The Clearinghouse of
Choreography is part of TheGoldenDance.com
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arranged by Christine D. Anderson
published by Agape/Hope Publishing
Code No. 1649
Last updated:
July 31, 2005
General Notes: Michèle says: This is one of my all-time favorite handbell solos! People always seem to love it when I play it & I really love the way the melody ascends through the various keys which, to me, symbolizes our heightened anticipation of Christ's birth during the Advent Season. Table
Setup:
 | remove C#5 & D#5 |
| place G4 in C#5 position |
| place A4 in D#5 position |
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place B6 above G#6 |
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move F#6 to the space next to D#6 |
| setup F6\D6 cluster & place
between A#5 & C#6 |
Choreography:
| m. m. 31: after playing
D5, place it between A4 & F#5 |
| m. 39: disassemble F6/D6 cluster
& return F6 to home position |
| m. 41: pass D6 from right hand
to left |
| m. 42: keep D6 in left hand as
constant, create D6/F6 cluster |
| m. 43: return F6 to home
position after playing |
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m. 44: pass C6 from right hand to left |
| m. 45: keep A5 in left hand as
constant, create A5/G5 cluster |
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m. 47: pass F5 from right hand to left &
create E5/F5 cluster |
| m. 50: damp A6/G5 cluster
(as a unit) in the G5 spot. |
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m. 51: tie the F5 half note to the F5 quarter note,
if desired. Damp the E5/F5 cluster (as a unit) in the E5 spot.
During the railroad tracks, pick up A5 with right hand & G5 with left. |
| m. 52: pick up F5 with left hand
from top of cluster |
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m. 54: damp D5 between A4 & F#5, Damp A5 in B5's spot |
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m. 55: after playing the B5, place it in F#6's spot (so, it'll be between F#6 and G#6) |
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m. 58: hold the D6 as a constant, creating D6/F#6
(it's best to create the cluster before starting the triplet) |
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m. 59: return F#6 to its previous position and D6 to its home position |
| m. 60: keep C#6 in left hand as
a constant, create C#6/A5 cluster. Return A5 to B5's position
after playing, if desired. |
| m. 61. keep C#6 in left hand as
a constant, create C#6/E6 cluster. Release E6 into its
home position after playing |
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m. 62: hold the B5 as a constant, creating D6\B5
(it's best to create the cluster before starting the triplet) |
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m. 63: return D6 to its home position and return B5 to F#6's spot |
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m. 65: because E6 is rung with the left hand, the F#6 is already in the right
(no need to pass, as is indicated in the music) |
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m. 68 & 69: Michèle doesn't play the shakes |
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m. 71: hold the D6 as a constant, creating D6/F#6
(it's best to create the cluster before starting the triplet) |
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m. 72: return F#6 to its previous position and D6 to its home position |
| Two options exist for m. 73-75.
Option 1) (This is the way Michèle plays it!)
m. 73: beat 4, play only C#6, create D#6\\F#6 cluster
m. 74: ring just the D#6\\F#6 (leaving out the B5), create the
B5//B6 cluster for the final chord. (Michèle does not
shake in m. 74.)
Option 2) m. 72: after playing B5, lay it on top of C#6,
creating B5/C#6 cluster. Damp D6 in its home position after
playing it.
m. 73: after beat 4, create D#6\\F#6 cluster (without damping
the F#6!). Release C#6 into its home position after
playing it.
m. 74 create B5//B6 cluster for final chord
(Yes, there is time to do all of this - take full advantage
of the "molto rit. al fine" for a big dramatic
ending!) |
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Solos
Ensemble Pieces
Full Bell Choir Pieces,
adapted for Solo Ringer
-
Ah, Holy Jesus
-
Le P'ing (Rise to Greet the
Sun)
Choral Octavos
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