Any one listening for
it can detect the upper octave, or "nominal," even in a little
handbell. Let them listen intently, and they will catch the sharp
"ting" of the octave above. The "hum note" in a small bell is almost
impossible to hear, but let any one listen to a big bass bell, and
they cannot miss it. It is the "hum note" which sustains the sound,
and makes the air quiver and vibrate with pulsations. For many years I
have lived under the very shadow of Big Ben, and I can hear its "hum
note" persisting for at least ten seconds after the bell has sounded.
Big Ben is a notable instance of a bell out of tune with itself. In
addition to the three octaves, every bell gives out a "third" and a
"fifth" above the tonic, thus making a perfect chord, and for the bell
to be perfect, all these five tones must be in absolute tune with each
other. Space prevents my giving details as to how this result can be
attained. Under the Canon's tuition I learnt to distinguish the
"third," which is at times quite strident, but the "fifth" nearly
always eludes me. During Canon Simpson's lifetime he could only get
one firm of bell-founders to take his "five-tone" principle seriously.
I may add that English bell-founders tune their bells to the
"nominal," whilst Belgian and other continental founders tune them to
the "fundamental," both, according to Canon Simpson, essentially wrong
in principle.
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