Proverbs.22

Basically a 3 octave piece with a few optional bass notes, this piece is majestic and useful in church or concerts. The organ part is integral to the piece. The bell part begins with stately half note

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

Includes both Bridal Chorus and Wedding March in one package. The music is printed on both sides of the page. Both arrangements are fairly simple and easy to follow. Also, both are arranged in C Major with

Based on HOLY MANNA, this bell tree solo begins tolling slowly, then moves through modern chords as well as traditional to include a breadth of worship styles. Suitable for sacred and secular settings and a

O Come, All Ye Faithful; The First Noel; Away in a Manger; Joy to the World; and Silent Night comprise this medley of five carols to be rung as a concert or service offering.

Three Christmas tunes form this bell tree solo medley. The arrangement begins with the brightness of Ding, Dong, Merrily; moves to the mellowness of Good Christian Friends and ends with

With an easy repetitive bell tree part, a vocalist in the midrange and a keyboard accompanist, this can be a vibrant addition to your Christmas concert. With optional audience singing on the chorus, it can

This wonderful collection for solo handbell and piano or keyboard can be prepared with limited rehearsal, while building confidence in ringing skills and technique. A great choice for both beginning and

The pieces in this collection span the church year, with the Advent and Christmas titles being the easiest. The soloist's part is included as a pull-out booklet. The keyboard accompaniments are also

The traditional Shaker tune has been given new life in this amazing arrangement for handbells, optional handchimes (5-7 octaves), optional auxiliary bells (one octave), flute, and cello. The interplay

The compelling 12th-century Irish tune is set featuring rhythmic mallets in the bass, first with straight sixteenth-note patterns and later with sixteenth-note triplets (a la Ravel's Bolero). The

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