Recent comments

  • Reply to: A curious new method   1 month 2 weeks ago
    ChrisM (not verified)
    We rang the Double Bob variant in the tower last year - would be surprised if it catches on but can see how it might be a useful handbell stepping stone!
  • Reply to: A curious new method   2 months 3 days ago
    Iain (not verified)
    It was much easier to ring than whole pull plain Bob, which was the other thing we tried!
  • Reply to: Handbell Compositions: 5152 Yorkshire Surprise Major (No. 2) by Peter J Sanderson   4 months 2 weeks ago
    Are you thinking that you want a different set of musical criteria for handbell compositions, or that defining a music scheme would be a way of scoring a composition for handbell-friendliness? I like the way that CompLib shows the percentage of each position for each handbell pair. Maybe this could be used to produce a single handbell-friendliness score, by combining the percentages of coursing for different pairs, or looking at the number of different positions rung by each pair. I think this would need to be different for different numbers of bells. For example, for Surprise Royal we would normally stick with 7-8 being unaffected rather than trying to get them coursing.
  • Reply to: Handbell Compositions: 5152 Yorkshire Surprise Major (No. 2) by Peter J Sanderson   6 months 4 weeks ago
    Samuel Austin (not verified)
    On Complib, the option is available for someone, or a group of people, to produce a music scheme for handbells. As a collective, can we develop a scheme for submission to Graham John? This is potentially problematic because people will have differing views on what makes a good handbell composition and of course different stages and methods have different requirements. On 8 bells, my own general preferences are: Coursing pairs, 5678s and 6578s, 8765s. Front and back. 5 and 6 coursing the tenors Little bell runs. The above contains a mixture of coursing positions and desirable music. Any thoughts?
  • Reply to: Learning and calling compositions of spliced   9 months 1 day ago
    Robin Hall (not verified)
    Intrigued to see my name appearing twice in the same paragraph. The hint about swapping "E" for "F" in Horton's Four came to originally from David Brown. We rang the composition silent and non-conducted at Harpenden in 1999 (both David and Simon were in the band) which remains one of the most rewarding things I've done in ringing. Simon's memory of my mnemonic isn't quite right, but is close enough. It comes from peal of 5-Spliced Maximus by Pete Sanderson that we rang at High Wycombe in 1993. Bernard and Chris were both in the band but didn't actually come to physical conflict. A more widely known example comes from Norman Smith's 23-spliced with which generations of CUG members have been helped by "Under every double bed, Hazel waits."