Music of the Masters - ChimeWorks · Music of the Masters ... Musette L1+ Johann Sebastian Bach 16...

Music of the

Masters

Music of the Masters arr. Sharon Elery Rogers CGB546L1 and L1+ 2 or 3 octaves handbells or handchimes

Published by Choristers Guildwww.choristersguild.org

Reductions of famous classicsfor school and church use

arr. Sharon Elery Rogers

Reproducible Pages!

Music of the Masters

Handchimes are a unique, beautiful instrument with their own special qualities. Some techniques used on handbells are not appropriate for handchimes and can cause damage. Below are some suggestions for adapting handbell techniques for use with hand-chimes.

Shake Sk ff Substitute normal ringing, or shake very lightly

Stopped sounds: Thumb Damp TD

Mallet (bell on table) aOR .

Martellato (Mart) m

Mart Lift k

Pluck Pl .

Ring Touch RT

Adaptations for Use with Handchimes

All stopped sounds are executed on handchimes by placing the index finger (or thumb and index finger) firmly against the tines at the “U” opening while the hand-chime is rung. This produces a short, stopped sound, and is to be substituted for all of the handbell stopped sounds listed on the left.

Copyright © 2008 Choristers Guild. All rights reserved. Printed in U.S.A.

Permission is granted to the original purchaser of this book to duplicate as needed.

Reductions of famous classics for school and church use


�

ContentsA page about the composer precedes each song.

Frederic Chopin: About the Composer 3 Raindrop Prelude L1 Frederic Chopin 4 (Prelude) Opus 18, No. 15

Maurice Ravel: About the Composer 7 Pavane L1 Maurice Ravel 8

Modest Mussorgsky: About the Composer 11 The Great Gate of Kiev L1 Modest Mussorgsky 12 (from Pictures at an Exhibition)

Johann Sebastian Bach: About the Composer 15 Musette L1+ Johann Sebastian Bach 16 (from the Third English Suite)

Franz Joseph Haydn: About the Composer 19 Allegro Moderato in C Major L1+ Franz Joseph Haydn 20

Wolfgang Amadeus Mozart: About the Composer 23 A Little Night Music L1+ Wolfgang Amadeus Mozart 24 (Allegro) (from Eine kleine Nachtmusik)

Teaching Suggestions 27

Handbell Notation 28

Sharon Elery Rogers, a composer with over 550 publications to her credit, received her music de-grees from Hillsdale College and Wayne State University in Michigan. She is employed as director of music and organist at Auburn Road Presbyterian Church in Venice, Florida, and is a freelance composer. In past years she has served as a supervisor and teacher in three Michigan public school districts, and as workshop leader and adjudicator for many school festivals. She won the 1993 Area IV AGEHR composition contest and continues to receive annual ASCAP awards for her numer-ous handbell, choral, organ and instrumental publications and performances. She is an Honorary Life Member of the American Guild of Organists Detroit Chapter and the Cecilian Musicale (The American Federation of Music Clubs), and a recipient of the Distinguished Alumni Achievement Award from Hillsdale College.

About the Composer �

Frederic Chopin(1810-1849)

Frederic Chopin, son of a French schoolteacher and a cultured Polish mother, was born in Poland. He grew up in Warsaw, Poland, where he took music lessons as a child. He studied mostly Bach and Viennese classics before entering the conservatory (1826-29). He had performed often in lo-cal salons and composed several rondos, polonaises and mazurkas. Public and critical acclaim increased during the years of 1829-30, when he gave concerts in Vienna and Warsaw. In 1831 he moved to Paris, where he re-ceived help and praise from famous composers such as Liszt, Pleyel and Schumann. During this time he became well-known for his many waltzes, mazurkas, etudes, nocturnes, sonatas, polonaises and ballades written for piano. He wrote fiery pieces with sudden outbursts of terrific power, as well as smaller works with exquisite expression and haunting melodies, such as the Raindrop Prelude.

Raindrop Prelude

Copyright © 2008 Choristers Guild. All rights reserved. Printed in U.S.A.Permission is granted to the original purchaser of this book to reproduce as needed.

Prelude2 or 3 octavesHandbells or handchimes used: 15, (22)

optional

optional

2 octave choirs omit notes in ( ).

1Slowly, but flowing (q = ca. 96-104)

Frederic Chopin, 1810-1849Opus 28, No. 15

arr. Sharon Elery Rogers2 3 4

p

( )

5 6 7 8

( )

9 10 11 12

mp

p

( )

CGB546

4

13 14 15 16

mf rit.

( )

17 18 19 20

mpa tempo

p

( )

21 22 23 24p

( )

25 26 27 28

mf

CGB546

5

About the Composer �

Maurice Ravel(1875-1937)

Joseph-Maurice Ravel was born in Ciboure, France. Young Maurice be-gan studying piano at age seven, and began composing piano music five or six years later. He attended the Conservatoire de Paris, where he studied music with Gabriel Fauré. He was considered to be France’s most popular composer and pianist, and one of the major impressionistic composers of the 20th century. He is known especially for the subtlety and richness of his music. His works are notable for the effective use of tonal color and vari-ety of sound and instrumentation. His piano, chamber and orchestral works have become staples in the repertoire. To the general public, he is probably best known for his orchestral work, “Bolero,” which he considered to be a trivial work but is still a favorite today.

Pavane


2 or 3 octavesHandbells or handchimes used: 15, (22)

optional

optional2 octave choirs omit notes in ( ).

1

Slowly, with expression (q = ca. 96-104)Maurice Ravel, 1875-1937


2 3 4

p

5 6 7 8

9 10 11 12

mp

CGB546

8

13 14 15 16

mf

17 18 19 20

( ) ( ) ( ) ( )

21 22 23 24

( )

f

25 26 27 28

CGB546

9

About the Composer 11

Modest Mussorgsky(1839-1881)

Modest Mussorgsky was an acclaimed Russian composer who was con-sidered a musical innovator. He worked to produce a new style of art music that was specifically Russian. Many of his major works were inspired by Russian history, folklore, folksongs, and other nationalist themes, includ-ing the opera Boris Godunov, the orchestral tone poem Night on the Bald Mountain, and the piano suite Pictures at an Exhibition. Some of Mussorg-sky’s music was regarded as controversial. Written in 1874, Pictures at an Exhibition is a suite of ten piano pieces that is generally considered to be Mussorgsky’s greatest solo piano composition. It has become a showpiece for virtuoso pianists, and has also become known through various orches-trations and arrangements.

The Great Gate of Kiev



optional

optional


1

Modest Mussorgsky, 1839-1881from Pictures at an Exhibition

arr. Sharon Elery RogersMaestoso (q = ca. 96-112)

2 3 4

*Shakes are optional for handchime choirs. (See page 1.)

*Sk

f

( )

R

( )Sk R Sk

( ) ( ) ( )

5 6 7 8

Sk

( )

R

( )

SkR

SkR

( ) ( ) ( )

9 10 11 12

( ) ( ) ( ) ( ) ( )

CGB546

12

13 14 15 16

17 18 19 20mp

mf

TD

( )

21 22 23 24

(mf)

Sk

25 26 27 28R

( ) ( ) ( ) ( )Sk

( )

CGB546

13


Johann Sebastian Bach(1685-1750)

Johann Sebastian Bach was born in Eisenach, Germany. One of eight children, he lost both of his parents at age ten and went to live with his eldest brother, an organist in Ohrdruf. There he copied, studied and per-formed music, and apparently received valuable teaching from his brother, who instructed him on the clavichord. Bach became a prolific composer of sacred and secular works for choir, orchestra, and solo instruments. Some of Bach’s most famous compositions include the Brandenburg Concertos, the Goldberg Variations, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, and The Musical Offering. He also wrote over 200 cantatas, as well as many significant organ works in a variety of composi-tional styles and forms. Bach’s music is known for its intellectual depth and artistic beauty.

Musette



optional

optional


1Serenely (q = ca. 96-112)

Johann Sebastian Bach, 1685-1750from the Third English Suite


mp

5 6 7 8

9 10 11 12pMallet, TD or ring softly

( )

CGB546

16

13 14 15 16

( )

17 18 19 20

21 22 23 24R

mf

(Ring C6)Sk

25 26 27 28

CGB546

17


Franz Joseph Haydn(1732-1809)

Franz Joseph Haydn was one of the most prominent composers of the classical period, and is called by some the “Father of the Symphony” and “Father of the String Quartet.” He is sometimes referred to as “Papa Haydn.” Although he did not invent either the symphony or the string quartet, he was a central figure in their development. A lifelong resident of Austria, Haydn spent most of his career as a court musician for the wealthy Esterházy fam-ily on their remote estate. Isolated from other composers and trends in music until the latter part of his long life, he was, as he put it, “forced to become original.” Joseph Haydn was the brother of Michael Haydn, also a highly-regarded composer, and Johann Evangelist Haydn, a tenor. The music of Carl Philipp Emanuel Bach was an important influence in Haydn’s writing. Haydn’s music, in turn, set the stage for the works of Mozart and Beethoven.

Allegro Moderato in C Major



optional


1

Moderately (q = ca. 112-138)

Franz Joseph Haydn, 1732-1809Opus 28, No. 15


2 3 4

( )

Sk

f

R( )Sk R

SkR

mf

( ) ( ) ( )

5 6 7 8

( ) ( ) ( )Sk

( )

9 10 11 12R

( ) ( )

CGB546

20

13 14 15 16

( ) ( ) ( )

17 18 19 20( ) ( )

( )

SkR

( )

21 22 23 24

mf

( )

SkR

( ) ( )

25 26 27 28

( )( )

CGB546

21

About the Composer ��

Wolfgang Amadeus Mozart(1756-1791)

Wolfgang Amadeus Mozart was a prolific and influential composer of the classical era. He excelled in music from a very early age. Mozart’s father Leopold Mozart was a musician and began teaching him to play clavier at age four. By age five he was already composing little pieces, which he played for his father to write down. His first independent (and ink-spat-tered) composition, and his initial ability to play the violin, were both his own doing and were a great surprise to his father. Wolfgang Amadeus Mo-zart is among the most enduringly popular of classical composers and many of his works are part of the standard concert repertoire. In his short life of 35 years, he wrote over 600 compositions including symphonies, chamber music, concertos, piano music, operas and choral music.

A Little Night Music


Allegro2 or 3 octavesHandbells or handchimes used: 15, (22)

optional


1With energy (q = ca. 116-152)

Wolfgang Amadeus Mozart, 1756-1791from Eine kleine Nachtmusik


f

5 6 7 8

( ) ( ) ( ) ( )Sk

( )

9 10 11 12

mf

R

( )( )

CGB546

24

13 14 15 16

( )( )( ) 5 A 5 A

17 18 19 20TD R TD

( )

R

( ) ( )

TD

( ) ( )

R Sk

Pl R Pl R Pl R

21 22 23 24R

mp poco a poco cresc.

p

25 26 27

mf

CGB546

25

��

Teaching SuggestionsRaindrop Prelude (Prelude) 4- Frederic Chopin Raindrop Prelude begins with a repetitious bass note. These repeated notes represent raindrops, and should be rung gently. The piece begins quietly, and grows a bit louder in measure 9 where the beautiful melody appears in the treble staff. Encourage ringers to bring out the melodic notes. Help ringers to understand that the upstemmed notes on beat 3 of measure 11 and beat 1 of measure 12 need to be soft, as they are not the melody. Watch for other similar places in the piece.

Pavane 8- Maurice Ravel Pavane should be rung gently with great emo-tion, paying careful attention to the changing dynam-ics. The quiet introduction (measures 1-8) uses LVs. Be sure to allow the bells to ring until the LV ends with an R or another LV. The melody begins in measure 9, accompanied by beautiful harmonic chords, typical of Ravel’s French impressionistic style of writing. Care must be given to bring out the accented melody in the inner voice in measures 28 and 29.

The Great Gate of Kiev 12- Modest Mussorgsky Strive for a regal, majestic sound in this piece. The full chords in the beginning measures are to be rung with loud shakes for three beats, followed by a ring ex-actly on the fourth beat. Practice this several times as an exercise, doing a continuous shake for 3 beats, and precisely ringing beat 4 together. At measure 17, help treble ringers to keep the thumb-damped notes at “mp” so they don’t overshadow the melody. All bells return to “mf” at measure 21.

Musette 16- Johann Sebastian Bach Musette is to be rung in a gentle, quiet manner, carefully observing the crescendos and dimenuendos. Since the treble and bass ringers play different rhythms at the beginning, it will be good to ensure that both

groups are confident enough to ring their parts indepen-dently. Help ringers to understand that the melody goes back and forth from the treble to the bass clef, as indi-cated by the voice-leading lines in measures 1 and 2. At measure 11, where the upstemmed treble bells are to be malleted, thumb damped or rung softly, you may want to experiment with different options. (Since the intent is for a short staccato sound, if using mallets the bells would be resting on the table rather than suspended in the air.) The malleting will be the most challenging of the three options for the B5 ringer, since the B5 is rung on the downbeat of measure 11 and played as staccato notes in measure 12. (Malleting would require the bell to be placed on the table to be malleted, where the other two techniques allow the bell to remain in the hand.)

Allegro Moderato in C Major - Franz Joseph Haydn 20 Allegro Moderato in C Major begins in an en-ergetic manner, with shakes and accented rung notes. Point out the repeat sign in measure 20, and have ringers practice the transition back to the beginning. All ring-ers observe the rest on beat 4 of measure 20, and then go to measure 1 without slowing the tempo. Rehearse this transition until everyone can do it comfortably and confidently.

A Little Night Music (Allegro) 24- Wolfgang Amadeus Mozart A Little Night Music opens energetically and should be rung with well-accented chords where marked by accents. In measures 17-19, note the con-trast between the staccato notes (to be thumb damped or plucked) on beats 1 and 2, and the rung notes on beats 3 and 4. It may be helpful to practice these measures as an exercise, saying “dot, dot, ring, ring.” Work to maintain a steady tempo and dynamic level between the stopped sounds and rung notes. Measures 28-29 may also be ex-tracted as an exercise, working on precise ringing and damping as an ensemble. You may want to say “ring, rest, ring, rest” as you do the exercise.

�8

Handbell Notation

R ring Ring and damp in the normal fashion, observing all note and rest values as written.

Sk ff shake Rapidly move the forearm forward and backward with a relaxed wrist so that the clapper strikes both sides of the bell.

Pl . pluck With the bell resting on a padded table, grasp the clapper between the thumb and first two fingers. Throw the clapper down, turning the write and first two fingers outwards so the hand does not interfere with the clapper movement.

TD . thumb damp Place the thumb firmly on the casting of the bell and ring it normally, resulting in a stopped sound. (Larger bells may require the addition of the index finger in order to create a stopped sound.)

aOR . mallet (bell on table) With the bell resting on the table, mallet the bell at the same distance from the lip as the clapper strikes the bell casting.

m mart (martellato) Begin by holding the bell parallel to the table about two inches above the table, and then press the bell into the foam so that the sound completely stops.

k mart lift (martellato lift) Press the bell quickly into the foam, lifting it so the sound does not completely stop.

voice leading lines Used to indicate the movement of the melody from one staff to another.

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Music of the Masters - ChimeWorks · Music of the Masters ... Musette L1+ Johann Sebastian Bach 16...

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