Pickled Eggs: Cornwall

I've already written briefly about Cornwall and its inclusion in the "Core Seven", but this week we tried to ring a peal of it, so I have more to say. I've included the grid and the lines for each pair (from Martin Bright's Method Printer), for reference.

Between Christmas and New Year we rang two peals with Julia and Nick, of Lessness and Pudsey. We were also considering Cornwall, but we decided each time that first Lessness and then Pudsey would be safer options. We then arranged another peal date, with the idea of finally trying Cornwall, which is what we did on Monday.

The method is mainly treble bob hunting, but it's out of step between the front four places and the back four places. How it feels to ring depends on whether or not your bells are in the same half of the change. If they are, then you can be doing either some four-bell coursing or some four-bell opposites, which are really as good as each other. If your bells are in opposite halves of the change, then one bell hunts while the other bell dodges, then vice versa, alternately. The feel of the different positions (3-4, 5-6, 7-8) depends on how much your bells are in step and how much they are out of step.

Dodging with one bell and hunting with the other bell, for long periods, is usually a characteristic of ringing the trebles - for example it happens a lot in Cambridge. It takes concentration, and if you lose track of it, it can be difficult to fit back in. During the peal attempt, we found several times that missing a dodge (typically one of the double dodges on the front in 2nd and 4th place bells) led to desynchronisation and confusion. We found that it can fall apart very quickly - almost as much as Plain Bob Minor.

This was quite a surprise to me. We've rung Cornwall in Norman Smith's 23-spliced, but only one lead at a time, and in the Nottingham 8, but again only in small bursts. We've rung a quarter of Cornwall before, but in a shorter length it's easier to find a composition that keeps pairs coursing and makes life easier. I was expecting that ringing a whole peal would need some concentration, but I wasn't really expecting to lose it.

Recovering from mistakes was made more difficult by the unfamiliar place bell order. In the methods we've rung a lot of, which have Cambridge or London place bell orders, I have a feel for the progression through the course, but I didn't have the same confidence with Cornwall. We were ringing 4th place bobs, which can change the length of the course, so that was an extra factor to catch me out.

Looking at the diagrams for each pair, we can see that 7-8 have some in-step work in 5 leads of the course, 3-4 have it in 3 leads, and 5-6 in only 1 lead. This gives a clear measure of their relative difficulty. The trebles are in-step half the time and have some in each lead of the course.

We had a false start of a couple of courses, started again, then broke down after about 5 courses. Then we managed to ring a quarter, with a different band placing so that Tina could try it inside. We have another peal date for that band in March, so we'll try again for Cornwall.

What about compositions? Cornwall has no in-course tenors-together falseness, so it should be possible to get a significant amount of coursing for 3-4 or 5-6 (or both). I decided to ring 4th place bobs, because that's what we always ring in spliced. I liked the idea of a composition based on blocks of 5 befores, along the lines of the compositions of Bristol by David Maynard and Roger Bailey that I have written about before. The idea is to construct a peal from 4 blocks of 5 befores, based on coursing orders in which both 3-4 and 5-6 are coursing. In each block of befores, 3-4 and 5-6 are each coursing for 4 courses and in the 5-6 position for the 5th course. If the blocks can be joined together, the result is a peal with at least 16 courses of coursing for both 3-4 and 5-6.

I played around with this idea for a while, but so far I haven't managed to link up 4 blocks in a good peal length. However, I discovered that a different composition of Bristol by David Maynard works directly for Cornwall, with a length of 5056 (for Bristol it's 5184). Here it is.

5056 Cornwall Surprise Major
David G Maynard

M B W H  23456
--------------
  5 - -  45236
  -      53462
- 5   -  24365
--------------
2 part

It does have 4 blocks of 5 befores, but in the first block of each part, only 5-6 are coursing. In the second block of each part, 5-6 and 3-4 are both coursing. The part end is the handbell-friendly 12436578, so 3-4 and 5-6 do exactly the same work in each part, but opposite ways around.

The way the composition is set out above is fine for Bristol, but for Cornwall it disguises the fact that the last line of the part has a course end between the middle and the first before. It's clearer to write it like this.

5056 Cornwall Surprise Major
David G Maynard

M B W H  23456
--------------
  5 - -  45236
  -      53462
-        43265
  5   -  24365
--------------
2 part

The course with a wrong and a home is 8 leads: the wrong prevents the tenor from becoming 8th place bell, and then the home is at the next lead. The course with just a middle is 4 leads, and doesn't include the before position. The final course, with a before and a home, is 4 leads.

We finally came unstuck at the first before of the second block in the first part. There had been some confusion towards the end of the course with the middle, with the result that I didn't spot the course end. When I noticed the tenor becoming 4th place bell, instead of interpreting it as a prompt to call a before at the next lead, it just made me think that we were still a long way from the course end. So I missed the bob, although probably we weren't in the right coursing order anyway. Julia then asked me whether there is a bob at every before position, and I realised that there is. That would have been worth noting explicitly from the beginning, but I missed it when studying the composition.

In these compositions with blocks of befores, it's lovely to be coursing for a few courses, but being thrown into the 5-6 position afterwards can be a shock. This time, Nick, who was ringing 3-4, found the opposite. In the first block of befores, he was ringing the 3-4 and 5-6 positions, and indeed this continued all the way to the middle. He then found it a shock to start coursing. So he rang the tenors for the quarter, to get some practice.

 

A good start to this year's campaign

Last time we rang with Jonathan and Angela, we booked yesterday for a possible handbell peal attempt, but agreed that if the weather was suitable, we would go out for a walk instead. It was a nice dry day (although not as clear as the previous day), so we climbed Ben A'an, a small but lovely hill in the Trossachs. Afterwards we rang a quarter of Cooktown Orchid, thereby ticking off the first of the methods of the month.

We rang the cyclic 7-part composition from the Christmas Ringing World:

1344 Cooktown Orchid Delight Major

  2345678
---------
- 2357486
- 2378564
  3826745
  8634257
  6485372
  4567823
---------
7 part

It went smoothly with only a few small trips. We had all learnt the method only the day before, so it was a good achievement to ring it without difficulty. The composition is quite musical: 69 runs of 4 or more bells at the front or back, which is not bad for a quarter. The method is straightforward, with some similarities to Lessness, for example the beginning of 3rd place bell. There's a 1256 in the place notation when the treble dodges in 3-4, which I don't think we have encountered in any of the other methods we've rung on handbells. Making 2nd and 6th places simultaneously was a new experience.

We've had success before with learning a new method and ringing it on handbells: Bushey, Aardvark and Golden Wedding Anniversary. In fact Aardvark and Golden Wedding Anniversary are more difficult than Cooktown Orchid. But in the past we have used handbell-friendly composition, certainly with the tenors together and sometimes with another pair coursing throughout. This is the first time we have rung a cyclic composition to an unfamiliar method. I found that I had to concentrate hard on the method, and it was difficult to think about coursing orders. However, when thinking about the calling and the coursing orders beforehand, I found that this particular cyclic part end (14567823) provides a fairly straightforward way of working with the coursing orders for each part.

Start by thinking of the coursing order of the plain course as 2468753.

The effect of the two bobs at the beginning of the part is that the bells that started in 2nd and 3rd places (this is 2 and 3 for the first part) stay together but move two positions in the coursing order, so that they go between the bells that started in 7th and 8th place (7 and 8 for the first part). The new coursing order is 4683275.

In the next part, the two bells from opposite ends of the coursing order (the way I have written it - they are adjacent in the cyclic sense, and therefore coursing) move so that they go in between the bells that were in 7th and 8th places at the part end (this is now 2 and 3). The new coursing order is 6835427.

What's happening is that the coursing order is progressively turned inside out - we can see 3542 as a developing sequence of odds then evens, but they are each in the reverse order.

The next coursing order is 8357642, which extends the odds then evens pattern by another step.

Next we get 3572864, which corresponds to the part end 13456782, with 2 between 7 and 8 in the coursing order. This is the maximum amount of inside-out-ness; it's almost the complete reverse of the plain course coursing order except that 2 is in the wrong place.

Next comes 5724386, and the sequence 243 is the beginning of something more familiar from tenors-together coursing orders such as 52436.

Next is 7246538, with the tenors together again; more usually we would think of this coursing order as 8724653 or just 24653.

Finally, 7 and 8 move to go between 6 and 5, giving 2468753, which is back to the plain course.

Writing out the corresponding sequence of coursing orders on 12 makes the progressive turning inside-out even more obvious:

24680TE9753
4680T32E975
680T3542E97
80T357642E9
0T35798642E
T3579E08642
3579E2T0864
579E243T086
79E24653T08
9E2468753T0
E246809753T
24680TE9753

I don't think we'll be ringing cyclic maximus any time soon, but I would like to master the coursing orders for cyclic major. Of course an alternative is to develop the ability to transpose and remember tenors-parted coursing orders in general, which will take more practice.

Review of 2018

We've had an amazingly successful year for handbell peals: my total is 11, with only one loss. That's my highest total since 1998, and I'm sure there were more losses in 1998. All the peals were on 8. Tina and I have rung four of Bristol, one of London, one of the Nottingham 8, two of Cambridge, Yorkshire, Lincolnshire and Rutland spliced, one of Lessness and most recently (today) one of Pudsey, which was my 200th handbell peal. I also sneaked in one of Lincolnshire with a different band.

Our quarter peal total is higher than last year too. We've rung 8 at Albany Quadrant and 4 at Angela's house. They included Jenny's first of spliced surprise in hand; Susannah's first of Kent Minor in hand and first on 8 in hand; Phyllida's first on 8 in hand; and Alex's first of Surprise Major in hand. We also had two numerical landmarks: the 200th quarter at 1 Albany Quadrant, and the 100th handbell quarter with all of me, Tina, Jonathan and Angela in the band.

Finally, we've just rung a quarter on the front six of the set of ten that my dad, Phil Gay, wrote about in the Christmas issue of The Ringing World (he made the clappers and handles himself, and the bells were tuned by Tony Crabtree). They were pleasant to ring, nicely weighted and balanced, with a good tap and not too much resonance. We also tried out the back six, and rang rounds on the ten with the children's help. We hope to ring a peal on them some time next year.

Good news! More handbell ringers!

Back in 2013, I used data from BellBoard to estimate the number of handbell ringers - or at least, the number of people who had rung a published handbell peal or quarter during a certain period of time. I found 1059 people during the 5-year period up to the end of June 2013, and 1306 people during the 10-year period with the same end date. There are some inaccuracies due to inconsistent reporting of names, which I wasn't able to completely compensate for, but I concluded that 1300 was a reasonable estimate of the number of handbell ringers at quarter peal standard or above.

I'm shocked to see that it's more than 5 years since I did that analysis (time seems to pass more and more quickly), as I have a clear memory of sitting at Tina's parents' dining table and writing the little program that extracted the data from BellBoard and analysed it. But on the positive side, 5 years later seems like a good time to repeat the analysis and see whether anything has changed.

For the 5-year period up to the end of December 2018 (yes, I should wait until next Tuesday, but I don't have a lot to do today), there are 1117 people, which is slightly more than for the 5 years up to June 2013. For the 10-year period up to the end of December 2018, there are 1573 people. And if I go all the way back to January 2004 to look at a 15-year period, there are 1903 people.

My conclusion is that the statistic consisting of the number of published handbell ringers during the previous 10 years, has increased from 1306 in June 2013 to 1573 in December 2018. And there are another 300 or so people who rang a peal or quarter more than 10 years ago.

Methods of the month for 2019

Readers of The Ringing World (which should be all of you) know that Simon Linford has proposed a series of "methods of the month" for 2019, which are printed in the Ringing World Diary. There will be compositions for quarters and peals in The Ringing World each month. This is connected to Simon's Project Pickled Egg, encouraging the development of a more interesting Surprise Major repertoire than the Standard Eight.

I don't have my Ringing World Diary yet - it's a traditional Christmas present from my father, Phil Gay, so I won't get it until next weekend. However, the article in The Ringing World gives compositions for Cooktown Orchid Delight Major as January's method, and reveals that Double Dublin will be February's method.

I hope we will be able to ring some or all of the monthly methods on handbells. Cooktown Orchid is an exciting prospect as I've never rung it in the tower either, so it will be fun to have something completely new.

One of the quarter peal compositions given for Cooktown Orchid is the following cyclic 7-part.

1344 Cooktown Orchid Delight Major

  2345678
---------
- 2357486
- 2378564
  3826745
  8634257
  6485372
  4567823
---------
7 part

This is interesting for a couple of reasons. First, it reminds me of a composition that we rang in the tower a few years ago while exploring cyclic compositions. It's published for Bristol, but we rang it for Norwich.

1344 Bristol Surprise Major
Roy K Williams

  2345678
---------
- 4263578
- 6452378
  5634827
  3586742  
  8375264
  7823456
---------
6th place bobs
7 part

Viewed in a certain way, both compositions are the same: two bobs then four plain leads. The differences are that the methods have opposite place bell orders (Cooktown Orchid has Plain Bob place bell order); they have opposite lead end places (Cooktown Orchid is 12); and different bobs are used (the traditional "natural" bob to match the lead end place, i.e. Bristol is rung with a 6th place bob).

In the composition of Cooktown Orchid, the two bobs are used to move 2 and 3 through the coursing order until they are between 8 and 7:

8753246 -> 8732546 -> 8327546

to give the coursing order of the cyclic lead end 14567823.

In the composition of Bristol, the two bobs are used to move 7 and 8 through the coursing order, in the opposite direction, until they are between 3 and 2:

8753246 -> 5873246 -> 5387246

to give the coursing order of the cyclic lead end 17823456.

The common idea is to take the two bells from one end of rounds and move them through the coursing order until they are between the two bells that are at the other end of rounds.

The next interesting point is that the same idea, applied to Surprise Maximus, gives a peal length.

5280 Adventurers' Fen Surprise Maximus
Simon J Gay

1 2 3 4    234567890ET
----------------------
- - - -    4567890ET23
----------------------
11 part

There are four consecutive bobs at the beginning of the part, followed by six plain leads, giving ten leads per part. A description of the calling, that works for both the quarter of Major and the peal of Maximus, is "call 4th place bobs until bell n-1 makes the bob, then ring plain leads until the part end". 

In case anyone thinks I am deviating from the handbell theme of the blog, remember that Adventurers' Fen is part of the alphabet of "Fen" methods rung on handbells by a Cambridge-based band in the 1990s.

To adapt the Bristol composition into a peal, we need an M-type method.

5280 Avon Delight Maximus
Simon J Gay

1 2 3 4    234567890ET
----------------------
- - - -    ET234567890
----------------------
10th place bobs
11 part

Again, after the four consecutive bobs, there are six plain leads. And again, there is a description of the calling that works for both the quarter of Major and the peal of Maximus: "call far bobs (i.e. 6th place for Major, 10th place for Maximus) until the 3rd makes the bob, then ring plain leads until the part end". 

For easier handbell methods, these compositions are also true to Westminster instead of Adventurers' Fen, and to Norwich or Kent instead of Avon.

The idea of these compositions is to use 4th place bobs to move 2 and 3 through the coursing order, or to use far bobs to move the tenors through the coursing order. The technique can be reversed. If we use 6th place bobs (in Major) to move 2 and 3, the sequence of coursing orders is

3246875 -> 4326875 -> 4632875 -> 4683275

which produces the coursing order of the cyclic lead end 14567823. This gives a quarter of Bristol:

1344 Bristol Surprise Major
Simon J Gay

  2345678
---------
  4263857
  6482735
  8674523
- 7856423
- 5748623
- 4567823
---------
6th place bobs
7 part

and a peal of Avon:

5280 Avon Delight Maximus
Simon J Gay

6 7 8 9 10   234567890ET
------------------------
- - - - -    4567890ET23
------------------------
10th place bobs
11 part

Both compositions are described by "call far bobs with 2 and 3 at the back, until the part end".

Similarly, we can use 4th place bobs to move the tenors through the coursing order. For Major, the sequence of coursing orders is

5324687 -> 5324876 -> 5328746 -> 5387246

which produces the coursing order of the cyclic lead end 17823456. This gives a quarter of Cooktown Orchid:

1344 Cooktown Orchid Delight Major
Simon J Gay

  2345678
---------
  3527486
  5738264
  7856342
- 7864523
- 7842635
- 7823456
---------
7 part

and a peal of Adventurers' Fen:

5280 Adventurers' Fen Surprise Maximus
Simon J Gay

6 7 8 9 10   234567890ET
------------------------
- - - - -    ET234567890
------------------------
11 part

Both compositions are described by "call befores until the part end".

The Ringing World also gives a nice cyclic composition for a quarter of spliced Cooktown Orchid, Superlative and Bristol, which I would like to ring.

1344 Spliced Treble Dodging Major
Leigh D G Simpson

       2345678
--------------
CO     3527486
S      7856342
CO -4  7864523
B  -6  6758423
S  -6  7862345
B  -4  6782345
--------------
7 part

This composition uses 4th and 6th place bobs. The notation -4 means a 4th place bob, and -6 means a 6th place bob. After the 6th place bob in Bristol, producing the lead end 16758423, the coursing order is 8765432, the so-called "mega-tittums" coursing order. This is a good coursing order to ring for Superlative, because it generates 4-bell runs at the back and front. Producing the mega-tittums coursing order in a cyclic composition means that all 7 leads of Superlative in that position in the calling, i.e. the leads between the 6th place bobs, come from the mega-tittums course.

The composition is also true if Bristol is replaced by Double Dublin throughout, so it gives a nice link to February's method.

The structure with a sequence of bobs in increasing positions, leading to the mega-tittums coursing order, then reversing the sequence of bobs to get to a cyclic part end, has been used in peals of Maximus. I think there are some by David Pipe, for example. To see how this works, we can modify the quarter peal. Instead of Bristol we can use Norwich, and we need bobs in 4th, 6th, 8th and 10th places. This adds two leads, and another two leads while the sequence of bobs is reversed. The part needs to be ten leads long, so again we need three leads before the first 4th place bob. Ringing three leads of Superlative gets to the desired lead end, where the tenor runs out at the bob. 

5280 Spliced Surprise Maximus (2m)
Simon J Gay

       1234567890ET
-------------------
S      157392E4T608
S      19E7T5038264
S  –4  1ET089674523
N  -6  10E9T8674523
N  -8  1908E7T64523
N  -0  189706E5T423
S  -0  1908E7T62345
N  -8  189706ET2345
N  -6  178690ET2345
N  –4  167890ET2345
-------------------
11 part
3168 Norwich; 2112 Superlative; 43 com; atw.
9 56s (0f,9b), 1 65s (1f,0b), 605 4-bell runs (136f,469b), 14 TEs at back.

I'm not claiming that this is a great composition - it's just another illustration of the correspondence between some quarters of Major and peals of Maximus. It's also true with Cambridge instead of Superlative, which would be more handbell-friendly.

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