This collection was taken from a joint 1913 effort by Bartók and Sandor Reschofsky entitled The Piano Method. Reschofsky actually accounted for most of the work in the project, but Bartók's contribution was still significant, though certainly not substantial or essential in the study of his art. These 18 pieces together last about nine or ten minutes and are simple in expression and easy in execution. The music was written for first-year piano students, some of it being the stuff of the most rudimentary caliber; hence, the title The First Term at the Piano. It is a mixture of folk song adaptations—and therefore draws comparison with his large collection For Children—and original compositions.

Oddly, Bartók's own individual voice can be heard in some of the most elementary pieces. The opening one, for instance, features a simple melody (Moderato) played in unison in chords that are recognizably Bartókian. Nos. 3 and 4 are both titled "Dialogue" and marked Moderato, and feature simple melodies in modestly conceived writing. No. 5 is quite childlike, and No. 7, titled "Folksong," is the first piece here showing a measure of challenge for the performer and having a melody with substantial character.

The next two Andantes show little advancement in technique and are largely bleached of color, sounding like simple studies. The folk-sourced No. 10 (Allegro) infuses life and color in the proceedings, and the ensuing Minuet also has charm. "The Swineherd's Dance" (Allegro) and innocent-sounding "Folksong" (Andante) that follow are further examples of the composer's skill in this genre.

No. 14 (Andante) has a Bach-like character, and although there is nothing approaching complex counterpoint here, this may be the most compelling item. "Wedding Dance" follows, bringing along a naïve bombast, and "Peasant Dance" (No. 16) is charming but so short—about 15 seconds—it seems like a bridge passage between pieces.

The next item, marked Allegro deciso, has a decisive and assertive manner, and the closing Waltz introduces a sense of subtlety to the student, even managing to impart a simple, mesmerizing charm to the listener with its melancholy waltz theme. In the end, one must assess this collection as successful in achieving its aims, but cannot count it among Bartók's major efforts. The composer never intended these pieces for concert use, but they have surfaced on recordings.

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