Similarly, if the scale of F major be played with B[n] instead of 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:
| 7 | 5 | 3 | 1 | 2 | 4 | 6 |
| E | B | F | C | G | D | A |
It should be noted that so far as the positions of the notes on the stave are concerned, the key of A is as easy to sing in as the key of A, D as D, and so on. This fact is sometimes overlooked, and unnecessary difficulties are created for the children.
It is important for a class to sing at sight fluently in one key before attempting a new one. Some teachers take keys in groups, and try to teach them all together. This plan rarely leads to satisfactory results.
Minor Keys.
It is wise to defer the treatment of these until all the major keys have been mastered. The harmonic form of the scale of C minor should then be taken, the children identifying the two notes new to them as the flattened third and sixth of the scale. It is a good plan to get them to sing a few melodies from the blackboard which are in C minor, but which bear the signature of C major, the flattened third and sixth being supplied. This impresses the new notes on the children.
Later on, the correct signature should be evolved by experiment, and the same plan followed for the other keys, before the 'rule' for finding the signature is discussed. The melodic form of the scale can then be taught, and both forms practised to give plenty of freedom in the new tonality. The various minor keys should then be taken in the same order as that in which the major keys were taken.
It is advisable to limit the work at first to melodies which do not modulate to the relative major. Later on, when the children are fairly fluent, they can take these. At first they will have to make use of 'bridge-notes' at the modulation, but, with a little practice, they will soon be able to sing at sight to lah.
Part-singing.