CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library MT 711.F613 Handbell ringing / 3 1924 017 003 249 M- ^ Cornell University ^' 'J Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924017003249 Handbell Ringing., C. W. ^LETCHEE (Royal Criterion Handbell Singers), ILonDon : J. CUEWEN & SONS, 8 & 9 WAEWICK LANE, E.G. Friee Two Shillings and Sixpence. It is proposed shortly to commence the issue of a series of pieces for Handbell Ringing. These will be printed in large type, and win be edited by the author of this work. LONDOK : t. CURWEN AND SONS, MUSIO PBINTEKE, PLAI3T0W, B. CONTENTS The System of Notation The BeUs The Players The Treble Players The Chimes CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. Striking the Bells CHAPTER V. CHAPTER VI. 1 12 16 ' 19 58 135 MUSIC. She wore a wreath of roses Men of Harlech Scots wha hae wi' Wallace blml The Minstrel Boy March of the Israelites (Jilij ... My Queen Valse CHANGE EINGING. Stedman's Doables (5 bells, 60 changes) Stedman's Triples (8 bells, 84 changes) Handbell Ringing. 40 46 52 56 70 94 136 137 INDEX. Absolute pitch Arranging the tells Bands of ringers playing harmony Bells, arranging , damping , how to strike them , method of enumeration Change ringing Chimes, The Church-bell ringing Hubbard's " Campanologia " "March of the Israelites" (Sli) Material for covering table "Men of Harlech " arrangement " Minstrel Boy," arrangement Modern bells, manufacture of Modern style of ringing , "My Queen Waltz" Notation explained Number of players Octave marks Plain Course of Stedman's Doubles... Players changing position... , difficulties of , ladies eligible , number in a company , position at table Playing, both hands alternately consecutively with Fame hand , picking up second bell , two bells in each hand " Scots wha hae," arrangement " She wore a wreath of roses," arrangement Stedman's Doubles Triples Striking the bells System of Notation Table for bells, size, height, &c. Tonic Sol-fa method for bells Tonic Sol-fa notation for trebles Treble Players Tunes arranged for bells 36, " Vienna," arrangement ... Village Church, Old style of ringing ... Handbell Ringing. 40, 46 PAOE 94 10 4 10 21 19,62 32 135 135 1,135 135 70 15 46 56 13 3 94 9 17 34 135 24 4 16 16 17 20 24 66 62 52 40 135 137 16 1 14 3 59 58 52,56,70,94 36 1 CHAPTER I. THE SYSTEM OF NOTATION. Handbells have been known, and commonly used, for a period " whereof the memory of man runneth not to the contrary." Our old Mend, " the oldest inhahitant," will teU you how, when first he joined the company of ringers at the village church, he was not permitted to ring the church bells until he had undergone a considerable amount of training with their miniature substitutes : the peal of handbells always kept for practice. The wisdom of this course is undoubted, for what Shakespeare describes as " Sweet bells jangled, harsh and out of tune " make melancholy music. When engaged on this preparatory work the ringer would have only one bell, that corresponding to the one in the steeple which he was preparing B HANDBELL EINGINQ. to take; and without being overturdened -witli the consideration of technical details pertainiag only to church bell ringing, such as " setting " the bell, " half stroke," " back stroke," &c., he could devote the whole of his brain power to counting his time, and " come in" (or not ! according to circumstances and his ability). Tinder these conditions harmony could not be attempted, the range of the bells not being sufficient to allow of the movement of more than one part, so that those who were ambitious to play a little more than mere melody, and to get a certain amount of entertainment as well as " substituted service " out of their handbells, adopted the very obvious course of " lengthening " the peal, and by holding one in each hand eight players could easily manipulate sixteen bells. The ^number of tunes, however, which can be played in harmony on sixteen bells is very limited, hence it is not very difficult to imagine that some genius soon thought of the plan of having two additional bells standing on the floor in front of each of the players as they sat in their chairs round the belfry, and poured their enthusiasm into their work while their neighbours slept in peace. From the floor to the table is not a very great leap (it should be 28 inches), and the placing of four bells before each player on a table, at which he stood ready to pick up whichever two might be required, was a move in the right direction. Beyond this point, however, it was not easy to go : four bells to be played quickly after each other must be lifted with alternate hands, and as the same TEE SYSTEM OF NOTATION. arrangement upon the table wMch would make f m r d easy to play would make f r d Pi difficult (the difficulties increasing with the numher of the bells), it was not till the invention of a system, that the modem style of ringing, which treats a number of bells as a band, instead of merely melodic instruments, could be attempted. This invention has hitherto been a professional secret from which the possessors derived considerable profit ; but the present is an age of publicity, and it is not possible to keep a secret very long when the public is permitted to see its results ; for what it is seen one man has done another will endeavour to do, and it is possible (as with the sewing machine, for instance) that seeing the result, he may even suggest a better or a simpler means of producing it. The sewing machine of the present day is adapted for better and more varied work than that of Ehas Howe, and is, besides, easier to operate ; so it is believed will the method of the Eoyal Criterion Handbell [fingers compare favourably with that of other ringers who adhere to an older style. This is indeed proved by the criticisms of the Press, from the Times down- wards, and by the numerous applications for their services which are constantly being received from various parts of the world. The members believe that they have secured the best esdsting system, one by which the most complicated harmony can be perfectly played. There is no doubt, however, that this is largely due to the Tonic Sol-fa method, which they adopt. Its notation of time is the best that could possibly be devised for handbell ringing, and HANDBELL RINGINO. its notation of tune is here followed in principle, though with a different nomenclature. In treatiag a numher of hells as a hand, the four parts in which harmony is generally played are divided as nearly as possible amongst the same numher of players, each playing nearly the same part as the corresponding voice would siag in vocal music. It would therefore appear that ia the case of those accustomed to part-singing there is nothing to learn except the actual manipulation of the bells, lifting them from the table, striking them, and returniag them to the " place whence they came : " if this were all, then there would be nothing more suitable than the Sol-fa syllables as names for the bells. But in addition to this, some method is necessary for distinguishing each bell from its fellow by its position on the table, the letter with which each is marked (Gr, Gr#, A, &c.), not being readily diseernable. If a player could always have the same bells before him, and could always place them in the same position on the table relatively to each other he would at once know where to find each bell as he required to strike it. But he cannot always have the same bells, and is therefore not able to place them always in the same position. For instance, a piece of music in F major will probably require the bass player to go from d, to m m. and he would place his beUs before him. thus, commeneiag at the left hand comer : — THE SYSTEM OF NOTATION: DiAGKAM I (a). © © 0© CO r, PI, © Diagram I (b). ( ^ © © ( -rIt, J © © © G) Biz, j HANDBELL BINGINff. Having by long practice learned that his dj is at the left hand comer of the jBrst row, that his Si is the last to the right in the second row, and so on with aU the others (in itself no mean task), he would, if the next piece were in the key of 0, require to forget all this, for the hass would then most probably range from Si to d' W and his four lower bells, f Pi r d, would be replaced by five others, f s 1 t d'. Commencing at the left hand comer as before, his bells then appear as in Diagram II, not one of them being in the same position as in the previous arrangement. Diagram II (a). THE SYSTEM OF NOTATION. Diagram II (i). ©( © © ©( D © © ©( t) © Now, if tlie player learned seven different arrange- ments for his bells, as each note in the scale took its place as the lowest note, it would then be necessary to constantly think, during the playing of each piece, of the name of his lowest note, in order to remember under which of the seven arrangements he would find his beUs ; this preoccupation of mind, it will be conceded, would be hardly favourable to the observance of expression, style, and those other graces which go to make a good perfonnance. Still another difficulty would be encountered in aU these arrangements, this time a mechanical one: if the notes of the scale are placed next to each other in order to facilitate their discovery, certain musical HANDBELL RINGING. phrases which very commonly occur will be very awkward to play. For instance, look at Diagram I, and see how nearly impossible it would be to play quickly the run down in the last line but oneof the bass of " Q-od save the Queen : " KEY G. II d :r .d :t, .1, |s, .f, :ni, .r, :d, || m ^E ti: ?£ :*=ii :*=S= remembering that to play bells quickly they must be taken up one after the other with alternate hands. But let the beUs be arranged as in Diagram III, and Bee how easy this passage wiU become. DiAGEAM III {a). THE ■ SYSTEM OF NOTATION. DlAGEAM III (5). This adds, however, still another " arrangement " to be learned, in addition to the previous seven ; in fact, as far as memory is concerned we have now about reached the region of impossibility, so we proceed to discard the idea of arranging the bells according to their Sol-fa names, and absolute pitch affording no better solution of our difGlculties, adopt a nomenclature of our own. I therefore take fifteen bells as the (usual) outside limit of the number a player will have, and arranging them in three rows of five each upon the table, I name them according to the position they occupy with regard to each other on the table, without troubling to inquire either their Sol-fa names or their absolute pitch, ' calling the first row by the odd numbers, 1, 3, 5, 7, and 9 ; the second row by the even numbers, 2, 4, 6, 8, and 10 ; and 10 HANDBELE SINGINff. the third by the first letters of the alphabet, A, B, 0, J), and E. The key, therefore, to all the musio to be played is the foUowing diagram (lY). Having learned this, we are enabled to place our bells as in. Diagrams I, II, and III, or in any other position required by the exigencies of the piece to be played, without involving the necessity for learning any other arrangement than this ; the bells being readily found through always retaining the same names according to their position on the table. DiAGEAM IV. 03 0CO( D e O 03 03 ( 8 © 00( D © Of course any other names would answer the purpose, provided they were unchangeable, the indispensable point being that as every note in the scale is represented in Sol-fa according to its position in the key, so every one of our bells must be named according to its position on the table. I THE SYSTEM OF NOTATION. 11 believe, however, that these names are preferable because they require no learning, are easily re- membered, moreover each bell being distinct from its neighbour, each row is also distinguished from the others as a group, the first of odd numbers, the second of evens, and the third of the alphabet. There is also the advantage that by representing the number 10 by " " in our notation every bell can be identified in writing by one single character (letter or figure), thus avoiding any multiple signs, suchas"fe"or«F|." The above system, which has been elaborated and simplified as the result of many years' experience, and after trial of various methods, is carried out to its completion in the following pages, and although there is no doubt that an instruction book can never satisfactorily take the place of practical lessons, still it will afford a means of starting an amateur company on the right road, and enable them to play sufficiently well to entertain their friends, listening, too, to a professional company (if it be a good one) will be found very useful, and I would recommend that no opportunity for doing so should be neglected. 12 CHAPTER THE BELLS. The great popularity of handtell ringing as an entertainment has led to a marked improvement in the beUs themselves, the makers now producing, ■with the aid of suggestions from professional players as to their requirements, a musical instrument differing as much from the handbell of fifty years ago as Mr. Lazarus' clarinet differs from its peri- patetic rival played hy the embryo artist of the streets. Speaking of the streets reminds me that beU ringiEg is to be heard even there : but not handhell ringing ! The al fresco performance so popular -with the errand-boy (or non-payiag) audience, consists in striking with specially-prepared drum-sticks a series of about a dozen bells which are suspended from a cross-bar. They generally range from d to d' with an extra note or two at each end, probably including S| to pi'. Another instead of hanging his head, apparently with shame at the thought of being struck (often in anger) m the presence of witnesses, is supported with his open mouth pointed to the sky, ostensibly for the purpose of catching any stray THE BELLS. \S contributions -wliicL. may fall from atoTe. Thes& bells are, bowever, quite different from those we are concerned witb ; tbey are not hancPoeih, though sometimes confounded with them, for the poor things are in the dreadfully mutilated condition of having no legs, and therefore all the wa\dng^ in the world would produce no other result than to tire the arm and patience. Our bells, on the contrary, must be as complete as it is possible to get them. They- must have clappers, though not of the railway bell type, whicL goes swinging about here, there, and everywhere,, according to the most unfettered theories of licence, but properly controlled, so that when the bell is swung it shall strike or remaia silent according to the will of the player. It must also have springs, which shall be strong enough to support the clapper, and keep it from touching the lip of the beU when held in a horizontal position, and yet sufficiently pliable to offer as little resistance as possible when the beU is required to be struck. It is found alsO' that the portion of the clapper which actually strikes the bell plays a very important part in the pro- duction of tone, the material of which it is composed, being of great importance, metal being found t& give the worst, and felt the best results at present achieved : the latter, however, being a light material has to be weighted sufficiently to overcome the resistance of the springs, and as these springs vary in size, being necessarily smaller in the smaller bells, it foUows that each clapper must be differently and very carefully weighted. The advantage there- fore of dealing with a firm of experience when. 14 HANDBELL HINGING. ordering a set of bells is manifest. It is a well- known fact, too, that upon the particular shape given to the hell, and the exact proportion of its constituent metals depend to a great extent the sonority and sweetness of its tone, and the perfection of its harmonics, the latter a most important point commonly very little understood. First of all, therefore, I say go to a good firm of makers for your bells, order the number you require, and {experientia docet) do not be impatient about the date of their delivery, or you will chance to receive them improperly tuned through " our principal tuner being away ill," or the " pressure of business having prevented our personally superin- tending this most important work." Before leaving the beUs, the table to be prepared for their reception deserves some attention, and the size of this will depend upon the class of music played, which will in its turn govern the number of bells required. If it be intended only to play simple tunes, such as are included up to page 30, three and a half octaves of bells with two octaves of duplicates will be sufficient, ranging from Sj^^i^ on a table ten feet long and four feet six inches wide ; but to play more advanced music, such as is treated in the latter pages of this book, five octaves will be required from the C below the bass G above mentioned, with a duplicate set for the four top octaves, making the total number 109 bells. These TEE BELLS. 15 ■win necessitate a table thirteen feet long, five feet ■wide, and 28 inclies high. Take half-a-dozen pairs of blankets (not workhouse rugs, but those costing a guinea per pair) and mthout dividing the pairs open them and spread each right across the table ; these should be covered "with a neat cloth of some smooth material, and this indispensable article will give no further trouble. 16 CHAPTER THE PLATEES. It will not be necessary to delay the formation of your company till the beUs are delivered, and here, on the threshold of our venture a question rises which has been agitating the body politic for years — "Woman's Eights." It has hitherto been the almost invariable custom to exclude ladies from participation in the pleasures of handbell ringing, and before deciding whether they shall or shall not form part of the company there are numerous points to be taken into consideration. First of all it would not do to have only one ; her position would neither be agreeable to herself, nor conducive of the best harmony amongst the "male items" of the company. We arrive at this point, therefore, that if we admit ladies at aU there must be at least two of them. And, why not ? Their presence (especially if good- looking) wiU add an additional charm to an already attractive entertainment, and what more appropriate when there are belles to be rung than that the ladies should be there. I have often been asked why the number of ringers in a company is always five? Whether there is any special advantage gained in not having six ? Or if any particular degree, of good fortune is supposed to attach to the former number? The answer is simply that "there are reasons" which make professional ringers prefer that number, but TEE PLAYERS. 17 there are none whatever to prevent local hands having as many as they wish, except that each player requires a certain amount of elhow room, and that if there were ten players doing the work of five half of them would be doing nothing but waiting for their turn to "come in" during half the time occupied by the performance. As a matter of fact it is found that five can play everything, that four cannot, and that five occupy a space 16 feet long and seven feet wide, which is as much as can generally be obtained consistently with the convenience of an audience in a small room. I recommend, therefore, that the company shall consist of five performers, of whom two shall be (if desired) ladies, care being taken that each one is physically fairly strong, possesses plenty of per- severance, and above all, is an excellent reader of music so far as the notation of time is concerned. Having brought our company together it will be necessary to explain that the strongest should be selected to play the bass part, the two most reliable readers to play the treble between them, the alto and tenor will then fall to the share of the two ladies, who wiU then occupy the post of honour in the centre of the table where these bells are always placed. The players should take their places at the table according to the annexed diagram, their beUs being placed in order before them in such a manner as to be within easy reach, but out of the way of the others, for which purpose it will be well to suppose the table to be divided into compartments as shown by the dotted lines. 18 HANDBELL BINGINa. 1st Treble. a pq CD 3 la -jj w o PI {^ 03 p 1 ^ =M r:> _| ^==^: The following exercises should not be attempted till those ahoTe can be played quickly. Diagrams are annexed to mark the names of the heUs as their numbers are increased. 26 HANDBELL BINGING. Diagram (VI) of 9 bells for Exercise 6. CO CO CO CO CO Ex. 6. L R L E 13 :4 L A L R 1 :B L E L E B :6 2 :5 L E L E 2 :C |3 : — p R R R R -f2= 14 A6 B6 25 XiP> JlA XjA XjXb L _ L_| . B 2 STEIKINQ THE BELLS. 27 !l Ex. 7. E L 5 :1 L lA s :0 E 6 L :2 E :5 L :A E E L :— lA i^-' r^ /Ti «r3 iT^ -m r'j - -.. P-- . f ?^ - 1 -' - -f 1 1 - -, 1 L 1 - - J 5 1 6 2 A C L R L E L R L /TJ n ^j r^ r-j ^i \ 1 f 1 — t : - ._L- L- . - - ■ Ex. 8. 5 :6 :0 IB :4 :3 il :2 :A lO :- E L EL EL EL R LE LE L UA :1 :2 |B :3 :4 |C :5 :3 |1 R R LE L R ^^^=M=- bjt «: p> E*: ^ |#-Cpv: il 56CB4312A0 E L EL E L EL E LE LE L A 1 B 3 28 SANDBELL RINGING. Ex. 9. LR L ELEL E LE L E L :B :A 12 :4 :6 15 :3 :-, ll :- W EL E LE LE L E L E L :3 :5 16 :4 :2 |A :- :0 13 :- R LR L EL RL R LR L R L w:=m=M Vt=p: ■zzr :E CBA24663 1 L RL E LR LE L E L R L 1 1 ■ ^ ■ • •n fM rj ■ 1 1 — — I 1 35642A 03 Diagram of 12 bells for Exercise 10. © 03 STRTKINO- THE BELLS. 29 11^ L Ex. 10. L E L :5 13 E :C E L E :7 E :D E E :8 E :6 L E |2 :6 L E |3 :- L E 1 Ex. 11. B D E II" L E L :A E L :2 E r ■■'' I E 7 L lA L :1 E E D L ?-^ ips; =?== E 1 :— E r ^- E A E E E Z2I ::?=:: rt 2 D Ex. 12. L E A :1 :22: ~ai E ID L :7 B :3 :5 B :6 :3 L EL D :7 E LE A :1 II 1537 4826 LELE LELE — i" — i" — i* — ?■ p — F r^' =f g^ r :^^ : : : II 30 HANDBELL BINGINQ. E EL ^m ^^e A E 1 L B D E 7 LE g2 zszzzEps zs I:p~:e2 pes — g "1)7 05B3 Al Diagram of 15 bells for Exercise 13. ( A O ® CO CO O CO Ex. 13. E L E LE L EL 9 :6 :7 |3 :5 :1 12 :6 :4 iS :6 :0 II nE :0 :D 1 ■p T -p E :0 :D IB :0 :A 16 :1 :9 i8 :6 :0 ) r - - II E L E LE L EL m m 957 351 264 860 STRIKINQ THE BELLS. 31 R a ^m m^^ w II il B D B C A Ex. 14. :6 R L 9 :5 E :0 |D :B 8 :4 :3 :A 18 :4 jD :4 E L V ■■' I 5 :1 6 :1 :5 6 :2 :2 E L |E :— 1^^ ^ ?=: =P2I =P2: ^ E D B :?== ?=i^r=^ P2= Cpsr^fs:^ -jpiz=z-pt. 5 2 EL ?2: Z2I ig^ :?== D B 4 7 Ex. 15. :2 :A 10 :6 :5 13 :4 :B KD :8 :7 h5 :6 :0 |E :0 :9 | :E :5 |8 :- :- 32 HANDBELL RINGING. L E L i> # # ■m — -M. ■0- m: ■■ 1* — ^ — i" — -— r — t—i— r^ t ^-=fc: 12AC65 34BD87 5 60 E09 CE5 8 The player will now be familiar with the notation employed for bell music, and with the key diagram (pp. 10 and 30) upon which his notes are always arranged. He is also familiar with all the move- ments of the hand or the body which are likely to be required in playing tunes, so he may now safely proceed to that more iateresting portion of his work. He will not often require 15 bells before him, so it win be necessary to remember that the enumeration is always commenced from the left hand — No 1 : thus i£ a player has only three beUs he can arrange them as STBIKING THE BELLS. 33 but so long as he has one hell, that must he "No. 1." Let four players arrange their hells according to the diagrams given for each, and play Ex. 16, key 34 HANDBELL RWQINO. Gr. Observe that the octave marks are the same as used in the Tonic Sol-fa notation for vocal music, the alto Gr heing the same note as the Tenor G^', &c. Treble. E ) © STRIKING THE BELLS. 3a Tenor. Bass. 36 HANDBELL RINQINO. Ex 16. KEY Q-. Vienna. 2 :4 |1 :2 A :-.B|2 ; — \ 4 :6 |3 :3 4 :6 |4 1 :1 |5 :3 3 :1 |1 : — / B :2 |4 :4 3 :5 |4 3 :5 |1 4 5 : 3 |6 — \ 5 :5 |1 3 2 : -.1 lA 4 :4 |3 4 4 : 3 |6 : — / A :5 |4 2 : 5 |2 : 1 :5 |3 1 B : 2 |4 : — \ B ' :2 |3 2 3.6 : 4 |6 : 3 :4 |4 1 2 : 1 |1 : — 1 4 :2 |6 3 5 : 3 .6 |2 : A :B |2 4 1 : 5 |1 : 4 :6 |2 . 3 2 : -.5 |2 : — 3 :4 |5 . 2 4 : 4 |5 : — 3 :5 |1 : 6 2 : 2 |1 : — STRIKING THE BELLS. 37 B 2 ^Eiz r^=? m-. 3 4 6 4 ^ tE^ a ?^ :P=P= ^ B i^ F s f • Vf^" I 2 ^ ^ 1 A r I B 2 3 4 4 1 I Si NM B ^=j ^5^^ A B iJ^ **=i P 4 6 2 3 4 5 S 3 6 4 6 2 1 1 J. J. A 3 6 2 ' i 1^1 3 2 5 2 .J_J J -iJ-J^. r"e^-T-r~ r i 38 HANDBELL BINOING. vAxrangement of tella for Ex. 17. Key A. Teeble. Alto . STBIKINCf THE BULLS. 39 Tenok. M ) (^Aj ( B ] i -D El f ) ( Ci ] rGi, ) Bass. ( ^ © © ©0 / — N /" — N 10 "/^ — \ , (a*) 40 EANDBBLL BINGINQ. Ex. 17. She wore a wkeath or Eoses KEY A. B |4 6 |4 -15 1 11 3 |3 B 6 jB 6 1 4 I -|5 : 3 7 C -|-:0 4 : :6 |6 :6 :4 |5 :5 :-|-:A B : -.410 :1 6 I :2 6 I :4 -12 :- B -.B|B : 5 1 : 7 1 : 4 -13 : 5 2 jB 1 B -|-:B 2 -.2|5 : 2 1 2 5 |5 :5 4 |4 : 5 1 4 7 |7 :7 6 |6 : 1 -15 — 3 : — 1 — : — 8 : — 1 — : -.616 6 |6 4 |4 -.2|B :B 2 |2 :2 5 15 :5 -jA :- 2 |2 3 |3 -.A|B :A A:( 6 1 :6 6 1 ' :6 -|B :- 2 : C |4 :6 4 : 2 |4 :1 4 |6 :3 :-l6 : — 4 : -.4|0 :4 4 |4 :4 7 |7 |4 ;L) STRIKING TEE BELLS. 41 6 — 1- :6 4 6 |6 :6 5 |5 :5 1 — 1- :— 7 2 2 |2 :5.3 3 6 |4 :3 4 |7 :4 8 3 |5 :1 4 :-.4| :4 :6 :5 :5 :7 2 4 6 |2 |5 |7 18 B B : 4 6 — 1 : 6 I 3 |3 1 11 :B,B :3 / -lil- \ :B :5 :7 :-.0|A :6 I :4 I :-|5 6 :7 B.3 -|5 -.2 B :6 10 -.4 6 — 1 — 3 |4 1 :6 |6 — 6 — 1 — 4 |6 3 :5 |8 — 5 — 1 — 1 — 1 — — 4 :— 1- — 1 — 1 — B i fc=i: A I 4 6 3 5=E ^E^^E^ ^ ^ J^ ~P — r- r I 1 1 3 3 I I ^EE IC2I B 6 B A C 4 4 1 § ±nJ= :^ i^ f*= 22 r 6 4 6 f) IS r_J- J -J-i r i «=P= I 1 it=:Etz= A B 42 HANDBELL RINGING. B BBB52B1B B t^ r-^r-^r i*i ^ -w f -r 5 3 2 2 b b b 1 7 7 5 4 7 7 7 r 1 r r -J-f ! r : C^jt p ^ p =f«/-^ 2 •2 5 5 1 3 6 6 6, 2 2 B B r r 4 4 6 6 J J 1* 1 4 6 1 r 6 6 6 4 4 4 J JJ r r ■f r-H 2 2 2 5 5 5 !iif#_ — ' '-> :l:p2; ABA A 4 l^ il± 3zpki-=i=*=i: ^i IE s g$ 2 2 2 3 3 3 rill 1 I I 2 4 1 4 6 3 4# r I 6 6 p B 6 6 I STEIKINa THE BELLS. 43 r£i 4 4 6 4 4 2 B P r— J --—J ^-=ir- 3 i£ S r r r rrr^ r r ^ 6 6 6 4 4 4 4 4 4 111 555 666 IZZZ i iA B6 BB222533 5 2 B ^ izSr frr^"nn^ I I 1 3 3 3 1 1 1 6 4 3 4 7 4 r "^' -w 1=^^ 4: 7 7 7 ! Iji— gl= J: S ^^^ P IS2I 8 3 5 1 3CA0AB35 2B6C4 6 M-j^JVJ^^-^ > r r r 6 6 3 4 1 4 6 3 iE -rr 6 6 5 8 ■tt=P — p F^ — ^' JJ II. iz2r 44 HANDBELL BINGINO. Airangement of tells for Ex. 18. Key C. Treble. Alto. STRIKING THE BELLS. 45 Tenor. Bass. 46 Ex. 18. -.0|B - |1 - |4 - |5 HANDBELL BINOING. :-.C Men of Hablech. 4 :6 |2 5 :5 15 4 :6 14 A :3 11 3 :2 16 ;4 4 :4 14 :4 2 :A 12 :2 3 :A 15 :2 C :B IC :A 5 :3 15 :1 2 :4 12 :6 4 :3 i4 :4 -.ClB - |1 - |4 - |5 4 :6 12 :5 5 :5 |5 :1 4 :6 |4 :4 A :3 jl :5 1.2: -16 -.2 4 — I — — 6 :-.4 10 :-.4 \ 6 -15 —3 6 — 1 — — 5 :— 15 :— / 4 -16 — 1"^ — 6 :-.BlC :-.Bi 4 :-lB 1 : — 1 — — B :— IB :— ) 6 :6 1— — 1 : 5 :5 15.2 — 6 : 6 :6 1 6.0 : B :B 1 — — 1 : -.5 1 2 -|5 -|4 -|1 :-.5 :-.2 :-.6 1 :1 1- 6 :6 I — 4 :4 |4.0 1 :1 I- A.1, 1 :-.3l2 5 :-.ll6 3 :-.2l4 1 :-|l -.3 -.1 -.2 1 :-.3|2 5 :-.ll6 3 :-.2l4 1 :-|l 1.5: 1.3 1 2.6 5 :— |5 3 :— |3 1 :1 11 2.3' STRIKING TEE BELLS. 47 1 :1 I- 5 ^5 I — 3 :3 I — 1 :1 |7 6 :3.,2 |6 4 :4.,5|1 5 :B 1 2 5 :3.,A|5 4 :6 |2 5 :5 |5 4 :6 |4 A :3 |1 :1 3 -.5|1 : :5 1 -|5 : :4 4 -|4 : :8 6 5 |A : :4 C :B |0 : :4 ,5 3 |5 : :2 2 2 |2 : :2 4 3 |4 : :5 1.2 -|6 : :1 6 — |1 : :4 "4 — |6 : :5 4 :- |B : 1 3 3 |2 2 — 5 5 |5 ' — — 6 2 |4 — 6 3 7 |1 ■6 A 4 :-.C|B : -.0 1 5 — |1 ■ — 6 3 — |4 • — 4 -.2 1 4 — |5 : — — . 1 — 1 — -— ^^^^ i 48 HANDBELL RINGING. I B 4 ,#=^J.-i. -J^ r '^ .z^E^^ =i&^ 6 5 4 6 1 1-r— — 6 C 5 5 6 B — L^i ^ — B s — J — I B B 6 6 16 2 5 11 5 6 1 552 6 5266 6 6CC 46444C r , f:i _f!2 -1*-.. 1* ~ — 1^«_ f-" — ^t- r "-h F- — kP B 1 B 3 2 h I 1 1 1 Al 3 1 32 3 15132623 ^ J. J^ I 1^ f2- L^:^. I ^1 . I 1,1* I 516151625 3242324 3 4. 1^.1 4- IJ. 4 ^ FP: ^ -P — P=p: -t 1 — h- 1 1 1 STRIKING THE BELLS. 49 4 6 -4- 2 1 5 -J- 1 2 6 -J- 2 -* 4 1 ''-J [] d 1 5 4 J- 5 6 5 4 -i -1*— 1 1 4 — • — 6 4 J. 1 1 6 1 ' 1 — ^ U 6 !i^=r- -f- :t: ~l ~ Y rj y 50 RANDBELL RINGING. Arrangement of bells for Ex. 19. Key G. (In this piece the Tenor and Alto are each occasionally required to play two notes together. This is easily done by taldng.one bell with each hand.) Treble. STEIKIXG TSE BELLS. 51 Tenoe. Bass. 52 HANDBELL RINGING. Ex. 19. 5 Scots wha hae. 5 .,5 1 1 4. ,2 2 5 4 4. ,4 6 .,6 1 1 0,4.- 1 5 4 |5.,3 1 .,1 |1 .,1 1 |1 1 |1 B .,4 1 6 .,B 2 |1 3 |5 2 16 4 .,B|4 .,2 6 .,3 1 6 .,6 1 |5 5 |2 - B .,4|6 .,B 4 |1 ■ 3 |4 2 |6 .,3 6 2 2 1 4 .,B A 3 5 6 2 4 4.,B A 3 5 3 .,3 4 .,4 5 3 6,3.- 5 4 3 B.,B 3 6 2 0,3.- 5 4 3 3 .,5 1 3 .,1 4 .,1|4 .,2 5 |5 3 13 „5|5 |2 |2 |4 „6|B M2 |6 |A .,4 3 .,5|6 4 |1 5 15 4 |1 3 |1 6 .,B' 5 5 3 STBIKINQ TSE BELLS. 53 2B 46 B4 B 63 Al^ -t-f-^j^-J-jTTl ^^ ^ , 1 1 1 1 2 1 A ' 5 4 2 5 3 5 3 4 5 2 1 E_U p — p ^ J . u— 4 B 4 2 fH** — teH** — ^~^ — ^ B ^j ^ : 6 B 4 2 6 3 2 (3) i 2 6 nj M g*g= i ^ ^ B 04 B46 B4 B63 PT^ r A 3 I 1 5 ggl P^ 1 5; 3 5 54 HANDBELL RINGING. Arrangement of bells for Ex. 20. Key BI2. Treble. STRIKING- THE BELLS. 55 Tenor. Bass. 56 HANDBELL BINGING. Ex. :1 20. 3 _ ^ M6 .2 4.3 The IVTrNSTEEL Boy. 2 :5 |A :B.A^ 5 5 |1.5 3.7 5 5 |7 ' 1 1 |2 — 2 3 |2 3.1 3 — |3 — 4 |B 6 } :5 :2 :4 :5 |7 |A |1 :5 .2 :2 :1 :3 : .2 A D |C D.A D B |5 : 1 6 .4 |7 — 5 8 |8 : 2 6 |2 — 3 3 .2 |6 : B 5 |B — 1 7 |6 : :- .8 |8 :- |6 :- |6 .— |5 1 3 :7 C : :7 1 : :2 .3 1 : :1 3 : D 6 5 A Fine. |3 .3 |7 |3 -.8 2 D.C. |A |2 |8 ABA 4 6 2 4 3 ms^^^ -^ V n ?"T-i^=&=cj-T=r=T=r 5 15 3 7 1 2 5 5 7 5 2 3 2 3 1 ^3:g Aj. M i B 6 STRIKING THE BELLS. 57 i c I 6 5 i^ 3 Pine. z^z ^ ■s 'i^ 2 A 4 4 5 3 7 6 2 ^ i^ I I 5 1 3 2 6 AD C DADB 5 1 J. J Jl J ^=#, ^^ J. I 6 4 7 6 2 3 2 fc=i i B c I 8 8 ±i :S^ D A ^^ V.D.O. ^ S^^: I 6 6 '^ I 7 2 3 I I 1 6 1 5 I — _i 2 I 58 CHAPTER V. THE TKEBLE PLAYEES. We now reach the second of the two great divisions iato which our work is separated. The players who have carefully and thoroughly gone through the previous pages, wiU now be able to play any passage of music which does not include any smaller divisions of time than two notes to one beat; but few will be satisfied with having reached this point, ambition will naturally urge them on tb attack music of a lively and more varied character, and in order to render this possible it will be necessary to have recourse to two contrivances, with the aid of which almost any melody, however quick, may be played. The first of these is to call in another player to assist the one who has played the treble in our previous illustrations; and the second consists in holding the most frequently recurring bells in the hands, picking the others up as they are wanted. It will therefore be seen that there is now a considerable amount of further work required from the treble players from which the others are freed. The first of tkege two aids will necessitate our music-score being written in five lines instead of four, but it will enable us to have the advantage TEE TREBLE PLAYERS. 59 of adopting the Tonic Sol-fa notation for tune as well as time (with a trifling exception) for the treble players, whose work is thus made more iuterestiug, by reason of their beiag able to see and understand, as well as hear what they are doing. The adoption of the Sol-fa names for the notes is made possible by the fact that the treble players, now that there are two of them, can have the entire range of diatonic notes before them, and if these are always divided in the same way, each player can always have the same notes in the scale to play, can always place them in the same position. before him, and has therefore no need of any system to assist him in finding them when they are wanted. The most practically advantageous division of the bells between the two players is to regard every melody theoretically as lying between s, and s', and taking the middle octave as the portion in which, most of the work will lie, divide it equally ; the first treble (hereafter caUed No. 1) taking d' t 1 S, and the second (called No. 2) f pi r d- No. 1 will then follow below No. 2 with t, 1, s„ No. 3 following above No. 1 with r' Pi' f ' s' according to the diagram showing this arrangement in key 0. i— jz:s=:p=::&e; :^:i<^-^ ^ms^r (The notes of No. 1 are written with " tails up," No. 2 in the contrary direction.) Anything beyond this range can be treated ex- ceptionally as occasion requires. 60 HANDBELL BINOING. Every diatonic note of the particular key in which we wish to play being provided for, there only remain the chromatics, and these certainly present a diffictilty which every method of overcoming only replaces with a fresh one. We cannot treat them as we do the diatonic notes, and divide them into halves, each player always having the same beUs, because although the f e -is generally taken by the second treble (replacing his f on going into the first sharp key), and the ta mostly by the first (replacing the t in the corresponding flat key) none of the others can be imchangeably located with either player : for instance, the one who could play the se in the minor mode could not play the la in a transition to the third flat key — ^the two notes being repre- sented by one as on the pianoforte. A better plan would be for each .player to have all the chromatics ranged in the back row, and pick out each one as he required it; they would be easily enough found, for sC; would always stand on (a), tsL, on (b), de on (c), &c. But there are too many of them, ten chromatics in addition to eight diatonic notes would make 18 bells for each player, and although I have played tunes in which I have had several more than this number to look after, I would not recommend anyone to undertake the same labour (mental and physical) tiU. he gets far beyond the point when a book of this description wiU be of any use to him. It will be found quite sufficient for each player to have only those chro- matics he is required to play in the piece on which he is actually at work, and as these will be diJSerent in almost every piece, they should, to facilitate their THE TBEBLE PLATERS. 61 discovery, te placed in a row and nmntered from the one standing on tlie extreme left. Thus ia on© piece a player may require ta,, re, f e, and de', which he will place ia the order in which he is instructed for each piece, and call them ® © ® ® Should he ia another piece require se„ de, fe, re' these will become 0) © .® © in the same way. By this means the player is prevented from making the error of playing one chromatic for another, which he undouhtedly would be liable to do, if he had to remember a different position in each tune for the same note. The bells should be placed bef9re the first treble player according to the annexed diagram, the chromatics being arranged in the third row to any number required. First Treble. 62 HANDBELL RINGING. The second treWe bells will be placed tbus- Tlie players ijidicated shoiild thoroughly learn these arrangements ; they are almost invariable, and no further burden mil be thrown upon the memory in this respect. It will be noticed that the first contrivance mentioned is a matter of arrangement, and is here done for the player. The second differs from it in being something which must be done hy the player himself. Moreover, when he knows how to set about it, no one can produce the result for him, because it depends entirely upon his own perseverance. It consists in holding two bells in each hand, and making the one desired strike, while the other remains silent. It is accomplished in this way. First of all a bell, standing on the table with the flat part of the handle towards the player, must be lifted, but in a different manner from that THE TREBLE PLAYERS. 63 described on page 20. It should be taken between tbe first and second fingers of tbe right hand, lifted from the table and struck downward. Now take another bell and hold it between the first finger and thumb of the same hand, with the flat part of the handle at right angles to the one between the fingers. E-epeat the downstroke to ring the first bell and it will be found that the second does not sound. The latter (the one between the first finger and thumb) is struck by turning it partly over from right to left, not by waving the arm, but by a sharp jerk of the wrist (see page 19). This will not strike the first bell, which, it will be remembered, requires a downward motion to make it sound. Great care and considerable practice will, however, be required before these move- ments can be executed vdth rapidity and certainty, and before the requisite degree (loudness) of tone from each bell can be produced. The follovraig exercises should be repeated tiU they can be played vsdth great rapidity. FiEST TKEBLE.-^Hold d' and 1 in the right hand, the d' being nearest the thumb (called the " top " position), and hold t and s in the left, the t being at the top. Play Ex. 21. E L ijd' :t 11 :s Id' :t il :i ii giie £ E L -^-- &c. &c. 64 HANDBELL RINGING. Ex. 22. Is :1 It :d' Is :1 It :d' i z^^^z z^z=z^=rz=r===za 'l~ &o. &o. Ex. 23. Id' :t :1 IS :1 :t Id' :t :1 Is :1 :t 11 &c. &c. ^^^^^^m. Ex. 24. id' :1 |t :s Id' :1 |t :s i &0. -h Ex. 25. IS :t |1 :d' IS :t |1 :d' 4- i W- ^^^^ &c. &0. Second Treble. — Hold f and r in tte right hand, the f being nearest the thumh, and hold m and d in the left, the m heing uppermost. Play Ex. 26. R L EL f rm 1 r :d f :m i r :d ii &c. i IE --^ -^-^^ — :^ 'f±^==.-^- &o. ^^ --5I-- TEE TREBLE PLAYERS. 65 Ex. 27. jld :r Im :f Id :r Im :f II &c. i :z:S: --^pijr:i &o. Ex. 28. Id :r :pi If :m :r id :r :n If :pi :r 11 &c. &c. i W ms^l Se ^: Ex. 29. f :r |m :d If :r |m :d 11 i &c. &c. il Ex. 30. d :n |r :f Id :ni |r :f || — m-n — 1 — r-^-p^^?-=-:=P=j=n &c. &c. Eeplace these four bells in their proper pogitioiis (page 62) on the table. Take s' and f ' in the right hand and n' and r' in the left ; the s' and pi' being the top bells (nearest the thumbs). Play Ex. 31. E L E L s' :n' If :r' |s' :pi' jf :r' II i E L E real 66 HANDBELL HINGING. Ex. 32. Pi' :s' Ir' :f' In' n^ • o' i lg=C22; ^ =^=FR &c. &c. ^i^E Ex. 33. Is' :f' pi' :r' s' :f' :r' i ;fe^ Ex. 34. Ir' :pi' i :s' :n' :s' ?^ ris* ^^P &c. The two treble players are, it is assumed, familiar ■with the method of playing a piece by picking up the bells with alternate hands which are at the moment disengaged. They have now to practise picking up a bell with a hand which has already one in its possession, then to pick up a second bell with each hand simultaneously, and finally to put down (ia their proper places) the four bells in use and take up four others almost simultaneously. First Treble. Ex. 35. Id' :t :1 IS :1 :ta Id' pi :b THE TREBLE PLAYERS. 67 Put down the t (E) wldle playing tlie next note, and pick up tlie ta (B^) -while playing the second 1 (D). :pi I fe Second Treble Ex. 36. f :r :r Id :r i ■^- iE Put down the f (0) while playing the next note, and pick up the f e (C#) while playing the second pi (B). Repeat this movement till it can he performed equally well with either bell in either hand, replacing d with de, S with se, &e. The players wiU then be fuUy equipped to attack any difficulties of manipula- tion which may arise in the course of the pieces they are called upon to play, although a large amount of practice will stUl be required with each piece before it can be played with certainty and spirit. The next exercise will require 57 bells, including three B's F^i — being one in addition to those mentioned on page 14. Observe that the chromatics in the back row of the treble bells are not named ® ® © &c.,but @ @ according to the diagrams on page 61, and that the treble is in the Sol-fa sometimes written an octave lower than it is played for the purpose of avoiding the multi- pHeation of octave marks. 68 HANDBELL BINGING. Arrangement of bells for Ex. 37. First Treble. Second Treble. © © TEE TREBLE PLATERS. 69 Tenok. A >0 10 O elf j ( ^ 70 HANDBELL SINGLNO. Bass. 90©©'" Ap, D E A i)®©0G Ex. 37. Makch of the Israelites, from Eli. No. 1. KEY 0. d' t 1 - .s 1 t d' : 3 2 C -.2 •0 _ 2 : 5 5 5 -.5 5 6 7 : 6 8 -.8 C D 6 : s s 1 - .s 1 d' d' : r' pi' f - .m' r' r' : 4 3 C -.3 4 5 2 : 6 5 5 -.5 6 6 6 : B A -.D C E D : - .0 6 3 THE TREBLE PLAYERS. 71 / a t d' -.1 1 d' t — \ I n' r' r' 1 } 3 6 5 -.3 4 1 2 — > j 5 7 7 -.5 6 6 6 — \ \ B -.D E 4 D — / s t 1 t.d' 1 — s — s' 2 2 2 -.2 2 1 4 3 7 7 6.5 5 — 5 3 8 4 6 5 .7 4 — D — No. 2 d' t 1 - .s 1 t d' : 3 2 C -.2 — 2 : 5 5 5 -.5 5 6 7 : 6 8 6 -.8 D 6 : Repeat Nos. 1 and 2, then 3. s d' d' d'.r d' t d' — r' m' f s' . r' — 4 2 2 .5 2 - .0 3 — 6 7 5 7 .6 6 — B — B A :D.O D 3 6 — 72 HANDBELL BINaiNff. I No. 3 s — s — d' s s : i r' r' r' -.Pi' m' r' : 1 4 1 4 — B 3 4 : ) 3 5 6 -.5 5 5 6 : \ D B B : s :t ni' :r' 3.1 :2 5 :6 :B Eepeat Nos. 2, 3, 2, then 4. d' t 1 ^ s — 2.6 2 2 1 4 7.2 6 7 6.6 3 — D 6 4 3 D No. 4 1 s .s 1 : \ ^ _ C -_ 3 0.3 : } 4 6 5 3 8 8 4 : ^ 1 2 7 1 6 6 1 : 4 C 1 d' s : I r' C 4.3 0.B 3 .6 3 : 8 5 C.B 4 3 3 5 : .4 6 2 7 4 3 6 : THE TREBLE PLAYERS. 73 1 .d' I . s ' s .1 c C 3 4 3 : 6 5 5 5 4 C 6 : 3 3 6 4 4 7 : D 7 1 - .s I 4 3 4 3 : — D 4 8 5 8 4 . 4 2 3 7 4 6 6 :C No. 5. / s ' s •~™" 1 s .1 I j ) 3 B 4 2 4 - .B 2 4 > 1 6 B B 8 A — 6 8 \ \ 6 8 2 4 7 4 D J / 1 s 1 s ] 1 3 D C _^ C 3 3 _ / D B 4 4 8 8 D — \ \ 8 4 C D 7 / 74 HANBBELL BINaiNff. I s — 1 s .1 t : 1 3 .0 3 2 .5 5 : / 4 4 5 5 5 5 7 : [ 4 :4 6 8 : d' 1 s : d' lepeat s : Nos. 4, 3, 4, then 6. d' :- r' m', f J.I . — 5 4 3 :C 3 3 7 6 5 5 5 3 5 8 1 :0 D .0 D D 6 :6 No. 6 d' t 1 :-.s 1 : t d' : 3 2 :- .B B 2 2 : 5 5 5.5 :4 . .4 B .B: 6 .4 :8 .5 C. : .8 0. : .0 8. : 8 .6 / s d' d' ■ -.d' 1 : d' d' : I r' Pi' f -.m' r' r' : ] 2 2 -.2 4 5 4 : / 3 . 5 . 4.5 :4. .A B.A: [ .D : .A : .B 0.8 :C. .3 THE TREBLE PLAYERS. 75 s t d' -.1 1 d' t : Pi' r' r 3 6 .3 5 -.3 4 1 .5 5 : 5 . .1 4 . 4. .4 .A B : .6 8 . .8 .D E. 4 . .3 : 2 5 .4 t s' 4 B.A t 2 8 .4 1 :t .d .5 6. 4.B 5.7 1 :— .9 4. 1 4 .4 s B B.A A B / i d' t 1 - .s 1 t d' : 3 2 - .B B 2 2 : 5 5 5.5 4 . .4 B. .B: \ 6 .4 8 .6 0. .8 C. .0 8. : 8 .6 s d' d' - .1 d' t d' . s l' m' f s'. r' — 2 2 3 .0 2 - .0 3 : 3 . 5 . 4.4 B.A B. .B: .D .A D.O .3 6. : 76 HANDBELL BINGINO. t .s :d'.l r' :r' 2 :1 .3 : .6 D. :0 . s - .s d' s s r' -M m' r' : 2 -.2 2 3 4 : .6 .5 4 . .5 .6 : B. B. .7 6 . B. : .B B. d' :s m' :r' 3 .1 :2 5 . : .3 .6 :5 . 3.1 4. .7 2 .3 3 .5 1 :— 3 5.4 6.7 1 6 4 .4 s A B.A B, d' t 1 - .s 1 t d' : 3 2 3 -.B B 2 2 : 5 5 5.5 4 .4 B. .B: 6 .4 8 .6 0. .8 c. .0 8. : 8 .6 s d' d' -.1 d' t d'.,t: r' Pi' f s'. r' — .s' : 2 2 3.C 2 - .0 .2 : 3. 5 . 4.4 B.A B. 5. ,3: • D .A D.O .3 6 : d'.d' 5 .5 TSE TBBBLE PLATERS. 77 1'. PI'.S' .f 7 7 6 .8 :0.0 tf.,t:d'.d' 1'. s.s : n'.s' : .f 3.2 : 7 7 5 .,3:5 .5 : 6.8 :O.0 d^,se:l.l s' .n' : 3 .3 : 5 .,1:4.4 d' • .Pi' :f' .r' 8 :8 7 .6 :4 .0 d^,se:l.l d' d' d' : m .PI : .pi' f .r' pi' : 3 .3 : 8 8 8 : 4 .,1 :4.4 4. : • 7.6 4 .0 .7 : 1 2 3 4 . .D 1 1 d' d' d' t r' f pi' f r' — 4 4 2 0.5 2 - .0 0. •C .5 4 . B.A B. .8 4 . D. : .0 .3 d'.,t:d'.d' .s': 3.2 : 5 .,3:5 .5 6 : d' 1'. pi'.s' .f 7 7 6 .8 0.0 tf.,t:d'.d' s'.s' : 3.2 : 5 .,3:5 .5 d' 1'. tf.t' : n'.s' .f s'.,3: 7 7 3 : 5.,0: 6.8 0.0 n'.n' 9 7 .7 78 EANDBELL BINGIN&. 3 :5 : .5 8 .D :0 . t' .f : s'.,3:n'.n' 3 .9 : 7 .,0 :7 .7 t' ■ tf t' • 1' \ s' m' s' m'.2 i 3 B 3 5 > : .5 7.6 D \ 8.D :0 . : .0 j 1' :- .t d' :d d' : t d' : — \ 5 .1.1 s' :f' r' — 1 ( :r ) :2 3 :0.5 2 — 2 — } 6 .5 : 5 . :4 . B.A B .B 5 . \ ■.B.D .A: .0 : .3 8. : .8 , 1 :1 d' :d' d' :t d' : — 1 :1 \ r' :f' Pi' :f' r' :- r' :f' ] G :4 2 :0.5 2 :-.0 3 — :4 \ , B.5: B.A:B. 4. .4 0. : \ 0.8:4.0 :0.C : .9 .8 :6. .8:4.0/ d' :- d' :- d- :- d' :t s :— d' :- s : — m' :— ' 2 :— f :- 5 :— r' : — :— 4 :-.0 3 :— B.A:B : .3 B.A:B : .3 B.A:B : .3 B.A:B : .3 B : — 6 :— TEE TREBLE PLATERS. 79 Trebles. WzSiz 1.1 Alto. 3 i --■^-- i5=2i Tenoe. I 5 5 I I 6 I @3 fe( 23S ^ Bass. 6 8 D =PZ ^B[ lEinh::^^! m w^m ^ i 3-=^ ^^. m. -^- \r^ 5 6 6 I I -J- -^ 6 6 iSgi zt B D E D i pq^ ^ 1^^ t^- i a^ ]^EE^ Ei 5 6 -i. -i 6 I B D E i=^ D 80 HANDBELL BINGINa. ^ ^ ^ zdi i 33= 2 2 n ^.Et^^^E e=ii ^ .J_^i 6 5 ^ ?2=i= No. 2. I i =aE 5 7 D ^ zi: Z2 ^ i ^EiE IZ2= I [ 6 7 J 4 w- S:= =P2=t^ ?- :P3= i E^ErtE e6 D 6 1 Bepeat Nos. 1 & 2, then 3. jC2Z s It^ 2 5 2 l¥. ■^- ^ B 7 5 5 6 B Ei ^i 1^^ :ez: A D C D THE TBEBLUl PLAYERS. 81 No. 3. m $ B m 3 I ii-^ J- 6 D BO B , Repeat Nos. 2, 3, 2, then 4. -?2- 2i: m jaz 1 2 ^=1= =1=;^ =1- ^E^^^^ S=*=g: :#= m gi B 6 5 3 7 2 6 I I jS_ D ^ pq D No. 4. I22Z lez; 'i =22= 3 3 =^=^ri= =23= 6 5i^ 3 -J- rbci- 8 P=^ 82 HANDBELL RINGING. i E^E 4 3 C B 3 6 3 m J2c^_ 5 B 4 I 111 3 I B P ^^^^^- =?=- ?g=P== i Hi q=:t- Mi ^ igr*; I ^h=d zcSz 5 5 5 -s^ -sL -^ ^^i= 6 D f-F i ^ ^ i iE ^ 8 :2sz F= D J- -fcd_ I I 3 7 :p^feE^. g— ^ =fl 6 C THE TREBLE PLAYERS. 83 No. 5. :^=^ -j^-Mz i B B ;=i: iJ=^= B 6 8 W. d=d _^'- E^E :P2= ^ -f3= D =e:ii 3 D_ ^ =^: m D E^= 8 I D :^- -P- D i -S!- S 3 2 5 q=t IE £2 :J=3*: =gg= J ^ 5 I 84 HANDBELL SINGING. Eepeat Nos. 4, 5, 4, then 6. i $ - gj- :?=:!= # =221 32= :^ =1=^:^ J: 6 I ^=^ m --0r. -L]J_ :?2=^= No. ■D D D m^^m -Hl^ B B P^ -■^- -^-^ 4 I I I - -m--m- 11 4 B B fL-jm. =P=P= 6 4 8 6 :t 8 8 i s ^ !S4^ :c:fe: a 8 6 J- l^iy ^^^^^^^ J J 4 o J J- A B A B e==g=^= =g^^^ g pJiiJ. D D C 8 TEE TREBLE PLATERS. 85 i ^- ^= zcdz 6 3 5 ^ 1 5 =*E KiZ? 1 4 JpJ^^ 4 I -J- A B B I I i :Sxatji^z=i M- ? ?^ ?^ 6 8 "D E 3 5 4 i -(=2- =^= ^*: 32r i 4 B 2 B ^i=\- :^-- -i^- -o — B A -^-^ B A I I ^ B F f tf-^,rn.4 ^ 8 4 6 5 7 4 4 i Ei IC^I 3 321 i B B S ^ :^- eE 5 5 - ^ - ^ -r— F=p=h- 6 4 8 6 5 5 4 I I I 4 B B 8 C 1^^ C 8 8 6 HANDBELL RINGING. ^lE^ EESEH 122: 3 2 zir^i: dt^ A 4 4 BAB B 5 £ ^1 ^=^ ^ P P^ D A D 3 6 i i3 ^E ^^# ^^1= *^^^ 2 2 1= :^= r#=^= :^- :S= 3 1 5 i i. 5 4 I , B fee -L- D B B -r-f-- 7 6 B B f i iSt^ErEe:^: 3 1 2 3 ] 2 :? :#*= ^it :^=»=^: ^ 3 4 3 5 4 6, BAB -y= 6 5 1= g 7 3 5 6 7 4 4 TBE TBEBLE PLAYERS. 87 q:F=l= is:^: t^z ::im- ^: i B B l^l=al l3== a q=^= 5EiE ) 5 5 4 I Ml -■^r 4 B B ::p=ff; f^ 6 4 8 6 8 8 8 6 6 8 C 88 HANDBELL BINOING. -I- 7 3 3 i i 4. 14 4 6 8 .£= ^ 7 6 4 C S •* * ^=E^EE^^^ 3 3 1 4 4 =»* N- feEEm 7 6 4 8 r^- --L^ D li m FR ^s 2i=3i:^=gi C 5 2 -e=*- 5 4 BAB -J^^-^T^-^ 8 4 D THE TREBLE PLAYERS. -J i 3 2 i=fi: 3 2 EC 3 5 5 M I i^ 5 3 5 5 I M J --w=iLL j:si f-' i 6 8 I r^ i 7 7 3 9 ■± i ^m 5 7 7 6 8 C i ^..41 :5p: -^■-1*- .^.^- 8 D d ^^^ i 3 9 B ^: reiii ,7 7 7 6 D 8 D 90 HANDBELL RINGLNQ. i y^ iciz=b3-.^: i 6 5 :^= =1= li^Z ^ 6 5 I 1 5 ^— *L BAB I I 3^ :i B D :^E 15: leiz ^ :^= B- B 5 B 5 I i^tP: ^ C 8 4 C i is2r 3E -si- zes t^ i ij £^ BAB 4 pEJi^^: 4 J I ^ ?^ BAB 8 6 8 4 THE TREBLE PLATERS. 91 ^==g=^^. s 4 3 SE^E BAB B BAB BAB ^=»y=i— [3y=j= 1221 I 3 6 Axrangement of bells for Ex. 38. Key A. First Treble. 92 HANDBELL BINGIN&. Second Treble. .0 0000. ®. Alto. G Taj C^j ( m ] ( ai en E D B THE TREBLE PLATERS. 93 Tenor. © D' G © ( B' ) 03 Bass. 94 HANDBELL BINGING. In order that no misunderstanding may arise -with reference to the octave marks used, the absolute pitch of the notes is given. Alto and Teeble. ■i^ z^es^^ z 5tt ^ ^=2^ A ^^ M G#Ai QfliA^ Bass and Tenob. (W lezi ZZ32 221 Tc:'' T>, GfliA Ai Di Ex. 38. Mt Queen Waltz. (By tind per. of P. Bvoalossi, Esq., and Messrs. Hopwood & Crew.) KEY A. iNTEODTTCTIOlir. 1 I 1 I - 15 ■■» No. 1. s :-. |s n : .r| 1 :1 1 1 :1 1 9 - :- |5 t, THE TREBLE PLATERS. 95 .m :5 :3 :5 :2 :r :5 :2 ;1 :5 s :d' :-.s d' :- s :t :-.s| t :- :- :3 :5 :3 :5 :5 :2 :5 :2 :5 :2 :5 :2 :7 :2 .f| :7 :2 :5 :2 :5 :2 m m :s :-. : : .1 :1 :1 :1 :1 :d :1 :5 :5 :2 :5 :2 :5 :2 96 HANDBELL SINGING. • s :-. IS : — : s : - i ^ '• : .ml : r ) : 5 :5 1 : 5 : 5 1 } : 3 :3 1 : 2 : 2 5 ^ 7 - :- j5 — — 9 — / ^ d' :-.s|d' : 1 :- :- r 1 ) :3 :3 1 :3 :3 :5 1 :5 :5 1 :5 :5 :3 \ ;_ :- |0 :- :- 6 :- - I Id 1 I 5 I - |5 -. Il .r| 5 I 3 I - |6 1st time. D.S. t, : s : -.t,|s : - : t, 1 : d - • - j- • - ■ — 3 3 1 5 5 1 1 jl .B B 1 3 3 :1 :1 |1 1 8 :- :- |5 :- :- 9 :- :- |9 :- :- 1 2iid time. d 1 1 1 |1 1 |1 -.r' % No. 2. :d' :d' Id' :d' r' : .pi: m\ : :3 :3 | -.3 :7 :7 | :7 9 :- :- |9 :- -.t\ 3 7 THE TREBLE PLATERS. 97 ;1 :1 .r: .r| :4 :4 :5 :5 1 :t :-.l :4 :5 :4 :5 6 :- :- 16 :- :- :d :r :3 :3 :7 :7 :m' :-.r' :3 :3 :7 :7 9 :_ :_ |9 :- :- :d' :d' |d' d' -.t r' : .Pi: .m| :3 :8 1 3 3 :7 :7 1 7 7 9 :- :- |9 - - t :1 1 |1 1 -.t : .r ■r| 5 : :5 5 1 5 5 1 : :5 5 1 5 5 2 : 6 :- - |6 - - : -.5:5 -.1:1 -.2:2 -.0:0 1st time. t :-.t :t m' :-.pi':m' 1 :-.l :1 A :-.A:A :-.0:0 D.S. No. 2. :m' :-.r 2nd time. No, t :-.t :t pi' :-.m':m' 1 :-.l :1 A :-.A:A :-.0 :0 -.1 5 2 S. No. 1, then to 3 without pause. -.m 98 HANDBELL BINGINCf. No. 3. 1 1. 1, s 1 d.d d d 1 I - If - : 4 4 1 5 6 3 - B |B - : 5 5 1 5 5 5 5 I 7 : 6 - - |9 - - - - |9 - : 1..1. 1. 1 I 5 I 5 I - |9 1 : d' :d' d' : - :3 11 : - : d.d d d 1 3 :3 : 1 4 4 1 • 4 :4 7 :7 1 3 : 5 •5 1 5 :5 C :C 1 :C : 6 :- :- |E ■- :- D :- :- |0 i"" • :B :7 :- :s :3 :0 TEE TREBLE PLATERS. 99 I'st time. f :-.f:f 4 :-.4:4 6 :-.5:5 6 :-.6:6 No. 4. 1 :- :- .•2 :4 :3 :3 :4 :4 :4 :4 D.S. No. 3. I d 4 2nd time. f 4 5 : 1 .s -.f :f 1 .d r.m f i -.4:4 1 -.5:6 1 -.6:6 |6 1 :- :- 5 I 4 I - 19 -.s 3 3 - In 4 I 5 I - 19 - |r' 7 I 4 I - |4 100 HANDBELL BIN GIN Q. 1 11 : — ; s 1st :ime. D.S 1 .No .4. : . f : d : 1 : f :- :- 1 .d :r.pi :f. 5 : 5 1 : 1 : 1 5 :- :- 1- 4 : 4 1 : C : :5 :4 1 9 : "■ ^ |9 : ^ ^ 6 |6 2nd time 1 s 11 : - ; — f - - If - - f : - : 1 : 5 - - 1- -. :- 7 : - : 7 |8 : 8 : 8 5 4 1 : - : C |4 : 4 : 4 6 |6 4 : - : 4 |3 : 3 : 3 s 11 : No. { 1. : >. 1 f - 1 : f If - PI 7 - •7 |8 : - : - 1 4 4 - :C |4 : - : - 1 1 1 4 :4 :I |3 : 1 3 :3 IB |3 :1 r :- |r :- :- r :- 1 :4 :4 1 :5 :5 :5 :5 1 :6 :6 :1 :1 1 :4 :4 :4 :4 1 :4 :4 3 :- :- |8 :- :- 8 :- :- |9 ; — ; — THE TREBLE PLATERS. 101 s 4 Is 1 ;" ;" s ^ d Id f :7 7 1 :7 :7 1 1 5 5 :4 ■4 1 :1 :1 1 1 5 5 9 ;— — |4 :- :- 4 - - |3 - - :1> 11. •_ 2 • ^ •1, m :- 1 :r r |2 - :8 •8 1 :7 :7 3 3 8 8 :7 7 1 :4 :4 C 7 7 5 |1 ^' 5 " ' |3 ^ ■" lst1 tiniB. D.S 1 : .No 5. 1, 2n(i 1. time :-.l •1 |1 :1 :1 PI - r |2 : - : 1 1 1 : 8 : 8 4 ;- :- |- :- :- 2 2 2 1 : |3 : 7 : 7 4 3 ;— ;— | — ;— ;— No. 6. 1 : 11 1 : 4 : .PI 1 r |2 : - . - 6 : 6 1 6 6 3 : 3 3 3 4 : 4 1 4 4 7 : 7 7 7 8 : - ; - |3 - - : - : - |3 . - 102 HANDBELL HINGING. I s 1 -. 11 .41 ^ PI 1 ■ 1^ _ ; ) 3 3 1 3 3 6 6 1 6 : 1 4 4 1 7 7 3 3 1 3 : \ - - |3 - - 8 - - |3 - : 1 .11 1 .11 r' -. |r' - - 6 -. |6 - : 7 7 1 7 7 3 3 1 3 : 4 4 1 4 4 4 4 1 4 : E - - |E - - - - |0 - : s t -.s|t 1 ^ ■" 4 1 : -. |1 .41 ^ • 3 3 1 3 3 6 6 1 6 : 4 4 1 4 :4 4 4 1 4 : B ,- - |B - :- 8 :- :- |8 :- : 1 : -. 11 : - : 1 : - - 1 4 .ml r |2 - : 6 6 1 6 6 3 3 1 3 : 4 4 1 4 4 7 7 1 7 : 8 :- :- |3 :- :- :- .- |3 :- : TEE TREBLE PLAYERS. 103 E .1 7 4 E D - I |r 6 I 3 I - |3 -. It .ml 3 I 7 I - P D.S. No. 6. I - jr' - |6 |4 E |8 t - - 11 I - - s - - |- 1 : 7 1 7 1 7 7 7 7 1 7 : 2 2 1 5 5 2 2 1 1 : D - - |E - - D - - 17 - : t \ 7 1 104 EANDBELL BINGINQ. d' ^ - It 1 I~ \— 1 ;— :- 1- 1 :t •d' ^ 6 6 1 3 3 7 7 1 6 6 ( 3 3 1 3 3 5 5 1 5 5 ( 3 - : - |5 - . D B ; - - |8 . - ; - / D s' In' 7 I 2 I - |9 D s' |n' 7 I 2 I - 19 - :- It :- :- 1 I 5 I r :pi |4 7 :7 I 4 :4 I - :- 18 1 t ;— :- 11 1 :- :- s :- :- 1- :1 :t 7 1 7 1 7 7 7 • 1 7 1 7 :7 / 2 : 2 1 : 5 5 2 2 1 . 2 :2 I D : - : - |E : - : - D : - . - ID . — :— THE TREBLE PLAYERS. 105 d' :- :- It :- :- 1 :- :- I- :t :d' :6 :3 :6 :3 ID :3 :3 :3 :3 :7 :5 E :7 :5 :6 :5 :6 :5 :7 :2 D :s' :7 :2 :7 :2 D :7 .•2 :1 :5 :3 :2 :3 :2 :3 :2 :3 :2 r' 7 :E :3 :2 :3 :2 :3 :2 :3 :2 :3 :2 :3 :2 :3 :2 :3 :2 106 HANDBELL MIN&ING. t I 3 I 2 I - |5 |r 6 I 3 I - 13 1 1 1 : r' - |r' - 4 r' - - |r 4 : 6 6 1 6 6 6 6 1 7 : 5 5 1 5 5 5 5 1 5 : 3 :- :- |3 ;- :- 3 :- :- |3 :- : d' 1 1 t - - 1 : r' - |7 - |r : 6 6 1 7 6 7 7 1 : 5 5 1 5 5 2 2 1 : 3 - :- |8 :- :- 5 - :- |5 : s :t 7 :3 2 :3 t 1 t r' - |r' - r' - - |r : 3 3 1 3 3 3 3 2 2 1 2 2 2 2 5 - .- |5 .- :- 5 :- :- |5 : s :t 3 :3 2 :2 THE TREBLE PLAYERS. 107 :3 :3 :1 •A :6 •A Coda. 1 :1 A :6 A m :1 A :1 A A :7 :4 :6 A d' :t :1 6 :6 4 :4 :E s :- :- :m :8 D f 7 2 5 IB 108 HANDBELL RINGING. d' It I 3 |5 7 |3 - I- I - I- - I- pi |r 5 |2 d' It I 1 I |3 - I- Eepeat Nos. 1, 2, 2, tten 7. s 4 3 |5 1 7 2 1 1 1 1 2 - - |- - - 1 :1 1 :1 , 5 — .- |- :- :- 9 :- :- |9 :- :- No. 7. m — - |r - - d : - - |- : 3 3 1 3 3 1 1 1 : :5 :5 1 :B B 5 :5 1 : 9 :- :- |7 :- ;- 9 :- :- |9 : r :in 1 :1 5 :5 THE TREBLE PLATERS. 109 f ^ ^ 1 _ ^ r ^ 1 - 1- m : 3 3 1 3 3 3 3 1 3 : 2 2 1 5 5 B B 1 2 : 8 :- ;- |9 ;- :- 7 :- :- |5 - • s - : d' 11 1 - f s - d' 11 1 — : 1 1 1 1 2 2 2 1 2 1 2 : 1 1 1 4 4 1 1 1 4 : 9 — .- |6 :- - - - |6 :- : - :s I - Ipi 3 I 2 I - 19 s :1 It : I 5 :5 I 2 :2 I - :- |5 d' : 5 :5 !") Pl' 1 |r' ^ 6 _ . _ 4 : 1 1 1 5 5 1 1 8 : 1 1 1 2 2 1 1 1 : 9 - - |5 - - 3 - - 3 - : 110 HANDBELL HINGING. B :7 :4 :6 :4 - I is' 1 I 1 I - 13 :3 :2 - h' 7 I 4 I - |3 |4 - I 6 I 4 I - |7 |4 S' I 3 I 2 I - 10 :5 :4 :5 :4 :4 :t :6 :6 :2 :2 :7 :3 :2 :s' :3 :2 :7 :s' :3 :3 :2 :2 THE TREBLE PLATERS. Ill 4 : k ■ - : 1 : s' If : r' Repeat No. 1, | 3 : 3 1 : 7 : 5 subatiiuting the following \ ) : . 8 : 2 : 2 1 : - |3 : 2 : 2 for the last four measures. ] Cod ! s : \ -.s|d' : 1 : - ; - r 1 : -. 11 : ■r| : - : 5 j 3 3 1 3 3 5 : 5 1 : 2 : 2 > ] 5 5 1 5 5 3 : 3 1 : 3 : 8 \ \ - - |0 - - 6 - : - |6 : - E ' { ^ :s 1 :1 :t d' ;- :- Id' ; — ;- 1 :4 : |5 • : Id :- :- ) :2 :2 |5 :5 : 1 :- :- |1 :- ;- ) :7 :7 \ :3 :3 5 :1 :- |1 :- :- \ I> :- :- |5 :- • ^ 9 :- :0 |9 :- :- j4 Intkodtjction. #¥« . .F , n tJ AlTO. J j^ 7p#«-r r J rH 1 1 1* r ■ J -•!• V -J- -d- 1 5 Tenoe. 1 J -^ -0- -J- -J- ISS—t ASS. r - r , • 1 ■p-y 9 7 >-• — H 112 HANDBELL RrNQING. I mNo.1. I si: i-=^ M :#=P= =P— P — P— F-FF ^ e=F=rC=:e IE ?^ ±1 tzrzt « «EBS3 I I -J— J- J. -M «_ ^r^ 7l*¥r= — jph« 1 "P^ -i~ 1 f-£ 5 "tc — 5 > 1 ~W~ 1 p— _p — I- 3 1 1 m. P- 2 rat _ 1 fP= 5 1 — J- -P- 5 — • — 1 |S>- "• :ci=2: • I i^ I J-. :^ ^ -*=p- ip=:p- II J I ?=- =F THE TREBLE PLAYERS. 113 M: jdiiT. ^ W=zE :*:#■ 5^e=^e^=^ge^E^3=^^ m ffc*f-F — *- I I I I --■itzzMz d=.= d= f=ii :g=: igif:: ?=— - T" i M L-z:^! *=pi ?^ -Sri- P JPp — P— P— P^^=P-FP=P=P=P=g^P tr 2 I I - wi — »l- -iB *_ 5 -f4 — z^z i=E ^■ IE jt-p — r^p^''~r~^^^^^~'' — r~^ s ^= -* *_ 3^ZZ*I I I -p.. 5 114 HANDBELL BINaiNG. i Ji*;i 1 IS ? i liii *=?: =PZ=|E: ^F=e :F=P=^ 5 ! I 3 3 II II _^_li *_^_ fl=P2= ^ ■^ :g^ Sil; ^^s;:^ Jz I 1st time. D.8. mi f- rrp=F-= =P=rP: f!-^ — m — (=^ I I 3 1 I I I I I ji — ipi — r:^ i:Siit 8 i Ji^ I 2iid time. I :«:• -^- |No.2.| I :f*rrp: S^^r E=z±k3;k ^ :tf=F — f— !*— ^= P^#g -J-J-J- I I f- r THE TREBLE PLATERS. 115 tt tt * I I I I I I I h I .M^_j_ --f^:ftz -b^— t^ -I i- i 4£ iR«- ritp: ipzzff^t ±=±L : l I I I r I r ^5 zJz m t=mz --^=. ?2= M^ -p- -F- -I*- -•- -m--m--m-- =^Ft =^ iBa i i--^ ■^— ? — p — (*■ ■P — ^=F-F?— ^- *=pi Ef^ ^ :^2= ^2= ?2r i -^— -'— J— J— ^ 1 I -F-4»»- :£^ g :y-tf — P— ^b=g=±E r:mj=w=w- 4 m ^ I 4 2 5 *=^ '^ ■ J l *' 116 HANDBELL RINGINCf. J^ 1st time. D.S. No. 2. I p !^ 2iidtime. D.S. No. 1, then to I 1^ I No. 3 with- :p^i :^J:f!M out pause. rp ' i* # . 5 ^ hB==P= :p2=-z=:: J 4!M- ^^^^^^^ , No. 3. M- -F-P- :#it f i jii (Bndingof 4 4 B No. 1.) =P=p: fe^ --— F-F- ~W=W- m itzlft =J= 1*=*: EP" =P= f#- i»^P ! * F— 3- 1^ E^ ^^ ^Hi 5 6 3 Efc=ff: s I r ■t=B=^ "jTZL ^rz: B B B b* — (= — *- r V--L -P2- THE TREBLE PLATERS. m i M M-J — J- fl=n: m^S^t -W=!$,^- ?- S i 4 4 B A jgSgEffe 5E:P=P; -*=(«= S IS B*=»e S—T^ ^ =P2= I I -0~S-5-T— I -t!P=:p: :i: jc::»!z S I ^- :g=l* — P— e— P S-F- :t :t=t=ez=r=i5=fc -h — I- IM I I r ri .iz^ t=^ :^= FP= ::p2= E D pt^F=^bi^i — -'—I F^ : :^EE ^^^ 118 HANDBELL BINGINO. Js^ No. 4. -(=^' ^ P^^^E^ '^E^ -i—^-r- -I — t- 4 5 r I I r I 4 1 r I I r ■»'—»'- 5r:&: =P2= :^!i2: r I i Sil! zl^ ! r ^ ^ -pcipi -P— ^ s= c I ^ ,. ! ! -B^ ?2=i. ^=^ I 9 J^ it i sJ= :t=::j: 1==t i^^fe^E^^ — I — I 1 — I — ' W^ 4 1 r i .1 r i — ^- M-=3tL 4 1 r ^1 I r I =SP^ ^ THE TREBLE PLAYERS. 119 ^^ 1st time. D.S. No. 4. f« =t«:f W^ S56S ^-e :p^P=«=^:^ -I- S 4 5 4 r I I r , I I r i i ^=iz '^ ^?2~ ^ 2n(i time. I !._ -S—& &* *=^ -i^~- i^ Ei J 5 4 s Jt=p: -^ :p=S*=*=*z I I I I -9—9—^ i I -g4-|g- I I =t:fl=i: No. 5. :zii -P— F e=:p: i It 4 r ■p?" -Frrt 3 T 120 HANBBELL BINGING. -3jr. 'iM—<:±. J- :«»=©: t ^ :p=P= :#=F =P=E :r=g=i^=p=gp= i ±=t :sJ=:i: I I r :i=i= :iri= ^:fe !*=*= -^■±: =P2= r 3 i - fe^j - "zi: :4: =ir: lYz ^ i M :#=p= ■F— F— F— P— g^ ?^ ?^ 3 4 1 r I I r ^ ^i : «=^g:i::^:=:J=rjz:p=J-^ i— J- I I :3=i= 3 i ii^ :«=?= :tt2S= =^ -P=flP== :*zrc: i*^ i=t EfeEg =P=P: 5 S -I 1- 4 r J. J. r 2#= E^ i=^- T' I -m--m- I 3 THE TREBLE PLAYERS. 121 i -m£ 1st time. D.S. No. 5. 2nd time. hi III feli m ^^^^ «|-dz* i M ■ft— p-P-^-p-ttJ=J: i^i-r: :&li i=tH =t=t 7 4 1 J , gl=ff=P-j'=^- F :^= =^== IB I 2 No. 6. ^rfe F^j^ -P2= i 7» 9— 9' 't^h -I — I F- |E*1 e ^i rilrrir I r I J r J- -ir J. J =3=3: it=l tm- :?2Z 3 I 3 i fc^J; gt IeS 5 i M ^ 'ff^F- te^ :p=p=r=r=p=p: £=£ ^=:p=p=P=ff: I 1 1 — ^- 473 r ! ! r J- -J- r J J r J J ^S^^ 3 :^: I 3 122 HANDBELL BINQINQ. i :M £-^2:0:1 ^-s-. Eg ^i IE S ^r:^^^Eg^^^^F=fegFJ Ii«=ik: ^ ^ r* I I r I :S=S= :S=i: I r I I :i=ii ^%^ ^^ —I — B £ w$- %=^^- i It -p^p — = — p — w- =?=P=P 1 — I- m ! I r I S^ :S=:S= :S=i= :y= I r I -:i=i- f" z^±. $ ^^ #%P= &t^^m^^^^^^- IiE=P= ^ ^ S ! I r :i=:i= I r J. ^ r VV ;»:^ 3 ^ -P3— - I 3 THE TREBLE PLAYERS. 123 i 4^i S=S= N I i fel i^ -F=F=^=^=^= *=t =F=?=P:: Si r I I r -*'- J- r J J ^ II :i=:i= -^_^ i_^_ r=^ ^ ^:^ i M |\^.. ^ .J. J ■^i a pg^ iptZiK: P^^^,=.^^ tt -I- 4 7 r I 1 r I I r -J- Jl r J- J- ^si; =3=i===i=i: ^=Sf^ ^= B E m D :^ D.S. No. 6. -(=2.. -^--h feis ^fegEgE EgERp^E^ r I I r I I ! =5)=*: l^=i= IS 8 E 8 124 HANDBELL BTNGINO. i il^^ I I -'-^ ^=S: M i^f rP=P=E=f=:?= :P=P ^^^ ^ -! 1- -I 1- m 2 5 r I I r J -»i — 1^- :i: -J— J- ti - »!-»*- S^ D ^ D ^ _ci. J . -J-^- ^ i ^Eg=g^g=gi ig-t -f=^ f -I h I I -M A. ^: :^ I 3 5 D E .-^ J. .,2. fcl :p: :& 'm- W: i ■jjj ^i =p^E^ ^p=p=ti^ :t:rp: ^ ^s^ 2 o r I I r II -»i — »i- 2 5 r I ^ ipzi D D r THE TREBLE PLAYERS. 125 _£^.i. =P=P: s ^^3^^^ :^=pi :PzzPz=e=P 5 i— h : 5 r I I r 4 r I ^ :i=i= I r I iri^ili -»l — »l- iEfc ^ 3 ^^ ! 1 risi: • .J- ^F= — - 7 — «— ~~l* J2 7 r « a r K^3" If ,l"'*V ^J -1 — 2 zMz Iff -i~ -*- r 5 -J- • 1 J- r 2 -ff- -t- 1 -~ f 1*— 1 — t- -■ e2i4f_aJ-_ — 1 — -t- F —J D B D D J^ JA "r-r- ^^^=^FF HP=?=?= ±=t ^^g-^ •• J_J_f^*i_;. J-J-J^J- D E . 8 126 HANDBELL niNGINQ. ^ - P- ^ ;& ^- -^ m- ih i J;?i m :P=P: -F=:?= :g=r— r~'^r=g: i h -I — I- g^ utit o r I I r I -wtzzMz ■■& 1=22 D :5^i _ig:: D -1=2- ■ S^fc 5 -»=H=P 1 1— zw=-W- -m^:. ^ P^p-^-^ zwtzzMz r I :^j -^ m -r -f=2- I E 8 -(=2-. ^ J ^F^F^EgEgP ^ ^ -ji=Mz zMziMz I r -P—^ — =»=p: :^.UJ: 5 THE TREBLE PLAYERS. 127 i .j.i ^E i 7 6 rprrpr ^iiF s I I r s :*=at Jz it=S:= I 3 -(=2.' r *s o -f=2- I 5 -(=2- S^e m- 7 6 s g= g^g^E^ i I 1 r ts m-. "p^ i » ii^ -f^ V I 3 -4=2- ^^ 7=^ I 3 7 6 7 3 't^^^-r^^- :l=t ^^ t=f=e=t!t ' 5 IS ^: I 3 J-J-^- -I 1- zMzzMz 2 3 128 HANDBELL BINGIN&. 9 itft — ^-_-^ m ■f=2-- -1 iTz ill ■M :^r=p: m^m 3tiF=f- ip:3. =P=t=t m z^zzMz zji-=Mi -^ — »<— m. S - ^: m -s-t ^F^K3=^^ P — f—F=^=^&- tr Si :gi— pi^i Ei I I r :i— g- :i Et "P^ =r •5 7 9 „ I'-fS^* ^ :t re -f2-. . 9 tt ^ 6 7 6 — j-r-rl :— r~ — 1 *^ 4 4 — ! P 1 1 J r 1 1 Wffeftg- — *-• ^-BOOE OF HABMON7. By Gteo. Oakit, Miis.B. Second Edition, Price 8s. ; postage, 2id. Seventeen Chapters, with about 160 Graded Exercises at end. All examples in loth notations. TEXT-BOOK OF UUSICAI. ELEMENTS. By Geo. Oakby, Mus.B. Price 2s., doth ; postage, IM. The usual topics arranged on a new ^ui ; a chapter on uie elements of harmony, ana an appendix of questions and answers. TONIO SOL-FA FBIMEB, A Ctfo. 18 of Novello's Music Primers. EditedbyDr. Staineb.) Becondedition, price Is. ; postage Id. LONDON: J. CURWEN & SONS, 8 dc 9 WABWICK LANE, E.G. THE "TO]ilC ^OL-Fi[ I(Epopi(." Edited by J. SPENCER CURWEN. Published on the lat of each Month, Price One Penny, The "Tonic Sol-fia, Keporter" is the cheapest of the musical papers, and — ^mth one exception — ^has the largest circulation of any musical journal. It circulates over the whole of the British Empire, and many other parts of the world. Music— Each number contains several pages of music suited to the varying purposes of Church Choirs, Choral Societies, &c. The Literary Ooutents of the paper are comprehensive. Its pages are mainly occupied with articles intended to promote the general musical culture and growth of its readers, and to aid in the application of music to the purposes of the Church, the Home, the School, and Secreation. Bioerraphies of prominent musical workers and composers are given, with FOBTBAITS. Ohurch Services. — Descriptive and critical articles appear from time to time on the Church and Sunday School Services of all denominations. Choirs and Org'ans.— Their manage- ment and proper spheres are treated by various writers. The nature and i^es of the Kabhoniuh and Aubbicah Oboan are also explained. Ohurch KCusio Notes. — A column thus entitled gathers together every month the latest ex^iessions of opinion on Church Uusic in all sections of the religious press. Sunday School Sinsin^isfreauently referred to. Yiaitii]^ correspondents describe their impressions of the singing at repre- sentative siiAools, and apply their e^eriences to general puiposes. The question m Sunday School Bands is discussed. The Editor, who frequently trayds in the United Eingdom. and on the Continent, elates everything worthy of musical note in Churches, Sdiools, Choral Unions, ftc, in desraiptive articles. Provincial To-wns.— The JZeporfer S'vee, from time to time, careful accounts, by Bal correspondents, of the varied musical life of sudi towns. All phases of popular music, even of the humblest kind, are in» , Symposiums on questions of practical mterest to conductors and teachers, to choir- members and pupils, are occasionally held. Papers read at Congresses ar« printed m full or summarised. The proceed- ings of the Musical Association are noticed. A Prize Competition takes place every month, some problem in harmony or composition, some exercise in poetry, some question of musical history or experience being raised, and a prize of 10s. 6a. being awarded to the best answer. Bevlews of Musical "Works are given promptly on their appearance, with extracts of mterest. All important theoreti- cal works are noticed. The Correspondence columns of the Be^ort&r are open to aU.who have things of weight and value to say. The letters appear^ ing month by month form an importont feature of the paper. Instrumental Slusic in its progress is chronicled. The best methods of teacJiing instmments are discussed and described. Teachers of STusic find the Model Lessons by leadii^ teachers (generally re- ported verbatim) of much value to them. School Teachers of Sinking* find the ^alterations in the Education Code an- nounced in the Reporter; the reports of H. H. ^ispectors reprinted and quoted; f^cleasup^ed on the treatment of childroi's The Tonic Sol-fa College announces all its new regulations through the medium of the BeportiT, which is its organ. The names of successful candidates for the higher certificates are published. Concerts and the formation of new Societies and daises are chronicled in the BeportM'. news being supplied by corre- spondents from all parts of tue world. Ctirrent Notes are written on all pass- ing topics of importance, and the progress of SCusical Com.petitions are announced all musical reforms — such as the £!rencb and reported by special correspondents. Chev^ System— is narrated. Annual Subscription, Post Free, la. 6d. ; Through your own Bookseller, It. JLondon: J. CUBWEN & SONS, 8 & 9, Warwick Lane. E.O. PUBLICATIONS IN BOTH NOTATIONS. *i* Detailed Lists sent Post-ibee. APOLLO OLUB AND APOLLO LEAFLETS. Part-songs for men's voices in Staff nota- tion. Also to be had in Tooio Sol-fa. BLUE EIBBON S0NGS.-Part3 I and U, 6d. each, in eitner notation. CHILDHOOD'S SPRING.— Forty-eight Uttle eonffswith easypianoforte accompaniment. Staff, Is. ; Sol-fa. 4d. CHORAL SINGER, THE.— A Course in Bight- singing for beginners. Staff, la.; Tonic Sol-fa, 6d. CHORISTER'S ALBUM, THE.— Pifty num- bers are published in Tonic Sol-fa at Id. each, corresponding exactly with the O.N. editions of Messrs. Norello. CHORUSES FOR EQUAL VOICES.- Innum- bers, O.N. IJd. to 6d. ; Sol-fa, Id. and lid. Parts (32 Noa.), O.N., 9a. ; Sol-fa, 28. 6d. each. CHURCH OHORALIST, THE. — Separate editions; numbers, O.N., lid. to 6d. ; Sol-fa, Id. and lid. Parts (18 Nos.), Staff, Ss. Hi. ; Sol-fa, 2s. each. CONGREGATIONAL ANTHEMS.— First to Fourth Series, containing altogether nearly 4D0 popular anthetns. Price 2s. 6d. per voL FAST ANTHEMS.— PricB Is. These are as easy as hymn-tunes ; any congregatii^n can Blng them. ELEMENTARY AND INTERMEDIATE RHYTHMS, AHD MINOR MODE PHRASES. For aystematic practice. Staff, lid. each; Tonic Sol-fa, id. each. GERMAN TRIOS.— For Schools and Families. Spriea I & II, O.N. 6d. each : Sol-fa, 4d. Piano edition. Series I, O.N., 2b. 6d. GERMAN TWO-PART SONGS. -For school or home use. Three series, each Staff, 6d. ; Sol-fa, 4d. Pianoforte edition (O.N.) price 2s. 6d. each. GOSPEL MALE QL'JRTET.— Hymns and sacred pieces for mission serrlces, for men's Toices. O.N. or Sol-fa, 6d. GRADED ROUNDS AND CATCHES.— Price 3d. , either notation. Easy pieces. HARMONY PLAYER FOB THE HAR- MONIUM.— Price, O.N. or Sol-fa, Is. 6d. HENRY LESLIE'SPART-SONGfS.- Fourteen numbers readj; in Tonic Sol-fa ; all of them to be had also in Staff. Price Id, and lid. HOW TO OBSERYB HARMONY.— Full of examples of chords and escplanatlooB. All music in both notations. 28. MENDELSSOHN ALBUM.— High-classschool songs. Parts I, II, HI, O.N. 6d. each; Sol-fa, 4d. MODERN ANTHEMS.— Tonic Sol-fa. All hy leading composers. Numbers, lid. each. Ever^ Anthem also to be had in Staff notation. MODERN PART-SONGS.— A series contain- ing over 200 numbers, being part-sonps by all the chief modem composers. Every piece may also be had in Staff notation. Price Id. and lid. each. MUSICAL TABLEAUX.— For Schools and Families. Autumn's Queen, May Festival, Glad New Year, Christmas Party. Music with pianoforte accompaniment in O.N., with voice parts in Sol-fa. Price 4d. each. MUSICAL THEORY.- Price 3s. 6d. All ex- amples in both notations. CAREY'S COUNTERPOINT.- All examples and exercises in both notations. Is. OAKEY'S HARMONY.— All examples and exercises Lt both notations, 3s. OASEY'S MUSICAL ELEMENTS.— All ex- amples in both notations. 2s. PROUDMAN'S VOICE EXERCISE?— In Staff, 3s. ; in Tonic Sol-fa, 2b. S.VCRED AND SECULAR CANTATAS, SCHOOL AND TEMPERANCE OPE- RETTAS AKD SERVICES OP SONG.— A large number in various styles, suited for Choirs, Day and Sunday Schools, Bauds of Hopp, Temperance Societies, &c. SACKED QUARTETS.— Settings of popular hymns for solo with accompaniment and chorus, in staff notation ; voice parts in Sol-fa also. In numbers, lid, each. Vols. I & II, price 4s. each. SCHLETTERER ALBUM.— High-class school songs for S.C. Farts I & U, O.N. 1b. 6d. each; Sol-fa, 4d. SHORT ANTHEMS.— Price Is. Of i high class, yet not difficult. SOLO SINGER'S VADE MEOUM.— By SlN- ciiAiE DvKN. Both notations. Is. TEMPERANCE VOCALIST, THE. — Songfl temperance teaching. In staff notation; the voice parts also in Sol-fa: In numbers, full music size, price 3d. each. IdCaflets. ANTHEM LEAFLETS.— Two separate editions (Staff and Tonic Sol-fa). Each 1b. 6d. per 100; assorted, 2s. ; single copieB, id. Farts (32 Nos.) 6d. each. CHORAL LEAFLETS. CHRISTMAS AND EASTER LEAFLETS. TEMPERANCE CHORUSES. Staff Notation on one aide. Sol-fa on the other. Price Id. each; 50 for 2b. 6d.; assorted, 3b. Cd. Parts (82 Nos.), iB. SCHOOL MUSIC LEAFLETS. SACRED MUSIC LEAFLETS. TEMPERANCE MUSIC LEAFLETS, Staff Notation on one nde. Sol-fa on Uie other. Price Is. per 100; aasorted, la. 8d.; single copies, id. Farts (32 Nos.), 6d. London : J. CTJEWEN & SONS, 8 & 9 WAilWICK LANE, E.G.