The Challenge of teaching the very young

As a piano teacher there is a question I am repeatedly asked, by parents, and by other teachers ‘What is a good age to start piano lessons?’

The answer is easy – as soon as possible. In the same way languages are best taught early so it goes for music.

However, the implications of such an affirmative answer are altogether more complicated.

I am frequently hearing reports of ‘great pianists’ who gave their first public recital at the age of 7, and it included a Chopin polonaise, a Mozart sonata and several etudes. These remarkable feats of humanity are, though, not the norm, and we would be less than wise if we expected this from any of our students.

Expectations - making music at an early age should not acquire the disciplined status of moving through the grades, acquiring technical skills, or trying to memorise Italian terms – it should, in fact, be learning by ‘osmosis’. We should try to let the experience of music ‘rub off’ on the child. Let them explore music through listening, playing, talking, dancing, in fact any of those things that young children delight in, before the veil of self-consciousness surrounds them.

Materials play a crucial role. In my experience, pre-school learners are often (though not always) best taught in groups, with the emphasis on doing (rather than thinking) and with a great deal of repetition, especially where rhythm is concerned. So the materials used need to be clear, entertaining, varied, but repetitive. Only recently has this need been addressed. The Music for Little Mozarts’ course (MFLM) is the first among a new breed of piano courses clearly focused on 4-6 year olds.

Equally important are the different ways that children respond to aural, verbal, visual and physical stimuli. Some children acquire information by practical engagement, where others can theorise and others listen carefully. Materials that address all these areas have the effect of reinforcing and developing varied skills while engaging with all students. For each level of learning MFLM correlates Lesson, Discovery, Colouring, Workbook, Flashcards, and CDs. You do not need all of these, but it does give you an entirely flexible resource from which you can get the best for your students.

Every Parent plays an invaluable role in the process. Not least for making the decision that music is a subject from which their children will gain a lifelong benefit, but also because an active engagement in the learning process will stimulate their child’s interest. This does not mean that a parent must learn simultaneously, although this can be useful, nor is the influence of a gifted player in the family always ideal. I can well remember the parent of a 4 year old pupil complaining about the rate of progress his child was making when she was unable to play a scale barely a month into lessons. We are all apt to forget the difficulty of learning when the skills are so naturally at our disposal.

What parents can do, is to encourage practice,ensure students turn up for lessons on time, take advantage of the additional resources (CDs, colouring books, toys etc), talk to their children about lessons, offer affirmation at each step of the journey (Wow! Now you know 5 notes for the right hand), and, albeit a rather contentious point, try to ensure they hear a wide variety of music. Take them to concerts, listen to more than one radio station, explore your CD collection, anything that broadens their experience. Music is like food and we are developing their palate, children would live on ice cream if we let them, but, hopefully, as they grow older so their taste matures.

Instruments play a crucial part in the whole process. I believe that as the player improves then so should the instrument. For a beginner of 4, it is feasible for early lessons to be completed on a small 4 octave keyboard. Once they begin to study for the grade 1 exam I would recommend a larger, touch sensitive keyboard, or better still, a reasonable piano. A serious student, grades 6, 7 or 8, really does need a quality upright, otherwise their learning will be inhibited by the instrument on which they practice. Good piano shops will work with you here, part-exchanging or hiring instruments at each stage of the journey.

Now, to be still more controversial, I believe reading music is often the most difficult hurdle to cross at the higher ages, and prohibits the acquisition of true musicianship. If we can build a platform in these crucial early years the benefit is absolutely priceless. Let’s be honest, they have to learn 7 letters, up and down, distinguish between several note values, the pattern of the keyboard, that a sharp raises and a flat lowers, bass and treble clef, and a handful of strategic points on the stave. Compared with reading, writing, arithmetic, or any other language, it is a breeze. It is really about experience and practice.

So, there we have it, teach children to enjoy and discover music exactly as they enjoy and discover language, or food, or sports. Be realistic in our expectations; ensure they have good quality inspiring materials; an appropriate instrument; and help them develop good taste.

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