musical ability is not an "inborn talent but an ability which can be developed." He compares learning music to learning speech, the more that is heard and used, the more that can be understood. "Every day" children should have recordings of the music that they are working on ready for them to listen too, which aids in the rapid progress of their playing. Because they hear professional recordings of fine musicians daily, the student will develop an ear for good tone and intonation, and will try their best to imitate exactly what is heard. "By this method" the student will grow into a fine musician. I strongly agree, listening is an integral part of learning music. According to Takahashi, it is "the most important" aspect.
             Coined many years ago to apply to sting playing, it is designed to mimic vocalization as directed to vocalists. Not only do the students hear quality sounds and tones, but they are taught how to reproduce them on a regular basis.
             This is where Takahashi first hints that the student will need instruction throughout his book. This is apparently the purpose of the book, more explained later.
             This section brings to light Takahashi's technique. He explains, in detail, the way not only his book, but flute in general should be taught. First you will need a student, and an apt teacher.
             1. Enjoyment. Takahashi believes that without the enjoyment of the music being study, both teacher and pupil will become frustrated, causing more harm than good. This is very true. Without motivation of the pupil, practice will not occur and therefore improvement will not occur. However, Takahashi, at no point, hints at how to do this. He only mentions that forcing a child to "practice, practice, practice" makes it worse. It should be handled on a case-by-case
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