Chapter IV: Part 4

1. That as all _Musick_ consists in these six plain _Notes_, _La Sol Fa Mi Re Ut_; so in _Ringing_, a Peal of Bells is Tuned according to these Principles of Musick: For as each _Bell takes its Denomination from the Note it Sounds_, by its being flatter or deeper, as, _First_, or Treble, _second_, _third_, _fourth_, &c. as they are in number to _ten_ or _twelve_ Bells, the last being called the _Tenor_; So must they successively strike one after another both _Fore-stroke_ and _Back-stroke_, in a due Musical time or Equi-distance, to render their Harmony the more Pleasant, and to make the Young Practitioner the better informed to observe the _Life of Musick_, and indeed of true Ringing, _Time_; and therefore is called, _Round-ringing_.

2. As in Musick, so in Ringing there are three _Concords_, so called from their Melodious Harmony and Agreement, which Principally are these; _Thirds_, _viz._ 1 3, 2 4, _&c._ _Fifths_ 1 5, 2 6, _&c._ _Eights_ 1 8, 2 9, 3 10, _&c._ and these are the more pleasant according to the Number of Bells they are struck on, and as they are struck, whether separately or mutually. From hence _Changes_ are made, which is only a Changing place of one _Note_ with another, so variously, as Musick may be heard a thousand ways of Harmony; which being so obvious to common Observation, I shall not go about to demonstrate; for that if two may be varied two ways, surely by the Rule of _Multiplication_, a Man may easily learn how many times 6, 7, 8, 9, 10, or 12 Bells Notes may be varied; which will run almost _ad infinitum_.

3. For the better observing the Ringing of _Changes_ or _Rounds_, these three things are to be noted.

1. _The Raising true in Peal._

2. _Ringing at a low Compass_; and

3. _Ceasing in true Peal_; all which three are the most essential Parts to render a Practitioner _Excellent_.

1. For _Raising a Peal of Bells true_, the modern and best Practice recommends the _swiftest and quickest possible_, every one taking Assistance to raise his Bell, as its going requires: the _lesser_ Bells as _Treble_, _&c._ being by main strength _held down_ in their first Sway (or pull) to get time for the striking of the rest of larger Compass; and so continued to be strong pulled till Frame-high, and then may be slackned: The bigger, as _Tenor_, &c. must be pincht or checkt overhead, that the Notes may be hard to strike roundly and hansomely. Observe that all the Notes strike round at one Pull: I do not mean the first; but 'tis according to the Bigness and Weightiness of your Bells: However in raising a Peal, do not let one Bell strike before the rest, or miss when the rest do; this is contrary to the Strict Rules of _true Ringing_: And this is called _Round-ringing_. Now if you design to raise a Peal of Bells for _Changes_, you ought to raise them to a Set-pull, as the most proper for commanding the Notes, and he who is not well skilled to manage his Bell at a Set-pull, will be apt to drop or overturn it, be in a Wood, and fruitlessly toil and moil himself. Therefore in practising the Setting of a Bell, cast your Eye about the other Bell-Ropes, during your managing your own, that you may accustom your self to manage it according to the _Change_.

2. For _Ringing at a low Compass_, is thus observed: By keeping a due _punctum_ or beat of time, in the successive striking one after another of every Bell; the best Ringer being set to the _Treble_, that may guide and direct the rest of the Notes in their due Measure.

3. _For Ceasing a Peal of Bells_; let them fall gradually from a set Peal, checking them only at Sally, till the low Compass renders it useless; and when so low, that for want of Compass, they can scarce strike at Back-stroak; then let the _Treble_-Ringer stamp, as a Signal, to notify, that the next time they come to strike at the Fore-stroke, to check them down, to hinder their striking the Back-stroke; yet Fore-stroke continued, till brought to a neat and graceful Chime, which may be the Finis to that Peal.

Thus much in short, for _Raising_, _Round-ringing_, and _Ceasing a Peal_ of Bells; I come next to lead you forth into that spacious Field of Variety of _Changes_, and present you with Instructions that may be meerly necessary, for the right Understanding the several kinds of them.

Now in _Ringing Changes_, two of our best Senses, are to be employed, _viz._ The Ear, and the Eye: The Ear, hearing when to make a _Change_; and the Eye directing the Bell in making it: The Bells being the Object of the Former, and the Bell-ropes the Object of the Latter: And to render both the Eye and Ear Useful in Ringing _Changes_, these Five things are throughly to be Understood.

_First_, Endeavour to distinguish the _Notes_ of a _Peal_ of _Bells_, one from another while Ringing.

_Secondly_, Learn to apprehend the places of the _Notes_.

_Thirdly_, Understand the Precedency of _Notes_.

_Fourthly_, How to make a _Change_ in _Ringing_.

_Fifthly_, and _Lastly_, How to Practice the four fore-going Notions, in General.

1. _To know the Notes of a Peal of Bells asunder_ (which is easy in _Round-Ringing_) in _Changes_ is thus: Get the skill of Tuning them with your _Voice_, by imitating their Notes while _Ringing_. Or if you are acquainted, either by your self or Friend, with some _Singing-Master_, or one who has skill in _Singing_, get him to instruct you in the true Pitch of any _Note_, and aid your distinguishing them; otherwise you may be puzzled in this, to know which is _Treble_, which _Second_, &c. as in 532641, _&c._

2. To know the places of the _Notes_, is no way better to be apprehended than thus: The Practitioner ought to form an _Idea_ in his Head of the place of each _Note_, whether in a direct _Line_, or _Obliquely_; and representing them by a _Figure_ in his Mind, see (as it were) by the Eye of the Understanding, each stroke of the _Bell_, as the _Treble_, 1. _Second_ 2. _Third_ 3. _&c._ so that as the _Ear_ is to direct him, when to make the Change, so a right Apprehension of the _Motion_ and _Places_ of the _Notes_, ought to be a means to guide his Ear.

3. The Precedency of _Notes_, is of a very obvious Demonstration; thus: In Ringing _Changes_ the Fore and Back-stroke, successively following one another, are properly said to _Lye behind_ one another, according to their places of striking. Or in short, in 12345, the _Note_ that leads either at Fore or Back-stroke, is said to _Lye before_ the rest, and the last to be behind, As the 2 is said to lye behind the 1, so it lyeth before the 3, as the 3 lyeth behind 2, so it lyeth before the 4. And so of as many as are _Rung_.

4. The manner of making a _Change_, is very common, and needs no particular, but general Rule; That it is made by moving one _Note_ into anothers place, Up and Down, as Occasion requires; but usually made by two _Notes_ standing one next the other, as hereafter may be observed.

_Lastly_, In your Ringing _Changes_, these two things (in which consists the practick part of this Art) are to be rightly considered, _First_, Readily to know which two _Bells_ are to make the succeeding _Change_. And _Secondly_, to consider (if you are concerned in it) what _Bell_ you are to follow in making it. To understand which the more perfectly, you must imprint in your Memory, the Method of the _Changes_ prick'd in _Figures_, and to be expert likewise in setting them down divers ways, and making any _Figure_ a _Hunt_ at Pleasure; and thus without pausing or hesitating to consider the Course, you may throughly understand the Methods; the Four preceding Observations being first perfectly understood.

There are two ways of _Ringing Changes_, viz. By _Walking_ them, as the Artists stile it; or by _Whole Pulls_ or _Half-pulls_: _Walking_ is, when in one _Change_ the _Bells_ go round, _Four_, _Six_, or _Eight_ times; which is a most incomparable way to improve a Young Practitioner, by giving him time to consider, which two _Bells_ do make the next succeeding _Change_, and in making it, what _Bell_ each is to follow; so that by this means (by his Industry) he may be capable of Ringing at _Whole pulls_; which is, when the _Bells_ go round in a _Change_ at Fore and Back-stroke; and a New _Change_ is made every time they are pulled down at Sally: This was an Ancient Practice, but is now laid aside, since we have learnt a more advantageous way of hanging our _Bells_, that we can manage a _Bell_ with more ease at a _Set-pull_ than formerly: So that Ringing at _Half-Pulls_ is now the modern general Practice; that is, when one _Change_ is made at Fore-stroke, another at Back-stroke, _&c._

He that Rings the slowest _Hunt_, ought to notify the _extream Changes_; which is, when the Leading _Bell_ is pulling down, that he might make the _Change_ next before the extreme, he ought to say, _Extreme_. By this means, betwixt the Warning and the Extreme there will be one compleat _Change_.

_Of Changes_, &c.

There are _two kinds of Changes_, viz. _Plain Changes_, and _Cross-peals_; which Terms do denote the _Nature_ of them; for as the first is stiled _Plain_, so are its methods easy; and as the second is called _Cross_, so are its Methods cross and intricate: The First have a general Method, in which all the Notes (except Three) have a direct _Hunting-Course_, moving gradually under each other, plainly and uniformly: _Plain_ are likewise termed _single Changes_, because there is but one single Change made in the striking all the Notes round, either at Fore or Back-stroke. But the Second is _various_, each _Peal_ differing in its Course from all others; and in _Cross-peals as many changes may be made as the Notes will permit_. In short, as to _Plain-changes_, I shall not dilate on them here, it being so _plainly_ understood by every one that lately have rung a _Bell_ in peal; all therefore I shall add is this, that any two Notes that strike next together may make a Change, which may be done either _single or double_, as you list. The _single_, by changing two Notes; and the _double_, by changing Four, _i.e._ Two to make one Change and two another; which is however called _One double Change_, and not two Changes; because tis made in striking the Notes of the _Bells_ once round.

_Of Cross-peals._

Or in these _Cross-peals_ we must Observe the _prime Movement_, which sets the whole Frame a going, and that is called the _Hunt_, which hath _one constant Uniform Motion throughout the Peal_, and different from that of the other Notes; and indeed by this the whole Course of the Peal is Steered. This keeps a continual motion through the other Notes, _i.e._ from leading, to strike behind, and from thence again to Lead; which is called one _compleat Course_.

Some Peals upon _five Bells_ consist of single Courses, wherein are ten Changes, and twelve Courses make the Peal. Others upon five consist of double Courses, wherein are twenty Changes to every Course, and six Courses in the Peal.

Upon _six Bells_ there are likewise _single_ and _double_ Courses, _viz._ Twelve Changes in every single Course, as in _Grandsire-bob_, _&c._ and Twenty-four Changes in every double Course, as in _College Bobs_, that being the first Change of every Course, wherein the _Hunt_ leaves Leading: In short, judiciously observe the first Course of any _Cross-peal_, and you will soon see the general Method of the whole Peal: All Courses in Cross-Peals agreeing in these following three Respects. First, _In the Motion of the Hunt_. Secondly _In the motion of the rest of the Notes_: And Thirdly, _In making the Changes_. Which three things being well (to omit Instance of Demonstration) and narrowly observed, will be very helpful both in pricking and ringing Courses; the first and third for directing you in Pricking them, and the first and second in Ringing them.

There is one Difficulty to be removed e're I can come to prick down those Peals I design to be the Subject of the Discourse of this _Epitome_, and that is, _How to make the first Changes at the beginning of each Peal_; I mean to make the _Second_, _Third_, _Fourth_, &c. _whole Hunts_; and this In short is thus directed: In any _Cross-peal_ the _whole Hunt_ may move either up or down at the beginning; and the Motion of the _whole Hunt_, in the first Course of each of the following Peals will direct the first Motion of any _Cross-Hunt_, and by Consequence of making the first Changes in that Peal. Taking along with you this Observation.

That whensoever the first Change of any Peal happens to be _single_, it must be made at the back-stroke, to prevent _cutting Compass_, and the like when a double Change happens first in a Peal of _Triples and doubles_: But when it happens, that the first Change is made at the Back-stroke, then Consequently the Bells at the end of the Peal will come round at a Fore-stroke Change.

I shall omit speaking to any of the several Peals on _four or five Bells_; for that in my opinion little _Musick_ is heard, though much _Practical Observation_ is made, from them; and therefore shall begin with _Grandsire-bob_, as having mentioned it but just before in my general View I made of _Cross-peals_.

_Grandsire Bob._

_Bob_ Changes take their Name from this; _viz._ When the _Treble_ leads in the _Second_ and _Third_, and the _Fifth_ and _Sixth's_ places, then they are called _Bob-changes_. In Ringing which you are to observe these Rules, _viz._

Whatsoever Bells you follow when you _Hunt up_, the same Bells in the same order you must follow in _Hunting down_; as in the Changes here prickt, where the _Treble_ hunting up _First_ follows _Second_, then _Fourth_, and then _Sixth_; when it comes behind, _First_ follows _Second_, in hunting down _Fourth_; and when hunting up follows _Sixth_ in the same Order: The like may be observed in Ringing any other Bell, with this Difference betwixt the whole Hunt and the rest, _viz._ Every time the Whole hunt leaves the _Treble's_ place, and hunts up, it followeth different Bells, from what it did at its first hunting up.

In the ensuing Peal here prickt are _Eighteen-score_ Changes, wanting one. It may be Rung with any _Hunts_, and begin the Changes _Triple_ and _Double_: You may make your extream at the first, second, or third _single Bob_; or the first, second, or third time, that the half and _Quarter-hunts_ dodge behind; the _single_ must be made behind in either of these.

123456 | _bob._ | 134256 | 143265 | 126435 ------ | 156423 | 312465 | 142356 | ------ 214365 | 514632 | 321645 | ------ | 162345 241635 | 541362 | 236154 | 124536 | 163254 426153 | 453126 | 263514 | 125463 | ------ 462513 | 435216 | 625341 | ------ | 136524 645231 | 342561 | 652431 | 152643 | 135642 654321 | 324651 | 564213 | 156234 | ------ 563412 | 236415 | 546123 | ------ | 153462 536142 | 263145 | 451632 | 165324 | _bob._ 351624 | 621354 | 415362 | 163542 | 135426 315264 | 612345 | 143526 | ------ | ------ 132546 | 165243 | _bob._ | 136452 | 153246 135264 | 162534 | 134562 | _bob._ | 152364 312546 | 615243 | 315426 | 163425 | ------ 321456 | 651423 | 351246 | ------ | 125634 234165 | 564132 | 532164 | 136245 | 126543 243615 | 546312 | 523614 | 132654 | ------ 426351 | 453621 | 256341 | ------ | 162453 462531 | 435261 | 265431 | 123564 | 164235 645213 | 342516 | 624513 | 125346 | ------ 654123 | 324156 | 642153 | ------ | 146325 561432 | 231465 | 461235 | 152436 | _bob._ 516342 | 213645 | 416325 | 154263 | 164352 153624 | 126354 | 143652 | ------ | ------ 156342 | 123645 | _bob._ | 145623 | 146532 513624 | 216354 | 134625 | _bob._ | _bob._ 531264 | 261534 | 316452 | 154632 | 164523 352145 | 625143 | 361542 | ------ | ------ 325416 | 652413 | 635124 | 145362 | 146253 234561 | 564231 | 653214 | _bob._ | 142635 243651 | 546321 | 562341 | 154326 | ------ 426315 | 453612 | 526431 | ------ | 124365 462135 | 435162 | 254613 | 145236 | ------ 641253 | 341526 | 245163 | 142563 | 123456 614523 | 314256 | 421536 | ------ | ====== 165432 | 132465 | 412356 | 124653 |

Thus much for the _Grandsire-bob_; I shall next collect what _London Peals_ I think most Harmonious, and agreeable, without troubling my self to go to _Oxford_, or _Nottingham_, or _Redding_, to enquire after their different Methods of Peals, as indeed needless; and my reason is this: Because I think the same Rules for _Peals_ that are suitable to our _London Genius_, may challenge likewise an Acceptance amongst other _Cities_; provided their _Steeples_ are furnished with as many, and as good _Bells_, and their _Belfree's_ with as ingenious and elaborate _Ringers_ as here in _London_.

I shall begin then with _Peals upon six Bells,_ and herein in order, measure out the Delights on _Peals_ from _Six_ to _Eight Bells_, and setting out early, present you with

_The Morning Exercise._

_Doubles_ and _singles_. The whole _Hunt_ is the _Treble_, which Hunteth up into the _Second_, _Third_, and _Fourth_ places, lying twice in each; and then lyeth still in the _Sixth_ place, having dodged behind, and makes another, and then _Hunts_ down as it _Hunted_ up, and then leads four times. Observing the manner of its Pricking, and its Practice, may excuse any further defining it.

123456 | ------ | 265143 | 163425 | 125643 | 143256 213465 | 265134 | ------ | 125634 | 134265 213456 | 265143 | 165243 | ------ | 134256 231465 | 261534 | 165234 | 124365 | ------ 231456 | 216543 | 156243 | 124356 | 136524 234165 | 216534 | 156234 | 142365 | 136542 234156 | 126543 | ------ | 142356 | _bob._ 243516 | 126534 | 154326 | ------ | 135624 243561 | 162543 | 154362 | 146532 | 135642 245316 | 162534 | _bob._ | 146523 | ------ 245361 | ------ | 153426 | _bob._ | 132465 254631 | 164352 | 153462 | 145632 | 132456 254613 | 164325 | ------ | 145623 | 123465 256431 | _bob._ | 152643 | ------ | 123456 256413 | 163452 | 152634 | 143265 | ------

This will go a 120 _Changes_, and by making _Bobs_, 240, 360, 270.

_A Cure for_ Melancholy.

_Doubles_ and _Singles_.

I should think it needless to explain the method of prick'd _Peals_, and give a large Definition of them, when their plain Demonstration might be sufficient; However, as the Old _Phrase_ is, _Because 'tis usual_, something shall be said of this too.

The _Treble_ is the whole _Hunt_, as in the former, and leads four times, and lyeth behind as many, and twice in every other place; the two _Bells_ in the 3d. and 4th. places continue dodging, when the _Treble_ moves out of the 4th. place, until it comes down there again, and then the two hindmost dodge, till the _Treble_ displaceth them; who maketh every double _Change_, except when it lieth behind, and then the double is on the four first, and on the four last when it leads. Every single (except when the _Treble_ lies there) is in the 5th. and 6th. places; or if possessed by the _Treble_, then in the 3d. and 4th. places: Every _Bell_ (except the _Treble_) lies four times in the Second place: But enough; a word is enough to the Wise. See it here Deciphered.

123456 | ------ | 452136 | 165432 | 126534 | 156432 213465 | 452163 | ------ | 126543 | _bob._ 213456 | 451236 | 143652 | ------ | 165423 231465 | 451263 | 143625 | 154263 | 165432 231456 | 415236 | _bob._ | 154236 | ------ 234165 | 415263 | 134652 | 152463 | 132654 234156 | 145236 | 134625 | 152436 | 132645 243516 | 145263 | ------ | ------ | 136254 245316 | 142536 | 162345 | 143526 | 136245 243561 | 142563 | 162354 | 143562 | ------ 245361 | ------ | 163245 | _bob._ | 124365 423561 | 156423 | 163254 | 134526 | 124356 425361 | 156432 | ------ | 134562 | 123465 423516 | _bob._ | 125634 | ------ | 123456 425316 | 165423 | 125643 | 156423 | ------

This will go _Six-score Changes_, but by making _bobs_, it will go 240, 360, or 720. The _Bob_ is a double _Change_ at the leading of the _Treble_, in which the _Bell_ in the 4th. place lyeth still.

London Nightingale.

_Doubles_ and _Singles_.

The Whole-hunt is the _Treble_, who lyeth four times before, and as many behind, and twice in every other place: The two hind _Bells_ continue dodging, when the _Treble_ moves down out of the _Fifth_ place, till he comes there again, the _Bell_ in the _Fourth_ place lying still all the while: When the two hind _Bells_ aforesaid leave dodging, then the two _First Bells_ take their dodging places, till dispossessed again, by the return of the said Hind _Bells_ to their dodging; and then they Cease.

123456 | ------ | 425316 | 162534 | 142365 | 164532 213465 | 452136 | ------ | 124356 | _bob._ 213456 | 452163 | 153624 | 124365 | 165423 231465 | 451236 | 153642 | ------ | 165432 231456 | 451263 | _bob._ | 136245 | ------ 234165 | 415236 | 156324 | 136254 | 143652 234156 | 415263 | 156342 | 163245 | 143625 243516 | 145236 | ------ | 163254 | _bob._ 423516 | 145263 | 134562 | ------ | 146352 243561 | 154236 | 134526 | 125634 | 146325 243561 | 154263 | _bob._ | 125643 | ------ 423561 | ------ | 135462 | 152634 | 132465 245361 | 126543 | 135426 | 152643 | 132456 425361 | 126534 | ------ | ------ | 123465 245316 | 162543 | 142356 | 164523 | 123456

This will go 120, and by making _Bobs_, 240, 360, or 720.

_College Bobs._

In this _Bob_, when the _Treble_ leaves the two Hind _Bells_, they dodge till it comes there again, and till the _Treble_ gives way for the dodging again of the said two Hind _Bell_, the two _First Bells_ dodge, but after Cease dodging, when the two Hind _Bells_ dodge.

123456 | ------ | 243651 | 421635 | 152364 | 165324 214365 | 426315 | 246153 | 135246 | _bob._ 124356 | 462135 | 241635 | 153246 | 156342 213465 | 641253 | 426153 | ------ | ------ 231456 | 642135 | 462513 | 126543 | 132546 324165 | 461253 | _&c._ | 125634 | 135264 321456 | 416235 | 165432 | ------ | ------ 234165 | 142653 | _bob._ | 164235 | 124365 243615 | 412635 | 156423 | 162453 | 123456 426351 | 146253 | ------ | ------ | ------ 246315 | 142635 | 143526 | 143652 | 423651 | 416253 | _bob._ | _bob._ | 246351 | 146235 | 134562 | 134625 | 423615 | 412653 | ------ | ------ |

_Another._

Here, every _Bell_, when it comes to lead, makes a dodge before, then after one _Change_, it lyeth still; after it has made another dodge, it moves up into the 4th. place, where twice it lyeth still; and down again; except the _Treble_ happens to dodge with it in the 4th. place, then it hunts up behind. When the _Treble_ moves down out of the _3d_. place, the two _Bells_ in the _3d._ and _4th._ place continue there, till the _Treble_ comes up thither again, the two hind _Bells_ dodging in the mean time.

123456 | ------ | 265314 | 132564 | 135426 | 164352 214365 | 625341 | 315246 | ------ | ------ 124356 | 263514 | 351426 | 153246 | 146532 213465 | 236154 | 534162 | 152364 | _bob._ 231645 | 321645 | 351462 | ------ | 164523 326145 | 236145 | 534126 | 125634 | ------ 231654 | 321654 | _&c._ | 126543 | 146253 326154 | 312564 | 153624 | ------ | 142635 362415 | 135246 | _bob._ | 162453 | ------ 634251 | 315264 | 135642 | 164235 | 124365 364215 | 132546 | ------ | ------ | 123456 632451 | 135264 | 153462 | 146325 | ------ 623541 | 312546 | _bob._ | _bob._ |

Both these _bobs_ will go _One Hundred_ and _Twenty Changes_, and by making of _bobs_, they will go, 240, 360, or 720. And thus with little Variation, there are other _bobs_ may be made after the same manner, and afford as Admirable Musick, as possibly can be made on _Bells_. I shall therefore hasten to finish this days Work, only first present you with this one more called,

The City Delight:

_Doubles and Singles._

The whole _Hunt_ is the _Treble_, and lieth as before in the _Nightingale_: When the _Treble_ moves out of the _3d._ place, the _Singles_ are made in the _2d._ and _3d._ place, till the _Treble_ repossesses his _3d._ place, and then behind, till it moves up again out of the _3d._ place. The two hind _Bells_ dodge, when the _Treble_ moves out of the _4th._ place, till he returns again; the _Bell_ in the _4th._ place lying still all the while.

123456 | 264351 | 154362 | 162534 | 143265 ------ | 265413 | _bob._ | 162543 | 143256 213465 | 256413 | 153426 | 126534 | 134265 213456 | 265143 | 153462 | 126543 | 134256 231465 | 256143 | ------ | ------ | ------ 231456 | 251634 | 156234 | 124365 | 135642 234165 | 251643 | 156243 | 124356 | 135624 234156 | 215634 | 165234 | 142365 | _bob._ 243156 | 215643 | 165243 | 142356 | 136542 234615 | 125634 | ------ | ------ | 136524 243615 | 125643 | 164352 | 145623 | ------ 243615 | 152634 | 164325 | 145632 | 132465 246351 | 152643 | _bob._ | _bob._ | 132456 264351 | ------ | 163452 | 146523 | 123465 246531 | 154326 | 163425 | 146532 | 123456 | ------ |

This will go as many _Changes_ as the last mentioned, by making _Bobs_. And here I will shut up this days Peal upon Six _Bells_ with

The Evening Delight.

_Doubles_ and _Singles_.

The Whole _Hunt_ is the _Treble_, and lyes as before specified, with this exception only: That it dodges in the _2d._ and _3d._ places, every time it _Hunts_ up, and down. Observe when _Treble_ goes to lead, and leaves of leading, the _Bells_ in the _3d._ and _4th_ places lye still, _&c._ Note the pricking this _Peal_.

123456 | ------ | 254163 | 164235 | 145326 | 156324 213465 | 245163 | ------ | 154326 | _bob._ 231465 | 241536 | 162453 | ------ | 165342 213645 | 214536 | 126453 | 153462 | 156342 231645 | 241356 | _bob._ | 135462 | ------ 236154 | 214356 | 162435 | 153642 | 153624 263154 | 124365 | 126435 | 135642 | 135624 236514 | 142365 | ------ | ------ | 153264 263514 | 124635 | 124653 | 136524 | 135264 265314 | 142635 | 142653 | 163524 | ------ 256341 | ------ | 124563 | _bob._ | 132546 265431 | 146253 | 142563 | 136542 | 123546 256431 | 164235 | ------ | 163542 | 132456 254613 | _bob._ | 145236 | ------ | 123456 245163 | 146253 | 154236 | 165324 | ------

This Peal will go 120 _Changes_, and by making _Bobs_, as many as above.

Note that in all the foregoing Peals upon _Six Bells_, the _Bobs_ are double _Changes_, and made always at the leadings of the _Whole-Hunt_. He that Rings the _Half-Hunt_, may best call _Bob_ in all Peals.

I come now to the _Changes_ upon Seven _Bells_, which though the seldom Practice of them might excuse my omitting them; yet, because I promised to say somewhat of them, I shall be as good as my Word, (the Character of an Honest man) and present you with a couple of Examples, and then proceed to _Peals_ upon _Eight_: But this I must crave leave to premise, That Variety of _Changes_ may be prick'd upon Seven _Bells_, as _Triples_, and _Doubles_, _Triples Doubles_, and _Single Doubles_, &c. and the same Methods may be prick'd upon _Seven_, as may be upon _Five_, the true difference of Proportion being observed; but to proceed.

_Dodging Triples._

_Triples_ and _Doubles_, and indeed all _Peals_ upon Six, may likewise go upon Seven _Bells_, thus,

1234567 | ------- | 2143576 | 4523671 | 3514276 2415367 | 5432761 | 3152467 4251376 | 4523716 | 1325476 4523167 | 5432176 | 1352746 5432617 | 5341267 |

Plain Triples.

1234567 | ------- | 2143657 | 6745231 | 3517264 2416375 | 7654321 | 3152746 4261735 | 7563412 | 1325476 4627153 | 5736142 | 6472513 | 5371624 |

In this all the Bells have a Hunting _Course_.

_College Triples_, dodging before, and behind,

1234567 | ------- | 2143576 | 2467315 | 4176235 2415367 | 4276135 | 4712653 4251376 | 2471653 | 7421635 2453167 | 4217635 | 4726153 4235617 | 4126753 | 7462513 2436571 | 1462735 | 4765231 4263751 | 1467253 |

This Peal thus prick't, will go, 84 _Changes_, and the _Treble_ leading, and the _Half Hunt_ lying next it, and a parting _Change_ (which is a double on the four middlemost of the Six hind _Bells_) being made, it will go 420, and by making _Bobs_ 5040.

Thus much shall suffice for _Peals_ upon Seven _Bells_, I proceed to _Changes_ upon _Eight_.

_Peals of Eight Bells._

Without amusing our selves with what Notes are most _Musical_, to _lye behind_, we will come to the matter of Fact; for those Methods of _Peals_ that are prick'd on _six_, may be the same upon _Eight_, Observing only, that _Triples_ and _Doubles_ upon _Six_, must be _Quadruples_, and _Triples_ upon _Eight_.

The Imperial Bob.

_Quadruples_ and _Triples_.

The _Treble_ hath a dodging _Course_, the two first, and two last _Bells_ always dodge, till hindered by the _Treble_, the two next to these, lying still one _Change_, dodge the next, till the _Treble_ hinders them too, Those in the 5th. and 6th. places dodge (the _Treble_ being behind) and those in the 3d. and 4th. places likewise dodge (the _Treble_ being before) and so till hindered by the _Treble_.

12345678 | -------- | 42361875 | 16847253 | 14283675 21436587 | 24368157 | 16482735 | -------- 12346578 | 42631875 | -------- | 18645273 21436587 | 24613857 | 18765432 | 18462537 24136578 | 42168375 | _bob._ | -------- 42315687 | 24618357 | 17864523 | 16587432 24135678 | 42163857 | -------- | _bob._ 42316587 | 41268357 | 16573824 | 15684732 24361578 | 14623875 | _bob._ | -------- 42635187 | 41263857 | 15678342 | 18753624 24631578 | 14628375 | -------- | _bob._ 42365187 | 14263857 | 17352648 | 17856342 24635817 | 41628375 | 17536284 | -------- 42368571 | 14268357 | -------- | 15372846 24365817 | 41623875 | 13274586 | 15738264 42638571 | 46128357 | 13725468 | -------- 24365871 | 64213875 | -------- | 13254768 42638517 | 46123857 | 12438765 | 13527486 24635871 | 64218375 | 12347856 | -------- 42368517 | 46281357 | -------- | 12436587 24638157 | _&c._ | 14826357 | 12345678 --------

By this method the Peal will go 224 Changes, and by making of _Bobs_ it will go 448, 672, 1344. The _Bob_ is a _Triple_ Change at the leading of the _Treble_, wherein the Bell in the _Fourth_ place lies still.

The next that comes to our Observation, and answers to what we first hinted at in the beginning of this discourse of _Peals_ upon _Eight_ Bells, I mean _Precedency in Title_, is the

Bob Major.

_Plain Quadruples_ and _Triples_.

In this all the _Bells_ have a direct _Hunting Course_, until the _Treble_ leads, and then the six hindmost _Bells_ dodge.

12345678 | -------- | 21436587 | 86745231 | 35172846 24163857 | 87654321 | 31527486 42618375 | 78563412 | 13254768 46281735 | 75836142 | 31527486 64827153 | 57381624 | 68472513 | 53718264 |

By this method this will go 112. And by making _Bobs_, 224, 336, or 672. The _Bob_ is a _Triple Change_, as in the foregoing _Imperial_ is specified. By making two _Extreams_, it will go 1344, and with four _Extreams_, 2688.

All Peals upon Six Bells, wherein half the Changes are _Triples_, will go upon _Eight_ according to the method before-going, thus; If it be a Peal upon Six consisting of 360, or 720 Changes, then there must be five _Hunts_ in the Ringing of it upon _Eight_, the _Treble_ being the first, 2 the Second, _&c._

College Bob Major.

_Quadruples_ and _Triples_.

There is four ways of pricking these. The first hath single Dodging behind, and is thus Peal'd.

The First.

12345678 | -------- | 21436587 | 56348271 | 78136524 24163578 | 53684721 | 71863542 42615387 | 35867412 | 17685324 46251378 | 38576142 | 16758342 64523187 | 83751624 | 65432817 | 87315642 |

The Second.

This hath Single Dodging before and behind, thus prickt.

12345678 | -------- | 21436587 | 42358671 | 42173865 24163578 | 24385761 | 41237856 42615387 | 42837516 | 14328765 24651378 | 24873156 | 13482756 42563187 | 42781365 | 24536817 | 24718356 |

The Third.

This hath double Dodging behind, thus Prickt.

12345678 -------- | 21436587 | 63548271 | 78153624 24135678 | 65384721 | 71856342 42316587 | 56837412 | 17583624 43261578 | 58673142 | 15786342 34625187 | 85761324 | 36452817 | 87216342 |

The Fourth.

This hath double Dodging before and behind both, thus.

12345678 -------- | 21436587 | 42638571 | 42167358 24135678 | 24368751 | 41263785 42316587 | 42637815 | 14627358 24361578 | 24367185 | 16423785 42635187 | 42631758 | 24365817 | 24613785 |

These may be prick't several other ways, but that I Omit here for Brevities sake; The _Dodging_ is without Intermission, except an hinderence comes by the _Treble_; as likewise between two Bells, until _Treble_ parts the Fray. The _Bobs_ are _Triple Changes_, as the _Treble_ leads; in the _1st._ _2d._ and _6th._ the Bell in the _4th._ place lies still at the _Bobs_, and in the _3d._ _4th._ and _5th._ that in the _2d._ place lies still.

Each of these will go 112 Changes, and by making _Bobs_ 224, 336, or 672.

College Triples Dodging both before and behind.

This Peal is the same for _Bobs_, as the _Bob Major_, and will go as many Changes by making _Bobs_, or otherwise, as any of the foregoing Four, and is thus Peal'd.

12345678 | -------- | 21436587 | 42568371 | 42157836 24153678 | 24586731 | 41275863 42513687 | 42587613 | 14725836 24531678 | 24578163 | 17452863 42536187 | 42571836 | 24563817 | 24517863 |

The Wild-Goose Chase

_Triples._

The Explanation shall follow the Peal; intending here to put an end to my _Epitome_ of the _Art of Ringing_, and therefore shall first present you with this Prick't thus.

12345678 | | -------- | | 21536784 | 37625481 | 15327684 25163748 | 73265418 | 13572648 52613784 | 72356148 | 31752684 56231748 | 27531684 | 37125648 65327184 | 25713648 | 73215684 63572814 | 52173684 | 72351648 36758241 | 51237648 |

In this Change the 4th. Bell must first hunt up into the Sevenths place, and then the 4 and 8 always dodge behind throughout the Peal, unless when obstructed by the _Treble_. The Bell that moves up into the 6th. place, when the _Treble_ moves thence down, lies still there, till displaced by the _Treble_; during which time the two hind Bells dodge, and the _five first_ go a perfect _Hunting-course_: And when likewise the _Treble_ moveth out of the 5ths. place the five first Bells go a _Hunting-course_, till it comes down there again: By this method it will go 80 changes, and by _Bobs_ 160, 240, or 480. The _Bob_ is made as in the foregoing Changes.

And here I thought to make an end of the _Art of Ringing_, but _Cynthius aurem vellit_, the young Practitioner, whose only Information is hereby aimed at, plucks me by the Sleeve, and tells me in the Ear, that tho' Peals upon six, as _Triples_ and _Doubles_, &c. make excellent Musick upon Eight _Bells_, 4 8, 6 8, 4 1, or 1 8 lying behind: Or, _Triples_ and _Doubles_ upon the six middle Bells, the _Tenor_ lying behind; yet for him who is not arrived to such a perfection of Skill, as to Ring these compleat Peals, the most proper and easy for him are _Set-changes_, which are founded on these _Grounds_.

First, _Placing the Bells Fifths_; thus the 4 must hunt up behind the 7, the 3 behind the 6, and the 2 behind the 5; or the one may Hunt down under the other, as the 5 under the 2, the 6 under 3, and 7 under 4: Or if you will, first let a _Single_, next a _Double_, and then a _Triple_ Change be made on the middle _Bells_, all coming to the same effect; for then the Changes will lye _Fifths_ thus: 1 5, 2 6, 3 7, 4 8. In the Peal four _Concords_ are to be regarded, The first 1 5, the Second 2 6, the third 3 7, and the fourth 4 8.

These four _Concords_ may go the Methods of any Changes upon four _Bells_; 1, 5 being taken for the _Treble_; 2, 6 for the _Second_; 3, 6 for the _Third_; and 4, 8 for the _Fourth_; and the _Concords_ may Change places with one another, as you lift. In which this Observation is highly necessary, that the two Notes of every _Concord_ must constantly attend each other in their Motion; that is, whenever one of the two Notes moves, the other must follow it.

Or Secondly, _Place the Bells Thirds_; thus: The 6 4 and 2 must hunt up, or else the 3 5 7 down; or otherwise on the middlemost _Bells_ let a _Triple_, _Double_ or _Single_ Change be made, are to one effect; and then the _Bells_ will lye _Thirds_ thus, 1 3. 5 7. 2 4. 6 8. Herein are four _Concords observable_; as in the former Peal, _viz._ 1 3. 5 7. 2 4. 6 8. These _Concords_ may go the Methods of any Changes upon Four _Bells_, 1, 3 being taking for the _Treble_, 5, 7 for the Second; 2, 4 for the Third; and 6, 8 for the Fourth; moving in the same manner; as before shewed.

By these _Grounds_ Variety of excellent and Musical Changes are to be Rung; _any Concord may be made a Hunt_, and to move up and down at the beginning.

In Ringing these _Set-changes_, the Note will lye sometimes _Fifths_, sometimes _Thirds_ and both, and then to _Clam_ them, is admirable Musick: Clamming is, when each _Concord_ strike together; which being done true the 8 will strike as but four _Bells_, and make a Melodious Harmony. You may _Clam_ two or three bouts, and then strike as many times Open, alternatively, one _Clam_ one Pull, and Open the next, &c.

Vocal Musick: _Or, Plain and Easy Directions to Sing by Notes, wherein with a little Help, any one who is Musically given, may be perfected in a short time_.

Musick, especially Vocal, has been of such high Esteem in all Ages, that it is accounted no less than a Divine Science producing such Concordance, and Harmony, that it cheereth and rejoyceth the Hearts of Men, and is delightful to every Creature. It is certainly an Addition to the joy in Heaven, where the Saints and Angels sing Halleluja's and Songs of Praises before the Throne of God. St. _Austin_ tells us, that it is the Gift of God to Men, as well as to Angels, and a Representation and Admonition of the sweet consent and Harmony which his Wisdom hath made in the Creation and Administration of the World. But not to Prologue on what everywhere so much commends it self, I shall Sum up what in that Nature is expedient in a few Verses, and so proceed to the Subject Matter, _viz._

_Nature, which is the vast Creations Soul,
That steady curious Agent in the whole,
The Art of Heaven, the Order of this Frame
Is only Musick in an other Name:
And as some King Conquering what was his own
Hath choice of various Titles to his Crown,
So Harmony on this Score now, that then,
Yet still is all that takes and governs Men:
Beauty is but Composure, and we find
Content is but the Concord of the Mind;
Friendship the Unison of well tun'd Hearts,
Honour the Chorus of the noblest Parts.
And all the Worlds good on which we can reflect
Is Musick to the Ear, or to the Intellect._

There are to make up a Musical Harmony computed seven Notes; now in the easiest way expressed by the Seven letters of the Alphbet, _viz._ A. B. C. D. E. F. G. And If it so fall out, that a Voice or Musick gradually rise or fall more than Seven Notes; The subsequent 8th, 9th, or 10th, will in the same order proceed, bearing the like Relation each to the other, as the 1st. 2d. 3d, _&c._ to which they respectively are _Eights_. And so that from hence every Eighth Note, being in Nature alike, is called by the name of that to which it is in an Eighth; however above or below it; and for the better understanding the various Musical Compositions out of these Notes, Musicians have devised and make use of Lines and Characters, that as a Language they may be understood and Communicated by Book, for the Instruction of the unlearned: As in the following Introductory Example, you will perceive;

In this example, before I come nearer to particulars in general, observe first, that those Characters you observe at the beginning of the Lines, are termed Cliffs or Claves, Keys to open and signify what part or pitch of Voice, _viz._ the _Treble_, _Mean_, or _Basse_ properly the Notes belong to; as likewise on what Line or Space the Seven letters expressing the Notes is placed. And then again, the five Lines and Spaces between them are useful, as Steps or Gradations whereon the degrees of Sound are to be expressed, or the Notes ascending and descending: Then Thirdly, the Characters placed on the five Lines, express the Notes themselves, or stand for them; and their difference in form, signify their quality, whether they be longer or shorter.

Your care must therefore be in this, and the Chapters following, to consider well in the first place, the _Gam-ut_, to learn the use of the Cliffs: Next to that, the Names of the Lines and Spaces, whereby you may readily know how to call a Note, as it stands on any of the Lines; and Thirdly, How you should Sing those Notes in right Tune, as well by degrees, as leaps; and last of all, to give each Note its due Quantity of Time.

This in general, being observed, and seriously weighed; that you may take a prospect of your task, I from it proceed to the _Gam-ut_, so far as I think necessary to my present design, which is to let you understand by it the use of the Cliffs, with the order and distances of the Notes, as the Parts in a Body lye together.

The consistence of this Scale is of Eleven Lines, with the Intermediate Spaces, and contains the places of all the Notes that are made use of Ordinarily in Vocal Musick. In the first Column you will find placed the Old Notes, being set down, that you may see what they are. And in the Second Column you are shewed which of the Seven letters properly belongs to each Line and Space. The Third Column contains the Cliffs, or signed Keys, demonstrating how many degrees of Notes they are one above another, which once Circumspectly observed and known, the other degrees of Distance are with more ease computed. And here

Five of these Lines, with their Spaces, are usually sufficient for the pricking down any Tune, for which reason this Scale is divided into Three Parts or Staves, compassed in with Arched Lines; and of these the lowermost five are proper and belonging to the _Bass_, and are known by this mark [Symbol: Bass Clef] on the Line of _F_. usually, therefore called the _F. Fa-ut_ Cliff or Key; because it opens to us the letters standing on the other Lines and Spaces, as in the ensuing Chapter will appear. As for the uppermost five Lines, they contain the highest of the Notes, and so belong to the Treble or highest Part. The Key to which is marked in this manner, [Symbol: G clef] and sometimes _G S._ on the lower Line but one.

The middle part or Tenor, usually takes in two of the upper Treble Lines; also two of the Bass Lines, that in the middle only being proper to it self, known by this mark placed on it, [Symbol: Tenor Clef mark] for the Cliff or Key, its place being properly in the middle Line, however it is many times placed on one or other of the other Lines; and note which ever the Cliff stands on, that Line is the place of _C._ and accordingly the other Lines are to be reckoned: Sometimes likewise we find the _Bass Cliff_ is removed to the middle Line, and upon such removal, that Line is _F, &c._ and tho' this manner of Shifting the _Cliff_ is troublesome, yet Custom and Practice having made the knowing of them necessary, you ought to be very well understanding in the manner of them, if you would be well skilled in Vocal or Instrumental Musick.

_The Names of the Lines and Spaces._

Having thus far plainly proceeded to Introduce the beginner or learner, I now lead a step further to the Names of the Lines and Spaces, which is a thing very Materal in the beginning of learning. For in the _Gam-ut_ having seen how the Notes lye together in a Body, it will be proper to know how you must take them into parts according to the several Cliffs, which are three in number, three beginning usually, as most common with the uppermost. And in these your first care will be to learn the Names of the Lines and Spaces, which are opened to you by the Cliff or Key; and these are in number Seven, expressed in the Seven letters, _A. B. C. D. E. F. G._ which for a more perfect Sounds sake, and other reasons to be given, you must pronounce or call _La, B, Ce, D, Læ, Fâ, G_. and this _Fa_ must be pronounced broad, _&c_.

These and the like Names the Notes receive for two Reasons; the first is, because the Voice is best sent forth in expressing some Syllable; as likewise that this number of Notes might be known by as many distinct Names, as for their places in the Cliffs: See the Plate following.

And it will be very necessary, that you should begin with and keep to one _Cliff_ at the first, as it pleases you to chuse, or as either of the three best agrees with your Voice for a high or low Pitch.

Having gone through all the Rules, and being perfect in that, then it is fit you should proceed to the other. There is no need you should meddle or trouble your self with the _Tenor_ or _C Cliff_ because it keeps no certain place; you must observe however, before you go further, to be ready at naming the Lines and Spaces, so readily to tell, as soon as you look on them, what letter any Line or Space is called or named by.

As for the rest, the _Cliff_ leads you to them, for beginning there, and Ascending, you will find the letters lying in Order, and in descending; it is only your naming them backwards.

The dash Lines, which you perceive above and below, are added only when the Notes Ascend above the _Staff_, or descend below it.

_Directions as to the Distances of one Note from another, as to Sound._

In this case, the distances are not all equal, but that in the rising and falling of any Eight Notes, there are two lesser distances; and these are named _Semitones_, or the _Half Notes_, which must be well observed and known, in remarquing their places in the _Staff_ of Lines; and the better to have them in your Memory at all times take a rule from certain Rhimes that point at their places, _viz._

_In every octave there are half Notes two,
Which do to us their proper places shew;
One half Note you will find from_ B _to_ Ce,
_The other half one lyes twixt_ Fa _and_ Le.

The _octave_ mentioned as an Eighth, and this Rule denotes the ordinary places where you are to Sing the Half Notes, when there are no Flats or Sharps placed or set in the Lines, _viz._ between _B_ and _Ce_, and twixt _Le_ and _Fâ_; these Flats and Sharps you will find thus marked [Symbol: for Flat] [Symbol: for Sharp] and when the _Semitones_, or _Half Notes_ are shifted, they are known by them when they are found upon the Lines.

Observe, that in these Staves or Lines, you find the Notes Gradually Ascending, of which the Pairs marked with Arches are half a Note distant.

+-------+ G.
| |
+-------+ F.
1 +-------+ E.
| |
2 +-------+ D.
| |
3 +-------+ C.
4 +-------+ B.
| |
5 +-------+ A.
| |
6 +-------+ G.

This Marginal Figure, shews to the Eye the distance of the Seven Notes one from another, the Letters Guiding or Directing to the Particulars, whereas you perceive _B_, _Ce_, and _Lâ_, _Fa_, lying near unto the rest, so must their Sounds be nearer when you come to Tune your Voice in harmony, _&c._ and the better to express with your Voice, and so observe the difference between half and whole distances of Notes; Sing often over these six Mona-Syllables, _viz._ _One_, _Two_, _Three_, _Four_, _Five_, _Six_, distinctly, as is to be observed in the Tune of Six Bells; and when you have done it many times, Sing only _One_, _Two_, _Three_, _Four_, and there stop, repeating three four by them selves for they are _Semitones_ distant in Sound, and the rest are alone, or a whole Note distant each from the next; so that by a little Judicial Observation you will perceive the three and four Bells to be a lesser distant in Sound, than the other.

The Figures or Number 1, 2, 3, 4, 5, 6, in the foregoing Marginal Figures, shew the several distances to the Eye of the Six Notes where _Le_ is the first, _D_ the Second, _&c._ and the third and fourth, are _Ce_, _B_, distant half a Note or Tune.

_Directions for the Tuning of Notes, &c._

The properest and most easy way for Tuning your Notes rightly, must be considered either in following the Voice of one skilled in Musick, or Singing, or some such Tuned Instrument, as is accomodated with Frets or Keys, which are the readiest and only ways as yet made use of by Practitioners. That of a Matter being most common, but where none of these can be had by the party desirous to Learn, I shall lay down the following Directions, which will very much Instruct one that hath a Musical Ear, especially such a one as has heard, and can Sing the Notes of the Six Bells, of which, I presume, there are few, whose Genius Leads them to the Science of Musick, are Ignorant.

Let me put then, Supposing that you can Sing, _One_, _Two_, _Three_, _Four_, _Five_, _Six_, right; then shall I by the help of these Notes, proceed to set you further in the right, and lead you to all the rest.

Consider well then, that beginning to Sing the first Note, let it stand on what Line or Space it will, you may Sing it with what Tune you think fit, either higher low, (as to the pitch of your Voice) but with this caution, that you reckon how many Notes you have above or below it, that your Voice in its pitch may be so managed as to reach them both without Squeaking or Grumbling, or any harsh or rough Indecency of Sound.

For applying which six Notes, observe this first Example;

Make your beginning with the first _Bar_, and with a high Voice Sing the _Six Notes_ you view on the _Staff_ divers times, calling them over by the Number, _viz._ _One_, _Two_, _Three_, _Four_, _Five_, _Six_, as in the foregoing Section; when that is done; Sing the same Notes by their Names, _viz._ _La_, _G_, _Fâ_, _Le_, _D_, _Ce_, in the Tune of six Bells.