Teaching Tips are a series of articles published in ART WORKS, the quarterly online magazine for ringing teachers. They cover topics such as coaching, motivation and learning theory applied, with plenty of examples, to the teaching of ringing.
Browse the Teaching Tips articles or search using keywords.
Having got your novice ringer ringing the separate strokes proficiently, it is always a little nerve-racking handing over control of the bell so that they can put both strokes together. We share some helpful tips from Helen McGregor.
Many learners don’t achieve a handstroke pull where the work is equally shared between the hands. For the purposes of simplicity, I am going to assume the learner has the tail end in the left hand. What you often see, to a greater or lesser degree, is the right hand in charge of the sally, taking hold of it before the left, doing most of the pull and letting go later than the left. Let’s look at the origin of the problem and then some ways to resolve it.
There are three major ways in which people learn new skills. Individuals show a “style” or “preference” for learning in a certain way and they will find it much easier to learn if they are taught in the way that makes the most sense to them. If the subject matter is not presented to them in a way which “makes sense” to them (i.e.the material is presented in a way which does not coincide with their learning style) then learning will be slowed ...
Do our ringers come ringing purely for the pleasure of the ringing itself? The likelihood is that most of them do not. You might think that it will depend on the standard of the ringing they are involved in but it is not that straightforward!
Ringing terminology is seductive. The more we use it, the less we are aware that to the uninitiated (including those we teach) it can mean something completely different. The worst case is when the intended meaning overlaps the perceived meaning. A good example is ‘Hold’. The dictionary says it is to ‘keep fast; grasp’ Is that really what we want? I know a number of ringers who ‘keep fast and grasp’ the tail end with terrible consequences at handstroke, and others who are so worried about not ‘keeping the tail end fast and grasping it’ that they can barely ring as they focus on holding the rope ...
Feedback is an important teaching tool when progressing a learner with their ringing. Without feedback it is difficult for a ringer to understand and modify their ringing. Learners who obtain feedback tend to perform more consistently over the long term ...
Acquiring that elusive skill known as “ropesight” can be a frustrating time. In her Teaching tip Heather Peachey believes you can’t specifically teach or learn “ropesight”. What you can do is provide the best opportunities for the skill to develop and teachers can reassure learners that they will develop it at their own pace. Follow the steps with Heather ...
Helen McGregor explains an exercise which works very well at teaching the rhythm of the lead.
Your new ringer has learned to handle a bell and is now ready to ring rounds with others.The next stage of their learning experience will be very different. The teacher and new ringer have been working together intensively on a one to one basis, with the ringer at the centre of the teacher’s attention. Now the learning curve will flatten out. As the ringer progresses towards elementary change ringing they will have to wait their turn to ring on practice nights and progress often seems hard to achieve, leading to frustration. Interest and motivation often wane ...
Call Changes is the skill that most new ringers are taught after learning to ring rounds. It may be thought of as simple but there is more to it than might be imagined! What skills does your ringer need to have or develop before learning to ring Call Changes?
Putting into action the skills discussed in the previous article. How to make the first moves a success, how to use feedback to improve accuracy and how to move onto more complicated changes. Finally Call Change skills are reinforced and improved using variations.
Kaleidoscope ringing is a series of exercises made within two places. It can be started at handstroke or backstroke. The simplest form is “long places”, 4 blows in one place. This is followed by “place making” with two blows being rung in each place and then by “dodging.” Kaleidoscope ringing helps the new ringer hear their bell and identify which place they are ringing in.
Moving on from basic kaleidoscope works, there may be times when more advanced sequences may be useful to your band. When might more advanced kaleidoscope ringing be useful for developing skills in your ringers?
By the time learners move onto plain hunting they need to be comfortable enough with speed changes so that they can devote their attention to the bell’s path, not being overly distracted by the mechanics of getting the bell to ring in the desired place. This skill starts developing from the earliest handling exercise through to the end of Learning the Ropes Level 1 when the learner can raise, lower and set a bell. Many of the LtR Level 2 exercises contribute to the refinement of this skill and with a little imagination you can find others too.
Listening is one of the foundation skills for ringing. Without the
ability to hear their bell it is impossible for a ringer to reach their
full potential. New ringers frequently find difficulty identifying the
sound of their own bell. This article provides a few tips on how to help
your ringers hear their bell and develop the good rhythmic ringing we
all want to hear.
At Rattlesden, Suffolk, Pam Ebsworth had a number of teachers who had recently attended an ART Module 2 Day Course. Pam was wondering how to give her teachers more teaching practice. The problem was that these particular teachers were not Tower Captains and were finding difficulty getting opportunities to teach at the necessary level. After discussion with other ART mentors it was decided to hold a dedicated Learning the Ropes Level 2 practice ...
Building the skills required to cover confidently and well with the goal of ringing a quarter peal on the tenor to a Doubles method.
All the things that need to be covered in order to get your ringers confidently ringing Plain Hunt - theory, bell control, ropesight and
Before moving on to learning any method (in this case, Plain Bob
Doubles) it is important that ringers have the necessary foundation
skills in place and understand the theory of the method they are trying to ring. Learn what these are and how to teach them ...
When learning Plain Bob Doubles as their first method, a ringer often finds that being able to recall the four leads of the plain course whilst ringing is too much. By using short learning methods to introduce the various different pieces of work in Plain Bob Doubles the ringer does not have to be able to recall the whole forty changes of the plain course initially ...
Splitting new skills into smaller bits allows the learner to tackle a new skill in palatable bites. Here are two strategies for chunking the learning of calls, both involving repeating selected works.
It astonishes Heather Peachey that there are still many who insist that “You
cannot have singles in Plain Bob Doubles”, despite the fact that their use has
been described in the Ringers’ Diary for many years...
Do you reflect on how you could improve your teaching? Do you take for granted that your teaching is OK? Do you discuss your teaching with others? As you teach more and more your skills will improve, however it is useful for all teachers and coaches to engage in some degree of reflection. This reflection may lead to a “certain openness to new ideas” and help to improve your skills as a teacher ...
Every activity wants to keep the numbers of participants as high as possible and keep people involved for as long as possible. Ringing is no exception. We want to retain the ringers we recruit. The traditional model of ringing development is the Pyramidal Model, however the Participants’ Needs Model is more effective in retaining and motivating developing ringers ...
The latest research shows that more people
stay actively involved if the training follows a participants’
needs-led model, which looks at the stages of development of new ringers from the novice to
expert and the different rates of progress ringers make. This approach to training creates a larger pool of
people who remain actively involved and from whom high-end performers
and experts can emerge over an extended period ...
In the last article we looked at the stages of development of new ringers from the novice to expert and at the different rates of progress ringers make. We identified that specific types of ringers need different coaching approaches and the fact that as individual ringing teachers we are unlikely to be able to become expert coaches for all of the different groups. You need to cater for the various coaching requirements of different types of ringers ...
setting has been shown to be one of the most important motivational
tools a tutor or coach can use when developing the skills of a
participant in an activity. The principles of goal setting are generic
and apply across the board to many activities including ringing ...
Now you're convinced that using goals when teaching is one of the most effective ways to motivate those learning, what factors will make the use of goal setting work better for your ringers ...
We will look at the various types of goals which can be used and when each type of goal might be useful when teaching ringers. Do you have a long term goal for your ringers or for your band? What do you think of when you set goals for your ringers? How do you plan the actions necessary to achieve long term goals?
The ART Training Scheme is available in three modules: the teaching of bell handling; the development of good foundation skills up to plain hunt; and the teaching of elementary change ringing. If you're interested in joining one of our schemes then have a look at the courses in more detail, including their entry requirements; decide which is the right one for you and then apply.