ANINTRODUCTIONTo the Practice ofRINGING
As the original design of casting Peals of Bells was in order to make pleasant Musick thereon; so the Notes in every Peal are formed apt for that end and purpose, every Peal of Bells being tun’d according to the principles of Musick; for in a Peal of six Bells are the six plain Song-Notes, whereupon all Musick consists, namely,la sol fa mi re ut. But in regard that in ringing of them the Notes cannot be had at command, as the Notes of other Instruments may; therefore, as the Practitioners in ancient time found some necessity to cause all the Notes to strike successively after one another, so likewise they thought fit in ringing them to place the Notes in this following order. The least note to lead or strike first, then the Note which is the next degreedeeper or flatter, and so the rest of the notes to strike after each other according to their degrees, the flattest striking last; in which order the notes were successively reiterated both at fore-stroke and back-stroke, from the beginning to the end of each Peal. And at this day the same order is also observed in raising, ceasing, and ringing them at a low compass; wherein each note being confin’d to strike in a certain place, therefore had they their terms of First, Second, Third, Fourth, Fifth,&c.given them, to denote their order and places of striking; from whence also the Bells derive those terms of distinction by which they are now known. Although the ringing of a Peal of Bells in the aforesaid order, (which is commonly term’dRound-ringing) is in it self Musical; yet the Notes may be so placed in ringing, that their Musick may be rendred much more pleasant: for in Musick there are Concords, which indeed may be term’d the very life and soul of it, that renders all Musick exceeding pleasant: the principal are Thirds, Fifths, and Eights; Thirds are 1 3. 2 4. and such like: Fifths are 1 5. 2 6.&c.Eights are 1 8. 2 9. 3 10.&c.each Concord consisting of two notes. They may well be termed Concords, in respect of their agreementand harmony; for the two notes (as if it were by mutual consent) being struck together at one instant, or else immediately after one another, affords delightful melody to the ear; in which respect, a peal of five Bells are capable of making better Musick than a peal of four; six better than five; and more especially will ten or twelve make more excellent Musick than any lesser numbers can possibly do, there being greater variety of Concords therein, and especially of Eights. For this Musical end were changes on Bells first practised,changesbeing nothing else but a moving and placing of the Notes in ringing, whereby variety of pleasant Musick is made; and as the manner of moving the notes, is, for two notes to change places with each other, therefore are they calledChanges. The methods of changes being somewhat intricate, I have thereforepenn’d the following Treatise as a Clue to guide the Practitioner through the Labirinth of them, wherein I have made use of figures to represent the notes of Bells, the manner thus. In a peal of five Bells there are five several notes, which with figures are thus exprest, 1 2 3 4 5: the figure 1 represents the least or sharpest note, which is term’d the First, because its place in round ringing is to lead; this note is mostcommonly called theTreble. The figure 2 represents the note which is the next degree deeper or flatter, and is term’d the Second, because it strikes in the second place. And in like manner 3 represents the note of the third Bell, 4 the note of the fourth Bell, and 5 the note of the Fifth or Tennor. In which manner, the figures in all the following methods do likewise represent the notes of Bells.
Since the ringing of changes requires the peal of Bells, on which the changes are to be rung, to be first raised up to a set Pull, which compass is most proper for the ringing of them; therefore the Learners first practice must be to raise a Bell true in peal, to ring it at a low compass, and also to cease it true in peal, wherein consists the chief grounds of this Art, which depends on the Ear, and therefore much judgment is required therein. And to speak the truth, most practitioners are in these days somewhat deficient herein; the ringing of changes having generally diverted the Learners fancy from the practice ofraising,round-ringing, andceasing, by which means we have in a manner lost one Excellency in the pursuit of another. Therefore I could wish that the Practitioners of this Art would set a greater esteem on trueRinging in general, since the only excellency as well in the ringing of Changes as Rounds, depends thereon: the keeping of time being as essential to render all kinds of ringing pleasant to the ear, as ’tis to render any other kind of Musick; therefore the practitioner ought to have a Musical eare, and to have some judgment in beating time, without which he can never ring his Bell true in its place. A prospect of true ringing at any certain compass under the Sett, may thus be taken; for Instance, in ringing a peal of 5 Bells; from the fore-stroke of every note to the next fore-stroke of the same note, there ought to be elevenpunctumsor Beats of time, which are all supposed to stand at Æquidistances: now in ten of thesepunctums, the five notes ought exactly to strike at the fore-stroke and back-stroke, and the eleventh stands as a Cypher to guide the Treble-note at fore-stroke to a double proportion of time from the Tennor-note at back-stroke: which blankpunctummust also be beaten in the same place by every note, to render its fore-stroke answerable to that of the Treble. For example; the third note having struck at fore-stroke, it must beat elevenpunctumsof equidistance unto its striking there again. The firstpunctumis that of the 4thnote, the second 5, thethird 1, the fourth 2, the fifth 3, the sixth 4, the seventh 5, the eighth 0, the ninth 1, the tenth 2, the eleventh its own place of striking again at fore-stroke. Thesepunctumsor Beats of time, must be proportioned either wider or closer, according to the compass of the Treble: therefore first the Treble must fix its compass certain and true at fore-stroke, which ought to be proportionate to what the number of the notes, and compass of the peal of Bells, may according to judgment permit; and then from one fore-stroke of it to the next, if there are five notes; there ought to be elevenpunctumsof equidistance assigned, wherein the notes should exactly strike (except the blank) as before. From hence ’tis, that the most judicious Ringer ought to be put to the Treble; for that bell cannot possibly be rung true by any other means than by beating of its own time; and although the exactness of true ringing requires the like in every note, when once the compass is fixed, yet the leading note being rung true, may be a guide to the rest of the notes, which may tolerably take their measures of time from the Treble-note: but for every note to take its measure of time solely from the next preceding note, must needs be very erronious; for therebythey implicitely lead one another out of the way. Or else in the ringing of five bells, from the fore-stroke of every note to the next fore-stroke of the same note, there may be one and twentypunctumsor beats of time assigned, to stand at equidistances; and the five notes, as they follow one another, at the fore-stroke and back-stroke to strike in every secondpunctum, except the Treble-note at fore-stroke, which must strike in the thirdpunctumfrom the Tenor at back-stroke; so that then there will be two of those spaces betwixt every note, and three betwixt the note of the Tenor at back-stroke and the note of the Treble at fore-stroke, which possibly by some may be held a better compass than the former: butquot homines tot sententiæ. Every Practitioner, that has judgment to beat his own time, has the advantage of ringing his bell true, whilst the rest of the notes commit faults; for the compass being once fixed, as many bells as do either rise or fall from thence commit errors.
The truest way of raising a peal of bells according to the best of modern practice, is, as quick as may be; every Ringer taking assistance to raise his bell, according as the going of it requires. In raising of them, the lesser bells as the Treble&c.ought at the firstpull to be swayed very deep, and held down in the sway by strength of armes as much as may be, to delay the time of their first striking, by which means the bigger bells, which carry a large compass, may have space to come in; and the raising of the smaller bells to be continued with a strong pull, giving them scope over head (for the aforesaid reason) untill they come up Frame-high, or thereabouts, and then the pull to be slacken’d, and the bells leisurely to be raised to the intended height or pitch. The bigger bells of the peal, as the Tenor&c.must in their first raising be checkt or pinch’d over head, by which means the notes of all the bells may be made to strike round in their due place and order from the beginning; and observe, that at the first pull all the bells must follow one another as close as may be. A peal of bells may thus be ceased: the falling of the bells from a Sett-pull must gradually be done, by checking them only at Sally, until the low compass renders the Sally useless; and when they are ceased so low, that they scarce strike at back-stroke for want of compass: then he that rings the Treble, may give notice (by stamping on the ground) that the next time the bells come to strike at the fore-stroke, they may be checkt down so low as to ceasetheir striking at the back-stroke, yet their striking round at the fore-stroke may be continued, until they are brought into a chime, which is a graceful conclusion of a peal.
In raising of a peal of bells, all the notes ought to strike round at one pull: but mistake me not, I do not mean at the first pull; for at small bells ’tis usual to sway them all round at the first pull without striking; at the second pull to strike them at the fore-stroke, and at the third pull at back-stroke. In raising of a peal of more weighty bells, ’tis usual to strike them double at the fourth pull, because the extraordinary weight and large compass of the hind-bells permits it not to be done sooner. In the first raising of a peal of bells, one bell ought not to strike before the rest, or to miss striking when the rest go round: neither ought any bell in ceasing to strike after the rest, or to leave striking before the rest; all which, according to the strictness of true ringing, are accounted great faults.
The peal of bells on which the changes are to be rung, must first be raised up to a Sett-pull, which compass is most proper for the ringing of changes; for then the notes of the bells may be had at command. Therefore before the young Practitioner can be capable of ringing changes, he must be extraordinarywell skill’d in the managing of a bell at a Sett-pull, which is absolutely requisite, for this reason: In the ringing of changes, his mind will be so busied and wholly taken up with the consideration of the course and method of them, and his eye continually wandring about to direct his pull in the following of the other bells; that unless he has extraordinary skill in the managing of his own bell, and can set it in a manner hood-winkt, he will be apt either to drop or overturn it; or else on the other hand, for want of skill, his eye and mind will be so fixed on his own rope and bell to guide the managing of it, that he cannot at the same time mind the course of the changes, and then no wonder if he is in a wood, which consequently follows; and indeed hence partly ’tis, that the Learners in their first practice do oftentimes toil and moil themselves to so little purpose. Therefore ’tis not enough that the young Practitioner can set a bell it may be half a score times together, when ’tis an even wager that he either drops or overturns it in those ten-pulls: but he must be so perfectly skill’d, as that he might adventure to lay ten to one, that he can set it thirty or forty times together, both fore-stroke and back-stroke, without dropping or overturning it, and withoutlooking directly either on his hands or rope whilst he sets it. Therefore in his practice of setting a bell, he may cast his eye about on the other bell-ropes whilst he manageth his bell, whereby he may accustom himself to manage it as the ringing of changes requires.
The ringing of changes is performed, partly by the ear, and partly by the eye; the ear informs when to make a change, the eye directs the pull in the making of it, but then again the ear guides the striking of the note true in its place according to time. So that the ear and eye have each of them its proper object in the ringing of changes, and therefore ought at the same time to be absolutely free from all others whatsoever, the notes of the bells being the object of the ear, and the bell-ropes the object of the eye. Now these two Senses in the time of ringing do each of them thus perform its office. First, the ear, as a Sentinel, discovers the near approaching change, and also the place wherein his note lies, that is, whether before or behind the note wherewith ’tis to make a change, and gives present information to the eye, to perform its part accordingly in the making of it; but then again the eye refers it to the ear, to place the note true in striking. But questionless (by the bie) the truest ringing ofchanges is to be performed only by the ear; but then the Practitioners must be capable to judg of time, and to beat it true, which must be the only direction to guide their pull; and then it must be performed at a peal of bells that may be managed with ease: and being so fitted in all respects, the changes may doubtless be rung more true, with greater pleasure to the Practitioners, and much more free from mistakes and forgets, only by the ear, than by making use of the eye to direct their pull. But in regard that either the ill going of the bells, or want of fit accomplishments in the practitioners, may render it unfit for common practice; therefore the surest way is to ring both by the eye and ear, as I said before. Now to render the eye and ear rightly useful in the ringing of changes, five things ought by the young Practitioner to be well understood. First, he must be able to distinguish the notes of a peal of bells, and to know one from another in the time of ringing. Secondly, he must apprehend the places of the notes. Thirdly, the precedency of notes. Fourthly, the manner of making a change in ringing. Fifthly, a general prospect of the manner of putting the four preceding notions into practice.
Observation 1.The Learner must be ableto distinguish the notes of a peal of bells one from another, and to know them asunder; as the Treble-note from the Second, the Second from the Third,&c.which, tis true, may readily be done in round ringing, because each note may be known by the place wherein it constantly strikes; but in ringing of changes it is more difficult. For admitting that six bells should strike in this order, 5.3.6.1.4.2. it might puzzle an unskilful ear to judg which is the Treble, or which the Second note, especially whilst any other note strikes betwixt them: and the like difficulty might happen in distinguishing the rest of the notes, as the2dfrom the3d,&c.To remove this difficulty, he must endeavour to acquire some skill in tuning the notes of a peal of bells, with his voice, which he may do by imitating the notes of the bells when he hears them ring: or else any person that has skill in singing, will presently direct him therein, and also how to take the true pitch of any notes with his voice, which will be the only means to distinguish them asunder.
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Observ. 2d.The Learner must rightly apprehend the places of the notes, which I think cannot better be done than by this means. Considering that the notes of a peal of bells do all strike one after another at the fore-stroke, and the like at back-stroke; it might be requisite for him to imagine, that the notes in their striking do lie in a direct line, that is, in a row at the fore-stroke, and the like again at back-stroke; for then the places of the notes will much resemble the places of the figures wherewith the changes are prickt: for as the figures of every change do all stand in a row; so likewise the notes of the bells, being imagined to strike in the like row, he may the more readily apprehend the places of the notes, and consequently of changing them. For the practick part of this Art, is performed by means of imaginary, not real notions; which will thus manifestly appear. This is the platform of a Frame, wherein five bells may be supposed to hang in a Steeple, the figures therein representing the places wherein the five bells hang. Now in the sixscore changes on five bells, we will suppose the Treble to be the whole Hunt, and to hunt up first over the Second, then over the Third,&c.Now the Treble cannot really move out of the place wherein it hangs; but by delaying its striking untill the Second Bell has struck, it may by that means strike next after it; and again, by delaying its striking until the Third hasstruck; it may also strike next after that, this being the true manner of the changes; by which ’tis evident, that the bells have neither really such places nor motion as is pretended, but is meerly imaginary, and was at first feigned only as a Guide to direct the Practitioner’s apprehension in the ringing of them. So that although the art of changes is in it self a real thing, yet the notions by which they are reduced to practice on bells, are not so. For which reason, the several practitioners of this Art, before they can become expert, are fain to form in their minds imaginary notions to guide them; some after one manner, some perhaps after another, according to their several fancies, yet all tending, to render the methods of changes practicable on bells; and having once form’d in their minds such imaginary helps, they become expert in short time: and then no sooner do they understand the methods of changes prickt with figures, which they commonly discover at first view; but they are presently capable of ringing them readily on bells, which experience daily testifies. And hence it is, that oftentimes the Learners, although they perfectly understand the methods of changes prickt, and also can perfectly manage a Bell; yet for want of a right apprehensionof the nature of changing the notes, which of themselves it may be they cannot soon attain, are therefore much puzzledin their first practice of ringing changes. Therefore as a guide, the Learner must first form in his mind a fit representation of the places of the notes; which I think cannot better be done, than by imagining each note to be a figure; as the Treble-note to be the figure 1, the second note the figure 2, the third note the figure 3, and the like of the rest. Then whensoever he hears a peal of bells ring, let him by strength of imagination conceit, that each note bears the shape of a figure; that is, at the same instant of time that the note strikes, he may imagine that it leaves the impression of the figure behind it, and that with the eye of his imagination he perfectly sees it: and likewise as the notes of the bells do all strike after one another at the fore-stroke, so he may imagine that they lie in a row in the shape of figures; and the like again at back-stroke. For instance: suppose that five Muskets were charged with five bullets, and that each bullet bears the shape of a figure; one Gun to be charged with the figure 1, another with the figure 2, and the other three Guns with these three figures, 3. 4. 5. Then supposing a straightline were drawn upon the wall, thus —————————— and that the five Muskets were by five men levell’d against the line, which is to be the mark for them to shoot at; the figure 1 to be first shot off, then the figure 2, and so the rest in order immediately after one another: now at the same instant of time that the Guns are heard to go off, the five figures would appear in a row upon the wall, thus.–1–2–3–4–5–So in like manner when he hears a peal of five bells strike after one another at the fore-stroke, and again at back-stroke, he may imagine that at the very instant of their striking their notes appear to his apprehension in the shape of the five figures, and that they strike in a row, thus, 1 2 3 4 5, as if each Bell were a Gun, and had shot out its note in the shape of a figure. There being necessity that the young Practitioner must either imagine each note to be a real figure, or else a representative: for as the ear is to be his guide to direct when to make each change; so a right apprehension of the motion and places of the notes, must be a means to guide his ear. Now in regard that the changes are first prickt with figures, from whence the notes of the bells derivetheir course, therefore if in ringing he imagine each note to be a real figure, then the same knowledge that guides the pricking, guides also as readily the ringing of them, for then the note of his bell is supposed to have the same course with that of a real figure. But if he imagines that each note is not a real, but a representative of a figure; then consequently it must only have the like, and not the same course: by which means, whilst he is ringing of changes, his mind must have frequent recourse to his Pocket, that is, to the changes there prickt; from whence he must continually fetch instructions to direct the course of his Bell, which is oftentimes the case of the Learner: his thoughts in the time of ringing being commonly upon the figures that are prickt, either upon paper, or else upon the Steeple-wall, whilst it should be wholly intent upon the notes. Therefore in a word, the Practitioner whilst he is ringing of changes, must fix his mind fully and wholly upon the notes of the bells, and not permit it in the least to wander from thence; for the notes are to be the sole object of the thoughts in the time of ringing.
The notes being imagined to strike in a row as aforesaid, their places will then soon be understood. The notes do take theirplaces according to their successive order of striking both at fore-stroke and back-stroke; each succeeding note taking its place next to that which preceds it: for whatsoever bell leads either at fore-stroke or at back-stroke, its note lieth in the first place of the supposed row of notes; and that which strikes next after the leading note, its note lieth in the second place of the supposed row of notes, and so the rest in the like order. As if five bells should strike thus after one another either of fore-stroke or back-stroke, 5 4 1 2 3. here the5thlieth in the first place, because it was first struck; the4thin the second place, because it was second struck; the Treble in the third place, because it was third struck; the2din the fourth place, because it was fourth struck; and the3din the last place, because it was last struck; and the like of the notes in every change.
Observ. 3.The next thing to be understood by the Learner, is the precedency of the notes. Now whereas in the ringing of changes, the notes do all strike after one another at the fore-stroke, and again at the back-stroke, therefore are they said to lie before or behind each other, according to their places of striking. As if five men were standing in a row, as these five figures represent,1 2 3 4 5, the first man to stand at the fig. 1, the second man at the figure 2,&c.and that they stand with their faces all one way, that is, the first man ready to lead, and the rest to follow him one behind another. Now the first man stands before the rest, and the fifth man behind the rest; the second man stands behind the first man, but before the third; the third man stands behind the second, but before the fourth; and the fourth stands behind the third, but before the fifth. In which manner the notes being supposed to strike in the like row, may also be laid to lie before or behind each other as the men did. For whatsoever note leads either at fore-stroke or back-stroke, is said to lie before the rest; and that which strikes last, to strike behind the rest. The note which lieth in the second place, as on the one hand it lieth behind the leading note, so on the other hand it lieth before the note in the third place. As the note in the third place lieth behind the note in the second place, so it lieth before the note in the fourth place. And in like manner, every note is said to lie behind those that strike before it, and before those that strike after it.
Observ. 4.A Change is to be made betwixt two notes, by moving them into eachothers places; wherein ’tis to be observed as a general Rule, That every change must be made betwixt two notes that strike next to each other. As if five bells were ringing round in this order, 12345, the 1 and 2 may make a change, or 2 and 3, or likewise 3 and 4, or 4 and 5, because each two lie next each other; but the 1 and 3 cannot, because 2 strikes between them, much less may 1 and 4,&c.The two notes which make every change, moves into each others places in the making of it; wherein one note is said to moveup, and the otherdown. The reason why one of them is said to move up, is, because he that rings that bell, in the making of the change must hold it up at the Sett a little longer than ordinary, to delay its striking, whereby ’tis made to follow the other note which before it preceded; and because ’tis so held up, therefore ’tis said to make anUp-change, or to move up: and on the contrary, the reason why the other note is said to move down, is, because he that rings it, pulls down the bell a little sooner than ordinary, to make it strike before the note which before it followed; and because ’tis so pulled down, therefore it is said to make aDown-change, or to move down. I will here give a short though certain rule to know when anUp-change or a Down-change is to be made: whensoever any note moves to strike behind the note wherewith it makes a change, it makes an up-change in doing it; and whensoever it moves to strike before the note, which ’tis to make a change with, it makes a down-change in doing it: so that every note which moves fromward the leading-note, makes an up-change; and when it moves toward the leading-note, it makes a down-change. I will here shew the manner of making a change: admitting that a peal of five bells were raised to a sett-pull, which is the usual compass for ringing of changes; the notes are first supposed to strike in this order, 12345. Now a change may be made betwixt any two notes that strike next each other; I will here make it betwixt the 3d. and 4th. which is to be done by moving them into each others’ places. Now ’tis observable, that before the making of the change, the 3d. note lies before the 4th. that is, it strikes next before the 4th; and the 4th. lies behind the 3d. that is, it strikes behind it: now in the making of the change, the 3d. must move to strike behind the 4th: wherein it makes an up-change; and the 4th. note at the same time must move to strike before the 3d. wherein it makes a down-change;the change being made, the bells will strike thus, 12435. All changes whatsoever are made in the aforesaid manner: for as the3dnote made an up-change in moving to strike behind the4th, and the4that the same time a down-change in moving to strike before the3d; so in like manner the two notes that make every change, must in the making of it move the one up, and the other down, as the3dand4thhere has done. The Learner may take notice, that in ringing termes ’tis not usual to say, that a bell makes an up-change, or a down-change; but in short, that itmoves upordown, which implies the former. When a note makes an up-change, ’tis then said to moveoverthe other note; and when it makes a down-change, to moveunderit: as in the next preceding example, where the3dnote is said to move up over the4th, and the4thdown under the3d, in which manner the termsoverandunderare given to the two notes that make every change.
Observ. 5.In the time of ringing changes, two things are by the Practitioners to be well considered. First, to observe and readily to know, which two bells are always to make the next succeeding change: Secondly, if he is concern’d therein, to consider what bell he is to follow in the making of it.Upon a right knowledge of these two things, depends the Practick part of this Art. To make him expert herein, he must before hand perfectly understand, and readily remember the course and method of the changes prickt with figures, wherein he ought to be so well skill’d, as to be able to prick them down divers ways, that is, to make any figure a Hunt at pleasure; which when he can readily and speedily do, without pausing to consider of the course, then ’tis presumed that he understands the methods throughly. But yet he will not be capable to put them in practice, untill he understands the manner of making a change in ringing; neither can he understand that, until he understands the precedency of the notes; nor the precedency, until he understands the places; nor the places, until he knows the notes one from another. Therefore the four preceding observations being first perfectly understood, and also the methods of the changes as before; the Practitioner may then successfully proceed in the ringing of changes; and as a further help therein I will here instruct him. There are three bells concern’d in the making of every single change, except only when ’tis made behind, and then but two: whensoever the note of his bell is to make a change withany other note, his ear must then inform him whether it lies before or behind the other note; if it lies before, then in making the change it must move up behind it, that is, to follow it; and consequently, he must draw down his bell next after that which he makes a change with, which is called an up-change, as I said before. But if the note of his bell lies behind the other, then in making of the change it must move down to strike before it, and consequently he must draw down his bell next after that which the other before followed, this being a down-change. So that the making of an up-change is very easie, because he must always follow that bell which he makes a change with; but a down-change is more difficult, because he cannot so readily apprehend what bell he is to follow; yet there is a certain rule for it, which is this: to observe beforehand what note strikes the next but one before his, which bell he must follow in the making of the change. Whensoever the two notes, which strike next before his note, are to make a change; he must consider, that notwithstanding his note is to lie still in its place, yet he is concern’d therein, because the bell which he followed before the making of the change, must in the making of it move away down, and therefore hemust follow the bell that comes into its place.
The changes are to be rung, either bywalkingthem, as the term is; or else Whole-pulls, or Half-pulls. Bywalkingthem, is meant, that the bells go round four, six, eight times or more in one change; which way is very proper for young Practitioners, to introduce them into a more ready way of Practice; for whilst the bells go round divers times in one change, they have in the mean time leisure to consider which two bells are to make the next following change, and also what bell each of them is to follow in the making of it; and so by diligence in practice they will by degrees acquire a more ready skill to enable them to ring at whole-pulls. Whole-pulls, is, when the bells go round at the fore-stroke and back-stroke in a change; and every time they are pull’d down at Sally, a new change is made. Whole-pulls was the general practice in former times; and indeed, considering the manner of the hanging of the bells in those days, they could not well be rung at half-pulls: but since the improvement of the Art of Bell-hanging, that is, with round Wheels, trussing them up in the Stock, and placing the Roll at right Angles with the Sole of the Wheel; the bells go much better, and are managed with more ease at aSett-pull than formerly: therefore the changes are now generally rung at half-pulls, that is, at the fore-stroke one change, at the back-stroke another, and so throughout.
In ringing half-pulls, some peals of changes will cut compass, wherein the whole Hunt comes always to lead at the back-stroke; to prevent which, make the first change of the peal at the back-stroke. In plain and single changes on six bells, to hunt (that is, whole Hunt) the Treble, third, or fifth, down at the beginning of a peal cuts compass, unless prevented as before. Also to hunt the second, fourth, or sixth up at the beginning of a peal, cuts compass, unless prevented as before. Which rules, leaving out the Tenor, serves in like manner to prevent cutting compass on five bells.
’Tis convenient in ringing, to give notice of the extream changes, and he that rings the slowest Hunt, may best do it. The manner of it is, to sayExtream, when the leading bell is pulling down, in order to make the change next before the extream; by which means there will be one compleat change betwixt the warning and the extream: longer warning would be too much, and shorter too little.
The divers kinds of changes on Bells may be comprehended under two heads,viz.Plain Changes, and Cross Peals, which terms are comparatively given: for as the first are plain and easie only in comparison to the methods of the second; so consequently the second cross and intricate in comparison to the methods of the first. I will first shew in what respect they differ, and then proceed to the methods. Plain changes (I mean compleat peals) are such as have one universal method, wherein all the notes except three have a direct hunting course, moving gradually under each other in one plain and uniform order. But the methods of cross peals are various, each peal having a course differing from all others: and although most of them have Hunts, yet the Hunts have different kinds of motions, and some very intricate. Moreover plain changes are also term’d Single changes, because in the ringing of them there is only a single change made in the striking of all the notes once round either at fore-stroke or back-stroke; whereas in cross changes ’tis usual to make as many changes as the number of notes will permit. For example, supposing that a peal of 5 bells were raised, and rung at a Sett-pull; the notes are supposed to strike roundin this order, 12345: now any two of the notes that strike next together may make a change, therefore either a single or a double change may be made at pleasure. The single change is made by changing only two notes; the double change is made by changing four notes, that is, two to make one change and two another, yet ’tis called one double change, and not two changes, in regard ’tis made in the striking of the five notes of the bells once round: as, admit the treble, second, third, and fourth, should make a change, ’tis thus to be done, 21435, where the Treble and Second made one change, and 3, 4 another; which we will imagine tobe made at the fore-stroke of the bells, and therefore ’tis called one double change, and not two changes, because ’tis entirely made in the striking of the five notes once round. So that this one double change has effected that which would have required two single changes to have done the like. For instance, there can but two notes change their places at once in a single change, therefore the Treble and Second shall first change their places thus, 21345; then the third and fourth thus, 21435: so that here the five notes have gone twice round to effect that, which in the double change was done in going once round.And this is the nature of the difference between Plain and Cross changes.
As the Learner ought to proceed regularly in his practice, beginning first with the plainest and easiest methods. I will therefore observe that order, and first shew the course and methods of Plain changes.
Two bells are capable to make only two changes, which is to be done by changing the notes twice, as in these figures.——
There are six changes on three bells; which are made by this rule: the two first and two last notes must be changed by turns.
In these six changes ’tis observable, that the two first notes, which were 1 2, made the first change of the six; but they may as well be rung by
The six changes can be rung no more than these two ways here set down.
The Six changes are sometimes rung by observing a hunt therein, which is very improper, since every note has a like course. Yet I confess in demonstrating the methods on twelve, I did there admit a Hunt into the six changes; but that was only for demonstration sake.
The compleat peals of plain changes, from three to all greater numbers whatsoever, as the Twenty four changes on four, the Sixscore on five, the Seven hundred and twenty on six,&c.are prickt and rung by one method; all the notes having a hunting-motion, except only three in each peal, which three do make the six changes in the same manner as they are before prickt. So that the Six changes on three may be term’d thebasisor foundation of the compleat peals on all greater numbers.
Every Hunting note in each peal has acertain number of notes assigned, through which ’tis always to hunt. The termhuntis given to a note in respect of the manner of its motion, which I will shew in this example. First, the notes of four bells are supposed to strike round in this order, 1234. The Treble shall be the Hunt, and the other three assigned or appointed for it to hunt through. Now whereas the Treble-note leads, it must move through its assigned number to strike behind them: and whereas every change must be made betwixt two notes that strike next each other, as I have shewed before in the4th Observation; therefore the hunting-note is confin’d to move gradually through the rest by making a change with each note that strikes next to it; and accordingly it must first move into the2dplace, next into the3dplace, and lastly into the4th. So that ’tis to make a change with every note that lies behind it; first with the2dnote, next with the3d, and lastly with the4th.
The hunting note has here moved through its assigned number; for whereas at first it did lead, now it strikes behind them. Wherein ’tis observable, that it made upchanges all the way; which of necessity it must do, because every note with which it was to make a change, lay behind it: and because it made up changes, therefore ’tis said to have hunted up. The hunting-note shall now move through its assigned number again, to lead as at first. Therefore first it must move into the3dplace, then into the second place, and lastly into the first place, which is called the Treble’s place; in which motion it must make a change with each note that strikes next before it: first with the4thnote, next with the3d, then with the2d.
’Tis observable, that here the Treble made down-changes all the way, which of necessity it must do, because every note with which it was to make a change, lay before it: and because it made down-changes, therefore it is said to have hunted down. This is the manner of the motion of the hunting notes in all peals of plain changes; for they hunt up and down through their assigned number, as the 1 here has done. This example is plain and full to instruct the Learner in the hunting of any bell, therefore he ought to peruse it diligently, that he may understand the truescope and meaning of it; and as a help he may apply himself to practice by taking a Treble, and attempt to hunt it up and down as this Example directs; which he may the more readily do, if he understand the5th Observationbefore set down, which guides him to make a change in ringing. So that partly by reading and well considering of what I have here wrote, and partly by practice, he may in a short time become perfect in the hunting motion of any note; which when he rightly apprehends, he will then presently be capable of understanding the following methods; and therefore I shall be the more brief in my directions to them.
Twenty four changes may be rung upon four bells: but the Learner may first practice the twelve changes, and the eighteen changes. In the twelve changes the notes are all to be hunted up after one another, which may be called the Twelve all over. First the treble-note must be hunted up, letter (a); then the second note must likewise hunt up, letter (b); next thethird note must hunt up, letter (c); and lastly the4thnote also, letter (d).
The four notes may also hunt down one after another. First, the4thnote must hunt down to lead: then the3dnote likewise, and so the2dand Treble one after another, which may be term’d the Twelve all under.
Courteous Reader, in my directions to the course of each peal, I do there refer by letters to the examples; which I am forced to do, to prevent those confused breaks, and unhandsome spaces, which otherwise would have happen’d both in examples and precepts. Whatever letter I mention in my directions, refers to the like at the figures. For instance; in my directions to the twelve changes next before, I there directed the treble-note to be first hunted up, letter (a); which letter refers to the like letter at the first three changes of the twelve, where the Treble hunted up, as ’tis here again represented, and the like of the rest.
In the Eighteen changes, the Treble is ahunting note, but never hunts up farther than the3dplace; and when it lies there, the two first notes must make a change; and every time it leads, the two hindmost notes. First it hunts up into the3dplace, letter (a); the two first notes, Which are 2.3, make a change, letter (b); the Treble hunts down (c). The two hindmost notes make a change (d), the Treble hunts up (e). The two first notes, which are 3.4, make a change (f) the Treble hunts down (g); the two last notes, which are 3.2, make a change (h), which method being continued, will bring the bells round at the end of eighteen changes. The Eighteen changes may also be rung by hunting the4thnote down into the2dplace, and then a change to be made behind: the4thnote to be hunted up again into its own place, and then a change to be made before, which course being continued, will produce Eighteen changes.
The Six changes on three are the ground of the Twenty four changes on four; for one of the four notes hath a constant hunting motionthrough the other three, in the same manner as in the preceding Example,page50.and the three notes are to make the six changes in the same manner as I have before shewed in the changes on three bells; one of the six changes being always made every time the hunt lies either before or behind the three bells: therefore if the Learner do but rightly apprehend the course of the six changes, and also the manner of the motion of the hunting note, he will presently understand the method of the twenty four changes. The six changes in the twenty four, according to the terms of ringing are called Extream changes, and the three bells which makes them, Extream bells. So that in the twenty four changes, there is a hunt and three extream bells. Every time the hunt lies either before or behind the extream bells, an extream change must then be made. The extream changes may be made two ways,viz.either betwixt the two farthest extream bells from the hunt, or else betwixt the two nearest extream bells to it. In this Example every extream change shall be made betwixt the two farthest extream bells from the hunt, and the treble shall be the hunting note, which must firsthunt up (a); then the two farthest notes from the hunt, which are 2.3, must make an extream change (b). The Treble must hunt down (c). The two farthest notes from the hunt, which are 2.4, must make an extream change (d). The treble must hunt up (e); the two farthest notes from the hunt, which are 3.4, must make an extream change (f). The treble-note must hunt down (g). The two farthest extream bells from the hunt, which are 3.2, must make an extream change (h). The treble must hunt up (i). The two farthest notes from the hunt, which are 4.2, must make an extream change (k). The treble must hunt down (l). The two farthest extream bells, which are 4.3, must make an extream change (m), which concludes the peal. Now the Learner for his satisfaction may take out the extream changes in the same order as they were made, as first at (b), then (d), and so (f.h.k.m.) and they will stand as they are here set down; where ’tis evident, that 2.3.4 have made the six changes according to the method of the first six changes on three bells, before set down,(page48.) where the first change of that six was 213, and this being 324, is the same in course though the figures differ, and the rest of the changes in this six, are likewise the same in course and method with those.