Grandsire by J. Armiger Trollope
File 02: Grandsire Caters, Grandsire Cinques, History, Bibliography – Pages 83 to 130
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(i) TilE Nl!'."l'HOD
12345678!J)Mk 1 2 7 5 9 3 8 4 Dodge l J a e 6~
9 1 3 5 4 7 6 9 8) Thirds. 2 1 7 !) 5 8 3 (l 4 6-7 down. 231456789 271593846 324165870 725139486 3 4 2 6 1 8 5 9 I 752314968 436281957 ;')73241698 46382917i:i 537426189 04839271:3 354762819 084937251 3-i567829l 869,~73521 436587921 8 9 6 7 4 5 3 1 ~}Pass Treble·. -!U3859712 9 8 7 G 5 4 1 3 ~ in 7 -lj. fi48395172 978561423 ti 8 4 9 3 1 5 2 ?}Pass Tt·eble 7958162c!o3 S ll 9 4 1 3 2 5 7 in G-6. 759182634 ~96142375 :)71928364. 981624735
.-\s in the ringing of Major methods, it is usual to keep the tenors in their plain course coursing order, so in ringing Grandsire Caters it is customary to fix the position of the heavier bells and to keep them coursing each other. The three ways in which this is usually done are:-
(a) l'lain Cour8c I'IJ8ilion.-The three larget· bells course each other in the order 8, !), 7, and stt'ike in the order 7, 8, 9, at the course end.
(b) TiliwH l'o.~ition.-'l'ho throe larger bells course each other in the order 7, H, 0, and strike in the order D, 7, 8, at the course end. 'rhis is undoubtedly the most popular· position among Grandsire Cater l'ingers.
(c) flandstrnkc Home I'nsition.-'l'he three larger bells course each other in the order 7, 9, H, and strike in the order 8, 7, 9, at the course end.
SCALES FOR PRICKING
(a) The Pla·in Cow·sc Position.
~34G678!)
First Lead End ~::;:~7-!9()8 A Bob gives 75203846
Second ~7G9:3S4u. 97285634 Third :2 !) 7 8 r; (J :l 4. 89267453 Fourth 289G74S3 68249375 Fifth 26849375 46238597 Sixth 2 4 ll :l 8 3 u 7 34256789 28,!!'iU78!) Seventh " 53274968 85 (h) 1'he Tittum Pos-itiuu.
From the Tittum Course End 2 3 4 5 6 9 7 8- A Bob at 89 (-i.e., a Bob at which 8 and 9 dodge together behind) produces Lead End 4 ll 2 :1 7 G I; 9 and Natural Tittum Oourse End 'f B () 5 2 U 7 S.
A Bob at. 78 produces Lead End and Tittum Comse End 3 4 2 56 l) 7 8. A Bob Middle (at which the Ninth dodges in 4-5 up) pJ·oduces Lead End 53 2 9 4 8 6 7 and Natural Tittum Course End G 2 4 3 6. This call, usually employed in old style lung cow·se peals to move the bell" behind the Ninth," cuts out the cout·se end row and is usually given by the figtU·es at the Bob lead end only.
Ninth Before with a Single (made at the first lead end of the Course) produces the Lead End !i 9 2 8 3 7 •l t1 and the Nat.w·al Tittum Course End G :~ 4 2 G U 7 8.
A Tittum Course ft·orn l 2 J ·1 5 Oil 7 8.
(i) called 9 in & 2. (ii) called 8 in & 1. 23456978 2345G97o
952837·!6 25394807 78965421:1 - 8927563·t - 4673829G - 6784932:) 43627689 64738392 423:)6!)78 03457289 05J2497o
(c) 'J.'he Handslroke Home Position.
!<"rom the Handstroke Horne Course End 2 3 4 5 6 8 7 9 -
A Bob at 98 pt·oduces Lead End 4 G 2 3 7 G 9 8 and Natura.! Handstroke Home Course Rnd 4 3 6 S 2 8 7 0.
A Bob at 79 produces Lead End and Handstroke Home Course End 3 4 2 5 6 8 7 9. 85 A Ila.ndstt•oke Home Course from 1 2 3 4 5 () 8 7 !:l. (i) called 8 in & 2. (ii) called 9 in & I. 23456879 23456879
H!"i2!J3746 25384967 - 7!J80G,!23 -98275634 --167:39285 -u7948325 4:Hi27i)98 64739582 ,~~H;itJ879 G84ii7298 65324!;79
GRANDSIRE CATERS (ii) DEVELOPMENT OF COJI[POSITI0-'1 OF fiJI t.he methods possible on chw·ch bells none is generally more musically eJYective than Grandsire Caters, whether it is judged from the standpoint. of the outside listener· or of t.he actual ringer. The four Sixes nearest to the course end of Htedman Caters have a greater musical value than anything_in Grandsi.re, and the same may he said of some leads of Treble Bob Royal. 8uperlativc Smprise and other Major· methods can at times give a variety of music and t·hyt.hm which delight the ears of those who know how to listen for them, and there are few methods which will not at times afford charm when they are rung as they should be. But among them all there is hardly one which is so consist.ent.ly pleasing as Grandsire Caters. '.fhe fact that it consists lat·gcly of plain hunting, with comparatively few changes of cotu·sing order, gives a unity to the :inusic which might have been monotony were it not that the varying positions in comsing order of the Treble and Bells-in-the-Hunt afford sufficient relief. Generally the method supplies the music the ear is expecting ; ~ Thtre m.1y bo an exception in Na.Lurnl Course 2 S 3 6 4 o( Uob "-1ajor. 87 important results for the composer and the conductor; and it is necessary to pay careful attention to the notation of the method (that is the way in which the figmcs of peals and touches are set down on paper), for owing to the fashion in which com position developed it is in a rather loose and unsatisfactory state and needs some explanation. Grandsire was extended to nine bells during the last years of the seventeenth century in accordance with the tendency which was producing Grandsire Triples from Ur·andsire Doubles, Treble Bob }fajor from 'l'rcblc Bob Minot·, J3ob Major from Bob :Mino1·, and was developing change ringing as the greater number of bells became available to pL"actise it on. It took some time before ringers appreciated the diJierence in the musical values of the various ways in which bells and especially the hcaviet· bells might be arranged. lt had been the custom to use the smaller bells as the Observations on Ave and six bells, and it seemed natw·al to do a similar thing when eight and ten were rung. To what. stage development had reached when the eighteenth centmy opened is shown by the Campaualngia of 1702 in the touches and peals of GL"andsire Cat.ers. All are on a similar plan and all at·c in seven reguhw parts. 'l'he first of the two peals, [)()70 changes in Gli70 length, is an interesting and typical com- :! :1 4 G ti 7 ;'; P position. Like all the rest it is constructed hy .Hunts, llalf- Hunts, and Quarter-11 unts. The G ::1 2 7 -Jol) G B 7 Treble is of course the Whole-Hunt and the 7 :~;, !-l 2 o +() 7 Fourth is the HalE-Hunt. At the start the H :3 7 B :) () 2 4. I Third is the Quarter-Hunt and a Q Set with 1'1 H H li 7 4 ;; 2 I that bell Before is begun, but aftet· the sixth (\ :l I'! I) 2 7 :J I Bub, an extra Rob is Jna.de which brings the ~1 :~ () ~ H ;j fl 7 7 Half-Hunt into its home position. supplies ;L !I 7 ·~ H :i (\ 2 :~ 3 new Quat·t.er-Ilunt, and gives the first part end. This is 9 7 4 8 5 li 2 :3. Vat·iuus adapta 1-iix times tions are made of tho (~uarter-Hunts in othe1· r(:peatetl. compositions and although the mathem;ttical constt·uction is carefully worked out, no attention is paid to any musical qualities. liow long the oldet· style lasted cannot be s..'tid. Probably not long, especially in London. The London Scholars' pea.! in 1711) had 5040 chang(,S which does not suggest one of the older style ; but the Norwich pe11.l of l7:lt! had 12,000 88 changes and we may be fairly cet•t.ain that it was in seven equal parts and was constructed by hunts on the style of the 11,340 in the CamJ-wnaloyia, especially as we know that the I\ orwich men possessed and studied that book. The issne was decideu when the met·its of tJH, Tittum position became generally known and recognised, and. though Benjamin Annable has had the credit for introducing it,* oldet· men than he were quite familiat· with the plan. What. he did was to compose a peal which set the st.a.ndard in the method fot· many years. This peal was l'lmg at Fulham in 17-!il. He composed and called his first peal of Grandsit·e Caters as early as 172:3 and others in the following ~·oars. They were all, wholly or partly. in the 'l'ittums, but Annable himself seems to have selected the Fulham peal as his best in the method. In the opening course the bells at·e put into the 'rittums by t.he Sc\'ent.h being called into the Hunt and out at thre" (see page 02). At the tinish 306 changes are used to bring them t·ound. The bndy of the peal is in tive parts with one bell fixed ., behind the :-.;inth" for each part.t .Each part has one Bob )liddle to fix this ·· par·t bell," and the rest of the calling consists uf alternately two Bobs with 7 R behind and two with 8 9 behind. A p1~al like this can quite easily he set down hy the Bob changes ot· (when lat.•~t· it bec;1me t.he custom towards the close of th~ century) b~ the course ends. Francis Hobet·U• mad1• ttw next important a,(l\·ancc in the composition when he discovet·ed the means of bringing the bells round at han The peal!> pl'luluceu mainly by Bobs ::tt 78 and ~\J came to be c11lled Long ( 'otu·se l'eals in contt·adiHtinct.ion to Shot·t Course J'eals which app;u·ently wene introduced by the elder Cieorge Gt·oss. As Tit.t.ums ·were st.ill uni\'ersaL and Hinglcs not yet admitted as lqdtirnate calls. t!H· new st~lc meant the use t~f two ft·esh calling" on!~·. In one the last in Colll·sing Order of the ttu·ec big bells (th•· :\' int It) is called into thP II unt and this is followed • See Clm•is CawpaHalogia, quoted p. 133-4, <·arlfi>r editions of Grruuisirc. t Next in Conrsine:: Onlf'r after the :\inth nncl in Fifths at LhC' course t•nd. 8U by two Bobs at successive leau ends. In the other the middle coursing bell (the Eighth) is eaJled In and Out. One calling was termed 9th in three ; t.h<> other )'\th in two.* These expt•essions, which are really elliptical, wm·E' readily enough understood, but complications were created somewhat by t.he usc of Singles and latet· by the introduction of peals with the big bells in the hand stroke and other positions. for in them wha.t. is virt.naJiy the same calling has to receive a diiTerent namE'. c\. report by an early committee of the Central Council recomnwnded that the notation should be 9 in & 2 instead of 9t.h in :,. and 8 in k 1 instead of 8th in two, for Tittums and the others accordingly. 'l'bis was formally adopted and is followed in t.he present work, but whether it is an improvement may be doubkd. Both the old style and the new are still occasionally used n.nd should be carefully dis tinguished. From early times there was a strong feeling a.gainst the usc of Singles. It was recognisecl that there· are eases (Grandsire Doubles is one) where it cannot be avoided but. although these might be allowed as exceptions, ringers gencrn.lly preferred to pat•t the tenors in their peals rat.her than 11se the out-of-course changes, when to do so meant t·h:tt. Singl<·s would have to bc employed. It is pretty certa.in thnt in all the en,rly long peals a. large part was with parted tenors. But, as the eighteenth century passed on, the question began to be asked why more regard should not be paid to musical considerations, and the authors of the Clauis gave expression to the opinion which wa.s beginning to be held. They were tnJking n.bout. long peal::: of Bob Major. " Though we don't altogether approve of Singles where the number can be obtained without: yet as this is the full extent. without parting 7-8 ·we think we can recommend it as a. good peal." For Grandsire Caters ther·e still seemed no rea.son why the old custom should be changed and it was not. until the new century that ~hipway pointed out that if ~inglN• were used the Fifth and Sixth could be kept exclusively behind the )iinth and the music considerably improved. Thus wa.s introcluced a new style of peal which held the field for many years. 'fhf'se Singles were caJls substituted for Bobs at 78 or 80. and there was no difficulty in showing them in the figm·es. 'Vhen short cnursc peals became more . populm· the Singles in a cour·<;e mm·k•·d !I in & ~S or • See page 86. S in & lS we1·e always understood as the last of the succession of calls. The latest development involved a much freer employment of Singles and here thP- figm·cs call for careful reading. To get over the difficulties compositions are often given by call marks under the numbers of the loads in the course, but that is not a. satisfactory plan as it gives no reference to any observation and a knowledge of t.he observation!'> (which are variable) is an essential to a Grandsire Caters conductor. The Tittum positinn is Ro sat.isfactory in itself and so superior to any others on nine bells, that it was only natural for it to remain almost exclusively in use for many years. yet the time was bound to come when there would be some demand for variety and experiments have been made with other anangements of the big bells. Early composers used the H andstroke Home Position to bring the bells round at handstroke after a long run of changes iu the Tittum position, but in the latter part of the nineteenth century composers began to incmporatc in their peals more and mOl'e courses with the bPlls in the order 8 7 lJ at the course end and striking 7 8 !) at the preceding handstroke. The latest tendency is to use this position for the second half of peals, the first half of which are in the Tittum position. The Handstt·oke .Home !'osition, espocially when rung with the Sixth in Fifths place, to give a course end of .... !J • 8 7 9, provides variety and musically is probably superior to any position other than the regu]a.r Tittums. In the next chapte1· the composition of peals in the Tittums and Handstroke 11 ome J'ositions will be dealt with more fully, and a brief mention will be mado of some of the othei' arrange ments which have been used for the positiuns of t.hc larger bells. GRANDSIHE CATJ<;Rs (iii) AHHAN(;I·:.i\1ENT 01-' THE LAJtGF.R BELLS THE Tittum position may be produced f1·om rountls in several ways. The usual method is to call the Seventh into the Hunt, let the Ninth and the Eighth each make Thirds Place and then call the Keventh out at t.he following lead. Bells 7, ~ and !) will 91 G then be in the required coursing order. The- following two examples illustrate this method. Each could have an additional call at the tHth lead end and bring up the course end one lead sooner:- 2:345(;789 2::!45678\l -75293846 25374968 79582634 s 79285634 7 8 9 ()54 2 :~ 78962453 46738295 s 64738592 43627G8H 0::!457289 42356978 05324978 The type of opening course used will be determined by the composer's plans for the body of the peal or touch. Starting from rounds, here is a full table of opening courses to bring up a Tittum Course End. 2345078!) Calls at No. of leads in Course. 42356978 1, ·1 (j 23456 1, 4., :; 5 3 2 4 5 () ] . 4, 5.'" 5 05:12•1 21;;;, 4B (j 45326 2S, 6 53624 28, '*1S. !) G :!5624 28, 48, ,-;s I) 53 4 2 (j 28, 4-, !i G :.l5·12G 2S, 4, liS ;) (52 :.l 54 ] ' 48 6 2a654 1, 48, G ;) 32654 1' 48, liS G Once the back bells have been called into the Tittum position, there are eighteen ways in which courses may be called without disturbing them. The more usual ones have been included for easy reference in the Scales for Pricking on page 86, and a des cription of the designation of the calling 9 in & 2 and 8 in & 1 is included in the text on page 90. For the sake of completeness and because these callings may be used equally well with any other placings of the bells 7, 8 and 1), a full table is given below, with an indicat.ion of the name usnally given to such courses:- 92 Usually 23456978 Calls at designn.ted ------') g 42356 l, ~. :l in & 2 62354 ] . 2, ::lH 9 in & 28 65324 2, :~ 8 in & 1 35426 •) 3, 4 8 in & 2 45326 '>-· 3, 48 8 in & 28 53420 -·lS IS 43652 ;) "89" 63452 5H "8 98" 34256 6 "78" 43250 fiS "7 88" 43625 IS, 4 lS & "89" 6 3'4 2!) IS, 48 18 & "898" :~4.526 JH, ::; IS & "78" 4352() 18, 58 IS & "7 8S" 53624. :!., :~. ,J 8 in & 1 & ~~ 7 8" :35624 2, 3, :>..c.; 8 in & 1 & "7 &..~ , 23654 ], 2 ::JS, 4 !.) in & 28 & "78" ' 32654 1, 2, !lS, 48 9 in & 28 & " 7 88 .. l<'rom the Titturn pusit.ion, rounds may be b1·ought up at either handstroke or backstroke, but in fact the former is now the usual "vay. Three common ways of doing so ay·e :- 42!)63978 ll ~ G 4 :l 9 7 8 62345978 3 4 2 6 s 8 7 9 1 :; :l 1 2 n :i s 7 n 2s 3 3 4 2 6 5 8 7 9 2 9 10 These three courses are shown as ending in 3 4 2 6 5 8 7 fJ, which is the actual cuu!'Se end.. Rounds will, however, have occurred at the handstl·tJke of the lead end preceding this course t'nd, as will be observed if the rows of the course are pricked. If a Tittum Course .Encl be compared with. a Handstroke Home Comse End, it will be; oeon that the positions of 8 and 9 are reversed : ..... S 7 lJ instead of .. , .. 9 7 8. Callings can accordingly be gi"cn by the position of the Eighth instead of the Ninth, when composing in the Handstroke llome position. 8 in and 2 instead of 9 in and 2. Bob at 9 8 instead of at 8 9, ..,tc. With this in mind, the table we have given of Tittum Course Ends can readily he used for the handstroke position. 90 Musically, this position is perhaps at its best when the Sixth is a Fifths place bell so that the cow·se ends are . . . 6 . 8 7 !). The Inverted Tittums was one of the ea!'liest of these positions in which several peals were composed. The course end is .... 7 9 8 and the coursing order 9 8 7. This is a direct inver sion of the regular Tittum position-Tittum handstrokes come at backstroke and vice versa. For this reason the position has been much used and praised for half-muffled ringing, when the bells are properly muffled at backst1·oke. The plan has some good qualities, but almost completely misses the special merits of the regular Tittum position. Two simple ways in which the r nv(a·tcd Tittum position may be produced from rounds are by (a) Hob at I, Single at 2 and Hobs at 3 and 4, producing 2 :~ '1 :) ti 7 !J B, and (h) by Bobs at 2, ·1 and ;), producing 58 4 2 6 7 9 8. 'L'he 7 9 G 8 position. 'l'his intet·esting placing of the heavy bells has received some attention h·om composers. Some openings from rounds are :- 2845G78!) 2 :l I :JU780 ::32457!Jo8 !) 1 2 :l ;) 7 9 () 8 1 58 28,!GG780 2:3J:)()789 ------·1 G 3 2 7 !) 6 8 2S i"iS :l:; 4 2 7 9 () 8 28 G Each of these courses conta.ins one Tittum lead and this fact must not be overlooked if later in the touch the bells are brought into the Tittum position. Any of the cmu·ses with the Sixth at home, shown in the Table of Tittum eom·se ends on page 9:~ may be used. From this position the bells cannot speedily be returned t•1 rounds, but they may easily be bruu~ht into the Tittums ~H4579u8 2H45796H 2 :3 ,, G 7 9 6 8 ti2BG4078 1 2 :3 2 1 G 6 U 7 8 ·) t B G 3 2 4 8 7 9 28 3S 94 It will be found that, as in the third of these examples, the bells cannot in the one course be put from the 7 9 6 8 position into the Handstroke Home position and also ha.ve the Sixth put into Fifths place. The Sixth should, therefot·e, be left in the Hunt for one course. a s shown, after whir.h there are several convenient callings for pla.cing it behind the Eighth. ~3456789 The 7 8 9 6 position is musically wm·th 6 :J 4 2 7 5 8 9 L 41':\ attention. The Cotu·sing Orde1· is 7, 9, 3:2457689 3 4 CiS 6 8, and in tho lead before the Course End 4 :~ ~ 5 1 2 3 these b ells strike in the order 7 0 9 0 6 8. This position can be easily reached from ~5347968 28 4 the 7 !) (I 8 position by Bobs at. 1 and 4. :3:254 lt may be turned into the Tittums by flubs at 1 and 4 · or into the Handstt•oke ::; 4 2 3 7 8 9 6 28 4 Home position by Bobs at 1, 3 and 4. ~a 4 3 1 2 :l 43527869 2 4 .) 4 3 2 2 :I The quarter peal (iru;et), 1 2 fi 9 by Mr. Edgar C. Shepherd, shows some of the 32457986 2S ,, ., musical posit-ions into which the back 4325 1 2 .. bells may be call~d and the means whereby they a.rc mnved easily from one position ~5347698 28 4 to another. 3:2!)4 1 2 :.l GH.A::\'DSIRE CATERS (iv) PROOF IN Grandsire Caters all l.he r·ows are even until a Single is called, JJ.nd after that they are all odd until another Single is called (see page 63 ). This means that it is quite possible fm a row that occurs when the tt·eble is going up to recur in some othe•· lead when the treble is going down. The truth of the ba{!kstroke leads of the treble, thet·efore, will not ensure the truth of the com position. If, however, the handstr·okes and backstrokes of the treble leads are written out an Consider the two positions most us~d in Cater ringing. The following table shows the position of 7 H 9 at all the possible leads in the Tittums and the Handsh·oke Home positions. TITTUMS llANDSTROl 9 .. !L 7 . 9 8 . 7 s 9 7 . 81:}. 7 . 9. H . 7 .. 9. 8 7 :; IJ 7 .. 8 . u 7 ~ . 9 . 8. 7 9 . 8 . 7 s D I 8 . 9 . 7 8 9 . 7 987. $) H 7 897. 7 89 ... 8 7 . 9 ' 701:>. 9 7 '8 .897. 8 '7 9 . . !) 8 7 9 . 7 8 . 7 8. 9 7 . 8 . 9 7 ~J . 8 7 . 9 . 8 . 7 . 8 ; \) '7 . 8 . 9 7 . !) • b . 7 . D . 8 ... 7. 8 9 ... 7 98 . 7 ' 9:; .. 789 .... 978 ' . 9 '8 7 .. 8 7 9 .. 8 . \J 7 If this table is examined carefully it. will be perceived that no two rows in it are alike. From this four very valua.ble rules may be deduced. 1. No backstroke lead in the TittulllS ci"Ln occw· at handstroke in the Tittums. 96 2. No backstroke lead in tho Ho.ndstroke Home can occur at handstrokc in the Uandstroke H onlc. 3. No Tittum row can occur in the Ilandstrokc Home. 4. No Ha.ndstroke Horne row can occur in the TittniJLS. When, therefore, the t•·eblc loads of 11 touch or peal of Grandsire Caters arc written out for proof, it is useless to look among th~ Handstt·oke Home rows fol' Tittum rows, boca11se no Tittwn row can occur there. Hirnilarly, no Handstroke Home rows will be found in the Tittum portion. Moreover, in the Tittums or the Ilandstroke Home, where Bobs only are usccl, if all the backstrokes are true t,hen the composition is true. \Vhcre Singles are uRcd, gt·cat precautions must be taken, for in this case handstrokes may rep~at without the repetition being apparent from the backstrokes. For instance, suppose 5 9 2 8 :3 7 4 6 comes at a Single. Its handstroke is ::; !) H 2 7 3 6 4. Suppose later that 9 53 8 3 7 'J 6 comes at a Bob. Its handstroke is also 3 g 8 2 7 :3 ti 4. It is, therefore, nccesSaJ·y to gnal·d against this possibility by ensuring that, in •·elation to any backstroke treble row brought up at a Single, the same row v.-ith tho first pa.ir reversed does not occm· a.t a. Bob or plain lead. Opening and turning co=ses (and homing co=ses, whore used) must have very ca.re£ul treatment, and aU non-Tittum and non-Uandstroke HomD lea,ds must be 2 3 4 i) 6 7 8 0 examined, both at handstroke and ba.ck- sb-oke to ensure that • they cannot occm 75293846 elsewhere in the composition. In addition, it should be noted that where other 7 8 9 6 54 2 :~ positions of 7 8 0 or 6 7 8 0 are used, care 768493ti2 must be taken to analyse the places into 3-!721)589 which the heavy bells fall. and to find to 32.J.579B8 what extent one position is liable to l'epeat with another. One example of this may be quoted here. The opening course given takes thP- bells from rounds to the 7 U t) 8 position. The student will readily perceive that this opening course contain:> one Tittum lead (the thil•d). If, therefore, latel' in the composition, the composer wishes to turn the bells to the Tittum position, he must not overlook the tact t.bat he has had one Titt.um row early on, and that that Tittum t•ow must not occur again. 07 The first three leads of the opening coUl·se to bring the bells from rounds to the Tittum position by Robs at 1 and 4 are given here. Both handstt·okes and backstrokes 2345678H of the t.reble leads are shown. The part below the line is part of the Tittum block 57928:~64 u and must be proved as part of the Tittums. 75293846 B By using the skeleton table (given above}, 97856:24a u examine the implications of the opening 79582634 R rows. (a) !) 7 9 ~ 8 3 () 4 can come at back 87694;3::!:2 stroke only in the Handstroke Hom e. There 789ti:i423 fore examine all the backstrokes in the Handstroke Home p01•tion of the com- position and make sure that this row does not occUl'. · (b) 7 5 ~ 9 3 8 4 G can come at handstroke only in the Hand stroke Home. It will never happen at a Single. Therefore, if it comes at all it must come at a Bob ot· plain lead, and in these cases its backstroke is bound to be r> 7 9 2 8 3 G 4. 'l'he false ness would already have been revealed in examining (a) above. (c) 9 7 8 5 6 2 4 3 and 7 9 5 8 2 6 3 4 can never occur in Tittums or llandstroke Home positions. The succeeding- rows of the open ing course are pure Tittum rows. The only thing that has to he done, then, in this opening course is to make sure that ;, 7 9 2 8 3 ll 4 does not occur in the [{andstroke Home portion of the touch. There are many other opening courses, some not so simple as this. Each must be treated according to its needs. and all non 'l'ittum rows must be carefully studied. The turning courses most. mnt with are 1.<1 and 28.:3. 1.3 2 8.3 23405978 tl2a5497!; 69827354 H 5()928374 l[ 9628::!745 B GG29:3847 B 987()4532 H 89765243 H 98672534 B 98()75423 B 75493820 II 74:192856 II 37948362 H 479:382()5 B 98 It will be seen that in the case of the turning colu·se 1.3 the bells are turned dit·ectly from Tittums to Handstroke Home ; all rows above the line are Tittums and all below the line a1·e pure Handstroke l rom e. There is no need to consider hand strokes at all ; the rows up to, and including, 9 6 2 8 3 7 4 5 will be proved as pal't of the Tittums. and will be quite indepen dent of the wws that follow. In the tm·ning cum·se 2 8.3 the beUs also turn directly at the line, but the handstroke of lead 2 is Tittums and the backstroke is Handstroke Home. lf this handstroke, 9 8 7 6 4 5 3 2 occurred elsewhet·e it would be at handsti'Oke in the Titturus. If it occurred at a. 8ingle its backstt•oke would be the one we have here and it would be turning the bells in the same way. The falseness would be apparent ft·om an inspection of the back strokes. lf it came at a Bob m· plain lead its backsti·oke would be 8 9 6 7 ;) •l 2 :~. and this is a 'l'ittum backstroke. Care must, therefore, be taken t.o ensm·e that 8 9 6 7 ;'5 4 2 3 does not occur ~t a Bob or plain lead. Other turning course;; must be analysed in the same way as these two, and any strange t•ows must have careful attention. Here then is a sununat·~· of the proof of Grandsire Caters by examination of backstroke leads. 1. Write out all the treble leads. In the opening course draw a line to show whet•e the 'l'ittum pol'tion begins. In the turning course draw a line to show whet•e the Handstroke Home portion begins. ~- Pt•ove the opPnin~ cout·se by testing its handstrokes and backstrokes against the rest of the touch. The Tittum leads will be proved as pal't of the 'l'ittum block. ;{, Prove the turning- course. Bewat•e of the handstroke of the Hingle in 2 s.:~. 4. Tittum block. Take any row pt·oduced by a Single, reverse its first pair of bells and make SW'e that the row pt'oduced does not occlU' at a Bob or plain lead. ~Take sm·e that all the Tittum backstrokes are different. 5. Tiandstroke H onH" block. Treat this exactly the same as the Tittum block. The Handstroke Home block will be absolutely independent of the 'J'itturn block. 99 GRANDSIRE CATERS (v) 'l'OUCHI':S AI'V Pl~:\LS (1) 2i() (2) ~70 :!:14.!>G7S!I 4 2 :3 5 6 7 ~ 9 7 io. & 2 Z 3 4 5 U 9 7 8 7 in & out at :.! wit,h D 3 4 2 56 7 in & 2 2 :~ 4 f> 6 S 9 7 9 in & out a-t 3 with D 234:56 7 in & 2 2 3 4 5 6 7 8 9 8 in &- out at 3 with ]) (3) 396 (4) 300 ~ l ~ :i ~ U !) 7 !; 7 iu ,\;, tout, at :.S a ·l ;, ~ (j 7 8 \) 7 .Befut·n with s a.nd ~u o :1 -1 2 ,) (.) !J in & :?: .J 52 3 (I 7 Befort! with S and 8\J :! ;~ -l 5 t.i ~ \J ·-; 11 in & out· at, :.s ;;~:Llt> 'i llefore with S and 89 . :! ;) l 5 ll 7 8 V 8 in ~. out at. 3 with D 23-:l.:>li 7 Hefor~ with S and o\J (5) ·1Ut> 1 :! a 5 1.) !) 7 ~ 7 in ,\; out. ;~l ;; ;) 3 4 2 ti 7 \J 8 \J in ,\: out. at :.! witll V :H 2 5 6 !J in .\.:. 2 ;;;; 4 2 6 S H 7 7 in &; out at 2 with D :! 3 ·l: 5 6 9 in & 2 2 5 4 3 6 8 7 9 7 in & out at 2 with D 2 3 4 il (I 8 l:l 7 9 in & out at 3 with )) 5 2 ·l 3 6 {) 7 8 8 in & out at 2 '~th D 2 3 -l 5 6 7 8 9 R iu & out at 3 with D 3 2 4 5 6 9 8 7 8 in & out at 2 with D ~ 3 ·1 5 6 ·1 8 9 \) in &. out at 2 wif·h D , (7) J8il (:S) ISO 2345(5789 5 3 4 ~ 6 7 9 8 9 in & out at 2 with D 3 2 4 5 6 9 8 7 7 in & out at 2 with D 2 3 4 5 6 7 8 9 8 in & out at 2 with D Z H 4 5 6 7 8 9 0 in & out at 2 with D (9) 287 (10) 305 23-156780 0 fi ;'\ B ~ · ~ fl 7 8 7 in with S & out at 2 with S 0 5 3 2 4 9 7 8 7 in wit-h S & out at 2 with S ,_ 'l 2 S () :.l 8 7 \J 9 in with S & out at 1 4 2 5 G 3 8 in & 1 (3 2 5 4 7 6 9 8) 8 in & 2S (3 2 5 i 7 6 9 8) 9 in & out at 2 (11) 35\J 2 04 5671)\J 6 2 3 5 4 9 7 8 7 in. & out at 3 with S 2 3 6 54 9 8 7 1-3-5 2 5 3 6 1 8 7 9 9 in with S & 2 6 5 3 2 4 9 7 8 ~ -4 42563 8in&2S 4 2 5 6 3 8 in & 1 (3 2 5 4 7 G 9 8 I 8 in & 2S (3 2 5 4 7 6 9 8)!) in & out at 2 (13) 377 (14) 377 23456789 23456789 4 2 3 5 6 9 7 8 7 in & out at 3 6 2 3 5 4. 9 7 8 7 in & out at 3 with S 2 53 4 6 8 in & 2 2 53 6 4 8 in & 2 6 2 5 4 3 9 in & 28 42563 9 in & 2 S n 2 54 7 (l 9 8) 9 in with ~ .v. out at 1 (:~ 2 54 7 fl 9 8) 9 in & out at 2 (15) 39;) (lfi) HD :23456789 23.1-36789 2 3 4 5 6 9 7 8 7 in & out at i\ with D 3 2 4 56 9 7 8 7 in & out at 3 (Bobs) with D ..... 6 3 2 5 i 9 in & 2$ [(Single) 0 6 53 2 4 8 in & 1 ~ 4 2 56 3 8 in & 1 25364 8 in & 2S (3 2 5 ! 7 6 9 8) 9 in & out at 2 42563 9 in & 28 (3 2 54 7 6 9 8) 9 in & out at 2 (17) 539 (18) i)!)3 ::?3456789 23!56789 (i 5 3 2 4 9 7 8 7 in with 8 & out at 2 with S 4 2 3 5 6 9 7 8 7 in & out nt 3 5 2 3 6 4 8 7 9 9 in with Single, & 2 Bobs 3 4 2 56 9 in & 2 3 52 6 4 8 in & 2 2 3 4 5 6 9 in & 2 ~ ~ 5 fl 4 8 in & 2 (1!)324 8 in & 1 ·I 2 ii 6 5 H in & 21:1 4 2 56 3 8 in & 1 (3 2 54 7 tl 9 8) 8 in & 2 (:{ 2 i'i 4 7 U 9 8) 9 in & out at 2 (19) 1259 (20} 1277 ~ :3 l 3 fl 7 8 !I ~:"l!:\1178!) li 3 3 2 4 9 7 8 7 in with S & out at 2 with S G 2 3 3 4 9 7 8 7 in & out at :.1 with S 3 2 3 6 4 8 in & 2 3 2 4: 6 5 0 Before with S & 8 9 32465 89 4326:) 9 in & 2 24365 78 24365 9 in & 2 -!:3~(5 ,) 7S 52463 9 in & :Z S 53 2 6 4 8 9S !5263 9 in & ~ 23463 89 34562 9 in & 2 S 34265 78 23465 0 in & 2 S -!2365 78 42365 9 in & 2 32564 89 3 4 2 6 5 9 in & 2 42563 89S 5 3 4 6 2 9 in k 2 S (3 2 54 7 6 9 8) 9 in & out at 2 2 5 3 6 4 9 in <~ 2 S 4 2 5 6 3 0 in & 2 S (3 2 54 7 (l 9 8} 9 in & out at 2 (~L) 1~5!.1 2345678!) -continued 34562 80 2 3 4: 56 9 7 8 7 in & out at 3 with Double :)3462 U in & 2 6 53 2 4 8 in & 1 45362 9 in & 2 52364 8 ip. & 2 35264 89 3246!1 8 9 25463 89 -13265 9 in & 2 4 2 56 3 0 in & 2 24:363 9 in & 2 (325-!76U8)9 in & out at 2 (22) 1259 --continued 23456780 43265 9 in & 2 24365 9 in & 2 4 3 6 2 7 58 9 7 in & out at 3 34562 89 6 2 4 5 3 9 7 8 5 in & 2 54263 89 3 52 0 4 8 in & 1 25463 9 in & 2 2 !3 5 () 4 0 in & 2 4 2 56 3 9 in & 2 :i 2 3 fi ·1 ~) in & 2 (3 2 ;) 4 7 6 9 R) !l in & out at. 2 :~ ~ .J. (I :; RO (2!3) 1295 (24) 1277 23456789 23;l :i6789 ...... 0 -! 2 ;3 5 ti Y 7 8 7 in ~ out at 3 6 2 3 5 4 9 7 8 7 in & out at 3 with S 34250 9 ink 2 3 2 4 6 5 9 Before with S & S 9 23456 9in&2 5 3 2 6 4 8 7 9 9 in & out at 2 63452 89S 45362 8in&2S 432;)6 89 2 4 5 6 3 8 in & 2 S 2 ·i 3 i5 li 9 in &· 2 3 2 4 6 5 8 in & 2 B :~ 2 4 5 () 9 in & 2 •1 3 2 6 5 8 in & 2 (\ 2 4 3 i5 9 Before wit.h S, & 8 9 S 2 4 3 6 5 8 in & 2 2 3 4 () 5 8 in & 2 5 2 4 6 3 8 in & 2 S 4 2 3 6 5 9 in & 2 4 52 6 3 8 in & 2 3 4 2 6 5 9 in & 2 3 4 5 6 2 8 in & 2 S 2 3 4 6 5 8 7 9 9 in & out at 2 & 9 8 S 2 3 4 6 5 8 in & 2 S 'I 2 3 6 ,-; 8 in & 2 4- 2 3 () ::; 8 in & 2 (:~ 2 ~ '1 7 0 9 8) 8 in & 2 (3 2 5 4 7 (i {) 8) 8 in & 2 (25) 1277 (26) 12519 :! :s 4 ,; o ; H n I ~ :l :i 7 !II~ ::1 7 in k out at -! wit.h ~ 2 :l I :) ll 91 S i in & nut. at :l wit.h Doublt~ :~ i'i •) I ~ in ,I,; •) s fi :l .j. ;) 2 :' .•• .j 2 :l ;:! in ,\: ·) 2 :~·I U i'i !l B~fure with ~ ,\.' :-! I) S 2 ;j .j :l 9 in ,\: 2 ·I 2 ~~ l\ 5 II in & 2 fi 2 ;) :! .t !l 'i ~ !I in ,\:. a 4 2 .,, ;; II in ,~;_ 2 0 Cl :i~ 21H ~ in ,\:.. 2 ~ 4 ;! 2 6 ,; 8 7 !J \) in & out. 11.t 2 with Double 2 :i :l tl ·I !I in & ·> ~ ·I :l () :; x. in & 2 4 2 !) (j :l !) in ,1,; 2 !:: ~2 . 11);') 8 in & 2 i>42GH fl in .~ 2 4 3 2 G 5 9 7 8 8 in & out at 2 & 8 9 S 35462 9 in & 2 s ~H3 6 i'i 9 in & 2 :) 8 4 6 2 8 7 9 9 in & out at 2 with a. Double :12!65 ? in & 2 2 5 H () ·~ 8 in & 2 S 2 3 ·1 1:) 3 8 i 9 9 iu & out a.t 2 witb Double 8 in & 2 8 42365 8 in & 2 (:3 2 ,) 1 i U U to!) S in & 2 S (o :n .J 7 u 9 t>) s in & :.: l'EALS (1) 50~1 2~456789 ;) ;{ 2 l) 4_ !:! in & l & 78 ;~ 2 5 H 1 7 R 23456978 l-4-5 (a) :) 2 4 (j ;{ BU :34256 7 8 42:.Jil;) fl!) 4235G 7 8 2 :.1 ·~ 1\ :; 78 32G54 S9 :~ J 2 lS ;) 7 fl 62453 sn 2 4 :) (.i :; H !l 24653 7 8 ;"j ·1 :J () :2 HU 4625:3 7 8 1:l5t)~ 7 H 263G4 8\:J :1:; 4 6 2 7 8 364;'52 89 2· ,j 4 6 :.l H9S 64352 7 8 43652 7 8 '1 ,-; :.l tl 2 89 63254 R9 ;~ (j 2 (j l fl!) - - - - :; 2 :1 f) ~ 7 s 4:.l2Gii 8!)S 2:i:>li-t 7 8 3245U 7 8 (j :1 4 6 2 8!) 2435() 7 8 4:J2ll:i 81) 34652 89 :1 2 4. lS 5 7 s 64253 89 2 4 :1 (j :; 7 8 42653 78 :1 ~ G 6 2 fl 9 26453 7 8 :i 4 2 6 ;~ H !) <16352 89 .J 2 ;) li :1 7 8 362iH 89 (:l2;i.J.7GUI'!)l- :l (b) fi2:354 78 2365 ·1 7 8 (lt) 7 in a.nu out at :1 wit h B34iJ2 s!) a Omable. (b) !) in and out at 2. wntinued- II. W. HALEY. JO!l (2) 5003 23456789 54~11387!) 1-3 (b) - - - -- 2546:3 8 in & 2 65324!)78 2S-4S (a) 42503 8 in & 2 5236-1 98 523U4 8 in & 2 3S264 l'l in & 2 35264 SJ in & 2 23564 ~ in & 2 23564 9 in & 2 53462 98 53462 89 4i)362 H in & 2 453112 9 in & 2 2 4 5 ti ~~ l'l in & ~s 34562 !) in & 2 !"54362 98 54263 89 35482 8 in & 2 25463 \) in & :2 4 3 i'i 6 2 8 in & 2 32564 !) in & ~R ii3264 98 52463 89 25364 8 in & 2. 45263 !) in & 2 3251:11 8 in & 2 24563 !I in & 2 ;; 2 4 6 :s !l8 54362 89 4 ;, 2 (\ :~ 8 in & 2 35462 I) in & 2 :l 4 5 G 2 8 in & 28 ,!3562 !) in & 2 ---- 53264 8 9 6i23i) 9 in & 1 & 79 25364 f) in & 2 4321)5 !) in & 2 4 2 5 () :s 9 in & 28 243(15 8 in & 2 ---- :s 2 4 t) ,; 8 in & 2 62345 8 in & 1 & 78 H243i> 1 s 24365 8 in & 2 23,16G 9 in & 2 32465 !) in & 2 4 2 :1 6 G 8 in & 2 4326G 9 in & 2 (3234713!)8)8 in & 2 63245 l s 34265 8 in & 2 (a.) 7 in with 8 and out at 23461) !) in & 2 2 with s. 42363 9 in & 2 (b) !l in and out at 2. continued- A. KNIGHTS. 107 H (3) 5021 23456789 56342 9 in & 1 G4:~52 9 in & 2 4 2 3 56 9 7 8 1-4 (a) ~ G 4- 6 3 9 in & 1 6 4 2 5 3 9 in & 28 4 2 G 6 3 8 in & 2 3 6 4 5 2 9 in & 28 :; 4 2 6 3 8 in & 2 6 3 4 52 8 7 9 1-::l-4 (b) 4 52 6 3 9 7 8 1-3-4 (c) 2 53 6 4 9 in & l ~ 4 56 3 9 in & 2 3 2 56 4 8 in & 2 G 2 4 (l 3 9 in & 2 53 2 (l 4 8 in & 2 3 52 (I 4 8 7 9 1-3 (d) 3 6 2 (i 4 9 7 8 1-3-4 (c) 2 3 5 6 4 8 in & 2 2 3 5 u 4 fl in & 2 S 2 3 u 4 8 in & 2 52 3 04 9 in & 2 253649781-3-4 (c) 4520887\11-3 (d) a 2 56 4 9 in & 2 2 4 5 (j 3 8 in & 2 G 3 2 6 4 {) in & 2 5 2 4 0 3 8 in & 2 4G:l62879 1-3 (d) 2 5 4 6 a 9 7 8 l-3-4- (c) :i 1 li 6 2 8 in & 2 4 2 5 6 3 9 in & 2 ii 3 4 u 2 8 in & 2 54 2 6 3 9 in & 2 ·1 G :l 6 2 0 7 8 1-3-4 S (e) 3 54() 2 8 7 9 1-3 (d) 3 -i G 6 2 9 in & 2 4 3 G 6 2 H in & 2 53 4 B 2 9 in & 2 54 3 6 2 8 in & 2 432()!) 89 3G4fi2078 1-3-M;; (c) 2 ..J. 3 (j G I) in & 2 4 3 5 u 2 9 in & 2 :3 2 4 6 li !J in & 2 54 3 6 2 9 in & 2 :2 :l -1 ()!) 8 7 0 1-:i--4 (b) 34211S 89 1. 2 3 6 fi 8 in & 2 2 3 4 6 5 ~ in & 2 (:~ 2:; 4 7 6 9 8) 8 in & 2 4 2 3 6 5 0 in & 2 (a) 7 in and out at 3. 2436G879 1-3- 4 (7,) (b) 9 in and out at 2 with 3 2 4 6 5 8 in & 2 a Double. 4 3 2 6 5 8 in & 2 (r.) 8 in and out at 2 with a. Double. (d) !J in and out at 2. (e) 8 in and out at 2 fol lowed by a Single. A. KNIGHTS. 10~ (4) :)021 234:'56789 63524 8 in & 1 4236fi 8 in & 1 42:~5(19781-4 ;)4263 9 in & 2 S U4253 9 in & 2 s 25463 9 in & 2 26453 9 in & •) 82564 9 in & 2 S 32654 0 in & ~ s 43265 9 in & 2 S 1 :3 2!) 6 9 in &, 2 s 24365 9 in & 2 :!!356 9 in & 2 52463 9 in & 2 S G:H53 9 m & 2 s 3:1264 9 in & 2 S ;) () 2 54 9 in & •) s 23 :)64 9 in & 2 23654 9 in & 2 :)2364 9 in & 2 (i2354 9 in & 2 -15263 9 in & 2 S 4G2ii3 !:I in &. 2 s 24 :363 9 in &. 2 2-!653 0 Ill & •) :324()5 ~in & 2 S ~~ 2 4 f) 6 9 Ill &. •) s :) 3 2 (j 4 9 in & 2 S 032!14 u Ill & 2 s 25364 9 in & 2 26354 0 in & 2 42563 9 in & 2 S •) 42653 9 in & s- ;~ 4 2 6 5 U in & 2 S :-l4256 9 in & 2 s 2:1465 9 in & 2 :!34::16 H m •) !35ti2 1;9 43652 gg '"' :)4:162 9 in & 2 (3 4 3!) 2 9 in ,I,;_ •) :! 54 6 2 9 in & 2 :l (l 4 5 2 0 in ,V, •) (j fd3 2 l s 66432 1 s fi3462 o in & 2 tl 8 4.;) 2 8 in ,\. •) 45362 !:I in & 2 46352 !) in ,\:_ 2 :q 5 ti 2 9 in & 2 :34652 !:I in ,v_ •) (:32547698)1-:!-3 2:1436 s in ,'I:, 1 A. KNIGHTS. 109 (5) 5039 23456789 ·~ 2 3 fi ;} 9 in & 2 s 342fii) 9 in & 2 4325ti978 1-3-4-13-78-8 23-!Gii 9 in & 2 24356 9 ill & 2 324.36 9 in & 2 .) :!, ~I) 4 8 7 9 1-3 4265:3 89 :1 :) 2 () 4 8 in & 2 342!)1) 9 in & :!, ~ -l:3:)tl2 8 in & 2 s 64253 BflS :2 .t :~ li r; 8 in & 2 ~ :32-11) ;) 8 in & 2 54263 l 8 -.1 ;I 2 () ;') 8 in & 2 2541)3 9 in & 2 ·) }~()2 8 in & 2 s 325G4 9 in & 2 s :2 ;) 4 fi :3 8 in & 2 s 43265 9 in & 2 s ~ :!, :; (i :3 8 in & 2 24365 9 in & 2 .) -l:!, 6 ~~ 8 in & 2 3246;) 9 in & 2 :1 ;) J () 2 8 in & 2 s 5321)4 9 in & 2 s ~ :1 .-. (i 4 8 in & 2 s 43362 9 in & 2 s 34562 9 in & 2 .>:i4h2 98 53462 n in & 2 :2 ,; :\ (j 4 8 in & 2 8 25364 9 in & 2 's- :\ 2 ;) (i 4 8 in & 2 425(}3 \) in & 2 s .> a 2 u ,l 8 in & 2 4:):1()2 8 in & 2 s i>2~ti-! 89 2 -t ,; lj 3 8 in & 2 8 45263 9 in & 2 8 .i:!,-1()3 8 in & 2 24563 9 in & 2 1 .; 2 6 B 8 in & 2 ?:i 2 4 H :-1 9 in & 2 - :l •1 ;:; (l :2 8 in & 2 s 3!>:2G4 9 in & 2 s :2 3 l (I,; 8 in & :2 s 43562 !) in & 2 s 1 2 :.l (i r; 8 in & 2 :>43152 tl in & 2 (J2:i17698)8 in & 2 354()2 I) in & 2 23;)0-J 9 in & 2 s J. C.-HlTl!R . 110 (6) 3039 23456789 53 2 4 6 0 7 8 1-4S ------2 5 3 4. 6 9 in &- 2 53426 ] s 3 4 3 2 6 8 in & 2 4G326 7 in & ~ 4 2 3 5 fi R in k 2 5t:54.6 9 in &. 2 ~ 4 2 56 9 in & 2 21356 9 in & 2 2 3 4 56 9 in & 2 3:?!50 7 in & •) 3 5 4 2 6 8 in &.: ~ 4.~:!56 7 in & ~ 52 4 3 6 8 in & 2 35246 9 in & ~ 4 52 3 6 0 in & 2 34.236 9 in & ., 2 4 53 6 9 in & 2 23!36 7 in & :! 43526 8 in & 2 4:?G36 7 in &, ~ 32546 8 in &;. 2 2:.1;)40 0 in & '2 64235 8 in & 1 BJ526 9 in ,v, 2 53462 8 in & 6:?~:15 9 in & J 2 53 6 4 8 7 9 1-:j 4 ;{ 2 (j 57 0 8 2- 4- ,, 32564 8 in & '' 2 t :~ 6 5 7 in & G2463 98 ~4502 87 45263 8 in & 2 33 -162 7 in & ~ 2 4 56 :1 8 in ,\: 2 4. :)362 7 1n ~\: :! 54362 98 3::>264 87 :1 54 6 2 8 in & 2 2 ;{ :; t) 4 7 in & ~ 4 3 G 6 2 8 in & ::! ;j :! ~~ (} 4 7 in & •) ;, ·a 2 6 4 9 s ~~ 2 -t 6 5 87 2346!i 0 8 4:!363 87 '1 2 3 (I 5 8 in ,\: 2 3 ·1263 7 in & ~ (3 2 54 7 60S) 8 in & 2 25463 7 in & 2 .J. CARTER 46323 8 in k 2~ 3 2 6 4 5 7 8 9 2-48 lll (7) 5039 23456780 :21;):.\7869 2-4-5 s ;") :2! :3 8 in & 2 23654978 1-48-3 :2 :J .J.,) 9 in & 2 63425 lS & 80 :3 .) ! ~ 9 in & 2 24537689 IS 4 ::l;i 2 8 in & 2 5243 (j in & 2 :; ! :3 2 8 in & 2 2345 0 in & 2 { 2 i3;; 9 in & 2 3542 9 in & 2 ~ 3 :~ ·1 9 in & 2 4352 6 in & 2 3 2 ;") 4 8 in & 2 3432 6 in & 2 24337l:J86 2 S-4-5 S 4235 9 in & 2 ;)2!:3 9 in & 2 2534 0 in & 2 2:340 6 in & 2 :3 2 54 (i in & 2 :Li 4 2 6 in & 2 24537968 2 S--4-5 S 4 :3 i) 2 9 in & 2 5243 0 in & 2 ;i 4 ;~ 2 9 in & 2 2345 :; in & 2 · ~ 2 :3 ;) 6 in & 2 :3542 :; in & 2 2 .i :1 -! 6 in & 2 4352 I} in & 2 ;j :2::; ± 9 in & 2 5432 9 in & 2 2 ± ;) 3 7 () 9 8 2 S--4-S S 4235 8 in & 2 ;)24:3 6 in & 2 2534 8 in & 2 :2 3 -Li 8 in & 2 3254 9 in & 2 :J .) -l 2 8 in & 2 24537896 2 S-4-5 8 4 3 ;) 2 6 in & 2 5243 8 in & 2 ;j ± :3 2 6 in & 2 2345 t) in & 2 ! 2 :_L) 8 in & 2 3542 6 in & 2 2 ;) :~ -! 8 in & 2 4352 8 in & 2 (:J 2 ;) n 6 in & 2 5432 8 in & 2 E. c. SHEPHJ-:TIJ) 4235 (j in & 2 2534 (j in & 2 3254 8 in & 2 112 (8) ;')039 23456789 32465 89 4326i) 9 in & 2 45326978 2 8-4 24365 9 in & 2 34526 I) in & ')... 52463 9 in & 28 4::!536 8 in & 2 45263 !) in & 2 542:36 I) in & 2 25364 89 63452 8 in & 1 325134 !) in & 2 46352 U in & 2 53264 9 in & 2 36254 8 9 23465 89 23654 9 in & 2 42365 9 in & 2 62354 I) in & 2 :~4265 I) in & 2 32456 89 ;)346287!) l-3 43256 I) in & 2 45362 8 in & 2 24356 9 in & 2 35264 98 62453 I) in ,'II, 2S 2:3564 8 in & 2 4-6253 9 in & 2 52364 8 in & 2 26354 89 32465 98 32654 9 in & 2 '1 3 2 6 fi 8 in & 2 63254 9 in & 2 24365 8 in & 2 23456 89 52463 s in & 28 4235ti 9 in & 2 45263 8 in & 2 34256 9 in & 2 25364 98 64235 1 8-8 9 S 3 2 56 4 8 in & 2 53462 8 in & 1 5 3 2 6 4 8 in & 2 45362 9 in & 2 23465 1)8 35264 8!) 4 2 3 6 5 8 in & 2 23564 9 in & 2 (3 2 54 7 6 \.l 8) 8 in & 2 52364 u in & 2 C. \V. ROBERTS. 113 GRANDSIRE CIXQUES WE have spoken in the highest terms of Gt·andsire Caters as a method for general common use, but not much can be said in favow· of Grandsire Cinqnes. Of all twelve bell methods in ordinary use, it is probably the easiest in which to ring a peal and the most difficult in which to ring. one which reaches the standard of striking considered necessary by average efficient eight and ten bell bands. Thougl). peals are occasionally accom plished, it may not be very far from the tt·uth to say that hardly one of good quality has been rung during the past forty years. This statement naturally will be challenged, but there are several significant reasons for it. A band which thought themselves capable of ringing a peal of Stedman Cinques would hardly in these days think of starting for one of Gru.ndsire Oinques, and an attempt for the latter is pretty certain to include a considerable proportion of men who have had little or no expel'ience in a twelve-bell t0wet•. '£he movement of the method though simple is rapid. The rhythm of the music is long drawn out and for most ringers hardly exists as a twelve-bell rhythm at all. The big difference in the weights of t.l'te bells and the greatly increased resonance of the heavier and deeper toned bells have a marked effect. Few of the men who at·e ringing and practically none of those who are listening normally hear Grandsire Cinques as musical bars of twenty-four equally lengthy notes. To some there is no rhythm at all. To others their ears create their own rhythms from some of the bells only ; the larger and more musically important are the ones attended to, the others are in effect ignored, and a pleasing blend of sound is substituted for a regular and ordered SllCcession of individual notes. This may be a good thing, but it is not Grandsire Cinques nor the traditional English change-ringing. The tendency in mot·e recent years is for the ringer to t•ely almost entirely on coursing order to find his way among the other ropes. This tendency may not always be deliberate, but it exists strongly, and conductors have dis covered that a knowledge of coursing 01·der will enable them to ensure that the bells lead in the right order and so that the truth of the ringing is at least technically preserved. We shouJd be the last to deprecate or regret the inct·eased knowledge and use of coursing order, but there are cases. and not least among them Grandsire Cinques, which call for much more careful attention 114 to other things which make fut· good striking and better ringing. One unmistakable sign of the deterioration in the striking of Grandsire Cinques io> the excessive rate at which peals are usually rung. It is a sm·e sign that the ears of the ringers do not make allowance for the clear and distinct notes of each and every one of the twt>ln~ bells tha.t are being rung. 'l'HE :METHOD 1 2 :1 + :) fi 'i 8 H 0 ~-: Hob 2 l :l fi -i 7 t3 g 8 F. 1_1 75\JlE20384U 2314aii7890E 3 7 1 9 2 E 3 0 4 8 6 Call Bob 3 2 4 1 u G 8 7 0 \cl 1·: ;)}7293E4068 342018507~-:\l 1G792E30486 4aG28105E7\l l75293E4068 4G:l8201E ::i fl7 u 4 8 ;-{ n 2 1·: 1 H r, 7 11502E30486 (j 8 ·l 0 J E :.! !) I I ,-, 7:il293E4068 S U 0 4 r-: H A 2 7 1 G :>721394E-G08 80GidU:37:Ui 1 08F.IiU473521 0E89G74G312 Single F.0987U!'i41J2 E90785UI423 7i)\JlE203846 9 1.; 7 0 ::J 8 1 G 2 4 :1 ::> 7 1 9 2 E 3 0 4 8 6 Call Single 9 7 ~: 5 0 1 s 2 u :l 4 Gl7293E4068 795F.l0283H 2157:Hl4Efl08 251374.9UE80 !523147GH8F.0 ate. 115 (2) 5081 234GG7890E 3;)624-78E00 2, n. 7 s 6352-1 7 1n & 3 -! 2 3 fL> 11 in & 2 5 1 2 (; :~ 7 in & 38 2 ;; .f. (i :~ 7 in & 3 (1) 5082 :l2i>l\-1 7 in & 38 - ~ 3 2 6;) 7 in & 38 2345f)7890r:: :H3G:l 7 in & 3 ;; 2· ·l () :~ 7 in & :3 F; 3 i5 ·1 2 u 7 8 E 0 0 (a) 3 :; 2 I) ..l 7 in & 38 52 4 3 6 ll in & :3 JH.ili.J. 7 in & 3 45235 7 in & 3 :; 2 :l (j 4 7 in & 3 5324G 11 in & 0 4. :3 :2 0 :~ 7 in & as 2 3 3 4 6 7 in & 3 2 4:1 G :l 7 in & 3 32546 7 in & 3 32lfl.) 7 in & 38 24536 11 in & 3 :) :3 2 (\ !. 7 in & 3 s 63425 11 in & 2 25:Jli4 7 in & 3 4 G 3 2 5 7 in & 3 4 2 ;'j ti :\ 7 1n & 38 132345 ll in & 3 :3 4. 2 ti :) 7 in & 3 R 3624:1 7 in & 3 2 3 Hi.) 7 in & 3 23<345 7 in & :~ 4:2~3tL)8700E I, 58, lOS,ll,l2. Twice repeated calling first .)1263 8 in & 3 S cour'se 11 in & 3 p~:oduces 2 5 ·l 6 a 8 in & 3 2:~4i'iG78E00 :32i'>o-t 8 in & 3 S Rounds by Bobs at 1, 2, 4, .j. 3 2 ();"\ 8 in & 3 S 5, G, 7, !J, J(J and 11. 2J3G:) 3 in & 3 (a) 9 in and out at :'l with :; 2 4 G :~ 8 in & 3 S a Double. 35264 8 in & 3 8 2~15()J 8 in & 3 .A. K);'tGHTS. :> 2 3 (\ -! 8 in & 3 4. 5 2 H ~~ S in & :'\ S :!. -! 5 t3 3 8 in & 3 :~ 2 4 o ;) R in & ~ S ~ ;~ 2 G ± 8 in & 3 S 2 ;) 3 G ! 8 in & 3 4 :?. il 6 3 8 in & 3 S (3 :?. :) 4 7 ll 0 il r:: 0) 8 in & 8 S A. KNIGHTS. 1]6 'l'Hl': HISTORY OF THE .METHOD THE introduction of Grandsire Doubles which occurred some where about the year 1650 was an event of great importance in the history of ringing. Not only was the Exercise endowed with " the best and most ingenious Peal that ever was composed to be rang on five bells," but the foundation was laid upon which probably the greater part of the development and improvement of later years was built. The composer was a man well known in the exclusive ringing society to which he belonged. He joined the College Youths in 1647, and was Master in 1652; but though Duckworth in 1'intinnalogia and Stedman in Campanalogia both refer to him, neither mentions his name, and in a few years, like the rest of the leading seventeenth century ringers, he was clean forgotten."' It was not until quite recently that careful research wo1·k has enabled us to give some account of him. Robert Roan spent the whole of his working life in the service of the officers of the Green Cloth, the government department which had charge of the royal palaces, and for part of the time he was sworn clerk of the pantry. Charles I was king when he began his service, but the Civil War and the Commonwealth made little difference to the permanent officials, or indeed to the ringing societies which flourished while Cromwell ruled the country. \Vhen the Hestoration came, however, Roan lost his job. He was pJ•omised as compensation £50 a year board wages, but that fell into arrears, and was afterwards reduced to £25. So he petitioned the king more than once for redress, but though the state papers and treasury books record his petitions, they do not tell us what happened to them. Roan's special achievement was to compose an extent on five bells of all double changes (save for the two necessary Singles). Ringing during a half-century had slowly developed from the old Plain Changes in which only one bell moved at a time, and though Cross Peals now held the field their construction was strongly influenced by the older style. Roan quite clearly was a man who faced his job as a mathematical problem. How he worked we cannot of course know, but we do know that he did not look on Grandsire Doubles as we do to-day. For him there was no plain cow•se of three leads to which the composer could add • Fabian Stedman is the one exception. Ill such Bobs and Singles a,s he found necessary to achieve his object. The extent was one " peal " a.nd the "single Bobs" and the "double Bobs" were equally parts of the method.* The root idea by which extents were produced then and for long afte~ was the system of hunts, t and it is not unlikely that this idea dominated l1is mind as composer from the beginning as it afterwards wa& a-dopted for practical ringing. His whole·hunt i;;; obvious-that must be the Treble. Next he must fix the ITaH-hunt, and after careful study the best block he can find is what we should call the B Block-two leads joined together by Bobs. In this the Half·hunt falls into every position at hand.stroke or backstroke relative to the \Vhole-hunt. AJI that is needed now to p!'Oducf:" tho in-cow·se th1·ee-scoee is for the remaining bells (Extreme Bells they would have been called) to go the Six, which means that Fifths place would be made instead of Thirds when the Half hunt was moving into Seconds. We cannot say that Roan argued like this, but it is quite likclr in the circumstances, though he probably would not have tlsed th6 same words. If so, the H Block is the true theoretical plain cow·se of the method and the true Bobs arc what we look on as omits. That Roan did conside1· the question on sound mathematical lines is shown by the furthe1· steps he took. The Treble was obviously the most convenient \Vholc-hunt and the Fifth the most- convenient llalf-hunt, but the " peal " can be rung with any combination of hunts, and not only so, it can be rung from the back as well a.B (rom the front and sWl remain the same. \Vc should to-day call this Ite\·erse Grandsire Doubles, and Roan put it to a very notable use. IT e wrote out a full six-score of Reverse Grandsire Doubles on 2 3 4 56 makin~ the ~econd t.he ·whole-hunt and the Fourth the Half-hunt. Then be wrote t.he figure 1 in front of each 1·ow and that gave him the hand and bacK. Treble leads of an e:xtent on six bells. This he call<'- * OrigWall),.. the terw •· t:Job" was used pra e: ti c <~Hy ln the s ens.~ o f "Uodgt ." t Sec page 74. t lt ~cilmc the custom in after y (';ars to U !;C t.ht> L('fDI GrandsLrt- Dob <:t j a ger1tral ~ • Snowdon mentions that a Hichard Uutlc·r wa5 snid to h;Lve C(l111po*d "pt·al run]! at Painswick in 1731. t St'e Tlu NiHging l-'Vorhi, Aug-nsl 2nd, 1040. 120 Q Set consisting of omit, Single, omit, and Ringle; and it is note worthy that this is the only time that such a composite Q Set (so common in othet· methods) has been used in Grandsire composition (see page 67 ). Garthon's peal was rung at St. Peter's, Norwich, on August 26th, 1718, and less than three weeks afterwards the Union Scholars rang it at St. Dunstan's-in-the-East, London. lt was for them defi nitdy not the Grands ire Triples they wanted and they called it .I [ick 'l'r·iples. Their leading man was Hobert Baldwin who was well skilled in matters of composition. He tried to simplify t.he practical ringing of the peaL and as he could not get rid of the Hies he got t·id of the .Grandsire plain leads. What he did in ctfect was to treat the B Block as definitely the plain course and the Hie as the Bob, only in practice the names wet·e reversed, the Llic being considered as the plain lead. To this Baldwin added Garthon's composition and thus was pro duced Union 1'riples which had some nteasure of popularity until recent times. Garthon's Gr·andsit·e Triples was rung a few times in different parts of the country-at King's Lynn, and Lincoln and Codden ham among them ; and no doubt it would be the same corn position when the Norwich men t•ang another peal of Grandsire in December, 171 U. lt was a strictly logical development of Ron.n's Grandsirc Doubles, but it was outside the development that Grandsire as a method was taking among ringers and it quickLy became obsolete. Yet it left its influence on the art and science of cha.nge ringing. Union Triples, was, as we have seen, a direct development. and other attempts were made to fix: the path nf the (~w.u·tcL"-hunt wit.hout having to use Hies which wet•e looked upon as foreign t.o the strict method. On Febt·uat·y ~Hh. 17:n, the Cnion Scholars rang on the smallest eight bells at St. )[art.in-in-the-Fields what they claimed was the first complete peal of Gt·andsire Triples. There is no dit·ect evidenee of \\"hat they did r·ing, but the Cla/:i,o; gives a t.hree-lead cow·se pBal (without mentioning the composer) which Shipway reproduced saying it was by an unknown author. Now there seems to have been an impL"ession among some people that it was by .Tohn Holt, and, though it certainly was not his, that may be some indient.ion that it. came ft·om the Tinion Scholars. 121 John Denmead who composed a.nd called the St. Martin's peal was for some years the leading ma.n in t.hat society. We know that he was a composer and it is perhaps sif!nificant that he rang the Sixth to the peal. 'Two years Inter he cn.llP.cl what may have been Garthon's peal or a variation and also a peal of Triples which consisted of the Treble's leads only of it. J0,320 of Bob Major. He reversed the process by which Rubert Roan had produced the 720 of Bob :Minor from G1·andsirl' Doubles. With very little hesitation we conclude that the Clads composition was Denmead's peaJ and that it was t.he t\n;t pcaJ of Grandsire 'friples with ordinary Bobs and Sin~les only rnng in London. and probably anywhere. Other men· at the same time -we1·e experimenting with thre;. lead course composition, and Benjamin Annable produced a peal very similar to Denmead's, but neither he nor, so far as we know, anyone else, rang it. John Vicars of Oxford discovered what is one of the best two variations on the plan, anrl Dr. Charles Mason of Cambridge preserved the figures after he had proved them.'" Two early peaJs of Triples were rung at Great St. :\'lary's. One in 1725 was described as a " complete" peal a.nrl no doubt was Doleman's false composition. The other in l 7:1-J, was described (perhaps significantly) as a. ·· true" pen.l. Dr. ~Iason rang in this and it may have been Garthon'o or Vicars's. Throughout the eighteenth century Grandsire Tr-iples was extensively rung in touches by the leading bands but the London men, and especially the College Youths under Annable, had no use for it for peal ringing. The stigma of t.he false peal lay heavily on the method, and though peals like Annable's and Dewnead's might pass as technically Grandsire Triples they did not reach the standal'ds which had been set up in (lrandsire Caters and Cinques. The methods most popular for pt>a,l ringing were Bob Major and Grandsire Caters. Grandsire had been rung on eight and ten bells especially at St. Sepulchre's, Snow Hill, a.s far back as t.he last two decades of the seventeenth century, an • ~ow In J1a.·ch, 1726, the College Youths rang Caters on the old bells at St. Giles's, Cripplegate, and on October 17th, 5,076 changes in the same method at St. l\Iartin-in-t.he-Fields. This was tru·ee days before the church was consecr·ated. The two trebles. to complete the ring of twelve had either not yet been cast or (most likely) had been condemned as unsatisfactory. The first ten bell peal outside London was by the College Youths at Cambridge in 1727. The College Youths and the J ,ondon Scholars were the two hmding ringing societies and more than once they came into direct competition. In 172!-l there was a match between them at St. Martin-in-the-Fields. The London Scholars rang 6,006 Grandsire Cinques for which they erected an expensive tablet now in the crypt of the church, and the College Youths responded with 6,iH4 changes. Which society won t.hc pri1.e, if there was one, is not stated. A similar match took place at St. l\iiehael's, Cornhill, after the ring of twelve was erected there. On November 'ith, 1729, the College Youths rang il, 126 Cinques and twenty days later, aftet· an unsuccessful attempt, the London Scholars rang 6,204 changes. In 1732 the College Youths secured the record for the t.ower by ringing 7,018 changes. Annable's band had one more notable twelve-bell r·ecord to achieve, and on December· I Gth, 173G, they rang 8,008 Cinques on the new ring at ~t. kaviour's, 8outhwark. It was not the flrst peal on the bells, for a week earlier the Eastern Scholars had rung 6,012 changes of Caters. 123 J I None of these peals was rung single handed. ln the circum stances that would not have been possible. At Cornhill the heavy ring ·was hung high up in the lofty steeple and both bands had trouble with the tenot·. The College Youths put tht·ee good men to it including Annable himself who was the fil·st (and for long the only) man to conduct a peal ft·om the covodng belL The London St~holat·s had two lllcn to the tenor 11nd two others in t.he uelh·y whom they called :.~.ssistants. and whose job was to lend a hand wher·P and when it wa:-; ncc One ot· two notabl•~ peals of Cat.et·S wet'<' rung in the l)fovinccs. The l'ainswick band rang 1-l.Olll in 17:14, I 0,01-W in 1/:l.), and I ~.ll00 in 1737. and the N<>l'Wich nwn rang 12.()00 in 17:l~. During the fil'St. half of the eighteenth <.:lmtury the development of Gt·andsirt, Tt•iples was grea,tly Stu·passctl by that of Caters and Cinques. Then thet.·e a.ppeared a man who in a short and otherwise un He ear·ly turned his attention t.o composition and produced peals in the metlwds then pupulat·. These compositions w"t·e 124 u0velopment.s of the plans on which Annnble had wot·ked, and thoug-h ~ood, at·n no(·, much more t.han coultl have benn expocted fiom a cornpetPnt. contpo»er. It was into the pt·ohlmn of Grand Sire Triple,.; that ho put his hest. work, and thet·e he was brilliantly :;uccessful. Thn Ol'i!-{ina.l wa« e<~lll po:-il'd i:'lllltd.inw hdw·c Uw ntiddle of 17:i I, and on :-iuuda:v .July 7t.IJ Lit<' I: niun .'-;cholm·s t·ang it at St. MargareVs, \VPst.minsL<,r. llolt, thinking it too gt·eat an undeL· taking to eall th<' peal u.nd 1·ing at the same time, sat in the belfry and conducted from manuscript. During the next two or three years he composed the Ten-part and the Six-pat·t, and these, with his peals of Bob Triples and I Inion TripieR, wflrc published on a broadsheet by John Cundall and thn section of the College Youths who at the time were in st.rong opposition to Benjamin Annable. These men induced llolt to lea\'e the Union Scholars and to join them. He rang two peals, IJoth Grandsh·e Caters, with the College Youths, and the older man was tempol'arily excluded from the band. Tie not unnabU'ally resent..,d " Double ( ~a,ti~r·s in 1770, and " real " Double Cinqucs in 17711. It was t.h P- l.onuon m en, Lou, who fir~;.t rang peals of Urandsire on even nmnb"rs of b ells. On October 11th, 177:), at St. George's, Routhw>uk, the (:umberlands rang G,071 changes of Cumberland eight-in, which can ha r·rlly have been anything except Grandsire, and on April 20th. 177G, at. Whitechapel, the London Youths rang 5,151 of Gr·andsire eight-in. The College Youths rang Royal at Fulham in 1780, and the G'umberlands Maxim us at Southwar·k in 1792. Grandsire on even numbers became in the ne)..-t century popular in the ,\[idlands and several peals of it were rung. The fit·st single-handed peal of Caters of more than lO,O()IJ changes was l'Unp: in 17H2 by the ' · ancient " Society of College Youths at Fulham. Tho number w;ts I O,OI.lH, and later in the year the other society r·ang 10,1 H8 aJ. \Vest li am. 'l'he Leicester Youths rang lO,OtW changes in l 777, and in the following year the Sherwood Youths of Nottingham completed 10,260. A fortnight before thil century closed the Surrey Youths !;cored, at St ..John's. Horsley down, a p eal of 10,-U l changes. 127 The fu·st peal of Cinqucs outside Lundnn was rung on January 7th, 1707, at Cirencestet·, by the College Youths. 'l'hc Birmingham men wcr·o .the flrst provincial band to rint-: a. peal on twelve bells (177:.1) a.nd the Norwich Rchula.rs (l77•i) the second. Jn the early part of the nineteenth century t.wo peals of Ca.tet·s -12,:312 at Painswick in I H17 and 12,0Hti at Fulham in I H37- were rung, which clo>lcly approached, but Jirl nut quite equal, the Norwich peal of 17:37. They wnre, howtWtll', both single handed. On April 11th, 188H, when J. W. Vla.shbruok was in his prime, the Oxford men rang 1:~,247* at Appleton, and that was beaten a year later-April 22nd, lKHU-at Cheltenham by a mixed band with 15,227 changes. This stood as the record length until December 27th, 1932, when a band of the Oxford Diocesan Association rang 1(),271 changes at Appleton. Annable's peal of Cinques at Houthwa!'k remA.ined unsurpassed in length until i\fa.rch 1887 when the Birmingham men rang ~.020, although in 18:11 the St. James's Society ra.ng 7,325 changes single handed at Rt. l\fa.rtin-in-the-Fields. The Birmingham peal was beaten on 1\fay 29t.h, 1896, at Ashton under-Lyne, by one of 10,07;) changes, and that in tw·n on February l 4th, I !)20, by unc of .l R,OOl chanKeS at Painswick. On November 8th, l 0:10, the Painswick band rang 17 ,(i87 changes, but the composition afterwards turned out to be false and !:10 the peal cannot stand. The last quartei· of the nineteenth centw·y saw a notable revival and development of change !'inging, which included renewed interest in the composition of Ura.ndsire Triples. Now for the first time men were able to produce peals in the style of John Holt. John Hollis, John F. Penning and Charles D. P. Davies were the most successful and the last mentioned made some thorough investigA.tinns into the subject which he pub lished first in '1'/w Bell News and then in the early editions uf Grandsire. '!'he aim of all these men wa.s to produce a pea.! with common Hobs only. They knew it was a dinicult ta1;k, but they had no reason for concludin!o\' t.hat. it '\Vas ;tn impossible one. 'l'he problem was settled by t.he publication in l88G 11f Thompson's A Nnle on Grand~ire 'l'ri]Jies. ------·- ·------_.. • Tttis peal b~s alway~ hecn give:n as. or 13,26S r.h~ngcs, but, as so often h;tppens, the note correr:tiog the original report did not rt<.:eivc such full p11hlicity. J2H \Villia.m Henry Thompson was born l'iOmfl time abont \845. He was a scholaT of Oonvill<• and Caius College, Cambridge, where he proceerled M.A. in ll;ti9. He was never a ringer and when he wrote hifl book he knew little or nothing about change ringing and nothing about composition in general. He was told just enough :tbouL (;J·anclsirP- Tl'iples. and plain leads, and common Bobs to uncloJ·shmrl what the vrohlem wafl, and that was all he needed fo1: his purpt•s<•. The p X o m~tn tnacl" bt>tJnr liH!c' • ,f the n<~w icle~ts i ntt·nd tlcPd h y t.harkt't' of f<'at·nham Royal, whosP. name as a compo~et· of Grandsit''' may just.ly be placed alongside that of .John Holt. Edward Bankes .l i\IA:->Y t·P-fet·onces to Grandsire will be found in hooks dealing wit.h ringing. The following may be useful cithcL· to amplify some things wt·itten in the p1·es The I:Jt•/1 ,V rws Lowat·ds tiH> closn of thP- nineteenth century contains a l~rge selection of pnals of Gr~tnclsirP. Caters. No guarante<.' of tt'uth ot· originality is given. c~::-JTEtAJ. COU:-I(;JL OF C:HIJR.U~ BELJ, JtJ:-;(;J·:Rs.-'· Recom mendations as to Calls," 1894 ; " Collection of Peals," Secti1lfi I, 190:~. Must not. be used without errata sheet. DAVIES, CHARLES D. P.-" lnvestigations into Grandsire Triples," Bell l\7ews, .July !:!9th, 1882; Appendix to Drandsirc, lst and 2nd editions. " Odds and Ends," 1929. Deals with Thompson' s Note on Grandsire Triples, Q Sets, Tl olt's peals and variations. D. (DOLE~LI.N ). ,J.D. & C ..\l. - ( .'Unt)Jltnuloyia lm}!mved, 1702. Gives the earliest compositions uf Gra.ndsire Triples and Caters Other editions, 1705, 17f'l:cl, 17G:1, 171i(i. These are pmctically no morfl than uncorrocteu l'O)ll'ints, nntl have no independent. authority. DucKW(JHTH, lti< .'H,.\H.ll. - TinlinnnloyuJ, IJT lhr, Arl of Hinyiny, .loti~. i;econd edition, Bodleian )(i71. Reprint, Hell :\'en· .~. 189.'i. I'ARI SHEPHERD, }'~D(;,\H C.-" lh·andsire Caters," The R·inging World, October 31st, 1941. A full account of the method, its history, peals and composition. ~NOW DO.", .1 A>' 'THOHI'SO:", W. H.-"A Note on (Jrantlsit·P. Triples," lliHii; ''The Thompson Papers" in (irand8irc. J!)O:";. TROLLOPE, .l. A.-" .John Holt," ?'he Rinyiny World, .June :5th, 19.J~ ; " 'l'he Norwich S cholars," The Rinyiny World, August 9th, Hl!O. 1:JO This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing For more sections of this book, and for more digitised old ringing books, from the home page, scroll down and navigate via the link to “Old Ringing Books”