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<div>Quite simply, things have got better and better for eight bell compositions over the decade. </div>
<div> </div>
<div>It may be a slight caricature, but for the last quarter of the 20<font size="1"><sup>th</sup></font> century much (most?) 8-bell ringing was objectionable. There was a preponderance of mediocre compositions and bad methods.</div>
<div> </div>
<div>The problems were acute for many single method peals. Misguided preconceptions led to a fixation on “surprise” methods, on bad methods with familiar overworks and non-descript underworks (indeed many awful new rung methods were simply selected because
they had an unrung notation), on keeping the tenors together, on avoiding 87s at backstroke, and on CRU-based compositions (often 3-parts). </div>
<div> </div>
<div>The advent of software like BYROC both typified the problem and made things worse – instead of being a tool to allow better possibilities, it was built with pre-conceptions about desired outputs, and actually exacerbated the problem. </div>
<div> </div>
<div>Sadly, when bands also ventured into spliced major ringing it was like a race to the bottom. The so-called “standard 8” seemed to be the default option, with occasional forays into Pitman’s series. Prior to the current decade, I’m struggling to think
of a single spliced major composition that has significant musical, as opposed to historic or challenging, merit.</div>
<div> </div>
<div>So how have things changed in the past decade? Well, happily there has been an improvement across the board. Whilst 8-bell ringing is still predominately based on treble-dodging major, people are not so obsessed with surprise. Delight methods (and good
delight methods) seem much more common.</div>
<div> </div>
<div>Looking at the methods that people ring, the overall number of peals has been stable. However, towerbell peals of Rutland, Lincolnshire and Pudsey Major (a barometer for mediocrity) are down 25%, 11% and 31% respectively over the current decade compared
with the 1990s. </div>
<div> </div>
<div>A very tangible advance has been in composition for single method peals. The meritless three-part seems a lot less common these days, whilst the bespoke one part containing lots of runs has been on the up. BYROC feels very anachronistic – the vastly superior
SMC32 seems to be used much more frequently, giving genuinely worthwhile results. Congratulations must go to Mark Davies and Graham John, its architects.</div>
<div> </div>
<div>One of the main drivers for progress over the decade has been David Hull. He has produced consistently great new methods and compositions, which have been very influential. The problem with trying to pick out “compositions of the decade” is that it’s
hard to reflect a consistent high-quality body of work – there perhaps isn’t any one particular Hull single-method composition that stands out (though I do like the look of his 5152 no.2 of Superlative). </div>
<div> </div>
<div>So whilst I haven’t included anything of his on the list below, I think homage to the un-specified Hull 1-part composition should be paid. Consider it item (0) on the list.</div>
<div> </div>
<div>New composers like Alan Reading have also come onto the scene, again consistently delivering neat and “tuned” compositions. More generally, many of the compositions I have selected below come from relatively young composers. This must be healthy for ringing.</div>
<div><br>
Another notable feature of the ringing decade has been the continued rise of computers for generating and the internet for storing and sharing ringing information. Don Morrison – surely the decade’s most prolific composer – deserves much credit for his ongoing
work with <a href="http://www.ringing.org"><font color="#0000FF"><u>www.ringing.org</u></font></a>, including seeding it with a lively mix of his own compositions. Meanwhile Michael Wilby’s <a href="http://www.compositions.org.uk"><font color="#0000FF"><u>www.compositions.org.uk</u></font></a>,
populated by a high-powered more select stable of composers, has been a consistently excellent resource. </div>
<div> </div>
<div>This notwithstanding, compositions remain scattered across the web in an ad-hoc way. I repeat my desire for a more stable, consistent repository, and it is hoped the Graham John’s recent efforts at spearheading a comprehensive new database will bear fruit
in the months and years to come.</div>
<div> </div>
<div>In parallel to the developments with single-method peal developments over the decade, another huge theme has been with advances with spliced major. It has been a superb decade for spliced major – a real golden age. Clever thinking and eager peal bands
have pushed back limits of length and complexity. Indeed, it has been arguably the first time in history of ringing where long-length attempts have really involved cutting edge multi-method compositions. </div>
<div> </div>
<div>Enhanced computer power has helped here, and not always new software. Philip Saddleton’s SCAMP has played a part in several of my selected compositions, whilst many other composers have used their own customised tool-kits to produce innovative new compositions
in familiar sets of methods, as we shall see.</div>
<div> </div>
<div>Thinking away from the most cutting edge, there has been an across-the-board shift in spliced major ringing. Moving away from the over-emphasis on ringing “8-spliced”, the decade has seen a clear branching out into more exciting terrain. As a crude indicator
of this, by comparing the current decade to the 1990s we see that the number of peals of 8-spliced has dropped by 19%, whilst the number of peals of 23-spliced has risen by more than 29%.</div>
<div> </div>
<div>Despite the rosy optimism, we are not in the promised land yet. Trends are evident, but there remains a lot of intransigence and ignorance. There have still been 700 peals of Rutland Major rung in the past decade. Plain, alliance and treble place methods
are still neglected. Different types of symmetries and lead heads (including cyclic methods) continue to have much potential. Near the beginning of the decade Philip Saddleton produced a method with double offset symmetry which remains unrung - +(x4.5.36.4.5x6.5.6.5.6x5.4.36.5.4x3.4.3.4.3),
which shows both the progress of the past decade, and the change in attitudes that is still needed.</div>
<div> </div>
<div>Onwards and upwards…</div>
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<div><b>1) 12-spliced major (cyclic 7-part </b><b>palindrome </b><b>with all 96 runs) </b>– Rob Lee – February 2009 </div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>The decade has seen huge progress in the development of spliced major compositions. A key factor has been using cyclic 7-part constructions, both to get all-the-work and to ensure that music in any one part is multiplied across all the parts.</div>
<div> </div>
<div>Right at the end of 1999 David Hull produced his cyclic 23-spliced composition – this set a new benchmark, containing 40 of the 96 possible run-rows of each type (ie 5678xxxx, 8765xxxx, xxxx5678, xxxx8765).</div>
<div> </div>
<div>A fair few composers have turned to the cyclic construction to produce new compositions in familiar groups of methods like Smiths and Chandlers 23-spliced, as we shall later in this article.</div>
<div> </div>
<div>However, since David Hull’s composition, particular attention has been given to increasing the run-count up to the ideal maximum of 96. Various compositions were put together by for example Don Morrison containing 55 / 96 run rows (<a href="http://ringing.org/main/pages/printable?id=853&collection=peals"><font color="#0000FF"><u>http://ringing.org/main/pages/printable?id=853&collection=peals</u></font></a>),
by me containing between 65-89 / 96 runs rows (eg <a href="http://www.cantabgold.net/users/pje24/earis23.html"><font color="#0000FF"><u>http://www.cantabgold.net/users/pje24/earis23.html</u></font></a>), and by Alan Reading, who ultimately got all 96 runs in
both 6-method and 23-method compositions.</div>
<div> </div>
<div>However, the shining light of all of these is Rob Lee’s palindromic 12-method composition which he produced earlier in 2009, and about which I expounded at length in September (<a href="http://www.bellringers.org/pipermail/ringing-theory_bellringers.net/2009-September/003031.html"><font color="#0000FF"><u>http://www.bellringers.org/pipermail/ringing-theory_bellringers.net/2009-September/003031.html</u></font></a>)</div>
<div> </div>
<div>It combines a clever design structure with nice methods to produce a supreme composition.</div>
<div> </div>
<div><font face="Courier New, monospace">5152 Spliced S Major (14 [12] methods)</font></div>
<div><font face="Courier New, monospace"> 2345678 Straker's Passage S</font></div>
<div><font face="Courier New, monospace"> 3527486 Speedball S</font></div>
<div><font face="Courier New, monospace"> 4263857 Revolver S</font></div>
<div><font face="Courier New, monospace"> 6482735 Speedball S</font></div>
<div><font face="Courier New, monospace"> 7856342 Straker's Passage S</font></div>
<div><font face="Courier New, monospace">- 7864523 Zonda S</font></div>
<div><font face="Courier New, monospace"> 3526478 Taunton S</font></div>
<div><font face="Courier New, monospace"> 4283756 Panamera S</font></div>
<div><font face="Courier New, monospace"> 8472635 Helium S</font></div>
<div><font face="Courier New, monospace"> 6758342 Xanadu S</font></div>
<div><font face="Courier New, monospace">- 5678342 Tattersalls S</font></div>
<div><font face="Courier New, monospace"> 6854723 Bolonium S</font></div>
<div><font face="Courier New, monospace"> 2347856 Uracco S</font></div>
<div><font face="Courier New, monospace">- 4237856 Evora S</font></div>
<div><font face="Courier New, monospace"> 8364527 Evora S</font></div>
<div><font face="Courier New, monospace">- 7568234 Uracco S</font></div>
<div><font face="Courier New, monospace"> 6725483 Jovium S</font></div>
<div><font face="Courier New, monospace"> 3482567 Tattersalls S</font></div>
<div><font face="Courier New, monospace">- 3426875 Xanadu S</font></div>
<div><font face="Courier New, monospace"> 2384567 Bridgwater S</font></div>
<div><font face="Courier New, monospace"> 8253746 Panamera S</font></div>
<div><font face="Courier New, monospace"> 5872634 Taunton S</font></div>
<div><font face="Courier New, monospace"> 6745382 Zonda S</font></div>
<div><font face="Courier New, monospace">- 8234567</font></div>
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<div><b>2) 22400 S</b><b>pliced </b><b>Surprise Major (100m a</b><b>tw</b><b>) </b>– Paul Needham - Rung October 2005</div>
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<div>Simon Linford promised the College Youths that before his year as Master was over, there would be several ground-breaking Society ringing performances. Like JFK’s pledge to put a man on the moon, this promise left a bit of work for other people to fill
in some of the details...</div>
<div> </div>
<div>Paul Needham fully succeeded in meeting Simon’s challenge to produce an appropriate 100 method all-the-work peal of major. Unlike Philip Saddleton, who had previously turned his hand to the problem, Paul cleverly started with Norman Smith’s familiar 23-spliced
as a template, and then expanded by inserting additional methods into the framework.</div>
<div> </div>
<div>His composition contains all 12 leadhead groups, all of Smith’s methods, and all but two of Chandler’s 23-spliced methods also. There is no “trick” to the new methods used, nor use of multiple trivial variations.</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>Instead, we just see new rows inserted using a wide range of regular methods that will accommodate them. Many of the methods used are amongst the “falsest” ever rung, though this is of no consequence in a multi-spliced peal. </div>
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<div>The composition has pushed back boundaries in several regards, and its influence will be felt in years to come.</div>
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<div><font face="Courier New, monospace"> 12345678 Yorkshire</font></div>
<div><font face="Courier New, monospace">- 13578264 Uxbridge</font></div>
<div><font face="Courier New, monospace">- 12735486 Go</font></div>
<div><font face="Courier New, monospace"> 13247658 Old Kent Road</font></div>
<div><font face="Courier New, monospace">- 13275486 Whitechapel Road</font></div>
<div><font face="Courier New, monospace"> 12538764 Kings Cross</font></div>
<div><font face="Courier New, monospace">- 15864273 Angel</font></div>
<div><font face="Courier New, monospace">- 16584273 Euston Road</font></div>
<div><font face="Courier New, monospace">- 18654273 Pentonville Road</font></div>
<div><font face="Courier New, monospace">- 12586347 Just Visiting</font></div>
<div><font face="Courier New, monospace"> 13872456 Pall Mall</font></div>
<div><font face="Courier New, monospace">- 18256347 Electric</font></div>
<div><font face="Courier New, monospace"> 13578426 White Hall</font></div>
<div><font face="Courier New, monospace"> 16427835 Northumberland Avenue</font></div>
<div><font face="Courier New, monospace">- 15826347 Marylebone Station</font></div>
<div><font face="Courier New, monospace"> 14763825 Bow Street</font></div>
<div><font face="Courier New, monospace">- 17325486 Cornwall</font></div>
<div><font face="Courier New, monospace"> 14267835 Double Dublin</font></div>
<div><font face="Courier New, monospace"> 16482573 Bristol</font></div>
<div><font face="Courier New, monospace"> 18654327 Whalley</font></div>
<div><font face="Courier New, monospace">- 13586742 Watford</font></div>
<div><font face="Courier New, monospace"> 18375264 London</font></div>
<div><font face="Courier New, monospace"> 17823456 Tavistock</font></div>
<div><font face="Courier New, monospace"> 15634827 Glasgow</font></div>
<div><font face="Courier New, monospace"> 16452378 Cambridge</font></div>
<div><font face="Courier New, monospace">- 14278635 Mulcaster</font></div>
<div><font face="Courier New, monospace">- 17428635 Willesden</font></div>
<div><font face="Courier New, monospace">- 15627348 Marlborough Street</font></div>
<div><font face="Courier New, monospace"> 12536874 Vine Street</font></div>
<div><font face="Courier New, monospace">- 12567348 Free Parking</font></div>
<div><font face="Courier New, monospace"> 17458236 Strand£220</font></div>
<div><font face="Courier New, monospace"> 13682457 Fleet Street</font></div>
<div><font face="Courier New, monospace">- 16257348 Esplanade</font></div>
<div><font face="Courier New, monospace"> 13586427 Sussex</font></div>
<div><font face="Courier New, monospace">- 12748635 Cassiobury</font></div>
<div><font face="Courier New, monospace">- 18356742 Lindum</font></div>
<div><font face="Courier New, monospace"> 15873264 Superlative</font></div>
<div><font face="Courier New, monospace">- 18364527 Mont du Jubile</font></div>
<div><font face="Courier New, monospace">- 16834527 Newcastle</font></div>
<div><font face="Courier New, monospace"> 18462375 Glamorgan</font></div>
<div><font face="Courier New, monospace"> 12745836 Essex</font></div>
<div><font face="Courier New, monospace"> 15376284 Columbium</font></div>
<div><font face="Courier New, monospace">- 13684527 Wembley</font></div>
<div><font face="Courier New, monospace">- 15836742 Rutland</font></div>
<div><font face="Courier New, monospace">- 17358264 Jersey</font></div>
<div><font face="Courier New, monospace"> 18634725 Preston</font></div>
<div><font face="Courier New, monospace"> 14265873 Ipswich</font></div>
<div><font face="Courier New, monospace">- 17386542 Trafalgar Square</font></div>
<div><font face="Courier New, monospace"> 13674825 Fenchurch Street Station</font></div>
<div><font face="Courier New, monospace">- 14258673 Leicester Square</font></div>
<div><font face="Courier New, monospace"> 18723465 Coventry Street</font></div>
<div><font face="Courier New, monospace">- 15428673 Waterworks</font></div>
<div><font face="Courier New, monospace">- 12548673 Piccalilli</font></div>
<div><font face="Courier New, monospace"> 15827436 Go To Jail</font></div>
<div><font face="Courier New, monospace">- 18736542 Regent Street</font></div>
<div><font face="Courier New, monospace"> 14265738 Oxford Street</font></div>
<div><font face="Courier New, monospace">- 13876542 Cray</font></div>
<div><font face="Courier New, monospace"> 15723486 Ashtead</font></div>
<div><font face="Courier New, monospace">- 18642357 Kingwood</font></div>
<div><font face="Courier New, monospace"> 17354286 Northampton</font></div>
<div><font face="Courier New, monospace">- 12573648 Hertfordshire</font></div>
<div><font face="Courier New, monospace">- 17253648 Ebeneezer</font></div>
<div><font face="Courier New, monospace">- 18657423 Spilsby</font></div>
<div><font face="Courier New, monospace"> 12374658 Beaumont Hill</font></div>
<div><font face="Courier New, monospace">- 13458267 Belfast</font></div>
<div><font face="Courier New, monospace">- 15348267 Hertford</font></div>
<div><font face="Courier New, monospace">- 14538267 Sonning</font></div>
<div><font face="Courier New, monospace">- 15867423 Tellurium</font></div>
<div><font face="Courier New, monospace"> 18752634 Buckfastleigh</font></div>
<div><font face="Courier New, monospace"> 14635287 Eggybread</font></div>
<div><font face="Courier New, monospace"> 12374865 Moulton</font></div>
<div><font face="Courier New, monospace">- 16587423 Aldenham</font></div>
<div><font face="Courier New, monospace">- 15723648 Corbiere</font></div>
<div><font face="Courier New, monospace">- 13486725 Yeading</font></div>
<div><font face="Courier New, monospace">- 18346725 Antioch</font></div>
<div><font face="Courier New, monospace">- 12574683 Lonestar</font></div>
<div><font face="Courier New, monospace">- 12548736 Chertsey</font></div>
<div><font face="Courier New, monospace">- 14258736 Maufont</font></div>
<div><font face="Courier New, monospace">- 15428736 Claybrooke</font></div>
<div><font face="Courier New, monospace">- 17254683 Sir Isaac Newton</font></div>
<div><font face="Courier New, monospace">- 12483765 Bond 007</font></div>
<div><font face="Courier New, monospace">- 18243765 Liverpool Street Station</font></div>
<div><font face="Courier New, monospace">- 14823765 Chesterfield</font></div>
<div><font face="Courier New, monospace">- 15724683 Lulworth</font></div>
<div><font face="Courier New, monospace">- 14836725 Lincoln</font></div>
<div><font face="Courier New, monospace">- 18625473 Lamoye</font></div>
<div><font face="Courier New, monospace">- 12865473 Petersfield</font></div>
<div><font face="Courier New, monospace">- 14628357 Ardotalia</font></div>
<div><font face="Courier New, monospace">- 12468357 Isle Of Wight</font></div>
<div><font face="Courier New, monospace"> 18547236 Park Lane</font></div>
<div><font face="Courier New, monospace">- 16248357 Malpas</font></div>
<div><font face="Courier New, monospace"> 13476528 Amersham</font></div>
<div><font face="Courier New, monospace">- 16285473 Richmond</font></div>
<div><font face="Courier New, monospace">- 14862357 Herefordshire</font></div>
<div><font face="Courier New, monospace"> 12587436 Newlyn</font></div>
<div><font face="Courier New, monospace"> 13674582 Oxney</font></div>
<div><font face="Courier New, monospace">- 16482357 Lincolnshire</font></div>
<div><font face="Courier New, monospace">- 14257638 Ditchling</font></div>
<div><font face="Courier New, monospace">- 15427638 Hereford</font></div>
<div><font face="Courier New, monospace">- 12547638 Pudsey</font></div>
<div><font face="Courier New, monospace"> --------</font></div>
<div><font face="Courier New, monospace">- 15738264</font></div>
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<div><b>3) 5056 Bristol Surprise Major </b>– Mark B Davies – Rung December 2007</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>Bristol major is hardly an unexplored field, but the huge majority of previously-rung Bristol compositions have contained multiple calls around the course-end, often in the misguided attempt to load up on CRUs. </div>
<div> </div>
<div>Mark instead took the simple but brilliant approach of letting the glorious method generate the music more naturally. He has put together a series of very innovative Bristol Major compositions, which have many fewer calls (and consequently more courses)
than previous examples.</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>The pick of the bunch is Mark’s 5056, which in his words, “…<i>is special because it also achieves the goal of ‘no duffers’ – that is, not one of its 19 courses contain undesirable coursing orders, apart from isolated transitional leads around the course
end. This is a remarkable achievement which I have not discovered in any other ‘short-course’ arrangement. The seamless link from one musical course to the next is achieved, on average, by fewer than 1.8 calls</i>”</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>This is a most beautiful single-method composition – everything about it just “works”.</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace">5056 no.1 / 5120 no.2</font></div>
<div><font face="Courier New, monospace"> 23456 M B W H</font></div>
<div><font face="Courier New, monospace"> --------------</font></div>
<div><font face="Courier New, monospace"> 42356 -</font></div>
<div><font face="Courier New, monospace"> 54326 -</font></div>
<div><font face="Courier New, monospace"> 54263 - -</font></div>
<div><font face="Courier New, monospace"> 32465 - 5 -</font></div>
<div><font face="Courier New, monospace"> 26354 -</font></div>
<div><font face="Courier New, monospace"> 43652 - -</font></div>
<div><font face="Courier New, monospace"> 43526 - -</font></div>
<div><font face="Courier New, monospace"> 24536 -</font></div>
<div><font face="Courier New, monospace"> 43265 -</font></div>
<div><font face="Courier New, monospace"> 45362 2 -</font></div>
<div><font face="Courier New, monospace"> 63254 - -</font></div>
<div><font face="Courier New, monospace"> 52436 - -</font></div>
<div><font face="Courier New, monospace"> 34625 - - *</font></div>
<div><font face="Courier New, monospace"> 26543 - -</font></div>
<div><font face="Courier New, monospace"> 64352 - 2</font></div>
<div><font face="Courier New, monospace"> 23456 - -</font></div>
<div><font face="Courier New, monospace"> --------------</font></div>
<div><font face="Courier New, monospace">For 5120, call 2M B 2W for course marked *</font></div>
<div><font face="Courier New, monospace"> </font></div>
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<div><b>4) 40320 Spliced TD major (4-360m) </b>– Ander Holroyd – composed September 2004 </div>
<div>(Also a “shout” to a composition on a different plan by Tony Cox, 2002)</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>Extents of plain major have been around for many years. Treble-dodging methods are much harder to find extents for. Internal falseness rules out extents for the huge majority of methods. </div>
<div> </div>
<div>Nevertheless, extents for some treble dodging methods have been known for some time. A few methods with the “cleanest” falseness, such as Derwent, lend themselves easily to extents. In 1974 Colin Wyld published an extent of Yorkshire Major – Richard Smith
deconstructed this in a June 2005 message to this list: <<a href="http://www.bellringers.org/pipermail/ringing-theory_bellringers.net/2005-June/000951.html"><font color="#0000FF"><u>http://www.bellringers.org/pipermail/ringing-theory_bellringers.net/2005-June/000951.html</u></font></a>></div>
<div> </div>
<div>However, before the present decade I don’t think any extents of spliced treble-dodging major (at least apart from trivial lead-splice Derwent variants) were known.</div>
<div> </div>
<div>Ander Holroyd changed all that in 2004, producing clever extents first in 4 methods (including on a 7-part plan), rising up to 360 methods.</div>
<div> </div>
<div>The extents draw on developments in magic-block minor ringing. In Ander’s composition, though, the overwork always changes at the leadhead, whilst the underwork always changes at the halflead. By using asymmetric over and underworks, the effect of a “pseudo-single”
at each halflead and leadend can be achieved, making the problem of getting an extent analogous to minor.</div>
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<div><font face="Courier New, monospace"> 2345678</font></div>
<div><font face="Courier New, monospace">----------------------------------------------------------</font></div>
<div><font face="Courier New, monospace">UqoP GaqG ZqlQ Fsh& NguI ZxmY A=hF Wa<F @br# Kb>I 4582673</font></div>
<div><font face="Courier New, monospace">Pg=N YirE XcyP GtmF TpjQ HfvA Yhy$ NkuF Tfr@ OvdF 2735864</font></div>
<div><font face="Courier New, monospace">Q<jC PcuB WdvE $brV ObvM RfrB TtdD @zcE &=nB Q+a& 7425386</font></div>
<div><font face="Courier New, monospace">E>fI PkuE $zhB Vm>R IsgR Jsk# Ee+# KkyW DczP MtdY 8573264</font></div>
<div><font face="Courier New, monospace">AtiT HucM PwoN &tbX Kg=L X+jI RrdA $eqT HbtU GxfK 6237584</font></div>
<div><font face="Courier New, monospace">$+lZ JxfQ B>fO WqlU Ce+H @vf# EmtZ JkzV BxfM SqlR 5467382</font></div>
<div><font face="Courier New, monospace">MqaB Wh=S GpaF Qg=J R+lO @mxF Ta<B VepO @c=P GmvS 3257864</font></div>
<div><font face="Courier New, monospace">GnyX ApoW DpoJ ZnuQ BdrQ HwlT DoqO VbvD V>iQ HriF 4287653</font></div>
<div><font face="Courier New, monospace">WnsZ GynF @ugI Z<lI UsnN YshV Oj+N Y<aL XksN &o<N 4763258</font></div>
<div><font face="Courier New, monospace">#sg$ KrfC Sm>@ DqaJ RksL XguY K+aU JyhD W=nU JixY 8523746</font></div>
<div><font face="Courier New, monospace">L+lK Y>iI ZpjM Pb>K XwoG Std@ DynT HkuR I+jU CtiZ 8726435</font></div>
<div><font face="Courier New, monospace">MbrF @eqC PvdE $woA &ycV DtbE Xew@ Hl<T BmvC Rzc$ 6357248</font></div>
<div><font face="Courier New, monospace">AqoL #gzE #i>H VdxL #jwO WtiU IkyS MpeS CcyN #lwK 7348562</font></div>
<div><font face="Courier New, monospace">$kzC Uf>Q OtmW BirI U<lC RwlM Zap& Ln=G UpjK XzkQ 7283456</font></div>
<div><font face="Courier New, monospace">OzhA XopS J<o$ NapW Oc=$ NixU J+eA &m># LkyL Ya+P 5428637</font></div>
<div><font face="Courier New, monospace">I<jT BshS JgzM SdxT DewV D=hE XvfZ GdrY KzgH VvbR 5437286</font></div>
<div><font face="Courier New, monospace">CpeP Cb>F Wxd& LgsQ OewE &qeM ZjwC So<L &xiL YnsT 7238546</font></div>
<div><font face="Courier New, monospace">DmxN #ucA X=cS JnuV HjwM Rj<# Kun& Amv$ Ayh@ HzhG 8234567</font></div>
<div><font face="Courier New, monospace">----------------------------------------------------------</font></div>
<div><font face="Courier New, monospace">7 part</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">Each group of 4 symbols represents one lead.</font></div>
<div><font face="Courier New, monospace">All lead ends and half leads rung 18.</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">Methods</font></div>
<div><font face="Courier New, monospace">Above</font></div>
<div><font face="Courier New, monospace">A: -5-4-5-36</font></div>
<div><font face="Courier New, monospace">B: -5-4-5-3</font></div>
<div><font face="Courier New, monospace">C: -5-4-56-36</font></div>
<div><font face="Courier New, monospace">D: -5-4-56-3</font></div>
<div><font face="Courier New, monospace">E: -56-4-5-36</font></div>
<div><font face="Courier New, monospace">F: -56-4-5-3</font></div>
<div><font face="Courier New, monospace">G: -56-4-56-3</font></div>
<div><font face="Courier New, monospace">H: 56-5.4.5-5.36</font></div>
<div><font face="Courier New, monospace">I: 56-5.4.56-5.36</font></div>
<div><font face="Courier New, monospace">J: 56-5.4.5-56.3</font></div>
<div><font face="Courier New, monospace">K: 56-5.4.56-56.3</font></div>
<div><font face="Courier New, monospace">L: 56-56.4.5-5.36</font></div>
<div><font face="Courier New, monospace">M: 56-56.4.56-5.36</font></div>
<div><font face="Courier New, monospace">N: 56-56.4.5-56.3</font></div>
<div><font face="Courier New, monospace">O: 56-56.4.56-56.3</font></div>
<div><font face="Courier New, monospace">P: -5-4.5-5.36</font></div>
<div><font face="Courier New, monospace">Q: -5-4.56-5.36</font></div>
<div><font face="Courier New, monospace">R: -5-4.5-56.3</font></div>
<div><font face="Courier New, monospace">S: -5-4.56-56.3</font></div>
<div><font face="Courier New, monospace">T: -56-4.5-5.36</font></div>
<div><font face="Courier New, monospace">U: -56-4.56-5.36</font></div>
<div><font face="Courier New, monospace">V: -56-4.5-56.3</font></div>
<div><font face="Courier New, monospace">W: -56-4.56-56.3</font></div>
<div><font face="Courier New, monospace">X: 56-5.4-5-36</font></div>
<div><font face="Courier New, monospace">Y: 56-5.4-5-3</font></div>
<div><font face="Courier New, monospace">Z: 56-5.4-56-36</font></div>
<div><font face="Courier New, monospace">&: 56-5.4-56-3</font></div>
<div><font face="Courier New, monospace">@: 56-56.4-5-36</font></div>
<div><font face="Courier New, monospace">#: 56-56.4-5-3</font></div>
<div><font face="Courier New, monospace">$: 56-56.4-56-3</font></div>
<div><font face="Courier New, monospace">Below</font></div>
<div><font face="Courier New, monospace">a: -4-5-4-</font></div>
<div><font face="Courier New, monospace">b: -4-5-34-</font></div>
<div><font face="Courier New, monospace">c: -4-5-2-</font></div>
<div><font face="Courier New, monospace">d: -34-5-4-</font></div>
<div><font face="Courier New, monospace">e: -2-5-4-</font></div>
<div><font face="Courier New, monospace">f: 4-4.5.4-34</font></div>
<div><font face="Courier New, monospace">g: 4-4.5.2-34</font></div>
<div><font face="Courier New, monospace">h: 4-34.5.4-34</font></div>
<div><font face="Courier New, monospace">i: 4-34.5.2-34</font></div>
<div><font face="Courier New, monospace">j: 4-2.5.4-34</font></div>
<div><font face="Courier New, monospace">k: 4-2.5.2-34</font></div>
<div><font face="Courier New, monospace">l: 2-4.5.4-34</font></div>
<div><font face="Courier New, monospace">m: 2-4.5.2-34</font></div>
<div><font face="Courier New, monospace">n: 2-34.5.4-34</font></div>
<div><font face="Courier New, monospace">o: 2-2.5.4-34</font></div>
<div><font face="Courier New, monospace">p: -4-5.4-34</font></div>
<div><font face="Courier New, monospace">q: -34-5.4-34</font></div>
<div><font face="Courier New, monospace">r: -2-5.4-34</font></div>
<div><font face="Courier New, monospace">s: 4-4.5-4-</font></div>
<div><font face="Courier New, monospace">t: 4-4.5-34-</font></div>
<div><font face="Courier New, monospace">u: 4-4.5-2-</font></div>
<div><font face="Courier New, monospace">v: 4-34.5-4-</font></div>
<div><font face="Courier New, monospace">w: 4-34.5-34-</font></div>
<div><font face="Courier New, monospace">x: 4-34.5-2-</font></div>
<div><font face="Courier New, monospace">y: 4-2.5-4-</font></div>
<div><font face="Courier New, monospace">z: 4-2.5-34-</font></div>
<div><font face="Courier New, monospace"><: 4-2.5-2-</font></div>
<div><font face="Courier New, monospace">>:<i> 2-4.5-4-</i></font></div>
<div><font face="Courier New, monospace">+: 2-4.5-34-</font></div>
<div><font face="Courier New, monospace">=: 2-4.5-2-</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>Working independently a couple of years before Ander, Tony Cox put together an extent based on systematically joining together quarter-leads from three treble-dodging methods “…so that 78 never make any internal places within a section and just ring a
stretched version of Double Norwich”</div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">A k -56-14-56-36-34-58-34-18 (Norfolk)</font></div>
<div><font face="Courier New, monospace">B k -78-14-78-36-12-58-12-18</font></div>
<div><font face="Courier New, monospace">C k -34-14-12-18-78-58-56-18</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div>Tony’s basic block of 3 courses with sixths place bobs at 4ths is</div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">AABB</font></div>
<div><font face="Courier New, monospace">AACB</font></div>
<div><font face="Courier New, monospace">CAAC (bob)</font></div>
<div><font face="Courier New, monospace">AACA</font></div>
<div><font face="Courier New, monospace">BABC</font></div>
<div><font face="Courier New, monospace">CBAB</font></div>
<div><font face="Courier New, monospace">ACAA</font></div>
<div><font face="Courier New, monospace">CABA</font></div>
<div><font face="Courier New, monospace">BCCB</font></div>
<div><font face="Courier New, monospace">ABAC (bob)</font></div>
<div><font face="Courier New, monospace">AAAB</font></div>
<div><font face="Courier New, monospace">BAAA</font></div>
<div><font face="Courier New, monospace">CBAA</font></div>
<div><font face="Courier New, monospace">BBAA</font></div>
<div><font face="Courier New, monospace">ABBA</font></div>
<div><font face="Courier New, monospace">AABB</font></div>
<div><font face="Courier New, monospace">AABC (bob)</font></div>
<div><font face="Courier New, monospace">BCAA</font></div>
<div><font face="Courier New, monospace">BBAA</font></div>
<div><font face="Courier New, monospace">CBCA</font></div>
<div><font face="Courier New, monospace">ACBC</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div>In Tony’s words, “Note the quarter lead change is 16 when the first quarter lead is C and 38 when the second quarter is C. In the second half of the lead it is 38 at the 3/4 lead if C is used in the 3 quarter and 16 if C is used in the 4th quarter.</div>
<div> </div>
<div>The extent is then obtained by adding calls to the tenor-together courses to join the 60 in-course courses together. For example for a 3 part:</div>
<div>IOOO 35426</div>
<div>IVOOO 62534</div>
<div>IVOOO 43265</div>
<div>V 53462</div>
<div>IIIVO 35264</div>
<div>VVOSHSH 54263</div>
<div>OO 25463</div>
<div>VOO 23564</div>
<div>Repeat twice”</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><b>5) Assorted fun with Smith’s and Chandler</b><b>’</b><b>s </b></div>
<div>John Goldthorpe (8-part Chandlers) – January 2007</div>
<div>John Goldthorpe (45-spliced major) - 2005</div>
<div>Don Morrison (Cyclic Smiths, Cyclic Chandlers) - 2002</div>
<div>Richard Pearce (23 spliced)</div>
<div> </div>
<div>There has been lots of development with “established” groups of 23-spliced methods in the past decade. Don Morrison has published a lively range of new compositions for the sets of both Smith’s and Chandler’s methods. He has produced alternative compositions
with both cyclic and regular partends. Don’s cyclic Chandler’s is perhaps the pick of the bunch:</div>
<div> </div>
<div>5,152 Spliced Surprise Major (23 methods)</div>
<div>Donald F Morrison (no. 5) </div>
<div><font face="Courier New, monospace"> <u>2345678</u> Newlyn </font></div>
<div><font face="Courier New, monospace"> 7856342 Moulton </font></div>
<div><font face="Courier New, monospace">- 4235678 Sonning </font></div>
<div><font face="Courier New, monospace"> 5728463 Pudsey </font></div>
<div><font face="Courier New, monospace"> 8673542 Essex </font></div>
<div><font face="Courier New, monospace"> 3462857 Claybrooke </font></div>
<div><font face="Courier New, monospace">- 8634725 London </font></div>
<div><font face="Courier New, monospace"> 3876542 Richmond </font></div>
<div><font face="Courier New, monospace"> 7358264 Sussex </font></div>
<div><font face="Courier New, monospace">- 6425873 Whalley </font></div>
<div><font face="Courier New, monospace"> 2684357 Malpas </font></div>
<div><font face="Courier New, monospace">- 3826745 Caterham </font></div>
<div><font face="Courier New, monospace">- 2386745 Newcastle </font></div>
<div><font face="Courier New, monospace"> 3624857 Colnbrook </font></div>
<div><font face="Courier New, monospace"> 6435278 Buckfastleigh </font></div>
<div><font face="Courier New, monospace"> 8273564 Northampton </font></div>
<div><font face="Courier New, monospace"> 7852436 Willesden </font></div>
<div><font face="Courier New, monospace">- 6457382 Yeading </font></div>
<div><font face="Courier New, monospace"> 5634278 Belfast </font></div>
<div><font face="Courier New, monospace"> 3526847 Chertsey </font></div>
<div><font face="Courier New, monospace"> 2385764 Chesterfield </font></div>
<div><font face="Courier New, monospace"> 7842635 Glasgow </font></div>
<div><font face="Courier New, monospace"> 8273456 Bristol </font></div>
<div><font face="Courier New, monospace">- <u>7823456</u> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>John Goldthorpe meanwhile has put together 8-part all the work compositions of Chandlers, including the neat feature of using a “x” as the change to vary the treble. </div>
<div> </div>
<div><font face="Courier New, monospace">5632 Spliced Surprise Major (22 methods)</font></div>
<div><font face="Courier New, monospace">John M Goldthorpe (No 2)</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace"> 12345678 Willesden</font></div>
<div><font face="Courier New, monospace"> S 61482735 Whalley</font></div>
<div><font face="Courier New, monospace"> 68174523 Richmond</font></div>
<div><font face="Courier New, monospace"> S 76851342 Malpas</font></div>
<div><font face="Courier New, monospace"> 73526481 Claybrooke</font></div>
<div><font face="Courier New, monospace"> S 27345168 Colnbrook</font></div>
<div><font face="Courier New, monospace"> 23576481 Moulton</font></div>
<div><font face="Courier New, monospace"> 21487635 Sonning</font></div>
<div><font face="Courier New, monospace"> S 72345168 Sussex</font></div>
<div><font face="Courier New, monospace"> S 87164523 Chertsey</font></div>
<div><font face="Courier New, monospace"> S 78164523 Huddersfield</font></div>
<div><font face="Courier New, monospace"> S 47213856 Caterham</font></div>
<div><font face="Courier New, monospace"> 41782635 Bristol</font></div>
<div><font face="Courier New, monospace"> 48167523 Northampton</font></div>
<div><font face="Courier New, monospace"> 46851372 Chesterfield</font></div>
<div><font face="Courier New, monospace"> 43526781 Newcastle</font></div>
<div><font face="Courier New, monospace"> S 54638217 Belfast</font></div>
<div><font face="Courier New, monospace"> 53426781 Buckfastleigh</font></div>
<div><font face="Courier New, monospace"> 51782634 London</font></div>
<div><font face="Courier New, monospace"> 58167423 Newlyn</font></div>
<div><font face="Courier New, monospace"> S 25374168 Yeading</font></div>
<div><font face="Courier New, monospace"> <u>27513846</u> Essex</font></div>
<div><font face="Courier New, monospace"> 23456781 </font></div>
<div><font face="Courier New, monospace"> 8 part. S=x.</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>John also has produced an enticing 8-part Chandler’s composition with treble changing singles at most leads:</div>
<div> </div>
<div><font face="Courier New, monospace">5888 Spliced Surprise Major (23 methods) John M Goldthorpe</font></div>
<div><font face="Courier New, monospace"> 12345678 Willesden</font></div>
<div><font face="Courier New, monospace"> S 61847235 Caterham</font></div>
<div><font face="Courier New, monospace"> S 16482735 Newcastle</font></div>
<div><font face="Courier New, monospace"> S 41628357 Essex</font></div>
<div><font face="Courier New, monospace"> S 54876321 Chertsey</font></div>
<div><font face="Courier New, monospace"> S 45783621 Sonning</font></div>
<div><font face="Courier New, monospace"> S 34725168 Northampton</font></div>
<div><font face="Courier New, monospace"> S 23148756 Bristol</font></div>
<div><font face="Courier New, monospace"> S 32417856 Buckfastleigh</font></div>
<div><font face="Courier New, monospace"> S 83615247 London</font></div>
<div><font face="Courier New, monospace"> 81326754 Newlyn</font></div>
<div><font face="Courier New, monospace"> S 58643721 Claybrooke</font></div>
<div><font face="Courier New, monospace"> S 45781632 Colnbrook</font></div>
<div><font face="Courier New, monospace"> S 74518326 Moulton</font></div>
<div><font face="Courier New, monospace"> S 67238145 Chesterfield</font></div>
<div><font face="Courier New, monospace"> S 16534728 Sussex</font></div>
<div><font face="Courier New, monospace"> S 81274365 Richmond</font></div>
<div><font face="Courier New, monospace"> S 78315246 Whalley</font></div>
<div><font face="Courier New, monospace"> 71823654 Malpas</font></div>
<div><font face="Courier New, monospace"> 76241583 Belfast</font></div>
<div><font face="Courier New, monospace"> S 67425183 Pudsey</font></div>
<div><font face="Courier New, monospace"> S 56487312 Yeading</font></div>
<div><font face="Courier New, monospace"> 58634271 Huddersfield</font></div>
<div><font face="Courier New, monospace"> --------</font></div>
<div><font face="Courier New, monospace"> S 45678123</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">8 part. S=3456.</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">256 of each method.</font></div>
<div><font face="Courier New, monospace">183 com, 24 cru's, all the work.</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>A further Goldthorpe composition of note is his 45m atw 10080 change composition incorporating all of Smiths and Chandler’s methods, with a few requested others to push the peal over 10000 changes. </div>
<div> </div>
<div>Finally in this section, Richard Pearce has a tidy and elegant “bonus” 23-spliced composition which doesn’t need much learning, as it incorporates methods from several established “series” of one part peals of Spliced Surprise Major (specifically Pitman's
9, the “Nottingham 8”, Crosland’s series, and the so-called “Standard” 8, Belfast and Glasgow.</div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace"> </font></div>
<div><font face="Courier New, monospace">5152 Spliced Surprise Major</font></div>
<div><font face="Courier New, monospace"> 12345678 Rutland</font></div>
<div><font face="Courier New, monospace"> -------------------</font></div>
<div><font face="Courier New, monospace"> 14263857 Superlative</font></div>
<div><font face="Courier New, monospace">- 12357486 Belfast</font></div>
<div><font face="Courier New, monospace"> 15243678 Lincoln</font></div>
<div><font face="Courier New, monospace">- 12378564 Dorchester</font></div>
<div><font face="Courier New, monospace"> 18634257 Lessness</font></div>
<div><font face="Courier New, monospace">- 12386745 Lindum</font></div>
<div><font face="Courier New, monospace"> 18273564 Yorkshire</font></div>
<div><font face="Courier New, monospace"> 13624857 Cambridge</font></div>
<div><font face="Courier New, monospace"> 14567382 Glasgow</font></div>
<div><font face="Courier New, monospace"> 15748623 Cassiobury</font></div>
<div><font face="Courier New, monospace">- 18236745 London</font></div>
<div><font face="Courier New, monospace"> 13872564 Pudsey</font></div>
<div><font face="Courier New, monospace"> 12684357 Adelaide</font></div>
<div><font face="Courier New, monospace"> 15743682 Ealing</font></div>
<div><font face="Courier New, monospace">- 16457238 Brighton</font></div>
<div><font face="Courier New, monospace"> 17348625 Eccleston</font></div>
<div><font face="Courier New, monospace">- 13825764 Cornwall</font></div>
<div><font face="Courier New, monospace"> 17243685 Watford</font></div>
<div><font face="Courier New, monospace"> 14762538 Chesterfield</font></div>
<div><font face="Courier New, monospace"> 15684372 Wembley</font></div>
<div><font face="Courier New, monospace"> 18536247 Lincolnshire</font></div>
<div><font face="Courier New, monospace">- 15647823 Bristol</font></div>
<div><font face="Courier New, monospace">------------------- </font></div>
<div><font face="Courier New, monospace">- 14567823 </font></div>
<div><font face="Courier New, monospace"> 7 part</font></div>
<div><font face="Courier New, monospace"> </font></div>
<div>Whilst in all these compositions the musical content is not especially notable, it is often reasonable and they are all fine examples of well-crafted compositions following a tightly-constrained method selection.</div>
<div> </div>
<div><font face="Courier New, monospace"> </font></div>
<div><b>6) </b><b>Long lengths (London</b><b> major, Bristol Major) – </b>Brian Price and Richard Smith - 2005</div>
<div> </div>
<div>The decade has seen other boundaries pushed back, with record lengths in single methods also. In April 2005 a new record length of 17280 London major was rung at Spitalfields: this represented a relatively significant increase over the previous record
of 14784 (dating from 1996). </div>
<div> </div>
<div>The composition was a 5-part by Brian Price, and raised some eyebrows as it was not in fact all the work - the 7th is never 2nds place bell for a first half- lead and the 8th is never 4ths place bell for a second half-lead. That notwithstanding, I feel
the composition deserves inclusion.</div>
<div> </div>
<div>Richard Smith explains in detail how it was constructed here:<font face="Times New Roman, serif" size="3"> </font><a href="http://www.bellringers.net/pipermail/ringing-theory_bellringers.net/2005-May/000941.html"><font color="#0000FF"><u>http://www.bellringers.net/pipermail/ringing-theory_bellringers.net/2005-May/000941.html</u></font></a></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace">17280 London Surprise Major by Brian D Price</font></div>
<div><font face="Courier New, monospace">23456 M H</font></div>
<div><font face="Courier New, monospace">-----------------</font></div>
<div><font face="Courier New, monospace">42356 a</font></div>
<div><font face="Courier New, monospace">63254 - a </font></div>
<div><font face="Courier New, monospace">26354 a </font></div>
<div><font face="Courier New, monospace">32654 a</font></div>
<div><font face="Courier New, monospace">46253 - a</font></div>
<div><font face="Courier New, monospace">62453 a -</font></div>
<div><font face="Courier New, monospace">34256 - a </font></div>
<div><font face="Courier New, monospace">46325 - a x </font></div>
<div><font face="Courier New, monospace">53624 - a</font></div>
<div><font face="Courier New, monospace">65324 a</font></div>
<div><font face="Courier New, monospace">36524 a</font></div>
<div><font face="Courier New, monospace">45623 - a</font></div>
<div><font face="Courier New, monospace">-----------------</font></div>
<div><font face="Courier New, monospace">5 part. </font></div>
<div><font face="Courier New, monospace">a = s2½,In,W,s6½. s=1678. x is a 6th's place bob. Contains 144 crus.</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div>The record length of Bristol Major has remained at 23296 since June 1974. In the past decade both Brian and Richard Smith have produced significantly longer compositions that this. Brian has a 9-part 28512 change composition using a mixture of 4ths and
6ths place bobs, whilst Richard has published a 3-part composition entirely in whole courses.</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace">28512 Bristol Surprise Major by Brian D Price</font></div>
<div><font face="Courier New, monospace"> 2345678</font></div>
<div><font face="Courier New, monospace"> 6 4263578 </font></div>
<div><font face="Courier New, monospace"> 6452837</font></div>
<div><font face="Courier New, monospace"> 4 5642837</font></div>
<div><font face="Courier New, monospace"> 4 4562837 </font></div>
<div><font face="Courier New, monospace"> 6485723</font></div>
<div><font face="Courier New, monospace"> 6 8674523 </font></div>
<div><font face="Courier New, monospace"> 7856342</font></div>
<div><font face="Courier New, monospace"> 6 5738642</font></div>
<div><font face="Courier New, monospace"> 4 3578642</font></div>
<div><font face="Courier New, monospace"> 4 7358642</font></div>
<div><font face="Courier New, monospace"> 6 5763842 </font></div>
<div><font face="Courier New, monospace"> 6587234</font></div>
<div><font face="Courier New, monospace"> 6 8625734</font></div>
<div><font face="Courier New, monospace"> 4 2865734 </font></div>
<div><font face="Courier New, monospace"> 6278453 </font></div>
<div><font face="Courier New, monospace"> 7642385</font></div>
<div><font face="Courier New, monospace"> 4 4762385</font></div>
<div><font face="Courier New, monospace"> 4 6472385 </font></div>
<div><font face="Courier New, monospace"> 7634528</font></div>
<div><font face="Courier New, monospace"> 4 3764528</font></div>
<div><font face="Courier New, monospace"> 6 6357428</font></div>
<div><font face="Courier New, monospace"> 4 5637428</font></div>
<div><font face="Courier New, monospace"> 4 3567428</font></div>
<div><font face="Courier New, monospace"> 6 6345728</font></div>
<div><font face="Courier New, monospace"> 4 4635728 </font></div>
<div><font face="Courier New, monospace"> 3476852</font></div>
<div><font face="Courier New, monospace"> 4 7346852</font></div>
<div><font face="Courier New, monospace"> 4 4736852 </font></div>
<div><font face="Courier New, monospace"> 3487265</font></div>
<div><font face="Courier New, monospace"> 4 8347265</font></div>
<div><font face="Courier New, monospace"> 4 4837265</font></div>
<div><font face="Courier New, monospace"> 6 3428765</font></div>
<div><font face="Courier New, monospace"> 6 2374865</font></div>
<div><font face="Courier New, monospace"> 4 7234865</font></div>
<div><font face="Courier New, monospace"> 4 3724865 </font></div>
<div><font face="Courier New, monospace"> 2387546</font></div>
<div><font face="Courier New, monospace"> 4 8237546</font></div>
<div><font face="Courier New, monospace"> 4 3827546</font></div>
<div><font face="Courier New, monospace"> 6 2358746</font></div>
<div><font face="Courier New, monospace"> 4 5238746</font></div>
<div><font face="Courier New, monospace"> 4 3528746</font></div>
<div><font face="Courier New, monospace"> 6 2375846</font></div>
<div><font face="Courier New, monospace"> 6 7283546 </font></div>
<div><font face="Courier New, monospace"> 8752634 </font></div>
<div><font face="Courier New, monospace"> 5867423</font></div>
<div><font face="Courier New, monospace"> 6 6548723</font></div>
<div><font face="Courier New, monospace"> 4 4658723</font></div>
<div><font face="Courier New, monospace"> 6 5476823</font></div>
<div><font face="Courier New, monospace"> 6 7584623 </font></div>
<div><font face="Courier New, monospace"> 8765342 </font></div>
<div><font face="Courier New, monospace"> 6837254</font></div>
<div><font face="Courier New, monospace"> 4 3687254 </font></div>
<div><font face="Courier New, monospace"> 8326475</font></div>
<div><font face="Courier New, monospace"> 4 2836475 </font></div>
<div><font face="Courier New, monospace"> 3248567 </font></div>
<div><font face="Courier New, monospace"> 4352786</font></div>
<div><font face="Courier New, monospace"> 6 5473286</font></div>
<div><font face="Courier New, monospace"> 6 7524386</font></div>
<div><font face="Courier New, monospace"> 4 2754386</font></div>
<div><font face="Courier New, monospace"> 6 5237486 </font></div>
<div><font face="Courier New, monospace"> 3542678 </font></div>
<div><font face="Courier New, monospace"> 4365827</font></div>
<div><font face="Courier New, monospace"> 6 6483527</font></div>
<div><font face="Courier New, monospace"> 6 8654327</font></div>
<div><font face="Courier New, monospace"> 4 5864327</font></div>
<div><font face="Courier New, monospace"> 4 6584327</font></div>
<div><font face="Courier New, monospace"> 6 8635427</font></div>
<div><font face="Courier New, monospace"> 4 3865427</font></div>
<div><font face="Courier New, monospace"> 4 6385427 </font></div>
<div><font face="Courier New, monospace"> 8643752</font></div>
<div><font face="Courier New, monospace"> 4 4863752</font></div>
<div><font face="Courier New, monospace"> 4 6483752</font></div>
<div><font face="Courier New, monospace"> 6 8674352</font></div>
<div><font face="Courier New, monospace"> 6 7836452</font></div>
<div><font face="Courier New, monospace"> 4 3786452</font></div>
<div><font face="Courier New, monospace"> 4 8376452 </font></div>
<div><font face="Courier New, monospace"> 7843265</font></div>
<div><font face="Courier New, monospace"> 4 4783265</font></div>
<div><font face="Courier New, monospace"> 4 8473265 </font></div>
<div><font face="Courier New, monospace"> 7824536</font></div>
<div><font face="Courier New, monospace"> 4 2784536</font></div>
<div><font face="Courier New, monospace"> 6 8257436</font></div>
<div><font face="Courier New, monospace"> 4 5827436</font></div>
<div><font face="Courier New, monospace"> 4 2587436</font></div>
<div><font face="Courier New, monospace"> 6 8245736</font></div>
<div><font face="Courier New, monospace"> 4 4825736 </font></div>
<div><font face="Courier New, monospace"> 2478653</font></div>
<div><font face="Courier New, monospace"> 4 7248653</font></div>
<div><font face="Courier New, monospace"> 4 4728653 </font></div>
<div><font face="Courier New, monospace"> 2467385 </font></div>
<div><font face="Courier New, monospace"> 6234578</font></div>
<div><font face="Courier New, monospace"> 4 3624578</font></div>
<div><font face="Courier New, monospace"> 6 2356478 </font></div>
<div><font face="Courier New, monospace"> 5243867</font></div>
<div><font face="Courier New, monospace"> 6 4582367</font></div>
<div><font face="Courier New, monospace"> 4 8452367</font></div>
<div><font face="Courier New, monospace"> 4 5842367</font></div>
<div><font face="Courier New, monospace"> 6 4538267 </font></div>
<div><font face="Courier New, monospace"> -------</font></div>
<div><font face="Courier New, monospace"> 6*3425867</font></div>
<div><font face="Courier New, monospace">9 part, calling 6* in parts 3, 6 and 9 only.</font></div>
<div><font face="Courier New, monospace">Contains 120 combination rollups.</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace">26,880 Bristol S. Major</font></div>
<div><font face="Courier New, monospace">Comp. RAS</font></div>
<div><font face="Courier New, monospace"> 234567 M F I O V W H</font></div>
<div><font face="Courier New, monospace"> ----------------------------</font></div>
<div><font face="Courier New, monospace"> 362457 - - -</font></div>
<div><font face="Courier New, monospace"> 563427 ss -</font></div>
<div><font face="Courier New, monospace"> (635427) -</font></div>
<div><font face="Courier New, monospace"> 346725 - 3 -</font></div>
<div><font face="Courier New, monospace"> 567324 2</font></div>
<div><font face="Courier New, monospace"> 635427 - -</font></div>
<div><font face="Courier New, monospace"> 265437 2 -</font></div>
<div><font face="Courier New, monospace"> 237654 ss - -</font></div>
<div><font face="Courier New, monospace"> 743625 - 2 - ss</font></div>
<div><font face="Courier New, monospace"> 463725 -</font></div>
<div><font face="Courier New, monospace"> 532467 2 2 -</font></div>
<div><font face="Courier New, monospace"> 257364 -</font></div>
<div><font face="Courier New, monospace"> (453627) - -</font></div>
<div><font face="Courier New, monospace"> 564723 - -</font></div>
<div><font face="Courier New, monospace"> 453627 -</font></div>
<div><font face="Courier New, monospace"> 365724 - - -</font></div>
<div><font face="Courier New, monospace"> 673425 - 3 -</font></div>
<div><font face="Courier New, monospace"> (342567) - 2</font></div>
<div><font face="Courier New, monospace"> 453762 - -</font></div>
<div><font face="Courier New, monospace"> 345762 2</font></div>
<div><font face="Courier New, monospace"> 325764 s ss</font></div>
<div><font face="Courier New, monospace"> 342567 s - -</font></div>
<div><font face="Courier New, monospace"> ----------------------------</font></div>
<div><font face="Courier New, monospace"> Twice repeated</font></div>
<div><font face="Courier New, monospace">b = 16, s = 1678</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><b>7) </b><b>8-spliced major</b><b> </b>– Don Morrison (2003), Alan Reading (2006)</div>
<div>Much as I dislike the concept, let alone the content of the so-called “standard 8”, people do keep ringing this. It’s better for people to have at least a hint of music in their compositions, so that they can hopefully work out what is deficient in their
standard musical diet. The two compositions below are notable efforts in very testing conditions. I still have no desire to ring them, though!</div>
<a name="886"></a>
<div> </div>
<div><font face="Courier New, monospace">5184 (5056) Spliced Surprise Major (8 methods)</font></div>
<div><font face="Courier New, monospace">Donald F Morrison (no. 3) </font></div>
<div><font face="Courier New, monospace">23456 B M W H Methods </font></div>
<div><font face="Courier New, monospace">52436 - RS.L</font></div>
<div><font face="Courier New, monospace">42635 - NYS.CL</font></div>
<div><font face="Courier New, monospace">23564 2 - YN.LP.BBBRRP.</font></div>
<div><font face="Courier New, monospace">36245 - CP.PC</font></div>
<div><font face="Courier New, monospace">24365 - [-] N(SSY).R. </font></div>
<div><font face="Courier New, monospace">Repeat five times, omitting [-] from alternate parts. </font></div>
<div><font face="Courier New, monospace">Contains all 24 each 56s, 65s, and 5678s off the front, and 12 8765s off the front </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace">5120 8 Spliced Surprise Major</font></div>
<div><font face="Courier New, monospace">(Alan Reading) </font></div>
<div><font face="Courier New, monospace">23456 M B W H</font></div>
<div><font face="Courier New, monospace">36452 - 2 R,PL,B,</font></div>
<div><font face="Courier New, monospace">43562 V/sV (B/4/I) - C,B.S(,RCL,B,)SRN, </font></div>
<div><font face="Courier New, monospace">43625 - - YY,YY,</font></div>
<div><font face="Courier New, monospace">36425 (4/I/B) s3/s4 2 NRS(,B,LCR,)S.B.C,B,</font></div>
<div><font face="Courier New, monospace">42365 - - LP,R,</font></div>
<div><font face="Courier New, monospace">6 part, omitting bracketed calls and methods from any 4 parts.</font></div>
<div><font face="Courier New, monospace">Contains all 24 each 56s, 65s, and 5678s off the front, and 12 8765s off the front </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><b>8</b><b>) 23-spliced Treble Bob Major – </b>Peter King - 2005</div>
<div>This composition, as yet unpublished, contains 23 different treble bob major methods. It has limited musical scope, the methods lack intrinsic merit, there is no clever composing trick – it’s just the composition is really, fiendishly, difficult to ring.
The fluid nature of treble-bob methods makes them much harder to learn and differentiate than surprise, as they lack long static pieces of work in any one place.</div>
<div> </div>
<div>On his website, John Goldthorpe has a footnote to a composition of 8-part Chandlers saying <i>“Arguably the hardest peal yet rung”</i>. This seems pretty anachronistic (and grandiose). I can assure him that Chandler’s is a walk in the park, especially
when compared to the King major composition.</div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><b>9) Whole-course 23-spliced</b> – Richard Smith – January 2005</div>
<div>Responding to a challenge in 2005, Richard produced the first real spliced major composition in “complete” unbroken whole courses. This is a very neat proof of concept, though is awaiting further development. Perhaps something along the lines of Richard
Pearce’s minor compositions (ie including 8ths place methods, so the composition wasn’t based purely around homes) could be interesting here? </div>
<div> </div>
<div><font face="Courier New, monospace"> m0 = &-3-6-5-36-34-5-6-5;</font></div>
<div><font face="Courier New, monospace"> m1 = &-5-4-56-6-4-5-2-5; // [Heydour]</font></div>
<div><font face="Courier New, monospace"> m2 = &5-5.6.5-2.3-2-5-4-1;</font></div>
<div><font face="Courier New, monospace"> m3 = &-3-4-56-6-2-5-4-5; // [Lessness]</font></div>
<div><font face="Courier New, monospace"> m4 = &36-5.4-5-6-2-5-36-5;</font></div>
<div><font face="Courier New, monospace"> m5 = &-5-4-2-3-34-5-4-3;</font></div>
<div><font face="Courier New, monospace"> m6 = &-3-6-56-3-34-5.36-56.3;</font></div>
<div><font face="Courier New, monospace"> m7 = &-5-6-5-6-2-5-56-5;</font></div>
<div><font face="Courier New, monospace"> m8 = &3-5.6.5-2.3.2-2.3-2-3;</font></div>
<div><font face="Courier New, monospace"> m9 = &-56-6-5-3.4-2.3.2-34.5;</font></div>
<div><font face="Courier New, monospace"> m10 = &-34-4-5-3-4-5-34-1;</font></div>
<div><font face="Courier New, monospace"> m11 = &-34-4-2-6-2-5-2-7;</font></div>
<div><font face="Courier New, monospace"> m12 = &34-36.4.5-2.3.2-4.5.6-6.7;</font></div>
<div><font face="Courier New, monospace"> m13 = &-34-4-2-3-4-5-36-1;</font></div>
<div><font face="Courier New, monospace"> m14 = &-34-4-5-6-2-3-6-3; // [Xyster]</font></div>
<div><font face="Courier New, monospace"> m15 = &-34-4-5-3-2-5-6-3;</font></div>
<div><font face="Courier New, monospace"> m16 = &-5-6-5-3-2-5-56-3; // [Helston]</font></div>
<div><font face="Courier New, monospace"> m17 = &-5-4-2-3-2-5-36-5;</font></div>
<div><font face="Courier New, monospace"> m18 = &-5-4-56-36-2-5-2-5;</font></div>
<div><font face="Courier New, monospace"> m19 = &-5-4-5-6-2-5-2-1; // [Aspenden]</font></div>
<div><font face="Courier New, monospace"> m20 = &-5-4-5-6-4-5-6-7;</font></div>
<div><font face="Courier New, monospace"> m21 = &-5-4-56-3-2-3-56-3;</font></div>
<div><font face="Courier New, monospace"> m22 = &-5-4-5-6-2-3-6-1;</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Courier New, monospace"> 5152 TD Major</font></div>
<div><font face="Courier New, monospace"> H 23456</font></div>
<div><font face="Courier New, monospace"> --------------</font></div>
<div><font face="Courier New, monospace"> x ) A 42635</font></div>
<div><font face="Courier New, monospace"> - ) 64235</font></div>
<div><font face="Courier New, monospace"> A 52643</font></div>
<div><font face="Courier New, monospace"> - 65243</font></div>
<div><font face="Courier New, monospace"> 3A 53462</font></div>
<div><font face="Courier New, monospace"> 3x 62345</font></div>
<div><font face="Courier New, monospace"> 4A 34256</font></div>
<div><font face="Courier New, monospace"> - 23456</font></div>
<div><font face="Courier New, monospace"> --------------</font></div>
<div><font face="Courier New, monospace"> -=14; x=16</font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
<div><font face="Times New Roman, serif" size="3"> </font></div>
</font>
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