Fall 2026

The handbell ensemble becomes a small orchestra in this setting of "Schlafe, mein Liebster, genieße der Ruh" from Part II of J.S. Bach’s Christmas Oratorio. Shawn Gingrich has carefully arranged the aria for handbells, faithfully setting Bach’s beautiful...

The handbell ensemble becomes a small orchestra in this setting of "Schlafe, mein Liebster, genieße der Ruh" from Part II of J.S. Bach’s Christmas Oratorio. Shawn Gingrich has carefully arranged the aria for handbells, faithfully setting Bach’s beautiful...

Sondra Tucker has crafted a fresh setting of the traditional Basque carol for 3-5 octave handbells with an optional 1 octave of handchimes. Extended use of the suspended mallet technique fosters a contemplative atmosphere to support the ancient melody...

Sondra Tucker has crafted a fresh setting of the traditional Basque carol for 3-5 octave handbells with an optional 1 octave of handchimes. Extended use of the suspended mallet technique fosters a contemplative atmosphere to support the ancient melody...

An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text, The Embrace, which explores God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take; the arms...

An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text, The Embrace, which explores God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take; the arms...

Now available for treble choirs! An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text exploring God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take;...

Now available for treble choirs! An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text exploring God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take;...

Now available for TTBB choirs! An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text exploring God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take;...

Now available for TTBB choirs! An optional Latin chant opens and closes Craig Courtney's setting of Pamela Martin's text exploring God's never-ending presence in all things: "Called or uncalled, God, you are present, within the air, the breath I take;...

Part of the Beckenhorst Congregational Anthem Series, Molly Ijames' setting of The First Noel works equally well as an Easy SATB anthem or as a congregational anthem. Choral parts are easily learned but elegant and satisfying, and piano (or optional...

Six new festive settings for piano and organ, exploring a wide variety of textures, registers, timbres, and styles. Hints of Marianne Kim's jazz background blend seamlessly with her classical training in this outstanding new contribution to piano-organ...

Accomplished arranger Lloyd Larson has produced this accessible setting of “We Three Kings,” in compatible editions for 2-3 or 3-6 octaves of handbells. Driving rhythms and fresh harmonies bring this classic Epiphany carol to life.

Accomplished arranger Lloyd Larson has produced this accessible setting of “We Three Kings,” in compatible editions for 2-3 or 3-6 octaves of handbells. Driving rhythms and fresh harmonies bring this classic Epiphany carol to life.

"What strangers are these that wander through the town? Hush, 'tis Joseph and weary Mary. And what does he seek, so hopeless and in vain? He is seeking shelter for Mary." Dan Forrest's arrangement of this lesser-known Scottish Carol explores the...

"What strangers are these that wander through the town? Hush, 'tis Joseph and weary Mary. And what does he seek, so hopeless and in vain? He is seeking shelter for Mary." Dan Forrest's arrangement of this lesser-known Scottish Carol explores the...

Craig Courtney brilliantly sets the two sections of Pamela Martin's poem to different tunes, then pulls them together to be sung simultaneously, picturing the text "...No distance left between us, we are no longer two; O what can separate us? I lose...

Craig Courtney brilliantly sets the two sections of Pamela Martin's poem to different tunes, then pulls them together to be sung simultaneously, picturing the text "...No distance left between us, we are no longer two; O what can separate us? I lose...