An unprecedented run of success

We've just come back from a short visit to Penrith, where we rang a peal of Cambridge, Yorkshire, Lincolnshire and Rutland with Julia Cater and Nick Tithecott. That makes six peals from six attempts for me, and five out of five for Tina - surely the longest winning streak in my entire handbell-ringing career. It was the first peal in Julia's new house. We rang on her mother's bells, which are a lovely Whitechapel set with three different rings of eight to choose from. We settled on a size 12 ring, the same as Jonathan's light eight that we often ring. It's a nice comfortable size for an eight-bell peal, and we rang a little more quickly than usual: 2h22 for the peal.

Just like our peal of the Nottingham Eight last Saturday, the ringing was extremely good except for a rough lead or two near the end. One day we'll eliminate those rough spots. I called this composition by Rob Lee, which is a popular choice for handbell bands.

5024 Spliced Surprise Major (4 methods)
Robert W Lee

23456  M  W  H  Methods    
---------------------------
43652  -        YYY.YR
56234  -  -     R.RRRRR.(R)
23564     -  -  RY.YYY.
52364        -  NNNNCCC.
35264        -  CCCCNNN.   
---------------------------
5 part, substituting NNN for (R) in one part.

Contains 1408 Rutland, 1280 Yorkshire, 1216 Lincolnshire (N), 1120 Cambridge, with 31 changes of method and all the work of each method for every bell.

It's the calling of Middleton's, with the methods arranged in blocks with very few changes of method. This style of spliced requires thinking in a slightly different way from a composition with a change of method every one or two leads. Positioning the bobs within the whole course of Rutland, and getting the changes between Cambridge and Lincolnshire, is much more like calling a single-method composition. I did it by a combination of following the position of the tenors and working out which place bells I would be at the next bob or at the change of method.

For the first time in a while, we don't have any more peals booked, but we have some ideas. We want to ring a peal of Yorkshire with Angela on an inside pair. After all their practice at calling quarters, we want to ring peals with Tina and Jonathan conducting. Julia wants to ring a peal of 8-spliced. After our success yesterday, we would like to ring with Julia and Nick again. Finally, there's a special project that I will write about in due course.

The Nottingham Eight Again

Yesterday we rang a peal of the Nottingham Eight: London, Bristol, Cambridge, Superlative, Glasgow, Cornwall, Lessness and Cassiobury. I called Graham John's one-part all-the-work composition, and it felt like a real achievement to succeed at the first attempt without it turning into a big project. Most of the ringing was excellent - we had a couple of rough leads near the end, but in general it was confident and trouble-free.

In my previous article about the Nottingham Eight on handbells, I didn't definitively answer the question of how many handbell peals there have been. I have now checked the records, and there have been five:

  • 13/6/2001, Caversham (38 Priory Avenue)
    1-2 Bernard F L Groves, 3-4 Graham A C John, 5-6 David C Brown (C), 7-8 Alex F Byrne
  • 11/11/2008, Staines (44 Sidney Road)
    1-2 Muffie King, 3-4 David C Brown, 5-6 Richard A Pearce (C), 7-8 Peter R King
  • 17/10/2013, Islington (9G Highbury Crescent)
    1-2 Peter J Blight, 3-4 Ruth Blackwell, 5-6 Richard A Pearce (C), 7-8 David G Maynard
  • 28/4/2017, Northallerton (19 The Green)
    1-2 Jonathan J F Stokoe, 3-4 Jennifer A Town, 5-6 James W Holdsworth (C), 7-8 Peter J Sanderson
  • 7/4/2018, Glasgow (1 Albany Quadrant)
    1-2 Angela H Deakin, 3-4 Tina R Stoecklin, 5-6 Jonathan S Frye, 7-8 Simon J Gay (C)

They were all the Graham John composition, except the one in Northallerton which was a Don Morrison composition.

There's a long way to go before the Nottingham Eight catches up with the Standard Eight on handbells. This is probably because Glasgow is quite difficult on handbells.

We've been discussing the Pickled Egg methods - Cornwall and Lessness are in Simon Linford's selection, but Glasgow and Cassiobury aren't. We found Cornwall a little slippery. It's possible to get out of step with the dodging at the front / hunting at the back and vice versa, and then it's useful to have the treble confirming which is which; as usual, Angela helped us out a few times. Lessness and Cassiobury have some points of similarity, in that the double dodges in 3-4 are in the same place in both methods, which means that they are also in the same position relative to the four-pull dodges at the back.

Tina and I (and the children) are going to visit Penrith later this week, and part of the plan is to ring a peal with Julia Cater and Nick Tithecott. We're going to go for Cambridge, Yorkshire, Lincolnshire and Rutland spliced, which is well within our capabilities so we're hoping for a good peal.

Pickled Eggs: the dustbin

Last week's Project Pickled Egg article discussed the methods from the Standard 8 that are not being included in Simon Linford's proposed new surprise major repertoire. These are Lincolnshire, Rutland and Pudsey. What do we think about this decision, from the handbell perspective?

We have always found Lincolnshire to be a good next step after Yorkshire, and it always seems easier than Cambridge when it comes to quarters and peals. On Wednesday I went to Edinburgh to ring a peal of Lincolnshire with Nick, Jenny and Peter. We did well, especially considering that it was a new combination of people. A point in Lincolnshire's favour is that Lincolnshire Royal is arguably easier than Cambridge, and certainly easier than Yorkshire. Maybe we should try Lincolnshire Maximus instead of Cambridge, next time we manage to organise everyone for a 12-bell project.

Simon Linford suggests Turramurra as a method worth trying. It has some similarities to Lincolnshire but is considered more musical. We'll give it a go some time and report back.

My only comment on Pudsey is that it's somewhat inverse to Yorkshire in terms of which lead is easy for the tenors. Yorkshire Major has the characteristic "tumbling places" in the first and last leads of the course, where the tenors run through each other's places twice. In Pudsey this happens in the middle lead of the course, when the tenors are 6th and 8th place bells. In Royal it's the other way around: Pudsey has tumbling places in the first and last leads, and Yorkshire has them in the middle lead.

We rang a peal of Pudsey with Mike and Ian, and I must confess that we rang it purely because it's in the Standard 8. We also rang a peal of Rutland for the same reason. I don't particularly have anything against Rutland, but I can see the argument that it doesn't add anything in terms of techniques or structures to learn.

Our current project with the Albany Quadrant band is a peal of the Nottingham 8 (London, Bristol, Cambridge, Superlative, Cornwall, Lessness, Cassiobury and Glasgow), which we are going to attempt next Saturday. For practice, on Monday this week we tried a quarter of spliced Cornwall, Lessness, Cassiobury and Superlative. It showed us that we're a bit rusty on Cornwall and Cassiobury, and of course Lessness is new; for added distraction, we were ringing on the heavy back 8 (size 19) of Adam's bells. Lessness has featured in Project Pickled Egg discussions, so I'll write about that another time if it's included.

The PPE discussion has included the question of how to get people to stop ringing the Standard 8 so much and instead try the new set of methods. Don Morrison has commented that in the North American Guild there has already been progress towards different methods, with Cornwall starting to replace Cambridge as a first surprise major method. I think the Scottish Association has some similarities with the North American Guild: we have relatively few towers, with quite a geographical spread (although on a far smaller scale), and a relatively small but committed and enthusiastic membership. The proportion of our members who come out for association events is very high in comparison with a typical large association in England. Anyway, what all this means is that fewer people need to be convinced to try a different set of methods. I'm the SACR ringing master, so if I don't want to ring Rutland at association meetings, that's in my power! We have already had Cornwall as a special method at a couple of meetings, and last month I ran a 10-bell method-learning workshop based on extensions of Cornwall.

At practice night in Glasgow, when we can manage it, we tend to ring a touch of 8-spliced (standard 8) as a treat for the more experienced ringers. There always has to be some brushing up on Pudsey, so it wouldn't take much to change the set of methods. We've got as far as putting the lines for Cornwall, Lessness and Turramurra on the whiteboard in the ringing chamber. Let's see what we can do with a combined assault on both handbells and tower bells. 

Handbells for sale

Adam Shepherd is selling a set of handbells. There are 21 bells in total, consisting of a diatonic 17 with a 19F tenor, and four additional bells. There's an impressive choice of rings: a sixteen, a fourteen, three different twelves (tenors 19F, 18G and 15C), four different tens (tenors 19F, 18G, 15C, 12F), five different eights (tenors 19F, 18G, 15C, 14D, 12F) and seven different sixes (tenors 19F, 18G, 15C, 14D, 12F, 11G, 8C).

The bells are by Shaw of Bradford, and date from the late 19th century. Adam bought them in 1997 and had them refurbished by Taylor's, with new clappers and handles. Taylor's also replaced three of the bells. Adam bought such a large set because he was into ringing 14 and 16 bell peals in the late 90s and early 2000s, but he hasn't rung them for about the last 15 years.  

Tina and I thought about buying them, because we liked the idea of a set by a different founder (we already have a Taylor set and a Whitechapel set). We borrowed them for a try-out, and last Monday we rang a peal of Bristol on the eight in size 12F.

The bells are lovely, easy to ring with a nice "tap", and quieter than our own sets. They are tuned somewhat sharp of standard pitch, but they are all in tune with each other and the Taylor bells are a good match. Julia was disturbed by the non-standard pitch, but I don't think most ringers would find it a problem. 

Eventually financial sense prevailed and we have decided that we don't need any extra bells at the moment, and certainly not so many. If we really do want a Shaw set, we can keep our eyes open for one with fewer bells. So Adam's bells are still for sale. Maybe readers (if we still have any!) might be interested, or might know someone who would be interested. It's hard to say what the price should be - there isn't a very active market in second-hand handbells, and it's not a question of simply looking up the theoretical price as one can with cars. A new set of Taylor bells with all the same sizes would be about £6800.

Adam lives in Edinburgh, but the bells are likely to remain at Albany Quadrant for a little while. His plan is to take them to his parents' house in Birmingham with the idea that buyers can view and collect them from there. Meanwhile, if anyone in Scotland is interested in them, we could arrange a viewing and try-out.

Pickled Eggs: Chesterfield

I've always liked Chesterfield, and I think it's a good candidate for including in the Surprise Major repertoire as an introduction to wrong-place methods. I encountered it as part of Crosland's spliced series. Actually it occurs in two series by Richard Crosland: a series from 4 to 12 methods, which I rang on handbells in the Imperial College days, and as the C in the alphabet spliced series, which I've rung on tower bells but has perhaps never been rung on handbells.

Chesterfield is Cambridge above the treble, so it's a natural progression from Cambridge and Yorkshire, but with the opposite place bell order. It's the same place bell order as Cornwall, but with a 2nd place lead end instead of Cornwall's 8th place. If we think of Cambridge, Yorkshire and Cornwall as the first three methods in the new repertoire (possibly with Yorkshire and Cambridge exchanged for handbells), then Chesterfield returns to a familiar work above the treble, keeps the place bell order of Cornwall, and introduces a wrong-place section when the treble is in 7-8.

The wrong-place section consists of wrong hunting on the front 4, and combined with the x14x section when the treble is in 5-6, it produces a four-bell frontwork a little like that of Bristol. The points occur one blow further away from the half lead, which means they are on the opposite stroke from the points in Bristol. Nevertheless, the fact that four bells are doing points simultaneously is a good anchor, and when one's bells are both on the front, they are either coursing or in the opposites position on the front four, which are equally easy.

The in-course (without singles) falseness is B, the same as Yorkshire, so it should be possible to obtain handbell-friendly compositions by rearranging compositions of Yorkshire for the reversed place bell order, if there are no bobs Before. The Wrong calling position comes before the Middle. For example, the "delightfully easy" composition of Yorkshire by Bernard Taylor can be arranged by starting half way through and exchanging Wrongs and Middles, then moving the block of three Homes so that it's still at the end. Here is the result, which still has 12 courses of coursing for 3-4 and 5-6.

6048 (5152) Chesterfield Surprise Major
Bernard H Taylor, arranged by Simon J Gay

23456   W   M   H
-----------------
42635   -   -
34625   -   3
23645   -   3
62534   -   -
52436  (3)  -
63254   2   2
56234   -  (3)
25463   -   -
45362   3   -
35264   3   -
23456   -   -   3      
-----------------
Omit both (3) for 5152.

I haven't considered the musical possibilities of Chesterfield, but that's not usually my priority for handbell compositions. For a quarter peal composition, after a bit of searching I haven't come up with anything simple that's better than wrong home wrong, so I would stick to that.

For reference, here are the lines for each handbell pair.

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