ulator 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:

_d f m l s t, d--_

which splits up into:

_d f m--; d l s--_

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, _t,_ _l,_ _s,_
_f,_. 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 n