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<DIV><FONT face=Arial size=2>Give me the names of G&J carillons and I will
give their frequencies.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>AAJB</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=csz_stl@PhxNuIDcN927J7Wqusv0iqYLrc3LvgST5zi9wAV1txMe1Ne6kKsx0Je-GzYc807wqspdYLao8P9JaCykgdsMomUX.yahoo.invalid href="mailto:csz_stl@jj0bcV_scI4rp7z7dHLSZZTY5zmjYaMxxOYDMoFIYWedNIzVh_eMHsjNaBhBdOMo7g7CxuBGZUHgSiGq.yahoo.invalid">Carl S
Zimmerman</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=bellhistorians@yahoogroups.com
href="mailto:bellhistorians@yahoogroups.com">Bell Historians List</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Tuesday, December 04, 2007 7:19
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> RE: [Bell Historians] Stretch
tuning</DIV>
<DIV><BR></DIV>
<DIV id=ygrp-text>
<P>Bill Hibbert asked,<BR>>Does anyone have first-hand (or at least
reliable) knowledge of how<BR>>Taylors did their stretch tuning in the
1950s and 1960s?<BR><BR>and other messages seem to show that the first
stretch-tuned Taylor <BR>rings were Evesham in 1951 and Liverpool (Pier Head)
in 1952. This <BR>fits with remarks in Bill's online article "Bell pitch and
nominal <BR>tuning."<BR><BR>I first heard of stretch tuning in 1967 in a very
different context, <BR>when Frederick C. Mayer spoke informally to the GCNA
Congress at <BR>Princeton University. Mayer had been organist of the Cadet
Chapel at <BR>West Point Military Academy for more than half his life
(1911-1954), <BR>and had supervised its enlargement into what has been billed
as the <BR>largest working church organ in the world (4/380). For much of his
<BR>working life, he was also a highly respected organ designer and
<BR>consultant, and this led to his becoming a carillon consultant as
<BR>well. By the time of the Princeton Congress, he was quite elderly <BR>and
somewhat frail, but nevertheless spoke with enthusiasm and vigor <BR>about his
involvement in the development of some of the great <BR>English-made carillons
of the 1920s and 30s, and especially about the <BR>importance of stretch
tuning in the trebles of larger instruments <BR>(four octaves or more). I
recall very distinctly Mayer's stress on <BR>the fact that the perfectly tuned
trebles of the very first large <BR>modern carillons sounded flat to the ear,
making stretch tuning <BR>necessary to produce a good musical effect. (It's
unfortunate that <BR>no record of Mayer's remarks was made.)<BR><BR>Nowadays,
stretch tuning seems to be widely accepted for use on <BR>several different
kinds of instruments. Even so, it seems to be <BR>generally restricted to the
outer ends of large-compass instruments <BR>(piano, harp), and the details of
its use vary with the type of <BR>instrument.<BR><BR>With that background, I
ask,<BR><BR>1. What was Taylors' rationale for applying stretch tuning to a
<BR>compass as small as an octave, or a ring of 12?<BR><BR>2. When did Taylors
begin to apply stretch tuning to carillon bells?<BR><BR>3. To what extent is
stretch tuning found in the work of G&J and of <BR>Whitechapel? (rings,
chimes and carillons)<BR><BR>Carl<BR><BR></P></DIV><!--End group email --></BLOCKQUOTE></BODY></HTML>