Music in Changeringing - Revision history

GACJ: Update audio clip links

2020-01-08T00:17:23Z

Update audio clip links

GACJ: Audio links fixed

2013-06-21T11:00:52Z

Audio links fixed

JAH: Added external link to articles on ringing and music

2011-02-23T22:47:43Z

Added external link to articles on ringing and music

GACJ: Reverted edits by AndrewJenkins (Talk) to last revision by GACJ

2010-09-28T18:20:25Z

Reverted edits by AndrewJenkins (Talk) to last revision by GACJ

AndrewJenkins: /* See also */

2010-09-28T15:56:14Z

GACJ at 19:35, 24 January 2009

2009-01-24T19:35:02Z

GACJ at 17:12, 17 January 2009

2009-01-17T17:12:38Z

GACJ at 00:06, 14 January 2009

2009-01-14T00:06:40Z

GACJ at 23:21, 13 January 2009

2009-01-13T23:21:12Z

GACJ at 21:31, 13 January 2009

2009-01-13T21:31:36Z

@@ Line 42: / Line 42: @@
 In just these few rows, a number of musical features are apparent. The back bells and front bells are kept together in groups of four. The back four bells hunt for three rows causing 6&8 and 5&7 to work together (musical thirds). They then backward hunt back for three more rows giving the same four bell combinations in reverse order, until the back four are in the rounds position again (xxxx5678). This is called a roll up, and roll ups are often counted and quoted in composition as a favoured musical combinations to listen out for. The sequence in which roll ups and other musical combinations occur is important as some methods generate them in an interesting way and some in a tedious way. Westminster Surpise Major, for example, has the back four bells dodging seven times. This generates seven roll ups in fourteen rows, but is very repetitive. Returning to Bristol, the front four bells start by dodging back into their rounds position giving what is called a little bell run, or cascade. Runs of four or more consecutive bells, either forwards or backwards are another sequence that ringers enjoy listening to - many compositions and methods, especially cyclic ones, concentrate on maximising the number of runs. The front bells, like the back bells, also work together 2&4 and 1&3, then 2&4 and 3&5, creating musical thirds. At the half lead, a seven bell run (23456781) occurs at handstroke, and adjacent pairs of bells (3&4, 5&6 and 7&8) swap. This gives similar reversed musical combinations in the second half of the lead. The bells at the front and back again work in their respective four bell groups, and two more roll ups occur. If a fourths place bob is called at the lead end, the back four bells dodge back into their rounds position, and the whole lead of music of these four bells is repeated against different front bell combinations. This is known as the extending lead feature of methods with a first leadhead of 14263857 (group mx) and the three lead touch of Bristol produced by calling a bob at every leadend is perhaps a classic example of a short musical touch, as it contains a large number of musical combinations generated and repeated in an interesting way. Finally, Bristol is a double method, so all the music is reversed e.g. Back Rounds occurs half-way through the plain course.
-*Listen to 3 leads of Bristol Surprise Major <flashmp3>http://wiki.changeringing.co.uk/audio/Bristol-3leads.mp3</flashmp3><br>
+Listen to 3 leads of Bristol Surprise Major
 As we move up the stages (increasing numbers of bells), we ring only a subset of the available rows e.g. a quarter of the available rows in a quarterpeal of Triples. So on higher stages, the composition becomes important as well as the method, as the composer can select, within the constraints of method construction and falseness, courses of the method containing better musical combinations. This is not to say that there are not musical touches of Doubles and Minor, but the composer's choices are fairly limited. In an extent of a particular method, the only significant variable is whether the rows occur at handstroke or backstroke.
@@ Line 48: / Line 50: @@
 At odd stages, methods are commonly rung with the tenor covering. This creates very distinctive music resulting from the constant beat set by the tenor ringing last in every row. Compositions in methods such as Grandsire and Stedman typically focus on turning sets of bells into a musical sequence (e.g. Tittums, Reverse Tittums, Queens, Whittingtons, Handstroke or Backstroke Homes) and then repeating that sequence for a number of courses before turning them into another musical combination.
-*Listen to Stedman Caters in the Tittums position <flashmp3>http://wiki.changeringing.co.uk/audio/Stedman9-Tittums.mp3</flashmp3><br>
+Listen to Stedman Caters in the Tittums position
 The remainder of this article covers individual musical features, their nomenclature, definition and examples of how they are used.
@@ Line 149: / Line 153: @@
    '''2345678'''1  '''345678'''12  45678123  56781234  67812345  78123456  81234567  '''12345678'''
-*Listen to a plain course of Rapid Wrap Major <flashmp3>http://wiki.changeringing.co.uk/audio/RapidWrap.mp3</flashmp3><br>
+Listen to a plain course of Rapid Wrap Major
 == Undesirable music ==

@@ Line 42: / Line 42: @@
 In just these few rows, a number of musical features are apparent. The back bells and front bells are kept together in groups of four. The back four bells hunt for three rows causing 6&8 and 5&7 to work together (musical thirds). They then backward hunt back for three more rows giving the same four bell combinations in reverse order, until the back four are in the rounds position again (xxxx5678). This is called a roll up, and roll ups are often counted and quoted in composition as a favoured musical combinations to listen out for. The sequence in which roll ups and other musical combinations occur is important as some methods generate them in an interesting way and some in a tedious way. Westminster Surpise Major, for example, has the back four bells dodging seven times. This generates seven roll ups in fourteen rows, but is very repetitive. Returning to Bristol, the front four bells start by dodging back into their rounds position giving what is called a little bell run, or cascade. Runs of four or more consecutive bells, either forwards or backwards are another sequence that ringers enjoy listening to - many compositions and methods, especially cyclic ones, concentrate on maximising the number of runs. The front bells, like the back bells, also work together 2&4 and 1&3, then 2&4 and 3&5, creating musical thirds. At the half lead, a seven bell run (23456781) occurs at handstroke, and adjacent pairs of bells (3&4, 5&6 and 7&8) swap. This gives similar reversed musical combinations in the second half of the lead. The bells at the front and back again work in their respective four bell groups, and two more roll ups occur. If a fourths place bob is called at the lead end, the back four bells dodge back into their rounds position, and the whole lead of music of these four bells is repeated against different front bell combinations. This is known as the extending lead feature of methods with a first leadhead of 14263857 (group mx) and the three lead touch of Bristol produced by calling a bob at every leadend is perhaps a classic example of a short musical touch, as it contains a large number of musical combinations generated and repeated in an interesting way. Finally, Bristol is a double method, so all the music is reversed e.g. Back Rounds occurs half-way through the plain course.
-*Listen to 3 leads of Bristol Surprise Major <flashmp3>http://www.changeringing.co.uk/wiki/audio/Bristol-3leads.mp3</flashmp3><br>
+*Listen to 3 leads of Bristol Surprise Major <flashmp3>http://wiki.changeringing.co.uk/audio/Bristol-3leads.mp3</flashmp3><br>
 As we move up the stages (increasing numbers of bells), we ring only a subset of the available rows e.g. a quarter of the available rows in a quarterpeal of Triples. So on higher stages, the composition becomes important as well as the method, as the composer can select, within the constraints of method construction and falseness, courses of the method containing better musical combinations. This is not to say that there are not musical touches of Doubles and Minor, but the composer's choices are fairly limited. In an extent of a particular method, the only significant variable is whether the rows occur at handstroke or backstroke.
@@ Line 48: / Line 48: @@
 At odd stages, methods are commonly rung with the tenor covering. This creates very distinctive music resulting from the constant beat set by the tenor ringing last in every row. Compositions in methods such as Grandsire and Stedman typically focus on turning sets of bells into a musical sequence (e.g. Tittums, Reverse Tittums, Queens, Whittingtons, Handstroke or Backstroke Homes) and then repeating that sequence for a number of courses before turning them into another musical combination.
-*Listen to Stedman Caters in the Tittums position <flashmp3>http://www.changeringing.co.uk/wiki/audio/Stedman9-Tittums.mp3</flashmp3><br>
+*Listen to Stedman Caters in the Tittums position <flashmp3>http://wiki.changeringing.co.uk/audio/Stedman9-Tittums.mp3</flashmp3><br>
 The remainder of this article covers individual musical features, their nomenclature, definition and examples of how they are used.
@@ Line 149: / Line 149: @@
    '''2345678'''1  '''345678'''12  45678123  56781234  67812345  78123456  81234567  '''12345678'''
-*Listen to a plain course of Rapid Wrap Major <flashmp3>http://www.changeringing.co.uk/wiki/audio/RapidWrap.mp3</flashmp3><br>
+*Listen to a plain course of Rapid Wrap Major <flashmp3>http://wiki.changeringing.co.uk/audio/RapidWrap.mp3</flashmp3><br>
 == Undesirable music ==

← Older revision		Revision as of 22:47, 23 February 2011
Line 157:		Line 157:
	==See also==		==See also==
	*[[Row\|Named rows]]		*[[Row\|Named rows]]
		+	==External links==
		+	* [http://jaharrison.me.uk/Ringing/Music/ Bellringing and music ] Articles on ringing written for musicians

@@ Line 156: / Line 156: @@
 Many compositions of Bristol Surprise Major produced in and around the 1970's used to quote no 82s and no 83s. These were considered untuneful because if struck together they would be a discordant 7th or 6th intervals. However, many of these compositions would be considered inferior today because the practice of avoiding 82s and 83s also eliminated some of the best little bell music e.g. the waterfall course, with its xxx23456s as well as xxxxxx83s.
 ==See also==
 *[[Row|Named rows]]

@@ Line 156: / Line 156: @@
 Many compositions of Bristol Surprise Major produced in and around the 1970's used to quote no 82s and no 83s. These were considered untuneful because if struck together they would be a discordant 7th or 6th intervals. However, many of these compositions would be considered inferior today because the practice of avoiding 82s and 83s also eliminated some of the best little bell music e.g. the waterfall course, with its xxx23456s as well as xxxxxx83s.
 ==See also==
 *[[Row|Named rows]]

← Older revision		Revision as of 17:12, 17 January 2009
Line 47:		Line 47:

	At odd stages, methods are commonly rung with the tenor covering. This creates very distinctive music resulting from the constant beat set by the tenor ringing last in every row. Compositions in methods such as Grandsire and Stedman typically focus on turning sets of bells into a musical sequence (e.g. Tittums, Reverse Tittums, Queens, Whittingtons, Handstroke or Backstroke Homes) and then repeating that sequence for a number of courses before turning them into another musical combination.		At odd stages, methods are commonly rung with the tenor covering. This creates very distinctive music resulting from the constant beat set by the tenor ringing last in every row. Compositions in methods such as Grandsire and Stedman typically focus on turning sets of bells into a musical sequence (e.g. Tittums, Reverse Tittums, Queens, Whittingtons, Handstroke or Backstroke Homes) and then repeating that sequence for a number of courses before turning them into another musical combination.
		+
		+	*Listen to Stedman Caters in the Tittums position <flashmp3>http://www.changeringing.co.uk/wiki/audio/Stedman9-Tittums.mp3</flashmp3><br>

	The remainder of this article covers individual musical features, their nomenclature, definition and examples of how they are used.		The remainder of this article covers individual musical features, their nomenclature, definition and examples of how they are used.

@@ Line 1: / Line 1: @@
 Although non-ringers appreciate the overall effect created by bells rung to changes, and can hear differences between call changes and  method ringing, or odd bell methods with a cover compared with even bell methods, further musical appreciation is something acquired through study, generally by ringers themselves as they become more experienced in listening to method ringing. So what do ringers mean when they refer to music?
@@ Line 78: / Line 79: @@
    xxxx8765 Esso-Blues (from the 1950's commercial)
-== Off the front ==
+== Music off the front ==
 Musical combinations measured at the front of the row rather than the back e.g. the row 56782143 has a 5678 roll up off the front.

@@ Line 118: / Line 118: @@
 == Wraps ==
-A wrap is a musical row that is split over a handstroke and a backstroke. For example, every method with Plain Bob leadheads contains the following wrap of reverse rounds:
+A Wrap is a musical row that is split over a handstroke and a backstroke. For example, every method with Plain Bob leadheads contains the following wrap of reverse rounds:
 '''8765432''' handstroke
@@ Line 129: / Line 129: @@
 Wraps are only effective if they cross a handstroke-backstroke change, because otherwise the handstroke gap interrupts them. It can be confusing for those listening outside a tower when a wrap of rounds occurs, as they may think that a touch has come round in the middle.
 == Undesirable music ==

@@ Line 41: / Line 41: @@
 In just these few rows, a number of musical features are apparent. The back bells and front bells are kept together in groups of four. The back four bells hunt for three rows causing 6&8 and 5&7 to work together (musical thirds). They then backward hunt back for three more rows giving the same four bell combinations in reverse order, until the back four are in the rounds position again (xxxx5678). This is called a roll up, and roll ups are often counted and quoted in composition as a favoured musical combinations to listen out for. The sequence in which roll ups and other musical combinations occur is important as some methods generate them in an interesting way and some in a tedious way. Westminster Surpise Major, for example, has the back four bells dodging seven times. This generates seven roll ups in fourteen rows, but is very repetitive. Returning to Bristol, the front four bells start by dodging back into their rounds position giving what is called a little bell run, or cascade. Runs of four or more consecutive bells, either forwards or backwards are another sequence that ringers enjoy listening to - many compositions and methods, especially cyclic ones, concentrate on maximising the number of runs. The front bells, like the back bells, also work together 2&4 and 1&3, then 2&4 and 3&5, creating musical thirds. At the half lead, a seven bell run (23456781) occurs at handstroke, and adjacent pairs of bells (3&4, 5&6 and 7&8) swap. This gives similar reversed musical combinations in the second half of the lead. The bells at the front and back again work in their respective four bell groups, and two more roll ups occur. If a fourths place bob is called at the lead end, the back four bells dodge back into their rounds position, and the whole lead of music of these four bells is repeated against different front bell combinations. This is known as the extending lead feature of methods with a first leadhead of 14263857 (group f) and the three lead touch of Bristol produced by calling a bob at every leadend is perhaps a classic example of a short musical touch, as it contains a large number of musical combinations generated and repeated in an interesting way. Finally, Bristol is a double method, so all the music is reversed e.g. Back Rounds occurs half-way through the plain course.
-<flashmp3>http://www.changeringing.co.uk/recordings/12000br8d.mp3</flashmp3>
+*Listen to 3 leads of Bristol Surprise Major <flashmp3>http://www.changeringing.co.uk/wiki/audio/Bristol-3leads.mp3</flashmp3><br>
 As we move up the stages (increasing numbers of bells), we ring only a subset of the available rows e.g. a quarter of the available rows in a quarterpeal of Triples. So on higher stages, the composition becomes important as well as the method, as the composer can select, within the constraints of method construction and falseness, courses of the method containing better musical combinations. This is not to say that there are not musical touches of Doubles and Minor, but the composer's choices are fairly limited. In an extent of a particular method, the only significant variable is whether the rows occur at handstroke or backstroke.