A CARILLON RINGING (2025) for carillon or set of similar-sounding bells (with approximately two-octave chromatic range)

Arthur B. Hunkins
abhunkin@uncg.edu
www.arthunkins.com

	Tradition, Responsibility, Community -
	      The Mystical Body of Christ


 GENERAL

A CARILLON RINGING is essentially a conceptual framework for improvisation. It was first conceived as a live performance by a single carilloneur on a 24+ bell instrument. It grew, however, to include the possibility of a one-bell per performer ensemble, other carillon/bell-like instruments (e.g., organ chime/bells, handbell choir), and electronic or MIDI-controlled versions including both realtime carillon or prerecorded bell samples. ("Bells" must be from a single instrument or instrument family, preferably producing multiple [in]harmonics that include a prominent minor third relative to its fundamental.)

What follows are general instructions that apply to any and all possible "incarnations." First come principles directly relevant to purely acoustic performance, and specifically to a solo rendition (carillon or organ).

 PERFORMANCE INSTRUCTIONS

Start by selecting the number of bells you want to incorporate - 6 or 8, and identify that same number of unique pitches from a single octatonic scale. Pitches should be separated by at least a whole tone (preferably more), and be within the range E3-G5.

Each bell/note is assigned two unique order numbers - from 1-6 or 1-8, depending on version. The first number, "Order #1", is used in Sections 1, 2, and 7; the other, an "Order #2", in Sections 2 through 6. These order numbers must be different. A solo performer must arrange all 6 or 8 notes in two different sequences, one designated "Order #1", the other "Order #2." A number in the soloist's "score" is then interpreted as that position within the current "Order."

For a solo rendition, especially in reference to Section 3 (Order #2), it is helpful for bells (notes) to be arranged from low to high pitch. Keyboard players can then readily associate order numbers in the "score" with finger position. (MIDI keyboardists will especially benefit.) Similarly, ensemble directors may opt to place performers from left to right, low to high pitch. In this case, the score numbers track the performers' physical position. (In addition, the players may be able to follow the melodic sequence more easily.)

Tempo depends on many factors; medium, physical arrangement, occasion, performance ability - all come into play. It should normally be within the 60 to 120 metronomic range. Whatever the selected speed, it remains constant throughout.

 SOME PARTICULARS

A CARILLON RINGING consists of 7 sections, with the 3rd, 5th, 6th and 7th being optional. (Thus a minimal performance consists of sections 1, 2 and 4.)

At the work's beginning there are 6 beats per "measure" in 6-bell versions, and 8 beats per "measure" in 8-bell versions. With Section 4, measures change to *half* that number - 3 or 4 beats. Section 7 reverts to the original 6 or 8 beats per bar.

Except for Section 3 (a Plain Hunt method), the number of measures per section corresponds to the number of bells (6 or 8). In a few cases, measures are added that repeat the final bar.

Sections 5 and 6 require performers to make individual choices. It is strongly suggested that these choices be made in advance.

Bells are always left to fully ring out.

Duration is unspecified. The performer/director may determine duration in advance, or decide "on the fly" (especially if alternate endings are under consideration). Shortest possible duration at mm=60 is approximately 1.75 minutes (6-bell version) or 3 minutes (for 8-bells). This is for Sections 1, 2, and 4 only. (The fastest tempo of mm=120 would obviously cut these timings in half, while the default tempo of mm=90 is half-way between these extremes.)

 ENSEMBLE PERFORMANCE

The simplest performances of CARILLON involve 6 or 8 individuals, each assigned a single pitch. Each holds a single instrument (such as a hand bell), or they may gather around a large instrument (such as a carillon or organ console), each taking responsibility for playing one note.

Another option is for identical or similar "controllers" to be distributed/shared among multiple performers.

In any case, a non-playing "director" is almost certainly involved - someone visible to all performers (via whatever means). Various spatial arrangements can be imagined, including a circle or semicircle around the director. The director establishes and maintains tempo, clearly indicates downbeats, and cues the various Sections and ending sequence.

The director (and/or solo performer) may well desire to prepare musical or written materials specific to the occasion - for portions or all of this work. (Both economy of rehearsal time and other pracical considerations may require this.) Various materials to facilitate such work are included in this distribution. (These include several simplified "alternate notations" of Section 3, the Plain Hunt.) Soloists, in particular, may find it very helpful to translate the order numbers included in these materials into note names or some kind of musical notation - something more intuitive and easily readable. (Each choice of basic pitches and their two "Orderings," offers a unique result.)

 MIDI PERFORMANCE - Csound assisted

This distribution includes a number of digitally-implemented means for realizing A CARILLON RINGING - via MIDI controllers and Csound. (Csound triggers real-time performance on MIDI-controllable carillons. It also can trigger prerecorded carillon *samples* whenever a physical carillon is not available.) Among these controllers are MIDI keyboards, using a set of white keys from C4 on up for the selected low-to-high pitches. They also include *any* controller with 6 or 8 MIDI keys, pads or buttons that can be set to these pitches (again ranging low-to-high).

All these versions (.csd's) require a computer running Csound, as well as a MIDI controller with the above-mentioned 6 or 8 keys, buttons or pads. They run on Windows, Mac and Linux operating systems. This (free) Csound software is available at: https://csound.com/download.html. Other versions are designed for Ancroid devices (smartphones, tablets and Chromebooks). The "canonical" Csound for Android app is also found at the above location, and the set of "alternative" Csound apps, except for Csound6a, will likewise run these versions (see further below). These apps are downloadable from: http://arthunkins.com/Android_Csound_Apps.htm

Csound .csd's are simple text files that can be modified in any text editor. Edits will be needed toward the top of the .csd if you are working in Linux, or if you wish to change the default values for the $NOTE, $AMPFAC and $TRANSFAC macros (descriptions/instructions included within the file).

Other editorial options available toward to top of .csd's include: substituting different bell samples and pitches (or MIDI note numbers), changing the two bell/note orders involved, or inserting a different MIDI instrument number (when recording or monitoring output with the aid of a GM or comparable synth). Autoplay versions also permit changing tempo from the default -t90 (mm=90, on the command line), to any other value between 60 and 120. Other parameters are specified via MACROs introduced by #define and enclosed within #'s (e.g., #define NOTE #60#).

The Csound .csd's that implement the above options and more, are as follows (you are encouraged to explore and customize their variables):

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This first group consists of live-performance versions designed for Windows, Mac or Linux operating systems.

CRingKBDMIDI.csd: 6 or 8 white keys from C4 up control 6 or 8 physical carillon notes (range: E3-G5) 

CRingKBD.csd: 6 or 8 white keys from C4 up control 6 or 8 carillon samples (range: E3-G5, samples included in this distribution)

CRingKBDSingle.csd: 6 or 8 white keys from C4 up control 6 or 8 notes (transposed) from a single carillon sample (range: E3-A3, sample included in this distribution)

CRingButtonMIDI.csd: a series of 6 or 8 contiguous buttons/keys/pads controls 6 or 8 physical carillon notes (range: E3-G5)

CRingButton.csd: a series of 6 or 8 contiguous buttons/keys/pads controls 6 or 8 carillon samples (range: E3-G5, samples included in this distribution)

CRingButtonSingle.csd: a series of 6 or 8 contiguous buttons/keys/pads controls 6 or 8 notes (transposed) from a single carillon sample (range: E3-A3, sample included in this distribution)

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This second group includes *autoplay* versions (no performance-time interaction), for Windows/Mac/Linux.

CRing6Auto.csd: autoplay version for 6 carillon samples 

CRing6AutoMIDI.csd: autoplay version for 6 physical, MIDI-controlled carillon bells

CRing6AutoSingle.csd: autoplay version for 6 notes from a single carillon sample

CRing8Auto.csd: autoplay version for 8 carillon samples

CRing8AutoMIDI.csd; autoplay version for 8 physical, MIDI-controlled carillon bells

CRing8AutoSingle.csd: autoplay version for 8 notes from a single carillon sample

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These final editions are for Android devices (smartphones, tablets or Chromebooks), and are autoplay only. As mentioned before, they can be realized by the "canonical" Csound for Android app, found directly at: https://github.com/gogins/csound-android/releases, under Assets, and by the "alternative" Android apps (except for Csound6a), located at: http://www.arthunkins.com/Android_Csound_Apps.htm). The canonical app requires Android OS 5+, while the "alternatives" need Android 4.1.1 or higher.

CRing6AndroidAuto.csd: Android version of CRing6Auto.csd

CRing6AndroidAutoSingle.csd: Android version of CRing6AutoSingle.csd

CRing8AndroidAuto.csd: Android version of CRing8Auto.csd

CRing8AndroidAutoSingle.csd: Android version of CRing8AutoSingle.csd

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In the "Button" versions above, performers may select the base $NOTE for the contiguous MIDI buttons/keys/pads (default = 60).

In "MIDI" versions, users may create a MIDI (.mid) file during performance by making several simple edits. Instructions are found toward the beginning, or at the start of the Score (<CsScore>) section. (This procedure includes monitoring via GM or comparable synth instead of a physical carillon, and allows for later playback directly on a MIDI-enabled instrument or actual carillon - i.e., no digital device, Csound or .csd required.)

In "KBD" versions, another edit can aid performers in rendering Section 3, the "Plain Hunt" sequence: replace the "gSbell", "giMIDI" or "gitrans" numbers at the top of the file with the chosen Order #2 values. By doing so, Plain Hunt order numbers will correspond to finger placement, i.e., fingering mirrors strike order - left hand through right hand fingers.

In "Auto" (autoplay) versions, one other edit will likely be required, again toward the top of the .csd: specification not only of the bell notes, but of their Orders 1 and 2. (In live performance, the soloist or ensemble director makes these decisions in advance.)

Finally, and *only in versions using carillon samples*, you may rarely want to adjust for any very long samples you substitute. At the beginning of the Score section, you may opt to change the value of $SAMPLEN, especially if your longest sample lasts more than 20 seconds. The default for $SAMPLEN is 30, which is the recommended 1.5 times the length of the longest default sample. (This added "sample-on" time precludes truncating the bell"s "tail" under any extreme tempo stretch.)

All versions that use samples include $AMPFAC, a factor that can adjust overall amplitude to the particular samples used (especially to avoid distortion). The default value has been chosen to result in close to the unclipped maximum for the included samples. Suggestion: when substituing other bells, run your selected .csd and note the maximum amplitudes printed at the end. Adjust $AMPFAC to a number that produces maximum amplitudes fairly close to, but not exceeding 1.   

Finally, all versions feature a $TRANSFAC variable that can transpose the MIDI output (when necessary) to accomodate the actual pitches of carillons (many are upward transposing instruments). The default is 0 (no transposition).

 ABOUT THE CARILLON SAMPLES

A CARILLON RINGING is a sequel to the composer's A CARILLON FOR CREATION, and shares much with it - including its carillon sample set. (Indeed, additional helpful information for the current work can be found in the description/instruction file of the prior composition.)

The sample set for both works comes from the Ann & Robert H. Lurie Carillon at the University of Michigan. The set can be found here:
https://gobluebells.com/2016/09/21/lurie-carillon-samples/ . The composer has made minor edits to these samples, including a one-second fadeout at sample end, and deletion of any silence at the beginning.

Alternative free sample sets are available at these locations:
  https://arrangingforcarillon.com/resources/tools/
  http://duphly.free.fr/en/carillon.html
  https://musical-artifacts.com/artifacts?utf8=%E2%9C%93&q=carillon 

Note: It is crucial to select and edit samples carefully. Be sure to incorporate their *complete* "tails", and that they do not include clipping, noise or other extraneous sounds.

 THE "SCORE"

Section 1: harmonic gathering
Bells enter one by one in Order #1, striking only on the downbeat - an additional bell on each measure. The final measure, which has all bells ringing, is repeated once.

Section 2: from harmonic to melodic
On the first downbeat, all bells play, repeating the last measure of Section 1. From bar 2, Order #2 applies, and the new first bell is silent for the rest of the section.  All other bells strike on the downbeat, and starting with bell 2, one bell per measure also plays on his/her own Order #2 beat. Once the Order #2 bell in turn is struck, it continues to be played in the following measures and no longer strikes on the downbeat. (In effect, the bells gradually move from their original downbeat location to their new "ordered" position. The absent bell 1 returns to strike first in the following "Plain Hunt" section.)

Section 3: a Plain Hunt method
Follow the melodic order shown for the appropriate 6- or 8-bell Plain Hunt on the accompanying sheets. Each line represents a 6 or 8 beat measure. The bell number for each performer/bell is the performer's Order #2, i.e., your bell is struck each time your Order #2 occurs. Note that the initial downbeat of this section is given to the previously silent bell #1 (Order #2).

Starting with Section 4, a measure consists of *3* beats (for 6-bells), or *4* beats (for 8-bells).

Section 4 (start 3- or 4-beat measures): from melodic to harmonic
Using Order #2, bell 1 plays on the initial downbeat, and bell 2 joins it on the second downbeat. From bar 3 on, and starting with bell 2, one bell per measure (in order) is struck on beat two, then on the downbeat of the following bar - thereafter striking only on downbeats. The section concludes with all bells playing on the downbeat of one *additional* measure (a repeat of the previous bar).

The performance may conclude at any point from here on. If it *is* to end here, play two more measures of these downbeat bells.

Section 5: random smaller chords
Bells play only on the downbeats of 2 (of 6) measures (6-bell version) or 3 (of 8) measures (8-bell version). One of these must be on their Order #2 downbeat. Strikes may not be in successive measures. Individual performer choice.

Section 6: random larger chords
Bells play on all downbeats except for 2 (of 6) measures (6-bell version) or 3 (of 8) measures (8-bell version). One of the omissions must be on their Order #2 downbeat. Omissions may not occur in successive measures. Individual performer choice.

Now reverting to Order #1, as well as to measures consisting of *6* beats (for 6-bells), or *8* beats (for 8-bells).

Section 7 (return to 6- or 8-beat measures): harmonic thinning
All bells play on the first downbeat. Following Order #1, and starting with bar 2, one bell per bar drops out. After any measure, the performance may end, but only after 3 repetitions of that measure. (This applies as well to the final bar.)


A final comment: Autoplay versions parallel these live-performance instructions completely, with one possible exception: the choices individual performers make in Sections 5 and 6 are determined randomly by Csound. (This results in a potentially different incarnation each time the work is realized.)