Framework for Method Ringing

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A. Background This website houses the Central Council's Framework for method ringing ('the Framework' or 'FMR'). The Framework provides common language and terminology for describing many aspects of method ringing, and it also contains the Central Council's requirements for adding new methods to the Central Council's methods library, for classifying and extending methods, and for record length performances. The Framework is provided to support effective communication within the ringing community, and its use by all is strongly encouraged. The Framework is a Standard (a type of Policy under the Central Council's rules). It is mandatory for anything included in the CC's various collections and records (methods, variations, calls, extension processes, record lengths), including how things are recorded, classified, analysed and reported. The Framework is implemented by the Central Council's Executive.

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B. Material This website contains both (1) the Framework, and (2) supporting material that assists in the understanding of the Framework, expands upon certain definitions and requirements in the Framework, and further assists ringers in communicating about method ringing. The top level parts of Sections 1 to 9 of this website are the Framework. 'Top level' means the parts of these sections excluding the expanded material that displays when the '+' buttons are pressed. The appendices of this website, as well as the expanded parts of Sections 1 to 9, are supporting material. This supporting material is not part of the CC Framework Policy, and is updated by the relevant Central Council team whenever the need arises. Method ringing terms that are defined in the Framework are capitalised wherever they are used elsewhere in the Framework. The Framework is a living document. Its aim is to capture the current essence of method ringing practice, and as that practice evolves, so too will the Framework. Developers of software that embeds any aspect of the Framework (such as method classification or method extension) may therefore wish to take into consideration how their software would handle any future changes to the Framework.

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2. Versioning Version 1 Implemented February 24, 2019 with an effective date of June 1, 2019. Version 2 Implemented Janury 26, 2022 with an effective date of May 1, 2022. Version 2 is the current live version of the Framework. See Appendix G for information on the development of version 2 and the changes that were made. See Appendix H for information on the ringing community consultation that took place prior to the implementation of version 2.

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1. Stage A property of several method ringing concepts that indicates the number of bells participating. Further explanation: Stage applies to the following method ringing concepts: Rows, Changes, Blocks, Methods and Compositions. The application of Stage to each of these concepts will be covered below in the 'Further explanation' sections of the definitions of these concepts. In addition, click here for an overview of all aspects of Stage.

Ссылаются нормы: method_stage, performance_stage

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2. Stage Name Names that are given to the different Stages, as follows: 1 = One; 3 = Singles; 5 = Doubles; 7 = Triples; 9 = Caters; 11 = Cinques; 13 = Sextuples; 15 = Septuples; 17 = Octuples. 2 = Two; 4 = Minimus; 6 = Minor; 8 = Major; 10 = Royal; 12 = Maximus; 14 = Fourteen; 16 = Sixteen; 18 = Eighteen. Odd and even Stages above 18 are named with the written form of the corresponding Stage number, such as Nineteen and Twenty-Two.

Ссылаются нормы: PerformanceRowsMatchStage, Stage, stage-1, stage-10, stage-11, stage-12, stage-13, stage-14, stage-15, stage-16, stage-17, stage-18, stage-2, stage-3, stage-4, stage-5, stage-6, stage-7, stage-8, stage-9, stage_bells

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1. Row A sequence of numbered bells in which no bell appears more than once. The bells are numbered consecutively, starting from number one. Example: 531246 is a Row with a Stage of Minor (or equivalently, a Minor Row). Further explanation: The Stage of a Row is the number of bells in that Row. Click here for an overview of all aspects of Stage. Bells are usually numbered in descending order of pitch. Both cardinal numbers (e.g. 1, 2, 3 ...) and ordinal numbers (e.g. 1st, 2nd, 3rd ...) are used. When using cardinals, number 1 is used for the bell with the highest pitch, number 2 for the next highest pitch and so on. When using ordinals, bell number 2 becomes 'the 2nd', bell number 3 becomes 'the 3rd', and so on. However, bell number 1 is usually referred to as 'the treble' rather than 'the 1st', and the bell with the lowest pitch is usually referred to as 'the tenor' rather than the corresponding ordinal. Bells are numbered relative to how many are in use. For example, if a tower has eight bells but only the six with the lowest pitches are in use, these bells are numbered 1 to 6 instead of 3 to 8. Rows are normally shown in columns so that the path of individual bells can be visualised by looking down the columns. In order to keep the columns aligned, a fixed font can be used with single characters representing each bell. Conventionally '0' (zero) is used to represent the 10th, and upper (or sometimes lower) case letters (excluding 'I', 'O' and 'X') are used for bells 11 to 33 as follows: 'E' (Eleven); 'T' (Twelve); 'A' (Thirteen); 'B' (Fourteen); 'C' (Fifteen); 'D' (Sixteen); 'F' (Seventeen); 'G' (Eighteen); 'H' (Nineteen); 'J' (Twenty); 'K' (Twenty-one); 'L' (Twenty-two); 'M' (Twenty-three); 'N' (Twenty-four); 'P' (Twenty-five); 'Q' (Twenty-six); 'R' (Twenty-seven); 'S' (Twenty-eight); 'U' (Twenty-nine); 'V' (Thirty); 'W' (Thirty-one); 'Y' (Thirty-two); 'Z' (Thirty-three) Note that what is defined as a Row in this section is sometimes described as a Change in common ringing parlance, and this usage of Change will be seen in method ringing books and articles. The Framework separately uses Change as the transition between two Rows (see Section 3.C) and this distinction between Row and Change is important in defining a number of other method ringing terms used in the Framework. Row is the preferred term wherever possible. Technical comment: While this definition of Row refers to a sequence of bells, a Row can comprise, at minimum, one bell.

Ссылаются нормы: DifferingPlace, DifferingPlacesCount, DistinctBellsOfRow, Row, RowHasEachBellOnce, RowStageIsNumberOfPlaces, SameRowWhenNoPlaceDiffers, differing_place, differing_places, distinct_bells, row_stage, same_row

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2. Rounds A Row in which the bells are ordered from the lowest number to the highest number. Example: 12345678 is Rounds for a Major Row.

Ссылаются нормы: NotRoundsWhenAnyPlaceOutOfOrder, OffRoundsPlace, RoundsPlace, RoundsWhenEveryPlaceInOrder, off_rounds_place, rounds, rounds_place

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3. Place The position of a bell within a Row. Example: In the Row 142536, the 2nd bell is in 3rd's Place. Further explanation: Places are numbered starting with 1 for the first bell in the Row, and increasing sequentially for each next bell in the Row. E.g. the bell that is second in a Row is in Place 2. Each bell in a Row appears in a different Place to all other bells in that Row, and therefore there are the same number of Places in a Row as there are bells in that Row. Places are often referred to using ordinal numbers in the possessive form, so Place 2 is often '2nd's Place'. 2nd's Place is a reference to the Place the 2nd bell occupies in Rounds. The bell in 1st's Place is often said to be leading, and the bell in the last Place of the Row is often said to be lying. E.g. in the Row 214365, the 2nd is leading and the 5th is lying.

Ссылаются нормы: bell_at

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1. Change A transposition of bells from an existing Row to a new Row, where both Rows have the same Stage. Example: A Change might transpose the bells from the Row 214365 to the Row 241356. Further explanation: The Stage of a Change is the number of bells on which that Change operates. Click here for an overview of all aspects of Stage. Since a Change is a transposition of bells, the new Row will comprise the same set of bells as the existing Row. Note that the same Change applied to different Rows will have the same relative effect. For example, a Change applied to the Row 1342 might produce the Row 1432. The same Change applied to the Row 4123 would produce the Row 4213. Technical comment: Note that in mathematics, transposition refers to the exchange of two elements. However in ringing, as well as in more general usage, transposition can involve the exchange of more than two elements. For example, ringers talk about transposing coursing orders, which often involves rotating 3 bells.

Ссылаются нормы: BellMoveInChange, bell_move

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2. Identity Change A Change that transposes each bell to the same Place in a new Row. Example: The Change that transposes the bells from Row 54321 to Row 54321 is an Identity Change.

Ссылаются нормы: IdentityChange, identity_change

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3. Adjacent Change A Change that transposes each bell to either the same Place or an adjacent Place in a new Row, but which is not an Identity Change. Example: The Change that transposes the bells from Row 21436587 to Row 12346857 is an Adjacent Change. Technical comment: An Adjacent Change has a minimum Stage of 2.

Ссылаются нормы: AdjacentChange, AdjacentMove, AdjacentMovesCount, adjacent_change, adjacent_move, adjacent_moves

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4. Jump Change A Change that transposes at least one bell to a different and non-adjacent Place in a new Row. Example: The Change that transposes the bells from Row 12345678 to Row 23415678 is a Jump Change because the treble moves from 1st's Place to 4th's Place, which are not adjacent Places. Further explanation: When ringing heavy bells, Jump Changes are more commonly used to jump from an earlier Place to a later Place, rather than vice versa, due to the physical difficulty of reducing the time between bell strikes. Technical comment: A Jump Change has a minimum Stage of 3.

Ссылаются нормы: JumpChange, JumpMove, JumpMovesCount, jump_change, jump_move, jump_moves

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1. Block A sequence of Changes, all with the same Stage, and the Rows produced by applying these Changes, starting from an initial Row. Example: Further explanation: The Stage of the Changes in the sequence is the same as the Stage of the initial Row. A Block has the Stage of its constituent Rows. Click here for an overview of all aspects of Stage. A sequence of Changes is used to produce a sequence of Rows as follows: Apply the first Change in the sequence to an initial Row to produce a second Row. Then apply the second Change in the sequence to the second Row to produce a third Row. Then apply the third Change in the sequence to the third Row to produce a fourth Row, and so on. The Row that is produced by applying the final Change in the sequence is referred to as the final Row. Since a Block is generated using Changes, which are transpositions of bells, all Rows in a Block will comprise the same set of bells. Note that a Block always has one more Row than it has Changes. See Section 3.E.1 (Method) below for an explanation of the difference between a Method and a Block. Dividing lines are often drawn in Blocks, such as those shown over the initial and final Rows in the example above. Dividing lines have no effect on the Rows produced -- they are merely to highlight features of a Block. In this example, the dividing lines highlight that the treble moves in a symmetrical pattern in the Block. The following diagram shows the relationships between the various components of method ringing. Terms in the diagram that are not defined above are defined elsewhere in the Framework. Technical comment: The term Block is also used in method ringing to refer to a sequence of Changes without reference to the Rows they can produce. For example, a Composition (see Section G below) may specify a Block of Changes that is repeated at different points in the Composition. While the Framework uses the term Block to refer to a sequence of Changes and the Rows produced by applying these Changes, this does not preclude the term Block from being used to refer just to a sequence of Changes in other contexts. A Block has a minimum size of one Change and two Rows. Note that since a Composition might specify just to ring a Plain Lead or a Plain Course of a single Method, a Plain Lead and a Plain Course can be Touches as well as Blocks.

Ссылаются нормы: CourseRowsAreConsecutive, FinalRow, InitialRow, RowCount, TouchRowsAreConsecutive, consecutive_rows, final_row, initial_row, row_count

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2. Round Block A Block whose final Row is the same as its initial Row. Example: Further explanation: In the example above, the final Row is the same as the initial Row, and therefore this is a Round Block.

Ссылаются нормы: NotRoundBlock, RoundBlock, round_block

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1. Method A sequence of Changes all of the same Stage, or a process to generate such a sequence. Example: The sequence of Changes x16x14x16x12 is the Method that has been given the name Little Bob Minor. Further explanation: A Method has the Stage of its constituent Changes. Click here for an overview of all aspects of Stage. Individual Changes and sequences of Changes may be represented using place notation, and place notation is used in the example above as well as elsewhere in the Framework. Place notation is described in Appendix A. A Method is usually referred to by a name it is given. A Method (including its name) may be recorded in the Central Council's Methods Library when certain requirements have been met. These requirements are described in Section 5. A Method is distinct from a Block in that a Method only defines Changes, not Rows. A Block, on the other hand, defines both Changes and Rows. A single Method can produce many Blocks. For example, if a Method is rung starting from Rounds, this produces a Block. If the same Method is rung starting from a non-Rounds Row (such as 'Queens'), the resulting Block is different from the one produced by starting from Rounds.

Ссылаются нормы: Method, lead_length

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2. Static Method A Method whose sequence of Changes is fixed and finite. Example: x16x14x16x12 (Little Bob Minor) is an example of a Static Method. This Method can be represented by a fixed length place notation.

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4. Plain Lead A Block that is produced by applying a Static Method's sequence of Changes once. Example: Bastow Little Bob Minimus has the sequence of Changes x12x14. A Plain Lead of this Method, starting from Rounds, is therefore: Further explanation: Plain in this term means that no Calls are used. Calls are covered below in Section 3.F. When the term Lead is used rather than Plain Lead, this means that Calls may or may not be used. However, it is often clear from the surrounding context whether or not Calls are involved, and so in practice Plain Lead will often be shortened to Lead in method ringing texts, with it understood that no Calls are involved.

Ссылаются нормы: PlainLeadRows, lead_row

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5. Plain Course A Block that is produced by applying a Static Method's sequence of Changes repeatedly, until a Round Block is obtained. Example: Bastow Little Bob Minimus has the sequence of Changes x12x14. A Plain Course of this Method, starting from Rounds, is therefore: Further explanation: 'Plain' in this term means that no Calls are used. Calls are covered below in Section 3.F. When the term Course is used rather than Plain Course, this means that Calls may or may not be used. In the above example, since it takes three applications of the Method's sequence of Changes to produce a Round Block, the Plain Course of Bastow Little Bob Minimus therefore comprises three Plain Leads. A Plain Course of a Method is a commonly used Block in method ringing. Unless otherwise specified, a Plain Course is started from Rounds. A Plain Course starting from Rounds is often referred to as The Plain Course of a Method, whereas starting from any other Row might be referred to as A Plain Course. Technical comment: For a Method that is false in the Plain Course (Truth is covered in Section 3.J below) the initial Row might come up in the middle of a Plain Lead. However the Plain Course does not end until the initial Row comes up as the last Row after applying a Static Method's whole sequence of Changes. While Plain Lead and Plain Course are defined above in terms of a Static Method, these terms may also be applicable to some Dynamic Methods. For example, in Dixon's Bob Minor with Rounds as the initial Row, Rounds comes up again after 64 Changes (with no Calls). This would be considered the Plain Course of Dixon's.

Ссылаются нормы: CourseLength, course_length, course_row

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1. Touch A Block that is produced by applying a Composition's sequence of Changes. Further explanation: Note that since a Composition can be a Plain Course of a Method, a Plain Course is therefore also a Touch. The same applies to a Plain Lead.

Ссылаются нормы: performance_row

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2. Length The number of Changes in a Touch. Technical comment: If a Touch uses side by side Changes to produce a single Row, only one Change per Row is counted when determining Length.

Ссылаются нормы: LengthFromRows, length

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3. Short Touch A Touch with a Length of 1 to 1249 Changes.

Ссылаются нормы: ShortTouch, ShortTouch/necessary, ShortTouch/sufficient, ShortTouchLength, short_touch_length

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4. Quarter Peal A Touch with a Length of 1250 to 2499 Changes.

Ссылаются нормы: NotQuarterPealAbove, NotQuarterPealBelow, QuarterPeal, QuarterPeal/necessary, QuarterPeal/sufficient, QuarterPealLength, quarter_peal_length

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5. Half Peal A Touch with a Length of 2500 to 4999 Changes.

Ссылаются нормы: HalfPeal, HalfPeal/necessary, HalfPeal/sufficient, HalfPealLength, half_peal_length

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6. Peal A Touch with a Length of 5000 or more Changes.

Ссылаются нормы: NotPealBelow5000, Peal, Peal/necessary, Peal/sufficient, PealLength, peal_length

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7. Long Length A Touch with a Length of 10000 or more Changes. Further explanation: A Long Length is also a Peal -- it is a subset thereof.

Ссылаются нормы: LongLength, LongLength/necessary, LongLength/sufficient, LongLengthRule, long_length

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1. Extent The complete set of distinct Rows possible for a given set of bells. Further explanation: The number of Rows in an Extent for a given set of bells is the factorial of the number of bells in the set. E.g. for 4 bells, the Extent has 4! Rows = 1 * 2 * 3 * 4 = 24 Rows. When Extent is used on its own, it refers to the unordered set of possible Rows at the Stage in question. However when used with a Method or Composition (e.g. an Extent of Plain Bob Minor), this generally refers to an ordered Extent generated using the Changes of Plain Bob Minor (and any necessary Calls). Note that usage such as 'Two Extents of Grandsire Doubles' can be ambiguous. This could mean two discrete Extents rung back-to-back, or a Touch of 240 Grandsire Doubles that includes every possible Row exactly twice each. Care should be taken in how this is communicated if the distinction is important.

Ссылаются нормы: ContainsExtent, DistinctRows, DoesNotContainExtent, EarlierSameRow, ExtentSize, FirstOccurrence, contains_extent, distinct_rows, earlier_same_row, extent-1, extent-10, extent-11, extent-12, extent-13, extent-14, extent-15, extent-16, extent-17, extent-18, extent-2, extent-3, extent-4, extent-5, extent-6, extent-7, extent-8, extent-9, extent_rows, extent_size, first_occurrence

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2. Fixed Place A given Place that, in every Row of a Touch, is occupied by the same bell.

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3. Effective Stage The Stage of a Touch after any Fixed Places are excluded. Technical comment: Note that the Effective Stage of a Block all of whose Rows are the same is zero. An Effective Stage of one is not possible -- once the Effective Stage falls below two, it becomes zero. Ringing a Block that has an Effective Stage of zero (such as all Rounds or all Queens) is not considered method ringing.

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4. True A Touch is True if: It contains zero or more Extents at the Touch's Effective Stage; and Any Rows in addition to the above are distinct. Further explanation: If a Touch is a Round Block, the final Row is excluded when determining whether the Touch is True. When ringing a Touch, it is traditional to ring the initial Row (usually Rounds) several times before starting the Changes, and similarly to ring the final Row several times before standing the bells. These Rows (shown in the diagram below) are excluded when determining Truth.

Ссылаются нормы: FalseRepeatedRow, FalseTouchIsNotTrue, FalseUnevenExtents, MaxMultiplicity, MinMultiplicity, RowMultiplicity, TrueWithWholeExtents, TrueWithinOneExtent, TruthRowBeforeFinal, TruthRowFinalOfOpenBlock, false_touch, max_multiplicity, min_multiplicity, row_multiplicity, true_touch, truth_row

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5. Complete (Incomplete) A Touch is Complete if it contains all possible Rows at the Touch's Effective Stage exactly once, or exactly the same number of times. (Anything else is Incomplete.) Further explanation: A 540 of Minor may be True but is Incomplete; A 720 of Minor may be True, and if it is, it will also be Complete; A 1260 of Minor may be True but is Incomplete; A 1440 of Minor may be True, and if it is, it will also be Complete; etc.

Ссылаются нормы: CompleteTouch, IncompleteMissingRows, IncompleteUnevenMultiplicity, complete_touch

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6. Accepted Truth A Touch rung on n bells has Accepted Truth if it is True, or it is comprised of Round Blocks that can be divided into two groups where: One group forms a True Touch with an Effective Stage of n and contains at least one Extent at Stage n; The other group forms a True Touch with an Effective Stage of n-1 and the same bell rings in nth’s Place in every Row; and Only one group may be an Incomplete Touch at its respective Effective Stage. Further explanation: Accepted Truth applies most commonly to Touches of Doubles and Minor rung on 6 bells. When ringing Doubles, the tenor usually rings in 6th's Place as a Cover Bell. A Row occuring at a change of Effective Stage (which will be the same as the initial Row since changes of Effective Stage can only occur at the end of a Round Block) is counted as a Row of the following Round Block when determining the Truth of the two groups. The initial Row is counted as part of the first Round Block when determining the Truth of the two groups, and the final Row is excluded. Note that a Touch with Accepted Truth will contain one or more Extents at Stage n, zero or more Extents at Stage n-1, and any remaining Rows will be distinct.

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1. Performance The successful ringing of a Touch where the Band strives to maintain a high standard of ringing, and errors in ringing or calling are corrected quickly. Further explanation: Band is defined in Section 5.A.4.

Ссылаются нормы: Performance

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3. Record Length A Performance of a Long Length (i.e. 10000 or more Changes) that is the longest Length yet rung in a single Method or the same set of Methods. Further explanation: A Record Length is also a Peal and a Long Length -- it is a subset of both. Requirements for CCCBR recognition of Record Lengths are described in Section 7.

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1. Method Class A group of Methods that contain the same, defined features. Click here for a diagram that shows the Method Classes and the relationships between them. These classes are defined in Sections 4.C to 4.E below, except that Static Method and Dynamic Method are defined in Section 3.E. Further explanation: Note that Dynamic Methods are not currently sub-classified to lower levels. The classification system for method ringing evolved over many decades and as a result is more complex than if we were starting from scratch. Making any large-scale changes to the classification system is problematic because class terms form part of a Method's Title (see Section 5.A.3), so changes to classifications also alter Method Titles, making it harder to interpret historical records of method ringing Performances.

Ссылаются нормы: MethodClass, method_class

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13. Making one or more Places Making a Place is occupying the same Place for two consecutive Rows. (Alternative form: a bell Makes a Place.) Making one or more Places is occupying the same Place for two or more consecutive Rows. Further explanation: In the example in Section 4.A.2 above, the treble Makes 4th's at the Halflead Change, and Makes 1st's at the Leadend Change. Other forms also exist. For example, occupying the same Place for 3 consecutive Rows might be referred to as 'Making a Place twice' or (e.g.) 'Making 3 blows in 2nd's'. See the example of Making one or more Places in Section 4.D.1.1 below.

Ссылаются нормы: HuntPlaceMade, hunt_place_made

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14. Making an Internal Place Making a Place that is neither the first Place nor the last Place of the Block in question. (Alternative form: a bell Makes an Internal Place.) Further explanation: See the examples of Making an Internal Place in Sections 4.D.2.2 and 4.D.2.3 below.

Ссылаются нормы: InternalPlaceMadeAt, internal_place_made_at

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15. Dodging Places Successive pairs of adjacent Places of the Path of the Hunt Bell in question. Example: In a Path where the Hunt Bell moves between 1st's Place and 6th's Place, the Dodging Places are 1-2, 3-4 and 5-6. The diagram below shows the Dodging Places for Kent Treble Bob Minor. Further explanation: This term is only used with Paths that span an even number of Places, so the span can always be divided into pairs of Places. As the term implies, Dodging Places are a pair of Places in which a Dodge can occur. However, note that in some Methods, Dodges can also occur across two Dodging Places, e.g. in 4-5.

Ссылаются нормы: HuntLowestPlace, hunt_lowest_place

en · official · sha256:e7821aa3f9dcc68628be59f95e43bd5ccb5c92e032ff0f053be2f7fba5c2e433EN

16. Cross Section A Change at which the Hunt Bell in question crosses from one pair of Dodging Places to the next. Further explanation: Cross Sections are used in the classification of Treble Dodging Methods -- see Sections 4.D.2.1, 4.D.2.2 and 4.D.2.3 below. In a Method with more than one Hunt Bell, the Cross Sections may be defined by only a subset of the Hunt Bells -- see Section 4.E.4 below. Example: In a Method with one Hunt Bell that moves between 1st's Place and 6th's Place, since the Dodging Places are 1-2, 3-4 and 5-6, the Cross Sections are the Changes that cause the Hunt Bell to: move from 2nd's Place to 3rd’s Place; move from 4th’s Place to 5th’s Place; move from 5th’s Place to 4th’s Place; and move from 3rd’s Place to 2nd’s Place.

Ссылаются нормы: CrossSectionDown, CrossSectionUp, cross_section

en · official · sha256:6655dcb62ef95201a37dbe705ccc28c8b5ae30da0dffb52e33307118dcd3db57EN

2. Hunt Bell A bell that ends a Plain Lead in the same Place as it started. Example: Further explanation: The place notation for the Method Plain Bob Minimus is x14x14x14x12. This place notation produces one Plain Lead when applied once to an initial Row. Using an initial Row of 1234 (Rounds), the Plain Lead shown in the diagram is produced. To identify which are the Hunt Bell(s), look at the final Row produced (in this example it is 1342). The Hunt Bell(s) are the bell(s) that are in the same Place(s) in the final Row as they were in the initial Row. In Plain Bob Minimus, the bell in 1st’s Place in the initial Row (in this example, the treble) is therefore the only Hunt Bell. Technical comment: Note that a Plain Lead is defined in terms of a Static Method. The concept of a Hunt Bell may not apply to Dynamic Methods.

Ссылаются нормы: HuntBell, HuntBellCount, hunt_bell, hunt_bell_count

en · official · sha256:2966937e6f1f3e284640e559b0b0286dd83b02e8096697ac99a0ed8869ea4977EN

3. Working Bell A bell that ends a Plain Lead in a different Place from where it started. Further explanation: Using the example in Section 4.A.2 above, the bells in 2nd's, 3rd's and 4th's Places in the initial Row (in this example, the 2nd, 3rd and 4th respectively) are Working Bells because at the final Row of a Plain Lead they have not returned to the same Places they were in at the initial Row. Technical comment: Note that a Plain Lead is defined in terms of a Static Method. The concept of a Working Bell may not apply to Dynamic Methods.

Ссылаются нормы: WorkingBell, working_bell

en · official · sha256:9ea20c4b986866600305c7ad9345e18825bfc66da8ba1d8e88f2fd3e2e34e90aEN

4. Stationary Bell A Hunt Bell that occupies the same Place in every Row of a Plain Lead. Example: 3rd's Place bell in Martyrs Link Little Bob Major is a Stationary Bell. Technical comment: Note that a Plain Lead is defined in terms of a Static Method. The concept of a Stationary Bell may not apply to Dynamic Methods.

Ссылаются нормы: StationaryBell, stationary_bell

en · official · sha256:87f6958fc5078ea97952746745247239e227262160f8f591a5a9e8b0b4ec94cbEN

5. Path The movements of a bell between its successive Places in the Rows of a Block. Where a Path ends in the same Place as it started, it is considered to be a loop, and these two Places coincide and are only counted once. Two such Paths are considered equal if the first Path can be started from a Place that gives the second Path. Example: A Path is commonly depicted by drawing a line through the bell in question. The treble’s Path is depicted with a red line in the example in Section 4.A.2 above. Since this Path starts and ends in the same Place (1st's), it is considered to be a loop, and the Path therefore comprises 8 Places. Further explanation: Consider the following two Paths, which are both loops: The numbers in the diagram above represent the Places through which the Paths pass. These two Paths are considered to be the same because starting Path 1 from its second Place gives Path 2.

Ссылаются нормы: HuntPairAxisAsymmetry, HuntPathPlaces, HuntPlace, HuntRowAxisAsymmetry, PalindromicAboutMadePlace, PalindromicAboutRow, hunt_pair_axis_asymmetry, hunt_path_palindromic, hunt_path_places, hunt_place, hunt_row_axis_asymmetry

en · official · sha256:2991cc48c02e4dc28fa9a54f722344f53cf51f23230c3e56f3889ad349687b05EN

6. Little Path A Path which does not involve occupying all the Places of the Stage of a Block. Example: See the example of a Little Path in Section 4.D.6 below. Further explanation: A Little Path is most commonly used in reference to a Hunt Bell. For example, the Hunt Bell Path in Little Bob Minor is a Little Path. However, a Little Path can also be used with Working Bells. For example, 2nd's Place Bell in Bristol Surprise Major can be said to be a Little Path, and all the Working Bells in Magenta Little Place Maximus have Little Paths over the full Plain Course (and its Hunt Bells also all have Little Paths). Note that a Stationary Bell has a Little Path.

Ссылаются нормы: LittlePath, little_path

en · official · sha256:ff6b3b6dd8bba3452d52b269e54eeefe8a4b9aabd08217e4d263489af2bd5b7bEN

7. Hunting A Path that is formed by progressing from an earlier Place to a later Place, or vice versa (but not a combination of both), at the rate of one Place per Row. (Alternative form: a bell Hunts.) Further explanation: In the diagram in Section 4.A.2 above, the treble Hunts up in the first half of the lead, and then Hunts down in the second half of the lead.

en · official · sha256:9362c37a366207070024719094bbbd625ce796143183c23a2c6fbdf506b63c1dEN

8. Dodging Moving one Place in the opposite direction in an otherwise Hunting Path. (Alternative form: a bell Dodges.) Further explanation: If the Hunting Path 2, 3, 4, 5 is modified to become 2, 3, 4, 3, 4, 5, then the step back in 3-4 is referred to as Dodging. A step back when otherwise hunting up is referred to as Dodging up, and a step back when otherwise hunting down is referred to as Dodging down.

en · official · sha256:7aaa3a4690be9584cef0642899f606b2fb4ac2305b7a41a4d8b5ea11c374a3daEN

2. Hunter A Static Method that has one or more Hunt Bells. Example: Further explanation: A Plain Lead of the Minimus Method x14x14x14x12, starting from Rounds, ends with the Row 1342, as shown in the diagram. At the end of one Plain Lead, the treble is the only bell that has returned to the Place it was in at the initial Row (1234), so the treble is this Method's only Hunt Bell. The other 3 bells are therefore Working Bells. Continuing to apply the place notation successively produces the 2 additional leads shown, such that after 3 Plain Leads, Rounds is obtained. This is the Method’s Plain Course. Since this Method has at least one Hunt Bell, it is a Hunter. (This Method is Plain Bob Minimus.)

Ссылаются нормы: Hunter

en · official · sha256:331950db1a4d6af7188d848bc72ba76c29d37835f56058087aff0489c96b271fEN

3. Principle A Static Method that has no Hunt Bells. Example: Further explanation: A Plain Lead of the Minimus Method 34x34.14.12.14, starting from Rounds, ends with the Row 2341, as shown in the diagram. At the end of one Plain Lead, no bell has returned to the Place it was in at the initial Row (1234), so this method has no Hunt Bells. Continuing to apply the place notation successively produces the 3 additional leads shown, such that after 4 Plain Leads, Rounds is obtained. This is the Method’s Plain Course. Since this Method has no Hunt Bells, it is a Principle. (This Method is Stanton Minimus.)

Ссылаются нормы: Principle

en · official · sha256:1974783285b57fa4a65ab675212db9c7e5bba8978bfc1476321887bb68b5646dEN

4. Differential A Static Method in which the Working Bells do not all first return to their starting Places after the same number of Plain Leads. Example: Further explanation: A Plain Lead of the Doubles Method 5.1.5.1.5.1.5.1.5.345, starting from rounds, ends with the Row 31254, as shown in the diagram. At the end of one Plain Lead, no bell has returned to the Place it was in at the initial Row (12345), so this Method has no Hunt Bells. All bells are therefore Working Bells. Continuing to apply the place notation successively produces the 5 additional leads shown, such that after 6 Plain Leads, Rounds is obtained. This is the Method’s Plain Course. It will be seen that bells 4 and 5 return to their starting Places at the end of the 2nd, 4th and 6th leads, whereas bells 1, 2 and 3 return to their starting Places at the end of the 3rd and 6th leads. Since the Working Bells do not all first return to their starting Places after the same number of Plain Leads, this is a Differential Method. (This Method is Christ Church Dublin Differential Doubles.) While the example above shows a Differential with no Hunt Bells, Hunters can also be Differentials. For example, see Deferential Differential Bob Minor. Technical comment: It takes a minimum of 5 Working Bells to create a Method that is a Differential.

en · official · sha256:3ebc9045ed0b4c3d9c366d8007474181509a12118a82b23fd1e3caab96f0548cEN

5. Jump Method A Method that uses one or more Jump Changes.

Ссылаются нормы: JumpChangesInLead, JumpMethod, jump_changes_in_lead

en · official · sha256:6ca31ea0c2cc09888f9c33d307c756ac3de3b3090f593b649080e2fd55c71981EN

1. Plain Method A Hunter in which: The Hunt Bell rings exactly twice in each Place of the Path during a Plain Lead; The Hunt Bell is not a Stationary Bell; and The Method does not use Jump Changes. Example: Further explanation: In this Method, the treble (which is the only hunt bell) rings two times in each Place in a Plain Lead, is not a Stationary Bell, and there are no Jump Changes. This Method is therefore a Plain Method. (This Method is Plain Bob Minor.) The Path of the treble in the example above is often referred to as a Plain Hunt Path (or Plain Hunting Path) -- i.e. Hunt up, Make a Place, Hunt Down, and make another Place. This Path is the only one (for Methods with a single Hunt Bell, and when excluding Jump Changes and Stationary Bells) that meets the criterion of ringing exactly twice in each Place of the Path during a Plain Lead. Note that a Plain Path is symmetrical about the two Places Made, and a Plain Path can span either an even or odd number of Places.

Ссылаются нормы: HuntMaxCount, HuntMinCount, HuntPlaceCount, PlainClass, PlainMethod, hunt_max_count, hunt_min_count, hunt_place_count, plain_method

en · official · sha256:32bc3f635533c98f696aa510595a3888b6f16b63ade1559b9b150037e5cd072cEN

1.1. Place Method A Plain Method in which the Paths of all the bells consist only of Hunting and Making Places, and in which a change in the direction of Hunting is separated by Making one or more Places. Example: Further explanation: In this Plain Method, changes in the direction of Hunting by all bells are always separated by Making one or more Places. This Method is therefore a Place Method. (This Method is Foti Place Minor.)

Ссылаются нормы: CoursePlace, DirectionPoints, PlaceMethod, course_place, direction_points

en · official · sha256:9b8d8519f43aee8242597d2ecf6c5d1541b88efd3f572f382fcbd2978bcfbe43EN

1.2. Bob Method A Plain Method that is not a Place Method. Example: Further explanation: The 'points' in the blue line of this Plain Method, such as those circled in green, show that a Place is not Made between changes in the direction of Hunting. This Method is therefore a Bob Method. (This Method is Double Oxford Bob Minor.)

Ссылаются нормы: BobMethod, DirectionPointAtCourseEndDown, DirectionPointAtCourseEndUp, DirectionPointDown, DirectionPointUp, direction_point

en · official · sha256:ef2467ed5b7c3410ab6436f1c64455d3223c6fd975d9026f1c8af46374534a4cEN

2. Treble Dodging Method A Hunter in which: The Hunt Bell rings more than twice in each Place of the Path during a Plain Lead; The Hunt Bell rings the same number of times in each Place of the Path during a Plain Lead; The Hunt Bell Makes a Place exactly twice during a Plain Lead; The Path of the Hunt Bell is the same if it is rung backwards; The Hunt Bell is not a Stationary Bell; and The Method does not use Jump Changes. Example: Further explanation: In this Method, the treble (which is the only hunt bell) rings four times in each Place in a Plain Lead. The treble Makes a Place twice during a Plain Lead, once in 6th's and once in 1st's, it is not a Stationary Bell, and there are no Jump Changes. This Method is therefore a Treble Dodging Method. (This Method is Kent Treble Bob Minor.) While the above Path is by far the most common Treble Dodging Path, if the single Dodges are all replaced with the same, greater number of Dodges (e.g. double or triple Dodging, etc), the resulting Path is still a Treble Dodging Path. Note that a Treble Dodging Path is symmetrical about the two Place Made. A Treble Dodging Path can only span an even number of Places.

Ссылаются нормы: HuntPlacesMade, TrebleDodgingClass, TrebleDodgingMethod, hunt_places_made, treble_dodging_method

en · official · sha256:03522f0624b26f5fe2a6248dee1b4627bc7a425a406cb6afeb725724760351f2EN

2.1. Treble Bob Method A Treble Dodging Method in which no bell Makes an Internal Place at any Cross Section, or which does not have any Cross Sections. Example: Further explanation: At this Treble Dodging Method's Cross Sections, which are circled in green, there are no Internal Places Made. The Places Made at both Cross Sections are 1st's and 6th's, which are external Places. Since this Method has Palindromic Symmetry (see Section 4.B.1 above) there is no need to check the Cross Sections in the second half of the lead as these will have the same Places Made as in the first half of the lead. However for non-Palindromic Methods, all Cross Sections must be considered when further classifying a Treble Dodging method. This Method is therefore a Treble Bob Method. (This Method is Oxford Treble Bob Minor.)

Ссылаются нормы: CrossSectionWithInternalPlace, CrossSectionWithoutInternalPlace, CrossSectionsWithInternal, CrossSectionsWithoutInternal, TrebleBobMethod, cross_section_with_internal_place, cross_section_without_internal_place, cross_sections_with_internal, cross_sections_without_internal

en · official · sha256:23e075a981e28ed220725cdcd3948a53eb83d5e0ef81a2a3934f398f66065479EN

2.2. Surprise Method A Treble Dodging Method in which one or more bells Make an Internal Place at every Cross Section. Example: Further explanation: An Internal Place is Made at both of this Treble Dodging Method's Cross Sections, which are circled in green. 4th's is Made at the 2-3 Cross Section, and 3rd's is Made at the 4-5 Cross Section. (See the note about Palindromic Symmetry in Section 4.D.2.1 above, which also applies here.) This Method is therefore a Surprise Method. (This Method is Cambridge Surprise Minor.)

Ссылаются нормы: SurpriseMethod

en · official · sha256:acfc69b12bc22a2f4a55cfd5754e1efcae9c4d1c100b162c636ce372488fc6deEN

2.3. Delight Method A Treble Dodging Method that is neither a Treble Bob Method nor a Surprise Method. Example: Further explanation: An Internal Place is Made at the 2-3 Cross Section of this Treble Dodging Method, but an Internal Place is not made at the 4-5 Cross Section (the Cross Sections are circled in green). (See the note about Palindromic Symmetry in Section 4.D.2.1 above, which also applies here.) Since Internal Places are Made at some but not all Cross Section Changes, this Method is therefore a Delight Method. (This Method is College Bob IV Delight Minor.)

Ссылаются нормы: DelightMethod

en · official · sha256:518dba477a40d1d1a6aa8bc954de81db98f3320a0232ebdca9d4f57ae48a2b20EN

3. Treble Place Method A Hunter in which: The Hunt Bell rings the same number of times in each Place of the Path during a Plain Lead; The Hunt Bell Makes a Place more than twice during a Plain Lead; The Path of the Hunt Bell is the same if it is rung backwards; and The Method does not use Jump Changes; Or: The Hunt Bell is a Stationary Bell; and The Method does not use Jump Changes. Example: Further explanation: This Method is Stoke Albany Treble Place Minor. Other examples are: Primrose Treble Place Minor and Alderney Treble Place Minor. Note that a Treble Place Path can span either an even or odd number of Places.

en · official · sha256:8d49bd347ed859a492fdc790b7d6b528b57a880b23ea699403f4b615f3811cc1EN

4. Alliance Method A Hunter in which: The Hunt Bell does not ring the same number of times in each Place of the Path during a Plain Lead; The Path of the Hunt Bell is the same if it is rung backwards; The Hunt Bell is not a Stationary Bell; and The Method does not use Jump Changes. Example: Further explanation: This Method is Alperton Alliance Minor. Another example is: Semiquincentenary Alliance Major. Note that an Alliance Path can span either an even or odd number of Places.

en · official · sha256:7403df115cbc5d107e0c11886b2beb5e166e0238ccdc7d9de79cbc25e9e8cce2EN

5. Hybrid Method A Hunter in which: The Path of the Hunt Bell is not Plain, Treble Dodging, Treble Place or Alliance; and The Method does not use Jump Changes. Example: Further explanation: This Method is Seavington St Mary Hybrid Minor. Note that the Path of the Hunt Bell in a Hybrid Method with a single Hunt Bell is asymmetric. A Hybrid Path can span either an even or odd number of Places.

en · official · sha256:006dbe334ea12ce374e13f50e2753c06a460b709b0c4b955682f350eb3dd46d7EN

6. Little Method A Hunter in which the Hunt Bell has a Little Path. Example: Further explanation: This Method is Canterbury Little Bob Minor. Since the treble, which is the only Hunt Bell, only rings in the first four Places, whereas the Stage of the Method is six, this is a Little Method.

Ссылаются нормы: LittleMethod

en · official · sha256:ddf3ea3893656aa387a8357505bb00ceb314ccd42777a60836f0496e3240b909EN

1. If a Hunter has more than one Hunt Bell, it has a further classification of the first Method Class found, when inspecting each of the Hunt Bells, using the order: Plain Method, Treble Dodging Method, Treble Place Method, Alliance Method, Hybrid Method. If none of the Method Classes above are found, the Hunter has no further classification. Example: Didymous Delight Major. Further explanation: Didymous Delight Major has three Hunt Bells in 1st's, 2nd's and 3rd's Places. The treble has a Treble Dodging Path, and the 2nd and 3rd have Treble Place Paths. Since Treble Dodging comes before Treble Place in the order above, this Method has a Treble Dodging classification (and is further classified as Delight as described in Section 4.E.4 below). Technical comment: Note that in a Method with two or more Hunt Bells, it's possible for a Hybrid Path to be symmetric (unlike for single Hunt Bell Methods where a Hybrid Path is always asymmetric). An example of this is a Method in which a pair of Hunt Bells dodge together for the entire Plain Lead. Provided the Lead Length is not 4 Changes, these Hunt Bells classify as Hybrid. If the Lead Length is 4 Changes, these Hunt Bells classify as Plain.

en · official · sha256:39d11516f8112eba7ca110f319f6002e505fdc7faf1b015fc13e44016cbd9857EN

1. Methods Library The full title is the Central Council Methods Library. This is the definitive record of Methods that have been named under the Framework or under earlier Central Council Decisions. Further explanation: The Methods Library can be accessed here.

en · official · sha256:4ef3261726f885402f1ad05888f906a43569e646b367fbf241d21c6f9a54439aEN

2. Method Name The name given to a Method as recorded in the Methods Library.

en · official · sha256:3ac39b2df85ee91ea1b6a36383a3a4505b1c50e7177d9767d6049fbbce4a661cEN

3. Method Title Methods recorded in the Methods Library have a unique tripartite Method Title consisting of: Method Name, Class Descriptor, Stage Name. Further explanation: The Class Descriptor is defined in Section 5.B below. For some Methods, the Class Descriptor comprises more than one term. For other Methods, notably Principles, the Class Descriptor may be blank.

en · official · sha256:38dc86ba99974b94b715f2b1a214b2665c08eadb4e2dcc63bec1a050ae2f44a8EN

4. Band One or more human ringers ringing some or all of the bells (or simulated bells) in a Performance.

Ссылаются нормы: all_human_band

en · official · sha256:9219919bb3aadd61af0eb5d8ab4fe879c058039bed7941864644b7d1d4c9e576EN

5. Methods recorded in the Methods Library may not have Names that conflict with the constraints described in Section 5.C.

en · official · sha256:ba2f4ea8929211371c0c66cefcfb8dc3fc6ec6edbac8cbce59960ec616f5089cEN

1. Class Descriptor A Method's Class Descriptor is formed by concatenating applicable terms as follows, and in the order shown: Add ‘Jump’ if the Method is a member of this Class; Add ‘Differential’ if the Method is a member of this Class; Add ‘Little’ if the Method is a member of this Class, and if the Method is also a member of one of the Classes in d) below; Add one of the following if the Method is a member of this Class: ‘Place’, ‘Bob’, ‘Treble Bob’, ‘Surprise’, ‘Delight’, ‘Treble Place’, ‘Alliance’; Otherwise leave blank.

Ссылаются нормы: ClassDescriptorOf, cd-alliance, cd-bob, cd-delight, cd-place, cd-surprise, cd-treble-bob, cd-treble-place, class_descriptor_of, class_descriptor_term

en · official · sha256:d9cbe629ea414ea6065a7721b94d40e9468e0167d672c44151129d7f58b9d26dEN

1. The following constraints apply to a new Method to be added to the Methods Library.

en · official · sha256:898fcd4e06e1189476fbdeaabbc2855dc80fa5d347cc3f23eb7a4ee280fff079EN

3. A new Method may not use the same Name as a Method already recorded in the Methods Library, or a Variation already recorded in the Variations Library (see Section 5.D below), if that would result in their Method Titles being the same. Further explanation: This can be more complex than first meets the eye. For example, is 'London No. 3 Surprise Royal' considered the same as 'London No 3 Surprise Royal'. The Central Council's Method Name uniqueness requirements are described in Appendix B (Method Name Syntax).

Ссылаются нормы: NameAvailable, NameConflictByTitle, NameNotAvailable, TitleConflict, name_available, name_conflict, title_conflict

en · official · sha256:d1813b68c36e28a3422379886b75306b6402e74eedfb0b2824453033085cb80cEN

4. The Name given to a new Method that is recorded in the Methods Library may not include Class Descriptor term(s) such that the resulting Method Title is ambiguous as to the Class of the Method. Example: Naming a Bob Method 'Quavo Treble' would give a misleading Method Title, e.g. 'Quavo Treble Bob Major'. It can't be determined from the Method Title that this Method is a Bob Method and not a Treble Bob Method.

en · official · sha256:58f3225219f7ad895c659e6641739cd39dce88ebeb5cf830fea3f25fd271541eEN

8. A Method should only be given the same Name as another Method in the Methods Library that has the same Class Descriptor but a different Stage if the requirements for Method Extension are met. Further explanation: Method Extension requirements are described in Section 8.

en · official · sha256:b9701ac385e3c6d0e27e68bcf0d65f79a9f2928820ee68abc9523c8c2dcad265EN

1. An unnamed Method or Variation may be named by the Band that first rang it in a Performance that is reported by the Ringing World, providing: In the case of a Method, the Performance was at least a Quarter Peal in Length or contained an Extent of the Method; In the case of a Variation, the Performance contained an Extent of the Variation; The Performance was a Round Block that started and ended in Rounds; The Performance was a True Touch, or a Touch with Accepted Truth; The Name does not conflict with any of the requirements of this Section 5 (Method Naming) or Section 8 (Method Extension); The Composition used is included in the Performance Report; and The Performance was rung by an all-human Band. Further explanation: 'Reported by the Ringing World' includes in print and/or on BellBoard. For item d), note that Accepted Truth encompasses True. See Section 3.J for definitions of these terms. When naming a Variation, the Stage of the Extent is the same as the Stage of the Variation. The Rows of the Extent may appear anywhere in the Performance - the Extent of the Variation does not have to be rung as a contiguous Block. For item f), the Composition should be added to the published Performance on BellBoard, but does not need to be published in The Ringing World journal. Compositions may be described in any form that makes it clear what was rung. E.g. '2 extents each called WHW * 3' for a 1440 of Treble Dodging Minor, or by reference to Composition Library or other online or printed collection. When naming a Method, it is expected that the Performance contained enough Changes to define the Method uniquely - at least one Plain Lead. However, there may be circumstances where a Band can justify naming a new Method when not all its Changes have been rung, therefore the Framework does not specify a minimum. Note that any Ringing Style (see Section 6.A.4) can be used in a Performance to name a new Method.

Ссылаются нормы: NamingLengthByExtent, NamingLengthByQuarterPeal, RightToNameMethod, RightToNameMethod/necessary, RightToNameMethod/sufficient, composition_in_report, naming_length_met, performance_of_method, proposed_name

en · official · sha256:a376484f71b20a331d60296b79d0930bedae59f4ca58e1173cf45541c612a337EN

2. The Central Council reserves the right to enter a different name in the Methods Library from the one proposed by a band for a new Method / Variation, or to leave the Method / Variation unnamed, if it considers this necessary. Further explanation: This could include considering that the proposed Name is misleading or offensive, or that the naming of an Extension is inappropriate.

en · official · sha256:e32f64575c64ad71d89b06daabfd053a44c4737622ed1642af7a1edcfbd04574EN

1. By convention, the Class Descriptor is omitted from the Method Titles of the following Methods that are classified as either Bob, Little Bob or Place Methods: Grandsire, Double Grandsire, Reverse Grandsire and Little Grandsire, at all Stages; Union, Double Union and Reverse Union, at Stages of Minor and higher.

Ссылаются нормы: reserved_name, rn-1, rn-2, rn-3, rn-4, rn-5, rn-6, rn-7

en · official · sha256:faef4b6e862b42696fb4a6b0a8e4544fbe0b012b42d1fd17c5396ae358351343EN

2. The above Method Names may not be reused for new Bob Methods, new Little Bob Methods, new Place Methods, or new Methods with no Class Descriptor.

Ссылаются нормы: NameConflictByReservedName, ReservedNameForBob, ReservedNameForPlace, reserved_name_conflict

en · official · sha256:5d87615122bc7a6154895b31b729baaa023a4791a26848a75597e637ebb13356EN

4. The Method Name ‘Plain’, which is the most likely name for Little Bob if it had one, may not be used for any new Little Bob Method.

en · official · sha256:bb6a4676cc4efb513f0bd45ffaee657153e1a5f1f559641801d5551408fbf155EN

1. Performance Title A Performance Title takes the following form: If the Performance was in a single Method / Variation: The number of Changes in the Performance; 'Variable Cover' if the Performance included a Variable Cover Composition (see Section 3.H.2); The Name of the Method / Variation rung; The Class Descriptor (if any) of the Method / Variation rung; The Stage Name of the Method / Variation rung. If the Performance was in more than one Method / Variation: The number of Changes in the Performance; 'Variable Cover' if the Performance was of a Variable Cover Composition (see Section 3.H.2); 'Spliced' if the Performance was of a Spliced Composition (see Section 3.G.2); Optionally, 'Mixed' if the Performance included more than one Method / Variation, but was not of a Spliced Composition; The components of the Class Descriptors of the Methods rung that are common to all Methods in the Performance, if any, stated in the same order as given in 5.B.1; Optionally, 'Plain' can be included if the Methods / Variations rung in the Performance do not all have the same Class Descriptor, but are all members of the Plain Class of Methods. 'Plain' is included in the same position as Bob and Place in 5.B.1; Optionally, 'Treble Dodging' can be included if the Methods rung in the Performance do not all have the same Class Descriptor, but are all members of the Treble Dodging Class of Methods. 'Treble Dodging' is included in the same position as Treble Bob, Surprise and Delight in 5.B.1; The Stage Name(s) of the Methods / Variations rung in the Performance, listed in order of lowest Stage to highest Stage, with a comma inserted between Stage Names, except for the last pair of Stage Names which instead have 'and' inserted between them; Optionally, and in round brackets, the number of Methods / Variations rung in the Performance (if not included here, this information goes at the beginning of the Performance Detail -- see Section 6.A.2). In order for Performance Titles not to mislead, if the highest Stage of Method / Variation rung in the Performance exceeds the Effective Stage of the Performance, then: Layout b) above is always used, even for a single Method / Variation Performance;

Ссылаются нормы: LengthFromReport, reported_length

en · official · sha256:f251197f8847d274d486d50124729f06367377bb35f051c15a729bc2ecd187b9EN

8. Automated Ringing Ringing in which the sounds of one or more bells were controlled, by whatever means, without human action. Example: Automated Ringing occurs when a bell strikes at a time determined by a computer program. Further explanation: Note that fully automated ringing (i.e. with no human ringers) is not considered a reportable Performance under the Framework.

en · official · sha256:f2585cf853c2a0d4c18c699db37a057c322956ad83b3a847a49fe429d6779214EN

1. A Performance Report should include the following: The Ringing Style used; Whether any Automated Ringing was used; The Location where the Performance was rung (not applicable for Distributed Ringing); In the case of Simulator Ringing / Online Ringing, or ringing facilitated by other electronic means, the name of the ringing simulator (or other means) that was used to facilitate the ringing; The date on which the Performance was rung; The Performance Title; The Performance Detail; The names of the ringers in the Performance and the number(s) of the bell(s) each rang (and in the case of Automated Ringing, make clear which bells were not rung by human ringers); In the case of Distributed Ringing, the approximate location of each ringer; The names of any umpire(s) present.

en · official · sha256:86a100fddf2630dfbb8db27551f96f8c5683f86acca71d4b2263e7af8ae9b3a8EN

1. A Performance Report should state any aspect of the Performance that differed from a Performance Norm. Established Performance Norms are listed below, but the report should include any other aspect of the Performance that would not reasonably be assumed, and could be expected to alter some ringers' view of it.

Ссылаются нормы: DepartureIsNotConformance, NormDepartureByReport, norm_departure, norm_departure_reported

en · official · sha256:0c8d5f374a1f139495d3e8c0bf4b11b2fc4d17de86bc90aabf419bfaf69f799eEN

2. The following are considered Norms for all reported Performances: The Performance was a Round Block that started and ended in Rounds; The Performance was a True Touch, or a Touch with Accepted Truth; The Performance was rung without interval; For Performances using Handbell Style (see Section 6.A.4), the bells were retained in hand throughout the Performance; The same person or persons rang each bell or bells continuously throughout the Performance; Neither ringers nor conductor(s) used any physical aids to memory during the Performance; No person not ringing provided any assistance in the execution of the ringing during the Performance, e.g. making calls, detecting or correcting errors; If the name of a ringing simulator (or other means) is included in the Performance Report per 6.B.1 d), the norm is that simulated sound was used; otherwise the norm is that simulated sound was not used; In any given Row of the Performance, all bells rang at the same stroke (i.e. all handstroke or all backstroke); If Cover Bell(s) were used, these were in the highest Place(s) of the Rows; Jump Changes were not used; Only one Method, Variation or Call was used to define any one Change in the Performance; A Performance with only one ringer was witnessed by an umpire; The Performance was not part of a failed longer attempt; and The Performance can be described using this Framework.

Ссылаются нормы: DepartureFalseTouch, DepartureJumpChangesUsed, DepartureNotRoundBlock, DepartureNotStartedInRounds, JumpChangesInTouch, NormJumpChangesNotUsed, NormObservedByReport, NormRoundBlockInRounds, NormTrueTouch, OnePlaceMove, PerformanceNorm, jump_changes_in_touch, norm_conforms, norm_observed

en · official · sha256:685d02da0bb3d379f14384046b7597a502c11c2187e9472f4a6caac527a5fc15EN

1. To be included in the Central Council's register of Record Lengths, the Performance must comply with all the requirements of Sections 7.A, 7.B and 7.C.

en · official · sha256:de07c08ead20284fed00b1bd5fe5597e289f076f779505381b8c58ab6fda2f84EN

2. All the norms listed in Section 6.C.2 applied to the Performance.

Ссылаются нормы: AllNormsConformed, all_norms_conformed

en · official · sha256:89c277c3fe1e5186003f815e12cc2ad2cb0529fefab68fa56067b82b2a28f6e5EN

3. For a Performance using Handbell Style (see Section 6.A.4), every ringer rang at least two bells.

en · official · sha256:16dfbeb0287ca30eb9b94f89ff62425f488652c3720823804a98b05172b838c0EN

4. The Performance was rung by an all-human Band.

en · official · sha256:b53c585c1fa95d8512609202f91ed1d0b1b14e502caf69af82d85c94082b5eb7EN

B. Notification and Verification 1. Notice of the attempt must be provided to The Ringing World to enable the notice to be published at least 14 days prior to the attempt. Further explanation: The Ringing World is published on Fridays, and the deadline for publication of notices is the previous Monday. For example, notice of a record length attempt occurring on Saturday 20th should be published in the RW no later than Friday 5th. This requires notice to be received by the RW on or before Monday 1st. 2. The notice must state the location, start date and start time of the attempt, the Length and the Method(s) to be rung. 3. A copy of the notice must also be provided to the Central Council at least 14 days prior to the attempt. Further explanation: The notice can be emailed to the Central Council at records@cccbr.org.uk. 4. Arrangement must be made for interested people to be able to listen to the Performance. 5. The ringing must be heard, and the figures of the Composition checked throughout, by competent umpire(s). Further explanation: The umpire(s) should do sufficient checking during the Performance to be confident that the composition was correctly called, and that there were no substantive errors or shifts. The umpire(s) should also ensure that, in their opinion, the quality of the ringing remains sufficiently high throughout the Performance for a Record Length. If the umpire(s) believe the quality has dropped below an acceptable level, and the ringing is continuing, they should let the conductor know this so the attempt can be stopped.

en · official · sha256:53a0290b18f76b209c68da991f6dc83508357cbf04f705f22e1d7d31ffa6a9c6EN

C. Reporting 1. A Performance Report must be sent to both The Ringing World (preferably via BellBoard) for publication, and to the Central Council. Further explanation: The Performance Report can be emailed to the Central Council at records@cccbr.org.uk. 2. The Performance Report must comply with the requirements of Section 6. 3. The Performance Report must include the Composition that was rung. 4. An umpire(s)' report must be sent with the Performance Report to both The Ringing World and the Central Council. Further explanation: The umpire(s)' report can be emailed to the Central Council at records@cccbr.org.uk.