downwards, and repeat the fifth at the end. Ask the children why they
think you did this. At first they will not be able to express what they
feel, but gradually the idea will emerge that you want to call attention
to something of interest. People often call to each other by singing up
a fifth. The new note is sharp and bright in sound when related to the
key-note. Hence the hand sign. Give the name _soh_, and write it against
the fifth dot on the board. The children should now sing from the three
hand signs known, also from the notes on the board. They should also
identify the notes when played in groups of two and three on the piano.

When they can do all this easily, the next note, the third of the scale,
is taken in the same way. The 'mental effect' is calm and soothing,
hence the hand sign. In addition to singing from the hand signs, and
from the Sol-fa 'modulator' which is gradually being constructed on the
board, the children can now sing from the horizontal Sol-fa notation,
and from the staff notation. The first of these is invaluable in the
early stages, as it absolutely precludes guessing. In singing from the
modulator this is possible to a certain extent, as the relation of each
note to the key-note is shown roughly in _distance_ by the dots between
the notes. There is no such help given in the horizontal notation.

In beginning the work in staff notation the notes of the scale will be
thought of as steps in a ladder. In all keys, when _doh_ is on a line,
_me_ and _soh_ are also on lines, and high _doh_ is on a space; but when
_doh_ is on a space, _me_ and _soh_ are on spaces, and high _doh_ is on
a line. These are very simple matters, but children are simple people,
and will not despise such hints.

The next notes of the scale to be taken are _ray_ and _te_, then _fah_
and _lah_. The last two are the most difficult. A good pattern to fix in