Philip Earis: “I think this is one of the golden ringing problems of the moment, along with... elegant spliced stedman triples and bristol major”
I came across this message (from way back in 2007!) yesterday while searching the archives for information relating to extents of Triples. I’m 13 years late to the party but it reminded me of this composition which I like to think fits the bill:
5,016 Spliced Triples & Major (2m/p)
Patrick W J Deakin
234567 B F V
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352647 -
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637425 s1.s3.5.s7.9.12 [12]
437625 s3.s5.7.8.s12 [14]
437265 s1.3.5-8.10 [10]
364527 1.4.s6 [12]
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374526 s
245367 s
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632754 1.s3.s5.7.9.12-14 [14]
236745 1.s3.s7.10-12 [12]
647523 1-5.7.9.s11.13.14 [14]
346257 2.4.5.7-15.17.s19 [20]
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423567 -
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3 part
Contains Queens, Tittums, Whittingtons, Backrounds (twice) and
4 near misses. 53 468s including 9 2468s.
24 each 5678s, 8765s, 57 little bell runs off the back.
24 each 8765s, 5678s, 34 little bell runs off the front.
3072 Bristol Surprise Major; 1944 Stedman Triples; 12 changes
of method.
I finished this back in January 2019 but I’ve not since been able to ring it, and (given the current climate) it is likely to be a matter of years before an opportunity comes along.
The aim here was to take the usual format implemented on higher stages (namely treble in the hunt in Bristol, tenor covering to Stedman) and contract it to Triples and Major. This in itself isn’t ground-breaking as I’ve seen at least 2 other such compositions. However, I think it makes advances on its predecessors by being an exact 3-part, including “classic” musical features in Bristol, and avoiding the need to keep the tenor in the front work for extended periods in order to maintain truth.
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