the advancement of this enjoyable musi­ cal activity. (1) Handbells Choirs: In the 1970s the number of handbell choirs in America has increased dra­ BUilding from Scratch matically from 2500 choirs in 1971 to an estimated 25,000 choirs today. Festi­ vals held in thirteen locations across the country by the AGEHR during the CHARLES C. TAYLOR surroundings without disturbing the summer of 1978 drew over 6,500 handbell whole community. ringers as participants. Evidence such In addition to practicing the mathe­ as this indicates that this is one of the Charles C. Taylor is Associate Profes­ matical possibilities of change ringing, fastest growing areas in musical per­ sor of Music at Southern illinois Uni­ versity, Carbondale, Illinois. As Director the tower ringers began to experiment formance. of Music at the First United Methodist with tune ringing. Handbells often pro­ Where do the directors come from for Church in Carbondale, he has been direct­ vided more pitches 'than the tower bells, this rapidly growing performance me­ ing handbell choirs since 1975. which were frequently no more than five dium? Very little formal training exists, to twleve bells. These portable bells other than in workshops and clinics pre­ Through its fairly recent introduction were brought out at Christmas and on sented by practicioners of the art. From in church music programs, the art of other festive occasions for a "go" at the ranks of musicians trained as choral handbell ringing has become very closely melodies and simple harmonies. In the directors, as organists, as instrumental­ linked with choral music. While the eighteenth century larger sets of hand­ ists, all with a minimum of training in majority of handbell choirs exist as part bells were cast and a number of tune­ handbell ringing but with a practical of a church music ministry, they are by ringing groups were formed independent­ need and a lot of enthusiasm, come no means restricted to the religious field. ly of the tower bell ringers. By the mid­ those needed every year to fill the ex­ Handbells are in use in a limited way at nineteenth century tune-ringing reached panding demand for handbell choir direc­ all levels of education - elementary, its golden age, with "bands" handling tors. junior high and senior high schools, dozens of bells and playing from music Frequently a musician (more often colleges and universities, and in com­ scores in concerts and contests. (1) than not, a choral director) accepts a munity and senior citizen groups. English handbells were probably intro­ position in a church or school where Tower bell ringing has long been popu­ duced in America by the Peake Family there is a set of handbells; or a memorial lar in Europe and particularly in Eng­ Ringers in the 1830s, and to a larger gift may be available to purchase hand­ land. The British developed their own public by the Lancashire Ringers im­ bells; or the director sees the opportunity intricate system of ringing tower bells ported from England by Barnum in the to expand the capabilities of the music in a mathematical rather than a musical 1840s. Thereafter, except for an occa­ program by the purchase of a set of order, known as change ringing. Since sional touring company, handbells were bells. For whatever reason, there is a it was often cold and damp in the bell virtually unknown in this country until sudden necessity to develop a new skill. towers for rehearsal (and also unfair to well into the twentieth century when While it is possible for director and the neighbors to force them to suffer Margaret Shurcliff of Boston organized ringers to develop techniques together, through the clashing caused by new the Beacon Hill Ringers in 1923. Due it is better for the director to have some ringers) the English-type handbell was to her influence, a number of bands skill in ringing at the outset. Ask the developed in the seventeenth century to sprang up in the Northeast, and the handbell salesman for the name of the provide a simple and convenient method New England Guild of Handbell Ringers nearest handbell director. Contact that of practicing. (The term "English hand­ was formed in 1937. In the 1950s and director and proceed to learn all you can. bell" refers to the way the clapper is 1960s hundreds of ringing groups were You wiII find this person enthusiastic mounted in the bell to allow the ringer formed throughout the United States in and willing to share the knowledge and to have full control over the ringing of churches, schools and other organizations. skills they have learned. Ask if you might the bell.) The bell ringers could then The American Guild of English Hand­ attend a few rehearsals and ring with assemble in the church, in homes, or bell Ringers (AGEHR) was founded in them a few times. It is imperative that repair to the village inn where practice 1954. To the AGEHR and its publication a new director have some ringing ex­ could be held in warm and comfortable OVERTONES is due much credit for perience in order to share it with others. The basic ringing technique makes use of a circular pattern with the hands moving down and away, directly in front of the body. As the hand reaches the point farthest from the body, the bell is rung with a snap of the wrist. The hand continues in its circle, returning to a position just in front of the shoulder. As the player picks up the bell, it should be held with the clapper facing up, the bell tilted slightly towards the player to get the clapper in the correct position, with the guard or collar of the bell solidly against the hand. (The firmness of the grip wiII be important as the group learns to control dynamics.) Follow the circular pattern described- above, ring:ng the bell with a snap of the wrist, and return it to the "ready" position near the 12 THE CHORAL JOURNAL shoulder. Since the tone travels from the Schulmerich Carillon Co. is also very directors is from those who have played rim of the bell to the ear, encourage useful for a beginning choir. This packet in choirs and "came up from the ranks". your ringers to keep the bell upright allows the director to determine where Handbells are cast from bronze, tuned as it rings and continues to vibrate on the ringers are musically before investing chromatically, and available in octave the return to the "ready" position. One in a library of music. sets (individual bells are also available). bit of imagery that works is to suggest Training is available for directors at A beginning set should be at least two to the bell ringers that the bell is filled clinics and workshops of the AGEHR octaves, with three octaves preferred be­ with a liquid and they are not to spill and sacred music workshops of various cause of the limitations on literature a drop. religious denominations. The Westmin­ available for the smaller number of bells. In addition to ringing the bells, the ster Choir College has short summer A total of five octaves - 61 bells ­ technique of dampening is important. courses for beginning and advanced levels are manufactured. It is advisable to buy Playing handbells without dampening is of skill, and will expand these offerings carrying cases at the time the bells are similar to playing the piano with the into the regular semester in the fall of purchased, both for ease of storing and sustaining· pedal down. The harmonies 1979. A few colleges have performing safety in transporting them. Manufac­ and melodic lines blur and are not dis­ handbell choirs and offer credit for par­ turers and their addresses are listed at tinct and clear. The basic techique for ticipation. One excellent source of trained the end of this article. dampening is to touch the bell rim to the shoulder, which should be cleared of ornaments, buckles, etc. so that no metall touches the bell. Some of the larger bells need to be dampened firmly along the body of the casting, as an overtone will still sound when only the rim touches the shoulder. From these two basic techniques, ring­ Available! ing and dampening,. proceed to scale patterns. This can be done with or with­ out notation. If notation is used, take time to make sure the individual ringer understands where his note is written ~ on the staff. As the group plays a scale, encourage them to listen so they will develop an evenness in tone. They must leai'n to··play a legato melodic line by Gustav lIolst dampening just as the next tone begins. It may be well to have each person play only one bell at the beginning, then add a bell in the other hand so that they are playing two consecutive scale notes. Practice chord ringing. making sure the group understands which notes are in the chord, and work for precision of attacks at various dynamic levels. Try chord changes (I-V, I-IV-V7, etc.) in various rhythm patterns, making certain that the group is responding to your beat pattern and dynamic indications. If they work to develop this response to beat and dynamics from the first rehear­ sal, this will help them develop musically at a much faster rate. Help them to look beyond the notes assigned to each person so they will see the music as a whole. Other techniques that you will en­ Orchestral Sets counter are plucking, similar to the piz­ Choral part $1.30 zicato effect in the string orchestra; Orchestral Set B (Str 55333) 35.00 thumb damping, another way of achiev­ 42.00 ing a staccato effect; the shake or tre­ Orchestral Set C (Str 88555) molando; the trill; and the tower swing.