Music schools, as artistic educational institutions and carriers of the promotion of culture, should include students of diverse characteristics and needs in their work. Unfortunately, students with disabilities rarely have the opportunity to enroll in music schools due to the overmuch emphasis on the difficulty itself, which leaves the student's abilities undetected, as well as the unpreparedness of music schools to work with students with disabilities. The thesis points out blind students and specifics in working with them, especially in piano teaching. It addresses the importance of the sense of sight and defines blindness, describes the characteristics of the cognitive and motor development of blind children and talks about including blind students in institutional and regular education. It includes the structure, tasks and principles of music education, and speaks of the inclusion of students with disabilities in the work of music schools and the difficulties that blind students encounter. The thesis describes piano teaching and presents a traditional and modern form of teaching, states four main areas of the piano teaching methodology, the structure of the contents taught and the activities through which these contents are accomplished, and the competencies required for piano teaching, including typological and inclusive competencies necessary for work with blind students. It presents the specifics of working with blind students in piano lessons, and cites the basic features of musical notation for blind students, explains the term musical game and indicates the reasons and advantages of including games in teaching. Games in piano lessons are classified into four categories, and each category incorporates authorial and pre-existing games designed for piano lessons and adapted for working with blind students.