Bell assignments and a quitter

[C.T. Hogan]

Hi all, 

This is my first post and I'm dealing with problems caused by one ringer.

I have a hand-bell ringer who insists we must always follow standard hand-bell assignments even though we have 9-10 ringers not 8 or 11. I say that only applies when we have the perfect amount of ringers. It takes us ~6 rehearsals to play a level 2 piece; everyone is pretty much an amateur. Am I off-base wanting everyone to participate, rather than cutting out 1-2 people? How do you build an ensemble if you exclude people? What do other choirs do in this circumstance?

Also, she quit one week before our Christmas performance because of this. I don’t want her back after she left us in the lurch; but rumor suggests she’s going to try to get back in. I now think I need a code of conduct for everyone to sign in order to participate in any of the church’s five music groups. Who’s being unreasonable? Me or the ringer? Should I let her back in without consequences? Does anyone else have codes of conduct?

Thanks for your thoughts,

Chris

[gj berg]

I was directing a beginning (as in I was their first director after getting bells) church group.  The group decided to include one older gentleman even though he was not a good ringer as the **fellowship and community** of a hansbell ensemble were more important than perfect music.

But it was a group decision, not a unilateral one.

Sounds like a group discussion is needed to get things expressed and a decision made regarding these issues.  Then you can put a document together describing how things work and allow everyone to sign that they understand this.

__
Tread lightly on dreams

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[THOMAS SIMPSON]

Hello! 

I have a Ringer that joins every fall, and then gets upset at Christmas, and then drops out in the spring. It’s getting tiresome. Sigh. But I’ve always told him he’s welcome to come back, because, well it’s church. 

Approach her first. Tell her you hear she wants to come back, and if that’s true, you two need to speak about the expectations going forward.

About your assignment problem, you tell them you’re in charge of assignments. You know what’s best for the group, and if they have a problem with it, you’re happy to speak with them privately. Then don’t say anything about it again.

Thomas 

On Jan 18, 2026, at 12:38 PM, gj berg <ladys...@gmail.com> wrote:



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[Barbara Robinson]

People can’t expect to walk in and out like they feel like it. 

Make an announcement to everyone that it’s not fair to your neighbors if you just leave.  

Can you play a piece on a piano with half the keys missing.  The piece of music will sound like nothing.  

It doesn’t hurt to have people sign a waiver so they know what is expected.  Sure emergencies arise, but she sounds like she doesn’t know what she is doing and just leaving.  Good Luck!

Barbara, NJ

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On Jan 18, 2026, at 4:18 PM, 'THOMAS SIMPSON' via Handbell-l <handb...@googlegroups.com> wrote:

Hello! 

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[long...@aol.com]

For your ringer who insists on standard assignments, when you have folks who could cover more bells or the music would be served better with some tweaks - here are some thoughts:

 

1. If you want this ringer to come back, yes, make sure they know YOU are in charge of assignments. It comes with the "director" badge.
2. If it works for you, make sure this ringer does always play a "standard" assignment (giving them less to complain about) - and then work your more flexible ringers around them, picking up extra bells or playing a bell outside their range. My ringers love to do this!
3. A reminder that for a 2-3 oct. piece and 9-10 ringers on hand, you can add either the treble 3 bells (A6,B6, C7) or the lower bells C4,D4,E4,F4 - in pairs, not necessarily all of them. Sometimes just the C4D4 is appropriate to add on if you have one extra ringer.
4. Look carefully at your Level 2 music, since it's taking you 6 weeks to learn it. Make sure your ringers can clap and count the rhythms before you ask them to ring them, can switch out accidentals, understand how the music works as a whole.
5. And watch 8th notes - not all 8th notes work the same. If a piece has one ringer playing both the "1" and the "+", it's much easier than it is for one ringer to play the "1" and another ringer to play the "+".  If the music doesn't do this, be sure to let your ringers practice counting and clapping only the "+" of the beat. Have the lowest ringer clap 1+, and the next clap 2+ - all the way up..Then YOU clap the "1" and have the lowest ringer clap the "+ 2", and the next clap the "+ 3". Then spread it our over all the ringers, each claps on half of the beat.....some will clap on 1 and another on +. This is a more complex skill!  I have practice sheets if you need some.

Kath Wissinger

[Paul Kinney]

Chris Hogan asked about a ringer who wants to impose bell assignments and quit over it.

I direct a small church bell choir. We somewhat follow "standard" assignments but not always. Several of my ringers started not knowing how to read music and one guy after years has yet to play with a good technique.

Since this is a church group I work to be open to whoever walks in the door and make sure they have a place. Thankfully, I haven't had anyone threaten to quit or actually quit over my views. I have a few quite good ringers who can play any position and can handle extra bells. So if someone new comes in I can give the newcomer a "standard" spot and my good ringers can expand outward a bit more on a 2-3 octave piece.

I do have a question: Why does this ringer care how bells in the rest of the choir are assigned? My answer would be they shouldn't. I would give this person a "standard" assignment, perhaps DE5, and say beyond that who plays what bells is not their responsibility.

If I knew the ringer well I might ask the person to take more responsibility, such as take over directing the group. But I don't know if the ringer in question would see the bluff.

As for "standard" positions... There are a lot of ways to assign bells. I've attended classes featuring many of them. So I call the system most groups use as "commonly used." I don't know if this would make a difference to this ringer.

My suggestion is to talk to this person, saying they're welcome to come back. But only if they recognize what is their responsibility -- and what isn't.

Paul Kinney
Redford Aldersgate UMC
Redford, MI

[Joann Wallenburn]

Hi Chris,

I feel for you.  I really do. I love to ring so much,  I hate it when these personality conflicts take away from the joy of bells.

First, because you are a church choir, I totally agree with you wanting to be open and inclusive.  However, when a ringer, who has been accepted into the choir, quits, especially right before a performance, that ringer has forfeited their right to be a member of the choir. IMHO

If you want to consider allowing her back, but are conflicted, you might consider letting your choir members decide, with an anonymous written vote.  I suspect that many, most, or all of the ringers who were left in the lurch by this ringer aren't excited to have her back.

Absolutely,  position assignments belong to the director.  Always listen and respect others input, but stand behind your decisions.  If she doesn't like her assignment and it can't be changed, better to have her quit before you start practices than right before playing in church.

My (community) choir had a varying number of ringers requiring us to flex constantly.  Only one had previous ringing experience,  but all could read music. I quickly taught several to ring 4ih. We never worried about "standard" assignments. 

Anyone who would quit right before a performance would do it again even if she signed a code of conduct.  IMHO

Best of luck.  Hope this resolves in a good way. 

Joann

Joann Wallenburn

PO Box 1417

Seeley Lake, MT  59868

Cell: (406) 370-2483

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[Sharon Guilliams]

Hi Chris,

Assignments of bells have evolved over the years. (I remember when 4 octaves had assignments to read cross clef!!!) I currently have 9 ringers, one of which had shoulder surgery so she is doing 2-in-hand, and we will be doing full 3 octaves.  Perhaps a conversation with 2 parts, 1 - letting her know that abruptly quitting left the rest of the group in the lurch and you wish that they would have come to you earlier, and 2 - bell assignments are your job and depending on the song and the people, you may have to assign in a manner that is not standard. 

You did not mention what your "off-standard" assignments were. If you are putting a bell in an "opposite' hand than normal (for example you assign it such that the C6 is in the right hand, then this would be more difficult for your ringers and if they change parts for different songs, this would be even harder. Even today, early on most people are taught the "space" note goes in the left hand and l"ine" note goes in the right.

I would look at teaching at least one if not 2 of your ringers to ring 4-in-hand. If I have 10 ringers, I typically assign a person G6-C7. If I have 7 ringers, and am playing 2-octaves, I assign one person E6/F6/G6. As I said I currently have 9 ringers for 3 Octaves and have been assigning C4-A4 to 2 people and someone either G6-C7 or E6-A6, depending on the piece. But I do NOT mess with B4/C5, D5/E5, F5/G5, A5/B5 and C6/D6.

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.

[Stephanie Wiltse]

First of all, my heart goes out to you. Having someone quit right before a performance is so stressful.

I'm wondering what was behind her pulling out so suddenly. Did she quit in frustration? Was she feeling bad that she wasn't up to the task? Or was she upset over not having the assignments the way she wanted them?

Over the years, my church group has gotten smaller and smaller. Creative repertoire selection and assignments have been the only way we've managed. The ringers have been flexible, but I've had to be flexible as well. For example, I have one ringer that really, really wants to stick with her DE5 bells. So I've learned to keep her assignment pretty much constant, which gives her more confidence and a better chance of success. I move around the others who are more comfortable with changing bells. That being said, in December we did a special service where, on one of the pieces, I needed my DE5 ringer to ring B6C7. I gave her plenty of warning and explanation, and encouraged her to mark her music. She ended up doing really well and was proud of her accomplishment.

As for someone quitting at the last minute, I think it would be good to have a conversation with the ringer. (It's too bad if she didn't already have one with you.) Signed codes of conduct are all well and good, but especially in a volunteer group, you really can't force a commitment unless the ringer feels it.

Bless you for your work and best wishes as you move forward.

Stephanie Wiltse

Grand Rapids, MI

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[Marcia Payne WOOTEN]

Just joined this thread and today, am dealing with some of these issues. 28 years a ringer, 27 years a church handbell director, and 6 months director of a community choir.  Such good ideas here, since community choirs are different from church choirs. Thanks in advance to all on this thread. I don’t have any wisdom to add just yet, but maybe soon. 😁😁

mpw 

On Jan 18, 2026, at 9:59 PM, Stephanie Wiltse <stephani...@gmail.com> wrote:



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[Stephanie Wiltse]

By the way, you really nailed one of my pet peeves: the fact that ringers are talking to each other, but not to you. I had a church group who had a self-appointed spokesperson who loved to tell me how the group was feeling. One year (I was very new) I signed them up for a local festival and they were feeling overwhelmed by the repertoire. But they told her, not me. 

Much as I tried to encourage a culture of speaking to me directly and not through a third person, it just didn't happen, and it doesn't, either. We try not to be scary, but many of our ringers are afraid to talk to us, even if they love us. That's one I'm not sure how to fix.

Stephanie Wiltse

Grand Rapids, MI

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[Rima Greer]

My biggest issue with this entire situation is that the ringer is willing to destroy the cohesiveness of the group, and possibly ruin their ability to perform, just because they don’t like their assignment. Pulling out at the last minute is disrespectful, not just to the Director, but to all of their fellow musicians. I would not let a person like that back in my group under any circumstances. There’s no blackmail in handbells.

In the immortal words of Monica McGowan, when talking about how she auditions for her group:  “I look for three things: commitment, attitude, and talent. In that order.”

Sent from my iPad

On Jan 18, 2026, at 7:09 pm, Marcia Payne WOOTEN <mpwo...@gmail.com> wrote:

Just joined this thread and today, am dealing with some of these issues. 28 years a ringer, 27 years a church handbell director, and 6 months director of a community choir.  Such good ideas here, since community choirs are different from church choirs. Thanks in advance to all on this thread. I don’t have any wisdom to add just yet, but maybe soon. 😁😁

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[Jeannie Cushman]

Rima's post reminds me of my first reaction to the issue:  share videos of Forte, Carla and Larry, Linda Krantz, Allie McGuire, Raleigh Ringers' bass, and of course, Campanile!  If there is a retreat, these videos could be during "break" time.  Add videos of a group that rings without a director out front, massed events, and any of your local community groups.  Her opinion is, imho, like a violin player who refuses to play out of first position -- that's just not what the instrument is about.

Before you wonder "Am I doing things right," ask "Am I doing the right things?"

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[sbesil...@gmail.com]

One way to illustrate how a missing ringer affects a group is (when you have everyone present), ring through a familiar piece/passage, then have one person step back and ring it again without them.  Repeat as needed until everyone gets the point!

 

Running a benevolent dictatorship isn’t always fun, particularly when strong personalities clash.  I hope that your situation improves!

 

Ringingly yours!

Silver

 

Mrs. Silver D. Woodbury

Silverbell Enterprises

10012 Carnie Circle

Yukon, OK  73099

405-519-0331

silve...@cox.net or sbesil...@gmail.com

 

Artistic Director

Oklahoma City Handbell Ensemble

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[Rima Greer]

Brilliant idea!  I love it!

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[Cynthia Erickson]

Hi Chris,

There have been a lot of comments here about accepting almost anyone in a church setting who wants to ring bells. So I’ll reply to that part first.

I recently attended a church service where bells provided the majority of the music on a Sunday morning. They have at least three bell choirs so they have built in varying levels of ability (or none at all). But the description that caught my eye was – This group ‘is an ensemble of skilled music readers, rehearses weekly and participates in worship monthly. An interested ringer needs to meet with the director for assessment and placement in’ this specific group. – I started doing this a few years ago after having some issues with new-to-the-group ringers.

To your question - I used a code of conduct with my kids’ group many years ago. That was after one family specifically left town on the weekend when the kids’ group was to ring in church and gave no notice. The code of conduct was mostly for the parents of all of the ringers, so that they would have, in writing, what was expected of their child and let them know that their support was critical for the success of the group.

And for what it’s worth, I don’t believe I’d let someone back into the bell choir after they abandoned everyone at a very busy time. I’d have a conversation with them, but I would want to protect the remaining, loyal ringers of the group. A piece of paper isn’t going to stop the behavior from happening again.

Cynthia Erickson

Roseville  MN

[Paul Kinney]

Cynthia Erickson wrote:

This group ‘is an ensemble of skilled music readers, rehearses weekly and participates in worship monthly. An interested ringer needs to meet with the director for assessment and placement in’ this specific group.

I add...

When I wrote before as part of this thread I referred to the church bell choir. And for that I try to keep it open to all.

I also lead a church ensemble of the advance ringers. We play trios, quartets, quintets, depending on who can commit. And this is very much me inviting people to join and not open to anyone who walks through the door.

I would think in the church Cynthia visited, of the at least 3 bell choirs one was set up for beginners -- those who walked in the door and wanted to try it out.

Paul Kinney
Redford Aldersgate, UMC
Redford, MI

[ilikebells]

Hi Chris!

I'm sorry you're going through this disruption in your ensemble. I have enjoyed reading all of the suggestions and shared stories of others and they summarized what seems like a good policy for leading a group of handbell players. Since leaders can't control the choices of their players we can only plan what our responses will be in specified circumstances. And, most importantly, be prepared to follow through with our stated consequence when an infringement occurs.

Upfront, Directors need to:

1. Be clear about commitments and consequences from the beginning. Perhaps even writing them down and making copies for each person. Asking members to sign seems a bit heavy-handed to me. Leading a prayer of commitment seems more appropriate.

2. Be ready to follow through on those consequences.

3. Be clear about the rewards of being a contributing member of the group. (This is a fun group activity! Being a leader in worship, sharing music in the community, developing musicianship and teamwork. Of course, music is its own reward! And making friends just sweetens the deal.

4. Be clear about your purpose: create worshipful music, connect with the congregation and with God, provide an avenue for musicians to express their faith through handbell playing... write this in your/the group's own words. Make sure the group has opportunities to develop friendships. Sharing music is one way to get to know others. Changing positions, too.

Remember, there may be consequences beyond expulsion from the group: perhaps the person might take a sabbatical from ringing for a few weeks. That doesn't mean this person does nothing! Perhaps discussing commitment with a pastor, asking the group for forgiveness (I would NOT ask the person to do this but if the player suggests it, that's up to you.) and asks for another chance to develop a stronger commitment. Giving the person a job that would help the group in some way and take time, allowing for personal reflection. Polish all the bells? Clean the rehearsal room? Write an essay as to why attendance is important in musical ensembles and what's unique about handbell ensembles.

I have directed numerous handbell/handchime ensembles since 1994 at my church and I have never kicked anyone out of a group. It is my belief that we are called to ministry in music to connect to God and to each other and to share God's love with each other and our community. I am personally offended to think someone would be "kicked out" of an ensemble without going through the steps above. The only intolerable I can think of, is physically harming or abusing another person. Jesus was a model of love and forgiveness and it is my strong belief that leaders in the church are called to model what Jesus taught us. 

If I was in a church and observed someone being told they're out of a bell ensemble, I'd never consider joining because I would concerned I might do something and get kicked out! Let's be clear, I don't believe a group should cater to someone who doesn't show up, doesn't communicate or some other offense that damages the group. But I strongly feel all people deserve a chance to learn, to be enlightened and to be forgiven.

Happy ringing!

Karen Eastburn

Plano, TX

[Linda Lamb]

I've been reading all the replies to Chris's dilemma and think there have been some good ideas expressed.  When I read the first post, I wondered two things.

How many octaves is the group trying to ring?  Her description of 9-10 ringers as opposed to 8 (two octaves) or 11 (three octaves).  Of course, if they're ringing three octaves with 9-10 ringers, that calls for creative assigning.  Right now I have nine ringers ringing three octaves.  G,A,B6/C7 is rung 4ih by a teenager.  C,D,E,F4 is rung by an adept young man. Everyone else has a "standard" assignment.

 However, I'm only choosing 2-3 octave music in case those two people have problems, we can still ring.  Everyone else has a "standard" assignment.

Which brings up my second question:  what assignment was the quitter given?  Did she have a "standard" assignment or did she have something that put her out of the left-hand-space, right-hand-line assignment?  No one ever told me about the space/line thing until long after we'd tried to play some of the 12-bell music written from C5-G6.  I couldn't figure out why that was messing with my mind.  

All that to say, if the quitter had a standard assignment, why did it matter to her what anyone else did as long as it got the job done?  If she had a non-standard assignment , she should have had the decency to stick it out until after scheduled performances.  No, she shold have stayed in no matter what assignment she had, then drop out after Christmas.

I don't think I've shed any light on anything so I'll stop here.

LindaL

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[bfbfb...@gmail.com]

This is taking this thread to a little different place.  Linda, I was struck by your description of how you play three octaves with nine ringers. 

 

For quite a few years, we played three octave music with 8.  We had two 4-in-hand positions at the top, and the lower octave was played by three ringers who all knew weaving.  Scattered notes that the ends couldn’t play were given to the three ringers in the battery.  We played without a director and the middle ringer in the battery gave us great clues for starting, stopping, ritarding, etc.  There were pieces we couldn’t play – I remember the one piece where my 4-in-hand ringers cried uncle.  But we had a ball!  Everyone had a part that challenged them but not too much.  We were all engaged.  I loved it!

 

Barb

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[Ellie Hodder]

Reminds me of a small festival in Salem, OR last Nov. One choir was down a couple ringers and the top person playe 2-3 positions as a table solo. 

This uninvited ringer shortage has forced into being creative much as I imagine things were in the earliest years! What a wonderful mixed bag opportunity! Ellie

Ellie Hodder
• Director of Music Ministries, Murray Hills Christian Church
www.murrayhills.org

• Artistic Director, Pacific Ringers
pacificringers.org
Portland, Oregon

• Clinician/Teacher

www.elliehodder.com

• Handbell Musicians of America, Area 10 Treasurer
are...@handbellmusicians.org

• Senior Chime Choirs for Independent Living Retirement Communities

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[Rima Greer]

If you are willing to assign non-grammatically, it’s possible to cover a huge amount of bells with fewer people. Campanile played five octaves with six people. But our assignments were non-chromatic, and changed with every piece.  It’s not for everyone, but it works, if you’re open to it.

Shameless plug: There’s a whole section on how we did it in the appendix of the book I wrote with Roger Bowerman.

Www.turningthetablesbook.com. It’s available as hardcopy, Kindle, or audiobook.

Sent from my iPad

On Jan 24, 2026, at 2:11 pm, bfbfb...@gmail.com wrote:



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[Rima Greer]

Omg.  Stop ai-ing me.  Non CHROMATICALLY.

Sent from my iPad

On Jan 24, 2026, at 3:27 pm, 'Rima Greer' via Handbell-l <handb...@googlegroups.com> wrote:

If you are willing to assign non-grammatically, it’s possible to cover a huge amount of bells with fewer people. Campanile played five octaves with six people. But our assignments were non-chromatic, and changed with every piece.  It’s not for everyone, but it works, if you’re open to it.

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[Joyce Terry]

I too was in a 5 octave group with 5 to 6 ringers for 20+ years.  We were fortunate to have a couple of sets available to use as duplicates for some of the more complicated pieces as at least 4 of us had our own bells.  Bells did not "live" in any particular place and any bell was subject to being moved if the initial setup didn't work.  We got permission and did Music Box Dancer long before the handbell arrangement came out.  I think we moved bells around 5 or 6 times with different people trying to do the assigning before we settled in.  One of my favorite pieces.  Our assignments changed with every piece as well.

Joyce T.

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