The student should practice lifting and striking the bell with alternate hands, until it is as easy to manage it with the left hand as the right. When he has mastered this difficulty he may try the working of two bells—one in each hand, lifting one bell while the other is struck, taking care, however, always to place them in such a position that no turning or twisting of the handle is necessary before action, as this involves loss of time, and makes him liable to constant blunders when he takes part in a tune.
The length of the table varies according to the number of bells required and the style of music undertaken. Forty-four bells are sufficient for most simple melodies and exercises, and for them the space required is about 11 feet by 5 feet.
“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:—
