Spring Ring 2005 - Performance Notes

Brethren, We Have Met to Worship (from Dave Ruder)

CHALLENGES
Four key changes, one change of 5 (m. 26) and another of 7 (m. 34). In the latter case the Gb?s become F#?s and the Db?s become C#?s, a hand change.
All key changes are transitions. They also involve new compositional ideas.
There are frequent dynamic shifts with most of them being gradual.

THINGS TO WATCH
Learn the rhythm to the opening four measure pattern correctly. You can do this by clapping, tapping or singing. This rhythm should become fixed.
Learn the rhythm pattern #2, (m. 5-8a, treble) in a similar manner.
Learn rhythm pattern #3 (m. 13-16, treble)
Divide the ensemble appropriately and try the patterns together by clapping or tapping, either two or three patterns at a time. Note where they occur throughout the piece.
Bells used chart needs C8.
m. 52, top notes should read A7, C8, C8, C8 (not A7, C8, E8, E8)
m. 42 the swing symbols 2,3 above the staff are for the whole note.
Swing symbols 4 & 1 are for the tied half notes.
m 44-51. Bring out the melody in the bass. You can add bass chimes to the bells if you have them. m. 48-51.
Other places to reinforce bass with chimes. m. 17 (C3), M26, 28, 30 (Db3),
m. 59, 62. (C3)
Mallet the stopped sounds throughout as this will carry better in a large space.
m. 78 use malleted or plucked C3.

The first 20 measures are broken into roughly 3-bar phrases. For example, the first phrase ends on beat 3 of measure 3, the 2nd phrase ends on beat 3 of measure 5, and the 3rd phrase ends on beat 3 of measure 8. Between each phrase there should be a slight "lift" before beginning the next phrase; this is where the singers would breathe.
Those with longer notes should make sure to keep their bells moving in a circular stroke to accentuate the singing line.

The last 3 beats of measure 20 begin the climax verse of the piece, "Rejoice in heaven, all ye that dwell within", and here's where we can pull out all the stops - a forte with a poco accel - an excellent place to add those beautiful low bass chimes, if you have them!

The ending phrases, beginning with a gentle piano dynamic at the pickup to measure 29, and ending with a slight ritard to a pianissimo, should just seem to float out of the bells lightly and effortlessly.

*Meter and key changes in and out of the “dance” section.  mm. 50, 67& 74.
*Keep tempo steady throughout each section.
*Dynamics are critical to the piece.  Be sure to observe and emphasize all markings.

m. 1, MM (quarter note) = 88 will be the SLOWEST we’ll take this.  Remember, There Shall Be Dancing, not WALKING!
mm. 1-24, build each 8-measure pattern dynamically and phrase each 8 measure together.
m. 25, be sure the accompaniment rhythm is solid, but not overwhelming.  Teach your choir to make one circle per measure (as note changes permit), with repeated strokes within each circle.
m. 33-40, be sure the mallets are ready and accurate.  Accents are on 1 & 3.  Continue dynamic growth through here.
m. 41-44, transition!  Continue to crescendo.  Bass notes should be ready early so the notes are right in time.
m. 45-49, this is the tag to the first motif.  End the 48-measure phrase here.
m. 49, MEMORIZE!!!  Everyone should know this measure before they arrive!
m.50-66, bounce!  Feel the lilt of the music.  I’ll take all 6/8 measures in 2.  Please also be sure to observe every rest; they’re as important as the notes.  Dynamics should be about mf with a crescendo in m. 63 to f.
m. 66, LV this chord through m. 73. This includes ALL notes you play until m. 73.
m. 73, watch for the rit.
m. 74, be sure that this section doesn’t drag.
m. 82-end, anything but rit.!!!  A slight accelerando would be great, but it’s got to increase in energy!  Think of squeezing a water balloon.  With each hand, you push the water closer to the end and then finally, POP!
*Be sure that every bell is on the table at the end.  If you didn’t play it on the last, note, be sure you put it down early.  You shouldn’t have anything at your shoulder at the end.  THEN LOOK UP AND SMILE!!!