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ASSESSING FIVE PIANO THEORY METHODS USING
NASM SUGGESTED THEORY GUIDELINES FOR STUDENTS
by
Karen Van Sickle
________________
A Thesis Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
In the Graduate College
THE UNIVERSITY OF ARIZONA
2011
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STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of requirements for an
advanced degree at the University of Arizona and is deposited in the University
Library to be made available for borrowers under rules of the Library.
Brief quotations from this thesis are allowable without special permission,
provided that accurate acknowledgement of source is made. Requests for
permission for extended quotation from or reproduction of this manuscript in
whole or in part may be granted by the head of the major department or the Dean of
the Graduate College when in his or her judgment the proposed use of material is in
the interests of scholarship. In all other instances, however, permission must be
obtained from the author.
Signed: ___________Karen Van Sickle______________
APPROVAL BY THESIS DIRECTOR
This thesis has been approved on the date shown below:
Dr. Donald G. Traut___________________ November 9, 2011
Professor of Music Theory Date
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ACKNOWLEDGEMENTS
I would like to express my sincere gratitude to those who assisted me in this
process.
Many thanks to Dr. Donald Traut, my advisor and chairman of my committee,
for his willingness to assist me in focusing my study, offer constructive criticism and
suggestions, and encourage me through the many phases of this thesis. Thank you
for allowing me to merge my musical passions into this research.
Thanks to the other members of my committee for their valuable knowledge:Dr. Boyd Pomeroy for helping me to think as a theorist, and Dr. Shelly Cooper for her
editing skills and answering many writing questions. Your support in this project
was invaluable to me.
Special appreciation goes to Dr. Lisa Zdechlik for her beneficial advice as I
began this project and her expertise regarding piano pedagogy literature as I
continued the research.
Thanks to Phaedra Miller and Meily Mendez who read this document with a
critical eye and offered a fresh musical perspective.
I am grateful to the people of the Green Valley Evangelical Free Church who
prayed for me and encouraged me to finish strong.
Finally, I could not have completed this journey without the unwavering
support and unconditional love of my husband, Bruce.
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TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
ABSTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
CHAPTER 1: INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
1.1 Studies from two Universities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.2 Guidelines set by National Association of Schools of Music . . . . . . . . . . . . . . . . . . 12
1.3 Piano Theory Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4 Five Theory Method Books Studied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
CHAPTER 2: BASIC MUSIC THEORY RUDIMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.1 Basic Notation and Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.2 Scales and Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2.3 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
2.4 Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
CHAPTER 3: EAR-TRAINING CONCEPTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
3.1 Rhythmic and Melodic Dictation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
3.2 Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.3 Triads and Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
3.4 Sight-singing/sight-reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
CHAPTER 4: BEYOND THE BASICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
4.1 Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
4.2 Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
4.3 Composition and Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
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TABLE OF CONTENTS Continued
CHAPTER 5: DISCUSSION AND IMPLICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
5.1 First NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
5.2 Second NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
5.3 Third NASM Guideline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
5.4 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
5.5 For Further Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
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LIST OF MUSICAL EXAMPLES
Musical Example 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Musical Example 3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Musical Example 3.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Musical Example 3.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Musical Example 4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Musical Example 4.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Musical Example 4.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
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LIST OF FIGURES
Figure 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Figure 2.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Figure 2.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Figure 2.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Figure 2.5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Figure 3.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Figure 3.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Figure 3.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Figure 3.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Figure 4.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Figure 4.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Figure 4.3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Figure 4.4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Figure 4.5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
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CHAPTER 1: INTRODUCTION
Many students who enter college as a music major have participated in a
variety of musical experiences from middle school through high school. They are
committed to pursuing careers as music educators, performers, composers, church
musicians, managers of music businesses, or exploring other options in the music
field. Some of these same students enter first-year theory classes possessing
considerable musical experience, but have little knowledge or understanding of
music fundamentals, let alone complex theoretical concepts.
Many colleges and universities determine incoming students knowledge of
music theory by administering placement tests. What should students know and
how do they obtain this knowledge? According to the National Association of
Schools of Music (NASM), no national standard exists as to the theoretical concepts
incoming music students should know. The NASM Handbook of 2010/2011 lists
general skills each student should possess, including: the ability to relate musical
sound to notation and terminology both quickly and accurately enough to undertake
basic musicianship studies in the freshman year.1Each college or university
determines their own criteria for assessing these general skills through the use of
auditions, examinations or other evaluations.2
1National Association of Schools of Music Handbook (2010-2011): 79.
2Ibid.
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This research will examine five popular theory books used by piano teachers
to investigate if they support the NASM theory recommendations and to discover if
they are beneficialfor students interested in continuing music study.I will argue
that theory books found in five popular piano methods series provide an effective
tool for acquiring the knowledge and abilities encompassed within the NASM theory
guidelines for pre-college music students. These five specific books were selected
from information obtained from three nation-wide music distributors top-selling
method books (Prima Music, Sheet Music Plus and JW Pepper) and the methods
currently being reviewed in Clavier Companion magazine.
1.1 Studies from two Universities
Recognizing the need to examine what theoretical concepts colleges expect
incoming students to know and how schools assess such knowledge, several studies
have been completed. In the first study if its kind, the Cleveland Music Institute,
under the supervision of Richard B. Nelson, conducted a survey of colleges and
universities throughout the nation that examined undergraduate theory curricula
including placement tests, course content, and textbooks.3 Of the 248 schools that
responded, placement tests were given to assess skills in fundamentals (173
schools), part writing (48 schools), Roman numeral analysis (73 schools), and
counterpoint (10 schools). Seventy-eight schools also reported having placement
3Richard Nelson, The College Music Society Music Theory Undergraduate Core Curriculum
Survey2000, College Music Symposium 42 (2002): 60.
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exams for aural skills (melodic dictation, interval identification, triad types) and 46
schools tested sight-singing skills. Almost all schools reported reviewing music
theory fundamentals during the first few weeks of the semester. Approximately one
half of the responding schools provided a semester-long music fundamentals class
for students with little previous music theory experience. At 172 institutions,
students could be exempt from first-year music theory by passing a placement test.4
Students enrolled in first-year theory and aural-skills courses at the
University of Missouri (Columbia) during 2004-2005 participated in a study to
determine which elements of their prior musical or educational training might be
associated with success in these two courses. Elements used in this study included
prior experience in theory experience, sight-singing with scale degree numbers or
solfge, and with a chording instrument such as piano or guitar as well as their
performing medium, music major or minor, American College Test (ACT) total
composite score, ACT math score, high school class rank, and score on a theory
diagnostic test.5 The most highly associated element with success in the aural-skills
classroom was the theory diagnostic exam. Researchers observed the following:
It is important to master the written skills before linking the aural
reinforcement. For example, students with a full semester of written
theory would already have a nascent conception of basic harmonic
function and progression, in addition to musical rudiments such asintervals and scales. The preexisting foundation might lead to greater
success and confidence with the aural identification of these concepts.6
4Ibid., 62.
5M. Rusty Jones and Martin Bergee, Elements Associated with Success in the First-Year Music
Theory and Aural-skills Curriculum,Journal of Music Theory Pedagogy, 22 (2008): 93.6
Ibid., 103-104.
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Jones and Bergee believe students having a grasp of basic theoretical concepts prior
to aural-skills training will begin their university training on more solid ground and
be better equipped to realize their music potential.7
1.2 Guidelines set by National Association of Schools of Music
The National Association of Schools of Music provides a website page to
assist potential music students in their preparation for college. 8 They advise
students who intend to major in music to know the following:
Be sure that you can read both treble and bass clefs, that you know key
signatures, the major and minor scales, and how to write basic notation.
Knowledge of musical terms and usage is important, as is the ability to
recognize intervals and basic chord types.9
Many students learn these concepts through music classes at their
elementary and/or middle school. If students choose to participate in band,
orchestra or choir, more detailed concepts may be taught. Students choosing to take
private music lessons will presumably learn these music essentials at a more
advanced level.
NASM suggests a second area of study for students:
take every opportunity to train your ear by taking courses or studies inmusicianship that include sight-singing, ear-training, sight-reading,
rhythmic and harmonic dictation, and so forth. Developing the ear isa lifetime job. The earlier work is started, the better.10
7Ibid., 107.
8How should I best prepare to enter a conservatory, college, university as a music major?
FAQ 17 from NASM website.http://nasm.arts-accredit.org/index.jsp?page=FAQ+179
Ibid.10
Ibid.
12
http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17 -
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Students participating in choir may have opportunities for sight-singing, but ear-
training and rhythmic and harmonic dictation skills are not frequently taught in
general music classes. Some high schools offer music theory courses, but ear-
training, sight-singing, and dictation are seldom a curricular component. There are
specific ear-training books, websites and computer music programs available;
however, students may not be able to pursue these kinds of studies on their own.
The last area of skills mentioned in the NASM suggestions advise students to
take opportunities to learn the basics of musical structure, including
studies in such areas as form, harmony, counterpoint, composition, and
improvisation. Like so many other things in music, this knowledge is
developed throughout a lifetime. Those who are able to get started early
have an advantage.11
Pre-college students do not typically learn these skills; however, those who had
opportunities to enroll in high school AP theory courses may have been introduced
to some of these concepts. Students studying piano may learn some of these skills
through the pieces played and theory assignments. Some students participate in
local/state music contests which also require students to have a basic
understanding of these concepts.
1.3 Piano Theory Books
Many college music majors have some piano experience, perhaps two or
three years as a child or as much as 12 years of study. Do the piano books and
methods used by piano teachers assist them in understanding the concepts NASM is
11Ibid.
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suggesting? Students studying piano prior to entering college seem to be better
prepared to understand theory concepts.12 A plethora of material encompassing
theoretical skills and concepts is available to piano teachers and students, including
written books, games, and on-line resources.
Cisler made the following observation: The growing number of available
method and supplementary theory books attests to the increasing awareness of the
importance of including the fundamentals of theory into our piano lesson curricula,
even for very young children.13 New method series and theory books are published
frequently. Johnson provides teachers a series of questions to assist in sifting
through important elements when assessing the available resources. The major
topics of the article discuss reading approaches, rhythmic approaches, theory skills,
improvisation/composition, technique, repertoire, supporting technology available,
and overall aspects (editing, visual appeal, etc.).14
Under each heading, she provides
a list of questions for teachers to consider as they evaluate new methods.
The magazine Clavier Companion is currently printing a ten-part series
reviewing the most highly respected and popular piano methods on the market
today.15 The magazine authors provided a similar analysis in the 1980s when the
magazine was called The Piano Quarterlyand they presently are evaluating new and
12Carole S. Harrison, Relationships Between Grades in the Components of Freshman Music
Theory and Selected Background Variables,Journal of Research in Music Education, 38:1 (1990):
181.13Valerie Cisler, Moving from Theory to Style Analysis: An Effective Means For
Developing Performance Interpretation, PianoPedagogy Forum 8, no. 2 (2005).http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html
14Rebecca Grooms Johnson, Theres A New Series In The Music StoreHow Should I
Evaluate It? Clavier Companion, 1, no.5 (2009): 18-19.15
Rebecca Grooms Johnson, Perspectives in Pedagogy, Clavier Companion 1, no. 6 (2009): 10.
14
http://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.htmlhttp://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.htmlhttp://www.music.sc.edu/ea/keyboard/PPF/8.1/8.1.PPFcisler.html -
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revised core method books written after1980. In the current magazine editions
(2009-2011), an associate editor gives an introductory synopsis of the method,
followed by articles authored by piano teachers who currently use the featured
method in their studios. In the consecutive issues, the author(s) of the method has
the opportunity to respond to the review.
Of the piano method series the authors reviewed, the specific theory books
are discussed in the introduction, usually including information regarding the
theory book in the seriesor lack thereofand how it correlates with the other
books. When the teachers provide opinions on the methods, some offer further
detail as to the concepts included. For example, when evaluating the Piano Discovery
series, Paula Harrison notes the following: as is the case with so many other theory
methods, this series by itself does not adequately prepare students for the MTNA
state theory exams.16
Celebrate Piano!was reviewed in November/December 2010
and the reviewing author mentioned the outstanding aspect of the ear training,
dictation and singing activities this series incorporates.17
Many theory method books correlate with other books by the same
publisher; however, there are some stand alone theory books that can be used
with any approach to teaching. The authors of one such series, Theory Gymnastics,
have applied Blooms taxonomy in writing their theory series.18 Each new theory
16Paula Harrison, Perspectives in Pedagogy, Clavier Companion 2, no. 1 (2010): 32.
17Rebecca Grooms Johnson, Perspectives in Pedagogy, Clavier Companion, 2, no. 6 (2010): 35.
18In 1956, Benjamin Bloom led a group of educational psychologists in developing a classification
of educational objectives which attempts to divide cognitive objectives into subdivisions ranging from the
simplest behavior to the most complex.
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concept moves through the six levels he and others developed: remember,
understand, apply, analyze, evaluate and create.19The authors use discovery
pages, challenge pages, thinker pages, and review pages to thoroughly teach
theory concepts.
1.4 Five Theory Method Books Studied
Premier Piano Course, designed for students age seven to twelve, is one of the
newest series by Alfred Publishing, with the sixth level completed in 2010. This
series includes a Lessons, Technique, Performance, and Theory Book. In addition to
the written theory drills, the theory book includes the following three sections: 1)
Fun Zone, where students explore music through written games and puzzles; 2)
Imagination Station, where students learn to compose and create; and 3)
Learning Link, where students discover facts related to history, science, and other
subjects from daily life based on the music included in the Lesson and Performance
books.
James and Jane Bastien wrote their first method series in the early 1960s and
published the Piano Basic series in 1985, updating with colorful pictures and bigger
notes. The Bastiens have written five levels of Technique, Piano, Performance, and
Theory books, with supplemental books available for theory (notespellers, chords,
scales, etc.). This series is written especially for students age seven to eleven. Piano
19Charlene Zundel, Theory Gymnastics, (Workshop, MTNA National Convention, Albuquerque,
NM, March 23, 2010).
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Basics is the oldest of the books being considered for this research and continues to
be widely used by piano teachers.
In 2003, Frederick Harris Music Company released Celebrate Piano! for
students age five to nine and is designed for students to continue their piano study
in the Celebration Series or other intermediate literature. Celebrate Piano!is an all-
inclusive set of books, combining piano technique, pieces for students to learn,
theory, and ear-training within each book. This unique feature distinguishes it from
the other series being studied. The authors have written these books on the
principles of preparation, presentation, and follow-up.20 Prior to seeing a particular
concept in repertoire, a student is prepared by feeling and experiencing the concept.
In presentation, the concept or element is included in repertoire. The authors expect
students to use these concepts in various activities and are eventually asked to
apply them in another situation such as improvisation or composition through
review and follow-up.
Piano Adventures by Randall and Nancy Faber includes many different levels
of method books depending on the starting age of the student (young beginner,
older beginner, adult beginner). The books used for this research were written in
1993 and are intended for use by students ages six to twelve. The theory books
20Cathy Albergo, et.al., Celebrate piano!Teachers Guide, Level 1. (Mississauga, Ontario: The
Frederick Harris Music Co., Ltd., 2002), 7.
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provide instruction, reinforcement, and creative applications of basic theory
concepts through writing, sight-reading, and ear-training activities.21
Fundamentals of Piano Theoryby Keith Snell and Martha Ashleigh is a series
of eleven books correlating with the Kjos piano series, Essentials of Piano Repertoire;
however, these theory books can be used independently. The books, published in
1998, are comprehensive in their study of music theory. Many theoretical concepts
are reviewed in subsequent levels, giving students ample practice on the basic
rudiments of music theory. Fundamentals of Piano Theoryis very integrated with the
study of traditional piano literature, using excerpts and complete pieces for teaching
various concepts.
Many students study piano prior to studying music in college. I intend to
show that the theory methods which provide written theory exercises, incorporate
ear-training, and use piano literature (or excerpts from pieces students are
learning) to explore theoretical concepts, will be an effective way for acquiring the
knowledge pre-college music students will need entering college level theory
courses.
21Nancy Faber and Randall Faber, Piano Adventures. (Ft. Lauderdale, FL: FJH Music Co, 1993),
inside cover.
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CHAPTER 2: BASIC MUSIC THEORY RUDIMENTS
The first NASM guideline suggests students have knowledge of many of the
basic fundamentals of music theory: notation, reading notes in treble and bass clef,
basic musical terms, key signatures, scales, intervals, and chords.22 Some students
learn these concepts from varying sources such as elementary school music classes,
choir classes, playing an orchestral or band instrument or studying piano. This
chapter focuses on these concepts and how five piano theory method books teach
these fundamentals.
2.1 Basic Notation and Musical Terms
Basic notation is defined in several ways. In Fundamentals of Music, by Earl
Henry, the first two chapters are devoted to notation. He states composers have
represented sounds with symbols, a process called notation.23 These chapters
include reading notes on the staff and learning rhythmic values. Also included is
notating music with correct placement of stems and other notation elements such as
tie, accent, staccato, slur. Figures 2.12.5 outline the pace at which notes and
rhythms are introduced. Octave designation has been used to specify the exact
pitches taught. The lowest two notes on the piano are identified as A0 and B0. From
there, each C becomes the lowest pitch of each octave. Middle C is classified as C4 .
22How should I best prepare to enter a conservatory, college, university as a music major? FAQ
17 from NASM website.http://nasm.arts-accredit.org/index.jsp?page=FAQ+1723
Earl Henry, Fundamentals of Music Theory, (Upper Saddle River, NJ: Prentice Hall, 2009), 2.
19
http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17http://nasm.arts-accredit.org/index.jsp?page=FAQ+17 -
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The authors did not include clever sayings to teach notes names; rather,
they use landmark notes or specific 5-finger positions. Premier Piano Course and
Piano Adventures begin with landmark notes of bass clef F, treble clef G and middle
C. Bastiens Piano Basics first teaches C major 5-finger position. Celebrate Piano!
does not use clefs until the second book, instead utilizes an intervallic approach on a
generic staff. The authors use a staff and identify the notes and corresponding lines
accordingly. When bass clef and treble clef are introduced, landmark notes of bass c,
middle c, and treble c are identified first, followed by bass f and treble g.
Fundamentals of Piano Theoryincludes staff notes in the very first book and note
name drills in the first two books. Piano Adventures and Premier Piano Course use
the Lessons book to reinforce note name concepts by asking students to name the
first note of a piece or locate where a specific note is in the piece.
All the method books teach notation and rhythm through sixteenth notes. As
shown on Figures 2.1-2.5, each method presents these concepts at about the same
rate. A variety of drills instruct students to write counts under a specific rhythmic
pattern or complete the measures lacking in the correct note and rest values. A
common activity in two of the books is musical math: adding the values of the
different notes to obtain an answer.
All books begin with 4/4, 3/4 and 2/4 time signatures. Celebrate Piano!first
uses the number 4 on the top with a quarter note on the bottom to reinforce the
concept that a quarter note receives one count. Each series also introduces 6/8, 3/8
or 9/8 later in their series. Each book describes the top number as the number of
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counts per measure and the lower number referring to an eighth note as receiving
one beat. Some then include a chart of the notes, rests, and their values. None of the
books use the terms compound meter for 6/8 or explain the concept of duple, triple
or quadruple meter. Fundamentals of Piano Theorydoes include a little box that
describes the following: A measure in 6/8 can be divided in half, creating a feeling
of two pulses per measure.24Piano Adventures encourages students to feel two
beats per measure in music with time signatures of 6/8, but no other explanation is
provided. All the methods give opportunities for students to write in the counts, clap
the rhythm, play the rhythm, and complete measures with missing notes.
All five method series explain basic musical terminology, including dynamics,
various tempi and important symbols such as the repeat sign, fermata, 8va. They
also include exercises placing dynamic symbols from softest to loudest. In another
drill that is similar, students arrange tempo marks from slowest to fastest. The most
common tempi taught in these books are Adagio, Andante, Moderato, Allegro. Some
will also use Largo and Presto. Two of the five series describe more Italian musical
terms than the others. Premier Piano Course teaches such terms as misterioso,
animato, tranquillo, cantabile, cadenza and sostenuto. Fundamentals of Piano Theory
teaches many terms throughout all levels. After the basic terms have been presented
in Primer through Level 3, Level 4 has two pages of Signs and Terms that are
24 Keith Snell and Martha Ashleigh. Fundamentals of Piano TheoryLevel 2, (San Diego, CA:
Neil A. Kjos Music Co., 1998), 6.
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divided into Dynamics, Character or Style, Tempo, Articulation. Each level adds
more sophisticated musical vocabulary to these categories.
2.2 Scales and Key Signatures
Notes and rhythms are the most fundamental aspects of reading music.
Understanding scales and key signatures is considered an important building block
as students continue learning theoretical concepts. For students to become skilled at
recognizing intervals and chord qualities, they must be confident in knowing key
signatures and scales. Piano method books present these concepts in a variety of
ways. One approach is to teach that the major scale consists of seven notes, each
with a different letter name and containing a specific pattern of half steps and whole
steps. For example, a G major scale begins on g with a pattern of whole step, whole
step, half step, whole step, whole step, whole step, and half step. Using this pattern,
an f# occurs on the seventh note. After learning the scale, the key signature is then
taught by placing the accidentals associated with the particular scale on the staff.
Piano Adventures and Premier Piano Course firstpresent scales and key signatures in
this manner.
A variation on teaching scales as an 8-note set of whole steps and half-steps
is to teach that a major scale consists of two tetrachords with a pattern of whole
step, whole step, half step connected by a whole step. Celebrate Piano!and Piano
Basics make use of this technique to demonstrate scales. One other way piano
methods teach key signatures is to teach 5-finger patterns, using the pattern of
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whole step, whole step, half step, whole step. Students are then taught the tonic
chord and the key signature of a specific pattern. Bastiens Piano Basics teaches the
key signatures of C, G and F in this way. All methods eventuallypresent the order of
sharps and flats and the major key signatures based on the order of sharps of flats.
Celebrate Piano!introduces major key signatures using this system with sharp keys
in Level 2A and major key signatures with flats in Level 2B, but delays teaching
scales until Level 4. In addition to teaching key signatures Celebrate Piano!, Piano
Adventures and Fundamentals of Piano Theoryinclude the circle of fifths in
reinforcing key signatures.
Fundamentals of Piano Theoryis structured differently than the other four
methods being studied. This series is part of the Kjos Library and correlates with
some of their other books; however these books do not have a page-by-page
connection as do the other methods being discussed. This particular theory book
presents concepts at a faster pace. As figure 2.5 illustrates, the Primer book presents
major and minor key signatures of no sharps or flats, one sharp, and one flat. It also
teaches major and minor 5-finger patterns and tetrachord scales of C, G, and F.
None of the other series present such detailed information in the first book.
Some method books teach many minor scales and key signatures, while
others only two or three. (See the figures at the end of the chapter to see the list of
minor scales presented in each method.) At some point in these methods, all identify
the difference between natural and harmonic minor; three of them present melodic
minor scales. All discuss relative minor scales and only Celebrate Piano!, Piano
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Basics and Fundamentals of Piano Theory present parallel major and minor
scales/keys.
2.3 Intervals
Intervals are defined as the distance in pitch between two notes.25 All five
of the method books use this definition to explain an interval. Two of the books
teach intervals of second through fifth in the first book and others present them
over the course of two books. As students play and learn each interval, many of the
books have examples that incorporate writing intervals, hearing intervals,
composing with various intervals, and identifying them within the repertoire pieces.
Most of the books begin with the basic concept of steps and skips, before providing
the name of the intervals as secondsand thirds. These books use a variety of
ways to recognize intervals which include identifying ascending and descending
intervals on a keyboard, given a starting note, direction and interval number write
the appropriate interval, naming an interval shown on a staff, and using alphabet
letters to name intervals. All of the books present harmonic and melodic intervals.
Four of the method books discuss the quality of intervals: Piano Basics,
Celebrate Piano!, Piano Adventures and Fundamentals of Piano Theory. Some use a
major scale to teach interval quality within that scale. Bastien teaches all four
qualities of intervals using the heading of Altered Intervals. Students identify
25 Lindsey C. Harnsberger, Essential Dictionary of Music, (Los Angeles: Alfred Publishing, Co.,
Inc., 1998), 69.
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The concept of major and minor triads is introduced at various points
throughout each series using different methods. Figures 2.1-2.5 list when each
method begins teaching this concept. Alfred begins teaching relative minor keys and
scales in Level 4. The authors use this opportunity to also teach minor triads. There
is no explanation of the interval difference in the third between the two triads and
generally students are to use their ear to hear the difference. Bastien also presents
minor scales as they teach minor chords; however the authors are careful to
distinguish between the major third and the minor third. Students are directed to
write the names of chords and play them to hear the difference. Celebrate Piano!
presents major chords in Level 2B and minor chords in Level 3. When teaching
minor triads, the authors use 5-finger minor patterns, showing students parallel
major and minor patterns and describing the difference of the third scale degree
being lowered one half step. Minor root position triads are then written based on
the 5-finger pattern. The authors ofPiano Adventures present major and minor
triads after they teach the concept of major and minor thirds. Earlier in the book,
students learned about a minor and d minor and the chord progression of i-iv-V7 I,
but at this juncture, the authors provide more detail and practice of major and
minor chords. They provide some unique drills for learning triads as shown in
musical example 2.1 on the next page.
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Musical Example 2.1 26
26Nancy Faber and Randall Faber, Piano Adventures Level 3B (Ft. Lauderdale, FL: FJH Music Co.,
1993), 25-26.
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Fundamentals of Piano Theorypresents triads in the Primer book, teaching major
and minor triads as they relate to 5-finger patterns. This book also uses parallel
major and minor as students identify triads, writing the patterns on a keyboard.
This series continues to review major and minor chords through each level, more
than any other method book. Alfred, Bastien and Kjos series also teach the qualities
of diminished and augmented triads.
Inversions of triads are presented in four of the method books a few pages
after the concept of triads are taught. Celebrate Piano!teaches inversions in the last
book of their series. In three of the books, students have already been playing what
are termed chord progressions; however, the inversion concept has not been fully
explained. Faber Piano Adventures is the only series being studied that provides
several pages of instruction for inversions. All others present the concept on one
page, with written drills on subsequent pages. Each book instructs students to
identify the root or the name of the chord by locating the interval of a fourth within
the chord; the top note of the fourth is the chord name, or root. Although Celebrate
Piano!introduces inversions in its last book, the authors use pieces students are
learning to reinforce this concept through the remainder of the book. Fundamentals
of Piano Theory also does an outstanding job of using piano literature to reinforce
identification triads and inversions in literature. Students using Fundamentals of
Piano Theorywill continue to receive more exhaustive training on triads and chords.
Figure 2.5 lists the skills students will learn.
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Students completing any one of these five series will have received training
in the basic elements of music theory: note names, key signatures, scales, basic
notation, intervals and triads. Each book is unique in its presentation and some
include more information than others, but all provide the basic theoretical concepts
students need to understand for further music study.
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Alfred Premier Piano Course
NASM Standard:
Written Exercises
Level 1A Level 1B Level 2A Level 2B
Treble and Bass Clef notes C3-C4; C4-G4 G2-D4; C4-D5 C5-G5 Bass clef:C2-F2; C4-E4;
Treble clef: A3-C4
Key Signatures C and G majorMajor Scales C major 5-finger pattern
Middle C 5-finger patternG major 5-finger pattern D, A major 5-finger
patternC and G major
Minor Scales c, g, d, a 5-finger pattern
Basic Notation tie, legato,staccato Crescendo, decrescendoAccent, tempi
Intervals Skips/steps
Up/down
Harmonic/melodic
2nd, 3rd, 4th, 5th
Half/whole step
6th 7th. Octave
Melodic/harmonic
Triads I-V7 in C, G, D major
Roman numeral and name
Tonic/Dominant
I-V7 in C, G
Arpeggios of C, G, D, A
Figure 2.1
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Premier Piano Course
NASM Standard:
Written Exercises
Level 3 Level 4 Level 5 Level 6
Treble Clef notes Bass Clef: A1-E2, C4-E4;Treble Clef: A3-C4; A5-E6
Key Signatures C, G, F major Sharp keys Flat keys
Major Scales F, D Major
ChromaticA, E, B, B E , A , D
Minor Scales Natural/harmonicRelative major/minor
a, e minor
d and g c, bMelodic minor
Basic Notation 6/8 3/8 Cut time
6/8; 3/8Various sixteenth note
patterns
Mixed Meter
Intervals
Triads IV in C, G, F I-iv-V7 in a and e minor
Name root position triads
Major/minor quality
Inversions
Augmented triads
I-IV-I-V7-I progression in
A, E, B, B Major
g minor
Diminished triads
I-IV-I-V7-I in A , D
ii-V7-I progression
Diatonic triads in F, G andD major
Figure 2.1 continued
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Bastien Piano Basics
NASM Standards:
Written Exercises
Primer Level 1 Level 2 Level 3 Level 4
Treble and bass Clef
notes
C3-D4; C4-D5 F2-D4; C4-G5 C4-E4, C2-E2;
A5-C6; A3-C-4
Bass clef: B1, F4;
Treble clef: D6, G3
Key SignaturesC, F, G Order of sharps,
All major sharp key
signatures
Order of flats,All major flat keys;
a, e, b, d, g, f minor
Given key signaturename, write
appropriatesharps/flats
Major Scales C 5-finger;
Middle C position;
G 5-finger pattern
F 5-finger pattern C, G, F, D, A, E
TetrachordsD-flat; A ; E ;
Chromatic scale
G ; B ; B
Parallel major/minor
Scale degree names
Minor Scales a, d natural, harmonicand melodic minor
e minorReview a and d
Basic Notation
Slur, tie
Staccato, tempi
Crescendo,
decrescendoAccent
6/8
Intervals
2nd, 3rd, 4th 5th
Up, down repeat
Melodic, harmonic
Half step, whole step Octave Intervals within a
major scale: major,
minor, diminished,augmented
Triads
C chord 1-V7 (2 note) in
C, F, G
I, IV, V in
C, G, F, D, A, E
InversionsI-IV-I-V-I progression
All M/m triads
a/d minor i, iv, V7
D , A , E
i-iv-V7 in e minor
Aug, Dim,
V7/inversions
G ; B , B major triads
of a major scale
Figure 2.2 32
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Harris Celebrate Piano!
NASM Standard
Written Exercises
Level 1A Level 1B Level 2A Level 2B
Treble and bass Clef notes Line or space notes G2-D4; B3-G5 G1-E2; A5-F6
Key Signatures All major sharp keys All major flat keysReview all major sharp
keys
Major Scales All major 5-fnger patterns
except C#, G and C
Tonic/Dominant noteswithin a 5-finger pattern
Minor Scales
Basic notation
Intervals 2nds , 3rds
Up/down/same
Melodic/harmonic
4ths , 5ths Half/whole step
6ths
7ths
Octaves
Triads Tonic triads
Identify root positiontriads
Figure 2.3
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Celebrate Piano!
NASM Standard
Written Exercises
Level 3 Level 4
Treble and bass Clef notes
Key Signatures Relative minor
Parallel minor
Circle of 5ths
Major Scales Tetrachords to teach completescales: C, F, G, D, A, E major
Whole tone
Chromatic
Pentatonic
Minor Scales Minor 5-finger patterns a minor
Natural and harmonic
Basic notation 6/8; 9/8 Cut time
Syncopation
Intervals Major/minor 2nds/3rds/6ths
Perfect 4ths/5ths/8ths
Major/minor 7th
Triads Minor triadsI-IV-V7
i-V7
Inversionsi-iv-V7-i
Figure 2.3 continued
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Faber Piano Adventures
NASM Standard
Written Exercises
Primer Level 1 Level 2A Level 2B
Treble and Bass Clef notes C3-C4; C4-G4 G2-D4; G4-G5 C2; C6Key Signatures C, G and F major
Major Scales C major 5-finger pattern
Middle C position
G major 5-finger pattern D and A major 5-finger
pattern
C , G, and F major scale
Tonic, Dominant and
Leading tone notes
Minor Scales c, g, a, d minor 5-fingerpattern
Basic notation accent, slur, staccato
Crescendo, decrescendo
Intervals Step, skip
Up, down, same
2nds, 3rds, 4ths, 5ths
Harmonic/Melodic
Half step
Transpose using
intervallic relationship
Whole steps
6ths
Triads Tonic/Dominant
I-V7 in C
I chord in D and A I-IV-V7-I in C, G, F major
Figure 2.4
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Kjos Library Fundamentals of Piano Theory
NASM Standard
Written Exercises
Primer Level 1 Level 2 Level 3
Treble and Bass Clef
notes
F2-C4; C4-G5 B1-F4; G3-D6
Key Signatures C, F, G majora, d e minor
Circle of 5thsC, G, D, F, B major
Order of sharps/flatsAll major
Minor to 4# and 4
Use literature to identify keysWrite and identify all keys
Major Scales 5-finger patterns:
C, F, G, D, A, E
Tetrachord scales: C, G, F
All 5-finger patterns
Tetrachord scales: C, G,
D, F, B
Tetrachord Review
All major scales
All major scales
Minor Scales 5-finger patterns:
c, g, f, d, a, e
5-finger patterns:
a, e, b, d, g
a, e, d, g Relative minor: C/a, G/e, D/b,
F/d, B /g, E /c
Natural, harmonic, melodic
Basic notation
Review Primer level3/8; 6/8
Review 6/8Cut time
Syncopation
Review Level 1-2
Intervals 2nds, 3rds, 4ths, 5thsMelodic/harmonic
Half/whole step
6ths, 7ths, octave Review 2nds throughoctave
Half/whole steps
Interval quality within a scale
Triads Major: C, G, F, D, A, E
Minor: c, g, f, d, a, e
All major/minor
Tonic, Dominant
I-IV-V in C, G, D, F, B
Major
Inversions
All Major/minor
Inversions
I-IV-V in C, G, D, A, E, F,
B , E , A
Dominant Seventh
chords
All major/minor triads
Augmented/diminished
Inversions
I-IV-V; i-iv-V
(tonic/subdominant/dominant)Chord progressions
Figure 2.5 7
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Fundamentals of Piano Theory
NASM Standard
Written Exercises
Level 4 Level 5 Level 6 Level 7
Treble and Bass Clef notesKey Signatures Circle of 5ths
Write and identify all
major/minor keys
Circle of 5thsWrite/identify all
major/minor keys (6
pages)
Same as Level 4 (6 pages) Same as Level 4 (3 pages)
Major Scales Review allScale degree names
Same as Level 4 (4 pages)Chromatic scale
Same as Level 4 (4 pages) Same as Level 4 (2 pages)
Minor Scales Review Relative key
Review all 3 forms
Parallel Major/minorScale degree names
(harmonic form)
Same as Level 4 (6 pages) Same as Level 4 (6 pages) Same as Level 4 (2 Pages)
Basic notation Strong-weak beats Thirty-second notes
Intervals Major/minor
2nds/3rds/6ths/7thsAugmented/diminished
Same as Level 4 (4 pages) Same as Level 4, using
intervals that includedouble sharp/double flat
Same as Level 6 (2 pages)
Triads Review Major/minor
Augmented/diminished
Inversions
Triads of major/minor
scale
Open/close positionPrimary/secondary
chords
Inversions of V7 chords
Same as Level 4, using
more excerpts from
literature
Same as Level 4
Figured bass to identify all
chords
Primary/Secondary triads
Same as Level 4
Figured Bass
Primary/Secondary
chords
All qualities of seventh
chords and inversionsSecondary dominant
Figure 2.5 continued8
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Fundamentals of Piano Theory
NASM Standard
Written Exercises
Level 8 Level 9 Level 10
Treble and Bass Clef
notes
Key Signatures Review all (2 pages) Review all (2 pages) Review all (2 pages)Major Scales Same as Level 4
Whole Tone scaleReview (1 page)Whole tone scale
Review (1 page)
Minor Scales Review all
Parallel minor
Review (3 pages) Review (3 pages)
Basic notation Review all time signatures
and note/rest values
Hemiola Simple/compound rhythms
Irregular meter
Intervals Review all (2 pages) Review all (2 pages) Review (2 pages)
Triads Review all qualities and
inversions
Chords within a scale
Seventh chords in a major
scale
5 qualities of seventh chordsSecondary Dominant
Review all qualities and
inversions
Seventh chords in a major
scale, with inversions
Diminished seventh chords
Secondary Dominant
Same as Level 8
Figure 2.5 continued
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CHAPTER 3: EAR-TRAINING CONCEPTS
Most musicians view ear-training skills as an important component of their
success. Composers need to accurately write the music for performers to play or
sing. Conductors need the ability to compare the music they hear with what they see
on the page, making sure notes and rhythms are correct. Singers are sometimes
instructed to sing a part without music provided. Amateur musicians may want to
be able to play a familiar song without buying sheet music. Ear-training skills,
although perhaps a difficult task for some students to accomplish, can be learned.
Pre-college students arrive with a varying degree of mastery. Some may be able to
hear a song and sing or play it back with ease. Others can hear a rhythm and clap it
back with excellent accuracy. Some students have difficulty hearing the difference
between major and minor chords. NASM states developing the ear is a lifetime job,
so where and how should students begin?
The five books being studied within this document (Premier Piano Course,
Celebrate Piano!, Piano Adventures, Piano Basics and Fundamentals of Piano Theory)
include a variety of techniques to teach ear-training. Figures 3.13.4 provide a
listing of the concepts taught within each method. Premier Piano Course, Celebrate
Piano!, and Piano Adventures place their aural exercises strategically throughout
each book, reinforcing the written drills students have completed. Fundamentals of
Piano Theorylocates all ear-training drills on two pages at the end of each book.
Bastiens Piano Basics does not incorporate ear-training in its series.
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3.1 Rhythmic and Melodic Dictation
The authors of these books gently guide students into ear-training. Most of
the beginning ear-training examples are rhythmic in nature with the teacher
clapping a rhythm and the student identifying quarter notes and half notes. Short
melodic exercises soon follow. In the four books with ear-training, short melodies
are played or clapped and the student must select one of two possible answers.
These beginning exercises are four-to eight-note patterns with students selecting
which example the teacher has clapped or played. The students are guided to look
for the differences between the two examples and then listen accordingly. This type
of ear-training teaches students to carefully discriminate between and/or match
their aural and visual skills and is a good way for students to begin their ear-
training. Michael Rogers calls this type of training error-detection exercises.27
Rhythmic and melodic dictation examples in Premier Piano Course and
Fundamentals of Piano Theoryare almost exclusively this drill type.
As students progress in their musical training using these books, more
complex exercises occur. Piano Adventures Level 4includes a unique melodic
exercise, first showing a scale on the staff. The teacher plays the tonic chord and
continues with a melody. Students identify which note of the scale is the last note of
the melody. Students are learning to hear a melody within a context of a scale, not
just a series of intervals. A further activity is presented when students learn about
27 Michael R. Rogers, Teaching Approaches in Music Theory, (Carbondale, IL: Southern Illinois
University Press, 2004), 115.
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the circle of fifths. Students are to listen to a piece composed based upon the circle
of fifths. They are instructed to listen carefully to the bass note and identify the last
bass note played. This important concept teaches students to listen to a bass line,
not just a single melody.
Celebrate Piano!incorporates clap backs in every unit where the teacher
claps a rhythm with the student repeating. Many times this activity serves as
preparation for a rhythm to be learned. As the student progresses through level 1B
and beyond, more complex melodic dictation exercises are provided. In Level 2A, a
starting note is given and students are to write in the next two notes played by the
teacher with rhythmic and pitch accuracy. In Level 2B, students are given the key
signature and first note and then complete the next two measures. By Level 4,
students identify the first note from hearing the tonic triad and then complete the
melody. In these last two examples, the authors instruct students to write the
rhythm above the staff first and then complete the notes on the staff using the
correct rhythm.
Fundamentals of Piano Theorypresents limited rhythmic and melodic
dictation exercises. Although one type of dictation is included in every book, there
are only two to four dictation examples and the student always has a choice
between two possible answers. For several of the melodic dictation examples, the
only difference between the two examples is one in major and the other minor. In
most of those examples, the authors have written the exercise on the staff and
included the terms major or minor above the example making it easy for the
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student to choose the proper answer; students only have to listen for major or
minor and not read the notes on the staff. Asking the student to identify the exercise
as major or minor before hearing it would add another level of learning. The student
would see the difference between the major and minor written notation and then
hear the difference between major and minor, choosing the correct example the
teacher has played.
3.2 Intervals
Many colleges and ear-training books dedicate time and space, respectively,
to interval identification.28 Students in a first-year college aural skills program will
encounter interval identification. Piano students using these four books will enter
college with some experience in interval recognition. The training begins with the
basic concept of listening to ascending, descending, or repeating melodic patterns.
Piano Adventures first starts with the concept of high sounds and low sounds before
moving into interval direction. Proceeding from these concepts, all the authors move
to steps and skips (second and third). Fundamentals of Piano Theoryonly has
exercises where students have a choice between two intervals they hear. As early as
Level 1 in the Faber series and Level 1B in the Alfred series, the authors provide a
starting note and students are instructed to write in the next note they hear. The
directions state, however, the answer will be one of two possible choices (e.g., fourth
or fifth). These two books also quiz knowledge in hearing ascending and descending
28 Ibid., 105.
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intervals. In levels 3 and 4 ofCelebrate Piano!, students are directed to write the
interval they hear, with the lower note given. If students complete all levels of these
books, there is plenty of opportunity to practice distinguishing all intervals between
unison and octave.
Not all books, however, teach the quality of intervals. Piano Adventures Level
5provides one page of hints for aural interval recognition of major and minor
seconds, thirds, sixths and sevenths, but includes no specific drills. The Alfred series
has students recognizing intervals up to an octave, but no quality is taught. After
Level 3, there is no aural review of intervals. Fundamentals of Piano Theoryoffers
listening to all intervals second through octave in Levels 1-6 with
major/minor/perfect intervals being quizzed from Level 7-10.
3.3 Triads and Inversions
Exercises with triads can be divided into two different categories: 1)
distinguishing quality and inversion of a triad and, 2) identifying the sound of
chords within a chord progression. Each of these series provides opportunities for
drill focusing on the quality of major and minor triads in root position. Premier
Piano Course exercises do not occur until Level 5 and 6; Celebrate Piano!introduces
triads in Level 3. Piano Adventures has students playing chords for harmonization in
Level 1, but does not quiz aural recognition of major/minor until Level 2B.
Fundamentals of Piano Theorydiscusses major/minor root position triads in the
Primer book. Chord quality of augmented and diminished are studied in
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Fundamentals of Piano Theory, Premier Piano Course and Piano Adventures.
Fundamentals of Piano Theoryexpands on teaching triads by including open position
chords, various seventh chords, and inversions exercises.
Hearing triads in a position other than root position will help train students
to listen for a note in the bass other than the root. These four books present the
concept of inversions; however, there are not many drills for student practice. In
Level 3B ofPiano Adventures, students will choose between two examples of several
chords that include inversions played by the teacher. In Level 4, the teacher plays a
root position chord, followed by inversions of the same chord. Students are to
identify the last chord they hear. (See musical example 3.1)
Premier Piano Course has one exercise involving inversions. Students are
presented with two alternative versions of a three-or four-chord example the
teacher will play, and they are to circle the correct notation. This exercise does not
allow students to hear specific inversions, but rather discern the difference between
the two examples by identifying the pattern they see. Fundamentals of Piano Theory
introduces the concept of inversions in Level 1, but aural examples are not included
until Level 9. Students will hear either a first-inversion or second-inversion chord
with figured bass provided under each chord. The examples are very similar in
notes (e.g., C major in first inversion or A major in second inversion). Students need
to listen carefully to discern the differences between the chords. Celebrate Piano!
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Musical Example 3.129
29Nancy Faber and Randall Faber, Piano Adventures, Level 4, (Ft. Lauderdale, FL: FJH Music
Co., 1993), 17.
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presents the concept of inversions in Level 4. The student has many opportunities
for writing various inversions and playing inversions; however there are no aural
drills.
An important skill for musicians is the ability to aurally recognize and
identify chord progressions. Students gain a strong sense of tonality and hear
harmonic progressions as they learn to play, write and hear I-IV-V7 chord
progressions. All of the books with ear-training drills have aural exercises for
students to hear the difference between I and V7 chords. In Level 1 ofPiano
Adventures the authors have the student first listen for a tonic and dominant note
and later add chords based on those scale degrees. A variety of drills exist in the
different methods; however, the most common exercise is where the teacher will
play several I-V7 chords in a row with the student identifying the last chord. The
subdominant chord is introduced after students have had ample opportunities to
practice the I-V7 progression. As more keys are introduced, students play, write and
hear the progressions in those keys. The Faber, Alfred and Harris books include
exercises where students write the chords played by the teacher, sometimes with a
melody, sometimes just the chords alone. Levels 5-10 ofFundamentals of Piano
Theoryincorporate exercises for students to identify authentic, plagal, half and
deceptive cadences, as shown in musical example 3.2.
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Musical Example 3.2 30
30Keith Snell and Martha Ashleigh, Fundamentals of Piano Theory, Level 8, (San Diego, CA:
Neil A. Kjos Music Co., 1999), 57.
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3.4 Sight-reading/sight-singing
The only series that includes sight-singing is Celebrate Piano! The authors
incorporate four- to eight-measure songs for each interval including major/minor
qualities. The first song is Middle C Safari and the student is directed to match
their voice with the sound of Middle C and sing, This is the sound of MiddleC.
Continuing in Level 1A students will learn Busy Bee Song containing major
seconds and Cuckoo Bird Song comprised of major thirds. Each level introduces
more songs as intervals are learned, with all intervals with major and minor quality
learned by Levels 3 and 4. The authors begin using solfge in Level 2B, with the
student singing a C major 5-finger pattern. They also provide the option of using
scale degree numbers. Students advancing through the next two books are
encouraged to sing the interval songs with solfge or scale numbers. There are other
short pieces for students to sing using solfge--all in major keys. Musical example
3.3 shows an excerpt from one of these exercises. Most piano theory books do not
include any sight-singing drills; therefore, students using this series will gain
experience prior to entering college.
Of the five books studied, only three have actual sight-reading examples.
Playing a piece for the first time might be considered sight-reading, and by
definition, that is true. However, to sight-read a piece well is a skill to be learned. It
can be difficult to keep eyes moving ahead, keep a steady beat, play all notes
correctly and read more than one clef at a time.
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Musical Example 3.3 31
31Cathy Albergo, et.al., Celebrate Piano!Level 2B, (Mississauga, Ontario: The Frederick Harris
Music Co., Ltd.,2002), 46.
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The exercises in all levels of the Alfred series are short with a majority using
one clef. Many of the sight-reading examples involve the concept previously
presented in the theory and lessons book. Although there are no specific suggestions
given on how to sight-read, the authors usually provide a leading question to guide
the student in their playing. The Faber series includes Eye Training (sight-reading)
exercises that are a continuation of prior presented concepts. In the Primer Level,
the authors have included three suggestions for students learning to sight-read: 1)
Look through and identify the hand position and notice the rhythm; 2) Set a slow
and steady beat before playing; and 3) Keep going no matter what.32 These
suggestions are repeated throughout the first two books as students continue to
learn sight-reading skills using one clef. By Level 2B, students are reading two clefs
and in Level 3A, students are sight-reading and transposing four to six measures of
music. Fundamentals of Piano Theoryconcludes each book with two pages of sight-
reading. The authors give the same very detailed instructions in each level as
students sight-read two staves of music beginning in the Primer Level. The three to
five examples in each level provide opportunities for playing in many keys and each
level becomes increasingly more advanced in key, rhythm and length. BastienPiano
Basics does not include specific sight-reading examples.
These method series provide a wide-range of ear-training, sight-reading and
sight-singing exercises. Bastien Piano Basics does not include any of these skills.
32 Nancy and Randall Faber, Piano Adventures Primer Level, (Ft. Lauderdale, FL: FJH Music
Company, Inc., 1993), 21.
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Fundamentals of Piano Theoryincludes many of them; however the authors do not
include any written dictation exercises. Celebrate Piano!provides sight-singing and
dictation drills. The authors ofPiano Adventures and Premier Piano Course include
many different types of drills for these various concepts. Students using these books
will have some general knowledge of ear-training concepts.
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Alfred Premier Piano Course
NASM Standards:
Ear-Training
Level 1A Level 1B Level 2A Level 2B
Rhythmic Dictation
Melodic Dictation 1-2 measure melodies
directional(up/down/same)
Forte/piano
Up/down
TieStaccato/legato
Accent-draw on note you
hear accentedTies
2 measure melodies
Major scale
Major/minor 5-fingerpattern
Intervals Step/skipUp/down/repeat
Skip/step4ths/5ths
Half step up or down
Half /whole steps3rd/6th
6th/7th
7th/octave
Major/Minor Chords I-V7 (2 note chord)
In C and G major
Hear Major/minor chords
I-V7 (3-note chord)
Sight-reading only Sight-read single line
melodies including 2nds,
3rds, ties, slurs, staccato,8va, sharps and flats
Grand staff reading
including LH 5ths,
parallel motion
Sight-read a single line
melodies including, I-V7 ,
eighth notes, pedal, various5-finger patterns
Grand staff reading including
flats, parallel motion,
tonic/dominant, pedal, I orV7 chord
Sight-read a single line
melodies including minor
5-finger patterns, 7ths,
8ths, scales, pedal, Grand staff readingincluding ledger lines
Figure 3.1
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Piano Premier Course
NASM Standard:
Ear-training
Level 3 Level 4 Level 5 Level 6
Rhythmic Dictation Swing style
Syncopation
3/8 and 6/8
Swing
3/8 and 6/8
Syncopation
3/8
Melodic Dictation Chromatic scale
Intervals All intervals 3rd-8th
choose between two
Major/minor chords I-IV-V7 (3 note chord)
I-V7
I-IV
I-IV-V7
i-iv-V7 in a and e minor
InversionsAlberti bass pattern
Major/minor chords
Major/Augmented
i-iv-V7 in g minor
I-IV-V7 in E major
I-IV-V7 in A-flat major
Diminished/minor
Major/minor arpeggios
Sight-reading only Sight-read a single
line melody including
syncopation andmajor scales.
Sight-read a single line
melody including 3/8 and
6/8 time, triplets,sixteenth notes, minor
chords, minor scales,
inversions.
Sight-read a single line
melody including triplets,
and swing rhythm,ornaments and sequences
(using excerpts from Corelli,
Scarlatti and Rameau),
scales,
Sight-read a single line
melody including minor
scales, excerpts from piecesby Chopin, Sibelius and
Joplin, diminished chords
Grand staff reading
including pieces by Bartokand Schytte,
Figure 3.1 continued
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Harris Celebrate Piano!
NASM Standard:
Ear-Training
Level 1A Level 1B Level 2A Level 2B
Rhythmic Dictation Circle rhythm teacher
plays
Write rhythms
Write rhythms
Write rhythm
Melodic Dictation Series of 3 or 4 notes,
choose between two
patterns the teacher plays.
Given a starting note write
a the next 2 notes
Choose between two
patterns the teacher plays
Legato/Staccato
Given a starting note write
the next two notes
Choose between two
patterns the teacher plays
Given a starting note write
the next three notes.
Choose between two
patterns the teacher plays.
Intervals 2nd/3rdHarmonic/melodic
2nd/3rd/5th 2nd/3rd/4th/5th
Major/minor chords
Sight-singing only Middle C song
2nd/3rd Songs
Middle C song
2nd/3rd /4th/5th Songs
Middle C Song
2nd/3rd/4th/5th/6th Songs
Middle C Song plus other
interval songs adding 7th
Using solfge or scalenumbers to sing C 5-
finger pattern
Figure 3.2
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Celebrate Piano!
NASM Standard:
Ear-Training
Level 3 Level 4
Rhythmic Dictation 6/8
Write rhythm of melodic
dictations
Write rhythm of melodic
dictations.
Melodic Dictation Write 2 measure melodies
given the first note
Write a melody with
student identifying the
first note from the I chord
Intervals Perfect 4th, 5th 8thMajor/minor 2nd
Major/minor 3rd
Major/minor 6th
Major/minor 7thPlus review of all other
intervals
Major/minor chords I-V7-I Progressioni-VI Progression
Major/minor chords
I-IV-V7-I progressions
Major/minor chordsIdentify I-IV-V7 chords
teacher uses to harmonize
a melody
Identify I-IV-V7 pattern
played
Sight-singing/reading Solfge/numbers on other
major 5-finger patterns
New interval songs with
minor 2nd, 3rd, 6th
All interval songs
Solfge/numbers on all
scale degrees
Interval song minor 7th
Sing complete song usingonly solfge or numbers
Figure 3.2 continued6
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Faber Piano Adventures
NASM Standard:
Ear-Training
Primer Level 1 Level 2A Level 2B
Rhythmic Dictation
Circle rhythm teacher
plays
Rhythmic patterns using
I chords
Melodic Dictation High/lowUp/down/repeat
Step/skip
Step/skipForte/piano
Staccato/Legato
Melodies that are
Same/different
Choose between 2melodies using half steps
Transposed patterns
Melody in major/minor
Crescendo/diminuendo
Intervals Step/skip
5th
Middle C/Bass C/Treble C
Half steps ( )
2nd/3rd/4th/5th
Half steps/whole steps Octaves
5th/6th
Write interval from givennote: 4th/5th or 5th/6th
Major/minor chords I or V7
Tonic/Dominant
Tonic/Dominant Major/minor
I-IV-V7
Teacher play melody with
chords; identify last chord
Sight-reading only Melodies using the grand
staff including 2nd, 3rds
and 5ths
Single line melodies
combining 2nds and 3rds
Single line melodies with
various intervals,
articulation, accidentals,
upbeats and I or V7 chords
Single line melodies in
various 5-finger positions
or tonic chords
Sight-read grand staff
examples
Sight-read single line
melodies using I, IV and V7
chords and rhythm of
Figure 3.37
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Piano Adventures
NASM Standard:
Ear-Training
Level 3A Level 3B Level 4 Level 5
Rhythmic Dictation 3/8 , 6/8 Sixteenth note patterns in
4/4, 3/8, 6/8
Melodic Dictation Melodies with 7ths
Chromatic/major scales
Sequence or not a
sequence
Given a scale, identify
melodys the last note
Major Scale
Minor natural/harmonic
scale
Natural/harmonic/melodic
minor scale
Intervals 2 notes given, write in 3rdnote a 2nd/3rd up or down
Octave or other interval Major/minor 2ndMajor/minor 3rd
Major/minor 6th
Major/minor 7th
(no specific exercises)
Major/minor chords Play a patternwhat is
last chord? I, IV or V7
Identify chords
progression: I, IV or V7
Last note of an arpeggio
Play a patternwhat is
last chord? i-iv-V7
Major/minor chords
Triads with inversions
Identify accompaniment
pattern
Identify inversions Last chord of Cadence:
I or V7
Bass note in circle of fifths
Major/minor chords
Sight-reading only Sight-read single line
melodies including 7ths,
ledger line notes.
Triplets, 6/8; 3/8 and Cuttime.
Sight-read grand staff
melody with chordaccompaniment
Sight-read single line and
grand staff melodies
including octaves,
sequences, major/minortriads and inversions and
sixteenth note patterns.
Sight-read single line and
grand staff melodies using
various sixteenth note
patterns and inversions.
Sight-read grand staff
examples using different
accompaniment patterns,
intervals, chords andinversions, arpeggios.
Sight-read single line
melodies based on chordtones.
Figure 3.3 continued 8
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Kjos Library Fundamentals of Piano Theory
NASM Standard:
Ear-Training
Primer Level 1 Level 2 Level 3
Rhythmic Dictation
Melodic Dictation Listen to melody, choose
one answerMajor/minor 5 finger
patterns
Major/minor 5 finger
patternsListen to melody, choose
one answer
Listen to melody, choose
one answer
Listen to major/minor
melody, choose oneanswer
Intervals 2nd/3rd/4th/5th 2nd/3rd/4th/5th/6th/7th/8th More difficult 2nd-octave 2nd-octave
Major/minor chords Major/minor root position
chords
Major/minor chords root
position
Major/minor chords
Broken chord pattern
Root position
Major/minor chords root
position
Sight-reading only 1 page sight-reading
Both clefs C position
1 page sight-reading 2 pages sight reading RH
melody, LH chords in C, F,G major
2 pages sight-reading
G, E major; d and e minor
Figure 3.4
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Fundamentals of Piano Theory
NASM Standard:
Ear-Training
Level 4 Level 5 Level 6 Level 7
Rhythmic Dictation Rhythm using chords
Identify the rhythm
teacher claps
Identify the rhythm
teacher claps
Melodic Dictation Major/minor melody,
Sequence within a melody
LH accompanimentpattern
Major/minor scale Major/minor scale
Major/minor melody
Major/minor scale
Major/minor
melody/accompaniment
Intervals 2nd-octave with interval
identification under the
notes
Intervals within a scale Intervals within a scale All intervals with all
qualities
Major/minor chords Major/minor
root position triads
Major/minor
root position triads
Cadences
Major/minor
root position triads
Cadences
Major/minor
Augmented/diminished
Root position triads
Cadences
Sight-reading only 2 pages sight-reading
D and E major;
a and g minor
2 pages sight-reading
D and G major, c minor
2 pages sight-reading
G. D. E major
c minor
2 pages sight-reading
A major, d and f minor
Figure 3.4 continued
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Fundamentals of Piano Theory
NASM Standard:
Ear-Training
Level 8 Level 9 Level 10
Rhythmic Dictation Choose which rhythm teacher
plays
Melodic Dictation Natural/harmonic/melodic
Minor scalesIdentify which phrase
teacher plays
Natural/harmonic/melodic
Minor scales
Harmonic/melodic/natural
minor or whole tone scaleIdentify which phrase teacher
plays
Intervals All interval types and
qualities
All interval types and qualities All interval types and
qualities
Major/minor chords Major/minor
Augmented/diminished
root position triads
Cadences
1stand 2nd inversions
All seventh chords, root
position
All seventh chords
Root position and inversions
Cadences
Sight-reading only 2 pages sight-reading in g
minor, G major and b minor
2 pages sight-reading
excerpts from a baroque suitein D major,
e and g minor
2 pages sight-reading
C major, d minor,20th century techniques
Figure 3.4 continued
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CHAPTER 4: BEYOND THE BASICS
The third NASM suggestion encourages students to learn the fundamentals of
musical structure including the areas of form, harmony, counterpoint, composition
and improvisation. Form can include many different concepts such as motives,
phrase structure, cadences, sequences; and binary, ternary or sonata form. Books
designed for teaching music fundamentals in college or high school theory courses
include many of these concepts. Each of these five method series presents at least
one concept relating to form. Figures 4.14.5 are included at the end of the chapter
and detail the concepts included in each method.
4.1 Form
The first building block taught in many of these books is the concept of
phrase. One textbook defines a phrase as introducing musical material and then
carrying the listener to a goal called a cadence.33 The Grove Dictionary defines a
phrase as a term adopted from linguistic syntax and used for short musical units of
various lengths; a phrase is generally regarded as longer than a motif but shorter
than a period.34Students entering college with a piano background may be
33 Earl Henry, Fundamentals of Music, 5th Edition., (Upper Saddle River, NJ: Prentice Hall,
2009), 241.34 Grove On-line Dictionary of Music,
http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/
21599?q=phrase&search=quick&source=omo_gmo&pos=1&_start=1#firsthit
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confused about phrases as many piano theory method books define a phrase by the
use of a slur or phrase mark.
Beginning piano books begin with very simple definitions. Premier Piano
Courseintroduces phrases in Level 1B describing it in the following way: A phrase
is similar to a sentence in language.35 The authors have composed six lines of music
with words and students are asked to complete the slur mark over the music and
then play in a legato manner. This way of teaching phrases may lead the student to
believe a phrase is only music with a slur mark. Teachers will need to further
explain other details of a phrase, and this particular theory method book does not
include further instruction about phrases.
Piano Basics introduces the concept of phrases in Level 2 describing a phrase
as a melody with two parts: a question and answer. The question will end on a note
other than the keynote. The answer phrase will end on the keynote.36
This
description provides an acceptable basic definition for beginning students; however,
students may have difficulty later. There is no discussion about the first note of the
phrase. Can it be any note? Does the last note of the answer phrase always have to
end on the tonic note? These questions are not answered in the Bastien series. The
authors provide examples of question and answer phrases with students
improvising an answer to three question phrases in three different keys, with the
prompt to write their best answer. Students completing the books through Level 4
35 Dennis Alexander, et. al, Premier Piano Course, Level 1B, (Van Nuys, California: Alfred
Publishing, Co., Inc., 2005), 26.36 James Bastien. Piano Basics Theory Level 2, (San Diego, CA: Kjos Music Co., 1985), 13.
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have several opportunities to practice such exercises in a variety of keys. The
authors do not use the term antecedent and consequent phrases, rather using
question and answer throughout each level. (Musical example 4.1)
The authors ofCelebrate Piano!introduce phrases in the first book. Their
definition states: A phrase is a group of notes. A phrase mark is a curved line over
the phrase. Play the notes within the phrase mark smoothly. At the end of the
phrase, play the last note softly and lift your hand.37 More about phrases is included
in each succeeding level with many examples including those with a slur and many
phrases with no slur mark. In this method, Level 1A is primarily written for students
under eight years old and the authors recognize seeing a phrase mark or slur makes
a phrase easier to identify for younger students. As students progress through the
book, they are encouraged to count the number of phrases in each piece as indicated
by the phrase marks. At the end of the book, the following directions are given:
Listen as your teacher plays a two-measure phrase (Question) using the CDE group.
Echo the question. Listen to the Question again. Make up and play a two-measure
phrase (Answer) that ends on C.38 Students can now improvise and listen to
phrases, in addition to the written page which requires using their ear to hear the
phrase resolution. As with Bastien, the authors indicate the answer phrase will end
on the tonic note. This type of exercise continues through the middle of Level 1B
where the authors write the question part of the phrase and students are to
37 Cathy Albergo, et. al., Celebrate Piano!(Toronto Canada: Frederick Harris Music, 2002),
34.38 Ibid., 77.
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Musical Example 4.1 39
39Ibid.
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improvise an answer, ending on the tonic and then writing their favorite answer. At
this juncture, phrases are not marked with a slur. Students have ample opportunity
in each level to continue to improvise and compose question and answer phrases,
with each level incorporating longer examples composed in various keys. In Level
2B, students learn about parallel and contrasting answers using improvisation
practice and then writing their favorite response. All examples must end on the
tonic note. In Levels 3 and 4, students create both the question and answer phrases
within various parameters; however, the terms antecedent and consequent phrases
are not used.
Piano Adv