Notation for Carillon and Chime Installations: Audit and Visualisation1

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Notation for carillon and chime installations: audit and visualisation1

Michael Boyd This paper discusses the use of notation for recording the configurations of carillon and chime installations, which have been designed by the author for facilitating the production of visual depictions using computer software. Such notation, quasi-musical in format, has been devised with both the carillonneur (or chimer) and bell-historian in mind, hopefully satisfying two constituencies. The carillonneur, visiting a carillon for the first time, may wish to visualise the carillon keyboard as a means of preparing for a recital; the bell historian may wish to capture and record the configurations of both keyboard and instrument, and possible other playing mechanisms at a particular installation. In the latter case, the historian and bell enthusiast may also want a means of tracking, in some detail, the evolution of an installation from its inception to its present-day configuration. This is a particular interest of the author. It can sometimes appear that an appreciable body of carillon history has been lost due to the failure to accurately record modifications, augmentations, or extensive remodelling of carillon installations, particularly regarding the fate of carillon keyboards. The carillon keyboard and instrument design Carillon and chime keyboards embody a wealth of information on carillon culture and instrument design, particularly from the early 20th century onwards, in which the modern carillon was born and its growth and development nurtured. This early period witnessed considerable innovation in carillon building, fuelled in part by the rivalry between the two pre-eminent English bellfounders of the time: Taylors and Gillett & Johnston. This contest led to the production of a diverse range of impressive instruments consisting of fine-toned bells. These carillons came in various sizes: two-octave, three-octave, four-octave and larger, often employing the latest design and build techniques of their day. Significantly, the keyboards for these instruments were often bespoke, tailored for a particular ensemble of bells. This suggests to this author that the English founders, Gillett & Johnston in particular, took a holistic view of the installation. There was a definite regime of bespoke carillon design: bells were cast bearing their number within the ensemble (referred to by G & J as peal number), keyboards were designed and built to match. Complete installations would be set up within the foundry, to exhibit the bells and the transmission from the clavier to the clapper, before being delivered to their intended location. Consider the keyboards of the small two-octave instruments of this period. The configuration of the bespoke two-octave carillon keyboard by Gillett and Johnston (built 1932) as shown in Figure 1 shows characteristics of the carillon as a musical instrument which are consistent with its eventual accepted definition: the traditional clavier of wooden batons, chromatic, apart from where financial necessity has resulted in the omission of the two lowest bells with the least frequency of use, and one with a pedal board coupled to at least one octave of the manuals. From a musical point of view, and that of the carillonneur, any baton-keyboard configuration less than this is probably unsatisfactory from the point of view of exploiting the use of the pedals. The provision of the pedal board is important since it is this that really distinguishes a chime from a carillon. The smallest keyboard which allows the provision of a worthwhile pedal board (i.e., one of at least an octave of bells) is one of two-octaves in the manual.

This configuration, in which the manuals have a one-to-one correspondence with the bells, results in a 23-bell carillon: one could argue that the carillon obtains its definition from this bespoke two- octave keyboard configuration, rather than one based on the number of bells per se. The argument is somewhat tautological perhaps, since Gillett and Johnston clearly took an integrative view of instrument design for these early installations: the keyboard was in turn designed and built to match their chromatic ensemble of tuned bells. The notion that these early bespoke instruments would later be remodelled or enlarged, with keyboards replaced by newer versions (with the older keyboards made redundant), may have surprised these founders at the time of the instrument’s design and inception. Whatever one’s view of these now established trends, it is surely of interest to historians and students of the carillon art that these early keyboard designs are recorded and understood. By extrapolation, baton chime keyboards fall within this orbit of interest. In the same way, modern keyboard configurations should also be recorded for future posterity. The motivation for this current study stems partly from this perceived need, and also a desire to efficiently notate existing installations for the purposes of visualising them. Notation for carillon and chime keyboards The notation put forward in this paper can be applied to a range of bell installation types. The use of shorthand notation for recording tower bell data for carillons and chimes, as well as their playing mechanisms and is of course nothing new, and in this regard this paper acknowledges the seminal work by Carl Zimmerman in this field. The Tower Bells database2 remains the most authoritative and well-researched source of information on tower bells throughout the world. In the Tower Bells database, the ranges of keyboards used for carillons and chimes are recorded using a particular format. The work presented in this paper here builds on this format, adapting and extending it for the purposes of visualisation and configuration audit, whilst suggesting alternative formats tailored towards particular instrument types. The author’s hope is that this work is seen as an additional tool for increasing our understanding of carillon installations and keyboards in particular.

The convention used here is that the lowest C note on the keyboard is designated C0, unless there are notes below C0, in which case the suffix for those notes is omitted. Using this convention, a fully-chromatic two-octave carillon keyboard with a one-octave pedal board is notated3: C0.C2 & C0.C1 where the ‘.’ denotes an unbroken chromatic sequence between and including the two notes either side of it. However, we can take advantage of the default assumption that, for a carillon keyboard, the manuals and pedals are coupled, and that there is a one-to-one correspondence between the coupled keys, i.e., C0 in the pedal is coupled to the same note in the manual, and so on. Using a truncated notation, we can denote this keyboard C0.C2 & C1, where it is understood that full shorthand notation for the pedal board is in fact C0.C1. The ‘&’ symbol has been added here to denote a pedal board coupled to the manual keys. When we consider claviers with batons missing, the notation is developed further, so that a 23- bell carillon keyboard could be notated (“first style”): C0/D0/E0.C2 & C1, where ‘/’ denotes that

2 http://towerbells.org/ 3 The shorthand notation avoids the use of subscripts and superscripts, and the hash character ‘#’ is used in lieu of the sharp sign ♯, likewise lowercase ‘b’ is used for the flat sign ♭. All the symbols used can be easily produced by a computer keyboard.

2 one or more semitones are missing from the keyboard layout. In this case, the batons and pedals for C♯0 and D♯0 have not been included by the carillon builder. Alternatively, we can use the equivalent (“second style”) notation: C0.C2 ¬ {C#0, D#0} & C1 Here the ‘¬’ symbol denotes that the notes listed between the braces are missing from an otherwise chromatic sequence in the manual batons and the pedal board. This second style is preferable for describing carillon keyboard configurations, in that it emphasises a defining feature of the carillon, i.e., that it is a chromatic instrument. However, as we shall see, the first style is useful for notating certain complex carillon configurations. The second style notation also makes explicit the range of the keyboard, so we see from C0.C2 that the range is (2-0) = 2 octaves. The number of notes in both manual and pedal boards is readily calculated from this notation. For a fully chromatic sequence:

(푁푢푚푏푒푟 표푓 표푐푡푎푣푒푠 푥 12 + 퐸푛푑푁표푡푒 − (푆푡푎푟푡푁표푡푒 − 1) where 퐸푛푑푁표푡푒 is the chromatic number in the octave of the end note in the sequence commencing at C, 푆푡푎푟푡푁표푡푒 that of the starting note in the sequence. Thus, the instrument with keyboard C0.C2 ¬ {C#0, D#0} & C1 has (2-0) *12 + 1 – (1-1) – 2 = 23 notes, taking into account the cardinality of the set of missing notes {C#0, D#0}, and using the convention that C has the sequence number of 1 in the octave. For a fully-chromatic 4-octave carillon keyboard C0.C4 & G1, the number of manual notes is readily computed as (4-0) x 12 + 1 – (1-1) = 49, whilst for the pedal board, temporarily expanding the truncated shorthand from G1 to C0.G1, we see that there are (1-0) x 12 + 8 – (1-1) = 20 pedal notes, using the chromatic sequence number 8 for the note G. Auditing carillon keyboards and installations The term ‘audit’ is meant here to convey the process of accurately recording the important details of a carillon or chime installation. Of course, what or what is not important may vary from one observer to another. For this author, the carillon or chime keyboard is of particular significance, since its form, configuration and action largely define the experience of the installation as a musical instrument, and when visiting an installation, it is the keyboard which is usually encountered first. As part of the audit of a carillon installation, the most obvious way for the visiting carillonneur or bell historian to assist the auditing and visualisation of a carillon or chime keyboard is of course by talking photographs. This is particularly important given the diversity of instruments and keyboards in our field of interest, and of course such photographs have even more significance in this age of world-wide digital communication. In taking photographs of a clavier, the most useful shot, in terms of understanding its layout, is the ‘bird’s-eye’ view. For example, the two-octave carillon keyboard of the Church of Our Lady of the Rosary and St. Thérèse of Lisieux, in Saltley, Birmingham is shown in such a view in Figure 1. This shows two important aspects of this carillon keyboard: firstly, that it is a bespoke two- octave Gillett and Johnston clavier, and that the two lowest semitones are missing in both the manuals and pedals from an instrument that is otherwise chromatic across its two-octave range. It gives immediate and clear visual information on its layout. In this regard, the author recommends that all those responsible for the upkeep of their carillon or chime take such a

‘bird’s eye’ picture of their installation’s keyboard. Ideally, such a picture would exist for every carillon or chime installation throughout the world. But what if these pictures are not available, as is the case for the majority of installations throughout the world?4 The configuration notation as proposed here can be used to generate a pictorial representation of the keyboard, which informs the viewer of its musical characteristics as a carillon or chime. The pattern of characters within the notation can be searched for patterns and interpreted by software such as Microsoft Excel, which is readily available throughout the world as part of Microsoft’s Office suite of applications. Using Excel’s Visual Basic language, the author has developed computer programs to produce simple pictures of the sequences embodied in the notation. The layout of the Saltley clavier of Figure 1 can be notated as either C0/D0/E0.C2 & C1 or C0.C2 ¬ {C#0, D#0} & C1. Based on the second style of notation, the software visualiser for this produces a pictorial representation as shown in Figure 2.

Figure 1 'Bird's-eye’ photograph of the two-octave carillon clavier at the Church of Our Lady of the Rosary and St. Thérèse of Lisieux, Saltley.

The visualisation, produced within an Excel worksheet, shows the number of notes in the manuals and pedals (23 and 11 respectively), with the pedals drawn below the manual keys5,

4 Searching the Internet, it is surprisingly difficult to obtain useful photographs of baton clavier keyboards associated with carillon or chime installations. When available, it is the ‘side-on’ photograph of the keyboard which predominates. Unfortunately, this depiction is sometimes of little value for deducing its precise configuration: hence the author’s advocacy of the ‘bird’s-eye’ perspective. 5 Physically of course, the pedal board spans the breadth of the manuals, so that pedal C1 is under manual C2. Visualisation of the physical or positional view of the keyboard is considered in a later article.

4 and the missing semitones C♯0 and D♯0 portrayed as cells with italicised text on a blue background:

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 SALTLEY Manual: 23 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2

C#0 D#0 F#0 G#0 A#0 Pedal: 11 C0 D0 E0 F0 G0 A0 B0 C1 Figure 2 Visualisation of the carillon keyboard musical configuration with the notation: C0.C2 ¬ {C#0, D#0} & C1

Visualising instruments A musical instrument consisting of bells, whether carillons, chimes, peals or even clock chimes, can be considered to be a marriage of a playing mechanism and an ensemble of bells. This general view facilitates the application of the proposed notation to a diverse range of bell instruments, as will be seen. Given a shorthand description of a playing mechanism, a logical view of the ensemble can be readily obtained, based on certain important assumptions. We can extend the notation for the Saltley carillon to include the bourdon bell: C0.C2 ¬ {C#0, D#0} & C1 > F#4

Here, the prime or strike note6 of the bourdon bell of Saltley has been included, and the ‘>’ symbol denotes a coupling between the playing mechanism and an ensemble commencing with a bell of note F♯4, a coupling which one can think of as effected via the manual key C0.

This coupling leads to a shorthand description of the instrument, the visualisation of which is shown in Figure 3. Here, the depiction of the bells has been placed above that of the clavier to accord with the natural expectation that the bells are indeed above the clavier in real life (in most installations).

F#4 G#4 A#4 C#5 D#5 F#5 G#5 A#5 C#6 D#6 F#6 SALTLEY Ensemble: 23 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 Manual: 23 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2

C#0 D#0 F#0 G#0 A#0 Pedal: 11 C0 D0 E0 F0 G0 A0 B0 C1

Figure 3 Visualisation of the carillon configuration of the Church of Our Lady of the Rosary and St. Thérèse of Lisieux, Saltley.

The placing of the “black notes” of the bells at a higher level than the “white notes” is merely to assist the comprehension of the instrument from a musician’s viewpoint: obviously it has no correspondence to any physical positioning. Also included in this picture is the peal number of the bells within the ensemble. In keeping with the conventions adopted by both Gillett and Johnston and Taylors, this number is in order from the lightest bell to the heaviest. Note that this visualisation of the bell ensemble is based on the fundamental assumption that there is a bijective relationship between the manual keys of the clavier and the bells: each manual key is mapped to one particular bell, and thus the cardinality of the set of manual keys is

6 If only the note name of the lowest bell in the ensemble is known, the visualiser will assume an octave value of 0.

5 equal to that of the ensemble. There is also a one-to-one correspondence between the lower octave of the manual and the pedals due to the keyboard coupling mechanism. This one-to-one correspondence allows the ensemble to visualised by reference to the clavier layout, as denoted in the notation, alongside the note for the first bell in the ensemble. Based on this correspondence, the visualisation software has computed that there are two missing semitones in the ensemble, and depicted them accordingly. However, this one-to-one correspondence between the clavier and the ensemble is not always upheld. For instance, the configuration of the Loughborough War Memorial carillon keyboard is C0.C4 & G1: the keyboard was built as a complete four-octave carillon clavier, perhaps for aesthetic reasons. From the keyboard alone, one might think that the carillon is a 49-bell instrument. However, because the two lower semi-toned bells after the bourdon (“Denison”, note A♭0) were omitted from the ensemble by the founders, the instrument must be notated in this case as C0.C4 & G2 > Ab0/Bb0/C1.Ab4 or preferably C0.C4 & G1 > Ab0.Ab4 ¬ {A0, B0}, i.e., the full short-hand notation for the ensemble must be used, rather than the bourdon note alone. The visualisation for the Loughborough configuration highlights the fact that the batons and pedals for C♯0 and D♯0 are dummies, since the corresponding bells A0 and B0 are missing from the ensemble, whilst the batons and pedals are present:

G#0 A#0 C#1 D#1 F#1 G#1 A#1 C#2 D#2 LOUGHBOROUGH Ensemble: 47 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Manual: 49 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Pedal: 20 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 Figure 4 Visualisation of the Loughborough carillon configuration C0.C4 & G1 > Ab0.Ab4 ¬ {A0, B0}, (lower one-and-a-half octaves)

In the visualiser, the flattened notes A♭, B♭, E♭, D♭ are mapped to their enharmonic note names G♯, A♯, D♯, C♯, and so on. The visualiser takes advantage of the fact that worksheets contained within Excel workbooks (and other similar spreadsheet applications) are effectively unbounded in size, and can therefore accommodate this simple two-dimensional visualisation of carillon and chime installations ranging in size from the smallest to the very largest instruments. Thus, in the Excel workbook the visualisation as shown in Figure 4 continues to the right, depicting the complete instrument configuration. More complex configurations Anyone who has visited many carillon and chime installations will be aware of the diversity of the configuration of keyboards and bell installations. Notation for keyboards must therefore be able to deal with this variety of configurations. Notwithstanding the drive towards increasing standardisation, this diversity is evident in many carillon keyboards throughout the world, even ones which are relatively new. As an example of this, the author was interested in a particular practice carillon keyboard, one recently designed and built by an engineer based in Europe. It seems to use no electronics:

6 presumably the sound is produced by chime bars.7 The keyboard configuration was determined by the author from a close examination of photographs posted on the engineer’s website when the instrument was under construction. To the C0 to G1 pedal range were added two extra notes below C0: B♭, and to the left of that, a note assumed to be a low G. The manual is just over 4 octaves, to D4, fully chromatic except for the low C#.

This configuration of the finished keyboard can therefore be denoted as: C0.D4 ¬{C#0} & G/Bb/C0.G1 Equally valid, it can also be denoted as: C0.D4 ¬{C#0} & G.G1 ¬ {G#, A, B} In some respects, the first format is a more ‘natural’ notation, since it highlights the fact that the low G and B♭ are notes that have been added to the configuration. (Since these extra notes are below C0, their suffices are omitted). Note that since the pedals do not commence at C0 as with the manual, the full short-hand notation is used. To complete the specification of this instrument, we reason that the ensemble of chime bars must allow for every note from either the manual or pedal to be sounded, i.e., the notes of the ensemble are formed from the union of the manual notes and the pedal notes. Also, since the lowest note in the ensemble must be G, coupling between the keyboard and the ensemble is effected via this pedal note. In this instance, the author uses the symbol “|” to denote coupling via the pedal, reserving “>” as the default coupling via manual. Therefore, we can write as an instrument short-hand specification: C0.D4 ¬{C#0} & G/Bb/C0.G1 | G/Bb/C0.D4 or as: C0.D4 ¬{C#0} & G.G1 ¬ {G#, A, B} | G.D4 ¬ {G#, A, B} The author’s preference is for the first of these formats, but the visualiser can process both forms of the notation. As with all such short-hand notation, it is visualisation that enables comprehension:

G# A# C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 PRACTICE CARILLON Ensemble: 53 G A B C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 53 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Manual: 50 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

G# A# C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Pedal: 22 G A B C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 Figure 5 Visualisation of a practice carillon configuration. The pitches of the pedal notes commence below those of the manual.

(Figure 5 only show a partial listing of the instrument: the full picture extends all the way to the right to depict the manual and ensemble up to D4).

7 For this practice instrument, the manuals and the pedals appear to each have their own set of chime bars, contained within separate and independent sections of the keyboard. Thus, there are two ensembles of chime bars within the instrument.

The visualiser has drawn the pedal section so that the notes C0 in the manual and pedal are vertically aligned: this is consistent with musical expectation, since the baton C0 sounds the same note as the pedal C0. The supplementary pedal notes below C0 are drawn to the left of this vertical alignment. It is important to remember that this is a representational view, rather than a physical view of the configuration. In real life of course, the manual batons span the width of the keyboard frame, and for this particular design the pedal board is positioned so that baton C1 in the manual vertically aligns with pedal G0. Also, the designer has opted to physically place low G and B♭ in the pedals immediately adjacent to each other, contrary to the expected chromatic positioning. This simple visualisation does however fulfil its primary purpose of enabling understanding of the musical possibilities of the instrument, and is useful in situations where photographs are not available. It shows clearly that this instrument has two additional notes G, B♭ below C0 which can only be played in the pedal, and that C♯0 is missing from the manuals, but otherwise this is a full four-octave+ instrument, facilitating a wide range of carillon music repertoire. This understanding is one that has been deduced remotely as it were, from photographs posted on a website. The unbounded size of the visualisation within Excel is ideal for picturing the largest carillons, something which cannot be easily reproduced within a Word document. Examples include those of the University of Florida at Gainesville: A#/C0.C5 ¬{C#0} & C2 > A# or Bloomfield Hills in Michigan: G.C6 ¬{C#0} & C2 > G (see Figure 6 for a partial view of this, the largest carillon in the world). From the notation, we see that both of these carillons are in concert pitch, and that the keyboards are essentially complete, so in this case the information gain from visualisation is limited.

G# A# C#0 D#0 F#0 BLOOMFIELD HILLS Ensemble: 77 G A B C0 D0 E0 F0 G0 77 76 75 74 73 72 71 70 69 68 67 66

G# A# C#0 D#0 F#0 Manual: 77 G A B C0 D0 E0 F0 G0

G# A# C#0 D#0 F#0 Pedal: 29 G A B C0 D0 E0 F0 G0 Figure 6 Partial view of a visualisation of the Bloomfield Hills carillon, Michigan, U.S.A.

Notation for Chimes Several years ago, on a first visit to St Paul’s Cathedral, London Ontario in Canada the author took the opportunity to play the chime before service, and of course, to audit the installation itself. Access to the bells proved to be impossible, so the audit was limited to that of recording the keyboard configuration. Starting from C0 the keyboard has two missing lower semitones, then a chromatic sequence from and including E0 to G0, a missing G♯0, then a chromatic sequence from and including A0 to C1, a missing C♯1 and then D1.

Using the shorthand carillon notation, this keyboard layout is: C0.D1 ¬ {C#0, D#0, G#0, C#1}. However, although this carillon-type notation can be used for chimes, the author proposes a specific notation which is more suitable for largely diatonic instruments. For St Paul’s London Ontario the proposed notation takes the form:

C0 % 9 + {F#0, A#0} Here, the “%” symbol is used to denote a diatonic series based on the preceding note, thus this reads as a diatonic series of 9 notes based on C0, with additional notes of F#0 and A#0, as shown within the braces. The visualiser can process this diatonic notation to produce the depiction in Figure 7.

C#0 D#0 F#0 G#0 A#0 C#1 ST PAUL'S - LONDON ONTARIO Manual: 11 C0 D0 E0 F0 G0 A0 B0 C1 D1 Figure 7 Visualisation of keyboard: chime at St. Paul’s Cathedral, London, Ontario, Canada.

For those who respond better to visual information, such as this author, this depiction may be beneficial as part of preparing a recital programme suitable for playing on a such an instrument, in the absence of any useful photograph of the keyboard. This chime, with its accidentals F#, A# and an “extra” D, accommodates a surprisingly large range of simple music in the keys of C, G and F. Mention has already been made of the diversity of the configuration of keyboards and bell installations. In certain cases, it is preferable to use the carillon-type notation rather than diatonic notation for keyboards which are essentially chromatic in their layout. A notable example is the chime at St James in Clitheroe, Lancashire. Based on the data entry in a chimes database (discussed below), it is tempting to denote the configuration of this keyboard as: C0 % 8 + {F#0, A#0} This notation however would in this case fail to convey a most important aspect of the keyboard of this installation, which becomes evident from a photograph8:

Figure 8 The clavier for the chime at Clitheroe

Figure 8 shows an early (1923) bespoke two-octave carillon keyboard by Gillett and Johnston. (Why such a keyboard was used for this small and light chime is an interesting question for the bell historian). How should this keyboard be audited? The answer is to notate it as a two- octave keyboard, but one which is sparsely populated: C0.C2 ¬ {C#0, D#0, G#0, C#1.C2} & C0.C1 ¬ {C0.C1}

8 The photograph of this keyboard is from the Tower Bells website.

This reads as a keyboard which has a span of C0 to C2 in the manual, but missing the notes as shown in the braces, including a chromatic run from C♯1 to C2. The pedal board, which spans C0 to C1, is not populated: all its notes are missing. The visualiser represents this as:

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 CLITHEROE Baton clavier: 10 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2

C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1 Figure 9 Visualisation of the keyboard configuration for the chime at Clitheroe

As well as musical information therefore, the visualiser also gives an impression of the physical layout of the keyboard which the chimer or carillonneur will encounter when visiting an installation. Chime notation based on bell peal data The audit of an installation depends on what information is available, and often on the accessibility of the premises housing the installation. In the case of the author’s visit to St Paul’s London Ontario, the audit was limited to the keyboard: the bells were out of sight, locked behind a trap-door set in a very high ceiling above the clavier. However, there are a huge number of chimes and similar installations which have not be audited for many years, and for information on these we rely on the authoritative Tower Bells database, or other sources such as Mike Chester’s spreadsheet on chimes9. This latter database is a comprehensive catalogue of chime installations throughout Britain and Ireland. These include clock chimes, automatic chimes, and instruments playable by piano-type keyboards, and, of particular interest, by baton claviers. It is important to be aware however that, useful though this database is, the entries are implicitly biased towards the formats used by church bell ringers10. Consider for example the listing for the chime at St Paul, Alverthorpe:

10 + 3 11-1-3 G Baton Clavier - eight cast by Taylors in 1945 - the extras added in 1955. Ten plus #7, flat4, #3. Apart from the reference to a baton clavier, this listing is oriented towards the expectations of church bell ringers, with a bias towards peals of bells; the chimer or carillonneur has to work rather harder to understand exactly what is here as a musical instrument from this information alone.11 However, we can derive a useful diatonic shorthand for data based on the peal, very similar to that based on the keyboard notation as used for St Paul’s London Ontario. For Alverthorpe, the information on the bells suggests that we could write: G % 10 +{7#,4b,3#} This is very similar to the diatonic shorthand proposed for keyboards, but here it is designed to capture the information as reflected in the format given, which, in peal-type format, is often more widely available. Thus, we read that there are ten bells in a diatonic series based on a

9 http://www.warksbells.co.uk/index.php/others/chimes/gbchimes. Herein after referred to as the “chimes spreadsheet”. 10 For the authoritative database on bells hung for ringing, see Dove’s guide online at https://dove.cccbr.org.uk 11 Chime installations which are not associated with peals are no longer listed in Dove’s guide (as has been the case for many years for carillons). This means that there is a danger that such installations will become increasingly “invisible”.

10 tenor (bourdon) of G, plus three additional notes: a sharp 7th, a flat 4th, and a sharp 3rd. Such notation is tolerable, in the author’s view, if it is closely coupled to tools which enable visualisation of the underlying configuration which is thereby described. Understanding peal data This specialised chime shorthand G % 10 +{7#,4b,3#} obviates the need for the auditor to use the full carillon-type shorthand notation. When dealing with chimes, the diatonic format usually makes it easier for the auditor to record the configuration of the installation, particularly if the source of information, if not validated by a visual inspection of the site, is based on the peal data alone. It is instructive however, to consider the information which this shorthand embodies, since its interpretation may not be immediately obvious to the musician. For instance, if faced with a 12 diatonic ensemble of bells based on a tenor of G4 , the carillonneur or chimer would tend to “read” the ensemble from left to right, ordered on the lexical order of the note names. Listing the 10 diatonic Alverthorpe bells in order, we have:

{G4, A4, B4, C5, D5, E5, F♯5, G5, A5, B5}

What then, does the addition of a “sharp 7th” actually mean in this instance? In the application of a numbering system, the natural tendency would be to assign the number 1 to G4, 2 to A4, up to number 10 for B5, reading from left to right. However, for church bell ringers, this numbering order is reversed: the bells within a peal are numbered starting with the “treble” or lightest bell, in this case B5, down to the tenor or heaviest bell, G4. In data listings of chimes or even carillons derived from databases relating to peals of bells, this reversed numbering system, the bell’s peal number, must always be borne in mind.

Thus, in the case of Alverthorpe, due to the bias towards peal notation, the “sharp 7th” actually references C5, which is bell number 4 if read from left to right, but peal number 7 reading from right to left. In the same way the “flat 4th” is in fact a reference to F♯5, and the “sharp 3rd” to G5. Even more confusingly, the introduction of these “extra” bells (shown below in italics) results in an effective renumbering of the 13 bells within the enlarged ensemble13:

{G4, A4, B4, C5, C♯5, D5, E5, F5, F♯5, G5, G♯5, A5, B5}

Making use of the computer programming environment in Excel, the author has written programs to process this diatonic peal notation, re-ordering the accidentals within the enlarged ensemble as necessary.

If we assume, not unreasonably, that the baton clavier is based on C0, we can write: C0 > G4 % 10 + {7#, 4b, 3#} as the shorthand description of this chime’s composition. Here, the configuration of the ensemble is used to infer that of the clavier. (See Figure 10 for the visualisation of this notation).

12 This partial has been derived from the weight as given in the chimes database, and refers to the prime or strike note. Note that church bell ringers tend to refer to the nominal. 13 The Tower Bells listing for this chime illustrates the potential confusion inherent in the use of peal numbers when describing chimes: “Added semitones are sharp 4th (#7), flat 7th (b4), flat 9th (#3).”

ALVERTHORPE Ensemble: 13 G#4 A#4 C#5 D#5 F#5 G#5 A#5 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 13 12 11 10 9 8 7 6 5 4 3 2 1 C#0 D#0 F#0 G#0 A#0 C#1 D#1 Manual: 13 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 Figure 10 Visualisation of the chime configuration for St Paul’s, Alverthorpe

The auditor can choose which version of the diatonic chime notation to use, namely keyboard or peal format. Ideally of course, the audit of the chime would follow from an actual visit and inspection of the installation. In that case, the natural description of the installation would be determined primarily from the keyboard. For Alverthorpe, this is C0 % 10 + {F#0, A#0, C#1} > G4, a configuration which is also visualised as shown in Figure 10.

Visualisation often reveals useful musical information. Although four accidentals are missing from an otherwise chromatic keyboard sequence C0 to E1 (a fact that might not be immediately apparent from the basic chime information given), the existence of three accidentals F♯0, A♯0 and C♯1 at the keyboard provides considerable scope for the chimer in terms of choice of repertoire (Figure 10). Simple pieces in the keys of C, G, F and D are possible, the limited range notwithstanding, allowing, if suitably arranged, two- or even three-part harmony. As it is, the visualisation has led an increased understanding of the installation for this writer, who has yet to visit the chime at Alverthorpe. One advantage of the audit process is that, in conjunction with visualisation, it often facilitates confirmation of the data contained in more than one information source, whilst also serving to highlight potential errors, which can occur even in the most authoritative databases. Take for instance the (partial) listing of the large chime at Fenham, near Newcastle-upon-Tyne, as shown in the chimes spreadsheet:

12 + 5 14-0-10 F# Diatonic 12 + 5 semitones (G, C, Bb, G, C). 1930. Mears & Stainbank. Baton clavier to all 17. Octave in F# hung for full-circle ringing. F#%12 + 5

In another website14 the peal tenor and the chime bourdon are one and the same bell, shown as note F, rather than F♯. The website in question helpfully identifies the disposition of the 17 bells within the ensemble (although the numbering is the usual peal order of the lightest bell to the heaviest) which suggests that its listing of the pitch of the tenor is more likely to be correct. More importantly perhaps, the format of the chimes database listing makes it difficult to understand this installation as a musical instrument, in the absence of visual confirmation. However, by an examination of a photograph of the practice clavier15 on the same website, fortunately taken in a near ‘bird’s-eye view’, one can deduce the keyboard layout as C0.G1 ¬ {D#0, G#0, D#1} in carillon-type chromatic format or equivalently C0%12 + {C#0, F#0, A#0, C#1, F#1} in diatonic format16.

Connected to a bourdon or tenor in F4 (this pitch of the strike note deduced from its weight of 14-0-1017), the instrument is visualised as shown in Figure 11.

The musical possibilities of these chime instruments, particularly those such as Fenham which are close to being carillons (at least in the number of bells they contain) should perhaps be

14 https://northeastbells.co.uk/newcastle-fenham/ 15 An unusual Mears and Stainbank practice instrument. 16 Observe that the carillon-type notation is more straightforward than the diatonic as the configuration becomes more chromatic. 17 Weight in cwt-qtr-lb, the common units for church bells in Britain. This is equivalent to 1578 lbs or 716 kg.

12 more widely appreciated. The inclusion of no less than five accidentals in an otherwise diatonic series (including, unusually, a low C♯) within a span of C0 to G1 allows for a considerable musical repertoire.

F#4 G#4 A#4 C#5 D#5 F#5 G#5 A#5 FENHAM Chime Ensemble: 17 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Baton clavier: 17 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 Figure 11 Visualisation of the configuration of the chime at Fenham

To complete the picture at Fenham, it is useful to think of this installation as having two playing mechanisms: a baton clavier and a set of ropes and wheels for the ringing peal. The bells of the ringing peal effectively form a subset of the larger ensemble, a subset which can also be annotated and visualised using this notation - it is in fact simply F4 % 8:

F#4 G#4 A#4 C#5 D#5 FENHAM Ringing peal: 8 F4 G4 A4 B4 C5 D5 E5 F5 8 7 6 5 4 3 2 1 Figure 12 Visualisation of the musical configuration of the ringing peal at Fenham

Thus, we can see directly, by comparing Figure 11 and Figure 12, the eight bells in the ensemble which are shared between the peal and the chime, and the nine bells which belong to the chime only. Music ranges for carillons The chromatic and diatonic range notation proposed here can also be applied to pieces of music, and in this regard can be used to quickly determine the suitability of a piece for playing on a particular instrument. Of course, the omission of particular notes in an instrument with respect to the demands of a piece do not necessarily imply that the music in question cannot be employed. The carillonneur is at liberty to make a musical decision to either adapt the piece during performance on a particular carillon, or perhaps to re-arrange it beforehand, rather than dismissing the piece altogether as unsuitable. After all, the skilled musician can usually respond without difficulty to a situation where he or she finds that a note is missing at the keyboard. The practice of denoting the range of carillon music may however be a useful tool for those carillonneurs arranging recital programmes for unfamiliar, smaller instruments, provided that one pays attention to the meaning of the notation in context. An arrangement with the notation C0.C3 ¬ {C#0, D#0} & G1 is used to describe a piece that has a total range from C0 to C3. Ideally in an arrangement for carillon, or indeed any serious keyboard piece, every note within it should be playable on the instrument. A piece with this notation has a lowest note of C0, whether melody or harmony, and presumably written on the lower stave, highest note of C3, written on the upper stave, and could potentially use every note in between, apart from those listed within the braces. The pedal range of the piece, as denoted by the range of the bass stave, is C0 to G1, again apart from those notes listed as missing. Since there are many carillons which do not have the lower two semitones, this piece, specified as it is to show that it does not use C♯0 and D♯0, is playable on all three-octave carillons and larger which have a pedal range of 1½ octaves and more.

These music notations can be visualised against carillon configurations, although this is likely to be more for curiosity than necessity, since the information gain is low. See Figure 13 as an example.

F#4 G#4 A#4 C#5 D#5 F#5 G#5 A#5 C#6 D#6 F#6 G#6 A#6 C#7 D#7 F#7 GUELPH Ensemble: 36 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7 D7 E7 F7 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 C#2 D#2 F#2 G#2 A#2 Manual: 37 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Pedal: 20 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 C#2 D#2 F#2 G#2 A#2 Adeste Fidelis Range: 35 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 Weihnachtsbaum (Franz Liszt) Arranged for carillon by Gideon Bodden C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Pedal Range: 18 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 Figure 13 Range of an arrangement with the notation C0.C3 ¬ {C#0, D#0} & G1, visualised with respect to a carillon configuration (Guelph: Ontario, Canada: C0.C3 & G1 > F#4.F#7 ¬{G4}).

Music ranges for chimes The range of music pieces is rarely a problem to players of larger carillons, but becomes more significant for chimes, due to their reduced scale and the diversity of their configurations. Visualising both the keyboard of a baton-clavier chime and the music accommodated by its range may alert the visiting player to the musical possibilities afforded by chime music. For these instruments, the key in which the piece is arranged becomes more significant, and there may be occasions where a simple transposition may render that piece playable on a chime which otherwise could not accommodate. As a simple example, the melody of a chime tune with the notation D0 % 8 +{G#0} (i.e., a tune in the key of D with an accidental G♯0) is rendered playable on Alverthorpe by a transposition of -2 semitones to C0 % 8 +{F#0}. (See Figure 14).

C#0 D#0 F#0 G#0 A#0 C#1 D#1 ALVERTHORPE Manual: 13 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

D#0 F#0 G#0 A#0 C#1 CHIME TUNE Key of D: 9 D0 E0 F0 G0 A0 B0 C1 D1

C#0 D#0 F#0 G#0 A#0 CHIME TUNE Key of C: 9 C0 D0 E0 F0 G0 A0 B0 C1

Figure 14 Accommodation of a chime tune D0 % 8 +{G#0}, transposed to C, for the chime of Alverthorpe.

In general, however, it is more convenient to express chime music notation as if all pieces are based on C0, regardless of tonality, to allow for modulation, or for pieces which require several accidentals. Diatonic or carillon-type notation can be used, whichever is more convenient. Examples from the BCS Music Publication “A Chimer’s Tune Book” include No. 124 Novelette by Rimsky-Korsakov, arranged for 18 bells by John Knox. From a study of the score, the range requirements of this piece can be expressed as C0 % 12 + {F#0, G#0, Bb0, Db1, F#1} or C0.G1 ¬ {C#0, D#0, D#1}:

C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 Novelette Range: 17 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 Nicolai Rimsky-Korsakov Arranged by John R. Knox Figure 15 Visualisation of the range of a piece from "A Chimer's Tune Book"

There is only one baton-clavier chime in Britain which could accommodate this arrangement “as is”: the 18-bell chime of All Hallows Church at Tower Hill in London.

Discussion This paper has described the use of notation which allow the configurations of carillon and chime installations to be recorded and visualised. In this paper we have dealt mainly with carillons and chimes, because these facilitate the use of quasi-musical notation, and as such should be natural to use by any carillonneur or chimer visiting an installation. The short-hand notation is designed to use special characters to denote (for instance) chromatic or diatonic series, coupling between manual and pedal, coupling between the keyboard and the ensemble, either via the manual or the pedal, and missing notes listed within braces, either from the keyboard or from the ensemble. More than one format can be used depending on the installation type: a form of the notation was introduced to deal with chime configurations in which the bell data is presented in “peal-type” format.

Computer programs were written by the author using Excel’s Visual Basic language, to parse18 the notation and produce simple visualisations, for the purpose of musical comprehension and to give an impression of the physical layout of keyboards. Currently, this software is in the stage of development and evaluation, but after rigorous testing the author intends to make it available to the public. The intention of this work is to add to our understanding of the range and diversity of “carillon- type” instruments, using visualisation as the primary device. In doing so, the author hopes that this will stimulate the auditing of carillon and chime keyboards as important artefacts in their own right, rather than simply as appendages to an ensemble of bells. 19 This is particularly important for chimes, which (in this author’s view) have been sometimes overlooked for their musical possibilities, but it can also be of value for carillons. In a subsequent paper, the notation described here will be extended to allow the positional and metrical information of a keyboard’s layout to be quickly notated and visualised. Other instruments will be modelled, such as ringing peals and clock chimes, although the notation employed for their respective playing mechanisms are not necessarily be quasi-musical. We will also investigate an overlooked aspect of installation audit: that of instrument development, evolution and modification, with particular reference to the augmentations or remodelling of bell ensembles.

18 Some of the notation forms regular expressions which can be processed by Excel’s regular-expression engine. 19 In the author’s view, each carillon and chime keyboard should be assigned a serial number for unique identification.

Appendix: visualisations of the baton chimes of Great Britain and Ireland The following list shows visual representations of keyboards for the chimes of Great Britain and Ireland which are playable from a baton clavier. Of greatest interest to the carillonneur is the keyboard which has a number of accidentals, allowing a wide range of repertoire to be played, and which is physically configured in such a way as to optimise its use as a musical instrument. Thus, the ideal chime keyboard has a carillon-type layout showing the positions of missing “black notes”, a music desk for securing music, and a bench for comfort. Future audits of such chimes should therefore attempt to record such features. The list is partly derived from the Tower Bells database, and from Mike Chester’s database on chimes. Notation for chimes generally uses the keyboard diatonic format. The ‘carillon-type’ chromatic format is used where the configuration is largely chromatic. (The visualiser, as programmed by the author, translates the diatonic notation into the carillon-type notation before producing a representation). As with all such lists, errors and omissions are bound to occur, but will be corrected as necessary in any subsequent update. One advantage of producing a visualisation is that it immediately highlights a divergence between the audited notation and the actual keyboard as viewed. The best way of correcting errors is to visit an installation and to record its keyboard configuration using the notation as described. A future paper will present the configurations of the carillons on Great Britain and Ireland.

ADDLESTONE (St Paul) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

ALSTON (St Augustine) C0 % 10 C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

ALVERTHORPE (St Paul) C0 % 10 + {F#0, A#0, C#1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

BIRMINGHAM (*) (English Martyrs, Sparkhill) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

BECONTREE (St Alban) C0 % 10 C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

BLACKBURN (St Jude) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

CARLTON (St John the Baptist) C0 % 9 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 C0 D0 E0 F0 G0 A0 B0 C1 D1

CARRICKMACROSS (St Joseph) C0 % 12 C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

CLANNABOROUGH (St Petrok) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

CLITHEROE (St James) C0.C2 ¬ {C#0, D#0, G#0, C#1.C2} & C0.C1 ¬ {C0.C1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 A#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2

C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

CLYDEBANK (Town Hall) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

DALSTON - SMY (Our Lady and St. Joseph) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

DEPTFORD (St Luke, Evelyn Street) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

DUNDEE (St Andrew) C0 % 12 + {F#0, A#0, D#1, F#1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

FALKIRK (Old Church) C0 % 11 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1

FENHAM - See NEWCASTLE-UPON-TYNE - BJ ()

FOULRIDGE (St. Michael and All Angels Parish Church) C0 % 9 + {F#0} C#0 D#0 F#0 G#0 A#0 C#1 C0 D0 E0 F0 G0 A0 B0 C1 D1

FRIMLEY (St Peter) C0 % 10 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

GOLDERS GREEN (St Alban) C0 % 10 C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

GREAT WARLEY (St Mary the Virgin) C0 % 13 + {F#0, A#0, F#1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 G#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1

HIGH BEACH (Church of the Holy Innocents) C0 % 12 + {F#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

HOUNSLOW (Holy Trinity) C0 % 10 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

KENILWORTH (St John) C0 % 8 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

KENNERLEIGH (St John the Baptist) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

KIRKCALDY (St Bricedale Parish Church) C0 % 11 C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1

LEE (St Margaret) C0 % 12 + {F#0, C#1, D#1, F#1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

LIMEHOUSE (Our Lady Immaculate) C0 % 9 C#0 D#0 F#0 G#0 A#0 C#1 C0 D0 E0 F0 G0 A0 B0 C1 D1

LITTLE WALSINGHAM (Shrine Church of Our Lady of Walsingham) C0 % 10 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1

C0 % 12 + {F#0, G#0, A#0, C#1, D#1, F#1) or LONDON - AH (All Hallows Church, Barking-by-the-Tower) C0.G1 ¬ {C#0, D#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

LONDON - CHISWICK (*) (Christ Church, Turnham Green) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

MELLOR (St Mary) C0 % 9 + {D#0} C#0 D#0 F#0 G#0 A#0 C#1 C0 D0 E0 F0 G0 A0 B0 C1 D1

C0 % 12 + {C#0, F#0, A#0, C#1, F#1} or NEWCASTLE-UPON-TYNE - BJ (SS. James and Basil) C0.G1 ¬ {D#0, G#0, D#1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

OULTON (St Mary's Abbey) C0 % 9 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 C0 D0 E0 F0 G0 A0 B0 C1 D1

PEEBLES (Old Parish Church) C0.G1 ¬ {C#0, D#0, G#0, D#1, F1, F#1, G1} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

PORTADOWN (St Mary) C0 % 12 + {F#0, G#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 F#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1

SEAHAM HARBOUR (St John the Evangelist) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

SELBY (St James the Apostle) C0 % 8 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

SHEFFIELD - FIR VALE (St Cuthbert, Fairvale) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

SOUTH DARLEY (St Mary the Blessed Virgin) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

TELFORD (St George, Wellington) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

WAINFLEET (All Saints) C0 % 8 C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1

WALESBY (All Saints)

WYKE (St Mary the Virgin) C0 % 10 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C#1 D#1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 23

WYTHAM (All Saints) C0 % 8 + {F#0, A#0} C#0 D#0 F#0 G#0 A#0 C0 D0 E0 F0 G0 A0 B0 C1