Music FAQ

What can I play at WGPS?

We currently have 10 Visiting Music Teachers offering the following instruments:

• Piano
• Voice
• Violin
• Viola
• Cello
• Double Bass
• Guitar (classical and electric)
• Flute
• Oboe
• Clarinet
• Saxophone
• Trumpet
• Cornet
• Tuba
• French Horn
• Trombone
• Drum kit and percussion 

Ask your child if they are drawn to a particular instrument.  If they find their “soul mate” and have a real desire and interest to learn, their enjoyment and progress will definitely be greater.

Are there School Ensembles?

Pupils will normally make much faster progress and have much more fun playing their instrument if they join a band, orchestra, string group or other ensemble.  We therefore strongly advise all pupils to join one of our performance groups relevant to their instrument.  Currently we have an Orchestra, Jazz Band, String Orchestra, Guitar Group, Cello Ensemble, Brass Ensemble and Saxophone Group. Young musicians will be invited by their instrumental teacher and the Director of Music to participate in these groups when they reach the appropriate standard.  If you are not learning an orchestral instrument you can always join our Year 3 & 4 Choir or Year 5 & 6 Choir.

How much do lessons cost?

On average fees for the academic year 2022-2023 are £220 per term.  For this your child will usually receive 10 lessons of 30 minutes on a one-to-one basis with a specialist teacher.  Occasionally, and especially with younger children, a teacher may suggest a shared or shorter lesson.  This will be arranged to suit individual needs.  All but one of our specialist visiting Music Teachers are self employed and you will be invoiced directly by them and asked to sign a contract.  Mrs Moore’s pupils will have the fee added to their school bill.
 

When will lessons take place? 

Individual lessons take place during the school day, which is unavoidable as over 180 individual lessons are given in school each week.  The Visiting Music Teachers liaise with class teachers to minimise disruption and avoid missing important work wherever possible.  They will be rotated so that pupils will not miss the same class lesson each week. 

Top Tips from your Teachers 

Practising is a very important part of learning any instrument.  Allocate some time during the week for your child to practise and set up a routine, this way you will both be able to see and hear the progress.  Look after the violin, don't leave it lying around especially where people might sit on it, and always remember to loosen the bow when putting it away. Find time to go to concerts and listen to music with your child, this will inspire them and help in their musical development.  Above all, encourage and support them, especially in the early stages.

 

 
A few minutes (or more) of focused, enjoyable practice every single day will not only ensure progress on the instrument, but also help your child develop skills in discipline, motivation and goal-setting. Practice time should be fun and relaxed but also mindful and awake! Enjoy listening to music with your child, and encourage them to find music they relate to. 

Guitar

All prospective pupils should have had second teeth through if they wish to consider learning any wind instrument.  Braces can make it a little more difficult and in some cases uncomfortable, but this depends on the individual.

Flute, Clarinet and Saxophone

Maybe have a chart at home with practice days marked and a star when done and then maybe a small reward at the end of the week for very young pupils.

Piano

Handle your instrument with care. They are very fragile and break easily. Try not to bump your instrument, either in or out of the case as this may cause it to go out of adjustment.  When your instrument is not in use always store it in its case.

Cello

Be encouraging, especially at the early stages.  Also, take children to concerts for a treat and have music playing in the home.

Piano

The voice is a delicate instrument, and is still developing at the ages of the children at this school.  I aim to let the voice develop naturally and show children how to approach learning songs while not forcing the voice in any way.

Voice

Not as many children play the oboe as the flute and clarinet, so it often suits the sort of child who doesn't want to "follow the crowd" and likes to be an individual.  Secondary schools are always very pleased to find they have an oboist in their new Year Seven intake!  Many people think the oboe has some of the most beautiful tunes in the orchestral repertoire but, if you want to play jazz, it is not the instrument for you.

Oboe

Try to dedicate five minutes a day to practise.  Take small steps and, over time, you will see great leaps in progress!

Drums

Do I need an instrument? 

An instrument in the house is essential for progress.  A computer game or programme is not an option.  Your teacher is the best person to give you advice about what you need and to recommend specialist suppliers if necessary.  The Director of Music is always available to discuss requirements before you commit to lessons.

For piano pupils, a digital keyboard is fine to begin practising on.  However, it should have certain features such as piano weight keys, at least four octaves and be “touch sensitive”.  The keyboard should also be on a stand or table, not the floor.  All piano lessons at school are given on acoustic upright pianos and practice conditions at home should ideally reproduce that experience.  It is worth pointing out that an acoustic piano does not lose its value and is an excellent investment if you have the space.  Another good idea is to ask a piano tuner whether he knows anyone selling a good ‘starter piano’ or to make a visit and assess whether a particular second hand one is suitable.  Please remember that a real piano will require regular care and maintenance in the form of tuning at least once a year. 

If you are learning a woodwind, brass, string or percussion instrument you are strongly advised not to purchase a musical instrument unless you have specialist knowledge or without seeking advice from an expert.  Many shops offer a hire with option to buy facility or have a favourable buy back scheme and we will help you find a reliable supplier.

Bargain prices on the internet rarely represent good value and usually result in a pupil struggling with a sub-standard instrument.

Try to rent or buy from shops within reasonable travelling distance as you may have to go back there if any problems arise with the instrument.  

Here are some we recommend:

J Reid Pianos  184 St Ann's Road, London, N15 5RP 020 8800 6907  A large and constantly changing selection of new and reconditioned pianos.

Caswell's (Strings Specialist) www.caswells-strings.co.uk​  01280 707140
The Old Chapel, Banbury Road, Brackley, NN13 6BA

Mantilla Music  www.mantillamusic.co.uk  204 Chingford Mount Road,

E4 8JR,  020 8523 8050 

Umbrella Music  www.umbrellamusic.co.uk   

Musicland  www.musicland.co.uk   01708 737977

54, North Street, Romford, Essex, RM1 1BH

Barbican Chimes Music  www.chimesmusic.com  020 7588 9242

They have a good rental scheme which lets you exchange instruments anytime for a larger size as your child grows.

Woodwind & Reed   01223 500442   01223 576391106

Russell Street, Cambridge, CB2 1HU.  Excellent mailing service, provide instruments, accessories, music and a separate order line for reeds.

Wembley Drum Centre   www.wembleydrumcentre.com   0208 795 4001
Unit 8, Metro Trading Centre, Fifth Way, Wembley, HA9 0YJ

Howarth of London (Woodwind Specialist)  www.howarth.uk.com

0207 935 2407,  31 Chiltern Street, London W1U 7PN

The provision of necessary accessories such as strings, reeds, slings, stands, rosin, valve oil, etc is the responsibility of pupils and parent.  Instruments should always be cared for according to the instructions given in lessons by the teacher.  Never try to carry out what may appear to be a simple repair to an instrument at home without specialist knowledge (eg removing a stuck mouthpiece or fixing a bridge).  

Singing lessons do not require an initial investment for equipment.  All singing lessons are conducted on a one to one basis- this is absolutely essential so the teacher is aware at all times of the method of vocal production.  This cannot be done in class voice lessons. 

If there are any concerns about the pupil's vocal health, the teacher would discuss them with the parent.  If a child is in school, it is not necessary to miss a singing lesson because of a sore throat, there are plenty of other skills that can be explored without actually having to vocalise.  However, singing is a physical activity, therefore if the child is unwell and at home, it is not a good idea to send them to school just for the music lesson.

Do I need to practise?

No-one is born being able to play an instrument.  It is a skill that requires a unique mixture of physical control, stamina and intellectual understanding.  Learning to read music is like learning a whole new alphabet and language. These skills can be acquired and improved only with application, focus, commitment and discipline.  Studies of successful people in the fields of sport, music, chess, business and academia have come to the simple conclusion that a minimum of 10,000 hours of purposeful practice will produce a champion.  Think of all those athletes training for the Olympics!  A recommended and fascinating read on the subject is “Bounce – the myth of talent and the power of practice” by Matthew Syed.
 

How should I practise? 

Practice is essential right from the beginning and parental involvement is very important.  For a young pupil just starting out on an instrument, to be sent off to a room to practise alone may feel more like punishment. Therefore, for the first few months at least, a pupil will benefit if the parent can be in the room, sitting with them, listening, asking them what they’re going to play next. To do this well, parents do not have to be musically trained.  All children will particularly enjoy demonstrating and teaching new things to their parents if given half a chance.  The tutor books that your children use will contain full explanations but, when they are only 5 or 6 years old and coping with how to read and write and deal with numbers at school, extra adult support is very valuable.  

The “I don’t want to practise, I just want to play for fun” approach definitely does not work.  Without regular repetition to consolidate technique and understanding a piece of music will never flow.  Consequently it won’t sound right or feel right and will never be enjoyable to play or to listen to. 

Daily practice, even if short, is preferable to one long stint just before a lesson. A beginner would be expected to practise four or five times a week for about 10 minutes and then gradually spend longer as the pupil progresses.  This should happen quite naturally as more complex pieces are learnt and the child’s enjoyment increases. 

Children will be tense and reluctant to play if they think other family members are going to make discouraging comments.  Some instruments make strange noises in the very early stages and great patience and perseverance is required before a good sound is produced.  It will be worth it in the end!

With all instruments (except the piano) serious consideration must be given to using a music stand and not having music propped up on a window sill or in the instrument case.  Poor posture from the very beginning will have a lasting effect on a player’s development and technique.  Practice on woodwind, brass, singing and violin/viola should be done standing up as stance affects elements such as breathing, tone, tension, control and the freedom with which one plays.  Piano students should use a chair or stool which brings the keyboard to the coorect height, as in their lessons, so that their hands can move freely across the keys.

Some advice can never be repeated too often!  It is better to practise those troublesome, “difficult” bars and to practise in phrases, rather than ploughing through the same piece and continuing to make the same mistakes over and over again.  The need to learn and consolidate new notes and techniques as they are introduced is essential before moving on.

It is very obvious when a child has not looked at their music between lessons.  Persistent failure to practise makes the whole experience uncomfortable for both teacher and pupil.  Encourage children to think of practice not as a chore but a way to relax and enjoy music.  The simple fact of parents being encouraging and listening to the practice and really taking an interest is a huge motivator.  With plenty of support, especially at the early stages, confident pupils will look forward to practising.

How will parents know what happens in lessons?  

Every pupil is issued with a red practice diary and it should be brought to every lesson.  The teacher will write details of what is to be worked on during the week: page numbers, pieces, new notes, scales, exam requirements, helpful hints, date and time of next lesson etc.  Parents should read this as regularly as the class homework book so that all messages are received.  There is also the opportunity for parents to make a comment in the red book for the teacher to read.  For example, be honest if you have had a busy week and your usual practice regime has been disrupted.  The teacher will realise this very quickly anyway and can use the lesson to try something new instead of struggling through the same pieces.

The book also serves as proof that the child attended the lesson.  If it is lost a replacement can be bought for £1. 

Some Visiting Music Teachers are happy to exchange email addresses with parents which can be especially useful when arrangements have to be changed. 

Instrumental music teachers prepare annual written reports for parents that are distributed in July with the class report.

What do I need to bring to lessons? 

Pupils should attend every lesson on time and with their instrument in good working order, along with their tutor books, sheet music, exam repertoire or whatever they are working on.  They might like to have a dedicated book bag with musical designs on to help them keep everything organised.   These are sold by many music shops and Forest Casuals will even print your name on one.  The teacher will write all requirements in the red WGPS practice diary which should also be brought to each lesson.  Spare strings or reeds and other necessary accessories should be kept in the instrument case so they are readily available.

When instruments are brought into school they remain the responsibility of their owner.  Most household contents insurance provides adequate cover for student instruments.  A storage cupboard near the Music Room has been provided so that instruments do not get damaged in classrooms.  However, items cannot be left in there overnight.  Please take care of your instruments, take them out only for lessons or rehearsals and never let anyone else play your instrument.

Where can I buy music and accessories from? 

Pupils are expected to purchase their own sheet music, tutor books and accessories.  Instrumental teachers will give advice on what materials are needed and where to buy them.  Specialist suppliers are recommended as they hold a much wider educational range.

Here are some of our favourites:

www.musicroom.com (massive stock, very quick delivery)

www.abrsm.org (for music, advice and information on exam syllabus and lots of general repertoire)

Reeds Direct  shop@reeds-direct.co.uk  Freephone 0800 0969 440

Mantilla Music   020 8523 8050

204 Chingford Mount Road, London, E4 8JR

Daces Music  Chelmsford  01245 262841 (mail order with very quick delivery). 

Encourage children to browse in a music shop and buy some music to ‘have a go’ at some of the pieces within it.  Your teacher will be happy to advise. 

And don’t forget – libraries do have sheet music on their shelves for free!

Will I be able to take Grade exams?

Exams are one small aspect of a child’s musical development.   Over-emphasis on clocking up the grades can result in very limited experience of wider repertoire and musical styles.  Frankly, it can be very boring learning and practising nothing but the three exam pieces for the months it takes to prepare.  Some pupils prefer to learn “just for fun”.

However, if you are certain that you want to try an exam, pupils will be entered only when they have reached the appropriate standard and are definitely ready.   The specialist teachers’ judgement and experience must be respected on this matter.  No-one wants a child to fail an exam and it happens very rarely at WGPS because of the care and expertise of our staff.   As a rough guide it takes a minimum of two years of study on piano or orchestral instruments to reach Grade One standard.  Grades for singing and some woodwind can usually be achieved quicker.

Exams are organised by individual teachers for the Associated Board of the Royal Schools of Music (ABRSM), Trinity/Guildhall and Rock School.  Exams normally take place towards the end of every term in during March, June and December.   Parents are asked to keep the exam periods free from other commitments as these are public examinations and times cannot normally be changed.  Examination fees and the provision of the relevant sheet music remains the responsibility of parents.  In some cases parents may be asked to provide and fund an accompanist.

Children who are really committing to music as part of their education may decide to explore trying for a Music Scholarship to Senior Schools. To stand the best possible chance of succeeding in what is essentially a very competitive market, children should offer at least two instruments and should have reached a standard of approximately grade 5 upwards on piano, if this is their first study, and grade 4 on a second instrument. If piano is not the first study then grade 4 is often considered on the first instrument with an almost equivalent standard on the second instrument.

At the 11+ entry stage Voice is not considered a first study by most Senior Schools.

Schools also look for a breadth of musicianship. This can be achieved by taking part in our many ensembles at school as well as external Music Schools such as Redbridge Music School and the Essex Young People's Orchestra. Attending concerts given by professional orchestras and taking part in competitions will also widen the horizons of any budding musician.