Craig, Annie, Dash

Bastien Notes
a) Approach to note-reading PRIMER: Initially, note reading relies on a
visual keyboard and finger numbers, rather than note names or a
grand staff. Note names and middle C position are introduced next,
followed (somewhat later) by the grand staff, lines and spaces, clefs,
etc. Typically middle C approach, but individual pieces focus on
intervals of seconds through fifths. No key signatures in primer level.
LEVEL 1: Different time signatures, block chords, then simple keys (F
and G).
b) Approach to Counting The method uses words to introduce
quarter, half, and whole notes, however it is unclear about their length;
it only clarifies this near the beginning of Level 1 when time signatures
are introduced. Early pieces use these three notes for simple rhythms.
First pieces have words. Most pieces have clapping instructions.
Primer level also introduces 3/4 ,4/4 and dotted notes. Later levels
continue to rely on clapping and words.
c) Systematic Presentation of Concepts and Skills The method
successfully and gradually introduces and builds upon simple concepts.
Each new piece does not add a new technique or idea, however; there
is a fair amount of time spent reviewing.
d) Reinforcing Concepts and Skills Many of the early pieces review
previously learned techniques. Once chords are introduced, they are
prevalent in the left hand accompaniment.
e) Development of Comprehensive Music Education Concepts are
introduced and then reinforced in songs. For example, after seconds
and thirds are introduced separately, there follows a piece including
mostly seconds or thirds. Subsequent pieces ask you to find all the
seconds and thirds, reinforcing the simple concept and allowing the
student to theoretically use it in other contexts.
f) Scope and Format The primer is relatively long, but there is a lot
of repetition and many simple pieces. There are far too many very
large pictures, and their relationship to the lesson actually takes some
sort of investigation to understand. The pictures do seem somewhat
superfluous.
Keyboard Exploration The primer level introduces the entire
keyboard in terms of groups of black keys. Note names of the entire
keyboard are introduced in the beginning of level 1. The primer level
has no key signatures, and the majority of the pieces are in C major.
Reading Approach Before notes are learned, the method relies
entirely upon contour teaching. It gives a position on the black keys
and then has notes without a staff moving up and down. The grand

Craig, Annie, Dash

staff is introduced all at once, but for a while after, notes on the staff
include note names on the noteheads.
Rhythm Pulse is not sufficiently learned in the primer level, and only
clearly defined in Level 1. Counting relies upon word devices and
clapping. Otherwise, rhythm is introduced logically and gradually with
one note value at a time. Dotted rhythms are a lesson of their own.
Technique There are a few drawings at the beginning of the primer
level about hand position. However they arent extremely clear and
the fingers seem overly curled. Otherwise, there is basically no
physical technique information. The pieces introduce challenges for
both hands, though the LH is typically chord accompaniment, if not
unison melody. There is a lesson on the damper pedal. Five finger
patterns appear on black notes initially, then in a Middle C context.
Musical Content The pieces are mostly originally composed with a
few folk songs. There are only one or two arrangements of famous
classical pieces. Titles are age appropriate. No real contemporary
music.
Aural Development There are lyrics for every piece in the first book
and a half. Students are encouraged to play and sing. No apparent
ear training besides.
Development of Musical Playing There are some student/teacher
duets in the method book, though there might be a separate book
solely containing duets. The interpretive dynamics, phrasings, and
articulations are appropriate. Dynamics and articulations are
introduced in their own individual lessons.
Creativity There are no improvisation opportunities. Students solely
learn the exercises and then the applied pieces.
Musicianship There are many instances of five-finger patterns as
well as playing in simple intervals. The LH typically plays block chords,
at least in the primer level. The primer level mostly offers pieces in C,
and in Level 1 we begin to see F and G major. There is an additional
theory book that covers most theory needs.
Application of Learning Principles There are some opportunities
for student independence, such as finding specific intervals in pieces.
The method seems to be adequately paced, though perhaps erring on
the side of remaining easy for too long.
Supplementary Materials There are theory and technique books, a
performance book, and later a sight-reading book. Otherwise, there
arent any recordings, flash cards, or software. It would be nice if some
of the books could be combined instead of having a number of smaller
books, most of which will probably be necessary.