If you didn't find what you were looking for, try a new search!
This distinctive arrangement is quite unlike what people expect from this hymn. There is an unexpected intensity created with the sonorous Singing Bell technique. This is followed by an insistent pattern in the 3’s and 4’s (bass clef), finally ending in a plaintive solo melody line with vestiges of anguish via the random rings. This powerful arrangement is certain to convey the depth of the Passion of Christ.
Low bass handchimes ringing the melody accompanied by high treble handbells ringing a gentle eighth note pattern open this poignant, contemplative setting. The second verse takes on a fugue pattern, introducing the melody in four voices in various ranges of the handbells. The concluding verse uses full chords and rich harmonies to complete this meditative and moving arrangement.
This is a lively, energetic arrangement of the venerable song. With plucks or mallets, echoes, mart and thumb damps, the arranger has captured the spirit of this time-honored American tune. This rendition also gives ringers the chance to ring in 12/8 time, a meter not often used. Arranged in c minor, “When Johnny Comes Marching Home” is 43 fast measures.
Valerie has crafted a thoughtful and exciting arrangement of the traditional American Civil War song through the use of innovative techniques, varying tempi, and careful harmonizations. This can be a real show stopper for your individual group’s concert or in a massed ringing situation. The intentional cross relationship between the Db6 and D5 natural represent the two sides of battle. All of this builds to a forte before quieting back down for the entrance of the well known tune.
A tender melody, supported by a fluid eighth-note accompaniment, makes this appealing original composition perfect for any worship setting. Key of G Major with a hint of G Minor in the middle section.
Based on an amazing arrangement by Calvin Jones, (from his release “Through High Places,”) “White Water Chopped Sticks” has been transcribed by Marcia Murphy for handbells. It is a real showstopper for your next concert! Along with marts, mallets and LVs, this piece offers the challenge of 16th note runs, syncopations, and a presto tempo that even the most experienced ringer will have fun mastering. You’ve never heard Chopsticks played like this!
This is a collection of four favorite hymns arranged for four-in-hand quartet. The melody flows through all four ringers so it is important to ring these with expression and pay special attention to the melody line. The hymns are: What Wonderous Love Is This; The Gift of Love; Jesus, Priceless Treasure; The Voice of God
The setting for two octave handbell choir presents a straightforward representation of the popular song. It uses the full two octave range, presenting the first verse in the key of F major, with a brief modulation into G major for the final verse.
This versatile setting of a traditional Gaelic Blessing weaves a beautiful melody and lush harmonies with the handbell or keyboard accompaniment and an oboe counter melody. It may be performed with handbells alone, or solo voice, unison choir, two part (SA), three part (SAT), or four part (SATB) voices. It may also be performed with children, youth, adults or a combination. The accompaniment may be either handbells or piano (or organ) with oboe or other C instrument. An optional text is provided for school choirs.
Sparkling, jubilant, and very merry, with toe tapping rhythms describes this splendid combination of two beloved carols–“Joy to the World” and “Angels from the Realms of Glory.” The piece may be performed with handbells alone but adding the optional percussion really adds to the celebratory atmosphere. As the title implies, it is truly a joyful Christmas celebration.
This piece is an artfully crafted arrangement of the melodic Hawaiian carol originally created for an SA vocal ensemble by Jacqueline Hanna McNair. The handbell arrangement may be used alone, with the narration provided or in conjunction with the SA choral piece, which is also available from the publisher (20125C). Optional handchimes E5-E6.
This piece is written in the Taize style: a simple melody that repeats many times with slight variations in accompaniment, creating an ethereal, meditative feeling. Alleluia Sotto Voce uses some of the musical ideas of Taize, taking a simple 3 measure phrase and building different accompaniments and countermelodies on top of it before deconstructing it and returning to the simple 3 measure phrase. This piece is 70 measures.
A challenging arrangement that captures the excitement of the original exhilarating Morton Gould composition. American Salute was originally an orchestral composition written to be broadcast over military radio stations. It is a set of variations on When Johnny Come Marching Home and is meant to evoke military sounds including machine-gun fanfares, Morse code and a taps-like motif. The optional snare drum definitely adds a stirring flair. Optional handchimes 4 octaves.
Franz Schubert composed the music for F. von Schober’s poem, An die Musik (To Music). Valerie Stephenson has created a flexible setting for this lovely composition. The handbells provide the accompaniment for the solo, which may also be vocal or instrumental. The vocal/C Instrument(oboe or violin suggested), B♭ Instrument and Viola solo parts are in a separate solo publication. Arranger’s notes on options for performance are included in the handbell score. This 43-measure piece is set in D Major.
The arranger has crafted a solid setting of the stately Vivaldi classic. The balance between the handbells and organ, or handbells and strings, is exquisite. This idyllic setting is perfect for weddings, church services and concert settings. Scored in E minor, it is 36 measures.
From Orchestral Suite No. 2 in B Minor, this is a delightful, fast-paced piece for the advanced handbell choir and an accomplished flutist. To achieve a “Baroque” sound, stopped techniques, such as malleting and thumb damps, are used throughout the piece. Since the bells are primarily accompaniment to the flute score, care should taken to make sure that the dynamic level of the bells is subdued. The flute score is included.
The Chorale melody “Freu dich sehr o meine Seele” (Rejoice greatly, O my soul) from Cantata BWV 13 (1726) by Bach has been beautifully arranged for handbells with optional C-instrument or 2-octave handchime solo. It is ‘rung’ throughout. C instrument part included.
Bell Bossa won an honorable mention in the Bells of the Sound, “All That Jazz” composition contest. Ron has crafted this work to provide improvisational opportunities for the sax, bass and percussion. However, the scores are sufficiently detailed for those preferring to read the music. This is a must-have for your upcoming concerts. Shifts between F Major and F Minor throughout. 118 measures, not including the Dal Segno. Recording is courtesy of Bells of the Sound.
This rhythmic 89-measure arrangement of Ary Barroso’s 1939 hit song, Aquarela do Brasil has been beautifully adapted for handbells and optional Latin instruments by Doug Benton. A separate percussion score is available and conductors are also encouraged to improvise using any Latin rhythmic instruments available. This is sure to be a toe-tapping, audience-pleasing work for your next concert. Note: The sound file omits a repeat. Key of D Minor, with numerous accidentals.
Infectious Latin rhythms complement the evocative melody of this familiar piece, first released in the early 1940’s. With the discerning placement of stopped techniques and careful orchestration of handbells and handchimes, the arranger has captured the spirit of Cuban composer Lecuona’s work. A percussion staff is notated as a basic recommendation with encouragement to add a variety of rhythms and instruments suited to the style of the piece. “The Breeze and I” is arranged in C Major, Ab Major, and A Major. It is 153 measures.
This charming arrangement of one of Ireland’s oldest traditional tunes is guaranteed to keep your toe tapping. Set in 6/8 time, the beguiling melody is enhanced with LV’s, malleting and thumb damps in the accompaniment. The optional flute, or other C instrument, adds character by intermittently doubling the melody. Flute cues are provided in the handbell score. This was even chosen as background music for a TV commercial!
The opening measures of this arrangement of an Andalucian Carol are rung LV to have the effect of a carillon… then segues into the delightfully rhythmic main theme. Handbells and handchimes tag-team the melody, underscored by a variety of well-placed stopped sounds. Optional marimba and percussion may include: claves, maracas, castanets, tambourine, timbales, conga drums, sleigh bells.
Refreshing and creative, this composition utilizes the handbell choir to accompany the bell tree soloist. In the contrasting mid-section, the handbell choir takes over the melody, using handchimes, with the Bell Tree providing contrasting counter melodies. The bell tree solo can also be performed with piano accompaniment. (Catalog #1078) This delightful work is 96 measures and is set in C Major.
A contemporary setting of the traditional Celtic blessing, the handbells provide an interesting and varied accompaniment for the three part women’s ensemble or trio (SSA). The handbell part is a serious accompaniment and does not stand alone. The text offers peace of the waves, stars, earth and the Son of Peace. Scored in F Major, this work is 85 measures.
Contemplation on Silent Night is truly an exquisite treatment of the treasured carol of Christmas. The handbells are an integral part of the orchestration for this setting, but the handbell part does not stand alone. The balance between the bells and other instruments has been skillfully treated, and this arrangement would be a great choice for a Christmas Eve service.
This handbell solo arrangement by Lonnie Dorgan and Melvin West of a wonderful Swedish hymn is lovely and inspirational. It segues through several key changes, which add to its beauty and the expressive solo is rung on bells throughout the 4th, 5th and 6th octaves and includes a section on handchimes. It is available with keyboard or organ accompaniment and both versions include the solo score.
A stirring setting of Bach’s “Nun lieget alles unter dir” from Cantata #11, arranged for organ and 5 octaves handbells. It may be preceded by SATB choir singing the full Chorale, either a cappella or doubled on organ. This work is 78 measures and is set in F major and G major.
The percussion introduction announces something very exciting is about to happen! Written in 6/8 time, the dance-like feel in the handbell entry is in a wonderful fantasia style with engaging contrapuntal sections. The listener will hear bits of a familiar melody interwoven which makes a joyous introduction to the Easter hymn favorite, Christ the Lord Is Risen Today. This would be a fabulous piece if your church has liturgical dancers and it could be easily adapted as an intro to the congregational hymn Percussion is necessary to enjoy the full effect of this work.
This exuberant arrangement of the well known Spiritual is available in both 3 and 5 octave compatible versions. It opens with a staccato bass accompaniment for the familiar melody, rung by high treble. After transposition to a new key, the melody moves to the middle range with high treble staccato accompaniment and bass providing rhythmic marts and mart lifts. This is definitely an appealing arrangement for audiences and ringers alike.
Commissioned by Velocity Handbell Ensemble to open their Vintage & Vogue Tour, this piece has been expanded to fit a variety of handbell ensembles and situations. The quartet, 3 octaves, 4-5 octaves and brass quartet (or solo trumpet if full brass is not available) settings are totally compatible and completely independent, so they can be performed separately or in any combination. This piece is particularly effective in a massed choir setting. If desired, the first three measures may be used as a processional. Performance notes provide a variety of suggestions for ways to use this versatile piece. The work is written in g minor and is 51 measures, but a repeat lengthens it.
The arrangement is for handbells, harp OR piano, and organ OR second harp. This is a beautiful setting of WACHET AUF. If piano is used instead of harp, the arpeggiated measures at the beginning and end can be played as written or improvised in a harp-like fashion, appropriate to the chords of each measure. The addition of Singing Bell adds a nice foundation for the opening bell and harp sequences which bracket the chorale. Key of Ab Major. 125 measures. Performance on the CD is by the Gateway Ringers, Charles Peery, harpist.
This wonderful work is based on an Irish carol originating from the County Wexford. Bits of two other carols – A Babe Is Born and Let All That Are to Mirth Inclined — are also included. Derek Hakes has combined the singing bell technique, randomly rung suspended bells, bar chimes and more to create a mystical feel. This is one to add to your Christmas repertoire!
This festive arrangement of the popular holiday tune is guaranteed to provide a merry, toe-tapping, and entertaining moment in any December concert. The composer includes stopped techniques, a rhythmic accompaniment and optional percussion parts to capture the true spirit of the song. 86 measures in length, it is set in G Major and A♭ Major.
This brilliant arrangement is based on the hymn tunes Lobe den Herrin, Dennis, in Babilone, and Aurelis. The work was created for those special, celebratory occasions and will inspire all who perform or hear it. A total of 144 measures, this majestic medley will fit beautifully in the worship service.
Gently swaying syncopated rhythms present a celebratory atmosphere. Well thought-out use of stopped techniques and the addition of congas and a tambourine add to the joyful mood of this original composition. “A Festive Ring” is 138 measures and is set in G Major.
Dan has created a lively and fun arrangement of Deck the Halls! It is set to Latin rhythms with optional percussion as suggested (or you may choose from instruments you have available). Utilizing a variety of stopped sounds, ringers will have a great time learning and performing this piece. Audiences will be carried along with the upbeat spirit of the work.
Brian has crafted a beautifully lyrical and sensitive arrangement of this wonderful hymn. Singing bell and flute (or C-instrument) solo introduction sets the tone which leads into chords featuring close harmonies that support the simple melody, augmented by passing tones and gentle variations in rhythm. There are a few stopped sounds, echoes and more — plus melody in handchimes, all perfectly placed for maximum effect. Addition of optional percussion, which is included on the handbell score, is the icing on this musical cake. This luscious arrangement will be fulfilling to ring and inspirational to listeners. A ‘must have’ for your library!
Susan has given this carol, dating from the Middle Ages, fresh, new treatment. The melody is featured in the bells much of the time, with the alternate bells doubling the bass line and excellent placement of stopped sounds adding special interest. Handchimes carry the melody mid-way through for a nice change in sound. Adding the optional recorder and percussion makes this a completely delightful arrangement. 120 measures.
This is a fresh, new arrangement of this Christmas favorite which is interspersed with snippets of a variety of Christmas carols and tunes. Mallets, echoes, gyros and TDs are effectively used to make this arrangement unique and fun for ringers and listeners alike. This will be a favorite to add to your Christmas repertoire! 83 measures. Keys of C Major, D Major, and E♭ Major.
Majestic and celebratory describes this straight-forward setting of Mendelssohn’s quintessential work. Bells and organ interplay and echo with shakes adding to the excitement. Several key changes throughout build to an exciting climax.
A solid arrangement of the jubilant carol, this rendition of “Hark the Herald Angels Sing” utilizes combined handbells, piano and organ to create a powerful setting for this well known Christmas carol. Written in 12/8 time, the piece begins in the key of G major, moves into Bb major for the contrasting second verse, then returns to the original key for the concluding verse. 76 measures in length, it is sure to be a stirring addition to any worship service or concert during the Christmas season.
The opening measures, with abundant LV’s, provide an ethereal atmosphere that bring cold December nights and gently falling snowflakes to mind. As the arrangement progresses, it builds in intensity and joy. The piece may be performed by handbells alone. However, adding the instruments definitely enhances excitement and charm of the composition. Scored in G Major, this piece is 108 measures.
Intertwining Come, Thou Fount of Every Blessing with the much loved Robert Lowry song, then adding handbells and oboe or other C Instrument, the arranger has created a splendid SATB choral anthem that is certain to touch the hearts of all who hear it. Set in D Major, E♭ Major, and F Major, this arrangement is 93 measures.
I Got Rhythm was written by George and Ira Gershwin for the musical, Girl Crazy, giving new meaning to the term syncopation. Hart has gone even further with a killer arrangement for handbells, bass and percussion. Table mallets, RT, marts and mart-lifts, plus shakes are perfectly placed to emphasize the unexpected rhythms and ‘riffs’ that Hart has added. This will be a fantastic work for the solid Level 5 ensemble! Of course, the optional bass and drums are the icing on this jazzy cake!
Arranged for handbells and vocal solo, this lovely, flowing arrangement will be one you will want to keep in your repertoire. Delayed damping for maximum legato is recommended throughout.
An original work by Matthew Prins, Illumina opens with an ethereal soprano solo supported by simple handbell chords with harp joining the solo a third higher. As this work progresses, there are several melodic sections featuring harp and bells with cello playing a counter melody, and full chorus joining at measure 101. This is a fabulous work for a special worship occasion. Begins in the key of D minor, then modulates to C minor. 124 measures.
Derek has combined Kling Klöcken and Ding Dong Merrily on High to make a joyful arrangement which will be fun to practice and perform – and to hear played! Kling, Glöckchen, or “Ring, Little Bell”, is a German Christmas carol from the 19th century. Ding Dong Merrily On High first appeared as a secular dance tune known under the title “Branle de l’Official. The addition of the piccolo and percussion instruments is the icing on the musical cake! Percussion suggested: tambourine, shaker, hand drum, triangle, snare drum.
This is a sensitive and moving arrangement of Gustav Holst’s tune, CRANHAM, which has become a staple in Christmas repertoire. Opening in 3/4 meter before changing to 4/4, the handbells provide the introduction, setting a serene atmosphere for the entrance of the melody. Cello, other C instrument or handchimes provide the first statement of the melody line. A brief interlude in 3/4 introduces a second statement of the melody, performed by handbells with the solo instrument, or handchimes, providing the contrasting musical line.
This imaginative arrangement of the traditional melody comes in a 3 octave version and a 4-5 octave version which can be used together in a multiple choir situation. Using a variety of stopped techniques, handchimes, some syncopation and a hint of “Take Me Out to the Ball Game”, Fred has created an arrangement that is a delight for ringers and audience alike.
“Jehovah, Lord of the Heavens” is the English translation of Fernando Ortega’s original composition. Mr. Ortega, a native of New Mexico, has risen to prominence as a singer-songwriter of Christian music. This composition is set here for bells, chimes, guitar, and vocal. The piece is a moving musical picture of Jehovah’s majesty.
The composer has combined two beloved hymns, What A Friend We Have In Jesus and Tis So Sweet to Trust in Jesus to create a lovely, sensitive composition. Opening with Tis So Sweet to Trust in Jesus, the melody is enhanced by a gentle, flowing accompaniment. The piece moves into the second hymn, with the melody presented on handchimes, accompanied by the handbells, before returning to the original hymn, presented with full chords and a rich running eighth note bass pattern.
Originally arranged for the Raleigh Ringers, this rendition is definitely not an ordinary setting of the traditional Christmas season favorite. The arranger has used many ringing techniques, stopped sounds and imaginative composition style to tell the story of each verse. This one is definitely a “show stopper!”
An excellent transcription of this exciting composition, performances of the classic will provide interesting challenges for your ringers and an exhilarating experience for your audiences.
Let the Music Ring is a bright, celebratory original composition for SATB choir with handbell and keyboard accompaniment. The choir part may be used with or without handbells. While the handbell score uses the full range of the 3, 4 or 5 octaves, it is intended as an accompaniment for the choir and is not meant as a stand alone handbell piece.
Norwegian composer Rolf Lovland has created an exhilarating and awe-inspiring Celtic dance-like piece that may be performed by handbells alone or with combinations of the instruments listed above. Its busy, steadily flowing lines and lively tempo will keep all musicians actively involved. Scored in F Major and G Major, this piece is 130 measures.
Maandamano Procession was commissioned for the Area 12 Handbell Musicians of America 2012 conference. Its opening 11 measures may be used as a processional. A convenient repeat may be used as needed to complete the procession. After the opening section, optional percussion is added and the handbell part becomes more rhythmic and complex. It is 65 measures in length.
The old French carol is set here in spunky rhythms, spicy articulations, and shifting meter. Written for a full 3 octave of bells only (no parentheses to navigate), an eighth-note pulse keeps the music moving along through two keys. Measures total 58.
Let’s all go back to the 1960’s and “rock on” as we ring this delightful arrangement of the toe tapping tune. This Russian song is actually best known outside Russia! Check out Wikipedia for the fascinating history behind this tune! String Bass and percussion are optional but definitely add to the authenticity and exhilaration of the arrangement.
Peaceful, graceful, contemplative, and melodic are adjectives that come to mind when describing this lovely composition. The piece opens with a simple statement of the melody. As the piece develops, the melody moves through various octaves of the handbells. Optional handchimes are used to enhance the melody and introduce new motifs. In addition, the composer has used the flute (or other C instrument) artfully to weave a counter melody intermittently through the work.
The arrangement is true to the style and mood of the original Glenn Miller composition. Handchimes carry the melody and rich harmonies while handbells provide the bass and rhythm with varied stopped techniques. This one guarantees to be an audience pleaser for your concert programs! Scored in F Major, the arrangement is 49 measures, but a repeat lengthens its duration.
Available in separate 3, 4, or 5 octaves settings but fully playable together, this original work gives the impression of high mountains through the rise and fall of its fanfarish opening passage. Contrasting aspects of mountains are portrayed musically through range and accompaniment patterns.
Music to Do Taxes By is definitely a one-of-a-kind novelty tune for the handbell choir with a sense of humor. In addition to the exuberant handbell music, there are percussion parts scored for paper ripping- crumbling-throwing, finger snapping, typing, paper shredding, etc. It is a toe tapping show stopper that is entertaining as well as being an exciting handbell composition.
This title is arranged for handbells and optional SATB choir. The handbell arrangement may be performed alone, or it may be used as the accompaniment for the choir version in place of the keyboard accompaniment. It is divided into two sections, with the first providing challenging triplet work above the melody. The second section offers an option for chimes to play the melody and is more peaceful before drawing to a stately conclusion. This rendition is set in C Major and F Major and is 50 measures.
A charming setting of the beloved Clement Moore poem, this original composition which would be a captivating addition to a holiday season concert. The flexible arrangement may be performed by a soloist, as a duet, by unison or two part choir, or the full Soprano, Alto, Bass arrangement. The solid piano accompaniment reflects the character of the poem while the handbells provide that added touch of delight.
English composer Kenneth Hytch has created a truly major composition for the advanced handbell ensemble and accomplished harpist. A haunting melody, intricate interplay between bells and harp, and a contemporary sound weave together for a challenging and rewarding musical experience. The composer’s description of the piece: “Nocturne is an exploration of the emotions suffered through differing modes of sleep from half-wakefulness to deeply felt nightmare. There is a final relaxation into untroubled, refreshing, dreamless sleep.” Measures total 211.
The arranger has taken this traditional carol and created a luscious duet for cello and handbells. The addition of simple percussion makes this a must-have. With careful assigning of parts, it could be rung by 6 or 8 ringers. Keep in mind that even advanced ensembles can enjoy having this simply lovely piece in their holiday repertoire. 132 measures. Key of A minor.
A fresh new arrangement of Johann Cruger’s beloved Thanksgiving hymn features an opening, celebratory section which moves into the main theme. The middle section in 3/4 continues with the melody in the chimes supported by the legato bass line. A majestic Maestoso section and key change segues into the final main theme. This is an excellent new treatment of this hymn. An optional G2 is included in the last chord.
This imaginative arrangement of the well-known tune, AZMON, uses a variety of techniques and 3 octaves of optional handchimes to create a fresh and innovative arrangement of this traditional hymn of the church. Character descriptions include, “with praise and celebration, with joy, stately, and mournfully.”
This is an exquisite arrangement of one of Corelli’s most lyrical and beautiful works. The composer has arranged it with several options to make it more accessible to a variety of instruments. Key of G Major. 57 measures. Performance by the Gateway Ringers, Charles Peery, director, with Ruth McDonell, flute; Kevon Hall, bassoon; Charles Peery, harp; Jeff White, conducting.
Tim has written an appealing Christmas piece. The handbells provide gentle accompaniment for the charming melody, which may be performed by a soprano recorder, flute or other C instrument, or as a handchime solo.
Derek Hakes has taken lyrics, written by Karen Parkinson, and the hymn tune HOLY MANNA to create a two part choral song of praise. It is accompanied by keyboard (piano or organ) and handbells. This flexible piece may be performed by two equal voices, SA, TB, or as it was conceived with children singing part 1 and adults singing part 2. Arranged in F Major, measures total 66.
The Southern Harmony collection, first published by William Walker in 1835, compiled many unaccompanied ‘folk hymns’ used primarily throughout the South. Brian has crafted a creative and interesting arrangement of one of these folk hymns for bells and chimes. In the beginning, a drone-like sound supports the traditional melody which is first played with chimes and then bells. Marts and table malleted notes add a ‘march’ feel… as though the music is marching to the Promised Land. There is a lyrical mid-section and well-placed tempo and voicing variations which add to the interest.
English composer Kenneth Hytch has created a musically sophisticated setting of the 100th psalm for SA choir or ensemble, accompanied by a noteworthy handbell arrangement. The handbell part is a true accompaniment and does not stand alone. This work is 96 measures.
This rousing folk tune, dating from c. 1740, has been used as background music in several movie scores, perhaps the most notable of which is the chase scene in The Quiet Man starring John Wayne and Maureen O’Hara. This arrangement employs a variety of handbell techniques in addition to ringing including thumb damp, mart, mart lift, pluck, mallets, mallet lift, and damping in the air. Allegro commodo denotes a tempo almost as fast as you can play the piece, saving that last burst of speed for the Presto section near the end. Enjoy! Percussion includes gong and triangle.
The flute and handbell parts complement one another as they exchange melody and accompaniment lines in this joyful, lilting composition. This uplifting setting will challenge your ringers and bring joy to your congregation or audience. Percussion is tambourine part. Arranged in E♭ Major, this hymn tune is 64 measures.
This arrangement is for handbells with optional percussion, descant recorders, violin/cello or keyboard. Originally written in 1612, the lively dance music is based upon Volta from Terpsichore. Performance notes are provided with suggested presentation variations. Percussion parts are printed in the full score along with the music, so two full scores may be needed. Set in G Major, this work is 64 measures.
Reperqussio (pronounced reh-per-cue-see-o), is rebounding, reverberating sound. With an abundance of LV’s, Marts, Mart Lifts, Echoes, the innovative KC (Klocken Carta) technique, and an occasional gong, this piece is definitely full of rebounding and reverberating sounds. Commissioned by the Raleigh Ringers for the 2007 Capital Area Young Ringers Festival, this composition is guaranteed to be fun to ring. The intriguing melody moves along at a bright pace, making “Reperqussio” a delight for ringers and audience alike. This piece is written in f minor and is 67 measures.
This handbell arrangement of Ian Anderson’s original composition is true to the original work. Written for his group Jethro Tull in 1977, Anderson wrote it with the intent of simply having a song that would sound unique, get radio play and hopefully, make it on the singles charts! It worked! Irregular meter, nicely placed stopped techniques and LV work together to create an exciting concert work. True to the spirit of solstice celebrations, this supplies the ringing bells so all you need are the dancing druids!
The handbells can stand alone or may be performed with marimba, and/or strings in this gentle lilting setting of the well known Spanish melody. Originally written for guitar, (and made famous by Enrico Granados), the wistful melody is accompanied by arppeggiated chords, in the style of the late 19th century Spanish Parlor music. Scored in C minor and C Major, it is 73 measures.
Tim Waugh has creatively used three letters from the words “rhythm” and “music” to form “Rytmus”, the title of this exciting original composition. Moving between 9/8 and 7/8, the opening theme is stated, then builds as distinctive counter melodies are introduced and combined with it. A moderato section, which remains in 9/8, offers a contrasting theme and a slightly relaxed interval before returning to the exhilarating intensity of the opening themes. This one is a guaranteed show stopper! Adding the optional percussion makes it breathtaking! Written in D minor mode, the composition is 100 measures.
Paul Revere was not the only one to make that famous midnight ride. There were two other unheralded heroes–William Dawes and Samuel Prescott–riding to warn the patriots on the eve of the American revolution. However, along the way Revere was detained by the British for questioning, Dawes fell off his horse; and so Samuel Prescott was the only rider to make it to Concord to warn the patriots there. Composer Matthew Prins has captured the essence of the urgency and excitement of the event, the pounding hooves, and the success of Samuel Prescott in this original composition.
You can add to your December holiday celebration repertoire with this delightful arrangement of two well known Chanukah songs, “Dreydl, Dreydl” and “S’vivon”.
The rich tones of the lower bass handchimes, combined with ethereal harmonies and a haunting melody, have created a stunning composition. Spiritus is a truly lovely piece, evoking a wide range of emotions from reflective to majestic, restless to peaceful. Scored in A minor, it is 123 measures.
Winner of the “Three Octave” category of the 2005 Composition Contest sponsored by the Alberta Guild of English Handbell Ringers, the piece is an arrangement of a popular cowboy song of the United States and Canada. The piece opens in the key of C Major, modulates into F Major for the middle section, then returns to C Major for the concluding section. The use of optional handchimes, thumb damps and LVs add variety to the verses. Lyrics are included!
Talk about a show stopper! Paul McKlveen and Greig Ashurst have combined their talents to create an exhilarating composition for handbells and percussion. While the handbell part stands alone, adding the full percussion section is nothing short of electrifying. The percussion instruments are timpani, glockenspiel, xylophone, vibraphone, marimba (2), gong, cymbal, tambourine and drum set. A total of 76 measures, Strikepoint is scored in C minor.
Ethereal and haunting, this is an exquisite setting of a traditional Celtic carol. Use of the singing bell technique in the bass adds depth and richness to the composition. While the piece may be performed without flute or harp, the addition of the flute enhances the beauty of the piece. Optional handchimes 5-7 octaves.
“Thirteen” was a co-winner of the 2007 SoundPrint Composition Contest, a contest which was designed to encourage composers to stretch the boundaries of current handbell literature. This original composition is really a duet between the handbell choir and cello. This distinctive piece has numerous meter changes. Innovative and challenging, the atonal work utilizes all of the handbells in the 3 octave range. Measures total 117.
The arranger has created an exquisite, lyrical arrangement of this favorite hymn. Blending the harp and handbells creates a serene, contemplative mood. In the absence of a lever or pedal harp, a synthesizer or keyboard may be used. A total of 49 measures, this serene and uplifting title is scored in C Major.
Based on the hymn tune, “Amazing Grace”, (New Britain, Virginia Harmony, 1831), this versatile arrangement provides a variety of formats which are suggested in the performance notes. The 2-3 octave and 3-5 octave settings are totally compatible. There are also solo and duet settings of which are compatible with the full choir versions.
This wonderful Clement Clarke Moore poem by was set to music by Ken Darby and Harry Simeone. Sondra Tucker has created a delightful arrangement for handbells with narrator. The narration can be spoken or sung – or a combination of both! This work will delight your audiences in your next Christmas concert! 273 measures.
We are pleased to have the opportunity to bring back Martha Lynn Thompson’s masterful handbell arrangement of the iconic Leroy Anderson composition. With a score that can include an actual typewriter, this piece offers the opportunity for creative and humorous programming that is certain to delight the audience. Much of the busy melodic line takes places in the upper registers. Scored in G Major, this setting is 107 measures.
Always imaginative, Valerie Stephenson has crafted a charming, lilting waltz. Rich harmonies with melodies that take unexpected directions make this composition interesting and rewarding for ringers and audience members alike. Although we often associate angels with Christmas, this piece is appropriate any time of the year. This work is 130 measures.
This is an exciting composition expressing the elation of the crowd as the Lord Jesus rode by. The bells from E5 and above are divided into THREE bell trees! The remaining ringers use handchimes and bass bells to accompany the bells trees. The optional percussion provides additional atmosphere of a passing procession. Using the alternate title provided, the composition is also appropriate to depict the procession of the kings as they searched for the Christ Child.
Waldron’s version of We Gather Together opens in a prayerful manner with flowing chords and finishes in a regal manner with full chordal ringing. The handbell part for this tender treatment of the traditional Thanksgiving hymn stands alone. However, if the instrumentalists are available, they will add a marvelous vibrancy and resonance to the performance. Instruments include 2 flutes, 2 oboes, 2 B♭ clarinets, 2 bassoons, and double bass. The instrument parts are included as a pullout in the full score and may be reprinted for performance purposes.
Combining the poetry of 17th century poet Robert Herrick with the wistful traditional English melody O Waly Waly, the arranger has created an anthem for the Christmas season which is both reflective and enchanting. It is 57 measures in length and is scored in F Major and G Major.
This favorite holiday pop selection comes in separate pieces for 3, 4, or 5 octaves, but all may be played together. A swing feel calls for dotted eighth-sixteenth patterns to be played as a quarter-eighth joined by a triplet brace. Optional chimes (the same for all formats) range from F4 – E5. What a fun piece this is! Measures total 56.
This lively setting of the familiar children's song presents the melody four times in a variety of styles from bouncy jazz to a driving rhythm with mallets. Mallet clicks and optional choreography add to the sense of childlike fun!
The easy rock feel of this gospel favorite is preserved in this exciting new arrangement from Hart Morris. The use of martellato and thumb damp (or mallets) adds an intriguing percussive element, and the addition of optional bass and drum parts further enhances the performance of this dynamic setting.
The scripture passage from the book of Revelation, chapter 6, verses 1-8 is the basis of this dramatic original composition. The four horses of the apocalypse and their riders are depicted in the four sections of the piece, each section musically illustrating the devastation represented by the horses and riders - conquest, war, famine, and death. The use of mallets, martellato, ring touch, shaking, and optional handchimes add to the various colors and textures of the piece. Appropriate for concert or worship when the focus is on themes of turmoil, pain, suffering, and the end times.
"O Sons and Daughters," "The Day of Resurrection" and "Allelia! The Strife Is O'er" are the hymn tunes used in this powerful medley for bells and organ. 115 measures in length, this arrangement includes 4 key changes. The combination of the bells and the organ give this piece a majestic sound. Previously HP1153 and HP1154.