Maurice and Sheila Davies
Tel/Fax: +44 (0) 1784 255961
See this video demonstration by Aidan Fozard of various Belleplate Techniques
Ring (R)
Normal ringing technique - don't forget to hold upright and damp after the note duration. We suggest you damp the inner edge of the Belleplate in a similar way as with bells.
Let Vibrate (LV)
Ring without damping until damping is indicated.
Tower Swing (SW)
Ring normally then swing arm down on second beat and up on third beat of bar - or as music directs. Make sure you have plenty of room behind you!
Thumb Damp (TD)
Whenever the music indicates a thumb damp on bells - extend a finger along an edge of the plate, near the handle to produce a staccato effect. The amount of effect can be varied and, 'Finger' Damp on Belleplates from 15C (C5) upwards, this is a useful technique whenever 'stopped sounds' are called for.
Brush Damp (BD) and echo
Ring in the normal manner and then very lightly damp the Belleplate by gently touching the top edge of it on your table drape. This can be done as many times as the music requires.
Shake (SK)
You may find it helpful to restrict the clapper movement to produce a fast shake on belleplates. Extend the thumb over the note designator to stop the clapper rod from coming right back, and shake backwards and forwards.
Vibrato (vib.) (Twist)
Ring with the Belleplate held vertically as normal, then twist the wrist to the right, then to the left and finally back to the front. The audience will hear the sound 'wash' from left to right. When done quickly, this can be used as an alternative to the shake.
Gyro
Standard gyro - ring normally then make a circular movement of the wrist.
Off Table style
Place Belleplates clapper side down - ring across the body and you can use the thumb on the handle to control the intensity of the sound. We can supply extra labels for handles.
Pluck (PL)
It is possible to simulate a pluck on Belleplates if you are ringing from a foam & drape covered table. Hold the Belleplate so that the lower portion of the plate (near the Handle) is lightly resting on the back edge of your drape and 'pluck' the clapper ball onto the plate. This is more effective with the middle and larger sized Belleplates.
Table Land Damp (TLD)
Ring the Belleplate as normal then turn it upside down and damp it by placing the top edge squarely on the table drape. You can leave the Belleplate standing upright - perhaps suitable for a finale. Remember to bow!
'Clock Tick'
Using a 'tailor made' vinyl cover on the plate portion produces a tuned staccato effect - two notes alternating are useful for producing a clock tick-tock effect.
Malleting
If solo ringing, you might want to use a mallet for pieces too fast to play normaly. Experiment with malleting the clapper ball with the Belleplate flat on the table.To use above C6 size it is necessary to give extra support to the handle to keep the plate in contact with the foam.
Belleplate Tree (suitable for use with processional)
Just as with handbells, interlink the handles of the notes as required and either hold in one hand or support on a suitable frame. Using a malett of suitable hardness, strike the Belleplates in the middle of the plate or turn the plates round and strike the clapper ball (very useful when a wide range of notes is needed and you don't want to use different mallets).
Four-in-hand
Interlink the Belleplate handles at right angles by placing one handle through the other. Hold with one finger between the two handles. Ring one forward and one sideways or, better still, ring the forward one normally and turn the wrist so that the 'sideways' one also faces the audience when you come to ring it.
Martellato This technique is only suitable for use with UK manufactured Belleplates and should be done sensibly on a fully foam padded table. Our recommendation is that you hold the Belleplate loosely at a 30/45 degree angle about four to six inches above the foam and allow it to 'plop' onto the table. There is no need to 'drive' it into the foam.