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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 has struck; 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 apprehension of the nature of changing the notes, which of themselves it may be they cannot soon attain, are therefore much puzzled in 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 straight line 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.
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 derive their 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 their places 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 the 5th lieth in the first place, because it was first struck; the 4th in the second place, because it was second struck; the Treble in the third place, because it was third struck; the 2d in the fourth place, because it was fourth struck; and the 3d in 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 each others 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 move up, and the other down. 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 an Up-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 a Down-change, or to move down. I will here give a short though certain rule to know when an Up-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 the 3d note made an up-change in moving to strike behind the 4th, and the 4th at the same time a down-change in moving to strike before the 3d; 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 the 3d and 4th here 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 it moves up or down, which implies the former. When a note makes an up-change, ’tis then said to move over the other note; and when it makes a down-change, to move under it: as in the next preceding example, where the 3d note is said to move up over the 4th, and the 4th down under the 3d, in which manner the terms over and under are 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 with any 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 he must follow the bell that comes into its place.
The changes are to be rung, either by walking them, as the term is; or else Whole-pulls, or Half-pulls. By walking them, 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 a Sett-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.