Armed with a continuous blue line, as described in the previous post, we can write this more compactly as a single lead:
We can also write out what happens when “bob” is called. The front two bells are unaffected, and run in and out as in a plain course to become the 2nd and 3rd place bells. The bell in 4th place, which would have run out to 5th and become the 5th place bell, instead makes the 4th-place bob and becomes the 4th place bell. The bells above 4th place each dodge back one place, which brings them back to their starting positions, so that they simply repeat the same lead as they have just done. Like this:
The bob permutes the 2nd, 3rd and 4th place bells. If called at the end of each of the first three leads this will bring the touch back to rounds — three leads of Bristol.0 Comments
It’s been a long time since I wrote here about learning a Surprise Major method. In the intervening period I’ve learnt to ring six such methods: Cambridge, Yorkshire, Lincolnshire, Superlative, Rutland and Pudsey. These are six of the so-called “Standard Eight” Surprise Major methods, and in many ways they are quite similar to each other — Yorkshire, Lincolnshire, Superlative and Rutland are all the same as Cambridge when you are above the treble [edit: this isn’t true of Superlative], and Pudsey is the same as Cambridge when you are below the treble. The other two SM methods in this Eight are Bristol and London and they are different from the others, and from each other. Several times I have sat down to learn Bristol, but not got very far. Time to put that right.
So I’ve spent an hour or so looking at the “blue line” for Bristol, as well as a couple of guides. From it I can see that:
I’ll look at each of these in turn.
First we’ll look at fishtails. These are single blows where you reverse direction after each blow, so on the front it might be: lead, 2nd, lead, 2nd, lead:
Next, the frontwork. Bell 2’s work consists of doing half the frontwork one way, and then mirroring it to do it the other way:
and then do the same thing in the opposite direction:
(And then, instead of making 2nd place over the treble, go out to 3rd place and become the 3rds place bell.)
Then there’s “Stedman”. This is like a whole turn in Stedman: lead two blows, point 2nd, lead two blows. As in Stedman, one of the pairs of leading will be right (i.e. handstroke followed by backstroke), and one will be wrong (i.e. backstroke followed by handstroke). But in Bristol this doesn’t just occur on the front. It’s also done in 4ths — 4th, 4th, 3rd, 4th, 4th. And because Bristol is a double method it appears at the back (8th, 8th, 7th, 8th, 8th) and in 5th place (5th, 5th, 6th, 5th, 5th). Each of these pieces of work occur twice, once with the first two blows right and the last two wrong, and once with the first two wrong and the last two right.
Armed with this information we can write out what bell 3 does:
We’re nearly there, and all that remains to do is to look at the “lightning work”:
This path crosses the treble as it does the places in 4th and 5th:
That crossing point is also one of the pivot points of the method, i.e. the point where you move from doing things on the front to doing things on the back, or where the blue line rotates through 180 degrees.
Bell 5 begins with the lightning work as described above (the first three blows in the diagram are of course the last three blows of bell 3’s work).
After this point we repeat the work already described, but as places from the back, rather than places from the front. This enables us to write out a complete plain course, as is shown in the full article.1 Comment