2 Mazurka in F Maor, O 68, No 3, y Fryderyk (or Frédéric) François Choin, comosed 1829, ulished osthumously in 1855 (originally written for iano) A Choin classic literally srings to life on handells Choin took the mazurka genre and made it his own, creatively extending it far eyond traditional conventions In Mazurka (transosed from the original key of F Maor to C to accommodate the ell range), the A section is reetitive and rhythmic, with a characteristic stress on the second eat A Polish folk tune is quoted in the contrasting B section, using a drone motif under a srightly melodic line in octaves Valuale in a school setting as a edagogical iece that teaches dotted eighth-sixteenth rhythms, contrasting dynamics and form, the mazurka genre, and romantic/modernist music literature, Mazurka is also a fun-toring iece that offers an interesting, light moment in concert, festival, and worshi settings EVIEW EVIE W EVIEW EVIEW Performance Notes Clean, unison rhythmic ringing will make this iece sarkle Rhythm warm-us with ringers claing/ taing and counting one---a, TWO, three; one---a, TWO, three will hel all understand the asic structure of the A section Practicing with malleted ells on tales may hel with accuracy use one mallet er ell in this instance, reflecting the required ringing motions Bass ringers, esecially, will e challenged to cleanly ring the rhythms accurately; keeing ells vertical will allow the notes to e accurately reeated more easily The short aoggiaturas (grace notes) such as those in m 18 are generally layed on the eat, with time sutracted from the larger note that follows Counting would e one-ee--a, TWO, three, allowing the second eat of the measure to remain the targeted stress (Note that the szforzando on eat 2 in m 20 emhasizes this attern) Sudden and drastic dynamic shifts can e enhanced y changing ringing style and stance: for forte the claer strikes a stationery ell with a strong arm; for iano the casting can fall gently away from the claer at the strikeoint with a gliding arm motion to roduce a softer imact The contrasting B section is of comletely different character, like suddenly entering a different room It s ased on a Polish folk tune, O, Magdalino, a much quicker temo with a lighter feel and a clean drone note Note the accents in the introductory measures, which lay around with the stress atterns The F5 chime can e reassigned for cleaner ringing This iece may e erformed either in straight rhythmic fashion or with some slight ruato Various recordings can offer ideas for erformance otions VIEW Comoser, Director, Teacher, Ringer, Mentor Kathleen Wissinger emraces all asects of handells Since 1988 she has directed eginning children s through advanced teens and adults grous, writing music for the entire range Ten years of teaching handells in a small rivate school insire her to also create a unique edagogical series of handell music Kathleen teaches middle school and high school handell classes, directs the Prism youth ensemle at church, and is the founding Artistic Director for Mosaic, a community handell ensemle She frequently teaches at and directs handell events large and small, eginning through advanced, youth and adult, National Seminars and an International Symosium; has led introductory workshos for music education maors and coaching sessions for college handell grous; and mentors start-u grous through her work with Area III EVIEW EVIEW EVIEW EVIEW IEW EVIE EVIEW EVIEW W EVIEW EVIEW E
4 * Handells used: 28, 35 42 for Redeemer Classical Seventh Grade: Barrett, James, Jefferson, Michael, Naomi, Ella, Kelsie, Ian, Gariel and Seth 4 3 4 3 1 otional Handchimes used: 6 3 octave choirs omit notes in ( ) 4 octave choirs omit notes in [ ] Allegro, ma non troo (q = 116-120) N f 5 Mazurka O 68, No 3 for 3 5 octaves of Handells with otional 3 octaves of Handchimes EVIEW EVIE W EVIEW EVIEW 2 otional 6 3 Coyright 2015 y Alfred Music All rights reserved Printed in USA To urchase a full-length recording of this iece, go to alfredcom/downloads *G 6 not used in 3 octave version VIEW By Frederic Choin Arranged y Kathleen Wissinger (ASCAP) EVIEW EVIEW EVIEW EVIEW 3 IEW EVIE EVIEW EVIEW W EVIEW EVIEW E
4 7 10 14 11 17 f 8 EVIEW EVIE W EVIEW EVIEW 15 4 and 5 octave choirs may doule to note 8va 18 12 N * 9 16 13 VIEW 19 EVIEW EVIEW *Choin s grace notes are to e layed on the eat, not efore This will result in a slight delay of the main note EVIEW EVIEW IEW EVIE W EVIEW EVIEW E EVIEW EVIEW
20 23 26 ß EVIEW EVIE W EVIEW EVIEW 27 21 24 ß 28 N 22 25 n n VIEW 30 31 29 EVIEW EVIEW 32 EVIEW EVIEW 5 IEW EVIE EVIEW EVIEW W EVIEW EVIEW E
6 33 36 * 39 n n 42 n n 34 37 EVIEW EVIE W EVIEW EVIEW n n 40 VIEW 43 n n *The F5 chime may e layed y the D5/E5 ringer mm 33-44 35 38 n n 41 44 EVIEW EVIEW ritenuto EVIEW EVIEW IEW EVIE W EVIEW EVIEW E EVIEW EVIEW n n
Temo I 5 octave choirs may doule to note 8va 45 49 f 53 46 50 54 EVIEW EVIE W EVIEW EVIEW 47 51 55 57 4 and 5 octave choirs may doule to note 8va 58 59 48 52 VIEW 56 60 N N EVIEW EVIEW EVIEW EVIEW 7 IEW EVIE EVIEW EVIEW W EVIEW EVIEW E