Instrumental Methods (Instruction, Books, and more) - Spring 2019

Instructional Methods
These a short list of the music instructional methods that have lasted over the last century, but in
no way represents that entirety of methods and instructional approaches. It also does not
represent all communities and cultures outside of the American Educational system. These
examples and definitions are shared with you to hopefully stoke the flame of curiosity in you,
and to help foster your own exploration of music practices and methods, tried and true.

Dalcroze method
The Dalcroze method was developed in the early 20th century by Swiss musician
and educator Émile Jaques-Dalcroze. The method is divided into three fundamental
concepts − the use of solfège, improvisation, and eurhythmics. Sometimes
referred to as "rhythmic gymnastics," eurhythmics teaches concepts of rhythm,
structure, and musical expression using movement, and is the concept for which
Dalcroze is best known. It focuses on allowing the student to gain physical
awareness and experience of music through training that engages all of the
senses, particularly kinesthetic. According to the Dalcroze method, music is the
fundamental language of the human brain and therefore deeply connected to who
we are. American proponents of the Dalcroze method include Ruth Alperson, Ann
Farber, Herb Henke, Virginia Mead, Lisa Parker, Martha Sanchez, and Julia
Schnebly-Black. Many active teachers of Dalcroze method were trained by Dr.
Hilda Schuster who was one of the students of Dalcroze.

Kodály method

Zoltan Kodaly (1882–1967) was a prominent Hungarian music educator and

composer who stressed the benefits of physical instruction and response to music.
Although not really an educational method, his teachings reside within a fun,
Instrumental Methods (Instruction, Books, and more) - Spring 2019

educational framework built on a solid grasp of basic music theory and music
notation in various verbal and written forms. Kodály's primary goal was to instill
a lifelong love of music in his students and felt that it was the duty of the child's
school to provide this vital element of education. Some of Kodály's trademark
teaching methods include the use of solfège hand signs, musical shorthand
notation (stick notation), and rhythm solmization (verbalization). Most countries
have used their own folk music traditions to construct their own instruction
sequence, but the United States primarily uses the Hungarian sequence. The work
of Denise Bacon, Katinka S. Daniel, John Feierabend, Jean Sinor, Jill Trinka, and
others brought Kodaly's ideas to the forefront of music education in the United
States.
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Orff Schulwerk

Carl Orff was a prominent German composer. Orff Schulwerk is considered an

"approach" to music education. It begins with a student's innate abilities to engage
in rudimentary forms of music, using basic rhythms and melodies. Orff considers
the whole body a percussive instrument and students are led to develop their
music abilities in a way that parallels the development of western music. The
approach fosters student self-discovery, encourages improvisation, and discourages
adult pressures and mechanical drill. Carl Orff developed a special group of
instruments, including modifications of the glockenspiel, xylophone,
metallophone, drum, and other percussion instruments to accommodate the
requirements of the Schulwerk courses. Experts in shaping an American-style Orff
approach include Jane Frazee, Arvida Steen, and Judith Thomas.

Suzuki method

The Suzuki method was developed by Shinichi Suzuki in Japan shortly after
World War II, and uses music education to enrich the lives and moral character
of its students. The movement rests on the double premise that "all children can be
well educated" in music, and that learning to play music at a high level also
involves learning certain character traits or virtues which make a person's soul
more beautiful. The primary method for achieving this is centered around creating
the same environment for learning music that a person has for learning their native
language. This 'ideal' environment includes love, high-quality examples, praise,
rote training and repetition, and a time-table set by the student's developmental
Instrumental Methods (Instruction, Books, and more) - Spring 2019

readiness for learning a particular technique. While the Suzuki Method is quite
popular internationally, within Japan its influence is less significant than the
Yamaha Method, founded by Genichi Kawakami in association with the Yamaha
Music Foundation.

Gordon's Music Learning Theory

Edwin Gordon's Music Learning Theory is based on an extensive body of

research and field testing by Edwin E. Gordon and others in the larger field of
Music Learning Theory. It provides music teachers with a comprehensive
framework for teaching musicianship through audiation, Gordon's term for hearing
music in the mind with understanding and comprehension when the sound is not
physically present. The sequence of instructions is Discrimination Learning and
Inference Learning. Discrimination Learning, the ability to determine whether
two elements are the same or not the same using aural/oral, verbal association,
partial synthesis, symbolic association, and composite synthesis. Inference
Learning, students take an active role in their own education and learn to identify,
create, and improvise unfamiliar patterns. The skills and content sequences within
the Audiation theory help music teachers establish sequential curricular objectives
in accord with their own teaching styles and beliefs. There also is a Learning
Theory for Newborns and Young Children in which the Types and Stages of
Preparatory Audiation are outlined.
Instrumental Methods (Instruction, Books, and more) - Spring 2019

World Music Pedagogy

The growth of cultural diversity within school-age populations prompted music

educators from the 1960s onward to diversify the music curriculum, and to work
with ethnomusicologists and artist-musicians to establish instructional practices
rooted in musical traditions. 'World music pedagogy' was coined by Patricia
Shehan Campbell to describe world music content and practice in elementary and
secondary school music programs. Pioneers of the movement, especially Barbara
Reeder Lundquist, William M. Anderson, and Will Schmid, influenced a second
generation of music educators (including J. Bryan Burton, Mary Goetze, Ellen
McCullough-Brabson, and Mary Shamrock) to design and deliver curricular
models to music teachers of various levels and specializations. The pedagogy
advocates the use of human resources, i.e., "culture-bearers," as well as deep and
continued listening to archived resources such as those of Smithsonian Folkways
Recordings.

Conversational Solfège

Influenced by both the Kodály method and Gordon's Music Learning Theory,
Conversational Solfège was developed by Dr. John M. Feierabend, former chair
of music education at the Hartt School, University of Hartford. The program
begins by immersing students in the musical literature of their own culture, in this
case American. Music is seen as separate from, and more fundamental than,
notation. In twelve learning stages, students move from hearing and singing music
to decoding and then creating music using spoken syllables and then standard
written notation. Rather than implementing the Kodály method directly, this
Instrumental Methods (Instruction, Books, and more) - Spring 2019

method follows Kodály's original instructions and builds on America's own folk
songs instead of on Hungarian folk songs.

Carabo-Cone Method

This early-childhood approach, sometimes referred to as the Sensory-Motor

Approach to Music, was developed by the violinist Madeleine Carabo-Cone. This
approach involves using props, costumes, and toys for children to learn basic
musical concepts of staff, note duration, and the piano keyboard. The concrete
environment of the specially planned classroom allows the child to learn the
fundamentals of music by exploring through touch.

Popular Music Pedagogy

'Popular music pedagogy' — alternatively called rock music pedagogy, modern

band, popular music education, or rock music education — is a recent development
in music education consisting of the systematic teaching and learning of rock
music and other forms of popular music both inside and outside formal classroom
settings. Popular music pedagogy tends to emphasize group improvisation, and is
more commonly associated with community music activities than fully
institutionalized school music ensembles.
Instrumental Methods (Instruction, Books, and more) - Spring 2019

MMCP
The Manhattanville Music Curriculum Project was developed in 1965 as a
response to declining student interest in school music. This creative approach aims
to shape attitudes, helping students see music not as static content to be mastered,
but as personal, current, and evolving. Rather than imparting factual knowledge,
this method centers around the student, who learns through investigation,
experimentation, and discovery. The teacher gives a group of students a specific
problem to solve together and allows freedom to create, perform, improvise,
conduct, research, and investigate different facets of music in a spiral curriculum.
MMCP is viewed as the forerunner to projects in creative music composition and
improvisation activities in schools.
Instrumental Methods (Instruction, Books, and more) - Spring 2019

METHOD BOOKS
Woodwind
Flute
Altes, Henry. Method for the Boehm flute.
Berbiguier, Benoit Tranquille. Flute method.
De Lorenzo, Leonardo. L'Indispensabile – A complete modern school
for the flute. (1912)
Dressler, Rafael. New and complete instructions for the flute, Op. 68.
(1827)
Drouet, Louis. Method of flute playing. (1830)
Fürstenau, Anton Bernhard. Flöten-schule, Op. 42. (1826)
Fürstenau, Anton Bernhard. Die kunst des flötenspiels, Op.138. (1844)
Hugot and Wunderlich. Méthode de flûte. (1804)
Lindsay, Thomas. The elements of flute-playing. (1830)
Monzani, Tebaldo. Instructions for the german flute. (1801)
Peraut, Mathieu. Méthode pour la flûte. (1800)
Quantz, Johann Joachim. Versuch einer anweisung die flöte traversiere
zu spielen. (1752)
Soussmann, Heinrich. Complete method for flute.
Tromlitz, Johann George. Unterricht der flöte zu spielen. (1791)
Wagner, Ernest. Foundation to flute playing.
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Oboe
Andraud, Albert. Practical and progressive oboe method.
Barret, Apollon Marie-Rose. Complete method for oboe. (1850)
Langley, Robin. Tutor for oboe.
Niemann, Walter. Method for the oboe.

Clarinet
Langenus, Gustav. Complete method for the Boehm clarinet. (1913)
Bading, Heinrich and Lange, Hermann. Tutor. (1911)
Bärmann, Karl. Volständige clarinett-schule. (1864)
Gabler, Maximillian. Tutor. (1906)
Gräfe, Richard. Method. (1912)
Klosé, Hyacinthe Eléonore. Conservatory Method For The Clarinet.
(1879)
Lazarus, Henry. New and modern method for the Albert- and Boehm-
system clarinet. (1881)
Magnani, Aurelio. Methode complete de clarinette. (1900)
Mimart, Prospere. Methode nouvelle de clarinette. (1911)
Reinecke, Carl. Foundation to clarinet playing : an elementary method.
(1919)
Stark, Robert. Grosse theoretische-praktische clarinett-schule, Op. 49.
(1892)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Bassoon
Langey, Otto. Tutor for bassoon.
Mackintosh, George. New and improved bassoon tutor. (1840)
Weissenborn, Julius. Practical method for the bassoon. (1887)
Weissenborn, Julius and Spaniol, Douglas. The New Weissenborn
Method for Bassoon. (2010, revised 2013)

Saxophone
Klosé, Hyacinthe and Gay, Eugene. Methode complete pour saxophone.
Iasilli, Gerardo. Modern conservatory method for saxophone.
Mayeur, Louis-Adolphe. Method for saxophone.
Vereecken, Ben. Foundation to saxophone playing.
Vereecken, Ben. The saxophone virtuoso.
Ville, Paul de. Universal method for the saxophone.

Brass
Trumpet/Cornet
Araldi, Giuseppe. Methodo per tromba a chiavi et a macchina. (1835)
Arban, Jean-Baptiste. Method for the cornet. (1864)
Arbuckle, Matthew. Complete cornet method. (1866)
Brett, Harry. The cornet. (1888)
Brulon, Adolphe. Méthode de cornet à deux et à trois pistons. (1854)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Canti, Antonio. Metodo per cornetto flugelhorn in si bemòlle e per flugel

basso. (1892)
Clodomir, Pierre François. Méthode élémetaire de cornet à pistons.
(1870)
Dauverné, François Georges Auguste. Methode de trompette à pistons.
(1835)
Dauverné, François Georges Auguste. Méthode théorique et pratique du
cornet à pistons ou cylindres. (1846)
Dauverné, François Georges Auguste. Méthode pour la trompette.
(1857)
Foraboschi Giuseppe. A new and complete instruction book for the
trumpet. (1828)
Forestier, Joseph. Method pour le cornet à pistons. (1834)
Guichard, Michel. Grande méthode. (1864)
Hoch, Theodor. Tutor for the cornet. (1880)
Hofmann, Richard. Schule für althorn oder es-cornet. (1885)
Howe, Elias. New cornet instructor. (1860)
Kastner, Jean Georges. Metodo elementare per cornetto (o flicorno) a
due e tre pistoni. (1892)
Kosleck, Julius. Grosse Schule für cornet a piston.
Kresser, Joseph Gebhardt. Methode pour la trompette.
Kueffner, Joseph. Principes elementaires.
Langey, Otto. Celebrated tutors: b-flat cornet. (1899)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Mariscotti, Luigi. Nouvelle méthode complete de cornet à pistons.

(1837)
Roy, Eugene. Methode de trompette sans clefs et avec clefs divisee en
deux parties. (1824)
Ryan, Sidney. True cornet instructor. (1874)
Saint-Jacome, Louis. Grand method for the cornet. (1894)
Sedgwick, Alfred. Complete method for the cornet. (1873)
Sinsolliez, Ainé. Méthode complète de cornet à trois pistons. (1848)
Sussmann, Heinrich. Neue theoretisch practische trompeten-schule.
(1859)
Weber, Carl. The premier method for cornet. (1896)
Winner, Septimus. The ideal method for the cornet. (1882)
Wurm, Wilhelm. Method for cornet à pistons. (1893)

Horn
Dauprat, Louis-François. Methode de cor alto et cor basse. (1824)
Domnich, Heinrich. Methode de premier et de deuxieme cor. (1807)
Duvernoy, Frederic. Methode pour le cor. (1803)
Franz, Oscar. Grosse theoretisch-practische waldhorn-schule. (1880)
Frohlich, Joseph. Hornschule. (1810)
Gallay, Jacques-François. Méthode pour le cor. (1842)
Göroldt, Johann Heinrich. Hornschule. (1822)
Holyoke, Samuel. The instrumental assistant. (1807)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Kling, Henri. Hornschule. (1865)

Meifred, Joseph. Methode pour le cor chromatique ou a pistons. (1840)
Pepper, James Welsh. Self instructor for french horn. (1882)
Simpson, John. The complete tutor for the horn. (1746)
Tully, Charles. Tutor for the French horn. (1840)

Trombone
Arban, Jean-Baptiste. Grande méthode complete pour cornet a pistons et
de saxhorn. (1864)
Braun, André. Gamme et méthode pour les trombonnes alto, ténor, et
basse. (1795)
Brulon, Adolphe. Methode de trombone a coulisse. (1851)
Cornette, Victor. Method for the trombone. (1838)
Dieppo, Antoine. Méthode complete pour le trombone. (1836)
Fillmore, Henry. Jazz trombonist. (1919)
Fröhlich, Joseph. Vollständige theoretisch-practische musikschule.
(1811)
Gebauer, Francois Rene. 50 lecons pour la trombonne basse, alto, et
tenor. (1800)
Hampe, Carl. Method for the slide trombone with an appendix for the
trombone with valves. (1916)
Kastner, Jean Georges. Method for the trombone. (1845)
Lafosse, Andre. Methode complete pour le trombone. (1921)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Langey, Otto. Tutor for the tenor slide trombone. (1885)

Müller, Robert. Schule für zugposaune. (1902)
Nemetz, Andreas. Neueste posaun-schule. (1828)
Sordillo, Fortunato. Art of jazzing for the trombone. (1920)
Ville, Paul de. Universal method for slide and valve trombone in bass
and treble clef. (1900)
Vobaron, Edmond. Methode de trombone. (1853)
Wirth, Adam. Posaune schule für alto, tenor, und bass posaune. (1870)

Voice
Abt, Franz. Praktische gesangschule, Op.474.
Concone, Giuseppe. The school of sight-singing.
García, Manuel. Ecole de Garcia: traité complet de l'art du chant.
Lamperti, Francesco. The art of singing. (1890)
Marchesi, Mathilde. The art of singing, Op. 21. (1890)
Marchesi, Mathilde. Vocal method, Op. 31. (1900)
Panofka, Heinrich. Abécédaire vocal.
Panseron, Auguste. Méthode complète de vocalisation. (1898)
Shakespeare, William. The art of singing. (1910)
Vaccai, Nicola. Metodo pratico de canto. (1832)

Keyboards
Piano
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Clementi, Muzio. Introduction to the art of playing on the pianoforte.

(1801)
Cramer, Johann Baptist. Instructions for the pianoforte. (1810)
Czerny, Carl. Complete theoretical and practical pianoforte school, Op.
500. (1838)
Dussek, Jan Ladislav. Instructions on the art of playing the piano forte or
harpsichord. (1796)
Herz, Henri. Méthode. (1838)
Hummel, Johann Nepomuk. Ausführliche theoretisch-practische
Anweisung zum Piano-Forte-Spiel. (1828)
Philipp, Isidore. Complete school of Technic for the Piano.
Pollini, Francesco. Methodo del clavicembelo. (1811)
Rimbault, Edward Francis. A child's first instruction book for the piano
forte. (1839)
Safonov, Vasily Ilyich. New Formula for the Piano Teacher and Piano
Student. (1916)
Daniel Gottlob Türk. Klavier-Schule. (1789)

Harpsichord/Clavichord
Bach, Carl Philipp Emanuel. Versuch über die wahre art das clavier zu
spielen. (1753)
Baumgarten, Charles Frederick. The ladies companion, or a complete
tutor for the forte, piano forte, or harpsichord. (1784)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Couperin, François. L'art de toucher le clavecin.] (1716)

Gasparini, Francesco. L'Armonico Pratico al Cimbalo.

Organ
Neukomm, Sigismund. An elementary method for the organ in general.
(1859)
Rinck, Johann Christian Heinrich. Praktische orgelschule, Op. 55.
(1819)

Strings
Guitar
Aguado, Dionisio. Nuevo metodo de guitarra, Op. 6.
Carcassi, Matteo. Methode complete pour la guitare, Op. 59.
Carulli, Ferdinando. Méthode complette. (1815)
Chabran, Carlo Francesco. Complete instructions for the Spanish guitar.
(1795)
Giuliani, Mauro. Studio per la chitarra, Op. 1. (1812)
Justin Holland. Comprehensive Method for the Guitar and Modern
Method for the Guitar (1874)
Jauralde, Nicario. A complete preceptor for the Spanish guitar. (1827)
Legnani, Luigi. Metodo par imparare e conoscere la musica e suonare la
chitarra, Op. 250. (1847)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Shaeffer, Arling. Elite guitar instructor. (1895)

Sor, Fernando. Complete method for the guitar. (1851)

Harp
Barthélemon, François-Hippolyte. Tutor for the harp. (1795)
Bochsa, Nicholas Charles. The first 6 weeks, or daily precepts &
examples for the harp. (1840)
Dizi, François Joseph. "École de harpe", a complete treatise on the harp.
(1827)
Weippert, John Erhardt. The pedal harp rotula. (1800)

Mandolin or mandolin-banjo or banjolin

Edgar Bara. Méthode de Mandoline et Banjoline (1903). Still in print.
Bartolomeo Bortolazzi. Method in German, Anweisung die Mandoline
von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi
(1805)
Giuseppe Bellenghi. Method for the mandolin in three parts (Pub in
French, English, Italian, German), La ginnastica del mandolino,
Ascending and descending major and minor scales in all positions for
the mandolin
Giuseppe Branzoli. A Theoretical and practical method for the mandolin
(1875, 2nd edition 1890)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Ferdinando de Cristofaro. Méthode de mandolin (Paris, 1884) English,

French, Italian, Portuguese, and Spanish versions
Giovanni Cifolelli. Method for the mandolin (date unknown, estimated
1760s)
Carlo Curti. Complete Method for the Mandolin (1896) English.
Pietro Denis. Méthode pour apprendre à jouer de la mandoline sans
Maître (1768, French)
George H. Hucke. Forty Progressive Studies for the Mandoline (London,
1893, English)
Carmine de Laurentiis. Method for the Mandolin (Milan, 1869 or 1874)
Salvador Leonardi. Méthode pour Banjoline ou Mandoline-Banjo (1921,
book has sections in English, French and Spanish)
Carlo Munier. Scuola del mandolino (1895)
Jean Pietrapertosa. Méthode de mandolin (1892) In French and English
sections in same book
Janvier Pietrapertosa Fils Méthode de mandolin ou banjoline (1903)
Giuseppe Pettine. Pettine's Modern Mandolin School (c. 1900)
Silvio Ranieri. L'Art de la Mandoline in 4 Bänden, Die Kunst des
Mandolinspiels, in 5 Sprachen (französich, deutsch, englisch, italienisch
und holländisch)
Samuel Siegel. Special Mandolin Studies (1901).

Violin
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Bang, Maia. Violin method.

Bériot, Charles de. Method for violin.
Casorti, August. The Techniques of Bowing (Technik des Bogens und
des rechten Handgelenks für Violine; Bogen-Technik für Violine), Op.
50 (published 1880)
Geminiani, Francesco. The art of playing on the violin. (1751)
Hohmann, Christian Heinrich. Practical violin method.
Laoureux, Nicolaus. A practical method for violin.
Mozart, Leopold. Gründliche Violinschule. (1756)
Schradieck, Henry. The school of violin technics. (1900)
Sevcik, Otakar. Violin school for beginners, Op.6. (1903)
Sevcik, Otakar. School of violin technique, Op. 1. (1905)
Sevcik, Otakar. School of bowing technique, Op. 2. (1905)
Spohr, Louis. Violinschule. (1832)
Wohlfahrt, Franz. Easiest elementary method for beginners, Op. 38.

Viola
Cavallini, Eugenio. Viola method. (1845)
Giorgetti, Ferdinando. Viola method, Op.34. (1840)

Violoncello
Davydov, Karl. School of violoncello playing. (1888)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Dotzauer, Justus Johann Friedrich. The violoncello method for

elementary teaching, Op. 126. (1836)
Dotzauer, Justus Johann Friedrich. The method of playing harmonics,
Op. 147. (1837)
Dotzauer, Justus Johann Friedrich. The practical method of violoncello
playing, Op. 155.
Dotzauer, Justus Johann Friedrich. The violoncello method, Op. 165.
(1832)
Duport, Jean-Louis. Instruction on the fingering and bowing of the
violoncello. (1806)
Gunn, John. The theory and practice of fingering the violoncello. (1789)
Kummer, Friedrich August. Cello method, Op. 60. (1839)
Lee, Sebastian. Method for the violoncello. (1845)
Popper, David. High school of cello playing, Op. 73. (1901-1905)
Romberg, Bernhard. A Complete Theoretical and Practical School for
the Violoncello. (1839)
Schroeder, Alwin (Schröder, Alvin). 170 Foundation Studies for
Violoncello.
Schoeder, Carl II (Schröder, Karl II). Practical Method for the
Violoncello.
Sevcik, Otakar. School of bowing technique. (1905)
Werner, Josef. Practical method for cello, Op. 12. (1882)
Instrumental Methods (Instruction, Books, and more) - Spring 2019

Contrabass
Fröhlich, Friedrich Theodor. Contrabass-schule. (1830)
Simandl, Franz. New method for double bass. (1881)