Sound Advice: Theory and Ear Training, Levels 1-4.

Sound Advice: Theory and Ear Training, Levels 1-4, by Brenda Braaten and Crystal Wiksyk. The Frederick Harris Music Co. (2250 Military Rd., Tonawanda, NY 14150), 2006. 152 pp. $18.50-$21.25.

The authors of Sound Advice: Theory and Ear Training, Levels 1-4, state at the outset that their teaching philosophy is to "never take the sound out of music theory instruction." To this end, they have designed a series that seamlessly integrates music theory concepts with training in aural skills. It is designed for all instrument and voice students and can be used for private lessons of group classes.

Each level contains 24 lessons that are organized into three sections: a "Learning Guide," which presents new concepts; a "Theory Worksheet," for practice and review; and an "Ear-Training Worksheet." The workbook format allows students to tear out pages upon completion of the assignments. Ear-training activities include sight singing, melody singbacks and playbacks, rhythm singbacks and clapbacks, and melodic and rhythmic dictation. Students begin sight singing halfway through the Level One book using the "movable do" solfege method. Rhythmic values are counted using Kodaly's system, using syllables such as "ta" for quarter notes and "tika-tika" for sixteenth notes. An answer key is included in the back of the book for students to check their assignments.

One unique aspect of this series is the use of the Internet for the listening exercises. To complete the ear-training activities, students must go online to access the audio tracks. The website is easy to use and includes clear instructions for downloading.

One of the challenges of using this series could be correlating it with a method series. Since the first level begins with the most fundamental musical concepts, such as the music alphabet, it would be most useful to begin using these books from the onset of music study. However, the pacing of concepts moves more quickly than most method books. Additionally, because of the priority placed on correlating aural skills with music theory, the theoretical concepts are presented in a sequence that may not parallel that of a core method series.

Charts and games are included in the back of the book. However, the instructions are complex and difficult to follow, so it may be most effective to use the games in a group setting when students can rely on the teacher's guidance.

The books in the Sound Advice series were designed to correlate with the ear-training requirements for the Royal Conservatory of Music examinations and the Victoria Conservatory of Music examinations. For teachers who are seeking to develop aural skills in students from the earliest stage of music learning, this series provides an organized and sequential approach that is well integrated with music theory instruction. Lesley Sisterhen, Waco, Texas.