Imp Guide

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
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 ___________________ Professor of Music Theory November 9, 2011 Date
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.
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
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
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
7 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
8 ABSTRACT
Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, How should I best prepare to enter a conservatory, college, university as a music major? Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.
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.1 Each college or university determines their own criteria for assessing these general skills through the use of auditions, examinations or other evaluations.2
1 2
National Association of Schools of Music Handbook (2010-2011): 79. Ibid.
10 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 beneficial for 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
Richard Nelson, The College Music Society Music Theory Undergraduate Core Curriculum Survey2000, College Music Symposium 42 (2002): 60.
11 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 as intervals and scales. The preexisting foundation might lead to greater success and confidence with the aural identification of these concepts.6
4 5
Ibid., 62. M. 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.
12 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 in musicianship that include sight-singing, ear-training, sight-reading, rhythmic and harmonic dictation, and so forth. Developing the ear is a lifetime job. The earlier work is started, the better.10
7 8
Ibid., 107. How 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+17 9 Ibid. 10 Ibid.
13 Students participating in choir may have opportunities for sight-singing, but eartraining and rhythmic and harmonic dictation skills are not frequently taught in general music classes. Some high schools offer music theory courses, but eartraining, 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
11
Ibid.
14 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 Quarterly and they presently are evaluating new and
Carole 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. 13 Valerie Cisler, Moving from Theory to Style Analysis: An Effective Means For Developing Performance Interpretation, Piano Pedagogy Forum 8, no. 2 (2005).
http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html
14 12
Rebecca 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.
15 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
16 17
Paula Harrison, Perspectives in Pedagogy, Clavier Companion 2, no. 1 (2010): 32. Rebecca Grooms Johnson, Perspectives in Pedagogy, Clavier Companion, 2, no. 6 (2010): 35. 18 In 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.
16 concept moves through the six levels he and others developed: remember, understand, apply, analyze, evaluate and create.19 The 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
Charlene Zundel, Theory Gymnastics, (Workshop, MTNA National Convention, Albuquerque, NM, March 23, 2010).
19
17 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 allinclusive 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
Cathy Albergo, et.al., Celebrate piano! Teachers Guide, Level 1. (Mississauga, Ontario: The Frederick Harris Music Co., Ltd., 2002), 7.
20
18 provide instruction, reinforcement, and creative applications of basic theory concepts through writing, sight-reading, and ear-training activities.21 Fundamentals of Piano Theory by 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 Theory is 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.
Nancy Faber and Randall Faber, Piano Adventures. (Ft. Lauderdale, FL: FJH Music Co, 1993), inside cover.
21
19
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 .
How 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+17 23 Earl Henry, Fundamentals of Music Theory, (Upper Saddle River, NJ: Prentice Hall, 2009), 2.
22
20 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 Theory includes 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
21 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 Theory does 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.24 Piano 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
Keith Snell and Martha Ashleigh. Fundamentals of Piano Theory Level 2, (San Diego, CA: Neil A. Kjos Music Co., 1998), 6.
24
22 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 first present 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
23 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 eventually present 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 Theory include the circle of fifths in reinforcing key signatures. Fundamentals of Piano Theory is 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
24 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 seconds and 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
Lindsey C. Harnsberger, Essential Dictionary of Music, (Los Angeles: Alfred Publishing, Co., Inc., 1998), 69.
25
25 major or perfect intervals within a scale and alter the top note based on the quality given. Fundamentals of Piano Theory teaches intervals in this same manner. Faber also uses scales to teach intervals; however, perfect, major and minor intervals are first classified using half steps and whole steps. For example, a major third is identified as two whole steps or four half steps. Perfect intervals are taught both by half steps and by using the lower note as the tonic note of a scale to count four or five notes higher. The tritone is mentioned as neither perfect, major, nor minor. Major sevenths are identified as a half step smaller than an octave and minor sevenths are a whole step smaller than an octave.
2.4 Triads Learning how to identify letter names and triad qualities is another basic element in studying music theory. For pianists, chords are often presented as an opportunity to play a melody with an accompaniment. All method series use the definition of a triad as three note chord consisting of a root, third and fifth with the letter name of the chord being the root. Two of the series studied do not introduce chords until the last two levels in their books. Most of these methods present chords as they teach 5-finger patterns or scales. They all apply Roman numerals I, IV and V to teach tonic, subdominant and dominant chords. The Faber and Bastien series teach triads very early in their books and students first learn to play V7 as a two note chord to accommodate small hands which may not be able to reach an interval of a sixth found in the first inversion chord.
26 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 of Piano 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.
27 Musical Example 2.1 26
Nancy Faber and Randall Faber, Piano Adventures Level 3B (Ft. Lauderdale, FL: FJH Music Co., 1993), 25-26.
26
28 Fundamentals of Piano Theory presents 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 Theory will continue to receive more exhaustive training on triads and chords. Figure 2.5 lists the skills students will learn.
29 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.
Alfred Premier Piano Course NASM Standard: Written Exercises

Treble and Bass Clef notes Key Signatures Major Scales Minor Scales Basic Notation
Level 1A
C3-C4; C4-G4 C major 5-finger pattern Middle C 5-finger pattern
Level 1B
G2-D4; C4-D5 G major 5-finger pattern C5-G5
Level 2A
Level 2B
Bass clef:C2-F2; C4-E4; Treble clef: A3-C4 C and G major C and G major c, g, d, a 5-finger pattern
D, A major 5-finger pattern Crescendo, decrescendo Accent, tempi
Skips/steps Up/down
tie, legato, staccato

Harmonic/melodic 2nd, 3rd, 4th, 5th Half/whole step 6th I-V7 in C, G, D major Roman numeral and name Tonic/Dominant

7th. Octave Melodic/harmonic I-V7 in C, G Arpeggios of C, G, D, A
Intervals Triads
Figure 2.1
30
Premier Piano Course NASM Standard: Written Exercises

Treble Clef notes Key Signatures Major Scales Minor Scales Basic Notation 6/8 3/8
Level 3
Bass Clef: A1-E2, C4-E4; Treble Clef: A3-C4; A5-E6 C, G, F major F, D Major Chromatic
Level 4
Level 5
Level 6
Sharp keys A, E, B, B Natural/harmonic Relative major/minor a, e minor d and g Cut time 6/8; 3/8 Various sixteenth note patterns 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
Flat keys E ,A ,D c, b Melodic minor Mixed Meter
Intervals Triads
IV in C, G, F
Diminished triads I-IV-I-V7-I in A , D ii-V7-I progression Diatonic triads in F, G and D major
Figure 2.1 continued
31
Bastien Piano Basics

NASM Standards: Written Exercises Treble and bass Clef notes Key Signatures Major Scales C 5-finger; Middle C position; G 5-finger pattern F 5-finger pattern Primer C3-D4; C4-D5 Level 1 F2-D4; C4-G5 C, F, G Level 2 C4-E4, C2-E2; A5-C6; A3-C-4 Order of sharps, All major sharp key signatures C, G, F, D, A, E Tetrachords Level 3 Bass clef: B1, F4; Treble clef: D6, G3 Order of flats, All major flat keys; a, e, b, d, g, f minor D-flat; A ; E ; Chromatic scale a, d natural, harmonic and melodic minor Level 4
Given key signature name, write appropriate sharps/flats G ;B ;B Parallel major/minor Scale degree names e minor Review a and d
Minor Scales Basic Notation
Slur, tie
Staccato, tempi Crescendo, decrescendo Accent
6/8

Half step, whole step Octave Intervals within a major scale: major, minor, diminished, augmented i-iv-V7 in e minor Aug, Dim, V7/inversions G ; B , B major triads of a major scale
Intervals
2nd, 3rd, 4th 5th Up, down repeat Melodic, harmonic C chord 1-V7 (2 note) in C, F, G
Triads
I, IV, V in C, G, F, D, A, E Inversions I-IV-I-V-I progression
All M/m triads a/d minor i, iv, V7 D ,A ,E
Figure 2.2
32
Harris Celebrate Piano! NASM Standard Written Exercises

Treble and bass Clef notes Key Signatures Major Scales
Level 1A
Line or space notes
Level 1B
G2-D4; B3-G5
Level 2A
G1-E2; A5-F6 All major sharp keys All major 5-fnger patterns except C#, G and C Tonic/Dominant notes within a 5-finger pattern
Level 2B
All major flat keys Review all major sharp keys
Minor Scales Basic notation
4ths , 5ths
Half/whole step 6ths
7ths Octaves Tonic triads Identify root position triads
Intervals Triads
2nds , 3rds Up/down/same Melodic/harmonic
Figure 2.3
33
Celebrate Piano! NASM Standard Written Exercises

Treble and bass Clef notes Key Signatures Major Scales
Level 3
Relative minor Parallel minor
Level 4
Circle of 5ths Tetrachords to teach complete scales: C, F, G, D, A, E major Whole tone Chromatic Pentatonic
Minor Scales Basic notation
Minor 5-finger patterns 6/8; 9/8
a minor Natural and harmonic Cut time Syncopation
Intervals Triads
Major/minor 2nds/3rds/6ths Perfect 4ths/5ths/8ths Minor triads I-IV-V7 i-V7
Major/minor 7th Inversions i-iv-V7-i
34
Faber Piano Adventures NASM Standard Written Exercises

Treble and Bass Clef notes Key Signatures Major Scales Minor Scales Basic notation
Primer
C3-C4; C4-G4 C major 5-finger pattern Middle C position
Level 1
G2-D4; G4-G5 G major 5-finger pattern C 2; C6
Level 2A
Level 2B
C, G and F major C , G, and F major scale Tonic, Dominant and Leading tone notes
D and A major 5-finger pattern c, g, a, d minor 5-finger pattern Crescendo, decrescendo
accent, slur, staccato 2nds, 3rds, 4ths, 5ths Harmonic/Melodic Half step Tonic/Dominant I-V7 in C
Transpose using intervallic relationship Whole steps I chord in D and A

6ths I-IV-V7-I in C, G, F major
Intervals Triads
Step, skip Up, down, same
Figure 2.4
35
Piano Adventures NASM Standard Written Exercises

Treble and Bass Clef notes Key Signatures
Level 3A
A1-F2; G5-E6 D major
Level 3B
a and d minor
Level 4
Distinguish between C major and a minor Naming all sharp major keys E major Relative minor scales Harmonic scales More rhythms with sixteenth notes/rests
Level 5
Circle of 5ths Naming all flat major keys c, g, d, a, e minor F, B , E and E major d minor Compound meter
Major Scales Minor Scales Basic notation
D major Chromatic a and d minor Natural, harmonic and melodic Cut time 3/8; 6/8
Intervals
7ths
Triads
I-IV-V7 in D major
Octave Major/minor 3rds Intervals within a major scale i-iv-V7 in a and d minor Major/minor triads Inversions
P 4, 5, 8 Major/minor 2nds, 3rds, 6ths, 7ths Review inversions Naming I, IV, V in a given key Letter names of chords Inversions
36
Kjos Library Fundamentals of Piano Theory NASM Standard Written Exercises

Primer
F2-C4; C4-G5 C, F, G major a, d e minor 5-finger patterns: C, F, G, D, A, E Tetrachord scales: C, G, F 5-finger patterns: c, g, f, d, a, e
Level 1
B1-F4; G3-D6 Circle of 5ths C, G, D, F, B major All 5-finger patterns Tetrachord scales: C, G, D, F, B 5-finger patterns: a, e, b, d, g a, e, d, g
Level 2
Level 3
Order of sharps/flats All major Minor to 4# and 4 Tetrachord Review All major scales
Use literature to identify keys Write and identify all keys All major scales
Major Scales
Minor Scales
Relative minor: C/a, G/e, D/b, F/d, B /g, E /c Natural, harmonic, melodic Review Level 1-2
Basic notation
Review Primer level 3/8; 6/8
Review 6/8 Cut time Syncopation
Intervals Triads
2nds, 3rds, 4ths, 5ths Melodic/harmonic Half/whole step Major: C, G, F, D, A, E Minor: c, g, f, d, a, e
6ths, 7ths, octave All major/minor Tonic, Dominant I-IV-V in C, G, D, F, B Major Inversions
Review 2nds through octave Half/whole steps All Major/minor Inversions I-IV-V in C, G, D, A, E, F, B ,E ,A Dominant Seventh chords
Interval quality within a scale All major/minor triads Augmented/diminished Inversions I-IV-V; i-iv-V (tonic/subdominant/dominant) Chord progressions
Figure 2.5
37
Fundamentals of Piano Theory NASM Standard Written Exercises

Level 4
Circle of 5ths Write and identify all major/minor keys Review all Scale degree names Review Relative key Review all 3 forms Parallel Major/minor Scale degree names (harmonic form)
Level 5
Circle of 5ths Write/identify all major/minor keys (6 pages) Same as Level 4 (4 pages) Chromatic scale Same as Level 4 (6 pages)
Level 6
Same as Level 4 (6 pages)
Level 7
Same as Level 4 (3 pages)
Major Scales Minor Scales
Same as Level 4 (4 pages) Same as Level 4 (6 pages)
Same as Level 4 (2 pages) Same as Level 4 (2 Pages)
Basic notation
Strong-weak beats
Thirty-second notes
Intervals Triads
Major/minor 2nds/3rds/6ths/7ths Augmented/diminished Review Major/minor Augmented/diminished Inversions Triads of major/minor scale Open/close position Primary/secondary chords Inversions of V7 chords
Same as Level 4 (4 pages) Same as Level 4, using more excerpts from literature
Same as Level 4, using intervals that include double sharp/double flat Same as Level 4 Figured bass to identify all chords Primary/Secondary triads
Same as Level 6 (2 pages) Same as Level 4 Figured Bass Primary/Secondary chords All qualities of seventh chords and inversions Secondary dominant
38
Fundamentals of Piano Theory NASM Standard Written Exercises

Treble and Bass Clef notes Key Signatures Major Scales Minor Scales Basic notation Intervals Triads
Level 8
Level 9
Level 10
Review all (2 pages) Same as Level 4 Whole Tone scale Review all Parallel minor Review all time signatures and note/rest values Review all (2 pages) Review all qualities and inversions Chords within a scale Seventh chords in a major scale 5 qualities of seventh chords Secondary Dominant
Review all (2 pages) Review (1 page) Whole tone scale Review (3 pages) Hemiola Review all (2 pages) Review all qualities and inversions Seventh chords in a major scale, with inversions Diminished seventh chords Secondary Dominant
Review all (2 pages) Review (1 page) Review (3 pages) Simple/compound rhythms Irregular meter Review (2 pages) Same as Level 8
39
40 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 Theory locates all ear-training drills on two pages at the end of each book. Bastiens Piano Basics does not incorporate ear-training in its series.
41 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 eartraining. Michael Rogers calls this type of training error-detection exercises.27 Rhythmic and melodic dictation examples in Premier Piano Course and Fundamentals of Piano Theory are almost exclusively this drill type. As students progress in their musical training using these books, more complex exercises occur. Piano Adventures Level 4 includes 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
Michael R. Rogers, Teaching Approaches in Music Theory, (Carbondale, IL: Southern Illinois University Press, 2004), 115.
27
42 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 Theory presents 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
43 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 Theory only 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.
44 intervals. In levels 3 and 4 of Celebrate 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 5 provides 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 Theory offers 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 Theory discusses major/minor root position triads in the Primer book. Chord quality of augmented and diminished are studied in
45 Fundamentals of Piano Theory, Premier Piano Course and Piano Adventures. Fundamentals of Piano Theory expands 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 of Piano 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!
46
Musical Example 3.129
Nancy Faber and Randall Faber, Piano Adventures, Level 4, (Ft. Lauderdale, FL: FJH Music Co., 1993), 17.
29
47 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 of Piano 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 of Fundamentals of Piano Theory incorporate exercises for students to identify authentic, plagal, half and deceptive cadences, as shown in musical example 3.2.
48
Musical Example 3.2 30
Keith Snell and Martha Ashleigh, Fundamentals of Piano Theory, Level 8, (San Diego, CA: Neil A. Kjos Music Co., 1999), 57.
30
49
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 Middle C. 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.
Cathy Albergo, et.al., Celebrate Piano! Level 2B, (Mississauga, Ontario: The Frederick Harris Music Co., Ltd.,2002), 46.
31
51 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 Theory concludes each book with two pages of sightreading. 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. Bastien Piano 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.
Nancy and Randall Faber, Piano Adventures Primer Level, (Ft. Lauderdale, FL: FJH Music Company, Inc., 1993), 21.
32
52 Fundamentals of Piano Theory includes many of them; however the authors do not include any written dictation exercises. Celebrate Piano! provides sight-singing and dictation drills. The authors of Piano 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.
Alfred Premier Piano Course NASM Standards: Ear-Training

Rhythmic Dictation Melodic Dictation
Level 1A
Level 1B
Level 2A
Level 2B
1-2 measure melodies directional (up/down/same) Forte/piano Step/skip Up/down/repeat
Up/down Tie Staccato/legato Skip/step 4ths/5ths Half step up or down Sight-read single line melodies including 2nds, 3rds, ties, slurs, staccato, 8va, sharps and flats Grand staff reading including LH 5ths, parallel motion
Accent-draw on note you hear accented Ties 2 measure melodies Half /whole steps 3rd/6th I-V7 (2 note chord) In C and G major Sight-read a single line melodies including, I-V7 , eighth notes, pedal, various 5-finger patterns Grand staff reading including flats, parallel motion, tonic/dominant, pedal, I or V7 chord

Major scale Major/minor 5-finger pattern 6th/7th 7th/octave Hear Major/minor chords I-V7 (3-note chord) Sight-read a single line melodies including minor 5-finger patterns, 7ths, 8ths, scales, pedal,
Intervals Major/Minor Chords Sight-reading only
Grand staff reading including ledger lines
Figure 3.1
53
Piano Premier Course NASM Standard: Ear-training

Rhythmic Dictation
Level 3
Swing style Syncopation 3/8 and 6/8 Chromatic scale All intervals 3rd-8th choose between two I-IV-V7 (3 note chord) I-V7 I-IV Sight-read a single line melody including syncopation and major scales.
Level 4
Level 5
Swing 3/8 and 6/8
Level 6
Syncopation 3/8
Melodic Dictation Intervals Major/minor chords
Sight-reading only
I-IV-V7 i-iv-V7 in a and e minor Inversions Alberti bass pattern Major/minor chords Sight-read a single line melody including 3/8 and 6/8 time, triplets, sixteenth notes, minor chords, minor scales, inversions.
Major/Augmented i-iv-V7 in g minor I-IV-V7 in E major Sight-read a single line melody including triplets, and swing rhythm, ornaments and sequences (using excerpts from Corelli, Scarlatti and Rameau), scales,
I-IV-V7 in A-flat major Diminished/minor Major/minor arpeggios Sight-read a single line melody including minor scales, excerpts from pieces by Chopin, Sibelius and Joplin, diminished chords Grand staff reading including pieces by Bartok and Schytte,
54
Harris Celebrate Piano! NASM Standard: Ear-Training

Rhythmic Dictation
Level 1A
Circle rhythm teacher plays
Level 1B
Write rhythms
Level 2A
Write rhythms
Level 2B
Write rhythm
Given a starting note write a the next 2 notes Choose between two patterns the teacher plays 2nd/3rd/5th Middle C song 2nd/3rd /4th/5th Songs
Legato/Staccato Given a starting note write the next two notes Choose between two patterns the teacher plays 2nd/3rd/4th/5th Middle C Song 2nd/3rd/4th/5th/6th Songs Given a starting note write the next three notes. Choose between two patterns the teacher plays.
Melodic Dictation
Series of 3 or 4 notes, choose between two patterns the teacher plays. 2nd/3rd Harmonic/melodic Middle C song 2nd/3rd Songs
Intervals Major/minor chords Sight-singing only
Middle C Song plus other interval songs adding 7th Using solfge or scale numbers to sing C 5finger pattern
Figure 3.2
55
Celebrate Piano! NASM Standard: Ear-Training

Rhythmic Dictation
Level 3
6/8 Write rhythm of melodic dictations
Level 4
Write rhythm of melodic dictations.
Melodic Dictation Intervals
Write 2 measure melodies given the first note Perfect 4th, 5th 8th Major/minor 2nd Major/minor 3rd Major/minor 6th I-V7-I Progression i-V I Progression Major/minor chords I-IV-V7-I progressions Solfge/numbers on other major 5-finger patterns New interval songs with minor 2nd, 3rd, 6th
Write a melody with student identifying the first note from the I chord Major/minor 7th Plus review of all other intervals Major/minor chords Identify I-IV-V7 chords teacher uses to harmonize a melody Identify I-IV-V7 pattern played All interval songs Solfge/numbers on all scale degrees Interval song minor 7th Sing complete song using only solfge or numbers
Major/minor chords
Sight-singing/reading
56
Faber Piano Adventures NASM Standard: Ear-Training

Rhythmic Dictation Circle rhythm teacher plays
Primer
Level 1
Level 2A
Rhythmic patterns using I chords
Level 2B

Melodic Dictation High/low Up/down/repeat Step/skip Step/skip Forte/piano Staccato/Legato Melodies that are Same/different Middle C/Bass C/Treble C Half steps ( ) nd/3rd/4th/5th 2 I or V7 Tonic/Dominant 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 Tonic/Dominant Choose between 2 melodies using half steps Transposed patterns Melody in major/minor Crescendo/diminuendo Half steps/whole steps Octaves 5th/6th Write interval from given note: 4th/5th or 5th/6th Major/minor I-IV-V7 Teacher play melody with chords; identify last chord Sight-read grand staff examples Sight-read single line melodies using I, IV and V7 chords and rhythm of
Intervals
Step/skip 5th
Major/minor chords
Sight-reading only
Single line melodies in various 5-finger positions or tonic chords

Figure 3.3 57
Piano Adventures NASM Standard: Ear-Training

Rhythmic Dictation
Level 3A
3/8 , 6/8
Level 3B
Level 4
Sixteenth note patterns in 4/4, 3/8, 6/8
Level 5
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 3rd note a 2nd/3rd up or down
Octave or other interval
Major/minor 2nd Major/minor 3rd Major/minor 6th Major/minor 7th (no specific exercises) Identify inversions Last chord of Cadence: I or V7 Bass note in circle of fifths Major/minor chords Sight-read grand staff examples using different accompaniment patterns, intervals, chords and inversions, arpeggios. Sight-read single line melodies based on chord tones.
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 Sight-read single line melodies including 7ths, ledger line notes. Triplets, 6/8; 3/8 and Cut time. Sight-read grand staff melody with chord accompaniment
Sight-reading only
Play a patternwhat is last chord? i-iv-V7 Major/minor chords Triads with inversions Identify accompaniment pattern Sight-read single line and grand staff melodies including octaves, sequences, major/minor triads and inversions and sixteenth note patterns.
Sight-read single line and grand staff melodies using various sixteenth note patterns and inversions.
58
Kjos Library Fundamentals of Piano Theory NASM Standard: Ear-Training

Rhythmic Dictation Melodic Dictation Listen to melody, choose one answer Major/minor 5 finger patterns 2nd/3rd/4th/5th Major/minor root position chords 1 page sight-reading Both clefs C position
Primer
Level 1
Level 2
Level 3

Major/minor 5 finger patterns Listen to melody, choose one answer 2nd/3rd/4th/5th/6th/7th/8th Major/minor chords root position 1 page sight-reading Listen to melody, choose one answer More difficult 2nd-octave Major/minor chords Broken chord pattern Root position 2 pages sight reading RH melody, LH chords in C, F, G major
Listen to major/minor melody, choose one answer 2nd-octave Major/minor chords root position 2 pages sight-reading G, E major; d and e minor
Intervals Major/minor chords Sight-reading only
Figure 3.4
59
Fundamentals of Piano Theory NASM Standard: Ear-Training

Rhythmic Dictation
Level 4
Rhythm using chords
Level 5
Identify the rhythm teacher claps
Level 6
Identify the rhythm teacher claps
Level 7
Melodic Dictation Major/minor melody, Sequence within a melody LH accompaniment pattern 2nd-octave with interval identification under the notes Major/minor root position triads 2 pages sight-reading D and E major; a and g minor
Major/minor scale

Major/minor scale Major/minor melody/accompaniment All intervals with all qualities Major/minor Augmented/diminished Root position triads Cadences 2 pages sight-reading A major, d and f minor
Major/minor scale Major/minor melody Intervals within a scale Major/minor root position triads Cadences 2 pages sight-reading G. D. E major c minor
Intervals Major/minor chords
Intervals within a scale Major/minor root position triads Cadences 2 pages sight-reading D and G major, c minor
Sight-reading only
60
Fundamentals of Piano Theory NASM Standard: Ear-Training

Rhythmic Dictation
Level 8
Level 9
Choose which rhythm teacher plays
Level 10

Melodic Dictation Natural/harmonic/melodic Minor scales Identify which phrase teacher plays All interval types and qualities Major/minor Augmented/diminished root position triads Cadences 2 pages sight-reading in g minor, G major and b minor
Natural/harmonic/melodic Minor scales All interval types and qualities 1st and 2nd inversions All seventh chords, root position 2 pages sight-reading excerpts from a baroque suite in D major, e and g minor
Intervals Major/minor chords
Harmonic/melodic/natural minor or whole tone scale Identify which phrase teacher plays All interval types and qualities All seventh chords Root position and inversions Cadences 2 pages sight-reading C major, d minor, 20th century techniques
Sight-reading only
61
62
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.34 Students 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
63 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 Course introduces 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
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.
35
64 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 of Celebrate 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), Ibid., 77.
34.
38
39
Ibid.
66 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 Adventures defines a phrase as a musical idea or thought, usually indicated by a phrase mark. A phrase mark looks the same as a slur.40 There are no written assignments included for identifying phrases. The Lessons book offers more detail about phrases; with the leading questions for discovering phrases using repertoire students are learning. Level 3 of Fundamentals of Piano Theory introduces question and answer phrases in the section Melodic Phrase Structure. Their definition is the same as Bastien, but the authors use excerpts from classical literature showing specific examples. The student is directed to look at the pieces they are learning and identify question and answer phrases. Each level continues the discussion of various types of phrase structure and style in music using excerpts from literature to illustrate the
Nancy Faber and Randall Faber, Piano Adventures, Level 3, (Ft. Lauderdale, FL: FJH Music Co., Inc., 1993), 12.
40
67 more detailed concepts of motive, repetition, sequence, imitation, augmentation, diminution and canon. Other common types of form taught in these five method books are binary (AB), ternary (ABA) and sonata form. All the books teach students to identify the sections of a piece, but not all methods use the common musical terminology. Binary and ternary forms are presented in the Piano book of Level 2 by Bastien, but no written reinforcement exists in the Theory books. The authors label A section and B section in many of the pieces in the remaining levels of Piano Books, but give no opportunity for the student to determine where those sections might be. The Alfred series also teaches AB or ABA form giving students opportunity to complete written work in the theory book and identify different sections in their pieces in the Lessons book, but does not mention the terms binary or ternary. One creative way to present AB and ABA form comes in the Celebrate Piano! series. Form is first taught by using animals to depict sections (e.g., dog, cat, dog for ABA). Students ascertain patterns with different animals, identify A or B sections in specific theory drills, and then within their repertoire. The musical terms for these forms are not mentioned, but students have ample opportunities to label the sections of their pieces and identify the forms of AB, AABA or ABA as shown in musical example 4.2.
68
41
Abrego, 46.
69 The authors of Fundamentals of Piano Theory use piano literature pieces and excerpts to teach many concepts regarding form in Levels 1-10. Binary and ternary form are taught in Levels 1-3 using standard piano literature. A very thorough description is given with examples. In addition, students are asked to discover if the pieces presented are binary or ternary. In addition to binary and ternary form, Fundamentals of Piano Theory presents sonatina form in Levels 4-6 and sonata-allegro form in Levels 7-10. The authors use literature to describe the intricacies of these forms with students expected to label sections, as well as identify items such as motives, transitions, and keys. Students in Level 5 learn about the form of all three movements of a sonatina. This is the only series that includes counterpoint which the authors use Bachs twopart inventions and fugues as teaching material.
4.2 Harmony Harmony in a college theory class is understood differently from the way harmony or harmonization is taught in piano theory books. Colleges and universities have varied approaches to teaching harmony, but elements can include counterpoint, voice leading, Roman numerals, figured bass, and chord function (tonic, pre-dominant, dominant). Piano method books primarily teach harmonization as it relates to a melody with an accompaniment. Most method books use I-V7 before adding IV for a progression of I-IV-I-V7 I. Although the chords may initially be taught in root position, eventually inversions are included. A college
70 theory class may analyze these chords as I-IV6/4 I-V6/5-I, but these piano method books do not use figured bass when harmonizing melodies or playing chord progressions.42 Another unique feature to some piano methods is the use of two notes for a V7 chord; for example, in the key of C major, the student will play a second consisting of f and g. For small hands, this is an easy way to play this chord. Later, the b is added for a more complete chord. All the method books reviewed provide opportunities for a student to harmonize a melody. Some ask the student to write the complete chord, others ask students to write a Roman numeral or a chord symbol above the melody. The major and minor keys introduced in the books are the keys used for harmonization. Many of these exercises are also used for transposition. The Bastien, Faber, and Snell method books present chords early in their series. Harris and Alfred introduce chords later in their books and do not have as many harmonization exercises. The Bastien books do not provide opportunities for students to discover/create their own harmonies; the authors predetermine the chords to be used by including the letter name above the given melody with students writing them on the staff. Fundamentals of Piano Theory Level 2, the authors write three different melodies and ask students to harmonize, first using root position chords, then using I, IV in second inversion, and V in first inversion, and the last one using the chords of I, IV in second inversion, and V7 in first inversion. In Levels 3 and 4, students are
As this discussion continues, roman numerals without the figured bass will be used to describe harmonic progressions found in piano books.
42
71 given one piece to harmonize, using primary chords and then transpose. Chord progressions are expanded in Level 5 as the authors introduce the ii chord. Students learn about figured bass symbols in Level 6 and modulation using both secondary dominant and pivot chords. In these exercises, students complete the figured bass and identify the point of modulation. Levels 7-10 continue with figured bass symbols, secondary dominants, modulation and seventh chords. Students exclusively use figured bass to analyze several piano pieces, including Beethoven and Haydn sonatas. After Level 4, there are no drills for harmonization of a melody; however this series teaches more towards college-level theory courses in its teaching of figured bass, modulation, secondary dominants and harmonic analysis of classical piano literature.
4.3 Composition and Improvisation Anecdotal evidence reveals that composition and improvisation can often impart fear in musicians. As there are no right or wrong answers, composition and improvisation activities can be opportunities for expressing creativity and synthesizing the concepts students are learning to play a piece unique to them. Forrest and Akiko Kinney have written books designed specifically to teach improvisation while including various theoretical aspects. They state in their first book, Creating is not performing, but exploring.43 Some melodies and harmonies
Akiko and Forrest Kinney. Pattern Play 1, (Mississauga, Ontario: The Frederick Harris Music Co., Limited, 2010), Back Cover.
43
72 sound better to the ear than others, but if provided the opportunities, students can learn the basics of these two elements of music. Learning about form and harmonization provides a necessary building block for composing and improvising. All method books, except Fundamentals of Piano Theory, provide students opportunities to compose and/or improvise in the first two levels of the series. These four series present specific instructions and limits to composition. Asking a student to write a short song at home may be intimidating, but knowing it is to have four measures, use quarter notes, be on D 5-finger position and have a title of Race Car gives the student some boundaries. Many of the examples ask to the student to improvise several options and write down what they think is their best or favorite answer. Many of the composition exercises in the Alfred, Faber, and Harris series are linked with improvisation and several are connected with question and answer phrases, but Alfred, Faber and Celebrate Piano! assign other short composition projects. Alfreds Premier Piano Course places Imagination Station sections weaved within their books.
73
Dennis Alexander, et.al., Premier Piano Course, Level 1A, (Van Nuys, CA: Alfred Publishing Co., Inc., 2005), 9.
44
74 In Level 1A, students are instructed to use a given rhythm to create a short piece on the black keys. They are not asked to write notes, but simply to improvise. In Level 1B, students are asked to complete the piece Faraway Drums. They have the chance to write in dynamic signs, ritardando in an appropriate place, draw a fermata on the last note, draw a flat before each B, and incorporate the 8va sign. Students are learning to appropriately place particular musical details in a composition. It is not only writing notes and rhythm that creates music; the details on how to play the piece are important, too. Short improvisation and completion of compositions already started by the authors continue in Piano Adventures and Celebrate Piano!. Level 1 of Piano Adventures allows students to choose dynamic levels and where to place a ritardando in a piece according to the words written in the music. In Level 2B, part of the melody is written, and students are to fill in the missing notes using the rhythm above the staff and using at least two intervals of a sixth in the melody. In Level 3B, students are given a chord structure and they complete a melody using the rhythm provided above each measure. Celebrate Piano! encourages students to improvise and compose as early as Level 1. Even though students are not reading music on a staff, they are instructed to draw your song using CDE or FGAB, p and f, quarter and half notes, legato, seconds, and thirds. The title of the song is Dancing Letters. Several of the composition exercises start as improvisation exercises. The directions ask the student to play several choices, then write their best or favorite response. In the final book (Level 4) of this method, the student composes an eight-
75 measure March. The parameters given to the student include the key of A-flat major, use of sixteenth notes, and harmonize using I, IV, and V7 chords. These five method books display strengths and weaknesses in teaching the concepts of form, harmony, counterpoint, composition, and improvisation. Premier Piano Course is strong in providing exercises for improvisation, but has very little teaching of form. The Bastien series provides ample opportunities for students to compose, harmonize and transpose melodies; however the theory book does not provide much instruction on form beyond question and answer phrases. Celebrate Piano! provides many exercises for question and answer phrases, composition and improvisation through each level. In the latter three books, they are given exercises in harmony and form. Fundamentals of Piano Theory is the only series to present counterpoint to students, but lacks composition and improvisation.
Alfred Premier Piano Course NASM Standard

Form Harmony Counterpoint Composition Improvisation Given specific parameters, use a given 4 measure rhythm to create a melody
Level 1A
Phrase
Level 1B
Level 2A
Level 2B
Mark AB sections, but no mention of binary or ternary I- V7 in C and G Major
Given a melody, provide tonic or dominant note I-V7 in C and G Major Add appropriate musical markings to a piece Given a 4 measure rhythmic pattern, create a melody using C and G 5finger pattern Add notes to complete a melody using C 5-finger pattern. Given a 4 measure rhythmic pattern, create a melody using D 5-finger pattern
Choose a rhythm to write the G major scale. Given a 4 measure rhythmic pattern, create a melody in A Major arpeggio
NASM Standard
Form
Level 3
Level 4
Level 5
Sequence Mark AB sections, but no mention of binary or ternary form i-iv-V7 in g and d minor Use a given rhythm compose RH melody Tango- d minor
Level 6
Harmony Counterpoint Composition Improvisation Given a 4 measure rhythmic pattern, create a melody in a 5-finger pattern
i-iv-V7 in a and e minor Compose LH accompaniment. Given a 4 measure rhythmic pattern, create a melody on D major, a and e minor scale
i-iv-V7 in c minor Write melody over given harmony with rhythm provided Given a 4 measure rhythmic pattern, create a melody on d minor scale
Figure 4.1
76
Bastien Piano Basics NASM Standard

Form Harmony I-V7 in C, F, G major Transpose
Primer
Level 1
Level 2
Question/ answer phrases I-IV-V7 in C, G, F, D, A, E major Transpose
Level 3
Question/answer phrases I-IV-V7 in D , A , E major; i-iv-V7 in a, d minor Transpose Compose the second part of a 4 measure question/answer phrase
Level 4
Question/answer phrases I-IV-V7 in G , B and B major i-iv-V7 in e minor Transpose Compose the second part of a 4 measure question/answer phrase
Counterpoint Composition
Compose a melody to a given rhythm within specific parameters (C position, only black notes)
Compose the second part of a 4 measure question/answer phrase
Improvisation
Figure 4.2
77
Harris Celebrate Piano! NASM Standard

Form
Level 1 A
Question/answer phrase
Level 1B
Question/answer phrase
Level 2A
Question/answer phrases
Level 2B
Parallel and contrasting phrase Write answer to question part of phrase AB, ABA sections Transpose
Harmony Counterpoint Composition
Transpose
Transpose
Create a melody with given LH Transpose Given the Question part of the phrase, write the Answer Write a new melody given the LH ostinato and the beginning and ending notes. Given a rhythm, create a melody within a given major 5 finger pattern
Compose piece given various parameters including: black notes, C D E or F G A B, and ,
Write a piece using only Cs Given the Question part of the phrase, write the Answer
melodic/harmonic 2nds
Given a rhythm, create a melody within a given major 5-finger pattern Given the Question part of the phrase, write a contrasting answer. Given a key signature, write a question/answer phrase Using the LH pattern, create RH melody using C major 5-finger pattern plus e Using a given rhythm, create a melody using a given major 5-finger pattern, then add LH accompaniment
Improvisation
High/low CDE FGAB Harmonic/melodic 2nds and 3rds.
Figure 4.3 78
Celebrate Piano! NASM Standard

Form
Level 3
Question/answer phrase ABA form Sequence Write I-IV-V7 over given melody Transpose
Level 4
Sequence Question/answer phrase Label AB or ABA sections Minuet form Given a melody, write chord, both with letter name and roman numeral (all major keys, but one) Transpose Canon Write Question/answer phrases with given harmony G Major/g minor Given Question phrase, create parallel and contrasting answer with harmony. Compose March-both melody and harmony Given I-V7 write melody Compose whole tone piece with given rhythm Play a different accompaniment style
Harmony
Given a question part of phrase, write answer.
Improvisation
Given a question part of phrase, improvise several parallel and contrasting answers Create a variation on Go Tell Aunt Rhody
79
Faber Piano Adventures NASM Standard

Form Harmony
Primer
Level 1
Write tonic or dominant note over given melody. Write I or V7 to show correct chord Write dynamic marks in a piece.
Level 2A
Identify phrases Transpose
Level 2B
Identify form
Complete measures using 8th notes and chose a key to play the rhythm Given a rhythm and some notes, complete a 16measure song using a given 5-finger position
Given a rhythm and some notes, complete 16 measureusing at least 2 6ths Compose ABA piece, using given rhythm and some notes.
Improvisation
Figure 4.4
80
Piano Adventures NASM Standard

Form Harmony Counterpoint Composition
Level 3A
Label AB or ABA sections Binary/Ternary Form I-IV-V7 in C, G, D, F Major
Level 3B
Motive Sequences i-iv-V7 in a minor Use sequences to compose melody Compose 4 different melodies over harmony in d minor
Level 4
Sonatina Form Sequences ABA form i-iv-V7 in a minor
Level 5
Identify cadence points Sequences Harmonize 8-measure melody with Alberti bass Compose a piece with given rhythm Compose a four-measure melody using only perfect 5ths. Compose a four-measure melody using only Major or minor 3rds. Compose a four-measure melody using only minor 2nds. Compose a 16-measure melody using harmonic 6ths with given rhythm. Compose a 22-measure melody/accompaniment with given rhythm and using the harmony of circle of 5ths
Compose a melody over a given harmony and rhythm
Compose a piece using sequences Compose a Waltz in ABA form with a given rhythm
Improvisation
81
Kjos Library Fundamentals of Piano Theory NASM Standards

Form
Primer
Level 1
Question/answer phrase Binary/Ternary
Level 2
Binary/Ternary form Cadences: Root position and common note Authentic, plagal, half
Level 3
Cadence: Root position and common note Sequences Binary/Ternary Sonatina Form, 1st movement Melodic phrase structure: Question/answer Repetition Sequence Homophonic/Polyphonic Primary chord harmonization of fourmeasure melody, then transpose Polyphonic texture
Harmony
Write out transposition
Given melody, harmonize I-V
Primary chord harmonization of four measure melody, then transpose
Counterpoint Composition Improvisation
Figure 4.5
82
Fundamentals of Piano Theory NASM Standards

Form
Level 4
Cadences-major/minor Melodic Phrase structure
Level 5
Identify cadences with roman numeral and name Melodic phrase structure Sonatina Form, all movements Chord progression: I-IVii-V7-I
Level 6
Identify Cadences with Roman numeral and name Deceptive Cadence Melodic Phrase structure Sonatina Form Modulation with pivot chord
Level 7
Identify all cadences Sonata-Allegro Form
Harmony
Primary chord harmonization of eight measure melody, then write transposition in G and D major, g and d minor Polyphonic texture
Modulation using secondary dominant Harmonic analysis using figured bass Two-part inventions
83
Fundamentals of Piano Theory NASM Standards

Form
Level 8
Identify Cadences Augmentation/diminution of phrases Sonata-Allegro Form Modulation using: Secondary dominant Pivot Chords Phrase modulation Parallel Key Chord Progressions Harmonic analysis using figured bass Pedal Point
Level 9
Identify Cadences Baroque Suite Toccata Sonata-Allegro Form Modulation (Level 8) Secondary dominants Harmonic analysis using figured bass
Level 10
Baroque Suite Rondo Form Theme and Variations Sonata-Allegro Form Modulation Neapolitan 6th and Augmented 6th chords Non-chord tones Tonality in 20th Century: Extended Tertian Harmony Polytonality Bitonality Atonality Quartal Harmony Serialism and 12-tone Fugue
Harmony
Two-part inventions
Fugue
84
85
CHAPTER 5: DISCUSSION AND IMPLICATIONS
The National Association of Schools of Music (NASM) provides a website page to assist potential students in their preparation for their college or university music study. Following the question, How should I best prepare to enter a conservatory, college, university as a music major? are three broad musical concepts of basic music notation, ear-training, and form and harmony. Many incoming pre-college students have piano study in their background prior to enrolling in college. This paper has examined five theory method series from leading piano publishers to evaluate the theoretical concepts presented in each and to determine the effectiveness of these books as a tool for acquiring the knowledge NASM has suggested.
5.1 First NASM Guideline 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.45 The skills in the first NASM guideline are basic to understanding of music theory. Students who have studied music at any level can likely read treble and/or bass clef, depending on their main instrument; however, those studying piano will
How should I best prepare to enter a conservatory, college, university as a music major? FAQ 17 from NASM website. http://nasm.arts-accredito.rg/index.jsp?page=FAQ+17
45
86
have had experience in reading both clefs. These method books examined within this document teach students to read notes on the grand staff. Some teachers choose to use other activities to reinforce this knowledge by using flash cards, specialized workbooks or games designed for drilling note names. Learning key signatures and scales may be taught while studying other instruments; however, students studying piano using these method books will learn to construct major and minor scales using half and whole steps. Students are also presented several major and some minor scales to learn. They will study the circle of fifths by the conclusion of each method and how to name major and minor key signatures. These five series present relative minor keys and the three different forms of minor scales. Piano Basics, Celebrate Piano!, and Fundamentals of Piano Music Theory present parallel major and minor keys, with Celebrate Piano! and Fundamentals of Piano Music Theory also discussing whole tone scales. All five piano series books instruct students on how to name an interval, but not all discuss interval qualities. Four of the method series teach major and perfect intervals as they occur in a major scale. Fundamentals of Piano Theory and Piano Basics also teach how to identify augmented and diminished intervals. Triads and inversions are presented, most often as they connect to harmonization. Students learn the concepts of root position, inversions, and major and minor triads in all five series. Premier Piano Course, Celebrate Piano!, and Fundamentals of Piano Theory introduce diminished and augmented triads. Piano
87
Adventures and Fundamentals of Piano Theory teach quality as it appears in major and minor scales. Students completing all levels of Fundamentals of Piano Theory experience many kinds of chords and inversions, including all forms of seventh chords and figured bass symbols for inversions.
5.2 Second NASM Guideline Take every opportunity to train your ear by taking courses in studies in musicianship that include sight-singing, ear-training, sight-reading, rhythmic and harmonic dictation, and so forth.46 The second NASM guideline addresses areas of ear-training. The Bastien series does not include any ear-training; consequently, students completing this method will not have the aural skills suggested by NASM as prerequisites to entering collegiate music programs. The other four series include exercises in all levels of theory books. Rhythmic and melodic dictation exercises in these books are mostly multiple-choice options. Celebrate Piano!, however, is consistent throughout their books by giving students opportunities to write rhythms or melodies, rather than choose between two possible answers. In the four method series with ear-training (Premier Piano Course, Celebrate Piano! Piano Adventures and Fundamentals of Piano Theory), students are assigned exercises in hearing intervals. Premier Piano Course does not provide any review of intervals in Levels 4-6 and students are not provided any exercises to discriminate
46
Ibid.
88
between major or minor interval qualities. Ear-training drills in Piano Adventures ask students to identify the interval heard by identifying the correct answer from two possible choices. The authors also use an activity that provides a starting pitch with students asked to write the correct upper note of the interval heard, a more difficult skill. All of the interval exercises in Fundamentals of Piano Theory involve a student choosing between two possible answers. Celebrate Piano! closely connects sight-singing with the learning of intervals, both written and aural. This is the only method examined that included sightsinging examples. The authors include a solfge system and scale degree numbers when presenting sight-singing exercises and introducing intervals. Students completing this series have sung short songs for all major, minor and perfect intervals within a one-octave range. This series provides a definite advantage in sight-singing proficiency and hearing intervals. Students who possess fluency in singing and dictation skills develop their ear to hear musical patterns better than those who have no such training. If students complete any of these method books (except Piano Basics) and do not continue with any other ear-training materials, they would have a basic aural skills foundation; however, without continued practice, these skills may diminish over time. As NASM states, ear-training is a lifelong process.
89
5.3 Third NASM Guideline Take opportunities to learn the basics of musical structure, including studies in such areas as form, harmony, counterpoint, composition, and improvisation.47 Skills presented in the third guideline progress beyond reading written music notation, playing the correct rhythm, or knowing basic musical terminology. Many of these concepts will be more fully studied in first- and second-year college music theory courses. These method books lay the foundation for future learning in some of these areas. Students completing the Alfred series will know about form (AB and ABA), be able to harmonize a simple melody using I, IV, and V7 chords in a few major and minor keys, and have opportunities to improvise and compose short pieces. They will not have any instruction on counterpoint . Piano Basics by Bastien provides student with many opportunities to write the second part of question and answer phrases, as well as transpose and harmonize in a variety of keys. Counterpoint is not presented, nor are there any specific improvisational exercises. The teaching of AB and ABA form is present; however, the authors provide all the correct labels for the pieces leaving students without opportunities to discover the sections for themselves. The teaching of question and answer phrases is presented in the first level Celebrate Piano! and continues through all levels. Students experience parallel and
47
Ibid.
90
contrasting phrases by improvising and composing their own examples. They also learn about AB and ABA form. Students are taught triads in Level 2Aa bit later than other seriesbut this still provides ample opportunities for harmonization and transposition. Piano Adventures teaches tonic and dominant notes before addressing triads in Level 1 and provides many opportunities for harmonization in Levels 3A-5. Students learn about binary, ternary, and sonatina form, but no counterpoint skills are presented. There are opportunities for composition, with the series authors giving students a particular rhythm or harmony use. There are no specific improvisation exercises. Those completing Fundamentals of Piano Theory will have been given a vast amount of information on binary, ternary, sonatina, sonata-allegro and rondo form, using many examples from classical music. Students completing the first four levels will have a firm understanding of all of the basic fundamentals and more complex elements such as cadences, melodic phrase structure, all primary chords, and polyphonic texture in music. This is the only series to provide counterpoint experiences through Bach two-part inventions and fugues. Students will also learn cadence types, different aspects of modulation, and figured bass. They will have exercises in the later books for formal analysis of sonatas by baroque and classical composers. These books provide limited opportunities to write harmonizations for a given melody, and do not provide exercises for composition or improvisation.
91
5.4 Conclusion Four of these five method books are intended for students to complete in five to seven years. Fundamentals of Piano Theory is designed for students through high school. Students who finish the other four method series and continue their piano study will need to have additional theory books or worksheets for continued practice and skill refinement. Students completing one of those method series could begin using Fundamentals of Piano Theory, possibly at a level 4 or 5 depending on the students age and ability. Numerous other theory and ear-training books are available and teachers can research these options to determine how they can continue to teach the NASM concepts. Some teachers are involved in their state music associations, which provide yearly festivals, contests, or adjudicating opportunities available to students through their high school years. Many of these include theory tests as part of the evaluation process with specific syllabi or worksheets designed for teachers and students. On-line websites can also provide students with ear-training exercises and continued theory drills. Some students study piano for a short period of time before changing to private voice lessons or a different instrument. Much of the theory training they receive is often through early music study with a piano teacher. No theory method is perfect and teachers need to be aware of the strengths and short comings of each method.
92
5.5 For Further Study This study has been limited in its scope and raises other possible questions for further study. 1. Some piano teachers use specialized theory programs sponsored by their states through Music Teachers National Association, which may include up to 12 levels. How do those materials compare to piano method theory books? Do they fulfill the suggestions stated by NASM? 2. Many students do not study piano prior to entering college. Is there any specific curriculum voice or other instrumental teachers use to teach theory? How does it compare to NASM suggestions? 3. Computer programs and games, specialized theory books encompassing one concept, and hands on manipulatives are available to teachers and students for studying theory. How effective are materials outside of piano theory books in teaching NASM suggested concepts? 4. Many piano teachers hold group lessons to teach theory concepts. How effective are group theory classes along with private piano lessons in teaching theoretical concepts? What materials are available? 5. How do the placement and entrance exams colleges and universities use for incoming students reflect the skills NASM suggests these students possess coming into college?
93 92
The five books used for this study provide a basic foundation for many of the concepts students will be expected to know as they enter college theory courses. It behooves teachers to be conscious of the theory concepts students may be expected to know if they are planning to enter college, how the method books they are using correspond with the teaching of those concepts, and at what point they might have to supplement those books with other materials in order to provide the best possible music education.
94
REFERENCES Cisler, Valerie. Moving from Theory to Style Analysis: An Effective Means For Developing Performance Interpretation. Piano Pedagogy Forum 8, no. 2, January 2005. http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html Grove On-line Dictionary of Music. http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/articl e/grove/music/21599?q=phrase&search=quick&source=omo_gmos&pos=1&_start =1#fisthit Harnsberger, Lindsey C. Essential Dictionary of Music. Los Angeles: Alfred Publishing, Co., Inc., 1998. Harrison, Carole. Relationships between Grades in the Components of Freshman Music Theory and Selected Background Variables. Journal of Research in Music Education 38, no. 1 (1990): 175-186. Harrison, Carole S., Edward P. Asmus, and Richard T. Serpe. Effects of Musical Aptitude, Academic Ability, Music Experience, and Motivation on Aural Skills. Journal of Research in Music Education 42, no. 2 (1994): 131-144. Harrison, Paula. Perspectives in Pedagogy. Clavier Companion 2, no. 1 (2010): 32. Henry, Earl. Fundamentals of Music Theory, 5th Edition. Upper Saddle River, NJ: Prentice Hall, 2009. How 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+17 Jones, M. Rusty and Martin Begee. Elements Associated with Success in the FirstYear Music Theory and Aural-Skills Curriculum. Journal of Music Theory Pedagogy. 22 (2008): 93-116. Johnson, Rebecca Grooms. Theres a New Series in the Music StoreHow Should I Evaluate It? Clavier Companion 1, no. 5 (2009): 18-21. Johnson, Rebecca Grooms, editor. Perspectives in Pedagogy. Clavier Companion 1, no. 5, 6; 2 no. 1-6, 3, no. 1 (2009-2011).
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Kinney, Akiko and Forrest. Pattern Play 1. Mississauga, Ontario: The Frederick Harris Music Co., Limited, 2010. National Association of Schools of Music Handbook. (2010-2011): 79. http://nasm.arts-accredit.org/site/docs/Handbook/NASMHB_ExcerptAdmissionUndergraduateStudies.pdf Nelson, Richard B. The College Music Society Music Theory Undergraduate Core Curriculum Survey 2000, College Music Symposium 42 (2002): 60-75. Rogers, Michael R. Teaching Approaches in Music Theory, 2nd Edition. Carbondale, IL: Southern Illinois University Press, 2004. Zundel, Charlene. Theory Gymnastics. Workshop, MTNA National Convention, Albuquerque, NM, March 23, 2010. Method Series (each series grouped together) Alfred Premier Piano Course Alexander, Dennis, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha Mier. Alfreds Premier Piano Course Lessons, Levels 1A-6. Van Nuys, CA: Alfred Publishing Co., 2005. ----- Alfreds Premier Piano Course Theory, Levels 1A-6. Van Nuys, CA: Alfred Publishing Co., 2005. Bastien Piano Basics Bastien, James, and Jane Bastien. Piano Basics Primer-Level 4. San Diego, CA: Neil A. Kjos Music Co., 1985. Bastien, James. Piano Basics Theory Primer-Level 4. San Diego, CA: Neil A. Kjos Music Co., 1985. Celebrate Piano! Albergo, Cathy, J. Mitzi Kolar, and Mark Mrozinski. Celebrate Piano! Lesson and Musicianship Levels 1A-4. Ontario, Canada: The Frederick Harris Music Co., Limited, 2004. Faber Piano Adventures Faber, Nancy, and Randall Faber. Piano Adventures Lessons Primer-Level 5. Ft. Lauderdale: FJH Music Co., 1993.
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----- Piano Adventures Theory Primer-Level 5. Ft. Lauderdale: FJH Music Co., 1993. Kjos Fundamentals of Piano Theory Snell, Keith, and Martha Ashleigh. Fundamentals of Piano Theory, Primer-Level 10. San Diego, CA: Neil A. Kjos Music Co., 1998.

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ASSESSING FIVE PIANO THEORY METHODS USING NASM SUGGESTED THEORY GUIDELINES FOR STUDENTS

by Karen Van Sickle

TABLE OF CONTENTS Continued

LIST OF MUSICAL EXAMPLES

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

27 Musical Example 2.1 26

Alfred Premier Piano Course NASM Standard: Written Exercises

D, A major 5-finger pattern Crescendo, decrescendo Accent, tempi

tie, legato, staccato

Premier Piano Course NASM Standard: Written Exercises

Flat keys E ,A ,D c, b Melodic minor Mixed Meter

Diminished triads I-IV-I-V7-I in A , D ii-V7-I progression Diatonic triads in F, G and D major

Figure 2.1 continued

Bastien Piano Basics

Minor Scales Basic Notation

Staccato, tempi Crescendo, decrescendo Accent

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

All M/m triads a/d minor i, iv, V7 D ,A ,E

Harris Celebrate Piano! NASM Standard Written Exercises

All major flat keys Review all major sharp keys

Minor Scales Basic notation

Half/whole step 6ths

7ths Octaves Tonic triads Identify root position triads

2nds , 3rds Up/down/same Melodic/harmonic

Celebrate Piano! NASM Standard Written Exercises

Minor Scales Basic notation

Minor 5-finger patterns 6/8; 9/8

a minor Natural and harmonic Cut time Syncopation

Major/minor 2nds/3rds/6ths Perfect 4ths/5ths/8ths Minor triads I-IV-V7 i-V7

Major/minor 7th Inversions i-iv-V7-i

Figure 2.3 continued

Faber Piano Adventures NASM Standard Written Exercises

D and A major 5-finger pattern c, g, a, d minor 5-finger pattern Crescendo, decrescendo

Transpose using intervallic relationship Whole steps I chord in D and A

Step, skip Up, down, same

Piano Adventures NASM Standard Written Exercises

Major Scales Minor Scales Basic notation

Figure 2.4 continued

Kjos Library Fundamentals of Piano Theory NASM Standard Written Exercises

Review Primer level 3/8; 6/8

Review 6/8 Cut time Syncopation

2nds, 3rds, 4ths, 5ths Melodic/harmonic Half/whole step Major: C, G, F, D, A, E Minor: c, g, f, d, a, e

Fundamentals of Piano Theory NASM Standard Written Exercises

Major Scales Minor Scales

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

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

Figure 2.5 continued

Fundamentals of Piano Theory NASM Standard Written Exercises

Figure 2.5 continued

40 CHAPTER 3: EAR-TRAINING CONCEPTS

Musical Example 3.129

Musical Example 3.2 30

50 Musical Example 3.3 31

Alfred Premier Piano Course NASM Standards: Ear-Training

1-2 measure melodies directional (up/down/same) Forte/piano Step/skip Up/down/repeat

Intervals Major/Minor Chords Sight-reading only

Grand staff reading including ledger lines

Piano Premier Course NASM Standard: Ear-training

Melodic Dictation Intervals Major/minor chords

Figure 3.1 continued

Harris Celebrate Piano! NASM Standard: Ear-Training

Intervals Major/minor chords Sight-singing only