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This original composition will work well for a celebratory opening to worship or any concert event. Carefully placed LVs create a sonority that nicely supports the melody line while unexpected yet satisfying chord progressions engage the listener.
The harmonies, judicious use of LV and gently flowing eighth note patterns capture the mystery and wonder of the communion service in this elegant arrangement. The texture is odcasionally thin but the thoughtful expressiveness of the music makes up for it.
This arrangement opens with LV accompaniment, followed by chimes echoing the bells melody, and a variety of techniques such as echoes and mallets. The rhythmic ‘B’ section then transitions back to the ‘A’ section for the conclusion. This is sure to become a favorite!
This piece, originally composed as a piano duet by Stewart Wallace, has been described as a ‘fun but tricky duet with a pacy Latin beat.’ David has masterfully arranged it for handbell ensemble. With relaxed energy yet truly Latin in feel, it will be a terrific addition to your concert repertoire.
Here is an original, cleverly-crafted, 126-measure calypso work with a swing section adding even more fun rhythms. Filled with enough techniques to keep the ringers engaged and challenged, the catchy tune will leave ringers and audience alike whistling or humming this tune long after the song has ended. Multiple key changes are included.
Optional chimes (3-6 octaves) join with the bells in performing this original composition written in memory of one who loved handbells. Flowing eighth-note passages in Andante tempo open this work in Common Time. Following is a lively section in 6/8 meter complete with mallets. Chimes appear after a change back to 4/4 and lend their peaceful ambiance.
This Mexican folk song, with its traditional rhythms, is a great addition to a concert repertoire! A purely rung, graceful section is sandwiched between two bouncy, faster sections. The triplet-versus-dotted-quarter-eighth rhythms may need some extra work; but once they are mastered, “Carmela” will be enjoyable for ringers and audience alike.
Combining two jigs, one Scottish and one Irish, Linda Lamb has created a totally delightful and unique piece for any Christmas concert. With titles of “Christmas day I’da Mornin” and “Bottom of the Punch Bowl”, you know it is going to be fun. There is no way to listen to this piece without smiling and wanting to get up and dance!
With open fifths preceded by grace notes and careful attention to harmonies, the arranger has captured the flavor of this charming 17th Century Scottish Carol – Baloo, Lammy. The discerning use of handchimes enhances the poignant melody. 73 measures and scored in D Major, “Celtic Cradle Song” is truly a lovely setting of an appealing carol.
This original melody by Paul McKlveen is gentle, lovely and lyrical. The use of LV throughout adds to the relaxed flow of this work and handchimes and bells interplay in sections, adding to the interest of this piece. It will work in any secular or worship setting and an alternate title could be used, if needed, to fit into worship.
A joyful melody and a lively accompaniment are the predominant features of this appealing composition. Well thought-out placements of special techniques such as LV and the use of mallets add to the appeal of this original composition.
We have all seen videos of musical ‘flash mobs’ gathering in a public place, playing and then leaving just as quickly. Tim has arranged three popular Christmas carols Carol of the Bells, Deck the Hall, and Joy to the World) for just this purpose! The concepts of most flash mobs are to gather quickly in a public place, perform a “random act of music” for a brief time, and then quickly wander away. The fun lies in the unpredicted time and place of the performance and the fact that it is quickly over.
Dan has joined three favorites, all written in the 1920’s, in a toe-tapping arrangement sure to be enjoyed by audiences and ringers alike! “The Charleston”, “The Black Bottom”, “Five-foot Two Eyes of Blue”. Here is a nice joining of melodies, stopped sounds emphasizing rhythmic accents, mallet clicks and spoken “twenty-three skidoo”.. and more! This is a must-have for your concert repertoire!
Gently flowing eighth notes accompany the opening melody creating an ambiance of serenity and peace. The composer then incorporates changing harmonies and stopped techniques to express contrasting “colors” of peace before returning to the opening atmosphere. This calming score is 77 measures.
Based on the two wonderful carols, this piece may be performed by one handbell choir; or it may be rung by two or three separate choirs. If multiple choirs are used, the opening 22 measures may be performed antiphonally with Choirs I, II and III ringing segments of “Savior of the Nations, Come” and “O Come All Ye Faithful.” Measure 23 begins the full statement of “O Come All Ye Faithful.” Rich harmonies and appealing running eighth note patterns create a jubilant setting of this traditional Christmas carol, appropriate for church or your holiday concert.
The arranger has used a variety of techniques to support the melody throughout, creating an exuberant arrangement of a hymn favorite. Each section employs a different skill, such as sixteenth-note malleting, key changes, and triplets to create different moods. The final section progresses to a majestic ending.
Dean has remained true to the style of Wyeth’s traditional American Hymn Tune in this engaging arrangement for handbells and handchimes. Delicate suspended bells in the introduction set the stage for the melody which is introduced by the rich tone of the bass handchimes (C4-A4). Smoothly rung bass clef eighth notes underlay the treble melodies and all builds to a full-toned yet nuanced ending.
The composer has woven three traditional carols (“Hark the Herald Angels Sing, He Is Born, and O Come All Ye Faithful”) together to create a sparkling arrangement for the Christmas season. Thoughtful use of the echo and martellato techniques adds to the appeal of the music.
Lee Afdahl has created an enchanting handbell setting of the Natalie Sleeth piece, “Come, Come! Everybody Worship (Vengan Todos Adoremos).” With myriad stopped techniques, malleting and contrasting LV segments, this joyful piece is bound to please congregation and ringers alike.
This tone poem creates music and sounds representative of the glorious “Aurora Borealis.” Use of singing bell, echoes, suspended bells, LV, and more adds to the creativity of the work. Nicely placed handchime notes and many opportunities for expression provide a lovely ‘image’ of the Aurora Borealis painting the sky. This work is the winner of the Handbell Guild of Canada Composition Contest 2017 and will be performed in massed ringing in Australia 2018 International Handbell Symposium.
The use of singing bell, echoes, LV, random ring, and random mallet combine to create a wonderfully ethereal setting of the two melodies: CONDITOR ALME SIDERUM and DIVINUM MYSTERIUM. Hand chimes carry the melody in some sections overlaid by bells in the 6’s and 7’s creating a gentle ‘twinkle’ effect. Karen creatively have lower bells ring, then echo and move seamlessly into the singing bell – a very nice transition. This is a wonderfully sensitive and calm work which will enhance worship or concert, and enchant all listeners.
A stately arrangement combining three familiar hymn tunes: DIADEMATA (Crown Him With Many Crowns) with CORONATION and DIADEM (two settings of All Hail the Power of Jesus Name). The arranger uses a variety of special techniques to enhance the interpretation as well as modulation through three key signatures.
Once again, a Scott Joplin composition has made a delightful transition to the handbell idiom. Although probably not as well known as his ragtime pieces, the signature Joplin sound is obvious throughout the piece. LVs, Mart Lifts, RTs, and the occasional use of mallets combine to make this an upbeat “toe tapper.”
Dances from the Terpsichore ( written in 1612) is the only secular work written by Praetorius. Terpsichore, named for the Greek goddess of music, consists of 312 different dances and is often played in winter festivals. All parts are compatible or can stand totally alone, and can be performed separately or in any combination. The titles in this work are: Ballet, Bransle de la Torche, Courante, Pavane de Spaigne, Sarabande, Spagnoletta, Volta
Danzare is a lively, dance-like original composition for handbells by Peurto Rican composer Meredith Alequin. Employing various techniques and interesting rhythms, the piece is energetic and appealing. One can easily imagine the dancers spinning and twirling around the dance floor. Composed in g minor, this piece is 69 measures.
A spirited original composition with a driving rhythmic accompaniment and a melody that will stay with you long after rehearsal or performances, this piece is guaranteed to bring a joyful atmosphere whenever it is performed.
If you are looking for a cheerful, up beat arrangement of a traditional Christmas song, this arrangement of “Deck the Halls” is for you. With a variety of stopped sounds (carefully placed), a touch of jazz, and full use of the various ranges of bells, this setting of “Deck the Halls” is guaranteed to delight your audiences as well as your ringers.
Sprightly and rhythmic, this two octave arrangement is definitely fun to ring. The melody changes from the treble to the bass several times and there are opportunities for the echo, mart and mart lift techniques.
The arranger has captured all of the spirit and joy of this perennial favorite from “The Sound of Music”! The judicious use of staccato techniques in the bass adds to the merry atmosphere. This piece is appropriate for concerts any time of the year and is certain to be an audience favorite.
If you were around in the 1940’s, you may remember Allen Jones or Perry Como performing this humorous Rudolph Friml song which depicts a man singing about his donkey. The handbell arrangement captures the spirit of the song with its bouncy, merry melody and the clip clop of the donkey’s hooves, represented by the alternating bass line. Optional Temple Blocks may be added to the staccato bass line to enhance the musical “picture”.
The arranger has created a relaxed swing arrangement of this 1940’s standard that is true to the Duke Ellington style. The appropriate use of various stopped techniques adds a fitting texture to the soft jazz setting. As with most jazz pieces, the accidentals are frequent and will require much preparation.
This Doo-Wop medley of “Book of Love”, “Goodnight, Sweetheart, Goodnight”, and “Who Put the Bomp (in the Bomp Ba Bomp Ba Bomp!)” is sure to bring back memories for some… of the ‘50s. This is a straight-forward arrangement of all of these tunes, with both bells and chimes plus just the right amount of stopped techniques to emphasize the beat. Sure to be a hit at your next concert!
Here is an original composition that is perfect for Easter services. With a sparkling melody and contrasting themes, an exciting tempo, a touch of handchimes and brief sections with mallets in the bass line, this composition captures the joy of Easter morning.
This arrangement is a unique combination of two compositions by Michael Praetorius. The energetic outer sections of the piece are a transcription of Psallite, a choral motet. The quieter middle section is an arrangement of Est ist ein Ros (Lo How a Rose), which is punctuated with soft melodic fragments from Psallite played with mallets on suspended bells. Exercises to help ringers accomplish various ringing technicalities are offered on the back cover of the music.
Creatively combining and intertwining the UKRAINIAN BELL CAROL with O COME, O COME EMMANUEL, the arranger has fashioned an imaginative and exciting setting of two carols. The Singing Bell technique is used to introduce the opening rhythmic chordal progression which leads into the Ukrainian Bell Carol motif. Measure 13 begins the combination of the two carols. This nicely scored medley is 76 measures and arranged in e minor.
Combining “Divinium Mysterium” with “Veni Emmanuel”, Kevin has created an ethereal setting for the Advent and Christmas season. The judicious use of several ringing techniques, combined with the contrasting timbre of handchimes, enhances the mystical beauty. 58 measures. Key of G Major and b minor.
This is a lovely composition is based on the tunes “Chandler, Come Oh Thou Traveller, Endless Song and How Can I Keep from Singing”. With rich harmonies and soaring melodic lines, the music transitions smoothly among the well known melodies. The two key changes and well thought-out use of handchimes throughout the piece add to the listeners’ interest and enjoyment.
We never grow tired of Scott Joplin’s work – and this new arrangement of The Entertainer offers a variety of styles and treatments that will enchant the audiences and ringers alike. This will be such fun to ring with LV, mallets, marts, TD and more. Be sure and add this to your repertoire!
An energetic original composition for the 2 octave handbell choir, “Exuberance” provides the opportunity for ringers to use a variety of stopped techniques while developing their rapid ringing skills as they rehearse this joyful composition.
This original work is suitable for worship or concert and features a delightfully happy melody supported by counter melodies in the inner voices. Nicely placed stopped sounds and dynamic variances create interest for the listener as well as expressive challenges for the ringers. There are several sections with optional repeats which make this work flexible for performance length. The recording does not include all of the repeats.
Mythical, ethereal, and haunting are adjectives that could be used to describe this setting of the hymn “Spirit of God, Descent Upon My Heart”. Matthew Prins has created a lovely and unusual arrangement of this hymn of meditation, which is written in 6/8 time with a running eighth note pattern in the bass, unexpected harmonies in the treble, and liberal use of LV.
Written to express some of the deep feelings of loss, frustration and change brought on by the attacks of 9/11, “Fasaad~Hazar~Shalom” is an intense original composition. The title uses 3 languages from the Middle East to convey the emotions expressed in the piece. “Fasaad” is a Hindi word that can be translated as conflict. “Hazar” is an Arabic word for fear or terror and the Hebrew word “Shalom” can be translated as Peace. A gong, combined with a cacophonous chord, is used to represent the breaking of the spirit. The final section, representing peace, returns to the beginning theme. This work is 85 measures.
The composer has created a sensitive and haunting original composition. The poignant melody first appears in the treble. It is then presented in the bass with treble ringing a counter melody on handchimes or handbells. A brief contrasting section with a slightly brighter tempo then modulates to a new key for the final powerful statement of the melody.
Exhilarating and celebratory, with accented driving rhythms, this piece is great fun to ring or hear! Thumb damps and malleting (with bells at times on the table and other times, suspended) add to the excitement of the composition. The optional tambourine part may be substituted with clapping or varying percussive instruments. It was selected for massed ringing at the 2012 International Symposium.
Even though Tchaikovsky hated the finale to the overture, calling it “very loud and noisy,” it has become a favorite of many orchestras and concert bands, playing it for any dynamic, celebratory occasion imaginable. So it is only natural that it be included in the handbell repertoire. Rick has included optional peals on ‘alternate’ bells, orchestral chimes, bell tree, and of course, optional bass drum. The final section includes the alternate bells played in the aleatoric style – like ‘random tones of wind chimes in a wind storm.’ This is certain to be a crowd-pleaser!
Will Gross has created a beautiful arrangement of this hymn favorite for handbell quartet. It features a variety of moods beginning with a firm and steadfast opening, seguing to the ethereal singing bell technique supporting a single melody line and ending with a glorious restatement in a couple of styles. This will be a wonderful addition for any moderately accomplished quartet.
Written with a handchime choir in mind, this delightful original composition is equally pleasant for the audience or congregation to hear whether it is rung on handbells or handchimes. There is a limited and appropriate use of the Echo and Vibrato techniques. Explanations on how to execute these techniques are included. The music is skillfully written so that all of your ringers will have interesting parts whether you are ringing with 3, 4, or 5 octaves.
“For As the Rain Comes Down” incorporates rainsticks and an opportunity to add recorded thunder & lightning sounds. Using a variety of techniques, you experience the first raindrops as they escalate into a full thunder storm and back to the peace at the end of the storm. Prerecorded rain and thunderstorm sounds may be used during the performance.
This original song by Will Gross reflects the sorrow and anger conveying Christ’s sacrifice then leads into the ultimate redeeming joy of His Gift to our world. In the beginning, the haunting melody and pulsing accompaniment in c minor offer opportunity for much expression with discretely placed stopped sounds and optional singing bell. It then segues into C major while gentle LV passages feature a tender yet joyous melody. This will be a wonderful addition to your Lenten repertoire.
Leroy Anderson, master of compositions for light orchestra and best known for “Sleigh Ride,” penned this original in 1954. Arranger Betty B. Garee brought this lovely tune alive for handbells and flute (or handchimes or other C instrument). Smooth lyrical lines in eighth and sixteenth notes move the music forward, while playful staccatos add bubble and bounce. The flute score is both separate and above the bell score.
This series of three tone poems was written specifically in honor of the Handbell Ringers of Japan to celebrate their 40th anniversary in 2017. Musically, the work is true to the title – the ‘Peril’ section being quite dramatic, beginning with an 8-measure, ominous mallet roll starting in the low bass, adding Sk chords moving up the scale. The main themes are filled with energy and end this section with a dramatic chord. ‘Peace’ is introduced on handchimes leading into a lovely melodic section which includes rainsticks. ‘Joy’ then follows with a simple melody which is beautifully developed to the end. 170 measures.
This original work has a lyrical, introspective melody featured in the handchimes in the beginning, supported by lovely LV in the bells – representing ‘sorrow.’ It segues to a rhythmic style with the bells ringing the melody – clearly imparting joy! A mix of LV and R, a few mart-lifts and echoes add interest throughout. This was used in worship at St. Olaf College this summer.
This original composition was the winner of the Alberta Guild of English Handbell Ringers Fred Merritt Award for New Compositions 2015, Category C. “Gathering” was performed by the Festival Choir at the International Handbell Symposium held in Vancouver in July, 2016, directed by the composer. This upbeat, rhythmic work is written in 7/8 throughout and features a variety of stopped techniques and echoes artfully placed, supporting a lilting melody and solid bass foundation. The recording is courtesy of the International Handbell Symposium! 108 measures. Key of A♭ Major.
Filled with lovely counter-melodies and the occasional unexpected yet satisfying chord progression, this will be a very nice addition to any quartet repertoire. O Waly Waly is a Scottish folk tune which has a complicated and fascinating history. It was recorded by Pete Seeger in 1958; Joan Baez and Bob Dylan recorded a lovely duet of this tune with the lyrics “The Water Is Wide” i 1964. In 1972, composer Hal Hopson created a lovely arrangement with lyrics taken from 1st Corinthians 13. This is truly a tune for all genres.
An ideal work to ring on Palm Sunday, “Glory to the King” combines “All Glory, Laud and Honor” with “The King of Glory Comes”. The piece is straightforward and captures the mood of the entry into Jerusalem, and the two melodies are combined effortlessly.
This piece was composed to complete a trilogy based on Isaiah 55. The first two, “For as the Rain Comes Down” and “And All Shall Clap,” are now followed by “Go Out in Joy.” The intense opening section is enhanced with the use of an optional drum (tuned or untuned) which doubles the bass bells’ rhythmic pattern. A slower melodic section, with an alternating bass mallet and ringing pattern, segues back to a brief restatement of the opening joyful theme.
Set in 12/8 time, the rhythmic accompaniment provides a gospel/blues texture for the traditional spiritual. Thumb damps, occasional echo techniques, and frequent chromatism add to the appeal. 61 measures in all, this snappy setting is arranged in G Major and A Major.
The opening 12/8 “bluesy” treatment of the chorus is followed by a contrasting straight 4/4 presentation of the verse. Modulating from C major to G major, a contemplative presentation of the verse on handchimes leads to the return of the upbeat chorus. 70 measures in length, it is an interesting and creative arrangement of the well-known spiritual, appropriate for church or concert venue.
There is plenty of syncopation, stopped sounds and even a new technique created by the arranger to give the effect of a “trombone smear” (directions included). This arrangement is fun as a stand alone handbell piece or may be used to accompany the 2-part or SATB choral scores, available from Fred Bock Music Co., Inc (lyrics are printed in the bell score).
Pull out your sunglasses and surf board! The Beach Boys have come to the handbell world! You can now “rock on” with your handbells as you ring this classic tune from the 60’s. With a title of “Good Vibrations” it JUST HAD to be arranged for handbells!
Exciting and intense with syncopation, rhythmic foot stomping, and hand clapping, this exuberant composition will be sure to keep the audience’s attention and challenge your ringers’ coordination skills. “Guazabara” provides a workout on sixteenth notes and rapid ringing skills. 58 measures in length, it would be a great addition to any concert.
Your ringers and your audience can have a rollicking good time with this piece! A fun and entertaining way to open your spring concert or gathering, this handbell piece is the refrain that comes from the song “Alabama Jubilee,” made famous by the dancer Fred Astaire. There is an opportunity for choreography (although no specific choreography is suggested), and the audience could be invited to sing along during the chorus.
Valerie Stephenson’s clever “Happy Birthday Variations” presents the well known tune in the styles of Handel, Pachelbel, Brahms, and Beethoven, to name a few. The work may be performed in its entirety or, if desired, some portions may be performed separately. Performance possibilities are given with suggestions on how to “lift” particular variations of your choice to suit a particular birthday being celebrated. Footnotes are included throughout to help with performance challenges. This piece is a unique way to honor someone special on their birthday!
Jad has done a beautiful job of transcribing this handbell solo, based on a handbell choir arrangement by Cathy Moklebust. With changing meters, a variety of rhythms is offset by flowing lyricism and enchanting interplay between the solo and accompaniment. This is an excellent work for the more advanced solo ringer!
This is a lovely solo arrangement of this favorite carol. Nice modulations and a few unexpected and very nice moments occur in this version. The intermediate handbell soloist will find detailed performance notes throughout the ringer’s score, along with preset positions. The piano accompaniment (in Db) flows along and keeps a good pulse going.
Kevin Stewart has arranged these two favorite hymns, On Eagles Wings and Finlandia, into a beautiful work for handbell choir. It is gentle and lovely in its simplicity and sure to be a favorite of ringers and listeners, alike. At about 2-1/2 minutes in length, it is perfect for an offertory in worship.
Matthew has created a fun arrangement of this Beatles favorite. Ringers and audiences alike will delight in this piece which is true to the style of the original work. This is sure to be a bit hit in school and community concerts!
This arrangement is a splendid treatment of the much loved hymn. Opening with an innovative introductory section, the setting then moves into a more traditional statement of the first verse. Contrasting styles depict each of the successive verses with a modulation from F major to G major. The final verse is majestic, presented with full chords.
This is a delightfully fun arrangement of the 1940’s tune by the handbell duo “Handbells Unlimited!” A link to a video of their performance of this music is posted on From the Top music web site (recording courtesy of Handbells Unlimited!). It is a fun piece and sure to elicit appreciative chuckles from the audience.
Written with a relaxed swing style, this setting of the traditional spiritual is a happy, toe-tapping arrangement that is refreshing to hear and rewarding to perform. Moving skillfully through three key changes(C Major to D Major to E Major), the modulations are energizing and add to the enjoyment of the piece. It is 62 measures.
Rich harmonies, full chords and complementary arpeggios accompany this charming, venerable American gospel hymn melody. The arrangers have crafted a well thought out setting which will utilize the full range of your 3, 4, or 5 octave handbell set. The various accidentals may require some preparation.
Based on a traditional Gaelic melody, Ho Ri, Ho Ro, is an engaging and interesting piece. It may be rung on handbells or handchimes. Opening with dotted half note chords, which are tolled, it proceeds to an introduction and statement of the melody, then closes with a repeat of the opening tolled chords. Alternate titles provided are “Tiree Love Song” and “Heaven on Earth“. Mr. Wilson has included background on the isle of Tiree, where the melody originated. He has also included information concerning the modern hymn text for “Heaven on Earth”and the history and meaning of the original song and its title.
This piece was commissioned by Kipp Wilnauer for his 7th-8th grade school handbell choir. It is written in ABA form, with the second A section identical to the first A section to facilitate ease in learning. The ragtime style of the piece definately provides a study in syncopation for all of the ringers. Performance notes are included.
Dean has created a lovely setting of the hymn favorite, ENDLESS SONG, by Robert Lowrie. An exquisite obbligato line maybe played on bells, bell tree, or any C instrument of your choosing. The melody may be rung on chimes in some measures. This work will be a wonderfully expressive addition to your handbell repertoire.
Based on the Traditional English Carol (Stowey) with alternate title Children’s Song of the Nativity, this traditional childen’s carol uses flowing lines and smooth, legato ringing to create the feel of a lilting lullaby. Dynamics are generally mellow, and the tempo is a calm quarter = 74. The text for the carol (not included) begins: “How far is it to Bethlehem? Not very far. Shall we find the stable room lit by a star?”
“O Little Town of Bethlehem,” “Still, Still, Still” and “It Came Upon a Midnight Clear” have been seamlessly woven together to create a lovely Christmas arrangement full of warmth and tenderness. It is the perfect addition to your Christmas Eve service.
This is an arrangement which is lovely in its simplicity. The accompaniment is mostly LV which creates a somewhat ethereal effect, nicely supporting the melody of this much-loved hymn. What a sweet, sensitive work — sure to inspire while hearing it rung in worship or on a special program.
This appealing waltz provides variety for your ringers with the melody moving between treble and bass while the accompaniment includes echo and LV techniques. It uses subdued dynamics and LVs to achieve a light touch.
A gently lilting setting, blending two joyful carols together, will be a delight for your congregation or concert audience. Intermittent LV and staccato techniques provide contrasting passages and add to the pleasure of the listener. The second tune (Here We Come a-Wassailing) appears near the end of the piece.
On June 30, 2013, nineteen Granite Mountain “Hotshot” firefighters from Prescott, AZ, lost their lives while fighting the Yarnell Hill fire northwest of Phoenix. Michael Mazzatenta, an Arizona resident, said: “I was so moved by the televised memorial that I felt compelled to respond with a musical tribute in honor of those fallen.” The single, hymn-like theme is framed by an introduction and closing which include 19 tolled notes, representing the 19 heroes of the Granite Mountain Hotshots. While dedicated to these firefighters, this powerful and moving work is appropriate for any memorial event.
The composer has featured the nativity story from the shepherd’s viewpoint, dramatically told by a narrator, with handbell accompaniment. Pre-recorded sound effects of crackling fire, crickets chirping, wind sounds are suggested to be played before the bells enter peacefully. This will be a wonderful addition to you Christmas repertoire. 126 measures.
This Polish carol has been given a delicate and fresh new treatment with the melody alternating between handbells and handchimes. Handchimes are listed as ‘optional’ but it is best performed with chimes. Unexpected yet interesting harmonies, descending eighth note melodic patterns, subtle modulations to new keys, and nicely used LV passages will engage the listener from the first chord to the ending. This is an opportunity for groups to expand and perfect their best expressive ringing.
Lee has crafted a lovely and lyrical arrangement of this favorite hymn. The familiar melody line is supported by gentle, LV parallel third peals. It includes a ‘verse’ rung entirely on handchimes. This will be an opportunity for your group to pay particular attention to dynamics and emphasize the horizontal line of the music. This would be a very nice piece to play during any introspective, prayerful part of worship.
“Jingle Bells” is one of the best-known and commonly sung American songs in the world. It was written by James Lord Pierpont (1822–1893) and published under the title “One Horse Open Sleigh” in the autumn of 1857. With the marvelous malleted (or plucked) bass line, the boogie rhythms and the shimmering counter melodies, this cheery arrangement of the holiday favorite will delight your ringers and make your audience want to get up and dance.
What would December be without a spanking new setting of Jingle Bells? With abundant use of stopped techniques, along with LV’s and Shakes, this merry setting of the season favorite will delight all who hear it. Karen has also provided suggested handbell assignments for Ringers numbering from 8 to as many as 13.
This original work from Michael Mazzatenta is in praise band style, with an engaging melody and toe-tapping rhythm. Excellent use of ring, LV, and stopped sounds add to the joy of this composition. This is fitting for worship or concert.
Derek has created a delightful piece, suitable for worship or concert, which has an engaging melody which alternates between bells and chimes in both treble and bass, with accompaniment switching accordingly. There is a lovely alternate melody in the relative minor and nicely placed stopped sounds and even a few mallet clicks! The ending returns to the main theme and includes peals.
“Joyful Fanfare” is a buoyant, lighthearted original composition with an appealing melody. It begins and ends in the key of C major. The contrasting middle section, in F major, moves the melody into the bass and “alto” range with the higher treble thumb damping the rhythmic accompaniment.
This exciting and rhythmic arrangement of the choral “Ode to Joy” from the final movement of Beethoven’s 9th symphony has been given a fresh style by Matthew Prins. A variety of stopped techniques emphasize the rhythm – which makes this piece dance. 95 measures. Key of C Major.
Composer Mike Mazzatenta focuses on anthiphonal textures, syncopated rhythms, and meter shifts (4/4 to 5/4) in his original composition for 3 octaves. The music exudes energy and a fair amount of accents. Articulations are added to make sure the ringer gets it! Set in E major, the piece contains a fair amount of accidentals.
The tune will be familiar to some as it was background music for a popular video game (Tetris) a few years ago. Beginning with a brisk tempo, it gradually accelerates to the exciting ending. With the exception of a few shakes and mart lifts, the entire piece is played by malleting and plucking.
This unpretentious presentation of the 17th century French carol captures the awe and mystery of the original hymn. Opening with the melody stated at a slow tempo with unison octaves of handchimes, the central section moves somewhat quicker with full chordal harmonies. The piece closes with seven measures that are reminiscent of the opening section.
This is a hauntingly beautiful setting of the traditional hymn. Opening with the Singing Bell technique for the bass chords, the technique continues as the melody is introduced in the treble. Judicious use of the Singing Bell and LV techniques throughout creates a meditative, ethereal atmosphere.
Larry Sue has created a fresh, new setting of this favorite Welsh tune. Written in 11/8 time, it is filled with rhythmic changes and stopped techniques. A lively and exciting arrangement, it is 129 measures and is set in D Major and Eb Major.
This is a strong setting of the traditional patriotic tune, AMERICA. The first verse is enhanced by a malleted rhythmic accompaniment. It is followed by a straight-forward verse rung on handchimes in the relative minor key. Verse three features the melody in the base and low treble with an arpeggiated accompaniment in the higher treble bells. A modulation into a new key leads to the dramatic setting of the final verse.
This charming original composition, co-written by Derek Hakes and Veronica Bigham, opens with a melodic, peaceful statement of the melody. Flowing arpeggios become slightly more agitated, then return to the original mood. The middle section is delicate with an ebb and flow of tempo and dynamics. LV’s and lush harmonies add to the ambiance of the piece. The original theme is restated in a slightly broader and more dramatic way before moving to a gentle conclusion.
This is a fun Sousa-like march with the typical march form: introduction, main theme, trio, return to main theme… with the addition of standard military ‘taps’ (thus, the ‘lights out’ title). A toe-tapper, to be sure. What a great tune to include in your summer concert – or any concert!
Opening with the Singing Bell supporting a single handchime melody line, this develops into a full and lovely joining of “Away in a Manger” and “Silent Night”. Credit for this performance goes to: The Raven Ringers from Forest Ridge School of the Sacred Heart, Bellevue, Washington, Ron Mallory, director. This is a tender and wonderful arrangement, beautifully performed.
Made popular by the Beach Boys, this “holiday-themed hot rod song about Santa and his sleigh” will be a toe-tapping addition to your winter concerts. The ‘easy shuffle’ rhythm and interaction between bells and chimes in the melody are delightful. One may want to look up the lyrics to put this in context.
This innovative suite includes 12 movements based on the composer’s memories and experiences while riding the different lines of the London Underground System and the London’s urban rail system, the London Overground. Although the movements were created to play together, Movements 2, 4, 8, and 12 could work very well alone or in combination.