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ASSESSING FIVE PIANO THEORY METHODS USING

NASM SUGGESTED THEORY GUIDELINES FOR STUDENTS

by

Karen Van Sickle

________________

A Thesis Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

In the Graduate College

THE UNIVERSITY OF ARIZONA

2011

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STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an

advanced degree at the University of Arizona and is deposited in the University

Library to be made available for borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission,

provided that accurate acknowledgement of source is made. Requests for

permission for extended quotation from or reproduction of this manuscript in

whole or in part may be granted by the head of the major department or the Dean of

the Graduate College when in his or her judgment the proposed use of material is in

the interests of scholarship. In all other instances, however, permission must be

obtained from the author.

Signed: ___________Karen Van Sickle______________

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

Dr. Donald G. Traut___________________ November 9, 2011

Professor of Music Theory Date

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ACKNOWLEDGEMENTS

I would like to express my sincere gratitude to those who assisted me in this

process.

Many thanks to Dr. Donald Traut, my advisor and chairman of my committee,

for his willingness to assist me in focusing my study, offer constructive criticism and

suggestions, and encourage me through the many phases of this thesis. Thank you

for allowing me to merge my musical passions into this research.

Thanks to the other members of my committee for their valuable knowledge:Dr. Boyd Pomeroy for helping me to think as a theorist, and Dr. Shelly Cooper for her

editing skills and answering many writing questions. Your support in this project

was invaluable to me.

Special appreciation goes to Dr. Lisa Zdechlik for her beneficial advice as I

began this project and her expertise regarding piano pedagogy literature as I

continued the research.

Thanks to Phaedra Miller and Meily Mendez who read this document with a

critical eye and offered a fresh musical perspective.

I am grateful to the people of the Green Valley Evangelical Free Church who

prayed for me and encouraged me to finish strong.

Finally, I could not have completed this journey without the unwavering

support and unconditional love of my husband, Bruce.

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TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

CHAPTER 1: INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

1.1 Studies from two Universities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

1.2 Guidelines set by National Association of Schools of Music . . . . . . . . . . . . . . . . . . 12

1.3 Piano Theory Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

1.4 Five Theory Method Books Studied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

CHAPTER 2: BASIC MUSIC THEORY RUDIMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.1 Basic Notation and Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.2 Scales and Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2.3 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

2.4 Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

CHAPTER 3: EAR-TRAINING CONCEPTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3.1 Rhythmic and Melodic Dictation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

3.2 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

3.3 Triads and Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

3.4 Sight-singing/sight-reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

CHAPTER 4: BEYOND THE BASICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

4.1 Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

4.2 Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

4.3 Composition and Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

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TABLE OF CONTENTS Continued

CHAPTER 5: DISCUSSION AND IMPLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

5.1 First NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

5.2 Second NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

5.3 Third NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

5.4 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

5.5 For Further Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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LIST OF MUSICAL EXAMPLES

Musical Example 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Musical Example 3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Musical Example 3.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Musical Example 3.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Musical Example 4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Musical Example 4.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Musical Example 4.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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LIST OF FIGURES

Figure 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Figure 2.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Figure 2.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Figure 2.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Figure 2.5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Figure 3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Figure 3.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Figure 3.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Figure 3.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Figure 4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Figure 4.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Figure 4.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Figure 4.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Figure 4.5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

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CHAPTER 1: INTRODUCTION

Many students who enter college as a music major have participated in a

variety of musical experiences from middle school through high school. They are

committed to pursuing careers as music educators, performers, composers, church

musicians, managers of music businesses, or exploring other options in the music

field. Some of these same students enter first-year theory classes possessing

considerable musical experience, but have little knowledge or understanding of

music fundamentals, let alone complex theoretical concepts.

Many colleges and universities determine incoming students knowledge of

music theory by administering placement tests. What should students know and

how do they obtain this knowledge? According to the National Association of

Schools of Music (NASM), no national standard exists as to the theoretical concepts

incoming music students should know. The NASM Handbook of 2010/2011 lists

general skills each student should possess, including: the ability to relate musical

sound to notation and terminology both quickly and accurately enough to undertake

basic musicianship studies in the freshman year.1Each college or university

determines their own criteria for assessing these general skills through the use of

auditions, examinations or other evaluations.2

1National Association of Schools of Music Handbook (2010-2011): 79.

2Ibid.

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This research will examine five popular theory books used by piano teachers

to investigate if they support the NASM theory recommendations and to discover if

they are beneficialfor students interested in continuing music study.I will argue

that theory books found in five popular piano methods series provide an effective

tool for acquiring the knowledge and abilities encompassed within the NASM theory

guidelines for pre-college music students. These five specific books were selected

from information obtained from three nation-wide music distributors top-selling

method books (Prima Music, Sheet Music Plus and JW Pepper) and the methods

currently being reviewed in Clavier Companion magazine.

1.1 Studies from two Universities

Recognizing the need to examine what theoretical concepts colleges expect

incoming students to know and how schools assess such knowledge, several studies

have been completed. In the first study if its kind, the Cleveland Music Institute,

under the supervision of Richard B. Nelson, conducted a survey of colleges and

universities throughout the nation that examined undergraduate theory curricula

including placement tests, course content, and textbooks.3 Of the 248 schools that

responded, placement tests were given to assess skills in fundamentals (173

schools), part writing (48 schools), Roman numeral analysis (73 schools), and

counterpoint (10 schools). Seventy-eight schools also reported having placement

3Richard Nelson, The College Music Society Music Theory Undergraduate Core Curriculum

Survey2000, College Music Symposium 42 (2002): 60.

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exams for aural skills (melodic dictation, interval identification, triad types) and 46

schools tested sight-singing skills. Almost all schools reported reviewing music

theory fundamentals during the first few weeks of the semester. Approximately one

half of the responding schools provided a semester-long music fundamentals class

for students with little previous music theory experience. At 172 institutions,

students could be exempt from first-year music theory by passing a placement test.4

Students enrolled in first-year theory and aural-skills courses at the

University of Missouri (Columbia) during 2004-2005 participated in a study to

determine which elements of their prior musical or educational training might be

associated with success in these two courses. Elements used in this study included

prior experience in theory experience, sight-singing with scale degree numbers or

solfge, and with a chording instrument such as piano or guitar as well as their

performing medium, music major or minor, American College Test (ACT) total

composite score, ACT math score, high school class rank, and score on a theory

diagnostic test.5 The most highly associated element with success in the aural-skills

classroom was the theory diagnostic exam. Researchers observed the following:

It is important to master the written skills before linking the aural

reinforcement. For example, students with a full semester of written

theory would already have a nascent conception of basic harmonic

function and progression, in addition to musical rudiments such asintervals and scales. The preexisting foundation might lead to greater

success and confidence with the aural identification of these concepts.6

4Ibid., 62.

5M. Rusty Jones and Martin Bergee, Elements Associated with Success in the First-Year Music

Theory and Aural-skills Curriculum,Journal of Music Theory Pedagogy, 22 (2008): 93.6

Ibid., 103-104.

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Jones and Bergee believe students having a grasp of basic theoretical concepts prior

to aural-skills training will begin their university training on more solid ground and

be better equipped to realize their music potential.7

1.2 Guidelines set by National Association of Schools of Music

The National Association of Schools of Music provides a website page to

assist potential music students in their preparation for college. 8 They advise

students who intend to major in music to know the following:

Be sure that you can read both treble and bass clefs, that you know key

signatures, the major and minor scales, and how to write basic notation.

Knowledge of musical terms and usage is important, as is the ability to

recognize intervals and basic chord types.9

Many students learn these concepts through music classes at their

elementary and/or middle school. If students choose to participate in band,

orchestra or choir, more detailed concepts may be taught. Students choosing to take

private music lessons will presumably learn these music essentials at a more

advanced level.

NASM suggests a second area of study for students:

take every opportunity to train your ear by taking courses or studies inmusicianship that include sight-singing, ear-training, sight-reading,

rhythmic and harmonic dictation, and so forth. Developing the ear isa lifetime job. The earlier work is started, the better.10

7Ibid., 107.

8How should I best prepare to enter a conservatory, college, university as a music major?

FAQ 17 from NASM website.http://nasm.arts-accredit.org/index.jsp?page=FAQ+179

Ibid.10

Ibid.

12
http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17

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Students participating in choir may have opportunities for sight-singing, but ear-

training and rhythmic and harmonic dictation skills are not frequently taught in

general music classes. Some high schools offer music theory courses, but ear-

training, sight-singing, and dictation are seldom a curricular component. There are

specific ear-training books, websites and computer music programs available;

however, students may not be able to pursue these kinds of studies on their own.

The last area of skills mentioned in the NASM suggestions advise students to

take opportunities to learn the basics of musical structure, including

studies in such areas as form, harmony, counterpoint, composition, and

improvisation. Like so many other things in music, this knowledge is

developed throughout a lifetime. Those who are able to get started early

have an advantage.11

Pre-college students do not typically learn these skills; however, those who had

opportunities to enroll in high school AP theory courses may have been introduced

to some of these concepts. Students studying piano may learn some of these skills

through the pieces played and theory assignments. Some students participate in

local/state music contests which also require students to have a basic

understanding of these concepts.

1.3 Piano Theory Books

Many college music majors have some piano experience, perhaps two or

three years as a child or as much as 12 years of study. Do the piano books and

methods used by piano teachers assist them in understanding the concepts NASM is

11Ibid.

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suggesting? Students studying piano prior to entering college seem to be better

prepared to understand theory concepts.12 A plethora of material encompassing

theoretical skills and concepts is available to piano teachers and students, including

written books, games, and on-line resources.

Cisler made the following observation: The growing number of available

method and supplementary theory books attests to the increasing awareness of the

importance of including the fundamentals of theory into our piano lesson curricula,

even for very young children.13 New method series and theory books are published

frequently. Johnson provides teachers a series of questions to assist in sifting

through important elements when assessing the available resources. The major

topics of the article discuss reading approaches, rhythmic approaches, theory skills,

improvisation/composition, technique, repertoire, supporting technology available,

and overall aspects (editing, visual appeal, etc.).14

Under each heading, she provides

a list of questions for teachers to consider as they evaluate new methods.

The magazine Clavier Companion is currently printing a ten-part series

reviewing the most highly respected and popular piano methods on the market

today.15 The magazine authors provided a similar analysis in the 1980s when the

magazine was called The Piano Quarterlyand they presently are evaluating new and

12Carole S. Harrison, Relationships Between Grades in the Components of Freshman Music

Theory and Selected Background Variables,Journal of Research in Music Education, 38:1 (1990):

181.13Valerie Cisler, Moving from Theory to Style Analysis: An Effective Means For

Developing Performance Interpretation, PianoPedagogy Forum 8, no. 2 (2005).http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html

14Rebecca Grooms Johnson, Theres A New Series In The Music StoreHow Should I

Evaluate It? Clavier Companion, 1, no.5 (2009): 18-19.15

Rebecca Grooms Johnson, Perspectives in Pedagogy, Clavier Companion 1, no. 6 (2009): 10.

14
http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.htmlhttp://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.htmlhttp://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html

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revised core method books written after1980. In the current magazine editions

(2009-2011), an associate editor gives an introductory synopsis of the method,

followed by articles authored by piano teachers who currently use the featured

method in their studios. In the consecutive issues, the author(s) of the method has

the opportunity to respond to the review.

Of the piano method series the authors reviewed, the specific theory books

are discussed in the introduction, usually including information regarding the

theory book in the seriesor lack thereofand how it correlates with the other

books. When the teachers provide opinions on the methods, some offer further

detail as to the concepts included. For example, when evaluating the Piano Discovery

series, Paula Harrison notes the following: as is the case with so many other theory

methods, this series by itself does not adequately prepare students for the MTNA

state theory exams.16

Celebrate Piano!was reviewed in November/December 2010

and the reviewing author mentioned the outstanding aspect of the ear training,

dictation and singing activities this series incorporates.17

Many theory method books correlate with other books by the same

publisher; however, there are some stand alone theory books that can be used

with any approach to teaching. The authors of one such series, Theory Gymnastics,

have applied Blooms taxonomy in writing their theory series.18 Each new theory

16Paula Harrison, Perspectives in Pedagogy, Clavier Companion 2, no. 1 (2010): 32.

17Rebecca Grooms Johnson, Perspectives in Pedagogy, Clavier Companion, 2, no. 6 (2010): 35.

18In 1956, Benjamin Bloom led a group of educational psychologists in developing a classification

of educational objectives which attempts to divide cognitive objectives into subdivisions ranging from the

simplest behavior to the most complex.

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concept moves through the six levels he and others developed: remember,

understand, apply, analyze, evaluate and create.19The authors use discovery

pages, challenge pages, thinker pages, and review pages to thoroughly teach

theory concepts.

1.4 Five Theory Method Books Studied

Premier Piano Course, designed for students age seven to twelve, is one of the

newest series by Alfred Publishing, with the sixth level completed in 2010. This

series includes a Lessons, Technique, Performance, and Theory Book. In addition to

the written theory drills, the theory book includes the following three sections: 1)

Fun Zone, where students explore music through written games and puzzles; 2)

Imagination Station, where students learn to compose and create; and 3)

Learning Link, where students discover facts related to history, science, and other

subjects from daily life based on the music included in the Lesson and Performance

books.

James and Jane Bastien wrote their first method series in the early 1960s and

published the Piano Basic series in 1985, updating with colorful pictures and bigger

notes. The Bastiens have written five levels of Technique, Piano, Performance, and

Theory books, with supplemental books available for theory (notespellers, chords,

scales, etc.). This series is written especially for students age seven to eleven. Piano

19Charlene Zundel, Theory Gymnastics, (Workshop, MTNA National Convention, Albuquerque,

NM, March 23, 2010).

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Basics is the oldest of the books being considered for this research and continues to

be widely used by piano teachers.

In 2003, Frederick Harris Music Company released Celebrate Piano! for

students age five to nine and is designed for students to continue their piano study

in the Celebration Series or other intermediate literature. Celebrate Piano!is an all-

inclusive set of books, combining piano technique, pieces for students to learn,

theory, and ear-training within each book. This unique feature distinguishes it from

the other series being studied. The authors have written these books on the

principles of preparation, presentation, and follow-up.20 Prior to seeing a particular

concept in repertoire, a student is prepared by feeling and experiencing the concept.

In presentation, the concept or element is included in repertoire. The authors expect

students to use these concepts in various activities and are eventually asked to

apply them in another situation such as improvisation or composition through

review and follow-up.

Piano Adventures by Randall and Nancy Faber includes many different levels

of method books depending on the starting age of the student (young beginner,

older beginner, adult beginner). The books used for this research were written in

1993 and are intended for use by students ages six to twelve. The theory books

20Cathy Albergo, et.al., Celebrate piano!Teachers Guide, Level 1. (Mississauga, Ontario: The

Frederick Harris Music Co., Ltd., 2002), 7.

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provide instruction, reinforcement, and creative applications of basic theory

concepts through writing, sight-reading, and ear-training activities.21

Fundamentals of Piano Theoryby Keith Snell and Martha Ashleigh is a series

of eleven books correlating with the Kjos piano series, Essentials of Piano Repertoire;

however, these theory books can be used independently. The books, published in

1998, are comprehensive in their study of music theory. Many theoretical concepts

are reviewed in subsequent levels, giving students ample practice on the basic

rudiments of music theory. Fundamentals of Piano Theoryis very integrated with the

study of traditional piano literature, using excerpts and complete pieces for teaching

various concepts.

Many students study piano prior to studying music in college. I intend to

show that the theory methods which provide written theory exercises, incorporate

ear-training, and use piano literature (or excerpts from pieces students are

learning) to explore theoretical concepts, will be an effective way for acquiring the

knowledge pre-college music students will need entering college level theory

courses.

21Nancy Faber and Randall Faber, Piano Adventures. (Ft. Lauderdale, FL: FJH Music Co, 1993),

inside cover.

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CHAPTER 2: BASIC MUSIC THEORY RUDIMENTS

The first NASM guideline suggests students have knowledge of many of the

basic fundamentals of music theory: notation, reading notes in treble and bass clef,

basic musical terms, key signatures, scales, intervals, and chords.22 Some students

learn these concepts from varying sources such as elementary school music classes,

choir classes, playing an orchestral or band instrument or studying piano. This

chapter focuses on these concepts and how five piano theory method books teach

these fundamentals.

2.1 Basic Notation and Musical Terms

Basic notation is defined in several ways. In Fundamentals of Music, by Earl

Henry, the first two chapters are devoted to notation. He states composers have

represented sounds with symbols, a process called notation.23 These chapters

include reading notes on the staff and learning rhythmic values. Also included is

notating music with correct placement of stems and other notation elements such as

tie, accent, staccato, slur. Figures 2.12.5 outline the pace at which notes and

rhythms are introduced. Octave designation has been used to specify the exact

pitches taught. The lowest two notes on the piano are identified as A0 and B0. From

there, each C becomes the lowest pitch of each octave. Middle C is classified as C4 .

22How should I best prepare to enter a conservatory, college, university as a music major? FAQ

17 from NASM website.http://nasm.arts-accredit.org/index.jsp?page=FAQ+1723

Earl Henry, Fundamentals of Music Theory, (Upper Saddle River, NJ: Prentice Hall, 2009), 2.

19
http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17

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The authors did not include clever sayings to teach notes names; rather,

they use landmark notes or specific 5-finger positions. Premier Piano Course and

Piano Adventures begin with landmark notes of bass clef F, treble clef G and middle

C. Bastiens Piano Basics first teaches C major 5-finger position. Celebrate Piano!

does not use clefs until the second book, instead utilizes an intervallic approach on a

generic staff. The authors use a staff and identify the notes and corresponding lines

accordingly. When bass clef and treble clef are introduced, landmark notes of bass c,

middle c, and treble c are identified first, followed by bass f and treble g.

Fundamentals of Piano Theoryincludes staff notes in the very first book and note

name drills in the first two books. Piano Adventures and Premier Piano Course use

the Lessons book to reinforce note name concepts by asking students to name the

first note of a piece or locate where a specific note is in the piece.

All the method books teach notation and rhythm through sixteenth notes. As

shown on Figures 2.1-2.5, each method presents these concepts at about the same

rate. A variety of drills instruct students to write counts under a specific rhythmic

pattern or complete the measures lacking in the correct note and rest values. A

common activity in two of the books is musical math: adding the values of the

different notes to obtain an answer.

All books begin with 4/4, 3/4 and 2/4 time signatures. Celebrate Piano!first

uses the number 4 on the top with a quarter note on the bottom to reinforce the

concept that a quarter note receives one count. Each series also introduces 6/8, 3/8

or 9/8 later in their series. Each book describes the top number as the number of

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counts per measure and the lower number referring to an eighth note as receiving

one beat. Some then include a chart of the notes, rests, and their values. None of the

books use the terms compound meter for 6/8 or explain the concept of duple, triple

or quadruple meter. Fundamentals of Piano Theorydoes include a little box that

describes the following: A measure in 6/8 can be divided in half, creating a feeling

of two pulses per measure.24Piano Adventures encourages students to feel two

beats per measure in music with time signatures of 6/8, but no other explanation is

provided. All the methods give opportunities for students to write in the counts, clap

the rhythm, play the rhythm, and complete measures with missing notes.

All five method series explain basic musical terminology, including dynamics,

various tempi and important symbols such as the repeat sign, fermata, 8va. They

also include exercises placing dynamic symbols from softest to loudest. In another

drill that is similar, students arrange tempo marks from slowest to fastest. The most

common tempi taught in these books are Adagio, Andante, Moderato, Allegro. Some

will also use Largo and Presto. Two of the five series describe more Italian musical

terms than the others. Premier Piano Course teaches such terms as misterioso,

animato, tranquillo, cantabile, cadenza and sostenuto. Fundamentals of Piano Theory

teaches many terms throughout all levels. After the basic terms have been presented

in Primer through Level 3, Level 4 has two pages of Signs and Terms that are

24 Keith Snell and Martha Ashleigh. Fundamentals of Piano TheoryLevel 2, (San Diego, CA:

Neil A. Kjos Music Co., 1998), 6.

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divided into Dynamics, Character or Style, Tempo, Articulation. Each level adds

more sophisticated musical vocabulary to these categories.

2.2 Scales and Key Signatures

Notes and rhythms are the most fundamental aspects of reading music.

Understanding scales and key signatures is considered an important building block

as students continue learning theoretical concepts. For students to become skilled at

recognizing intervals and chord qualities, they must be confident in knowing key

signatures and scales. Piano method books present these concepts in a variety of

ways. One approach is to teach that the major scale consists of seven notes, each

with a different letter name and containing a specific pattern of half steps and whole

steps. For example, a G major scale begins on g with a pattern of whole step, whole

step, half step, whole step, whole step, whole step, and half step. Using this pattern,

an f# occurs on the seventh note. After learning the scale, the key signature is then

taught by placing the accidentals associated with the particular scale on the staff.

Piano Adventures and Premier Piano Course firstpresent scales and key signatures in

this manner.

A variation on teaching scales as an 8-note set of whole steps and half-steps

is to teach that a major scale consists of two tetrachords with a pattern of whole

step, whole step, half step connected by a whole step. Celebrate Piano!and Piano

Basics make use of this technique to demonstrate scales. One other way piano

methods teach key signatures is to teach 5-finger patterns, using the pattern of

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whole step, whole step, half step, whole step. Students are then taught the tonic

chord and the key signature of a specific pattern. Bastiens Piano Basics teaches the

key signatures of C, G and F in this way. All methods eventuallypresent the order of

sharps and flats and the major key signatures based on the order of sharps of flats.

Celebrate Piano!introduces major key signatures using this system with sharp keys

in Level 2A and major key signatures with flats in Level 2B, but delays teaching

scales until Level 4. In addition to teaching key signatures Celebrate Piano!, Piano

Adventures and Fundamentals of Piano Theoryinclude the circle of fifths in

reinforcing key signatures.

Fundamentals of Piano Theoryis structured differently than the other four

methods being studied. This series is part of the Kjos Library and correlates with

some of their other books; however these books do not have a page-by-page

connection as do the other methods being discussed. This particular theory book

presents concepts at a faster pace. As figure 2.5 illustrates, the Primer book presents

major and minor key signatures of no sharps or flats, one sharp, and one flat. It also

teaches major and minor 5-finger patterns and tetrachord scales of C, G, and F.

None of the other series present such detailed information in the first book.

Some method books teach many minor scales and key signatures, while

others only two or three. (See the figures at the end of the chapter to see the list of

minor scales presented in each method.) At some point in these methods, all identify

the difference between natural and harmonic minor; three of them present melodic

minor scales. All discuss relative minor scales and only Celebrate Piano!, Piano

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Basics and Fundamentals of Piano Theory present parallel major and minor

scales/keys.

2.3 Intervals

Intervals are defined as the distance in pitch between two notes.25 All five

of the method books use this definition to explain an interval. Two of the books

teach intervals of second through fifth in the first book and others present them

over the course of two books. As students play and learn each interval, many of the

books have examples that incorporate writing intervals, hearing intervals,

composing with various intervals, and identifying them within the repertoire pieces.

Most of the books begin with the basic concept of steps and skips, before providing

the name of the intervals as secondsand thirds. These books use a variety of

ways to recognize intervals which include identifying ascending and descending

intervals on a keyboard, given a starting note, direction and interval number write

the appropriate interval, naming an interval shown on a staff, and using alphabet

letters to name intervals. All of the books present harmonic and melodic intervals.

Four of the method books discuss the quality of intervals: Piano Basics,

Celebrate Piano!, Piano Adventures and Fundamentals of Piano Theory. Some use a

major scale to teach interval quality within that scale. Bastien teaches all four

qualities of intervals using the heading of Altered Intervals. Students identify

25 Lindsey C. Harnsberger, Essential Dictionary of Music, (Los Angeles: Alfred Publishing, Co.,

Inc., 1998), 69.

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The concept of major and minor triads is introduced at various points

throughout each series using different methods. Figures 2.1-2.5 list when each

method begins teaching this concept. Alfred begins teaching relative minor keys and

scales in Level 4. The authors use this opportunity to also teach minor triads. There

is no explanation of the interval difference in the third between the two triads and

generally students are to use their ear to hear the difference. Bastien also presents

minor scales as they teach minor chords; however the authors are careful to

distinguish between the major third and the minor third. Students are directed to

write the names of chords and play them to hear the difference. Celebrate Piano!

presents major chords in Level 2B and minor chords in Level 3. When teaching

minor triads, the authors use 5-finger minor patterns, showing students parallel

major and minor patterns and describing the difference of the third scale degree

being lowered one half step. Minor root position triads are then written based on

the 5-finger pattern. The authors ofPiano Adventures present major and minor

triads after they teach the concept of major and minor thirds. Earlier in the book,

students learned about a minor and d minor and the chord progression of i-iv-V7 I,

but at this juncture, the authors provide more detail and practice of major and

minor chords. They provide some unique drills for learning triads as shown in

musical example 2.1 on the next page.

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Musical Example 2.1 26

26Nancy Faber and Randall Faber, Piano Adventures Level 3B (Ft. Lauderdale, FL: FJH Music Co.,

1993), 25-26.

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Fundamentals of Piano Theorypresents triads in the Primer book, teaching major

and minor triads as they relate to 5-finger patterns. This book also uses parallel

major and minor as students identify triads, writing the patterns on a keyboard.

This series continues to review major and minor chords through each level, more

than any other method book. Alfred, Bastien and Kjos series also teach the qualities

of diminished and augmented triads.

Inversions of triads are presented in four of the method books a few pages

after the concept of triads are taught. Celebrate Piano!teaches inversions in the last

book of their series. In three of the books, students have already been playing what

are termed chord progressions; however, the inversion concept has not been fully

explained. Faber Piano Adventures is the only series being studied that provides

several pages of instruction for inversions. All others present the concept on one

page, with written drills on subsequent pages. Each book instructs students to

identify the root or the name of the chord by locating the interval of a fourth within

the chord; the top note of the fourth is the chord name, or root. Although Celebrate

Piano!introduces inversions in its last book, the authors use pieces students are

learning to reinforce this concept through the remainder of the book. Fundamentals

of Piano Theory also does an outstanding job of using piano literature to reinforce

identification triads and inversions in literature. Students using Fundamentals of

Piano Theorywill continue to receive more exhaustive training on triads and chords.

Figure 2.5 lists the skills students will learn.

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Students completing any one of these five series will have received training

in the basic elements of music theory: note names, key signatures, scales, basic

notation, intervals and triads. Each book is unique in its presentation and some

include more information than others, but all provide the basic theoretical concepts

students need to understand for further music study.

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Alfred Premier Piano Course

NASM Standard:

Written Exercises

Level 1A Level 1B Level 2A Level 2B

Treble and Bass Clef notes C3-C4; C4-G4 G2-D4; C4-D5 C5-G5 Bass clef:C2-F2; C4-E4;

Treble clef: A3-C4

Key Signatures C and G majorMajor Scales C major 5-finger pattern

Middle C 5-finger patternG major 5-finger pattern D, A major 5-finger

patternC and G major

Minor Scales c, g, d, a 5-finger pattern

Basic Notation tie, legato,staccato Crescendo, decrescendoAccent, tempi

Intervals Skips/steps

Up/down

Harmonic/melodic

2nd, 3rd, 4th, 5th

Half/whole step

6th 7th. Octave

Melodic/harmonic

Triads I-V7 in C, G, D major

Roman numeral and name

Tonic/Dominant

I-V7 in C, G

Arpeggios of C, G, D, A

Figure 2.1

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Premier Piano Course

NASM Standard:

Written Exercises

Level 3 Level 4 Level 5 Level 6

Treble Clef notes Bass Clef: A1-E2, C4-E4;Treble Clef: A3-C4; A5-E6

Key Signatures C, G, F major Sharp keys Flat keys

Major Scales F, D Major

ChromaticA, E, B, B E , A , D

Minor Scales Natural/harmonicRelative major/minor

a, e minor

d and g c, bMelodic minor

Basic Notation 6/8 3/8 Cut time

6/8; 3/8Various sixteenth note

patterns

Mixed Meter

Intervals

Triads IV in C, G, F I-iv-V7 in a and e minor

Name root position triads

Major/minor quality

Inversions

Augmented triads

I-IV-I-V7-I progression in

A, E, B, B Major

g minor

Diminished triads

I-IV-I-V7-I in A , D

ii-V7-I progression

Diatonic triads in F, G andD major

Figure 2.1 continued

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Bastien Piano Basics

NASM Standards:

Written Exercises

Primer Level 1 Level 2 Level 3 Level 4

Treble and bass Clef

notes

C3-D4; C4-D5 F2-D4; C4-G5 C4-E4, C2-E2;

A5-C6; A3-C-4

Bass clef: B1, F4;

Treble clef: D6, G3

Key SignaturesC, F, G Order of sharps,

All major sharp key

signatures

Order of flats,All major flat keys;

a, e, b, d, g, f minor

Given key signaturename, write

appropriatesharps/flats

Major Scales C 5-finger;

Middle C position;

G 5-finger pattern

F 5-finger pattern C, G, F, D, A, E

TetrachordsD-flat; A ; E ;

Chromatic scale

G ; B ; B

Parallel major/minor

Scale degree names

Minor Scales a, d natural, harmonicand melodic minor

e minorReview a and d

Basic Notation

Slur, tie

Staccato, tempi

Crescendo,

decrescendoAccent

6/8

Intervals

2nd, 3rd, 4th 5th

Up, down repeat

Melodic, harmonic

Half step, whole step Octave Intervals within a

major scale: major,

minor, diminished,augmented

Triads

C chord 1-V7 (2 note) in

C, F, G

I, IV, V in

C, G, F, D, A, E

InversionsI-IV-I-V-I progression

All M/m triads

a/d minor i, iv, V7

D , A , E

i-iv-V7 in e minor

Aug, Dim,

V7/inversions

G ; B , B major triads

of a major scale

Figure 2.2 32

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Harris Celebrate Piano!

NASM Standard

Written Exercises


Treble and bass Clef notes Line or space notes G2-D4; B3-G5 G1-E2; A5-F6

Key Signatures All major sharp keys All major flat keysReview all major sharp

keys

Major Scales All major 5-fnger patterns

except C#, G and C

Tonic/Dominant noteswithin a 5-finger pattern

Minor Scales

Basic notation

Intervals 2nds , 3rds

Up/down/same

Melodic/harmonic

4ths , 5ths Half/whole step

6ths

7ths

Octaves

Triads Tonic triads

Identify root positiontriads

Figure 2.3

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Celebrate Piano!

NASM Standard

Written Exercises

Level 3 Level 4

Treble and bass Clef notes

Key Signatures Relative minor

Parallel minor

Circle of 5ths

Major Scales Tetrachords to teach completescales: C, F, G, D, A, E major

Whole tone

Chromatic

Pentatonic

Minor Scales Minor 5-finger patterns a minor

Natural and harmonic

Basic notation 6/8; 9/8 Cut time

Syncopation

Intervals Major/minor 2nds/3rds/6ths

Perfect 4ths/5ths/8ths

Major/minor 7th

Triads Minor triadsI-IV-V7

i-V7

Inversionsi-iv-V7-i


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Faber Piano Adventures

NASM Standard

Written Exercises

Primer Level 1 Level 2A Level 2B

Treble and Bass Clef notes C3-C4; C4-G4 G2-D4; G4-G5 C2; C6Key Signatures C, G and F major

Major Scales C major 5-finger pattern

Middle C position

G major 5-finger pattern D and A major 5-finger

pattern

C , G, and F major scale

Tonic, Dominant and

Leading tone notes

Minor Scales c, g, a, d minor 5-fingerpattern

Basic notation accent, slur, staccato

Crescendo, decrescendo

Intervals Step, skip

Up, down, same

2nds, 3rds, 4ths, 5ths

Harmonic/Melodic

Half step

Transpose using

intervallic relationship

Whole steps

6ths

Triads Tonic/Dominant

I-V7 in C

I chord in D and A I-IV-V7-I in C, G, F major

Figure 2.4

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Kjos Library Fundamentals of Piano Theory

NASM Standard

Written Exercises

Primer Level 1 Level 2 Level 3

Treble and Bass Clef

notes

F2-C4; C4-G5 B1-F4; G3-D6

Key Signatures C, F, G majora, d e minor

Circle of 5thsC, G, D, F, B major

Order of sharps/flatsAll major

Minor to 4# and 4

Use literature to identify keysWrite and identify all keys

Major Scales 5-finger patterns:

C, F, G, D, A, E

Tetrachord scales: C, G, F

All 5-finger patterns

Tetrachord scales: C, G,

D, F, B

Tetrachord Review

All major scales

All major scales

Minor Scales 5-finger patterns:

c, g, f, d, a, e

5-finger patterns:

a, e, b, d, g

a, e, d, g Relative minor: C/a, G/e, D/b,

F/d, B /g, E /c

Natural, harmonic, melodic

Basic notation

Review Primer level3/8; 6/8

Review 6/8Cut time

Syncopation

Review Level 1-2

Intervals 2nds, 3rds, 4ths, 5thsMelodic/harmonic

Half/whole step

6ths, 7ths, octave Review 2nds throughoctave

Half/whole steps

Interval quality within a scale

Triads Major: C, G, F, D, A, E

Minor: c, g, f, d, a, e

All major/minor

Tonic, Dominant

I-IV-V in C, G, D, F, B

Major

Inversions

All Major/minor

Inversions

I-IV-V in C, G, D, A, E, F,

B , E , A

Dominant Seventh

chords

All major/minor triads

Augmented/diminished

Inversions

I-IV-V; i-iv-V

(tonic/subdominant/dominant)Chord progressions

Figure 2.5 7

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Fundamentals of Piano Theory

NASM Standard

Written Exercises


Treble and Bass Clef notesKey Signatures Circle of 5ths

Write and identify all

major/minor keys

Circle of 5thsWrite/identify all

major/minor keys (6

pages)

Same as Level 4 (6 pages) Same as Level 4 (3 pages)

Major Scales Review allScale degree names

Same as Level 4 (4 pages)Chromatic scale

Same as Level 4 (4 pages) Same as Level 4 (2 pages)

Minor Scales Review Relative key

Review all 3 forms

Parallel Major/minorScale degree names

(harmonic form)

Same as Level 4 (6 pages) Same as Level 4 (6 pages) Same as Level 4 (2 Pages)

Basic notation Strong-weak beats Thirty-second notes

Intervals Major/minor

2nds/3rds/6ths/7thsAugmented/diminished

Same as Level 4 (4 pages) Same as Level 4, using

intervals that includedouble sharp/double flat

Same as Level 6 (2 pages)

Triads Review Major/minor


Inversions

Triads of major/minor

scale

Open/close positionPrimary/secondary

chords

Inversions of V7 chords

Same as Level 4, using

more excerpts from

literature

Same as Level 4

Figured bass to identify all

chords

Primary/Secondary triads

Same as Level 4

Figured Bass

Primary/Secondary

chords

All qualities of seventh

chords and inversionsSecondary dominant

Figure 2.5 continued8

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NASM Standard

Written Exercises

Level 8 Level 9 Level 10

Treble and Bass Clef

notes

Key Signatures Review all (2 pages) Review all (2 pages) Review all (2 pages)Major Scales Same as Level 4

Whole Tone scaleReview (1 page)Whole tone scale

Review (1 page)

Minor Scales Review all

Parallel minor

Review (3 pages) Review (3 pages)

Basic notation Review all time signatures

and note/rest values

Hemiola Simple/compound rhythms

Irregular meter

Intervals Review all (2 pages) Review all (2 pages) Review (2 pages)

Triads Review all qualities and

inversions

Chords within a scale

Seventh chords in a major

scale

5 qualities of seventh chordsSecondary Dominant

Review all qualities and

inversions

Seventh chords in a major

scale, with inversions

Diminished seventh chords

Secondary Dominant

Same as Level 8


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CHAPTER 3: EAR-TRAINING CONCEPTS

Most musicians view ear-training skills as an important component of their

success. Composers need to accurately write the music for performers to play or

sing. Conductors need the ability to compare the music they hear with what they see

on the page, making sure notes and rhythms are correct. Singers are sometimes

instructed to sing a part without music provided. Amateur musicians may want to

be able to play a familiar song without buying sheet music. Ear-training skills,

although perhaps a difficult task for some students to accomplish, can be learned.

Pre-college students arrive with a varying degree of mastery. Some may be able to

hear a song and sing or play it back with ease. Others can hear a rhythm and clap it

back with excellent accuracy. Some students have difficulty hearing the difference

between major and minor chords. NASM states developing the ear is a lifetime job,

so where and how should students begin?

The five books being studied within this document (Premier Piano Course,

Celebrate Piano!, Piano Adventures, Piano Basics and Fundamentals of Piano Theory)

include a variety of techniques to teach ear-training. Figures 3.13.4 provide a

listing of the concepts taught within each method. Premier Piano Course, Celebrate

Piano!, and Piano Adventures place their aural exercises strategically throughout

each book, reinforcing the written drills students have completed. Fundamentals of

Piano Theorylocates all ear-training drills on two pages at the end of each book.

Bastiens Piano Basics does not incorporate ear-training in its series.

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3.1 Rhythmic and Melodic Dictation

The authors of these books gently guide students into ear-training. Most of

the beginning ear-training examples are rhythmic in nature with the teacher

clapping a rhythm and the student identifying quarter notes and half notes. Short

melodic exercises soon follow. In the four books with ear-training, short melodies

are played or clapped and the student must select one of two possible answers.

These beginning exercises are four-to eight-note patterns with students selecting

which example the teacher has clapped or played. The students are guided to look

for the differences between the two examples and then listen accordingly. This type

of ear-training teaches students to carefully discriminate between and/or match

their aural and visual skills and is a good way for students to begin their ear-

training. Michael Rogers calls this type of training error-detection exercises.27

Rhythmic and melodic dictation examples in Premier Piano Course and

Fundamentals of Piano Theoryare almost exclusively this drill type.

As students progress in their musical training using these books, more

complex exercises occur. Piano Adventures Level 4includes a unique melodic

exercise, first showing a scale on the staff. The teacher plays the tonic chord and

continues with a melody. Students identify which note of the scale is the last note of

the melody. Students are learning to hear a melody within a context of a scale, not

just a series of intervals. A further activity is presented when students learn about

27 Michael R. Rogers, Teaching Approaches in Music Theory, (Carbondale, IL: Southern Illinois

University Press, 2004), 115.

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the circle of fifths. Students are to listen to a piece composed based upon the circle

of fifths. They are instructed to listen carefully to the bass note and identify the last

bass note played. This important concept teaches students to listen to a bass line,

not just a single melody.

Celebrate Piano!incorporates clap backs in every unit where the teacher

claps a rhythm with the student repeating. Many times this activity serves as

preparation for a rhythm to be learned. As the student progresses through level 1B

and beyond, more complex melodic dictation exercises are provided. In Level 2A, a

starting note is given and students are to write in the next two notes played by the

teacher with rhythmic and pitch accuracy. In Level 2B, students are given the key

signature and first note and then complete the next two measures. By Level 4,

students identify the first note from hearing the tonic triad and then complete the

melody. In these last two examples, the authors instruct students to write the

rhythm above the staff first and then complete the notes on the staff using the

correct rhythm.

Fundamentals of Piano Theorypresents limited rhythmic and melodic

dictation exercises. Although one type of dictation is included in every book, there

are only two to four dictation examples and the student always has a choice

between two possible answers. For several of the melodic dictation examples, the

only difference between the two examples is one in major and the other minor. In

most of those examples, the authors have written the exercise on the staff and

included the terms major or minor above the example making it easy for the

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student to choose the proper answer; students only have to listen for major or

minor and not read the notes on the staff. Asking the student to identify the exercise

as major or minor before hearing it would add another level of learning. The student

would see the difference between the major and minor written notation and then

hear the difference between major and minor, choosing the correct example the

teacher has played.

3.2 Intervals

Many colleges and ear-training books dedicate time and space, respectively,

to interval identification.28 Students in a first-year college aural skills program will

encounter interval identification. Piano students using these four books will enter

college with some experience in interval recognition. The training begins with the

basic concept of listening to ascending, descending, or repeating melodic patterns.

Piano Adventures first starts with the concept of high sounds and low sounds before

moving into interval direction. Proceeding from these concepts, all the authors move

to steps and skips (second and third). Fundamentals of Piano Theoryonly has

exercises where students have a choice between two intervals they hear. As early as

Level 1 in the Faber series and Level 1B in the Alfred series, the authors provide a

starting note and students are instructed to write in the next note they hear. The

directions state, however, the answer will be one of two possible choices (e.g., fourth

or fifth). These two books also quiz knowledge in hearing ascending and descending

28 Ibid., 105.

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intervals. In levels 3 and 4 ofCelebrate Piano!, students are directed to write the

interval they hear, with the lower note given. If students complete all levels of these

books, there is plenty of opportunity to practice distinguishing all intervals between

unison and octave.

Not all books, however, teach the quality of intervals. Piano Adventures Level

5provides one page of hints for aural interval recognition of major and minor

seconds, thirds, sixths and sevenths, but includes no specific drills. The Alfred series

has students recognizing intervals up to an octave, but no quality is taught. After

Level 3, there is no aural review of intervals. Fundamentals of Piano Theoryoffers

listening to all intervals second through octave in Levels 1-6 with

major/minor/perfect intervals being quizzed from Level 7-10.

3.3 Triads and Inversions

Exercises with triads can be divided into two different categories: 1)

distinguishing quality and inversion of a triad and, 2) identifying the sound of

chords within a chord progression. Each of these series provides opportunities for

drill focusing on the quality of major and minor triads in root position. Premier

Piano Course exercises do not occur until Level 5 and 6; Celebrate Piano!introduces

triads in Level 3. Piano Adventures has students playing chords for harmonization in

Level 1, but does not quiz aural recognition of major/minor until Level 2B.

Fundamentals of Piano Theorydiscusses major/minor root position triads in the

Primer book. Chord quality of augmented and diminished are studied in

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Fundamentals of Piano Theory, Premier Piano Course and Piano Adventures.

Fundamentals of Piano Theoryexpands on teaching triads by including open position

chords, various seventh chords, and inversions exercises.

Hearing triads in a position other than root position will help train students

to listen for a note in the bass other than the root. These four books present the

concept of inversions; however, there are not many drills for student practice. In

Level 3B ofPiano Adventures, students will choose between two examples of several

chords that include inversions played by the teacher. In Level 4, the teacher plays a

root position chord, followed by inversions of the same chord. Students are to

identify the last chord they hear. (See musical example 3.1)

Premier Piano Course has one exercise involving inversions. Students are

presented with two alternative versions of a three-or four-chord example the

teacher will play, and they are to circle the correct notation. This exercise does not

allow students to hear specific inversions, but rather discern the difference between

the two examples by identifying the pattern they see. Fundamentals of Piano Theory

introduces the concept of inversions in Level 1, but aural examples are not included

until Level 9. Students will hear either a first-inversion or second-inversion chord

with figured bass provided under each chord. The examples are very similar in

notes (e.g., C major in first inversion or A major in second inversion). Students need

to listen carefully to discern the differences between the chords. Celebrate Piano!

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Musical Example 3.129

29Nancy Faber and Randall Faber, Piano Adventures, Level 4, (Ft. Lauderdale, FL: FJH Music

Co., 1993), 17.

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presents the concept of inversions in Level 4. The student has many opportunities

for writing various inversions and playing inversions; however there are no aural

drills.

An important skill for musicians is the ability to aurally recognize and

identify chord progressions. Students gain a strong sense of tonality and hear

harmonic progressions as they learn to play, write and hear I-IV-V7 chord

progressions. All of the books with ear-training drills have aural exercises for

students to hear the difference between I and V7 chords. In Level 1 ofPiano

Adventures the authors have the student first listen for a tonic and dominant note

and later add chords based on those scale degrees. A variety of drills exist in the

different methods; however, the most common exercise is where the teacher will

play several I-V7 chords in a row with the student identifying the last chord. The

subdominant chord is introduced after students have had ample opportunities to

practice the I-V7 progression. As more keys are introduced, students play, write and

hear the progressions in those keys. The Faber, Alfred and Harris books include

exercises where students write the chords played by the teacher, sometimes with a

melody, sometimes just the chords alone. Levels 5-10 ofFundamentals of Piano

Theoryincorporate exercises for students to identify authentic, plagal, half and

deceptive cadences, as shown in musical example 3.2.

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30Keith Snell and Martha Ashleigh, Fundamentals of Piano Theory, Level 8, (San Diego, CA:

Neil A. Kjos Music Co., 1999), 57.

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3.4 Sight-reading/sight-singing

The only series that includes sight-singing is Celebrate Piano! The authors

incorporate four- to eight-measure songs for each interval including major/minor

qualities. The first song is Middle C Safari and the student is directed to match

their voice with the sound of Middle C and sing, This is the sound of MiddleC.

Continuing in Level 1A students will learn Busy Bee Song containing major

seconds and Cuckoo Bird Song comprised of major thirds. Each level introduces

more songs as intervals are learned, with all intervals with major and minor quality

learned by Levels 3 and 4. The authors begin using solfge in Level 2B, with the

student singing a C major 5-finger pattern. They also provide the option of using

scale degree numbers. Students advancing through the next two books are

encouraged to sing the interval songs with solfge or scale numbers. There are other

short pieces for students to sing using solfge--all in major keys. Musical example

3.3 shows an excerpt from one of these exercises. Most piano theory books do not

include any sight-singing drills; therefore, students using this series will gain

experience prior to entering college.

Of the five books studied, only three have actual sight-reading examples.

Playing a piece for the first time might be considered sight-reading, and by

definition, that is true. However, to sight-read a piece well is a skill to be learned. It

can be difficult to keep eyes moving ahead, keep a steady beat, play all notes

correctly and read more than one clef at a time.

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31Cathy Albergo, et.al., Celebrate Piano!Level 2B, (Mississauga, Ontario: The Frederick Harris

Music Co., Ltd.,2002), 46.

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The exercises in all levels of the Alfred series are short with a majority using

one clef. Many of the sight-reading examples involve the concept previously

presented in the theory and lessons book. Although there are no specific suggestions

given on how to sight-read, the authors usually provide a leading question to guide

the student in their playing. The Faber series includes Eye Training (sight-reading)

exercises that are a continuation of prior presented concepts. In the Primer Level,

the authors have included three suggestions for students learning to sight-read: 1)

Look through and identify the hand position and notice the rhythm; 2) Set a slow

and steady beat before playing; and 3) Keep going no matter what.32 These

suggestions are repeated throughout the first two books as students continue to

learn sight-reading skills using one clef. By Level 2B, students are reading two clefs

and in Level 3A, students are sight-reading and transposing four to six measures of

music. Fundamentals of Piano Theoryconcludes each book with two pages of sight-

reading. The authors give the same very detailed instructions in each level as

students sight-read two staves of music beginning in the Primer Level. The three to

five examples in each level provide opportunities for playing in many keys and each

level becomes increasingly more advanced in key, rhythm and length. BastienPiano

Basics does not include specific sight-reading examples.

These method series provide a wide-range of ear-training, sight-reading and

sight-singing exercises. Bastien Piano Basics does not include any of these skills.

32 Nancy and Randall Faber, Piano Adventures Primer Level, (Ft. Lauderdale, FL: FJH Music

Company, Inc., 1993), 21.

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Fundamentals of Piano Theoryincludes many of them; however the authors do not

include any written dictation exercises. Celebrate Piano!provides sight-singing and

dictation drills. The authors ofPiano Adventures and Premier Piano Course include

many different types of drills for these various concepts. Students using these books

will have some general knowledge of ear-training concepts.

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Alfred Premier Piano Course

NASM Standards:

Ear-Training


Rhythmic Dictation

Melodic Dictation 1-2 measure melodies

directional(up/down/same)

Forte/piano

Up/down

TieStaccato/legato

Accent-draw on note you

hear accentedTies

2 measure melodies

Major scale

Major/minor 5-fingerpattern

Intervals Step/skipUp/down/repeat

Skip/step4ths/5ths

Half step up or down

Half /whole steps3rd/6th

6th/7th

7th/octave

Major/Minor Chords I-V7 (2 note chord)

In C and G major

Hear Major/minor chords

I-V7 (3-note chord)

Sight-reading only Sight-read single line

melodies including 2nds,

3rds, ties, slurs, staccato,8va, sharps and flats

Grand staff reading

including LH 5ths,

parallel motion

Sight-read a single line

melodies including, I-V7 ,

eighth notes, pedal, various5-finger patterns

Grand staff reading including

flats, parallel motion,

tonic/dominant, pedal, I orV7 chord


melodies including minor

5-finger patterns, 7ths,

8ths, scales, pedal, Grand staff readingincluding ledger lines

Figure 3.1

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Piano Premier Course

NASM Standard:

Ear-training


Rhythmic Dictation Swing style

Syncopation

3/8 and 6/8

Swing

3/8 and 6/8

Syncopation

3/8

Melodic Dictation Chromatic scale

Intervals All intervals 3rd-8th

choose between two

Major/minor chords I-IV-V7 (3 note chord)

I-V7

I-IV

I-IV-V7

i-iv-V7 in a and e minor

InversionsAlberti bass pattern

Major/minor chords

Major/Augmented

i-iv-V7 in g minor

I-IV-V7 in E major

I-IV-V7 in A-flat major

Diminished/minor

Major/minor arpeggios

Sight-reading only Sight-read a single

line melody including

syncopation andmajor scales.


melody including 3/8 and

6/8 time, triplets,sixteenth notes, minor

chords, minor scales,

inversions.


melody including triplets,

and swing rhythm,ornaments and sequences

(using excerpts from Corelli,

Scarlatti and Rameau),

scales,


melody including minor

scales, excerpts from piecesby Chopin, Sibelius and

Joplin, diminished chords

Grand staff reading

including pieces by Bartokand Schytte,


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Harris Celebrate Piano!

NASM Standard:

Ear-Training


Rhythmic Dictation Circle rhythm teacher

plays

Write rhythms

Write rhythms

Write rhythm

Melodic Dictation Series of 3 or 4 notes,

choose between two

patterns the teacher plays.

Given a starting note write

a the next 2 notes

Choose between two

patterns the teacher plays

Legato/Staccato


the next two notes

Choose between two

patterns the teacher plays


the next three notes.

Choose between two

patterns the teacher plays.

Intervals 2nd/3rdHarmonic/melodic

2nd/3rd/5th 2nd/3rd/4th/5th

Major/minor chords

Sight-singing only Middle C song

2nd/3rd Songs

Middle C song

2nd/3rd /4th/5th Songs

Middle C Song

2nd/3rd/4th/5th/6th Songs

Middle C Song plus other

interval songs adding 7th

Using solfge or scalenumbers to sing C 5-

finger pattern

Figure 3.2

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Celebrate Piano!

NASM Standard:

Ear-Training

Level 3 Level 4

Rhythmic Dictation 6/8

Write rhythm of melodic

dictations

Write rhythm of melodic

dictations.

Melodic Dictation Write 2 measure melodies

given the first note

Write a melody with

student identifying the

first note from the I chord

Intervals Perfect 4th, 5th 8thMajor/minor 2nd

Major/minor 3rd

Major/minor 6th

Major/minor 7thPlus review of all other

intervals

Major/minor chords I-V7-I Progressioni-VI Progression

Major/minor chords

I-IV-V7-I progressions

Major/minor chordsIdentify I-IV-V7 chords

teacher uses to harmonize

a melody

Identify I-IV-V7 pattern

played

Sight-singing/reading Solfge/numbers on other

major 5-finger patterns

New interval songs with

minor 2nd, 3rd, 6th

All interval songs

Solfge/numbers on all

scale degrees

Interval song minor 7th

Sing complete song usingonly solfge or numbers

Figure 3.2 continued6

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Faber Piano Adventures

NASM Standard:

Ear-Training

Primer Level 1 Level 2A Level 2B

Rhythmic Dictation

Circle rhythm teacher

plays

Rhythmic patterns using

I chords

Melodic Dictation High/lowUp/down/repeat

Step/skip

Step/skipForte/piano

Staccato/Legato

Melodies that are

Same/different

Choose between 2melodies using half steps

Transposed patterns

Melody in major/minor

Crescendo/diminuendo

Intervals Step/skip

5th

Middle C/Bass C/Treble C

Half steps ( )

2nd/3rd/4th/5th

Half steps/whole steps Octaves

5th/6th

Write interval from givennote: 4th/5th or 5th/6th

Major/minor chords I or V7

Tonic/Dominant

Tonic/Dominant Major/minor

I-IV-V7

Teacher play melody with

chords; identify last chord

Sight-reading only Melodies using the grand

staff including 2nd, 3rds

and 5ths

Single line melodies

combining 2nds and 3rds

Single line melodies with

various intervals,

articulation, accidentals,

upbeats and I or V7 chords

Single line melodies in

various 5-finger positions

or tonic chords

Sight-read grand staff

examples

Sight-read single line

melodies using I, IV and V7

chords and rhythm of

Figure 3.37

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Piano Adventures

NASM Standard:

Ear-Training

Level 3A Level 3B Level 4 Level 5

Rhythmic Dictation 3/8 , 6/8 Sixteenth note patterns in

4/4, 3/8, 6/8

Melodic Dictation Melodies with 7ths

Chromatic/major scales

Sequence or not a

sequence

Given a scale, identify

melodys the last note

Major Scale

Minor natural/harmonic

scale

Natural/harmonic/melodic

minor scale

Intervals 2 notes given, write in 3rdnote a 2nd/3rd up or down

Octave or other interval Major/minor 2ndMajor/minor 3rd

Major/minor 6th

Major/minor 7th

(no specific exercises)

Major/minor chords Play a patternwhat is

last chord? I, IV or V7

Identify chords

progression: I, IV or V7

Last note of an arpeggio

Play a patternwhat is

last chord? i-iv-V7

Major/minor chords

Triads with inversions

Identify accompaniment

pattern

Identify inversions Last chord of Cadence:

I or V7

Bass note in circle of fifths

Major/minor chords

Sight-reading only Sight-read single line

melodies including 7ths,

ledger line notes.

Triplets, 6/8; 3/8 and Cuttime.


melody with chordaccompaniment

Sight-read single line and

grand staff melodies

including octaves,

sequences, major/minortriads and inversions and

sixteenth note patterns.

Sight-read single line and

grand staff melodies using

various sixteenth note

patterns and inversions.


examples using different

accompaniment patterns,

intervals, chords andinversions, arpeggios.

Sight-read single line

melodies based on chordtones.

Figure 3.3 continued 8

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Kjos Library Fundamentals of Piano Theory

NASM Standard:

Ear-Training

Primer Level 1 Level 2 Level 3

Rhythmic Dictation

Melodic Dictation Listen to melody, choose

one answerMajor/minor 5 finger

patterns

Major/minor 5 finger

patternsListen to melody, choose

one answer

Listen to melody, choose

one answer

Listen to major/minor

melody, choose oneanswer

Intervals 2nd/3rd/4th/5th 2nd/3rd/4th/5th/6th/7th/8th More difficult 2nd-octave 2nd-octave

Major/minor chords Major/minor root position

chords

Major/minor chords root

position

Major/minor chords

Broken chord pattern

Root position

Major/minor chords root

position

Sight-reading only 1 page sight-reading

Both clefs C position

1 page sight-reading 2 pages sight reading RH

melody, LH chords in C, F,G major

2 pages sight-reading

G, E major; d and e minor

Figure 3.4

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NASM Standard:

Ear-Training


Rhythmic Dictation Rhythm using chords

Identify the rhythm

teacher claps

Identify the rhythm

teacher claps

Melodic Dictation Major/minor melody,

Sequence within a melody

LH accompanimentpattern

Major/minor scale Major/minor scale

Major/minor melody

Major/minor scale

Major/minor

melody/accompaniment

Intervals 2nd-octave with interval

identification under the

notes

Intervals within a scale Intervals within a scale All intervals with all

qualities

Major/minor chords Major/minor

root position triads

Major/minor


Cadences

Major/minor


Cadences

Major/minor


Root position triads

Cadences

Sight-reading only 2 pages sight-reading

D and E major;

a and g minor


D and G major, c minor


G. D. E major

c minor


A major, d and f minor


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NASM Standard:

Ear-Training

Level 8 Level 9 Level 10

Rhythmic Dictation Choose which rhythm teacher

plays

Melodic Dictation Natural/harmonic/melodic

Minor scalesIdentify which phrase

teacher plays

Natural/harmonic/melodic

Minor scales

Harmonic/melodic/natural

minor or whole tone scaleIdentify which phrase teacher

plays

Intervals All interval types and

qualities

All interval types and qualities All interval types and

qualities

Major/minor chords Major/minor



Cadences

1stand 2nd inversions

All seventh chords, root

position

All seventh chords

Root position and inversions

Cadences

Sight-reading only 2 pages sight-reading in g

minor, G major and b minor


excerpts from a baroque suitein D major,

e and g minor


C major, d minor,20th century techniques


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CHAPTER 4: BEYOND THE BASICS

The third NASM suggestion encourages students to learn the fundamentals of

musical structure including the areas of form, harmony, counterpoint, composition

and improvisation. Form can include many different concepts such as motives,

phrase structure, cadences, sequences; and binary, ternary or sonata form. Books

designed for teaching music fundamentals in college or high school theory courses

include many of these concepts. Each of these five method series presents at least

one concept relating to form. Figures 4.14.5 are included at the end of the chapter

and detail the concepts included in each method.

4.1 Form

The first building block taught in many of these books is the concept of

phrase. One textbook defines a phrase as introducing musical material and then

carrying the listener to a goal called a cadence.33 The Grove Dictionary defines a

phrase as a term adopted from linguistic syntax and used for short musical units of

various lengths; a phrase is generally regarded as longer than a motif but shorter

than a period.34Students entering college with a piano background may be

33 Earl Henry, Fundamentals of Music, 5th Edition., (Upper Saddle River, NJ: Prentice Hall,

2009), 241.34 Grove On-line Dictionary of Music,

http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/

21599?q=phrase&search=quick&source=omo_gmo&pos=1&_start=1#firsthit

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confused about phrases as many piano theory method books define a phrase by the

use of a slur or phrase mark.

Beginning piano books begin with very simple definitions. Premier Piano

Courseintroduces phrases in Level 1B describing it in the following way: A phrase

is similar to a sentence in language.35 The authors have composed six lines of music

with words and students are asked to complete the slur mark over the music and

then play in a legato manner. This way of teaching phrases may lead the student to

believe a phrase is only music with a slur mark. Teachers will need to further

explain other details of a phrase, and this particular theory method book does not

include further instruction about phrases.

Piano Basics introduces the concept of phrases in Level 2 describing a phrase

as a melody with two parts: a question and answer. The question will end on a note

other than the keynote. The answer phrase will end on the keynote.36

This

description provides an acceptable basic definition for beginning students; however,

students may have difficulty later. There is no discussion about the first note of the

phrase. Can it be any note? Does the last note of the answer phrase always have to

end on the tonic note? These questions are not answered in the Bastien series. The

authors provide examples of question and answer phrases with students

improvising an answer to three question phrases in three different keys, with the

prompt to write their best answer. Students completing the books through Level 4

35 Dennis Alexander, et. al, Premier Piano Course, Level 1B, (Van Nuys, California: Alfred

Publishing, Co., Inc., 2005), 26.36 James Bastien. Piano Basics Theory Level 2, (San Diego, CA: Kjos Music Co., 1985), 13.

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have several opportunities to practice such exercises in a variety of keys. The

authors do not use the term antecedent and consequent phrases, rather using

question and answer throughout each level. (Musical example 4.1)

The authors ofCelebrate Piano!introduce phrases in the first book. Their

definition states: A phrase is a group of notes. A phrase mark is a curved line over

the phrase. Play the notes within the phrase mark smoothly. At the end of the

phrase, play the last note softly and lift your hand.37 More about phrases is included

in each succeeding level with many examples including those with a slur and many

phrases with no slur mark. In this method, Level 1A is primarily written for students

under eight years old and the authors recognize seeing a phrase mark or slur makes

a phrase easier to identify for younger students. As students progress through the

book, they are encouraged to count the number of phrases in each piece as indicated

by the phrase marks. At the end of the book, the following directions are given:

Listen as your teacher plays a two-measure phrase (Question) using the CDE group.

Echo the question. Listen to the Question again. Make up and play a two-measure

phrase (Answer) that ends on C.38 Students can now improvise and listen to

phrases, in addition to the written page which requires using their ear to hear the

phrase resolution. As with Bastien, the authors indicate the answer phrase will end

on the tonic note. This type of exercise continues through the middle of Level 1B

where the authors write the question part of the phrase and students are to

37 Cathy Albergo, et. al., Celebrate Piano!(Toronto Canada: Frederick Harris Music, 2002),

34.38 Ibid., 77.

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39Ibid.

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improvise an answer, ending on the tonic and then writing their favorite answer. At

this juncture, phrases are not marked with a slur. Students have ample opportunity

in each level to continue to improvise and compose question and answer phrases,

with each level incorporating longer examples composed in various keys. In Level

2B, students learn about parallel and contrasting answers using improvisation

practice and then writing their favorite response. All examples must end on the

tonic note. In Levels 3 and 4, students create both the question and answer phrases

within various parameters; however, the terms antecedent and consequent phrases

are not used.

Piano Adv

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