notes correctly, and absolutely in tune; then twice more quickly, so as
to get the feeling of harmony. This step is invaluable in its later
results--a child will often be heard to sing different chords in
arpeggio, when in doubt as to the chords to use in harmonizing a melody.

When the three primary chords are known the others may be added,
together with the dominant seventh and the inversions, in all keys. This
last step must not be hurried. The average class rarely finishes
three-part chords in less than a year, and unless plenty of time is
given difficulties will crop up later, when four-part chords are begun.

It is not enough for children to be trained to listen to the actual
notes of a chord--they must feel the mental effect, in the same way in
which they felt these effects in the case of the notes of the scale.

A later step is to make use of the position of the chord in a
sequence--for instance, the child soon gets to notice that many phrases
end with the progression subdominant, dominant, tonic.

We now come to the consideration of the dictation of four-part chords.
These need not be sung in arpeggio. As a first experiment it will be
necessary to play the chord to the class with each note doubled in turn,
so that they may feel the necessity for doubling the best note.

This experiment is most valuable, as it gets the child away from the
cramping feeling of keeping a rule merely because it is mentioned in a
text-book.

Plenty of phrases with the primary chords in root position must be taken
before the other chords are treated. For at least a year the class will