Handbell compositions are usually written for note ranges that constitute complete octaves of bells. Having this agreed-on convention between manufacturers, composers, publishers, and performers makes it easier to maintain consistency within the ringing art. For instance, “five octaves” refers to the range C3-C8. Because of this, we start with a common knowledge about the music to be written and the bells needed to play it.
Although this is an excellent way of doing things, the resulting music tends to prefer the middle of its designated note range. This often results in the lowest and largest bells seeing less action. Bass ringers can often accept this situation because it means they can get a short break between spates of heavy lifting.
It’s a different matter for the upper treble ringers. Treble ringers generally prefer being active and occupied, and so there are some who have an aversion to being sent to the far right end of the table, which to them is a desolate place known as “Position 11”. This aversion has led some to label Position 11 with epithets such as “No-Note Island”.
Escape from No-Note Island dedicated to those of you who feel marooned and forsaken when you’re sent to the topmost position. I hope you’ll feel better about being there when you play this work.
Handbells (five, six, or seven octaves)
Level 5
Preview:
| Single Copy Version: | $5.00 US | |
| Handbell Choir Version: | $30.00 US |
Purchasing the handbell choir version of this arrangement grants permission to print and maintain up to fifteen copies for your handbell ensemble; purchasing the single copy version grants permission to print and maintain one copy. Purchase also gives permission for performance, broadcasting, live-streaming and video-sharing online. See our licensing agreement for full details, and please remember to mention the title and arranger of the piece on video-sharing sites, social media and any printed materials such as concert programs.
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