W. L. Bowles on tuning church bells

[Anne Willis]

>From 'The Parochial History of Bremhill in the County of Wilts' 1828


The bells to which we are now listening [Bremhill] are so well in tune that
the commonest ear would pronounce them musical.  The reason is not generally
known, but church-bells have a sensible effect on the ear, according as they
are more or less perfectly tuned.  Here are six bells, which would be
pronounced by every ear a musical peal; but no set of bells are ever cast
quite in tune; in general the third is too flat, and the fourth too sharp,
the effect of which is doubly discordant.  The only certain mode of having a
peal perfectly harmonious is to tune the bells by a monochord divided into
intervals. A peal of bells can be thus brought to musical perfection; and
anyone, without knowing the reason, would perceive the sweet effect.  This
mode of after-tuning is never practised, and therefore a peal gives all its
discord, often for centuries, as the bells happened to be cast.

A footnote relates how 'a late friend of mine, Lawson Huddleston of
Shaftsbury ... had a kind of passion for bells.'  Among others Huddleston
chip-tuned the bells at Colerne (his first effort), Knoyle (East or West is
not specified), Shaftesbury (?St Peter)and St Cuthbert, Wells.  Huddleston
also liked to tune sets of sheep bells into key note, third, fifth and
eighth.  Bowles recommended at least four sets of tuned sheep bells with
four additional key note bells to every set 'otherwise the sound, wanting
the "binding note" will appear meagre and unpleasing'.

Apparently the last sheep bells in Wiltshire were tin cans with nails
suspended in them.


Anne