s 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.

The first lessons in form should consist of the analysis of simple
tunes, preferably of the Folk Song type. The forms known as AB, ABA, and
the variants derived from these will be explained, and the class will
write examples of each, at first not harmonizing the melodies, but
afterwards doing so. The old dance forms will then be taken. At this
stage it is absolutely necessary for those of the class who are musical,
and who wish to give a little extra time to music, to go through a
course of strict harmony and counterpoint; endless time will be wasted
if they do not do so. The work will be very much lightened because of
the foundation already laid, for, without knowing it, the children have
been doing a little free counterpoint for some time, when they added
vocal parts to a given melody, and their knowledge of practical harmony
will make it possible for them to take many a short cut in the formal
work.

The dance forms, together with very simple fugues and contrapuntal
studies, and a few 'free' exercises in songs and short pieces, will be
as far as the majority of children will get in the study of composition.
But there will always be a few in each class who will be eager and able
to go farther, and to begin the study of sonata form. Fo