do, si, la, sol, fa, mi, re, do.
When the position of do has been determined, the other notes above and below it are easily found. From the do on the left the child can find his way to the do on the next octave higher and come down again. Likewise from the same point on the right (do) he can go down to the do of the lower octave and then go up the scale again. When these notes are represented on the combined staffs with the counters, the resulting design is a rhombus.
Separating the two staffs, the arrangement of the notes in the higher and lower key (the C scale and bass) becomes apparent and the different significance of the two series can be emphasized by placing to the left of the staff the two clef signs, which have been prepared as special portions of our material.
In this way the children have learned the scale in do major in the two keys. The arrangement of the black and white spaces puts them in a position to recognize these notes even on the piano. Our material, in fact, includes a diminutive keyboard where the keys are small enough to fit the size of a child's hand. It can be used as an exercise for the finger muscles. As each key is touched it raises a hammer marked with the name of the note struck, which the child can see through a glass. Thus while the child is practising his finger movements, he fixes his acquaintance with the arrangement of the notes on the keyboard. This small piano makes no noise. However, a sort of organ-pipe mechanism can be fitted on above the hammers in such a way that each stroke, as the hammer rises, connects with a reed which gives a corresponding sound.
All the exercises thus far have been based upon sensory experience as the point of departure. The child's ear has recognized the fundamental sounds and initiated him into real musical education. All the rest, such as the music writing, etc., is not music.