2.  To know the places of the Notes, is no way better to be apprehended than thus:  The Practitioner ought to form an Idea in his Head of the place of each Note, whether in a direct Line, or Obliquely; and representing them by a Figure in his Mind, see (as it were) by the Eye of the Understanding, each stroke of the Bell, as the Treble, 1. Second 2. Third 3. _&c._ so that as the Ear is to direct him, when to make the Change, so a right Apprehension of the Motion and Places of the Notes, ought to be a means to guide his Ear.

3.  The Precedency of Notes, is of a very obvious Demonstration; thus:  In Ringing Changes the Fore and Back-stroke, successively following one another, are properly said to Lye behind one another, according to their places of striking.  Or in short, in 12345, the Note that leads either at Fore or Back-stroke, is said to Lye before the rest, and the last to be behind, As the 2 is said to lye behind the 1, so it lyeth before the 3, as the 3 lyeth behind 2, so it lyeth before the 4.  And so of as many as are Rung.

4.  The manner of making a Change, is very common, and needs no particular, but general Rule; That it is made by moving one Note into anothers place, Up and Down, as Occasion requires; but usually made by two Notes standing one next the other, as hereafter may be observed.

Lastly, In your Ringing Changes, these two things (in which consists the practick part of this Art) are to be rightly considered, First, Readily to know which two Bells are to make the succeeding Change.  And Secondly, to consider (if you are concerned in it) what Bell you are to follow in making it.  To understand which the more perfectly, you must imprint in your Memory, the Method of the Changes prick’d in Figures, and to be expert likewise in setting them down divers ways, and making any Figure a Hunt at Pleasure; and thus without pausing or hesitating to consider the Course, you may throughly understand the Methods; the Four preceding Observations being first perfectly understood.

There are two ways of Ringing Changes, viz.  By Walking them, as the Artists stile it; or by Whole Pulls or Half-pulls:  Walking is, when in one Change the Bells go round, Four, Six, or Eight times; which is a most incomparable way to improve a Young Practitioner, by giving him time to consider, which two Bells do make the next succeeding Change, and in making it, what Bell each is to follow; so that by this means (by his Industry) he may be capable of Ringing at Whole pulls; which is, when the Bells go round in a Change at Fore and Back-stroke; and a New Change is made every time they are pulled down at Sally:  This was an Ancient Practice, but is now laid aside, since we have learnt a more advantageous way of hanging our Bells, that we can manage a Bell with more ease at a Set-pull than formerly:  So that Ringing at Half-Pulls is now the modern general Practice; that is, when one Change is made at Fore-stroke, another at Back-stroke, _&c._