is called doh. Now repeat the scale, but this time play it from high C to middle C, repeating the high C at the end. The children will see at once what has happened, and that the high C now 'finishes' the passage. Thus it will be called 'high doh', and the hand sign will be repeated, but at a higher level. Be careful not to bend the hand at the wrist when giving this sign, or the effect of finality and repose will be lost.

At the second lesson, repeat this work, the children telling you what to do. Then make eight large dots on the blackboard, and against the first and eighth of these write doh and doh'. Now play the first five notes of the scale, and repeat the first as before. Ask how many notes were played. Then play them again, but starting from the fifth downwards, and repeat the fifth at the end. Ask the children why they think you did this. At first they will not be able to express what they feel, but gradually the idea will emerge that you want to call attention to something of interest. People often call to each other by singing up a fifth. The new note is sharp and bright in sound when related to the key-note. Hence the hand sign. Give the name soh, and write it against the fifth dot on the board. The children should now sing from the three hand signs known, also from the notes on the board. They should also identify the notes when played in groups of two and three on the piano.

When they can do all this easily, the next note, the third of the scale, is taken in the same way. The 'mental effect' is calm and soothing, hence the hand sign. In addition to singing from the hand signs, and from the Sol-fa 'modulator' which is gradually being constructed on the board, the children can now sing from the horizontal Sol-fa notation, and from the staff notation. The first of these is invaluable in the early stages, as it absolutely precludes guessing. In singing from the modulator this is possible to a certain extent, as the relation of each note to the key-note is shown roughly in distance by the dots between the notes. There is no such help given in the horizontal notation.

In beginning the work in staff notation the notes of the scale will be thought of as steps in a ladder. In all keys, when doh is on a line, me and soh are also on lines, and high doh is on a space; but when doh is on a space, me and soh are on spaces, and high doh is on a line. These are very simple matters, but children are simple people, and will not despise such hints.

The next notes of the scale to be taken are ray and te, then fah and lah. The last two are the most difficult. A good pattern to fix in the children's minds is:

which splits up into:

If these are really known, no trouble will be found with the notes f and l.

Plenty of exercises should be given in which the notes of the scale are taken in relation to the high doh. Possible notes should also be taken above high doh (such as high ray, high me, high fah in the scale of C) and below doh. With regard to the latter, the key may be changed from time to time when taking Sol-fa work from hand signs or the modulator, or from Sol-fa notation, in order to get a wider range for the notes above mentioned. Thus, if the class be given the doh of G major, they can sing low te, low lah, low soh, and low fah, or, as these notes are written in Sol-fa notation, t₁l₁s₁f₁. These points are sometimes overlooked by mistresses, and the early training loses in thoroughness.

Directly the children are sure of the diatonic notes of the key of C major they should take the sharpened fourth (fe), the flattened seventh (taw). and the sharpened fifth (se). Later on they will learn that these notes often introduce modulations to the dominant, subdominant, and relative minor keys respectively.

Extemporizing with the voice may now begin, along the lines suggested in Chapter IX. An extra interest will thus be added to the lesson, and the child will have its first initiation into 'self-expression' through the art of music.

CHAPTER VI

THE TEACHING OF SIGHT-SINGING

Instruction in sight-singing should begin by teaching the staff notation through the Tonic Sol-fa method. Objections to this are sometimes raised by very musical people, who have no recollection of any 'method' by means of which they themselves learnt to sing at sight, and who therefore think their pupils can pick up the knowledge in the same instinctive fashion. Experience proves that this is very rarely the case.

With very little children it is well to keep entirely to hand signs and ear tests until all the notes of the scale are known, through their 'mental effect'. One reason for this is that such children cannot read or write, so no musical work can be done with them which implies this knowledge. Care must be taken to vary the lessons as much as possible.

At one lesson the teacher can give the hand signs and ear tests herself. At the next, one of the class can give the hand signs for the rest of the class, and the teacher the ear tests. At the next, a child can give the ear tests, and so on. An experienced teacher will find plenty of similar ways for producing new interest in the lessons, even though the actual amount of work done be necessarily small. Nothing is gained by hurrying over the initial stages of ear-training. The foundation must be securely laid, or trouble will come later. Those who have had experience of class work in kindergartens know the special difficulties to be met—the irregularity of attendance, the constant stream of new pupils coming in, and so on. Unless plenty of opportunity is given for revision the work will suffer in thoroughness.

For children who take this work between the ages of eight and twelve, no better scheme for sight-singing can be found than that contained in Somervell's Fifty Steps in Sight-singing, supplemented by the children's books, A Thousand Exercises, published by Curwen. It is essential to read carefully the appendices to this work, especially that concerned with the minor keys. Another book of sight-singing exercises which follows the same sequence is the Rational Sight Reader, by Everett, published by Boosey.

In teaching the keys of G major and F major it is most important that the class shall themselves discover the necessity for the F[#] and B[b] in the respective signatures. Inexperienced teachers sometimes teach this as a dogma, and thereby deprive the children of the delight of discovering it for themselves.

Thus, if the scale of G major be played with F[n] instead of F[#], the class will discover that taw has been played instead of te, and will soon find out how to correct the wrong sound.

Similarly, if the scale of F major be played with B[n] instead of B[b], they will say that fe has been played instead of fah.

If the order of keys taken be that of the Fifty Steps, the following diagram will show at a glance the underlying plan:

It should be noted that so far as the positions of the notes on the stave are concerned, the key of A[b] is as easy to sing in as the key of A, D[b] as D, and so on.