which stretch out to two and sometimes to three hours' length. If the
above plan be adopted, no child will be able to play more than one short
piece. A mistress who is ambitious for the success of a few specially
gifted pupils will sometimes suggest that a recital shall consist of the
performance of two or three of these only, and that each pupil should
play more than once.

Such suggestions should be frowned at.

What we want, if we have an educational end in view, is not so much to
give the few musical children in a school the opportunity of gaining
experience in playing in public, and indirectly of showing their
progress to an admiring audience, but we want to give every music pupil
in turn the same opportunity.

All children need experience before they can play to others in such a
way that they not only do themselves justice, but give pleasure to
their listeners.

Pieces played at such recitals should invariably be by heart. The
nervous pupil may possibly break down at her first appearance, but she
will be quickly succeeded by a more confident player, the little victim
of 'nerves' will be soon forgotten, and the experience gained in this
way is invaluable.

Before a recital a rehearsal should be held in the same room in which
the recital is to take place. Few people seem to realize the immense
difference made to children by a change of environment at such a time.
The pupil who will play her piece on the piano without one mistake to
her mistress, and in the room to which she is used, will often be