Each of the three method books includes all the materials necessary for that level:
The basic musical concepts are introduced in the books for younger beginners by Bernard Bear. The concepts are then illustrated and reinforced through clapping exercises, playing exercises, and well-known popular songs and nursery rhymes that make practicing a joy.
The beginning units include songs with finger numbers, so that even before the students can read music, he or she is able to play "real songs".
Many pieces in the books have accompaniments for the teacher in order to give the student early experience in ensemble work.
In order to encourage the student to play musically at an early stage, dynamic markings are introduced half way into the first book and thereafter incorporated into every exercise and piece.
Repertoire for special occasions, such as birthdays and holidays, is found at the back of each method book in varying levels of difficulty and may be used as supplementary material.
Transposition and harmonization of simple melodies are covered in order to give the students early practice in these two important skills.
Each of the pieces in the duet books has a primo and secondo part of equal level. The pieces begin at a very easy level and progress to an intermediate level.
Bernard’s Piano Duets contains duets based on folk tunes from many different countries such as "Alouette", "She’ll Be Coming Around the Mountain", "Ash Grove", "What Do You Do with a Drunken Sailor", "Shortin’ Bread", and other songs from Denmark, Greece, Switzerland and Spain.
Bernard’s Christmas Duets contains such favorites as "Joy to the World", "The First Nowell", "God Rest Ye Merry, Gentlemen", "Away in a Manger", "Up on the House-Top", "I Wonder As I Wander", "It Came Upon the Midnight Clear", "Ding Dong! Merrily on High", and "The Twelve Days of Christmas".
Bernard’s Piano Trios is written for six hands at the piano. Each piece has a primo part, secondo part and terzo part of varying levels of difficulty. The levels are indicated at the beginning of each part by the numbers 1 through 10 (very easy through intermediate), so that different members of the same family will be able to play together, each choosing parts at his own level. The pieces are based on folk tunes such as "Three in a Bed" (original title: "Ten in a Bed"), "Skip to My Lou", "Sailor’s Hornpipe", and other songs from Norway, France, Germany, and many other countries.
These theory books may be used as supplementary material to Bernard's Piano Books I & II for those students needing or wanting extra theory work. The books may also be used by other instrumentalists or singers, as they cover general theory topics useful to all. Book 1 contains flashcards including notes extending to two ledger lines above and below the bass clef staff and treble clef staff. The letter name system of naming notes, as well as the "do, re, mi" system are explained. American and British terms are included: quarter note (crotchet), half step (semitone), etc.
The concepts are introduced by Thelma the Sheep, whose wool is made up entirely of whole notes (semibreves).
Thelma's Theory Book I covers all the requirements for the Associated Board of the Royal Schools of Music Theory Grade Examination, and
Thelma's Theory Book II covers the Grade 2 examination topics from the same series.
Octavia's Violin Book I introduces the technical concepts needed by the beginning student in a concise, but enjoyable, manner. The music pieces which incorporate each lesson's concepts have mostly been selected from American folk songs. This gives the young beginning student music that he likes and recognises from his early childhood. Some of these pieces are provided with piano accompaniment, making them suitable for school concerts or student recitals. In the back of the book is a selection of holiday music, which can be used as supplementary material.
Music theory concepts are introduced in the book as they are needed, thus gradually building up music reading skills. This way, the student can enjoy playing music from the beginning without being overloaded with complicated music theory concepts.
Book II builds on the basics of music reading and beginning violin technique begun in Book I of this series. The more advanced concepts of left hand finger placement are covered with an emphasis on keeping the fingers mobile within the frame of the first hand position. Right hand technique is further developed through scale practice with alternative bowing patterns and challenging repertoire.
Book II continues to expand the student’s music reading skills. More of the basic music theory concepts are introduced, such as the use of dynamic markings; compound time; major, minor, and chromatic scales; tempo markings; and enharmonic notes.