It took me a while to get through it, but wow was it a lot of fun reviewing this Music and Keyboard in the Classroom curriculum by Michael Griffin. Even though I am an independent music teacher and this curriculum is designed to be used in a Middle School general music class, I found myself getting so excited about it that now I want to start a Middle School music class just so I can use it!

I started out by reviewing books one and two of the curriculum, The Fundamentals and Getting Creative, respectively, and then sat down to read through the 50-page Teacher’s Guide that accompanies the curriculum. I quickly realized that I had done things backwards and should have read the Teacher’s Guide first. What a treasure trove of philosophical nuggets and practical gems! It was both inspiring and full of helpful ideas that could easily be adopted by any music teacher.

Mr. Griffin’s approach is based on the philosophy that students should be actively involved in the music-making process, rather than just listening to music or learning musical facts. Through this curriculum, students are introduced to music by learning to play the keyboard. Rhythm, notation, music history, and more are taught as part of the process of learning to play fun, familiar songs on the keyboard – something that is sure to motivate and appeal to any Middle School student!

Here are some of the specific things I really like about the curriculum:
• Students are instructed to draw a keyboard diagram in the first lesson (Now why haven’t I ever thought of having students do that?!). These can then be referenced and used for the duration of the year.

• After each piece there is a place on the page for both the student and teacher to sign and date, affirming that, “This piece has been played successfully.” Mr. Griffin especially encourages teachers to require their students to sign before asking the teacher whether they can pass the piece. This challenges the students to take responsibility for their own progress and also frees them up to move on to the next lesson without having to wait for the availability of the teacher.

• Good questions at the conclusion of most lessons gauge the students’ comprehension of the concepts. I really like that these questions are not mindless, but force the student to think and/or find additional information on their own. (i.e. Find a definition for a musical scale.)

• Specific listening assignments are scattered throughout the lessons.

• A few Research Projects are assigned and the students are given very thought-provoking questions to help them conduct their research.

• A Student Reflections page in the back of the book gives students a place to record positive or frustrating moments in their keyboard studies.

• I loved the inclusion of lots of familiar Classical tunes that students will be familiar with and will be motivated to learn.

Book One covers a lot of the fundamentals of music and then Book Two builds on those and delves more into creative assignments, including transposition, form, dynamics, playing in a round, minor keys, using extended fingerings, learning accidentals, and improvisation. Here are a few things related to Book Two that I really like:

• Creative and helpful learning strategies are laid out step-by-step for the student.

• Specific guidelines are given for improvisation activities that still leave the students plenty of room for experimentation and individuality.

• For one of the activities, students are placed in a group and instructed to create a two-minute story (they may select from a list of possible story themes) and support it with special effects from the keyboard.

• I absolutely love the student teacher idea! (Read more about this in the forthcoming interview with Michael Griffin.)

Mr. Griffin has also started a page on his website with additional resources that correspond to the lessons in the curriculum. This will be extremely helpful to teachers as they develop their lesson plans! If you are interested in purchasing the Music and Keyboard in the Classroom curriculum and Teacher Guide, please contact Mr. Griffin by e-mail.

Pricing Info:
Book 1 The Fundamentals $19.99
Book 2 Getting Creative $19.99
Teacher’s Manual $34.99 (compulsory purchase with other books as it explains the pedagogy)
Payment may be made by credit card or via PayPal.

Join us tomorrow for an exclusive interview with Music and Keyboard in the Classroom author, Michael Griffin!

Composer Library Series: …

This collection of Elementary-Early Intermediate Piano Solos is lots of fun! Composer Christine Donkin does an excellent job capturing the imagery her titles inspire. Here are my comments on each of the pieces:

Royal Fanfare - A piece composed entirely of parallel 5ths, once the fingering is solidified this piece should be easy for almost any student to learn. A combination of staccato and legato touches and forte and piano dynamic levels make a great study in contrasts. The piano parts are always played a 5th lower as an imitation of the theme, which creates a nice echo effect.

The Enchanted Palace - This delicate piece in a minor has a pretty little melody in the right hand with scattered bits of harmony in the left. A great piece to work on phrasing concepts!

A Secret Letter - Although written in e minor, this interesting piece employs A#s throughout. The staccato vs. legato touch between the hands alternates, requiring good attention to detail.

Heroes of the Galaxy - Open 5ths throughout this piece convey the valiant sound you would expect from the title. Triplets and some unexpected chords will require good keyboard facility.

Witches and Wizards - In spite of the title (I’m not a fan of witchery and such), this piece is one of my favorites in the book. Written in 6/8, it definitely has to be felt in 2s. Accents on the 1st and 4th beat of the continuous triplet figure moving between the hands will help the student achieve that. In the B section the left hand crosses over the right several times. This lively and engaging piece is one that I might even opt to teach a student by rote.

Soaring - A beautiful piece with lovely harmonies that give it a rich sound. It’s very patterned, making it accessible to most elementary students.

Song of the Pirates - If you have any students “chomping at the bit” to play Pirates of the Caribbean music who aren’t quite ready for the difficulty level yet, this could be a great alternative! A parallel melody between the hands at the opening gives it a bold start and then the hands take turns playing the melody while the opposite hand accompanies with an easy open 5th harmony.

Dream Journey - The ethereal quality of this piece captures the imagination and will help students get past the sometimes dissonant harmonies because of the overall effect they are creating. Plus, they’ll love the glissando at the end!

Clock Talk - One of the more rhythmically challenging pieces in the book, this piece will require a precise sense of pulse. The left hand staccatos followed by short legato phrases in the right hand will also present a challenge…but it’s worth it!

The Dragon’s Story - Student’s could have a blast elaborating on the story behind this musical picture. There’s lots of room for creativity and expression in order to make it really come alive!

Happy Ending - Just as you’d guess, this G Major piece has a cheery quality with a short melodic theme alternating between the hands. Both hands are written mostly in the treble clef and the eighth note rhythms are usually followed with a staccato quarter note that helps capture the mood.

Conclusion: A wonderful book that is destined to become a favorite in my studio!

The moment it arrived, I was captivated by this full-color mammoth guide to practicing - Practiceopedia:The Music Student’s Illustrated Guide to Practicing. The 376 pages are chock-full of creative ideas to help students learn to practice effectively and conquer those tough spots in their pieces. I found myself reading through page after page, unable to resist the urge to read “just one more” idea.

Although it has the potential to be overwhelming, the book is very well organized and the layout is clean and attractive with a variety of clever illustrations that enhance the text without cluttering the pages. The “Exploring the Book” overview at the beginning of the book shows you how to find the practice help you need by starting with a problem, using cross-references or previewing each chapter. A handy “Chapter Guide” summarizes and directs you to each of the 61 chapters. The “Usher” pages direct you to specific practice suggestions based on the problem you are trying to solve. These are broken down into eight categories:

1. Not wanting to practice
2. Learning new pieces
3. Preparing for performance
4. Getting your piece up to tempo
5. Staying focused
6. Saving time
7. Managing deadlines
8. Dealing with problem passages

I’ve found it useful already in my studio - from giving it to a student after a lesson and telling her to come up with several ways to practice her piece that week to exploring it with a student to find ideas to deal with a problem we were trying to solve when none of our initial ideas were working.

There are so many great ideas and I haven’t even begun to implement them all, but here are a few of my favorites:

Blinkers - a page the size of the sheet music is placed over top of the page the student is supposed to practice with “windows” cut in the cover page to reveal only the measures the student is supposed to spot practice.

Defining Your Prototype - walks the student through identifying and listing specific qualities they want to be true of their performance and then how to work on developing those through their practicing.

Horizontal vs. Vertical - a discussion of the difference between practicing a piece in sections vs. practicing it as a whole and which approach is better.

Philip Johnston, author of Practiceopedia and also founder of the popular website Practicespot.com, has put a lot of thought into producing this creative guide that should be in the hands of every dedicated musician. Mr. Johnston writes, “If you want to progress twice as rapidly, you don’t have to figure out how to do twice as much practice. Instead, practice twice as effectively.”

That reminds me of a parallel principle I learned from a physical fitness trainer - if you learn how to work out properly and intensely you can achieve much better results than if you work out for long periods of time with no clear plan or with a poorly designed plan.

We all get in the habit of doing things a certain way and have a tendency to keep doing them that way regardless of whether they are effective or not. Practiceopedia will help students “Get rid of practice habits that don’t work - so they stop wasting their time - and replace them with a brand new set of carefully chosen practice techniques that do work.“

Wow! If you want to hear some of the most amazing Christmas music ever recorded, click on over to Nelidova Records and listen to the sample clips from the Christmas Fantastique CD! I love to have Christmas music playing around the house between Thanksgiving and the New Year, but sometimes I have a hard time finding recordings that I really like. I have never heard anything this good! You can either download the whole CD for $9.99 (9.75 CAD 6.82 EUR 4.88 GBP) or order it for $14.99 (14.63 CAD 10.23 EUR 7.33 GBP).

If you know of any other Christmas music recordings you would recommend, I’d love to know about them!

Billed as “an alluring blend of folk and classical music that celebrate the wonderful melodies found in folk songs,” I enjoyed playing through this delightful collection of six folk songs. The book is arranged by Cheryl Shantz and the cover indicates that it includes “Graded Pieces at the Intermediate Level.” I must confess, though, it took me several times through the book to really begin to comprehend all the stylistic elements Ms. Shantz has artfully woven into these arrangements. The layout of the book is clean and well-marked for performance with specific fingerings, articulations, dynamics and pedal markings. Beneath the title of each piece are the words of the folk tune and a short paragraph with additional information for each tune is included at the end of the book. Following are my brief notes on each of the pieces.

1. Fair Sally - A simple broken chord accompaniment opens this piece, but gives way to a slightly more complex structure with the left hand carrying the melody and the right hand adding bits of counterpoint. A rich, chordal texture in the bass register peeks in for a moment before giving way to a sweet, expressive section where both hands are played in the treble register. The bass section reappears with a sotto voce marking to bring the piece to a cohesive and beautiful close.

2. Oranges and Lemons - This piece conveyed a Baroque feel, albeit interspersed with pedaled chord progressions that added some color.

3. The Blacksmith - The dolente opening is almost foreboding, but for the B-natural consistently applied in this d-minor piece. An easy broken chord pattern in the left hand accompanies a right hand that grows more complex with some inner voices. A gradual build-up eventually gives way to a faster leggiero section with 16th notes in the right hand that “twinkle” above the left hand melody to the end.

4. Down By the Sally Gardens - Contrary motion arpeggiated chord patterns let the fingers and ear flow into this lovely tune. 16th note runs, sometimes accompanied by snippets of melody throughout most of this piece contribute to the tender mood.

5. Greensleeves - No doubt the most familiar of the folk tunes included in the book, this piece opens with rolled chords in the left hand accompanying a single melodic line. The melody slips into the inner voice played by the left hand for a short section and then gives way to a “running” line of 16th notes for the remainder of the piece while the right hand supplies the melody.

6. Scarborough Fair - A misterioso introduction sets the stage for this popular tune. Unexpected harmonies dot the landscape of this piece and it was sometimes difficult for me to follow the melody. The longest in the book, this piece eventually ends with a bang!

While some of the pieces are accessible to an average intermediate student, others are more appropriate for a later intermediate student. It’s a great fit for the student who enjoys Classical music, but would also enjoy some familiar folk tunes! The pieces are ones that I’ll even enjoy adding to my collection of music for receptions/background music, etc. You can order your own copy of this book by contacting Cheryl Shantz directly.

This 53-page second volume of Piano Music of Africa and the African Diaspora is definitely more challenging than the first volume! It is labeled Intermediate, but I struggled a good bit with some of the complicated rhythms and dissonant harmonies myself. The layout is the same as the first volume, with the first several pages devoted to short biographical sketches of the composers and performance notes for each of the pieces.

Here are my notes for each piece:

1. Lament in Tremolo Form - This has a beautiful, almost Chopin-like quality to it. A great piece for melodic voicing with the right hand carrying the melody, the bass note supplying a pedal tone and the rest of the left hand providing the harmonic “undercurrent.”

2. Invention No. 2 - Obviously a polyphonic structure, based on the title, though set in the unusual time signature 5/8. A very interesting non-harmonic “blend” of lines. (I don’t know that Bach would approve… )

3. Honey - A variety of moods make their appearance in this piece - from a pianissimo lullaby-like feel to an abrupt interrupting theme.

4. Nigerian Dance No. 1 - A gradual suspense builds throughout this very dissonant piece.

5. Prelude No. 1 ‘Joshua fit the Battle of Jericho’ - The barely perceptible tune of the well-known gospel song is well-hidden beneath the non-traditional harmonies of this piece.

6. Prelude No. 2 ‘Poor Mourner’s Got A Home’ - I never could place this familiar tune, but the piece is full of emotion.

7. Oga - This was one of those killer rhythm pieces! Just try playing an eighth note followed by quarter note triplet in the right hand against dotted sixteenths followed by 32nd notes in the left hand.

8. Preludio Cubano - A somewhat playful, happy sound emanates from this piece.

9. Silk Hat and Walking Cane - A Ragtime feel with a fun little melody made this a fun piece to play.

10. At a Certain Church - Opening with a bell call, this piece quickly reveals itself to be a hymn tune and variations on “Promised Land.”

11. Volta Fantasy - Strict counting is required to achieve the fantasy-effect of this piece.

12. Igba Kerin - Awon Abami Eye (Supernatural Birds) - Although this piece starts somewhat heavy, it gives way to a more flighty sound as the hands fly all across the keyboard.

13. Igba Kinni - Akeregbe Baba Emu (The Gourd Master of the Palm Wine) - This piece opens with a shabang on Major 7th chords and remains loud and exciting with constantly changing time signatures throughout.

14. Pomme Cannelle - A sauntering sort of melody with a few playful touches scattered throughout.

15. Basseet - This piece is constantly moving, with 16th notes throughout. Requires close attention to articulation.

16. Nim Nawakht - The right and left hand sport different key signatures in this piece - 6 flats (B, E, A, D, G, C) in the right and 4 (B, E, A, C) in the left. Overall, a very loud piece written with both hands primarily playing in the bass clef.

17. If the Silver Bird Could Speak - Bright and quick, flitting about. Another one with constantly changing time signatures - from 2/8 to 5/16 to 2/4 to 3/4 to 4/4, etc.

This volume is definitely not as accessible to the average intermediate student as volume one, but if you like to try things out of the mainstream, you should give it a try and see what you think.

When William Nyaho was the guest artist at our state music teachers conference several years ago I was thoroughly impressed with his personable and engaging style as both a performer and a teacher. His performance of numerous styles of music was fabulous, but when he played the second of the set of Three Jamaican Dances for his encore, it was breath-taking! The sound was simple, yet elegant, and his exquisite touch made the piano sing in a way I have rarely heard. I bought the CD recording, Senku, that night, but I have always wanted to acquire the sheet music for the piece. You can imagine how thrilled I was when I heard of the new series of books just published by Oxford University Press: Piano Music of Africa and the African Diaspora. Although Jamaican Dance No 2 won’t be published until the 3rd volume, I was eager to try out the first two volumes of this new collection. Here is my review of the first volume.

The layout of the book is spacious and easy to read. Volume 1 is classified as early intermediate and includes at the beginning of the book a brief biographical sketch of each of the contributing composers as well as a short paragraph of performance notes for each piece. As one would imagine, a strong rhythmic background is essential in order to play the pieces accurately. I was pleasantly surprised at the variety of styles and moods captured in the different pieces. I jotted down a few thoughts as I played through each piece:

1. Kwela No. 1 - capturing a lilting 6/8 feel, this piece employs the use of 2-note slurs throughout and subtle syncopation is scattered within the B section in particluar.

2. Tender Thought - a simple sounding counter-melody makes this piece sound almost like a duet between the hands with interesting harmonies richly woven into it.

3. My Scarf Is Yellow - a particularly tricky rhythmic structure and the effective use of many rests in this piece make it challenging, but fun to conquer!

4. Dusk - changing time signatures throughout this piece in e-flat minor contribute to the ethereal quality it conveys.

5. Piano Piece No. 2, Call and Response - changing key signatures and a brief chordal section add color to this piece and the melodic line lends itself to some interesting fingering challenges.

6. Soufiane - the left hand is made up entirely of harmonic 2nds and 4ths, making for an excessively dissonant piece.

7. Off-Beat Shorty - this short peppy piece is made up of a syncopated rhythmic motif in cut time.

8. Ticklin’ Toes - a variety of ideas are employed in this fun melodic ragtime piece, reminiscent of early Americana - this was one of my favorites!

9. Sweet Mister Jelly Roll - another fun, and almost humorous, ragtime piece.

10. Dancing Barefoot in the Rain - visual imagery of the title is probably key to understanding this otherwise fairly non-melodic piece with numerous changes of time signature.

11. Lullaby - a fairly complex structure could easily obscure the sweet melodic sound of this piece if careful attention is not given to voicing.

12. The Monk - one of the most challenging pieces rhythmically, this piece, when played precisely, portrays a mature musical sound.

13. Lullaby - several hints of polyphony are scattered throughout the structure of this piece and the parallel fourths add a touch of Oriental harmony.

14. Builsa Work Song - a course, but rich sound marks this piece that is labeled forte throughout.

15. Ufie III - designed to convey the sound of Ufie - a generic large wooden slit drum - this piece lacks much melodic content, but is fast and driving.

Co-author of the newly published Dr. Mozart Theory Workbooks (click here for the review), Paul Musgrave, joins us today on Music Matters Blog for an exclusive interview.

Music Matters Blog (MMB): What is your musical and teaching background?

Paul Musgrave: After graduating from Juilliard, my co-author, Machiko, taught piano and theory at Soai University in Japan. I also taught piano for a number of years, after becoming an Associate of the Royal Conservatory and graduating from Juilliard. A few years later I resumed my formal education, earning an MBA from the University of Toronto.

In subsequent years Machiko and I found time to compose and our original compositions have been heard on the radio, internationally, for more than a dozen years. We have also worked together as the executive producers of numerous commercially successful piano music CDs. While that occupation may seem entirely unrelated to writing music theory workbooks, our experience with the presentation and marketing aspects of the CD business helped us enormously in developing the Doctor Mozart series.

MMB: What prompted you to write your own theory workbook? How does Doctor Mozart differ from other music theory books?

Paul Musgrave: We have found that without a solid foundation in music theory young music students can become frustrated and discouraged as they attempt more challenging repertoire. To avoid this frustration and discouragement and to support progress in their music lessons, they need thorough theory instruction that is entertaining enough to keep them involved. From our own teaching experience, Machiko and I have long felt a need for theory workbooks that are both in-depth and fun. Being just that, the Doctor Mozart series can be enormously beneficial for students, as the fun aspect keeps them involved while the in-depth exploration of the topics helps them succeed with their instrument.

MMB: How many levels of Doctor Mozart do you plan to produce?

Paul Musgrave: The Doctor Mozart series consists of three workbooks, the first of which is already published. All three levels cover a variety of progressively more challenging theory topics. For example, Level 1 emphasizes pitch notation, with plenty of practice matching staff notes to keyboard diagrams. Intervals, chords, and easy scales are introduced in Level 2, while Level 3 challenges students with key signatures having up to four sharps or flats. Each level utilizes numerous keyboard diagrams and color illustrations to support visual learning. Each workbook is 96 pages long, allowing ample room to cover the topics in-depth. By completing all three levels, students will acquire the solid theory foundation they need to facilitate learning intermediate level repertoire.

MMB: What have you found to be the most difficult part of writing, producing and selling your own workbooks? Has it been harder than you expected?

Paul Musgrave: We spent a full year creating Level 1, working in shifts around the clock in the final months. It took some courage to finally send it to the printer, knowing the huge investment needed to print a high quality workbook in full color. In any case, all our effort would ultimately prove pointless if music teachers had no way to discover the Doctor Mozart series. Since we cannot afford the kind of sustained advertising used by the major publishing companies, we are fortunate that there are alternatives, like the Music Matters Blog. This web site allows music teachers to discover resources, like our theory workbook, that are hard to find but can have an enormous impact on teaching success.

MMB: Any other comments you’d like to add?

Paul Musgrave: Music teachers who would like to help their students excel should take advantage of the thorough and enjoyable theory instruction offered by our Doctor Mozart workbooks. Judging from the feedback we have received, young music students are responding with enthusiasm and their teachers are pleased with the results. The Doctor Mozart series offers a fresh approach to music theory education that is well worth a try.

MMB: Thank you so much for taking the time for this interview today, Mr. Musgrave. I know I’ve already enjoyed looking through Level 1 of the Doctor Mozart theory workbook. I’m sure many other teachers are interested in purchasing a copy of their own to look through and consider for use in their studios.

Head on over to the Doctor Mozart website and order your workbook today!

[NATALIE’S NOTE: Following my initial review of this workbook, I spent some time looking through it again and decided to repost a review that was more inclusive. If anyone else is as picky as I am about theory workbooks, you know how hard it is to find one that you really like. That’s why I’m always up for checking out something new on the market. I hope this review is a helpful introduction to this new workbook and that you will check it out for yourself!]

This attractive, full-color Doctor Mozart Music Theory Workbook grabs your attention immediately and invites students to jump in and get started on the activities. The layout is very clean and the text is very comprehensive, ensuring that students will clearly understand what they are expected to do on each page. The “It’s in-depth” tagline on the cover certainly fits!

Here’s an outline of what is covered in Workbook 1:

1. The book starts by having the student identify black key groupings on the piano keyboard. The explanations and activities are always accompanied by colorful and insightful graphics to further reinforce the concept being introduced.

2. The music alphabet is introduced next, with each of the key names being associated with a specific color as an aid in identification. These colors are used through the remainder of the book on both the piano keys and on the staff lines. The fact that students possess different learning styles was taken into consideration by the Musgraves and they have made every effort to incorporate this realization into their introduction and reinforcement of the concepts.

3. A short explanation and test of steps and skips on the white keys.

4. Staff is introduced. The analogy of a ladder is given – “a staff is like a ladder for notes.” This is a familiar object to which students can relate and I have often referred to the staff as being like a ladder in my own teaching. Concepts are built on this as students are asked to identify notes being on a rung or on a space between the rungs. Terminology switches over to line v. space. Middle C is then introduced, followed by the treble and bass clefs. Note identification follows a mixture of a middle C and landmark approach, with bass B and treble D being the next notes introduced. D is explained as a “drip waiting to fall,” while B is referred to as a “floating bubble.” Again, imaginative presentations lend themselves to a more complete understanding.

5. Landmark notes bass F and treble G, followed by the notes between them and middle C. Students perform a variety of activities - answering questions, filling in blanks, drawing their own symbols, etc. One excellent feature is that the staff is clearly related to the keyboard in a way that will help the students not only identify note names, but understand the concept behind identifying which note is which. In several activities, the student is instructed to draw their own lines from the keyboard to the corresponding staff lines and spaces. A very effective approach!

6. A chord is briefly explained and then the C-chord is introduced, familiarizing the student with both the terminology and the construction of a chord.

7. Note values are next, likening them to a chocolate bar which can be whole, cut into halves, or cut into quarters. Definitely another familiar object for most students! After introducing concepts, students are asked a variety of questions to determine their comprehension of the concept. The relational value of notes are presented: “1 whole note is as long as ___ quarter notes, or ___ half notes.” I find this very beneficial for transfer to a variety of time signatures as the student advances.

8. Stem direction for notes on the staff.

9. Measures are introduced as “Bars are boxes of beats.” Another helpful visual presentation of this concept!

10. Time signatures 2/4, 3/4, 4/4, and 2/2 are presented. Only 2/4, 3/4, 4/4 are referred to in the activities, though. It is helpful that the student is made aware of the fact that time signatures can include a number on the bottom other than 4. Additional time signatures are explored in greater detail in the second theory workbook.

11. Quarter, Half and Whole rests are introduced sequentially, with a number of activities to help students understand the relationship between rhythmic values and rests.

12. Next, the mnemonic device of using phrases to identify the line and space notes of each clef is presented. For treble lines: Elephants Got Big Dirty Feet; for treble spaces: F-A-C-E; for bass lines: Great Big Dogs Fight Animals; and for bass spaces: All Cows Eat Grass. This is probably my biggest complaint about these workbooks. I know that many teachers find such mnemonic devices helpful, but I don’t use them in my studio. (Students get the phrases mixed up, invert the treble and bass clef phrases, etc.) However, a little white out will do the trick. I’ve done that plenty of times before! The activities utilized at this point are not dependent on the phrases and still serve as a good reinforcement of the note identification work included previously in the book.

13. The relationship between the grand staff and keyboard is discussed in greater detail now that the student has been working with the whole Grand Staff.

14. Half steps, then sharps, flats, naturals, enharmonics and chromatic v. diatonic are all introduced and reinforced with a variety of creative activities, accompanied by more imaginative graphics.

15. An overview of accents, dynamics, staccato, legato/slurs, ties brings us to the close of Workbook 1, the student having now developed an excellent foundation of note identification and a working knowledge of musical terms and symbols.

As can be seen from the overview, concepts are presented in a linear fashion with review of previous concepts woven in as necessary to build upon the foundation that has been laid. The workbook is compatible with the Royal Conservatory of Toronto and the Royal American Conservatory and would probably line up well with the theory requirements of almost any curriculum for a level one student. This workbook would be a nice complement to any method series and I think could be used very effectively in a group class setting. It could be the perfect choice for a summer piano camp for a group of beginning students.

I encourage you to order a copy of this exciting new workbook for yourself. Look it over. Try it out with a student. See what you think. You may find it to be just what you’ve always wished you could have in a theory workbook!

Coming up next: an exclusive interview with the authors of Doctor Mozart!

If you are looking for an easy, inexpensive way to record audio in your studio, check out the FlexiMusic Wave Editor.

While the fact that this software was designed by an India-based company is sometimes reflected in the fragmented use of English, the design and features are well thought out and fairly intuitive.

You can download a trial version of the shareware and use it for seven days fully functional. After the seventh day, the save feature is disabled and you will need to pay $20 to receive the license code in order to register the software for continued use.

Once you complete the installation, you will be asked to select your preferred color scheme from nine varieties (a nice touch!). You can change this at any time through the Tools>Options menu in the program. Here are some features I really liked:

PROS
*There are icons for every feature and action that is listed in the menu options, allowing the user to quickly navigate his way around the software.

* When you mouse over any icon, a little text message in the bottom left hand corner of the screen identifies the purpose of the icon (especially valuable for those who are afraid the computer might self-destruct if they accidentally push the wrong button. ).

* There are 3 play buttons, giving the user three options when playing back the audio.
1. Play selected.
2. Play all.
3. Play viewing range.

* There are 11 view buttons, giving the user a wide variety of viewing options when working on editing audio files.

* When you select the record button, a window pops up with a number of options and adjustments that can be made. I really like the fact that you can set the recording to begin at a specified time and continue for a specified duration, indicating things like how much silence should be allowed before the recording automatically stops or pauses or begins a new file.

* Adjustments and selections can be made to the audio file even during playback (other programs I have used put a freeze on all operations during playback).

* When performing more time intensive operations (high level reverb, etc.) a progress bar in the bottom right hand corner of the screen gives you an idea of how much time is left to complete the operation.

* The quality of recording was quite good, with minimal feedback. Here are two sample recordings that I made:
1. With direct line input from Clavinova into the recording software.
2. With an external computer mic set up by my acoustic piano.

Here are some things I didn’t care for about the software:

CONS
* A separate mp3 encoding program was required in order to import and save or convert audio to mp3. However, this is typical of audio recording freeware and shareware and the process was very easy to follow and was done in less than a minute. When you attempt to convert an audio file to mp3 for the first time, a message will appear indicating that you must select the mp3 encoder to use. Just follow the on-screen instructions and links and it should work fine. You only have to do this once to set it up and then it automatically finds the encoder for future use.

* The commonly used keyboard shortcuts and keys are not programmed into the software. For instance, in order to delete a highlighted area of the audio file, you can’t just hit the delete key on the keyboard. You have to go up to the Edit menu and select Delete. You also can’t use ctrl S to save or ctrl N to open a new window. Little things like that that are customary in other programs. Makes routine operations a little bit more cumbersome.

* I couldn’t find any way to do multi-track recording. The closest I came was opening a second window with the FlexiMusic software and starting the recording, then playing the first window with the recorded file while recording into the second file. Then I had to copy the newly recorded file and paste it into the first one using the Edit>Paste>Mix option. It would be nice if there was at least a way to specify when recording an additional selection that the new recording should be mixed rather than just inserted or replace the first.

CONCLUSION
Although there are a few desirable features that make FlexiMusic Wave Editor a handy, inexpensive audio recording software, you can get almost the same, plus the addition of a little bit more user-friendly multi-track recording, with the free Audacity audio recording software.