The X-File (No.28) - April 1998

For some reason which I can't quite fathom, Richard Allton seems to be under the impression that my name is "Old Moldy". Let me take this opportunity to assure you all that there is not, and never has been, anything old about me - I'm very definitely a Junior. That said, Richard is to be congratulated on submitting a composition to us via the new X-File e-mail address. Don't forget you can still send your compositions through the post c/o the Ringing World as well.

April 1998 goes down (and I mean that in the Titanic sense) as the worst month for new methods since time (or, at least, The X-File) began. From a particularly poor crop, only 3 methods made it to the review stage, one due to the fact that the place notation got published in the "Corrections" column, and to be honest I'm not wonderfully happy about including one of the others. If this is the tip of the iceberg, I don't want to even think about considering what the other 90% looks like. Still, if the Editor wants copy, copy she must get. I'm doubly scared of incurring her wrath now - she might set her fiancé on me .

In a vain attempt to use up some column inches, here's the right shower that April had to offer:

Method

lh

FCH

Rung at

On

Conductor

Pg

Juin

c

BEc

Bushey

23/3/98

R Baldwin

359

Mars

m

Dac

Bushey

15/12/97

R Baldwin

88

Zadok

h

Gac

Greasley

17/3/98

R I Allton

338

Juin Delight Major : x5x6x2x1x4x5.34x36.1 lh 12

I'm well known for my dislike of Pudsey (see The Y-O-Y file) so the fact that Juin has Pudsey above the treble does it no favours. However needs must when the chips are cold, and on the face of it, give this method a decent composition and you might end up with a half-decent peal. The saving graces for Juin are an interesting lead-head order and a below work which produces both an interesting blue line and an equally worthy smattering of music (2 each 5678s, 4678s and 8735s plus a 6478, 5378, 3578, 8764, 8765 and 8753). It's a shame, really, that BYROC was used for the composition - the best music is clearly to be had off the front, yet BYROC only looks for music at the back.

Mars Delight Major : 34x34.1x56x1x4x5x4x1 lh 18

Here we've got a much better above work - in fact, by my reckoning, one that's never been used before, and we don't see them very often! The Kent start gives us all the roll-ups whilst the treble is in 12 and then places are made (Oxford-style) in 56 when the treble is in 34. The plain course has 6 5678s and 2 6578s so all 24 of each are available in 6 courses. The frontwork, which is completely right place, is based around 4-bells right-hunting and dodging on the front but is broken up by the 1sts place made at the half lead. Again, a good selection of music is produced including 4 5678s, although these do occur in the two leads where the D falseness manifests itself. This is good though and, as is often the case, very simple.

Zadok Surprise Major : x5x4.5x56.3x4x3.2x4.7 lh 18

This method has the same lead-head order and work above the treble as Turners Hill (X-File 26). In comparison, however, the front work is considerably more mundane and a large smidgen less musical. That said, it still looks interesting to ring and, as can be seen from the composition, the G falseness that is introduced is surmountable, at least as far as production of combination roll-ups at the back is concerned.

5056 Zadok Surprise Major
Comp. Anthony J Cox

 23456   M   B   W   H
(35426)          2
 23564       -       2 
(36524)          2
 23645       -       2 
(34625)          2 
(25463)      2 
(63254)  2       -
(35642)      -
(54263)  2   -
 32465   -           -

2 part. Contains 140 cru's including 24 5678s and 6578s.Also 8 5678s and 6578s off the front.

This composition rung to Turners Hill produces more 8765s and 5678s off the front than Zadok, and 15 5678s and 6578s (although fewer 8765s) can be had by ringing it to the method for which it was originally composed - Kalium (first rung 1982). This, again, has the same abovework, and, like Turners Hill, is c.p.s.

140 is a good score as far as roll-ups at the back go, but if you are looking for something more adventurous, split tenors courses are available, and more music off the front can be produced.

Once again, Tony Cox has produced the goods, and with a method and composition dating back to 1982. Tony has recently taken Moldy to task regarding over-enthusiastic reviewing of his methods which, he claims are "not much different from a lot of stuff that's been about for some time". Obviously The X-File does like new ideas, but irrespective of whether the concept is new or old, if a method is good, it'll get reviewed. And sometimes, this month for example, there are so many Graeme Hicks on offer that I'm bound to wax lyrical when a Brian Lara comes along.

This file is now closed.

"MOLDY"



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