One of the many difficulties caused occurs in transposition on the piano. When transposing from, say, C minor to F minor, the child must first think in E major, so as to get the pivot of reference, then in A major for the new pivot A. Yet all the time its real sense of pivot, which, be it noted, has been admirably trained by the Sol-fa treatment of the major scale, is in favour of C and F respectively.
The method evolved for the minor key by those who wish to uphold the fundamental principle of the key-note being the pivot of reference for all keys, major and minor, is a very simple one. It consists in giving to the third and sixth of the harmonic form of the scale their logical names of maw and taw. The sixth of the ascending scale in the melodic form will of course be the same in the minor as in the major.
There are two other points in the orthodox Sol-fa system which are modified by those who wish to use it as a crutch to staff notation. The first of these concerns the rather complicated time notation of all but the first sets of exercises. Directly subdivisions of the beat are introduced the notation becomes difficult to read without putting a strain on the eyes. The little dots, dashes, commas, &c., worry children. Experience has proved that when a class is ready for anything beyond the very simplest time values it can leave the Sol-fa notation altogether, and keep entirely to the staff notation. This is, of course, an advantage, and is what is being aimed at.
The other point is connected with the use of what are called 'bridge-notes'. When a modulation is introduced which entails a fairly long reference to a new key, the note leading directly to it is of course accidental in the first key and diatonic in the second. This is called a bridge-note, and must be thought of in two ways, first in the old key, then in the new. Thus its name must be changed, as a prelude to using the new pivot.
Now, in teaching staff notation it is neither wise nor necessary to introduce extended modulations very early. The aim is to make it possible for children to sing fairly easy melodies in all keys, major and minor, with incidental modulations, as soon as possible—then to revise the work, introducing more difficult modulations. This end will be attained by deferring the use of bridge-notes until the children are ready to sing melodies in the minor keys which modulate to the relative major. If the above-mentioned plan for the treatment of the minor key be adopted, bridge-notes will be essential at this stage, and the melodies, at any rate at first, cannot be sung without their aid. A further reference to this matter is given in the chapter on the teaching of sight-singing.
CHAPTER V
FIRST LESSONS TO BEGINNERS IN EAR-TRAINING
The form of these lessons will vary slightly according to the ages of the children. We will suppose these to lie between seven and nine years, when the children can read and write.
At the first lesson the scale of C major should be played, from middle C to high C, ascending only. Then repeat middle C, and stop on it a little. Do this three or four times, telling the children to count the notes as you play up the scale. When they are all sure that eight notes have been played, ask them why they think you repeated the middle C at the end. They will probably say: 'To make it sound finished.' In other words, they have grasped the 'mental effect' of the key-note in every key, the pivot round which the other notes revolve. Give the hand sign for this note, according to the Sol-fa plan, and tell the children that the note 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.