d so on _ad infinitum_.

From these suggestions something of the endless variety of exercises
that may be devised can probably now be imagined.

As soon as movements become automatic they are used as units for
building up more elaborate movements, and no time is wasted in doing
merely mechanical exercises. In every detail of the method the brain is
called into constant activity, and, lest any one should think that it
would be easy for one pupil to copy another in doing the exercises, it
should be stated that, if such a thing were attempted, it would end in
the pupil becoming hopelessly confused, for if the mind once loses hold
of the work in process it is very difficult to pick it up again.

The solfege lessons are chiefly for ear-training and practical harmony.
In the elementary classes it is shown how scales and chords are formed,
and where the tones and semitones occur. The pupils soon become able
to tell, when three consecutive notes from any scale are played, what
degrees of the scale they are, or may be. Scales are sung always
beginning on C for every key and always to a rhythm. Here, again, the
pupils have to think to time, for in the second scale, which would be
that of F, if the flat scales were being sung, they have to remember
that they are starting on the fifth note of the scale, and that the
interval between the third and fourth notes of the scale is a semitone;
that the third and fourth degrees in the key of F are A and B, and
therefore the B has to be flattened in this scale, the other notes
remaining the same. The whole cycle of scales is sung in this manner,
each one commencing on C, or on C flat when necessary. The pupils are
also practised in listening to a scale played and then saying in which
key it is, judging it by the fall of the semitones.

[Illustration: Class Rooms.]

[Illustration: The College: Interiors.]

Chords are sung analytically and in chorus, with their resolutions when
needed, and this is followed by practice in hearing and naming chords.

Sight singing and transposition are by no means neglected, and there is
practice in singing intervals, in singing a piece once or twice through
and then from memory, or in another key, which is not so easy to do when
the fixed _Do_ is used. And always, whatever is being done, the pupils
have to be prepared for the word _hopp_, to make any change which has
been previously agreed on, e.g., to sing on the instant in a key a
semitone low