bell director question

[Barbara Kenny]

I am on a search committee for a youth choir and handbell director (handbells for all ages). I have played bells for over 40 years (and I also sing in the choir), but I need some help with a question.

There are differences between choral, instrumental and handbell conducting. It would be helpful if some of you could specify the differences so I could explain it to the other committee members (only one is a handbell ringer and choir member). So far, our only applicant has experience in choral and instrumental music. No mention is made of handbells.

Your assistance is greatly appreciated!
Barbara
Salem, VA

[Charles Peery]

Hi, Barbara,
I hesitate to make this a big deal, because even among handbell conductors, there is a variety of conducting styles and techniques. Although I think anyone would agree to clarity and consistency of beat patterns, then you get into baton or not, gloves or not, etc., etc. And I’m convinced that good results can be achieved despite (or because of) all these variations.
The thing you said that really caused me to sit up and take notice, was it seems your only applicant has no specific handbell experience. At least, that’s how I read it, excuse me if I’m wrong. I think this is a real red flag. Who’s going to do assignments? Assess difficulty level of music and how it fits the ringers? I think this is a much bigger deal than the conducting part.
Chuck in California

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[Barbara Kenny]

Thank you, Chuck - yes, you read it right - no handbell experience is mentioned in the resume.
That concerns me a lot. I appreciate your other comments about assignments, assessing music, etc!

Any and all comments about things to watch for will be helpful!
Barbara

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[Ann Frederking]

If it's a handbell position (paid, I assume), one would assume that some handbell experience would be requisite.

As far as your committee, some of the conducting things that are important are the ability to work with amateurs who don't necessarily know the difference between and up beat and a down beat. I was taught in conducting class not to mirror, but if you've got your group spread out in a straight line as many groups are, left hand mirroring may be necessary to keep them together.

If you got applicants with no handbell experience, they need to spell out exactly what they are going to do to learn about assignments and many other bell-specific topics. There are many instances of people in a group being recruited to direct when needed, but at least they have the background skills in how to ring even if they know nothing about directing.

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[Laura Blauch]

To add a slightly different perspective, the Guild does have a lot of resources to help directors with no bell experience.  Directing is an important skill and shouldn't be downplayed, so I would give serious consideration to whether your candidate is eager to learn about the unique needs of a bell choir and get appropriate education.  Area 3 has a director seminar coming up this month that would be a great start!  

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[Tom Mills]

In my experience as a director, I've found that waving your arms in the air is only about 10% of the job.
The typical bell director needs to teach (often amateurs) how to play the instrument, along with the nuances of techniques like marts, thumb damps, and singing bells.
Also picking appropriate music is a huge piece of the pie. Consider number of ringers this month, difficulty, liturgical season, assigning around a weak or strong ringer(s). Not to mention arranging hymn accompaniments, calls to worship, less than a full group, etc.
Same with scheduling, budgeting, fragile egos, absences, equipment purchase and maintenance, maintaining the library, and more.
I've done all three types of conducting, and the non-conducting skills needed for a handbell group are different than the other two.
However, an astute musician could pick up these specialized skills in short order.

---Tom

[Ellie Hodder]

Hi Barbara, I would agree that some knowledge AND a willingness to continue to learn are base values. In our settings, we all need to be able to teach basic skills. If we have none, it will kill the program.

All conducting skills are valuable. Clarity in communicating musical intent is #1.

I’d start by widening the search. If your organization is an HMA member you can put the notice on that site. Does the denomination have a regional newsletter? Website? Can you post it there?

Have you contacted local community choirs with your posting? Has the listing appeared here? On Handbell-L on Facebook, Handbell People or Handbell Conductors? If you create a public post one one of those FB sources I (and likely several others here) will share it. Ya never know who knows somebody who knows somebody who knows…..

Keep the faith! Best, Ellie

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[Barbara Kenny]

Ellie,

Our search began in June - the pastor posted the announcement on the church’s website and some other places (not sure exactly where, but Indeed.com was one place).  I sent the announcement to this group, to HMA, the area 3 website, and to our community bell group which is composed of mostly directors).  I’ll try to do the handbell FB post - that is a good idea.  

I’m guessing part of the problem is the part-time nature of the position, even though it is a paid position. 

I do appreciate all the suggestions that have been made so far.  Others are welcome, feel free to keep them coming :)

Barbara

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[Ellie Hodder]

You’re on the right track, Barbara. There are fewer solid handbell directors than we think. Kudos to you and your pastor for persisting. Feel free to PM me if I can support you and your program.

Best, Ellie

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[Elke White]

Lack of handbell experience honestly wouldn't worry me one bit in a candidate with solid conducting skills, good people skills and the motivation to learn how to ring.  The most recent director of music at my church entered her position with zero handbell experience, but impressive conducting and piano skills.  The very first time she conducted my choir (on a piece that was brand new to her), the ringers were with her absolutely every step of the way...every tempo change spot on.  This was humbling to us as it's something that never happened with our previous DOM (or with me for that matter).  This person had spent years studying conducting and perfecting her craft and that made her a phenomenal handbell conductor too.  I taught her the basics of ringing in a matter of weeks and continued to add skills to her repertoire as she asked and because she was such an accomplished musician, becoming proficient at handbells was effortless.  In contrast, I have known a lot of handbell conductors with decades of experience that, well, weren't/aren't the best at the job.  Choose a good musician and a good person - that's the important part.

Elke White

[Judy Phillips]

Interesting discussion!  It brought to mind an experience I had last week.  I got a message from a former teaching colleague from my public school days.  She is a marvelous musician, but has little handbell experience.  She had a question for me:  “Where locally can I take a handbell in for repair?  Its ringer is broken.”  I tried REALLY hard not to laugh- it’s a good thing this was a text message- and then asked some questions to try to figure out what the problem might be.  I was guessing a broken spring.  I offered to meet her at her church to look at the bell.  It was a Malmark D#4- and its only problem was a VERY loose clapper assembly screw.  The poor bell was falling apart!  We went through the cases, and I showed her how to tighten the screws on the whole 3-octave set.  She’s not even the director- but the director knows even less about bells than she does  ☹  Word has it he’s an amazing musician- he’s just never dealt with bells until now.  A good musician can become an excellent bell person- but somebody needs to be available to help it happen!  The director now has my phone number, and my promise to answer questions as needed.  All of us as handbell geeks can help with situations like this- as long as the folks in need know where to find us.  Don’t be shy about offering help when you see a need—

 

Judy Phillips

 

 

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[bellma...@gmail.com]

Hi Barbara,

Just a couple of things to look for in a conductor of Choir and Bells (two very different sets of needs: 

Choirs can oftern adjust their music to be able to look directly at a director for the most part, so musical nuance is probably more important than beat pattern - though for youth choirs independence of hands would be something to watch for: a clear beat pattern with the right hand and "musical" information given with the left (tempo changes, volume + or -, rubato, etc.).

Handbell ringers need a very clear beat pattern, especially on the ends of the table: a 4-bt pattern can often look like all up and down beats on every beat- especially peripherally from the ends of the talbes, so bts 2 and 3 need to be very clear side to side.  Again, however, the right hand should still be the "metronome" and the left hand should be the musical guide, keeping in mind that bell ringers normally see the director out of their periphery vision.

I absolutely agree that the candidate should have some handbell experience, but if they are indeed true musicians and excellent conductors, then as long as they have a good mentor (like Judy Phillips!) they should be included in the potential list of hires. Musicianship - and it's positive expression is very, very important to both youth choirs (this may be their only connection to music) and handbell choirs (the music education that can be taught with bells is truly incredible, in addition to the fun - but the director must be able to explain that! for their understanding).

Best wishes,

Doug Benton

Gold Canyon, AZ

[Monica Stern]

My church choir had a director with no handbell experience.  Because our choir had a number of seasoned ringers, we taught him.  He also actively sought out videos and other training classes.  It was fine for us.

 

Monica J. Stern, CPA

Monica J. Stern, CPA, PLLC

11225 N. 28^th Drive, Suite A-100

Phoenix, AZ 85029

602-674-8226

 

From: handb...@googlegroups.com <handb...@googlegroups.com> On Behalf Of Ann Frederking
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Subject: Re: [HB-L] bell director question

 

If it's a handbell position (paid, I assume), one would assume that some handbell experience would be requisite.

To view this discussion on the web visit https://groups.google.com/d/msgid/handbell-l/CAJj8jLG0oh2oPCzA%2BCDwouzG8DcCRQtDuXGOPrQpY%2BvR3qAYUg%40mail.gmail.com.

[Arnold Rawls]

A good musician with a brain can be successful as a bell director.  

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[TimR]

I became the handbell director at my church having never played handbells nor particularly wanted to.  I did have many years of ensemble experience with other instruments.  

The first year or two was very challenging!  Bell assignments and music selection were the hardest parts, as I started with an experienced group (though they insisted they could only play 4/4.)  As new players came on board I had to do more technique work, but clinics, festivals, and Michele's DVD helped with that.  Patience helps, you're a cheerleader not a coach. 

There is one clear difference i see with actual conducting.  With handbells, ictus must match beat.  Ringers need to know exactly where the beat starts and the cleanest way to do that is when your hand or baton is at the exact bottom of the motion.  Wind ensemble conductors are a little less precise with that, followed by orchestral conductors, and with choral conductors it's often a vague area somewhere on the way up.