A CARILLON FOR CREATION (2025) for carillon or set of similar-sounding bells (range E3-G5) Arthur B. Hunkins abhunkin@uncg.edu www.arthunkins.com In the beginning God created the cosmos. God proclaimed it all good. Now it's our turn. What will WE do? GENERAL A CARILLON FOR CREATION 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), single or multiple bell samples played by computer or related technology, and various automated versions including both realtime carillon and computerized 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 "incarnations." We begin with principles directly relevant to purely acoustic performance, and specifically to a solo rendition (carillon or organ) PERFORMANCE INSTRUCTIONS First select the number of bells you want to incorporate - 6 to 12, and identify that number of unique pitches from a single octatonic scale. The first 8 are separated by at least a whole tone, and are within the range E3-G5. Now add any remaining chromatic pitches within the same range, keeping the same spacing (if not possible, allow only one semitone neighbor per added pitch). These added pitches (if any) will be both the last to enter. Along with pitch selection, entry and (to a lesser extent) exit order is an important choice to be made. The "TesterUtility" discussed below can be very helpful in making these initial determinations. (The composer is partial to beginning the bells mid-range, then expanding in both directions.) In the case of "extended" renditions (see below), the exit sequence (the second half) may optionally take two unique paths: one with exits reversing the entry sequence (ending as it began), the other paralleling it. (The computer-assisted Csound editions designated "Autoplay2" [see below] incoporate these two options.) The performance consists of a series of time segments approximately equal in length, and that are usually defined by where a bell enters or exits. They enter striking at a predetermined rate (also approximate) strike rate: a minimum of 3 seconds per strike. This rate is maintained throughout for all bells. Select a duration per segment of 10 seconds or more (unlimited). A bell is added per segment until all have entered - the first 8 bells prior to the 4 remaining (if any). At this point, the perrformance is extended by two additional segments, all bells playing. The performance may end here (after all bells cease ringing). This is a "normal" basic, or non-extended performance. Bells now begin exiting, again one per segment - beginning with any/all of the 4 "extra" bells. (Note that exits, like entries, happen at or near the *beginning* of a segment.) The performance may end following any bell's exit segment, after adding at least one additional time segment prior to close. A "normal" *extended* performance ends with the last remaining bell receding into silence - again after at least one added segment. It is important that, whatever the medium, the bells are never damped; they should always ring out until they can no longer be heard. It is also important to ensure that the repetition rate be the same for all bells, i.e., that all bells are struck the same number of times. As mentioned above, the strike rate is a minimum of 3 seconds between rings, a rate that should be maintained by all throughout. Keeping a constant rate per bell will prove challenging for a solo performer, as bells are constantly added or subtracted. However, the requirement for constant rate and for segment duration are flexible. The basic idea is that the texture gradually intensifies and thickens, as each entering bell receives equal emphasis, equal "voice." Duration is obviously indeterminate. The performer may determine duration in advance, or decide "on the fly." Approximate duration in seconds can be ascertained, for a given as follows: a basic (non-extended) rendition = number-of-bells times segment-length (in seconds) plus 3-additional segments; an "extended" rendition = number-of-bells-times-2 times segment-length plus 3-additional-segments. Shortest possible duration is 90 seconds (6 bells with 10-second segment length). Ensemble Renditions The easiest performances of CARILLON involve 6 to 12 individuals, each assigned a single pitch. They each would hold a single instrument (such as a hand bell) or be gathered around a single large instrument (such as a carillon or organ console). As a variation on the above: it may be possible for a single player to handle *two* bells. To get a result similar to the above will be considerably more difficult - a kind of juggling act, keeping track of two "voices" simultaneously - independent, yet maintaining similar strike rates and pacing. A more elaborate system of "counting seconds" will certainly be involved. Yet another possibility is that identical or similar consoles or other "controllers" could be distributed/shared among multiple performers. In any case, a "director" would likely be involved - someone visible to all performers (or via some other sure means of communication). He/she would direct the entrance and exit of each performer (and their order), dictate the overall "tempo" of the performance and its duration. The director would also specify the approximate strike rate for all the bells, with individual performers responsible for maintaining the specified rate. (Suggestion: each performer counts a given number of seconds between his/her strikes.) Strikes are never coordinated among performers. At the same time, the director insures that the performers are maintaining similar and constant strike rates (both appoximate). THE VARIOUS CSOUND VERSIONS This distribution includes a great number of Csound versions appropriate for digitally-assisted performance. All involve a computer, Android smartphone or Android Chromebook running Csound. Most also require single or multiple carillon (or similar) bell samples. (The remaining few interface directly with a MIDI-controllable carillon.) Titles suggest the requirements and applicability of the various versions. Some suggest the number of bells (samples) required, others the device (computer or Android device). Still indicate whether MIDI input and/or output is involved. Quite a few involve autoplay, where (in accord with user settings), performance involves only starting and stopping Csound. In all cases, bells are variously triggered via button/key/pad taps (including ASCII keyboard taps) or MIDI noteon messages. (Neither physical nor sampled bells require noteoffs, as they simply fade to nothing.) There are also "Tester" versions that allow you to audition various performance parameters - including pitches and strike rates (see further below). Please note that all Csound renditions must be stopped manually. (The only exceptions are versions with titles that include both the words "MIDI" and "Autoplay", and then *only when creating MIDI files*. Only a few files meet these exceptions.) This means to stop Csound from running forever: for command line performance, you must press CTRL-C; for Csound for Android, hit the STOP button. The Csound (.csd) Titles The titles all begin with "Carillon"; characters that follow it describe the particular Csound version. Most titles reference multiple features. Further version information is given at the head of each file, as well as where edits are likely required (also near the beginning). Please note that any titles not including "ASC", "Android" or "Autoplay" will require a MIDI controller with 6-12 keys, buttons or pads that send MIDI note on messages. Carillon8: These versions require 6-8 bell samples (or a single base sample with 5-7 higher transpositions). Pitches are all unique selections from a single octatonic scale, distributed through an actual pitch range of E3-G5. At least a whole tone separates each pitch. ...12: As with 8, but with 9-12 bell samples (or transpositions). The 8 pitches described above are the first 8 of a pitch succession (order is important), followed by any of the remaining chromatic tones in the last - up to 4 - slots. (The order of these last 4 is of lesser importance.) ...8a: As with 8, except including *random* control over bell amplitude. ...8b: As with 8, but - for MIDI controllers that incorporate velocity control - adding variable bell amplitude. ...12a: As with 8a, but with 9-12 bells. ...12b: As with 8b except for 9-12 bells. ...Android: for Android devices including Android Chromebooks. These use widget buttons to trigger bells and run on "canonical" Csound for Android found at github.com, as well as the Csound6b and Csound6c "alternative" Android apps found at arthunkins.com. ...ASC: for computers and Chromebooks (not smartphones). These employ the top row of ASCII number keys (1-8, or 1-9 plus 0, -, and =) as note triggers. ...MIDI: for computers, where MIDI Out (-Qx) controls MIDI-controllable carillons. There are no Android versions, as MIDI Out is not currently implemented in Android Csound. (These versions could also be paired with MIDI synthesizers that have good carillon/bell samples or simulations.) ...Single: these versions use a single (base) bell sample instead of a complete set of carillon bells. Such samples should be within the range of concert E3-A3. They must be recorded mono, .wav format, at 44100Hz (with complete "tail"). The additional required pitches are indicated as (semitone) transpositions up from the base pitch. The "single" feature is restricted to "8" .csd's. ("Single" versions are unlikely to prove sonically convincing beyond 8 transpositions.) ...Autoplay: these are self-running .csd's that only require starting and stopping Csound to perform. Duration can be auto-determined from user (macro) settings, or set to any other desired length - either shorter or longer than the "normal" (= auto-determined) duration. (When auto-determined, the console prints estimated length, pior to an initial 5-second pause.) Autoplay versions include many macros that permit the user to customize/personalize a rendition. They all strictly follow the performance instructions discussed above. They also have a fixed, rather than variable, number of bells (either 8 or 12). ...Autoplay2: Extended versions of Autoplay, lasting approximately twice as long. A special "version" macro offers two choices: a second half that essentially reverses the entry order of the bells as they exit (first in, last out), or one that replicates the original order (first in, first out). ...MIDIAutoplay & ...MIDIAutoplay2 & ...ASCMIDI: These three versions, which play a physical carillon, have a unique feature: they can optionally write a MIDI file (.mid) of a particular performance. In effect, the performance is being recorded. The "recording" then can be played by the carillon itself via a USB stick, or a MIDI player (such as the RealPlayer or Windows Media Player apps) - without Csound or any performer/"arranger" (or even computer) involved. Simple edits at the beginning and very ending of the .csd must be made to enable this feature; necessary instructions are found within the file as appropriate. (At the beginning, be sure to *delete the leading semicolon* if you want the MIDI file to be written.) The Tester Utilities Several "Tester" utilities are included here to help *all* users with bell (sample) selection, pitch distribution, entry/exit order and strike repetition rate. Here you can try out the expanding and contracting textures at different strike rates and with different segment timings - as you start and stop the bells in various orders. (You start and stop the bell repetitions with alternate button/key/pad taps.) Once determined, you can use these values in physical performance, and/or plug them in to Csound macros. As mentioned and explained above,"Single" bell Testers are limited to "8" .csd's. SPECIAL ANDROID CONSIDERATIONS The Android editions are variously performable on the following Android Csound apps: the "canonical" Csound for Android app residing at https://github.com/gogins/csound-android/releases (and requiring Android OS 5 or higher), and the Csound6b and Csound6c "alternative" Android apps found at http://www.arthunkins.com/Android_Csound_Apps.htm (Android OS 4.1.1 or higher). The Android editions should run on all Android smartphones, tablets and Chromebooks (the latter with the ability to sideload Android apps, using Developer Mode). As these apps are not available from the Google Play store, you must enable an "Unknown or Third-Party sources" option somewhere within Settings on your Android device, and perhaps also a comparable Install option. After app installation, copy/paste your selected .csd to any user-accessible folder on your device (suggestion: the Music folder). Then Open that file within the app, and Run Csound. (Note that, for Chromebooks, third-party apps can only be installed in Developer Mode, and cannot be installed at all within Chrome OS Flex.) NECESSARY EDITS to Csound files All editions of this work involving Csound will likely require minor text editing - primarily to accommodate a particular platform and/or MIDI device. These edits are made in any editor, as the .csd's are simple text documents. For the console versions: under , near the top of the .csd, you'll need to adapt for Linux if you are on other than a Windows or Mac system. (Recall that an opening semicolon comments out a row of code; removing the semicolon implements the row.) Then, if you are using MIDI and and having trouble with your MIDI setup, you'll also need to revisit your -Mx (MIDI in) and/or -Qx (MIDI out) values. (The last number in the Linux "-M or -Q hw:0,1" is the device number in question.) To simplify matters, unplug any MIDI connections you are not currently using. The -Ma default for Windows is OK, but the equivalent for Linux (-M hw:0,1) probably not. Also, the -Q1 (-Q hw:0,1) will likely need editing. If you are using *both* MIDI input and output (as in Carillon8MIDI), you may well have to change both -M and -Q for all platforms. With your MIDI device(s) on and Csound running: in your console output, find where your MIDI input and output devices are listed; identify which one(s) Csound has (unfortunately) chosen, and insert the proper value(s) into -Mx and/or -Qx (or their Linux equivalents). For both console and Android versions, a number of orchestra DEFINE macros (likewise listed toward the top of the .csd) are likely to require editing. Note that any changes you make must be enclosed by #'s. Each macro contains a default value, and is often accompanied by a range limitation, and *always* by a brief explanation. Be sure to carefully examine each of these and explore differing values. Autoplay versions have an array of macros that allow you to set a variety of important parameters for your desired rendition. (A DUR macro lets you define any performance duration you like; or it can instead "autoset" it to its "normal" length.) Just below the macros you will find other values to set, including the name(s) of your bell sample(s) and their entry order. Again you'll find there a brief description of what is required. Editing for Android The "canonical" Csound for Android app from github.com, includes its own editor. (Your .csd automatically opens in the app's Edit mode.) Additionally, the "alternative" Csound6 apps include an Edit button which will access any text editor installed on your device, once a .csd is loaded. When finished editing, be sure to Save; your revision is immediately available to Run without reloading. THE CARILLON SAMPLES INCLUDED HERE The complete sample set in this distribution is that of 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 them for purposes of this work; these include a one-second fadeout at sample end, and deletion of any silence at the beginning. They have also been renamed to indicate their actual pitch. Other appropriate sample sets are available (free) 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 (lists many sets, but these only available as soundfonts [.sf2]. Convert them to .zip @: https://ultraabox.github.io/sample_extractor.html , and extract.) You'll probably need to rename these samples, checking their *actual* pitch in the process. THE DEMO RENDITIONS Both of the included demos are products of Csound 8-bell Autoplay versions (both of which use default values of all parameters). The first demo renders Carillon8Autoplay.csd, the second, Carillon8Autoplay2. The latter is the "expanded" edition of the first - lasting about twice as long, and actualizing the first of its two possible "versions" (the one that ends as it begins). Both renditions faithfully illustrate the "Performance Instructions" detailed above.