Handbell ringing is an English art that has made a phenomenal appearance in American worship in this century. This article explains the various kinds of handbells, how to organize a handbell group, and how and where to use handbells in worship.
History
Since about the fourteenth century, handbells have provided tower ringers with the opportunity for practice for ringing a peal of bells in changes, or mathematical sequences until all conceivable combinations are exhausted. If you lived near a peal of bells, you would be most grateful that ringers practice with handbells and not the bells in the tower! It was natural that these ringers should experiment with harmony on their practice bells, and thus the handbell became a new musical instrument, playing simple tunes with simple harmonies.
Mrs. Margaret Surcliff, who organized a band of ringers in Boston in l923, is given credit for introducing the handbell to America. My own introduction to the instrument occurred some thirty years ago, when as dean of our local chapter of the American Guild of Organists, my program committee invited Doris Watson from the Brick Church, New York City, to present a workshop on handbells for our members. I attended with less than enthusiasm, sure that next we would have a workshop on the musical saw. But I was pleasantly surprised, and once I had the opportunity to ring a bell, I was “hooked.” I saw the possibilities for a real contribution to our worship and to the music program for our young people. And so the bells were purchased. Until they arrived, I attended several workshops so that I would be prepared to begin rehearsals immediately (our young people practiced by blowing small organ pipes to get a head start).
During those early days, everyone who worked with bells was an expert. With the founding of the American Guild of English Handbell Ringers in 1954, an accepted standard playing technique and notation began to develop. The range of bells increased to five octaves and beyond. Today the number of ringers in our country is estimated at 75,000. With encouragement from the Guild, composers began writing for this new instrument. Workshops and conventions were held, bringing together directors with great experience and those just beginning. Choirs, as well as directors, began to share their techniques and expertise and repertoire with each other. Now hundreds of ringers join together in massed choir concerts, and the fellowship and fun are grand. It is true, as the Guild phrases it, that bells unite “people through a musical art.”
Two Types of Bells: English and Dutch
Today, one has a choice of several companies from which to purchase bells. But still, there are basically two distinctive bells, the English and the Dutch. The prominence of the various overtones determines the timbre of the bell, the English with a prominent twelfth and the Dutch with a prominent minor tenth. With the Dutch bells, the presence of a strong minor tenth can cause harmonic problems, particularly in massive chords, since this overtone introduces foreign pitches into the simple chord. Judicious scoring and arranging can do much to alleviate this dissonance.
In the past few years, several American companies have begun casting handbells, so that the long waiting period once common after the placement of the order until the delivery of the bells is no longer necessary. American bells are tuned to the English timbre. And while all bell ringers have their own preference, American bells seem to be well accepted and valued by directors and ringers.
Inappropriate Bell Music
But with the ready availability and proliferation of bells, something else happened. The simple melodies and harmonies that were so effective were replaced by complicated and intricate arrangements and a maze of chromaticism. Choirs ring everything from “The Flight of the Bumblebee” to the 1812 Overture. Composers anxious to provide arrangements for concert choirs and directors demanding complex, challenging music have forgotten the bell.
A bell is a bell is a bell, and would seem to have at least two distinct characteristics: (1) it sounds only one basic pitch, and (2) once struck, the sound continues indefinitely until it is artificially dampened or diminishes beyond the level of audibility. Today, to counteract the “unbell” arrangements, directors resort to dampening the bell at each harmonic change, a practice that destroys one of the unique characteristics of the instrument, the period of sound decay. Some seem to believe that music if it has been composed, should be playable on bells—but should it?
It is possible that “Swanee River” could be played by two piccolos, a schalmei, and an electric bass, but should it? To be able to compose or arrange for mixed voices or organ does not guarantee that same ability to compose or arrange for bells. They are a collection of different instruments and demand a different skill, a different understanding in writing. If you write for bells, please remember the old acronym K.I.S.S.—Keep It Simple, Stupid! That axiom should apply to bell composers and arrangers simply because the bell tones are complex and continue their resonance long after being struck. Do you put catsup on your steak? I hope not. The heavy flavor of the condiment wipes out and destroys the subtle essence of the juicy morsel. Artificial dampening during ringing can make a composition squeaky and antiseptically clean but wipes out and destroys the true flavor of the bell. Skeletal chords and slowly changing harmonies sound best. Bells seem to favor, especially, music of the classical period.
A wealth of material is available for bell choirs from most music publishers, but careful selection is required. Many choir anthems are published that incorporate bells effectively, and a few organ compositions are available with bell arrangements. Some composers publish compositions that require the bell choir to sing as well as the ring. I find it impossible, however, to perceive that both voice and bell are presented at their musical best in such compositions.
Is the Ability to Read Music a Necessity?
For me, it seemed a shame that participation in a bell choir was limited to only those who could read music; in other words, those who already played a musical instrument. It just was not fair! So, to open our group of ringers to all who wanted to play, I devised a method of counting and marking the notes on each individual sheet of music. At the top of each copy of the music, I place a preprinted sticker on which are noted bells later needed and the bells first used. Music is marked for each person. Notes for which the ringer is responsible are circled with red or green pens, depending on which hand is to ring that assigned bell. A ringer is alerted to the change of a bell in a hand by an arrow on the circle following the use of that hand before the change. The preparation of the scores takes a lot of time, but the rewards are great. It has worked beautifully. Some of our young people who could not read a note of music have become excellent ringers and have even learned to read notation. They were able to have a musical experience as well as enjoy the fun and fellowship of the ringing group.
I find that the basic problem in bell ringing is not the inability to read music, but readiness—the readiness of coordination, which seems to develop at different times in each child’s life. Coordination is needed between the eye and the arm and the wrist muscles. While some directors have had success with bell choirs in the primary and junior grades, it has been my experience that these younger children are not yet ready. They are not sufficiently developed and coordinated to warrant the time and effort. Rehearsal becomes a chore rather than a fulfilling musical experience. For this reason, while I do allow fourth, fifth, and sixth graders to try the bells, I attempt no serious work with them. I realize this seems to contradict the experience of many instrumental teachers, namely, the Suzuki method of instrumental pedagogy. However, youngsters can practice the violin, flute, or trumpet at home. This is impossible for a ringer. A ringer plays only two or three tones or bells. His or her work is “fitting in,” inserting these tones into the fabric of the composition with other members of the choir. This makes ringing a different kind of musical experience. Ringing is a physical act of waiting, and then striking, perhaps only a single tone.
In assigning bells, a frequent mistake is having too many ringers so that one person has only one bell. This leads to boredom, inattention, and the eventual demise of a ringer’s interest. To each person, I assign two bells, their accidentals, and “occasional” bells as needed. This provides the necessary challenge. Membership in each choir is limited to eleven ringers and is adequate for most music. Occasionally, an extra person, usually an “alumnus” or capable junior ringer, is asked to join the group for a special presentation. Beginning in a kind of junior high training choir, these ringers, who on occasion perform or play in public, graduate into the senior high handbell choir. On occasion, I have organized an “alumni” choir of graduates who practice and ring for the fun of it and play for a specific occasion. For several years an older adult choir met and practiced, again ringing primarily for fun and fellowship. All this takes my time, and with added responsibilities, something had to give. I believe that a rehearsal of fewer than 1½ hours is a waste of everyone’s time. Little is accomplished since part of the rehearsal time is consumed by getting, arranging, and returning bells.
Corporate Aspects of Bell Ringing
Bell ringing is a team sport. A basketball player may practice dribbling and shooting baskets and may be consummated at each, but until he or she is in and with the others on the team, sensing their moves, positions, and speed, his or her talent is of little value. Every voice is valued (usually!) in a singing choir, but a missing alto can be “covered for” by the rest of the group, and the integrity of the performance preserved. That can’t happen in a ringing choir. Shall I tell one player to ring a little louder because we have a member of the choir missing today?
Bells command and demand discipline and dedication. Rehearsals are important and attendance is essential if the team is to win. Most of us are not able to have the luxury of a second-string and even so, each position is so specialized that a substitute is not usually available. In our own church, we’ve found that Saturday morning is the best time to schedule a rehearsal. Prior to the first rehearsal of each season, parents and ringers meet, and the expectations of each are shared. I have been very fortunate that both the young people and their parents take the opportunity to ring bells seriously. It had become a badge of merit to attend rehearsal following a Friday night (all night) prom without even going home first. I once learned that a ringer had stayed home rather than miss a rehearsal and concert when the rest of her family went to Disneyland. This is devotion beyond the call of duty!
Why will people make such a commitment? Because ringing is an opportunity to make a significant contribution to worship. Bells enrich our worship just as voices do. Our bell choirs ring to God’s glory as an offering of their time and talent in praise and thanksgiving with the worshiping community. Their possibilities in worship are vast and are limited only by the creativity of the director.
Special Uses for Bells
Two special uses for bells I have found effective involve random ringing. First, using small bells as a pseudo-zimbelstern adds harmonics and excitement to the climax of both organ and choral passages. Second, a slow random ringing, but with large bells, proves very effective and provides a certain “monastic” background for Gregorian chants and composed music of a similar style.
I hesitate to use bell descants for congregational hymns. Many find it distracting. Concentration on the words and music by the congregation is sometimes interrupted by not only the sounds of the bells but also by the sight of the ringers. Bell choirs are a visual experience as well as an aural one.
If you are really interested in bells, first join the American Guild of English Handbell Ringers (AGEHR), whose publication Overtones provides a wealth of information and suggestions. In it, you will learn what is happening in the world of bells. Secondly, find a good handbell choir in the area and sit in on a few rehearsals. See how it is done. Maybe they’d even let you ring with them. Thirdly, from Overtones magazine, find workshops sponsored by the AGEHR. Classes and help are always available for the beginner. Lastly, decide if you have enough time to put into a bell program. If you haven’t or are not sure, stay away. It does take time! Nothing sounds worse than an inadequately prepared bell choir directed by one who “loves” bells but has been very busy—nothing sounds worse except a piccolo octet.