Once you figure out how you’re going to play a handbell solo, record the choreography for future reference (and possible publication). There are several approaches you can use. I prefer the system found in Nancy Hascall’s notation guide (part of which appears in the Guild’s notation guide), which I find easy to use and intuitive. I recommend buying a sheet lifter from Jeffers that summarizes single bell technique notation on the front and multiple bell technique notation on the back. Continue reading Documenting solo choreography
All posts by nkirkner
Rehearsal marks
While I’m grappling with the next choreography topic, I’d like to share something I recently learned about: rehearsal marks in handbell works. Rehearsal marks (typically letters) are used in orchestral works, so the conductor doesn’t have to wait while everyone finds, say, measure 213. S/he would refer to “Section G, 4 measures in” or “the pickup to section L.” They’re useful landmarks for working with others, like an accompanist or quartet partners, or someone learning new music. Continue reading Rehearsal marks
Footwork
An audience hears what it sees, especially in the ballet of solo ringing, where the performer’s body is an integral part of the instrument. One unique and beautiful aspect of handbells is that the audience can see the music moving up and down and flowing along the bell table. All movement should be organic, arising out of the music, neither squelched nor imposed for its own sake. The demands of the music and resulting movement influence choices about techniques and organizing bells. For example, you wouldn’t knowingly plan choreography that always resulted in a bell coming in late, or program a technique that detracted from the overall performance. Continue reading Footwork
Reverse grips
This article assumes you understand the basics of Shelley ringing and four-in-hand “ring and knock.” Sometimes you have the bells in a pair set for the right hand, and the next time you approach that pair, your left hand is free. Rather than choreograph around the problem, learn how to pick up the pair with the other hand. There are several ways to do this, in addition to the method already covered in Interlocked four-in-hand. Continue reading Reverse grips
Goal setting and self-assessment
Let’s take a short break from choreography and talk about something I do every January and July: assess my progress and set goals for the coming 6 months. As with any field, establishing written goals is a significant driver of success, because it determines the use of time and resources. The life of a solo musician (for all its enjoyable aspects) can be lonely and discouraging sometimes. A technique just won’t work, or a tricky passage isn’t improving, or a performance disappoints you, or you feel overwhelmed by everything you ought to be working on, or you experience setbacks. It can be hard to see progress from day to day, and you don’t have the support of a bell choir or other large ensemble. Continue reading Goal setting and self-assessment
Starting, ending, and transitions
I once read that a good sermon consists of a good beginning and a good ending, as close together as possible. While audiences don’t often nod off during handbell solos, we can engage them with a variety of openings and closings that enhance both the musical and the visual effect. Instead of starting and ending every piece with bells at the shoulder, wouldn’t it be more interesting to add some variety to your concert? Which would you rather watch: someone fidgeting during the piano introduction, or a soloist who approaches the table with confidence, making every move count? Would you rather see a soloist run down the table and snatch up bells for the next section, then stand idle until the piano catches up, or watch her move gracefully through the transition at her leisure? Continue reading Starting, ending, and transitions
Interlocked four-in-hand
There are situations where standard four-in-hand configurations don’t work well. You may have to pick up a preset pair of bells even faster than usual, or at an uncomfortably long reach. Sometimes you have a pair set up for one hand and the next time you pick it up, it’s in the other hand. A bell handle may be too wide to grip between your index and middle finger, especially on Malmark bells or older Schulmerichs. You may find it tiring to hold a pair of bells slightly too large for your hand. In all these examples, interlocked four-in-hand is one possible solution. Continue reading Interlocked four-in-hand
Exchanging primary and secondary bells
This article assumes you understand the basics of Shelley ringing and four-in-hand “ring and knock.” Today’s topic is moving the primary bell to the secondary position, or vice versa. You would generally do this to create new four-in-hand pairs (either Shelley or ring-and-knock), because you need the bells grouped differently the next time you ring them. Often the best time to set that up is when you’re already holding one of the bells in a different four-in-hand configuration. Rather than explain all the possible combinations, which would be confusing, I’m going to introduce four different techniques, along with a few principles to apply them to different situations. Continue reading Exchanging primary and secondary bells
Alternate Shelley and combo ring
This article assumes you understand the basics of Shelley ringing and four-in-hand “ring and knock.” You generally use Shelley to ring two bells together, and set the clappers parallel. You use ring and knock to ring two bells separately, and set the clappers perpendicular. However, sometimes you want to ring two bells separately when they’re set up for Shelley, or you want to ring two bells together when they’re set up for ring and knock. You’ll have more choreography options if you learn alternate Shelley, where you ring one bell in Shelley configuration, and combo ring, where you ring and knock at the same time. Continue reading Alternate Shelley and combo ring
Special techniques
I try to have something interesting in every piece. Over the course of a concert, the audience acclimates to watching one person ring “all those bells,” so I unveil surprises to keep them engaged. Continue reading Special techniques