User:Thrakkx/sandbox4

The following is a glossary of common English language terms used in the description of campanology—the scientific and musical study of bells.

B
bell: Présentation des nouvelles cloches de Notre-Dame de Paris en 2013 60.jpg]] To be written

bell metal: Also bell bronze. A specialized alloy of bronze used to create. It consists of 18 to 24% tin, a maximum of 4% impurities, and the balance copper. In a well-cast, the composition is 78% copper, 20% tin, and 2% impurities.

bell tower: To be written

bellfounding: To be written

bourdon: To be written

C
campanile:

carillon: To be written

casting: To be written

change ringing: To be written

chime:

Noun: To be written Verb (chiming): A method of sounding a.

chimestand: A keyboard specially designed to play a, resembling that of a '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.

clapper: To be written

clapper staple: Also, crown staple. The pivot on which the of a 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.

clocking: A method of sounding a by attaching a rope to the end of its so that it can be pulled against the bell. It is an undesirable method as it can crack the bell in the process.

crown staple:

D
ding dong effect: Also ding-dong effect. The concept that a '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.

F
fD value: The product of the frequency of a 's 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 bells, the value rises to about 600 m/s as the size of the bell decreases.

fifth: Refers to the interval between the and the.

fundamental: The lowest in a natural ; however, in a bell's harmonic series, the fundamental is synonymous with the, the second-lowest partial.

H
harmonic series: Typical partials of a tuned bell.png For a, 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 or (when excluding the partial). The lowest five partials, the, , , , and are  manually by the. Other partials exist above the nominal, but are left alone. Additionally, the interaction of some overtones creates the perception of a resultant tone called the which, when the bell is tuned well, is identical to the prime, the fundamental partial. In larger bells, a secondary strike tone, the can also be perceived.

hum tone: The lowest in the of a bell, which is produced by the vibration of its entire. It is pitched an octave below the.

M
metal fourth: A secondary present in larger bells, particularly those well below middle C, which sounds a perfect fourth above the. Due to its unpleasantness, attempt to minimize its presence when casting large bells.

method ringing: To be written

minor third: Refers to the interval between the and the.

N
nominal: The fifth-lowest in the of a. It is pitched an octave above the. This is the highest partial that will, and by doing so, they can indirectly tune the pitch of the.

O
overtone: Any above the lowest partial in a. For a, this is any partial other than the. It is sometimes used interchangeably with partial.

P
partial: To be written

peal: To be written

peal board: To be written

prime: The second-lowest in the of a. It is pitched an octave above the, and unlike in a natural harmonic series, it is a bell's 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).

profile: To be written

Q
quint: The fourth-lowest in the of a. It is pitched a perfect fifth above the and is alternatively referred to simply as the fifth.

R
ring: To be written

ringing: A method of sounding a

S
Simpson tuning:

strike tone: A resultant tone that is formed from the, major tenth, twelfth, and double octave of a. It is the strongest tone when a bell is struck and rapidly fades behind the. The tone is harsh and (when well tuned) is identical in pitch to the prime. The pitch of the strike tone is adjusted by the nominal.

striking: A method of sounding a

T
tenor: The heaviest in a.

tierce: The third-lowest in the of a bell. It is pitched a minor third (and therefore is alternatively referred to as such) above the, and is notably not present in the natural harmonic series. Because of its prominence, minor and diminished chords sound more natural on carillons than major chords. Additionally, many composers have explored using the octatonic scale in their carillon music because of its relationship with minor chords.

treble: The lightest in a.

tuning: The process of adjusting the of a, specifically the thickness of its wall, so that the lowest five are harmonized with each other, while simultaneously tuning the bell to the other bells in an applicable set, for example a. A bell only needs tuning upon creation, and this is accomplished by shaving metal from the inside using a lathe. The process of tuning these five partials is sometimes called Simpson tuning after the English canon Arthur Simpson, who popularized it in the 1890s.

tuning reserve: Refers to the extra thickness of a 's wall after it has been cast. Rather than attempting to a bell perfectly upon casting, it is made thicker, so that its walls can be shaved away with a lathe to harmonize its.

turnbuckle: To be written