middle C on the
piano, then to combine with it each of the notes of the scale of C major
in turn. The class will decide which of these two-part chords are
pleasant to listen to. Opinion is generally unanimous in favour of the
third, sixth, and octave, which will therefore be the basis of the first
exercises in two-part dictation.

Plenty of practice should be given in isolated examples of these chords,
in more than one key, before the class attempts to combine time with
tune. When they are ready for this, the work should begin with very
simple phrases, with plenty of repetition to enable them to be quickly
memorized. A later stage introduces the use of passing notes. It is
better to play the exercise through first without these, and when it has
been written and corrected, to play it again, inserting the passing
notes.

Before a class has finished the major keys it should be ready for the
dictation of three-part chords. As the children are accustomed to the
sound of the chord of the third on all degrees of the scale, it will be
a natural experiment to play a particular combination of thirds, thus
arriving at the triad. After this has been played on all degrees of the
scale, the class should be asked to decide which of these chords it will
be well to get to know first. They will remember that the first three
keys in which they learnt to sing were C, G, and F major, and will
therefore suggest that the tonic, dominant, and subdominant chords
should be chosen.

At this stage it should be pointed out that all the notes of the scale
are contained in one or other of these chords. This is a seed which, if
well planted, will suggest the first principles of harmonizing melodies
later.

We must now work at the three chords carefully. Begin by making the
class sing them in arpeggio, and in a definite rhythm, so as to get
precision. Each chord should be sung once very slowly, so as to get the
notes correctly, and absolutely in tune; then twice more quickly, so as
to get the feeling of harmony. This step is invaluable in its later
results--a child will often be heard to sing different chords in
arpeggio, when in doubt as to the chords to use in harmonizing a melody.

When the three primary chords are known the others may be added,
together with the dominant seventh and the inversions, in all keys. This
last step must not be hurried. The average class rarely finishes
three-part chords in less than a year, and unless plenty of tim