"Scarcely have our pupils learned to sing or to repeat alone, at will, the three sounds do-mi-sol, when we have them mark them with pencils on the staff (key of sol); only as in the unity of tone there are yet the two other perfect chords, fa-la-do and sol-si-re, we let them write the three notes of the central chord with a red pencil, and reserve the three sounds of the chord on the left, (the lower or subdominant,) to be written with a yellow pencil, and the chord on the right, (higher or dominant,) with a blue pencil. On the other hand, for the appellative chords (dissonant,) made by the combination of the chord sol-si-re, with one, two, and even three notes of the chord fa-la-do, we use green pencils (mixture of blue and yellow). For we would keep the theory in mind by visible signs, which act most powerfully upon the minds of children.
"Then we pass to perfect minor chords, and terminate this first branch of our method by the study of the gamut.
"Our pupil knows as yet only a single tone,—the tone of do, which we designate by the name of model tone;—but all musicians are aware that to know well one tone, is to know them all, since they are all calculated on the model tone with which we began. The second part of our method will treat of the other tones, but it will prove no serious difficulty to our pupil.
"We have carefully avoided scientific terms, though doubtless, by a learned terminology, we should have struck superficial minds more. But we address ourselves to the serious, who know that it is better to know a thing in itself, (in what constitutes it essentially,) without knowing its technology, than to know obscure terms and be ignorant of the thing.
"Later, we shall initiate our pupil into the language generally adopted by all treatises on harmony. We wish that one day he may be a distinguished harmonist, knowing musical grammar at the foundation. It is strange that the study of grammar, so vigorously recommended for all other languages, is so entirely neglected in respect to musical language. The study of harmony seems to be reserved exclusively to artists; and even among them, only the few who are occupied with composing devote themselves to it with any profoundness. It is to this culpable negligence that we must attribute the difficulties of musical education. Where is the intelligent musician who would dare to deny the happy results inseparable from the most profound study of music? The scholar would necessarily have to give much less time to know the art in the best manner, which is now accessible only to remarkable persons of strong will. The grammatical study of music should begin at the same time as all other studies, and soon music would become the language of all, instead of being reserved exclusively to the privileged.
"Doubtless great reforms will be necessary to arrive at this result, and the spirit of routine which unhappily reigns everywhere will render such reforms difficult.
"However, we found great hopes on the inevitable development of the method of Froebel, for the principles he lays down are of general application."...
I am myself so profoundly impressed with the importance of little children's beginning music in this manner, that, having found a teacher who is capable of it, I intend, another year, to have extra hours for those who will commence instrumental music, in my own Kindergarten; so that each child can have a lesson every day, and only play under the eye of the teacher until quite expert.
I do not cast out these pages about instrumental music; but I will say, for the comfort of those Kindergartners, who cannot command an instrument, that in German Kindergartens I never found one. All the plays were done to vocal singing, unaccompanied.