Method Book

Evaluation Project
By: Kelsi Trest

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Standard of
Excellence
By: Bruce Pearson

Do It!
Play in Band
By: James O.
Froseth

The Yamaha
Advantage
By: Sandy Feldstein
and Larry Clark

1. Preliminary
exercises to prep
mechanical and
musical
components

2. Presentation of
mechanical
components
throughout book

3. Presentation of
tonal components

4. Presentation of
rhythmic
components

5. Presentation of
expressive element
components

6. Inclusion of
musicianship
training

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Standard of
Excellence
By: Bruce Pearson

Do It!
Play in Band
By: James O.
Froseth

The Yamaha
Advantage
By: Sandy Feldstein
and Larry Clark

7. Appropriateness
of ranges

8. Organization of
the material

9. Format (Physical
layout)

10. Related
supplementary
material in
accompanying
volumes

11. Overall grade

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Evaluation
1. Preliminary exercises to prep mechanical and musical components: B
The book The Yamaha Advantage begins with the basics of instrument knowledge such as
how to handle and take care of the instrument. When preparing the students to read music the
book starts off without real notes. Instead it blocks of the duration of the note with in the
measure. It also shows the beats above the measure. An interesting component that I discovered
was that an air stream diagram was drawn above the measures showing the continuation of air
with only a flick of the stream to start the next note. The exercises start with one beginning note
and teach the different durations such as four, two, and one beat. This enables the students to
work on a single note along with the tonguing and counting techniques first before moving on to
another note of the scale. The basics of the steps and concepts for instrumental study are clearly
presented and simple for starting musicians. I chose the grade of a B because I am not sure about
how productive it is to start the students with reading measures not composed of real notes.
Although I do think the progression and exercises are in a logical order of events.

2. Presentation of mechanical components throughout the book: A

From the very beginning this book demonstrates things such as air stream and tonguing in
its exercises. Before each new section the fingerings for the new notes are illustrated. Percussion
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techniques and rhythmic exercises are presented one hand at a time in the beginning and progress
to more advanced alternating hands. On page 13 (Student page 16) slurs are introduced to the
winds and the book takes special note of trombone slurring. Rolls are also introduced to the
percussion. Lip slurs are presented specifically to the brass mid way through the book. Crossing
the break is introduced to clarinets on page 246 (Student Page 43) with an exercise. Percussion
are presented with different rudiment diagrams on pages 384 and 385 (Student Pages 46 and 47).
These two pages are used in each students book as fingering and specified charts for the different
instruments. These pages cover things like, alternate fingerings, special keys, half holes, special
notes, and crossing the break.This is organized well because it is presented at the same time for
everyone to study. I gave this method an A because I believe it covers the basic necessary
components and clearly presents the different instruments techniques.

3. Presentation of tonal components: A

The book begins with teaching the basic first notes of the concert Bb scale. At the
beginning of each section it presents new notes and fingerings. The students begin with learning
in unison and with out a key signature. In the second section new keys are presented such as two
sharps and two flats along with one sharp and one flat. on page 118 (student page 14) Divisi are
introduced. Page 124 (Student page 15) states the symbols for naturals and introduces the key of
F along with the key of G and D. From there it moves on to three flats and progresses from there.
Throughout the book there are many interesting exercises and songs that the band can perform
together using the concepts they have been building upon. I gave this an A because I think the
beginning note selection was good and the note elements are presented in a logical and
cumulative manner that allows the students to continually build on their knowledge.

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4. Presentation of rhythmic components: A

During the beginning whole, half, and quarter notes are all present with the first note the
students learn. After they progress past these exercises they move on to the next note and repeat
the note value concepts again. They also begin with 4/4 time and introduce 3/4 time on page 59
(Student page 7) the relationship between these values of notes is further explained along with
their corresponding rests. The rests are slowly introduced throughout the next few exercises.
Double strokes are introduced to percussion on page 65 (Student page 8). Later on on page 119
eighth notes are introduced. More complicated combinations of notes such as those involving
dots are presented on page 280. This book does not take each section and solely focus on those
concepts. It introduces these concepts and slowly works them into the activities and music.
Fermatas are demonstrated on page 141 (Student page 18). Special rhythm exercises involving
different time signatures are depicted on pages 308 and 309 (Student pages 41 and 42). I graded
this method with an A because the rhythmic concepts are in introduced with the general concepts
and then gradually built upon with more complex ideas.

5. Presentation of expressive element components: B

The book progresses slowly through the expressive elements of music such as piano and
forte which are first shown on page 105 (Student page 12). After that on page 11 (Student page
13) crescendos are shown. Decrescendos are not introduced till page 190 (student page 24).
Mezzo piano, mezzo forte, legato, and ritardando are all presented about halfway through the
book on page 239 (student page 30). Tenuto is demonstrated starting on page 253 (Student page
32). When the concepts are introduced the book presents different musical lines that enable the

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students to practice and embed the concept into their musical memory. I gave this the grade of a
B because, although it does present the basic expressive elements, it does not cover much more
than the very limited basic concepts.

6. Inclusion of musicianship training: B

Different musicianship concepts are gradually introduced throughout the book. On page
162 the 12 bar blues form is introduced. On page 136 (Student page 17) accents are presented
and on page 169 (Student page 21) staccato is introduced. Tempo markings such as Allegro and
Andante are described on page 173 (Student page 22) along with explaining codas later on in the
book. This book does a good job presenting the basics of musical concepts. However, I gave the
grade off a B because I think a broader range of musical terms could have been taught even at
such an early age.

7. Appropriateness of ranges:
I gave a grade of an A for the appropriateness of ranges. They seem to be presented at a
reasonable interval for beginners. The flutes range is given as an Eb at the bottom of the staff to a
C above. The clarinets range begins with a Bb below and goes up to an E above the staff.
Saxophones have an Fat the bottom of the staff to begin with and go to an A above. Trumpets
start with a Bb below the staff and continue to a middle C. Trombones have an A in the middle of
the staff and end with an A on the top. These ranges seem reasonable for all of the instruments
and beginning players.

8. Organization of the material: B

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In the beginning of the method book the instruments start with different first notes. There
are flutes on D, clarinets on E, saxophones on B, tenor saxophones on E, Trumpets on C, Horns
on F, trombones on Bb, and tubas on a Bb. The book progresses through a variety of notes in the
beginning however I would like to see a more basic breakdown of first steps such as possibly
starting in unison and all on the same scale. However, it may not be ideal to start with unison
pitches because of the different keys of the instruments. This may cause the students to have
problems with making their first notes and technique because they are not technically starting on
the base notes of their instrument. I believe the starting notes in this book are tailored to the
individual instrumentalists. The material seems to have a logical progression of learning. It starts
with the basic musical concepts before progressing through to more advanced basic techniques.
The average length of a lesson is about four pages. The lesson starts off with introducing new
concepts and is followed by exercises and pieces that implement those ideas. I would like to see
more short exercises in the beginning and not so many long pieces. This would enable the
students to hone in on skills a little at a time before trying to tackle something larger.

9. Format (Physical layout): A

I gave this aspect and A because the book is very appealing to me. It is well organized
with not much clutter on the page. It progresses in a logical order and it is easy to find the
different sections such as the table of contents, Small exercise pages, and fingering charts. The
pictures in the book use children as models and appear to be contemporary with much useful
information. The book includes both the teacher version of combined parts but also pictures of
the students book pages.

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10. Related supplementary material in accompanying volumes: A

There are full scores presented in the method book. For each section there are sometimes
helpful hints and things to watch for from the different instruments. There are piano
accompaniment lines included in the full scores. There is an audio CD included for all of the 73
exercises in the book. The Yamaha Advantage comes in two volumes. This edition comes with a
fingering chart for each instruments bound in the book. The charts are very clear and easy to
understand.

11. Overall grade: A

I gave The Yamaha Advantage method book an overall grade of an A. Out of all the
method book options I found this one the most organized, well written, and pleasing to work
with. It gives individual attention to the instruments while also working with them in group
pieces and exercises. It has most of the important basic concepts needed to accurately teach
beginning instrumentalists.

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