We are pleased to publish your letters, but cannot include readers' email addresses since this can lead to problems of privacy. All letters should be addressed to me, John Woodford, at editor@musicteachers.co.uk. In association with Oxford University Press, we are pleased to give away ‘The Concise Oxford Dictionary of Music’ (4th Edition, Michael Kennedy) for each month’s most interesting letter. This valuable resource should be on any musician’s reference shelves.

From Mrs Ruth Rice, Manchester

The majority of adults read, fewer are musically literate. Is this because young children are presented with letter recognition earlier than note recognition? Would not the production of a computer disc which displays each single note on a stave while emitting the appropriate pitch of sound, revolutionize our teaching of music? Early familiarity with this, would be the basis for many games a child from 3 years upwards could play, matching the single note symbols to an enormous variety of self generated sounds, whether vocal, wind, string or percussion. In teaching a child to read, initially we aim for an immediate and spontaneous recognition of symbols - surely the same may apply to music, where sight reading should, perhaps, be called more accurately - sight hearing. Without this basic exposure in early childhood, fewer adults enjoy playing than benefit from reading. For this to continue is sad, if something can be done about it.

Mrs Rice brings up an important point concerning early years' musical training and how important formative experiences can be in helping to shape the musicians of the future. Personally, I think that her idea is excellent and I would be interested in other readers' views on this matter. But I think it is also worthwhile pointing out that other European countries have successfully employed methods for sight singing by Zoltan Kodály with children as young as four. Perhaps we should be pushing for a similar system as a part of the National Curriculum for Music. It teaches note-recognition as well as singing skills, something that is very sadly lacking in British schools today. JW

From Andrew Tainton, Hampshire

I have been teaching the piano for around five years and am constantly asked by pupils if they can bring along pop songs to learn, in particular the dreaded Titanic theme!. My natural response is to say 'No you can't, but here's a fantastic Bach Invention'. Despite the obvious disappointment in their eyes, they usually accept this and do things my way. However, having recently coached a pupil who had to accompany a song from Fame in a school concert, I found that despite a predominantly awkward piano reduction, some interesting rhythmic challenges arose. I have always had success using the likes of Microjazz to introduce pupils to more popular styles of playing but I am now wondering whether or not I should relent on my hard attitude in certain cases. I'm sure it would increase pupil enthusiasm, and might work well alongside the study of Bach Inventions. No doubt every teacher comes across this problem, so I would be interested to know how others approach the matter and how great the benefits are.

Any answers? JW

From Claire Norman, Strathclyde

I am interested in taking the Associated Board's CTABRSM training over the next couple of years and would be interested to know of any readers' experiences of this course. It is expensive and I would rather not pay out such a large sum of money if people have too negative a view of its value. I hope some of your readers will have information to help me make up my mind.

The CTABRSM is effective training in that it enables a teacher to adjust their teaching style and reflect on the needs of their pupils. Next month we are starting a three-part series that deals with the issue of professional development for teachers. This will begin with an interview with Richard Crozier, Head of Professional Development at the ABRSM; later, we will examine in detail the course and talk to teachers who have undertaken the course. So watch this space! JW

From Craig Hudson, Basildon

I am trying to locate a copy of the following Clarinet method: Gay, Eugène, Méthode Progressive et Complète (thèorique et pratique), Première and Deuxieme Partie, Paris: Andrieu Freres c1932. This consists of 2 scores, Book 1 contains 155 pages and Book, 2 160 pages. I am struggling to find a copy. I wonder if any of your readers can help in any way?

If any readers have, or know of a copy that might be available, please contact me at editor@musicteachers.co.uk. JW