Return to: Voices from the past
1. WHEN, WHERE, and HOW did you get started in handbells?
I first heard handbells (rehearsing for an upcoming service) while visiting a church in Long Beach in 1972. With my musical background as a percussionist, I was fascinated with the similarity in technique. On return to my home church, I mentioned to our pastor that I though it would be great if we could have handbells in our music program. He was most supportive of the idea, since a church he had previously served had handbells. Several months later, he approached me saying the money was available to purchase bells and asked if I would be willing to start the program. Although I knew nothing about handbells at the time, I was willing to learn. Soon after that, Patty Marquart's Peace Ringers presented a concert in the area. That was the start of a most valuable friendship with Patty and her ringers and helped me get started in this new endeavor. Our bells arrived in February of 1973, and one and a half years later, the handbell program at our church consisted of seven choirs.
2. WHAT FORMAL MUSICAL TRAINING did you have prior to working with handbells?
I had twelve years of private study as a percussionist, a music emphasis in high school, and one year of college.
3. WHAT is your favorite handbell composition, and WHY is this work meaningful to you?
Silverthorne by Donald Allured. I had met and become friends with Don when he was writing this piece. He shared it with me on one of his trips to California and asked me to look at the tympani part. To me, this piece paints a beautiful picture of majestic mountains for which it is named, and I never tire of listening to or ringing Silverthorne.
4. WHAT ADVICE would you give to someone who is just starting to work with handbells?
Join AGEHR! There is no better way to acquire the help and training needed than to be an active member and participant in this organization. Take advantage of every opportunity possible to learn from experienced clinicians and directors. Handbell ringing is still a new musical art, with new material and techniques surfacing on a regular basis. There is always something new to learn.
5. HOW LONG have you been a member, and WHAT has The AGEHR meant to you?
I have been a member since 1973. My association with this organization has indeed changed the focus of my life for the past 29 years. Handbells became my life! Handbell people are fantastic, and I now have ringing friends all over the world. They are like a second family. Most importantly, this organization has provided the training and help I have needed as a ringer and director, enabling me to grow musically along with the choirs I have directed.
6. WHAT POSITION(S) have you held in The AGEHR, and WHEN did you serve in each position?
I honestly don't think I can remember all of them, but I started out with Area XII as a regional coordinator and then served in the cycle for chairman, serving as Area Chair from October, 1980 to October, 1982. I also served the Area as Activities Coordinator, chairing such events as the Shipboard Seminar and the 1992 Aloha Ring.
I served The AGEHR as Secretary for two terms from 1983 to 1987. In 1993, I was elected to the Presidential cycle, serving as President from 1995 to 1997. Over the years, I have served on several national committees, including various events and Bylaws. Currently, in retirement (!), I am serving on four committees, chairing three of them. My major work for the next two years will be as Chair of the 50th Anniversary Committee as we make preparations for a year-long celebration in 2004 of 50 years for this wonderful organization.
7. WHAT FUTURE do you see for handbells? More to the point, WHAT do you think MUST HAPPEN in order to elevate handbell ringing to the level of public support and recognition enjoyed by community orchestras, choral ensembles, and the like?
We must constantly work to bring handbells to the forefront to be recognized by the public as a legitimate musical art. This is starting to happen with handbell choirs performing with symphony orchestras and professional groups offering outstanding performances. The addition of handbells to school curriculums, elementary through college, is vital, as is the proper training for teachers and directors. AGEHR must offer such training at all levels (local through national) on a regular basis. We must also continue to offer events and activities to entice ringers and directors to continue their participation in this musical art. - Ginny Fleming
