My Favorite Theory Books:

Incorporating regular theory work into my weekly lessons was something a little foreign to me in my earlier days. I just didn’t see where to find the time. Books that I tried to use were never really relevant to the elementary material my students were all working on. Games and activities didn’t seem to stick with them if they had to pass a test either. Last year I was in despair over my students’ theory scores on their SATs.

This year, however, I have found what is for me the perfect resource!  Lina Ng’s theory course, found here at JW Pepper: http://www.jwpepper.com/sheet-music/search.jsp?keywords=lina+ng+theory

These books are leveled perfectly for elementary piano and go along very well with the Piano Adventure and Succeeding at the Piano methods. They have stickers and fun activities and great illustrations that students love. I am also very impressed with the pedagogic methods Ng uses. She teaches note values and pitches by association, reasoning, and interesting repetitions. It is never a lecture-style, “Here is a quarter note. It has one beat”, method of teaching. Students discover the learning objective themselves through the activity.  I now purchase her Theory Made Easy for Kids for every beginner age 4 – 6. For beginners ages 7 and up, I use My First Theory Book. Using these books, I don’t actually need to use a primer for students who start when they are in 2nd grade. I can begin with Piano Adventures Level 1 quite easily, if I emphasize intervallic reading and do the first few lessons completely with theory and general reading exercises. By the time they finish the 3rd Theory book, they are spelling scales and key signatures and doing 6/8 time (roughly SAT Level 2).

I always keep the theory books at the studio and we spend about 10 minutes of the lesson working together on a page or two. My lessons typically are 40 minutes, so 10 minutes on theory is not too much for me to include. FYI, Marshall Music keeps all of these in stock! I think they became tired of me constantly ordering them :)

In my studio there are three types of students, the students who memorize easily, the ones who are frightened to do it, and the new ones who haven’t memorized  before.  My students are visual learners, aural learners and tactile learners.  I have found that the earlier we begin to work on memorization, the more comfortable the student will be.  When I ask the transfer or new student how they memorize, they invariably say, “I’ll play it a lot of times!”  And that will work if the student has time to “play it a lot of times.”  This might be more effective on an eight measure piece but it gets trickier when the pieces get longer. 

 The sooner I have them analyze (in their own words) the patterns of the phrases, their memory confidence improves.  Many students memorize by ear and often try not to use their musical knowledge to aid their memory.   My task is to help them see the patterns and ask them about the harmonies.  I have them identify the harmonies the easiest way for them to remember the triads, either the official name or whatever triggers their memory.   Obviously consistent fingering is vital also. 

At times I have a student who is supposed to memorize a new section of a piece, but they want to get the other section more comfortable.  Unfortunately, they just play the first memorized section, hoping it will improve. 

When you’ve memorized a phrase or a piece, then practice it these ways:

1.    At tempo with your eyes closed.  This is good for all ages, but young children especially enjoy this. 

2.    Extremely slowly by memory, eyes open!  I always say slow enough that you want to scream.

3.    Spots.  (Bach = spot every 4 measures.  Memory mistake = new spot).  Practice these spots with the music and eventually they will be able to begin at any of these spots without the music.

4.    With the music and eyes watching the music to review articulations, dynamics, etc.

5.    By memory counting out loud

6.    Say it and play it!  This is especially helpful with Chopin Waltzes, Nocturnes, etc.  with a jumpy accompaniment. 

7.    Using the metronome with the music.


The student’s confidence and security are increased dramatically by practicing these ways.  If a small slip occurs the performer knows exactly where he or she is in the piece and the performance will still be successful.