“Flourishing”
“Flourishing” the bells is impossible in quick music, and is only undertaken in slow passages, when the notes are to be sustained. In working the bells alternately, the dying vibration of one bell must never be allowed to mingle with the next, for this is even more discordant than when, in pianoforte playing, a pedal is kept down too long, and makes the vibration of one chord jar into the next.
To prevent this, the vibrating bell should be placed on the table immediately before the other is about to be struck, but not in such a manner as to rob the note of its proper value. In a staccato passage, on the contrary, the bells should be set quickly on the table as soon as they have sounded.
In practicing the ringing of alternate bells, make each vibration the value of a semibreve, then a minim, and lastly a crotchet, until perfect dexterity is achieved, thus:—
Play [semibreve (1)]
[minim (2)]
[crotchet (3)]
When the trebles are divided, the first treble plays the notes turned upwards, and the second treble the downward tailed—thus, in the scale of C:—
Play [music]
The notes should follow without any break as continuously and smoothly as though one player were ringing the scale.
Ringing two bells in each hand is difficult of accomplishment. In order to do this successfully, one bell is lifted and gripped in the right hand by the first and second fingers and struck downward. Then another bell is inserted between the thumb and first finger, the flat part of the handles at right angles. The first bell is again struck down, when it will be discovered that the second bell remains silent until it is slightly turned from left to right by a quick wrist movement, while in its turn the first bell gives no sound, simply because it needs a downward stroke, and the side stroke, which gives voice to the second bell, is in a contrary direction.
Extreme care and perseverance are necessary before these two bells can be properly manipulated, and a great number of exercises which the student can construct for himself should be practiced.
Chromatic notes present great difficulty, especially in more advanced music, and can only be mastered gradually. In simpler passages, when they occur, the student should place the chromatic bells in the back row in the order in which they are to be used. If his chromatics are arranged (1), (2), (3), (4), (5), and he has memorized their position beforehand, he will have no difficulty in finding them as they are required.
A company of bell-ringers should have a large répertoire of music of as much variety as possible. Many of the pieces which are most suitable are somewhat hackneyed, and yet are cordially welcomed when musically treated, and other works can always be arranged for playing.
Tone, expression, and phrasing are all-important. The rhythm of sounds must not alter with the changing of the bells. It must continue in a sweet flow of music, just as if one hand were manipulating every bell. The jerk, the overlong pause, or the lack of tone in one player’s work, has power to mar the whole performance.
In large orchestras constant playing together is necessary for proper union and harmonizing of sounds, and this is equally essential in bell-ringing. It must ever be remembered that “practice makes perfect,” and the blending of the bells needs unending patience and persistence.
For beginners such pieces as “The Minstrel Boy,” “She Wore a Wreath of Roses,” “Home, Sweet Home,” “The Last Rose of Summer,” and the National Anthem prove stepping-stones to enterprises of a more complicated nature, and should be carefully studied, for “vaulting ambition” is quite out of the question in the art of hand-bell ringing.