The note identification exercise, provided by Musictheory.net, provides an excellent way to train note identification. The typical method I've seen of training note identification is through flashcards. While each method has its pros and cons, I believe Musictheory.net's exercises to be slightly superior, because wrong choices will not allow progress, will scale with the progression through the method books, and also provide a score in percentage form to track very intricately progress in note identification.

This interval identification exercise will be useful for any students working through Level 1 and 2A of Piano Adventures. The identification exercise does not demand specifying quality (major or minor), making it perfect for beginners. I recommend anywhere between 10-15 questions, 3 times a week when possible. Furthermore, tracking the percentages would also be useful. I will specify which intervals should be checked before leaivng the lesson each week.

An extensive online library of public-domain sheet music, perfect for students seeking repertoire from various eras and composers, along with historical editions. Most of the repertoire we assign outside of the method books can be found here, both searching within IMSLP and from any generic search engine by typing in the name of the work, followed by "IMSLP".

A very good book, even for its first two chapters, which address the contemporary state of music (the loss of tonality), and the dire need for encouraging music literacy respectively. The chapters in this book present a very small portion of the great variety of discourses given by Leonard Bernstein in his endless pursuit of making the world of classical music as accessible as possible to the masses. It is one of my favorite books on music, and should be mandatory reading even for music majors.

This compelling account of the storied meeting between Frederick the Great and “old” [J.S.] Bach explores the many themes and undercurrents beneath an encounter mostly remembered as the impetus for Bach's Das Musikalische Opfer. It was more than that, however: it represented the sudden clash of two diametrically opposed worlds and value systems in which these two towering figures were raised. Gaines expertly weaves politics, culture, and biography into a narrative that even classical music enthusiasts can enjoy (he does not rely heavily on technical jargon). I highly recommend this book to musicians, history buffs, and classical music enthusiasts alike.