Ringing in the Old and the New, Each Year

I direct a middle school handbell choir at a small, rural, parochial K-8 school. As part of our music curriculum, each middle-schooler must select an ensemble in which to participate: choir, band, or handbells. Most of the students who join our bell program each year have little musical background, usually limited to what they’ve learned in General Music classes throughout elementary school. The challenge each year is to develop these new students so they can play within an established ensemble while giving our more musically proficient students an opportunity to learn literature that will allow them to grow as musicians. I find that judicious position assignments, careful repertoire selection, and detailed score preparation lay the groundwork for a well-balanced program that each student finds rewarding.

We ring on 4 octaves of bells and 4 octaves of chimes. Last year, we had 23 ringers with nine eighth graders, eight seventh graders, and six sixth graders. When introducing new ringers to the existing group each fall, I usually spend the first one or two classes covering classroom expectations and the basics of ringing and damping both bells and chimes as I model the correct techniques. Our classes usually last about an hour, twice a week, for the entire school year. We play through prepared exercises from various publishers to learn about harmony, melody, and rhythm. This also serves as a refresher for returning students who have not rung over the summer break. We discuss the proper care for the instruments and how to use polishing cloths. Students are expected to know where to find their bells and chimes in the cases and return them after practice. Older students prove helpful in this task, serving as mentors to the newer ringers. Since we hold rehearsals in the church choir loft, our rehearsal space is small, and learning to work together efficiently is crucial.

When assigning ringers to their positions at the start of each year, it’s no surprise that I generally place experienced ringers—seventh and eighth graders who have at least one year of experience—in the most critical handbell positions, such as B4/C5, and bass bells. New ringers, usually sixth graders, are assigned to ring chimes that double the corresponding bells of more experienced ringers. Doing so provides an excellent opportunity for new ringers to receive “on-the-job” training in technique, note reading, and rhythm from more experienced ones while also allowing them to jump right in and start making music.

Another benefit of doubling chimes with bells is that new ringers can fill in on their corresponding bells if a student is absent. This means we rarely have a rehearsal when one or more positions are empty. That tends to give students ownership of the group and allows them to try new positions throughout the year. I am always careful to include at least one piece in our program with a chime feature, giving students who play them a chance to shine.

Lower-level (1 or 1+) pieces are usually chosen at the start of the year to get new ringers acclimated to their instruments and help returning ringers “knock the rust off” from summer break. I have had good results from introductory pieces such as Michael Keller’s Five Easy Celebrations and Michael Helman’s Meditation in F. Many of our returning ringers want to try new positions from the previous year, so there is a learning curve for these older students as well as the younger ones. When selecting these early pieces, I look for simple, straightforward rhythms, usually quarter notes with a few eighth note patterns, no more than one accidental, and very few bell changes. We clap and count out rhythms before playing them.

As we are a Catholic parochial school, this group participates regularly at our weekly school masses. I usually introduce music for these masses before I introduce concert music. We have several introductory pieces that were composed by one of my predecessors that have become “standards” for our group. They are simple bell peals focusing on ascending and descending lines, one and two accidental key signatures, and repeats. We are usually ready to play at least one of these standard songs by the second or third week of the school year. We repeat these pieces as a prelude or postlude to mass for a few weeks. This also gets the students used to performing in public. I add more complex new music to our church repertoire as the year goes on, such as Douglas Wagner’s Carillon Celebration and March of the Crusaders by Betty Lou Cobb, both Level 2 pieces, as well as Karen Thompson’s Acclamation in G Minor (L2+). We also play a few bell arrangements of hymn tunes to accompany our school choir, which also participates in our weekly services. By the end of the year, we are rotating through five or six pieces just for church, playing one or two of them each week during the service. Our recent concert repertoire included Cathy Moklebust’s arrangement of Up On the Housetop (L2+ with extra percussion and choreography) for Christmas, as well as Matthew Compton’s Exultation (L2+) and Kevin McChesney’s arrangement of Pirates of the Caribbean (L3) in the spring.

As I’ve mentioned, our older ringers have an important role as mentors toward our younger ringers. Once I’ve introduced a new technique or concept to the group, the more experienced ringers act as a coach to their table partners. Of course, I always need to keep a keen eye and ear out to ensure everyone uses proper technique and plays their notes correctly.

One reward for our eighth-grade students completing their time at our school is a featured piece during our main concerts. These pieces usually incorporate more advanced techniques and rhythms, allowing them to show off all the skills they’ve learned over their three years in the program. We typically rehearse this music at sessions outside of our regular bell classes. The past year’s group of nine ringers played Sharon Elliot Cheek’s Glockenchorspass, while last year’s group of six rang Jason Krug’s 12-bell piece Radiance (L3-). This feature piece is such an anticipated event that many of my seventh graders begin discussing potential pieces for their big moment the following year! It also is a great recruitment tool for the next group of rising sixth graders. Our most dedicated eighth graders who have moved on to high school may also receive an invitation to ring with the parish adult bell choir. This allows them to ring after they’ve moved on from our school program.

I enjoy seeing how our young ringers progress throughout the year, especially those with no previous experience playing any instrument, let alone playing in an ensemble. It is rewarding as a choir director to open the world of music to students and see them perform with and for their peers with pride. Students learn teamwork and how to take part in something bigger than themselves. Setting students up for success from the start will foster their life-long love for music and performance.

I direct a middle school handbell choir at a small, rural, parochial K-8 school. As part of our music curriculum, each middle-schooler must select an ensemble in which to participate: choir, band, or handbells. Most of the students who join our bell program each year have little musical background, usually limited to what they’ve learned in General Music classes throughout elementary school. The challenge each year is to develop these new students so they can play within an established ensemble while giving our more musically proficient students an opportunity to learn literature that will allow them to grow as musicians. I find that judicious position assignments, careful repertoire selection, and detailed score preparation lay the groundwork for a well-balanced program that each student finds rewarding.

We ring on 4 octaves of bells and 4 octaves of chimes. Last year, we had 23 ringers with nine eighth graders, eight seventh graders, and six sixth graders. When introducing new ringers to the existing group each fall, I usually spend the first one or two classes covering classroom expectations and the basics of ringing and damping both bells and chimes as I model the correct techniques. Our classes usually last about an hour, twice a week, for the entire school year. We play through prepared exercises from various publishers to learn about harmony, melody, and rhythm. This also serves as a refresher for returning students who have not rung over the summer break. We discuss the proper care for the instruments and how to use polishing cloths. Students are expected to know where to find their bells and chimes in the cases and return them after practice. Older students prove helpful in this task, serving as mentors to the newer ringers. Since we hold rehearsals in the church choir loft, our rehearsal space is small, and learning to work together efficiently is crucial.

When assigning ringers to their positions at the start of each year, it’s no surprise that I generally place experienced ringers—seventh and eighth graders who have at least one year of experience—in the most critical handbell positions, such as B4/C5, and bass bells. New ringers, usually sixth graders, are assigned to ring chimes that double the corresponding bells of more experienced ringers. Doing so provides an excellent opportunity for new ringers to receive “on-the-job” training in technique, note reading, and rhythm from more experienced ones while also allowing them to jump right in and start making music.

Another benefit of doubling chimes with bells is that new ringers can fill in on their corresponding bells if a student is absent. This means we rarely have a rehearsal when one or more positions are empty. That tends to give students ownership of the group and allows them to try new positions throughout the year. I am always careful to include at least one piece in our program with a chime feature, giving students who play them a chance to shine.

Lower-level (1 or 1+) pieces are usually chosen at the start of the year to get new ringers acclimated to their instruments and help returning ringers “knock the rust off” from summer break. I have had good results from introductory pieces such as Michael Keller’s Five Easy Celebrations and Michael Helman’s Meditation in F. Many of our returning ringers want to try new positions from the previous year, so there is a learning curve for these older students as well as the younger ones. When selecting these early pieces, I look for simple, straightforward rhythms, usually quarter notes with a few eighth note patterns, no more than one accidental, and very few bell changes. We clap and count out rhythms before playing them.

As we are a Catholic parochial school, this group participates regularly at our weekly school masses. I usually introduce music for these masses before I introduce concert music. We have several introductory pieces that were composed by one of my predecessors that have become “standards” for our group. They are simple bell peals focusing on ascending and descending lines, one and two accidental key signatures, and repeats. We are usually ready to play at least one of these standard songs by the second or third week of the school year. We repeat these pieces as a prelude or postlude to mass for a few weeks. This also gets the students used to performing in public. I add more complex new music to our church repertoire as the year goes on, such as Douglas Wagner’s Carillon Celebration and March of the Crusaders by Betty Lou Cobb, both Level 2 pieces, as well as Karen Thompson’s Acclamation in G Minor (L2+). We also play a few bell arrangements of hymn tunes to accompany our school choir, which also participates in our weekly services. By the end of the year, we are rotating through five or six pieces just for church, playing one or two of them each week during the service. Our recent concert repertoire included Cathy Moklebust’s arrangement of Up On the Housetop (L2+ with extra percussion and choreography) for Christmas, as well as Matthew Compton’s Exultation (L2+) and Kevin McChesney’s arrangement of Pirates of the Caribbean (L3) in the spring.

As I’ve mentioned, our older ringers have an important role as mentors toward our younger ringers. Once I’ve introduced a new technique or concept to the group, the more experienced ringers act as a coach to their table partners. Of course, I always need to keep a keen eye and ear out to ensure everyone uses proper technique and plays their notes correctly.

One reward for our eighth-grade students completing their time at our school is a featured piece during our main concerts. These pieces usually incorporate more advanced techniques and rhythms, allowing them to show off all the skills they’ve learned over their three years in the program. We typically rehearse this music at sessions outside of our regular bell classes. The past year’s group of nine ringers played Sharon Elliot Cheek’s Glockenchorspass, while last year’s group of six rang Jason Krug’s 12-bell piece Radiance (L3-). This feature piece is such an anticipated event that many of my seventh graders begin discussing potential pieces for their big moment the following year! It also is a great recruitment tool for the next group of rising sixth graders. Our most dedicated eighth graders who have moved on to high school may also receive an invitation to ring with the parish adult bell choir. This allows them to ring after they’ve moved on from our school program.

I enjoy seeing how our young ringers progress throughout the year, especially those with no previous experience playing any instrument, let alone playing in an ensemble. It is rewarding as a choir director to open the world of music to students and see them perform with and for their peers with pride. Students learn teamwork and how to take part in something bigger than themselves. Setting students up for success from the start will foster their life-long love for music and performance.

Brian Kaltenbaugh teaches Middle School Handbells and Private Piano at Saint Joseph School and serves as the Music Director at Saint Joseph Catholic Church in Martinsburg, WV. In addition to his school ensemble, he directs his parish bell choir and SATB choir and serves as parish organist/pianist. Brian has served as a church musician for over 25 years in Pennsylvania, Maryland, and West Virginia. He received his BA in Music Theory and Composition from Indiana University of Pennsylvania. He resides in Martinsburg, WV, with his wife and two daughters.