Preparing to conduct and rehearse music with a handbell choir is largely similar to working with any other instrumental ensemble, but with a few unique considerations. Whereas other instrumentalists are generally responsible for only one instrument and play long phrases of many pitches, each handbell ringer handles several different instruments that play only one pitch each with the notes of each phrase divided among the musicians.
The time-keeping role of a conductor is always important, but with handbell choirs it is particularly crucial. The division of notes in phrases means that players rely heavily on counting and on a steady beat pattern from the conductor. For this reason, you may want to stick to your pattern at all times and practice conducting new pieces this way.
Also, if you are used to giving your instrumentalists cues every time they have an entrance after a long pause, you will find this is impossible with handbell music because players have so many long pauses. Instead, look at your score line by line and determine which entrances will most need cues from you in order for the players to feel secure. Look for things like exposed notes (only one or two players at a time), entrances on parts of a measure with an unusual rhythmic feel (such as pickup notes or entrances on off beats) or entrances that make up a particularly crucial part of the musical phrase.
Know your score like the back of your hand before you rehearse your ensemble; you want to anticipate and correct any missed entrances and problems your players have.
When rehearsing your handbell choir, instill in them a sense of steady tempo and of strong awareness. Discipline yourself to always keep and clearly show a steady tempo and be on the lookout for any problems your ringers may have in watching you and listening to one another in order to stay together. If your players need help with pulse, some good rehearsal techniques include using a loudspeaker metronome, counting aloud (whether you're counting, they are or all together) and instructing the players to "mark time" with their feet (lift their heels as though marching with the music, though this only works in duple meters).
Once your players master the technical basics of a piece, work with them on interpretation. Ensure your players are on the same page with the length, volume and style of their articulations.