specialtechniques

Chime Cross (cc:)
Occassionally it becomes necessary to strike a tone chime and let it vibrate (LV) while two other bells are rung. Unless the ringer has a third hand, this feat is impossible to perform. Enter the Chime Cross to make the impossible possible. The steps for this technique of fine motor dexterity are as follows:
1. Stack two tone chimes that are not needed for the measure on top of eachother. They should form a cross, such as a celtic cross. (The form of the cross may vary depending on the denomination of the church in which the bell choir performs. Be sensitive to this issue. For example, an Anglican cross may be wholly unacceptable for a performance in an Eastern Orthodox setting!)
2. Strike the tone chime that must LV and lay it on top of the stacked tone chimes without disturbing the resonance of the ringing tone chime.

Warning: More than two tone chimes may be stacked on the cross. While this may create a dramatic visual effect, care must be taken so that the stack does not collapse when the resonating chime is placed on top, unless that is the desired effect in the piece. Ringers successful at this technique often practice by playing Jenga at home.

Half-arc Tower Swing (Ha)
This is a variation of the well-known Tower Swing. The technique is especially useful for bass ringers when small children are coloring pictures behind them during rehearsals. It also may be adapted for performances where handbell table space is at a premium between the communion rail and chancel rail.

Air Bell (ab!)
This technique should not be confused with "air ball" (a disgusting basketball shot which misses everything) or "hair ball" (a disgusting thing that cat owners are familiar with). An air bell occurs when a ringer swings a handbell and -- nothing happens! With most handbell choirs, this technique is regarded as a mistake, but for the adroit handbell choir it can be used as a special visual effect to puzzle the director and confound the audience! The visual effect is diminished if the ringer's face turns red or he smirks or grimaces.

Antennae Mallet (a.m.)
Another visual effect used by advanced handbell choirs is the antennae mallet. This technique may be employed in the unusual situation where a ringer must use two mallets to strike two bells and ring another bell simultaneously. Instead of holding one mallet in each hand and missing the third bell, the adventurous ringer should:
     1. Hold both mallets in one hand and spread them between the fingers at an angle of 45 to 60 degrees.
     2. Strike both bells with the mallets while ringing the third bell with the free hand.

Warning: Hyper-extension of the mallet angle is not recommended as it may lead to digital dysfunction, also known as DD.

Bag Mallet (b.m.)
The Bag Mallet originated with a handbell choir that stored its mallets in their original plastic bags from the manufacturer and wanted to save time during both the set-up and the "tearing down of tables" after a performance. The technique also preserves the pristine condition of the mallets. Rather than removing mallets from their plastic bags, simply pick up the mallets while they are still inside the bags and strike the bells. This action produces a crisp snare drum effect that is perfect for an Armed Forces Day anthem! It is also well suited for George M. Cohan medleys.

Between the Knees Hop Ring Damp (<kh>)
When a sadistic bell assignment requires a ringer to ring more than two bass bells at the same time and Shelly ringing is not an option, this method may be the technique of last resort. The name of the technique should be sufficient to explain it all. This technique is very evocative for Eastertide selections.

Bell Knuckle Rap (b.k.r.)
Although the name of this technique sounds like the title of a piece to be performed for an innercity audience, it actually describes a short-cut method for striking a bell when the ringer forgets to pick up the mallet in time. It may also be used when the entire choir forgets to distribute the mallets prior to rehearsal. The technique is less appealing during a performance, especially for music involving long sections of mallet action. It is accomplished as follows:
1. Make a fist.
2. Strike the bell with any available knuckle.

Warning: Ringers who don't know their own strength should be careful not to apply too much pressure to the surface of the bell.

Bell Hop (bh^)
Developed by a ringer who worked at the front desk of a five-star hotel in the United States and was an amateur juggler, the Bell Hop lends a flourish to the visual handbell performance. The Bell Hop was designed for those moments when there is not enough time for a traditional bell weave. The technique simply requires the ringer to transfer a bell from one hand to the other by lightly tossing the bell in the air and catching it with the other hand. The larger the bell is, the more visually stunning the technique comes across!