Age and Approach 11

The Da1croze approach focuses on rhythm and movement. Such classesare weIl worth considering, especially if the child has astrong enthusiasmfor music. Parents who share these early musical experiences with theirchildren will discover them to be both fascinating and stimulating, andwill find themselves able to help in apractical and supportive way.

The- §-Yowin§- c-hi/dIt is between the ages of ab out six and nine when most young peoplebegin their instrumental training. At this age children often have efficientmemories, are very eager to learn but will still probably have a shortattention span. Never underestimate their capacity for learning and thirstfor knowiedge. Set them eliallenging tasks and expect a lot in return -they are normally not afraid of failure and will always want to 'have a go'.

This is the time you can really lay many of the foundations of playingand musicianship. Thorough teaching at this level is an enormousinvestment for the future. Lessons will have to be carefully planned toinclude a variety of activities that will develop musicianship, graduallyinstil understanding of notation, engender a love of the sound of theinstrument and stimulate the childs imagination through creative work.Most young learners need constant and creative reinforcement to maintaintheir interest and establish streng foundations and a sense of progress.Thus the challenge for the teacher is how to present the same mate rialin a variety of imaginative guises. The repertoire and tutor books usedshould be carefully chosen, and you will probably have to provideadditional material yourself. Your pupils will love having pieces andexercises written especially for them!

6-@Y/1 DVyn-OV+It is worth noting that some pupils, at the age of seven or eight, havealready been learning for possibIy five years or more. To pre-empt early'burn-out, the teacher must always be monitoring each pupil's level ofenthusiasm, willingness to practise and to take part in musical activities.If enthusiasm does seem to be dec1ining it is important to find out why.Usually the answer can be found out by careful questioning. To elicittruthfuI responses avoid direct questions. 'Which pieces do you enjoypIaying most?' is better than 'Do you Iike the pieces you are Iearning?'.The former may lead to a particuIarIy favoured style or indeed theanswer 'None!' whiIe the latter may simply draw a blanket 'Thev'reokay', which tells you very IittIe. If you ask Ieading questions, you wilIprobabIy get the repIy chiIdren think you want. If you ask questions thatstimulate conversation, you wilI undoubtedly Iearn much more.

Perhaps the lesson may be on a dav and at a time the chiId would verymuch rather be doing something eIse. It is aIso possible that the instrumentmay not be the right one th ere may be physicaI problems that are causing

Motivation