lesson is taught the class if, from time to time, half of them go to the
end of the room, and, with closed books, listen to their companions
singing a verse of a song which is new to them. The difficulty they
experience in following the words will not soon be forgotten.

Attacks should be absolutely precise. The two-and three-part
contrapuntal singing which is done in the sight-singing classes is
admirable for this, as the whole effect is blurred or entirely spoilt
in such clear-cut work by a false entry.

For all large school functions, such as a prize-giving, the songs should
be sung by heart. This is not necessary in ordinary class work, as the
aim there is to teach as many good songs as possible, in order to form a
standard of real musical literature. But at the set performance nothing
is more delightful than to see children rise, and, without any flapping
of pages, or uncomfortable attitudes for seeing the words in a book,
sing straight from their hearts. However simple the music or the words,
the effect will be well worth the little additional trouble.

Our last consideration is that of the songs to be chosen to learn.
Little children should rarely sing anything but unison songs.
Folk-songs, such as those edited by Cecil Sharp and others, and, for the
very little ones, traditional nursery rhymes and game songs are the
best. From the ages of ten to fourteen years such books as Boosey's
_National Songs_ or _Songs of Britain_ should be the staple work, while
for older children the great classical songs may be added. A good book
for these is the _Golden Treasury_, published by Boosey.

Songs by living composers should be strictly limited in number, though
not excluded. These have not stood the test of time. We teach