'mental effect', but in the minor key this is strictly forbidden. To
take an instance. In the scale of C major the child has been trained to
feel the sharp, bright effect of the note G, the fifth from the key-note
C. It would naturally feel the same effect for the note E in the key of
A minor, when related to the key-note A. But the orthodox Sol-fa teacher
says: 'No. You must feel the calm, soothing effect of E in relation to
C!' Can the child be _really_ trained in this way? If it were merely a
difference in detail of the treatment of the two modes this error could
be forgiven, but it is a difference in fundamental principle.

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[b] major, so as to get the pivot of reference, then in
A[b] major for the new pivot A[b]. 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