Part 1

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FIRST STEPS TO BELL RINGING:

Being an Introduction to the Healthful and Pleasant Exercise of Bell Ringing, in Rounds and Changes, Upon Church Bells.

by

S. B. GOSLIN, F.M.S., ETC.,

Author of the “A B C of Musical Hand Bell Ringing,” “The Musical Hand Bell Ringer’s Instructor,” etc., etc.

“Let me in outline sketch them all, Perchance uncouthly.”

LONGFELLOW’S “_Wayside Inn_.”

Second Edition.

Copyright. Entered at Stationers’ Hall.

London: John Warner & Sons, The Crescent Foundry, Cripplegate, E.C., and M’Corquodale & Co., Cardington Street, Hampstead Road, N.W.

1881.

“List! the merry bells are ringing, And the choristers are singing.”

INTRODUCTION.

When such works as those written by the Rev. Mr. Ellacombe, and when every local bell history, or encyclopædia of any note, give full information both as to the early use, construction, and form of bells, it is needless to add another word upon such topics in such a production as this; and when, as is the case at the present time, so many good books are to be so easily obtained, on Change Ringing and Bells, with examples of the various methods or interchanging of positions, by fixed rules or courses, they would at first sight and thought appear to be subjects, which have been literally exhausted, and in which no room remains for further attempts at description in letter-press. However, such is not the fact, for the young beginner now, especially if no experienced guide can be secured, to give advice in person, is in the position of a schoolboy who is called upon to work out a calculation in decimals, before he clearly understands the rule or the method of pointing, unless he has the good fortune to find and secure a copy of “Wigram’s Change Ringing Disentangled,” or, “Troyte’s Change Ringing to Six Bell Work,” which with some amount of study, he may in time get on and become proficient.

The want of something more, as the first steps to ringing, has been felt and acknowledged by many persons at many times; and to supply this want is all that is now attempted--not in any way to disparage the well-known works of others more skilled in the art of ringing, but to lead upwards and onwards to those works by short and easy words and lessons, is the wish of the Author in the following pages.

NOTE TO THE SECOND EDITION.

The appreciation and successful issue of the first edition of this work is duly acknowledged by the Author, as well as the many expressions of approval from persons at home and in foreign parts. It is a source of satisfaction and gratification to know that the attempt has produced a large amount of interest, and has also been the means of producing some ringers in several of our Colonies, as well as working up a desire for and supply of other productions, such as the second edition of “Banister’s Change Ringing,” Wigram’s new, better, and enlarged “Change Ringing Disentangled,” and “Snowdon’s Rope Sight,” which are worthy of a place in every bell student’s and every ringer’s library.

The continued demand for the “First Steps” has prompted this second edition, which is somewhat altered and extended, the desire of the Author being to make all things as plain and as easy as possible.

“Sweet bells ring for ever, ’Tis your old familiar strain That awakes the past again.”

BELL RINGING

ON CHURCH BELLS.

England is frequently said to be known as the Ringing Isle, from the fact that wherever the stranger or foreigner turns, or stays, in this land, he is sure to meet with the well tuned bells, and well timed changes, pealing forth from our venerable church towers and steeples; whilst on the Continent of Europe, and in other parts of the world, the ear is accustomed only to the hodgepodge, jangle or clatter of several bells, either in or out of tune, no matter which, all striking as fast as possible, in utter disorder, seemingly in a race for the greatest number of blows per minute, for each or any one in particular. But whilst in England the townsman, citizen, or villager is accustomed to the order, and the sweet music from the steeple bells, it is strange to find that so few really care to understand by what means, method, or performance such results are produced. Happily, however, much has been done within the last fifty years to emulate enquiry, and foster interest in such matters by many gentlemen, who have spent a large share of their spare time to effect this purpose, both by essays, books, lectures, advice, and practice--foremost amongst them all being the venerable Rev. H. T. Ellacombe, of Clyst St. George, Devon, who from quite a young man has entered deeply and fully into all matters of interest relative to Church Bells and Ringing, and who now supervises that bell-ringing page in the interesting weekly paper called _Church Bells_, where from time to time much is given which is interesting to all who may wish to become ringers in practice or performance, with good and reliable information as the groundwork upon which they desire to ultimately place their edifice of knowledge of the subject in question.

But not only is there a general lack of knowledge upon ringing church bells on the part of the majority, even in this bell ringing isle--it can well be added that, as to change ringing, the really scientific, very useful, and interesting part of ringing is “dog Latin” or “double Dutch” to ninety-nine persons out of every hundred, or even more, the general impression being that it is all very easy, and only to pull--that anyone can do all that is to be done in a very short time; whereas it is in every particular an interesting study, proficiency gained by practice, thought, care, and application alone--a science as true, as useful, and as healthy to mind and body, as is possible to be found, practised, or studied.

To ring, and to ring changes, on either church or musical hand bells, are three very different subjects. In order to ring changes, however, it is absolutely necessary to have a good knowledge of ringing, or the means adopted to make the bells sound in their proper time and place, whether it be in the church tower, on the large swinging bells with ropes, or in the parlour or drawing-room, upon the musical bells, held in the hand or hands. But not to deal with too many subjects together, and to avoid confusion, it is well to start with

HINTS ON CHURCH BELLS AND FITTINGS.

At all times when it may be desired to produce a good performer upon any musical instrument, it is well that he should understand the instrument itself; for just as the driver who understands his steam engine thoroughly in its parts and details, is the man who can work it best, so is it with the ringer with his bell in the steeple or tower. It is not at all difficult to picture the scene, surroundings, and thoughts of an intended ringer, upon his first visit to the bell-tower, or ringing chamber, unless it be as has been the experience of many, as well as that of the writer, to learn to pull the rope and catch the sally when a boy at school on the large school-bell, or that at the parish church. And even then, if not in the midst of an octave of ropes, the dancing of the rope upon which he had to start or practice was, at first sight, perplexing; graceful, however, if handled well, but yet a mystery.

Presuming that the reader desires to become a ringer, to understand his instrument, and for this purpose has ascended the tower--has passed the ringing room with a glance, and has made up his mind to know the why and wherefore of the bells and fittings, so that if anything goes wrong in the practice or performance he may be able to set it right if possible or remedy any defect--he will go at once to the bell cage, and learn (as was the writer’s first lesson) the names of the parts and fittings of the bell, where such an arrangement will be seen as is shown by the following illustration, to which is added the names of each part. Everyone may know what a church bell is like in form, and the purpose for which it is founded; but not so can it be said of its various parts and appurtenances. In order to help the reader in this direction, the following sketch will answer for reference. With the shadow it is easy to realize or imagine the fact, and to conceive that we are facing the bells in the tower, where each is fitted, as the sketch shows, separately, and by the numbers and references the names of the parts can be easily learnt.

In giving a description of the bell and its fittings, for all ordinary purposes, it is not necessary to go into details as to the best proportion or shape, for that is so well understood by founders of any note or excellence, and as it is all so well treated in other writings, here it would be superfluous. The following, however, will always be found useful for reference:--

No. 1 represents that part called the Head of the bell, which is varied in form under various circumstances, sometimes being what is known by the name of button or mushroom head, at others by canon head, or as is shown. The most frequently used are the crown head or with canons.

No. 2. The shoulder.

No. 3. The waist.

No. 4. The sound bow.

No. 5. The lip.

No. 6. The clapper.

No. 7. The stock (_a wood beam to which the bell is hung_).

No. 8. The gudgeons or axles (_of wrought iron turned, upon which the bell swings_).

No. 9. The bearings (_of gun metal, in which gudgeons work_).

No. 10. The wheel (_of wood, which acts as a lever to set the bell in motion_).

No. 11. The shrouding (_the guard of the wheel to keep the rope in its place on the sole_).

No. 12. The slider (_a piece of wood working on a centre to support the stay_).

No. 13. The stay (_a piece of wood attached to the stock to support bell when set_).

No. 14. The rope.

No. 15. The pulley or rope guide.

No. 16. The wheel stay (_an iron rod or rods fastened between the stock and wheel, to support or steady the wheel, not shown_).

No. 17. The sally (_not shown, but a soft tufting near the bottom end of the rope. See cut of Bells at Hand Stroke, page 15_).

The particular name of each part will also be found to be described very fully in “Banister’s Change Ringing,” and in the Rev. H. T. Ellacombe’s “Practical Remarks on Belfries and Ringers,” which should be perused on this subject.

Now having learnt this lesson, the next would be that which was taught by the older bell boys to the writer at school, viz., to grease the bearings; to take up or let out the rope, as occasion might require, for a taller or shorter person, taking notice of how it is, or should be fastened to the wheel, and passed through the pulley; then look to the slider and stay, to see if sound and in order, so to leave all tight and trim and ready for ringing, and then, as one of the tutors in the art was in the ringing room ringing, the scholar was so placed in the belfry as to see, and have it explained to him by another companion, how that the _slider_ and _stay_ were needed to _set_ the bell at the _hand_ or _back strokes_; how the rope danced, and needed catching below at the sally, to prevent the breakage of either the slider or stay, if not so caught. By this at once understanding, by optical demonstration and friendly counsel, the object and use of all that pertains to the bell, as well as the reason for setting it up.

With this fairly in the mind, it will be well at once to turn the attention to ringing, which, perhaps, will explain in part as we proceed, the use of the former remarks as to the application of the parts or fittings sufficiently, for cases where a tutor cannot be found in person.

“Hark the bonny Christchurch bells: One, two, three, four, five, six. They sound So mighty great, So wondrous sweet, So merrily.”

THE PRACTICE OF RINGING.

It may be perplexing when consulting a variety of books, to determine what are the best plans for a beginner to adopt. And it may or should be known that bell ringing is a dangerous practice for a novice, should he commence it by himself without instruction, thought, or care. In such a case, he runs the risk of being hung by the neck, as was the case not long since, when, at a certain place in Essex, a man pulled the tenor of a ring of bells, _left set_ for a company of ringers, without knowledge, the result being that he was confused, caught by the rope round the neck, pulled up and thrown with great force to the floor, but where fortunately there happened to be some thick cocoa-nut matting, which broke the fall and so saved him.

Now, although it may be dangerous to begin or to practise by oneself, yet a little help, such as we should seek in learning to skate or to swim, or in any other exercise or art, from an expert, will overcome and _set aside all danger_, as well as the mind at perfect rest on such thoughts. Therefore, as a precaution, wherever it is practicable and possible, the advice should be taken to obtain the assistance and counsel of a ringer at starting; and having secured the good offices and help of the teacher, the first lesson will be, as a matter of course, to see and take notice of the way in which he _sets_ the bell, by repeated pulls, and catches at the sally or tufting of the rope, marking particularly, as is shown in the illustrations of the ringers in the ringing room, or that immediately following, the best plan to hold the rope, viz., with the rope near to its bottom or end, in the left hand permanently, and the right hand at liberty, to catch the sally or ease the bell on its slider and stay, and to pull at the hand or back strokes in their turn.[1]

[1] See also Banister (on Change Ringing) on this point.

NOTE.--_Being Set_ means standing mouth upwards.

Whilst watching, it will be noticed that after starting to pull the bell from the position of _rest_, as is shown in the sketch, to get the “_bell up_,” or “_set the bell_,” as it is termed, that the rope will begin in a very short time to dance, which is caused by the bell, and the wheel reversing sides, for the rope on the wheel, in swinging; and then it will be seen how that, as the bell approaches nearer the _set point_ or balance, there is much to be gained by catching the sally or tufting, giving a slight pull as the rope reverses, until the point be reached, when the balance or _set_ is obtained, and the bell is held or caught and eased to the _hand stroke_, in the position as is shown by the following sketch (fig. 1), where the stay rests against the slider on the one side, in which case it will be seen that the rope comes much in the position as when at rest, and is pulled off the _set_ by the sally; then, when pulled, it will be noticed that the bell will swing to the reverse side, and _set_ at the position called the _back stroke_, being eased to its proper place or point by the hands, in the position as is shown by the sketch (fig. 2), where the stay rests against the slider on the reverse side, in which case it will be seen that the rope is all round the wheel, and the end only is in the hands, and is so pulled off its _set_ to the _hand stroke_.

NOTE.--_The sally must be caught in the hands before the stay reaches the slider at hand stroke, and eased to its position, and the rope held in check as the bell goes to back stroke, or the slider or stay may be broken and the bell turn a somersault._

NOTE.--_In some cases the rope is not held in the one hand, as shewn in the wood-cut, but is pulled off at hand stroke, and caught when approaching at back stroke, and_ vice versa.

It will thus be seen how the rope is held, and pulled, and caught. It will also be seen, by watching, how easy it is to keep pulling in time, on either side, to hand or back strokes, with any interval, at pleasure, and with precision. And at this point it would be well to join the teacher, standing face to face, taking the rope in the hand as described, pulling when he pulls, catching when he catches, and easing as he eases, so as to get the knack without excitement, without hard labour, and without bending the knees.

Both pull and catch easy at first, with eyes and ears well open, or as is said:--

“The ears open, Eyes wide, Feet steady, Tongue tied.”

By such means, and by such practice, it will very soon result in being able to pull by oneself, and then remains only the practice, so as to learn to keep time at both strokes, to get the bell up, and to let it down without help: always remembering that the weight of the body, thrown on to the rope, is far more effective and less tiring than using great muscular force, or bending and twisting the body which causes much needless exertion, loss of power and breath; a rule being:--

“Stand upright, Pull down straight, You’ll ring right.”

When this is accomplished, there need be no delay in proceeding to ring rounds with your friends in company.

“Hark! the merry bells ring round.”

RINGING ROUNDS.

To ring-in rounds, it matters little which bell is taken to perform upon, as each takes its place in proper turn, whether it be first, middle, last, or any other position, which will be very well understood if the new ringer has practised, as he should do, _rounds upon hand bells_.

Musical hand bells are the most handy for the practice of time, place, and position, and should accompany every ring of church bells anywhere and everywhere for this purpose, so much may be practised upon them in the quiet and comfort of a home fireside. But in ringing rounds on the bells of the church in the tower, every bell must be _set_ at the start, and should be brought round to the _hand stroke_, as shown in the cut on page 15. When all the company are ready--whether four, five, six, eight, or more in number--the leader or conductor will say “_Ready_”--”_Go_,” upon which every one will start off in proper order and time, looking at the ringer preceding as to when to pull off, by turning his eyes or head, not his body, and keeping the ears open, so as to be in time and order in striking. The treble (or highest note) bell, in all church bell ringing, is understood as being No. 1, whether there be a ring of three, four, six, eight, ten, or twelve bells; and so, presuming a ring of eight, the bells will be rung in rounds in the order of 1, 2, 3, 4, 5, 6, 7, 8, at the _hand stroke_; then 1, 2, 3, 4, 5, 6, 7, 8, on the _back stroke_, and repeated in the same way or method to any length, at will or pleasure.

Should there be only six bells in the ring, they will be rung to the call of the leader as 1, 2, 3, 4, 5, 6, at the _hand stroke_; then 1, 2, 3, 4, 5, 6, at the _back stroke_, and so for any number of bells.

NOTE.--_Any number of bells from 3 to 12 in a tower is called a “Ring of Bells.”_

Thus it will be seen the usual practice in ringing rounds, is to ring down the scale, as it is termed in the art of music; or, in other words, from the highest to the lowest note, or down to the bell with the deepest tone. There is no reason, however, but custom to prevent the reverse order (or ringing backwards, as it is put in “Bonnie Dundee”) being adopted, used, or tried, either in practice or purpose;[2] and to make a change in the following of place or position in ringing, it is not at all a bad move to reverse the order of custom, and so ring in the order of 8, 7, 6, 5, 4, 3, 2, 1, _hand stroke_; 8, 7, 6, 5, 4, 3, 2, 1, _back stroke_; and after say twelve to twenty rounds resume the first order or exercise down the scale, viz., 1, 2, 3, 4, &c. (of course, this is quite a matter of taste, and if not approved can be passed over). Then it may be well for all to pull or strike together, so as to fire a volley, at both hand and back strokes, and in such practice the whole company should be as much together as when the captain’s call of “Fire!” is responded to by a company of soldiers, with their rifles, shot, and powder.

[2] Mr. North, in “Bells of Leicester,” which the writer has now before him, tells us the bells at Barrow-on-Soar are rung backwards to give notice of fire--a hint for country and colonial friends, when, if adopted, the motto of the seventh bell of St. Ives would carry a good intimation into practice--

“When backward rung we tell of fire: Think how the world shall thus expire.”

Now, so much for ringing and ringing rounds; much more might be said, but the writer does not consider it just to repeat that which is so well put in “Bannister’s Change Ringing,” “Rope Sight,” “Wigram’s Change Ringing Disentangled,” and in “Troyte’s Introduction to Change Ringing,” and to which at this point he recommends the reader or learner to take in hand and study. When that has been well digested and understood, then, and not till then, the next or following portion can or should be attempted either as for study or practice, viz.:--

“The bells ring out a merry peal, Their music on our ear doth steal.”

CHANGE RINGING.

Ringing the Changes is a phrase often used by the general public in every-day life, and especially by some who wish to appear witty or clever, but to whom, as a rule, if a question be put as to its meaning, or proper application, it is seen in a moment that such knowledge is either too great or too small for them--in fact, that they know nothing at all about it. The lack of this special knowledge is easily traced to its origin; for how many schoolboys ever have a sum or exercise in the rule of permutation? Many, if not most, boys on leaving their studies and school would, it is believed (or as has been tested to some extent), be found utterly ignorant both of its use or practice. They may have learnt that it is the changing or varying the order of things; and that to multiply all the given terms or numbers the one into the other the last product will be the number of changes required--as 1, 2, 3, 4, 5, 6:--

1 2 ---- 2 3 ---- 6 4 ---- 24 5 ---- 120 6 ---- 720

NOTE.--_Any changes of a complete number or course through a series of permutations is called a “Peal.”_