As piano students grow older, one of the biggest questions teachers face is… when to move on from method books.
So, today we thought we’d present what I consider to be the “life cycle of a method book” in hopes that maybe it provides some clarity for teachers pondering the method book dilemma.
Below is my philosophy for method book use and how they are used in my studio… but it is certainly not the only philosophy. In the comments, we’d love for you to chime in about the role method books play in your studio.
The Life Cycle Of A Method Book
The life cycle of a method book closely resembles (and correlates with, in a way) the stages all children pass through as they grow from children to teens… so much so that writing this post makes me all emotional about my own children growing up! 🙂
But, I’ll get over it and get to the point. Here are the 3 stages that make up the life cycle of a method book:
Stage 1: Happy and Structured
Very young children need rules and structure. And although they may occasionally fight back against authority, whenever structure gets thrown out the window, young kids can’t handle it. This is why method books work great for young kids.
Method books provide the structure children crave. Young students love method books. They get excited about progressing through the method book lessons, feel comfortable with the predictable routines and enjoy the familiar characters and images.
This is not to say that a “field trip” away from method books into the land of supplementary repertoire is not also needed. New and fresh experiences are what make up some of the most memorable childhood experiences… and some of the most beloved and memorable early music experiences too!
Yes, young children love method books and method books love being new and exciting. But change is inevitable… and so the life cycle continues…
Stage 2: Structured Freedom
As children approach adolescence, they yearn for a taste of freedom and independence. But at the end of the day, this desire is not as strong as their need for the comfort and advice of a parent.
Sure, they don’t want to sit with you at the movies, but when they’re struggling with school or friends, a big hug and some words of advice from mom or dad is what they want most.
Pre-teens treat method books like they do their parents. Method books, when owned by an pre-teen, have a new, yet still important role. They are there to continue to provide the consistent and familiar structure they have had in the past, all the while letting their young pianists spread their wings and explore alternative sources of repertoire and activities. And when that repertoire becomes too hard or unpredictable, the method book is there waiting to pick up where their owners left off.
At this stage, method books still have a ton to offer and will be making regular trips to the piano studio.
Stage 3 – Freedom to Fly
During the teen years, kids are shaping into who they will become as adults. They do not need (nor do they want) to mimc those who have come before them; they are becoming their own person.
At this stage, the music, style, and format of method books simply cannot fulfill every single individual teen student’s wants and needs. But that doesn’t mean their life is over.
Because, just as teens benefit (and need) guidance from parents and teachers, they can also benefit from the guidance of a method book. While the music from a method book may be lost on teens, and the desire to create their own music can be strong, the progression of skills and the sequence in which the skills are presented in a method book can also be very useful to developing teen piano students.
Do all teens need their own method book? Probably not. But having a teacher who uses the scope and sequence of a method book, or who has developed their own scope and sequence (loosely based on method books) will be just what teenagers need as they grow into an adult pianist.
Metaphors Aside…
All life cycle metaphors aside, the way you use your method books (or don’t use them at all!) is an important topic to think on and to revisit year after year. The books your choose or do not choose, the way in which you use them, and the length of time that they remain a part of your lessons are all factors that contribute to the overall growth of your piano students.
So, share with us in the comments… how do you use method books in your studio and what does your “method book life-cycle” look like?
Denise says
Thank you, Andrea, for opening up this topic for discussion. I am a fairly new teacher (3 years). I use the Faber Piano Adventures as my “core curriculum” and it has been wonderful! It has helped keep me on track and organized. I use supplementary music and games, such as your piano book club and piano game club, which match the level the student is working on. The students love moving onto a new level as it gives them a goal to work towards and a sense of accomplishment. Once a level is completed, each student receives a personal, printed certificate which they can frame, as well as a bag of M&M’s. 🙂
My struggle is this: some of my students tell me they want to quit after level 5; they view this as the final accomplishment and graduation. I don’t quite know what to say to this, as I’m not sure where to take my students after level 5. There are programs out there beyond level 5, but they all seem to be exclusively classical music. I am looking for something more inclusive of all genres of music beyond level 5. Do you have any suggestions so I can feel confident as a “Beyond the Method Book” teacher? Thank you so much!
Pamela says
I’ve been teaching private piano lessons for 36 years! In the recent years, I’ve been teaching the Alfred Method & students think that Level 6 is the accomplishment. When they mention this to me, I ask, “But why would you want to quit when you’re just starting to get really good? There is so much more to learn & building your repertoire is so important, so you can play anything you want to at any time.” My exceptional students, of course, always take lessons through their senior year. I do teach supplemental music throughout these levels in the genre of music they seem most interested in learning. Once beyond that, I usually let them make the decisions on books to play from and I usually include one classical book. I think student that is trained classically can play anything! Spend a day in a music store & research music. You’ll be happy you did & have so many ideas for students!
audrey childs says
Sadly, our one great music store in the DC area shut down last summer. Dale’s in Silver Spring was the place that every musician went. You could browse through choral and instrumental music-actually pick it up and read it, hum it to yourself, experience it. I don’t teach choral music anymore, but it is really ridiculous to have to go to the internet. You can only see maybe the first page of music. There’s no place comparable here anymore!
Mary Kay Warner says
I introduce my students to Lee Evans’s Elements of Jazz, etc when they outgrow curriculum, or even along with, to spice things up and help them understand there is always something to learn in music.
I don’t have a solid background in jazz, (one jazz ensemble course in college and a workshop in Rockville, Md) so I am learning along with the kids!
Jackie says
Have a look at the Christopher Norton Microjazz books. These are wonderful and have a whole mixture of jazzy tunes which appeal. Great for rhythm too.
Sandi McMenamin says
Most of my piano teaching has been in the last 25 years, during which time I used Alfred’s but have since changed over to Piano Adventures.
At some stage while students are on Level 2A I often introduce in tandem the AMEB (Australia) Piano For Leisure exam books, which have a mixture of classical, jazz, and popular music. Sometimes the students do the exams, sometimes not, but they certainly get pushed out of their comfort zones.
I also encourage students to get sheet music (usually digital downloads from musicnotes.com) for their favourite hit songs.
And locally we have a fantastic composer called Kerin Bailey who has released a series of piano books called JAZZIN’ AROUND. Within each book is a whole suite of pieces in jazz, classical, and blues styles. Melodies and rhythms are great!
All books are available online.
Andrea says
Hi Denise – you’re certainly not the only one who wonders this so thanks for bringing it up! My personal take on “finishing method books” is to then look at each individual student and ask them (or myself) the question of “what avenue makes the most sense for this student”. By “avenue” I mean what will they be using their piano for? As piano student myself when I “graduated” from lessons I had only really ever learned to play repertoire that was given to me – mostly for RCM exams. I had no idea how to accompany, compose, improvise, teach, play jazz etc. etc. This was all stuff I ended up teaching myself or seeking out people to teach me as a young adult as I realized how much I had yet to learn in the “world of piano”. So, for my own students we discuss “why are you taking piano lessons?” and their answers guide me to what they need to be taught. Do they want to work in the field of music? Well then they need to learn how to accompany, they need to be familiar with the Broadway standards, they need to know how to improvise and collaborate etc. Do they want to pursue a degree in piano performance? Well then our focus is on what they need for their entrance auditions. Do they want to write their own music? Then we focus on giving them a broad range of music to learn and on honing their own compositional skills. I think taking this approach rather than simply continuing on learning piece after piece really makes for more relevant and applicable lessons as teens and young adults. Does this help? It certainly requires more work on the part of the teacher as method books are SO EASY to use! 😉
Denise says
YES! This helps a lot! I never thought of approaching it in this way. What a refreshing way of thinking…thank you! Thank you also, for sharing what you felt you were missing once you finished lessons. When I finished grade 8 in the TO Royal Conservatory of Music, I quit. I was tired of practicing for 3 hours a day just to complete exams. It was getting me nowhere. I wasn’t encouraged to play in public (therefore I have major performance anxiety), compose, improvise or play any other genres of music. This is why I do not teach RCM. I am also teaching myself all these new things, just like you did! I find your experience very encouraging.
Thank you to Pamela, Jackie, and Sandi for your ideas as well. I will start reasearching and planning for the future; looking at the needs and talents of each student. I have lots of time, as my highest level student is 3A and I am very excited! Thanks again!! 🙂
Tyra says
Love your answer, Andrea. I was ill-equipped after leaving method books behind and really didn’t learn about music until I was in college. Today, I want to make sure my students have a well-rounded knowledge of music.
Tara says
I think Andrea’s response is great! I would add that once my students are in Piano Adventures levels 4 and 5, I start “prepping” them for what we will do once they’re done with method books. This includes talking to them about the things Andrea mentioned, also maybe incorporating a book or pieces that gives them a taste of what is possible once they’re done with method books.
Andrea says
That’s a great point Tara – for some students they have *no idea* what they may want to do with their piano! Giving them a taste of each possibility is a really great way to let them sample and then make an informed choice. Plus – there is never just “one track” – people who focus only on classical music should also know how to accompany… those who focus on teaching should know how to improv etc. etc. 🙂 Thanks for your thoughtful comment!
Donna says
Thanks so much Andrea!!!
Melinda Workman says
Such a good point, Tara!! I have learned over the years that when people ask me if I have questions I respond with “What questions should I be asking?” Because I don’t know what I don’t know-but should be asking about! By providing all those snippets, it gives them such a great idea of what they really would like to pursue so you can run with it when the time comes instead of lose momentum trying to figure it out.
Sharon Hale says
Denise – if you are in America, I highly recommend the National Guild of Piano Teachers (www.pianoguild.com). It’s a little challenging at first to figure out the website if you’re not familiar with the program, (someone from the 21st century really needs to do an overhaul…) but give them a call. They offer opportunities for students to test every year and have a wonderful musicianship phases chart in the Syllabus that answers your question of “what next.” The criteria for the annual testing (‘auditions’) means students are learning material outside of method books early on, and it gives the teacher specifics to target to ensure the student is well rounded. I love having that roadmap.
Denise says
Yes, I am in the US. I have joined MTNA, but not the guilds. I’ll have to look into that. Thank you for the suggestion. 🙂
Sue says
After students begin scales and chords, I like to offer them the best of both worlds by teaching to improvise as well. That’s not to say they forfeit a wide repertoire of genres. They love it!!!!
Val Letenyei says
I use a variety of method books and choose according to the learning style, personality, age & interest of the student. I always supplement with at least one song or book they choose so there is a connection to help motivate them to practice each day. I find the hardest age to use method books is the 10-14 yr old beginner. This type of student signs up because they have begun teaching themselves to play and have a strong ear and want to learn how to read music but the illustrations & songs in beginner books are usually geared toward younger children which turns them off so I’m usually simplifying a pop song for them and using my own arrangements for their lessons. I’ve looked at every method I can find and the two that are the best for this age group in my opinion are Faber Accelerated and Alfred Premier Jazz & Blues. Just found the Bastien Adult All-in-one and that also works for older teens. Would love to hear other ideas for this age group!
Denise says
Val, I just learned about Piano Pronto by Jennifer Eklund. I will be starting a new 16 year old beginner in this program. There are no pictures and the student starts learning on the staff right away. I am excited to try this new method. So many great reviews!
Val Letenyei says
Thanks Denise! I am checking out their website right now:)
Christine Simpson says
Val, you might want to try the Alfred Adult All-in-One if you tend to teach by chords and focus on learning by note rather than by interval. If you start by emphasizing intervals over note reading then you might try the Adult Music Tree book. A nice compromise is the Adult Faber book. The music is a little more challenging but still moves quickly.
Val Letenyei says
Thanks Christine – I’ve used the Music Tree books for younger students but wasn’t aware there was an Adult music Tree book. I prefer to teach by intervals so I’ll definitely look this one up!
Sue says
My adult students have enjoyed the Adult Alfred books.
Rachel says
I use a variety of method books and supplemental music like duets, especially for older children and adults based on their interest. Older students and adults come with an idea in mind of exactly what they want to learn to play and if you offer them only the method books you often lose them because they want to sound great fast. They’ve often started trying to teach themselves music and don’t want the kiddish illustrations in the books so I use the Alfred adult series for more pop music styles, Alfred Jazz and Rock, or if they want classical music you can try books like Russian Piano School, Royal Conservatory of Music, or Suzuki. I try to get a variety of popular music from movies etc in beginning books for them also. They still need the structure of the method book so they aren’t skipping around and missing core concepts but I try to supplement it with music they like. Browsing the music store is a great way to find new music. I’m now trying to supplement the books with more emphasis on ear training, playing from a lead sheet, improvising so that they learn to ‘sound good’ faster so they are happy with their progress but they still have to learn the books. I think the biggest challenge with this group is that they want to sound like they’ve played for years to impress their friends and they just started playing! This is where improvisation is great but I wish there were more series out there for older kids so that I don’t have to constantly be trying to find supplemental material and arranging music for lessons.
Andrea says
Great points Rachel – and yes, the key for this age group is satisfying their need for “instant gratification” vs. not skipping around and missing the concepts and skills they need. It definitely is a balancing act.
Paula says
I agree with your thoughts Andrea. In my studio I teach several method book series, and I introduce classical music as early as level 1 with some students, from books such as Bastien classics. As they progress I introduce Royal Conservatory and supplemental music including pianobookclub, micro jazz, pop sheet music and others. I keep the lesson books going to introduce each new concept in a good progression right along with the other music until it is no longer needed. With teens who are starting out I choose an adult method book so that concepts occur more quickly. It’s so interesting to see how each student progresses. One student has told me that they love their classical music so much (age 12) that they must cease the lesson book. However we’ve agreed to lick and choose pieces out of the lesson book in order to make sure each concept is covered while they focus on their Royal Conservatory repertoire. Thanks for a great post and discussion! From Paula in BC
Paula says
Oops I meant pick and choose – so much for my proofreading!
Alison says
When my students graduate from their curriculum, I compare it to graduating from grammar school. Now they have the tools to play! I move them into a “playing in all keys” book (In All Keys-Bober or Piano Miniatures-Labenske) and the Burgmuller, Czery, Hanon series for technique/literature. Then I add whatever they want to work on – sonatas, pop, jazz, lead sheets, etc. Being in Texas, they continue their graded theory curriculum as well.
Andrea says
Great comments Alison – thank you for the book suggestions!
Andrea says
Wow! What a lot of work you’ve gone to in those lists Amy! Thanks for sharing 🙂
Sandra says
I use method books to get started but break away from them as soon as I can. At the most I will use up to level three. All methods have their inherent weaknesses and switching it up between series covers more bases. There is great supplemental music out there ….why be confined to one method series??
Most series don’t transition well into RCM, so I get my students into the RCM Prepatory book as soon as I can, even if they are still in a method book.
Andrea says
Hi Sandra – using a multi-method book approach is a fantastic strategy. You are right – all methods have their weaknesses and so using a variety can really ensure that your students have a well-rounded background. Thanks for your comment!
Sandra says
Also: sticking to method books might mean missing out on all the great Piano Club supplementary repertoire.
Andrea says
LOL – You’re so right Sandra 😉
Edna Bloom says
When students begin playing sonatinas, I have them purchase a sonatina collection (usually good ol’ Schirmer) and also work on Anna Magdalena’s notebook. We start supplementing with collections of this and that and discuss how they are building their personal music library. As they progress I have them start accompanying and begin using their skills in as many settings as possible. I still like the method books to provide a basic structure, and I also like taking through collections that go through the keys.
Andrea says
Great input Edna – thank you!
lynn kiesewetter says
I add in the Easy Fake BOok series by Hal Leonard. If you are not familiar with them, they are a treasure! By now there’s probably 40 or so of them, various categories- popular by decades, easy jazz standards, country, rock, blues, Disney,…..on and on. Even a level 2 student who knows basic cadence in C can get a lot of mileage and start to learn how to dress up the left hand. It ties right back in to all the other music they have and will learn. It’s fun to say, “try Alberti bass here” or “do the Viennese waltz bass” or “try arpeggios”. The cool thing about reading from fake books is that your approach to improv grows over time, but even the basic whole note chord gives kids the feeling of improv, i.e. thinking on the fly
Andrea says
SO true Lynn – and yes, those books are fabulous. Students can really build up not only a great repertoire of “known” pieces, but also (as you say) the ability to improv under a melody.
nancy says
This may sound very old school but I remember the two books I got and I still enjoy them 60 progressive pieces you like to play and 59 piano solos you like to play published by Schirmer. The progressive pieces start out easy so it makes an easy transition to the more difficult pieces and the piano solos book and Scott a great collection of classical solos.
Andrea says
Sometimes “old school” is the best Nancy! There’s usually a reason they are timeless and have lasted through the ages. Thanks for reminding us of these!
Lisa says
I love these two books as well. The collections can’t be beat. I use the Alfred Premier Series, but also have a copy of the Piano Adventures and several others in my “library.” When a student needs more work on this or that, I will loan them a copy of another method book to learn a piece or two to give them more experience on that concept.
Marylee says
To stay on track, I use method books. They are just plain good! Faber Piano Adventures and the Alfred Premier are my favorite. When a student reaches a level three, if he/she is reading well, we move into the classical pieces. If they still love the method books, I keep moving ahead in those, but introduce some classical pieces. I like the Kieth Snell series for classical music, but use others so that students are on a different track. (helps recitals so there is a variety). This summer I have had a great time working on improvization with my students due to taking an online “eartrainingandimprov” course by Kristen. Students are having a lot of fun! And I love the great music that our “teaching composers” are putting out! Some students continue on with piano because of these! Only problem with all of this? Lesson time is never enough time!
Yvonne Chittle says
Great discussion! I usually have them working from the beginning in two beginner books (John Thompson EPC and Edna Mae Burnam Step by Step) and I supplement, usually with the primer Faber & Faber series where they can get popular, hymns, children songs, etc. and they come with teacher duets, which is fabulous. After they finish book 1 & 2, I move to the Schaum series, usually books 1 & 2. I tell them that this is the meat and potatoes, but supplement a lot with popular books, jazz, Christmas music, etc. The method books are important because they really do cover new concepts. This helps them to then be able to play music that they really do like to do.
Andrea says
Great points Yvonne – thanks for commenting!
Megan Hughes says
I use method books as long as they work and no longer. Rarely is that much past the third level of anything. Sometimes I use them not at all and start right out with familiar songs and go from there. It all depends on the student.
Young kids love the beginning Faber books and also Piano Town. Piano Town is especially useful with anyone who has coordination or other challenges, like learning disabilities.
But when it’s time to move on, we move to something else.
I encourage students to take an active role in choosing music. There’s so much available, no one should have to play things they hate.
Andrea says
Here here Megan! Yes, there is SO much music out there that there’s really no reason to play music that doesn’t make your heart happy 🙂 Thanks for sharing your comments.
Amy Martens says
Hi there!
I have been teaching group piano lessons for younger kids for 5 years but have now decided to take on some private students as well. I have a 15 year old beginner starting this month and am looking for suggestions on method books to start with that will keep him engaged? I have never started a teenager in 12 years of teaching piano; my students have all been younger then 8 yrs old when they started.
Any advice would be appreciated!
Tyra says
I have enjoyed reading all of these responses. I have even made a list!
My approach is not much different than the rest. At a first lesson, I listen to the student in Alfred Piano Series, which I own. I start most students here. If their music acuity is better than most, I’ll start them in Faber and Faber, Piano Adventures. If their acuity needs a slower pace, then I’ll use Bastien Building Blocks (?). If older students are flying through their music, then I’ll get them out of method books and pull music from other sources. We still work through theory books, however. A life-saver of a book for this age has been “60 Progressive Pieces You Like to Play.” There is also a “59 Progressive Pieces…” but I like the former one better. I also use “Burgmuller, Czerny, and Hanon” for finger dexterity. They’re written in the form of songs. Older students like this book (there are two to three in a series). This beats mind-numbing Czerny any day of the week. For older beginners, I use Alfred Adult. So far, no complaints from students with this series.
Michelle says
I’m surprised you switch to Faber if a student does really well in Alfred. I do the opposite because I think Alfred moves more quickly.
Barb says
I’ve taught for many years with several long breaks from the studio. I’ve returned again, this time going into homes. Loving every minute with these young creative students. My younger and tween students are crazy about your stuff!
I have a particular need, though. I have a high school young man who plays guitar (I play a little too, so this is good– we can discuss theory from both the “fret” perspective as well as the keyboard), and he decided to study piano as a way of expanding his musical skills and music theory knowledge. He has the heart of a songwriter, devouring everything I can teach him about chord progressions and such, way beyond his reading ability.
I have him in the Piano Adventures adult series. He’s still in book one. What do you have(or recommend) for a primer/level one student who has the mind of a serious adult? BTW, he loves jazz, dissonance, and old-school R & R.
Karen says
I teach college students -mostly beginners. Faber Adult piano Adventures Book 1 is terrific for the 2 semesters it takes to finish the book. Book 2 goes for Semesters 3 & 4. It is not as interesting but still works. Most students quit after 3 semesters because they have fulfilled their Fine Arts requirement for graduation.
Anna says
Thanks for the link to your repertoire list. I’ve also tried to create my own list to match Piano Book Club music with Faber Piano Adventure books. I’m excited to see how I match up with your list as I’ve not been 100% sure of my level choices. Thanks again Amy, and thank you Andrea!
Robyn says
Many of my students are still young and need the structure of method books. I especially love the My First Piano Adventure books for my youngest kiddies. It’s certainly a learning process for me as I learn to step away from the method books a little more!
Linda says
I’ve taught piano, organ and accordion 30 years and have always included supplemental music in lessons as soon as the student had the basics down. In doing this I geared the supplemental music to correlate with the concepts they were learning in their method books so that it strengthened and expanded their knowledge. I used music they chose so that they could see the value of what they were learning in their method books and also get an idea of what they would be able to do with their musical abilities in the real world.
After learning the basics well there are so many other things to learn like accompanying various venues, transposing, improvising and learning what to do with the chords to embellish there music as well as composing. Classical music is wonderful, but there are also many other styles of music to enjoy out there. In the real world one seldom plays only classical music. If one wants to enjoy music with others in the world to it’s fullest extent one needs to avail oneself of various styles and rhythms etc..
There are some simple rules of thumb to learning chords and what to do with them that they can apply to any song . They don’t have to memorize the notes in each chord and the same rules apply to every key. They are not strapped down with reading each and every note and can recognize these concepts in classical music also which is quite an eye-opener as to where the composer came up with the composition. This method is also extremely helpful when playing with a group of musicians and knowing what fill ins to play.
I would like to add also that learning to accompany singers as well as play with a group of musicians is a fabulous tool. There are concepts you can only learn in those settings. I expanded my talents greatly from this experience as a musician.
Andrea says
Great points Linda – thanks so much for commenting!
CLara Czegeny says
Hi there. Just read this post this evening and found it helpful. I don’t feel as bad now for questioning some of the method books or “arranging” music for my students on my own with musescore. My biggest concern is matching up the method books to RCM. At what level (in each) do they cross over comfortably? I have a music family (of 5) who thinks she knows everything. I have 2 of her sons in Bastien 2 and Piano Pronto 2 (age 10 and 12). Their mom just went out and purchased RCM Grade 2 Studies and Repertoire. I am very upset. She has no clue the Level 2 and Grade 2 have no connection. HELP!