
833E.1 Certification: Ringing Techniques I (2.4, 2.5)
905C.1 Coppers Plus Festival Choir (2.4, 3.1, 3.4)
906C.1 Coppers Festival Choir (2.4, 3.1, 3.4)
908D.1 Rehearsal Techniques &
Score Study (2.1, 2.4, 3.2)
910D.1 Music Theory Track (2.7, 3.6, 4.1)
911E.1 Musicality Through Motion
Language (2.5, 3.3, 3.6)
960E.1 African Drumming (2.3, 3.3, 3.6)
971E.1 Get On Board! (2.3, 2.5, 3.1)
BRONZE
816E.1 Advanced Multi-Bell
Problem Solving
(3.6, 4.1)
817E.1 Introduction to Solo Ringing/
Traveling 4-in-hand
(2.2, 2.6)
824E.1 Introduction to Ensemble
Ringing
(3.4, 3.6)
833E.1 Certification: Ringing
Techniques I (2.4, 2.5)
903B.1 Bronze Festival Choir
(2.2, 2.5, 3.6)
909E.1 Music Theory Foundations (2.7, 3.5, 4.1)
910D.1 Music Theory Track
(2.7, 3.6, 4.1)
911E.1 Musicality Through Motion
Language (2.5, 3.3, 3.6)
971E.2 Get On Board! (2.6, 3.3, 3.5)
7
Now it’s time to choose your courses. Take a pencil and your Course
Schedule Worksheet (next four pages) and follow this checklist. Note
the completed samples at left on this page.
1
Begin the process by CROSSING OUT your Division’s rehearsal
times (shown at left, a Coppers division ringer) and the Massed
rehearsal times. Note: A few courses are scheduled during Massed
rehearsals, primarily for directors and aspiring directors, as well as for
others not taking part in massed ringing. You are strongly urged to
avoid scheduling classes during Massed or Divisional rehearsals, but
we understand it may not be possible for everyone.
2
CHOOSE A MINI-TRACK OR TRACK. Choose one Mini-Track/
Track you would most prefer. Since Mini-Tracks/Tracks are 2
or 3 sessions each, identify and mark all sessions.
3
CHOOSE ANOTHER MINI-TRACK OR TRACK. Look in your stillempty blocks, and choose another Mini-Track/Track, if any, you
would most prefer that does not conflict with any sessions of your first
selection. Make sure to identify and mark all sessions of each track.
Instead of Mini-Tracks or Tracks, you may make up your schedule
entirely of Classes if you wish.
4
CHOOSE A SINGLE-SESSION CLASS for each still-empty block.
5
When you are satisfied with the
courses you’ve selected, record
your choices on the Course
Selection Form.
6
Enter your Name, Email, T-Shirt
and Housing information, and any
Special Considerations, on the
completed Course Selection Form.
Refer to this form when registering
online at bit.ly/FC2015AttendeeReg
8
Course Schedule Worksheet
Name
Courses (Mini-Tracks/Tracks)
Most Mini-Tracks (2-session courses) are
offered more than once. Most Tracks
(3-session courses) are only offered once.
Most Classes (1 session each) are offered
Page 1 of 4
Classes
designated as C (Coppers) and B (Bronze)
INSTRUCTIONS: The goal of this
selection process is to choose one
course/class selection in every
“available” block.
THURSDAY, JUNE 25
Block# /Time
1:00–5:00
1.1
4:30–6:00
6:30–7:45
8:15–10:00
Events
R E G I S T R AT I O N
D IN N E R
Massed Rehearsal
AGAPE RINGERS
CONCERT
You may choose more than one Mini-Track
a) Find your Ringing Division’s (Tins, Copor Track as long as the session times don’t
pers, etc.) Friday and Saturday rehearsal
overlap.
times and mark an “X” through the entire
block. You should also mark through the c) Choose additional classes in any of the
Massed rehearsal times, even though
remaining free blocks.
some courses/classes (usually intended
Be sure that you leave one of the Lunch
for directors or for more advanced ringers)
blocks open each day.
may be offered at those times.
d) When finished, record your selections on
b) In the Mini-Track/Track column, circle
the Course Selection Form following this
your most preferred Mini-Track/Track. Be
Worksheet.
Examples may be found elsesure to circle ALL SESSIONS of the Miniwhere in this “Individual Registration
Track/Track (the other session number[s]
Materials” document.
are noted following the track name*).
* You may not mix sessions of Mini-Tracks. Example:
You may not choose 1a and 2b of the same Mini-Track.
FRIDAY, JUNE 26
Block# /Time
Events
Course #
2.1 8:00–9:15
Massed Rehearsal
908D.1a Rehearsal Techniques (2.4, 3.2)
110E.1
606E.1
Introduction to Change Ringing
Drumline Diversions
2.2 9:30–10:45
Coppers Rehearsal
817E.1a Introduction to Solo Ringing / (2.6)
085E.1
101E.1
102E.1
106E.1
109E.1
111E.1
120E.1
Strength/Conditioning for Bass Ringers
Weaving 101
Four-in-Hand Ringing
Shelley Ringing
Mallet Musicality
313E.1
Weaving at the Speed of Sound
406E.1
408E.1
505E.1
604E.1
Repertoire Reading Concert/Special
Repertoire Reading Oldies But Goodies
Handbell History/Lore
A Taste of African Drumming
MINI-TRACK / TRACK
& Score Study
Traveling 4-in-hand
903B1.a Bronze Festival Choir (2.5, 3.6)
2.3 11:00–12:15 Bronze Rehearsal
L
U
N
C
H
815E.1a Beginning Multi-Bell Problem-Solving (3.4)
960E.1a African Drumming (3.3, 3.6)
971E.1a Get On Board! (2.5, 3.1)
Course# CLASS
Beginning-Intermediate Rhythm Reading
Youth Kamikaze Ringing
101E.2 Weaving 101
102E.2 Four-in-Hand Ringing
103E.1 Intermediate/Advanced Bells
106E.2 Shelley Ringing
117E.1 Kitchekapoom!
121E.1 From C-C
202E.1 Solo Ringing with Company
312E.1 Trust Your Memory
321E.1 Be a Better Ringer
9
Course Schedule Worksheet Page2 of 4
FRIDAY, JUNE 26
Block # / Time
Events
Course #
2.4 12:30–1:45
Tins Rehearsal
MINI-TRACK / TRACK
Class #
CLASS
833E.1a Certification: Ringing Techniques I ( 2.5)
085E.2
Strength/Conditioning for Bass Ringers
L
905C.1a Coppers Plus Festival Choir
112E.1
Mastering Complex Rhythms
U
906C.1a Coppers Festival Choir (3.1, 3.4)
908D.1b Rehearsal Techniques (2.1, 3.2)
402E.1
403E.1
404E.1
605E.1
606E.2
Repertoire Reading L 3-4
N
(3.1, 3.4)
& Score Study
C
H
2.5 2:00–3:15
Classes Only
833E.1b Certification: Ringing Techniques I (2.4)
903B.1b Bronze Festival Choir (2.2, 3.6)
911E.1a Musicality Through Motion Language (3.3, 3.6)
971E.1b Get On Board! (2.3, 3.1)
Repertoire Reading L 3+-6
Repertoire Reading Seasonal
Introduction to Steel Drum Playing
Drumline Diversions
085E.3 Strength/Conditioning for Bass
103E.2 Ringers Intermediate/Advanced Bells
104E.1 Bass Bells
116E.1 Introduction to Bell Trees
313E.2 Weaving at the Speed of Sound
314E.1 Processionals
315E.1 Beyond the Printed Page
318E.1 Dynamic Ringing
401E.1 Repertoire Reading Level 1-3
404E.2 Repertoire Reading Seasonal
407E.1 Repertoire Reading Shorthanded
506E.1 Copyright Laws & the Musician
604E.2 A Taste of African Drumming
701E.1 Schulmerich Maintenance
2.6 3:30–4:45
5:00–6:45
2.7 7:00–8:15
Coppers Rehearsal
815E.2a Beginning Multi-Bell Problem-Solving (3.1) 110E.2 Introduction to Change Ringing
817E.1b Introduction to Solo Ringing / (2.2)
112E.2 Mastering Complex Rhythms
Traveling 4-in-Hand
113E.1 Rhythms 2 Ringing
971E.2a Get On Board! (3.3, 3.5)
202E.2 Solo Ringing with Company
401E.2 Repertoire Reading L 1-3
403E.2 Repertoire Reading L 3+-6
407E.2 Repertoire Reading Shorthanded
605E.2 Introduction to Steel Drum Playing
DINNER
Massed Rehearsal
909E.1a Music Theory Foundations (3.5, 4.1)
910D.1a Music Theory Track (3.6, 4.1)
8:30–9:30
M I N I - C O N C E RT
9:30–10:00
ANNUAL MEETING
306D.1 Moving From Score Study to Making Music
Worship
321E.2 Be a Better Ringer
10
Course Schedule Worksheet Page3 of 4
SATURDAY, JUNE 27
Block # / Time
Events
Course #
3.1 8:00–9:15
Bronze Rehearsal
815E.2b Beginning Multi-Bell Problem-Solving (2.6) 101E.3 Weaving 101
102E.3 Four-in-Hand Ringing
817E.2a Introduction to Solo Ringing/ (3.4)
Traveling 4-in-Hand
111E.2 Beginning-Intermediate Rhythm Reading
832D.1a It’s All About Techniques (3.7)
117E.2 Kitchekapoom!
905C.1b Coppers Plus Festival Choir (2.4, 3.4)
318E.2 Dynamic Ringing
906C.1b Coppers Festival Choir (2.4, 3.4)
605E.3 Introduction to Steel Drum Playing
971E.1b Get On Board! (2.3, 2.5)
701E.2 Schulmerich Maintenance
3.2 9:30–10:45
Bronze Rehearsal
908D.1c Rehearsal Techniques (2.1, 2.4)
MINI-TRACK / TRACK
& Score Study
3.3 11:00–12:15 Tins Rehearsal
911E.1b Musicality Through Motion (2.5, 3.6)
Language
960E.1b African Drumming (2.3, 3.6)
U
971E.2b Get On Board! (2.6, 3.5)
L
N
C
H
3.4 12:30–1:45 Classes only
L
U
N
C
H
Class #
102E.4
109E.2
111E.3
113E.2
117E.3
121E.2
309E.1
311E.1
314E.2
322E.1
403E.3
408E.2
502D.1
605E.4
702E.1
103E.3
106E.3
110E.3
121E.3
203E.1
402E.2
702E.2
815E.1b Beginning Multi-Bell Problem-Solving (2.3) 101E.4
109E.3
817E.2b Introduction to Solo Ringing (3.1)
/Traveling 4-in-hand
116E.2
311E.2
824E.1a Introduction to Ensemble Ringing (3.6)
312E.2
905C.1c Coppers Plus Festival Choir (2.4, 3.1)
321E.3
906C.1c Coppers Festival Choir (2.4, 3.1)
322E.2
404E.3
406E.2
605E.5
606E.3
CLASS
Four-in-Hand Ringing
Mallet Musicality
Beginning-Intermediate Rhythm Reading
Rhythms 2 Ringing
Kitchekapoom!
From C-C
What Do You Hear?
Managing Performance Anxiety
Processionals
Ring, Dance, Play
Repertoire Reading L 3+-6
Repertoire Reading Oldies But Goodies
Concert Programming
Introduction to Steel Drum Playing
Malmark Maintenance
Intermediate/Advanced Bells
Shelley Ringing
Introduction to Change Ringing
From C-C
Solo Coaching
Repertoire Reading L 3-4
Malmark Maintenance
Weaving 101
Mallet Musicality
Introduction to Bell Trees
Managing Performance Anxiety
Trust Your Memory
Be a Better Ringer
Ring, Dance, Play
Repertoire Reading Seasonal
Repertoire Reading Concert/Special
Introduction to Steel Drum Playing
Drumline Diversions
11
Course Schedule Worksheet Page4 of 4
SATURDAY, JUNE 27
Block # / Time
Events
Course #
3.5 2:00–3:15
Coppers Rehearsal
3.6 3:30–4:45
Tins Rehearsal
MINI-TRACK / TRACK
Class #
CLASS
909E.1b Music Theory Foundations (2.7, 4.1)
971E.2c Get On Board! (2.6, 3.3)
104E.2
301D.1
317E.1
401E.3
402E.3
603E.1
605E.6
Bass Bells
Introduction to Conducting
The Silent Conductor
Repertoire Reading L 1-3
Repertoire Reading L 3-4
Musical Games & Puzzles
Introduction to Steel Drum
816E.1a Advanced Multi-Bell Problem
Solving (4.1)
824E.1b Introduction to Ensemble
Ringing (3.4)
112E.3
116E.3
120E.2
203E.2
903B.1c Bronze Festival Choir (2.2, 2.5)
910D.1b Music Theory Track (2.7, 4.1)
911E.1c Musicality Through (2.5, 3.3)
301D.2
Mastering Complex Rhythms
Introduction to Bell Trees
Youth Kamikaze Ringing
Solo Coaching
Introduction to Conducting
Motion Language
960E.1c African Drumming (2.3, 3.3)
316E.1
Becoming Team Players through
Critical Listening
318E.3 Dynamic Ringing
406E.3 Repertoire Reading Concert/Special
408E.3 Repertoire Reading Oldies But
Goodies
505E.2
603E.2
5:00–6:45
3.7 7:00–8: 15
8:30–10:00
Handbell History/Lore
Musical Games & Puzzles
DINNER
Massed Rehearsal
832D.1b It’s All About Techniques (3.1)
319E.1 Making Music Without Reading Music
506E.2 Copyright Laws & the Musician
M I N I - C O N C E RT with F e s t i v a l C h o i r s
SUNDAY, JUNE 28
Block # / Time
8:00–8:45
4.1 9:00–10:15
10:15–1:30
Events
Course #
MINI-TRACK / TRACK
Class #
CLASS
104E.3
203E.3
309E.2
311E.3
603E.3
Bass Bells
W O R S H IP SER V IC E
Tins Rehearsal
816E.1b Advanced Multi-Bell Problem-Solving (3.6)
909E.1c Music Theory Foundations (2.7, 3.5)
910D.1c Music Theory Track (2.7, 3.6)
Solo Coaching
What Do You Hear?
Managing Performance Anxiety
Musical Games & Puzzles
CHECK-OUT T IMES
4.2 10:30–11:45 Coppers Rehearsal
4.3 11:45–12:45 Bronze Rehearsal
4.4 1:30–2:30
3:00–4:30
LUNCH
11:00 – 1 : 3 0
Massed Rehearsal
F I N A L C O N C E RT
12
S E E Y O U IN J U N E AT T H E
U N I V E R S I T Y O F MASSACHUSETTS I N
AMHERST !
13
Course Selection Form
Name
Email*
Housing:  Commuter Only  Single Room  Single Room with A/C
 Double Room  Double Room with A/C
Rooming with:
 Another Choir Member
 Non-Ringer (Chaperone)
Free T-Shirt Size:  S  M  L  XL  XXL  XXXL
Extra T-Shirts: How many? ($15 ea.)
Extra Shirt Size(s):
S
M
L
*Please note that your email address will be used initially to
contact you about your course schedule and other Festival
business. Additionally, Handbell Musicians of America Area 1
is striving to maintain a database of all Area 1 ringers so that
we may contact them periodically concerning Area 1 events and
opportunities.
If you would prefer NOT to be contacted after Festival
concerning Area 1 business, you may indicate so during the
registration process.
Special Considerations:  Housing  Diet  Access
XL
XXL
XXXL
Please describe:
classes
Block#
RECORD YOUR COURSE/CLASS SELECTIONS
Enter your track, mini-track and class choices for each block in the order you marked them on the Course
Selection Worksheet. When scheduled for rehearsal time, leave that block blank. We have marked the
Lunch blocks; please make sure that you have left one block open on Friday and Saturday for your lunch.
When completed, use this form as a reference when registering online at bit.lt/FC2015AttendeeReg.
Events
Block#
FRIDAY
2.1
Massed Rehearsal
2.1
2.2
Coppers Rehearsal
2.2
2.3
Bronze Rehearsal
LUNCH
2.3
2.4
Tins Rehearsal
LUNCH
2.4
2.5
Classes
2.5
2.6
Coppers Rehearsal
2.6
2.7
Massed Rehearsal
2.7
SATURDAY
Course/Class Number
Course/Class Name
3.1
3.1
Bronze Rehearsal
3.2
Bronze Rehearsal
3.3
Tins Rehearsal
LUNCH
3.3
3.4
Classes
LUNCH
3.4
3.5
Coppers Rehearsal
3.5
3.6
Tins Rehearsal
3.6
3.7
Massed Rehearsal
3.7
3.2
SUNDAY
4.1
Tins Rehearsal
4.1
14
Course Descriptions
Course Letter Prefix Designations:
D (Director)– Topics especially appropriate for directors and aspiring directors
E (Everyone) – Topics appropriate for all ringers and directors
B (Bronze) – Used for Bronze Festival Choir
C (Coppers) – Used for Coppers and Coppers Plus Festival Choirs
Workshop Numeric Designations:
100s - Techniques
200s - Solo and ensemble ringing
300s - Theory, analysis, and other study classes
400s - Repertoire
500s - Discussion and lecture classes
600s - Non-bell classes
700s - Bell maintenance
800s - Mini-Tracks (2-session courses)
900s - Tracks (3-session courses)
N ot e s o n R e g i s t r a t i o n :
• Nearly all classes request that participants bring gloves, Massed or divisional repertoire, a music binder
and a pencil. While there will be handouts for most classes, a small notebook for jotting notes is also
suggested.
• Some classes request that registrants bring handbells, if possible, in a particular range, mallets, or other
instruments.
• Please note that Tracks and Mini-Tracks are sequential offerings and participants are expected to attend
all listed sessions. Registrants should take careful note of these courses and not choose other classes which
conflict.
• Classes are scheduled in sessions appropriate for divisions not in rehearsal. Some classes specifically
designed for directors, or especially appropriate for directors to select, are scheduled during Massed
rehearsals.
• Repertoire Reading Sessions will offer different packets of repertoire in their first two sessions; the third
session will present selections from the first two sessions.
15
Cours e No. Ti tle
Ti m e / Bloc ks
010E
2.1, 2.7, 3.7, 4.4
Massed Rehearsal
I n s t ru c t or
Waugh
Massed Repertoire – conducted by Tim Waugh
All Things Bright and Beautiful –Sondra Tucker MBEHB418, 3-6 oct, L3- Be sure to order the arrangement for
Beckenhorst! There is another by the same composer with the same title.
Steal Away – Sandra Eithun MCGB775, 3-6 oct, L2+ (Tins and coppers only)
In Celebration – Brian Childers MRW8168, 3-5 oct, L4
An American Tapestry III – Spiritual – Arnold Sherman MAG37007(handbell score) 3-7 oct, L3
011T
Tins Rehearsal
2.4, 3.3, 3.6, 4.1
Waugh
Tins Repertoire – conducted by Tim Waugh
An Expression of Joy – John Behnke MAG35300, 3-5 oct, L2+
Celebrate with Gladness – Susan Geschke MHP 2668, 2-3 oct, L2
Cadenzato –Tim Waugh MRO3218, 2-3 oct, L2+
012C Coppers Rehearsal
Rice
2.2, 2.6, 3.5, 4.2
Coppers Repertoire – conducted by Debbie Rice
Allegro con Moto – Jason Krug MGIG8073, 3-5 oct, L3+
We Gather Together – Joel Raney MHP2656, 3-5 oct, L3
Resonances and Alleluias – Cathy Moklebust MCGB516, 3 or 5 oct, L4
013B
Bronze Rehearsal
Rice
2.3, 3.1, 3.2, 4.3
Bronze Repertoire – conducted by Debbie Rice:
Stoccato – Fred Gramann MCGB812, 5-7 oct., L4+
Remembrance – Cathy Moklebust MLC201131L, 3-5 oct., L5+
Transitions – William Payn MAG57019, 5-7 oct., L5
Valse Brilliante – Karen Buckwalter MBEHB421, 4-7 oct, L4+
085E
Strength/Conditioning for Bass Ringers
2.2, 2.4, 2.5
Reynolds
Bass bell ringing (below G4) is a little bit like lifting free weights combined with aerobics—it
should all happen in tempo, musically, and without damage to bell or ringer! Are you physically
prepared for that challenge? Learn how to implement a personal strength and conditioning
program to help you ring “the buckets” more safely and with less fatigue. Class size is kept small
to allow the instructor to address individual needs.
101E
Weaving 101
2.2, 2.3, 3.1, 3.4
Diaz
A basic introduction to the art of weaving. Learn how to play multiple bells in a row while looking
fabulous! Feel free to bring any music from home or from the conference that you think involves
a weaving issue. Time permitting, we'll work through some individual examples.
16
Cours e No. Ti t le
102E
Four-in-Hand Ringing
Instruc tor
Time / Bloc ks
2.2, 2.3, 3.1, 3.2
K. -Kowal
Learn the difference between Shelley ringing and 4-in-hand ringing. We’ll learn how to ring two
different set-ups of 4-in-hand (unlocked and locked handles). Then we’ll practice these methods
using real music.
103E
Intermediate Bells: To Level 3-4 and Beyond! 2.3, 2.5, 3.3
Lunt
You’re ringing (and damping) note values, you’re comfortable weaving and you’re making MUSIC
with Level 2 pieces. Bell ringing is a “group sport” – how do you as an individual & your
ensemble get better together? Come to this class to find out how!
104E
Bass Bells – Worth the Weight
2.5, 3.5, 4.1
Arnold
Discover the secrets to safely hefting those big bass bells (2’s & 3’s) and getting musical results!
Come discover how to lift, ring, damp and execute all those special techniques with health and
wellness in mind. Learn to move with efficiency and grace behind the table. We will explore
alternate assignments and setups, as well as problem solving for difficult passages.
106E
Shelley? Who's Shelley?
2.2, 2.3, 3.3
Mockenhaupt
An introductory, hands-on class to playing treble bells in Shelley style (two bells together in one
hand that sound together with a forward ringing stroke). Class will also cover the Alternate
Shelley method, as well as how to correctly interpret the notation for doubling up the octave. We
will ring exercises as well as examples from real music, providing lots of practice to learn this
technique. There might even be a challenge or two. :-)
109E
Mallet Musicality
2.2, 3.2, 3.4
Ersson
Handbell composers utilize mallets to create some of the most exciting and energetic passages in
modern handbell music, and proper mallet technique allows the musician to bring these passages
to life! This intermediate-level class focuses on improving musicality through fun yet practical
skill-building exercises.
110E
Introduction to Change Ringing
2.1, 2.6, 3.3
Ward
Ever want to ring the tower bells in England? Come learn how you can do it with handbells. Learn
about the history of the tower bells and different uses for performance, and finally put on some
gloves and ring the changes.
111E
Beginning-Intermediate Rhythm Reading
2.2, 3.1, 3.2
Berdensey
This bell-free class, designed especially for less experienced ringers who are not confident in
their rhythmic ability, will help you to decode and execute, through clapping, tapping and other
movement, the rhythmic patterns typically found in Level 1-3 music.
112E
Mastering Complex Rhythms
2.4, 2.6, 3.6
Berdensey
Are you intimidated by the “unusual” or complex meters and rhythms often found in Level 3-6
music? This bell-free class will demystify these patterns and help you master them through
analysis, word association, and lots of movement (tapping, clapping and more).
113E
Rhythms 2 Ringing
2.6, 3.2
Waugh
Make a plan to be with Tim in one of his signature classes, to explore ways of enhancing your
"rhythmic acuity" and have a great time while learning activities that will improve your
coordination and rhythm! Come in comfortable shoes.
17
Cours e No. Ti tle
Ti m e / Bloc ks
116E
2.5, 3.4, 3.6
Introduction to Bell Trees
I n s t ru c t or
Cerullo-Romano
They’re fabulous, flashy, and fun! Vibrant and versatile! Bell trees have recently gained popularity
in full ensemble, small ensemble, and solo compositions, and are an exciting and unique way to
add another dimension to your musical expression. This class will introduce participants to the art
of bell trees, including set up, techniques, and where to find music, and allows hands-on time for
participants to try for themselves. The class is geared toward the novice and intermediate ringer.
If able, participants can bring a C scale from C6-C7 (plus a Bb6 and D7 if you have them!), and a
pair of mallets appropriate for that range. Come and discover a new way to look at handbell
ringing!
117E
Kitchekapoom!
2.3, 3.1, 3.2
Ahlgrim-Heine
My very first bell director used to yell “kitchekapoom!” whenever one of our chords sounded like a
random attack. The purpose of this class is to help you avoid any “kitchekapoom” occurrences.
Your goal is to learn to ring together. We will practice techniques that improve the precision
of your ringing.
120E
Youth Kamikaze Ringing
2.2, 3.6
P. Larson
Designed especially to appeal to teen ringers (and the “teen at heart!”), this fast paced session
introduces an interesting, exciting piece and brings it as close to performance level as possible
within the 1-1/4 hour class block. A different selection is offered in each session; both sessions
may be selected (registrars will enroll into both sessions on a space-available basis). Sheet music
fee for this class is $5 per session (cash or check), payable when you check in at
Festival/Conference.
121E
From C-C: Skills Toolkit for C5 to C7
2.3, 3.2, 3.3
Schmidt
Ring strong with aural and visual factors beneficial to the ringer and listener. Explore ringing
skills tools such as multiple bell techniques, malleting tips and damping options which will
augment the battery/treble ringer’s skill set, increase your ingenuity and leave low bass bell
ringers in awe!
202E
Solo Ringing with Company
2.3, 2.6
James
Are you an aspiring solo ringer? Can you improve your solo ringing techniques while playing in a
group? How can you as a single member of an ensemble enhance the group’s look and sound?
From basic stance to holding the bells, to using your whole body, we will focus on developing a
relaxed ringing style to help control the bell, ring dynamically and explore ways to incorporate the
beauty and grace of solo ringing as a natural part of ringing more musically.
203E
Solo Coaching (3 ringers each session)
3.3, 3.6, 4.1
James
Come with a solo that you are working on (easy, medium, or difficult) and we will make you look
and sound better! Please let Karen know what piece you will be playing for this one-onone coaching session by May 15 at kjamesbell@aol.com.
301D Introduction to Conducting
3.5, 3.6
Gall
This session will introduce basic conducting technique and common beat patterns, and will touch
on dynamic and tempo changes, cueing, and use of the baton. This session is intended for new
or potential conductors. Please bring gloves, Festival repertoire music and a music binder.
18
Cours e No. Ti tle
306D Moving From Score Study to
Making Music Worship
Ti m e / Bloc ks
2.7
I n s t ru c t or
Rice
Go behind the scenes to observe a strategy that begins with score study and ends with the
ringers’ ability to make music that becomes worship. The added benefit of this planning style also
results in efficient use of rehearsal time. Participants will experience this process using a
selection of music for the Lenten season. This concept is applicable for all handbell arrangements
of any season.
309E
What Do You Hear?
3.2, 4.1
Wood
Do you hear what I hear? Do you hear what others hear? Do you hear what your handbell choir is
doing? This workshop will examine the important role of “critical listening” in the handbell
musician’s bag of tricks. The workshop will include practical suggestions for improving this
important skill. This class will benefit ringers and directors of all experience levels. Participants
should bring Massed repertoire, a music binder, and gloves.
311E
Managing Performance Anxiety
3.2, 3.4, 4.1
Burke
“Whether you think you can or you can’t…you’re right!” You know the feeling- first you miss a
note, then you start to doubt yourself, then you make a mistake, and suddenly the whole piece is
falling apart and you can’t wait for it to be over! Let’s figure out some ways to prepare differently,
recover with confidence and move on to a strong finish so you can actually ENJOY your
performance, and maybe even help those around you do the same!
312E
Trust Your Memory
2.3, 3.4
LeBrun
Learn how to trust your memory while ringing handbells! Memorizing music is not just for solo
ringers or advanced handbell ensembles. All handbell ringers can benefit from being able to
memorize. We will explore different techniques you can use to memorize music and we will
memorize some passages from the massed music to help you negotiate page turns with ease,
feel more comfortable looking up at the conductor, and improve your musicianship. Bring your
gloves and your folder with the massed ringing music to class.
313E
Weaving at the Speed of Sound
2.2, 2.5
Moore
This session is not for the beginning ‘weaver’, nor for the faint of heart. If you already have basic
weaving skills, this is an exciting and interactive opportunity to improve your musicality, accuracy,
and velocity through a series of challenging drills and exercises. Bring gloves!
314E
Processionals
2.5, 3.2
James
Do you always need to be standing behind the tables? Short patterns that repeat and join other
layers of patterns develop into beautiful harmonic levels of sound that can be played anywhere.
Experience the freedom of ringing in an open space! In this class we will explore playing, creating
and teaching processionals. From simple to complex, we’ll discover various ways to get ringers
to the table, including how to create a “surround sound.”
315E
Beyond the Printed Page:
Visuals to deliver the message of the music
2.5
Rice
Our audiences and congregations hear what they see. As a textless instrument, handbells must
address appropriate visuals for expressing the sermon in the music. Two selections from the
Advent season will be rung by participants exploring visual enhancements and creativity with
techniques utilizing different sound combinations.
19
Cours e No. Ti tle
316E
Becoming Team Players
Through Critical Listening
Ti m e / Bloc ks
3.6
I n s t ru c t or
Rice
Critical listening represents an area of essential skills that directors and ringers navigate together
in order to become a stronger team. Attendees will participate as ringers exploring how to: create
the best group sound, execute dynamics, highlight melodies and shape musical phrases.
317E
The Silent Conductor
3.5
Waugh
Conducting is a language that communicates musical thoughts and ideas to performers. By
nature, it’s non-verbal… so why do we conductors spend so much time talking in rehearsal?
Imagine a rehearsal where the conductor doesn’t utter a single word, yet through their facial
expressions and body language, they are able to speak volumes about their musical intent. Join
Tim in an exploration of how your physical approach to all music-making affects the rehearsal
and performance outcome. This fun opportunity to explore our unspoken language is a must for
both ringers and conductors who are looking for new and better ways to communicate musically!
318E
Dynamic Ringing: Praiseworthy Performance 2.5, 3.1, 3.6
Through Musical Awareness
Ersson
What makes a performance memorable? How does one effectively and convincingly bring what's
on the page to life? This hands-on class explores the concept of expanding musical awareness
via a series of skill-building ringing exercises. Participants will gain practical understanding of
topics such as limb independence, phrasing, dynamic control, and score study.
319E
Making Music Without Reading Music
3.7
Chamberlin
This hands-on class will explore methods for making music with handbells or handchimes that do
not require any knowledge of reading music. The methods include hand signals and charts, and
can be used with people of all ages, including choirs of children as young as 4 years old and onetime visits to senior citizen groups.
321E
Be a Better Ringer
2.3, 2.7, 3.4
Johnson
Learn to look beyond the notes on the page and play beautiful music! This class will cover some
of the ways to learn and teach new music, find the melodic and harmonic lines on the page, and
connect with the director and the rest of the ensemble to maximize musicality and enjoyment for
both the ringers and the audience/congregation.
322E
Ring, Dance, Play
3.2, 3.4
Gall
Choirchimes are an outstanding tool for music education. This hands-on workshop will provide
examples of lessons that can be used in the elementary classroom and can easily be modified for
sacred settings.
401E
Repertoire Reading L 1-3
2.5, 2.6, 3.5
Burke
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
general Levels 1-3 repertoire; the third session will consist of selections from the first two
sessions. Participants should bring gloves and a music binder.
20
Cours e No. Ti tle
402E
Repertoire Reading L 3-4
Ti m e / Bloc ks
2.4, 3.3, 3.5
I n s t ru c t or
Wood
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
general Levels 3-4 repertoire; the third session will consist of selections from the first two
sessions. Participants should bring gloves and a music binder.
403E
Repertoire Reading L 3+-6
2.4, 2.6, 3.2
Strepka
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
general Levels 3+-6 repertoire; the third session will consist of selections from the first two
sessions. Participants should bring gloves and a music binder.
404E
Repertoire Reading Seasonal
2.4, 2.5, 3.4
Degan
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
repertoire appropriate for Advent, Christmas, Lent and Easter; the third session will consist of
selections from the first two sessions. Participants should bring gloves and a music binder.
406E
Repertoire Reading Concert/Special
2.2, 3.4, 3.6
Goodman
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
repertoire selections suitable for concerts or for special use (weddings, patriotic events, etc.); the
third session will consist of selections from the first two sessions. Participants should bring gloves
and a music binder.
407E
Repertoire Reading Shorthanded
2.5, 2.6
LeBrun
Each of the two sessions of this repertoire reading workshop will feature a different packet of
repertoire selections suitable for use in situations where a full group is not available. This includes
pieces specifically written for shorthanded situations as well as those that can be assigned in
ways that make shorthanded performance possible. Participants should bring gloves and a music
binder.
408E
Repertoire Reading Oldies But Goodies
2.2, 3.2, 3.6
E. Henderson
Each of the first two sessions of this repertoire reading workshop will feature a different packet of
general repertoire of mixed levels from the 80’s and 90’s – handbell gems from the past; the third
session will consist of selections from the first two sessions. Participants should bring gloves and
a music binder.
502D Concert Programming
3.2
Weck
Have you ever heard a concert where the performers were excellent but the overall concert didn’t
quite excite or move you? Programming is very important. Choosing the right musical selections
AND placing them in the best concert order will make a difference.
505E
Handbell History/Lore
2.2, 3.6
Degan
Why is Area 1 called “Area 1”? Because it all began right here in New England! As a participant in
this Festival/Conference, you are a part of handbell history. Learn about the first festivals, the
New England Guild, the evolution to AGEHR and Handbell Musicians of America, and the vision
of the handbell pioneers who got us to this place in our history. There’s a fascinating tale behind
each picture in the Area 1 archives.
21
Cours e No. Ti tle
506E
Copyright Laws & the Musician
Ti m e / Bloc ks
2.5, 3.7
I n s t ru c t or
Nolan
Have you always thought that “copyright” means the right to copy music, and that a “mechanical
license” applies to heavy equipment operators? It’s time to understand the correct meaning of
these terms, and how they impact each and every handbell choir, including yours; the legal
penalties for ignoring or overlooking these laws are substantial. This class will educate you on
copyright laws and suggest ways for you to improve the integrity of your music library and
performances, avoid litigation, and respect the intellectual property rights of composers and
arrangers.
603E
Musical Games & Puzzles
3.5, 3.6, 4.1
Cerullo
Discover the many ways to effortlessly reinforce music learning through games. Available for you
to try out or just observe will be board games, dominos, dice games, puzzles, and paper games.
Some of the games are handbell specific, some are general music knowledge. This could also
be a time to find out about different learning styles, how they relate to handbell music, and
discover your own particular learning style.
604E
A Taste of African Drumming
2.2, 2.5
Visbaras
Time to get your groove on! This is a hands on class, sampling some of the material presented in
the African Drumming track. It will introduce you to African rhythms and have you give them life
on numerous percussion instruments, including traditional African drums. Some instruments will
be provided but you are encouraged to bring your own (or borrow) djembes, congas, bongos,
talking drums, sangbas, kenkenis, shakeres, etc. Let’s have some fun!
605E
Introduction to Steel Drum Playing
2.4, 2.6, 3.1,
3.2, 3.4, 3.5
Adams
Have you ever had the opportunity to watch steel drums being played? Did you wonder what the
technique is to playing them properly and how the pitches can be identified on each drum? This
is a fabulous opportunity to gain some knowledge about a unique instrument and have some fun
at the same time. You will learn how the drums are built and work, how many drums are in
a “set,” and the various techniques for playing them. By the end of the 75 minute session, you
will be able to play a tune!
Additional instructional fee for this class is $15 (cash or check), payable when you check
in at Festival/Conference.
606E
Drumline Diversions
2.1, 2.4, 3.4
Congdon
Need something new to do with your ringers? Want to work on some rhythmic skills and need a
new way to approach some bad habits? Are you wishing for something totally off the wall that
might attract some new ringers but won’t intimidate them? Come try out this drumline class to
see if you too can add a twist to your program.
701E
Schulmerich Maintenance
2.5, 3.1
Schulmerich
Get to know your instrument! We’ll disassemble and reassemble a bell so you will know the parts
and their function. Learn how to make adjustments and keep your bells and chimes in smooth,
effortless working order. Bring problem bells and Melody Chimes to class (along with your bell
tool kit) and we’ll work on them.
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Cours e No. Ti t le
702E
Malmark Handbell/Choirchime®
Maintenance and Repair
Time / Bloc ks
3.2, 3.3
Instruc tor
Moore
Malmark instruments are user-friendly for performance, rehearsal, AND maintenance. This class
will focus on the unique and easy ways to maintain your Malmark products at their very best, and
a five-step checklist for evaluating your instruments’ condition. Bring your ‘problem’ bells or
Choirchimes® for evaluation, and tools (screwdrivers and hex wrenches) if you have them.
815E
Beginning Multi-Bell Problem Solving
(a2.3, b3.4)
or (a2.6, b3.1)
L. Larson
This two-session mini-track will address the most common multiple-bell techniques used by
battery and treble ringers: four-in-hand, Shelley, weaving, hand-to-hand passes, and table
damping. This course focuses on hands-on problem solving using musical examples and
assumes that participants already have a basic knowledge of multi-bell techniques. (To learn
weaving, select Course #101E; to learn four-in-hand ringing, select Course #102E; to learn
Shelley ringing, select Course #106E.) Participants should bring gloves, Festival repertoire, and
music binders.
816E
Advanced Multi-Bell Problem Solving
(a3.6, b4.1)
L. Larson
This two-session mini-track for the more experienced ringer addresses the nuances of musicality
and practical applications of multiple bell techniques in the battery and treble ranges. It focuses
on analysis and hands-on problem solving using musical examples. Participants are assumed to
have experience with four-in-hand, Shelley, and weaving techniques (see Courses #101E, #102E
and #106E). Participants should bring gloves, Festival repertoire, and music binders.
817E
Introduction to Solo Ringing and
Traveling 4-in-hand
(a2.2, b2.6)
or (a3.1, b3.4)
Arnold
This two-session mini-track is designed to cover the basic skills required to ring a solo line with
grace and musicality, including smooth bell changes, lateral motion, weaving, passing, and
displacement. It is appropriate for beginners, as well as for experienced solo ringers who wish to
refine their technique. Once we’ve reviewed the basic solo ringing techniques, we will move
beyond the basics to explore skills that enable greater fluency and expression in solo ringing.
Emphasis will be placed on the application of traveling four-in-hand techniques and
blocking. Bring a solo you are working on, so you can learn to analyze your own repertoire for
the most fluent, graceful, and musical performance possible.
824E
Introduction to Ensemble Ringing
(a3.4, b3.6)
Chamberlin
We will look at skills and techniques that are necessary for small ensembles (focus on trios and
quartets), including repertoire selection, bell assignments, and non-verbal communication. The
class will be divided into ensembles, putting techniques into practice as we work on a piece of
music. No ensemble experience is needed for this two session mini-track, but participants do
need to read music and should have some knowledge of weaving.
832D It’s All About Techniques
(a3.1, b3.7)
Moore
Safe and musical ringing technique is at the soul of what we do. Musical expression without
sound technique is nearly impossible. This two-session mini-track will remind you of how proper
technique can improve musicality and contribute to ringer health. With hands-on opportunities,
these workshops will emphasize strategies for communicating proper techniques to other ringers
while having a better understanding of your own practice. Bring gloves and a few mallets.
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Cours e No. Ti t le
833E
Handbell Musician Certification:
Handbell Techniques Level I
Time / Bloc ks
Instruc tor
(a2.4, b2.5)
Chamberlin
The Handbell Musicians of America Certification has been developed as a comprehensive
curriculum program designed to address all levels of training and experience with handbell and
handchime instruments.
For more information on the Certification program go to:
Handbell
http://handbellmusicians.org/music-resources/handbell-musician-certification/.
Techniques is one of the courses required for Certification. It examines basic handbell and
handchime ringing and damping techniques, with an emphasis on ergonomic principles and
sound production. This two-session track is being offered for the first time on the Area level at
the Area 1 2015 Festival/Conference. More details about this specific class may be found
at http://handbellmusicians.org/music-resources/handbell-musician-certification/course-b-michelesharik-instructor/. You do not have to be enrolled in the Certification program to take the class,
but you DO have to be enrolled BEFORE taking the class if you want it to count towards
Certification. If you are taking the class for Certification, you will arrange for a 15 minute
evaluation time with the instructor during the Festival/Conference. If you have any questions
about this class or about Certification, you may contact the instructor, Sue Chamberlin at
suecham@metrocast.net.
903B Bronze Festival Choir
(a2.2, b2.5, c3.6)
Weck
Can’t get enough ringing? This Bronze Track Festival Choir is a three-session track opportunity
for experienced ringers who want more! The class will rehearse and perform a challenging Level
5 to 6, five-octave composition at the final mini-concert. Attendance at all three sessions is
important for musical continuity. This is a great opportunity to get out of your comfort zone and try
a new ringing position. Music will be provided at check-in for this three-session advanced ringing
workshop. Please bring gloves and a music binder. Sheet music fee for this track is $5 (cash
or check), payable when you check in at Festival/Conference.
905C Coppers Plus Festival Choir
(a2.4, b3.1, c3.4)
Weck
Want to stretch just a little outside your usual Coppers comfort zone? This Coppers Plus Track
Festival Choir is a three-session track opportunity for experienced ringers who can't get enough
ringing! The class will rehearse and perform a challenging Level 3+ to 4+, five-octave composition
at the final mini-concert. Attendance at all three sessions is important for musical continuity. This
is a great opportunity to try a new ringing position. Music will be provided at check-in for this
three-session intermediate-plus ringing workshop. Please bring gloves and a music binder. Sheet
music fee for this track is $5 (cash or check), payable when you check in at
Festival/Conference.
906C Coppers Festival Choir
(a2.4, b3.1, c3.4)
E. Henderson
New this year for Coppers level ringers who want a challenge, this Coppers Track Festival Choir
is a three-session track opportunity for less-experienced ringers. The class will rehearse and
perform a challenging Level 3 to 4, five-octave composition at the final mini-concert. Attendance
at all three sessions is important for musical continuity. This is a great opportunity to try a new
ringing position. Music will be provided at check-in for this three-session intermediate
ringing workshop. Please bring gloves and a music binder. Sheet music fee for this track is $5
(cash or check), payable when you check in at Festival/Conference.
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Cours e No. Ti t le
908D Rehearsal Techniques & Score Study
Time / Bloc ks
(a2.1, b2.4, c3.2)
Instruc tor
Nolan
Are your rehearsals organized? Are they an educational and musical experience for your ringers?
Do you always achieve your musical goals? Do you establish a welcoming musical and social
atmosphere for your ringers? This three-session track will cover these issues plus: effective
rehearsal strategies for challenging passages, incorporating inexperienced ringers into an
established choir, bell assignments, the pros and cons of moving ringers to different positions,
and the all-important score study. This three-session track is intended for directors and
aspiring directors. Please bring Festival repertoire, gloves and a music binder.
909E
Music Theory Foundations
(a2.7, b3.5, c4.1)
LeBrun
This three-session track, designed for the ringer or director without a formal music education, will
focus first on an exploration of theoretical “nuts and bolts” (intervals, rhythms, triads, inversions,
time signatures and key signatures). Harmonic, tonal and structural analysis will be examined
from a ringer’s perspective with emphasis on musical understanding. The track will include tips on
incorporating practical music theory, harmonic and structural analysis into the rehearsal setting.
Please bring the Massed repertoire and a pencil.
910D Music Theory Track
(a2.7, b3.6, c4.1)
Nolan
Music theory ---boring!! ---NOT!!!! We will help to remove the stigma of the “T” word by
increasing your understanding of what’s on the page beyond the notes – some of which, you
probably have not even noticed before. The more information you comprehend, the more musical
your ringing experience will become. This three-session track is designed for directors and for
ringers who would like to have a better understanding of the music they are ringing. Please bring
Festival repertoire, a binder and a pencil. We will also test our new knowledge on a brand new
piece together. I will have copies of that piece for you.
911E
Musicality Through Motion Language
(a2.5, b3.3, c3.6)
Strepka
Although our instrument is often thought of as limited in flexibility, the vocabulary of Movement
Theorist Rudolf Laban provides us with the tools for enhanced sonic and visual expressivity.
Ringers come to us with movement preferences they have developed by adulthood. Because
these preferences cause our ringers to approach the instrument with different movement
attitudes, the resulting sound can be non-descript or lacking in distinguishing characteristics of
style. In Session (a) of this three-session track, participants will learn the basics of Movement
Theory, use movement vocabulary to describe the elements of movement, and discover their own
personal movement profiles (their ringing assets and liabilities). Using the movement principles
and vocabulary learned in Session (a), in Session (b) we will explore expanded sonic and visual
possibilities for performance, teaching with intentionality of sound, two-dimensional vs. threedimensional ringing, and stopped techniques. Session (c) will cover troubleshooting techniquerelated challenges through movement principles, selecting repertoire and assigning ringing
positions based on movement profiles, and ringing through pieces using all of the principles
learned.
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Cours e No. Ti t le
960E
African Drumming
Time / Bloc ks
(a2.3, b3.3, c3.6)
Instruc tor
Visbaras
Time to get your groove on! This is a hands on, dynamic three-session track introducing you to
African rhythms, their history and cultural importance, and giving them life in an ensemble with a
variety of percussion instruments, including traditional African drums. Some instruments will be
provided but you are encouraged to bring your own or borrowed djembes, congas, bongos,
talking drums, sangbas, kenkenis, shakeres, etc. Let’s have some fun!
971E
Get On Board!
(a2.3, b 2.5, c3.1)
or (a.2.6, b3.3, c3.5)
S. Henderson
Take a break from those bells and pick up your paint brushes to express another side of
your artistic creativity. You’ll be crafting and designing two “boards” during this three-session
track to keep or give as gifts to friends and family. Your “canvas” will be cedar boards, each
measuring approximately 6” x 16” on which you can stencil holiday themes such as “Holiday
Greetings,” “Light Up July 4th” etc. or simply stated wording like “Believe,” “Welcome,” “Friends
Gather Here,” etc. Each board comes with hardware to mount on a wall and can be finished to
hang inside or out. These are projects that are surprisingly quick and easy for all ages and
abilities. Come join us!!! Flat charge of $15.00 for this track – all supplies included. (Children
under the age of 14 must be accompanied by an adult.)
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