class work. Unless the proposed scheme of work is checked by what is
done in each lesson, there will be difficulties later.

Again, each lesson must form a definite link between past and future
lessons. It is often a temptation to a teacher of initiative to draw
attention to a new aspect of the subject, in which she happens to be
specially interested at the time, when the previous work is not in a fit
state to be left, even for two or three lessons. Something happens to
make her realize this, and the new piece of work is hurriedly
left--suspended in mid-air, as it were--and is not referred to again
until an accident recalls it to her mind. Such teaching certainly has
the charm of novelty to a class, but we must remember that one of the
faults of childhood is an undue readiness to pass on quickly to learn
'something new' before the previous work is secure.

In taking a lesson the teacher should aim at speaking in her ordinary
voice. Inexperienced people sometimes imagine that it is necessary to
shout when speaking in a fairly large room. But provided the voice is
clear, and the articulation good, a low voice carries just as well as a
loud one, and certainly produces a greater sense of repose.

Another fault to avoid is monotony of tone--we need 'modulations' in
speaking just as much as in music, and a class is keenly, though often
unconsciously, susceptible to this. A change of position is helpful. The
voice of the mistress will brighten at once if she comes down from the
platform and walks about a little. But she must never turn her back on a
class when actually telling them something. Musical people, who have not
the same experience in such matters as the ordinary teacher, constantly
do this, and will even hide the greater part of a blackboard when
pointing to notes of a tune.