April 29 & 30
Sentinel High School
Contact Cindy McAfee,
May 6 & 7
Bells of the Cascades
Friday, 9:00 pm
The Commons at
Ashland Middle School
Contact Diane Barnes,
Saturday, May 21
$40, includes lunch
The Desert Rings
Saturday, May 14
Saturday, May 14
Performing Arts Center of Wenatchee, WA
123 N Wenatchee Ave
Concert at 7:00 pm
Contact Judy Kelts,
Area 10 wishes to strongly encourage schools to develop music programs using handchimes or handbells. To support the development of such programs, the area has established a grant program for schools that includes the loan of a 3 octave set of handchimes plus curriculum and music for a school year. There are seven sets available. The application deadline is June 1.
Handchime Grant Application
Board of Directors
Chair - Dennis Dell
3915 15th Ave S
Great Falls, MT 59405
Chair Elect - Brian Tervo
15504 NE 52nd St
Redmond, WA 98052
Secretary - Angie Barbosa
1715 S Linda Vista Ave
Boise, ID 83709
Treasurer - Cindy McAfee
2350 Larch Camp Rd
Missoula, MT 59803
Past Chair - Scott Barker
2514 166th Ave SE
Bellevue, WA 98008
Alaska Chair - Paula Johnson
20246 McKinley View Ave
Chugiak, AK 99567
Idaho Chair - Barbara Mix
1729 Dora Dr S
Twin Falls, ID 83301
Montana Chair -
Oregon Chair - Diane Barnes
Ashland, OR 97520
Washington Chair -
6073 Sycamore Ln
Bremerton, WA 98311
Education Coordinator -
Youth Coordinator -
Membership Chair -
10390 SW Canyon Rd
Beaverton, OR 97005
Campanologist Editor -
3301 Seminole Dr
Nampa, ID 83686
Web Master - Jim Dahlgran
Idaho Falls, ID 83404
|Thank you to
You may simply click a picture or an underlined link to go directly to their websites or email.
on a regular basis
to see and hear
our entire list of
The latest releases and other website information will be featured on the HOME page. Please register on the website.
10% on regular orders
20% on festival music
Must purchase 5 or more
bell parts (same title)
Pay invoice within
All ads are $5 per issue
There are two options:
1. An ad designed and formatted by you that is exactly 100 pixels x 300 pixels and sent in a jpeg or gif file. The ad will be hyperlinked to your website.
2. An ad approximately 1.5 X 3.5 inches which can contain a picture or logo sent as a jpeg or gif file and will be hyperlinked to your website. You provide the text that will be formatted by the editor.
Send ad or text with picture to
with how many issues you would like. An invoice will be sent to you.
|Deadline for articles and events to be included in the May issue of the Campanologist is April 20. Information can be sent to Phyllis Tincher,
3301 Seminole Dr
Nampa, ID 83686.
Please update your profile following the link at the bottom of the newsletter. This will give you the opportunity to select various regions of our area so we can send you information about events and concerts close to home. You may change this information at any time.
This is the 12th issue of our e-newsletter. It is hard to believe that we are finishing our first year of using this form of technology to keep everyone in the area informed about what is happening. I hope you are enjoying finding it in your inbox the beginning of each month.
On February 28, Don Allured passed away. Be sure to read the tribute to him by Blanche Kangas. When she sent it, she commented that it was the hardest article she has ever written and was emotionally spent afterward. Thank you, Blanche, for sharing wonderful memories of Don. For those who knew him, you will find yourself nodding in agreement; for those who didn't know him, you will have a wonderful glimpse into some history of our musical art.
Remember links to back issues of our newsletter are on our website, www.area10agehr.org
. Please continue to forward it to other ringers and directors who would be interested in what is happening in Area 10. Also stay in touch nationally with AGEHR's E-Notes and ringER-notes by going to www.agehr.org
, Music & Resources, E-Newsletters. Also check out www.handbellmusicians.org
to read about the progress on the advancements to our organization.
From the Chair...
Handbell Performance Enhancements -
Is it for YOU?
At my church my handbell choir nearly always gets applause for a performance. At times I feel a good performance deserves the response, but sometimes I feel the response is not appropriate. Since most of our performances are at church, I want to give our congregation meaningful, yet stylish performances. The art of handbell ringing continues to rise to new levels and as an active ringer, I am always looking for new ways to enhance my choir's and my own performances. As any ringer progresses through the various techniques for ringing, each has found that damping, plucks, martellatos, martellato lifts, thumb damps, mallets, echoes, gyros, mallet rolls, shake, swing, etc. all increase the excitement of playing a particular piece of music. Will new techniques ever stop? I certainly hope not. Watching an experienced choir perform is always a delight as these techniques color the performances and draw listeners into the aural and visual aspects of ringing. To quote my wife - our music then starts to have "curb appeal" to the audience. Over the years, I have observed many interesting ideas in regard to handbell performing. In the article below, I will retell some of the most interesting performances I have observed.
Playing techniques can really enhance a performance and it is always possible to re-score a section of music to add a playing technique that will give an old piece new life. Conductors often take the liberty to rewrite the endings of music to a form they prefer that is different from the composer's. This editing is meant to improve the performance and the net effect you have on your audience. Remember that no two groups will approach the same piece with the same musical ideas. Viva-la difference! Having a piece of music memorized really helps a performer or group relate to the audience. It always make me smile to see someone enjoying every minute of their memorized performance, with their constant eye contact with the audience. If your group can play a piece easily, ask them to close their music and see how much they really know from memory - in most cases, they will be very surprised to discover that they know far more than they thought initially. If you are conducting them, you might suddenly get self-conscience from everyone looking directly at you.
Any performance can be enhanced with the addition of instruments of any type - percussion, guitar, saxophone, flute, virtually anything. The piece Siyahamba with a conga drum is very effective. I really like the time the handbell choirs were asked to sing the song - in parts no less, one time with bells and one time without bells and only drum. My choir asks to do it that way every time we repeat that great piece. The most obvious beyond the playing techniques that create interest are costume ideas. If you are doing a patriotic song - dress in red/white/blue, if playing a tango - wear a long flowing skirt with a red rose handy to place in your mouth. If your duet is about sheep - make head gear to look like sheep and maybe have matching shirts that say "Ewe 2". At church my choir played two pieces one Sunday, the first using our robes and collars, and then before we played "Just a Closer Walk with Thee" w/clarinet soloist, we ripped off our robes to reveal wild flowered shirts. Our audience was thrilled; remember we were in church.
Choreography of movements can also have a positive effect on your performance. Recently I watched a quintet performance at the "Big Sky Handbell Conference" that had a visual story line going while they were playing - what not-so-serious entertainment. At "Pinnacle" last summer the Forte' Handbell Choir out of the "Pikes Peak Ringers" added a routine that I won't soon forget. They interchanged parts as they played. Each ringer was assigned a part of the quartet music only to jump (literally) to another part while performing. So ends the comment forever that "Everyone has a better part than me". You might consider audience participation on pieces with a strong beat (make sure what you ask them to do is not too hard and be ready to adjust your performance to match them - I am thinking about singing, clapping, finger-snapping, etc.).
When selecting and organizing music for performance try to incorporate as many of the following as you can:
1. Music that utilizes multiple playing techniques
2. Music of varying styles and composers
3. Music that is beautiful or inspires
4. Music that is just "fun" to play
5. Music that is familiar to the audience
6. Some music the audience has never heard
7. Add instruments to one or more pieces
8. Add a choir to highlight a special piece
9. Make the audience part of the performance
10. Add a costume or costume item that enhances the performance
I guarantee that your audience will never forget what you have done. If you are looking to drum up more ringers for your groups, try making the "Art of Ringing Handbells" so exciting that everyone wants to join.
Dennis Dell, Area 10 Chair
Remembering Don Allured - by Blanche Kangas
Dr. Donald Allured passed away peacefully the afternoon of February 28 with his wife Melissa by his side. The handbell world has lost its "Guru!" I don't think Don ever realized what an indelible stamp he left on the art of handbell ringing. It was his mission to bring artistry and musicality to the instrument. In his workshops he always stressed that the notes on the page became music through the handbells on the table or in the hands of the ringers, working as a team, thinking as one. Ringing handbells was creative art. "Ringing the right bell at the right time at the right volume was just the tip of the iceberg". It was also important to him that directors get behind the table to experience what they were expecting their ringers to do at every rehearsal. Every workshop was a "hands-on" workshop when possible because "you remember if you actually ring it rather than trying to remember what your copious notes are supposed to tell you."
He was a kind, gentle, humble man until he stepped on the podium with baton in hand. Then it was all about the music. He was a master conductor and could often be heard in conducting workshops saying, "Remember, you get what you conduct. Practice in front of a mirror." He was patient but repetitious wrong notes annoyed him and he would respond with, "When in doubt, don't." If a particular section was not coming together due to the nuances, the first thing he would do is examine his conducting pattern and then explain exactly how he was going to conduct the passage every time. It was never personal, it was all about making music.
I remember meeting Don in September, 1976 here in Spokane. I had been ringing handbells since 1968 so I was elected to take the Sampson Ayers display of Broadman, Crescendo and Flammer (then the only publishers) music to the workshop. During the break Don shared his thoughts about possibly leaving his church position in Lake Charles, LA and becoming a handbell clinician full time - from a guaranteed income to living on faith. The next time I saw Don was at the 1977 National Festival in Tacoma. He was a full time clinician and 'working' a busy schedule all over the country. A word about that festival because it was unique and probably the only one of its kind in Guild history. It was a gathering of 'Who's Who' in the handbell world. Nancy Poore Tufts, the national chairman conducted the national anthem and every composer/arranger of the rest of the titles on the program was there to conduct their piece. There were no Tins etc. divisions; everyone rang all of the pieces en mass. The popular handbell collection was Listen to the Bells and I think we heard every title from that collection as a choir solo. The most popular title was Fountainhead. In 1980, Don was the Area X conductor in Walla Walla. There were nearly 700 ringers, afternoon temperatures were over 100 degrees, and the fire marshal was unhappy with all of the people, tables and equipment in that small gym. The concert was performed for a "full house" and was the first Area festival concert to be video taped.
Joyfully Ring, the first 'method' book for handbells, was written in 1974. The music was published separately for ringers. He also made the first instructional videos for Malmark. He wrote Flipzicato Frolic, a piece for plucking (first termed pizzicato.) It was revised and published again by National Music in 1996 re-titled With Mallets Aforethought. At the directors seminar in 1981 I had the privilege of plucking a new composition - Pick A Winner. That was the choir challenge piece and we were thrilled to get all the way through it without stopping. Mallets and handbells were not even a vision. 1982 brought Musical Excellence in Handbells, the second 'method' for handbells that contained not only the regular information about how to start a handbell choir but exercises for smooth, legato bell handling. He used his 'new' method at the first of three summer seminar weeks at Whitworth University (then College). In 1984 he taught two weeks of handbells prior to the Area X festival at Seattle Pacific University. Week one was beginning handbells and week 2 was advanced ringing which could be called the first bronze workshop in the area. He accompanied my handbell solo at the festival opening concert. I was using my new set of handbells that I had purchased an hour earlier as the exhibits closed. Over the years Don taught several more workshops at Whitworth, the last being structured as an advanced ringing workshop with a concert as the conclusion. In 1988 I had rung The Creation in manuscript at Bay View and wanted to include it on the Whitworth program. In addition to The Creation were Rondo Passacaglia, (according to metronome marking i.e. break-neck speed) as well as Le'Ping, Incalzando and other selections. That was also the year that my car got named The Bell Buggy as I dropped the car keys in Don's hand so he could explore Spokane on his afternoons off.
Mastering Musicanship in Handbells was published in 1992. It had been Don's dream to write a handbell guide that he could use to start with page one on Monday morning and by Friday afternoon finish the last page with supplemental music to reinforce the exercises and teaching concepts. One of the first workshops that used the book was at Lutheran Bible Institute in Issaquah. The first week was beginning handbells and the second week was an advanced ringing workshop that closed with a concert. In 1994 a revised edition of Handbell Composing and Arranging was published by National Music. Don served as music editor for Broadman/Genevox as well as AGEHR and National Music. In the 90's Genevox published the Donald Allured handbell series of compositions. Don invited composers and arrangers to submit manuscripts for the series. Two of the selections that I remember as outstanding were Carillon Fantasy by Karen Buckwalter and So Many Hopes by William Payn. We rang CARILLON FANTASY at Bay View right after it was published. When I talked with Don about how wonderful it was to have a series of his own, he was wondering, why a series with his name on it. He told me, "It's a humbling experience." The series carried his name but did not include one of his compositions.
One of Don's favorite questions at the beginning of a workshop was "How many NAADAWs do we have here?" The participants would look at each other and wonder "What's a NAADAW?" A NAADAW was a person who had Never Attended A Don Allured Workshop. At the beginning of his workshop career, most of the hands in the room would go up. Over the years, there became fewer and fewer so he stopped asking the question. Don taught other workshops in Area X, conducted the bronze at the National Festival held in the brand new Seattle Convention Center and conducted the Big Sky and Rogue Valley Festivals. In 1983 he conducted the first Canadian Handbell Festival in Calgary which included the founding of the Alberta Guild, the first handbell guild in Canada.
In addition to the three method books, numerous collections, single copies of handbell music and workshops, Don's influence has touched every aspect of handbell ringing. The basic bell assignment that choirs use came from him. Prior to his assignment formula, directors used to count the number of times a pitch rang in a piece, add up the number of pitches, divide that by the number of ringers and then assign the bells so everyone rang the same number of times. Can imagine the ringer assignments? The weave and other techniques were his way to make passages that looked impossible to ring, possible and legato. Many of his compositions were written/commissioned with a special technique, person, choir or idea as the guide. He proved to people that although the bass bells were heavier, they could ring fast and they could ring melodies (Incalzando and The Celebration for Handbells). One of my favorite technique names was the result of having to ring the bell and then pluck it on the next beat. He appropriately named it the Ring, Clapper Grab and Pluck. He also gave us the tap pluck that was required in the opening of his American Overture in the bass bells. He had the first 7 octave set of handbells while he was teaching at Westminster Choir College and is responsible for the 8th octave of bells as well as the extended set of chimes to the 7th octave. His Lake Charles handbell choir was one of the first touring choirs in the country in his Winnebago. Due to a lack of published music for advanced choirs, Don sometimes used piano or organ music as well as composing and arranging music for the choir. One of his favorite anecdotes about that high school choir was the absence rule. When a ringer had to miss a rehearsal, it was their responsibility to reschedule the rehearsal at a time when all of the other ringers could be there. The ringers found it was easier to come to the regularly scheduled rehearsal than to find another rehearsal time.
The DeColores 1993 commission was for Still, Still, Still. They had just purchased an F2 so the piece was written in the Key of F with the F2 having the last note. He also included a section for mallets at ppp because he wanted to prove that mallets could be used softly. The choir had the opportunity to 'rework' the manuscript with him and ring the premiere under his direction at the Big Sky Festival in Butte, Montana. When the composition was published by National Music, it was published in the key of G to accommodate the choirs that had only 6 octaves.
One time he questioned me about why I keep coming to his workshops because he was teaching essentially the same material. My answer was that each time I leave a workshop, my brain is on overload and I need time to 'digest' all the material I have learned and put it into practice. Every time I come, I am at a different level of my learning curve and need to reinforce what I already have learned and then add more to that foundation. "Your workshop material may be the same but you never teach it exactly the same way because you are adapting it to the workshop participants and your teaching curve is changing." In March, 2006 he was persuaded to come out of retirement and teach one more workshop - a weekend of intensive coaching in Spokane. When he started rehearsal on Saturday morning, he had the Hallelujah from "The Mount of Olives" in his hand. He looked at the bass ringers and said, "The bass line printed is incorrect. I have rewritten it as it should be. Will you make the following changes?" They got out their pencils and started writing. It made the bass part more difficult with all of the added eighth notes, but they rose to the challenge. The weekend was a musical experience that all of us will never forget. At the airport, just before he checked in for the flight he put his arms around me and said, "Thank you for giving me the opportunity to prove to myself that I could still teach a workshop." I could find no words to respond.
A common introduction for Don was "This man has forgotten more about handbells than any of us will ever know." A pebble dropped into a calm pond sets ripples in motion. That describes the invisible mark that Don Allured has left forever on the art of making music with handbells. The ringers of this generation and the coming generations may not know the man, or even his name, but his teachings and influence will be passed on from his students to their students and on and on and on. Thank you Dr. Allured, colleague, mentor and teacher to many, friend to all and Maestro of handbells. You are missed already.
The Perfect Platform Podium
|Kath Wissinger, clinician, directing the 2010 Big Sky Handbell Festival in Livingston, Montana |
by Stacy Jovick
For 29 years, Montana, in Area 10, has had the tradition of putting on the annual statewide Big Sky Handbell Festival. Each year, this event is held in a different city and hosted by different choirs in their respective high school gymnasiums. Attendance runs around 300 handbell ringers with ringers traveling an average of 3 hours and some up to 7 hours, and the gyms vary in size from small to very large. One challenge that is usually faced is the fact that most gyms do not have a suitable director's podium - one large enough that will also fit up in the bleachers. Each year the host site has to create a new platform to fit the existing space. The purpose of this article is to take the mystery out of how to design and build a custom-fit, comfortable and safe platform podium for a massed ringing event in a gym.
After attending Handbell Festivals for the past 15 years and observing the varied styles of platforms - some that worked, some that didn't, and many that weren't safe for the clinician, it was obvious that a new design was needed. When my choir agreed to host the 2010 Big Sky Festival in Livingston, Montana, there was the opportunity to blend and refine past designs and create "the perfect platform podium". We had an 8' x 8' podium platform built that was 3' high with a 3' safety railing around the sides, perched on graduated stilt-like legs in the front 3 bleacher rows. It was roomy, easily accessible and rock solid. Kathleen Wissinger, our guest clinician who had experience with a wide variety of podium arrangements, was very pleased and impressed with the design. I hope that by producing these plans, other venue sponsors will be able to produce their own affordable, safe and effective platform podiums.
After recruiting the help of the Park High School Industrial Technology instructor and his manufacturing class, construction of the platform podium began. They followed my design with the instructor making a few improvements to the side railing. The podium was built with screws so that it could be easily taken apart and the materials re-used in other class projects. The materials cost around $75.00 and it took several class periods to build.
Two important factors to consider when building a podium for a gymnasium:
1. To make the platform area large enough for 2-3 people to stand on - and -
2. To make the platform high enough so that the guest clinician can be seen by ringers, even from the back of a gym, over the heads of standing ringers.
Considering item number 1 - There is nothing worse than watching the host squeeze up next to the clinician onto a tiny platform. Worse yet is when the host gives up on the podium space, decides she doesn't need the microphone, and stands on the gym floor to make announcements. The majority of ringers can't hear or see her! The clinician also needs space to comfortably and confidently move around while directing without the worry of falling off the sides, front or back.
The second item addresses how high off of the ringing floor the platform should be and, subsequently, how far into the bleachers it will reach. The reason for sinking the podium into the bleacher area addresses two requirements: 1) the bleachers and access stairs themselves act as steps up to the platform, so stairs need not be built, and 2) this placement allows maximum use of all available floor space for ringers and also allows the director to be far enough away from the front row of ringers for comfortable viewing.
By taking into consideration these factors, both your clinician and fellow ringers will have a comfortable ringing experience. I hope that the directions and pictures provide inspiration for you to build your own Handbell Festival podium. Happy building!
Click for a pdf file of the plans and pictures
I would like to thank Kathleen Wissinger for her input on this article, my handbell ringer Carole Buckner for being able to make sense of my drawings, and Jamie Isaly, Park High School Industrial Technology teacher, for his overall assistance.
Stacy Jovick is the Director of the Grace Note Handbell Choir in Livingston, MT and a member of the Bells of the Bridgers, in Bozeman, MT. She was the Chair of the 2010 Big Sky Handbell Festival.
Friday, April 15 - 7:00 pm, Benefit Concert for the Nampa Salvation Army with Phyllis Tincher, handbell soloist and Sean Rogers, pianist. Also a quartet and soloists from Boise Master Chorale. First United Methodist Church, 2717 12th Avenue Road, Nampa.
Saturday, April 16 - 4:00 pm, Ring Praise Music Ministry (Phyllis Tincher, handbell soloist, and Sean Rogers, pianist) at Community Presbyterian Church, 5391 E Main Street, King Hill (a few miles outside of Glenns Ferry).
Sunday, May 15 - 6:00 pm, Greenleaf Home School Choirs Spring Concert, Greenleaf Friends Church, Greenleaf.
Sunday, May 22 - 6:00 pm, BellHeirs: The 25th Anniversary Reunion Final Concert, Caldwell Christian Church, 3207 E Ustick Road, Caldwell. A celebration highlighting favorite memories of the last 25 years of BellHeirs ministry. Joining the reunion choir will be Treasure Valley Bronze and Greenleaf Home School Choirs.
Saturday April 2 - 4:00 pm, Bellissimo Spring Concert (free) followed by a supper ($10) and raffle (tickets $1.00 for prizes worth $150 up) at First United Methodist Church, downtown Billings, corner 4th Ave N and Broadway. Repertoire includes patriotic music, Farandole, Uncommon Adoration, and El Condor Pasa.
Friday, April 29 & Saturday, April 30 - Big Sky Handbell Festival, Sentinel High School, Missoula. Guest clinician - Arnold Sherman. See article above on left for information, music list and registration form. For additional information, contact Cindy McAfee,
email@example.com, 406-552-2017 (c), 406-549-8171 (h).
Ring Praise Music Ministry in Eastern Oregon (Phyllis TIncher, handbell soloist and Sean Rogers, pianist):
Friday, April 1 - 9:30 am, Pendleton Correctional Facility.
Friday, April 1 - 7:00 pm, Community Presbyterian Church, 14 Martin Drive, Umatilla.
Saturday, April 2 - 4:00 pm, Community Presbyterian Church, Pilot Rock.
Sunday, April 3 - 9:30 am, worship service at Ukiah Community Presbyterian Church, Ukiah.
Sunday, April 3 - 4:30 pm, Grace Presbyterian Church, 703 South Main Street, Milton-Freewater.
"Places" - Presented by Bells of the Cascades
Saturday, April 30 - 7:30 pm, Savage Memorial Presbyterian Church, 1740 SE 139th Avenue, Portland.
Sunday, May 1 - 7:30 pm, 10445 SW Canterbury Ln, Tigard.
Sunday, May 1 - 2:00 pm at Holy Trinity Church on Cottonwood Road in Sunriver. The Bells of Sunriver presents B is for Bells, Beethoven, Bach, and the Beatles. The concert is brought to you by the letter "B" and includes works by Bach, Beethoven, Bizet and titles such as Boogie Woogie Bugle Boy of Company B, Bingo, and Beauty & the Beast. The concert is free and suitable for all ages. For more information contact Jan Tuckerman: 541-593-1635 or firstname.lastname@example.org.
Friday, May 6 - 9:00 pm, Bells of the Cascades Concert, The Commons at Ashland Middle School. This concert is in conjunction with the Siskiyou Summit Handbell Conference.
Friday, May 6 & Saturday, May 7 - Siskiyou Summit Handbell Conference, Ashland. Guest clinician - Michael Glasgow. For additional information, contact Diane Barnes, email@example.com. See article above on left for music list.
Thursday, June 23 - 7:30 pm, An Acoustic Benefit Concert, Majestic Theater, 115 SW Second St, Corvallis, featuring Mid-Valley Carillon and friends. Tickets: $10 All proceeds to benefit All Because of Children (ABC House) & the South Albany High School Music Program. Questions? 541-738-7469.
Saturday, May 7 - 7:00 pm, Emerald City Ringers™ (ECR), a nonprofit community based handbell choir, will present its spring concert, Over the Rainbow, at Cross of Christ Lutheran Church, 411 156th Ave NE, Bellevue, www.coclc.org. Suggested donation at the door is $10/adults, $8/seniors/students, $5/children to a maximum of $25/family, or pay as able. For more information, visit www.emeraldcityringers.org.
Saturday, May 14 - "The Desert Ring" in Richland. See article above on left for registration information and music list.
Saturday, May 14 - Columbia River Celebration of Bells, concert at 7:00 pm, The Performing Arts Center, 123 N Wenatchee Ave, Wenatchee. See article above on left for additional information.
Monday, May 16 - 7:00 pm; Forest Ridge School's three handbell choirs present an exploration-themed concert entitled "Infinity and Beyond." Concert will be in the Forest Ridge Chapel (4800 139th Ave. SE, Bellevue). $5 suggested donation. Directions at: www.forestridge.org
Saturday, May 21 - Greater Puget Sound Handbell Conference. See article above for registration information and music list.
Mark Sunday, May 22nd @ 4:00 pm on your calendars. You will want to be in downtown Seattle at Daniel's Recital Hall, on the corner of 5th Ave. and Marion Street. The hall is 1 block from the public library. Several Seattle area Handbell Choirs are combining efforts to present a Benefit Concert for Disaster Relief in Japan. You will hear great music, an awesome organ with Artist in Residence Mark Andersen at the organ bench, and some very pleasant surprises still in the planning stages. Be there... and bring your choir with you. This could be the event of the year that you have been waiting for. Suggested donation is $10 and ALL proceeds will go directly to Japan. Mr. Nozuma Abe (chair of the International Handbell Symposium in Osaka, Japan) will assist us on that side of the ocean. Blessings, Marlene M. Anderson, Coordinator. Parking is available in the bank parking garage across the street.
Choir needs someone to take the lead
Position Open for
Director of Established Handbell Choir
Prior Bell Choir Director Experience Preferred
Application Deadline April 15, 2011
St. Luke's Episcopal Church
Coeur d'Alene, Idaho
For more information, contact Carolyn Alberts
208-765-6526 (home) or
Thank you to all you sent information about upcoming concerts. Please remember to send information for the May issue to me by April 20.