It’s a dream of many parents that their children will grow up to love and excel in playing music. But how exactly do you raise musical children? What can you do to nurture their inner musicality from a young age, beyond the standard approach of enrolling them in instrument lessons and just hoping it works out?

Lets Play Music Let’s Play Music has long been one of the leaders in this area, with over 300 teachers offering in-person music classes for children across the United States and Canada. Let’s Play Music founder, Shelle Soelberg, previously joined us here on the site, writing about Solfeggio and Ear Training and we were delighted recently to have the opportunity to catch up with team member Gina Weibel and hear the latest about this innovative and effective childrens music program…

Welcome to Gina, and thanks for joining us today.

Q: If you had to explain Let’s Play Music in a tweet-sized sentence, what would it be?

Let’s Play Music is a course emphasizing total musicianship through singing, piano, classical music, note reading, and ear training. All taught through play!

Q: Let’s Play Music has been running for nearly twenty years now. Over that time, what’s changed the most about the program and what has stayed the same?

Gina WeibelWe have always put emphasis on providing an excellent research-based program with superb materials and highly trained teachers, and that hasn’t changed. We still train teachers annually in person and have ongoing requirements for them to maintain licensing and certification. It’s satisfying to know that anywhere you attend a Let’s Play Music class, you’ll consistently know what to expect. If your family moves 1,000 miles in the middle of the semester, you can find a new teacher and join the class without a hiccup.

There are a few curriculum topics today that weren’t present in the beginning. For example, we always taught students how to read, play, and write rhythms, but we eventually realized it’s advantageous for graduates to use the same terminology that mainstream musicians use. So, since 2011 we’ve been teaching our third-year students how to use the common counting patterns that they’ll be expected to know (1-ee-and-a, 2-ee-and-a). They had already internalized the concepts and could perform the rhythms, but we just wanted to make sure they could transition to any teacher. These seven-year-old graduates can talk to you about rhythms, they can talk about harmonizing with I, IV, and V chords, they know the terminology the rest of the world is using.

We also rearranged a couple of ear-training tasks. In first year we play games with the I, IV and V chords in root position, block and broken. We don’t explain and label chord inversions until the third year, but realized students would benefit from hearing those before labeling them. So now we practice singing arpeggios of chord inversions as early as year one. By the time they get to year three, the experience is like “of course I can hear what’s going on – I’ve been singing the different inversions for years.” It’s better. We know the end goals, so we’re playing games in year one and two that eventually make teaching complex things really easy.

When we add new concepts, new singable songs are composed and new games are crafted. So the curriculum today has a handful of songs and games that didn’t exist in the beginning. Of course, artwork for materials and online support continue to improve. We actually have some new artwork and play-along CDs coming out Spring of 2016!

Q: What’s the one thing you feel most sets Let’s Play Music apart from other children’s music education programs? If a parent wants their child to learn music but doesn’t have a musical background themselves, what would you say to help them know if LPM is the right choice for them?

I think I better list two things: one for parents who compare LPM to preschool classes, and one for parents who compare LPM to traditional piano lessons.

There definitely are many preschool music programs to choose from. Let’s Play Music was created for a child who is just old enough to move beyond the experiential music programs. Those programs help youngsters experience different types of music, find the beat in music, and really start to enjoy music as something to play with. That’s important.

But what we offer is the specific intention of piano preparation in the first year. We read from the staff and play tone bells as a precursor to the keyboard. We introduce the primary chords as the foundation for all music and practice group accompaniment on the autoharp.

Age 4 is the minimum to begin Let’s Play Music. Younger students aren’t developmentally ready to do weekly homework or be accountable to accompany a group with an instrument, whereas four and five year-olds can rise to challenges beyond preschool music classes.

To the second point, parents have traditional piano, violin, and voice lessons to consider. Let’s Play Music does use voice and piano as tools for our class, but unlike most traditional programs, we focus on complete musicianship rather than just instrument skills. Our classes involve classical music learning, ear training, theory, and composition in addition to reading and performance skills.

That means students who graduate from Let’s Play Music should be prepared to excel as a musician with whatever instrument they pursue next with a private teacher. Some parents register for our classes specifically because they took years of traditional piano lessons and didn’t love it. Most of them can play but never understood music. How did the composer come up with this accompaniment? How can I change it? How can I make up my own music?

LPM Lesson with parents Parents who have no musical background LOVE Let’s Play Music because they get a two-for-one deal. They sign their child up for class and they get to learn everything, too. We require parents to attend every other class in the first year, so they’ll learn what their child learns, bond with their child, and be prepared to nurture music practice at home. The most common feedback from non-musical parents is, “I finally understand music theory! Thank you for helping me hear it, use it, and learn it along with my child.” I guess that is a third way we are fundamentally different: we involve the parents in class.

Q: For a child who is already taking one-on-one instrument lessons with a teacher, what could joining an LPM class add to their musical life?

Students must be age 4 or 5 to start Let’s Play Music, so we try to catch them before they start private lessons. This is a three-year foundational course that sets them up for success with their eventual private teacher. Research shows that children at this age learn best in a group class with playful and fun instruction, an environment you don’t get at a private lesson. We really do get up and dance, pass balls to each other, and skip around the room. It’s very active because that’s what helps the students learn.

Private instructors vary widely, but tend to focus on reading and performing music with the instrument of choice. We value performing as a part of complete musicianship. It’s very possible to take years of private lessons and not feel competent about making your own music. I tell parents that private lessons can wait – your child will be most successful if you help them get this great foundation first. And then you can take a lifetime of private lessons and really excel.

Q: What does “success” look like for an LPM student when they reach graduation? Could you share a specific story from your own studio?

Three years in this program is a really short time! I’m always surprised when it’s graduation time. I define success when students graduate having developed an attitude about music that launches them to success over the next few decades of hard work to come.

”I define success when students grad