We have developed additional material for the teaching of the scales. Here we show a chart somewhat suggesting the arrangement of the bell material used in the first exercises. That is, the relative intervals between the various notes of the scale are clearly indicated. The scale is, in fact, a series of eight sounds, the intervals between each being as indicated by the black marks in the design: whole tone, whole tone, semi-tone, whole tone, whole tone, whole tone, semi-tone.

In the do major scale the intervals are indicated as follows: a whole tone between do and re; re and mi; fa and sol; sol and la; la and si; and a semi-tone between mi and fa and si and do. If, however, instead of beginning with do, the scale starts from some other note, the mutual intervals characterizing the scale remain unchanged. It is as though the whole scale with its characteristic construction as regards tone differences were moved along. Accordingly, as our plate shows, under the figure of the two octaves there is another figure. This latter is a movable piece of cardboard which shows the construction of the octave in black and white. This movable card is fastened to the large chart by a ribbon. Supposing now we slide this movable piece, as indicated in the figure, to the level of mi. The intervals between the tones of the mi scale are the same as in all the other scales. In other words, they remain as indicated on the small movable card. It is necessary, accordingly, to strike on the grand scale the notes corresponding to the white spaces of the movable slip: viz.,

This process may be repeated by sliding the movable card to all the notes in succession. In this way all the scales are gradually constructed. This becomes an interesting theoretical exercise, since the child discovers that he is able to build all possible scales by himself.

We have, however, for this purpose a real musical material, as appears from our design. Here on a wooden form like that used for the bells, but two octaves instead of one octave long, we have arranged prisms of equal dimensions but painted black and white according to the tones they represent. Each prism shows a rectangular plate exposed to view. The plates are identical in appearance on all the prisms. They are, however, really of different lengths according to the different prisms. When these plates are struck, they give the notes of two octaves, the prisms acting as sounding boards. The sounds are soft and mellow and unusually clear, so that we do not exaggerate in describing this mechanism as really a musical instrument (resembling the Xylophone). In our design each piece is arranged in its proper position in the do major scale.

Since the intervals between the tones are the same for all the scales without distinction, if the group of prisms is moved as a whole from right to left, sliding along the wooden form, some of the prisms will fall. The resulting effect is the same as that produced when the small card was moved over the larger chart (see above). No matter how far the group of prisms is moved, the scale can be obtained by striking all the prisms corresponding to the white spaces on the wooden form.

For instance, let us take away the two first prisms, do and do diesis on the left, and push the whole group of prisms from right to left until re reaches the point formerly occupied by do. If, now, we strike the plates which correspond to the notes of the major scale, we obtain the major scale in re. On examining the notes which make up this scale, we find: re, mi, fa diesis, sol, la, si, do diesis, re.

This brief description will indicate how interesting this instrument is. It contains in very simple form and expresses in a clear and delightful way the fundamental principles of harmony. Its use can be made apparent to teachers by the three following tables.

As the children derive in this way all the possible scales, they should transfer them to their copy books, making use of all the symbols of musical notation. The copying of the scales should be developed progressively: first the scale with one diesis, next the scale with two, then the one with three dieses, etc. Fine opportunities for observation are here offered. A child may see for instance that a scale with two dieses has the same diesis which appeared in the preceding scale; a scale with three dieses has the two dieses of the preceding scales, and so on. The dieses recur at intervals of five notes.

Since in using the first material, by changing the third and sixth bell, the child was taught to recognize the harmonic minor scale, to construct it and listen to it, it is now an obviously simple matter for him to make up all the minor scales.

We have thus developed exercises which prepare for the recognition of the major and minor tones as well as for the recognition of the different tones. It also becomes an easy matter to play a simple motif in different keys. It is sufficient to move the series of plates, as has been indicated, and play them over according to the indications of the white and black spaces of the wooden form.

Here is a specimen of key transposition:

At this point children usually develop great keenness for producing sounds and scales on all kinds of instruments (stringed instruments, wind instruments, etc.)

One of the instruments which brings the child to producing and recognizing notes is the monochord. It is a simple, resonant box with one string. The first exercise is in tuning. The string is made to correspond with one of the resonant prisms (do). This is made possible by a key with which the string can be loosened or tightened. The child may now be taught to handle the violin bow or mandolin plectrum, or he may be instructed in the finger thrumming used for the harp or banjo. On one of our monochords, the notes are indicated by fixed transversal frets, the name of each note being printed in the proper space. These notes are, however, not written on the other monochord, where the child must learn to discover by ear the proper distances at which the notes are produced. In this case the child has at his disposal movable frets with which he can indicate the points he has discovered as producing a given note. These frets should be left in position by the child to serve as a check on his work. The children have shown considerable interest also in little pitchpipes, which give very pleasing tones.

Thus in composing the scales and in listening to them the child performs real exercises in musical education. A given melody in the major scale is repeated in various keys. In listening to it carefully, in repeating it, in observing the notes which make it up, the child has an exercise similar to the audition of the note, but an exercise of a far more advanced character.

This exercise is to be the starting point for understanding melody. To make the hearing of music an intelligent act and not like the mechanical process which appears when children read, in loud monotone, books which they cannot understand and of the meaning of which they have no idea, preparatory exercises are required. We get this preparation through various exercises in the audition of various scales for the recognition of key, and in exercises on the interpretation of rhythm.

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