area1.handbellmusicians.org/festival-conference

Questions? registrar.area1@handbellmusicians.org

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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

CCoouurrsse SSeelleecctiioon FFoorrm ......................................................... 13 Course Descriptions ............................................................. 15

Registration MaterialsThe materials in this packet may be downloaded from Area 1's website at:

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.

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!

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

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.

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.

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.

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.

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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.

Please direct all registration questions to: Susan Schultz and Sue Wilber, Co-Registrars at registrar.area1@handbellmusicians.org

Housing Options 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.

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.

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.

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).

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).

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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

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.

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. Non-ringing 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).

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 pre-registered, 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.

Registering Your Group

GROUP REGISTRATION INFORMATION

Multiple GroupsIf 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 RequirementsTables 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.

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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.

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.

Attendee Registration

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 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.

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 pre-festival 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.

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

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.

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.

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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).

Use this form when registering online at bit.ly/FC2015AttendeeReg

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Step 5: REGISTER ONLINE

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

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 COPPERS BRONZE

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815E.1 Beginning Multi-Bell Problem- Solving (2.3, 3.4)

815E.2 Beginning Multi-Bell Problem- Solving (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)

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)

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)

Most Mini-Tracks (2-session courses) are Courses (Mini-Tracks/Tracks) Classes

offered more than once. Most Tracks (3-session courses) are only offered once.Most Classes (1 session each) are offered

designated as

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 still- empty 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 thecourses you’ve selected, record your choices on the Course Selection Form.

6 Enter your Name, Email, T-Shirtand Housing information, and any Special Considerations, on the completed Course Selection Form.

Refer to this form when registering online at bit.ly/FC2015AttendeeReg

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Name Course Schedule Worksheet Page 1 of 4

Most Mini-Tracks (2-session courses) are Courses (Mini-Tracks/Tracks) Classes

INSTRUCTIONS: The goal of this selection process is to choose one course/class selection in every “available” block.

THURSDAY, JUNE 25 Block # /Time Events

1:00–5:00 R E G IS TR AT IO N

4:30–6:00 DINNER

1.1 6:30–7:45 Massed Rehearsal 8:15–10:00 AGAPE RINGERS

CONCERT

a) Find your Ringing Division’s (Tins, Cop-pers, etc.) Friday and Saturday rehearsaltimes and mark an “X” through the entireblock. You should also mark through theMassed rehearsal times, even thoughsome courses/classes (usually intendedfor directors or for more advanced ringers)may be offered at those times.

b)

You may choose more than one Mini-Track or Track as long as the session times don’t overlap.

In the Mini-Track/Track column, circleyour most preferred Mini-Track/Track. Besure to circle ALL SESSIONS of the Mini-Track/Track (the other session number[s]are noted following the track name*).

c) Choose additional classes in any of theremaining free blocks.

Be sure that you leave one of the Lunch blocks open each day.

d) When finished, record your selections onthe Course Selection Form following this Worksheet. Examples may be found else-where in this “Individual Registration Materials” document.

* You may not mix sessions of Mini-Tracks. Example:You may not choose 1a and 2b of the same Mini-Track.

Course # MINI-TRACK / TRACK Course # CLASS

2.1 8:00–9:15 Massed Rehearsal

2.2 9:30–10:45 Coppers Rehearsal

2.3 11:00–12:15 Bronze Rehearsal

L

U

N

C

H

908D.1a Rehearsal Techniques (2.4, 3.2)

817E.1a Introduction to Solo Ringing / (2.6) Traveling 4-in-hand

903B1.a Bronze Festival Choir (2.5, 3.6)

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)

110E.1 Introduction to Change Ringing 606E.1 Drumline Diversions

085E.1 Strength/Conditioning for Bass Ringers 101E.1 Weaving 101 102E.1 Four-in-Hand Ringing 106E.1 Shelley Ringing 109E.1 Mallet Musicality 111E.1 Beginning-Intermediate Rhythm Reading 120E.1 Youth Kamikaze Ringing 313E.1 Weaving at the Speed of Sound 406E.1 Repertoire Reading Concert/Special 408E.1 Repertoire Reading Oldies But Goodies 505E.1 Handbell History/Lore 604E.1 A Taste of African Drumming

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

FRIDAY, JUNE 26 Block # /Time Events

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offered more than once. Most Tracks (3-session courses) are only offered once.Most Classes (1 session each) are offered

designated as C (Coppers) and B (Bronze)

& Score Study

FRIDAY, JUNE 26 Block # / Time Events Course # MINI-TRACK / TRACK

Course Schedule Worksheet Page 2 of 4

Class # CLASS

2.4 12:30–1:45 Tins Rehearsal

L

U

N

C

H

833E.1a Certification: Ringing Techniques I ( 2.5) 085E.2 Strength/Conditioning for Bass Ringers

905C.1a Coppers Plus Festival Choir (3.1, 3.4) 112E.1 Mastering Complex Rhythms

402E.1 Repertoire Reading L 3-4 906C.1a Coppers Festival Choir (3.1, 3.4) 908D.1b Rehearsal Techniques (2.1, 3.2) 403E.1 Repertoire Reading L 3+-6

404E.1 Repertoire Reading Seasonal 605E.1 Introduction to Steel Drum Playing 606E.2 Drumline Diversions

2.5 2:00–3:15 Classes Only 833E.1b 903B.1b 911E.1a 971E.1b

Certification: Ringing Techniques I (2.4) Bronze Festival Choir (2.2, 3.6) Musicality Through Motion Language (3.3, 3.6) Get On Board! (2.3, 3.1)

085E.3 103E.2 104E.1

116E.1 313E.2 314E.1 315E.1 318E.1 401E.1 404E.2 407E.1 506E.1 604E.2701E.1

Strength/Conditioning for Bass Ringers Intermediate/Advanced Bells Bass Bells Introduction to Bell Trees Weaving at the Speed of Sound Processionals Beyond the Printed Page Dynamic Ringing Repertoire Reading Level 1-3 Repertoire Reading Seasonal Repertoire Reading Shorthanded Copyright Laws & the MusicianA Taste of African Drumming Schulmerich Maintenance

2.6 3:30–4:45 Coppers Rehearsal 110E.2 Introduction to Change Ringing 815E.2a817E.1b

971E.2a

112E.2 Mastering Complex Rhythms 113E.1 Rhythms 2 Ringing202E.2 Solo Ringing with Company 401E.2 Repertoire Reading L 1-3403E.2 Repertoire Reading L 3+-6 407E.2 Repertoire Reading Shorthanded 605E.2 Introduction to Steel Drum Playing

2.7 7:00–8:15 Massed Rehearsal 306D.1 Moving From Score Study to Making Music Worship

321E.2 Be a Better Ringer

8:30–9:30 M I N I - C O N C E RT

9:30–10:00 A N N U A L M E ET I N G

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& Score Study

909E.1a Music Theory Foundations (3.5, 4.1) 910D.1a Music Theory Track (3.6, 4.1)

5:00–6:45 DINNER

Beginning Multi-Bell Problem-Solving (3.1) Introduction to Solo Ringing / (2.2) Traveling 4-in-Hand

Get On Board! (3.3, 3.5)

SATURDAY, JUNE 27 Block # / Time Events Course # MINI-TRACK / TRACK

Course Schedule Worksheet Page 3 of 4

Class # CLASS

3.1 8:00–9:15 Bronze Rehearsal

3.2 9:30–10:45 Bronze Rehearsal

815E.2b Beginning Multi-Bell Problem-Solving (2.6) 817E.2a Introduction to Solo Ringing/ (3.4)

Traveling 4-in-Hand 832D.1a It’s All About Techniques (3.7) 905C.1b Coppers Plus Festival Choir (2.4, 3.4) 906C.1b Coppers Festival Choir (2.4, 3.4) 971E.1b Get On Board! (2.3, 2.5) 908D.1c Rehearsal Techniques (2.1, 2.4)

& Score Study

101E.3 Weaving 101102E.3 Four-in-Hand Ringing111E.2 Beginning-Intermediate Rhythm Reading

117E.2 Kitchekapoom!318E.2 Dynamic Ringing605E.3 Introduction to Steel Drum Playing 701E.2 Schulmerich Maintenance102E.4109E.2111E.3113E.2117E.3121E.2309E.1311E.1314E.2322E.1403E.3408E.2502D.1605E.4702E.1

3.3 11:00–12:15 Tins Rehearsal L

U

N

C

H

Musicality Through Motion (2.5, 3.6) Language African Drumming (2.3, 3.6) Get On Board! (2.6, 3.5)

103E.3106E.3110E.3121E.3203E.1402E.2702E.2

Intermediate/Advanced BellsShelley RingingIntroduction to Change Ringing From C-C Solo CoachingRepertoire Reading L 3-4Malmark Maintenance

3.4 12:30–1:45 Classes only

L

U

N

C

H

815E.1b Beginning Multi-Bell Problem-Solving (2.3) 817E.2b

824E.1a 905C.1c 906C.1c

Introduction to Solo Ringing (3.1) /Traveling 4-in-hand

Introduction to Ensemble Ringing (3.6) Coppers Plus Festival Choir (2.4, 3.1) Coppers Festival Choir (2.4, 3.1)

101E.4109E.3116E.2311E.2312E.2321E.3322E.2404E.3406E.2605E.5606E.3

Weaving 101Mallet MusicalityIntroduction to Bell TreesManaging Performance AnxietyTrust Your MemoryBe a Better RingerRing, Dance, PlayRepertoire Reading SeasonalRepertoire Reading Concert/SpecialIntroduction to Steel Drum PlayingDrumline Diversions

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Four-in-Hand RingingMallet MusicalityBeginning-Intermediate Rhythm ReadingRhythms 2 RingingKitchekapoom!From C-CWhat Do You Hear?Managing Performance AnxietyProcessionalsRing, Dance, PlayRepertoire Reading L 3+-6Repertoire Reading Oldies But GoodiesConcert ProgrammingIntroduction to Steel Drum PlayingMalmark Maintenance

911E.1b

960E.1b971E.2b

Course Schedule Worksheet Page 4 of 4

SATURDAY, JUNE 27 Block # / Time Events Course # MINI-TRACK / TRACK Class # CLASS

3.5 2:00–3:15 Coppers Rehearsal 909E.1b Music Theory Foundations (2.7, 4.1) 971E.2c Get On Board! (2.6, 3.3)

Bass BellsIntroduction to Conducting The Silent Conductor Repertoire Reading L 1-3 Repertoire Reading L 3-4 Musical Games & Puzzles Introduction to Steel Drum

112E.3116E.3120E.2203E.2301D.2316E.1

318E.3406E.3408E.3

505E.2603E.2

104E.2301D.1 317E.1 401E.3 402E.3 603E.1605E.6

Mastering Complex RhythmsIntroduction to Bell TreesYouth Kamikaze RingingSolo CoachingIntroduction to ConductingBecoming Team Players through Critical ListeningDynamic RingingRepertoire Reading Concert/SpecialRepertoire Reading Oldies But GoodiesHandbell History/LoreMusical Games & Puzzles

3.6 3:30–4:45 Tins Rehearsal Advanced Multi-Bell Problem Solving (4.1)Introduction to Ensemble Ringing (3.4)Bronze Festival Choir (2.2, 2.5)Music Theory Track (2.7, 4.1)Musicality Through (2.5, 3.3) Motion LanguageAfrican Drumming (2.3, 3.3)

816E.1a

824E.1b

903B.1c910D.1b911E.1c

960E.1c

5:00–6:45 D I N N E R

3.7 7:00–8: 15 Massed Rehearsal 832D.1b It’s All About Techniques (3.1) 319E.1 Making Music Without Reading Music 506E.2 Copyright Laws & the Musician

8:30–10:00 M I N I - C O N C E R T wi th F es t i v a l C ho i r s

SUNDAY, Block # / Time

JUNE 28 Events Course # MINI-TRACK / TRACK Class # CLASS

8:00–8:45 W O R S H I P SER V I C E

4.1 9:00–10:15 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)

104E.3 Bass Bells203E.3 Solo Coaching 309E.2 What Do You Hear? 311E.3 Managing Performance Anxiety 603E.3 Musical Games & Puzzles

10:15–1:30 C H E C K -O UT T I M E S

4.2 10:30–11:45 Coppers Rehearsal

4.4 1:30–2:30 Massed Rehearsal

L U N C H 11:00 – 1 : 3 0 4.3 11:45–12:45 Bronze Rehearsal

12 3:00–4:30 F I N A L C O N C E R T

S E E Y O U I N J U N E A T T H E U N I V E R S I T Y O F MASSACHUSETTS I N

AMHERST !

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Name Course Selection Form *Please note that your email address will be used initially tocontact you about your course schedule and other Festival

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 XL XXL XXXL

business. Additionally, Handbell Musiciansof 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

Please describe:

Block# Events

FRIDAY 2.1 Massed Rehearsal

2.2 Coppers Rehearsal

2.3 Bronze Rehearsal

2.4 Tins Rehearsal

2.5 Classes

2.6 Coppers Rehearsal

2.7 Massed Rehearsal

SATURDAY 3.1 Bronze Rehearsal

3.2 Bronze Rehearsal

3.3 Tins Rehearsal

3.4 Classes

3.5 Coppers Rehearsal

3.6 Tins Rehearsal

3.7 Massed Rehearsal

SUNDAY 4.1 Tins Rehearsal

RECORD YOUR COURSE/CLASS SELECTIONSEnter 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.

Course/Class Number Course/Class Name

LUNCH

LUNCH

LUNCH

LUNCH

2.1

2.2

2.4

2.5

2.6

2.7

3.3

3.4

3.5

3.6

3.7

4.1

3.1

3.2

Block#

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2.3

classes

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 o t 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 binderand a pencil. While there will be handouts for most classes, a small notebook for jotting notes is alsosuggested.

• Some classes request that registrants bring handbells, if possible, in a particular range, mallets, or otherinstruments.

• Please note that Tracks and Mini-Tracks are sequential offerings and participants are expected to attendall listed sessions. Registrants should take careful note of these courses and not choose other classes whichconflict.

• Classes are scheduled in sessions appropriate for divisions not in rehearsal. Some classes specificallydesigned for directors, or especially appropriate for directors to select, are scheduled during Massedrehearsals.

• Repertoire Reading Sessions will offer different packets of repertoire in their first two sessions; the thirdsession will present selections from the first two sessions.

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010E Massed Rehearsal

012C Coppers Rehearsal

013B Bronze Rehearsal

2.1, 2.7, 3.7, 4.4

2.2, 2.6, 3.5, 4.2

2.3, 3.1, 3.2, 4.3

Waugh

Waugh

Rice

Rice

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, L4An American Tapestry III – Spiritual – Arnold Sherman MAG37007(handbell score) 3-7 oct, L3

011T Tins Rehearsal 2.4, 3.3, 3.6, 4.1

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, L2Cadenzato –Tim Waugh MRO3218, 2-3 oct, L2+

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., L5Valse Brilliante – Karen Buckwalter MBEHB421, 4-7 oct, L4+

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, L3Resonances and Alleluias – Cathy Moklebust MCGB516, 3 or 5 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.

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.

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102E Four-in-Hand Ringing 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.

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.

Cours e No. Ti t le Time / Bloc ks Instruc tor

116E Introduction to Bell Trees 2.5, 3.4, 3.6 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!

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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-on-one 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.

Cours e No. Ti tl e T i m e / Bloc ks In s t ru c tor

306D Moving From Score Study to 2.7 Rice Making Music Worship

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.

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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: 2.5 Rice Visuals to deliver the message of the music

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.

316E Becoming Team Players 3.6 Rice Through Critical Listening

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 Ersson Through Musical Awareness

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 one-time visits to senior citizen groups.

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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.

402E Repertoire Reading L 3-4 2.4, 3.3, 3.5 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.

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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.

506E Copyright Laws & the Musician 2.5, 3.7 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!

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605E Introduction to Steel Drum Playing 2.4, 2.6, 3.1, Adams 3.2, 3.4, 3.5

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.

702E Malmark Handbell/Choirchime® 3.2, 3.3 Moore Maintenance and Repair

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) L. Larson or (a2.6, b3.1)

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.

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Cours e No. Ti t le Time / Bloc ks Instruc tor

817E Introduction to Solo Ringing and Arnold Traveling 4-in-hand

(a2.2, b2.6) or (a3.1, b3.4)

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.

833E Handbell Musician Certification: Handbell Techniques Level I (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: http://handbellmusicians.org/music-resources/handbell-musician-certification/. Handbell 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-michele-sharik-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.

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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 Time / Bloc ks Instruc tor

908D Rehearsal Techniques & Score Study (a2.1, b2.4, c3.2) 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. three-dimensional ringing, and stopped techniques. Session (c) will cover troubleshooting technique-related 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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960E African Drumming (a2.3, b3.3, c3.6) 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! S. Henderson (a2.3, b 2.5, c3.1) or (a.2.6, b3.3, c3.5)

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.)

Cours e No. Ti t le Time / Bloc ks Instruc tor