[r-t] Spliced triples and major

[Philip Earis]

I see Mark Eccleston has recently called a new composition of spliced Bristol Major and Stedman triples:

<http://www.campanophile.co.uk/show.aspx?Code=88744>

The composition is as below:

===========================================================
5028 Spliced Triples and Major

Composed by: Mark R Eccleston
2345678    Stedman    Bristol
------------------------------------------------------
2745368      (a)
8234567               V.sV.V.V.sV.sW.I.sW.sH.H.H.sH.H
------------------------------------------------------
8634257      (a)
7823456               V.sV.V.V.sV.sW.I.sW.sH.H.H.sH.H
------------------------------------------------------
7523846      (a)
6782345               V.sV.V.V.sV.sW.I.sW.sH.H.H.sH.H
------------------------------------------------------
6482735      (a)
5678234               V.sV.V.V.sV.sW.I.sW.sH.H.H.sH.H
------------------------------------------------------
5378624      (a)
4567823               sV.V.sV.sW.I.sW.sH.H.sH
------------------------------------------------------
4267583      (a)
3456782               sV.V.sV.sW.I.sW.sH.H.sH
------------------------------------------------------
3856472      (a)
2345678               sV.V.sV.sW.I.sW.sH.H.H.sH.H
------------------------------------------------------

(a) = 3.5.6.7.8.9.10 (10 sixes)
Contains 4608 Bristol S Major; 420 Stedman Triples; 13 com/p

All Stedman starts are full slow sixes.
Calling positions in the Bristol refer to the 8ths place bell at the END of the part.

Contains 24 each 8765s, 7654s, 6543s, 5432s; 21 each 2345s, 3456s, 4567s, 5678s off the back.
=============================================================

I find this sort of construction interesting - it looks like it would be pleasant to ring. The "raw" musical analysis is certainly quite pleasing, though relies heavily on multiple repeated leads (all those calls at 5ths) to achieve this.


David Hull as a conceptually similar composition that it a few years old:

==============================================================
5048 2 methods Spliced Triples & Major David G Hull

 12345678    Stedman    Bristol              
 15736248       a                            
 13456782               M.F.I.M.M.B.SF.SB.B.H
 16847352       a                            
 14567823               M.F.I.M.M.B.SF.SB.B.H
 17258463       a                            
 15678234               M.F.I.M.M.B.SF.SB.B.H
 18362574       a                            
 16782345               M.F.I.M.M.B.SF.SB.B.H
 12473685       a                            
 17823456               M.F.I.M.M.H          
 13584726       a                            
 18234567               M.W.W.SW.H.H.SH.H    
 14625837       a                            
 12345678               M.W.SH.H.H.SH        
 a = S2.S3.S5.S10.11 (12 sixes)
 All Stedman starts are full slow sixes
 Calling positions in the Bristol refer to
 the 8ths place bell at the END of the part.

 First rung at: York St Laurence            on: 20 November 2002 conducted by: David G Hull   Composed on: 25 July 2002
=======================================================================

In the past year, the idea of using Stedman triples as a turning course to get to a cyclic course, and then switching to major, has also been used in peals based on Smith's 23-spliced. The John Goldthorpe composition below was rung earlier this year (http://www.campanophile.co.uk/show.aspx?Code=78576):


Stedman (p b p p p p p p b p) brings up 6745238 [treble makes the bob twice]
Bristol
Ipswich
London
Tavistock
Uxbridge bob
Ashtead
Cray
Whalley
Wembley bob
Cornwall bob
Double Dublin bob
Lincolnshire
Cambridge
Lindum
Preston
Superlative bob
Cassiobury
Yorkshire
Rutland
Pudsey
Glasgow bob brings up 8234567


All these compositions use only brief snatches of Stedman, missing out on balance which some people like in spliced.  Maurice Thurmott has several more balanced compositions of spliced triples and major (one involving Slack's IIRC) where the tenor is always covering in the Stedman, but I think these were composed with multiple calls to keep the tenor on the front in the Bristol, to avoid falseness problems.

Are there any other notable examples?  Can anyone compose something balanced and elegant?



DISCLAIMER:

This communication (including any attachments) is intended for the use of the addressee only and may contain confidential, privileged or copyright material. It may not be relied upon or disclosed to any other person without the consent of the RSC. If you have received it in error, please contact us immediately. Any advice given by the RSC has been carefully formulated but is necessarily based on the information available, and the RSC cannot be held responsible for accuracy or completeness. In this respect, the RSC owes no duty of care and shall not be liable for any resulting damage or loss. The RSC acknowledges that a disclaimer cannot restrict liability at law for personal injury or death arising through a finding of negligence. The RSC does not warrant that its emails or attachments are Virus-free: Please rely on your own screening.