https://wiki.changeringing.co.uk/api.php?action=feedcontributions&user=RAS&feedformat=atomChangeringing Wiki - User contributions [en-gb]2024-03-28T17:56:39ZUser contributionsMediaWiki 1.34.0https://wiki.changeringing.co.uk/index.php?title=County_histories&diff=2452County histories2022-11-04T21:21:56Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Hallam, W.H., The Church Bells of Berkshire (1896–99 in ''The Berkshire, Buckinghamshire, and Oxfordshire Archaeological Journal'')<br />
|-<br />
|||Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Berkshire] (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|Clarke, J.W., ''Church Bells of Cheshire'' (1948–58 in ''Transactions of the Lancashire and Cheshire Antiquarian Society'')<br />
|-<br />
|Cornwall<br />
|Dunkin, E.H.W., ''Church Bells of Cornwall'' (1878)<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|Whitehead, H., ''Church Bells of Cumberland'' (1883–97)<br />
|-<br />
|Derbyshire<br />
|Jewitt, L., ''Church Bells of Derbyshire'' (1872–80)<br />
|-<br />
|||Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (3 vols, 1998–2000)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2 vols, 2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (3 vols, 2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Walters, H.B., ''Church Bells of Gloucestershire'' (1893–1920)<br />
|-<br />
|||Bliss, M. & Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Gloucestershire] (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Herefordshire] (5 vols, 1966–75)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|||Dodds, G., ''The Church Bells of Hertfordshire'' (1992)<br />
|-<br />
|||Dodds, J., ''Hertfordshire Bellfounders'' (2003)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on CD]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (6 parts in 9 instalments, 1914–28 in ''Transactions of the Lancashire and Cheshire Antiquarian Society'')<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on CD]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|||Catermole, P., ''The Church Bells of Norfolk'' (''unfinished'' – 4 vols containing 5 parts, 1991–2000)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (4 vols, 1995–2020)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Oxfordshire] (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|||Ovens, R. & Sleath, S., ''Time in Rutland'' (2002)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|||Massey, G.W., ''The Church Bells of Somerset'' (2011)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|||Hawkins, C.H., ''Notes taken from a Collection of Inscriptions on Ancient and Interesting Suffolk Church Bells'' (1938)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds] (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Park, G.R., ''Church Bells of Holderness'' [in the East Riding] (1898)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|-<br />
|||Bryant, D., ''The Bells of York'' (2011)<br />
|-<br />
|||Lennox, W., Atkin, C. & Fox, M., ''Church Bells of the East Riding of Yorkshire'' (2021)<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=2426County histories2022-05-02T17:55:09Z<p>RAS: Added a few more books</p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Hallam, W.H., The Church Bells of Berkshire (1896–99)<br />
|-<br />
|||Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Berkshire] (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|Clarke, J.W., ''Church Bells of Cheshire'' (1948–58)<br />
|-<br />
|Cornwall<br />
|Dunkin, E.H.W., ''Church Bells of Cornwall'' (1878)<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|Whitehead, H., ''Church Bells of Cumberland'' (1883–97)<br />
|-<br />
|Derbyshire<br />
|Jewitt, L., ''Church Bells of Derbyshire'' (1872–80)<br />
|-<br />
|||Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Walters, H.B., ''Church Bells of Gloucestershire'' (1893–1920)<br />
|-<br />
|||Bliss, M. & Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Gloucestershire] (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Herefordshire] (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on CD]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on CD]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., [http://www.sharpetrustees.org.uk/pubns.htm Church Bells of Oxfordshire] (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds] (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Skill_distribution_curve_(the_zones)&diff=2313Skill distribution curve (the zones)2020-01-26T12:00:03Z<p>RAS: </p>
<hr />
<div>Talk of green zone, red zone and most of all black zone ringing comes up regularly on the various ringing forums. <br />
<br />
The terms are analogous to the difficulty rating of ski slopes and were introduced in the context of ringing by Simon Linford in part two of a series of articles published in the [http://www.ringingworld.co.uk| Ringing World] in 2002/3 entitled "Room at the Top?".<br />
<br />
The articles can be found using the links below:-<br />
<br />
====Room at the Top?====<br />
<br />
* [http://www.ringingworld.co.uk/news-articles/other-articles/499-room-top-1.html Part 1 – "Introduction"]<br />
* [http://www.ringingworld.co.uk/news-articles/other-articles/498-room-top-2.html Part 2 – "The Ringing Learning Curves"]<br />
* [http://www.ringingworld.co.uk/news-articles/other-articles/500-room-top-3.html Part 3 – "Ringing Celebrities"]<br />
* [http://www.ringingworld.co.uk/news-articles/other-articles/501-room-top-4.html Part 4 – "The Cost of Learning to Ring"]<br />
<br />
These articles were reprinted in ''The Ringing World'' in 2019, with an additional introduction and new annotations by Simon. Subscribers to ''The Ringing World'' can view these here: <br />
<br />
* [https://bb.ringingworld.co.uk/issues/2019/959 "Room at The Top (again)"], ''The Ringing World'', no 5658, 4 October 2019, pg 959<br />
* [https://bb.ringingworld.co.uk/issues/2019/988 "Introduction"], ''The Ringing World'', no 5659, 11 October 2019, pg 988<br />
* [https://bb.ringingworld.co.uk/issues/2019/1010 "The Ringing Learning Curves"], ''The Ringing World'', no 5660, 18 October 2019, pg 1010<br />
* [https://bb.ringingworld.co.uk/issues/2019/1046 "Ringing Celebrities"], ''The Ringing World'', no 5661, 25 October 2019, pg 1046<br />
* [https://bb.ringingworld.co.uk/issues/2019/1062 "The Cost of Learning to Ring"], ''The Ringing World'', no 5661, 1 November 2019, pg 1062</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_21&diff=2220Project Pickled Egg - Part 212018-11-30T14:15:37Z<p>RAS: </p>
<hr />
<div>===''[https://complib.org/method/16377 Jovium] and [https://complib.org/method/16378 Bolonium]''===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/1217 ''The Ringing World''], No 5614, 30 Nov 2018, pg 1217.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_21&diff=2219Project Pickled Egg - Part 212018-11-30T14:15:26Z<p>RAS: Created page with "===''[https://complib.org/method/16377 Jovium] and [https://complib.org/method/16378 Jovium]''=== ''This article has not yet been made available here.'' ==References== * [ht..."</p>
<hr />
<div>===''[https://complib.org/method/16377 Jovium] and [https://complib.org/method/16378 Jovium]''===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/1217 ''The Ringing World''], No 5614, 30 Nov 2018, pg 1217.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg&diff=2218Project Pickled Egg2018-11-30T14:11:58Z<p>RAS: </p>
<hr />
<div>Project Pickled Egg aims to develop properly a new set of Core Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow-up resource that could have traction. It was created by Simon Linford and is explored through a series of articles in the Ringing World that are repeated here.<br />
<br />
* [[Project Pickled Egg - Part 1]] - Background<br />
* [[Project Pickled Egg - Part 2]] - Where did the Standard 8 come from?<br />
* [[Project Pickled Egg - Part 3]] - Core Principles<br />
* [[Project Pickled Egg - Part 4]] - Cambridge<br />
* [[Project Pickled Egg - Part 5]] - Yorkshire<br />
* [[Project Pickled Egg - Part 6]] - Cornwall<br />
* [[Project Pickled Egg - Part 7]] - Superlative<br />
* [[Project Pickled Egg - Part 8]] - Dustbin Week!<br />
* [[Project Pickled Egg - Part 9]] - Bristol<br />
* [[Project Pickled Egg - Part 10]] - Lessness<br />
* [[Project Pickled Egg - Part 11]] - London<br />
* [[Project Pickled Egg - Part 12]] - The "Core Seven"<br />
* [[Project Pickled Egg - Part 13]] - A little bit of spliced<br />
* [[Project Pickled Egg - Part 14]] - Deva<br />
* [[Project Pickled Egg - Part 15]] - Lancashire<br />
* [[Project Pickled Egg - Part 16]] - Kenninghall<br />
* [[Project Pickled Egg - Part 17]] - Cooktown Orchid<br />
* [[Project Pickled Egg - Part 18]] - Glasgow<br />
* [[Project Pickled Egg - Part 19]] - Belfast<br />
* [[Project Pickled Egg - Part 20]] - Glasgow &ndash; The public vote<br />
* [[Project Pickled Egg - Part 21]] - Jovium and Bolonium<br />
<br />
to be continued ...</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg&diff=2217Project Pickled Egg2018-11-23T15:32:55Z<p>RAS: </p>
<hr />
<div>Project Pickled Egg aims to develop properly a new set of Core Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow-up resource that could have traction. It was created by Simon Linford and is explored through a series of articles in the Ringing World that are repeated here.<br />
<br />
* [[Project Pickled Egg - Part 1]] - Background<br />
* [[Project Pickled Egg - Part 2]] - Where did the Standard 8 come from?<br />
* [[Project Pickled Egg - Part 3]] - Core Principles<br />
* [[Project Pickled Egg - Part 4]] - Cambridge<br />
* [[Project Pickled Egg - Part 5]] - Yorkshire<br />
* [[Project Pickled Egg - Part 6]] - Cornwall<br />
* [[Project Pickled Egg - Part 7]] - Superlative<br />
* [[Project Pickled Egg - Part 8]] - Dustbin Week!<br />
* [[Project Pickled Egg - Part 9]] - Bristol<br />
* [[Project Pickled Egg - Part 10]] - Lessness<br />
* [[Project Pickled Egg - Part 11]] - London<br />
* [[Project Pickled Egg - Part 12]] - The "Core Seven"<br />
* [[Project Pickled Egg - Part 13]] - A little bit of spliced<br />
* [[Project Pickled Egg - Part 14]] - Deva<br />
* [[Project Pickled Egg - Part 15]] - Lancashire<br />
* [[Project Pickled Egg - Part 16]] - Kenninghall<br />
* [[Project Pickled Egg - Part 17]] - Cooktown Orchid<br />
* [[Project Pickled Egg - Part 18]] - Glasgow<br />
* [[Project Pickled Egg - Part 19]] - Belfast<br />
* [[Project Pickled Egg - Part 20]] - Glasgow &ndash; The public vote<br />
<br />
to be continued ...</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_20&diff=2216Project Pickled Egg - Part 202018-11-23T15:32:42Z<p>RAS: Created page with "===''[https://complib.org/method/20055 Glasgow] &ndash; The public vote''=== ''This article has not yet been made available here.'' ==References== * [https://bb.ringingworld..."</p>
<hr />
<div>===''[https://complib.org/method/20055 Glasgow] &ndash; The public vote''===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/1130 ''The Ringing World''], No 5613, 23 Nov 2018, pg 1130.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_19&diff=2215Project Pickled Egg - Part 192018-11-23T15:31:01Z<p>RAS: Created page with "===[https://complib.org/method/19756 ''Belfast Surprise Major'']=== ''This article has not yet been made available here.'' ==References== * [https://bb.ringingworld.co.uk/is..."</p>
<hr />
<div>===[https://complib.org/method/19756 ''Belfast Surprise Major'']===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/1078 ''The Ringing World''], No 5611, 9 Nov 2018, pg 1078.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg&diff=2214Project Pickled Egg2018-11-23T15:28:28Z<p>RAS: </p>
<hr />
<div>Project Pickled Egg aims to develop properly a new set of Core Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow-up resource that could have traction. It was created by Simon Linford and is explored through a series of articles in the Ringing World that are repeated here.<br />
<br />
* [[Project Pickled Egg - Part 1]] - Background<br />
* [[Project Pickled Egg - Part 2]] - Where did the Standard 8 come from?<br />
* [[Project Pickled Egg - Part 3]] - Core Principles<br />
* [[Project Pickled Egg - Part 4]] - Cambridge<br />
* [[Project Pickled Egg - Part 5]] - Yorkshire<br />
* [[Project Pickled Egg - Part 6]] - Cornwall<br />
* [[Project Pickled Egg - Part 7]] - Superlative<br />
* [[Project Pickled Egg - Part 8]] - Dustbin Week!<br />
* [[Project Pickled Egg - Part 9]] - Bristol<br />
* [[Project Pickled Egg - Part 10]] - Lessness<br />
* [[Project Pickled Egg - Part 11]] - London<br />
* [[Project Pickled Egg - Part 12]] - The "Core Seven"<br />
* [[Project Pickled Egg - Part 13]] - A little bit of spliced<br />
* [[Project Pickled Egg - Part 14]] - Deva<br />
* [[Project Pickled Egg - Part 15]] - Lancashire<br />
* [[Project Pickled Egg - Part 16]] - Kenninghall<br />
* [[Project Pickled Egg - Part 17]] - Cooktown Orchid<br />
* [[Project Pickled Egg - Part 18]] - Glasgow<br />
* [[Project Pickled Egg - Part 19]] - Belfast<br />
* [[Project Pickled Egg - Part 20]] - Glasgow &ndash; The Vote<br />
<br />
to be continued ...</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_18&diff=2213Project Pickled Egg - Part 182018-11-23T15:26:03Z<p>RAS: </p>
<hr />
<div>===[https://complib.org/method/20055 ''Glasgow Surprise Major'']===<br />
<br />
Over the next three weeks I am going to consider two methods which are often uttered in the same breath, a breath which may instill fear or wonder in equal measure. They are two methods that are often considered to be the next two after the ‘Standard 8’. I am of course talking about Glasgow and Belfast. <br />
<br />
Although they are often linked, and I expect there are more compositions of spliced that have both in rather than one, they are very different animals. For the purpose of Project Pickled Egg they need to be considered separately as there is no good argument for treating them as a pair. <br />
<br />
Glasgow is not a ‘middle aged’ method – first pealed in 1947 and certainly very challenging then. It went on to be included in Norman Smith’s 23 Spliced as one of the more difficult methods in the composition, and then it was teamed up with Bristol, London and Belfast in Roddy Horton’s all the work one part composition ‘Horton’s 4’, which has become one of the classic compositions, a target and badge of honour for many a band and conductor. <br />
<br />
Glasgow was the first difficult method I learned, as it was introduced into my local association probably in the early 1980s. Learning it represented my breakthrough into the upper echelons of the Society, getting to ring in the ‘top touch’, the touch featuring all those ringers who I aspired to be like. And it was like nothing I had seen before. It has some bits of work that are like London, points which seemed to come in weird places for instance point fifths and back from the front, odd places like the 5ths after passing the treble on the way out, dodges in 45 (!) rather than the conventional 34 or 56, and bobs which were a recipe for disaster. <br />
<br />
That’s the key feature of Glasgow when you first see it – the lack of familiarity with what has gone before. You are clutching at straws trying to piece it together from things you already know, even if you had been following the Project Pickled Egg path and had a solid grounding in methods of different types. Although it has Plain Bob lead end order, defined as Group G, it doesn’t really feel like that because it is an 8ths place method, and the 45 dodge at the lead that causes you to become 4ths or 5ths place bell may have you thinking you are going in the wrong direction. <br />
<br />
The above work is actually one which is used a lot in methods on higher numbers. It is one of the classics. Unfortunately, the basic structure (more usually referred to as Strathclyde above from the Maximus variant) doesn’t actually become obvious when you only ring it on 8! The structure features a fishtail immediately, e.g. 7ths place bell does 878 and then goes down, 8ths place bell does 787 and goes out, and then the bells above plain hunt wrong until the treble is in 56, when they do another fishtail, then set off in the right direction again. This formula is interrupted by any bell that meets the treble before the treble gets to 56. Unfortunately in Glasgow Major, no bells get to do the second of the two fishtails because there isn’t room above the treble. The pure structure is not apparent until you ring the Royal extension (Clyde) or the Maximus extension (Strathclyde). <br />
<br />
So there is no doubt Glasgow presents a significant challenge the first time you see it or ring it. But is it any good? Is it worth the effort? Does it make it into the Project Pickled Egg larder?<br />
<br />
Firstly I am going to spell out the original PPE tests, as it has been a while, and then consider Glasgow against them.<br />
<br />
# ''It should be musical in the plain course''<br />
#: Well it isn’t particularly, although it provides variety. Not a shocker but nothing special. A band ringing a quarter peal of this for the first time is so worried and is concentrating so hard that any music in the composition probably won’t get noticed! I don’t think any band tries to ring a musical composition of Glasgow.<br />
# ''It should introduce a useful new skill, technique or concept, and hence be progressive''<br />
#: It does introduce some new skills, but we can debate how useful those skills are.<br />
# ''It should not have limiting falseness''<br />
#: Not a reason for excluding it<br />
# ''Some familiarity is helpful''<br />
#: OK on this one - there are lots of ringers who know Glasgow which makes it quite accessible for the learner. So if you are just looking to include a difficult method, one which quite a lot of ringers know already aids adoption<br />
<br />
None of that is compelling so we need to consider the bigger picture. <br />
<br />
Experienced ringers point to the 45 half lead dodge as an important feature that is worth getting used to. Indeed, doing a half lead dodge that is not in 12, 34 or 56 is different, and does happen in more difficult methods. However, when I first learned Glasgow I had no idea that the dodge in 45 was at the half lead, and I don’t know if it would have helped me or not. The 45 dodge at the lead end was more obvious, but that isn’t actually a very common feature in other methods. What it does introduce that is new is the concept of a ‘normal’ 4ths place bob causing bells to do things that seem very different.<br />
<br />
For those who have mastered ringing the methods, Glasgow becomes a very interesting method in Spliced. It adds variety, difficulty, interest, spice, risk, a useful lead order, different musical possibilities. Composers like it, and some say that although it isn’t particularly musical in its own right, it can help bring out the best in a composition. <br />
<br />
In summary, the arguments in favour of included Glasgow in PPE as a method recommended to be learned:<br />
<br />
* It is a useful above work (though not obviously expressed on 8)<br />
* Group G - not previously encountered<br />
* Unusual blue line with many new features<br />
* 4-5 dodge at the half lead is a key feature and very worth knowing<br />
* The bobs demonstrate that not all 4ths place bobs are created equal<br />
* Works well in spliced<br />
* Included in Smiths 23 and Hortons 4 compositions (and many other more difficult comps)<br />
* Gateway to more difficult methods<br />
<br />
Arguments against<br />
<br />
* Does not meet the original PPE criteria particularly in not being a musical plain course<br />
* Lack of music off the front<br />
* There may be better options that achieve the same, but without the familiarity<br />
<br />
Finally, Glasgow carries emotional and historic attachment which could be considered an argument for including it. <br />
<br />
Although there are more arguments for than against, Glasgow is still only really getting included because the new features it introduces, and familiarity of the method, means it is an accessible way of introducing something very different and difficult. Like Cambridge and London, it is not getting in on merit. That leads one to ask whether there is a method that fulfils the same criteria, but in the extensive discussion group debate there were no compelling candidates. <br />
<br />
Another debate amongst those on the PPE discussion group was whether the list of methods needs to go this far. Do we need aspirational ‘marquee methods’ that might be seen as the end goal of the Project, or should the Project remain as a set of foundations after which followers will be able to ring and learn almost anything, including Glasgow (and Belfast). If it is only about finding a difficult method to finish with there would definitely be better candidates than Glasgow. <br />
<br />
After much debate in the Facebook discussion group, I launched a poll – a sort of ‘In / Out’ referendum which has proved such a good way of making critical decisions. Unfortunately after a few people had voted, I introduced a third choice – ‘something like Glasgow but not Glasgow’ – and muddied the water. A new referendum was suggested!<br />
<br />
I am not going to conclude on Glasgow yet. Next week I am going to look at Belfast, and in the meantime, let this smoulder and then post the poll again. It will be the people’s vote.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/1052 ''The Ringing World''], No 5610, 2 Nov 2018, pg 1052.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg&diff=2186Project Pickled Egg2018-07-09T17:44:31Z<p>RAS: </p>
<hr />
<div>Project Pickled Egg aims to develop properly a new set of Core Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow-up resource that could have traction. It was created by Simon Linford and is explored through a series of articles in the Ringing World that are repeated here.<br />
<br />
* [[Project Pickled Egg - Part 1]] - Background<br />
* [[Project Pickled Egg - Part 2]] - Where did the Standard 8 come from?<br />
* [[Project Pickled Egg - Part 3]] - Core Principles<br />
* [[Project Pickled Egg - Part 4]] - Cambridge<br />
* [[Project Pickled Egg - Part 5]] - Yorkshire<br />
* [[Project Pickled Egg - Part 6]] - Cornwall<br />
* [[Project Pickled Egg - Part 7]] - Superlative<br />
* [[Project Pickled Egg - Part 8]] - Dustbin Week!<br />
* [[Project Pickled Egg - Part 9]] - Bristol<br />
* [[Project Pickled Egg - Part 10]] - Lessness<br />
* [[Project Pickled Egg - Part 11]] - London<br />
* [[Project Pickled Egg - Part 12]] - The "Starter Seven"<br />
* [[Project Pickled Egg - Part 13]] - A little bit of spliced<br />
* [[Project Pickled Egg - Part 14]] - Deva<br />
* [[Project Pickled Egg - Part 15]] - Lancashire<br />
* [[Project Pickled Egg - Part 16]] - Kenninghall<br />
* [[Project Pickled Egg - Part 17]] - Cooktown Orchid<br />
<br />
to be continued ...</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_16&diff=2185Project Pickled Egg - Part 162018-07-09T17:43:58Z<p>RAS: </p>
<hr />
<div>===[https://complib.org/method/18034 ''Kenninghall Surprise Major'']===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/496 ''The Ringing World''], No 5587, 25 May 2018, pg 496.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_17&diff=2184Project Pickled Egg - Part 172018-07-09T17:43:43Z<p>RAS: </p>
<hr />
<div>===[https://complib.org/method/24457 ''Cooktown Orchid Delight Major'']===<br />
<br />
''This article has not yet been made available here.''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/544 ''The Ringing World''], No 5589, 8 June 2018, pg 544.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_17&diff=2183Project Pickled Egg - Part 172018-07-09T17:42:28Z<p>RAS: Created page with "===[https://complib.org/method/24457 ''Cooktown Orchid Delight Major'']=== ==References== * [https://bb.ringingworld.co.uk/issues/2018/544 ''The Ringing World''], No 5589, 8..."</p>
<hr />
<div>===[https://complib.org/method/24457 ''Cooktown Orchid Delight Major'']===<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/544 ''The Ringing World''], No 5589, 8 Jun 2018, pg 544.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_16&diff=2182Project Pickled Egg - Part 162018-07-09T17:41:07Z<p>RAS: Created page with "===[https://complib.org/method/18034 ''Kenninghall Surprise Major'']=== ==References== * [https://bb.ringingworld.co.uk/issues/2018/496 ''The Ringing World''], No 5587, 25 Ma..."</p>
<hr />
<div>===[https://complib.org/method/18034 ''Kenninghall Surprise Major'']===<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/496 ''The Ringing World''], No 5587, 25 May 2018, pg 496.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_15&diff=2181Project Pickled Egg - Part 152018-06-18T22:49:34Z<p>RAS: </p>
<hr />
<div>===[https://complib.org/method/20901 ''Lancashire Surprise Major'']===<br />
<br />
The rivalry between Yorkshire and Lancashire exists in many fields of endeavour, but when it comes to eponymous Surprise Major methods, the contest is a difficult one to judge. Yorkshire scores for longevity and ease of ringing but is a bit dull, while Lancashire is a much more interesting and exciting affair. If I were to return to the larder of ingredients analogy, while Yorkshire might be a staple of butter or flour, Lancashire is something like chorizo – tasty on its own but even better for spicing up other dishes.<br />
<br />
Lancashire Surprise Major is not well known outside the peal ringing fraternity, but was a strong suggestion for inclusion by the initial core group developing this project. <br />
<br />
Arguments for inclusion:<br />
<br />
* It’s a great method to think about structure. And for someone who knows Bristol, it’s quite useful as it is a sort of ‘inside-out’ Bristol.<br />
* It’s also good for thinking about “how it works” when you’re ringing it, and encouraging ringers away from rote blueline memorization.<br />
* The a group lead end order, while familiar from Plain Bob, is a surprisingly under-utilized lead end order in spliced, and an excellent one to add to the mix.<br />
* Clean proof scale to aid composers.<br />
* Like London, learning to negotiate the changes of method into and out of it in spliced teaches a useful skill.<br />
<br />
Those who have rung Norman Smith’s 23 Spliced will see familiarity in Lancashire because it is Whalley above the treble, but it also has the Whalley above work below the treble as well – a double method with rotational symmetry. It has similarities with Bristol, having the line of Bristol just started one blow later – difficult to explain but if you compare the grids and you will see that the bells in 5ths and 8ths place lie still, 67 cross, and then you have the Bristol starts. So if it is a bit like Bristol but not better, is it worth including, and what value is it adding? <br />
<br />
I don’t think many ringers when learning Whalley say to themselves “ooh this is like Bristol”. They see the similarities of bits of line but it feels different. I have always seen methods like this, that start with the notation 58x58.14, as being a group in their own right, rather than as some sort of Bristol variation. For me they sit alongside, and can get confused with, methods like Sussex which start 38x58.14 and have similar lines above the treble.<br />
<br />
Although Lancashire has not been rung as a single method that often (it was first pealed in 1922) it has been used by composers of spliced. Colin Wyld used it as one of the methods for his ground-breaking 6-part all-the-work composition of [http://www.cantabgold.net/users/pje24/wyld24.pdf ''24 spliced''] composed in the 1980s. This is, I think, the only Surprise Major composition that is ring by above and below works rather than by learning 24 lines – there are three above works, of which Lancashire is one (Premier and Stanton are the other two), and eight below works. It is firmly at the non-trivial end of the spectrum and has not been rung very often!<br />
<br />
Don Morrison has used Lancashire and exploited its musical properties in lots of his compositions of spliced, and there are excellent compositions of 23 Spliced by both Don and Philip Earis that include Lancashire (and plenty of other PPE methods). However I realise that in discussing such compositions I am straying away from reality for most readers, and I am only trying to emphasize the fact that highly regarded composers use methods for good reason, and Lancashire is one that get used. If there was a composition of 23 Spliced to aspire to, it is more likely to have Lancashire in it than Whalley.<br />
<br />
For quarter peal compositions, a simple six homes isn’t a disaster, (2p 2s 2p b) x6 is better, or you could try this rather more ambitious offering:<br />
<br />
<b style="font-family: sans-serif">1280 Lancashire Surprise Major</b><br />
<span style="font-family: sans-serif">Composed by Mark B Davies</span><br />
<br />
<u>23456 W V F B M H</u><br />
24356 s<br />
25364 - - <br />
32456 - - - ss<br />
<u>23456 - - - - s</u><br />
<br />
<span style="font-family: sans-serif">17 5678s, 4 6578s, 38 crus, 88 4-bell runs, 176 5678 combinations, 19 8765s (7f,12b), Tittums, Backrounds.</span><br />
<br />
So, Lancashire is a very good method in its own right with a nice line and musical potential (sorry Yorkshire, you have lost this particular battle for me), it introduces a genuinely different above and below work, it has the special beauty of a double method, a new lead end order from previous PPE methods, and is a good method in spliced both because it is different and for its musical properties.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/472 ''The Ringing World''], No 5586, 18 May 2018, pg 472.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_14&diff=2180Project Pickled Egg - Part 142018-06-18T22:44:36Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/18970 ''Deva Surprise Major'']===<br />
<br />
I am now starting on an as yet undefined number of methods which progress beyond the Starter Seven. Most of them will be progressive in that they will introduce something that has not been met before such as a new above work, a different structure, or a challenge to the way one learns or rings methods. The first seven methods have merit as a group and a target in themselves, but they are really only a gateway to the world of Surprise Major, which offers much more to discover and enjoy. <br />
<br />
The first new method for consideration is Deva Surprise Major. <br />
<br />
Arguments for inclusion:<br />
<br />
* The way it is constructed from existing known methods (Bristol, Superlative) makes it very good for understanding method construction, and presents a great challenge for ringers piecing together sections of methods they know and ending up with something that feels completely different <br />
* It introduces a new lead end group<br />
* The plain course is very musical <br />
* Calling three bobs at Home is a lead shorter than the plain course, and absolutely packed with attractive rows<br />
* The falseness is unusual, but not particularly constraining<br />
* Very useful in spliced compositions<br />
<br />
On the face of it, Deva is not any more difficult than anything that has gone before, being made up of Bristol above the treble and Superlative below. It might not look like Superlative from the blue line, but all that has changed is that instead of 7ths being made under the treble at the half-lead, 1sts place is made and other bells plain hunt rather than dodge. Anyone who knows Bristol and Superlative, and also knows which dodges in Superlative are happening when the treble is making 8ths, can in theory ring Deva unencumbered by another blue line. In theory… <br />
<br />
Ringing methods by above and below works is something regularly practised in Minor ringing. It is a very efficient way of being able to learn and ring lots of methods, especially when combined with an awareness of where the half-lead is, and how to adapt to different places being made at that point. Ringing this way is not common in Surprise Major because too many of the methods resulting from combining some above and below works either wouldn’t be any good or wouldn’t work at all. <br />
<br />
Deva is an exception because its constituent parts are well known and so it can be rung as Superlative below Bristol. However some ringers who have learned and rung Deva without seeing the Superlative didn’t find the below work very difficult to learn anyway. Project Pickled Egg is aiming to encourage an appreciation of method structure, and so being able to see that Deva is Superlative below is good. If it also gives an awareness of where the half-lead dodges are in Superlative – even better. <br />
If you have never rung a method by above and below, how do you do it? In the same way that learning place bells enables you to switch methods at a lead end, the key to above and below is to learn all the places on the blue line or in the structure where you meet the treble, either dodging with it or passing it. Then you switch to the same point on the other method. This may seem as though a lot more knowledge is needed, but there is much to be gained from learning a method including where the treble passing points are anyway, and is why the most decent blue lines show the treble as well. <br />
<br />
I confess that the first time I rang a course of Deva, knowing its structure but not its line, I wish I had spent a little bit of time in advance working out what would happen in practice – fortunately others fired it out before my own lack of preparation became apparent! My suggestion therefore is to learn the line if you have to, but try and see the Bristol, the Superlative, and the effect of the 18 half-lead, as you are ringing it. You may soon be liberated from the ‘crutch’ of the blue line. <br />
<br />
Deva is a j group method, typically rung with a 4ths place bob. Just like in Bristol, a 4ths place bob when called in an 8ths place method causes all the bells above 4ths place to dodge at the lead end when they otherwise wouldn’t, with the bells in 2nds and 3rds unaffected. In Bristol the bob causes the bells above 4ths to repeat the lead they have just rung. In Deva the call causes the last two leads to be repeated – the tenor ‘jumps’ back two leads on the blue line and rings them again. This makes j group methods particularly attractive. Anthony Barnfield described it thus on the PPE Facebook group “Deva is excellent for shunt and pad compositions. You shunt the bells into whatever position you fancy (2468s or 8765s, whatever) and then you can pad with blocks of three (or more) using fourths place calls at alternate leads. Within the two leads whatever you are getting at the back you get off the front.” This is a method that is not only intrinsically musical, but its lead-end group enables that to be exploited to good effect. <br />
<br />
For each of these additional methods I am going to offer one or two quarter peal compositions. The first one, suggested by Anthony Barnfield, exploits the ‘shunt and pad’ property explained above. It might look complex but a straightforward option is to ring the 4th and call yourself 5ths, 7ths, In, Out, Make – a four-part with singles halfway and end on the Makes. The ‘In Out Make’ section (the sets of 3 Middles and Homes below for the tenor) is repeating pairs of musical leads to generate the 5678 combinations. <br />
<br />
<b style="font-family: sans-serif">1280 Deva Surprise Major</b><br />
<span style="font-family: sans-serif">Arr AJB (SMC32)</span><br />
<br />
<u>234567 B 2 H 4 M V</u><br />
(372546) - - <br />
(372546) 3 <br />
436257 - <br />
<u>324567 - 3* </u><br />
<span style="font-family: sans-serif">2 part</span><br />
<br />
3* = b b s<br />
<br />
<span style="font-family: sans-serif">Contains all 24 each 5678 and 8765 off front and back, 256 combinations of 5678 off the back, 192 combinations of 5678 off the front, 24 1234s off front and back, and 18 4321s off front and back</span><br />
<br />
Another option<br />
<br />
<b style="font-family: sans-serif">1344 Deva Surprise Major</b><br />
<span style="font-family: sans-serif">Donald F Morrison</span><br />
<br />
<u>23456 B H</u><br />
24356 s<br />
43625 - a<br />
<u>34256 - s</u><br />
<span style="font-family: sans-serif">Repeat twice</span><br />
<br />
a = V,M,F.<br />
<br />
<span style="font-family: sans-serif">Contains all 24 each 56s and 5678s off the front, 12 each 65s, 8765s, 8756s and 8765s off the front, 6 each 6578s off the front and 8756s off the front, and back rounds, and is all the work.</span><br />
<br />
Venusium is a ‘try also’ alongside Deva. Venusium is just Dublin above rather than Bristol, and is at least as good as Deva. Mark Davies has used Venusium to good effect in his challenging compositions of 10-spliced which he called “the Renaissance 10.” <br />
<br />
I know a local band that has Deva on their standard methods list, and I have made it the special method for tours. It is well worth trying to persuade others to look at it as any band should enjoy ringing Deva.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/448 ''The Ringing World''], No 5585, 11 May 2018, pg 448.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_14&diff=2179Project Pickled Egg - Part 142018-06-18T22:43:35Z<p>RAS: </p>
<hr />
<div>===[https://complib.org/method/18970 ''Deva Surprise Major'']===<br />
<br />
I am now starting on an as yet undefined number of methods which progress beyond the Starter Seven. Most of them will be progressive in that they will introduce something that has not been met before such as a new above work, a different structure, or a challenge to the way one learns or rings methods. The first seven methods have merit as a group and a target in themselves, but they are really only a gateway to the world of Surprise Major, which offers much more to discover and enjoy. <br />
<br />
The first new method for consideration is Deva Surprise Major. <br />
<br />
Arguments for inclusion:<br />
<br />
* The way it is constructed from existing known methods (Bristol, Superlative) makes it very good for understanding method construction, and presents a great challenge for ringers piecing together sections of methods they know and ending up with something that feels completely different <br />
* It introduces a new lead end group<br />
* The plain course is very musical <br />
* Calling three bobs at Home is a lead shorter than the plain course, and absolutely packed with attractive rows<br />
* The falseness is unusual, but not particularly constraining<br />
* Very useful in spliced compositions<br />
<br />
On the face of it, Deva is not any more difficult than anything that has gone before, being made up of Bristol above the treble and Superlative below. It might not look like Superlative from the blue line, but all that has changed is that instead of 7ths being made under the treble at the half-lead, 1sts place is made and other bells plain hunt rather than dodge. Anyone who knows Bristol and Superlative, and also knows which dodges in Superlative are happening when the treble is making 8ths, can in theory ring Deva unencumbered by another blue line. In theory… <br />
<br />
Ringing methods by above and below works is something regularly practised in Minor ringing. It is a very efficient way of being able to learn and ring lots of methods, especially when combined with an awareness of where the half-lead is, and how to adapt to different places being made at that point. Ringing this way is not common in Surprise Major because too many of the methods resulting from combining some above and below works either wouldn’t be any good or wouldn’t work at all. <br />
<br />
Deva is an exception because its constituent parts are well known and so it can be rung as Superlative below Bristol. However some ringers who have learned and rung Deva without seeing the Superlative didn’t find the below work very difficult to learn anyway. Project Pickled Egg is aiming to encourage an appreciation of method structure, and so being able to see that Deva is Superlative below is good. If it also gives an awareness of where the half-lead dodges are in Superlative – even better. <br />
If you have never rung a method by above and below, how do you do it? In the same way that learning place bells enables you to switch methods at a lead end, the key to above and below is to learn all the places on the blue line or in the structure where you meet the treble, either dodging with it or passing it. Then you switch to the same point on the other method. This may seem as though a lot more knowledge is needed, but there is much to be gained from learning a method including where the treble passing points are anyway, and is why the most decent blue lines show the treble as well. <br />
<br />
I confess that the first time I rang a course of Deva, knowing its structure but not its line, I wish I had spent a little bit of time in advance working out what would happen in practice – fortunately others fired it out before my own lack of preparation became apparent! My suggestion therefore is to learn the line if you have to, but try and see the Bristol, the Superlative, and the effect of the 18 half-lead, as you are ringing it. You may soon be liberated from the ‘crutch’ of the blue line. <br />
<br />
Deva is a j group method, typically rung with a 4ths place bob. Just like in Bristol, a 4ths place bob when called in an 8ths place method causes all the bells above 4ths place to dodge at the lead end when they otherwise wouldn’t, with the bells in 2nds and 3rds unaffected. In Bristol the bob causes the bells above 4ths to repeat the lead they have just rung. In Deva the call causes the last two leads to be repeated – the tenor ‘jumps’ back two leads on the blue line and rings them again. This makes j group methods particularly attractive. Anthony Barnfield described it thus on the PPE Facebook group “Deva is excellent for shunt and pad compositions. You shunt the bells into whatever position you fancy (2468s or 8765s, whatever) and then you can pad with blocks of three (or more) using fourths place calls at alternate leads. Within the two leads whatever you are getting at the back you get off the front.” This is a method that is not only intrinsically musical, but its lead-end group enables that to be exploited to good effect. <br />
<br />
For each of these additional methods I am going to offer one or two quarter peal compositions. The first one, suggested by Anthony Barnfield, exploits the ‘shunt and pad’ property explained above. It might look complex but a straightforward option is to ring the 4th and call yourself 5ths, 7ths, In, Out, Make – a four-part with singles halfway and end on the Makes. The ‘In Out Make’ section (the sets of 3 Middles and Homes below for the tenor) is repeating pairs of musical leads to generate the 5678 combinations. <br />
<br />
<b style="font-family: sans-serif">1280 Deva Surprise Major</b><br />
<span style="font-family: sans-serif">Arr AJB (SMC32)</span><br />
<br />
<u>234567 B 2 H 4 M V</u><br />
(372546) - - <br />
(372546) 3 <br />
436257 - <br />
<u>324567 - 3* </u><br />
<span style="font-family: sans-serif">2 part</span><br />
<br />
3* = b b s<br />
<br />
<span style="font-family: sans-serif">Contains all 24 each 5678 and 8765 off front and back, 256 combinations of 5678 off the back, 192 combinations of 5678 off the front, 24 1234s off front and back, and 18 4321s off front and back</span><br />
<br />
Another option<br />
<br />
<b style="font-family: sans-serif">1344 Deva Surprise Major</b><br />
<span style="font-family: sans-serif">Donald F Morrison</span><br />
<br />
<u>23456 B H</u><br />
24356 s<br />
43625 - a<br />
<u>34256 - s</u><br />
<span style="font-family: sans-serif">Repeat twice</span><br />
<br />
a = V,M,F.<br />
<br />
<span style="font-family: sans-serif">Contains all 24 each 56s and 5678s off the front, 12 each 65s, 8765s, 8756s and 8765s off the front, 6 each 6578s off the front and 8756s off the front, and back rounds, and is all the work.</span><br />
<br />
Venusium is a ‘try also’ alongside Deva. Venusium is just Dublin above rather than Bristol, and is at least as good as Deva. Mark Davies has used Venusium to good effect in his challenging compositions of 10-spliced which he called “the Renaissance 10.” <br />
<br />
I know a local band that has Deva on their standard methods list, and I have made it the special method for tours. It is well worth trying to persuade others to look at it as any band should enjoy ringing Deva.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/448 ''The Ringing World''], No 5584, 11 May 2018, pg 448.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_13&diff=2178Project Pickled Egg - Part 132018-06-18T22:30:48Z<p>RAS: /* A Little Bit of Spliced */</p>
<hr />
<div>===A Little Bit of Spliced===<br />
<br />
The first seven PPE methods, maybe to become called the Starter Seven unless someone comes up with a better moniker, may well be practiced first as whole courses, but then ringers and bands will be looking to combine them in touches of spliced. <br />
<br />
I think it is very worthwhile explaining the techniques for putting together touches of spliced rather than just offering a selection of touches that work. This skill seems to be locked in the box that only members of the conducting ‘Magic Circle’ know how to open. <br />
<br />
All the Surprise Major methods we ever ring have the same seven lead ends – the ones that come in a course of Plain Bob Major. We call them the Plain Bob lead ends. This may seem surprising, but historically methods without Plain Bob lead ends were called “irregular” and were frowned upon. Composers of methods stuck to the “regular” Plain Bob lead ends which makes composition and conducting far easier. (There are just 76 out of nearly 6000 Surprise Major methods without Plain Bob lead ends.)<br />
<br />
We can assign these methods to groups based on two things: the order of the lead ends and the change rung at the lead end itself. For example, a method that has lead ends in the same order as Plain Bob, and which has second-place lead ends like Plain Bob, is an “a” group method (as is Plain Bob, itself). Cambridge has a first lead end that is the same as the second lead end of Plain Bob and is a “b” group method. Methods with seconds-place lead ends are in groups a g. depending on the order of the lead ends. Methods that have eighth-place lead ends are assigned to groups h m, again, depending on the order of the lead ends. One of the most popular groups, m group, is usually rung with 4ths place bobs and designated ‘mx’.<br />
<br />
In PPE, our first seven ingredients are three b group methods (Cambridge, Yorkshire, and Superlative), two f group methods (London and Lessness), one l group (Cornwall – and it’s “L” as in leather), and one “mx” method (Bristol). The Standard 8 only have three groups (b, f, and mx). Despite having one fewer method than the Standard 8, in PPE we have one more lead end group, which gives us quite a bit more flexibility.<br />
<br />
So, how do you splice them?<br />
<br />
For a simple start, you can ring seven leads of the same lead end group in any order – a plain course. For example, you can freely splice Cambridge, Superlative, and Yorkshire, all b group methods, and for more of a challenge you can freely splice the two f group methods, Lessness and London. Actually, as long as you aren’t fussed about truth, which you shouldn’t be for short touches, you can add Bristol to Lessness and London even though they are in different groups - as long as there are no bobs called, f group and mx methods have the same lead end order. <br />
<br />
From now on, we are going to abbreviate the method names. Cambridge, Yorkshire, Superlative, London and Bristol are easy: “C”, “Y”, “S”, “L”, and “B”, respectively. Lessness is usually abbreviated “E”, and Cornwall as “W”. These abbreviations are not universal, but are common enough.<br />
<br />
You can get a different length course by mixing method groups. You can do this by thinking about what place bells the tenor is ringing. For instance if you rang four leads of the b group methods, e.g. CSYS, the tenor would have become 7ths place bell. So you think to yourself “what sort of method gets you from 7ths place bell back to 8ths in one lead?” The answer is any f group or mx method – London, Lessness or Bristol. So it is worth remembering that a single lead of an f group or mx method, plus four leads of b group methods, comes round, and that you can ring them in any order. <br />
<br />
Another way of thinking about that five lead course is that the f group method had the same effect as three leads of b group methods – it gets the tenor to the same place. So you could replace three more of the leads of CY or S with another lead of, for instance, London. <br />
<br />
Then we have Cornwall where 8ths place bell becomes 4ths. How do you get from 4ths place bell back home to 8ths? Simply with one lead of Cambridge or equivalent. So there is a two lead course combining Cornwall with any of the b group methods, either way round. <br />
<br />
What course options do we have with the Starter Seven? First here is a recap of method names, their abbreviations and their groups:<br />
<br />
{|border=1<br />
|C || Cambridge || b group<br />
|-<br />
|Y || Yorkshire || b group<br />
|-<br />
|S || Superlative || b group<br />
|-<br />
|W || Cornwall || l group<br />
|-<br />
|B || Bristol || mx<br />
|-<br />
|L || London || f group<br />
|-<br />
|E || Lessness || f group<br />
|}<br />
<br />
Note the use of capital letters for methods and small letters for groups.<br />
<br />
{|border=1<br />
!No of leads !! Explanation !! Example<br />
|-<br />
|7 || Mix C Y and S in any order || CYSYCYS<br />
|-<br />
|7 || Mix L E and B in any order || BELBELB<br />
|-<br />
|5 || One lead of an f group, plus four of b group || LCCCC<br />
|-<br />
|3 || Two leads of f or mx, and one b || LSL<br />
|-<br />
|2 || Cornwall plus one b group || WC<br />
|}<br />
<br />
Now for a complication – calls. If you make a call at Middle Wrong or Home (when the tenor becomes 6ths, 7ths and 8ths place bells respectively) in a 2nds place method the lead order is not affected because the tenor is not affected. If, however, you call a bob at the end of a lead of Cornwall or Bristol, the order does change – the tenor “jumps” on the line. In Bristol the tenor jumps back a lead and rings the same lead again. In Cornwall … have a look at it and see what it does.<br />
<br />
A simple touch comprising three bobs at Home could therefore be put together with three short courses all called differently, containing six of the PPE methods. For instance:<br />
<br />
<u>23456 H</u><br />
42356 - LSE. <br />
34256 - WY.<br />
<u>23456 -</u> B.<br />
<br />
It is worth getting used to how touches like this are often written out. The calling positions used are at the top (just Homes in this case). The course ends brought up at the end of the course are on the left (missing out 1 7 and 8 as they stay the same), calls made in each course are shown as dashes in the appropriate column, and each course is on a separate line. It may seem counter-intuitive, but the numbers on the left are the course end that results from calling the calls and methods to the right. <br />
<br />
So in a more wordy form this is <br />
* LSE (bob) - three lead course, Superlative as middle lead will have Queens in, Lessness and London interchangeable<br />
* WY (bob) – two lead course, start with Cornwall otherwise the bob messes it up<br />
* B (bob) – Bristol repeats the lead so repeats the call<br />
<br />
Any course can be extended by calling a bob at the end and then adding a couple of bobbed leads of Bristol, e.g. LSL-B-B- (That’s another way of writing it – a string of letters with the bobs as dashes.) Two bobbed leads of Bristol at the end is nice because they contain a few 5678 roll ups. So just with short courses and bobs at Home you have lots of good practice options. <br />
<br />
As a composer/conductor, you expand your repertoire of callings for short touches. Then all you then need to do is use combinations of methods that will get you to those calling positions. For practice touches we don’t tend to worry about truth, so all we need to do is work out how to get back to rounds by combining methods with different lead-end orders with callings that would come round if rung to a single method. <br />
<br />
Touches worth knowing are:<br />
<br />
* 3H or 3W<br />
* sH sH<br />
* W H W H<br />
* B W M<br />
<br />
I will more often that not use W H W H for a shortish touch, particularly if I am wanting to test changing direction in and out of London. That would be <br />
<br />
LS-L- <br />
LC-L-<br />
<br />
Don Morrison has offered the following options showing how these touches can be used to combine the PPE methods. An s in a column denotes a Single, with the dash used for Bobs.<br />
<br />
<u>23456 H</u><br />
24356 s WC.<br />
<u>23456 s</u> YCYCW.<br />
<br />
<u>23456 H</u><br />
42356 - EYE.<br />
34256 - WC.<br />
<u>23456 -</u> WY.<br />
<br />
<u>23456 H</u><br />
24356 s ESE.<br />
<u>23456 s</u> WLWBW.<br />
<br />
<u>23456 H</u><br />
24356 s B.<br />
32456 - EWWLE.<br />
(<u>23456) </u> BS(E)<br />
<br />
<u>23456 H</u><br />
24356 s WS.<br />
32456 - LCE.<br />
(<u>32456) </u> BY(Y)<br />
<br />
Those two touches will come round after two rows of the method in brackets, i.e. at the treble backstroke snap with the tenor is 7ths place bell.<br />
<br />
<u>23456 B W M</u> <br />
<u>23456 - - -</u> CY.EL.WB.SE<br />
<br />
A different calling introduced here, with a bob before (tenor runs out). Note that this is the lead of Superlative with Queens in because after the three bobs you are back in the plain course. <br />
<br />
<u>23456 W B H</u><br />
52436 - LS.B<br />
<u>25364 - s</u> WE.CY.(S)<br />
<br />
<u>23456 </u><br />
(<u>32456) sB,sB,sF,B,V,B</u> SC.B.W.L.E.Y.W(C)<br />
<br />
Next week I will move into the next batch of methods, including some less familiar names. Any criticism levelled at PPE so far, for instance that all it has done is dropped NPR from the Standard 8 and added Cornwall and Lessness, which are quite well known anyway, may start to disappear.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/423 ''The Ringing World''], No 5584, 4 May 2018, pg 423.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_13&diff=2177Project Pickled Egg - Part 132018-06-18T22:30:07Z<p>RAS: /* A LITTLE BIT OF SPLICED */</p>
<hr />
<div>===A Little Bit of Spliced===<br />
<br />
The first seven PPE methods, maybe to become called the Starter Seven unless someone comes up with a better moniker, may well be practiced first as whole courses, but then ringers and bands will be looking to combine them in touches of spliced. <br />
<br />
I think it is very worthwhile explaining the techniques for putting together touches of spliced rather than just offering a selection of touches that work. This skill seems to be locked in the box that only members of the conducting ‘Magic Circle’ know how to open. <br />
<br />
All the Surprise Major methods we ever ring have the same seven lead ends – the ones that come in a course of Plain Bob Major. We call them the Plain Bob lead ends. This may seem surprising, but historically methods without Plain Bob lead ends were called “irregular” and were frowned upon. Composers of methods stuck to the “regular” Plain Bob lead ends which makes composition and conducting far easier. (There are just 76 out of nearly 6000 Surprise Major methods without Plain Bob lead ends.)<br />
<br />
We can assign these methods to groups based on two things: the order of the lead ends and the change rung at the lead end itself. For example, a method that has lead ends in the same order as Plain Bob, and which has second-place lead ends like Plain Bob, is an “a” group method (as is Plain Bob, itself). Cambridge has a first lead end that is the same as the second lead end of Plain Bob and is a “b” group method. Methods with seconds-place lead ends are in groups a g. depending on the order of the lead ends. Methods that have eighth-place lead ends are assigned to groups h m, again, depending on the order of the lead ends. One of the most popular groups, m group, is usually rung with 4ths place bobs and designated ‘mx’.<br />
<br />
In PPE, our first seven ingredients are three b group methods (Cambridge, Yorkshire, and Superlative), two f group methods (London and Lessness), one l group (Cornwall – and it’s “L” as in leather), and one “mx” method (Bristol). The Standard 8 only have three groups (b, f, and mx). Despite having one fewer method than the Standard 8, in PPE we have one more lead end group, which gives us quite a bit more flexibility.<br />
<br />
So, how do you splice them?<br />
<br />
For a simple start, you can ring seven leads of the same lead end group in any order – a plain course. For example, you can freely splice Cambridge, Superlative, and Yorkshire, all b group methods, and for more of a challenge you can freely splice the two f group methods, Lessness and London. Actually, as long as you aren’t fussed about truth, which you shouldn’t be for short touches, you can add Bristol to Lessness and London even though they are in different groups - as long as there are no bobs called, f group and mx methods have the same lead end order. <br />
<br />
From now on, we are going to abbreviate the method names. Cambridge, Yorkshire, Superlative, London and Bristol are easy: “C”, “Y”, “S”, “L”, and “B”, respectively. Lessness is usually abbreviated “E”, and Cornwall as “W”. These abbreviations are not universal, but are common enough.<br />
<br />
You can get a different length course by mixing method groups. You can do this by thinking about what place bells the tenor is ringing. For instance if you rang four leads of the b group methods, e.g. CSYS, the tenor would have become 7ths place bell. So you think to yourself “what sort of method gets you from 7ths place bell back to 8ths in one lead?” The answer is any f group or mx method – London, Lessness or Bristol. So it is worth remembering that a single lead of an f group or mx method, plus four leads of b group methods, comes round, and that you can ring them in any order. <br />
<br />
Another way of thinking about that five lead course is that the f group method had the same effect as three leads of b group methods – it gets the tenor to the same place. So you could replace three more of the leads of CY or S with another lead of, for instance, London. <br />
<br />
Then we have Cornwall where 8ths place bell becomes 4ths. How do you get from 4ths place bell back home to 8ths? Simply with one lead of Cambridge or equivalent. So there is a two lead course combining Cornwall with any of the b group methods, either way round. <br />
<br />
What course options do we have with the Starter Seven? First here is a recap of method names, their abbreviations and their groups:<br />
<br />
{|border=1<br />
|C || Cambridge || b group<br />
|-<br />
|Y || Yorkshire || b group<br />
|-<br />
|S || Superlative || b group<br />
|-<br />
|W || Cornwall || l group<br />
|-<br />
|B || Bristol || mx<br />
|-<br />
|L || London || f group<br />
|-<br />
|E || Lessness || f group<br />
|}<br />
<br />
Note the use of capital letters for methods and small letters for groups.<br />
<br />
{|border=1<br />
!No of leads !! Explanation !! Example<br />
|-<br />
|7 || Mix C Y and S in any order || CYSYCYS<br />
|-<br />
|7 || Mix L E and B in any order || BELBELB<br />
|-<br />
|5 || One lead of an f group, plus four of b group || LCCCC<br />
|-<br />
|3 || Two leads of f or mx, and one b || LSL<br />
|-<br />
|2 || Cornwall plus one b group || WC<br />
|}<br />
<br />
Now for a complication – calls. If you make a call at Middle Wrong or Home (when the tenor becomes 6ths, 7ths and 8ths place bells respectively) in a 2nds place method the lead order is not affected because the tenor is not affected. If, however, you call a bob at the end of a lead of Cornwall or Bristol, the order does change – the tenor “jumps” on the line. In Bristol the tenor jumps back a lead and rings the same lead again. In Cornwall … have a look at it and see what it does.<br />
<br />
<br />
A simple touch comprising three bobs at Home could therefore be put together with three short courses all called differently, containing six of the PPE methods. For instance:<br />
<br />
<u>23456 H</u><br />
42356 - LSE. <br />
34256 - WY.<br />
<u>23456 -</u> B.<br />
<br />
It is worth getting used to how touches like this are often written out. The calling positions used are at the top (just Homes in this case). The course ends brought up at the end of the course are on the left (missing out 1 7 and 8 as they stay the same), calls made in each course are shown as dashes in the appropriate column, and each course is on a separate line. It may seem counter-intuitive, but the numbers on the left are the course end that results from calling the calls and methods to the right. <br />
<br />
So in a more wordy form this is <br />
* LSE (bob) - three lead course, Superlative as middle lead will have Queens in, Lessness and London interchangeable<br />
* WY (bob) – two lead course, start with Cornwall otherwise the bob messes it up<br />
* B (bob) – Bristol repeats the lead so repeats the call<br />
<br />
Any course can be extended by calling a bob at the end and then adding a couple of bobbed leads of Bristol, e.g. LSL-B-B- (That’s another way of writing it – a string of letters with the bobs as dashes.) Two bobbed leads of Bristol at the end is nice because they contain a few 5678 roll ups. So just with short courses and bobs at Home you have lots of good practice options. <br />
<br />
As a composer/conductor, you expand your repertoire of callings for short touches. Then all you then need to do is use combinations of methods that will get you to those calling positions. For practice touches we don’t tend to worry about truth, so all we need to do is work out how to get back to rounds by combining methods with different lead-end orders with callings that would come round if rung to a single method. <br />
<br />
Touches worth knowing are:<br />
<br />
* 3H or 3W<br />
* sH sH<br />
* W H W H<br />
* B W M<br />
<br />
I will more often that not use W H W H for a shortish touch, particularly if I am wanting to test changing direction in and out of London. That would be <br />
<br />
LS-L- <br />
LC-L-<br />
<br />
Don Morrison has offered the following options showing how these touches can be used to combine the PPE methods. An s in a column denotes a Single, with the dash used for Bobs.<br />
<br />
<u>23456 H</u><br />
24356 s WC.<br />
<u>23456 s</u> YCYCW.<br />
<br />
<u>23456 H</u><br />
42356 - EYE.<br />
34256 - WC.<br />
<u>23456 -</u> WY.<br />
<br />
<u>23456 H</u><br />
24356 s ESE.<br />
<u>23456 s</u> WLWBW.<br />
<br />
<u>23456 H</u><br />
24356 s B.<br />
32456 - EWWLE.<br />
(<u>23456) </u> BS(E)<br />
<br />
<u>23456 H</u><br />
24356 s WS.<br />
32456 - LCE.<br />
(<u>32456) </u> BY(Y)<br />
<br />
Those two touches will come round after two rows of the method in brackets, i.e. at the treble backstroke snap with the tenor is 7ths place bell.<br />
<br />
<u>23456 B W M</u> <br />
<u>23456 - - -</u> CY.EL.WB.SE<br />
<br />
A different calling introduced here, with a bob before (tenor runs out). Note that this is the lead of Superlative with Queens in because after the three bobs you are back in the plain course. <br />
<br />
<u>23456 W B H</u><br />
52436 - LS.B<br />
<u>25364 - s</u> WE.CY.(S)<br />
<br />
<u>23456 </u><br />
(<u>32456) sB,sB,sF,B,V,B</u> SC.B.W.L.E.Y.W(C)<br />
<br />
Next week I will move into the next batch of methods, including some less familiar names. Any criticism levelled at PPE so far, for instance that all it has done is dropped NPR from the Standard 8 and added Cornwall and Lessness, which are quite well known anyway, may start to disappear.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/423 ''The Ringing World''], No 5584, 4 May 2018, pg 423.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_12&diff=2176Project Pickled Egg - Part 122018-06-18T22:15:56Z<p>RAS: </p>
<hr />
<div>===The Starter Seven===<br />
<br />
Project Pickled Egg aims to develop a group of Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow up resource that could have traction. It would be a set of core methods that would teach ringers how to ring Surprise Major in a progressive way, with each additional method building on what has come before, and clear reasoning for why it adds value. The Standard 8 was never designed to do that - in fact it was never designed at all, and yet it has been used as a learning pathway for 50 years. There is great variety in Surprise Major ringing, without just making methods more difficult, and the Standard 8 hardly scratches the surface.<br />
<br />
I was keen from the start that the number of core methods should not be eight, to avoid any direct comparison with the Standard 8. There are actually going to be at least 12 methods recommended in Project Pickled Egg (lots more weeks to go yet!), and as many ‘try also’ options. What the initial consultees found was that it was not too difficult to define the first seven, but after that the choices and paths start to diverge as there are lots of different options. So at this point, with the first seven methods presented and no great argument against them, it is time to stop for a summary. <br />
<br />
Our seven methods, in the order they have been introduced, are:<br />
<br />
{|border=1<br />
|Cambridge ||traditional starting point, well known, logical extension from Cambridge Minor<br />
|-<br />
|Yorkshire ||same above work and lead end order, well known, not too different below<br />
|-<br />
|Cornwall ||8ths place method and new lead end order, musical, easy to ring and conduct<br />
|-<br />
|Superlative ||classic, double method, introduces turning round not at front or back and the technique of counting five pull dodges<br />
|-<br />
|Bristol ||more difficult, but learnable in bite-sized chunks, introduces a wrong place method and new blue line features, much loved classic <br />
|-<br />
|Lessness ||popular Uxbridge above work, familiar features below, musical plain course, new lead end order<br />
|-<br />
|London ||wrong hunting below and above the treble, changing direction in spliced, much more challenging<br />
|}<br />
<br />
If these methods form a ‘Starter Seven’, and I think they should, what would be the best order to learn them in? <br />
<br />
In considering this, I think we should look beyond the confines of a list of Surprise Major methods, because some of the useful skills, some of the methods that will help, come from outside the group. For a start, learning a Surprise Major method without first having rung Kent Treble Bob really is making life difficult for yourself. Kent may not be the stuff of dreams, but it is a very good foundation method for treble dodging methods. <br />
<br />
My suggested order would be: <br />
<br />
{|border=1<br />
|(Kent) ||<br />
|-<br />
|Cambridge ||<br />
|-<br />
|Yorkshire (there are arguments for learning Yorkshire first) <br />
|| try also Turramurra<br />
|-<br />
|Superlative || try also Painswick<br />
|-<br />
|Cornwall (could be learned first, see below)<br />
||<br />
|-<br />
|Bristol || try also Double Dublin, Dublin, Frodsham<br />
|-<br />
|Lessness || try also Ytterbium, Uxbridge, Ealing, Ely<br />
|-<br />
|London ||<br />
|}<br />
<br />
I have suggested Lessness after Bristol only because learning Lessness after Cornwall might be confusing. In the early days before PPE catches hold there may be more opportunities to ring Bristol at practices than Lessness (and Cornwall). Also if the Starter Seven just gets increasingly difficult it may give the impression that every new method is going to be harder than the last and this isn’t the case. Coming to Lessness after the challenge of Bristol will be a nice surprise (and soften you up for London!). <br />
<br />
====Alternative pathways and stepping stones====<br />
<br />
If Cambridge Major didn’t exist, we wouldn’t invent it as a starting point for learning to ring Surprise Major. We would be more likely to invent Yorkshire, or even York. <br />
<br />
I am by no means alone in having learned Little Bob Minor, Kent Minor, and Cambridge Minor before learning Cambridge Major. That is a good introduction to dodging, treble bob, Cambridge places and other Cambridge work. The jump to Cambridge is a big one as it is the transition from ringing formulaic methods by the treble, to following a blue line. It is useful therefore to have seen at least some of the features before. <br />
<br />
There is another route though. If you rang Oxford instead of Kent, and then Norwich instead of Cambridge, your first Surprise Major method could be Cornwall. Don Morrison has used the Cornwall route successfully in North America and it would be very interesting to get further experience of this approach.<br />
<br />
Thinking a bit further outside the box, another method that could form part of a pathway is [https://complib.org/method/23522 ''College Green Delight Minor'']. I expect this is as yet untested as a route into Surprise Major (I had not come across it until a week ago) but it looks as though it would give a great step towards Yorkshire rather than Cambridge. This pathway could then be Yorkshire, Cambridge as a try also, then Superlative, etc. <br />
<br />
As well as different possible pathways, there are stepping stones that can help with learning these methods. Not everyone needs stepping stones, and not everyone is going to get any. Of the 1,000 or so ringers who have rung 23 Spliced, I bet there aren’t many who hadn’t rung Kent or Cambridge Minor before Cambridge Major, although I know people now who are missing those steps out where there are bands who can support them. <br />
<br />
A few consultees on Facebook, where less experienced Surprise Major ringers have been giving very valuable input to this discussion, have said how they found London Minor and Stedman to be useful stepping stones to Bristol Major because they introduce snippets of work (Stedman whole turns for instance), although if Bristol is taught with an explanation of its structure it would be realised that the similarities with Stedman are a coincidence. <br />
<br />
Alternative pathways and stepping stones are difficult to test. I think we are unlikely to change habits of a lifetime without some empirical proof of success. It would need a lot of careful consideration, for instance by ART, to codify new pathways with less traditional methods such as College Green. One of the core principles of ART’s Learn the Ropes programme is the value of strong foundations, and this applies at the level of Surprise Major ringing as well.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/372 ''The Ringing World''], No 5582, 20 April 2018, pg 372.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_12&diff=2175Project Pickled Egg - Part 122018-06-18T22:12:13Z<p>RAS: /* The Starter Seven */</p>
<hr />
<div>===The Starter Seven===<br />
<br />
Project Pickled Egg aims to develop a group of Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow up resource that could have traction. It would be a set of core methods that would teach ringers how to ring Surprise Major in a progressive way, with each additional method building on what has come before, and clear reasoning for why it adds value. The Standard 8 was never designed to do that - in fact it was never designed at all, and yet it has been used as a learning pathway for 50 years. There is great variety in Surprise Major ringing, without just making methods more difficult, and the Standard 8 hardly scratches the surface.<br />
<br />
I was keen from the start that the number of core methods should not be eight, to avoid any direct comparison with the Standard 8. There are actually going to be at least 12 methods recommended in Project Pickled Egg (lots more weeks to go yet!), and as many ‘try also’ options. What the initial consultees found was that it was not too difficult to define the first seven, but after that the choices and paths start to diverge as there are lots of different options. So at this point, with the first seven methods presented and no great argument against them, it is time to stop for a summary. <br />
<br />
Our seven methods, in the order they have been introduced, are:<br />
<br />
{|border=1<br />
|Cambridge ||traditional starting point, well known, logical extension from Cambridge Minor<br />
|-<br />
|Yorkshire ||same above work and lead end order, well known, not too different below<br />
|-<br />
|Cornwall ||8ths place method and new lead end order, musical, easy to ring and conduct<br />
|-<br />
|Superlative ||classic, double method, introduces turning round not at front or back and the technique of counting five pull dodges<br />
|-<br />
|Bristol ||more difficult, but learnable in bite-sized chunks, introduces a wrong place method and new blue line features, much loved classic <br />
|-<br />
|Lessness ||popular Uxbridge above work, familiar features below, musical plain course, new lead end order<br />
|-<br />
|London ||wrong hunting below and above the treble, changing direction in spliced, much more challenging<br />
|}<br />
<br />
If these methods form a ‘Starter Seven’, and I think they should, what would be the best order to learn them in? <br />
<br />
In considering this, I think we should look beyond the confines of a list of Surprise Major methods, because some of the useful skills, some of the methods that will help, come from outside the group. For a start, learning a Surprise Major method without first having rung Kent Treble Bob really is making life difficult for yourself. Kent may not be the stuff of dreams, but it is a very good foundation method for treble dodging methods. <br />
<br />
My suggested order would be: <br />
<br />
{|border=1<br />
|(Kent) ||<br />
|-<br />
|Cambridge ||<br />
|-<br />
|Yorkshire (there are arguments for learning Yorkshire first) <br />
|| try also Turramurra<br />
|-<br />
|Superlative || try also Painswick<br />
|-<br />
|Cornwall (could be learned first, see below)<br />
||<br />
|-<br />
|Bristol || try also Double Dublin, Dublin, Frodsham<br />
|-<br />
|Lessness || try also Ytterbium, Uxbridge, Ealing, Ely<br />
|-<br />
|London ||<br />
|}<br />
<br />
I have suggested Lessness after Bristol only because learning Lessness after Cornwall might be confusing. In the early days before PPE catches hold there may be more opportunities to ring Bristol at practices than Lessness (and Cornwall). Also if the Starter Seven just gets increasingly difficult it may give the impression that every new method is going to be harder than the last and this isn’t the case. Coming to Lessness after the challenge of Bristol will be a nice surprise (and soften you up for London!). <br />
<br />
''Alternative pathways and stepping stones<br />
<br />
If Cambridge Major didn’t exist, we wouldn’t invent it as a starting point for learning to ring Surprise Major. We would be more likely to invent Yorkshire, or even York. <br />
<br />
I am by no means alone in having learned Little Bob Minor, Kent Minor, and Cambridge Minor before learning Cambridge Major. That is a good introduction to dodging, treble bob, Cambridge places and other Cambridge work. The jump to Cambridge is a big one as it is the transition from ringing formulaic methods by the treble, to following a blue line. It is useful therefore to have seen at least some of the features before. <br />
<br />
There is another route though. If you rang Oxford instead of Kent, and then Norwich instead of Cambridge, your first Surprise Major method could be Cornwall. Don Morrison has used the Cornwall route successfully in North America and it would be very interesting to get further experience of this approach.<br />
<br />
Thinking a bit further outside the box, another method that could form part of a pathway is [https://complib.org/method/23522 ''College Green Delight Minor'']. I expect this is as yet untested as a route into Surprise Major (I had not come across it until a week ago) but it looks as though it would give a great step towards Yorkshire rather than Cambridge. This pathway could then be Yorkshire, Cambridge as a try also, then Superlative, etc. <br />
<br />
As well as different possible pathways, there are stepping stones that can help with learning these methods. Not everyone needs stepping stones, and not everyone is going to get any. Of the 1,000 or so ringers who have rung 23 Spliced, I bet there aren’t many who hadn’t rung Kent or Cambridge Minor before Cambridge Major, although I know people now who are missing those steps out where there are bands who can support them. <br />
<br />
A few consultees on Facebook, where less experienced Surprise Major ringers have been giving very valuable input to this discussion, have said how they found London Minor and Stedman to be useful stepping stones to Bristol Major because they introduce snippets of work (Stedman whole turns for instance), although if Bristol is taught with an explanation of its structure it would be realised that the similarities with Stedman are a coincidence. <br />
<br />
Alternative pathways and stepping stones are difficult to test. I think we are unlikely to change habits of a lifetime without some empirical proof of success. It would need a lot of careful consideration, for instance by ART, to codify new pathways with less traditional methods such as College Green. One of the core principles of ART’s Learn the Ropes programme is the value of strong foundations, and this applies at the level of Surprise Major ringing as well.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/372 ''The Ringing World''], No 5582, 20 April 2018, pg 372.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_11&diff=2174Project Pickled Egg - Part 112018-06-18T22:05:54Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/20166 ''London Surprise Major'']===<br />
<br />
If you have been keeping notes you will know that six core methods have been proposed so far in Project Pickled Egg - Cambridge, Yorkshire, Superlative, Cornwall, Bristol and Lessness. Three methods from the current Standard 8 have been excluded, leaving London still for discussion. <br />
<br />
The merits of London and its role in learning Surprise Major have been discussed at length in the consultations preceding this. As with Cambridge, its inclusion as a core method is not clear cut but it is a difficult method to leave out. <br />
<br />
Arguments for inclusion:<br />
<br />
• Historically important, popular, and included in many iconic compositions<br />
<br />
• Is likely to have been learned on six so benefits from familiarity <br />
<br />
• It introduces a method with plenty of wrong hunting below the treble<br />
<br />
• Useful in short touches of spliced and introduces the concept of reversing direction from a right place method<br />
<br />
• For touches of spliced it is useful to have something very different to the others, and going completely the other way is an essential skill in spliced. It also introduces significant risk, which isn’t a bad thing!<br />
<br />
<br />
<br />
London Major is a big jump in difficulty for all those first learning it, but it is well worth having this level of difficulty in the first seven methods learned. The wrong hunting on the front, the fishtails, and other bits of the line of London Major are all very common features of other methods – there is very little you won’t use again. Most ringers have a real sense of achievement when they first manage to ring London – I still remember when I was a learner at Cannock hearing a course of London Major rung at an Association practice, seeing that the best ringing was in the most difficult method and aspiring to be in it. <br />
<br />
The principal criticism of London is that the plain course is not that exciting musically, and even in quarter peals it is difficult to have a traditionally musical composition. Don Morrison elucidated it well in the Facebook group: “One of the PPE criteria is being reasonably musical in the plain course. Music in the plain course makes sense for something you’re going to ring a lot at practices, where plain courses tend to be what you ring. While not as dire as some methods, London doesn’t really do very well on this, at least not according to most people’s tastes. <br />
<br />
But for ringing longer touches, particularly in major, and more so for peals than quarters even, music in the plain course isn’t really your goal, though it often facilitates it. What you really want is the ability to generate music over long stretches of ringing, where you’re necessarily going to have a lot of coursing orders not all that close to the plain course. For methods where most of your favourite rows can be packed into a few courses closely related to the plain course, you can easily fall into peal compositions with a half hour of excitement embedded in two hours of dross. The current trend of worrying a lot about little bell rollups is one way of attacking this problem.”<br />
<br />
The music of London Major is not quite as ‘in your face’ as it is in other methods. Perhaps one of the attractions of longer lengths of London is the unpredictability of the appearance of musical rows, a bit like going on safari and searching for Big Five rather than going to the zoo and knowing where they will be. A roll up off the front can come from nowhere in London like a leopard stealthily emerging from the undergrowth. <br />
<br />
There is also something attractive in the way the bells above the treble wrong hunt into the roll up positions at the fishtails – this is a very different sound to roll ups generated for instance in Cornwall. This just goes to emphasise that our appreciation of music in methods goes beyond a statistical run count and includes the way in which the rows evolve. <br />
<br />
For practising, London does tend to be rung as a full plain course. Ringing four leads following by a couple of leads of Little Bob is one way of shortening it, though often with predictable consequences. Calling ‘Middle Before Wrong’ (that is a bob at the end of the 1st, 3rd and 5th leads so the 2nd makes the bob three times) gives a nice slightly shorter course, with several 5-6 roll ups and a chance for the 2nd to practice just two place bells and making the Bob (and incidentally the equivalent touch of London Royal is superb!) Then the more advanced and exciting test is to ring two leads of London as a sandwich with a lead of Cambridge or Superlative in between – this really tests the ability to change direction. This can be double up by calling Wrong Home Wrong Home (e.g. LS-L-LC-L-), adding calls to the changes of direction for the full nerve-wracking experience! <br />
<br />
We have searched high and low for some ‘try also’ methods that have London above the treble but are more attractive below. On 10 bells ===[https://complib.org/method/22483 ''London'']=== is good enough in itself (I think it is at its best in fact) but ===[https://complib.org/method/25807 ''Triton Delight'']=== is a well-established and highly regarded alternative. Peter Elliott suggested that we were looking for an 8 bell Triton, but it doesn’t quite work. ===[https://complib.org/method/25369 ''Zeals Knoll'']=== is about as close as you can get but still that doesn’t quite achieve enough to warrant ‘trying also’. I think we just need to accept that London is London – not the most exciting ingredient in the larder, but it is difficult to live without it.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/345 ''The Ringing World''], No 5581, 13 April 2018, pg 345.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_10&diff=2173Project Pickled Egg - Part 102018-06-18T22:05:25Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/16808 ''Lessness Surprise Major'']===<br />
<br />
I have a list of foods which I don’t like but which I have never tried. Last Thursday, I ate one of the items on the list for the first time – a pickled egg. It wasn’t the best example of a pickled egg according to the local cognoscenti, but it was a pickled egg nonetheless. I can now at least see why they divide opinion. <br />
<br />
I can’t change the name of Project Pickled Egg though – it has already stuck. Whether the pickled eggs are the methods that are in or out will have to remain a source of confusion!<br />
<br />
Lessness is the next method for consideration. This has become a popular method in recent years, perhaps due to having been included in the Nottingham 8 in the 1990s, and regularly used in peal compositions of Spliced in preference to other similar methods. It is one of a group of methods that are generally referred to by their backwork, i.e. [https://complib.org/method/16863 ''Uxbridge'']. <br />
<br />
Lessness has a number of positive points to justify its inclusion as a core method:<br />
<br />
• New backwork that is not too difficult<br />
<br />
• Backwork is a gateway to lots of other methods<br />
<br />
• Musical in the plain course <br />
<br />
• Familiarity of Yorkshire elements on the front<br />
<br />
• Relatively well known, popular and already used by composers<br />
<br />
<br />
Including a method with the Uxbridge backwork ticks the need for PPE methods to show some progression as it is the basis of so many methods. So why not just choose Uxbridge? After all, the backwork is named after it, and many ringers have learned Uxbridge because it comes so early in Norman Smith’s composition of 23 spliced. (Both methods were first rung around the same time - Uxbridge first pealed in 1936 and Lessness in 1937.)<br />
<br />
Some analysis of the quarter peal and peal statistics over the last 10 years is interesting. The relative numbers of quarters of the two have stayed about the same, although with Lessness now edging ahead. Peal ringers however have increasingly plumped for Lessness and there are now more than three times as many peals of Lessness than Uxbridge. This year so far there has been one peal of Uxbridge and nine of Lessness! <br />
<br />
Which is odd in a way because although Lessness has a more musical plain course – on the basis that a couple of 5678s off the front tend to be more of a crowd-pleaser than anything in the plain course of Uxbridge – peal compositions can generate similar music in either method. Lessness’s popularity probably stems from its inclusion in the Nottingham 8, which came to prominence as a peal composition but hasn’t really penetrated into quarter peal or more developmental ringing. The quarter peal community may now be on trend. <br />
<br />
Choosing Lessness over Uxbridge is pretty marginal, but Lessness is now the more rung method, and as I am expecting these methods to be learned and rung in plain courses and short touches of Spliced, having the method that has a better plain course, and some familiar blue line elements, is a better choice. Uxbridge would be a retrograde step. <br />
<br />
In Dustbin Week we waved goodbye to Rutland, but not before acknowledging its usefulness in short courses of spliced with the b group methods (e.g. Cambridge, Yorkshire and Superlative). Lessness has the same lead end order as Rutland so can take that role, and some keen PPE’ers have also discovered that ringing Cornwall with a 2nds place lead end achieves the same thing (have a look at that if it is not obvious to you). <br />
<br />
There is a nomenclature issue with Uxbridge/Lessness. The phrase ‘Uxbridge backwork’ is used to mean the line starting from 5ths place bell in Uxbridge and comprising 5ths 7ths and 8ths place bells. There are lots of methods with this backwork but a different frontwork, i.e. different 2nds and 3rds place bells (and their reverses). That is not quite the same as saying a method is ‘Uxbridge above’ which is a structural description of a method that has the same place notation as Uxbridge above the treble. Ealing Surprise Major for instance has Uxbridge backwork, but is not Uxbridge above, because the place notation starts x58x (like Bristol) rather than x38x (like Uxbridge).<br />
<br />
A criticism of methods with Uxbridge backwork (as opposed to Uxbridge above) is that they are relatively static, i.e. you spend four consecutive leads working in the front half of the change, and three consecutive leads doing the backwork with all the four-pull dodges. We therefore considered another method with Uxbridge above, called [https://complib.org/method/16435 ''Ytterbium'']. <br />
<br />
Arguments for the inclusion of Ytterbium as an alternative to Lessness:<br />
<br />
• It has better musical properties<br />
<br />
• Easy falseness makes it easier for composers<br />
<br />
• The lead end order is different to others in the core group<br />
<br />
• It is a less static line, with more movement front to back<br />
<br />
• It is a nice method for introducing a little wrong-place work in the interior of the lead without adding too much spikiness<br />
<br />
<br />
The better method overall looks to be Ytterbium, but Lessness wins on the grounds of the momentum it already has as a popular non-Standard 8 method. It also works as a replacement for Rutland as an f group method for short touches, and with an initial group of six or seven methods for Project Pickled Egg, an f group method is an important inclusion. Ytterbium is therefore recommended as a ‘try also’ rather than a core method. <br />
<br />
Finally there are three other candidates for the ‘try also’ list. [https://complib.org/method/16863 ''Uxbridge''] is worth knowing given there will be other experienced ringers who know it – learning both will do no harm, and Uxbridge is included in Norman Smith’s iconic composition of 23 spliced which we don’t seem to be able to shake off. Also worth trying is [https://complib.org/method/18505 ''Ealing''] – it is essentially Lessness above and Cornwall below, with 6ths and 3rds place bells being the same in both. And yet another good option is [https://complib.org/method/16885 ''Ely''], which has the Uxbridge backwork with wrong hunting on four on the front work, giving 2x 5678s and 8765s when the tenor is 2nds place bell. For the core method though, Lessness is the proposal.<br />
<br />
Next week one more method will be added to the six that have been discussed already, and then there will be a round up of where we have got to, and where we will go next. <br />
<br />
P.S. Before you think of ringing a quarter peal composition of Rutland to Lessness, try ringing PPSSPPBx6. The part end is 14238765, so this generates 18 each 5678s and 8765s off the back and 12 each off the front. You won’t look back.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/325 ''The Ringing World''], No 5580, 6 April 2018, pg 325.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_9&diff=2172Project Pickled Egg - Part 92018-06-18T22:04:30Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/19048 ''Bristol Surprise Major'']===<br />
<br />
Last week the larder had a good clear-out, and the stuff at the back, long past its sell by date and going a bit mouldy, has gone to make way for nice new ingredients! The next to go in is neither radical nor surprising though – Bristol Major is the method equivalent of sugar. <br />
<br />
As with Superlative, in the early consultation there wasn’t a bad word said about Bristol. The list of plus points could have gone on forever so we left it at the following:<br />
<br />
• It is a classic on all numbers<br />
<br />
• Musical in the plain course with a pleasing line<br />
<br />
• Composition-friendly so helps composers produce a great range of compositions<br />
<br />
• As an MX method, it is useful in short touches of Spliced<br />
<br />
• Coursing bells working closely together helps ropesight and helps the conductor <br />
<br />
• Bristol becomes the most useful thing to ring on 12 so it is worth seeing early<br />
<br />
<br />
Last week I introduced the concept of different lead end orders and their notation with letters. Cambridge, Yorkshire and Superlative are all b group methods, while Cornwall is l (as in l for leather). Bristol is defined as mx, i.e. an 8ths place method with 8ths place bell becoming 6ths place bell. mx methods have the ‘repeating lead’ feature - when a bob is called all the bells above where the bob is made dodge at the lead end, then go back and ring the same lead again. <br />
<br />
This has a number of good practical effects. Firstly, if you have a lead with some roll ups in, calling a bob at the end of the lead means you get those roll ups again – you will see lots of Bristol Major compositions which have bobs in pairs, many of which will be repeating musical features. Secondly, repeating the lead means all those bells have another chance to practice that lead and perhaps get it right! Thirdly, and perhaps most importantly at this stage, if you call three consecutive bobs the touch comes round, with bells 5 to 8 all doing the same lead three times, while 2 3 and 4 all ring the front work. The front work isn’t too taxing either as two leads are the reverse of each other, either side of the symmetrical pivot, and none of them goes above fourths place. This is a great help for people wanting to learn and practise Bristol as it can be done in bite-sized chunks. There is a relatively low entry point in terms of what you need to learn to participate, and a high reward for having done so. <br />
<br />
Those relatively new to Surprise Major learning gave me a few useful and interesting observations on Bristol. Knowledge of Stedman was considered an advantage – that would introduce the ‘Stedman whole turn’ work which appears a lot in Bristol, the concept of doing a point (single blow in a place and then change direction) which would otherwise be new, and wrong hunting. Perhaps that’s why Bristol Major was rung so long ago by ringers used to practising Stedman and Kent? Many thought that the line of Bristol was quite difficult to get to grips with for various reasons, and it is a line that is difficult to get back onto once you have fallen off it (essentially it is easier to get right in a set of places or a dodge than in a fluid mix of wrong hunting, points, etc.), especially if the conductor is using terminology that is unfamiliar. <br />
<br />
Although not a primary consideration for Project Pickled Egg, Bristol is a method which not only extends logically (by that I mean it is what your average ringer would expect the line to be at each stage), but extends to produce decent methods on all numbers. On 10, opinions vary as to whether London or Bristol is best (I am a London man), however on 12 bells Bristol Maximus is the undisputed king. On more bells than 12, Bristol’s dominance becomes even greater – you may be surprised to know that there have been about 35 peals of Bristol Sixteen, compared with only four of Cambridge! <br />
<br />
The structure of Bristol only really starts to be clear when you ring it on more bells. For instance when you learn Bristol Major, you will see that 3rds place bell has two Stedman whole turns, one in lead and one in 4ths place, nicely symmetrical and mirroring the pair of Stedman whole turns that appear at the start of 6ths and 7ths place bells. Those bits of work are actually being driven by a structure that sees bells plain hunt for three blows immediately after the lead end and half lead, do a point at handstroke, and then wrong hunt in the other direction (as amended by some other rules). Similarly there is wrong hunting to a backstroke point three blows before the half lead and lead end. Bristol on higher numbers is just like Bristol Major but padded out with dodges between these points, and a set of rules governing how you pass the treble. In some ways this makes Major the hardest stage to ring Bristol on because you get all the rules and none of the padding!<br />
<br />
There are a few suggestions for the ‘try also’ section alongside Bristol. One method which will be familiar to at least 1,000 ringers is [https://complib.org/method/18128 ''Double Dublin''], which comes before Bristol in Norman Smith’s peal composition of 23-spliced. This is a slightly more static variant of Bristol, introducing triple fishtails (I have always called them whale’s tails) in 12 and 78 instead of the Stedman work. [https://complib.org/method/18122 ''Dublin''] does the same but only above the treble. The top pick for a ‘try also’ though is [https://complib.org/method/19032 ''Frodsham'']. Frodsham is Bristol above the treble, offers different music below (arguably easier depending on how you learn methods) and offers straightforward and musical peal and quarter peal compositions. We had considered Essex for a main entry in Project Pickled Egg, which is used in Chandler’s 23, but it didn’t add enough, so putting in the less well-known Frodsham as a ‘try also’ is better. <br />
<br />
Bristol’s inclusion in Project Pickled Egg is assured. In reviewing it at this stage in the series I am not necessarily suggesting it fits in some preferred order of learning, although I think it could be learned earlier than 7th or 8th which is probably typical of those learning the old Standard 8. There is no doubt that learning Bristol is a big jump – more explanation as to how it works and fits together would help Bristol’s undoubted rewards to come more easily.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/294 ''The Ringing World''], No 5579, 30 March 2018, pg 294&ndash;5.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_8&diff=2171Project Pickled Egg - Part 82018-06-18T22:02:58Z<p>RAS: /* References */</p>
<hr />
<div>===Dustbin Week===<br />
<br />
After the publication of the last article, I was asked on Facebook whether this was still a consultation or just the delivery of my opinion. Well it is a bit of both, which is why I am asking questions as I go along, and now have a large network of people who have or are giving feedback. That may be particularly important in Dustbin Week, as I am now going to suggest three methods from the current Standard 8 which will not make the cut in Project Pickled Egg. <br />
<br />
Time for a quick reminder of what we are trying to do. The object of Project Pickled Egg is to find a set of core methods that help ringers learn to ring Surprise Major in a progressive way. At the same time the methods should also form satisfying groups to be rung together – these are not ‘training methods’ to be cast aside once a stage is reached (with the possible exception of Kent as mentioned last week). <br />
<br />
Earlier I introduced some criteria for the selection of a method to go in this new core group. These were:<br />
<br />
<br />
● It should be musical in the plain course (and there has been some debate about the definition of musical)<br />
<br />
● It should introduce a useful new skill, technique or concept, and hence be progressive<br />
<br />
● It should not have limiting falseness (which restricts composers)<br />
<br />
● Some familiarity is helpful (as a learner needs to be supported by people who know the methods)<br />
<br />
<br />
I could continue these articles without ever mentioning Lincolnshire, Pudsey and Rutland. I am after all looking for a selection of methods which meet an objective and fulfil the above criteria. There are thousands of methods that don’t work. [https://complib.org/method/19970 ''Eggybread''] for instance may never be rung again. However the exclusion of three regularly rung members of the Standard 8 deserves some explanation before moving on. <br />
<br />
You could possibly argue for Pudsey if you were feeling generous. Pudsey is the only one of these three that anyone ever demonstrates fondness for, although “I actually quite like Pudsey” is a bit like “I actually quite like cold pizza.” Pudsey starts are quite common in other methods, but there are better methods with Pudsey starts if that’s the only reason for having it. But it doesn’t really move you forward enough to warrant inclusion; it is not compelling.<br />
<br />
You could also argue for Rutland on the basis that it is another Cambridge above method but with a different lead end order to Cambridge and Yorkshire. Introducing a different lead end order enables you to ring shorter and more interesting touches of spliced, which also serve to emphasise the importance of knowing place bells. If your band is not ready to tackle this sort of spliced as well as learning a different above work, Rutland could help. <br />
<br />
Just to explain a little more about the spliced. Rutland is what is known as an F group method, one where the lead end order is 2357864 (all the different lead end orders you can have are denoted by a letter). A three-lead touch can be obtained by calling two leads of an F group method and one of a Cambridge lead end order method (B group), e.g. Rutland Superlative Rutland (contains Queens!). Five leads can be obtained by ringing four leads of B group methods, and one of F group, e.g. CYSCR. <br />
<br />
Rutland might therefore be ‘a means to an end’ which could be replaced with something better. You could for instance ring Cornwall with a 2nds place lead end (actually called Falmouth) to achieve a ‘Pickled Egg compliant’ five lead touch, or assume that I might be about to introduce Lessness, and learn that instead…<br />
<br />
So what of poor old Lincolnshire? Although I have found it within myself not to be rude about Pudsey, and even to offer a glimmer of hope to Rutland, I am going to show no clemency to Lincolnshire. I will however offer an alternative. One for the ‘try also’ section is [https://complib.org/method/16622 ''Turramurra''], which is very similar to Lincolnshire but better. It is still Cambridge above the treble, the same lead end order (B), has that five-pull dodge on the front in 7ths and 4ths place bells, but generates some 5678s off the front in the plain course. Some people who wish to remain nameless swear by it! Falseness may preclude it from the peal ringing repertoire but it is a very good course and quarter peal choice, and that makes up a lot of ringing. <br />
<br />
So for all those who have been asking me for the last couple of months “Are you going to exclude Lincolnshire, Pudsey and Rutland”, or even “I assume you are…” – yes I am. If you are setting out learning Surprise Major, these three methods do not take you any further forward compared with other methods you might learn. They’re not bad methods, they are not going to poison you, but they do not add enough value, interest or variety to make it into Project Pickled Egg. They joined the Standard 8 for reasons which are unclear, they have had very good innings, and it is about time they retired.<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/276 ''The Ringing World''], No 5578, 23 March 2018, pg 276.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_7&diff=2170Project Pickled Egg - Part 72018-06-18T22:02:18Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/16066 ''Superlative Surprise Major'']===<br />
<br />
Three of the so-called Standard 8 are not going to make it in Project Pickled Egg, but before opening the lid of the dustbin here is a method which I think makes the cut. <br />
<br />
In the early consultation there wasn’t a bad word said about Superlative and it scores pretty well against the criteria set for larder selection. <br />
<br />
• There is familiarity of Cambridge/Yorkshire structures making it not too difficult to learn<br />
<br />
• It is a classic structure in its own right<br />
<br />
• The plain course includes a crowd-pleasing Queens, and is a good generator of music in other courses. <br />
<br />
• It introduces the concept of a double method (rotational symmetry in the blue line), and of non-coursing bells meeting at the back<br />
<br />
• Superlative emphasizes the importance of learning place bell starts well, as a couple can catch you out, e.g. 5ths place bell<br />
<br />
• The five pull dodge across the half lead is good for learning how to count dodges, and for trying to see where the half lead is <br />
<br />
I asked on my PPE Facebook group what features of Superlative were useful to people who have been learning Surprise Major methods more recently than my original collaborators. The answers were a bit different although the non-coursing pairs at the back was noted. What a few people said was that it introduces you to turning round other than at the front and back, i.e. going up to 56 places and coming back down without getting up into 78. The unfamiliarity of this is borne out by this being the point where most mistakes occur! <br />
<br />
Superlative is a very old method and was considered to be a classic over 100 years ago. In the 1941 Ringing World discussion on Standard Methods the following is noted: “The great revival of ringing toward the end of the [19th] century added Double Norwich, and the three Surprise Methods – Cambridge Superlative and London – all of which had been known for long, but had not been taken into general use.” <br />
<br />
Pitman included Superlative in his classic one-part compositions, with his 4 Spliced (CSLB) being one of the most rung and respected compositions of all time. When the Nottingham 8 was conceived as an alternative/replacement set of methods, its creators didn’t think the elements of this classic composition could be omitted. In easier compositions of spliced the inclusion of Superlative provides some excellent variety and musical options, as well as a certain frisson for 5ths place bell (will they or won’t they remember to make 6ths!)<br />
<br />
As an early method to learn, with Cambridge and Yorkshire already under your belt, Superlative is a good next step, with enough that is familiar to help you, including the lead end order, a couple of new concepts to grasp, and a rewarding result that goes in some great cakes. Superlative makes it. <br />
<br />
A quick note on double methods. If when you are first learning a double method like Superlative, a smart alec says you only need to learn a quarter of it – take no notice. Learn it like you normally would but look at the symmetry and let it help your understanding of the method. The double feature is definitely helpful but don’t initially see it as any sort of short cut. <br />
<br />
A concept that will be introduced in Project Pickled Egg, starting now, is the ‘try also’ section. This is a feature borrowed from the Good Beer Guide which presents some additional pub recommendations alongside the main featured entries. ‘Try also’ methods aren’t going to be part of the main recommended learning path and core group, but are worth looking at by bands seeking something a bit different at a particular level, maybe a quarter peal excursion. <br />
<br />
Based on the methods introduced so far, the first ‘try also’ on offer is [https://complib.org/method/16020 ''Painswick Surprise Major'']. This is a method particularly favoured by well-known Ringing World columnist and method guru AJ Barnfield, Painswick is a mixture of Yorkshire and Superlative and so is relatively easy to learn if you have those two ingredients already. Mixing the two is a good flavour combination (have I been watching too much Masterchef?) and arguably better than either on its own. <br />
<br />
Furthermore, AJB suggests the following particularly good quarter peal composition:<br />
<br />
(Before, 5ths, 4ths, Before, Home) x3. Part end 4235678<br />
<br />
which generates 128 four-bell runs, 22 five-bell runs, 9 six-bell runs, 4 seven-bell runs, 38 four-bell runs off the front, 54 four-bell runs at the back, 18 '*5678's, 18 '*8765's, 12 '8765*'s and 12 '5678*'s. What’s not to like?<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/247 ''The Ringing World''], No 5577, 16 March 2018, pg 247.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_6&diff=2169Project Pickled Egg - Part 62018-06-18T22:02:04Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/17984 ''Cornwall Surprise Major'']===<br />
<br />
The first two method suggestions for Project Pickled Egg might have seemed a bit dull - Cambridge and Yorkshire are in the current Standard 8 and are the two Surprise Major methods most ringers learn first. Yorkshire made it into the larder on merit and strong underlying fundamentals, whereas leaving Cambridge out was just too difficult, despite some passionate arguments for doing so. Whether Cambridge is the best method to learn first though is another matter. <br />
<br />
In the 1941 Ringing World debate on Standard Methods, an unnamed correspondent (the entire series of articles was strangely unattributed) put forward the case for Cornwall Surprise, which had been first rung at Helmingham in Suffolk five years earlier. They drew attention to its many qualities: “it has most of the good features we hope for in a method except difficulty.” Yet the progress of Surprise Major continued without paying much attention to Cornwall for some reason, and it didn’t make it into the 8 Spliced compositions which cemented the Standard 8. Cornwall made it into the Nottingham 8, AJB’s suggested 12, and is one of the first methods in Norman Smith’s 23 Spliced progression. <br />
<br />
Arguments for Cornwall’s inclusion based on the selection criteria are:<br />
<br />
• Good useful above work<br />
<br />
• New lead end order <br />
<br />
• Musical in plain course<br />
<br />
• Relatively well known and already used by composers<br />
<br />
• CPS – esoteric point but with practical consequences for the ease of producing compositions<br />
<br />
• Often quite helpful in spliced and a good music generator<br />
<br />
• Relatively easy to learn (arguably easier than Cambridge) so a good payback in terms of development value<br />
<br />
• Excellent for getting ringers to think about how a method is constructed<br />
<br />
• Very easy to ring and keep right by its construction, being dominated by treble bob hunting on four on the front and the back, with just a few other bits to learn.<br />
<br />
• Easier ropesight on the front than Cambridge-above methods since groups of bells mostly tend to stay in the correct coursing order.<br />
<br />
• Tends to be easier to learn to strike well.<br />
<br />
• Excellent method for novice conductors to learn to keep others right, since course bells work together so much throughout<br />
<br />
• Introduces ringers to a plain hunt lead end in an easier method than Bristol, which may help erase the fear of 8ths place lead ends<br />
<br />
• Could be used to introduce 6ths place Bobs (see below) so this is not a shock later on<br />
<br />
• The “Probably Easiest Possible Quarter” (6 calls on 2-3-4) works, is as easy to call and keep straight as is probably possible for any Surprise method, and is full of music<br />
<br />
No method was more universally acclaimed amongst the early contributors to this project than Cornwall. Don Morrison argued that it should be learned first, and that ringers who have followed this alternative path in North America have done quite well at it and have found it easier than Cambridge-above methods. <br />
<br />
If one was to suggest a pathway into Surprise Major that might be easier than learning Cambridge Minor and then Cambridge Major, it would be to ring Kent Minor, then Norwich, then Cornwall, perhaps with some Double Norwich thrown in. Kent Minor is I think a vital step in learning to treble bob and is often overlooked just because it is not a highly regarded method in its own right. I was taught to ring Kent not because it was going to be part of my regular future repertoire, but because it was teaching me to ring treble dodging methods, just as the dreaded ‘Exercises’ book accompanied nice pieces by Bach and Mozart. <br />
<br />
For all its merit, and experienced ringers’ belief that it should be easy, not everyone agrees. One of the problems cited is that the various different features of the blue line can be confused with those in Lessness (often learned around the same time). More experienced ringers who don’t see why this should be the case, but may just be wrong! Some place bells are not particularly memorable or distinctive, compared with Cambridge. <br />
<br />
We are now ringing Cornwall regularly in the St Martin’s Guild, and although it is well liked, it is not found to be any easier that other right place methods yet, perhaps due to unfamiliarity. It may well be a case of Cornwall being easier to ring once learned, rather than easier to ring initially. It has proved a good addition to the early Surprise Major repertoire.<br />
<br />
In short conclusion, Cornwall is a great method, and deserves its place for enough reasons. <br />
<br />
A final note on 6ths place bobs, and that quarter peal composition included above. In Plain Bob and Surprise methods, the Bob is made in 4ths place, with two bells in 2nds and 3rds place swapping, and those above 4ths unaffected. In 8ths place methods, more bells are affected by 4ths place Bobs, i.e. all the four bells above 4ths place rather than just the two below, which makes them more difficult for inexperienced bands. <br />
<br />
There is a way round this by using 6ths place Bobs – this was the norm in ‘the olden days’ but has fallen out of fashion. A Bob made in 6ths causes the bells in 7ths and 8ths place to dodge when they otherwise wouldn’t, and the bells below 6ths to be unaffected. There are therefore twice as many unaffected bells, and half as many affected ones, if you use a 6ths place Bob. <br />
<br />
6ths place calls are still made relative to the unaffected tenor, and are made when the tenor is running out to become 3rds place bell (denoted as Out or O), and when the tenor is running in to become 2nds place bell (denoted as In or I). Those are the equivalent of Home and Wrong. So this quarter peal composition comprises six calls made when the tenor is running out, one course apart, and comprising six calls in total. The only bells affected by the calls are 2 3 and 4.<br />
<br />
If you want to know more about this please feel free to join the Project Pickled Egg discussion group on Facebook and ask me!<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/221 ''The Ringing World''], No 5576, 9 March 2018, pg 221.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_5&diff=2168Project Pickled Egg - Part 52018-06-18T22:00:27Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/17060 ''Yorkshire Surprise Major'']===<br />
<br />
So what about Yorkshire? Another staple in the current larder and a method learned first or second by the vast majority of those who set out to ring Surprise Major. <br />
<br />
Unlike with Cambridge, the jury did not spend much time deliberating on the merits of Yorkshire. In fact there was hardly a bad word said about it.<br />
<br />
Arguments for Yorkshire’s inclusion based on the selection criteria are:<br />
<br />
• It introduces a different Cambridge above method (i.e. Cambridge above the treble) with the same lead end order and so is a relatively easy way of being able to know another method. Ringers do find it quite difficult at first to even ring two methods in spliced so adding an easy one is beneficial. <br />
<br />
• Yorkshire becomes a very useful method on higher numbers for inexperienced bands so getting to know it on eight is helpful<br />
<br />
• Reasonably musical plain course which extends well to higher numbers<br />
<br />
• Virtually every other ringer who knows at least two Surprise Major method knows it so it is very accessible<br />
<br />
• Relatively easy to learn<br />
<br />
One consultee who is relatively new to learning Surprise Major methods put it like this: “really useful, because so many other things are Yorkshire-y in one way or another. It teaches lots of transferrable skills, and you're probably going to get a rock-steady band to ring round you.” Which is in fact as much an argument for learning it first not second! Short Yorkshire places (dodge place place dodge) are very common in other methods whereas long Cambridge places are rare. <br />
<br />
The point about Yorkshire being useful on higher numbers for inexperienced bands is because bells stay in coursing order below and above the treble in Yorkshire whereas they don’t in Cambridge. This may not seem very important or even noticeable on 8, but it does become more noticeable the more bells you ring on – keeping course bells together above and below the treble makes the method easier to ring and easier to conduct. <br />
<br />
As this week’s article is relatively short, I would like to say something about the way the line of Cambridge last week and line of Yorkshire this week have been presented. When David Marshall produced his ‘Criblines’ books in the early 1980s, he only showed Surprise Major lines going to the pivot, and indicated the place bells either going up or down the line. So Cambridge and Yorkshire lines start at 2nds place bell and are drawn until the pivot point half way through 3rds place bell. This is the point of reflective symmetry of the line. 2nds 6ths 7ths and 3rds place bells are indicated as going down the line, while 4ths 8ths and 5ths go up. Being able to learn only half of the complete line and then reverse it is a very useful skill, which gets easier with practice. <br />
<br />
Even if you cannot do the reversal of the line in your head, knowing the pairs of place bells (5ths is the opposite of 2nds, 8ths is the opposite of 6ths) is really helpful.<br />
<br />
I am proposing therefore that Cambridge and Yorkshire retain their places in the larder. Next week I will look at the first method proposed for Project Pickled Egg which is not in the current Standard 8 – a visit to the deli counter!<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/196 ''The Ringing World''], No 5575, 2 March 2018, pg 196.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Cambridge&diff=2167Project Pickled Egg - Cambridge2018-06-18T21:59:43Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/16694 ''Cambridge Surprise Major'']===<br />
<br />
The place of Cambridge Major in Project Pickled Egg has been the most hotly debated of all. Here are some of the comments that indicate the opposing views and strength of feeling:<br />
<br />
''“The pressure is building for dropping Cambridge. If you apply the selection criteria for methods, which no one disagrees with, Cambridge doesn't score many points!”<br />
<br />
''“Ha! When the *best* thing you can say about Cambridge is “its falseness isn’t too awful” you know you’re on shaky ground.”<br />
<br />
''“Has to be in. Almost everyone goes via Cambridge Minor, so they want something as simple to learn from that starting point as possible.”<br />
<br />
''“Cambridge only needs to stay if it can justify its inclusion, and I don't think it can. It is certainly too hard as a first method, and by the time you have included all the obvious methods, we are looking at it being the 6th or 7th method, by which point it doesn't offer anything new. If Cambridge stays in the new collection, then I think that Project Pickled Egg has failed in its objective.”<br />
<br />
''“Today’s pub consensus was that for Pickled Egg to be taken seriously and adopted universally, Cambridge must stay.”<br />
<br />
''“I understand all the arguments for dropping Cambridge, but my argument would be that it is a unique special method with implications for ringing on all numbers from 6 to 12, and on 8 it is part of the most iconic peal composition [Pitman’s 4] so I don’t think you can judge it simply as a method on 8.”''<br />
<br />
So it is not a shoe in! <br />
<br />
Arguments for Cambridge’s inclusion based on the selection criteria are:<br />
<br />
• It is likely to be the first Surprise Minor method learned so the basic structure, or at least elements thereof, will be known<br />
<br />
• It teaches about extension because learners will know the Minor, and it extends well on higher numbers (but do you care at this stage?)<br />
<br />
• It has a structure which provides many building blocks for other methods (same could be said of Yorkshire though if that came first)<br />
<br />
• Every other ringer who knows at least one Surprise Major method knows it <br />
<br />
There are as many arguments for its exclusion though. It is not particularly musical in the plain course. In terms of extension, Yorkshire has enough Cambridge Minor features to become a logical pathway, and it is easier to ring and keep right. It does have a clear structure but then so do other methods. The falseness is limiting, which means good compositions are more difficult to find. <br />
<br />
Some of the perceived benefits of starting with Cambridge in the minds of more experienced ringers (e.g. easy extension from Minor) are not necessarily what is being experienced at the coal face. Although it has reassuring familiarity if you know Cambridge Minor, the long places are much more difficult to ring than short Yorkshire places, particularly in 56. <br />
<br />
It has been forcefully argued that Cambridge is just not the best starting point, either as a Surprise Major method or indeed as a Surprise Minor method. Whose idea was it to learn Cambridge Minor first anyway? It’s not the easiest Treble Dodging Minor method – there are plenty of candidates for that crown. If for instance you learned Kent and then Norwich, your perspective on what made an easy first Surprise Major method would be very different. Cambridge Minor is a huge hurdle to leap, and Cambridge Major is a leap again.<br />
<br />
However at the moment it will be very difficult for anyone’s first step in Surprise Major not to be Cambridge or Yorkshire simply because of available opportunity. It is all very well suggesting a different pathway, but until a generation of ringers come through who know something better, Cambridge is likely to stay, although it may fade in time. Going back to the larder analogy, we may have to continue to bake some cakes with ingredients in the larder until we have finished them, and replaced them with fresh.<br />
<br />
On balance then, omitting Cambridge from a set of core methods is too big a leap from the status quo to make, and for Project Pickled Egg to succeed it needs to stay. The merits of starting the Surprise Major journey with something different, and from somewhere different, will however be explored in due course. <br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/176 ''The Ringing World''], No 5574, 23 February 2018, pg 176.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_3&diff=2166Project Pickled Egg - Part 32018-06-18T21:59:03Z<p>RAS: /* References */</p>
<hr />
<div>__NOTOC__<br />
In this the 3rd article about Project Pickled Egg, I am going to introduce some criteria for selection of methods to go in this new core group. As I said last week, the current Standard 8 seem to have been largely self-selecting, with CYSL and B being commonly rung pre-war, and then Lincolnshire, Rutland and Pudsey added later. <br />
<br />
The 1941 Ringing World discussion I referred to discussed the desirable qualities of a standard method. With the techniques of composition being less well developed, the existence of just a ‘single good peal’ was considered important, as well as methods being musical. At that time, a method was generally considered to be musical if it kept coursing bells together as tightly as possible. <br />
<br />
== Core principles ==<br />
<br />
The whole point of Project Pickled Egg is that it would be a set of core methods teaching ringers how to ring Surprise Major in a progressive way, with each additional method building on what has come before, and clear reasoning for why it adds value. The methods should also form satisfying groups to be rung together. <br />
<br />
I should say at this point who has been collaborating on this. The major contributions from the start have come from Don Morrison, Graham John, Alan Reading, Philip Earis and David Hull. More recently the opinions of Graham Nabb, AJ Barnfield, Graham Bradshaw and Iain Anderson have been added into the mix. There have been some interesting debates, and one in particular that has divided opinion. But more of that later!<br />
<br />
The proposal is that considerations for adding a method to the larder are:<br />
<br />
● '''It should be musical in the plain course'''<br />
<br />
All the methods will get rung as plain courses or short courses, as the Standard 8 are now. All things being equal, the core method should be musical in the plain course. <br />
<br />
● '''It should introduce a useful new skill, technique or concept, and hence be progressive'''<br />
<br />
“You are learning this one next because…”. Also the step from one method to the next should not be too great. <br />
<br />
● '''It should not have limiting falseness'''<br />
<br />
The core methods should give freedom for composers to produce decent quarter peal and peal compositions in the method with tenors together.<br />
<br />
● '''Some familiarity is helpful'''<br />
<br />
New Surprise Major ringers will not get experience in the core methods if no one else knows them. There is therefore benefit in selecting a least some methods that are generally known. <br />
<br />
== Other considerations ==<br />
<br />
There were other potential aspects of core methods that were considered, as follows: <br />
<br />
'''1. Extension'''<br />
<br />
Does it matter whether the core methods extend to higher numbers at all? The current Standard 8 extend to a degree, although only the extensions of Cambridge, Yorkshire, London and Bristol have become standard methods on 10 and 12. Apart from Chris Kippin’s one-part compositions, composers haven’t really found a need to produce compositions of 8 Spliced Royal, nor is there much demand for them. The most popular composition of spliced on 12 now doesn’t have any of the extended Standard 8 in at all. <br />
<br />
It is therefore probably not necessary to consider the extendability, whilst recognising that formulaic ‘above’ works will get used on higher number with ‘below’ works which are optimised for the number of bells being rung. The Surprise Royal market is a relatively small one, and once bands get capable of ringing C Y L and B, they probably don’t need to rely on just extending methods they already know. <br />
<br />
'''2. Surprise, Delight, Treble Dodging, Irregular'''<br />
<br />
On numbers of bells above six, the distinction between Surprise and Delight is really only of academic interest - it makes no practical difference. In the 1941 correspondence, there is reference to how the term ‘Surprise’ seemed to have been adopted as a catch-all term for any method that was not a Delight or an Exercise! Yet there is an illogical obsession with Surprise. Few composers have dared mix Surprise and Delight, and thus subject their composition to the apparent indignity of being described as ‘Spliced Treble Dodging’. <br />
<br />
It is therefore suggested that a method will be considered for the core group irrespective of its nature, and the inclusion of at least one Delight method would be a positive force. <br />
<br />
There was less appetite for introducing irregular methods, principally as there didn’t seem to be any inherent advantage of an irregular method over ones with Plain Bob lead ends. However as I write, the core methods are still being considered so it may yet happen.<br />
<br />
'''3. Optimisation for spliced composition'''<br />
<br />
In defining a set of core methods in this way, aimed at achieving the stated aims, it is not likely that the absolute best set of methods for splicing together in all styles of composition will result. However provided that producing touches and compositions of the methods in themselves and together is not overly difficult, that characteristic was considered less important than finding the best methods to further the aim. <br />
<br />
'''4. Short touches of spliced'''<br />
<br />
How important is it that relatively straightforward touches of spliced are possible from the methods as they are learned in order? The Standard 8 gives a very easy touch of spliced including all eight in eight leads, although this was almost certainly more by luck than design. <br />
<br />
It would be nice if there were good short ‘practice night’ touches in the methods, oozing with music and interest, but to what extent should this drive the method choice rather than be a consequence? David Pipe’s classic cyclic Spliced Maximus oozes all over the place, but includes ‘designer methods’ not intended to be rung singly. <br />
<br />
'''5. Tower bells and handbells'''<br />
<br />
Graham John raised the early question of whether the core methods would be the same on tower bells and handbells. Lincolnshire may not add value on tower bells to methods that are likely to have gone before, e.g. Cambridge and Yorkshire, but is more useful on handbells. <br />
<br />
Whilst not following that train of thought too much, there is scope for having groups of methods branching off the core which adapt better for handbell bands.<br />
<br />
<br />
== So what are the proposed core methods? ==<br />
<br />
Over the next few weeks, maybe after seeing what correspondence flows from these first three articles, the proposed core methods will be introduced one or two at a time. The reasons for inclusion will be presented, but also in some cases the reasons why maybe there is no place for an old favourite. <br />
<br />
''Homework: take the current Standard 8, put them in a logical order of learning, or the order in which you learned them, and then apply the selection criteria suggested above. How many stay in your larder?''<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/102 ''The Ringing World''], No 5571, 2 February 2018, pg 102.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_2&diff=2165Project Pickled Egg - Part 22018-06-18T21:58:19Z<p>RAS: /* References */</p>
<hr />
<div>__NOTOC__<br />
== Where did the Standard 8 come from? ==<br />
<br />
It is not entirely clear how the current Standard 8 came about. The first peal in these eight methods was at Brierley Hill in 1939, but it was very much a one-off. I have spoken to leading peal ringers who were ringing spliced in the 1960s and the Standard 8 was being rung then even if not referred to explicitly as such, other than by Wilfrid Williams, who was definitely remembered to have used the term. However others don’t remember the term at all. It may have been the publication of all-the-work compositions in the ‘60s and ‘70s by Noel (Jim) Diserens (1969) and PGK Davies (1975) in these methods, which gave them traction. <br />
<br />
Going back a little, the Ringing World of 1941 contained an almost weekly discussion on the subject of the ‘Standard Methods’ (interspersed with reports of which towers in the City of London had been destroyed by enemy action). No reference is made to the Brierley Hill peal, and the discussion appears to have been prompted by the publication of the “Surprise Major Collection”, a book containing most of the methods known at the time. In an early article, the unnamed author says:<br />
<br />
“I don’t pretend to explain why it is, but I fear too many of us are not enthusiastic as we might be. It may be due to inertia, which affects us all more or less, but I wonder how many good ringers have been lost because their home company refused to progress. What should we think of the musician who, year after year, played nothing but the same old tunes? But too often we are content with ringing the same old methods interminably., all unconscious of the fact that no matter what the art or subject may be, it can only be a living thing as long as it commands our interest.”<br />
<br />
The standard methods of the time had become standard because they were the only methods available. This was not a larder with many ingredients – no place here for quinoa or edamame beans. Superlative and Cambridge started it off, with Yorkshire and Bristol also known. At this time London was considered to be the preserve of the experts, nevertheless, the phrase ‘Standard Four’ appears in the correspondence referring to CSL and B. Cambridge seems to only have achieved its place as a standard method because it was rung first. The first ingredient in the larder was still there, stuck down, with no one daring to check the sell by date on the jar. <br />
<br />
Although the series of articles peters out before the end of 1941 without conclusion, it contains glimpses of the future. Cornwall is introduced as a new method which “seems to be the one best fitted to become a standard method”. The figures of Glasgow are presented as an example of the impossible!<br />
<br />
== Standard methods – Episodes II and III ==<br />
<br />
Perhaps the most well-known attempt to find a different set of methods was the formulation of the “Nottingham 8” in the 1990s. The aim was to add more variety of lead-end orders and thus give more scope in composition. The Nottingham 8 added Cassiobury, Cornwall, Lessness and Glasgow to Pitman’s 4 (the common group name for CSL and be B based on AJ Pitman’s ground breaking compositions of the 1940s and 50s). It was first pealed in 1997, and has been many times since, but without really penetrating beyond the peal ringing community. <br />
<br />
In a letter published in 2013, AJ Barnfield proposed a group of 12 “good methods and true” – Belfast, Bristol, Cambridge, Cooktown Orchid, Cornwall, Deva, Frodsham, Lessness, London, Superlative, Turramurra and Yorkshire. His aim was to provide an improved experience for ringers from increased variety and quality of the methods proposed, and he also saw the group as dynamic, changing gradually over time so as not to go stale.<br />
<br />
== Episode IV - A New Hope ==<br />
<br />
I only scratched the surface of research into the origin of the Standard 8. I had hoped to find a defining moment, some plan that had brought it into existence, that might inform the job of replacing it, but I didn’t. Rather they seem to have just grown from the only methods that were around, and became embedded by habit and the production of compositions. That does nothing to enforce their status. <br />
<br />
In Part 3 I will introduce the criteria that we have developed for selection of a core method. Unlike our forefathers, we do not need to start with the only ingredients available. Maybe the criteria will steer us towards the deli counter!<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/81 ''The Ringing World''], No 5570, 16 January 2018, pg 81.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_1&diff=2164Project Pickled Egg - Part 12018-06-18T21:57:37Z<p>RAS: /* References */</p>
<hr />
<div>__NOTOC__<br />
== Background ==<br />
Discussions on replacing the Standard 8 with better methods are almost as old as the Standard 8 themselves, and usually dissolve into nominations of ringers’ favourite methods and hatred of Pudsey and Rutland in particular. Ashtead and Uxbridge are often informally added to the Standard 8 without them having any particular merit, and Glasgow and Belfast have become relatively standard additional methods for those wanting more of a challenge. Ringers starting out ringing Surprise Major are almost always steered down the path of learning the Standard 8 in some order, usually the Cambridge above ones, then Bristol, etc. The benefit of learning the Standard 8 is that you are learning methods that your fellow ringers are likely to know, and you will be equipped with the skills to ring in the “touch of 8 spliced” which may be the Holy Grail of a Surprise Major practice. Compositionally, pursuit of the Standard 8 has created a vast body of compositions which are hampered rather than enhanced by the inclusion of all of these eight particular methods. Pitman’s 4 doesn’t really get any better by adding Yorkshire, Lincolnshire, Pudsey and Rutland. It is difficult for composers to make a silk purse out of a sow’s ear, although some have made admirable attempts. History has got us to the point where most ringers of Surprise Major have the basic ingredients of the Standard 8 in their larder. They are our staples, but unfortunately, they do not make a very good cake.<br />
<br />
== Aim ==<br />
Project Pickled Egg aims to develop properly a new set of Core Surprise Major methods to replace the Standard 8, with the degree of thought, consultation and follow-up resource that could have traction. There won’t be eight and they won’t be called ‘Standard’. They may not even all be Surprise.The whole point would be that it would be a set of core methods that would teach ringers how to ring Surprise Major in a progressive way, with each additional method building on what has come before, and clear reasoning for why it adds value.The emergence of ART, a reforming Central Council, and a new generation of young ringers coming through events such as the Ringing World National Youth Contest means there is a chance now to teach a whole new generation of ringers a different set of Surprise Major methods. We can stock these ringers’ larders with fresh and much more exciting ingredients than generations before had, which not only make better cakes, but teach them how to cook and how to shop for more ingredients. This will be a larder without any pickled eggs in!<br />
<br />
== The project ==<br />
A small group of collaborators (generally experts in composition and method construction, plus me) has been discussing and working on Project Pickled Egg since the idea was conceived on a ringing friends holiday in summer 2017. It has now got to the point where the thoughts are worth sharing. Immediately prior to this article appearing in The Ringing World it was presented to the St Martin’s Guild, some members of which embraced it straight away! <br />
<br />
<pre><br />
ST MARTIN'S GUILD OF CHURCH BELL RINGERS<br />
EDGBASTON, W Mids, St Bartholomew<br />
Fri Jan 12 2018 2h44 (10)<br />
5024 Cooktown Orchid D Major<br />
Comp. Donald F Morrison (No.1745) <br />
1 Christine Mills <br />
2 Mark R Eccleston <br />
3 Stephanie J Warboys <br />
4 Catherine R Taylor <br />
5 James P Ramsbottom <br />
6 Michael P R H Woolley <br />
7 Alistair J Cherry (C) <br />
8 Jack E Page<br />
#projectpickledegg.<br />
In 8 peals, Jack has now circled the tower in order from treble to tenor. Well done Jack!<br />
</pre><br />
<br />
In Part 2 I will explain the methodology being used to consider whether a method makes it into the larder, as well as looking back at how the current Standard 8 got there in the first place.<br />
<br />
SIMON LINFORD<br><br />
Birmingham<br />
<br />
==References==<br />
* [https://bb.ringingworld.co.uk/issues/2018/55 ''The Ringing World''], No 5569, 19 January 2018, pg 55.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Project_Pickled_Egg_-_Part_7&diff=2163Project Pickled Egg - Part 72018-06-18T21:55:59Z<p>RAS: /* References */</p>
<hr />
<div>===[https://complib.org/method/16066 ''Superlative Surprise Major'']===<br />
<br />
Three of the so-called Standard 8 are not going to make it in Project Pickled Egg, but before opening the lid of the dustbin here is a method which I think makes the cut. <br />
<br />
In the early consultation there wasn’t a bad word said about Superlative and it scores pretty well against the criteria set for larder selection. <br />
<br />
• There is familiarity of Cambridge/Yorkshire structures making it not too difficult to learn<br />
<br />
• It is a classic structure in its own right<br />
<br />
• The plain course includes a crowd-pleasing Queens, and is a good generator of music in other courses. <br />
<br />
• It introduces the concept of a double method (rotational symmetry in the blue line), and of non-coursing bells meeting at the back<br />
<br />
• Superlative emphasizes the importance of learning place bell starts well, as a couple can catch you out, e.g. 5ths place bell<br />
<br />
• The five pull dodge across the half lead is good for learning how to count dodges, and for trying to see where the half lead is <br />
<br />
I asked on my PPE Facebook group what features of Superlative were useful to people who have been learning Surprise Major methods more recently than my original collaborators. The answers were a bit different although the non-coursing pairs at the back was noted. What a few people said was that it introduces you to turning round other than at the front and back, i.e. going up to 56 places and coming back down without getting up into 78. The unfamiliarity of this is borne out by this being the point where most mistakes occur! <br />
<br />
Superlative is a very old method and was considered to be a classic over 100 years ago. In the 1941 Ringing World discussion on Standard Methods the following is noted: “The great revival of ringing toward the end of the [19th] century added Double Norwich, and the three Surprise Methods – Cambridge Superlative and London – all of which had been known for long, but had not been taken into general use.” <br />
<br />
Pitman included Superlative in his classic one-part compositions, with his 4 Spliced (CSLB) being one of the most rung and respected compositions of all time. When the Nottingham 8 was conceived as an alternative/replacement set of methods, its creators didn’t think the elements of this classic composition could be omitted. In easier compositions of spliced the inclusion of Superlative provides some excellent variety and musical options, as well as a certain frisson for 5ths place bell (will they or won’t they remember to make 6ths!)<br />
<br />
As an early method to learn, with Cambridge and Yorkshire already under your belt, Superlative is a good next step, with enough that is familiar to help you, including the lead end order, a couple of new concepts to grasp, and a rewarding result that goes in some great cakes. Superlative makes it. <br />
<br />
A quick note on double methods. If when you are first learning a double method like Superlative, a smart alec says you only need to learn a quarter of it – take no notice. Learn it like you normally would but look at the symmetry and let it help your understanding of the method. The double feature is definitely helpful but don’t initially see it as any sort of short cut. <br />
<br />
A concept that will be introduced in Project Pickled Egg, starting now, is the ‘try also’ section. This is a feature borrowed from the Good Beer Guide which presents some additional pub recommendations alongside the main featured entries. ‘Try also’ methods aren’t going to be part of the main recommended learning path and core group, but are worth looking at by bands seeking something a bit different at a particular level, maybe a quarter peal excursion. <br />
<br />
Based on the methods introduced so far, the first ‘try also’ on offer is [https://complib.org/method/16020 ''Painswick Surprise Major'']. This is a method particularly favoured by well-known Ringing World columnist and method guru AJ Barnfield, Painswick is a mixture of Yorkshire and Superlative and so is relatively easy to learn if you have those two ingredients already. Mixing the two is a good flavour combination (have I been watching too much Masterchef?) and arguably better than either on its own. <br />
<br />
Furthermore, AJB suggests the following particularly good quarter peal composition:<br />
<br />
(Before, 5ths, 4ths, Before, Home) x3. Part end 4235678<br />
<br />
which generates 128 four-bell runs, 22 five-bell runs, 9 six-bell runs, 4 seven-bell runs, 38 four-bell runs off the front, 54 four-bell runs at the back, 18 '*5678's, 18 '*8765's, 12 '8765*'s and 12 '5678*'s. What’s not to like?<br />
<br />
==References==<br />
* [http://bb.ringingworld.co.uk/issues/2018/247 ''The Ringing World''], No 5577, 16 March 2018, pg 247.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Notable_Achievements&diff=1530Notable Achievements2011-11-09T20:28:06Z<p>RAS: /* Fastest Peals */</p>
<hr />
<div>This section lists some of the notable achievements in the world of ringing.<br />
<br />
Because peal details are officially recorded and are readily available, statistics for peals are much easier to find that other statistics, so many of the achievements below relate to peals. However, additions of other notable achievements are very welcome if you know the details, and if you have photos of the individuals or bands, even better.<br />
<br />
==Prolific Peal Ringers==<br />
'''Colin M Turner''' became the first person to ring 5000 peals on 24 Jun 2007 in just 31 years. This amounts to 25,338,418 changes, and this is just for the successful ones. There are many other records encompassed in this. The peals were rung with 1,152 people at 3,074 towers, and Colin rang over 200 peals a year for 16 consecutive years (from 1991 to 2006), the most being 303 (in 1989) and this is recorded in the Guinness Book of Records as being the most ever rung in a single year. He has rung over 2,000 different methods, including the Surprise alphabet on 6, 8, 10 & 12 at least twice at each stage. <br />
<br />
'''Elisabeth A G Bowden''' became the first lady to reach 4000 peals with a peal at [http://www.campanophile.com/view.aspx?112996 Easthampstead]on 23 Dec 2010. It was her 1000th for the Gloucester & Bristol Diocesan Association. <br />
<br />
'''Revd F E Robinson''' was the first person to reach 1000 peals. This was on 9 Aug 1905 according to his records but he may have missed some of his earlier peals.<br />
<br />
'''Andrew B Mills''' became the youngest person to ring a 1000 peals on 14 Feb 1991 when he conducted Shelford Delight Minor at Shelford at the age of 23yrs 8months.<br />
<br />
'''Paul J Pascoe''' became the fastest person to ring 1000 Peals (from 1st to 1000th peal) in 3271 days by conducting Bristol S Major at Thorverton, Devon on the 8th December 2007 [http://www.campanophile.com/view.aspx?59080], and surpassed '''Ian R Fielding's''' previous record of 3275 days on 17th October 1997.<br />
<br />
<br />
<br />
'''Current Peal Milestones'''<br />
<br />
{| class="wikitable"<br />
|-<br />
! <br />
! First<br />
! Fastest<br />
|-<br />
| 1000th<br />
| Rev F E Robinson (1905)<br />
| Paul J Pascoe (8yr 11mth)<br />
|-<br />
| 2000th<br />
| George E Fearn (1965)<br />
| Peter G C Ellis (13yr 11mth)<br />
|-<br />
|3000th<br />
| John R Mayne (1993)<br />
| Peter G C Ellis (19yr 4mth)<br />
|-<br />
|4000th<br />
| John R Mayne (2000)<br />
| Colin M Turner (26yr 6mth)<br />
|-<br />
|5000th<br />
| Colin M Turner (2007)<br />
| Colin M Turner (31yr 4mth)<br />
|}<br />
<br />
<br />
<br />
Andrew Craddock's [http://www.pealbase.co.uk Pealbase] includes details of all ringers who have rung '''1000 or more peals'''.<br />
<br />
==Gregarious Peal Ringers==<br />
<br />
The Change-ringers list in February 2008 discussed who was the most gregarious peal ringer. At that time and using Pealbase data going back to 1973 Andrew Craddock revealed that '''John Pladdys''' topped the list with 1911 ringers and '''Elisabeth A G Bowden''' was the highest ranking lady in 5th place and 1646<br />
ringers.<br />
<br />
==Fast Learners==<br />
<br />
'''Peter Davey''' rang a handbell peal of Plain Bob Minor at the age of 17 on Thursday, 28 August 2008 less than 5 days after being taught to ring [http://www.campanophile.co.uk/show.aspx?Code=70638]<br />
<br />
'''Victoria J M Wilby''' rang her first peal on 09 Apr 1998 6 months after her first lesson and then rang a quarter of Stedman Cinques at the Pier Head on the first anniversary of her first ringing lesson.<br />
<br />
'''Jennifer A Murch''' rang her first peal on 30 June 2007, 24 weeks after learning to ring. Whilst a student at Hull University she rang her 49th peal on Monday, 1 December 2008, being Yorkshire S Maximus inside [http://www.campanophile.co.uk/show.aspx?Code=74998]. She was elected to the [http://www.ascy.org.uk/mem2000- College Youths]in 2009 and rang her [http://www.campanophile.co.uk/show.aspx?Code=89157 first peal] for the Society on 19 Sep 2009.<br />
<br />
'''Stefan Smith''' had his first handling lesson at 4pm on Sunday, 28 December 2008. By 4:45pm he was capable of ringing the Tenor to [http://www.campanophile.co.uk/show.aspx?Code=76285 this Quarter Peal], with minimal aid from a strapper, but Stefan did all the work of the handstrokes.<br />
<br />
==Progression of Later Learners== <br />
Older people CAN learn to ring and excel!!! This section is for examples of people who started to learn as adults and have made some reasonable progress and/or contribution.<br />
<br />
'''Harry Stewart''' learnt to ring at Melbourne, Derbys at the age of 79 and rang rounds for the first time on his 80th birthday for Sunday service. He progressed to rounds and call changes on twelve and plain hunting on seven. Whilst visiting family he joined in practices and outings in Kent, and even rang at Canterbury Cathedral. He had to give up as Parkinson's disease became too much for him and sadly he died on 30 March 2008.<br />
<br />
'''Bill Titmarsh''' learnt to ring at Clenchwarton, Norfolk at the age of around 73. Whilst not progressing beyond rounds and call changes he displayed remarkable commitment and fortitude. Despite suffering from arthritic and rheumatic conditions which meant that he could hardly hold a coffee mug, as well as a host of other health problems, including a poor heart, new heart valves, bypasses, and God knows what else (literally) he attended every Sunday until he could no longer physically stand. He died in April 2003 and a peal was rung in celebration of his life [http://www.campanophile.co.uk/show.aspx?Code=11648]<br />
<br />
'''Helen Beaumont''' started ringing reluctantly at the age of 51 in 2003 as chaperone to her daughter (who has since given up). Since then, with the assistance of many friends and all the ringing she can get, she has rung several quarters from Plain Bob Doubles to [http://www.campanophile.co.uk/show.aspx?Code=68973 Grandsire Caters] and [http://www.campanophile.co.uk/show.aspx?Code=63045 Plain Bob Royal] inside. Her first peal was at Abingdon, Oxfordshire on 6 Jun 2009, ringing inside to [http://www.campanophile.co.uk/view.aspx?84435 Grandsire Caters]<br />
<br />
'''Karl S Ryder''' took up ringing at the age of 40 in 2003. His [http://www.campanophile.co.uk/show.aspx?Code=36116 first peal] was trebling to Yorkshire S Major on 19 Mar 2006 at West Bridgford, Nottingham. He is Tower Captain of that active tower and a regular ringer at Nottingham St Mary where he has rung several quarters of Surprise Royal inside and trebled to Surprise Maximus eg [http://www.campanophile.co.uk/show.aspx?Code=36116 Pudsey]. On the 08/08/08 he took part in quarters of each of the Standard 8 S Major, ringing inside to all except Bristol.<br />
<br />
'''Mike Lewis''' took up ringing as a "supporting Dad", at the age of 44 in St' Elvan's church, Aberdare, S.Wales on 4th July 2007. By December he had progressed to Bob Doubles touches and rang his 1st quarter in Jan 2008. Since then he has rung in 8 quarter peals (up to Jan 2009) and become the steeplekeeper at St' Elvan's and was temporary Tower Captain for a short while. Besides winning the "Leslie Evans Trophy" from the Swansea & Brecon Guild for most improved ringer in 2008, he also carried out work to renew the ringing room floor in a nearby tower as well as changing a clapper and several broken stays at Aberdare (including one of his own). He has gained all 4 badges in the STA bell club awards scheme and is working towards the S&B DGBR profiency certificate. Now ringing Stedman Doubles and attempting Bob Triples and Major, and looking forward (!) to his 1st Peal attempt.<br />
<br />
'''Tony Lees'''<sup>*</sup> first started to ring in Autumn 1992 in Thrumpton, Notts (a 6cwt 6 in a very small village) at the age of 45. He rang his first quarter covering in Barton, Notts (11cwt) in April 1994, and first peal trebling to mixed minor in October 1996. After being encouraged on scoring his 3rd peal, Cambridge S Major in May 2004 he got serious about attempting to progress as far as possible. As at January 2010 he has rung a total of 37 peals including Spliced S Minor (16m), Yorkshire S Royal and Grandsire Caters inside, and boosted by 59 during 2010, 226 quarter peals (two of which he has conducted) including 8 spliced S Major atw, Glasgow Major, most of the standard 8 Surprise Royal, Grandsire Cinques and Little Bob Maximus (see Campanophile for most recent performances). His first qtr of Surprise Max (Yorkshire) was scored in Sep 2010. Following a handbell course run by the Society of Sherwood Youths he rang his [http://www.campanophile.co.uk/view.aspx?95227 first quarter in hand] on 6 January 2010.<br />
<br />
<sup>*</sup>(I have taken the liberty to add my details to demonstrate that with persistence, endeavour, the grace and patience of many others, the help of some in general and one in particular, that someone with no special talents can make some headway beyond the proverbial "plain bob doubles". There are others who started at a later age and have made really remarkable progress (see below). Their details should be an encouragement to both other ringers and their tutors. I fully support the approach explained by [http://edc.cccbr.org.uk/phpbb3/viewtopic.php?f=23&t=22&start=0&st=0&sk=t&sd=a | Heather Peachey] and the use of [http://edc.cccbr.org.uk/phpbb3/viewtopic.php?f=23&t=22&p=570#p570 | Simulators] Tony Lees.)<br />
<br />
'''Iris Margaret Elsie Lemare''' was born in London on 27 September 1902. She was musically gifted and<br />
became the first woman to conduct the BBC Symphony Orchestra, in 1937. She also was an active walker, swimmer and skier. It is believed she took up bell ringing in her mid-50's at the York Arts Centre under Harold Walker. By 1958 she had joined the Minster band and rung her [http://www.yacr.org.uk/pealdetail.php?id=12951 first peal]. Over the next 23 years she rang over 700 peals at all stages (minor to maximus) and a wide range of common and not so common methods including [http://www.yacr.org.uk/pealdetail.php?id=5298 Lemare Surprise Major] for her 79th birthday. Her [http://www.yacr.org.uk/pealdetail.php?id=5345 final peal] was 8 spliced major in the December of 1981. She died in Askham Bryan, near York on 23 April 1997. A web search will bring up many hits and there is an obituary at [http://www.independent.co.uk/news/people/obituary-iris-lemare-1261255.html]. David Potter's obituary of Iris Lemare was in the Ringing World of May 16th 1997.<br />
<br />
'''Prudence Fay''' took up ringing at age 50, rang her first tower and handbell peals in 1995. She has rung Glasgow, Belfast, Norman Smith's 23 on tower (148 peals) and handbells (94 peals), totalling 242 peals as at January 2010.<br />
<br />
==Young Peal Ringers==<br />
<br />
A number of youngsters have rung peals prior to their teens. The following are some examples:<br />
<br />
'''Henry J W Pipe''' rang his first peal being 5040 Plain Bob Minor [http://www.campanophile.com/view.aspx?102350] on handbells (1-2) on Monday, 31 May 2010 at the age of 7 years 105 days.<br />
<br />
'''Jonathan Carpenter''' rang his first peal (Plain Bob Minor) aged 7 at Warfield, Berks, on 19th June 1982. He was the youngest ringer to ring a working bell to a peal replacing '''Paul Jopp''' who rang his first peal at the age of 8 on 4 Nov 1966 ringing inside to Plain Bob Minor on the Stoulton Campanile. This itself was the first peal conducted by '''Andrew Jopp''' at the age of 13.<br />
<br />
'''Paul Jopp''' went on to ring and conduct his first peal of Surprise, being Cambridge Minor, when he rang the 2nd at S Nicholas, EARLS CROOME, Worcs on Thu Apr 23 1970. It was also the first of Surprise for the ringers of the 3rd and 4th (Barbara Luckes and Andrew Jopp).<br />
<br />
'''Ewan Hull''' rang his [http://www.campanophile.com/view.aspx?120930 first peal] at the age of 8 trebling to Plain Bob Minor at Strensall, North Yorkshire on 7 May 2011.<br />
<br />
'''Alex F Byrne''' rang the treble to Plain Bob Minor for his first peal whilst only 9 on 15 Dec 1979 at Hinton Waldrist, Oxon. He then went on to conduct his 6th peal, ringing an inside bell to Plain Bob Minor on 29 May 1981 at Berkeley, Glos and thus probably becoming the '''youngest person to call a peal''' at the age of 11.<br />
<br />
'''Victoria K Johnstone''' rang her first peal aged 11, 9 months after her first lesson in order to beat her elder brother on Sunday February 26, 2006 at Oakington, Cambridgeshire.<br />
<br />
'''Jemma L Mills''' on Sunday, 7 January 2007 rang her first peal on the 'Pot Bells' at Shelford, Nottingham at the age of 9 [http://www.campanophile.co.uk//view.aspx?45841], becoming possibly the youngest girl to ring a peal this century. The band consisted of 3 generations of the Mills family. She followed this performance with a peal of Major on Sunday, 1 June 2008 at Clifton, Nottingham [http://www.campanophile.co.uk//view.aspx?66849].<br />
<br />
'''Thomas A F Keech''' rang his first peal on Sunday, 30 November 2008 at Campton, Beds whilst still aged 10 [http://www.campanophile.co.uk//view.aspx?74903]. He is the youngest Bedfordshire ringer to ring a peal since '''Jeremy Piron''' (Grandsire Triples at Maulden in July 1969), who was a month younger. At the age of 7 he rang on the 16 at the Swan Bells, Perth WA and he may be the youngest person to ring in Australia.<br />
<br />
'''Robert Stafford''', aged 10, rang the treble to a peal of Plain Bob Major on 21 March 1927 at Whitley Bay. (with thanks to Bill Butler's [http://pealbase.co.uk "On This Day"])<br />
<br />
'''Andrea P L Pygott''', aged 11 rang Bristol Major on the 2nd for her first peal on Friday 14th August 2009 at St Mary, Barnsley [http://www.campanophile.co.uk//view.aspx?87509].<br />
<br />
'''William M Regan''' at the age of 11 rang his first peal trebling to Grandsire Triples on Monday 30th May 2011 at Hanbury, Worcs. [http://www.campanophile.com/view.aspx?122176]<br />
<br />
'''Edward R Mack''', aged 12, on Saturday, 30 June 2007 rang his first peal at his first attempt, being Yorkshire S Royal on the 4th at St Peters, St Albans [http://www.campanophile.co.uk//view.aspx?52222].<br />
<br />
'''Tom and James Perrins''' both rang their first peals before reaching their teens. Tom rang his first peal, Grandsire Doubles, on 5th April 2003 just before his eleventh birthday. James rang his first peal, the Standard 8 major on the 2nd, at the age of 12 on Saturday 28 March 2009 at St Andrew's Cathedral, Sydney [http://www.campanophile.co.uk//view.aspx?80694]. 82 year old Thomas Goodyer rang the 4th raising the question of whether this is the biggest age difference in a peal of 8-spliced. On Friday, 3 April 2009 again at St Andrew's the brothers and Tom rang inside to a quarter peal of Cambridge Surprise Maximus [http://www.campanophile.co.uk//view.aspx?81014]<br />
<br />
'''Fraser J Murray''', aged 11, rang inside to Cambridge S Minor for his first peal on Sunday, 28 June 2009 at Halifax [http://www.campanophile.co.uk/show.aspx?Code=85339]. On Saturday July 4 he rang his second peal, again inside, to 3 minor methods at Saltaire [http://www.campanophile.com/view.aspx?85623]<br />
<br />
'''Harriet J Dodd''', at the age of 10 years 134 days, rang her [http://www.campanophile.com/view.aspx?69147 first peal] trebling to Grandsire Caters at St Mary, Bishopstoke, Hampshire on Saturday July 26, 2008. On Saturday, 4 December 2010 at the same tower she rang the same bell to [http://www.campanophile.com/view.aspx?112106 Stedman Caters].<br />
<br />
'''Matthew S Pearson''', aged 11, rang the 3rd to Yorkshire S Major for his [http://www.campanophile.com/view.aspx?130749 first peal] at his first attempt at Christ Church, Epsom Common, Surrey on Sunday 30 October 2011.<br />
<br />
Although 15 at the time the first peal of '''Alice White''' on 12th Feb 1896 is notable as being the first peal rung by a woman. She rang the treble to a peal of Grandsire Triples at her home tower, St Michael's Basingstoke. (with thanks to Bill Butler's [http://pealbase.co.uk "On This Day"]).<br />
<br />
On the 1st December 1912 there was a handbell peal of Grandsire Doubles in the belfry of the church at Great Hampton, Worcestershire.<br />
The ringers were '''Ellen M Johnson''' (12 years old), '''Joseph D Johnson''' (13 years old), and '''Ruth Johnson''' (10 years old). Joe conducted it. The '''Johnsons''' were a very large (9 children) family from Hinton on the Green, Worcestershire. Lots of the children rang many handbell peals, usually conducted by Joe- who also called the first peal on the present bells of Worcester Cathedral. In later years, handbell peals of Kent Treble Bob Royal were rung at Hinton. Other siblings included '''Amy Johnson''', the first lady to ring 500 peals, and '''Florence Johnson''' who married the great Tom Lewis of St. Johns, Worcester.<br />
<br />
==Young Quarter Peal Ringers==<br />
<br />
'''Henry Pipe''', aged just 6, rang his first quarter peal on Tuesday 26 January 2010 [http://www.campanophile.co.uk/view.aspx?96006 Plain Bob Minor in hand]<br />
<br />
'''Ewan Hull''' at the age of 7 rang his [http://www.campanophile.co.uk/view.aspx?94627 first quarter] on the treble at Ss Philip and James, Clifton, York on Monday, 28 December 2009.<br />
<br />
'''John Hinton''' at the age of 8 rang his [http://www.campanophile.com/view.aspx?120097 first quarter] trebling to Grandsire Doubles at All Saints, Little Shelford, Cambs on Friday 29th April 2011.<br />
<br />
'''Nathan Joynson''' at the age of 8 rang his [http://www.campanophile.com/view.aspx?130138 first quarter] trebling to Plain Bob Doubles at All Saints, Stone, Gloucestershire on Sunday 23 October 2011.<br />
<br />
'''Thirza de Kok''', from Dordrecht in the Netherlands, rang her first tower bell on her own during a visit to All Saints Sapcote in August 2009. On Saturday February 20th 2010 at the age of 9 she returned to that tower to ring her [http://www.campanophile.com/view.aspx?97696 first quarter peal], following her father’s footsteps of 24 years ago. The quarter was called by Thirza's brother Harm Jan (aged 13). On Saturday 28 August 2010, still at the age of 9, she rang her [http://www.campanophile.com/view.aspx?106619 first quarter of major] in her home town.<br />
<br />
'''Rosemary Hall''' at the age of 9 rang [http://www.campanophile.com/view.aspx?88963 her first quarter] being the treble to Plain Bob Doubles on Sunday, 13 September 2009 at Old Brampton, Derbyshire.<br />
<br />
'''Harriet J Dodd''' at the age of 9 rang [http://www.campanophile.com/view.aspx?55590 her first quarter] being the treble to Plain Bob Doubles on Thursday, 27 September 2007 at St Mary, Bishopstoke, Hants. She has since gone on to ring many quarter peals and a few peals.<br />
<br />
'''Isaac Perry''' at the age of 9 rang [http://www.campanophile.com/view.aspx?122114 his first quarter] trebling to Plain Bob Doubles at South Petherton, Somerset on Saturday, 28 May 2011.<br />
<br />
'''James P Town''' at the age of 9 covered to Plain Bob Doubles for [http://www.campanophile.com/view.aspx?129577 his first quarter] at All Saints, Northallerton, on Saturday 15 October 2011.<br />
<br />
==Older Peal Ringers==<br />
<br />
On 14 September 1973, George E Symonds (b.1875 d.1974) rang a peal of Kent Treble Bob Royal at Grundisburgh, Suffolk, aged 98 years 1 month.<br />
<br />
[http://www.pealbase.co.uk Pealbase] includes details of nine other people who have rung peals at the '''age of 90 or more'''.<br />
<br />
==Firsts as Conductor==<br />
'''John R Leary''' is the only person to have conducted all his first peals at every stage from Doubles to Maximus. He started in the 1960's and completed the achievement with a peal Doubles at All Cannings, Salisbury on 17 Apr 1995. More about him can be read at [http://archive.salisburyjournal.co.uk/2007/4/5/311446.html]<br />
<br />
'''Jennifer E Butler''' conducted Roddy Horton's split-tenors one-part composition of Bristol, Belfast, London and Glasgow at the age of 17, being her first as conductor and 10th towerbell peal (8 Jan 2005 Thornhill).<br />
<br />
'''Alexandra A Prabhakar's''' first peal as conductor was Holt's Original [http://www.campanophile.co.uk/show.aspx?Code=59805 5,040 Grandsire Triples] on 26 December 2007. On 3 April 1973, '''Juliet S Stoy''' also called this composition for her first as conductor. <br />
<br />
'''Thomas M Perrins''' called his first peal, Grandsire Triples, at the age of 12 yrs 9 mths on Sunday January 16, 2005 at St Mark's, Darling Point, New South Wales<br />
<br />
==Feats of Learning and Method Complexity==<br />
The pinnacle of method learning and complexity for advanced ringers on eight bells are all-the-work peals of 23 methods, the maximum in a normal length peal. Most usually these methods are learnt by ringing a series of peals which gradually build up to 23 methods. The first of these compositions was produced by Norman Smith, and rung 31 December 1966. It has since been rung almost 500 times by over 850 ringers. Stephen D Chandler subsequently produced a similar composition of 23 much more difficult methods. <br />
<br />
Learning more than 23 methods takes the challenge to a much higher level, as it becomes very easy to confuse one method with another, and forget some methods as new ones are learnt. Taking this learning exercise to 100 methods requires considerable experience, mental agility, and an exceedingly good memory, not withstanding the challenge of keeping this up continuously for 10 hours. On Friday, 28 October 2005 a peal of '''22400 Spliced Surprise Major, 100 methods, all the work''' was rung by an ASCY band at the Loughborough Bell Foundry in 10h 48 (6) with. 699 changes of method. Composed by: Paul Needham 1 Stephanie J Warboys 2 Philip J Earis 3 John N Hughes-D'Aeth 4 Robin O Hall 5 Andrew J Graham 6 Simon J L Linford (C) 7 David J Pipe 8 David C Brown Longest peal of Spliced Surprise. Most Spliced Surprise Major methods all the work [http://www.campanophile.co.uk/show.aspx?Code=31837]<br />
<br />
The longest peal of Spliced Surprise Royal was rung at St Thomas, Oxford where an Ancient Society of College Youths band rang 56 methods, all the work (503 COM) being '''20160 Spliced Surprise Royal''' on Thursday, 18 March 2010 in 11h 19m [http://www.campanophile.com/view.aspx?98573]<br />
<br />
Rigel Surprise Maximus is one of the most challenging Maximus methods rung, with an apparently random blue line. On handbells, the ringers have to contend with their two bells making point blows in the middle of the rows rarely synchronised with one another. On 14 January 2006, a peal of '''12672 Rigel Surprise Maximus''' was rung on handbells [http://www.campanophile.co.uk/show.aspx?Code=34156].<br />
<br />
On 13th October 1984 at Shoreditch the Society of Royal Cumberland Youths rang '''all Surprise Maximus methods''' that had been rung up to the end of the previous year giving rise to a peal of 8000 Spliced Surprise Maximus in 170 methods in 5 hours and 40 minutes. [http://www.cccbr.org.uk/rc/tower_higher.php]<br />
<br />
Scientific is a principle, where there is no hunt bell to act as a guide, and is probably the hardest Triples method. On 12 November 2008 the first peal of ''' 5040 Scientific Triples''' in hand was scored by St. Martin's Guild for the Diocese of Birmingham 1-2 William T Bosworth 3-4 Charles A S Webb 5-6 Mark R Eccleston 7-8 Alan S Burbidge (c) [http://www.campanophile.co.uk/show.aspx?Code=74077]<br />
<br />
Minor methods present their own challenge as many methods can be rung in a short time. A feat of composition, conducting and ringing was achieved on Friday 24 Oct 1969 when a Peal of '''5040 Spliced Treble Bob Minor''', comprising '''210 Treble dodging methods''' with a '''change of method every lead''', was rung. At the time it was the '''most methods rung to a peal'''. The feat was repeated on Sunday 24 Oct 2004 2h45 [http://www.campanophile.co.uk/show.aspx?Code=22325]. [http://www.southwelldg.org.uk/guild/210_treble_dodging.htm#Comps Click] for a background to the history of these peals.<br />
<br />
The '''most methods rung all the work on tower bells''' was scored on on Saturday, 25 September 2010 when 147 minor methods were rung, giving 20160 changes, by the Ancient Society of College Youths at St Paul, Jewellery Quarter in 9 hours 37 minutes. John S Warboys provided the composition and it was rung by 1 Richard B Grimmett, 2 David J Pipe (C), 3 Philip J Earis, 4 Simon J L Linford, 5 Michael P A Wilby, 6 John M Thurman [http://www.campanophile.com/view.aspx?107923]<br />
<br />
A silent and non conducted peal of Stedman Triples was rung at Meldreth, Cambridgeshire on 15th December 1980. It was twice the length of a usual peal and the band had to learn two very complex compositions, the first by John Noonan (http://ringing.org/main/pages/peals/composers/compositions?surname=Noonan&forenames=J) and the second by G Wilfred Slack (http://ringing.org/main/pages/peals/composers/compositions?surname=Slack&forenames=G%20Wilfred)<br />
<br />
==Higher Numbers F<br />
irst Peals==<br />
Ringers whose first peals were on 12 or more bells.<br />
{| style="color:blue;background-color:#ffffdd;" cellpadding="5" cellspacing="0" border="1"<br />
! Date<br />
! Name<br />
! Tower<br />
! Method<br />
! Notes<br />
|-<br />
| 13 February 1937<br />
| Albert M Tyler<br />
| Tewkesbury, Glos<br />
| Stedman Cinques<br />
| Age 13<br />
|-<br />
| 3 Sept 1976<br />
| Alison C Waterson<br />
| Shoreditch, London<br />
| Yorkshire S Maximus<br />
| Age 15 (2nd)<br />
|-<br />
| 3 Sept 1976<br />
| Hilary A Beresford<br />
| Shoreditch, London<br />
| Yorkshire S Maximus<br />
| Age 16 (4th)<br />
|-<br />
| 18 May 1986<br />
| Eleanor J Kippin<br />
| Bristol, St Stephen<br />
| Stedman Cinques<br />
| &nbsp;<br />
|-<br />
| 6 Sep 1987<br />
| Michael P A Wilby<br />
| London, St Sepulchre<br />
| Stedman Cinques<br />
| &nbsp;<br />
|-<br />
| 24 Sep 1987<br />
| Deborah L Blake<br />
| Bedford, St Paul<br />
| Stedman Cinques<br />
| &nbsp;<br />
|-<br />
| 30 Jan 1993<br />
| Alison M Brookbanks<br />
| Towcester<br />
| Cambridge S Maximus<br />
| &nbsp;<br />
|-<br />
| 31 Dec 1994<br />
| Luke M Atwell<br />
| Towcester<br />
| Little Bob Maximus<br />
| &nbsp;<br />
|-<br />
| 31 Dec 1994<br />
| Joanna L Woolley<br />
| Towcester<br />
| Little Bob Maximus<br />
| Rang inside<br />
|-<br />
| 21 Jul 1995<br />
| Hannah L Wilby<br />
| Towcester<br />
| Bristol S Maximus<br />
| Age 11<br />
|-<br />
| 2 Aug 1997<br />
| Brett C Masters<br />
| Towcester<br />
| Cambridge S Maximus<br />
| Rang inside<br />
|-<br />
| 21 Feb 1998<br />
| Caroline Newman<br />
| Bristol, St Mary Redcliffe<br />
| Spliced S Maximus (5m)<br />
| Rang inside<br />
|-<br />
| 9 Jan 1999<br />
| Jennifer E Henson<br />
| Towcester<br />
| Bristol S Maximus<br />
| &nbsp;<br />
|-<br />
| 5 Jun 1999<br />
| Joanne L Henson<br />
| Towcester<br />
| Yorkshire S Maximus<br />
| &nbsp;<br />
|-<br />
| 4 Aug 2000<br />
| R Clive Henson<br />
| Towcester<br />
| Yorkshire S Maximus<br />
| Rang inside<br />
|-<br />
| 21 Oct 2001<br />
| D Paul Mason<br />
| Leicester, St Margaret<br />
| Yorkshire S Fourteen<br />
| Rang tenor<br />
|-<br />
| 9 Nov 2002<br />
| Tessa K Beadman<br />
| Guildford, Cathedral<br />
| Spliced S Maximus (5m)<br />
| Rang inside<br />
|-<br />
| 11 Jan 2003<br />
| David W Kipling<br />
| Llandaff Cathedral<br />
| Stedman Cinques<br />
| &nbsp;<br />
|-<br />
| 5 Jun 2005<br />
| Simon A Bond<br />
| Preston Minster<br />
| Plain Bob Maximus<br />
| &nbsp;<br />
|-<br />
| 5 Jun 2005<br />
| Robert V Criddle<br />
| Preston Minster<br />
| Plain Bob Maximus<br />
| &nbsp;<br />
|-<br />
| 14 Oct 2006<br />
| Siân E Kipling<br />
| Llandaff Cathedral<br />
| Stedman Cinques<br />
| &nbsp;<br />
|-<br />
| 20 Dec 2008<br />
| Anthony C Furnivall<br />
| New York, Trinity Church<br />
| Erin Cinques<br />
| &nbsp;<br />
|-<br />
| 20 Dec 2008<br />
| Anthony P Micocci<br />
| New York, Trinity Church<br />
| Erin Cinques<br />
| &nbsp; <br />
|-<br />
| 20 Dec 2008<br />
| Jeremy C Bates<br />
| New York, Trinity Church<br />
| Erin Cinques<br />
| &nbsp;<br />
|}<br />
<br/><br />
<br />
==Longest Peals==<br />
<br />
On Sunday, 6 May 2007 in 24h09 (9 in B), '''72000 Treble Dodging Minor''' (100m) 1-2 Philip J Earis 3-4 Andrew J W Tibbetts (C)5-6 David J Pipe. The longest peal yet rung [http://www.campanophile.co.uk/show.aspx?Code=50258].<br />
<br />
A '''full of extent of major''' was first rung at Leeds in Kent by 14 ringers under James Barham on April 7 and 8, 1761<br />
<br />
The only full extent so far rung on 8 tower bells '''by one band of ringers''' was at Loughborough Bell Foundry on Saturday 27 July 1963, in 17 hours and 58 minutes. '''40320 Plain Bob Major''' Composed by: C Kenneth Lewis, Conducted by: Robert B Smith 1 Brian J Woodruffe 2 John M Jelley 3 Neil Bennett 4 Frederick Shallcross 5 John C Eisel 6 John Robinson 7 Brian Harris 8 Robert B Smith This is the greatest number of changes ever to be rung to a tower bell peal and was the ninth attempt in as many years. 8 umpires monitored the performance.<br />
<br />
Setting record lengths has long been a challenge to ringers and the progression of long length peals over the years for various methods and stages is summarised by the [http://www.cccbr.org.uk/rc/rc.php Peal Records Committee].<br />
<br />
==Fastest Peals==<br />
The '''fastest peal''' is believed to have been rung at Clare College, Cambridge, on handbells on 9 March 2003 in '''47m 10s''', being 5040 Plain Bob Minimus 1-2 Philip J Earis, 3-4 Andrew J W Tibbetts (C). [http://www.campanophile.com/view.aspx?10609] <br />
<br />
The '''fastest peal on a mini ring''' is believed to have been rung by the Fellowship of Narnia Youths at The Jack and Jill House Campanile, Gosport on Thursday 20th March 2008 in '''59m 42s''' (7oz), being 5040 Double Bob Minimus (210 extents) 1 Lizzie J Hough, 2 Emma L Pym, 3-4 Benjamin J Carey (C) [http://www.campanophile.com/view.aspx?63589]<br />
<br />
The fastest '''tower bell peal''' on six is believed to be that rung by St Martin's Guild, Birmingham at Hadstock, Essex, S Botolph<br />
Sat Dec 14 1991 '''1h 13m''' (2 3/4) being 5040 Cambridge S Minor(7 extents)1 Tim J Peverett, 2 Anthony M Daw, 3 Julia R Cater, 4 Andrew J Mitchell, 5 David G Hull (C), 6 David J Pipe Ref: RW 1992 p. 111 This is possibly the only tower where one peal has taken over twice as long as another of the same length (eg 19 Apr 1996 in 2h 31min, 12 minor methods)<br />
<br />
A contender for the '''fastest peal on six or more''' is that rung by the Iceni Society in Cambridge on Thursday, 4 May 2006 in '''0h 59m''' (8 in C#) being 5040 Old Oxford Delight Minor 1-2 Philip J Earis, 3-4 David J Pipe (C), 5-6 Jeremy W Spiller<br />
<br />
==Most Peals in a day==<br />
<br />
The most peals rung in a day currently stands at 15, on handbells, with Andrew Tibbetts (conducted them all) and Philip Earis ringing in all of the peals. The peals were all minor and they were assisted by Cherril Thompson (rang in 5) and Jeremy Spiller (rang 10).<br />
<br />
Starting at 10am on Saturday, 27 June 2009 a band comprising of Paul J Pascoe, Ian J Carey, Richard Harrison, Benjamin J Carey, Peter W J Sheppard, Edward P D Colliss, Christopher C P Woodcock and Andrew B Mills rang '''10 peals of S Major''' at Marston Bigot, Somerset (20lbs) starting with [http://www.campanophile.co.uk/show.aspx?Code=85311 9 spliced] and then ringing each of the methods individually, concluding the next day at 8.23am with a successful peal of [http://www.campanophile.co.uk/show.aspx?Code=85320 Yorkshire]. This beat the previous record of 9 peals rung in 2000 and was achieved despite the need to [http://www.campanophile.co.uk/show.aspx?Code=85317 re-hang the tenor] after peal 6. The peals are accredited to The Fellowship of Narnia Youths.<br />
<br />
==Heavy Bell Ringers==<br />
<br />
'''Peter Border''' on Saturday, 13 August 1966 [http://www.manxcat.org.uk/cathedral/peals.htm]and '''Andrew B Mills''' on Saturday, 8 December 2007 [http://www.campanophile.co.uk/show.aspx?Code=59074] are the only ringers to turn in the tenor at '''Liverpool Cathedral (82cwt), the heaviest 12 bell tower in the world''' to a peal - both ringing Cambridge S Maximus. Subsequently Liverpool Cathedral has taken the accolade of having had rung the heaviest and longest 10 bell peal on Tuesday, 28 August 2007 [http://www.campanophile.co.uk/show.aspx?Code=54440] and then heaviest 8 bell peal on Saturday, 15 November 2008 [http://www.campanophile.co.uk/show.aspx?Code=74170]<br />
<br />
'''Andrew B Mills''' also rang in the 4 peals of S Maximus in one day in London as part of an ASCY band on 11 June 2005 finishing with ringing the tenor to Cambridge S Maximus at Cornhill (42cwt).<br />
<br />
'''Thomas J Waterson''' on 26th February 2011 became the youngest person (aged 19yr 8mth) to ring a peal on the tenor at '''Exeter Cathedral (72cwt)''' ringing it to a peal of Stedman Cinques [http://campanophile.com/view.aspx?116651], being 9 months younger than '''Matthew J Hilling''' who had previously rung it to a peal of Grandsire Caters on 29th November 1997 (aged 20yr 5mth).<br />
<br />
'''James W Washbrook''' on 25th April 1895 turned in the tenor at '''Wells Cathedral (56cwt), the heaviest 10 bell tower in the world''' to a peal of Kent Treble Bob Royal. The previous December he had rung it single-handed to a peal of Grandsire Caters. It was considered impossible at that time to ring a peal on the bell with only one ringer. [http://www.pealbase.ismysite.co.uk/onthisday/index.php ref: Pealbase - On this day] '''Matthew R T Higby''' on 7th March 1992 became the youngest person (aged 17yr 6mth) to ring a peal on the tenor at '''Wells Cathedral (56cwt)''' to a peal of Stedman Caters. Rather amusingly, the conductor that day was '''Timothy F Collins''' who had previously held the record of being the youngest person to ring a peal there, having rung the tenor to a peal of Stedman Caters on 27th June 1970 (aged 19yr 1mth).<br />
<br />
'''Timothy F Collins''' on 28th December 1970 is believed to be the youngest person (aged 19yr 7mth) to ring a peal on the tenor at '''Sherborne Abbey (46cwt), the heaviest 8 bell tower in the world''' to a peal of Superlative S Major.<br />
<br />
'''Samuel M Austin''' on the 9th July 2004 became the youngest person (18yr 11mth) to ring the tenor at '''St Buryan, Cornwal (37cwt), the heaviest 6 bell tower in the world''' to a peal of Minor [http://campanophile.com/view.aspx?20047] in 4hrs. Although, '''Thomas J Waterson''' on 13th February 2011 (aged 19yr 8mth) is the youngest person to ring the tenor to a peal of Surprise Minor [http://campanophile.com/view.aspx?115889] - scoring the peal in 3h 33mins. Only three people as yet have circled the six bells at '''St Buryan, Cornwall''' to peals, '''Chris Venn''' and '''Christopher J Pickford''' both achieved the feat on 26th December 1996, and '''Paul J Pascoe''' became only the third on 2nd October 2011 [http://campanophile.com/view.aspx?128933].<br />
<br />
==Light Bell Ringers==<br />
<br />
'''Brockenhurst, Hampshire. (Jennie's Old Bedroom Ring)''' on Sunday 17th May 2009, a peal of 5040 Cambridge S Minor is believed to be the lightest ever bells yet rung to a Peal by rope and wheel. [http://campanophile.com/view.aspx?83290] With a tenor weighing just '''2oz''' ('''around 57 grams'''); this peal was arranged and rung for the 20th anniversary of Jim Hodkin's first peal and was the first peal on the bells. Rung in 1h 47min by 1 Adam Welch, 2 Edward P D Colliss, 3 Graham J Wright, 4 Robert Perry, 5 James A Hodkin, 6 Paul J Pascoe, and conducted by Paul Pascoe.<br />
<br />
==Double-handed Towerbell Ringing==<br />
<br />
On 19 Sep 1901 the first double-handed peal on tower bells was performed by '''James W. Washbrook''' who rang 3 and 4 to a peal of Grandsire Triples at Arklow, Ireland. [http://www.bellringingireland.org/East/Arklow/Home.html]. This performance received criticism from the editor of The Bell News, Harvey Reeves and others, who doubted that the peal could have been struck accurately Washbrook repeated the performance the following week in the presence of some of the best ringers in Ireland. (ref: [http://pealbase.co.uk/ Bill Butler's "On this day"]). <br />
<br />
On 29 Apr 1961 the '''first tower bell peal to be rung with only three ringers''' took place at Preston Candover, Hants. The peal of Plain Bob Minor was rung by Tony Price 1-2, Frank C Price 3-4 with Frank T Blagrove ringing 5-6 and conducting. (ref: [http://pealbase.co.uk/ Bill Butler's "On this day"]). <br />
<br />
On 22 Aug 1964 the '''first peal of Major to be rung by only four ringers''' was scored being Plain Bob at Balcombe, Sussex (9cwt). 1-2 Tom Chapman 3-4 Frank C Price (conductor) 5-6 Frank T Blagrove and 7-8 Tony Price.<br />
<br />
On 17 Oct 1981 Jill M. Liddle became the '''first woman''' to ring two tower bells to a peal when she rang Bob Minor at Rushbury, Salop (ref: [http://pealbase.co.uk/ Bill Butler's "On this day"]).<br />
<br />
On 18 Jan 1990 '''6 ringers''' rang a peal of 5016 Plain Bob Maximus at Lockington, Leics (14-1-1) in 3hrs 2min (Arr RBS). 1-2 Peter LR Hayward 3-4 Paul Jopp 5-6 Robert B Smith 7-8 Frank C Price 9-10 Alan Cattell '''11-12 Andrew B Mills''' (ref Front Page RW 16/3/90). A year later the ringer of the tenors rang 4-5 at Limerick (23 Apr 1991 Grandsire Triples) but the most challenging performance is probably ringing '''2-3 to Norman Smith's 23 spliced''' for the Southwell Diocesan Guild at Kinsbury, Warwickshire on 9th July 1991 (5152 in 3hr 6m 17cwt). 1 Andrew D Higson '''2-3 Andrew B Mills''' 4 Frances Dodds 5 David J Pipe 6 David G Hull 7 David G Adams 8 Paul Needham. Conducted by David G Hull. Most Spliced major methods yet rung double-handed. The most methods currently rung double-handed is 196 Spliced Plain Minor at Millcroft Campanile by Jeremy W Spiller<br />
<br />
On 29 Mar 2002<sup>*</sup> a band of '''6 ringers''' rang the first '''double handed peal of Bristol Surprise Maximus''' on the Piltdown House Campanile in 3 hours and 7 minutes (RW ref 4747.0388) 1-2 Andrew J Mitchell 3-4 Stephen J Mills 5-6 Michael P A Wilby 7-8 David J Pipe 9-10 Andrew B Mills 11-12 Anthony M Daw TENOR 22lb 7oz in Eflat <sup>*</sup>The website shows the date as Friday April 29th 2002 [http://www.piltdown.org.uk/campanilepeals.htm]<br />
<br />
'''Peter L R Hayward''' became the first person to ring '''two non-adjacent''' bells to a peal when he rang the treble and fourth to a peal of Plain Bob Minor at Ossington, Notts on 24 Jul 1980. He has since rung peals of minor on every possible combination of pairs of bells (adjacent and non-adjacent).<br />
<br />
==Call Changes==<br />
Often thought to be a learning curve to more complicated Change-Ringing, Call-Changes are rung in Devon to a near perfect standard - however the (full) '''5040 extent on 7 bells''' has only ever been rung by Call-Changes twice. <br />
<br />
With all changes (prior and subseqeuent to a call) being unrepeated this represents a 'huge' achievement in both memory for the conductor(s), and concentration of the band itself!<br />
<br />
The first performance on 17th March 1990 [http://campanophile.com/view.aspx?57904] was rung in 6hr 36min at Buckland in the Moor, Devon by a local band and included 3 conductors.<br />
<br />
The second performance on 30th September 2000 [http://campanophile.com/view.aspx?57906] was completed in 5hr 33min at the same tower (Buckland in the Moor, Devon) but by just one conductor '''Paul J Pascoe''', and remains the longest touch of '''Unrepeated Call-Changes''' yet called by one single conductor - with most changes being called at EVERY handstroke. <br />
<br />
As a warm up, '''1000 Unrepeated Call-Changes''' (28th December 1999) [http://campanophile.com/view.aspx?57910] and '''2000 Unrepeated Call-Changes''' (1st September 2000) [http://www.campanophile.com/view.aspx?57909] were also achieved before the day - these also being the '''longest touches of Call-Changes by a single conductor''' prior to the performance on the day!<br />
<br />
Both performances remain the longest and only times that Call-Changes have yet been rung to the extent on 7 bells - '''the illusive Call-Change 'peal' '''.<br />
<br />
==Emulating Ringers of the Past==<br />
<br />
'''Richard B Grimmett''' on Tuesday, 6 February 2007 conducted a peal of Stedman Triples wearing a blindfold throughout, emulating W H Barber's achievement at Gateshead on February 21st, 1908. [http://www.campanophile.co.uk/show.aspx?Code=46938]. <br />
<br />
Herbert Knight became the first person to conduct a peal of Stedman Triples whilst blindfolded on 12th October, 1907. He used Thurstan’s One-Part peal and it was his eight attempt. Ref: [http://pealbase.ismysite.co.uk/pealbase/ Bill Butler's blog]<br />
<br />
==Most Bells Rung to Changes==<br />
[[Image:Rwcentenary24belltouch.png|right|thumb|300px|Grid of the 100 change RW Centenary touch on 24 bells]]<br />
<br />
===Most handbells rung to a touch===<br />
<br />
The greatest number of handbells rung to changes is 24. On 26 March 2011, at the Methodist Hall, Westminster, London, 100 changes were rung on 24 bells by 12 ringers in front of an audience of approximately 1000 ringers at the Ringing World's centenary celebration. The eight minute touch was composed especially for the occasion by Philip Earis and the only opportunity for the ringers to practice was earlier that day. The ringers were: 1-2 Jenny Butler; 3-4 Mark Eccleston; 5-6 Philip Earis; 7-8 Philip Saddleton; 9-10 John Hughes-D'Aeth; 11-12 Paul Mounsey; 13-14 David Brown; 15-16 David Pipe (Conductor); 17-18 Tom Hinks; 19-20 Alex Byrne; 21-22 Simon Melen; 23-24 Michael Wilby. A grid of the 100 change touch is shown to the right.<br />
<br />
'''Videos of the 24-bell ringing'''<br />
<br />
#[http://www.youtube.com/watch?v=4-fCRBNTNp0 close-up of the front bell ringers]<br />
#[http://www.youtube.com/watch?v=gx_cTkvpqbk from the audience's perspective]<br />
<br />
==Handbell Peals==<br />
<br />
===Most Handbells Rung to a Peal===<br />
<br />
The greatest number of handbells rung to a peal is 22. 5040 Little Bob Twenty-two was rung at Bray on 9 July, 1978.<br />
<br />
===Sixteen Bells, Eight Methods===<br />
The '''greatest number of S methods to a peal on sixteen bells''' was rung in MELBOURNE, Derbys on Mon Jun 9 1997 3h49 (18). 5056 Spliced Surprise Sixteen (8m: 768 Newgate; 704 York; 640 Ealing, Parkhurst, Sawley, Wembley; 576 Feering; 448 Leatherhead: 78 com.) Composed by David J Marshall. 1-2 Rupert A Clarke 3-4 Robert B Smith (C) 5-6 John M Jelley 7-8 Simon C Melen 9-10 Paul Jopp 11-12 Roland H Cook 13-14 David J Marshall 15-16 Christopher M Wulkau [http://derbyda.org.uk/performances/peal/dda1997.htm]<br />
<br />
===Four in hand===<br />
On Mon Nov 4 1991 in 3h (12)in Sawley, Derbys a peal of 5040 Yorkshire Surprise Royal (Arr RBS) was rung with the following 4 ringers: 1-2 Paul Jopp 3-4 Robert B Smith (cond) 5-6 John Jelley '''7-8-9-0 Simon C Melen''' (ref "four in hand" Page 1100,1156 RW 1991). Possibly the only other occasions that such a feat was accomplished were on 21st October 1926 when '''Edward Hims rang 1,2,3,4''' to a peal of Stedman Doubles at Bicester. ref Bill Butler's [http://pealbase.ismysite.co.uk/pealbase/ On This Day] and when '''William (Bill) H Male rang 1, 2, 3, 4''' to a peal of Grandsire/Plain Bob Doubles in Warwick St Mary's ringing room on 30th April 1964, (Geoff Randall ringing the tenors to his first handbell peal).<br />
<br />
==Tapping Peals==<br />
'''Arthur T. Morris''' on 26th August, 1921 tapped out a peal of 5600 London S Major on handbells (ref article by Joe Roast in the RW in 1976)<br />
<br />
'''Elijah Roberts''' on 30th June 1833 tapped 5016 Stedman Cinques on handbells at Birmingham. Henry Cooper called the bobs, and Henry Johnson was a witness. (ref: Edward Martin and further details from Bill Butler's [http://www.pealbase.co.uk "On this day" ]). He surpassed this peformance on 23rd March 1837 when he tapped 19,440 Kent Treble Bob Maximus, taking 13 hours and 43 minutes. (ref RW1911/514)<br />
<br />
'''Harry Withers''' in Birmingham tapped several peals out. It is also understood that he did about 3 hours of Kent Treble Bob 20 but ran out of time. This would have been circa 1910 (ref: Richard Grimmett).<br />
<br />
'''Samuel Thurston''' on 1st July 1809 tapped on handbells plain courses of Bob Triples, Bob Major, Reverse Bob Major, Double Bob Major and Grandsire Caters. A contemporary account notes: "This was considered to be the greatest performance ever completed by one man in the world." (ref: Bill Butler's Blog [http://www.pealbase.co.uk "On this day" ])<br />
<br />
'''Bill Male''' could "ring" Holt's Original on the model tower that he built. It has 10 bells and is sounded by pressing down wooden keys. It is now situated in the ringing room at St Mary's church in Warwick.<br />
<br />
===On a Piano===<br />
<br />
'''John Harrold''' could play Bob Major on the piano when he was a young lad in the 1970s (Martin Kirk).<br />
<br />
'''Harry Withers''' also played a plain course of Scientific Triples, possibly on a piano, which was the first time that it had been heard! (ref: Edward Martin).<br />
<br />
'''Roger Baldwin''' could play Bristol Major on the piano and still hold a conversation whilst he was at Nottingham University in the 1970's recalls Pat Halls.<br />
<br />
'''Laurie Wey''' used to play Cambridge Max on the piano according to what Tony Nunn has heard.<br />
<br />
'''Bill Male''' is said to be able play "Holt's Orignal" on the piano and also the violin.<br />
<br />
== Singing Ringing ==<br />
<br />
'''Clement Glenn''' used to entertain Southwell Guild meetings by singing touches of Stedman Triples. <br />
He would invite listeners to put the bobs in, but there were never any volunteers. (David Marshall)<br />
<br />
===On a Saxaphone===<br />
<br />
'''Mr W C Hunt''' played a course of Duffield on a saxophone as part of the entertainment at the Society of Sherwood Youths 1926 annual dinner in Nottingham (RW1926/90) (with thanks to Bill Butler's [http://pealbase.co.uk/|"On This Day"])<br />
<br />
==Walking to Ring a Peal==<br />
Possibly not so unusual at the time ringers of the Society of Sherwood Youths on Tue May 23 1820 '''walked from Nottingham to Chesterfield, approx 28 miles''', to ring a peal for the "opening of the bells".<br />
[[Category: Articles]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1122County histories2010-04-15T13:18:14Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|Clarke, J.W., ''Church Bells of Cheshire'' (''c''1940)<br />
|-<br />
|Cornwall<br />
|Dunkin, E.H.W., ''Church Bells of Cornwall'' (1878)<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on CD]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on CD]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds] (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1121County histories2010-04-15T12:59:13Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on CD]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on CD]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds] (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1120County histories2010-04-15T12:52:34Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds] (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1119County histories2010-04-15T12:52:19Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., [http://www.riponandleedsbells.org.uk/ Bells of the Diocese of Ripon and Leeds'' (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1118County histories2010-04-15T12:51:29Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''The Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|Aspland, A.R., ''http://www.riponandleedsbells.org.uk/'' (work in progress) [website]<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|Greenwood, D., ''Bells of the Churches in the Diocese of Wakefield'' (1995)<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1117County histories2010-04-15T11:10:49Z<p>RAS: </p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''The Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|'''''None'''''<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (2010) [on CD]<br />
|-<br />
|||'''''Incomplete''''' — West Riding not yet covered<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Early_Wheel_Development&diff=1116Early Wheel Development2010-04-14T13:08:18Z<p>RAS: /* Sources */</p>
<hr />
<div>Change ringers take for granted the full wheel they use today and assume that a full wheel is needed for full circle ringing. This is not the case and a little sketching with pencil and paper or a look at the sole of a bell wheel will show that a quarter of the wheel is not used by the rope. A three-quarter wheel is all that is needed. It is in fact possible to ring full circle with a 'half' wheel – actually a 5/8 wheel, extending approx. 225° from the vertical round to just beyond the bell mouth – and it is likely that this was the form of wheel in use for much of the late sixteenth and early seventeenth century.<br />
<br />
However, at some point in this period, probably c.1600, and before the extension of the wheel to a full wheel, a development took place that transformed ringing. The memory of this development is perpetuated today in the name 'garter hole' or 'fillet hole' for the hole in the sole of a modern wheel through which the end of the rope passes on its way to its attachment to the vertical spokes – even though a garter is nowhere to be seen! <br />
<br />
Whether by careful thought or happy chance it was discovered that if the rope was trapped to the wheel at the point where the garter hole is today, a useful return stroke would be produced – what today is termed the handstroke. Prior to this it was only possible to pull the rope on the 'outward' swing of the bell, leaving it to swing back unassisted. With this 'dead-rope' system it was possible to ring a bell up to the balance and even 'overthrow' it but control was limited. The effect was rather like ringing a modern bell up without touching the sally. It seems likely, if not certain, that Rounds could be, and were, rung in this way. There is also evidence that other orders such as Queens and the back change (ringing up the scale to warn of fire) were recognised and rung in late Elizabethan times. However, it isn't known whether these different orders were rung from a 'standing start' or were reached by progressive changes from Rounds.<br />
<br />
The trapping of the rope to produce a handstroke was at first achieved by a 'fillet' – a little cord or garter – tied around the rim of the wheel. This is alluded to in <i>Tintinnalogia</i>.(1668) where is written:- <br />
<br />
"<i>If a Bell have a longer stroke on the one side, than the other, truss up that side which hath the short stroke more, or let the other side down, and put a piece or two of Leather in, according to the stroke; but sometimes the fault of the stroke is in the Sally, which you may remedy, by tying the Fillet (or little Cord about the rim of the Wheel, which causeth the dancing of the Rope) nearer, or farther off the main Spoke; nearer makes a short stroke, farther off the Spoke, a long one."</i><br />
<br />
[[Image: wheels2.jpg|600px|]]<br />
<br />
What is much more puzzling is the statement in <i>Tintinnalogia</i> that:-<br />
<br />
[[Image: Animation.gif]]<br />
<br />
<i>“ ’Tis very convenient (if the Frame will permit) to fasten a piece of Timber about half a foot long on the end of the main Spoke at the top of the Wheel (whereon the end of the bell-rope is fastened) with a notch on the end of it; so at the setting of the bell, the Rope will hit into that notch from the Rowle, and this will make the bell lie easier at hand when it is set, and flie better.”</i><br />
<br />
It has been assumed by some that this piece of wood attached to the main spoke was intended to act as some sort of stay but this seems difficult to believe, for several reasons:- <br />
<br />
* No mention is made of any stop block for it to rest against.<br />
<br />
* If used as a setting device it would have been potentially very injurious to the wheel.<br />
<br />
* The slot in the wood necessary to allow the rope to pass through it clear of contact with a stop block would have been so long as to render the term 'notch' inappropriate.<br />
<br />
The more plausible alternative, as suggested by John Eisel in Change Ringing, The History of an English Art(p.57) is that the piece of timber was apparently:-<br />
<br />
<i>"designed more to control the rope at handstroke and prevent it slipping wheel than to set the bell."</i><br />
<br />
However, it isn't easy to see quite how it would achieve this. Certainly it would cause a little more rope to be drawn up at handstroke, but only a few inches and arguably hardly enough to be significant.<br />
<br />
==Sources==<br />
<br />
*Change Ringing, The History of an English Art, Gen.Ed. J. Sanderson, CCCBR 1987.<br />
<br />
*The History and Art of Change Ringing, Ernest Morris, 1931. <br />
<br />
*Contributions by ringers to the Change Ringers email list in November 2009 on the subject of 'early fittings'.<br />
<br />
[[Category: Bells and Fittings]]<br />
[[Category: Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1115County histories2010-04-14T13:07:53Z<p>RAS: /* England */</p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''The Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|'''''None'''''<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (in production) [on CD]<br />
|-<br />
|||'''''Incomplete''''' — West Riding not yet covered<br />
|}<br />
<br />
<br />
[[Category:Bell History]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Category:Bell_History&diff=1114Category:Bell History2010-04-14T13:07:26Z<p>RAS: Created page with 'This category provides an index of articles on bell history on the Changeringing wiki.'</p>
<hr />
<div>This category provides an index of articles on bell history on the Changeringing wiki.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_Histories&diff=1113County Histories2010-04-14T13:06:54Z<p>RAS: Redirected page to County histories</p>
<hr />
<div>#REDIRECT [[County histories]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Template:Navigation&diff=1112Template:Navigation2010-04-14T13:06:36Z<p>RAS: </p>
<hr />
<div>{| class="noprint toccolours" style="clear: both; width: {{{width|100%}}}; margin: 0.5em auto;" cellpadding="2"<br />
|align="center" style="background-color:#336699; color:white; font-weight:bold;"|<div style="position:relative; width:100%; white-space:nowrap;">Contents</div><br />
|-<br />
|<br />
{| width=100% style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: x-small;"<br />
|valign="top" width=33% | <br />
'''[[:Category:Articles|Miscellaneous Articles]]'''<br/><br />
*[[Income Tax and Wedding Fees]]<br />
*[[National Bell Register]]<br />
*[[Notable Achievements]]<br />
*[[Press Release Guidance]]<br />
*[[Ringing in Lent]] <br />
*[[Wedding Fees]]<br />
'''[[Ringing Forums|Ringing Forums and Email Lists]]'''<br> <br />
*[[The Belfry Forums|Belfry Forums]]<br />
*[[Change Ringers]]<br />
*[[Drivel List]]<br />
*[[From the E-lists]]<br />
*[[Ringing Chat]]<br />
*[[Ringing Theory]]<br />
*[[Roundup]]<br />
'''[[:Category:Societies|Societies]]'''<br> <br />
*[[Northern Universities Association]]<br />
*[[Old Societies]]<br />
*[[University of London Society of Change Ringers]]<br />
'''[[Ringing Roadshow]]'''<br> <br />
*[[Ringing Roadshow 2005 Handbells]]<br />
'''[[:Category:Ringing Fun|Fun]]'''<br> <br />
*[[Holly Week]]<br />
*[[King William College Quiz 2009-10]] <br />
*[[Ringing Hoaxes]]<br />
*[[:Category:Ringing Jokes|Ringing Jokes]]<br />
*[[:Category:Ringing Poems|Ringing Poems]]<br />
*[[Ringing Songs]] <br />
|valign="top" width=33% |<br />
'''[[Method Tips]]'''<br> <br />
*[[Stage|All Stages]] <br />
**[[Stedman]]<br />
**[[Cambridge Surprise]]<br />
**[[Yorkshire Surprise]]<br />
*[[Stage|Doubles]] <br />
**[[Plain Bob Doubles]]<br />
*[[Stage|Major]] <br />
**[[Double Norwich Court Bob Major]]<br />
*[[Stage|Maximus]] <br />
**[[Avon Delight Maximus]]<br />
**[[Bristol Surprise Maximus]]<br />
**[[Cambridge Surprise Maximus]]<br />
**[[Phobos Surprise Maximus]]<br />
**[[Pudsey Surprise Maximus]]<br />
**[[Snow Tiger Delight Maximus]]<br />
**[[Yorkshire Surprise Maximus]]<br />
'''[[Conducting]]'''<br> <br />
*[[Coursing Order]]<br />
*[[Conducting Stedman]] <br />
'''[[:Category:Bells and Fittings|Bells & Fittings]]'''<br/><br />
*[[Clapper]]<br />
*[[Muffling Bells]]<br />
*[[Ordering and Adjusting Bell Ropes]]<br />
*[[Pre-stretched Polyester Ropes]]<br />
*[[Sally]]<br />
*[[Supporting Ironwork]]<br />
|valign="top" width=33% |<br />
'''[[:Category:Methods|Methods]]'''<br/><br />
*[[Falsest Method]]<br />
'''[[:Category:Terminology|Terminology]]'''<br> <br />
*[[Bob]]<br />
*[[Call]]<br />
*[[Change]]<br />
*[[Change-ringing]]<br />
*[[Jump Change]]<br />
*[[Music in Changeringing]]<br />
*[[Row]]<br />
*[[Stage]]<br />
'''[[Central Council Decisions]]'''<br> <br />
*[[Calls that pass to another part of the same course]]<br />
*[[Episode IV - A New Hope]]<br />
*[[Harmonisation of Decisions]]<br />
*[[Implications of New Decisions]]<br />
*[[Naming new methods above Minor in quarter-peals]]<br />
*[[New Decisions]]<br />
*[[Norwich Axioms]]<br />
'''[[:Category:Composition Reviews|Composition Reviews]]'''<br><br />
*[[Compositions of the Decade]]<br />
'''[[:Category:Computers and Composition|Computers and Composition]]'''<br><br />
*[[Computer Composition Searches]]<br />
'''[[:Category:Bell History|Bell History]]'''<br><br />
*[[County Histories]]<br />
*[[Early Wheel Development]]<br />
|}<br />
|}<br />
<noinclude><br />
==Usage==<br />
<pre><nowiki>{{MainNav}}</nowiki></pre><br />
</noinclude><br />
<br />
<noinclude>[[Category:Templates]]</noinclude></div>RAShttps://wiki.changeringing.co.uk/index.php?title=Computer_Composition_Searches&diff=1111Computer Composition Searches2010-04-14T13:04:07Z<p>RAS: </p>
<hr />
<div>A computer can be a useful tool to search for compositions, yet even with today's fast processors exhausting many composition searches is too big a task. This page has been created to keep a record of searches people have successfully completed in popular methods. If you have completely exhausted a computer search for compositions, please add an entry to the table below, stating any constraints you applied to the search, when you first ran it, and any other information you think would be of interest.<br />
<br />
==Exhausted Composition Searches==<br />
{| style="color:blue;background-color:#ffffdd;" cellpadding="5" cellspacing="0" border="1"<br />
! Method || Search Constraints || Results || Time/<br>Computer/<br>Program || Date || Run by||Notes<br />
|-<br />
| Cambridge Surprise Major || >=5000 changes<br>Tenors together<br>Round blocks<br>Bob = 14, Single = 1234 || 9,997 compositions<br>255,138 rotations || 9 days<br>P90 PC<br>SMC<br><br>1:42:30<br>2.2GHz Athlon X2<br>SMC32<br><br>1:03:04<br>3.2GHz Phenom X4<br>SMC32||1995<br><br><br><br>2005<br><br><br><br>2010||Graham John<br><br><br><br>Mark Davies<br><br><br><br>Simon Humphrey||See [http://www.changeringing.co.uk/cambridgefm.htm Cambridge - The Full Monty]<br />
|-<br />
| Cambridge Surprise Major || >=5000 changes<br>Tenors together<br>Snap finishes<br>Bob = 14, Single = 1234 || 15,416 compositions || 13 days<br>PC<br>SMC32||1998 || Graham John||See [http://www.changeringing.co.uk/cambridgefm.htm Cambridge - The Full Monty]<br />
|-<br />
| Bristol Surprise Maximus || 5000-5100 changes<br>Tenors together<br>Round blocks<br>Bob = 14, Single = 1234 || 202,384,361 compositions || 47 hours<br>PC<br>SMC32||1998 || Mark Davies||<br><br />
|-<br />
| Yorkshire Surprise Maximus || 5000-5100 changes<br>Tenors together<br>Round blocks<br>Bob = 14, Single = 1234, Big Bob=18 || 202,927,179 compositions || 5 days, 23 hours<br>PC<br>SMC32||1998 || Mark Davies||<br><br />
|-<br />
| Plain Bob Minor || 720 changes<br>Bob = 14, Single = 1234 || 1,440,339,152 compositions || 18:16:25<br>2.8GHz i7-860<br>SMC32||2010 || Mark Davies||<br><br />
<br />
|}<br />
<br />
==Composing Program Benchmark==<br />
<br />
The "Full Monty" search for compositions of Cambridge Surprise Major is a useful benchmark both for measuring the efficiency of composing programs and the computers they run on. As shown in the table above, the first time this was completed was in 1995 using SMC on a Pentium 90, taking 9 days. The current record for this search is one hour, three minutes, and four seconds run by Simon Humphrey using SMC32 on a Phenom X4 3.2 GHz in 2010. It should be possible to improve on this significantly using a multi-threaded program on a modern multi-processor PC. If you beat it, please update this page.<br />
<br />
[[Category:Computers and Composition]]</div>RAShttps://wiki.changeringing.co.uk/index.php?title=Category:Computers_and_Composition&diff=1110Category:Computers and Composition2010-04-14T13:03:22Z<p>RAS: Created page with 'This category provides an index of articles on Computers and Composition on the Changeringing wiki.'</p>
<hr />
<div>This category provides an index of articles on Computers and Composition on the Changeringing wiki.</div>RAShttps://wiki.changeringing.co.uk/index.php?title=County_histories&diff=1109County histories2010-04-14T13:01:30Z<p>RAS: List of county history books, many available on line</p>
<hr />
<div>==England==<br />
<br />
{|style="border-spacing: 1em 0em"<br />
|Bedfordshire<br />
|North, T., [http://www.archive.org/details/churchbellsofbed00nort Church Bells of Bedfordshire] (1883)<br />
|-<br />
|Berkshire<br />
|Sharpe, F., ''Church Bells of Berkshire'' (1970)<br />
|-<br />
|Buckinghamshire<br />
|Cocks, A.H., [http://www.archive.org/details/cu31924011346453 Church Bells of Buckinghamshire] (1897)<br />
|-<br />
|Cambridgeshire<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofcam00rave Church Bells of Cambridgeshire] (1869)<br />
|-<br />
|Cheshire<br />
|'''''None'''''<br />
|-<br />
|Cornwall<br />
|'''''None'''''<br />
|-<br />
|— Isles of Scilly<br />
|Sharpe, F., ''The Bells of the Isles of Scilly'' (1965)<br />
|-<br />
|Cumberland<br />
|'''''None'''''<br />
|-<br />
|Derbyshire<br />
|Dawson, G.A. & Halls, P.A.M., ''Church Bells of Derbyshire'' (1998)<br />
|-<br />
|Devon<br />
|Ellacombe, H.T., ''Church Bells of Devon'' (1872)<br />
|-<br />
|||Pearson, C., ''Ringer's Guide to the Church Bells of Devon'' (1888)<br />
|-<br />
|||Scott, J., Mack, F. & Clarke, J., ''Towers and Bells of Devon'' (2007)<br />
|-<br />
|Dorset<br />
|Raven, J.J. & Barnes, W.M., ''Church Bells of Dorset'' (1906)<br />
|-<br />
|||Dalton, C., ''Bells and Belfries of Dorset'' (2000)<br />
|-<br />
|Durham<br />
|'''''None'''''<br />
|-<br />
|Essex<br />
|Deedes, C., [http://www.archive.org/details/churchbellsofess00deed Church Bells of Essex] (1909)<br />
|-<br />
|Gloucestershire<br />
|Ellacombe, H.T., [http://www.archive.org/details/churchbellsofglo00ella Church Bells of Gloucestershire] (1881)<br />
|-<br />
|||Bliss, M. & Sharpe, F., ''Church Bells of Gloucestershire'' (1986)<br />
|-<br />
|Hampshire<br />
|Colchester, W.E., ''Hampshire Church Bells'' (1920)<br />
|-<br />
|Herefordshire<br />
|Sharpe, F., ''Church Bells of Herefordshire'' (1976)<br />
|-<br />
|Hertfordshire<br />
|North, T. & Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofher00nort Church Bells of Hertfordshire] (1886)<br />
|-<br />
|Huntingdonshire<br />
|Owen, T.M.N., [http://www.archive.org/details/churchbellsofhun00owen Church Bells of Huntingdonshire] (1899) [also on cd]<br />
|-<br />
|Kent<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/churchbellsofken00stah Church Bells of Kent] (1887)<br />
|-<br />
|||Love, D.R., [http://kent.lovesguide.com/ Love's Guide to the Church Bells of Kent] (work in progress) [website]<br />
|-<br />
|Lancashire<br />
|Cheetham, F.H., ''Church Bells of Lancashire'' (1915)<br />
|-<br />
|Leicestershire<br />
|North, T., [http://www.archive.org/details/churchbellsleice00nort Church Bells of Leicestershire] (1876)<br />
|-<br />
|Lincolnshire<br />
|North, T., [http://www.archive.org/details/bellscountycityl00nort Church Bells of the County and City of Lincoln] (1882)<br />
|-<br />
|||Ketteringham, J.R., ''Lincolnshire Bells and Bellfounders'' (2009)<br />
|-<br />
|Middlesex<br />
|'''''None'''''<br />
|-<br />
|— City of London<br />
|Love, D.R., [http://london.lovesguide.com/ Love's Guide to the Church Bells of the City of London] (work in progress) [website]<br />
|-<br />
|— City of Westminster<br />
|Love, D.R., [http://westminster.lovesguide.com/ Love's Guide to the Church Bells of Westminster] (work in progress) [website]<br />
|-<br />
|Norfolk<br />
|L'Estrange, J., [http://www.archive.org/details/churchbellsofnor00lest Church Bells of Norfolk] (1874) [also on cd]<br />
|-<br />
|||Catermole, P., ''Church bells and bell-ringing: a Norfolk profile'' (1990)<br />
|-<br />
|Northamptonshire<br />
|North, T., [http://www.archive.org/details/churchbellsofnor00nort Church Bells of Northamptonshire] (1878)<br />
|-<br />
|||Pearson, D. ''et al.'', ''An Inventory of the Church Bells of the Diocese of Peterborough'' (1989)<br />
|-<br />
|Northumberland<br />
|'''''None'''''<br />
|-<br />
|Nottinghamshire<br />
|Wilkinson, R.F., ''Church Bells of Nottinghamshire'' — Tuxford Deanery (1930), Mansfield Deanery (1932)<br />
|-<br />
|||Dawson, G.A., ''Church Bells of Nottinghamshire'' (1995)<br />
|-<br />
|Oxfordshire<br />
|Sharpe, F., ''Church Bells of Oxfordshire'' (1949) [also on CD]<br />
|-<br />
|Rutland<br />
|North, T., [http://www.archive.org/details/rutlandchurchbel00nort Church Bells of Rutland] (1880)<br />
|-<br />
|Shropshire<br />
|Walters, H.B., ''Church Bells of Shropshire'' (1915)<br />
|-<br />
|Somerset<br />
|Ellacombe, H.T., ''Church Bells of Somerset'' (1875)<br />
|-<br />
|Staffordshire<br />
|Lynam, C., ''Church Bells of the County of Stafford'' (1889)<br />
|-<br />
|||Jennings, T.S., ''History of Staffordshire Bells'' (1970)<br />
|-<br />
|Suffolk<br />
|Raven, J.J., [http://www.archive.org/details/churchbellsofsuf00rave Church Bells of Suffolk] (1890)<br />
|-<br />
|Surrey<br />
|Stahlschmidt, J.C.L., [http://www.archive.org/details/surreybellslondo00stahrich Surrey Bells and London Bell Founders] (1884)<br />
|-<br />
|Sussex<br />
|Tyssen, A.D., ''Church Bells of Sussex'' (1915)<br />
|-<br />
|||Elphick, G.P., ''Sussex Bells and Belfries'' (1970)<br />
|-<br />
|Warwickshire<br />
|Tilley, H.T. & Walters, H.B., [http://www.archive.org/details/churchbellsofwar00till Church Bells of Warwickshire] (1910)<br />
|-<br />
|Westmorland<br />
|'''''None'''''<br />
|-<br />
|Wiltshire<br />
|Walters, H.B., ''Church Bells of Wiltshire'' (1927)<br />
|-<br />
|Worcestershire<br />
|Walters, H.B., ''Church Bells of Worcestershire'' (1930)<br />
|-<br />
|Yorkshire<br />
|''By diocese:''<br />
|-<br />
|— Diocese of Bradford<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Ripon & Leeds<br />
|'''''None'''''<br />
|-<br />
|— Diocese of Sheffield<br />
|Dawson, G.A., ''Church Bells of Sheffield Diocese'' (1998)<br />
|-<br />
|— Diocese of Wakefield<br />
|'''''None'''''<br />
|-<br />
|— Diocese of York<br />
|Dawson, G.A., ''Church Bells of Yorkshire, Diocese of York, Part 1: The East Riding'' (2009)<br />
|-<br />
|||Clouston, R.W.M., ''Church Bells of Yorkshire, Diocese of York, Part 2: The North Riding'' (2010) [on CD]<br />
|-<br />
|||Bryant, D.J. & Dawson G.A., ''Church Bells of Yorkshire, Diocese of York, Part 3: The City & Ainsty'' (in production) [on CD]<br />
|-<br />
|||'''''Incomplete''''' — West Riding not yet covered<br />
|}</div>RAS