The History of English Handbell Ringing

cam·pa·nol·o·gy / Function: noun - Etymology: New Latin campanologia /Date: circa 1823

www.bellringers.com

Like many inventions, English Handbells have derived by adaptation from an earlier product. Until the end of the 17th century, bells, from the large church bells to small hand-held bells, were made in similar ways by casting them in moulds made from patterns set in clay and wattle. For the small bells, this was a very labor-intensive method, and the cost of them was quite prohibitive. Then, the Cor brothers, from the village of Aldbourne, Wiltshire, discovered that they could cast small bells in sand moulds at a fraction of the cost of the older method.

In medieval times, bells were steeped in superstition. This was probably because of their long association with religion. They were baptized, and once baptized had the power to ward off evil spells and spirits. Bells were hung in doorways to protect visitors and the visited from the evil spirits, which always wait around the door awaiting the chance to slip inside. A visitor would ring the bell to drive the spirits away then pass inside - which is the likely origin of the present day doorbell! This custom also lead to the "Passing bell" which was rung to drive away spirits who stood at the foot of a bed and about the house ready to seize a person's soul as he died. The local ringers who were paid to ring the passing bell were paid more for a big bell than a small one, not because the big one was harder to ring but because it kept the spirits further away and gave the departing soul a better start. The sound of consecrated bells was also believed to dispel thunder and lightning and to calm storms at sea for all of which demons were believed to be responsible. When a tempest broke out bells would be rung in an effort to clear the storm. This happened for example at Sandwich in Kent, in the "great thundering" of 1502 and again in 1514 ' The "great thundering" was still in use against hail in Southern France in the nineteenth century as it was in Cornwall for those in peril on the sea.

After Bells had moved outside the church in Paulinus' time, handbells continued their development within the church. A cappella chanting (voices only) was replaced in popularity by more elaborate modes of liturgical accompaniment, which included bells, stringed and wind instruments and small organs. Many mistranslations of the Latin "cymbala" used both for cymbals and bells in early times exist in psalms today, e.g. "Praise him upon the loud cymbals (big bells), praise him upon the well tuned cymbals (tuned handbells)." Early illuminations show small chimes of handbells hung from rods and in the early middle ages instructions for sung masses included the use of bells to double up on the tenor line. Perhaps church choirs have always been short of tenors (singers not bells). (In those days the tenor carried the tune.)

The first use of these bells is likely to have been for cattle bells and for bells on the tradesmen's' horse drawn wagons - to warn approaching traffic in the narrow country lanes. Soon the church tower bell ringers in England (who had their own way of ringing bells in sequence - quite unlike the random style then prevalent in the rest of Europe) started using these small bells to learn their 'method' ringing. It must have been much warmer and more comfortable for them to learn their intricate patterns of changes around the local hostelry fire than in the dark and draughty belfries on a cold winters' night. They numbered their 'handbells' just like the church tower bells (the smallest bell, the treble, is numbered 1 and so on up to the largest). No doubt, these bells were then used for simple tunes particularly at Christmas and the art of tune ringing began. It was not long before the bell founders started making handbells specifically for method and tune ringing; with clappers and handles tailor-made for the purpose and a vast improvement from the basic clapper assembly used on the cattle bells.

This business must have been reasonably lucrative because about 45 handbell founders are known of who made handbells in England from around 1700 up to today. Only two of these firms still exist in England, Taylor's of Loughborough and the world-renowned Whitechapel Bell Foundry in the area of London from which it gets its name. In fact, the English handbell foundries still make handbells in the traditional way and from traditional materials using, in one instance, equipment and techniques that date back several hundred years.

In the United States the two prominent bell foundaries are Schulmerich Carillons of Sellarsville, Pennsylvania (since 1935) and Malmark Handbells of Plumsteadville, Pennsylvania (since 1973). A basic set of bells consists one octaves or 13 bells. St. Michael owns 3 ½ octaves of Malmark bells. The Malmark Company manufactures sets of up to seven octaves.

Learn More about English Handbells

and Handbell Ringing

+ THE AMERICAN GUILD OF ENGLISH HANDBELL RINGERS. The AGEHR was established in 1954 to promote the art of English handbell ringing. Their web site features information about the organization, membership, events and training opportunities, and an online store offering books and tapes on the following subjects related to handbells: conducting, rehearsals/score study, handbell techniques, teaching bells, special groups, adaptive notation, alternate methods, music theory, school issues/young ringers, history/lore, and miscellaneous. http://www.agehr.org/ NOTE: St. Michael is a member of the AGEHR

+ OVERTONES: THE OFFICIAL bi-monthly journal of the AGEHR: http://www.agehr.org/overtones/overtones.asp

+ Ringem. Includes: Handbell Manufacturers; Handbell Music Vendors; Handbell Music Publishing; and other resources. http://www.ringem.org/

+ FREQUENTLY ASKED QUESTIONS ABOUT HANDBELLS. Comprehensive question and answer web pages about handbells compiled and produced by Jacques M. Kearns. Many links to other sources of information and FAQ pages. http://www.knology.net/~jkearns/faqindex.htm

+ WHO'S WHO IN HANDBELLS. A listing (and brief bio) of handbell ringers and directors whose names appear in print, on the Internet, or who attend area and national handbell events. http://www.knology.net/~jkearns/who'swhoinhandbells.htm

+ HEALTHY RINGING by Susan Berry. http://store.yahoo.com/handbellservices-store/healthyringing.html

+ HANDBELLS, INFORMATION AND LINKS. Bonnie Wooley has produced an impressive collection of information. http://www.respirando.net/mus/Bells.html

+ THE LEARNING TO RING CURRICULUM by Susan Berry and Janet Van Valey. http://store.yahoo.com/handbellservices-store/leartorincur.html

+ OVERTONES: 1955-1986. A compilation of articles from OVERTONES magazine. Includes technical material and an overview of the history and development of handbells in the United States. Available at AGEHR. http://www.agehr.org/

+ LIST OF HANDBELL CD RECORDINGS. The most complete list of handbell music recorded on compact discs by handbell groups around the world. Jason Tiller is the compiler. http://home.attbi.com/~tiller30/handbell-cd-list.html

+ HANDBELL-L. An international mailing list of over 1200 directors, ringers, publishers, and others for the purpose of discussing handbell-related topics. http://www.ringem.org/mailist/index.html

+ CHORISTERS GUILD. This organization was founded by Ruth Jacobs and supported by Mabel Boyter, outstanding children's choir director and teacher of techniques. Their magazine also includes articles about handbells and the organization publishes handbell music. http://www.choristersguild.org/ NOTE: St. Michael is a member of the Choristers Guild

+ BELLTALK. Another mailing list, more oriented toward church handbell groups and directors. The discussions are similar to Handbell-L. http://bartlet.jjonline.com:9090/mailman/listinfo/belltalk

+ THE FIRST QUARTER CENTURY: 1954-1979. Elizabeth Bradford. Dayton, OH: American Guild of English Handbell Ringers, Inc., 1979. A history of AGEHR.

About Malmark Handbells

http://www.malmark.com/index.html

Malmark started with the stated intention of producing handbells better than anyone else in the field. Our success in achieving product superiority is illustrated by the fact we are the fastest growing handbell maker in the world. Our customers have the assurance they are buying handbells that have won the acclaim of leading directors, choirs, and audiences around the globe.

Our improvements in handbell design and construction have no parallels. With Malmark handbells, ringing is easier. Our advanced design and precision tuning allow the music to flow. Ringers will achieve musical success more rapidly and enjoy their achievements.

Just as important: Malmark Handbells are affordable. Given the years of happy ringing and audience pleasure they provide and the number of players who will become involved in their ringing, they cost less per player than any other musical instrument you can think of.

M A L M A R K ' S H I S T O R Y

Malmark was incorporated in December 1973 by Jacob H. Malta. He previously served as Vice President and Chief Engineer for Schulmerich Carillons, Inc. Upon the untimely death of Jacob Kunz in 1962, Mr. Malta took over the development of the Schulmerich handbell program and designed the first production model for that firm. He resigned in November 1972 when the ownership of the company changed hands.

In April 1974 Mr. Malta was joined by Willard H. Markey, who previously was Vice President of Marketing and Sales of Handbells for Schulmerich Carillons, Inc. Mr. Markey developed the marketing and sales programs for Malmark and is Vice President and secretary of the firm.

Mr. Malta had developed a new design for a handbell which included many features he felt would benefit ringers and advance the art of ringing. A new profile of the tuned casting provided a cleaner sound when ringing the heavy chords composers and arrangers were scoring. A hand-adjustable clapper permitted an instant change of setting to vary the timbre of the bell sound to bring more variety in performance.

Keyboard color-coded handles and handguards (white for naturals and black for sharps/flats) helped ringers to identify bells more quickly. Smooth, comfortable handles were easy on the hands. A new clapper mechanism with dependable, softer restraining springs provided precise control to give better expression and dynamic range to the music. A unique, adjustable bearing for the clapper mechanism eliminated the unmusical sound caused by worn bearings and any need for factory repairs. The bell castings were polished to a jeweler's finish inside and out to enhance their beauty and to make it easier to maintain their brilliant surface.

Malmark, Inc., opened its doors at 100 Doyle Street, Doylestown, Penn., in May 1974. The first sets of 25 bells were shipped to clients in the fall of that year. The size of the sets were soon expanded to 37, 49, and 61 bell range.

Sales of the new handbells were handled by an organization of trained representatives and bell choir directors who were taking the story of the advanced features and benefits provided by the new Malmark handbell to churches, schools, and community groups.

As sales increased, so did the need for more space for the crafting of the bells. So in 1978, Malmark moved its operations to larger facilities at 21 Bell Lane, New Britain, Penn., just a few miles from its previous location. Growth of sales continued and when local zoning restrictions blocked Malmark's plans for further expansion of its plant, the company began looking for another location with long-range growth potential. This resulted in the purchase of a plot of more than 12 acres on U.S. Route 611 in Plumsteadville, Penn., with buildings providing some 42,000 square feet of floor space. After extensive remodeling and an addition to the office area, Malmark moved to its present location in 1985. It has just completed a further addition to provide more needed space.

In 1982, Malmark introduced its Choirchime ® Instruments as a means of meeting the demand for low-priced, high-quality handchimes for use in elementary music education classes and performance. Now the Choirchimes are also used with handbells to add variety to the music and to train youth to become bell-ringers and future members of handbell choirs.

In 1992, Malmark introduced a new concept in handbell design and performance through the use of aluminum for the castings of its bass bells. This not only reduced the weight to about half of the bronze, but it also provided a strong fundamental tone. This made it practical and musically desirable to expand the range of bass bells down to C2.

Today, Malmark continues to be a leader in the design, crafting, and tuning of fine English handbells. Its continued research into the past, present, and future of handbell ringing as a musical art provides a firm basis for continuing developments in this specialized field. With the widest musical range (7+ octaves) of handbells, five and a half chromatic octaves of its Choirchimes (G2-C8) and a complete line of ringing accessories, Malmark is well qualified to meet the needs of every call for the finest in handbells and handchimes.

M A N U F A C T U R I N G

The story of English handbells made the Malmark way, and the craftspeople who produce them.

The bell starts on the drawing board. The designer develops the shape or profile of a bell to produce certain partials or overtones. The fundamental is largely determined by the mouth diameter and wall thickness while other partials are controlled by the profile.

A master pattern from the drawing is used to develop a match-plate which in turn is used to make the sand molds into which the molten bronze will be poured.

Handbells are cast of pure bronze in the approximate proportions of 80% copper and 20% tin. The metal is heated in crucibles to 2,150° F in modern electric furnaces.

The molten metal is poured into the sand molds by means of a sprue through runners and gates until the cavities are filled.

After the bronze has hardened, the sand is broken away. The excess metal forming the sprue, runners, and gates is cut off, leaving just the raw casing which is roto-blasted to remove burnt-in molding sand and scale. It is then sent to the lathe department for turning and tuning.

First, the raw casting is turned on the outside to a precisely predetermined profile or shape. To insure that the exact proper profile is maintained, the cutting tool is controlled by a stylus following a template.

Next, turning the bell on the inside is where the tuning takes place. Tuning a handbell requires knowledge, skill, and experience. The ability to guide the cutting tool to bring the partials of the bell into exact alignment and pitch is the mark of a true bellcraftsman. After each cut, the lathe is stopped, the bell is struck, and the vibrations are read on a tuning scope, permitting reading the partials to an accuracy of 1/100th of a semitone. Allowance is made for polishing and final tuning.

Then, the bell goes to the polishing department where it is machine polished, first on the inside and then on the outside. The exactness required in a finely tuned bell is achieved by the polishing process.

The other parts of the handbell, the handle, handguard, clapper, and yoke mechanism have been carefully crafted and made ready for assembly to produce a complete handbell.

Then, the assembled handbell goes through an indexing procedure to determine that point on the casting which produces the best tonal response. The bell is scribed at that point and the casting is secured in that position. This is followed by a complete musical and mechanical inspection of each bell before being combined with other bells into matched sets.

Finally, after buffing each bell casting to a jeweler's finish, they are placed in protective plastic bags and placed in carrying cases for shipment.

Custom cases house the bells for storage and transportation. Interiors are plush lined over heavy padding with individual pockets for each bell.

Handbells are usually produced in sets of 25, 37, 49, 61, 73, or 85 bells. Small sets can be expanded by adding bells. The large bass bells from C2-F#3 are now also available in cast aluminum to reduce their weight and to provide a stronger fundamental tone.

In the hands of the Malmark craftspeople, raw bronze is transformed into fine musical instruments of beauty and purity of tone. In the hands of bellringers, that beauty is released to ring out to the praise of God and the inspiration of Mankind.

M A L M A R K ' S I N N O V A T I O N S

We Have Been Busy… Over the past 25 + years, Malmark has become the world's largest handbell producer and, at the same time, has brought many new advances to the world of handbell ringing through its leadership in design, craftsmanship and research.

1974

A new handbell profile to permit clearer sound and meet the requirements of the heavier chords and ringing techniques of modern handbell compositions. Clapper restraining springs of new space age plastic to provide better control and extended ringing life. Keyboard color-coded handles and handguards to help ringers identify notes more easily. The first successful hand-adjustable clapper. Convertible to a permanent setting, if desired. Handles permitting the inclusion of inscriptions denoting the donor, memorial, etc. A lifetime warranty on the tuned handbell casting. Handbells without a tang for improved high frequency response.

1978

Handles multi-layered for maximum strength and comfort. Stainless steel adjustable axles and nylon bearing block for lifetime performance. The first G2 bronze handbell. Malmark colophon on one side of the handle to denote the position of the strikepoint on the handbell.

1979

Introduction of the first Malmark "Totable" handbell tables.

1982

Introduction of the Malmark/Broadman instructional films with Donald Allured. Introduction of the Malmark Music Binder/Stand with adjustable reading angle. Malmark creates Choirchime® Instruments - the first American handchime instruments - in a set of 25 note (G4 - G6) chromatic range. First Handbells In Motion Directors' Workshops presented.

1983

Malmark introduces the first Handbell Packages - the Prelude (25 handbells and accessories) and the Classic (37 handbells and accessories). Malmark introduces its "Up With Music" transparent music risers.

1984

Introduction of the world's first seven octave set (C2 - C9) of handbells at a special concert given by the Westminster Concert Bell Choir of Westminster Choir College, Princeton NJ under the direction of Donald Allured.

1986

Malmark presents the first designer custom table covers of pinwale corduroy.

1987

Malmark introduces its "Tote-Pac" covers and pads for ease of set-up and transportation.

1989

Malmark provides free membership in the American Guild of English Handbell Ringers, Inc., to purchasers of sets of handbells or its handbell packages. Malmark premiers its lower 8th Octave of handbells and introduces the G1 - B1 bronze handbells.

1990

Malmark announces its factory refurbishing service.

1991

Malmark develops and patents the first aluminum bass handbells to reduce weight and create a strong fundamental tone. Malmark introduces its new music light for handbell choirs.

1994

Malmark introduces its Give-A-Bell Campaign Kit to aid churches, schools and other organizations in fund raising for their purchase of Malmark handbells.

1996

Malmark extends the musical range of its Choirchimes to five chromatic octaves (C3 - C8). Malmark introduces its special Solo Ringer Package. Malmark provides table leg extenders which may be added to its "Totable Tables" for added height when needed.

1997

Malmark introduces its new model Choirchimes with handbell-type adjustable axles and a five-year Warranty on the complete chime. Malmark introduces the first set of 66 note Choirchimes in the musical range of G2 - G8. Malmark introduces its new four position hand adjustable clapper unit for bass handbells.