and such like: Fifths are 1 5. 2 6. _&c._ Eights are 1 8. 2 9. 3 10. _&c._ each Concord consisting of two notes. They may well be termed Concords, in respect of their agreement and harmony; for the two notes (as if it were by mutual consent) being struck together at one instant, or else immediately after one another, affords delightful melody to the ear; in which respect, a peal of five Bells are capable of making better Musick than a peal of four; six better than five; and more especially will ten or twelve make more excellent Musick than any lesser numbers can possibly do, there being greater variety of Concords therein, and especially of Eights. For this Musical end were changes on Bells first practised, _changes_ being nothing else but a moving and placing of the Notes in ringing, whereby variety of pleasant Musick is made; and as the manner of moving the notes, is, for two notes to change places with each other, therefore are they called _Changes_. The methods of changes being somewhat intricate, I have therefore penn’d the following Treatise as a Clue to guide the Practitioner through the Labirinth of them, wherein I have made use of figures to represent the notes of Bells, the manner thus. In a peal of five Bells there are five several notes, which with figures are thus exprest, 1 2 3 4 5: the figure 1 represents the least or sharpest note, which is term’d the First, because its place in round ringing is to lead; this note is most commonly called the _Treble_. The figure 2 represents the note which is the next degree deeper or flatter, and is term’d the Second, because it strikes in the second place. And in like manner 3 represents the note of the third Bell, 4 the note of the fourth Bell, and 5 the note of the Fifth or Tennor. In which manner, the figures in all the following methods do likewise represent the notes of Bells.