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    <div class="moz-cite-prefix">I would like to offer some
      clarification on several points touched upon in this thread. While
      I am little more than an amateur campanologist, my fields of
      peofessional expertise are historical tuning and temperament,
      harpsichord and fortepiano construction, and tuning of the later
      two as well as small organs.<br>
      <br>
      No modern organologist/musicologist who has delved into the matter
      seriously considers the Ellis version of pitch history to be
      little more than an historical curiosity. The go-to reference for
      several decades has been Bruce Haynes' monumental work The Story
      of A. Pitch did NOT rise over the decades. There were essentially
      4 standard levels with relatively little variation: French opera
      pitch ≈ 392, German chamber pitch ≈ 415, the "exotic Venetian"
      pitch ≈ 440, and German cornetto/trumpet/choir/(organ) pitch ≈
      465. There were a few oddballs, such as a high German organ pitch
      ≈ 490, but the evidence is overwhelming for the basic four.<br>
      <br>
      A big part of the problem is that there was no accurate way to
      measure pitch in cycles per second. Robert Smith published a
      method in his 1750 work Harmonics, but it was Scheibler's
      Tonmesser, which he first described in his 1838 work Schriften
      über musikalische und physikalische Tonmessung und deren
      Anwendung auf Pianoforte- und Orgelstimmung, which finally gave
      the world an accurate method of quantifying pitch.<br>
      <br>
      As to the adoption of 440, I have read over 200 books in German on
      organ building, temperament, harpsichord and piano design,
      instrument tuning and the physics of music from Schlick's 1511
      Spiegel der Orgelmacher und Organisten up to the end of the 19th
      century. When pitch begins to be specified in this body of
      literature, it is the piano design manuals that first do so,
      notably those of Kützing (1838 and 1844) and Töpfer (1842). They
      both assume 440 as the standard pitch for piano design, at least
      in Germany. I realize the rest of the world may have diddled about
      before adopting it, but 440 has been around for a long time. And
      as Haynes has demonstrated, it was a commonly used standard in
      Italy before the 18th century.<br>
      <br>
      Regarding the matter at hand, I must say that I find it a bit
      strange to say anything above a standard pitch frequency is the
      next higher pitch. In most scientific endeavors, it is standard
      practice to use normal rounding, i.e., given a certain standard
      unit, anything with the range of 1/2 less and 1/2 more is THAT
      particular unit, i.e. anything from 4,5 to 5,49 is 5 if whole
      units are all you can use. Thus anything within +/- 50 cents of a
      given note should be THAT note. Of course, temperament is a wild
      card which makes the whole idea a bit suspect.<br>
      <br>
      Hope this helps.<br>
      <br>
      Ciao,<br>
      <br>
      Paul<br>
      <br>
      On 15/5/22 15:17, Richard Offen wrote:<br>
    </div>
    <blockquote type="cite"
      cite="mid:018f01d8685e$27d2f1a0$7778d4e0$@iinet.net.au">
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        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D">You
            might find this of interest Andrew:<o:p></o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D"><o:p> </o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D"><a
              href="https://www.wam.hr/sadrzaj/us/Cavanagh_440Hz.pdf"
              moz-do-not-send="true" class="moz-txt-link-freetext">https://www.wam.hr/sadrzaj/us/Cavanagh_440Hz.pdf</a><o:p></o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D"><o:p> </o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D"><o:p> </o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D"><img
              id="Picture_x0020_1"
              src="cid:part1.N8eG2S4X.ZQUTPCsr@gmail.com"
              alt="cid:image001.png@01D40F8F.50BED290" class=""
              width="321" height="144" border="0"></span><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D"
            lang="EN-AU"><o:p></o:p></span></p>
        <p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#1F497D"><o:p> </o:p></span></p>
        <p class="MsoNormal"><b><span
style="font-size:10.0pt;font-family:"Tahoma","sans-serif""
              lang="EN-US">From:</span></b><span
style="font-size:10.0pt;font-family:"Tahoma","sans-serif""
            lang="EN-US"> Bell-historians
            [<a class="moz-txt-link-freetext" href="mailto:bell-historians-bounces@lists.ringingworld.co.uk">mailto:bell-historians-bounces@lists.ringingworld.co.uk</a>] <b>On
              Behalf Of </b>Andrew Wilby<br>
            <b>Sent:</b> Sunday, 15 May 2022 8:42 PM<br>
            <b>To:</b> Bell Historians Mailing List<br>
            <b>Subject:</b> Re: [Bell Historians] Kemberton<o:p></o:p></span></p>
        <p class="MsoNormal"><o:p> </o:p></p>
        <div>
          <p class="MsoNormal">Are we overlooking the fact that A440 has
            only been the International standard since 1953?<o:p></o:p></p>
          <div>
            <p class="MsoNormal">Before that we used a variety including
              A435, the French A432 etc. That is why York etc were
              described as B flat. It was the pitch of the time. <o:p></o:p></p>
          </div>
          <div>
            <p class="MsoNormal">Nobody that I have come across can
              explain why A440 was settled on?<o:p></o:p></p>
          </div>
          <div>
            <p class="MsoNormal"> A432 has a greater resonance with
              music as it divides by 8 and seems to occur naturally vv
              organ pipes of 8ft, 16ft, 32 and 64ft etc. Is there a
              rationale here?<o:p></o:p></p>
          </div>
          <div>
            <p class="MsoNormal">Perhaps someone might delve into the
              history of pitch as related to bells.? Also to remember
              that not all rings are equal tempered and that might
              affect the designation of an individual bell.<o:p></o:p></p>
          </div>
          <div>
            <p class="MsoNormal">I'm not defending Kemberton A# by the
              way. I shall enquire!<o:p></o:p></p>
          </div>
          <div>
            <p class="MsoNormal">AWRW<o:p></o:p></p>
          </div>
        </div>
        <p class="MsoNormal"><o:p> </o:p></p>
        <div>
          <div>
            <p class="MsoNormal">On Sun, 15 May 2022, 12:18 Richard
              Offen, <<a href="mailto:richard.offen@iinet.net.au"
                moz-do-not-send="true" class="moz-txt-link-freetext">richard.offen@iinet.net.au</a>>
              wrote:<o:p></o:p></p>
          </div>
          <blockquote style="border:none;border-left:solid #CCCCCC
            1.0pt;padding:0cm 0cm 0cm
            6.0pt;margin-left:4.8pt;margin-right:0cm">
            <p class="MsoNormal">PS. I quite understand it will be a
              gargantuan task to go through the whole database to effect
              such changes and can certainly see why that is not a
              priority.<br>
              <br>
              Arguments over note names aside, I still think the on-line
              Dove is a wonderful facility and thank all those who work
              so hard to keep it up to date.<br>
              <br>
              <br>
              <br>
              <br>
              -----Original Message-----<br>
              From: Bell-historians [mailto:<a
                href="mailto:bell-historians-bounces@lists.ringingworld.co.uk"
                target="_blank" moz-do-not-send="true"
                class="moz-txt-link-freetext">bell-historians-bounces@lists.ringingworld.co.uk</a>]
              On Behalf Of Richard Offen<br>
              Sent: Sunday, 15 May 2022 5:14 PM<br>
              To: 'Bell Historians Mailing List'<br>
              Subject: Re: [Bell Historians] Kemberton<br>
              <br>
              It may not be high on the priority list, but surely new
              additions, such as Kemberton, which are so obviously in
              B-flat could have some common musical sense applied to
              them!<br>
              <br>
              R<br>
              <br>
              <br>
              <br>
              <br>
              -----Original Message-----<br>
              From: Bell-historians [mailto:<a
                href="mailto:bell-historians-bounces@lists.ringingworld.co.uk"
                target="_blank" moz-do-not-send="true"
                class="moz-txt-link-freetext">bell-historians-bounces@lists.ringingworld.co.uk</a>]
              On Behalf Of Dickon Love<br>
              Sent: Sunday, 15 May 2022 5:09 PM<br>
              To: 'Bell Historians Mailing List'<br>
              Subject: Re: [Bell Historians] Kemberton<br>
              <br>
              My good friend RCO has asked this question before, and the
              answer is the same.<br>
              <br>
              The description of the key of a ring remains a work in
              progress because ultimately it boils down to individual
              preference, and we have seen a diversity of preferences
              already in this thread. The same argument goes for
              preferences in (historic) counties and lieutenancy areas.
              In BellBoard, the user can set a preference, and in due
              course we hope we can do the same for Dove with respect to
              key signatures.<br>
              <br>
              This will not only apply to which side of the divide the
              key note is (the tenor), but also whether the key note
              should be used in defining the scale in the first place,
              or even some other average applied over all the notes of
              the scale, not just the tenor. This latter calculation
              would itself be dependent on which temperament you want to
              apply the calculations to.<br>
              <br>
              At the moment it is not particularly high on the list of
              priorities when we are still embedding in details of
              frames, hence there hasn't been a review of all sets of
              bells. So if A# offends you, please know that Bb is not
              considered incorrect, or indeed A or B if the tenor is
              particularly flat or sharp.<br>
              <br>
              DrL<br>
              <br>
              <br>
              -----Original Message-----<br>
              From: Bell-historians <<a
                href="mailto:bell-historians-bounces@lists.ringingworld.co.uk"
                target="_blank" moz-do-not-send="true"
                class="moz-txt-link-freetext">bell-historians-bounces@lists.ringingworld.co.uk</a>>
              On Behalf Of Richard Offen<br>
              Sent: 14 May 2022 08:25<br>
              To: <a
                href="mailto:bell-historians@lists.ringingworld.co.uk"
                target="_blank" moz-do-not-send="true"
                class="moz-txt-link-freetext">bell-historians@lists.ringingworld.co.uk</a><br>
              Subject: [Bell Historians] Kemberton<br>
              <br>
              Could I ask why the new ring of six for Kemberton,
              Shropshire (soon to be eight) are being shown on the
              online Dove website as being in the key of A#?<br>
              <br>
              If I remember my music theory correctly, A# Major is not
              in the circle of fifths as it’s structure, with three
              double sharps, is considered too complicated for practical
              use. <br>
              <br>
              The tenor at Kemberton, according to the nominal frequency
              given on the Dove page is 11 cents flat of B-flat, so why
              not show the ring in that commonly used key? To add insult
              to injury, one of the bells is shown as being in E-flat,
              which makes even more of a nonsense of it all!<br>
              <br>
              Rings of bells are musical instruments and therefore, in
              my opinion, should conform to the tried and tested
              conventions of musical notation. <br>
              <br>
              Richard<br>
              <br>
              Sent from Richard Offen's iPad<br>
              <br>
              _______________________________________________<br>
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              <br>
              <br>
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      <pre class="moz-quote-pre" wrap="">_______________________________________________
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