In Part 1 we looked in depth at three
possible causes for handwriting
problems: inadequate instruction–
or none at all, disorientation, and the
presence of multiple mental images.
In Part 2, we learn how dyspraxia
affects handwriting.

“auditory deficit disorder,” but we also
see it as “clumsy child syndrome.” It
affects between two to four percent of
the population, and is generally
considered a neurological deficit that
delays or prevents the development of
motor skills and
coordination. Poor
handwriting is only
one of many
possible symptoms:

person is clumsy,
and may have a
hard time walking
evenly, tying shoes,
or performing any
task that requires
fine motor skills.
• Lack of

left sense). The person has difficulty
distinguishing right from left and with
crossing the midline of the body with
either hand or foot.

• Perceptual and speech difficulties.
The person may have problems
understanding what was said, or may
have a speech impairment.

Problems, Part 2 . ...............1 Musical Expectations. . . . . . . . . . . . . .3 Unwrapping the Gift of Dyslexia. . . .4 Congratulations to Walsh Elementary:

of the School Day. . . . . . . . . . . .14 Famous Dyslexics Remember. . . . . . .18 OnPoint with Davis Dyslexia

In the Mail. . . . . . . . . . . . . . . . . . . . . .2 Q&A. . . . . . . . . . . . . . . . . . . . . . .16-17 New Davis Licensees. . . . . . . . . .23-25 Davis Workshops. . . . . . . . . . . . . 26-28

• Researchers have noted that this
condition is often accompanied by
dyslexia, ADD, dysgraphia or math
problems. Simply put, it is the “clumsy

Dyspraxia
occurs when a
person’s natural
orientation is in a
very unfavorable

orientation is
somewhere in front
of the body and
below the line of

orientation will
produce the classic
symptoms of
mixed hemispheric

It can also create the effect of a
midline barrier, where the individual
cannot move a hand or foot across
the midline of his body. The midline
barrier also prevents the eyes from

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I’d like to share something nice
with you. One of my clients, Grace
Eracleous, gave a wonderful answer
to a question in program results
assessment. I call her “Amazing
Grace” because she is really great
and we had a beautiful week together.

The question was, “Why is it
important to master symbols and
words?”

Her answer: “Because if you
do not master words and symbols
you can not go forward. It’s a blurred
picture. It’s like you cannot see in the

–Alexis Mouzouris
The Speech & Learning Correction Centre
Email:dyslexia.cyp@cytanet.com
Internet:www.dyslexia-cyprus.com

I cannot thank you enough for sharing
the information and your experiences.
My son has struggled for years and I
have always been told it was ADHD
that was causing his problems. He had
too many side effects from medication.
While reading one of Henry
Winkler’s books about two years ago
my son told me that sometimes when

he tries to read it looks like a word
search puzzle. That was when I
realized his problem was dyslexia.

I have fought with the school
system since then to do more testing.
His test scores fall in the average range
but now I understand why his visual
motor integration is so high. I have
tried to get as much information on
dyslexia as I can. Your book is the
only one I have read that completely
explains dyslexia.

It is a blessing to have a better
understanding and really be able to
help my son. For the first time he
wants to be involved in ways to correct
the problem. He is very gifted. I have
always known that, but I love to see
him realizing it now. Thanks again for
sharing your gift with others.

Parents take their children to music
lessons placing a great deal of trust in
their children’s music teacher. They
want the teacher to instruct their
children in music, but often do not
know what that really means. We will
talk about the different areas of music
that students study, and then realistic
expectations for students with dyslexia
and ADHD, touching on the strategies
that are needed to help visual-spatial
students to excel in music.

First let’s take a look at what is
studied in music lessons. As most of
you probably already know, dyslexic
students are picture thinkers. Visual
thinking is the fount of both their
giftedness and learning issues. Visual-
spatial learners can include students
who have dyslexia and/or ADD, or
may also include students who do not
have obvious dyslexic tendencies.

Most lesson materials teachers
will use are notation based, meaning
that the student learns to read music
first; then, he learns all of his music
pieces and music knowledge through
the notation. The advantage to this
approach is that music notation can
help convey concepts of pitch and

rhythm critical to learning more advanced material later on. The disadvantage is that if the student struggles with the notation, he is

Many instructors teach by ear
and rote memorization. The advantage
to this approach is that a student with
a good ear can begin playing right
away. The disadvantage is that a
student with a good ear can often play
a piece after only one listening and
will skip the entire process of reading.
Here is an anecdote from the book

“It was decided that I should
have music. As I had a good ear, I
made progress and got through the
whole of Book One of the exercises
and simple tunes simply by copying

Music notation is often fairly general.
The basic notation applies equally
well to most instruments. Technique,
though, is usually instrument specific.
In other words, notation tells you when
to play a particular note, whereas
technique shows you what finger(s)
to use, how to hold the pick or bow,
how to lip a note, or how to sing with
a supported tone. It is connected to
teaching music notation, but not
synonymous with it.

is organized. In my experience, it is
important to include elements of
music theory in instrumental lessons,
because it gives the student the larger
structure, which helps him make

spatial learners are big-picture people). The theory of intervals, scales, chords, and phrases can also be helpful for

concept calledchunking. It is also
helpful when visual-spatial students
start to learn to improvise and
compose, which is an area where
dyslexic students can shine.

Interpretation and performance
are also important elements of the
lessons. Interpretation is the point
where music stops being an exercise
–notes strung together–and starts to
have emotional impact. These are also
areas where the visual-spatial thinker
can shine.

the notes the teacher played
on the piano. She had not
enquired whether I could
read music; she had just
assumed I could, and I was
far too inhibited to tell her I
could not. One lesson into
Book Two I played my first
wrong note. ‘What note is
that?’ She said. I made a wild guess–
‘B.’ ‘No, of course not you stupid
girl.’ There ended my violin lessons”
(Wood, p. 51).

It is an irony that some of our
most gifted students can be the most
difficult to get to read. The teacher
has to be careful about how much and

student. It is generally a good
idea to have the student make the first
two or three attempts on her own,
because this forces her to read the

teacher can play for her, having her
focus on how it looks or sounds when
she plays the phrase versus how it
looks or sounds when the teacher
plays it. It is also important to teach
reading in conjunction with “ear
learning,” because if a student’s
technique progresses too far beyond
her reading ability, the student can