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Music Bumblebees

for Young Musicians
C
opyright 2009 Bumbleb
e
e
s P
u
b
lis
h
in
g
Anna Lu (Author)
MMusSt, BMus (Piano with Hons I)
BSc (Pure Mathematics)
LMusA (Piano), AMusA (Piano)
AMusA (Musicianship)
Sample Book
Bumblebees Publishing
www.musicbumblebees.com.au
with MP3 Tracks
How to Use this Book
Melody is your instructor throughout the book. She will teach
you interesting music concepts and terms. Everything she says
will appear in a purple box like this, and you can listen to it
on the MP3 tracks.
Track
1
Buddy Bee is your learning friend who will take you through fun
activities to reinforce the different music concepts. The directions
are simple and easy to understand. Buddy Bees instructions will
appear in a green box like this.
Play the MP3 track when you see this sign.
Track
No.
Introduction
Welcome to the Music Bumblebees Aural & Theory Workbook Series Sample Book.
This workbook series for young musicians has been specifically designed to incorporate
ear training to theoretical teaching, bringing children an integrated music learning
experience. The workbooks bridge the gap between the classroom and the studio
teaching, as often the classroom learning focuses more on aural discovery while the
studio learning tends to focus more on technique building and performance.
Upon the completion of this series of workbooks, young musicians will have acquired
knowledge equivalent to a Grade 1 Theory exam. Furthermore, these young musicians
will have learned theoretical concepts from an aural perspective, gaining knowledge
and aural understanding simultaneously.
There are three workbooks in this Aural & Theory Workbook Series for Young Musicians
A, B, and C. The learning of each book is divided into 3 areas: (1) music concepts, (2)
rhythm, (3) notation. Each book contains numerious MP3 tracks and 48 colourful pages
of teaching and exercises such as aural discovery and discrimination, note-writing,
counting, clapping, and creative tasks, as well as an exercise sticker sheet.
In this Sample Book, pages from each workbook have been carefully selected and
compiled, giving you a better insight into:
how music concepts are taught in the workbooks
how the aural and sticker exercises are designed to encourage, engage, stimulate
and challenge the students
how easy it is for students to work independently
how essential it is for the students to learn the aural side to the theoretical
concepts
how one can adapt the workbooks to the teaching of a classroom or small
groups, such as beginner readiness classes or instrumental programs in primary schools.
I trust you will find our Aural & Theory Workbook Series offer a fun and innovative
way to teaching and students will find the learning fun, challenging and rewarding!!

Anna Lu (Author)
2
Copyright 2011 Bumblebees Publishing
Content
Musical Instruments
Musical Alphabets
Sounds of Music
Dynamics
Tempo
Rhythm
Beat and Rhythm
Bars, Barlines, & Double Barlines
Meter
q
n
Time Signature
Q

h
w
Revision
Notation
Musical Stave
Lines & Spaces
Stem Direction
Steps
Skips
G Clef
F Clef
Revision
Assessments
Aural
Rhythm
Notation
Glossary
Manuscript Pages
Certificate
4
5
6
7
8
9
10
11
12
13
15
16
19
22
24
27
28
29
31
32
34
36
38
42
43
44
45
46
48
Copyright 2011 Bumblebees Publishing
3
Workbook A
4
Musical Instruments
Copyright 2011 Bumblebees Publishing
Xylophone
Violin
Trumpet
Piano
Flute
Guitar
Track
2
Listen to these instruments on the MP3.
Track
3
Listen to the MP3 and find the sticker with the correct instrument
and paste the sticker inside the box. Track
4
We can make music in many different ways. We can sing to make
music, or we can play musical instruments to make music.
Musical instruments sound different from each other, because different
instruments produce different colours of music, and this is called the
timbre (pronounced TAM-BER). We can create different timbre by using
different instruments together.
a) b) c) d)
Workbook A
Copyright 2011 Bumblebees Publishing
5
n
When you hear 2 equal sounds in one beat,
that rhythm is called titi,
and it can be written like
n
or

.
Its technical names are two quavers (British)
and two eighth notes (American).
crotchet
2 quavers
ta
titi
quarter note
2 eighth notes
eg)
a)
b)
n
beam
n
a)
b)
c)
Track
6
Track
5
Listen to the MP3. Circle the heart in which the piano played
2 sounds. Draw a inside that heart beat.
Listen to the MP3. Circle the pattern you hear.
Track
7
Connect the rhythms to their rhythm names and technical names.
n
n
quavers
Trace the quavers. Write the word quavers 3 times.
Workbook A
Letternames
Write the answer in the circle.
Track
8
A to B is a
step up
E to C is a
skip down
A
A
B
C
D
E
F
G
steps
up
to
A
skips
down
to
G
steps
up
to
E
skips
up
to
D
steps
down
to
C
skips
up
to
F
skips
down
to
E to G is a
skip skip
up down
B
skips
up
to
E
steps
down
to
C to D is a
F to D is a
step skip
up down
G to B is a
step skip
up up
B to A is a D to E is a
step skip
up down
Circle the correct answer.
a)
c)
e)
b)
d)
f)
step step
up down
step skip
up down
Remember the Musicians Alphabet Song? Lets sing it.
We use ABCDEFG, and they are called the letternames.
There are also steps and skips in these letternames.
A
6
Copyright 2011 Bumblebees Publishing
Workbook A
Content
Percussion Instruments
Sounds of Music
Slur & Staccato
Dynamics
Tempo
Revision
Rhythm
Time Signatures

Revision
Notation
Notes on G clef & F clef
Leger lines and G clef notes
Leger lines and F clef notes
Grand Stave
Middle C
Keyboard
Half-step
Tones & Semitones



Accidentals
Minor 3rd (so-mi)
Major 2nd (so-la)
Revision
Assessments
Aural
Rhythm
Notation
Glossary
Musical Staves
Certificate
4
5
6
7
8
9
10
12
14
16
17
19
21
22
24
26
27
28
29
31
32
33
34
35
36
39
41
42
43
44
45
46
48
=

Copyright 2011 Bumblebees Publishing

7
Workbook B
Listen to the MP3. Draw a slur over the notes if the music is played
legato and write legato inside the box. Draw staccato dots if the
music is played short and detached and write staccato inside the box.
A hhas 2 beats, the same number of beats as 2 s grouped together.

On the musical stave, when 2 s are written in the same space or on the
same line, we use a tie to join the notes by the noteheads to make a
longer sound. We play or sing the 1st note for 1 beat and hold it for
another beat, which equals 2 beats and sounds the same as a .


2 beats 1 beat + 1 beat = 2 beats
1 beat + 1 beat 2 beats
play
hold
tie
d)
h
q
q
Write the word tie 4 times.
Listen to the MP3. Find the 2 s that have been tied together, and
draw a tie to join the two notes together by the notehead.
q
q q q q q q q
q q q q q q
q q q q
q q q q q q q q q
q q q q q
=
U
Copyright 2011 Bumblebees Publishing
9
11
12
Workbook B
Minor 3rd (so-mi)
An interval is the distance between two notes. A skip Is an interval of a 3rd.
&==xz===
1
2
3
&==h==j==
3 semitones
B D
q n q


n
q n q q
m
q Q q Q n q q
q q q
q q n q
m m
For example, B to D is a skip, as well as
a 3rd apart. We start on B, being the
1st note, and count up. C is the 2nd
note, and then D is the 3rd note. So
the interval between B and D is a 3rd.
A 3rd that is exactly 3 semitones
apart is called a Minor 3rd.
The top note has a solfege name
called so, and the bottom note
has a solfege name called mi.
Listen to the MP3. Find where the mi is, and circle that note. Write
m below the note.
Listen to the MP3. There will be 2 mis in each exercise.
Circle them and write m below each note.
so mi
q n q q h
so mi
10
Copyright 2011 Bumblebees Publishing
13
14
15
Workbook B
Content
Musical Instruments
Dynamics
Tempo
Rhythm
Quavers & Stems

Whole Bar Rest
Anacrusis
Meter
Revision
Notation
C Major Scale
Solfa Names
G Major Scale
F Major Scale
Key Signature
Accidentals
Tonic Note
Interval
Tonic Triad
Transposition
Revision
Assessments
Aural
Rhythm
Notation
Glossary
Musical Staves
Certificate
4
5
6
7
8
9
10
12
13
14
15
16
17
19
20
22
24
27
28
30
32
34
35
36
38
39
41
42
43
44
45
46
48
Copyright 2011 Bumblebees Publishing
11
Workbook C
Dynamics
Draw a line to connect the matching sign, term and definition.
The sound of a police siren will become louder when the police car is
approaching from far away. We use the sign or the term
crescendo (cresc.) describe music that is getting louder.

When the police car is going away, the police siren will become quieter.
We use the sign or the terms decrescendo (decresc.) or
diminuendo (dim.) to describe music that is getting softer.
Write these signs and terms 3 times each.
cresc.
decresc.
dim.
getting softer
getting louder
diminuendo
crescendo
Listen to the MP3.
Draw inside the circle if the example was getting louder.
Draw inside the circle if the example was getting softer.
12
Copyright 2011 Bumblebees Publishing
Workbook C
16
17
Copyright 2011 Bumblebees Publishing
In time, a is often followed by a like this ,
called tum ti.
@, #, $
j e j e
This rhythm combination is worth 2 beats.
Listen to this rhythm on the MP3.
q
Listen to the MP3 Find where the is and circle the 2 heart
beats together. Draw the rhythms inside the heart beats. Take care
to write the in the right half of the 2
nd
heart beat.
je
e
Track
e
j
qqj eq qqj en
d j eq h qqnq
U
Listen to the MP3. Circle the pattern you hear.
j e
e e e e
q
UU
q
q n q n n qq

q
q

n

$ qqj e \qqh ]
qq
13
Workbook C
18
19
20
Solfa Names
Listen to a major scale sung in scale degrees first and then
in solfa and sing along.
Each scale degree in the major scale has a solfa name.
d r m f s
d r m m r d
d m s s m d
d m m d d m m r
d m s l d m s d
1
2
3
4
5
6
7
8
do
(d)
re
(r)
mi
(m)
fa
(f)
so
(s)
la
(l)
ti
(t)
do
(d )
1
1
d r m r d
Listen to the MP3 Circle the pattern you hear.
14
Copyright 2011 Bumblebees Publishing
Workbook C
21
22
~ Tania Rashidi
M.M.T.A, Licensed Kindermusik
Educator (NSW)
"It is my studio book of
choice for new students."
~ Robyn Harries
AMusA, MTAQ (Assoc),
Music teacher (QLD)
"A truly wonderful
combination of ear
training and theory."
"I wish I was a child
again!!!"
"The workbooks are
so much fun."
~ Julee Andrews
AMusA, ATCL, LTCL, FTCL,
Piano teacher (NSW)
~ Deanne Scott
CTMusA, MTAQ (Prof ),
Piano teacher (QLD)
Copyright 2011 Bumblebees Publishing
15
What the experts say
Music Bumblebees Aural and Theory Workbook A provides a fresh approach to aural and theory
training for young musicians. Music teachers will undoubtedly welcome this exciting resource which,
being equally suited to studio and classroom contexts, creatively introduces music fundamentals to
students in a logical, step-by-step manner.
Visually-stimulating, interesting tasks form a well-squenced range of activities which encourage a
motivated approach to learning. Teachers and students should look forward to using this successful
blend of aural and theoretical development in which concepts are presented in a fun and enjoyable
manner.
Dr. Julie Kirchhubel / Lecturer in Aural Studies, Queensland Conservatorium, Grith University
PhD (Edn), MMus (GU), Dip.Ed (UNE), Grad Dip Mus, BA (Mus), LMusA, AMusA
Music Bumblebees Aural & Theory Workbook B continues to provide young musicians an innova-
tive and interesting approach to aural and theory training. This workbook introduces more complex
rhythms, and also begins work on simple melodic dictation through intervallic listening and the use of
solfege names.

School-aged students will nd this workbook useful, as it corresponds with their classroom learning
material, hence strengthens their musical knowledge and aural skills. The aural training in this
workbook not only provides training for young musicians, but can also assist many students in their
practical and theory or musicianship exams.
The Music Bumblebees Aural & Theory Workbook series oer young musicians an all-inclusive music
learning experience, and students should look forward to Workbook C!
Antoni Bonetti / Orchestra Conductor and Violinist
M.Mus., A.R.C.M., D.S.C.M., A.Mus.A.
Music Director and Founding Conductor of the 80 member Brisbane Symphony Orchestra
Lecturer, School of Music, University of Queensland
Leading String Teacher at Good Shepherd Lutheran College, Noosa
Anna Lu's series of Aural & Theory Workbooks are not only very attractive looking but a fun way
for young students to learn the essentials of music. The aural component in particular is much
needed as there is little available in this very important area for young students while the accompa-
nying CDs are excellently prepared & presented. I thoroughly recommend these publications for all
teachers of young music students.
Suzanne (Sue) Thompson / Author of the MUSIC GAMES series of musicianship books
L.R.S.M., A.T.M.A.
Retired AMEB senior examiner
~ Nicola Poore
BMus, BEd, Classroom
music teacher (NSW)
"We have experienced
great success with
this resource in our
Year 1 and 2 Music
classes."
Aural training CD
Visually-stimulating
exercises
Exercise stickers
Kodaly based for
classroom teaching
Suit all instrumental
beginners
Achieve Theory
Grade 1 standard
Bumblebees Publishing
Anna Lu (Author)
MMusSt, BMus (Piano with Hons I)
BSc (Pure Mathematics)
LMusA (Piano), AMusA (Piano)
AMusA (Musicianship)
www.musicbumblebees.com.au
Classroom
Music
Instrumental
Program
Individual
Instrumental
Lesson
Group
Musicianship
Classes
Beginner
Readiness
Program