ANY CHOIR LOFTS HIDE a small, almost-forgotten treasure: a dusty set of handbells tucked away in a cabinet or storage closet. They were likely purchased years ago with good intentions—visions of a polished handbell choir ringing out festive melodies—but over time they quietly fell out of use. This is rarely due to neglect or lack of appreciation. More often, it is simply the reality that forming and sustaining a competent handbell choir requires a tremendous investment of time, training, and coordination. Reading techniques, damping, precise entrances, and consistent attendance can make handbells feel daunting, especially in parishes already stretched thin on musicians.
Yet those handbells do not have to remain silent.
There is a surprisingly quick and effective way to bring handbells back into liturgical use—one that almost anyone, at any age, can master with ease. Rather than striving for a full handbell ensemble, the bells can be used as a simple, colorful supplement to congregational hymnody, especially on major feasts such as Christmas and Easter.
I often pull out the handbells for precisely this purpose: to add an extra layer of festiveness and sparkle alongside the organ. Used sparingly and thoughtfully, handbells can function almost like sonic light—glimmering above the texture without overwhelming it.
The method itself is wonderfully simple. Existing choir members—or even children—are given a small selection of bells and invited to ring them during a hymn. But not in a carefully choreographed way. Instead, the bells are rung freely, or “randomly,” within carefully chosen pitch boundaries.
What does “randomly” mean in this context? It does not mean chaos. Rather, the director selects only pitches that fit comfortably within the key of the hymn and avoids half-steps or dissonant clashes. Once these safe pitches are chosen, ringers are free to sound their bells whenever they feel appropriate—on strong beats, long notes, or even instinctively with the music.
For example, when singing “Joy to the World” in D major, I choose the pitches D, E, A, and B. These notes sit comfortably within the scale and avoid any crunchy half-steps. When rung freely, they create a lovely, shimmering effect—more like wind chimes than a traditional handbell choir. Similarly, for “O Come, All Ye Faithful” in G major, I would select G, A, D, and E. Again, the result is festive, supportive, and harmonically safe.
Listen to my Children’s Choir sing “Joy to the World” with random ringing:
* Live recording • “Joy to the World” with random ringing
—Ave Maria Parish Children’s Choir; Mark Haas, conductor.
This approach can even be managed by a single person. By stacking the desired bells together—sliding their handles inside one another—you can create a simple “bell tree.” Held in one hand, the bells can be played with a hard rubber mallet: perfect for refrains or final verses. (see the image below)
Our Children’s Choir, in particular, delights in this kind of bell ringing. It allows them to participate meaningfully without fear of making mistakes, and it fosters joy rather than anxiety. Perhaps these dusty bells in your choir loft are not waiting for a full-scale revival, but simply for a new way to be heard. Random ringing might be just the place to begin.
