It would be interesting to hear how many schools/LAs keep a database of a broad range of providers to give choice to those pupils and their families who wish to continue with instrumental tuition after their year of wider opps. In the spirit of partnerships and collaborations some schools already link with private teachers, the peripatetic service, local private music schools and bodies such as Access To Music. Sue's and Madeleine's comments about early discussions are clearly spot-on.

But as we all know Transition is still the major barrier to many young people. From some parts of the UK I hear of very musically able pupils arriving in Y7 who then give up because in their particular school learning an instrument is just not considered 'cool' by their peers. In KS2 we can engage young people in music making at the point just before the hormones kick in and major cultural/social pressures really start to mount. But it's how we influence these pressures which mount in KS3 which may determine whether they continue or not!

A powerful way to influence comes from finding viable role models - especially young professional musicians who may be only a few years older than the young people at school. In the company I work for, Yamaha, we're fortunate in that we work with some stunningly impressive professional artists, spanning the genres. When they come to a school, college or conservatoire to run a workshop or masterclass for us, the positive effect on the young people can be enormous.

So as well as getting the organisation right, for whatever follow-on provision we wish to provide, we shouldn't underestimate the importance of exposing young people to superb musicians who can also communicate and inspire. Music for Youth does this brilliantly, for example. Many colleagues are also adept at tapping into good role models from programmes like X-Factor, Last Choir Standing, etc. Within Yamaha we are now beginning to do this with the recipients of some of our scholarship programmes - in classical and jazz - that we run with the conservatoires and through projects like MusicQuest and our Jazz Experience project, for example. If the role models we can offer are effective then young people are more likely to be really INSPIRED to continue. This may just help them over the social and emotional 'bump' our KS2 children feel as they start secondary school.

I think Sue has hit the nail on the head - early discussions are needed - in fact even before the whole class work begins so that there are plans in place..
Somerset offer large group tuition as a follow on for all pupils - in groups of up to about 15 for 40m. At this point pupils sometimes pay for tuition or the school help to fund this - either way the cost is minimal as it can be divided between so many. This works well cos the pupils are still learning with their friends & with the same teacher - often the 2 crucial factors. Gradually the group size can decrease as they progress.
Additionally small or large group tuition is offered on a variety of other instruments/voice which aims to meet the needs of those who want to continue but not with the same instrument/voice.
Another way to keep pupils actively involved is to invite them to additional ensembles/clubs so that music making takes place beyond the classroom early on & of course provide lots of celebration opportunities!
Coming back to Sue's point this all needs to be considered & promoted by everyone concerned, music services/teachers/schools/govenors/pupils/parents before, during & after the lessons if it is to have the greatest impact.

Early discussions with schools are needed before beginning the year's tuition. Where whole classes are learning an instrument children are asked towards the end of the year if they would like to continue and the schools prepare to mee the demand.