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<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>Thanks, Andrew – it certainly gives
a little insight. No doubt a lot of it is down to experience.<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>Presumably the profile of the bells is an
important factor – I should think that no one would consider trying to
get, for example, a 19<sup>th</sup> century Mears bell tuned to true-harmonic,
though I seem to recall that something along those lines was tried in 1903 on
the back eight at Isleworth, with limited success. I know of a few instances of
Rudhall rings being retuned to near true-harmonic; I find it particularly intriguing
that while the tenor at Michaelston-Y-Fedw (Rudhall 1782) was a sour old-style
bell pre-tuning, its neighbour the fifth had all partials quite close to
true-harmonic. <o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>I would be interested to know the details
of how shape and thickness affect the balance and relationship of the partials,
and how they are tuned. Perhaps this could be the subject matter for Bill
Hibbert’s next phase of research?<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>Andrew Bull<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
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<p class=MsoNormal><b><font size=2 face=Tahoma><span style='font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font size=2
face=Tahoma><span style='font-size:10.0pt;font-family:Tahoma'> <st1:PersonName
w:st="on">bellhistorians@yahoogroups.com</st1:PersonName> [mailto:<st1:PersonName
w:st="on">bellhistorians@yahoogroups.com</st1:PersonName>] <b><span
style='font-weight:bold'>On Behalf Of </span></b><st1:PersonName w:st="on">Andrew
Higson</st1:PersonName><br>
<b><span style='font-weight:bold'>Sent:</span></b> 24 November 2008 11:38<br>
<b><span style='font-weight:bold'>To:</span></b> <st1:PersonName w:st="on">bellhistorians@yahoogroups.com</st1:PersonName><br>
<b><span style='font-weight:bold'>Subject:</span></b> [<st1:City w:st="on"><st1:place
w:st="on">Bell</st1:place></st1:City> Historians] Retunes</span></font><o:p></o:p></p>
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<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'><o:p> </o:p></span></font></p>
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<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><font
size=3 color=blue face="Baskerville Old Face"><span style='font-size:12.0pt;
font-family:"Baskerville Old Face";color:blue'>I’m not sure if Ruth
actually asked for a refund, but my usual comment when asked that sort of
question is that it would have taken extra time to remove that amount of metal
so it cancels itself out.<o></o></span></font><font color=navy><span
style='color:navy'><o:p></o:p></span></font></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><font
size=3 color=blue face="Baskerville Old Face"><span style='font-size:12.0pt;
font-family:"Baskerville Old Face";color:blue'>The way in which a set of bells
is re-tuned – given a free hand which rarely happens these days –
is down to what the bell tuner thinks he is able or wants to achieve. Some of
my illustrious predecessors (particularly the eponymous ones) were not keen on
the idea of improving bells so much by tuning them that they sounded
significantly better, but were more apt to get them to sound the same as before
but the right note. <o></o></span></font><font color=navy><span
style='color:navy'><o:p></o:p></span></font></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><font
size=3 color=blue face="Baskerville Old Face"><span style='font-size:12.0pt;
font-family:"Baskerville Old Face";color:blue'>I take into account a variety of
factors such as scale of thickness and the likely improvement in tone in
deciding how to retune a set of bells, so the approach is rarely the same for
any two peals of bells. It is difficult to communicate how I think a peal will
end up and convince the customer; I have a shrewd idea, but if asked, I
can’t say “Trust me, my boy, I’m the Bellfounder” any
more – it needs to be rationalised better than that. Not easy when the
people I’m dealing with are not necessarily musically inclined.<o></o></span></font><o:p></o:p></p>
<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><font
size=3 color=blue face="Baskerville Old Face"><span style='font-size:12.0pt;
font-family:"Baskerville Old Face";color:blue'><o> </o>Does this help?<o></o></span></font><font
color=navy><span style='color:navy'><o:p></o:p></span></font></p>
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<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><st1:PersonName
w:st="on"><font size=3 color=blue face="Baskerville Old Face"><span
style='font-size:12.0pt;font-family:"Baskerville Old Face";color:blue'>Andrew
Higson</span></font></st1:PersonName><o:p></o:p></p>
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