Patrick Gagnon, chair

Tins Repertoire - Monica McGowan

Rehearsal Notes

Ring Jubilee arr. Susan E. Geschke, Agape 2437, 2–3 oct., L2

• Remember what it says at the beginning, just below the Bells Used Chart: Joyously!
• Observe all dynamics, and rehearse all tempo changes: poco rit., rall., rit., molto rall., a tempo and Tempo I.
• Doing so will transform the ink on the page to music that touches the heart. When the music we present makes that emotional connection with our listener’s, we have achieved success. Tempi as indicated in the score.
• Prepare for the Martellato technique. Remember, the bell is already dead; it is not up to us or the ringer to kill it again. Instruct your ringers to watch closely in m. 23 – there will be space between those notes for the poco rit.
• I will not conduct “beats” for the fermata in m. 24. The preparatory beat will clearly indicate the slower tempo in m. 25.
• The Echo Technique is successfully executed by simply touching the lip of the casting to the table on the beats indicated. It is much like a skipping stone skimming across the water – too much force or downward angle and the stone sinks. Light touches or skips across the water keep it going. So should the echoes keep on going. The whole notes within the brackets, beginning m. 34 are the notes to be
  “echoed.” The mart-lifts on the quarter notes should be very light and not out of character of this section.
• Be thankful for the gift of the poco rit. in m. 40 – an opportunity to watch and prepare for Tempo I on the next page!!

Praise Unfolding Sandra Eithun, Choristers Guild CGB523, 3–5 oct., L1

• Dynamic contrast needs our attention in this selection. Be especially mindful of the piano section (trebles) in m. 37 – 38.
• The shake (SK) technique can be played musically – shakes do not begin at stun!! After the attack of the clapper to casting, let the shake grow dynamically. We’ll have a more musical result!!
• Rehearse the rit. e dim. m.73 – 76 with the intent of watching the director through the entire conclusion of the piece. Bass bells – be sure to have your mallets at the ready long before m. 77!

Humbly, I Adore You Shawn Gingrich, Agape 2345, 3–5 oct., L1+

• The challenge I find with choirs transitioning from ringing handbells to ringing handchimes is to play the handchimes with greater finesse and gentleness. Even though the melodic line is marked at mf does not require the ringers to over-ring the handchimes. The sound, clarity and pure tone of the handchimes will carry through the sustain of the handbell chords without extra effort.
• Pay attention to the different types of dynamic contrast used in this piece: gradual dynamic changes, as indicated in measures like 13 – 15 and those of terraced dynamics where entrances change by dynamic degrees, not previous increases. Examples such as these are: m. 1 – 4 are p; the entrance at m. 5 is mp.
• Be prepared for the change in meter for the last line of the composition. You will see a marked difference in my conducting pattern – watch for beat two to go away from the body. I may conduct this closing section by simply indicating the entrances rather than conducting all the beats.

Monica McGowan

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