5 Music Theory Methods Compared

Assessing Five Piano Theory Methods Using NASM Suggested
Theory Guidelines For Students
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Authors Van Sickle, Karen
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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
2
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
3
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.
4
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

5
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
6
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.

9
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
National Association of Schools of Music Handbook (2010-2011): 79.
2
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
3
Richard Nelson, “The College Music Society Music Theory Undergraduate Core Curriculum
Survey—2000,” 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
solfège, 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
Ibid., 62.
5
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
Ibid., 107.
8
“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 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
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
12
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 Rebecca Grooms Johnson, “There’s A New Series In The Music Store—How 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 series—or lack thereof—and 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 Bloom’s taxonomy in writing their theory series.18 Each new theory
16
Paula Harrison, “Perspectives in Pedagogy,” Clavier Companion 2, no. 1 (2010): 32.
17
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
19
Charlene Zundel, “Theory Gymnastics,” (Workshop, MTNA National Convention, Albuquerque,
NM, March 23, 2010).
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 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
20
Cathy Albergo, et.al., Celebrate piano! Teacher’s Guide, Level 1. (Mississauga, Ontario: The
Frederick Harris Music Co., Ltd., 2002), 7.
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.
21
Nancy Faber and Randall Faber, Piano Adventures. (Ft. Lauderdale, FL: FJH Music Co, 1993),
inside cover.
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 2.1—2.5 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 .
22
“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.
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. Bastien’s 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
24 Keith Snell and Martha Ashleigh. Fundamentals of Piano Theory Level 2, (San Diego, CA:
Neil A. Kjos Music Co., 1998), 6.
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. Bastien’s 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
25 Lindsey C. Harnsberger, Essential Dictionary of Music, (Los Angeles: Alfred Publishing, Co.,
Inc., 1998), 69.
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
26
Nancy Faber and Randall Faber, Piano Adventures Level 3B (Ft. Lauderdale, FL: FJH Music Co.,
1993), 25-26.
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: Level 1A Level 1B Level 2A Level 2B

Written Exercises
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 major
Major Scales C major 5-finger pattern G major 5-finger pattern D, A major 5-finger C and G major
Middle C 5-finger pattern pattern
Minor Scales c, g, d, a 5-finger pattern
Basic Notation Crescendo, decrescendo
 ˛¸ tie, legato, staccato Accent, tempi  
ŒÂ Ω
Intervals Skips/steps Harmonic/melodic 6th 7th. Octave
Up/down 2nd, 3rd, 4th, 5th Melodic/harmonic
Half/whole step
Triads I-V7 in C, G, D major I-V7 in C, G
Roman numeral and name Arpeggios of C, G, D, A
Tonic/Dominant
Figure 2.1
30
Premier Piano Course
NASM Standard: Level 3 Level 4 Level 5 Level 6

Written Exercises
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 A, E, B, B E ,A ,D
Chromatic
Minor Scales Natural/harmonic d and g c, b
Relative major/minor Melodic minor
a, e minor
Basic Notation 6/8 3/8 Cut time Mixed Meter
6/8; 3/8
Various sixteenth note
patterns
Intervals
Triads IV in C, G, F I-iv-V7 in a and e minor Augmented triads Diminished triads
Name root position triads I-IV-I-V7-I progression in I-IV-I-V7-I in A , D
Major/minor quality A, E, B, B Major ii-V7-I progression
Inversions
g minor Diatonic triads in F, G and
D major
Figure 2.1 continued
31
Bastien Piano Basics
NASM Standards: Primer Level 1 Level 2 Level 3 Level 4

Written Exercises
Treble and bass Clef C3-D4; C4-D5 F2-D4; C4-G5 C4-E4, C2-E2; Bass clef: B1, F4;
notes A5-C6; A3-C-4 Treble clef: D6, G3
C, F, G Order of sharps, Order of flats, Given key signature
Key Signatures All major sharp key All major flat keys; name, write
signatures a, e, b, d, g, f minor appropriate
sharps/flats
Major Scales C 5-finger; F 5-finger pattern C, G, F, D, A, E D-flat; A ; E ; G ;B ;B
Middle C position; Tetrachords
Chromatic scale Parallel major/minor
G 5-finger pattern
Scale degree names
Minor Scales a, d natural, harmonic e minor
and melodic minor Review a and d
Staccato, tempi
Basic Notation Crescendo, 6/8
 decrescendo
Accent
  Ω
Slur, tie
2nd, 3rd, 4th 5th Half step, whole step Octave Intervals within a
Intervals Up, down repeat major scale: major,
Melodic, harmonic minor, diminished,
augmented
C chord 1-V7 (2 note) in I, IV, V in All M/m triads i-iv-V7 in e minor
C, F, G C, G, F, D, A, E a/d minor i, iv, V7 Aug, Dim,
Triads Inversions D ,A ,E V7/inversions
I-IV-I-V-I progression G ; B , B major triads
of a major scale
Figure 2.2
32
Harris Celebrate Piano!
NASM Standard Level 1A Level 1B Level 2A Level 2B

Written Exercises
Treble and bass Clef notes Line or space notes G2-D4; B3-G5 G1-E2; A5-F6
Key Signatures All major sharp keys All major flat keys
Review all major sharp
keys
Major Scales All major 5-fnger patterns
except C#, G and C
Tonic/Dominant notes
within a 5-finger pattern
Minor Scales
Basic notation
Œ  Ω  Œ
Intervals 2nds , 3rds 4ths , 5ths Half/whole step 7ths

Up/down/same 6ths Octaves
Melodic/harmonic
Triads Tonic triads
Identify root position
triads
Figure 2.3
33
Celebrate Piano!
NASM Standard Level 3 Level 4

Written Exercises
Treble and bass Clef notes
Key Signatures Relative minor Circle of 5ths
Parallel minor
Major Scales Tetrachords to teach complete
scales: 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 Major/minor 7th

Perfect 4ths/5ths/8ths
Triads Minor triads Inversions
I-IV-V7 i-iv-V7-i
i-V7
34
Faber Piano Adventures
NASM Standard Primer Level 1 Level 2A Level 2B

Written Exercises
Treble and Bass Clef notes C3-C4; C4-G4 G2-D4; G4-G5 C 2; C6
Key Signatures C, G and F major
Major Scales C major 5-finger pattern G major 5-finger pattern D and A major 5-finger C , G, and F major scale
Middle C position pattern Tonic, Dominant and
Leading tone notes
Minor Scales c, g, a, d minor 5-finger
pattern
Basic notation Crescendo, decrescendo
Œ   
accent, slur, staccato
Ω
Intervals Step, skip 2nds, 3rds, 4ths, 5ths Transpose using 6ths
Up, down, same Harmonic/Melodic intervallic relationship
Half step Whole steps
Triads Tonic/Dominant I chord in D and A I-IV-V7-I in C, G, F major
I-V7 in C
Figure 2.4
35
Piano Adventures
NASM Standard Level 3A Level 3B Level 4 Level 5

Written Exercises
Treble and Bass Clef notes A1-F2; G5-E6
Key Signatures D major a and d minor Distinguish between C Circle of 5ths
major and a minor Naming all flat major keys
Naming all sharp major c, g, d, a, e minor
keys
Major Scales D major E major F, B , E and E major
Chromatic
Minor Scales a and d minor Relative minor scales d minor
Natural, harmonic and Harmonic scales
melodic
Basic notation Cut time More rhythms with Compound meter
3/8; 6/8 sixteenth notes/rests
Intervals 7ths Octave P 4, 5, 8

Major/minor 3rds Major/minor 2nds, 3rds, 6ths,
Intervals within a major 7ths
scale
Triads I-IV-V7 in D major i-iv-V7 in a and d minor Review inversions Naming I, IV, V in a given
Major/minor triads key
Inversions Letter names of chords
Inversions
36
Kjos Library Fundamentals of Piano Theory
NASM Standard Primer Level 1 Level 2 Level 3

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

Written Exercises
Treble and Bass Clef notes
Key Signatures Circle of 5ths Circle of 5ths Same as Level 4 (6 pages) Same as Level 4 (3 pages)
Write and identify all Write/identify all
major/minor keys major/minor keys (6
pages)
Major Scales Review all Same as Level 4 (4 pages) Same as Level 4 (4 pages) Same as Level 4 (2 pages)
Scale degree names Chromatic scale
Minor Scales Review Relative key Same as Level 4 (6 pages) Same as Level 4 (6 pages) Same as Level 4 (2 Pages)
Review all 3 forms
Parallel Major/minor
Scale degree names
(harmonic form)
Basic notation Strong-weak beats Thirty-second notes
Intervals Major/minor Same as Level 4 (4 pages) Same as Level 4, using Same as Level 6 (2 pages)
2nds/3rds/6ths/7ths intervals that include
Augmented/diminished double sharp/double flat
Triads Review Major/minor Same as Level 4, using Same as Level 4 Same as Level 4
Augmented/diminished more excerpts from Figured bass to identify all Figured Bass
Inversions literature chords Primary/Secondary
Triads of major/minor Primary/Secondary triads chords
scale All qualities of seventh
Open/close position chords and inversions
Primary/secondary Secondary dominant
chords
Inversions of V7 chords
38
NASM Standard Level 8 Level 9 Level 10

Written Exercises
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 Review (1 page) Review (1 page)
Whole Tone scale Whole tone scale
Minor Scales Review all Review (3 pages) Review (3 pages)
Parallel minor
Basic notation Review all time signatures Hemiola Simple/compound rhythms
and note/rest values Irregular meter
Intervals Review all (2 pages) Review all (2 pages) Review (2 pages)
Triads Review all qualities and Review all qualities and Same as Level 8
inversions inversions
Chords within a scale Seventh chords in a major
Seventh chords in a major scale, with inversions
scale Diminished seventh chords
5 qualities of seventh chords Secondary Dominant
Secondary Dominant
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 3.1—3.4 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.
Bastien’s 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 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 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
27Michael R. Rogers, Teaching Approaches in Music Theory, (Carbondale, IL: Southern Illinois
University Press, 2004), 115.
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
29
Nancy Faber and Randall Faber, Piano Adventures, Level 4, (Ft. Lauderdale, FL: FJH Music
Co., 1993), 17.
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
30
Keith Snell and Martha Ashleigh, Fundamentals of Piano Theory, Level 8, (San Diego, CA:
Neil A. Kjos Music Co., 1999), 57.
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 solfège 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 solfège or scale numbers. There are other
short pieces for students to sing using solfège--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.

50
31
Cathy Albergo, et.al., Celebrate Piano! Level 2B, (Mississauga, Ontario: The Frederick Harris
Music Co., Ltd.,2002), 46.
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 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. 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
32
Company, Inc., 1993), 21.

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.

NASM Standards: Level 1A Level 1B Level 2A Level 2B

Ear-Training
Rhythmic Dictation
  Œ  ‰
Melodic Dictation 1-2 measure melodies Up/down Accent-draw on note you Major scale
directional Tie hear accented Major/minor 5-finger
(up/down/same) Staccato/legato Ties pattern
Forte/piano 2 measure melodies
Intervals Step/skip Skip/step Half /whole steps 6th/7th

Up/down/repeat 4ths/5ths 3rd/6th 7th/octave
Half step up or down
Major/Minor Chords I-V7 (2 note chord) Hear Major/minor chords
In C and G major I-V7 (3-note chord)
Sight-reading only Sight-read single line Sight-read a single line Sight-read a single line
melodies including 2nds, melodies including, I-V7 , melodies including minor
3rds, ties, slurs, staccato, eighth notes, pedal, various 5-finger patterns, 7ths,
8va, sharps and flats 5-finger patterns
Grand staff reading Grand staff reading including 8ths, scales, pedal,  ‰
including LH 5ths, flats, parallel motion,
parallel motion tonic/dominant, pedal, I or Grand staff reading
V7 chord including ledger lines
Figure 3.1
53
Piano Premier Course

Ear-training
Rhythmic Dictation Swing style Swing Syncopation
Syncopation 3/8 and 6/8 3/8
3/8 and 6/8

Melodic Dictation Chromatic scale
Intervals All intervals 3rd-8th
choose between two
Major/minor chords I-IV-V7 (3 note chord) I-IV-V7 Major/Augmented I-IV-V7 in A-flat major
I-V7 i-iv-V7 in a and e minor i-iv-V7 in g minor Diminished/minor
I-IV Inversions I-IV-V7 in E major Major/minor arpeggios
Alberti bass pattern
Major/minor chords
Sight-reading only Sight-read a single Sight-read a single line Sight-read a single line Sight-read a single line
line melody including melody including 3/8 and melody including triplets, melody including minor
syncopation and 6/8 time, triplets, and swing rhythm, scales, excerpts from pieces
major scales. sixteenth notes, minor ornaments and sequences by Chopin, Sibelius and
chords, minor scales, (using excerpts from Corelli, Joplin, diminished chords
inversions. Scarlatti and Rameau), Grand staff reading
scales, including pieces by Bartok
and Schytte,
54
NASM Standard: Level 1A Level 1B Level 2A Level 2B

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

Ear-Training
Rhythmic Dictation 6/8 Write rhythm of melodic
Write rhythm of melodic dictations.
dictations
Melodic Dictation Write 2 measure melodies Write a melody with

given the first note student identifying the
first note from the I chord
Intervals Perfect 4th, 5th 8th Major/minor 7th
Major/minor 2nd Plus review of all other
Major/minor 3rd intervals
Major/minor 6th
Major/minor chords I-V7-I Progression Major/minor chords

i-V –I Progression Identify I-IV-V7 chords
Major/minor chords teacher uses to harmonize
I-IV-V7-I progressions a melody
Identify I-IV-V7 pattern
played
Sight-singing/reading Solfège/numbers on other All interval songs
major 5-finger patterns Solfège/numbers on all
New interval songs with scale degrees
minor 2nd, 3rd, 6th Interval song minor 7th
Sing complete song using
only solfège or numbers
56
NASM Standard: Primer Level 1 Level 2A Level 2B

Ear-Training
Rhythmic Dictation Rhythmic patterns using
Circle rhythm teacher I chords  
plays
 
Melodic Dictation High/low Step/skip Choose between 2

Up/down/repeat Forte/piano melodies using half steps
Step/skip Staccato/Legato Transposed patterns
Melodies that are Melody in major/minor
Same/different Crescendo/diminuendo
Intervals Step/skip Middle C/Bass C/Treble C Half steps/whole steps Octaves

5th Half steps ( ) 5th/6th
Write interval from given
2 /3 /4 /5
nd rd th th
note: 4th/5th or 5th/6th
Major/minor chords I or V7 Tonic/Dominant Major/minor
Tonic/Dominant I-IV-V7
Teacher play melody with
chords; identify last chord
Sight-reading only Melodies using the grand Single line melodies with Single line melodies in Sight-read grand staff
staff including 2nd, 3rds various intervals, various 5-finger positions examples
and 5ths articulation, accidentals, or tonic chords Sight-read single line
Single line melodies upbeats and I or V7 chords melodies using I, IV and V7
combining 2nds and 3rds chords and rhythm of
 
Figure 3.3
57
Piano Adventures
NASM Standard: Level 3A Level 3B Level 4 Level 5

Ear-Training
Rhythmic Dictation 3/8 , 6/8 Sixteenth note patterns in
4/4, 3/8, 6/8
Melodic Dictation Melodies with 7ths Sequence or not a Given a scale, identify Natural/harmonic/melodic
Chromatic/major scales sequence melody’s the last note minor scale
Major Scale
Minor natural/harmonic
scale
Intervals 2 notes given, write in 3rd Octave or other interval Major/minor 2nd
note a 2nd/3rd up or down Major/minor 3rd
Major/minor 6th
Major/minor 7th
(no specific exercises)
Major/minor chords Play a pattern…what is Play a pattern…what is Identify inversions Last chord of Cadence:
last chord? I, IV or V7 last chord? i-iv-V7 I or V7
Identify chords Major/minor chords Bass note in circle of fifths
progression: I, IV or V7 Triads with inversions Major/minor chords
Last note of an arpeggio Identify accompaniment
pattern
Sight-reading only Sight-read single line Sight-read single line and Sight-read single line and Sight-read grand staff
melodies including 7ths, grand staff melodies grand staff melodies using examples using different
ledger line notes. including octaves, various sixteenth note accompaniment patterns,
Triplets, 6/8; 3/8 and Cut sequences, major/minor patterns and inversions. intervals, chords and
time. triads and inversions and inversions, arpeggios.
Sight-read grand staff sixteenth note patterns. Sight-read single line
melody with chord melodies based on chord
accompaniment tones.
58
NASM Standard: Primer Level 1 Level 2 Level 3

Ear-Training
Rhythmic Dictation
 ‰ 
Melodic Dictation Listen to melody, choose Major/minor 5 finger Listen to melody, choose Listen to major/minor
one answer patterns one answer melody, choose one
Major/minor 5 finger Listen to melody, choose answer
patterns one answer
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 Major/minor chords root Major/minor chords Major/minor chords root
chords position Broken chord pattern position
Root position
Sight-reading only 1 page sight-reading 1 page sight-reading 2 pages sight reading RH 2 pages sight-reading
Both clefs C position melody, LH chords in C, F, G, E major; d and e minor
G major
Figure 3.4
59

Ear-Training
Rhythmic Dictation Rhythm using chords Identify the rhythm Identify the rhythm
teacher claps teacher claps

   ‰
Melodic Dictation Major/minor melody, Major/minor scale Major/minor scale Major/minor scale
Sequence within a melody Major/minor melody Major/minor
LH accompaniment melody/accompaniment
pattern
Intervals 2nd-octave with interval Intervals within a scale Intervals within a scale All intervals with all
identification under the qualities
notes
Major/minor chords Major/minor Major/minor Major/minor Major/minor
root position triads root position triads root position triads Augmented/diminished
Cadences Cadences Root position triads
Cadences
Sight-reading only 2 pages sight-reading 2 pages sight-reading 2 pages sight-reading 2 pages sight-reading
D and E major; D and G major, c minor G. D. E major A major, d and f minor
a and g minor
c minor
60
NASM Standard: Level 8 Level 9 Level 10

Ear-Training
Rhythmic Dictation Choose which rhythm teacher
plays
‰ 

Melodic Dictation Natural/harmonic/melodic Natural/harmonic/melodic Harmonic/melodic/natural
Minor scales Minor scales minor or whole tone scale
Identify which phrase Identify which phrase teacher
teacher plays plays
Intervals All interval types and All interval types and qualities All interval types and
qualities qualities
Major/minor chords Major/minor 1st and 2nd inversions All seventh chords
Augmented/diminished All seventh chords, root Root position and inversions
root position triads position Cadences
Cadences
Sight-reading only 2 pages sight-reading in g 2 pages sight-reading 2 pages sight-reading
minor, G major and b minor excerpts from a baroque suite C major, d minor,
in D major, 20th century techniques
e and g minor
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 4.1—4.5 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
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.
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),
34.
38 Ibid., 77.
65
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
40 Nancy Faber and Randall Faber, Piano Adventures, Level 3, (Ft. Lauderdale, FL: FJH Music
Co., Inc., 1993), 12.
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 Bach’s two-
part 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
42
As this discussion continues, roman numerals without the figured bass will be used to
describe harmonic progressions found in piano books.
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
43 Akiko and Forrest Kinney. Pattern Play 1, (Mississauga, Ontario: The Frederick Harris
Music Co., Limited, 2010), Back Cover.
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. Alfred’s Premier Piano Course places “Imagination Station” sections
weaved within their books.

73
44
Dennis Alexander, et.al., Premier Piano Course, Level 1A, (Van Nuys, CA: Alfred Publishing Co.,
Inc., 2005), 9.
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.

NASM Standard Level 1A Level 1B Level 2A Level 2B

Form Phrase Mark AB sections, but no
mention of binary or
ternary
Harmony Given a melody, provide I- V7 in C and G Major
tonic or dominant note
I-V7 in C and G Major
Counterpoint
Composition Add appropriate musical Add notes to complete a Choose a rhythm to write
markings to a piece melody using C 5-finger the G major scale.
pattern.
Improvisation Given specific parameters, Given a 4 measure Given a 4 measure Given a 4 measure
use a given 4 measure rhythmic pattern, create a rhythmic pattern, create a rhythmic pattern, create a
rhythm to create a melody melody using C and G 5- melody using D 5-finger melody in A Major
finger pattern pattern arpeggio
NASM Standard Level 3 Level 4 Level 5 Level 6

Form Sequence
Mark AB sections, but no
mention of binary or
ternary form
Harmony i-iv-V7 in a and e minor i-iv-V7 in g and d minor i-iv-V7 in c minor
Counterpoint
Composition Compose LH Use a given rhythm Write melody over given
accompaniment. compose RH melody harmony with rhythm
Tango- d minor provided
Improvisation Given a 4 measure Given a 4 measure Given a 4 measure
rhythmic pattern, create a rhythmic pattern, create a rhythmic pattern, create a
melody in a 5-finger melody on D major, a and melody on d minor scale
pattern e minor scale
Figure 4.1
76
NASM Standard Primer Level 1 Level 2 Level 3 Level 4

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

Form Question/answer phrase Question/answer phrase Question/answer phrases Parallel and contrasting
phrase
Write “answer” to
question part of phrase
AB, ABA sections
Harmony Transpose Transpose Create a melody with Transpose
given LH
Transpose
Counterpoint
Composition Compose piece given Write a piece using only Given the Question part of Given a rhythm, create a
various parameters C’s the phrase, write the melody within a given
including: black notes, Given the Question part of Answer major 5-finger pattern
the phrase, write the Write a new melody given Given the Question part of
C D E or F G A B, and Œ, Answer the LH ostinato and the the phrase, write a
melodic/harmonic 2nds beginning and ending contrasting answer.
notes. Given a key signature,
Given a rhythm, create a write a question/answer
melody within a given phrase
major 5 –finger pattern
Improvisation High/low Using the LH pattern,
CDE create RH melody using C
FGAB major 5-finger pattern
Harmonic/melodic 2nds plus e
and 3rds.
Using a given rhythm,
create a melody using a
given major 5-finger
pattern, then add LH
accompaniment
Figure 4.3
78
Celebrate Piano!
NASM Standard Level 3 Level 4

Form Question/answer phrase Sequence
ABA form Question/answer phrase
Sequence Label AB or ABA sections
Minuet form
Harmony Write I-IV-V7 over given melody Given a melody, write chord,
Transpose both with letter name and
roman numeral
(all major keys, but one)
Transpose
Counterpoint Canon
Composition Given a question part of phrase, Write Question/answer phrases
write answer. 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
Improvisation Given a question part of phrase, Play a different accompaniment
improvise several parallel and style
contrasting answers
Create a variation on “Go Tell
Aunt Rhody”
79
NASM Standard Primer Level 1 Level 2A Level 2B

Form Identify phrases Identify form
Harmony Write tonic or dominant Transpose
note over given melody.
Write I or V7 to show
correct chord
Counterpoint
Composition Write dynamic marks in a Complete measures using Given a rhythm and some
piece. 8th notes and chose a key notes, complete 16
to play the rhythm measure—using at least 2
Given a rhythm and some 6ths
notes, complete a 16- Compose ABA piece, using
measure song using a given rhythm and some
given 5-finger position notes.
Improvisation
Figure 4.4
80
Piano Adventures
NASM Standard Level 3A Level 3B Level 4 Level 5

Form Label AB or ABA sections Motive Sonatina Form Identify cadence points
Binary/Ternary Form Sequences Sequences Sequences
ABA form
Harmony I-IV-V7 in C, G, D, F Major i-iv-V7 in a minor i-iv-V7 in a minor Harmonize 8-measure
Use sequences to compose melody with Alberti bass
melody
Counterpoint
Composition Compose a melody over a Compose 4 different Compose a piece using Compose a piece with
given harmony and melodies over harmony in sequences given rhythm
rhythm d minor Compose a Waltz in ABA Compose a four-measure
form with a given rhythm 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
Improvisation
81
NASM Standards Primer Level 1 Level 2 Level 3

Form Question/answer phrase Binary/Ternary form Cadence: Root position
Binary/Ternary Cadences: Root position and common note
and common note Sequences
Authentic, plagal, half Binary/Ternary
Sonatina Form, 1st
movement
Melodic phrase structure:
Question/answer
Repetition
Sequence
Homophonic/Polyphonic
Harmony Write out transposition Given melody, harmonize Primary chord Primary chord
I-V harmonization of four harmonization of four-
measure melody, then measure melody, then
transpose transpose
Counterpoint Polyphonic texture
Composition
Improvisation
Figure 4.5
82
NASM Standards Level 4 Level 5 Level 6 Level 7

Form Cadences-major/minor Identify cadences with Identify Cadences with Identify all cadences
Melodic Phrase structure roman numeral and name Roman numeral and name Sonata-Allegro Form
Melodic phrase structure Deceptive Cadence
Sonatina Form, all Melodic Phrase structure
movements Sonatina Form
Harmony Primary chord Chord progression: I-IV- Modulation with pivot Modulation using
harmonization of eight ii-V7-I chord secondary dominant
measure melody, then Harmonic analysis using
write transposition in G figured bass
and D major, g and d
minor
Counterpoint Polyphonic texture Two-part inventions
Composition
Improvisation
83
NASM Standards Level 8 Level 9 Level 10

Form Identify Cadences Identify Cadences Baroque Suite
Augmentation/diminution Baroque Suite Rondo Form
of phrases Toccata Theme and Variations
Sonata-Allegro Form Sonata-Allegro Form Sonata-Allegro Form
Harmony Modulation using: Modulation (Level 8) Modulation
Secondary dominant Secondary dominants Neapolitan 6th and Augmented
Pivot Chords Harmonic analysis using 6th chords
Phrase modulation figured bass Non-chord tones
Parallel Key Tonality in 20th Century:
Chord Progressions Extended Tertian
Harmonic analysis using Harmony
figured bass Polytonality
Pedal Point Bitonality
Atonality
Quartal Harmony
Serialism and 12-tone
Counterpoint Two-part inventions Fugue Fugue
Composition
Improvisation
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
45“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
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 sight-
singing examples. The authors include a solfège 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 2A—a bit later
than other series—but 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 student’s 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 First-
Year Music Theory and Aural-Skills Curriculum.” Journal of Music Theory
Pedagogy. 22 (2008): 93-116.
Johnson, Rebecca Grooms. “There’s a New Series in the Music Store—How 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).
95
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_Excerpt-
AdmissionUndergraduateStudies.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)

Alexander, Dennis, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Martha
Mier. Alfred’s Premier Piano Course Lessons, Levels 1A-6. Van Nuys, CA: Alfred
Publishing Co., 2005.
----- Alfred’s Premier Piano Course Theory, Levels 1A-6. Van Nuys, CA: Alfred
Publishing Co., 2005.

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, Nancy, and Randall Faber. Piano Adventures Lessons Primer-Level 5. Ft.
Lauderdale: FJH Music Co., 1993.
96
----- 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

Item type text; Electronic Thesis

Authors Van Sickle, Karen

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this

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Link to item http://hdl.handle.net/10150/217071

NASM SUGGESTED THEORY GUIDELINES FOR STUDENTS

Karen Van Sickle

A Thesis Submitted to the Faculty of the

In Partial Fulfillment of the Requirements

In the Graduate College

THE UNIVERSITY OF ARIZONA

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

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

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

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

Thanks to the other members of my committee for their valuable knowledge:

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

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

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

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

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

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

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

National Association of Schools of Music (NASM) designed a website page for

conservatory, college, university as a music major?” Theoretical concepts they

to assess their effectiveness in presenting the theoretical concepts NASM

foundation for many of the concepts undergraduates will be expected to know as

they enter college theory courses.

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

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

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

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

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

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

“auditions, examinations or other evaluations.”2

Signed: _Karen Van Sickle____