[r-t] ringing-theory Digest, Vol 34, Issue 2

[Richard Pullin]

The fist cross section where 18 is made produces some nice effects in both
halves of the lead. Examples: 26154837. Also there are lots of changes
divided into two-part octaves like 62518473.
One really good bit, where the music from one change leads off to another,
is 25163748, 21536478, 12354687, 21345678.
It contains Queens too.
I composed a Treble Bob method like- Cambridge Blue- which hasn't been rung
yet. It contains lots of Tittums music and if I get it rung I'd like it to
be called 'Tittums Treble Bob Major'.
What good methods have you composed Don?

Richard Pullin


On 17/06/07, ringing-theory-request at bellringers.net <
ringing-theory-request at bellringers.net> wrote:
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>   1. Re: Cambridge Blue Delight Major (Don Morrison)
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> ----------------------------------------------------------------------
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> Message: 1
> Date: Sat, 16 Jun 2007 18:18:27 -0400
> From: "Don Morrison" <dfm at ringing.org>
> Subject: Re: [r-t] Cambridge Blue Delight Major
> To: ringing-theory at bellringers.net
> Message-ID:
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> On 6/16/07, Richard Pullin <grandsirerich at googlemail.com> wrote:
> > One of the most musical methods is Cambridge Blue Delight Major.
>
> I'm curious why you assert this is "one of the most musical methods".
> My understanding is that it was devised not for its musical
> properties, but rather as one of only a handful of double methods with
> no adjacent places in the plain course (treble single dodge treble
> dodging, plain bob lead ends, no more than two consecutive blows in
> the same place for any bell).
>
> While I'm sure it can produce some entertaining music, and would be
> fun to ring in other regards, it does not seem to me to be particular
> conducive to the most commonly sought after musical properties. The
> various rollup opportunities (both front and back, obviously, since
> it's a double method) are different from one another, so to get many
> of any particular kind of rollup you'll need lots of different
> courses. When the treble is in 3-4 or 5-6 it's not a coursing
> four-some at the other end, which tends to reduce the ease of getting
> the usually desired sorts of musical rows. And it doesn't keep a
> coursing pair in 7-8, which some folks consider desirable. While
> unusual methods can often be particularly entertaining musically if
> paired with an especially clever composition, since familiar rollups
> may come in unexpected places and widely distributed, I suspect
> Cambridge Blue's EL summary falseness and j lead end are not big helps
> in producing such compositions, though perhaps something clever can be
> done by using lots of out of course bits or something?
>
> But the musicality of a method is strongly subjective, so I'm curious:
> in what ways are you thinking it is particularly musical, rather than
> simply structurally elegant?
>
>
>
>
> --
> Don Morrison <dfm at ringing.org>, <dfm2 at cmu.edu>
> "Stop: Drive Sideways"                              -- a road detour sign
>
>
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> End of ringing-theory Digest, Vol 34, Issue 2
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