[Bell Historians] Re: Telegraph letter
richard.offen at eqX_hkRlNY0GgNBHvYoD0pdTyrGTUU1n3gE6SGdqR-FRljJiJPPOrejOkElM1_gpzEyFoEzKB6jBGnkB3rURGr_VYV7L.yahoo.invalid
Thu Oct 15 14:29:56 BST 2009
Where's Bill Hibbert when you need him?!!!!
From: bellhistorians at yahoogroups.com [mailto:bellhistorians at yahoogroups.com]
On Behalf Of Charles Lucy
Sent: Thursday, 15 October 2009 6:59 PM
To: bellhistorians at yahoogroups.com
Subject: Re: [Bell Historians] Re: Telegraph letter
I understand you skepticism Richard.
I would guess that your favoured bells are tuned close to 12 edo, (equal
divisions of the octave).
As I found when hastily analysing the recordings of Worcester cathedral a
few weeks ago.
This would enable them to be played in 12edo in any of twelve keys.
This (12edo) tuning system would be familiar to anyone who listened to music
during the twentieth century, for in that century it became the world's
ubiquitous tuning system.
There is general agreement amongst all musical academics and most musicians
that none of the intervals of 12edo are "in tune", and that this 12th root
of 2 tuning system is a convenient (yet flawed) compromise.
Tuning bells to Harrison's recommendations, as with all meantone-type
tunings, would limit the number of keys in which 12 bells could be played .
For example G# and Ab are different frequencies.
Therefore if the naturals (C through B) are tuned in a Large Large small
Large Large Large small (LLsLLLs) pattern the "black notes" are limited.
E.g. E major triad uses E G# B;
yet F minor triad requires F Ab C.
Using the wrong "black note" sounds particularly dissonant.
Bells may not be the same as guitars, yet the same principles of tuning will
apply, just as they do for guitars and all other musical instruments.
On 15 Oct 2009, at 11:29, Richard Smith wrote:
David Bryant asked:
> To put it more clearly, what are the advantages of the
> tuning system which you are proposing, and what are its
> advantages over and above any other tuning system?
... to which Charles Lucy responded:
> Rather than re-writing the text from an existing site, I
> would like to suggest that you got to a place where the
> whole system derived from John Harrison's writings is
> explained in detail, and comparisons to other systems are
So far as I can see, the purported advantage of your / John
Harrison's tuning system is that you can tune an instrument
such that music played in different keys sound equally good.
You mention, for example, the problem of tuning a
traditional guitar such that you are happy with both the E
major and G major chords.
Now how is that relevant to bell ringing? We have a brand
new Taylor twelve in Cambridge, one that I'm overwhelmingly
pleased with. We use it to ring rounds in D major, Stedman
Cinques in D major, Cambridge Maximus in D major, Bristol
Maximus is D major. We have even attempted to ring Orion
transposed into D major; unfortunately some of the chords in
this piece sound most unpleasant. I can only assume this
must be due to some subtle problem with Taylor's tuning of
the bells, as it often sounds melodious when rung by others
on the C major Whitechapel twelve at Bow. I shall be
raising this serious issue with Taylors in the near future.
Never once have we decided to ring Fabian Stedman's
masterpiece, but in a deep, sonorous Bb major for a change:
we simply don't care what our bells would sound like rung in
a far-removed key. We ring them in D major, sometimes we
ring the front eight in G major, and if we're in a silly
mood, we might try the descending melodic minor ten in E.
All closely related keys. Bells are not the same as
lucy at lucytune. <mailto:lucy at 9opEQUoOgosWT5pG2FYb8MnvKhcAkNnHvr2SIbBTGS_YDI-Nd6_Fy_T7u8GHw0nWewKgoo-LeQ.yahoo.invalid> com
- Promoting global harmony through LucyTuning -
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http://www.lucytune <http://www.lucytune.com> .com
For LucyTuned Lullabies go to:
http://www.lullabie <http://www.lullabies.co.uk> s.co.uk
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