8589357250

7^r

Changes on Six Bells,

as the musie of the peal is concernod. It is always desi rabie tg liave the ‘■‘tenors," as the fifth and sixth—the two heaviest bells—are eallcd, to strike 5 6 at back stroke when they “come together behind." The ’65s. will then fali at hand-stroke. When the tenors are coursmg one another they are said to be “ together;" it is ihen that they strike, as it is called, “ together behind.” When the fifth is eoursing after thesixth they strike 5 6 at back-stroke, and are then said to be “ together the right w a v; ” when the sixlh is coursing after the fifth the '658. come at back-stroke ; they are then said to be “ together the wrong way" In calling peals on the principle of those under con-sideration it is immaterial, when the second is tfie observation be! 1, whether you cali W.R.W. ot" R.W.R., as in either case the tenors come together the right way. In calling by the third beli the peal musi be called W.R.W. and by the fourth R.W.R. In calling by the fifth, and si.\th, as will be seen in the two peals already given, they nnist respectively be called R.W.R. and W.R.W.

720		720		720
* 3 4 5 0		23-156		23456
—	4		•W	— 1
^rM‘35	-A	42356	I	23564 j
26435	.J w	42563	c	2.W45.
4 2 6 3 5	D	54263	0	62345 ?
4 2 3 5 0	1	25463	5	3 6 2 4 5 ^3
3 4 2 5 ^6	5	25634	1	5 2 3 ty 4 *
26345	4 mm	62534	5 jr-	3 5 2 6 4 ^5
32645	5	56234	5	42356
3M56	1	s 4 3 2 5 6	3	S 4 3 2 5 6 ^5

Each to be repeated.

The three foregoing peals each coniain fourteen bobs and two singles, and are all very similar in their modę of composi-tion. In each of these peals the tenors always come together