Walk into any primary grade music class in the U.S., and you will likely hear teacher and students singing a musical greeting, such as "Good morning boys and girls" (sol-mi-mi-sol-sol-mi) and the response "Good morning Miss Purdy" (sol-mi-mi-sol-mi-mi). Since about the 1970s, teachers have been beginning and ending music class for young children by singing the sol-mi interval and treating this interval as a foundation for further music study. So, why sol-mi? The importance of sequential music education seems inarguable. Yet identifying a best practice sequence for teaching music is surprisingly murky. Good teaching has order and sequence. But whose sequence makes the most sense to the learners? For some music teachers, the tonal sequence that begins with sol-mi and prescribes tones, time lines, and materials to achieve literacy brings desired structure and direction. For others, the "strict structure feels like a strait jacket," charting a path too narrow and confining. Any time teachers re-think and revise teaching approaches, the ideal reason is to benefit students. Accepting ideas that contradict old habits can make teachers feel as if they are rejecting our previous teaching, our established reputations, or our admired teachers. Yet sometimes a new look, or even the reframing of an old look, can be exhilarating and liberating. Contains 32 end notes.