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A simple opening accompaniment gives way to a bold, syncopated melody in this Michael Glasgow original. Light and bouncy throughout, the malleted bass becomes almost frenetic in the middle 5/4 section, challenging ringers' counting and sense of rhythm. The piece builds in intensity, driving to the final, wild climax.
A forceful original anthem for three to five octaves of handbells. Perfect for a spirited introduction or energetic postlude, this work will be easy for your choir's veterans, and will offer only a modest challenge to your less experienced ringers. All voices get a chance to play the melody, giving the choir a chance to work on sectional balance.
This unique selection opens up the world of antiphonal music to ensembles that don’t have an extra set of bells sitting around. Using just one three-octave set of handbells split between two groups, this powerful fanfare is sure to make an exciting aural and visual impression on audiences and congregations
Two familiar hymn tunes are encased in a joyful celebration of bells. Double choirs play simultaneously throughout most of the piece.
After a free, 4-measure introduction, the melody of the hymn tune by Harry S. Mason enters in a single line. At each cadence a line of harmony is added until a full harmony is realized by the end of the first section. The music then broadens and relies on strong chordal ringing to emphasize its point. A final section returns to the free feel of the beginning.
This creative-yet-straightforward arrangement of the Austrian Carol is a perfect choice for advanced choirs looking for something quick and musical to throw together, or intermediate choirs looking to challenge all the ringers in the ensemble. The melody passes freely throughout the choir, enhanced by varied and entertaining accompaniments. The melody is frequently exposed, so it’s a good chance for all your ringers to work on their confidence. A fun choice for the Advent season.
"As long as I have breath, I will praise You, Lord." So begins the text of a song by Sue Farrar upon which Mary Kay Parrish has based this arrangement for handbells. 14-16 chimes in the upper 3-4 octave range add beauty and grace to the mix. The 77 measure piece is simply set for a lovely presentation. An SATB choral anthem with keyboard is available from this same publisher, No. BP1298.
This lovely Welsh melody can also be titled according to two hymn texts - "The Master Hath Come" and "Let All Things Now Living." The setting, replete with syncopated rhythms, offbeat accents, and staccato techniques, definitely mirrors the percussion skills and energetic personality of its arranger - Hart Morris.
Edward Elgar's beloved Nimrod (Variation 9) from the Enigma Variations is presented here for bells and optional 3 octaves of handchimes. Performance notes are given for using an additional set of Whitechapel bells (ranging from E flat 5 to C7).
Original composition by Karen Lakey Buckwalter. Opening with a beautiful optional cello solo, this flowing original work will bring a prayerful moment of contemplation to any performance. At times laid-back and others insistent, listeners are carried along on a powerful musical journey. This work is a perfect choice for those looking to challenge their ringers both technically and musically.
Anna Laura Page’s calm setting of “Away in a Manger” combines both well-known tunes associated with the text. Simple rhythms and delicate scoring make this piece easy for most choirs to prepare, while still providing them with enough musical moments to work on the nuance of performance.
Stunning and transparent, Patricia Hurlbutt's arrangement of this Spanish folk song is a worthy challenge for the smaller ensemble looking for something special. The slow tempo and exposed textures require the utmost concentration and confidence from all ringers, and the frequent rapid rhythmic figures demand precision from the group.
A slight syncopation with the B4 and C5 bells generates a gentle pulse on and off throughout this setting for bells and optional chimes (8 ranging from Bb4 to Bb5).
This arrangement is a fairly straight-forward setting of the popular patriotic camp meeting tune. Triplet figures and fanfare passages characterize the accompaniment. A slower section is a nice contrast before the powerful ending.
Give special attention to dynamics on this tune, which is one of Bach's loveliest, as it builds to a climax in the middle then ends quietly as it began.
Irish melody SLANE begins gently with great expressiveness. The piece focuses on the pure, rung sound of bells and contains no special techniques. Lots of chordal ringing is contrasted by flowing passages. There are some triplet rhythmic figures and key changes.
A mystical, free-flowing opening and closing section is contrasted with a more solid, steady middle part to create the solemn but sincere mood of this arrangement of the Sacred Harp tune BEACH SPRING.
Bold, open harmonies dominate Jason Krug’s arrangement of the hymn BEACH SPRING. Set in a lilting 6/8, the opening verses offer a laid-back treatment, which becomes jubilant and driving as the piece accelerates into a driving 4/4 for the final verse, before a brief return to the dancing 6/8 at the end. The optional tambourine provides extra support on the rhythm and additional aural interest.
Based on "Beach Spring" from the "Sacred Harp" collection, the use of mallets and optional flute adds beautiful sonorities to a flowing arrangement. Bells begin with a malleted random ring repeated through 10 measures. The flute plays intermittently and a separate flute score is included on the back page.
"Bell Anthem" is an easy arrangement of this classic. This piece is in cut time, with the half note equalling 66-80. Mostly chordal and medium in texture, a repeat lengthens the 34-measure work. Lack of techniques makes this title a possibility for chime directors wanting to teach ringers cut time.
This title is a transcription from Mahler's "Symphony III", movement V, based on the Austrian folk tune "Es sungen drei Engel" for 3-octave choirs. Careful attention to graded dynamics enhances performances!
Need a piece that sounds big, is easy to learn, and ready to ring in a jiffy? This original work fits the bill! Marked "Joyfully; like the pealing of bells," the opening gets everyone ringing before going into a lilting melody in 3/4.
The title tells it all. This is a joyful piece set in 6/8 time; and because of the time signature, dotted rhythms are very prevalent. Precision ringing is required. Set mostly in chordal style.
Good use of bells in all octaves and good placement of the melody in various voices give this arrangement of the "St. Christopher" tune a plus rating! The piece starts softly and builds as it goes, returning to a pianissimo at the end. Accidentals add a challenge.
From the pen of Jason Krug comes this haunting arrangement of Beneath the Cross of Jesus, for three to six octaves of handbells with optional F#2 bell, and optional three octaves of handchimes. Starting with a simple arpeggiated accompaniment, the tension builds through the final triumphant iteration of the theme, then ends on a quiet, pensive note. This piece is a perfect addition to any Lenten or Good Friday service.
An artful arrangement of Neidlinger's classic Christmas tune.
Bright harmonies and contrasting textures dominate this arrangement of the familiar hymn. Constant eighth note motion keeps the piece moving forward while a slower middle section gives a moment of pause. Be sure your ringers are prepared for the occasional duple eighth notes that appear from time to time! A nice choice for any time during the year.
OLD HUNDRETH; BLESSED; GLORY TO HIS NAME; PRECIOUS NAME; SWEETEST NAME
Nine optional handchimes, ranging from F5 - F6, are scored to blend in with this bell and vocal arrangement of the great composer Ralph Vaughan Williams' original work. There are some challenging passages of chromatics and 16th note rhythms that will need to be mastered.
For those needing a challenge or those who love Dave Brubeck this piece is for you. Grand concert selection.
Setting by Johannes Brahms. Gentle and endearing, this very accessible arrangement of a traditional German Christmas carol is simple enough for most choirs to attempt, but has enough challenge and potential for musicality to keep advanced choirs happy, as well. Handchimes feature prominently in the middle verse, making for some careful coordination for ringers between bell and chime.
From the Partita #1 in B minor for Solo Violin, this original work by J.S. Bach is set for bells in a convincing transcription. Fully scored, but with a light texture, the ringers will want to pay special attention to each articulation to represent the original work faithfully.
Get those mallets out, bass clef ringers! This setting of the American hymn tune HOLY MANNA opens with a pulsing, eighth-note bass line played entirely with mallets on tabled bells. The melody above is augmented rhythmically for an exciting effect. Later on, the accompaniment becomes march-like while the melody returns in a quicker rhythm.
An opening, chant-like mood – designed to evoke the ancient origins of the Church – sets the stage for this arrangement of the hymn tune HOLY MANNA. The piece utilizes changing moods, harmonizations, and styles to follow the Church (and all those who have ever met to worship) through the ages before a final verse in a sprightly 6/8 ushers us into the modern day and looks forward to all those who will worship in the future.
This work is a very adaptable hymn arrangement performed by 3 octaves and flute, 4 or 5 octaves alone or 4-5 octaves with flute.
Jane McFadden’s arrangement of two tunes – “Bright and Glorious Is the Sky” and “He Is Born” – is an energetic addition to the holiday season. Making liberal use of stopped techniques, the piece alternates between smooth, flowing sections and rhythmic
Sandra Winter's original composition is a beautiful, stirring celebration of life. A majestic theme with flowing eighth note accompaniment dominates the first half of the piece before a gentle mallet figure in the bass ups the tempo and recasts the melody in a joyous and celebratory light. Approachable by both intermediate and advanced ensembles, this piece is equally at home in worship or concert settings.
First published in 1827, this Epiphany hymn combines chimes and bells in contrasting textures to present the tune. March-like sections of malleted accompaniment in the bass clef support the melody on top of tall chords in the treble.
Four octave choirs will rejoice at this well-written piece specifically for 4-6 octaves. The opening tempo marking is rather unusual, but very descriptive: Frantically
"Buoyantly with joy" is the character marking for this happy French carol arrangement. Open texture is easy to read, and only a few bell changes occur toward the end of the work.
This piece is an easy, chordal arrangement of the traditional tune. Optional finger cymbals can be used.
"By the rivers of Babylon, there we sat down and wept, when we remembered Zion." This beginning text of Psalm 137 is not a reflection of the sorrow the exiled Jews felt, but rather a remembering of their beloved city and land.
Despite calling for no bell changes, Sandra Winter’s original composition is a worthy challenge for the intermediate choir. Featuring a repeating bass line and melodic material, the piece builds in excitement and intensity before coming to a booming conclusion. Because of the lack of bell changes, it offers ensembles the chance to work on playing quick, clean sixteenth notes, and to focus on interweaving different melodic lines.
Combining the tunes “Just As I Am” and “Will the Circle Be Unbroken?”, this gentle, emotional medley casts both hymns in a beautiful light. Adding in the optional flute or violin only adds to the expressiveness of the piece. A fitting choice for an uplifting moment in worship. The flute or violin part is included in the handbell score.
This original work by Matthew Compton is an emotional and accessible choice for concert or worship. A flowing lyric section opens the piece before giving way to a driving and energetic section featuring malleted bells, tambourine, and hand drum, which propel the work to a thunderous conclusion.
More a melody of "sound" than of linear line, this original composition clips along through shifting tonal centers, is punctuated by marts and staccato technique and throws in the occasional meter shift to keep ringers on their toes.
The title of this vintage Hart Morris arrangement says it all - "Caribbean" as in fun, syncopated rhythms that speak of exotic islands; "Praise" as in strong, full, expressions of joy; and "AZMON"as in the hymn tune for numerous hymn text including "O For a Thousand Tongues to Sing."
A lovely French carol masterfully arranged for handbells, this piece can be rung with 3 octaves; but the 4th octave adds to the charm of the composition.
Ronald Kauffmann’s arrangement of the traditional "Catalonian Carol" is a joyous offering for your holiday concerts and worship services.
An original composition in the style of a chaconne, a very ringable theme with variations.
Uses TRYGGARE KAN INGEN VARA and BEAUTIFUL SAVIOR. Flowing accompaniment and delicate scoring add an element of charm to this arrangement of “Children of the Heavenly Father,” which incorporates the tune “Beautiful Savior” on handchimes at various points. The piece moves seamlessly from one section to the next, offering the listener a meditative moment of reflection.
Celebrate Easter with this medley combining the hymn, "Christ Arose" with excerpts of the "Hallelujah Chorus". Techniques (Sk & Tw) add to the excitement of this medley.
Combining hymn tunes TRURO and DIADEMATA, arranger Jason Krug has crafted a majestic arrangement perfect for the Easter season. Tall chords and triumphant rhythms keep everyone involved.
Energy pulses through this setting of the traditional Ukrainian carol from the very first note and doesn't quit until the final accented notes! This sparkling arrangement will have audiences demanding an encore!
Three - six octaves of optional handchimes provide additional color to this piece within a piece. It can be rung as written for the Christmas season, or anytime during the year by omitting the Christmas carol quotes and a few measures. If you don't have the optional BIG bells, try to borrow them - it would be well worth it!
"Classical Bell Rag" was commissioned by the Classical Bells to celebrate 25 years of "Ringing in Color!" Bouncy, jazzy, and fun, this original composition boogies through bell and key changes. All sorts of staccato effects are used along the way. this piece is a perfect "show-stopper!"
A piece with movement. Lovely middle melody. Repeated patterns facilitate learning.
MIDDLEBURY is the tune this ethereal piece is built on. To achieve this effect the arranger scored mallets on suspended bells, optional three octave of chimes on the melody, the echo technique, open textures, contrasting staccato effects, and shifting keys.
A joyous, chordal arrangement of the "Madrid" tune. The last setting of the tune is harmonically interesting. Big ending.
The simple Czech tune is accompanied with repetitious patterns which change with each key
Patricia Hurlbutt's arrangement of ITALIAN HYMN is an exciting, accessible arrangement of the well-loved hymn. The tune undergoes a number of variations as the melody is passed around the entire choir. Multiple techniques keep both ringer and listener excited and engaged throughout.
Reflective and poignant, this setting of the "Nettleton" tune introduces the melody with chimes in the bass clef with alternating 16th note accompaniment in the treble. It is perfect for a thoughtful moment of worship.
"Feisty" is the best adjective to describe this setting of the favorite hymn tune. Normally in 3/4 meter, here it is placed in 6/8 resulting in a bouncy rhythm, which pulses right along. Later, a passage of mallets on tabled bells joins in the fun!
Energetic with martellatos and mallets on tabled bells in martial rhythm capture the spirit of the text. A sudden slow and free passage with echo technique provides a quick contrast before returning to strong material and a big finish.
A happy melody combined with compound meter creates a joyful, festive composition. LV is used extensively.
Contains: Comfort, Comfort These My People; Savior of the Nations, Come; Prepare the Royal Highway. This set of three carols provides contrasting moods that encompass the full range of emotions of the Advent season. Making liberal use of varied techniques and optional percussion instruments, these creative and interesting arrangements will entertain audiences and ringers alike.
Karen Lakey Buckwalter expertly weaves together a trio of Advent carols in this lyrical medley appropriate for church or concert use. Flowing lines and delicate accompaniment underscore the tunes "Blessed Be That Maid Marie," "The Cherry Tree Carol," and "Lo, How a Rose E'er Blooming", and the optional flute or violin add aural interest throughout. A beautiful addition to the handbell literature. The violin or flute part are included with the handbell score.
Lush harmonies dominate this beautiful arrangement of a familiar Lenten hymn. The simple, straight-forward rhythms facilitate learning and allow choirs to focus on creating a rich, musical performance.
Bach's beloved composition from the Orchestral Suite No. 3 in D comes alive on handbells. Plucked staccato notes conjure up the image of a harpsichord accompaniment.
This playful setting of a well-known tune will provide an extra bit of pizazz for worship and bring a smile to listeners’ faces. Making use of frequent stopped techniques alternated with full chordal harmonies, ringers should have no trouble getting into the groove. Be sure to include the optional bongo drum with the part included in the handbell score.
A bell-peal figure opens and continues through this light and airy rendition of the standard hymn. Various techniques, such as mallets, LV, and thumb damps, are scored to add color. A later passage finds the melody doubled in the lower chimes with an undulating accompaniment motif above.
Anna Laura Page’s arrangement is a fresh take on an old favorite. A syncopated version of the tune and malleted bass notes dominate the first verse before giving way to a slower and more delicate statement of “Rejoice, the Lord Is King”. The original rhythmic feel returns for a final triumphant iteration of the tune.
Martellato, mart-lift, thumb damp, shake, pluck, toll swing, and optional handchimes are all scored to enhance the music in this 55-measured setting of the favorite hymn tune.
After a simple chordal introduction the melody is placed in the bass clef with a lovely LV, alternating an eighth-note accompaniment overhead that reminds one of a swarm of butterflies.
This jubilant offering of praise and celebration is a fun piece for ringers and a joy for audiences. Incorporating snippets of “He’s Got the Whole World In His Hands,” this fresh and lively arrangement is sure to become a favorite of your choir.
Jane McFadden's delicate original three-to-five octave composition Always By My Side speaks of the steadfastness of God's love and the peace of His presence. You'll want to add the optional two octaves of handchimes, which are skillfully interwoven with the handbell accompaniment and countermelody. This lovely work is perfect for those quiet and introspective moments in any worship service.
Now here's something different! The opening and ending of this arrangement of the favorite hymn begins with three groups ringing the melody (with bells or chimes) in a free tempo thus producing a free echo effect. The keyboard follows this with 16 measures and then the bells join in.
Malcolm Wilson's charming and ethereal piece would certainly claim the centerpiece to any concert and worship offering.
This powerful arrangement of the hymn by Thomas Campbell abounds with full chords guaranteed to get the listener’s attention. Few bell changes will make this easy to put together, while the occasional key changes provide just enough challenge for beginning ringers. Watch for some unexpected harmonies on the last verse and an extra challenge for your bass ringers near the end!
Jason Krug's arrangement of this little-known Christmas tune is sure to delight ringers and audiences. The tune is introduced in an ethereal opening with chimes and malleted suspended bells before undergoing a number of variations from playful to regal and everything in between. An excellent choice for the church or community group looking for something different for the Christmas season.
A repeatable, 8-measure bell peal introduces this arrangement on the French carol and also may also serve as an easily-memorized processional. The carol then is rung in a straight-forward manner, with the peal reappearing to end the piece.
The traditional French melody GLORIA is fully scored in this arrangement. Chordal textures contrast to staccato sections and changing keys and tonalities add freshness to familiarity. The end is big and bold with shakes fortississimo dynamic.
Full of zest and energetic rhythms, this arrangement of the Christmas favorite keeps all the ringers involved. Just the right amount of special techniques (shakes, mart-lifts, etc.) are sprinkled in for effect.
A simple opening accompaniment gives way to a bold, syncopated melody in this Michael Glasgow original. Light and bouncy throughout, the malleted bass becomes almost frenetic in the middle 5/4 section, challenging ringers' counting and sense of rhythm. The piece builds in intensity, driving to the final, wild climax.
A forceful original anthem for three to five octaves of handbells. Perfect for a spirited introduction or energetic postlude, this work will be easy for your choir's veterans, and will offer only a modest challenge to your less experienced ringers. All voices get a chance to play the melody, giving the choir a chance to work on sectional balance.
This unique selection opens up the world of antiphonal music to ensembles that don’t have an extra set of bells sitting around. Using just one three-octave set of handbells split between two groups, this powerful fanfare is sure to make an exciting aural and visual impression on audiences and congregations
Two familiar hymn tunes are encased in a joyful celebration of bells. Double choirs play simultaneously throughout most of the piece.
This arrangement of the Welsh folk tune "Ash Grove" is a cheerful, happy tune arranged so that those characteristics shine through.
This arrangement is a fairly straight-forward setting of the popular patriotic camp meeting tune. Triplet figures and fanfare passages characterize the accompaniment. A slower section is a nice contrast before the powerful ending.
Based on "Beach Spring" from the "Sacred Harp" collection, the use of mallets and optional flute adds beautiful sonorities to a flowing arrangement. Bells begin with a malleted random ring repeated through 10 measures. The flute plays intermittently and a separate flute score is included on the back page.
"Bell Anthem" is an easy arrangement of this classic. This piece is in cut time, with the half note equalling 66-80. Mostly chordal and medium in texture, a repeat lengthens the 34-measure work. Lack of techniques makes this title a possibility for chime directors wanting to teach ringers cut time.
This title is a transcription from Mahler's "Symphony III", movement V, based on the Austrian folk tune "Es sungen drei Engel" for 3-octave choirs. Careful attention to graded dynamics enhances performances!
The title tells it all. This is a joyful piece set in 6/8 time; and because of the time signature, dotted rhythms are very prevalent. Precision ringing is required. Set mostly in chordal style.
An artful arrangement of Neidlinger's classic Christmas tune.
For those needing a challenge or those who love Dave Brubeck this piece is for you. Grand concert selection.
This work is a very adaptable hymn arrangement performed by 3 octaves and flute, 4 or 5 octaves alone or 4-5 octaves with flute.
This piece is an easy, chordal arrangement of the traditional tune. Optional finger cymbals can be used.
A lovely French carol masterfully arranged for handbells, this piece can be rung with 3 octaves; but the 4th octave adds to the charm of the composition.
An original composition in the style of a chaconne, a very ringable theme with variations.