In modulation (called transition) to a new key in the course of a tune, the Tonic Sol-faist finds a new signature at the point of change, and is thus prepared. If a sharp key (passing from key F to key C is a remove sharp-wards) is imminent, the new tone (the sharp) is printed over the music (for example, A.t.) on the right of the key-name. If the tune passes flat-wards, the "distin guishing tone" is placed on the left of the key-name (fah in key F, for example, f.F.). If the transition involved four removes to the right (sharp-ward progressions) the distinguishing tones would be t.m.l.r. Four flat-ward removes would have as dis-, tinguishing tones at each remove, r.s.d.f., read backwards. The latest practice is to name the number of new tones above three by a figure, as B 4, for example. In the minor key (mode) the key-note is lah, thus in A minor "Lah is A." Besides having changes of key defined by fresh signature (a practice which is growing in staff notation printing), the Tonic Sol-faist is given a new syllable, forming a bridge-tone or double name, of which, with practice, he thinks the first and sings the second, or as a beginner he will glide from one to the other, as mlah, or as a barrister addresses m'lor. In print, this is shown thus in?. Explanation of the treatment of minor keys cannot be pursued here, but the "minor mode" gives the Tonic Sol-faist no trouble.
A further detail is with regard to the inflected names adopted for "accidentals" (chromatics). Doh becomes, a semitone higher, de, and the long e sound also represents re, fe, se, le. Depress te and it is named taw, printed ta. Similarly down "the modulator" may be found la, ma, ra. Characteristic of the minor mode are ba (pronounced bay) and se.
First lessons in Tonic Sol-fa are begun with the aid of a chart of tune : the modulator just named. Its ladder-like appearance is a great aid to the beginner ; it is the counterpart of the up-and down picture of the staff notation. The mental image of the
modulator remains; it is the answer to the objection that Tonic Sol-fa is a dead-level picture. Even before it is used, the learner hears "the sound before the sign." He learns the scale by "steps of the method," first d, s and m, second r and t, third f and 1, fourth the whole scale and transition. Such simple tools enable the ordinary teacher of an elementary school to get from small children amazing results in sight-singing. Each scale tone when sung slowly is also found to have its own character or mental effect, and this is noticed in illustrating by familiar phrases of music, which, however, must not be pressed too far ; d is firm, s martial, m mild, r prayerful (at high pitch, rousing), t leading upward, f leaning downward, 1 the mournful tone. The method applies other devices for teaching effect : French time-names for rhythm; hand-signs which, dispensing with printed notes, enable the teacher to give exercises rapidly. The ear is trained from the first lesson.
The value of it all is greatest in the higher stages : har mony is clarified by the tonic principle ; transposition of music is easy; rhythm is analyzed and simplified by the time-names; and, in addition, Tonic Sol-fa is the best introduction to the staff notation. More and more, publishers find it worth while to print the Tonic Sol-fa notation along with the Staff. The facility and certainty of the Tonic Sol-faists have been admitted and praised by every conductor who has had experience of them. The story of the successful struggle to give this method a footing need not be told here. The danger now is when people in authority, or capable musicians who learnt music easily, say that the notation is unnecessary, while passing compliments upon the method of teaching ; and at the same time ignoring the need of giving chil dren a good foundation in reading this notation. (J. GRA.)