Krolick’s book teaches basic music symbols such as the notes, rhythm, octave signs (the clef signs are not used in braille music), and rhythm in the first chapter. In the following chapters, she presents the signs that are specific to vocal and instrumental music: wind instruments (with a brief section on percussion), strings, and keyboard instruments. The student should read all the chapters because some chapters contain information that is applicable to all instruments. The last chapter provides information on where to get braille music and lists additional books students can use to learn braille music.

Part I of the series, Taesch's books are suitable for students who are just starting their music lessons. Taesch’s course is a combination of lessons in rudimentary music theory and braille music reading. Phase one starts with the music readiness activities that prepare students for formal music lessons. These lessons focus on the aural component of music through singing and ear training (listening skills) before reading is introduced. The chapters that follow combine braille music reading, theory, ear training, singing and melodic dictation.

This series is intended not only to teach the students to read braille music but to help them audiate, or hear the music they are reading in their head. The lessons include assignments in writing, singing, and playing on the keyboard using the accompanying exercise books. This series moves at a much quicker pace than average piano method books or other instrumental method books. I suspect that good effort will be required to master the concepts introduced in these books. However, the emphasis on listening and singing skills will help build a solid musical foundation for students regardless of their chosen musical field of study.

Beginning information for learning braille music. Based on decisions made at the International Conference on Braille Music in Paris, 1954