themselves in their native tongue.

An earlier chapter in this book has dealt with the teaching of
extemporizing, first, treated as vocal expression, then as instrumental.
When a class of children has arrived at the stage of being able to
extemporize a tune of sixteen bars, in any given key and time, and
introducing given modulations, it is quite ready to begin the more
formal study of composition, and to be initiated into the mysteries of
form. Hitherto the experiments of the class in this direction have been
chiefly spontaneous; the teacher has of set design left the child who is
extemporizing as free as possible, but the time has now come for a new
'window' to be opened in its mind.

A preliminary talk should be given on the need of form in music. It must
be pointed out that we cannot be intelligible without it, that it is not
enough to have a language at our command; we must have _shape_ in order
to convey our ideas to others. The child should realize that the great
artists in all the arts are under the same necessity as the youngest
beginner in composition. Inspiration must be embodied in a definite
form, or others cannot share the vision of beauty.

For a time the child now has to learn to select a musical form, then to
choose a musical thought which can be fitly expressed in it. It will
seem a cramping process after the freedom of extemporizing, but the
child who loves the work will willingly submit to the discipline. It
cannot be too often impressed on the young teacher that children as a
whole _like_ discipline. They despise those who are indifferent to it,
and give a ready submission to those who expect it, provided they feel
sure of an underlying sympathy.