The material proposed by a great number of editors answers often more economic criteria that teaching "the offer" thus does not correspond always to the evolution and the structures of teaching of the musical establishments.
• For the piano, so much of methods pieces with bass clef propose as of the first pages. In how much establishments does learn one the bass clef in first year of musical training?
For the right hand, the notes, from the very start, are in the top of
the range. This is quite logical whereas no school begins the reading
of the notes with the acute ones?!
• For the keyboard, almost all the methods on the market are intended to people who want to learn how the instrument without to have followed courses of musical theory as a preliminary. Half of the contents of these methods makes up of elements solfegic (white = 2 black, what a range...). These elements are thus redundant and completely useless for the pupil who follows the courses of musical formation in a school of music. While waiting, the customer pays 50% of the price for plums!
• For obvious economic reasons, a majority of partitions of variety appears itself as a system at three ranges: for the song, the two others for the piano (accompaniment or melody and accompaniment). Grids of agreements for guitar often come to punctuate the whole. These partitions "hold-all" are thus intended to enough experienced musicians who will be useful themselves of the partition as a base of work in which they will take the elements which interest them. It appears clear that it is very difficult for a teacher to use these partitions such as them. If it wishes to use these pieces, it will be almost obliged, in the majority of the cases, to arrange them.
• So many arrangements are simplified with excess (to make the the "tubes" accessible to greatest number and thus to sell some as much as possible) which they sound generally badly, hollow. Moreover there is a large risk so that the pupil plays the "heard" version, known and not the version which it reads!
These observations, frays with its passion for the composition, led Christian GERARD to undertake the creation of a teaching equipment adapted to the level of the pupil while keeping the attractivity.
As there is not international common structure classifying the levels
of the pupils, the partitions suggested are indexed as follows: 3 4
First cycle : the 4 first years of study
Second cycle : the 4 next years of study
Third cycle : the 4 last years