Glenn Taylor gaataylor at blueyonder.co.uk
Sun May 16 08:18:14 UTC 2010

```Alex,

Welcome to the fold!

In a plain method a row can only appear in one specific lead (assuming that
you don't reverse the tenors and ring the lead again backwards!). You can
convince yourself of this by picking a row at random (say, 34185726) and
then working backwards to the start of the lead. There is only one way of
doing it for the plain method in question which, for Plain Bob Major would

This argument falls apart for treble-dodging methods.

Take the same row in Yorkshire S Major. The situation is different because
it might occur when the treble first rings in 3rd place.in other words the
lead starting 13582467...or it might occur when the treble dodges 3-4 up and
back into 3rd place.in which case it comes from the lead beginning 13286475.
It is necessary to consider the situation for all other rows in a half-lead
of the method, not just this row with the treble in 3rd place, and the
overall result is that for any lead that you ring there are other leads to
be avoided, and this is why your trial & error approach is hit and miss with
regard to success. Many of the leads to be avoided come from tenors-parted
courses, and so these can be ignored if you are keeping the tenors together;
others come from out-of-course courses and so these too can be ignored if
you are not calling singles.

However, it does not follow that you have to avoid an *entire* course. For
example, if you are composing a tenors-together, bobs only peal of Pudsey S
Major then  you are left with just one FCH which is 24365 and [if my memory
serves me correctly!] it is only the 3rd lead of the course 23456 which is
false with the 5th lead of course 24365 and the 5th lead of 23456 with the
3rd of 24365: nothing else is false. This means that even if you ring the
course 23456 in its entirety, there are still five true leads in the course
24365.which could, for example, be included somewhere else in your
composition between two bobs B since this would only use the 6th, 7th, 1st
and 2nd leads of the course, thus avoiding the false 3rd and 5th leads. It
is vital to know where the falseness occurs in a method, and this is known
as the incidence of the falseness: knowing the FCH alone is too blunt an
instrument.

As a further example, all the falseness in Rutland S  Major (tenors
together/no singles) is related to the 4th lead of the course when the tenor
is 2nds place bell. Simple solution: put a bob B in EVERY course, the tenor
never rings 2nd place bell and so there is no falseness to be avoided other
than the trivial case of ringing the same lead again. Give it a try as a
pen-and-paper exercise (but be aware that this seam has been very heavily
mined and so you won't come up with anything original!).

HTH,

Glenn

From: ringing-theory-bounces at bellringers.net
[mailto:ringing-theory-bounces at bellringers.net] On Behalf Of Alex Tatlow
Sent: 15 May 2010 18:35
To: ringing-theory at bellringers.net

Hi,

I'm relatively new to composition, and although I've managed to learn
through trial and error not to include some courses, such as that ending
32456 for Yorkshire Major, I'd quite like and explanation about method
falseness and FCHs. At the moment most of my TD compositions are through
trial and error, rather than really knowing why it doesn't work, and I'd
quite like to know what it is that makes them false. Does such a
publication, or website, exist that explains simply about method falseness
etc?

Thanks,
Alex Tatlow

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