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Quite little children will take pleasure in completing a musical phrase of which the first few bars have been given them. The procedure will be as follows: 1. The class sings it through twice, first using the Sol-fa names for the notes, then singing to lah. Volunteers are then asked for to complete the phrase by adding another two bars.
They say every man for himself: but, thank God, I'm not so mean as to lessen old fokes' chances by being earnest at my time o' life, and they so much nearer the need o't. 'It's bad reasoning, Nat, I fear. Now, perhaps we had better sol-fa the tune. Eyes on your books, please. Sol-sol! fa-fa! mi 'I can't sing like that, not I! said Sammy Blore, with condemnatory astonishment.
Apart from this, however, the practical value of his ideas in instruction in singing is clearly shown by the circumstance that at any given time many thousands of young children are now being taught to read melody in the Sol-Fa notation in a few weeks.
Then they all learned songs together from tonic sol-fa, singing in a circle round the fire. But now Paul was very rarely alone with Miriam. She waited. When she and Edgar and he walked home together from chapel or from the literary society in Bestwood, she knew his talk, so passionate and so unorthodox nowadays, was for her.
To sing in tune and to produce tones of good quality, this summed up for Tosi the whole matter of tone-production. Many teachers in the old days composed Sol-Fa exercises and vocalises for their own use. Tosi did not think this indispensable. But he points out the need of the teacher having an extensive repertoire of graded exercises and vocalises.
They consist in: 1. Singing any well-known hymn-tune, or simple melody of the Folk Song type, using the Sol-fa names of the notes. It should be sung phrase by phrase, until every child in the class is sure of the correct notes. The children should now go in turn to the piano, and each play a phrase of the melody, first in C major, then in G.
We are not conscious of references to the multiplication tables every time we do a sum, yet we could not do the sum without these. And it is the same with the Sol-fa system. The child need very rarely actually sing the key-note when considering another note, she refers the latter to it unconsciously.
With regard to the latter, the key may be changed from time to time when taking Sol-fa work from hand signs or the modulator, or from Sol-fa notation, in order to get a wider range for the notes above mentioned.
She easily mastered mi, re, do, and so, fa, fa, mi, because these represented the opening lines of Three Blind Mice, always a musical landmark to Myra. But when it came to the fugue-like intricacies in the theme of "They all ran after the farmer's wife," Lady Ingleby was lost without the words to cling to, and gave up the Tonic sol-fa system in despair.
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.
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