Classical Bells offers workshops in the Detroit area. We almost always
include a treble bell/4-in-hand technique class because ringers and
directors tell us they want as much up to date info about four-in-hand
as they can get. We emphasize ringing style and presentation in every
technique class. This outline includes every concept I can remember
covering or hearing covered in a treble class.
A. Ringing healthy
relaxed grip (hold bell with thumb and two fingers, 4th and 5th fingers relaxed)
keep wrists relatively firm; no snapping; ring from shoulder
slightly bent knees; whole body involvement
risers for kids and short ringers
B. Presentation
Aural factors
a. tone production: fluid arm motion and no parked bells
b. understanding when melody and when not
c. damping
Visual factors
a. match your neighbor - how you hold, move, and stop your bell
b. facial expression: match mood of the piece
c. projection: melody notes out farther than harmony
C. Special damping techniques
Overlap tones for best legato, i.e., damp after next tone sounds, or when your tone is not enhancing the music ("judicious LV's")
Thumb (or thumb+ 1st finger) damp while arm is still extended (when appropriate for less jerky appearance). Obviously only applies to smaller castings.
D. Shaking, Proper stopped techniques and malleting, Passing a bell,
Weaving, Displacing a bell, Bell Maintenance (wipe inside and outside
every time; recommended polishing schedule; how to store for long term)
- can be covered if appropriate in beginner class, or if time allows and
topic not covered in a different class the same day
E. Four in Hand - if this is new to many, you may need 15 min on this alone, more if you then discuss it.
Usually avoid interlocking handles in order to make smooth transitions between bells.
Explain 4ih slowly with demo. [Moves quickest with at least one
trained assistant per two or three students. Trained means they will
SILENTLY correct hand and bell position errors W/O A WORD until the
primary presenter has finished the explanation] May wish to give each
attendee a copied visual aid. Try not to move on until every attendee is
successful. [Trained assistants keep encouraging the most puzzled]
Demo how to ring both bells simultaneously (well, almost) in 4ih position.
Demo ways to damp each bell - shoulder, table, finger - and both together. Also, how to play one while damping the other.
Show on blackboard how to notate 4ih bell positions in music (as memory aid)
Discuss deciding which bell goes where, e.g., heavier on top if possible; less played bell on bottom; G w/ A and B w/ C (scale) vs. G w/ B and A w/ C (thirds).
Mention pain relievers: double gloves (no dots on under pair); moleskin or bandaids cut to fit where it hurts.
Explain that others use and teach different four in hand styles, and
each person should use what works for him/her in each situation.
[Classical Bells uses and teaches "shake hands" and "knock on the door,"
but will explain other methods if class members ask. One method is
usually all beginners want.]
F. Shelley
Demo difference from 4ih and discuss how to choose which to use, e.g., shel good for octaves; when both rung together, may sound louder with shelley.
Demo how to turn upper bell from 4ih to shel and back w/o putting a bell down or using other hand.
Extra notes: We never try to get through all of this in one class.
Important to know what other presenters will be teaching to avoid too
much overlap or missing a vital. Unless you have extreme beginners, 4ih
will probably be the hot topic.
We usually pass out class outlines AFTER the class to avoid distracting
attendees with them. But some people need to take notes to be happy.
If possible, lay out bells before class, two 6's and two 7's per
person. If you need to use 5's, combine them with 7's and give others
four 6's. If you don't have enough bells for each attendee to practice
4ih simultaneously, offer the class twice.
Because we find that, when ringing, we usually are picking up a second
bell when already holding one (not picking up two bells simultaneously),
we teach 4ih by picking up the top bell first and then adding the lower
bell, rather than positioning both bells on the table and then grabbing
them simultaneously.
For any position responsible for more than two notes in scale, we
prefer holding bells in thirds, rather than in scale order, to encourage
cleaner damping and quicker fast passages, and because thirds are much
more likely to ring together than seconds.