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Westminster Quarters
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The Westminster Quarters
Recording of Westminster chimes from Big Ben, broadcast on Radio Oranje, at midnight on New Year's Eve 1945
Problems playing this file? See media help.

The Westminster Quarters, from its use at the Palace of Westminster, is a melody used by a set of four quarter bells to mark each quarter-hour. It is also known as the Westminster Chimes, Cambridge Quarters, or Cambridge Chimes, from its place of origin, the Church of St Mary the Great, Cambridge.[1]: 7–8 

Description

[edit]
The quarter bells shown hung around Big Ben, December 1858

The Westminster Quarters are sounded by four quarter bells hung around Big Ben in the Elizabeth Tower belfry, in the Palace of Westminster. These are:[2]

Quarter bell Pitch Weight Diameter
First G♯4 1.1t 1.1m
Second F♯4 1.3t 1.2m
Third E4 1.7t 1.4m
Fourth B3 4.0t 1.8m

The quarters consist of five changes, permutations of the four pitches provided by these quarter bells (G♯4, F♯4, E4, B3) in the key E major. This generates five unique changes as follows:[3]: 95  [4]

  1. G♯4, F♯4, E4, B3
  2. E4, G♯4, F♯4, B3
  3. E4, F♯4, G♯4, E4
  4. G♯4, E4, F♯4, B3
  5. B3, F♯4, G♯4, E4

Each of the five changes is played as three crotchets (quarter notes) and a minim (half note) and are always played in the sequence 1, 2, 3, 4, 5. This sequence of five changes is used twice every hour as follows:

First quarter, change 1.
Half hour, changes 2 and 3.
Third quarter, changes 4, 5 and 1.
The full hour, changes 2, 3, 4 and 5 followed by one strike for each hour past 12 midnight or 12 noon struck on the Great Bell known as Big Ben in E3.

The number of changes used matches the number of quarter hours passed.

Because the five changes are used twice, and in the same sequence, the mechanism that trips the hammers needs to be programmed with only five changes instead of ten, reducing its complexity.

Both the third quarter and the full hour require the fourth quarter bell, B3, to be rung twice in quick succession (changes 4,5,1 and 2,3,4,5); too quick for the hammer to draw back for the second strike. To address this, the fourth quarter bell is equipped with two hammers on opposite sides and becomes, effectively, a fifth bell for the mechanism to play.

The first and third quarters finish on the dominant, B, while the half and full hours finish on the tonic, E, producing the satisfying musical effect that has contributed to the popularity of the chimes.

The following sounds have been recreated as MIDI electronic files and do not necessarily represent the actual sounds of the bells and that the pitch of the Big Ben clip is closer to F than E in modern concert pitch. An actual recording may be heard in the summary section above.

First quarter:
\relative c'' {\set Staff.midiInstrument = #"tubular bells" \time 5/4 \key e \major gis4^"1" fis e b2\bar "|."|}
Half-hour:
\relative c' {\set Staff.midiInstrument = #"tubular bells" \time 5/4 \key e \major e4^"2" gis fis b,2 | e4^"3" fis gis e2\bar "|."|}
Third quarter:
\relative c'' {\set Staff.midiInstrument = #"tubular bells" \time 5/4 \key e \major gis4^"4" e fis b,2 | b4^"5" fis' gis e2 | gis4^"1" fis e b2\bar "|."|}
Full hour (3 o'clock example):
\relative c' {\set Staff.midiInstrument = #"tubular bells" \time 5/4 \key e \major e4^"2" gis fis b,2 | e4^"3" fis gis e2 | gis4^"4" e fis b,2 | b4^"5" fis' gis e2 | R1*5/4\fermata \bar "||" \clef bass \time 4/4 e,1^"Big Ben" | e1| e1 \bar "|."| }

Words associated with the melody

[edit]

The prayer inscribed on a plaque in the Big Ben clock room reads:[5][6]

All through this hour
Lord be my guide
That by Thy power
No foot shall slide.

The conventional prayer is:

O Lord our God
Be Thou our guide
That by Thy help
No foot may slide.

An alternative prayer changes the third line:

O Lord our God
Be Thou our guide
So by Thy power
No foot shall slide.

A variation on this, to the same tune, is prayed at the end of Brownie meetings in the UK and Canada:

O Lord our God
Thy children call
Grant us Thy peace
And bless us all. Amen.

History

[edit]
The Elizabeth Tower at the Palace of Westminster, the namesake of the chime
The Church of St Mary the Great, Cambridge for which the chime was written

The Westminster Quarters were originally written in 1793 for a new clock in Great St Mary's, the University Church in Cambridge. There is some doubt over exactly who composed it: Joseph Jowett, Regius Professor of Civil Law, was given the job, but he was probably assisted by either John Randall (1715–1799), who was the Professor of Music from 1755, or his undergraduate pupil, William Crotch (1775–1847). This chime is traditionally, though without substantiation,[7] believed to be a set of variations on the four notes that make up the fifth and sixth bars of "I know that my Redeemer liveth" from Handel's Messiah.[8][1]: 8–9  This is why the chime is also played by the bells of the so-called Red Tower in Halle, the native town of Handel.

In 1851, the chime was adopted by Edmund Beckett Denison (an amateur horologist, and graduate of Trinity College, Cambridge, who was familiar with the Great St Mary's chime) for the new clock at the Palace of Westminster, where the bell Big Ben hangs. From there its fame spread. It is now one of the most commonly used chimes for striking clocks.[9]

According to the church records of Trinity Episcopal Church (Williamsport, Pennsylvania), this chime sequence was incorporated into a tower clock mechanism by E. Howard & Co., Boston, Massachusetts. The clock and chime in Trinity's steeple base was dedicated in December 1875. It holds the distinction of being the first tower clock in the United States to sound the Cambridge Quarters.[10]

Other uses

[edit]
  • A London Symphony by Ralph Vaughan Williams incorporates the half-hour changes, 2 and 3, near the beginning of the work and the first three changes of the hour, 2, 3 and 4, near the end.
  • Light music composer Eric Coates incorporated the music into "Westminster", the Meditation and second part of his London Suite (1933).[11][12]
  • "The Westminster Waltz", a light orchestral piece by Robert Farnon (1956) uses the music of the chimes.[11][13]
  • The theme music by Ronnie Hazlehurst for the satirical TV series Yes Minister (1980–1984) and its sequel Yes, Prime Minister (1986–1988), about a British politician and his interactions with the civil servants who nominally serve him, is largely based on the chimes (though with a longer duration for the first note of each quarter, which arguably makes the derivation less obvious). When asked in an interview about its Westminster influence, Hazlehurst replied, "That's all it is. It's the easiest thing I've ever done."[14]
  • A piece called Carillon de Westminster based on the chimes was written for organ in 1927 by the French composer and organist Louis Vierne. It alters the order at certain points and introduces a new variant of chime 3.
  • A composition based on the chimes was written in the ladrang form for central Javanese gamelan. It is named variously as ladrang Wesminster, ladrang Wesmister, ladrang Wèsmèster, etc.
  • Indonesian train stations play the chimes as a sign of train departures and arrivals.[15] Upon arrival, the chimes are looped continuously until departure, which may last up to 15 minutes.
  • Most schools in Japan and East Asia play the chimes to signal the end and beginning of classes.[16][17][18][19][20]
  • For the millennium New Year, a recording of the clock was released by London Records in 1999, titled "Millennium Chimes", with the artist labelled as Big Ben. It reached number 53 on the UK singles chart for the week ending 8 January 2000 (which included purchases prior to 31 December 1999).[21][22]
  • In the United States, electronic storm sirens commonly use the Westminster full-hour chime in place of a siren tone for regular tests to avoid confusion among the public.
  • The chimes are used when the player reaches 6 a.m. in some of the Five Nights at Freddy's games.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Westminster Quarters

View on Grokipedia
from Grokipedia
The Westminster Quarters is a distinctive chime melody sounded every quarter-hour by four tuned bells in the Elizabeth Tower (commonly referred to as ) at the Palace of Westminster in , followed by the hourly strikes on the tower's 13.7-tonne Great Bell. The sequence varies for each quarter—using ascending and descending patterns on the notes G♯, F♯, E, and B—to mark 15, 30, and 45 minutes past the hour, creating a harmonious progression that culminates in the full hour chime. Composed in 1793 by Reverend Dr. Joseph Jowett, the Regius Professor of Civil Law at the University of Cambridge, the melody was originally known as the Cambridge Quarters and first played on the clock bells at Great St Mary's Church, the university's historic place of worship. Though Jowett received the commission, he may have collaborated with music professor John Randall or Randall's student William Crotch, a . The chimes derive their musical phrases from the opening bars of the aria "I know that my Redeemer liveth" in George Frideric Handel's 1741 Messiah, adapting the work's solemn motifs into a practical timekeeping signal. In 1859, the melody was selected from several options—including the , Stedman, and Whittington chimes—for the newly completed Great Clock at Westminster, where it has rung continuously (save for wartime silences and restorations) as a global emblem of British governance and precision. The chimes' broadcast began on in 1923, amplifying their fame, and they continue to play a ceremonial role in events like and state occasions.

Overview

Melody Description

The Westminster Quarters serves as a quarter-hour chime mechanism, utilizing four bells to audibly mark the progression of time at 15, 30, 45, and 60 minutes past the hour in and similar timepieces. This structured provides a gentle auditory cue for public synchronization, distinct from the more emphatic hour strikes that follow the full sequence. Auditorily, the chime presents a concise and memorable tune that conveys a of and enduring , with its resonant bell tones creating an evocative, rhythmic flow suitable for ceremonial and civic environments. Each quarter segment typically lasts 15 to 20 seconds, ensuring brevity while reinforcing temporal awareness without overwhelming the listener. In its role within public timekeeping, the Westminster Quarters facilitates accessible time signaling, particularly in settings where louder hour strikes may be curtailed at night to lessen noise disturbance in surrounding areas. This design balances functionality with consideration for community rest, making it a staple in both historical and modern horological applications.

Bell Configuration

The Westminster Quarters chime is produced using four fixed quarter bells, tuned to the pitches G♯ (highest), F♯, E, and B (lowest), which together form the harmonic foundation for the melody in the key of . These pitches correspond to the musical notation , enabling the distinct tonal qualities essential to the chime's recognition. The bells are stationary and sounded by external hammers that strike them in programmed sequences, controlled by the clock's mechanism to mark the quarter-hours. At the Palace of Westminster, the quarter bells were cast by in 1857 at their Crescent Foundry in , with the E bell cast in 1858. Their weights vary to match their pitches, ranging from approximately 1.1 tonnes for the lightest (G♯) to 4 tonnes for the heaviest (B, the among the quarters), ensuring balanced resonance within the tower. The bells underwent conservation work from 2017 to 2022, during which chiming was largely suspended except for special occasions. Following the quarter chimes, the hour is marked by the Great Bell, known as , tuned to and weighing 13.7 tonnes; it is struck by a separate hammer mechanism integrated with the quarter system. This configuration of bells and hammers allows for the precise permutations of strikes that distinguish each quarter-hour.

Musical Composition

Note Sequences

The Westminster Quarters chime employs four distinct pitches from the four quarter bells of the Elizabeth Tower: B3, E4, F♯4, and G♯4, tuned in the key of . These pitches are arranged into five unique permutations, each consisting of four notes, which are struck in sequence to mark the progression of time. The sequences are designed to provide variety while building rhythmic and melodic anticipation toward the hour strike. The specific note sequences are as follows:
SequencePitches
1G♯4 – F♯4 – E4 – B3
2E4 – G♯4 – F♯4 – B3
3E4 – F♯4 – G♯4 – E4
4G♯4 – E4 – F♯4 – B3
5B3 – F♯4 – G♯4 – E4
These permutations are played cumulatively for the first three quarters—sequence 1 at 15 minutes (4 notes), sequences 1 then 2 at 30 minutes (8 notes), and sequences 1, 2, then 3 at 45 minutes (12 notes)—to create a sense of accumulation. At the hour, sequences 2, 3, 4, and 5 are played in order (16 notes total) before the hourly strikes on the Great Bell, omitting the first sequence for melodic variation without full repetition. The third sequence notably repeats the E4 pitch, requiring the corresponding bell to be struck twice in quick succession, which adds a distinctive melodic resolution. In musical notation, each sequence is rendered as three crotchets followed by a minim in 4/4 time, performed at a moderate of approximately 60 beats per minute, ensuring the final note of each is held for two beats to enhance and clarity in bell ringing. An example in for the first sequence is:

X:1 T:Westminster Quarters - First Sequence M:4/4 L:1/4 K:E ^G ^F E B2

X:1 T:Westminster Quarters - First Sequence M:4/4 L:1/4 K:E ^G ^F E B2

This rhythmic structure emphasizes the pitches' intervallic relationships—a descending from G♯4 to F♯4, to E4, and to B3—fostering a logical flow that avoids monotony across the hour.

Derivation from Handel

The Westminster Quarters melody is derived from phrases in the " that my Redeemer liveth" from George Frideric Handel's (HWV 56), premiered in 1741. Specifically, Rev. Dr. Joseph Jowett drew upon the four-note motifs in the fifth and sixth bars of the 's opening, adapting them into the chime's structure. Jowett's adaptation involved selecting these melodic phrases and rearranging them into permutations suitable for the mechanical constraints of four bells, while maintaining the original contour's ascending and descending patterns to evoke a of resolution and familiarity. This process transformed the vocal line into a purely sequence, ensuring each quarter-hour segment uses distinct combinations of the bells without overlapping strikes. The resulting chime emphasizes simplicity, with each phrase limited to the available pitches, allowing for clear audibility in open-air settings like . Key differences between the source material and the chime include simplification to eliminate vocal embellishments, orchestral harmonies, and rhythmic variations present in Handel's composition, while retaining the original key of . The aria's lyrical expressiveness, intended for solo with accompaniment, is thus reduced to a bare melodic optimized for automated bell ringing, focusing solely on the core intervallic relationships that define its memorable quality.

Historical Development

Cambridge Origins

The Westminster Quarters, originally known as the Chimes or Quarters, were created in 1793 by Rev. Dr. Joseph Jowett, who served as the Regius Professor of Civil Law and Vice-Chancellor of the . Jowett composed the chime sequence specifically for the new clock installed at Great St. Mary's Church, the university's official parish church, to mark the quarter hours with a melodic sequence rather than the traditional simple hourly strikes. The chime utilized the church's existing five clock bells, which were tuned for the purpose, with the striking mechanism crafted and installed by local clockmakers to enable the quarter-hour melody. The first public performance of the Cambridge Chimes occurred in 1793 upon the clock's activation, providing a distinctive auditory signal for university and town life in . Jowett's composition was motivated by a desire to produce an original tune suitable for the bells, drawing inspiration from a movement in George Frideric Handel's oratorio Messiah, particularly the aria "I know that my Redeemer liveth," which he adapted into a new sequence to ensure it was distinct and fitting for the clock. It is possible that Jowett collaborated with young composer William Crotch, then aged 18, in refining the arrangement, though this is uncertain. This early version at Great St. Mary's laid the foundation for the chime's later adoption at Westminster in 1859, where it became widely known as the Westminster Quarters.

Westminster Adoption

The Westminster Quarters chime was adopted for the Palace of Westminster's as part of the extensive reconstruction following the devastating fire of 1834 that destroyed much of the original palace. Architect , who won the commission to design the new Gothic Revival structure in 1836, incorporated a prominent into his plans, with detailed Gothic elements provided by Augustus Welby Northmore Pugin. Horologist Edmund Beckett Denison selected the Quarters melody—derived from the chimes at Great St Mary's Church in —for the new installation in 1851, ensuring a harmonious and recognizable tune for the quarter-hour strikes. The four quarter bells, weighing approximately 1 ton each and tuned to the notes E, G♯, F♯, and B, were cast by and Sons at their foundry in , , in 1856, alongside the initial Great Bell. While the Great Bell experienced cracking and required recasting in 1858 at the , the quarter bells proved satisfactory after initial tuning adjustments. These issues were resolved by early 1859, allowing integration with the Great Clock mechanism, which Dent constructed to Denison's precise designs for exceptional accuracy, including a double three-legged gravity escapement. The chimes first rang out publicly on July 11, 1859, marking the tower's operational debut and instantly associating the melody with the Palace of Westminster and its Great Bell, known as . The chime mechanism operated continuously for over a century, with the clock faces unlit during blackout measures from 1939 to 1945, though the bells themselves rang undeterred as a symbol of resilience, broadcast globally by the . In contrast, the chimes were fully silenced from August 2017 to October 2022 during the Elizabeth Tower's major conservation project, which addressed structural deterioration, fire safety, and mechanical wear at a cost exceeding £80 million, protecting workers from noise exposure. Following restoration, the quarter bells and resumed striking on November 13, 2022, for , after successful testing, restoring the full Westminster Quarters sequence to public hearing. As of November 2025, the chimes continue without interruption, subject to annual routine maintenance, such as the brief pause on October 26, 2025, for the winter time adjustment, during which the clock was stopped for cleaning, lubrication, and minor repairs before restarting at 2:00 a.m.

Associated Lyrics

Mnemonic Verses

Mnemonic verses for the Westminster Quarters consist of traditional English rhymes designed to facilitate of the chime's irregular note patterns across the four quarter-hours. These verses emerged in the , attributed to anonymous poets, and serve as educational tools for learning the melody as well as poetic accompaniments for clock appreciation in both formal settings and casual observation. The standard mnemonic is a four-line prayer that aligns one line with each quarter's sequence, as inscribed on a wooden plaque inside the Elizabeth Tower:
  • First quarter: All through this hour
  • Second quarter: Lord be my guide
  • Third quarter: That by thy power
  • Fourth quarter: No foot shall slide
This verse draws inspiration from biblical language in :23-24, emphasizing divine guidance and support, though its primary role is secular recall of the tune. Slight variations exist, such as "O Lord our God / Be thou our guide / That by thy help / No foot may slide", used in some educational and ceremonial contexts. These verses are particularly useful in educational programs on horology and music, where they help learners associate syllable counts and stresses with the bells' varying lengths and pitches, enhancing appreciation of the composition's complexity without relying on .

Biblical Source

The mnemonic verses for the Westminster Quarters draw their inspiration from :23-24 in the : "The steps of a good man are ordered by the : and he delighteth in his way. Though he fall, he shall not be utterly cast down: for the upholdeth him with his hand" (). The thematic significance of these verses lies in their emphasis on divine guidance and protection amid life's uncertainties, which resonates with the chime's character—an uplifting yet solemn progression that evokes and the steady passage of time. This biblical foundation infuses the mnemonic with a spiritual dimension, aligning the quarter-hour marks with themes of reliance on providence. Separately, the chime's melody derives from the opening bars of the aria " that my Redeemer liveth" in George Frideric Handel's 1741 oratorio , which is based on Job 19:25-26: " that my Redeemer liveth, and that he shall stand at the latter day upon the earth. And though after my skin worms destroy this body, yet in my flesh shall I see God" (King James Version). The influence of on the chime's melody reflects the oratorio's immense popularity in 18th-century , where it became a cultural staple following its 1742 Dublin premiere and subsequent performances, drawing massive audiences and establishing Handel as a national icon. By the late 1700s, Messiah's motifs had permeated British musical life, providing a melodic source for public timepieces like the (later Westminster) chimes, which symbolized communal order.

Modern Applications

Clock and Carillon Uses

The Westminster Quarters melody has been widely incorporated into grandfather clocks since the late 19th century, particularly by American manufacturers such as Seth Thomas, which produced models like the Sonora No. 57 in 1914 featuring a four-bell Westminster chime mechanism. These clocks often utilize compact chime rods or gongs struck by hammers to replicate the tune, enabling the quarter-hour progression and hourly strikes within a freestanding wooden case. Triple-chime selections, integrating Westminster with alternatives like Whittington and St. Michael's, emerged as standard options in premium models around the early 20th century, providing versatility in domestic timepieces. In larger installations, the melody adapts to carillons in church towers and public clocks, employed at numerous sites in the UK for automated quarter-hour announcements, as seen in structures like St. Mary the Great in . These systems typically involve full sets of tuned bells, ranging from four for basic quarter chimes to dozens in comprehensive carillons, where additional notes harmonize the original sequence to suit the scale. The original setup at the Palace of Westminster, with its four quarter bells, exemplifies this application in a prominent public . The chimes' global adoption accelerated post-1900 in the , where they became standard in premium grandfather and mantel clocks by firms like Seth Thomas and Waterbury, often with slight tempo adjustments to fit mechanical constraints. In modern iterations, electronic mechanisms replicate the sound using digital circuits and speakers, as in quartz-driven wall and mantel clocks from brands like Howard Miller, eliminating the need for physical bells while preserving the melody's progression. For expansive installations, variations may include extended notes or slower tempos to accommodate larger bell arrays, enhancing resonance in architectural settings.

Cultural References

The Westminster Quarters serve as an enduring symbol of British tradition and parliamentary democracy, often invoked in media to represent the nation's historical and political core. In films and newsreels, the chimes underscore scenes of London life and governance, appearing in classics like Mary Poppins during the rooftop sequence to evoke timeless elegance. Similarly, in the television series , pivotal royal moments include the ringing of Westminster Abbey bells in tribute to President following his assassination, highlighting the monarchy's ties to parliamentary institutions. As the auditory hallmark of the Palace of Westminster, the chimes embody the rhythm of British democracy, frequently featured in broadcasts and documentaries to signify stability and heritage. In , the Westminster Quarters have been integrated through sampling, bridging classical melody with modern genres. A prominent example is Wings' 1976 hit "," where the chimes form the song's introductory , evoking a sense of punctual arrival. Other integrations include Cheap Trick's "Clock Strikes Ten" from 1978, which uses the sequence to build urgency in its rock arrangement. Since the early 2000s, the chimes have surged in popularity as mobile phone ringtones and alarm tones, with dedicated apps and download platforms like offering variations that personalize devices with the iconic sound. The chimes hold symbolic prominence in national rituals, particularly BBC New Year's Eve broadcasts, a tradition initiated on December 31, 1923, when engineer A.G. Dryland first captured the strikes for radio transmission. Their temporary silencing during the Elizabeth Tower's restoration from 2017 to 2022 sparked widespread public outcry and media coverage, with politicians and citizens protesting the absence as a loss of cultural continuity; the quarter chimes fully resumed in October 2022. On a global scale, the chimes contribute to the UNESCO World Heritage designation of the Palace of Westminster, Westminster Abbey, and Saint Margaret's Church, inscribed in 1987 for their outstanding universal value as embodiments of Gothic Revival architecture and constitutional history. Parodies in cartoons further illustrate their recognizability, such as the chimes mimicking a doorbell in My Little Pony: Friendship Is Magic or appearing in Looney Tunes closing credits to signal narrative closure.

References

  1. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/news/initial-tests-to-begin-on-big-ben-and-the-quarter-bells/
  2. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/building-clock-tower/key-dates-/
  3. https://www.classicfm.com/discover-music/what-tune-does-big-ben-chime/
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  5. https://londonist.com/london/secret/big-ben-tune-lyrics-handels-messiah
  6. https://www.ebsco.com/research-starters/history/big-bens-first-chimes
  7. https://archives.blog.parliament.uk/2020/11/16/broadcasting-big-ben/
  8. https://www.premierclocks.com/blogs/clock-blog/westminster-chimes
  9. https://canonburyantiques.com/kbd/antique-clocks-the-story-of-westminster-vs-whittington-chimes/
  10. https://www.clockworks.com/posts/how-to-adjust-westminster-chimes-on-a-clock
  11. https://www.premierclocks.com/blogs/clock-blog/grandfather-clock-chimes
  12. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/facts-figures/
  13. https://leehite.org/Chimes.htm
  14. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/facts-figures/great-bell/
  15. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/collections/painting-six/
  16. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/elizabeth-tower-and-big-ben-conservation-works-2017-/
  17. https://times-journal.com/dekalb_living/at_home/columnists/marla/article_93f26ad2-d332-11e9-be70-4fc171e86b5f.html
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  19. https://www.mit.edu/~kenta/three/westminster/chimes.html
  20. https://www.mentalfloss.com/article/12442/name-tune-whats-song-clock-chimes-play
  21. https://www.carrollcountycomet.com/articles/westminster-chimes/
  22. https://www.bricksandbrass.co.uk/decorative_features/clocks/clock_striking.php
  23. http://www.mit.edu/~kenta/three/westminster/chimes.html
  24. https://www.thetimes.com/travel/destinations/uk-travel/england/kent/questions-answered-b7pvpkk7fb6
  25. https://www.gutenberg.org/files/46273/46273-h/46273-h.htm
  26. https://archive.org/details/isbn_0140871144
  27. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/building-clock-tower/designing-a-new-palace-of-westminster/
  28. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/building-clock-tower/constructing-the-most-accurate-clock-in-the-world/
  29. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/news/big-bens-bells-are-coming-back/
  30. https://www.france24.com/en/live-news/20251024-precision-timing-for-britain-s-big-ben-as-clocks-go-back
  31. https://www.allthroughthishour.com/full-story/
  32. https://www.premierchristianity.com/opinion/did-you-know-big-bens-chimes-are-calling-the-nation-to-prayer/16392.article
  33. https://www.thetabernaclechoir.org/messiah/libretto-with-scripture-links.html?lang=eng
  34. https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/
  35. https://www.youtube.com/watch?v=4wxuX8D60Og
  36. https://www.premierclocks.com/blogs/clock-blog/seth-thomas-grandfather-clocks
  37. https://clocks-blog.theclockdepot.com/grandfather-clocks-chime-history/
  38. https://www.clockguy.com/SiteRelated/SiteReferencePages/ClockChimeTunes.html
  39. https://grandfatherclock.us/westminster-chime-grandfather-clocks-everything-you-need-to-know/
  40. https://howardmiller.com/collections/chiming-wall-clocks
  41. https://hermleclock.com/blogs/news/striking-time
  42. https://tvtropes.org/pmwiki/pmwiki.php/Main/WestminsterChimes
  43. https://www.vogue.com/article/the-crown-season-two-questions-answer
  44. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/much-more-than-a-clock/big-ben-in-pop-culture/
  45. https://www.zedge.net/category/ringtones/westminster-chimes
  46. https://www.bbc.com/historyofthebbc/anniversaries/december/big-ben-new-year
  47. https://www.theguardian.com/media/2023/nov/04/bong-big-ben-broadcasts-to-return-to-radio-4s-regular-schedule
  48. https://www.nationthailand.com/international/30324423
  49. https://www.parliament.uk/about/living-heritage/building/palace/big-ben/news/big-ben-is-back/
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