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Hi there!  And thank you for visiting our online home.  


As a community of early childhood flute educators it is our goal to create a place for parents to find the information and resources they need when deciding what instrument is right for their child.  There is a big misconception out there that wind instruments aren't suitable for children as young as four.  Well, we're here to break that misconception and show you that wind instruments like the flute are actually the perfect instrument to start lessons!  We also understand that this big crazy music world can be confusing so we want to take all the guess work out of finding the right teacher by connecting families with teachers who specialize in little flutes.  Knowledge is power and we're here to give you all the knowledge you need to succeed.

FlutePlay: flute is for everyone

Flute is for everyone

We've all been there as parents, asking ourselves which instrument is best for our child - and all too often, it feels like a tie between piano and violin because wind instruments are for older kids... right? Wrong! Wind instruments like the flute are perfect for kids as young as four.  Not only is there magic in making music with a little bit of breath, but there are tangible benefits for you and your little one:

  • Save on instrument costs!

  • Strengthen your child's developing lungs

  • Improve your child's lung capacity and air efficiency

Why FlutePlay?

Some music schools advertise "woodwind teachers," but they don't actually play the flute, while professional flutists who teach private flute lessons don't always specialize in teaching children - which is a skill in and of itself! That's where we step in.  Every FlutePlay teacher is both a professional flutist and a specialist in childhood flute education, so our classes are action-packed with movement and games, fusing learning with fun!



The Suzuki method


Blocki Flute

The KinderFlute Method



Music for Young Children


Because our backgrounds in music education are diverse, so are our teaching methods. From Dalcroze to Suzuki, we pull from the A to Z of methodology, teaching lessons that are innovative and engaging, designed with your child in mind.   If we're speaking another language, here's a translation of the various methods, so you can be a music method pro.  Hover over the boxes below to read more: 


Dalcroze Eurhythmics [DE] is based on the premise that the human body is the source of all musical ideas.  DE allows us to gain a practical, physical experience for music before we theorise and perform. This ensures that the whole person (not just the fingers and the brain) is educated in the development of musicianship and artistry. DE provides a concrete approach (movement) to an abstract art (music). In learning about time, space, energy, weight, and balance through movement, we explore the same elements in music in a wholesome way. It is an education through and for music, rather than an education about music.The pedagogical approach has a three-part structure: Eurhythmics, Solfège Rhythmique, and Improvisation.  Source:


A flute method book by Phyllis Avidan Louke & Patricia George, Flute 101: Mastering the Basics is a uniquely comprehensive teaching resource which, in one book, takes the student through introductory beginner, and intermediate curriculum. This book reinforces that beginners not only deserve an organized and creative curriculum, but also have a variety of learning styles that need to be addressed creatively, and that learning the fundamentals can be enjoyable when players can experience their benefits.  The innovative lesson plans present, in a clear and logical sequence, songs, duets, and creative activities to develop tone, technique, and musicianship.


Funky Flute is a flute method book series by educational composer Heather Hammond.  Heather strongly believes that from an early age, children should have fun with music and experience modern styles alongside the more traditional material.  The Funky Flute series shows young flautists everything they need to know, including how to hold the flute, getting a good sound and how to read music. And, naturally, it is packed with fun-to-play pieces in Heather's inimitable style.  



Created by award-winning flute pedagogue, Kathy Blocki, the Kinderflute method [also referred to as the Blocki Flute Method] is designed to teach students to love music and learn to play the flute - but that is only the beginning. Through learning to listen, finger, produce a beautiful tone, read music, compose, and creatively express themselves; students are firing areas of the brain to make learning in all areas more productive. Kinderflute group lessons are carefully planned to maximize learning potential.  Movement and games are a major component in the group classes so that students maintain a keen sense of alertness.  Many of the tenets of the classes are based on recent research in neurogenesis and learning potential.  Source:


The Kodály method, also referred to as the Kodály concept, is an approach to music education developed in Hungary during the mid-twentieth century by Zoltán Kodály.  The Kodály method uses a child-developmental approach to sequence, introducing skills according to the capabilities of the child. New concepts are introduced beginning with what is easiest for the child and progressing to the more difficult. Children are first introduced to musical concepts through experiences such as listening, singing, or movement. It is only after the child becomes familiar with a concept that he or she learns how to notate it, similar to methods like Suzuki. Concepts are constantly reviewed and reinforced through games, movement, songs, and exercises. Source:ály_method


Music for Young Children’s [MYC] curriculum was created to build and sustain a wide and firm foundation in music education, appreciation and performance for young children. Students not only learn how to play the piano and read music, but are also taught the other important elements that help create a solid, educated and well-balanced musician. All MYC levels incorporate singing, listening and ear training, movement, keyboard, rhythm ensembles and dictation, and composition into their curriculum.  Within all of these elements, and all concepts taught using all four learning styles (visual, analytical, tactile and auditory) are engaged and used to ensure that each child is able to received, and understand, to their best ability, everything that is being taught.  Source:


The Orff approach to Music Education is holistic, experiential and process oriented. It is for all children, not just the most musically or intellectually gifted and encompasses aural, visual, and kinesthetic learners. The Orff approach taps the very essence of our beings. Children learn through doing, exploring and improvising. They are active participants in an integrated, guided process, one which allows for differing musical abilities. In the Orff approach, all children are included. The Orff philosophy combines the elements of speech, rhythm, movement, dance, and song. And at the heart of all this is improvisation - the instinct children have to create their own melodies, to explore their imaginations.  Source:


More than fifty years ago, Japanese violinist Dr. Shinichi Suzuki realized the implications of the fact that children the world over learn to speak their native language with ease. He began to apply the basic principles of language acquisition to the learning of music, and called his method the mother-tongue approach. The ideas of parent responsibility, loving encouragement, constant repetition, etc., are some of the special features of the Suzuki approach. Dr. Suzuki based his approach on the belief that “Musical ability is not an inborn talent but an ability which can be developed. Any child who is properly trained can develop musical ability, just as all children develop the ability to speak their mother tongue. The potential of every child is unlimited.”  Source:


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