Note: The term “best practices” means a methodology that consistently produces superior results.
Preparation – director: Do score study, breaking down each piece to determine how you’re going to approach teaching all the elements, such as rhythm, techniques, musical expression, etc. In the 1990s (and perhaps other years), Overtones ran an excellent series called Conductor’s Roundtable, where accomplished conductors explained how they would analyze and teach a piece. If you’re a member of the U.S. handbell guild, you may find some of the articles online, or you could order back copies. Always go into rehearsals with a plan for what you want to accomplish, and consider how that fits into the bigger picture of preparing to ring in church or present a concert. Continue reading Rehearsal “best practices”
Struggling ringers often feel like their ringing problems are their own fault, but how the director runs the bell choir makes a huge difference in results. In this article, I’ll explore how assignments, music choices, and equipment problems affect struggling ringers and beginners. Continue reading Setting ringers up for success
If you work with an accompanist only occasionally, you don’t need advice about how to conduct your rehearsal: you scheduled the appointment for a reason, so there you are. But if you’re considering a set schedule, like a weekly or biweekly rehearsal, you may wonder how best to use the time. Though this depends on your own priorities, here’s some insight into my experience. When performing regularly with the same accompanist, there’s always something to work on. Pieces are in various stages of development: selection, learning, interpreting, polishing, rehearsing for performance, and reviewing after performance for needed improvement. Like any interesting “job,” no two days are exactly the same, but I’ll recap this week’s rehearsal to give you an idea of how my accompanist and I work together. Continue reading Accompanists: rehearsal