When Should Children Start Music Lessons?

Introducing children to music, like introducing them to reading, should not wait for formal classes to start. Just as you read to your very young children, you should sing to them (whether you consider yourself a decent singer or not), dance with them, teach them singing games like "Ring Around the Rosy", and share with them the music that you like. Exposing them to classical music, using the many videos, books, and tapes available, can't hurt, either, but at a very young age they will be most engaged by what engages you. In some communities, there are parent/child group classes that introduce children to the basic concepts of music. To find out what's available in your area, check with any group that organizes extra-curricular activities for young children. This may be your local park district, YMCA, public library, music academy, community college, or local university. The emphasis at a very young age should be on how fun music is.

The ideal time to start formal music training can be anywhere from age two to age twelve, depending on what you want.

Violin and piano are by far the most common instruments offered using this method, but you may also be able to find Suzuki instruction in viola, cello, string bass, guitar, harp, organ, recorder, flute, or voice. These instruments are all either playable by children who are not yet nearly adult-sized, or are available in small sizes or with adaptations for small players. Note that some teachers will start very young students using methods and approaches other than Suzuki. As long as the approach is appropriate to very young children, it is more important to find a good teacher than to use a particular method. Also note that starting an instrument at a very young age usually requires intense involvement by at least one parent. Your child may need you to sit in on most lessons and actively help with practice sessions.

Between the ages of six and ten, your child can begin any of the instruments mentioned above, with just about any teaching method; just be certain that both the instrument and the teacher are suited to younger children. If your child is determined to play a different instrument (saxophone, for example), beginning on a different instrument at an early age and switching later will not hurt the young instrumentalist, and may give her more experience and confidence reading and playing music than the student who does not begin until age ten. It is certainly not necessary to begin early, however, particularly if the child does not want to study a different instrument; the motivated student who begins at age ten will quickly catch up to those who began their musical training earlier.

Many instruments do not come in child sizes and are physically too much for a small child to handle. At about the age of ten, most children become big enough to begin playing most instruments. If you have been waiting to start your child on trumpet, clarinet, or trombone, for example, now is a good time to start. Most school band and string programs begin at about this age. If you or your child is very determined on a particular instrument, you may want to begin lessons before school instruction begins, in order to ensure that she is not assigned a different instrument. However, if your child is either not highly motivated to practice or does not care greatly about instrument choice, it will be better for your child to cooperate with the director in taking up an instrument needed for a well-balanced ensemble. Beginner-ensemble instructors are experienced at matching students with instruments that they will be happy and successful with.

Remember, it's never too late to start music lessons. If you are an adult and wish you had had piano lessons as a child, find yourself a piano teacher! If your high school sophomore wishes he could be in the band, have him talk to the band director. Most will be happy to suggest an instrument (probably one that the band does not have enough of) and a teacher. Just a few months of lessons and practice will find most sixteen-year-olds playing at a level that is acceptable in most high school bands.

Does My Child Have Enough Talent for This?

The short answer to this question is "yes". All children can benefit from music instruction, and many of the children who enjoy it the most are not the ones who have enough talent to be the next Itzhak Perlman. Much research suggests that students who receive music instruction do better in their other classes, particularly math and reading.

If you still don't want to bother with music lessons unless your child shows some natural aptitude, consider the following questions:

What Instrument is Right for My Child?

There are so many instruments to choose from, and so many reasons to choose one or the other. Here are some things to consider:

For an introduction to just a few of the other instruments available, please see Classifying Musical Instruments, Orchestral Instruments, Keyboard Instruments, Guitars, The Violin, Double Bass, Flutes, The Oboe and its Relatives, Clarinets, Bassoons, Saxophones, Trumpets and Cornets, The French Horn, Baritones and Euphoniums, Trombones, and Tubas.

Finding a Teacher

If you can, get teacher recommendations from others whose children who are taking music lessons. Find out what their teachers charge, how long and how often lessons are, and why they are happy with them. One parent may be happy with the teacher who is demanding and produces award-winning players; another may be happy with the low-key, unintimidating teacher who makes lessons and practice-time fun. What do you want? What will your child respond to?

If you can't get recommendations from friends, a local store that sells musical instruments often will keep a list of area teachers; many even offer lessons through the store. You can also try contacting the music director at the local high school or the music department at the local college. They may know some music teachers in the area. Also, college students, and even some older high school students, may offer lessons. These should cost quite a bit less than lessons from a professional, but be aware that the instruction may also not be at a professional level. Try to get specific recommendations from a director or professor who has worked with the student if you take this route.

When interviewing a prospective teacher, find out the practical stuff: cost, length of lessons, availability of lesson time slots, her education and experience, and so on. But also ask some questions that will help you decide if the teacher's philosophy and approach are right for your child. What method does he use, and why? What styles and types of music will your child be learning? What are the teacher's expectations concerning how much time your child will practice each week and how fast she will progress? There are no right or wrong answers to these questions; what you are looking for is someone whose approach and expectations make sense to you and to your child.

If your child doesn't seem to be responding well with a teacher, don't be afraid to share your concerns. Be as specific as possible concerning what doesn't seem to be working, and ask what can be done about it. The problem may be solved using a different method book, music that is more appealing to your child, or more guidance from you during practice time. Be sure you allow a reasonable amount of time to work through bumpy spots and allow for learning plateaus and personality phases that your child may be going through. In general, switching teachers will slow your child's progress. But if your child seems to actively and specifically dislike the teacher, doesn't seem to understand what or how to practice, feels unchallenged, or fears or dreads going to lessons, a different teacher may suit his needs or personality better. Don't be afraid to try a different teacher if the first one you choose is truly not working out.

Finding an Instrument

This section comes after "finding a teacher" because it is often a good idea to get in touch with your child's prospective teacher before you get an instrument. The teacher may have definite ideas about what is an acceptable student instrument, will probably know the best sources of reasonable-quality/reasonable-price instruments, may have brand recommendations, and in any case should be able to help you decide whether to purchase a particular instrument. This includes band and orchestra directors and other ensemble instructors. If money is an issue, don't hesitate to let the instructor know. The school may be able to let you borrow or rent an instrument at a low cost, or the instructor may be able to help you locate a low-price used instrument.

If your teacher does not recommend a particular place to look for an instrument, good sources of instruments include your local music shops, local want-ads, and national music companies and other reputable sellers who are willing both to ship instruments to you and to take back instruments that are not acceptable. Both local and national music stores will generally try very hard to sell you an instrument that you will be happy with, so that you will return to them for music stands, mutes, repairs, and other extras. Let the salesperson know you need a student-quality instrument, and of course let them know if a small-size instrument is needed.

Once you have purchased the instrument, make sure you follow the care instructions that come with it, or find out from the teacher how to care properly for it. A musical instrument, like a car, will be a source of constant frustration and repair bills if it is not kept in good condition.

What You Should Do Once Lessons Have Begun

Your child's teacher should clarify things like how often and how long your child should practice, as well as practical things like payment schedules and no-show policies. If not, ask! (You may find some useful suggestions in A Guide to Great Home Music Practice.)

If you are considering Suzuki lessons, or starting a very young child, be aware that you will be expected to actively participate in your child's daily practices. No musical knowledge is required on your part, just time. Once children are a little older, most methods only require you to make sure that your child does practice. You are the best judge of how to do this; whether incentives, reminders, or regular schedules are the way to go varies from one child to the next. Remember that keeping to the teacher's suggested practice schedule is very important. Nobody can learn to play an instrument well if they play only once or twice a week; if this is what is happening, there is not much the teacher will be able to do to help your child improve.

You don't need to complement every sound that comes from your child's instrument, but do try to be encouraging, especially when you do hear something you like. It is the teacher's job, not yours, to listen critically. Be aware that many children who happily accept helpful criticism from a teacher may expect parents (even those knowledgeable about music) to take an encouraging rather than a critical role, and will not respond well to suggestions from you.

Don't be afraid to discuss potential problems with the teacher, especially if your child can't or won't. Most children will have some resistance to practicing and some "performance anxiety" about lessons. But it is not normal for practice time to be miserable or for your child to be terrified of the teacher; if this is the case, insist on some changes or find a different teacher or even a different instrument. Music lessons can and should be an introduction to a lifelong enjoyment of music.