This method of making music is one of a very few that completely divides up the notes among many players, such that each player has only one particular set of notes. Unlike more conventional ensembles where an instrumentalist might play an entire theme or melodic line, handbell ringers must rely on each other to fill in the missing notes, much like the interlocking pieces of a jigsaw puzzle. By itself each puzzle piece means little, but when woven together the entire work of art can be appreciated. A handbell ensemble is really just a human jigsaw puzzle that becomes a single team during its performance of the music.

In fact, handbell ensembles or groups were originally called 'teams.' Click here for history of handbell ringing in Scotland. Additional historical information on handbell ringing can be found here.

Besides the most obvious way to make a sound with a handbell, which is by ringing the bell in a circular forward motion and then damping the sound against one's body, there are many other playing styles which result in a wide variety of sounds. For example, a ringer can pluck a handbell by flipping the clapper into the bell casting (either upward or downward) to make a short, staccato sound like a pizzicato on the violin. By (gently) 'slamming' the bell into the table pad during a martellato, the ringer can make a forcefully short and accented sound. Yarn-wound percussion mallets can be used to strike the bell either while it rests on the padded table (soft & short), or while it is suspended by the player's other hand (a 'distant', sustained tone). The tower swing requires the ringer to play the bell forward on a given beat, then rhythmically toll the bell down and back up on successive beats, producing an interesting visual effect as well as a dramatic change in the tone quality and volume of the bell. Of course, there are many other inventive techniques. During the last fifty years, dozens of different ringing techniques have been developed and notated in handbell arrangements. For descriptions of a veritable plethora of ringing techniques, see this glossary.

Handbells sound great!

"To the tintinnabulation that so musically wells." (from Edgar Allan Poe's 1849 Poem,  "Bells")

This onomatopoeia (according to Webster, "the naming of a thing or action by a vocal imitation of the sound associated with it, as in 'buzz' or 'hiss' "), from the Latin word for bell, 'tintinnabulum', beautifully describes the energizing and evocative sounds of the world's wide variety of bells - from cathedral tower bells to dainty dinner bells to haunting Japanese bells. Handbells and handchimes can produce the most musical and pleasing of all possible bell sounds.

What's all this got to do with ringing handbells? Simply put, here is an instrument that sounds melodious and in-tune right out of the box. Where else can beginning musicians find such a beautiful sounding instrument just begging to be played? Handbells are 'tuned at the factory' (unlike most band and orchestral instruments, as well as the guitar, banjo, mandolin, and the like.) With very little practice, a novice can be part of a group of musicians capable of rehearsing together to produce exceptionally sonorous music. There are no worries about a squeaking reed or scratching bow here. The tintinnabulation of handbells can be a glorious sound for both performer and listener alike. The most challenging skill for a beginning ringer to develop is the ability to count the beats of each measure and play one's bells at the appropriate time (perhaps a little harder than it might first appear.)

The unique power of musical training was well summarized by Plato in the 4th century B.C.

Rhythm and counting have always seemed the paramount skills required of any musician. Because handbells are essentially percussion instruments and because the musical notes are dispersed so completely throughout the ensemble, handbell counting can be more demanding than keeping time in any other group. When your particular part calls for only the 5th and 6th notes in a rapid 8-note sequence, the rhythmic process can be much more difficult than if you could play the entire run of notes on a keyboard or other instrument, all by yourself. In fact, accomplished keyboard players often find learning to ring handbells much MORE difficult than most musical novices. It's very difficult to give up the notion that you're completely in charge of the music. Learning to work with others (who often bring to the group a wide range of raw talent and musical training) is both the greatest challenge and the richest reward of rehearsing and performing handbell music.

To gain an appreciation of how confusing this musical fragmentation becomes, consider the following parlor experiment:

Select a simple paragraph from a storybook. Read the story aloud in a group made up of several friends, each of whom is assigned only one or two sentences at a time. Try to keep the natural flow and expression of the text as natural as possible. Now, repeat this reading with each person responsible for only one or two words at a time. Using this method, try to read the text as a group real fast!

Most of the time, playing handbell music is easier than this, but sometimes it's more difficult and the ringers feel even sillier.

Developing good mental and physical coordination can be the most frustrating challenge for handbell ringers. Fortunately, however, playing bells regularly is one of the best ways to improve coordination, concentration, and confidence.

"Teacher, which commandment in the law is the greatest?"

He said to him, " 'You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.'
This is the greatest and first commandment.

And a second is like it: 'You shall love your neighbor as yourself.' "

Matthew 22:36-39 (NRSV)

First of all, we ring handbells to praise and worship God!

Secondly, we can learn a little about how to love one another by ringing handbells.

Working together toward a common goal is central to any religious doctrine, especially in Christianity. Making music together with handbells forces each ringer to depend on others to play their own part. It's not enough to just try to do it all yourself. Unlike other ensembles where a strong and talented player (or singer) might 'carry' the whole group, all members of a handbell team must strive to play their best to produce the desired musical outcome. Just as we cannot live out the lives of others for them, handbell ringers cannot play another's musical part. After all, we only have two hands and we need the hands of others to complete the musical texture. Difficult moments during rehearsals sometimes require that the more talented players attempt to (diplomatically) coach weaker ringers and help them out. Of course, all ringers must watch the conductor like a hawk and seek to perform according to the conductor's direction. In handbell choirs the most brilliant talents and the most frustrating awkwardness are shared by all. I know of no other musical experience that instills such humility and leadership in each of its players. You simply cannot perform in a handbell 'team' without "loving your neighbor as yourself."

Successful ensemble ringing also requires a willingness on the part of all players to attend rehearsals and performances regularly. Such faithful hard work allows us to reach our full God-given potential as musicians. Here is a sample letter of commitment used by many successful handbell choirs.

I have enjoyed many years of musical training and performance opportunities as a trombonist, guitarist, singer and handbell ringer/conductor. Over the last twenty years I have been fortunate enough to attend many regional and national handbell festivals. These gatherings have brought together ringers from many separate organizations and allowed them to share training classes as well as massed ringing rehearsals and concerts. After preparing the festival repertoire in advance, massed groups as large as twelve hundred (!) players have enjoyed the thrill of such a grandiose musical performance. These events also have offered each smaller ensemble a chance to meet other ringers with similar interests and skills. Playing in one of these festivals can be very exciting!

The American Guild of English Handbell Ringers (AGEHR) provides the organizational backbone for many handbell activities in this country. They sponsor a generous selection of festivals and workshops each year, and they also commission original compositions and musical arrangements for bell choirs, both large and small.