interest in music theory may require an Adult Piano Course book. Also, I augment the piano texts with Studying Rhythm by Anne Carothers Hall, which covers the most simple to very advanced single and double part rhythm exercises. For intermediate-advanced students, I often teach from Piano For the Developing Musician, Comprehensive Edition (Wadsworth Publishing) with pieces of my own recommendation (Mozart, Debussy, Joplin, etc.) as well as material from Studying Rhythm. For clearly advanced students, we work almost exclusively on pieces of my recommendation or of their choosing, addressing issues of tempo, dynamics, phrasing, form, performance, etc.
For singing instruction, the basic format of my lessons is exercises and/or warm-up exercises, and then song performances, with me troubleshooting their singing on issues such as posture, breathing, embouchure, vowel purity (or stylized impurity, as in rock and jazz), stage presence, vibrato, etc. I do not teach from a book (although several books, particularly The Diagnosis and Correction of Vocal Faults by James C McKinney and those by Richard Miller, have greatly influenced my instruction) as I feel that developing the voice requires constant individuation of my teaching techniques to meet the student's needs; you -- and the student -- are "creating" an instrument together, and each instrument is radically different from another; hence, a prescribed, fixed agenda is not appropriate. Even so, I do have some consistent tools that I use within my general format: breathing exercies to develop control and campacity; beginning, intermediate, and advanced vocal exercises I was taught in college, discovered in books, or are of my own design; consistent reminders and exercises to relax the neck, jaw, and -- most importantly -- the larynx.
For children's beginning music theory, I teach from the
Alfred's Basic series of theory books. For adults, I teach from my own notebook/workbook that I have compiled over the years, which contains handouts and exercises on the basic elements of pitch names, clefs, staves, interval, rhythm and meter, to the most advanced analysis of melody, harmony, form, theme, counterpoint, and orchestration.