It consists in giving
to the third and sixth of the harmonic form of the scale their logical
names of _maw_ and _taw_. The sixth of the ascending scale in the
melodic form will of course be the same in the minor as in the major.
There are two other points in the orthodox Sol-fa system which are
modified by those who wish to use it as a crutch to staff notation. The
first of these concerns the rather complicated time notation of all but
the first sets of exercises. Directly subdivisions of the beat are
introduced the notation becomes difficult to read without putting a
strain on the eyes. The little dots, dashes, commas, &c., worry
children. Experience has proved that when a class is ready for anything
beyond the very simplest time values it can leave the Sol-fa notation
altogether, and keep entirely to the staff notation. This is, of course,
an advantage, and is what is being aimed at.
The other point is connected with the use of what are called
'bridge-notes'. When a modulation is introduced which entails a fairly
long reference to a new key, the note leading directly to it is of
course accidental in the first key and diatonic in the second.
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