general drift of the piece before the mind comes into play--the coming
modulations and so on. In fact, it is not too much to say that it is
best, in certain musical phrases, to rely on the eye alone, e.g. rapid
decorative passages, which are not always easy to analyse at first
sight.

A word of warning must now be given. Those who attempt 'short cuts' in
this work will certainly come to grief, unless they are born with the
faculty--undoubtedly possessed by a few--of being able to transpose by a
sort of instinct. Such people are fortunate, but it is not our present
task to attempt to guide them. We are concerned with the average child,
taught in fairly large classes, in the ordinary school curriculum, and
with only a very limited amount of time at our disposal.





CHAPTER XII

GENERAL HINTS ON TAKING A LESSON IN EAR-TRAINING


All those who teach ear-training should keep a book in which they write
on one side of the page the proposed scheme of work for each lesson, and
on the other the actual work done. All sorts of things may happen in the
course of the lesson to upset the proposed scheme. The children may find
the new work easier, or more difficult than was expected, a question
from a child may suddenly reveal a piece of ignorance which necessitates
a digression--every teacher is aware of the 'unknown quantities' in