RINGING THE HOUR (2014)
  for up to 12 handbells or chimes and up to 12 ringers

		Arthur B. Hunkins (abhunkin@uncg.edu  www.arthunkins.com)

This work is intended primarily to open and/or close church services.


Instructions:

1) For handbells or chimes - not a combination.

2) Bells/chimes from C4 to G5 (sounding pitch). In a given performance, the
instruments encompass a maximum range of an octave (from one note through
the same pitch an octave higher). In any case, no note higher than G5.

3) The number of bell strikes is to the nearest hour. If a 24-hour clock is
observed, perform a sequence of 12 strikes and repeat the exact sequence up
to the appropriate stopping point. (In this case, a somewhat faster pace may
be called for; see #4).

4) Only one chime/bell is struck at a time - at 1-3 second intervals for
chimes, 2-5 seconds for handbells (the same interval for each strike). The
only exception optionally involves the last strike: in addition to the final
bell, any chime that has been previously struck may join in as well (ringers
so choosing or designated). Needless to say, in such an event, precise
ensemble timing is crucial.

5) In general, chimes/bells should be left to ring as long as possible - or
feasible. Chimes in particular should rarely be damped; they should be
performed so as to resonate as long as possible. In any case, all
instruments should ring, at a minimum, substantially through the following
event. At the final strike, any instrument still sounding should "cut off"
with the last bell/chime (whether it damps or simply dies out). Who cues
this event should be decided, where necessary, in advance.

6) Performances may be preplanned to various degrees, even completely
composed out; or they may be quite spontaneous and random.

7) Avoid any intentional mimicking of well-known melodic fragments.

8) To be encouraged: selection of pentatonic, modal or exotic scales, and
limiting pitches to a small number (1-4). Also, for the adventurous: intense
use of chromaticism and dissonant collections of pitches ringing together,
including no repeat pitches. Overlapping ringtimes will add to this
intensity. (If less density is desired, select a slower tempo, or - 
especially with bells - dampen selected tones so they don't ring much beyond
the end of the following tone.)

9) Obviously, both the occasion and available resources and personnel will
determine what is appropriate within the above minimal guidelines. This work
is intentionally a wide-open invitation to the sensitive imagination of the
church musician. Possible realizations range from a single performer on one
quiet bell/chime, to multiple performers on many chromatically intense bells
with long overlapping ringtimes, all joining in a massive final strike. (And
anything in between.)