troubled at playing it on another piano, and in another room.

A child was once known to break down in an evening recital, and when
asked the reason, said: 'I have never played that piece before with a
candle near me, and I didn't like the shadows on the piano.'

This sort of remark gives a real insight into the child mind.

Another small point may be mentioned. In the lessons just before a
recital the mistress should go to the end of the room in which the
lesson is given, while the child is playing her recital piece, in order
that her supporting presence near the child may not be missed at the
recital.

The recital will probably be followed by some form of reception by the
school authorities of the parents of the pupils. No teacher should miss
this opportunity of getting to know the parents of her pupils. A
friendly talk over the progress, or lack of progress of a child will
often result in sympathetic help being given at home, and, in any case,
the teacher will probably learn something about the character and home
environment of the child which will help her in her work.

Partly owing to lack of time, and partly because some pieces will not be
ready, a certain number of children will not be able to play at the
school recital. Such children should be gathered together at the end of
the term, and should play to the mistress who organizes the work. In
this way they too will gain experience, and a little focus will have
been made for their work.

We must add one final suggestion. Each music mistress should keep a