Here are some examples of lead-end compositions for use in Abel. All the examples here are legal Abel compositions.

Plain Bob Minor, wrong and home twice can be written as:

This isn't very legible, so you might prefer to write it out as

This improves the legibility, but it still isn't clear that it means "wrong and home twice". Changing the layout and adding a comment can help:

We could use a multiplier to make it more obvious that we're repeating the touch, and to give us (slightly) less typing to do:

Although the comment in the above example says "Plain Bob Minor", we haven't actually specified a method. This composition will therefore be available to be rung to ANY method defined in the current method collection. It will be treated simply as the sequence of calls ‘bob, plain, plain, plain, bob' repeated; whether or not it will come round, or be true, for other methods depends on that method. You might therefore prefer to make it a specific composition by inserting the Plain Bob method identifier at the start of the composition:

If you do this, make sure that you enter the identifier by double-clicking on the method name and not by typing it in. Method identifiers don't work if you type them.

Here is an example of a longer touch, this time of Plain Bob Major:

This touch, as defined here, will automatically repeat to give 2528 changes of Plain Bob Major. Pritchard's peal itself, of course, includes a single half-way and end.

Here is a simple touch of 8-spliced surprise major. This touch comes round at handstroke in Superlative.

This assumes that the methods were set up with the 'usual' identifiers for the Standard 8 i.e. 'L' means London, 'N' means Lincolnshire etc. Note how an absence of a call implies a plain lead. If you didn't have a change of method (for example, two consecutive leads of the same method), you would have to put a plain lead in yourself using the letter ‘p'.

Lead-end compositions are the ONLY way you can input compositions for methods like Stedman. They are probably also the easiest way of entering Grandsire compositions. Here is an example showing how to represent a quarter peal of Stedman caters as a lead-end composition:

Note that, in this example, there is one extra plain six on the end that isn't strictly necessary in the composition. However, Abel automatically repeats lead-end compositions, and the first call in this composition is a bob at 1. Hence, without the extra plain six, Abel will call a bob just as it is due to come round – thus avoiding rounds!

Finally, here is a quarter peal composition of Kent Treble Bob Major, using half-lead singles (1678 at the half-lead). This is tricky to represent for Abel, since you have to specify every half lead explicitly. If you want to do something complicated like this, lead-end compositions are the only way.

This very musical quarter (it's got 72 CRUs) would normally be written out for publication like this:

Abel requires it to be written out longhand, specifying calls for EVERY half lead:

This example assumes you have assigned the place notation '1678' to 'Call X', hence the 'x's in the above composition. If you had used 'Call Y' instead, you would need to put 'y' in the composition at the relevant places.

See also:

  Adding compositions
  Editing compositions
  Deleting compositions
  Lead end compositions - notation
  Call position compositions
  Random compositions