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Thank you for Cathy Moklebust for sharing! We've enjoyed playing Bwana Asifiwe, both bells and percussion. Special thanks from the ringers who get to do a little dancing.Back in 2003 I was commissioned by the Community Presbyterian Church in Grand Rapids, Minnesota, to write a piece in honor of their music director Darcy Reich, and her 25 years of music ministry. I recall that they wanted something with an African sound, as they had used my “African Alleluia” before, and liked that style. Being a percussionist myself, I have all sorts of rhythms and motives going through my head, so it was easy to find inspiration. What I envisioned was a procession of people heading to worship over the African landscape, singing, dancing, and playing instruments along the way. At first we can barely hear them, but as they come closer, their music and drumming becomes louder and more involved. The music is loudest and most rhythmic in the middle of the piece, as if the worshippers are directly in front of us. As they trail off, the music returns to the opening theme, and ends joyously. I did some internet searching on various “praise” phrases used in the Swahili language, and I learned that “Bwana Asifiwe” means “Praise the Lord,” and is often used as a greeting among African Christians. I did learn later on that the words “Bwana Asifiwe” are actually pronounced as one word: BWA-na-sa-FEE-way.
This original composition delights ringers and listeners alike with its upbeat and rhythmic African flavor in ¾ meter, and it is hard to stand still and ring, and equally difficult for the audience to sit still! The African percussion instruments needed are 2 hand drums, and small and large shakers, but congas, maracas, and guiro may be substituted if necessary. The percussionists are encouraged to improvise freely throughout the piece, and especially in their solo between measures 69-76. During the percussion solo, ringers are encouraged to clap, dance in place, and invite audience participation. The handbell techniques included are pluck, mallets, martellato, and martellato-lift. There are 3 easy key changes, but no bell changes within each section. Over the years, Bwana Asifiwe has become a favorite piece for massed ringing at handbell festivals, and I’ve watched and listened with glee as other conductors masterfully interpret my piece and add creative movement. Such fun!
Cathy A. Moklebust
Eagle Grove, IA
http://www.cathymoklebust.net
During Fall of 2000, my 14-member, 5-octave teen church group, "touch of Jesus" ("toJ,") was riding a crest of amazing ability. They could ring anything I threw at them, so I was free to write all kinds of advanced music for them. Pieces like "Jazzin'," "La Mer," "Tre Regali," "Broken for You," "The Travelers from Nazareth," "To Snow or Not to Snow," "Festive Promenade," "Chopsticks and How!," "The Sower," "Rhythmic Fanfare," and "A Large Day" were all written for this particular group as they progressed into more and more advanced music...
At the same time, I was a fan of "The Weather Notebook" - a noontime series on our local NPR radio station which offered 2-minute tidbits of "lighthearted weather wisdom." One day, the announcer reported on a special term for a weather phenomenon on Prince Edward Island: That invigorating kind of day which sometimes follows a storm; a rarified day with azure blue skies, intense white puffy clouds, a crisp clean breeze a bright warm sun, beckoning you with inspired clarity to breathe deeply and live life fully. The PEI locals call this unique kind of day - "A Large Day." I loved the term. Even in Virginia we have "Large Days." So with this bold vision, I started working on musical ideas for this piece.
The lilt of 6/8, a few grace notes and some rhythmic mallet and mart work coupled with a Celtic-inspired melody were the foundation ideas for this work. Three distinct themes emerged, with little transition needed from one to the next, taking the form ABCBA - palindrome-style.
The first "A" section introduces the lyric melody in octaves with sparse, open accompaniment. "B" theme jumps right in with a driving, syncopated pulse in both the melody and the malleted bass. A simple nod to the "C" theme is the transition to "C" itself, which is more sultry and enticing in rhythm and mode. Back to "B" with an optional bodhran solo before landing back in "A" in a new key, repeated at the end with a new mart/mart lift rhythms in the bass.
Use of an Irish drum called the bodhran is optional, but certainly recommend if possible. The bodhran is a large flat drum, held in one hand and played with a 2-ended beater called a tipper (or tipple). Unique, signature rhythmic patterns are possible with this instrument. While the score includes basic rhythmic patterns - in case you need some ideas - we invited our drummer to play whatever rhythms she wished. I encourage you to do the same. A skilled bodhran player will really make the piece sparkle! I had also intended a penny whistle to join us, but I couldn't find a player. Feel free to add this element as well.
"toJ" played this piece for many concerts and a FirstNight Celebration and recorded it on CD ("Ring Around the Moon.") I've used it for Advanced/Bronze Events, and I know it has also been used at Distinctly Bronze by David Davidson and in another Bronze event by Debbie Rice. I've also heard from a number of Advanced Community Handbell Ensembles who have used it. Thank you, all! By using "unusual" original handbell literature, you support the possibility of more "unusual" and original pieces being published.
I often hear "A Large Day" played too slowly - it really needs to move with energy. Check the dotted-quarter pulse at 90 or 92. Now you know why it's a Level 5 piece!!
Score Notes for "A Large Day": The D3 should be "air" malletted ( + ) (lifted quickly and malletted - not table malletted as written) in Mm. 53, 54, 55, 57, 58, 59, 87, 88, 89, 91, 92, 93. Also m. 148 beat 1, play Ab5.
To read more about my pieces, as well as my background and events, you can go to my website: KathWissinger.wetpaint.com. Contact me directly at Longwalk3@aol.com.
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