The next step will be for two children in the class to extemporize the
whole phrase between them, one taking the first two bars and the other
the last two. The key and time should be varied as much as
possible--keys a fourth or fifth apart should be used in succession, or
the children will assume that any melody can be sung by them in any key,
which is obviously not the case. A melody sung in C major, which uses
middle C and high F, cannot be sung in the key of G major with the child
voice.

The class will now find it quite easy to extemporize the whole of a
four-bar phrase. Suggestions can be made by the teacher, such as:

'Begin on the third beat of the bar.'

'Introduce two triplets in the course of the phrase,' and so on.

When this becomes easy to them they will be ready to begin eight-bar
melodies. At first the teacher will give the first four bars, and
different members of the class will finish the tune. Modulations should
now be introduced. The same procedure as before should be followed,
until any child in the class can give the whole of a tune, in any given
key and time, and with a given modulation.

Next comes the sixteen-bar tune, in which at least one modulation should
be introduced. A good plan is to begin with the well-known simple form:

1. Four bars to the [6/4] [5/3] cadence.

2. Four bars to the principal modulation.