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Lyle Rob- ertson. Ketih Howard. Pu k: Ronald SIbbald. Theseas; und Shirlrv Rntiert. Clvu Jnnrs torik the part of L.

Demetri- us; Joan W. Helena; and Daphne RulledKc. Ilermia Mrs. RllMibcth Smith directed thu excellent play. Tlie dramatic victury of con- science was told In tlie second se- lection.

WUIlatn Chaster played a solid role a. Brother D L. Phillips was the director of this Kilgnant and care- fully handled selection. Transport- ing the audience to the Middle Agex In a lu. And the denouement, wherein In devperatPm he seeks escape in deafness, eomes at a swift pare. Has a hu. Rband no rights? Brian Bums Is the long-suffering husband.

Aider- man John Omat. Ken Weeks is the buistermu Mn. A Natural healinj dii- covery with antiphlosiitic properties. Promotes healing. Relieves pein erid irtflammation. His ryes are lirighi. His coal ia sleek. His hones strong. His anpeliin keen. Easy to FeecJ Jii. Pre pared in leaa than a minute -a full day's feeding. Get rid of those empty bottles.

We pay cash for beer, local wine, whisky and pop bottlta. A Personal. Onlted Butea. April We arc not given the context, but il it was in defence Cromwell had a good one.

An ornament everywhere, there IS no plate where honesty is more essential than in public office, and all such positions are held only in trust. I here arc no degrees to honesty. It is an outright quality, possessed or not. A nearly honest individual would have the rating of a part lime thief, neither better nor worse.

N6r iias honesty seasons, when 11 may blow hot and cold by turns. It is difficult to con- ceive of an individual who could be honest in private life and dishonest in public office.

Of the converse. It one tt dishonest anywhere he IS apt to be dishonest everywhere, subject only to the risk of being detected.

It is that precisely which alarms when the public at any time sees two standards of conduct m operation. Prom leadership especially is ex- pected integrity without qualifKalions or shading. T he public applies its own yardstick to individuals who w'alk north when they stand pledged to walk south, when promises stand unfulfilled.

It writes down the worth and the contribution of such individuals to a lower level, as it writes off its trust in those so circumstanced. Not that the public is wiilKiut blemish of itself, but that the public is quick to assess defection in those placed anywhere in temporary authority over it Were this otherwise, corruption would fill every office and honesty would go begging in the market place without friends.

Bright among these lor men and women from this Province are the reodleciions of British t oliimbia House which under the super vision ol Mr W. Agent Cien- eral tor British Columbia, served the needs ot personnel ot all three services with such devotion for five and a half years. It was to ihe British i olumbia building m lower Krgeiit htrret that thou. I hen there were canteen privileges, books and mnsieal instruments, and a hundred and one either services to make servicemen and women of British Columbia feel that al- though far trom home their triends were leX king alter them Not even the London blitx halted ttK operations of British C-o- lumbia House, which was the envy ci troops from other provinces, although they.

Progressive Conservative Member for Nanaimo. Mr King pleaded privilege There is reason to believe how- ever. Many people in this Dominion will agree with them. It looks as though we have shirked an important peacetime responsibility, which a nation of our stature should not have done. At most places the Winter freshet is over, and the Spring runoff has not yet commenced. Finger- ling trout dart upstream in the checkered sun- light. On every hand llierr is the broad economy ol Nature, so effortless, so intricate, so dovetailed.

I he creek sings with a hundred voices, each dis- tinct and meaningful. From scrub oak. I here arc open fields of sunlight, cloistered aisles of green foliage, miniature gorges where the w-atcr waves white plumes over the blackened rocks. I here are long, open reaches where the water runs shallow, rippling over the sunlit stones. A mile away, one can hear the thundering waterfall f lanked bv thickening boles and spreading branches, ihr creek flows on to an age old tryst.

May it shower right heartily from now until the end oi the month, into those upturned um- brellas Amalgamation, as we understand it. Fither we are all out for arenas airports schoifl. Meanwhile, we have tour of everything, and co-ordination nowliere 1 hat IS a londition which simply cannot last. A host', of golden daifodih. Reside the lake, heneulh the trees. A poet lould not hut be gay. For oft. OLservalion Car — ft; G n. Vt AR. You might «ay Uiere Ls itutiiing phenomenal ahout Uiat, auice Uu xuu liaa a repuiatiun or alihilng a lot around Iheae paru.

But that's just the trouble— It has been rest- ing on its reputaUuD or too long. We don't blame them. It's hard to get a sun complex wltcn the aky remaliu dull and harder sUll to con- vince new resldenui that the only tiling phenomenal about the weather 1 ere is that Its unusual. They'll Just have to Unger awhUe, pcrtiapi another twelve months, lo see we re not merely ellow-travel- ers of the publicity bureaus.

II they do. Unless one is cynical and care- less of other folk, it ts dllScult Uiese daya to accept the peace and pleu- Utude of Canada with smugness. And we shouldn't let ourselves ba smug. They say that to talk of war In- 1 vllcs war. Plans are made to spend many tlumsands ol dollars lu spile of Ihe rruslilng burden of debt left by mis- guided municipal leaders wlto thought Victoria would become a huge city. The resident prot»erly owners who are hard hit by in- come taxes and Ute rising rust of living on the rltiKe of infta U ow are nut given sufBclenl consideration.

CUlirns have not nrgolten the in- crease of five mills in the 1M5 tax rate, and many of them realise they received absolutely nothing in ihe wsy of Improved municipal senlrrs. With extra revenue from biisIne. M and trade lieeneee, road and poll Laxee. Apartment liouses.

I still fall to see why It was necessary to increase the mill rale. At present wt have a medium-slxed city with a bud- get that Would serve a far latger communiiy.

Ptonieon what are called fortuitous trsnx- artions are not taxable as Im-ume. A person who makes money on the stock market di«s not liave to record it an hi' tnc' form. Profit made oil the sale ot a hoav does not have to declared a« Imome, except m tlia rase of a man wiio mAke«. Tttlvn at yirtoria srniL By E. YTlI Not. It can do none of these should have certain practical re- commendations -. I ihuuglr. Though the -A" license tosi , copter sinks.

There 1. As control is derived solelj Club which tasuea A licensas is from the UlUng of the rotor. I likely to be loat That Is the ' should be increased and the effect the meantime Jiey'rr not.

It also embodies ail the opeans never had hehcoptcr pilot Without the engine, win are those of the Sikorsky design characterisUrs-of the helicopter Ac- We have no conquering powers present state of helicopter m the Royal Air Force The Bristol!

Bianlh 'T Ar-:! W thr Who rerenilr reached Haiilax aboard HMi'. CokmUt of April 9. V He alone Is ro-. OfliriaJ Were esr. It lA a place where meat people prefer to do uoihtiig for themselves. It is the home grounds for all the confidence rac- kets ever spawned. In a half hour's walk through Us streets you can meet more thieves, liars, racketeers, chttelers. Ingenious beggars and short change artists -all fairly happy, hungry and gofxl-natured— than any place. I guess that's why I like Naples so well.

You meet more interesting people there than anywhere except In iall Naples u 61ng Sing without walU. After months of search the committee finally located a decrepit old man. E The Andes Mouiiiains rrarh their hlghesi altitude in Peru. The home mar- ly organized. Its leaders at present ket, loo. N80N The Canadian Pacific Railway will employ a fairly large number of additional men when its heavy work program gets under way tins yesr. Tm company wiU give Its first attention to veterans who were previously In the company's service, and tn hiring new men, vet- erans will be given preference wherever pusslblc On a tour of the West.

J H Trenjblay. He came to Canada last Novem- ber as aide-de-camp to his grand- uncle the Earl of Alhlone. We were afraid It would fall apart. Then, as they attempted lean Red Cn»s.

I side of the ship to avoid the risk Tsk«a fishi Sgnag! Uberal Party leader, who wants to form a coalition govern- ment. With only one seat of the 4tid- member House to be filled news- paper figures gave the Liberab who actually are Conservallve — seats, a lead of 4A over their nearest rlvsb. The Progressive mem- bership WAS reduced by tonight's fig- ures tn The Utter has both right and left fac- iotb. Other seats went to: Minor parties Co-operatives L4 and Comiimiibts five.

A last-minule change in the election law eliminated two seats previously scheduled to be added to the House mrmbendilp. Cnions of llie Inlrrii. Tiirmal Iimllicr- lu»otl nf 'reaiii. E mpire Island Farms Co-operative Assn. B eacon Palm Dairies. Ryali han been appointed medical health officer for McBride and dbtrict.

Mounialn View. McBride Snowehoe. Tete Jaune. Valemont and Penny. Taking thr place of Dr Thomas C Howard. Ralph Hyney. Floral arrangements of snapdragons, roses and carnations will be used to decorate the room and rosea and forget-me-nots will centre the table, where Miss Kathleen Agnew. Richard Palmer and Mrs. Nelson Gibson have been asked to preside at the tea urns.

About 80 guests have been Invited. Is the week-end house guest the guests of the former's brother, of Miss Pamela Fraser. Tam Place Mr. W, Bhean. Vsn Home, all of Vancouver. Edward Empress Hotel. Edmund Maclnnos.

Kathleen Bwalm. April U. Jtrfin's Hail. Cowtehan Mrs. Chapter served tea. Donald and an apron loway, Mrs. Philip Bhaw, Mrs. F Richardson, local commandant. Lowe, adjutant. Moving pictures were enjoyed by the children and not a little part of the "trear was the ride to and fro In a tally-ho. Mrs Cam Porieous. Gardiner and Mrs J. Mrs J E Wilson. NS Gloria Wilson. Alan Cameron were ushers. W Jennlson of Jan. A E White! Aflcr ScrMce Overseas the groom's parrnU.

For » honsy-! Mr and Mrs. Winter wrtu make their home In Yukon Territories. Harry OUlespic. Bpim River. House, View Btreci, with Rev. Father Willard O'Brien officiating at the quiet ceremony. I Following the ceremony a small! For a honeymoon trip up the b- land, the bride donned a black top- coat over her wedding costume Mr.

A met recently with Mr. Iirinctpal also announced the aoug featlval to be held at Mount View High Bchnol. April 16 and Women's Club, school Inspector Mrs. Moira Hobbs Fernie. London, while she was overseas. Betty nutehinson Bride of G.

Ball At St. From a coronet of orange hluosoms her silk net veil billowed lo the floor She wore the groom's gift, a strand of pearls, and carried a shower bouquet of Talisman roses and lUles of the valley. The four attendants In their pas- tel frocks struck a charming color note; Mrs. Len Treloar. Miss Kay Oliver and Mbu Gloria Ball, sister of the groom, were attired tn Ident- ical dreasrs in primrose yellow mnlre taffeta with hats en suite, and earned arm bouquets of mauve and while stocks.

MUs Joan Hutch- inson. The beat man was Mr. Cecil Jack- son. Len Tre- loar and Mr. Bob Tuson. A reception for one hundred and seventy-five fueets was held at the Connaught Seamen's Institute Rail. Superior Street. Jack It Trace proposed the toast to the bride. For a honeymoon in Vancouver and Seaiile the bride chose a powder blue diessmaker cult wlUi matching rtraw hat, white shag coat and black aoreasones. W Rankin. After the tMtnquet Mre. Tbelma Fimonda ptVAident. K MUa B. M Beiih. Vic roKIA.

Elea- nor HortneU, mother of Mrs Rodf- en, wsa the hoetcas. Will Makf Horn in Victoria Mrs. Esther Tryon. French Creek, b q cndlnc a few days In Victoria. Alice Braddock. Osborne, attended the annual drama festival In Vlctoiia. In honor of Mr. HarrboD entertained Monday cve- nlns- Mrs. Pettit with her little daughter. Ann Maureen, have arrived in Canada from England and are expected in Victoris tomorrow. Pettit were married in London In He is at present with H.

Marks, Mbs Elsie Petugrew. Teddy TrlU. Mlju Freda Hollins, Mr. Tommy Tryun. Jack Try on snd Mr. Arnold Ferguson are guests at the Rod snd Oun Hotel. Cecil Fergu- son. Alexandor Pres. Vicioiis, B. William Edgar Ford, who were recently mar- ried. Mbs Kathleen Tyler, recently of Albeml. I C , sm ksip rtMM Imk crwpkd cbildrew! Mr Stuart Harrison. George Butler. Mr Jack Tryon. Tryon for Mr. Wslter Smith, who will mske their home In Cupar, Bask. Ouesu were Mr. Danny Murray.

Elmer Churchill. Stuart Harrison and Mr and Mn. Stan Johnson. Bob Young. Mbs Msry Young. Earle For a Beautiful Easter For the ch. Yule left tor Victorta. He wllf be here a week. Eleanor RorsnelL where they and their three children wtlt make thdr home. Robert Arthur. Juanita Clare, to 8. A Joa4' ih T Bruwn. Joaephtne Brown and the late Dr O M. Brown, Cordova Bay. BC The wedding will take place at 8t. Johns Church at 10 am. May Tiith the Rev. BUT MR. Parka- vUle. A RuaaeU, nf Le Roy.

The wed- ding wtU take place quietly oo May 4 In Kingston. Open toe and heels. Make th« teat. Saee at Safeway. Mr and Mrv W 8tU4:key. Vleto- rla. Man 'nie wed- ding wUi take place May 4 at St. J,»n Ol. Oofaage HwK. Ann n. Mrs Mrs. Hollywood Crescent. J Sparks. Mrs J. A Davies. Mrs D TUson. Mary Bums. Honoring Miss Emily Thompson.

Painter, i Gwen Davies. Qtt entertained at a nUscellaneous Brundson. April bride- Mrs. Mark ParfUl. Middleton and Mrs. H Day at I bouquet of pink camallom and Harold S. Cameron, Mrs. B Prendergast. Stmpson, Mrs. Mann, and Misses Margaret Cameron. Helen Parfltt, Jean Harwood. Florence Smith, Alma and Oulcle Malcolme. Jean Holland. Doreen Hardy. Hazel Dempsey. Mary Hamilton. Ruth Oustavson. ArdU Horton. Kay Dlram. Dorothy Craig, Elaine Prov- ince.

Myrtle Broughton and Diana Hartshln. U pictured with two of her paintings, which will oe Included In the art exhibit whicn opens at the Empress Hotel on April 2» to May 5. The Chinese An We»k. Woodward, wife of the Lleutenant- Oovernor. The Uhlvemity Women s Chib has tasued Invitations to various organ- izations to participate with them in this work through sponsoring a day, or a part of a day. Is In charge of res- ervatloiu and Mrs. C T Teakle will handle the tickets. Patroru of the affair are Mrs.

John Hart. Nancy Hodges. Herbert Anscomb. Mrs H E. Mrs Norman Whittaker. O M Weir. Vic- tor Brodeur. H R Bevan, Mrs. Mrs T Rickard. Mrs W. Hlehnl and Mrs. Cunis Sampson Mrs. Corsages were presented to the guest of honor and her mother. E Raper, Mrs. Waters, Mrs. Youmui, Mrs. Brown, and Misses Norma Wood. Kitty Camerem. Doreen Cieator. Joyce Goggin. Miss Noreen McFadden aa.

Mrs, E W Mc- Padden. James Street. Mrs H Wallmi. N Findley Mrs V. Hayton, Mrs. Orosvenor, Mrs. A Pimlaon. Book collector clip art free — by Munish Tokhi. Oreel canterbury feeder 3 90 free by Munish Tokhi. Page of Prev 1 … … Next. Don't Miss It. Breaking news. Microsoft office publisher free September 30, Como quitar la voz de una cancion adobe audition 3. Browse by Tag. Popular News. This is another time when you might be able to identify whether they are particularly interested in music and you may also get feedback from teachers.

Singing is likely to continue being one of the main ways in which music takes place at infant school, from assemblies Learning the piano is a great way of developing musicianship to classroom music but this is also when the possibility of instrumental tuition may arise, perhaps in the form of group lessons on a simple instrument such as the recorder. In England, so-called first access programmes are generally introduced in junior school Key Stage 2. Usually run by a music specialist from outside the school who is likely to be brought in through the school s local music education hub see page 17 for more on hubs , first access lessons will normally involve weekly whole-class tuition for a minimum of a term.

These can take place in a variety of styles and instruments, from samba or African drumming to recorder, ukulele, violin or even brass instruments plastic trombones and trumpets have become popular in recent years. What s known as progression from schemes like this what happens next for children who show an aptitude and interest is a big issue in music education. The situation can vary from school to school, county to county and country to country. Once it has become clear that your child would enjoy continuing their music education, the variety of ways in which this can be provided begins to increase.

Instruments and development Musical development is about much more than becoming technically proficient at playing an instrument. One of the best ways of learning how music works is by learning the piano.

Piano teachers are often particularly used to teaching beginners and younger children, because keyboard skills, however basic, prove useful in aiding musical development of most types in future.

As opposed to many instruments violin or trumpet, for example, which play only one note at a time playing the piano teaches how musical lines work together to create harmony.

This is useful when thinking about music academically and creatively, for example when analysing music theory or composing. As your child develops as a musician, any keyboard skills will become increasingly useful. The piano is also useful because, unlike some instruments, it is possible for even young children to play it.

By contrast, some instruments require children to be a certain size in order for them to physically manage them. An unmanageably large instrument will be frustrating and ultimately pointless for your child to learn and although beginner instruments of various shapes, sizes and conceptual distances from the proper instruments are available, and can certainly be excellent ways to begin learning some teachers suggest not taking up certain instruments until children are physically ready.

Public and private County music services or music education hubs in England are responsible for providing school and extracurricular musical opportunities for children in their area, but there can be widely varying ways in which this is provided. Hubs, for example, have four core roles, one of which is to ensure clear progression routes are available and affordable to all young people. They will have access to a network of peripatetic teachers, and through this network a range of possible instruments should be offered for study in schools or in external music centres, often in the form of Saturday music schools, where children from across the county will come for instrumental lessons and to take part in ensembles.

Depending on the area, these lessons may be free, subsidised or means-tested. Tuition will usually be given in small groups, with the possibility of one-to-one teaching for more advanced players.

Hubs and music services may also be able to help with instrument hire, often owning an instrument library from which they loan instruments to players.

Going private Private instrumental tuition is a highly popular and wellestablished industry. In a relationship similar to that with any private tutor from maths mentor to driving instructor , private music teachers will commonly provide one minute lesson a week during term time, at your house, their house, or at a local school, studio, community centre or music shop.

If you or your child are keen to start with a particular instrument that isn t provided through school, or if you would like them to have one-to-one lessons outside school hours, this is an excellent model of tuition that will match up perfectly to what many people s ideas of what the phrase music lessons means.

Private schools will not usually have a strong relationship with the local music service or hub, and most will showcase their music provision proudly, as it is often seen as important by prospective parents. Scholarships, bursaries and exhibitions which will not reduce school fees but may cover instrumental lessons, in full or in part are often available for particularly talented musicians.

Being part of a thriving music department at whatever type of school can be a fantastic experience for children, bringing them into contact with other musicians, older and younger, and providing many opportunities for musical, academic and social learning. Making the grade Once your child has started learning an instrument, one way of measuring their progression and, for the right child, of providing a framework of goals for development and encouragement is doing grade examinations.

Grades provide a universally recognised framework, and there are also both preparatory and professional-level qualifications beyond each end of the scale.

Teachers will be able to benchmark pupils against the grade system even without your child taking the examinations, and a teacher s recommendation that a player is equivalent to a particular grade will usually carry enough weight on applications for scholarships or courses.

This is when the work your child has been doing on their instrument and the work in the classroom can start to join up, as exams have a performance element which can be undertaken on their chosen instrument or singing. It will also include an academic syllabus, taught in school just like any other subject.

Onwards and upwards From here, a whole lifetime of music has been opened up: your child could go on to study music academically at university or practically at a college or conservatoire; start a band with friends or join a local choir and maybe write songs or pieces for them ; become a composer, sound engineer or record producer or even become a music teacher themselves. For many parents this is a source of worry.

How do you go about buying the appropriate violin, flute or trumpet with limited musical knowledge? How much money should you spend? The internet adds a further complication: should you buy without trying for the sake of a lower price? This article will answer these questions and provide you with the information you need to buy or rent an instrument with confidence Get advice from a teacher Consulting a teacher should always be the first port of call for any parent looking to obtain a musical instrument for their child.

If your child already has a teacher, go straight to them. If your child does not have a teacher, you will need to find one for tips on finding a private music teacher, turn to page Once found, your child s teacher will be able to reassure you that buying an instrument designed for a beginner does not mean spending large sums of money. Indeed, it is not advisable to do so: expensive instruments are designed for advanced players and may not respond well in the hands of beginners.

Expensive instruments can also be more fragile and may not cope well with the wear and tear a child s instrument will typically endure. The teacher should also outline the benefits of buying versus those of renting. Buying is obviously a bigger commitment, so it is advisable to buy quality from the outset; after all, your child will be stuck with whatever you buy. Renting allows you to keep your options open, but can be a drain on finances once your child has decided that they definitely wish to continue playing.

With this in mind, many retailers offer rental schemes which allow you to purchase the instrument after a certain period, giving your child the time and space to decide whether playing is for them. What makes a quality beginner instrument?

A good beginner instrument should make it relatively easy for a new player to produce a good sound, and should be adequate for use up to and in some cases beyond Grade 5. Very cheap instruments are often barely playable beyond Grade 1, so avoid these. The teacher will know which are which, but as a general rule, instruments sold by reputable music retailers will fall into the first category, while instruments bought in supermarkets, bookshops and other general outlets tend to fall into the second.

Online retailer or traditional music shop? Buying online can be a good option if you are absolutely sure of what you want, but check that your online retailer has a returns policy.

Brand-new instruments often leave the factory in a state of minor disrepair; this often comes as a surprise to parents, but it is an unfortunate reality that teachers are well aware of.

If your factory-fresh instrument does turn out to need minor repairs, you will be grateful that you bought from a retailer with a comprehensive guarantee policy, as repairs can be costly. Similarly, it is worth asking your child if there are any problems with the instrument as you approach the end of the guarantee period. Traditional music retailers offer the peace of mind of being able to return the instrument for repair for the duration of the guarantee period, which can be a considerable advantage if you prefer dealing with people face to face.

It needn t be an either-or situation, as many traditional retailers now have websites which combine the convenience of online commerce with the reliable service of a local music shop. It s often worth looking out for any online-only offers, such as sales and voucher codes or discounts. When is a beginner instrument no longer adequate? The question of when your child might outgrow their first instrument might seem irrelevant at the outset of their musical career, but it is actually of great importance.

A beginner instrument should be able to respond well up to about Grade 5 level, which most children will reach somewhere between the first three and six years of learning.

This means that when buying a beginner instrument, you are investing in the next three to six years of your child s education. It is a mistake to see a beginner instrument as a disposable item suitable only for getting started; in fact, poor-quality instruments are a major reason why many children lose interest in playing at an early stage and should be avoided. So, how much? It is difficult to put an average price on a beginner instrument as prices vary between the different families of instruments this in itself can be a consideration when choosing an instrument for your child.

As a very rough guide, good beginner string instruments start at around , as do flutes and clarinets, although oboes, bassoons and saxophones are typically more expensive. Brass instruments seem to be getting cheaper, and quality examples can be found starting at For brand recommendations, always ask a teacher.

At some point, the new experience will take them out of their comfort zone and, during those times, it s often important to have the support of your parents Make sure that your child attends lessons on time and has an in-tune and playable instrument If the lessons are private, it s your job to get them there not too early and not late!

If lessons are in school, the onus is more on the teacher and the student; a reminder in the morning is invaluable. Find out from your child s teacher where the best place is to get repairs done or to buy your instrument from.

Teachers can usually recommend the best dealers, sheet music shops and tuners. Ensure your child has their instrument and music with them If your child has lessons at school, pack their school bag the night before with everything they need.

Check their practice diary to see if their teacher has asked you to buy any new music. It is amazing how many children turn up to lessons minus everything, and while most teachers can conjure a lesson out of thin air, it s not to be recommended every week!

Remind and encourage your child to practise Younger children often lead busy lives with after-school activities and will need reminding to play or practise.

A simple chart with flute practice listed after feeding the dog and a selection of ticks and stars often does the trick, but your teacher may have additional ideas.

In these early days a short, regular practice session is better than a one-hour panic the night before the lesson. Try to agree a regular time and amount of practice with your child in consultation with their teacher. As an exam or a concert comes closer, performing to you or other family members will help enormously. Teenagers are much trickier, and reminding them to practise might be akin to stepping into a war zone.

By this time they have probably decided that they do enjoy playing their instrument and, as a result, become more self-motivated. It is a time of change and adjustment as they grow from child to young adult and determine their own identity.

This may or may not include carrying on being a musician, and as a parent you have to support and understand whatever they decide. Take your child to concerts and play music at home Live music is a great way to see performance modelled and to learn more about different composers and styles. Local communities may have a festival, a series of concerts or an annual competition that might interest you both, and children usually pay a reduced price.

Look out for programmes tailored to children and families, but also don t be afraid to expose them to other concerts.

Make sure that you have music in the home; sing and listen to music yourself, try putting on Classic FM or BBC Radio 3 in the car during the school run and build a small library of CDs or ipod selections at home.

Dive in! Make sure you and your child communicate with the teacher Communication is vital if this three-sided relationship is to work. Some teachers use diaries that have a space for parents comments, others rely on seeing you at the end of each lesson, some will prefer to telephone or use regular reports.

Find out what method your child s teacher employs and utilise it, you are both experts in your field; you know your child and the teacher is a professional, you both have something to contribute. Just a word of caution: your child s teacher probably has many students, so try to be realistic and not too demanding. Take an interest in your child s playing You are not required to give them a professional critique every time they play When the Saints Go Marching In ; a genuine well played or I like that piece, works just as well.

As the pieces become more involved and advanced, try discussing them and ask why they like that particular sonata or composer. More advanced students will see through the rather bland well done, dear so go for more specific and meaningful praise. If you play yourself, get involved in the accompanying or playing of pieces, try out some duets and listen to the CD demos that might come along with your child s tutor book or exam pieces.

Also, you do not need Grade 8 to turn up to their concert, recital, school assembly performance and smile and clap. Finding a private instrumental or vocal teacher for your child can seem a daunting task. Some rely on the recommendations of fellow parents. Another approach is looking online: the Incorporated Society of Musicians has an online music directory of music professionals musicdirectory. Once you have identified some possible candidates, here are ten important questions to ask: 1.

Do you have any formal qualifications as a musician? Music qualifications from a conservatoire or university are excellent indicators of knowledge and achievement, as are diplomas from external boards. Membership of an organisation such as the ISM, European Piano Teachers Association or the Musicians Union shows an awareness of standards and ethics, but there is no requirement to be a member of any body.

It is also worth remembering that many excellent teachers have no qualifications whatsoever. Do you teach children in groups or individually? Group lessons stimulate ensemble, develop listening skills and are good from a social perspective. One-to-one lessons offer concentrated focus and much more intensity, so that progress can be more rapid.

Some teachers prefer to mix one-to-one lessons with group sessions so that their students benefit from the two different approaches. Where do the lessons take place? While the offer of lessons in your own home may appear to be a comfortable option, it is ideal for students to take advantage of a teaching studio that has an excellent instrument, a good collection of recordings for reference purposes, a music library and a good acoustic.

What tutor books and repertoire do you use? And what styles of music do you teach? Direction and structure in a student s development are important considerations. Balance and careful planning are necessary in the choice of repertoire for students. How do you feel about examinations? While grade examinations are useful targets and indicators of progress, teachers who rely exclusively on them as programmes of study would not be looking after their students properly.

Exams were not designed for this purpose. Do you teach theory, composition, improvisation, sight reading and aural? Asking how a teacher tackles all of the supporting areas of study can be revealing. Some prefer to deal with theory at a separate time from instrumental lessons. But perhaps the most effective way of teaching music is to avoid putting things in boxes. For example, a good teacher could choose to introduce a new scale via imitation developing the student s ear then look at it technically, theoretically and in a musical context, by asking for some sight reading to be explored which contains that scale.

How do you encourage good practice habits in your students? One of the teacher s most important tasks is to ensure that practice techniques are firmly understood and expected to be used before each lesson.

Parents will also have a part to play in this, so ask how you can help reinforce the teacher s message. How will we know if our child is making good progress or not? Good teachers always know if students have or have not been practising!

They will also be confident enough to tell parents when it is evident that lessons are not going well. What fees do you charge? And what is the method of payment for lessons? Fees depend on various factors, including the experience of the teacher.

It is standard practice to pay for lessons in advance, though most teachers will be sympathetic and either reschedule lessons or offer refunds if sessions have to be cancelled. Are you happy to give my child a consultation lesson? Most teachers are happy to offer a special one-off lesson to see how a potentially long-term partnership could develop. Yet, as anyone knows from their own education, it is impossible to know exactly what the experience of being a student might be at any given institution.

There are many factors which influence a student s career and most of them, however much parents might like it to be otherwise, are entirely out of their hands Schools are aware of the importance of making families feel comfortable with the choice they eventually make about where their child will study.

In fact, both state and feepaying schools are competing for parents and their children, and one of the ways they do this is by holding open days. These are a great opportunity for parents and children to get a feel for a school albeit slightly contrived and to question staff on actual details. Your child is interested in music, so collar a member of the music staff and interrogate them until you have a satisfactory idea of what it is like to study or participate in music at their school.

Two caveats. Firstly, don t take the collaring too literally. In a sea of potential parents a teacher may be tempted to weed out the nightmares, so don t ruin your child s chances before they ve begun. It s a fine line, but teachers are human too, so smile! Secondly, where your child goes to secondary school should be a joint decision. Discuss with them what they would like from their school experience so that they are prepared for what an open day is for. Ralph Allwood, who was director of music at Eton College for 26 years, says that by the child s enthusiasm, parents should be able to take a watchful, advisory backseat and let the child choose the school.

This process should be evident. I would be most interested in the genuine not pre-rehearsed questions the child asks. Bearing this in mind, here are a few questions which you might not find on the FAQ page of the prospectus. What is the depth of performing opportunities? Music is fundamentally about performance, and young musicians will be frustrated if they cannot find the correct outlet. Ask in detail: there may be a symphony orchestra, but what about a string or chamber orchestra? If there is a chamber choir, is there also an a cappella or barbershop group?

Do students often form their own string quartets? If so, is it made easy for them to do so? Might there be concerto opportunities at school concerts? How are students allocated to ensembles? It is frustrating if performance opportunities exist but the selection process for ensembles means your child won t be able to take advantage of them. Equally, a talented child who is not able to join the senior groups simply because of her or his age could become demoralised.

How is music perceived by the rest of the school, its students and parents? This is a key question which will not only shape a child s involvement in music, but also their general academic and social development.

Moreover, you should be able to tell immediately from a staff member s answer what the truth is. If they smile and reel off a list of concerts, assemblies and inter-house music competitions, then you will know music is valued at the school and that if your child is involved in music, he or she will be respected for the contribution they can make to its day-to-day life hopefully mirroring the value that they will be able to contribute in later life, through music or not, to friends, family and wider society.

But if the teacher looks away and mutters about the football team or compulsory after school league table exam performance drills, you will know that music is seen as an afterthought by the school and as a luxury for your child. Can I bring my child along in advance of formal scholarship auditions?

Many directors of music will be happy to see you and your child for an informal meeting where you will be able to discuss the audition process and go through some initial aural tests or short performances.

This can be invaluable in building your child s confidence before the official audition, and they will certainly feel more comfortable having already met the director of music. Don t expect this opportunity, but it does no harm to ask; if offered, certainly accept. Should they decide they want to be an engineer or a doctor, for example, there may not be room for music in their GCSE, AS- and A-level choices; it is certainly possible they will clash on the timetable.

So if music scholars were required to take music, the scholarship would have to be relinquished regardless of how much they contribute to general music-making in the department. You may prefer to choose a school where this is not a danger. How does musical involvement work alongside or even preclude involvement in other school co-curricular activities?

Most students will find themselves with competing interests and demands on their time, and it is sensible to develop a broad range of interests; but music scholars will very reasonably be expected to contribute to the musical life of the school.

If symphony orchestra rehearsals clash with football practice, your child will probably not be able to join the football team. If it s important to your child, see if there are ways around it. Does the school have any concerts coming up?

Attending a concert is a great way of judging the quality of music at the school, particularly if you as a parent have the musical skills to evaluate it. But attending a concert may be most useful as an opportunity to judge the atmosphere surrounding music at the school: how well attended is the concert by parents and non-music staff?

How do the students interact with each other, both on and off stage? Do students go on to read music at university or conservatoire level? If so, where? Results shouldn t be the bottom line in music, but if a lot of students are going on to further study at top institutions, this must be a good sign.

But don t necessarily be put off a music department just because students are not taking their academic studies further.

Teachers may still be doing an excellent job, equipping students with skills that they will have for the rest of their lives. Judge by what else you see and hear at an open day. Browsing the available music scholarships at some of the finest UK independent schools can produce a rather overwhelming variety of entry requirements and expectations, but in reality, speaking to a number of musical heads of department, it s clear that passion and potential on the part of the candidate are the only essential criteria.

Everyone will prepare their party pieces on their instrument and practise their sight reading and aural tests, says one, but the real preparation should be happening in the years before they audition for a music scholarship. In order to be able to talk about and show their passion for music, your child should be part of their school or church choir, a member of the school or music service orchestra, go to concerts, listen to lots of different music, be inquisitive about music, try to compose their own music and, above all, be able to talk about music with enthusiasm.

Being awarded a scholarship means making a commitment to adding to the school s musical life Old Palace School Old Palace of John Whitgift School is an independent girls school in Croydon, south London. Founded in , the school is housed in a building which can trace its history back to the ninth century and was the summer palace of the Archbishops of Canterbury for centuries. Being immediate neighbour to Croydon Minster, the musical life of the school is intimately connected with the cathedral.

Auditions, which occur early in the spring term, are given to those applying for Year 7 entry at the age of A guide to the expected standard is a good pass at Grade 4 in a first-study instrument, and a second instrument is desirable but not essential. The audition includes performances of one prepared piece for each instrument, sight reading, aural tests, and a general interview.

A strong commitment to and enthusiasm for music is essential, and it is expected that a music scholar will take music to at least GCSE level as an academic subject. We always ask for a brief reference from instrumental teachers and the length of time learning an instrument. The length of time learning an instrument is often a valuable indicator for us as we have taken girls for music scholarships who have only reached Grade 2 standard, but have achieved this in just a year and shown real musicality in their playing; we would have missed out on these musicians if we had gone purely on grades achieved.

Conversely we have turned down students with a good technical ability but who have shown no clear love or passion for music and music-making in their application form or their interview. A music scholar must live and breathe music, otherwise we will all ultimately be disappointed. However, whether or not a scholarship is attained, Hemmings explains, there is plenty of opportunity for a student to engage in the musical life of the school: Our music department is inclusive and our philosophy is that every student, whatever their grade or experience, whether a scholarship holder or not, has a place in one of our ensembles if they are prepared to commit to it.

Alleyn was an actor and an entrepreneur in the world of Elizabethan and Jacobean theatre, and theatre and music have formed important parts of the boys school s life ever since. At Dulwich College lower school beginning at Year 7 , a number of music scholarships of up to one third of the tuition fees are awarded annually. In addition to the reduction in fees, successful candidates receive instrumental tuition on two instruments one of which must be an orchestral instrument.

Auditions for selected candidates take place in mid-january and consist of a prepared piece, sight reading and aural tests, and a viva voce. Choral and organ scholarships are also available to boys at age 11 to fill vacancies which occur annually in the College Chapel Choir, singing choral services in the chapel of the foundation, Christ s Chapel of God s Gift, in Dulwich Village.

Auditions for these scholarships occur in June. I very much encourage prospective parents and their sons to come to the college, meet me and have a tour of the campus, says director of music Richard Mayo.

It is very helpful to hear the boys play informally to me, and I can then give detailed advice regarding the preparation needed for the music award audition. Where possible, two separate visits are encouraged. This helps with the transition process to the college. We ask for Grade 5 Distinction standard in the first study instrument. Potential and commitment are crucial, and while successful candidates often have achieved a higher level than Grade 5, we are very comfortable to reward musical potential too.

We expect the music award holders to take part in a range of concerts, recitals and masterclasses during each academic year and join a selection of ensembles that match their instrumental and singing skills. Singing is at the root of musicianship and all the award holders are expected to contribute to the college s choral activities.

The music scholars are placed with a mentor one of the college s music staff who will help to guide the boys through their musical education at college. Oakham School Oakham School in Rutland is a co-educational independent day and boarding school, and one of the top schools in the UK for the International Baccalaureate, though A-levels are also offered to those students who choose to study them.

Grade 4 standard is expected of applicants, and candidates at audition are asked to perform two contrasting pieces on their main instrument and one or more pieces on each additional instrument.

Auditions include tests of scales, arpeggios, sightreading and aural consistent with the candidate s level of ability, as well as discussion of their chosen repertoire.

It s not just down to natural talent: scholarships are also awarded to those who demonstrate their commitment and While other schools might not ask for scales and arpeggios, director of music Peter Davis explains: After more than 15 years as a director of music, I am most keen to see candidates who are accomplished in all musical areas: so scales and arpeggios, sight reading and aural are just as important as pieces.

In that sense, a child who has achieved a recent distinction at Grade 3 is far more impressive than a child who has scraped a pass at Grade 4. Above all, we re looking for potential and enthusiasm for music from the child themselves. An enormous amount depends on when a child started for example, I m a first study keyboard player who started the piano aged ten!

We always work with applicants in both pre-auditions and auditions to discover how responsive they are. Once at the school, Davis continues, We arrange a number of additional activities to support the development of our scholars, from concerts given by eminent professional musicians to workshops, scholar groups sessions, masterclasses and chamber music events. This approach normally shows a school what an applicant can t do rather than what they can!

Equally, don t rush them to do a grade exam too soon in the hope that it might strengthen their application. Gareth Hemmings of Old Palace School: I would prefer parents not to enter their children for a music award purely as a means of reducing their school fees, or if their child is not really committed to music.

Auditions from students who are not properly prepared or sufficiently interested are not a positive experience for the child, or for us! The Master of Choristers, David Flood, is always pleased to meet and advise parents and their sons. Our experienced team of specialist musicians coach all ensembles, whether vocal or instrumental, traditional or contemporary, with outstanding results. Families can also apply for additional funding through our means-tested bursary scheme. Please contact our Admissions Team for more information and an informal discussion.

Chances are, your child has benefitted from them, either directly or indirectly. Here is a rough guide as to what music hubs are, and how they work Many musically-involved parents are familiar with the regular Saturday morning rush to the music centre for band, orchestra, choir or, increasingly, more unusual ensembles such as djembe drumming or a bespoke guitar quartet.

In England, it s likely that many of these pupils will be attending one the organisations which are working to create and maintain music education provision.

These organisations can comprise music education hub lead organisations, local authorities, schools, arts organisations, and community or voluntary organisations. They are funded by the Department for Education through Arts Council England, and this year they received a collective total of 75 million. Hubs have four main roles: To ensure that every child aged five to 18 has the opportunity to learn a musical instrument, ideally for one year, but for a minimum of one term.

This takes place through whole-class teaching programmes of weekly tuition on the same instrument; To provide opportunities for children to play in ensembles; To ensure that children showing promise are provided with clear and affordable progression routes; To make it possible for every child to sing regularly, and ensure that choirs and other vocal ensembles are available in the area.

This is an average of 8. And Fiona Pendreigh, who runs the Plymouth Music Education Hub, is also the Music Education Council s chair elect and will lead the organisation from July More than 4, young people benefit from the work of the Plymouth hub, which offers traditional ensembles as well as steel band, guitar groups, and rock and pop activities.

The main challenges facing music education right now are tied in with the vision we ve been given with the hubs, says Pendreigh. We re talking about things changing all the time, a sense that we re not certain what we ought to be committing to. Yet we do know, as music education experts across the country, what we want our direction of travel to be so I think we need to persevere and be confident about what we know and understand, and ensure that the journey carries on in that same direction.

I have been a music advisor since , and on the MEC executive since and attending the events, seminars and meetings has helped me become a better hub leader. The fact that I m engaging with this kind of work nationally raises my confidence in my hub work. Likewise, when I m in meetings representing MEC, I can say that I know how something feels from a hub lead, a music advisor or a class teacher s perspective, because I ve had that range of roles.

Working with Southall Special Needs School, Telford facilitated a bespoke, special needs version of their whole class ensemble tuition programme, over a week period.

Music tutors received training, including Makaton sign language, to use specialist music assistive technology to help engage young people with physical, mental and communication needs with musical education. The hub provides young people with access to music technology, brass, singing, ukulele, samba and folk whistle. Teachers from Southall commented: The confidence that some of the special education needs children develop, performing individually flows into other areas of the curriculum: they are more prepared to have a go independently.

What has given these schools their reputations? Is it the number of choral scholars churned out each year? Or maybe the annual clutch of Grade 8 distinctions?

Schools are understandably keen to boast of their practice rooms packed with Steinways, or even their collection of organs to suit every style. But the best facilities in the world are nothing without talented and committed teachers to guide their young charges into the world of music. When you talk to music students at university or a conservatoire, or those who have enjoyed music at school, it s the teaching they mention not the facilities.

At Oundle School, near Peterborough, there is a thriving music department. While music is delivered largely by the academic staff, the school benefits from some 41 part-time instrumental teachers, all of whom are actively involved in the music department. A recent partnership agreement with the Royal College of Music gives Oundle students access to a wide variety of masterclasses with leading professors at the RCM, as well as opportunities to work alongside fellows and students in concerts and workshops.

Nearer London, Trinity School in Croydon and Hampton School in Middlesex offer immense opportunities both to those considering music as a profession or as a life-long interest.

His legacy provides outstanding facilities and an exceptionally extensive range of bursaries and scholarships for students from a wide variety of backgrounds to benefit from an education at Trinity.

There is a wide range of choirs, bands and orchestras for students, from symphony orchestra to almost big band, close harmony, and groups for individual instruments. Lower and upper sixth are scheduled to carry out a term s volunteering for one afternoon a week, and music students can get involved in planning and teaching music sessions with the children of Castle Hill Autistic Spectrum Disorder Unit using the sixth form music facilities.

At Hampton, an independent boys day school in southwest London, every boy is encouraged to fulfil his full musical potential. There are opportunities to perform at every level, nationally and internationally. The school s website notes the department s delight that Hampton is now an all-steinway school.

There are music awards and a choral award which is only offered to boys entering the first year and is given in conjunction with the Chapel Royal at Hampton Court Palace, where scholars are choristers of the Chapel Royal. But there is a strong argument for getting children off on the front foot well before secondary school, as Lucy Johnstone-McCarthy, head of music at Baden-Powell and St Peter s Church of England Junior in Poole, would agree.

The school won the best school music department prize at the Music Teacher Awards for Excellence in Johnstone-McCarthy says fellow staff and a supportive senior management team have given her the freedom to do so many amazing projects.

Through music curriculum time and a wide range of extended curricular activities, the children work as musicians and have a detailed understanding of the process of music-making. This is achieved by the quality of teaching they experience in their music lessons, and through a dedicated team of instrumental staff and tutors who help them achieve the highest of musical standards for their age.

In recognition of the quality of its expressive arts activities, the school has been awarded an Artsmark Gold Award.

We look to draw out the musician in each of the students by providing performance tasks that meet the expectations of all of the children, while also drawing them on to unknown terrain, says head of music Guy Guerrini. For example, we might play a well-known pop song like She Said by Plan B, which has straight-forward harmonic language, simple rhythmic ideas, a vocal melody as well as a rap.

Students will be taught how to play the song on instruments like guitar, bass, keyboard, drum and ukulele, before choosing their favourite instrument and organising themselves into bands of four, five or six musicians to produce a performance of the song.

By the time they leave after their GCSEs, students are able to compose longer pieces of music in the genre of their choice. We have had pop, dubstep, dance, string quartets, flute duets, guitar ensembles and more. Still in the state sector, Windsor Upper Schools, containing a unique and rather exciting music department, comprises two upper schools starting in Year 9 with one for girls and one for boys.

I have the privilege and pleasure of leading both music departments under the banner of the Windsor Upper Schools music department, says director of upper school music James Manwaring. Having worked at the Windsor Boys School for a number of years, I felt it would be a natural and sensible move to merge the departments and therefore benefit the musical development of the students. Manwaring is particularly pleased with the impact that music has not just on the school community, but also the wider community and the family of schools in Windsor.

Each and every event that takes place at each school is surrounded by music. There is at least one ensemble or choir rehearsal every day, and these can start as early as am. Both boys and girls are prepared to give up huge amounts of their time to rehearse and perform. I guess that really shows how much they love what they do and exactly how much they love being part of the department. The school, I truly believe, is made more alive by the music that we play.

It s so good that students in assemblies and at school events can see first-hand how powerful music can be. Playing an instrument or singing is not just a solitary activity with no end goal. It gives the students a sense of purpose within school and also it connects them with a network of like-minded individuals who have the same aspirations. I love seeing new students in September finding music for the first time.

It s natural that schools are keen to blow their own trumpets about their achievements and their facilities, but unsolicited accolades from parents perhaps speak more loudly about the true transforming power of music.

It was written after a twonight run of Fame at the Lighthouse, Poole s Centre for the Arts, in which a cast of more than a hundred Year 5 and Year 6 children performed, as the culmination of nine months of rehearsals, to sell-out audiences: Throughout Joshua s primary schooling he was never a child that was picked to stand up in front of the school and perform, either reading or at shows.

I m not sure if it was because he didn t want to or that he was never a strong reader, but to see him perform so confidently on stage filled us with such pride and made us realise that all children have their butterfly moments where they blossom and really surprise us with what they are capable of.

Josh is so much more confident since being involved in the show and that s not something that you can teach children easily they need to step outside of their comfort zones sometimes and do challenging things that will have an impact on them when they are older. Music Scholarships per year, whatever you re studying University by the sea Guaranteed first year accommodation Safe and friendly place to study Symphony Orchestra, Concert Band, choirs, ensembles, individual lessons, practice and library facilities Vibrant Arts Centre Manylion llawn o r Ganolfan Gerdd: Full details available from the Music Centre: aber.

Do they yearn to sing in a choir every day rather than just once a week? You may find that a specialist music school will provide them with the stimulus they need The range of opportunities available at the UK s specialist music schools means there is something for every child, with opportunities from classical virtuosi to lovers of musical theatre and pop.

Generally speaking, time is distributed half-and-half between academia and musicmaking, with the emphasis on creating a well-rounded individual rather than simply a virtuoso or merely a good student. Academic ability may largely be valued less than musical facility at auditions, meaning there is often a variety in traditional academic ability at these schools, but a very creative environment and a sense of kinship with other gifted children fosters a positive, welcoming environment.

These schools, with smaller class numbers and professional musicians for staff, are perfectly placed to give each student the benefit of professional advice and a tailor-made programme of musical, artistic and intellectual development. In this article, we profile three schools to give a flavour of what specialist education offers to musicians of all stripes. Yehudi Menuhin School You ve got to produce interesting human beings first and foremost, says Malcolm Singer, director of music at the Yehudi Menuhin School YMS until September The school is dedicated entirely to music and only has around 70 students, comprised entirely of string Yehudi Menuhin School houses a seat concert hall players including classical guitar and pianists.

There are rigorous auditions: pre-screening by tape or in person is followed by a full-day audition including performances to teachers, aural tests and interviews, before the final step of three to four days boarding at the school, acting as a full-time student. Singer suggests the most important characteristic in candidates auditions is the ability to communicate their love of music to an audience, and auditions may result in them being asked to return in a few years, or even suggestions of schools where the student may be better suited.

Academic ability is not examined at audition, but following on from Menuhin s idea of a holistic education, the school teaches the national curriculum, seven GCSEs, and two A levels per student, with options including Russian, Mandarin and Japanese. A third year of sixth form is available obligatory for those entering the school at 16 in which students pursue further study. Music education is highly creative, with all students studying composition and aural skills, as well as classical improvisation for cadenzas or ornamentation.

Nearly all alumni attend music colleges, although the qualifications offered do leave open the possibility of study at university. Day-to-day, students have a personalised timetable, with at least two hours private instrumental teaching per week with a principal teacher.

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