Piyano eğitiminin başlangıç aşamasından itibaren, müzikal ve teknik beceriler ile uygulamaların, bir bütün olarak sistematik bir şekilde yürütülmesi, bu alanların birbirlerini destekleyerek istenilen öğrenme düzeyine ulaşılmasını sağlar. Piyano dersine yeni başlayan öğrencinin bireysel özelliklerine göre, kullanılacak öğretim yöntemleri, iletişim, yaklaşım, ders süresi gibi unsurlar değişiklik göstereceği gibi, başlangıç piyano metotları da farklılık gösterecektir. Bununla birlikte, öğrencinin ilgisini çekecek materyal ve etkinliklere de yer verilerek etkili bir öğrenme ortamı oluşturulması önemlidir. Piyano eğitim sürecinin en önemli materyali olarak bilinen başlangıç piyano metotlarının, öğrencinin yaş grubuna, algı düzeyine ve seviyesine uygun olması gerekmektedir. Alanyazın incelendiğinde, başlangıç piyano metotları ile ilgili çalışmaların sınırlı sayıda olduğu tespit edilmiştir. Var olan çalışmaların ise genellikle aynı metotlar üzerinde yapıldığı görülmektedir. Bu bağlamda çalışmanın amacı, farklı kültürlere ait başlangıç piyano metotlarının incelenmesi ve metotlarda bulunması beklenen niteliklerin belirlenerek, bu sayede başlangıç piyano eğitiminde farklı metotların kullanımının önemini vurgulamaktır. Bu araştırma nitel bir çalışma olup döküman inceleme yoluyla literatür taranmış ve başlangıç piyano eğitiminde kullanılan metotlara ulaşılmıştır. Araştırmanın evrenini çocuklar için başlangıç piyano metotları oluşturmaktadır. Seçkisiz olmayan örnekleme yöntemlerinden, amaçsal örneklemenin maksimum çeşitlilik yöntemiyle örneklem grubu belirlenmiştir. Araştırma kapsamını oluşturan metotlardan elde edilen verilerin analizi için, içerik analizi yöntemi kullanılmıştır. Elde edilen bulgular doğrultusunda sonuçlar yorumlanıp, öneriler sunulmuştur

From the early stages of piano education, systematic handling of musical and technical skills and practice as a whole helps to achieve the desired level of learning by supporting each other. In addition, it is important to form an effective learning environment by including materials and activities that attract the interest of the student. Beginner piano methods, which are known to be the most important material of the piano education process, should be appropriate to the age group, perception capacity and the level of the students. This research is a qualitative study and by this means, beginner’s piano education methods have been accessed and a literature survey has been conducted through document review. It has been seen that the researches about methods are limited in number. On top of this, existing studies were observed to cover mostly the same methods. The aim of the study in this context is, surveying of beginner piano methods among different cultures and determining of the expected features to be found in these methods to emphasize the importance of using different methods in beginner’s piano education. The domain of the study is beginner piano methods for children. The sample group was chosen by the maximum diversity method of purposeful sampling among the non-selective sampling techniques. For the analysis of the data derived from the surveyed methods, content analysis method was used. Via the findings of the survey, the results have been assessed and some suggestions have been presented.The implementation of musical and technical skills and practices in a systematic manner from the beginning stages of piano training helps to achieve the desired level of learning by supporting each other in these areas. Nevertheless, it is important to constitute an effective learning environment by including materials and activities that will be of interest to the learner. Known as the most important material of the piano education process, Initial piano methods should be appropriate to the age group, perception level and level of learner. As teaching methods to be used according to the individual characteristics of beginner learner in the piano lesson will vary depending on communication, approach, and course time, initial piano methods also vary. Since the 1900s, it is seen that many of the piano initiation methods are based on age groups. As a result of the research, a limited number of studies on initial piano methods have been found. It is also seen that existing studies are usually performed on the same methods. In this regard, the aim of the study is to emphasize the importance of using different methods in initial piano training by examining the initial piano methods in different cultures and determining the qualities expected to be found in the methods. Descriptive research methods and techniques were used in this research (a qualitative study). The literature was scanned through document review and the methods used in the initial piano training were reached. The universe of this researcher was constituted by initial piano methods. The sample group was set as 6 initial piano methods with objective sampling with maximum diversity among the non-selective sampling methods. Move from here, sample group of the research was constituted by initial piano methods of ‘A baratsagos zongoraiskola 1- Lakos Ágnes’, ‘Zongoraiskola Klavierschule 1- Maria Fantone Kassai, Lajosne Hernadi, Aladarne Komjathy, Miklosne Mathe, Katalin V. Inselt’, ’ Kinder-Klavierschule 1-Gertrud Keller’, ‘Das Colorspiel am Klavier 1- Hans Bodenmann, Herwig Peychaer’, ‘The Russian School of Piano Playing Part 1- E. Kisell, V. Natanson, A. Nikolaev, N. Sretenskaya’ and ‘Step by Step Piano Course Book One- Edna Mae Burnam’. Content analysis method was used for the analysis of the data obtained from the methods constituting the content of the research. Firstly, information about the methods included in the research was included. Then, the characteristics expected to be found in the piano initiation methods for children were compared with the presentation of musical, technical and theoretical knowledge in the context of these methods. The properties expected to be found in the methods are collected in 20 articles by considering the characteristics of the examined methods. These properties, consisting of 20 articles, these features were broached to the two experts and were identified as 17 articles in line with the opinions of experts. Whether the features that should be found in the initial piano methods are present in the methods covered by the research was tabulated with frequency and percentage calculations. In the direction of these examined methods, properties expected to be found in the initial piano methods were determined as visual materials, posture and sitting knowledge, hand grip position information, introduction of finger numbers, introduction of the piano keyboard, theoretical information, teacher companionship, 4 hand works, music history and information on composer, music dictionary, lyrics, tonality information and scale studies, exercise studies, play pick up, legato and staccato studies, chord studies, writing exercises. Whether or not the features expected to be found in the initial piano methods are present in the methods in the scope of the research are considered in relation to Yes (Y) / No (N) was analysed by tabulating frequency and percentage calculations. In the scope of the research, the methods of "A baratsagos zongoraiskola 1, Zongoraiskola Klavierschule 1, Kinder-Klavierschule 1, Das Colorspiel am Klavier 1, The Russian School of Piano Playing Part 1 and Step by Step Piano Course Book One" were coded as M1, M2, M3, M4, M5 and M6, respectively. Conclusion According to findings, it is seen that visual content was included in 66.6% of methods but not in 33.3%. Posture and sitting knowledge was included in methods at 33.3% rate and not of 66.6%. There is information on hand holding position in 16.6% of the methods but not in 83.3%. It is seen that the introduction of hand numbers was included in 50% of methods. In the methods, this issue was expressed by two hand visuals and numbers written on the tips of the fingers. Piano keyboard was introduced in 83.3% of the methods examined but not of 16.6%. It has been determined that theoretical information is included in all of the methods (100%). The teachers' companionship was included in 66.6% of methods examined but not 33.3%. 4 hand studies were included in 33.3% of methods examined but not 66.6%. It was found that the information on music history and composers was included in only one method (16.6%) of methods and but not 83.3%. While music dictionary section found place in 33.33 of methods, it has no place in 66.6% of methods. Apart from one method (16.6%), it is seen that the lyrics are used in exercises and works in all other methods (83.3%). While tonality information and scale studies found place in 33.33 of methods, it has no place in 66.6% of methods. Likewise, exercise studies were found in 33.3% of the methods, not in 66.6%. It was determined that the practice of play pick up is not included in 33.6% of the examined methods but not 66.6% of them. It is seen that legato and staccato studies are involved in 50% of the methods. In addition, it was determined that the chord studies found place and explained in detail in only one method (%16,6) but not in others (83,3). It was found that the writing exercises usually consist of note writing exercises and are found in 66.6% of the methods and not in 33.3%. When the differences separating the six piano methods are examined; it seen that in A Baratsagos Zongoraiskola, there are a lot of colourful and amusing visuals, single-string studies, children's visuals as markers at the beginning of the parties to be played by learner. G and F keys are equally level for both hands, although there is no fixed position finger numbers are used very little. Also at the end of the book, under the heading of the small music library, there are compositions, musical periods, music dictionary and biographies. In the Zongoraiskola Klavierschule 1, the practice of playing pickup is remarkable. The exercises involved in improving the use of different finger numbers and the 4 hand exercises made up of Hungarian folk songs are also different features of this method. Kinder-KlavierSchule 1 has a simple appearance, unlike other methods. Theoretical information is given only by practice in the exercises. Das Colorspiel Am Klavier aims to teach piano with colours. Only ‘B, H, D' notations are mentioned as gain in the method unlike other methods. It represents differ from other methods that in the Russian School of Piano Playing-Part 1, the playing practice is written in the left key for both hands. The lyrics and rhymes have great importance, the learners were asked to write a lyric while the F key application was given in the following sections. Besides, in the book's final chapter, there are explanatory notes for scale, chord and arpeggios. The most important feature that separates Step By Step 1 from other methods is the written exercises prepared for testing the theoretical information.