Handbell Quartets

This rhythmic work, written for an inter-generational handbell quintet, can also be rung by a quartet. It opens with a rhythmic section and an engaging melody. The middle section is legato with a fresh, new

Lyrical passages and counter-melodies accent the lovely line of this favorite hymn. Key changes add interest and featuring the melody throughout the bell ranges makes this a must-have for your quartet.

This lovely quartet arrangement is based on the choral theme from Beethoven's 9th Symphony. An optional repeat is included giving flexibility to the performance. Note: Ensembles must purchase the

This lovely carol was written in 1642 by Canadian Jesuit missionary Jean de Brebeuf, who was living amongst the Hurons in Canada. The arranger has given this carol a rhythmic and fresh style while still

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

Filled with lovely countermelodies, this expressive arrangement is rung throughout except for a few well-placed shakes at the end. It begins in the key of C with a graceful transition to B-flat where the

This timeless tune is based on a Ukrainian folk chant called Shchedryk, which means "bountiful," and was originally a New Year's well-wishing song. New lyrics in English have made this beloved tune

This Leroy Anderson favorite has been called "one of the wittiest and most clever pieces in the orchestral repertoire" and was written to include a physical typewriter as a solo percussion instrument! This

Elegant, lyrical, and beautiful, this transcription features the melody in the upper treble supported by a sonorous and lyrical accompaniment using LV throughout. This well-crafted quartet will be a

Written in 1899, musical historians credit the structure of Joplin's Maple Leaf Rag as a major influence on a generation of ragtime composers. The syncopation and consistent bass line in this

This delightful Mozart favorite has been beautifully arranged for handbell quartet. It is true to the original with phrasings and styles supported by perfectly placed articulations and dynamics. The

BEACH SPRING is attributed to Benjamin Franklin White, a self-taught singing school teacher who was coeditor of The Sacred Harp, a collection of hymn tunes, in 1844. This beautiful arrangement is

One of the most familiar pieces from Bizet's "L'Arlesienne Suite No. 2," this handbell quartet arrangement features ring touch, mallet on the table, and ring techniques beautifully assigned to emphasize the

The setting of the familiar carol uses Singing Bells and suspended mallets at the beginning to accentuate the silence of a starry night. In the middle, the melodic line is transferred from the bass ringer

This classical piece uses Ring, TD, and mallet techniques to highlight the various tempo changes throughout the piece. When all four ringers are malleting, it is as though eight mallets are dancing on the

In this arrangement of the traditional Neapolitan song, Ringers 1 and 2 use two simultaneous techniques (mallet roll and shake) to imitate the sound of a ukulele. After a short transition, the tune is

This is a very cheerful arrangement of the familiar Christmas song. The audience will enjoy an extraordinary Christmas experience through this fast, vibrant, and vivid piece. The key element to moving this

This popular Christmas carol is written in 6/8 time which gives a new flavor to the piece. Various contrasting techniques such as TD, LV, RT, vibrato, and martellato along with a subito tempo change engage

This piece is performed entirely with mallets with a few martellato lifts in the middle to create contrast and bring excitement to the piece. This is a challenging arrangement due to the tempo and key

This well-known, lyrical Christmas carol is also known by the traditional name GREENSLEEVES. For this handbell quartet arrangement, different techniques are incorporated to showcase the musicality of each

Written for piano in 1877, the title came from a performance suggestion made by the composer to "play both hands turned sideways, so that the movement of the hands imitates a chopping motion." This version