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I think that if the tenor note were F# and not F flat then the notes as given would make them in the Locrian mode. That is probably entirely irrelevant as mis-prints/understanding is far more likely.<br>
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Richard</div>
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<div id="divRplyFwdMsg" dir="ltr"><font face="Calibri, sans-serif" style="font-size:11pt" color="#000000"><b>From:</b> Bell-historians <bell-historians-bounces@lists.ringingworld.co.uk> on behalf of Dickon Love <dickon@lovesguide.com><br>
<b>Sent:</b> Thursday, April 16, 2020 7:34:44 PM<br>
<b>To:</b> bell-historians@lists.ringingworld.co.uk <bell-historians@lists.ringingworld.co.uk><br>
<b>Subject:</b> [Bell Historians] Bizarre Warner octave scale</font>
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<p class="x_MsoNormal">I have been doing some research into the old bells of St Peter’s, Tunbridge Wells. They were a Warner 5 in an 8 bell frame, augmented (with a treble) to 6, and then (with 2 trebles) to an 8, all in the space of decade. The Kent & Sussex
Courier on 24 Jan 1879 says that when the octave is complete, the notes of the bells will be “1st F sharp; 2nd, E; 3rd D (the recent addition); 4th C; 5th, B; 6th A; 7th, G; 8th (tenor), F flat." (from the tenor, F flat, G, A, B, C, D, E, F sharp) Clearly
this is not a diatonic 8, and my instinct was (is) to put this down to a series of typos. The nearest key to these is F major (F, G, A, B flat, C, D, E, F). However, before I dismiss this out of hand, might there be occasions where Warners got the key so wrong
that someone with perfect pitch might choose to describe the notes in this way?</p>
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<p class="x_MsoNormal">The ring can’t have been very good. Gilletts recast them (and put them in a new frame) 34 years later.</p>
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<p class="x_MsoNormal">DrL</p>
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