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Terms associated with the study of bells
The following is a glossary of common English language terms used in the description of campanology—the scientific and musical study of bells.
Also bell bronze. A specialized alloy of bronze used to create bells. It consists of 18 to 24% tin, a maximum of 4% impurities, and the balance copper. In a well-cast bell, the composition is 78% copper, 20% tin, and 2% impurities.[1]
A keyboard specially designed to play a chime, resembling that of a carillon's keyboard. It has much larger keys that parallel a reciprocating pump's handle and are usually depressed about 2.5 times farther than on a carillon. Chimes used adjustable leather straps as crude substitutes for turnbuckles.[2]
clapper
To be written
clapper staple
Also, crown staple. The pivot on which the clapper of a bell swings. They may be bolted though the bell (and therefore known as independent) or be cast into the bell upon creation (and therefore known as cast-in). The latter construction puts stress on a bell and is typically removed if a bell must be removed from its fixture.[3]
clocking
A method of sounding a bell by attaching a rope to the end of its clapper so that it can be pulled against the bell. It is an undesirable method as it can crack the bell in the process.[4]
Also ding-dong effect. The concept that a bell's mouth when facing the listener has a greater timbre ('ding') than when it is facing away from the listener ('dong'), which gives rise to the "ding dong" sound of a swinging bell.[5]
The product of the frequency of a bell's hum tone in Hertz (Hz; 1/s) with its largest diameter in meters (m). For large bells, this value is around 200 m/s. In a set of carillon bells, the value rises to about 600 m/s as the size of the bell decreases.[6]
The lowest partial in a natural harmonic series; however, in a bell's harmonic series, the fundamental is synonymous with the prime, the second-lowest partial.[8]
Typical partials in the harmonic series of a bell tuned to C
For a bell, the sequence of frequencies produced from its vibration. Unlike the harmonic series of other musical instruments, not all of a bell's tones are mathematically and harmonically related, and so they are referred to as partials or (when excluding the fundamental partial) overtones.[9] The lowest five partials, the hum tone, prime, tierce, quint, and nominal are tuned manually by the bellfounder. Other partials exist above the nominal, but are left alone.[10] Additionally, the interaction of some overtones creates the perception of a resultant tone called the strike tone which, when the bell is tuned well, is identical to the prime, the fundamental partial. In larger bells, a secondary strike tone, the metal fourth can also be perceived.[11]
A secondary strike tone present in larger bells, particularly those well below middle C, which sounds a perfect fourth above the prime. Due to its unpleasantness, bellfounders attempt to minimize its presence when casting large bells.[13]
Any partial above the lowest partial in a harmonic series.[9] For a bell, this is any partial other than the hum tone.[7] It is sometimes used interchangeably with partial.[15]
The second-lowest partial in the harmonic series of a bell. It is pitched an octave above the hum tone, and unlike in a natural harmonic series, it is a bell's fundamental partial. The musical note of the prime is the musical note of the bell (e.g. if the prime of a bell is pitched D, the bell is a "D" bell).[16]
A resultant tone that is formed from the nominal, major tenth, twelfth, and double octave partials of a bell.[19] It is the strongest tone when a bell is struck and rapidly fades behind the prime. The tone is harsh and (when well tuned[13]) is identical in pitch to the prime. The pitch of the strike tone is adjusted by tuning the nominal.[20]
The third-lowest partial in the harmonic series of a bell. It is pitched a minor third (and therefore is alternatively referred to as such[23]) above the prime, and is notably not present in the natural harmonic series.[22] Because of its prominence, minor and diminished chords sound more natural on carillons than major chords.[24] Additionally, many composers have explored using the octatonic scale in their carillon music because of its relationship with minor chords.[7]
The process of adjusting the profile of a bell, specifically the thickness of its wall,[26] so that the lowest five partials are harmonized with each other, while simultaneously tuning the bell to the other bells in an applicable set, for example a carillon. A bell only needs tuning upon creation, and this is accomplished by shaving metal from the inside using a lathe.[27] The process of tuning these five partials is sometimes called Simpson tuning after the English canon Arthur Simpson, who popularized it in the 1890s.[28]
tuning reserve
Refers to the extra thickness of a bell's wall after it has been cast. Rather than attempting to tune a bell perfectly upon casting, it is made thicker, so that its walls can be shaved away with a lathe to harmonize its partials.[26]
Chesman, Jeremy (2015). "Terminology of the Carillon". Making Music on the Carillon. American Carillon Music Editions. p. 2. OCLC917521619.
Gouwens, John (2013). Campanology: A Study of Bells, with an Emphasis on the Carillon. North American Carillon School. ISBN978-1-4840-3766-9.
Lehr, André (1976). "Woordenlijst" [Glossary]. Leerboek der Campanologie: Een Muzikaal-Technische Verhandeling over Luidklokken en Beiaarden [Campanology Textbook: The Musical and Technical Aspects of Swinging Bells and Carillons] (in Dutch). Asten Carillon Museum. pp. 101–113. OCLC21608335.
