Avietes ByMUSIC THEORY for Young Musicians 4 Study Notes with Exercises for ABRSM Theory Exams e e © a J “oO Name : @ Address : Phone : YING YING NG Published by Avicte) arn Poco Studio Sdn Bha (646228-V) 2-8, IO! Boulevard, Jalan Kenari 5, Bandar Puchong Jays, 47170 Puchong, Selangor, Malaysia Tel/Fax: +603 8078 0086 poco_studio@yahao.co.Uk facebook com/pocostudio Copyright © 2007, 2015 by Poco Studio Sdn Bhd All rights reserved. No part ofthis document may be reproduced or transmitted in any form or by any means, electronic, ‘mechanical, photocopying, recording, or otherwise, without prior written permission of Poco Studio Sdn ha, Copyediting by David €. 1. Ngo NA, BAL, PHD, FIET, FBCS, SMIEEE Printed in Malaysia ISBN: 978-967-10003-1-1% - PREFACE ~~ e----—----@ oe o- Designed as a workbook to suit the needs of today’s young pupils ond their teachers, this series presents music theory in a very easy to understand and practical format. Here are some of the pedagogical principles adopted, which make this series unique: Problem Solving: Breaking a problem into smaller parts makes solving it easier. This series isolates a problem, breaks it into small, manageable parts, and then merges it back into the bigger picture Repetition: The key to learning music theory is fepetition. Under the lesson plan, the pupil studies component parts incrementally, opplying previously acquired skills in the repetitive drills of subsequent lessons, ‘Association: Children will not lear if repetition is dull The series creates a fantasy world by using pictures, cartoons and stories to introduce new key words and concepls; this arouses the interest and invokes the imagination of the child, thereby aiding retention of the information Challenge: Examinations can provide a challenge to the pupil. This series covers the latest revisions outlined by the Associated Board of the Royal Schools of Music for their theory examinations. uses, effective and efficient drils and exercises that progressively teach the basic concepts. The material is simplified to suit the child's level. The examples and exercises build on lanquage and concepts that children clteady have, culminating in the acquisition of the skills and knowledge vital 1o passing the examination. NOTES ON THE SECOND EDITION The second edition of Music Theory for Young Musicions brings the practice exercises and examples in the fext up fo date with the latest ABRSM exam requirements. It also includes many clarifications that update the presentation of the ideas and concepts in the book and thus improve its logical flaw. lt adds a specimen test in the exam format and provides a set of revision notes on the key areas. All exercises ond exampies have been revised and many new exercise drills have been added. Concept explanations have been simplified 10 make it easier to Understand. The book's layout has been. ‘nade clearer by putting the main text against a white background. Additionally, 0 background ‘olour has been given to each information note to make it more visually inviting ‘ACKNOWLEDGE Cover design and assistance with the jlustrations by Amos Tai and the typesetting and layout design by Ivy Chang are gratefully acknowledged. | also extend my sincere thanks to the following persons for advice and suggestions as reviewers of the material: + Margaret O'Sullivan Farrell aus, pies, Te. Former Course Director, Lecturer in Keyboard Studios Dif Conservatory of Music and Drama, Dubin, reland {or her significant contributions fo the editing and proofreading ofthe material Dr. ilo Beausang aMus, MA, PRO, LRAM, Former Acting Director, Lecturer in Musicianship Studies DIT Conservatory of Music and Drama, Dublin, ireland for her many helpful suggestions with regard to the presentation of the material Their suggestions for is improvement have helped immeasurably to make it « useful and practical ‘workbook. My grateful thanks also go to my family, David Ngo, Alethia Ngo and Natasha Ngo, for their patience and love thot have allowed me to pursue this project. Ying Ying Ng arm crass Mirna t cor a =of - CONTENTS . 2--- Dna naan fn nnn - -& Time Names and Time Values Bar-lines and Time Signatures 9 Writing on a Stave 10 Letter Names 6 16 Semiquavers Rests i 20 Ties and Slurs 9 22 Dotted Notes 26 Accidentals 28 Semitones and Tones ° 30 The Scales and Key Signatures of C, G, D and F Major é 38 Degrees of the Scale ' 40 Intervals 42 Tonic Triads e 44 Cancelling an Accidental 45 Upbeats 46 The Grouping of Notes ‘ny 52 Composing an Answering Rhythm 54 Performance Directions 56 General Exercises ig 59 Specimen Test Grade 1 62 Revision Notes Cr rrr treTime Names and Time Values =| Every note has a time value. Time values are measured in beats. | Time name Note relationships semibreve (whole note) : bd ein | [ ie x thatfnotey =? | d d | - | crochet wom Ji 3] ems | FOOD DDD Dd DD El Complete the time name. Copy the note. Fill in the table. @ Timename | Note | Time valve © (aera eesti lrmaraes cemibreve | tuhale note) minim \ half note) crotehet (quarter note) quaver ae (eighth note) a 4| Time Names and Time ValuesCircle the longest note and write its time name. eJ.J a) yt | a t Lg ircle the shortest note and write its time name. old) o | oJd_ sia S&S wu J Write the time values in the order, J d d ° re & @ from the shortest to the longest. © trom the longest to the shortest. G write one note that has the same value as the given notes. ell -O ellis ejJ -L) ed edbddd-L) odd dD: Fill in the number. e1-O Oo e °C] [ [| | ol ® oe-f{ |), R Time Names and Time Valves | 5 68 8 8 oo aeBar-lines and Time Signatures Time signatures contain two numbers; 3, 3, 4 etc. * The top number shows the number of beats in a bar. ‘* The bottom number shows the kind of beats in a bar. time signature bar-lines double bar-line number of beats kind of beats eee ay ee har bg pe simple duple Simple triple Simple quadruple Common time | | | a) J) 411) thilieedill | | 2 crotchet beats 3 crotchet beats 4 crotchet beats 4 crotchet beats GD Fill in crotchets (quarter notes). Complete the sentence. OR J J | 4 reas a crotechet beats in a bar | $ meons 7 [4 more 3 | 3 means . | © me fe = awe 6 | Bor-lines and Time SignaturesE) Complete the time signature. ey) id oe yJsis dl © Add the time signature. af JJsiiss | af |lille | fll is | af iss ld JI | | J ey Jssils | asd lo | eB Jiidsld 1 a | AAI | of JOA. | alli Jt af) dIdOIALI signatures | 7ol | bd oglu JI ee oy Ii) JI © Add the missing bar-lines. al i oN iil Jt 3 NI dl eld NsWriting on a Stave i Notes are written on the lines and spaces of the stave. \ stave line notes space notes ledger lines ] I aa 2 | g | 5 i. ry A > > (1 w $ yf Stem direction up stems up or down down stems I Circle the 5 correct notes. B write a semibreve twhole note) © onevery tne D inevery space. © Add a stem to each note. @ Change each note into a quaver (eighth notel. Writing on 0 Stave | 9Letter Names The keyboard consists of black keys and white keys. * The black keys are grouped in 2 and 3. * The white keys are named with the 7 letters of the alphabet: AB C DEF G. Treble clef notes 2 black keys 3 black keys pes RET aa middle Copy the clef and its name. treble clef © Fill in the missing notes as semibreves (whole notes) and letter names.©) Fill in the missing letter names and notes as semibreves (whole notes). ©) Write the letter names. =o com — o——>— ————— e ie oooo0ooono0oog > Fill in the table. Time | name Note | | Letter name Write the notes as minims {half notes). G.line A space E tine F, space C, space 8. line |) Write the notes as crotchets (quarter notes). D, space Cline E, space G, space Fine D, tine Letter Names | 11Bee 3 black keys 2 black keys ee a ©) Copy the clef and its name. boss clef (1 Fill in the missing notes as semibreves (whole notes) and letter names. = = == GBOOOO0O00UU {1 Fill in the missing letter names and notes as semibreves (whole notes). 12 | Letter Names{D Fill in the missing letter names and notes as semibreves (whole notes). Note Time name Letter | “| | name {5 Write the notes as minims thalf notes). Aline G, space E, space F. line 8, space Cline (D) Write the notes as crotchets (quarter notes). = C, space B, line A, space G line D, line F, space Letter Names | 13Add the clef. (D) Add the note in each numbered space. 1 2 3 ) B, crotchet 2 A, quover » €, crotchet 4 C, minim (Guarter note) (eighth note) Iquarier note thaif noted 1 E crotchet 2 middle C, crotchet_ ® G, quaver © D, quaver [quarter note) (@uarier note) eighth note). leighth note) |G, minim © A, crotchet © E, quaver 4 middle C, semibreve Thalf note) quarter note) (eighth note) whole note) 1G crochet =? F, minim © E,crotchet 4 middle C, minim {quarter notel (hot note) [quarter notel ‘halt notel 14 | Letter Names{F) Look at the melody and answer the questions. fle the time name of each note in bar 1. 15 eee * ae oy + Write the letter name of each note marked * | Write the 1e name of the Ist note, | Write the time name of the last note. Write the time name of the shortest note. Write the time name of each note in bar 2 O OOO OO0OO00 | Write the letter name of each note marked * | Write the time name of the longest note. | Write the bars that contain only quavers (eighth note! Write the time name of each note in bar 3. 2 & Letter Names | 15Semiquavers @ Fill in the missing notes. Time ' Time name | Jatve Note relationships semibreve| whole rote) | 4 - ini carne | J crotehet | | J (quarter note) uover (eighth note) mle ‘ . ‘ e semiquaver Kcixteenth note) AAA A AE BG Fill in the missing notes as semiquavers (sixteenth notes). ale Sy Fill in the table. @ Time name _| Time value BL note Time name —_| Time value d > s J G write the time values in the order, © trom the shortest to the longest. B) from the longest to the shortest. AL oe ee LS [ | + © ®& © o 16 | SemiquaversJ oa cr) dd] 0 ddd addd-[] © AA oN )-(] © ANDAR AD D-[ 0005 G Fill in the number. e)-L JS eJ-LJA eJ-CO4 aJ-LJK ee-CJ oe-C 4 wy ase ose + of) JI J) ofl) sR OI eilJd | Jl 0% FRId ddl ees DIT | ofl Ml dt e4)) Wis | etl Auld MI a 4 £ A w of aea Rests mean silence. Each note has its corresponding rest. Time name | Time value semibreve = | (whole note) < a minim | we 1 = 2 - oo crotchet | {quarter note) J | g 1 | ds _|_* | quaver | ae | ee d 7 2 (sixteenth note A semibreve (whole note) rest/whole bar rest is used to show a complete silent bar. BD Copy the rest and write its time name. @ o rest rest rest rest rest © write one rest that has the same value as the given note. o 18 | Rests) Write the time values in the order, 7 =-—= J = {@) from the shortest fo the longest (5) from the longest to the shortest. eee ee ede NN Rests | 19Ties and Slurs i A tie connects 2 or more notes of the same pitch. The Ist note is played and held for the length of the tied notes. tie ties —— @+() = Woeats ()+B)+@)- Wea yi e VA ws a © Add a tie where possible and write the number of beats made by the tie. @ 8 DOC OOO OOO OOOO OOD OO-O-O x Chae OOO 20 | Ties and Slursj A slur connects 2 or more notes of different pitches. The notes are played smoothly. slur slurs \ os _——_ a ‘a Iz; 5 a low —> high high Bo & © Circle the higher note. © Circle the lower note. 5) Semitones and Tones | 29The Scales and Key Signatures of C, G, D and F Major a A scale consists of 8 notes. The pattern for the major scale is (T=tone, S=semitone): C major, ascending C major, descending pak oeeraets) ce, 7a) cia, 6 6 eek 2) The semitones occur between notes 3-4 and 7-8. @ write the letter names of the notes that make up the C major scale. semitone semitone ae aa @ write the scale in semibreves (whole notes). Mark the semitones with —. C major, ascending C major, descending 1203 4 5 6 7 8 C7 6 ss ey * a 30 | The Scales and Key Signatures of C, G, D and F MajorEl Write the letter names of the notes that make up the G major scale. semitone semitone ee @) Add accidentals (where necessary). Mark the semitones with —. G major, ascending G major, descending ee of pemeety ofr @ S—————— A 0 et G Copy the clefs, key signature and key name. G write the scale in semibreves (whole notes}, using a key signature. G major, ascending G major, descending 8 4 oe GE : The Scales and Key Signatures of C, G, D and F Major | 31Write the letter names of the notes that make up the D major scale. semitone semitone OW), |OJOO) |G B Add accidentals (where necessary). Mark the semitones with -—. D major, ascending D major, descending t i @ g Jparsaa SS G1 Copy the clefs, key signature and key name. {D write the scale in semibreves (whole notes, using a key signature. D major, ascending D major, descending 82 | The Scales and Key Signatures of C, G, D and F Major1 Write the letter names of the notes that make up the F major scale. semitone semitone dee GT {B Add accidentals (where necessary). Mark the semitones with —. F major, ascending F major, descending @ = ————————— [B Copy the clefs, key signature and key name. F major — DB write the scale in semibreves (whole notes!, using a key signature. F major, ascending F major, descending °& : j 4 7 ): Oe = : @ = = The Scales and Key Signatures ef C, G, D and F Major | 33,a {G Name the key. Mark the semitones with -—. 60: 9; key major panna ABE * eS Key 34 | The Scales and Key Signatures of C, G, D and F MajorName the sharps or flats of the key and write its key signature. ® dmajor: CT) © F major: C] [B Add the clef and key signature to make the scale. © G mojor a —a—~ ©) F mojor SY Cong s STA fe TH \z *{ Aw = © 0 major @ C major © 6 major F major @ Cc major The Scales and Key Signatures of C, G, D and F Major | 35{B Add the clef and any accidentals to make the scale. (Do not use a key signature.) @ D major B® G mojor © F major @ D major © F mojor @) Write the scale in semibreves whole notes}, using a key signature. @ 6 major, descending © O major, ascending eo © F major, ascending @ dO major, descending 36 | The Scales and Key Signatures of C, G, D and F Major@) Write the scale in semibreves (whole notes). (Do not use a key signature, but add any accidentals.) \@ 6 major, ascending 7 ®D Cmojor, descending D major, ascending @ F major, ascending © 0 major, descending BD F major, descending ® Circle the note that is not in the key. @ 6 major B FE mojor D major ‘The Scales and Key Signatures of C, G, D and F Major | 37Degrees of the Scale Scale Degrees refer to the 7 positions of the notes C major ass = Ist 2nd ard 4th Sth 6th, 7th (keynote) Ist keynote) GD Fill in the letter names. Degree % "5 st sth 6th 7th Ist major c G major © major F major B Fill in the missing notes as semibraves (whole notes), letter names and scale degrees. G major fom 16 B D rl ff Degree | ist and uth sth fs a 38 | Degrees of the Scale @ o©) Write the scale degree of each note marked +. eh (©) C major ) opoqoomo 4 [B) F major { * * ee ® soe * D major & ® COOOU0 UO UO © D major O00 0 O OU le F major O OOOO 0 OO + Degrees of the Scale | 39a An interval is the distance between 2 notes. * In harmonic intervals the notes are played together. + In melodic intervals the notes are played separately, Melodic interval ad o e = o Cmojor unos sth 6th 7th ath/8ve Harmonic interval = © = = ° S. ° eo major 6th th Bth/8ve ©) Write the number (2nd, 3rd etc.) of the harmonic interval. f 4 oO o oe 40 | intervals©) Write a higher note after the given note to form a melodic interval, G major 6th 5th and 7th ard ©) Write a note above the given note to form a ha F major 6th sith ard 7th and ath/8ve 4th ard 2nd ath/Bve 4th ) Circle 2 notes (© @ 6th apart @ 3rd apart. 7th ~ - | poe Soy) Fass Intervals | 41a A tonic triad consists of 3 notes: the Ist, 3rd and 5th degrees of the scale. NS Di Circle the letter names of the tonic triad and trace its sharps or flats and notes. D major | F major major Gmajor [zlo.0r6 GABCD DERFGA roaBe. ee B Add the clef to the tonic triad and write its letter names. @ F major B® G mojor D major @c major aaa Bae gam ae) EB Add the clef and key signature to the tonic triad and write its letter names. © major © F major © major © D mojor g O00 OOO OOO UU 42 | Tonic TriadsGI Name the key of the tonic triad. @ 8 OTS a Bo @ é © major 6 moeiZenct Z\ 0 major F mojor [a(n V5 iq © . ius =e oe u © major F major © major © major G Write the tonic triad. (Do not use a key signature, but add any accidentals.) @ BSE @ C major G major D major F major F major © major G major Tonic Triads | 43Cancelling an Accidental a ‘An accidental lasts until the end of the bar. A natural is used to cancel @ flat or sharp. * * so @ OO O OU B Add an accidental before each note marked + to cancel any previous accidental. * * a 44 | Cancelling an Accidentalyi Wii Pa Tally id a beat ard beat 4th beat © Write the counts. Then write the beat (2nd, 3rd, 4th etc.) on which the rhythm starts. “4 bid id dU ele beat a « ¢ Idddid Jie Xx JAJilldie 7 coos au. a bo a PD beat a pO Ih dtd Jl g a e ab tii did U)= Uo Eul= U = ue g a Upbeats | 45The Grouping of Notes D-t-a Beaming notes Beam notes in crotchet (quarter note) beats. vooeomed! ND NNAR DAA RAD ADA DS SD jeconet | IT PPre Jia TW fi Fi) Ms tw @ Beam the notes. Dd | ANNA] D ADL ADD) ADA Dd] 32 | © Mark any notes that can be beamed and beam them. PEDDIIDIN IT PR DDD DIAN 4 | 4 | | SESDHASAS] | SAHAL SHD IL | 3 a | a 46 | The Grouping of Notes2a Beaming quavers A complete bar \, * In Zand 3. beam a complete bar of quavers. F went 8 MDDD BAND Z mone $01) 4 STITT wanes § J DODD DDD somes 13) ST] | Jad J unos] DDDDIDDD] DIDDY I J DDD ome ATI II AMAL on © Fill in beamed quavers (eighth notes). agjis | 23 J) ofgea! J | ro | 93] i 4s] \ oR | 3 | 94 | aad J] 24 | 24 Jl The Grouping of Notes | 47® Mark any notes that can be beamed and beam them. PEDDDD | CRDDDDIDL C&DD DDD I 3 | 3 4 Ki PHLDDDD | SA DDDD DDE OL DD DD JI 3 | 4 | 4 \ @ Rewrite the following with the notes beamed. 48 | The Grouping of Notes a az‘Stem direction 2 beamed notes Find the direction by * the furthest note from the middle. —— ae | v v One’ === Sate | | | = | SS a lee 3 or more beamed notes Find the direction by * the majority of notes above/below the middle. vv vv 44 viv | | | 2 = | LCL | Beamed == = = == = « the furthest note from the middle if there is an equal number of notes above and below the middle. ree a 2 7 v | a —— = ef | = = Beamed = The Grouping of Notes | 4950 | The Grouping of Notes ABSri Rewrite the following with the notes beamed. so @ ‘The Grouping of Notes | 51Composing an Answering Rhythm A 4-bar rhythm has a 2-bar question and 9 2-bar answer. it usual follows patterns of repetition and contrast: ABAC, ABBC, ABCB, etc. BB Cotour each pattern with a different colour. tT) lleuits ial tid alas AISI) ie dt B Answer the 2-bar rhythm, following the given plan. anid, = : 52 | Composing an Answering Rhythm© Answer the 2-bar rhythm. JT IL) Jerald Composing cn Answering Rhythm | 53erformance Direction: a This is a list of performance directions required for the Grade 1 Tempo accelerando accel.) gradually getting faster f. adagio slow (2 allegretto fairly fast * allegro Ively, fast ‘ondante at a walking speed \ lento slow \ moderato moderately rallentando (rall.) gradually getting slower ritardando (itard., rit.) gradually getting slower ritenuto (riten., rit.) held back | tempo speed, time (2 tempo: in time) Dynamics crescendo (cresc.) gradually getting louder \ decrescendo (decresc. gradually getting softer diminvendo (dim.) gradually getting softer f (forte) loud ff (fortissimo) very loud mf (mezzo forte) moderately loud mp (mezzo piano) moderately soft Pp (piano) soft pp (pianissimo) very soft Style/Others cantabile ina singing style da capo (0.C.) repeat from the beginning dal segno (0.5. repeat from the sign $ fine the end legato smoothly mezzo half poco alittle staccato (stacc.) detached 54 | Performance DirectionsCoe WHEY Musical Signs — gradually getting a octave (crescendo) louder gradually getting 1 ——_ 8va play an octave higher jaminvendo) ‘Softer 8va 2 play on octave lower J ie omit rd stoccato, detached sue rau Merete, f d accent the note ond repeat marks if d the dot makes the note longer by half its value MM, 4 = 88 88 crotchet beats or 88 in aminute nw pause on the note BD Give the meaning of each of the following. @ mezzo & staccato pee aaa Oo — (@ poco i (3) legato : fine adagio ee ‘andante ritenuto : allegra _ - oF : @ tento = - a tempo s ©) cantabile ©) da capo = @ mm.J=96 © write the dynamics inthe order, pf ff mf mp pp (@) from the loudest to the quietest. (B) from the quietest to the loudest. Performance Directions | 55General Exercises BD Look at the melody and answer the questions. ‘Allegro 1 2 3 4 tf | (@) Time names and time values | Give the time name of the shortest note, . i) Give the time name of the longest mote, i) Give the time name of the rest in bar 4. |v Which bar contains only crotchets? Bar vy Give the number of a bar that does not contain a crotchet. Bar _ yi How many quavers is the note in bar 4 worth? (©) Letter names | Give the letter name of the highes! note. Give the letter name of the last note of bar 2 |ij How many times does the note E occur? |v Draw a circle round the lowes! note. Time signatures, | What does the 3 in 3 mean? ii What does the 4 in $ mean? oan aR Complete this sentence: Bar 2 has the same rhythm as bar How many times does the rhythm Jeo occur? ae . 56 | General Exercises©) Look at the melody and answer the questions. ‘Moderato 1 2 3 4 mp a a 2 +}}5) Ties and slurs 2, Give the time name (e.g. crotchet or quarter note) of the 90 in the melody (> Next to each note write a rest that has the same time value. Specimen Test Grade 1 | 59(© Write as semibreves (whole notes) the scales named below, Using the coe Rey sgetue or each G mojor, ascending Sons ‘A. Me D major, descending (5) bove each note write another note to form the named bop ooo interval. The key is D major. o | 4 o Sth ath/8ve 7th 2 6th ard 2nd (7) ©) Add the correct clef fo each of these tonic triads. D major Letter names “| Under each triad write the letter nome of each of the notes, including the sharp or flat sign where necessary 60 | Specimen Test Grade 11) Look at the melody and answer the questions below. d =08 |) Copy out the whole melody neatly and accurately Include the clef, key signature, time signature and all other details. SOE >) Give the meaning of each of these: >Ibar 2) the dots above the notes (bar 1) ” —= The melody is in the key of F major. Name the degree of the scale (e.g. 4th, 5th, 6th) of the last note of bar 2 (marked | Draw a circle around the) note. | In which bar is the performer told to pause or hold on to the note? Bar » How many semiquavers (sixteenth notes) is the last note worth? This music should be performed at a walking speed. Which of the following words means ‘at a walking speed’: Andante or Lento? ‘Specimen Test Grade 1 | 61Revision Notes Letter Names, FecGvApING IC) DLsEiuE CG) ANE. Ci U JE. O.A))B1C1 0: 6 o OAMS.OYS Time Names Time Time Time Name Note Rest Time Name Note june, semibreve dotted minim aree| © | = | 4 diam, | J. | 3 minim = dotted crotchet a {half noted 2 (dotted quarter note) . 2 crotchet dotted quaver o (quarter ote z 1 (ded eghih not) ) 4 quaver 1 , (eighth note) r A dot after a note makes it longer by half its value. semiquaver dS (sixteenth notel Whole bar rest Time Signatures Ties and Slurs tie slur a 2 beats crotchet beat 2/+/1)=( 3 beats © 2 crotchet beats in a bar * Only the Ist note is played. * The notes are played smoothly 62 | Revision NotesAccidentals Fe Fe Fe FR OFE A : eee pane 5 low —> high cle tone 3) | il high # higher note lower note | bs low bf Key Signatures and Tonic Triads Cmajor Gmajor D major F major Degrees of the Scale C major oe Ist and ard 4th Sth 6th 7th Ist (keynote) keynote) Intervals oe oe oe eo Se C major keynole 2nd ard 4th Sth 6th 7th Bth/8ve Harmonic interval Gimajor keynote 2nd 3rd th Sth 6h 7th Bth/Bve Revision Notes | 634 quavers fea a TT 1 | | Upbeats bd) 1 i id) 41d Jui 64 | Revision NotesPOCO MUSIC THEORY SERIES Poco Music Theory series helps children to develop their musical knowledge, skills and understanding in a well-planned and structured way. Theory Drills for Young Children Books 1-2 Oe 3 F999 x Music Theory for Young Children Books 1-4, Second Edition RSTn Ptateccd Stach Pearseiad basa for Young Children eres patented and Py VRP Pe rey ‘Wis ete srintesby Alfred Music Publishing “WTI Burnt Mill | Elizabeth Way | Harlow | Essex |CM20 24x |UK | | in | (Mager toaost1 Biers www.alfredUK.com