Handbell Articles – Topics
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Change RingingScore Study
Canadian DirectorsThinking outside the box
Warming up with Bell RingingRinging at the next level
To Applaud or Not to ApplaudRecruiting and Retaining Ringers
Sample recruitment adStand Up Straight
Change Ringing for Fun
Cross & Stretch
Four ringers are needed to do this change ringing sequence. Use medium sized bells, either G5 to G6 or F5 to F6. Changes always start with a descending scale. The ringer's right hand always plays first and then the ringer's left hand. Each ringer always plays on the same count.
Step One: Rounds are rung at the beginning and ending of all change ringing. Beginning rounds are always rung in descending order. (This is simply a descending major scale.) Rounds may be rung repeatedly as a warm-up (I like to do it at least twice.)
Step Two: At the end of rounds, EACH ringer CROSSES his/her hands and releases the bells. Each ringer then uncrosses his/her hands and picks up the same bells except in opposite hands. Ringers continue to ring in the same order that they had been ringing i.e. ringer #1 always rings with his/her right hand first and then left hand, then ringer #2 rings with his/her right hand first and then left hand etc.
Step Three: Ringers STRETCH their arms to place their bells in front of their neighbours, one on either side. EXCEPTION: The bell in the right hand of Ringer #1 and the bell in the left hand of Ringer #4 do not change position in this step.
Step Four: Repeat Step 2 and 3 until the highest bell has travelled from the top to the bottom and has returned to where it began.
Step Five: Repeat rounds at least twice.
For a special effect, tie a bright ribbon on the high treble bell and let the audience watch as it moves through the change ringing.
Have Fun!
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Score Study
By Dr. John Hooper of Concordia University College
Score study can be a daunting task, for beginners and seasoned conductors alike. But by subdividing that task into three different areas, it can become manageable. Score study can be roughly divided into three areas: preliminary score study, interpretative score study and pedagogical score study. In other words, score study begins when first choosing music and continues with decisions about musical interpretation and methods to teach the music to the ensemble.
Selecting repertoire is essentially preliminary score study. Beyond practical matters such as appropriateness for the level of ensemble and performance circumstances, one wants to ensure that music considered has potential for musical expression.
In this preliminary score study, one looks carefully for well-crafted compositions. A well crafted work has a balance of unity and variety. A work is unified through prudent repetition of musical elements. Too much repetition becomes boring and not enough repetition is too disparate. Repetition need not be exact. For example, it could be a repeated characteristic rhythm or technique.
Similarly, a well crafted work will have ample contrasts without becoming fragmented. Contrast comes in different ways, from the presentation of completely different material to subtle variations of musical elements. The key is the balance between repetition and contrast.
Interpretive score study comes from a thorough knowledge of how the music is put together. This begins with large scale organization and proceeds to the smaller details of musicality. To determine large score form, one divides the work into sections. Often, there are exact or similar repetitions of material. By marking equivalent measures, one can not only see the form, but begin making pedagogical choices as well. Many works use sectional forms, structures with major sections that are clearly the same or clearly different.
Once each major section is determined, smaller scale choices can be made about the shape and direction of each one. Dynamics become very important. Quite often only general dynamic levels are given in a piece of music. While the overall character of a section might be soft, and thus marked piano, it will take some dynamic changes within that soft section to maintain musical interest. Phrase direction is reason for dynamic change. Almost nothing is dynamically static. The shape of a phrase must be determined and marked in the music with crescendo and diminuendo markings. Again, these details are often not in the music, so the conductor must make some choices. One note about dynamics: frequently musicians are afraid to use the full range of all six dynamic levels. An ensemble that can perform at six different levels - pp, p, mp, mf, f, and ff - can provide stunning dynamic interpretations of music. Sometimes this means adding to or modifying the printed dynamics to the fullness of the music can be achieved in the complete dynamic spectrum.
In addition, one looks for balance issues, so that important parts can be brought out and background parts can be lessened. Look for melodies in inner or lower parts. Find interesting harmonic ideas that need to be brought out (dissonances, for example). Strive for dynamic balance among different performing techniques. The thickening or thinning of texture (more or fewer bells ringing) has an impact on the dynamics. The effect of the meter is determined by dynamic stressing and unstressing.
Finally, pedagogical score study is necessary for rehearsal preparation. This requires developing methods by which a conductor's interpretation of the composer's intent can be communicated to the ensemble. Part of this is anticipation of problems of technique and interpretation. Certainly problems of technique will become evident by looking at each individual part. For the entire ensemble, musical changes often present technical challenges. Changes of key, tempo, dynamic, technique are obvious places where musical and technical forethought will be required. Difficult rhythms can be turned into exercises so that rhythmic concepts can be learned before applying them to the music. Finally, a method of marking the scores will help ensemble members learn to mark places so they can anticipate what is to happen next. Anticipation is the key to good performance. This sense of anticipation is tantamount to inviting the listeners into the music to hear and feel the expressions of the ensemble. A score clearly marked makes thinking ahead easier and more efficient. The score markings are manifestations of the score study, so that the ideas developed in studying the score can become part of the music making process and ultimately communicated to the listeners.
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Canadian Directors at International Handbell Symposiums
??? / ??? / JapanSusan Carscadden Mifsud / Ontario / USA 2008
Dr. John Hooper / Alberta / Australia 2006
Anne Hill / British Columbia / Ontario Canada 2004
Barbara Plante / Ontario / Ontario Canada 2004
J-C. Coolen / Ontario / Ontario Canada 2004
Joan Plume / Ontario / Korea 2002
Morna June Morrow / Manitoba / England 2000
Rick Humphries / Ontario / Japan 1998
Tracey Boyle / Saskatchewan / USA 1996
Alison Wood / Alberta / Australia 1994
Carol Petrie / Saskatchewan / Alberta Canada 1992
Fred Merrett / Alberta / Alberta Canada 1992
Fred Merrett / Alberta / Korea 1990
Gerald Ziegler / Ontario / England 1988
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Thinking outside the box
Too often as directors and ringers, we get used to doing what is familiar and comfortable and don't think outside the box in terms of making bell assignments. Better ringers could be given the option to change positions if they wish. It would need to be negotiated as to whether ringers should move to a different position on each piece or for the season. There is a lot of controversy over this concept.
Some believe that ringers should be versatile and able to ring in any position. If ringers are flexible in their assignment, they will likely improve their ringing abilities much more quickly than if they are married to one position. Others believe that ringers should become masters of a particular position - after all, a violin player would not be expected to play the viola even though they are both string instruments.
Directors usually have reasons for assigning certain bells to certain ringers. It might be due to a ringer's abilities - there may be only one ringer who can do the four-in-hand position. Perhaps there are only a few ringers that can ring bass bells. Sometimes a ringer will only read music in the treble clef, therefore only ring treble bells.
Personalities sometimes play a role in the decision making. Often a new ringer is partnered with one who is willing to mentor. The director might assign positions based on the difficulty of a particular part. Perhaps a ringer is afraid to try a new assignment. In an extreme case, a ringer may be absolutely inflexible and if asked to change positions, will threaten to resign.
When a director is possibly short of ringers, it seems to be a better idea to leave well enough alone rather than cause an uncomfortable situation for both the director and the ringer. Sometimes ringers play in the same position because it is working so well!
When determining either traditional bell assignments or those that are "outside the box", it is important for the director to have done a thorough study of the score first. Part of score study is reviewing bell assignments. When planning bell assignments, the director needs to make note of any challenging places for each ringer. Can the ringer play all of their accidentals by weaving? Are there some fast passages that mean another ringer should help? Ringers can be possessive of their bells and may believe that if they can't do all of their accidentals, they are not a good ringer.
To play musically, where can the accidentals go? Directors need to be able to determine how neighbouring ringers can help each other. As ringers increase in their confidence and abilities, they can negotiate amongst each other where the accidentals can go. Some of the more advanced handbell music have almost impossible passages using traditional assignments. Ringers most certainly have to discuss with their neighbours who will play what bells when! Sometimes certain rhythmic patterns are better done by one person so one ringer may ring D4E4 instead of two ringers. It can be difficult for a ringer to only play on the "ands" of a beat. Making a change in bell assignments for a few measures can result in making music much sooner.
Handbell choirs often have a bell hog. Directors need to be aware that bellhogs can sometimes have a difficult time ringing musically. It is vital for directors to know their music well and to know the abilities of their ringers. If assignments are adjusted to accommodate both the music and the ringers, rehearsals can be spent on making music instead of trying to do the difficult or the impossible. This approach will help your choirs to make the best music possible in a shorter time!
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Warming up with Bell Ringing
Bell ringers, like athletes, need to warm up their muscles. All bell ringers are subject to muscle strain because some of the muscles used for ringing only work hard two hours each week during rehearsal. Too often we arrive at practice after a day's work just in time to set up the tables, foam and bells, open our music and pick up our bells for the first down beat.
In JUBILOSO! Bells of Concordia, we always do warm-ups for about five minutes before we ring a note. The warm-up exercises are led by one of the ringers and over time, we have realized that if she is not there, warm-ups do not happen. We do similar warm-up exercises prior to performances. Warm-ups also give us a chance to visit, make announcements or discuss rehearsal plans prior to practice actually starting. It also gives us a chance to "let go" of the days events and be centred so that we can be focused for rehearsal.
Our warm-ups always include a reminder to have "soft knees" i.e. slightly bent. In reality, we should all be ringing with our knees slightly bent. Then we work a variety of muscles. We usually include shoulder rolls and shrugs, neck, forearm and upper arm stretches, arm, wrist and hand curl, and usually some finger play.
Many movements in bell ringing are repetitive and can cause carpal tunnel syndrome. Improper ringing techniques can also increase the problems resulting from the repetitive action of bell ringing. Warming up and ringing correctly can help to decrease the chance of ringers getting injured.
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Ringing at the Next Level
In the fall, I had the privilege of presenting a workshop with Lorna Walker to school teachers in Edmonton. Lorna has a B.Ed., teaches music at DunLuce Elementary School in Edmonton, and rings in the United in Bronze Handbell Choir at St. Albert United Church. She is a talented musician and has wonderful ideas about working with children and handbells.
Awe-inspiring performances (or ringing at the next level) require committed and talented musicians. However, talented musicians are just as capable of putting on mediocre performances. The key is the director. Not only must directors recognize the inherent musical qualities of a piece of music, they must be talented enough to draw the musicality out of their musicians.
Learning to ring together at the next level is a complex process. In this newsletter, we will talk about "Playing Musically" and "Dealing with Dynamics".
"Playing Musically"
Playing musically is really the ability to speak to the audience through the music. It means playing with beautiful circles, paying attention to dynamics and phrasing, being rhythmically accurate and playing exactly together.
As a director, you need to raise your expectations. Excuses like "they are only 10 years old", "we only meet once a week" or "they don't read music" become blinders to what is possible. Simple music when played musically will be more awe-inspiring than difficult music that lacks dynamics and togetherness.
Discuss the music with your choir. Start with the title or tell them about the composer - give them a concrete image to grasp. Tell them what you like about it. Use images to help you get across the feeling or mood of the piece (eg. tell the small bells they are to play like stars or angels).
Musicality starts with the way an instrument is played. Piano teachers begin with finger bubbles and handbell directors begin with circles. A circling moving bells sounds and looks beautiful. Beginning ringers need to be taught how to circle a bell and they need to practice it. Experienced ringers need to be reminded of it. Longer notes need larger circles and shorter notes need smaller circles. When the music gets tough, the bells often get punchy! Use warm up drills to reinforce these concepts of circling and moving - even with experienced ringers. Check the ringer's posture. Circles need to be created with the whole body, not just the arm. If ringers are standing stiff legged or rigid then it is harder
to make circles and to vary dynamics.
"Dealing with Dynamics"
Good music will require the ringers to play both very loud and very soft. You will likely need to check the settings of the bells to ensure that they are set correctly so that proper dynamics may be achieved. Don't assume that all the bells need to be set the same. Sometimes a ringer is naturally quiet and might need a bell adjusted to a hard setting.
Study your score thoroughly so that you know before you start rehearsals what it is that you want to accomplish in terms of dynamics. Conduct as you want your ringers to ring. "Conduct big for loud and small for soft". Make your ringers watch you - help them learn their music so well that they are comfortable looking at you and then finding their place in their music.
Consider memorizing your music - both the director and ringers - this will allow the ringers an incredible freedom to watch you and allow you to really get what you want by conducting.
Video tape you and your choir to really see how they look and sound. Play in different places and assess the dynamics carefully. It might sound soft and loud in the music room but when you get into the school gym. It might all sound the same.
Rehearse dynamics over and over again so your ringers know what is expected of them. Don't settle for less that what you want to hear.
Finally the thing that taught both Lorna and I to be better directors was to become better ringers. There are likely choirs very near you that would love to have you ring with them - or maybe as a sub or spare. Call them today!
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To Applaud or Not to Applaud
The debate continues as to whether or not it is appropriate to applaud in church. Wouldn't it be wonderful if congregations would applaud when ministers and musicians want them to and not applaud if they are not supposed to! The reality is that people have different connections to music and therefore have different responses.