The X-File (No.22) - October 1997

Having only 19 new methods to choose from this month, and a fairly traditional distribution of good, bad, and indifferent means that the writer wasn't exactly spoilt for choice. However, I reckon there are one or two interesting points to be made of the selection, and I hope that the article continues to hone in on the month-by-month developments in the x-world. Winter is fast approaching: long evenings spent in front of the fire with pencil and paper.... Romantic? Or just very sad indeed? It depends on the output of course!

Method

lh

FCH

Rung at

On

Conductor

Pg

St Wistan's

c

Bcd

Wigstan Magna

28/8/97

F Shallcross

1001

David's

c

BDa

Burnley

11/9/97

A D Sibson

1026

Bow Lane

j1

c(out)

Bow

22/9/97

S A Coaker

1028

Morganite

e

Ba

Bristol

24/9/97

A J Cox

1050

End of Exams

f

BD(in), BDa2c(out)

Berkeley

21/6/97

T E Hinton

1050

Moondance

m

DKa

Whittle-le-Woods

27/9/97

J P Ladd

1052

Erophobia

j

BD

Imperial College

21/3/97

R Bailey

1052

St Wistan's Delight Major : 3x5.4x5x1x4x5.4.36x5 lh12

This gets us off to a good start: a bouncy, flexible blue-line with a not-rung-much above-work. No particular problem with falseness and plenty of musical potential with a grand total of 22 **78 or 87** at the back or front with the tenors together. Nor are there any of those horrid contiguous places raising their inelegant heads (except at the lead-end where it is, of course, perfectly acceptable). The c lead-end order spreads things out nicely and keeps things moving along. These first-rate methods are clearly still out there - let's have some more. But who was St Wistan?

David's Delight Major : x3x4x256x6x34x1.56x56.1 lh12

I'm not sure about the name here. It was rung for a canon called David, but given the commonness of the name, there are lots of other possibilities. What are the Delights of David? Or does it mean that David simply IS Delight (er, I think not). Anyway, the method goes to show that it doesn't have to be difficult to be both original and musical. Below the treble is largely treble-bobbing to give 4 8765s and 2 8756s in the plain course (and the associated little-bell roll-ups of course), and above the treble is Uxbridge. You have to buy the added D falseness with the work below the treble, but I think it's worth it even if you can't get round the 56/65 problems with singles. I can feel some half-lead calls coming on....

Bow Lane Surprise Maximus : x5x4.5x5.36.4x7.58.6x9.70.8x6.7.6.70.6.E lh1T

This one is completely unoriginal in that it's exactly Bristol up to the 9.70.8x part of the place notation, and then it's exactly Rigel up to (and including) the half-lead. For these reasons it is also quite brilliant! In fact, the departure from Bristol is little more than plain hunt on 6 on the front with some right-place fiddling about at the back, but it turns things around beautifully. The j1 lead-end order adds further newness and I thoroughly recommend this one for bands who would like a change from the purity of Bristol for something a bit dirtier (if you get my drift).

Morganite Surprise Major : x3x4x56x6x2x5x2.36.1 lh 12

Another Uxbridge-over method, this time with a slightly fierce looking work below that includes 8 87**s and 7 **78s off the front. The Ba falseness is fairly clean for a major method, and no doubt Tony Cox used it in fine style. Given that there's only one wrong place per half-lead, I should think that the method is also quick to get to grips with and to ring well - a feature often overlooked by method selectors.

End of Exams Surprise Royal : x3x4x2.5.6x34x5x6x67x6x7 lh12

Subtlety was not the order of the day in naming this method, very fine though it is. I gather Tom Hinton's composing talents have now moved to Oxford, where, once again, exams will have to end. Above the treble there is a pair of fishtails when the treble is in 3-4 and 5-6, and below largely plain hunting on 6 with a dodge at the half-lead giving 4-bell and 6-bell roll-ups off the front at dodges which is all rather nice. However, there is a nasty down-side: the BD falseness. Fortunately, it's only a2 out of course, so the lovers of 65s can relax a bit. For such a good structure, the BD problem can't easily be fixed - it all happens at the wrong-place 50 bit in the place-notation - and it does put a dent in the music. Perhaps a different above work is called for....

Moondance Delight Major : x34x4x56x6x34x8.56x4.3 lh18

This one makes the Review by virtue of an interesting below-work that makes up for the deeply uninteresting work above the treble. The spikiness around the half-lead resembles Westmoreland although the music off the front is not as fine. I reckon a clever composer would be able to make something new out of the front-work, probably splitting the tenors to get 78 in 3-4 occasionally, but I notice BYROC putting in an appearance which isn't very clever at all, is it?

Erophobia Surprise Major : x34x4x2x3x34x3x6x7 lh18

Let's hope Dickon Love is better now, together with all those others who fear him or are feared by him. The method is simple with plenty of musical potential where coursing pairs meet in 1-2, 3-4 and 7-8. Westminster above the treble with a j lead-end splits the music up quite a bit and keeps the momentum going. Another example of simple ideas put to new use.

This file is now closed.

"MOLDY"



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