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CHAP. II.—ON RINGING ROUNDS.

Any number of bel]s, tuned in the diatonic scalę and hung in a tower, is called a “ring" of bells. The beli with the highest notę is called the “ireblt ,” and that with the lowest the “Unor ,” the intermediate bells being termed the second, third, fourth, and so on. When the treble is sounded first and the consecu-tive notes follow one another until the tenor is struck, the bells are said to be rung in “ roundsThe treble is then said to “ lead" which means that she is the first beli that sounds at hand or back-stroke, and the remaining bells are said to “follow one anolker.”

Having attained proficiency in the management of his beli, the learner may proceed to practise rounds, but he should not, if practicable, be put to ring the treble, as he will find it easier to preserve accurate time at one of the intermediate bells. I also advise, if the whole band be not learning at the same time, that each man should at first practise rounds on one of the lighter bells, not only because there is morę objection to the heavier bells in the ring being badly struck, but principally because, as Mr. Wigram writes, “ it is knack, not strength,” that is wanted in ringing, and this knack is morę easily acąuired at a beli only reąuiring a light puli.

In ringing rounds on any number of bells, the treble should be so struck at hand-stroke as to leave an interval between that blowand the last blow of the tenor at back-stroke, eąual to double that which elapses between the striking of the other bells—a pause, in fact, sufficient for another beli to strike in. Thus on six bells, if the sounds and distances apart of the bells be repre-sented by the figures 123456, twelve sounds should go forth during twelve intervals, and then a pause, or silent interval,