------ | 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;
[Illustration: Music]
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.
[Illustration: The Gamut or Scale of MUSIC]
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.
[Illustration: Music]
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.
[Illustration: Music]
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.