richard.offen at SXfe_SU4jvDBU5md2YtLT3XZ6hZsoj4e8IlNY99DJkWyUNocuqv_l2eADBvJfWyL2I2hymaNc7CnSVHAGSHvk6-o.yahoo.invalid
Sun Dec 2 14:33:26 GMT 2007
--- In bellhistorians at yahoogroups.com, "Bill Hibbert" <bill at ...>
> Mark Regan:
> > The best 12s with stretched trebles for this period are Pier Head
> and Evesham. Their figures may help...
> I don't have the figures for Pierhead. Evesham are interesting, the
> back ten are not stretched at all. The trebles have tentative
> sharpening (21 cents in the treble, 13 cents in the second) but not
> full stretch. Here's a list of peals and dates, the figure quoted
> the average stretch in cents per octave:
> Evesham (1951) - 0.06 cents back ten, 7.1 cents all 12
> Cambridge (tuned 1952) - 25.4 cents
> Tewkesbury (1962) - 25.8 cents
> Melbourne (tuned 1962) - 27.1 cents.
> I could go on at length about this, with more examples ...
> However, I asked a different question. Does anyone know the
> used in Taylor's foundry / tuning shop to decide how much to
> these peals? A first-hand account would be brilliant.
> Bill H
I too would be interested to know how the extent of stretch was
decided. We have the most excruciating example of it here in Perth
at St George's Cathedral (Taylor, 1975), where the nominals are tuned
Tenor: G +5.5 cents
7 A +5
6 B +11
5 C +9
4 D +10
3 E +24
2 F# +27
Treble G +29
Our former Organist and Master of the Choristers once remarked to
me, "the bloke who tuned those had cloth ears!"
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