Group Activity for Babies

As the semester progresses, the babies will be getting older and more capable of being a bit independent. When presenting a group activity, the sitting children can be put into a semi-circle for all to watch the activity.

Some children can be in an activity center (standing) or in a seat of some nature still looking at the teacher.

If there are new babies introduced into the room, that baby will require the attention of the teacher as instructed in the earlier plans where everything should remain tactile on the child.  If there is no time for that activity in the plan for the individual attention, then the baby can lay down so that they can turn their head toward you if they choose.

Material Distribution and Collection – Baby

General:

• Walk around the circle with the materials, allowing each child to take what he or she needs. Say the child’s name or the name of the instrument as they pick up their instrument.
• If the baby is unable to pick one out of the container, hand it to them, or put it on the floor in front of them or nearby.
• Walk around the circle and encourage the children to put the materials in the container. Assist as their motor skills are developing. Many children are capable of putting the materials back into the container between 8-10 months of age.

JamRound™:

• Place instruments in a basket or container. Shake them gently, listening with excitement and anticipation.
• Bring instrument choices to children who are not mobile. They will be able to choose between two instruments around 4-5 months of age.
• Hand an instrument to children who are not yet able to choose for themselves.

Children with Limited Mobility

• Lift the child and dance with them. Move around the room so they can engage with other children
  • Rock side to side
  • Bounce
  • Tiptoe (if the music gets quiet)
  • Twist
  • Squat to the beat (this is particularly helpful for soothing babies)
• Tap on the child’s feet, legs, shoulders, etc. Be sure to allow the children space to move freely as you are tapping. If they move the body part away from you, simply continue moving nearby rather than touching them. This is their way of communicating that they do not wish to be touched.
• Gently raise the child over your head and lower them toward your face as you share a smile and giggle. Watch to be sure they are enjoying it and are not afraid.
• Allow the child to sit on your lap
  • Bounce gently
  • Rock side to side
  • Lean forward and back
  • Tap their shoulders, legs, etc
  • Rub their back or gently rub your fingers on their arm

Observing Babies

When working with babies, developmental milestones may not be easily observed to accurately record musical assessments.

Be sure to use expression and joy in your body and face to get the maximum response from each child. On the other hand, be careful to watch that you are not upsetting the baby.  If they are showing signs of distress that you are too close or that they are tired during the music class, give them their space.

Signs for musical development in babies can be:

• Watching you
• Smiling at you
• Giggling
• Moving little hands or feet while the music plays, or while the teacher is singing or chanting
• Trying to catch your fingers with their hands
• Grasping an instrument
• Exploring an instrument in their own individual way
• Shaking the instrument when the music is playing
• Babies bouncing their bodies in response to the music

Creating Groups

Partners

• In the first few weeks of class, practice ways to find a partner
• Partner up with a person sitting next to you
• Teacher assigns partnerships with children sitting next to each other
• Find someone who is wearing the same color
  • Use tape to show seats. Connect partnerships with a piece of tape.
  • Assign partners to last throughout the year or semester.

Divide the class in half

• Use a color, shape, letter, or number to show places to sit. Divide using these items. For example: the right half of the room may be sitting on yellow rectangles. The right half may be sitting on green circles. These are your two groups.
• Divide by gender.
• If you’re teaching 2 classes at once, divide by class.
• Draw an imaginary line down the center of the classroom.
• Allow children to self-select.

Small Movement Dyad Variations

• Clap both hands
• Clap alternating hands
• Clap your hands, clap your partner’s hands
• Feet touching – ride a bike
• Feet touching – both feet front and back

Facing each other, holding hands

• Rock side to side
• Rock front to back
• Circle alternating hands
• Rock way back (double macrobeat)
• Swing arms in and out
• Reach high and low (careful not to reach above a child’s head if there is an adult-child partnership)

Large Movement Dyad Variations

• Swing your partner (holding one hand)
• Hold hands and turn
• Clasp hands and rock side to side. Use the whole body.
• Hold hands bouncing up and down.

In place of holding hands, introduce one hula hoop per dyad. Each child stands opposite the other holding onto the hula hoop. Variations include:

• Rock side to side
• Rock forward and backward
• Lift the hula hoop high and then down low
• Rock the boat with both children slightly moving the hoop up and down as a boat bouncing in the water
• Place the hula hoop on the floor:
•  Dyad walks around the outside of the hoop
• One partner jumps into the hoop with a specific teacher direction, such as beat or phrase
• Facing front, one child, the engineer or driver, goes into the center and picks up the hula hoop. The other child remains on the outside holding onto the back of the hoop. Begin travelling around the room, and then change places.

Variations with Egg Shakers/Chickitas – Baby

• Shake in front of you
• Shake up high
• Tap the floor
• Tap body parts (knees, shoulders, toes, head, elbows etc.)
• Tap eggs together
• Shake behind you
• Use soft and loud (dynamics) variations
• Tap gently up and down baby’s body
• Tap in a circle around baby’s head to promote tracking
• Rub baby’s belly with the shaker

Variations with Finger Cymbals – Baby

• Cling together on microbeat (little)
• Cling together on  the macrobeat (big)
• Tap body parts to the microbeat and macrobeat
• Rub cymbals together in a circular pattern for children to see
• Play a game of Peekaboo
• Slide along the children’s legs or belly
• In a vertical motion, cling cymbals in an up and down motion for children to see
• Hold one cymbal and “twinkle” it like shimmering star in the sky and move across child’s site line to track
• Hold the same cymbal and shimmer it up and down for child to follow
• Tiptoe cymbals up and down body

Variations with Resonator Bells – Baby

Resonator bells: Many schools may not own these, so only reference if you have access to resonator bells, otherwise refer to finger cymbals or jingle bells.

• Tap the D bell softly by their ear so each child can hear the high tone
• Tap the A bell softly by their ear so each child can hear the low tone
• Tap the spherical end of the mallet on the bottom of their feet and then tap the bell using the macrobeat (big) or microbeat (little).
• Tap other body parts like their belly or the palm of the baby’s hand. Repeat with the other bell.

Variations with Finger Cymbals – 1-2s

• Cling together on the microbeat
• Cling together on the macrobeat
• Tap body parts on the microbeat and macrobeat
• Rub cymbals together in a circular pattern
• Peekaboo
• Tap floor
• Slide along floor
• Use as a stethoscope – thumping cymbal on own heart and the other one on an ear
• In a vertical motion, cling cymbals in an up and down motion
• Hold one in each hand, raising hands high “twinkle” them like shimmering stars in the sky
• Tiptoe cymbals up and down the body
• Slide to each other along the floor

Variations with Finger Cymbals – 3-4s

• Cling together on the microbeat
• Cling together on the macrobeat
• Tap body parts on the microbeat and macrobeat
• Rub cymbals together in a circular pattern
• Peekaboo
• Tap floor
• Slide along floor
• Use as a stethoscope – thumping cymbal on own heart and the other one on an ear
• In a vertical motion, cling cymbals in an up and down
• motion
• Hold one in each hand, raising hands high “twinkle” them like shimmering stars in the sky
• Tiptoe cymbals up and down the body
• Slide to each other along the floor

• Partner tap cymbals
• Partners tap edges of cymbals
• Clap together, tap partner’s cymbals
• Tap partner’s cymbals, clap together

Variations with Egg Shakers/Chickitas – 1-2s

• Shake in front of you
• Shake up high
• Tap the floor
• Tap body parts (knees, shoulders, toes, head, elbows, etc.)
• Tap eggs together
• Roll hands around each other
• Shake behind you
• Tap one on top of the other
• Use soft and loud (dynamics) variations

Variations with Jingle Bells

• Shake up high over your head filling high space. Move to the macrobeat (big) and then switch to microbeat (little).
• Tap the floor using low space. Move to the macrobeat (big) and then switch to microbeat (little).
• Put the jingle bells on your wrist and shake.
• Shake the jingle bells behind you.
• Put the jingle bells in your hand and make a fist around them. Work with dynamics singing softly while shaking the bells covered in the hand muting the sound.  On the next repetition, contrast with loud shaking and singing.
• Tap your head or other body parts.
• Partners can face each other using only two jingles between them. Each child can hold on to a piece of each jingle bells and then rock forwards and backwards.
• Tap the jingle bells up and down your body to the microbeat as if tickling.
• If the jingle bells are big enough, balance them on the top of your shoe and open and close your feet to the macrobeat.
• Alternate tapping the floor space on your side and then your knees. Be sure there is enough spacing between each child.
• Put the bell on your head. Allow it to fall off.

Variations with Resonator Bells

Resonator bells: Many schools may not own these, so only reference if you have access to resonator bells, otherwise refer to finger cymbals or jingle bells.

• Play macrobeat on the pitched side of the bell for a long sound
• Turn bells upside-down to play on the wood (short sound) and use macrobeat and microbeat
• Tap the spherical end of the mallet to the pitched part of the bell
• Tap the straight end of the mallet to the pitched part of the bell
• Play microbeat and then macrobeat
• Turn bells up to make a tall bell
• As a tall bell make the bell jump up and down.
• As a tall bell alternate hitting the metal bell part and then the top of the bell
• Pretend the bells are cars and drive one or two bells to the macrobeat
• Pretend the bells are cars and drive one or two bells to the microbeat
• Tap the bell and then the floor
• Tap the bell quickly to sound like a ringing phone. Hold up to your hear for a cell phone. Keep a bounce in your body
• Play loudly and softly
• Tap your imaginary bell or “air” bell
• Pretend the resonator bell is a telephone
• Fly the bell like an airplane
• Use the bell and mallet as windshield wipers
• Cradle it in your arms, and rock it like a baby

Dyad (partner) play (3-4s):

• Tap the short sides of each bell together
• Tap the hard parts of the bells together
• Tap your bell, then your partner’s bell

Other common/traditional songs you can use with bells to extend the activity using an ostinato or singing rounds if the current bell song is not a round.  It is recommended you choose the most familiar songs. The children are more likely to sing if they know the song.  Incorporate other songs later in the semester for a variation on the bell activity.

• Row, Row, Row Your Boat (round & triple)
• Frere Jacques/Are You Sleeping (round)
• Open Shut Them
• Itsy Bitsy Spider (triple)
• Twinkle, Twinkle/ABC song
• Li’l Liza Jane
• A Ram Sam Sam
• Jumpin’ Josie
• By ‘n’ By
• Who’s That?
• The Bells of Westminster
• Hey Lolly, Lolly
• Oranges Lemons (round & triple)
• Sing and Roll (triple – KMR)
• Jim-along Josie
• Mary Had a Little Lamb
• This Old Man
• Ring-a-Ling (triple – KMR)

Variations with Castanets – Baby

• With one castanet:  Place it on the palm of one hand and tap the top of the castanet with the other hand.
• Tap the castanet on the floor.
• With hand over the castanet slide it back and forth on the floor to the microbeat and macrobeat.
• Pick up the castanet and tap the entire castanet on any body part to the microbeat and macrobeat.
• If you have two castanets, hold one in each hand and click them together to microbeat and macrobeats.
• Hold the castanets while tapping your lap and/or the floor.
• Jump castanets to the microbeat and macrobeat.
• Take a castanet and make them kiss your cheek to the beat.  Be careful not to pinch your cheek!
• If you have two castanets turn the animal faces toward each other and click them to the beat as if they are having a conversation with one another.
• Put them on and off your eyes playing peek-a-boo to the beat.
• Open the castanet and put it to your ear like a cell phone and sing the song on the nonsense syllable, “Yah, yah…” on the verse, changing to  “Bye, bye, bye, bye…..” the refrain.
• In a small class sit in a circle and slide them across the circle to each other.

Variations with Castanets (working with one or two for each child)

• With one castanet:  Place it on the palm of one hand and tap the top of the castanet with the other hand.  This especially works well for younger children who cannot manage the small motor skill of clicking one castanet together with thumb and other fingers.  However, for older children the latter way works great.  For either way, click together to microbeat (little beat) and to the macrobeat (big beat).
• Place castanets on the floor, and with one hand tap the castanet while on the floor to the microbeat and macrobeat.
• With hand over the castanet slide it back and forth on the floor to the microbeat and macrobeat.
• Pick up the castanet and tap the entire castanet on any body part to the microbeat and macrobeat.
• If you have two castanets, hold one in each hand and click them together to microbeat and macrobeats.
• Hold the castanets while tapping your lap and/or the floor.  For variation,  make them jump to the microbeat and macrobeat.
• Take a castanet and make them kiss your cheek to the beat.  Be careful not to pinch your cheek!
• If you have two castanets turn the animal faces toward each other and click them to the beat as if they are having a conversation with one another.
• Put them on and off your eyes playing peek-a-boo to the beat.
• Open the castanet and put it to your ear like a cell phone and sing the song on the nonsense syllable, “Yah, yah…” on the verse, changing to  “Bye, bye, bye, bye…..” the refrain.
• In a small class sit in a circle and slide them across the circle to each other.
• Hold the string part and swing the castanet side to side
• Put it on your head. Tap it gently.

Variations with Drums – Baby

One hand held drum or Frisbee per person

• Tap the top
• Rub with open palm
• Tickle with fingers
• Drive
• Use it like a hat
• Tap your lap and other body parts
• Peek-a-boo
• Spin it on the floor
• Tap the drum on the floor

Gathering Drums

• Tap the top
• Tickle
• Knock
• Rub with open palm
• Tap side
• Knock on side

Variations with Drums – 3-4s

• Driving
•  Push the drum out in front and then back
• Tap the drum head on top of your head
• Bounce the drum on the floor
• Slide the drum left & right on the floor
• Partners can pat the heads of the drums together
• *Alternate floor to drum, belly to drum
• *Knock the top or sides of the drum
• *Tip-toe your fingers on the drum head
• *Running finger on the drum head
• *Patting the micro or macrobeat on the drum head
• *Walking fingers
• *Slide your hands forward and backward on the drum head
• *Use just your index finger on the head or side of the drum

* Techniques that can be used with large gathering drums.

Older Children

• If your class is made up of mainly older children and using the large gathering drums try alternating a pat-a-cake (clap partner’s hands) and then the drum.  Small gatherings around the circle can clap each hand next to them and then everyone plays the drum.
• Split the group in half. Half the class plays the macrobeat (big) and the other half plays the microbeat (little).  Later in the semester you can introduce the concept of ensemble/solo.  Play the song as a group and then encourage a child to improvise a short drum solo.  The children may start to do this on their own.  Have them direct the “resting tone” play.

Visual Imagery for Music Play – Scarves

• Helicopter: Wave the scarf overhead in circles. (high space)
• Sweep the floor: Slide the scarf across the floor for a sweeping motion. (low space)
• Bird: Spread your arms out and fly allowing the scarf to surf the air. (middle space)
• Stir the soup: Place the scarf directly in front of you and move your arm in clockwise movement as if stirring a pot of soup. (middle space)
• Tiptoe: Bounce the bottom of the scarf in short spurts on the floor.  The scarf will remain in front of you. (middle space)
• Snake: Crouch down to the floor and wiggle the scarf on the floor. (low space)
• Rainbow: Wave the scarf from left to right high above your head making an arch. (high space)
• Horse: Hold either end of the scarf placed horizontally in front of you.  Begin to gallop holding on to the reigns of a horse. (middle space)
• Character development: This is especially fun for dress-up or around Halloween.  Place the scarf or move with the scarf representing a specific character.  For example, a cowboy, pirate, super hero, etc. (space appropriate with character development)

Using High, Middle and Low Space

High

• Climb like a monkey
• Be a helicopter
• Reach up high

Middle

• Flap your wing
• Spin like a top
• Flag a plane to arrive safely at the gate
•  Peek-a-Boo
•  Blowing wind (wave arms around you)

Low

• Hop like a bunny
• Crouch low and creep like a mouse
• Tornado (with a scarf)
• Snake (with a scarf)
• Ocean waves (with a scarf)

All

• Draw a large circle in the sky
• Reach high to low

Variations with Egg Shakers/Chickitas – 3-4s

Individual:

• Shake in front of you
• Shake up high
• Tap the floor
• Tap body parts (knees, shoulders, toes, head, elbows etc.)
• Tap eggs together
• Roll hands around each other
• Shake behind you
• Tap one on top of the other
• Use soft and loud (dynamics) variations

Dyads:

• Tap partner’s eggs in front of you
• Tap partner’s eggs up high
• Tap partner’s eggs low
• One partner holds eggs in flat hands. The other partner taps them.
• Roll eggs back and forth
• Tap your palm and then tap a friend’s palm

Variations with Sticks – Baby

• Click together
• Rub baby’s belly
• Walk sticks up and down baby’s body
• Tap sticks in a circle around baby’s head to promote tracking
• Place the stick horizontally on various body parts and massage gently
• Gently tap body parts

Variations with Sticks – 1-2s

• Click together
• Hit the floor
• Scrape one stick over another
• Over your shoulders
• Dancing sticks
• Windshield wipers on the floor
• Tap toes and belly
• Sticks underneath your legs
• Tap ends together
• Hold the sticks together and make a movement like pretending to ride a horse
• Pretend the sticks are different instruments (flute, drum, guitar, trombone, trumpet, violin, etc.)
• Tap your sticks together with little movements for a soft dynamic change.
• Place one stick on the floor and push it forward and back with the other stick.
• Place both sticks on the floor parallel to each other and pretend to roll dough
• Hold sticks parallel to each other and swing side-to-side or move stick up and down.
• Stir the soup
• Bunny ears
• Ride the horse
• Row the boat

Rhythm Stick Expectations

Rhythm stick play is exciting and affords the children so many creative ways to make music. Share safety guidelines for enjoyable music play.

• We use 10” plastic sticks. These are a manageable size for little hands.
• Sticks are for use in their own personal space.
•  Create a movement that will get everyone’s attention to refocus, if necessary. Don’t forget to include voice play.
• In older age groupings they may want to turn the sticks into light sabers! A gentle reminder that rhythm sticks are musical instruments and not weapons will be helpful. We treat musical instruments in a kind way.
• We recommend using rhythm sticks as a sit-down activity.
• When playing music as partners (dyads) children can turn to the classmate next to them.

With a few safety guidelines, you have lots of ways to vary classroom musical play! Have fun!

Variations with Sticks – 3-4s

Individual:

• Click together
• Hit the floor
• Scrape one stick over another
• Over your shoulders
• Dancing sticks
• Windshield wipers on the floor
• Tap toes and belly
• Sticks underneath your legs
• Tap ends together
• Hold the sticks together and make a movement like pretending to ride a horse
• Pretend the sticks are different instruments (flute, drum, guitar, trombone, trumpet, violin, etc.)
• Tap your sticks together with little movements for a soft dynamic change.
• Place one stick on the floor and push it forward and back with the other stick.
• Place both sticks on the floor parallel to each other and pretend to roll dough
• Hold sticks parallel to each other and swing side-to-side or move stick up and down.
• Stir the soup
• Bunny ears
• Ride the horse
• Row the boat

• One child holds his/her sticks while a partner taps them and then change.
• Roll sticks back and forth
• Use one pair of sticks. Each child holds the ends.

Ball Variations with Ages 3-4s

A ball activity can quickly get away from you. These guidelines may help with the children having fun and you teaching the targeted objective. Here are some ideas to get you started.

• Provide each child with their own ball.
• Keep activities as an individual experience. Tap knees, floor, top of your head, etc. responding to the beat or even musical form.
• Holding the ball, roll it out in front and back of you like rolling cookie dough with a rolling pin.
• With legs extended out in front of you, the ball can be rolled up and down legs.

Dyad play:

• Tap balls together
• Roll one ball back and forth as partners. Space children a little farther apart for the macrobeat (big) and closer for the microbeat (little).

Group play:

• Everyone rolls their ball across the circle at the same time, reminding the children to remain in their seats and the ball will come to you.
• Keeping the children in a circle, pass the ball to the next person on the beat.
• As long as the balls are low bounce, tossing up at the end of the activity singing 5 (sol) when you toss the ball up and 1 (do) when the ball hits the floor or is caught be the child is lots of fun.

Creating a Thunderstorm

Creating a thunderstorm with body percussion:

• Vigorously tap palms on thighs saying, “boooom!” for thunder.
• Follow with a hand clap for lightning.
• Lightly tap fingertips up and down body saying “dee-dee” for raindrops.
• Repeat allowing the children to explore the sounds created on the body.

For a grand finale to a drumming activity, create a thunderstorm:

• Tickle fingers on the drum head to simulate light rain falling. Keep it quiet.
• Begin tapping fingers a little heavier gradually getting louder and louder.
• Say, “thunder,” while hitting the top of the drum erratically with both hands for a loud sound.
• Clap hands together once and say, “lightning”!
• Repeat steps four and five a few times.
• Return to lighter and lighter rain until it stops. Feel free to repeat from step four for one more go around with thunder and lightning.
• Either circle the hand drum up above your head or use an arm motion for the rainbow.

Helping Children to Choose (3-4s)

Children may need guidance with choosing varied instruments, body percussion, or environmental sounds creating an accompaniment for a sound picture. The teacher can proceed as follows allowing the final choice to be the child’s decision.

Observing choices

• Option 1 (set up for success): Gather a small collection of instruments where any choice will be successful.
• Option 2 (assessment): Provide 2 options that will work and one that is not a good match. Observe the child’s decision-making process.

Guiding the child

1. If the child chooses an accompanying sound that least fits the musical picture (ex: triangle for thunder), review the movement and sound once again. Observe the child’s response.
2. If there is no change, scaffold with guiding questions:
   • Is thunder loud?
   • What instrument will best make a loud sound?
3. Use the child’s selection, even if you do not t agree.

Drum Variations with Ages 1-2s

Drum Variations – 1 hand held drum per person, Frisbee, sand pail

• Tap the top
• Rub with open palm
• Tickle with fingers
• Drive
• Use it like a hat
• Tap your lap
• Peek-a-boo
• Spin it on the floor
• Tap the drum on the floor

Drum Variations – Gathering Drums

• Tap the top
• Tickle
• Knock
• Rub with open palm
• Tap side
• Knock on side

Music Play with Babies – The Basics

The following techniques can be used throughout many of the suggested activities to encourage or stimulate movement from within the child. Even though these lesson plans are geared for babies, we do need to allow for differences in learning styles and in all developmental areas. Below are some variations in music play that can be helpful in encouraging a response from even the youngest child in this age grouping.

General Tips:

1. To assist the children with beat, the teacher or assistant may provide tactile stimulation by tapping the child’s back, feet or shoulders on the beat.
2. Do not attempt to adjust a movement to what you think is the “right” way. The goal to inspire children to keep moving to develop beat competence. They will make their own adaptations as you sing, dance, and play.
3. Remember, you are helping these children to develop a movement vocabulary that will take them into the next musical experiences.

Rhythm and Tonal Patterns:

1. Even though there are prerecorded examples of rhythm patterns and tonal pattern do try and either memorize the patterns on the recording or create your own when able. It is best to sing tonal patterns and say rhythm patterns in your own voice. Children learn best from live models.
2. Many of the youngest children will not respond to the rhythm and tonal patterns. However, we have heard children as young as 3-4 months old begin to echo. The assistants (and/or the teacher) in the classroom should echo the patterns provided by the teacher or recording to encourage the children to do the same as they are able.
3. Presenting patterns: Sing a tonal pattern and say a rhythm pattern. Gesture an open palm toward the class as you say, “Your turn” and repeat the pattern. Continue in this manner until all patterns from the recording have been chanted and echoed. Musically competent teachers can create their own four-beat rhythm patterns in place of the prerecorded ones.
4. You can sing tonal patterns during the instrument collection if you wish.

Learning:

1. Repetition allows the children the time to watch and imitate.
2. Repetition is instrumental to learning in early childhood.
3. Repetition creates lasting memories in the brain.
4. Children are not bored with repetition. Adjust the number of variations by what you are observing the in the classroom. Keep things exciting and new with variation and exciting, engaging facial expressions.
5.  Being eye level with the children is essential.
6. Establish consistent routines. These plans follow a predictable pattern.
7. There are no wrong answers. “Old MacDonald’s Farm” certainly has more than one duck!
8. Take into consideration all learning styles. Some visual and auditory children may just watch. Classroom teachers are good resources to inquire about specific learning styles.

Vocal:

1. Any vocal responses from the children are welcome and should be repeated to encourage confidence and a repeat contribution.
2. Use nonsense syllables as much as possible rather than the words. Due to the limited language of this age group, it will be easier for the children to join in.
3. When singing on nonsense syllables incorporate a sound or syllable one of the children is intoning.  This encourages the child to do it again creating positive reinforcement.

Transitions:

1. Use voice play for seamless transitions from one activity to another. Classroom teachers may be able to utilize some of the voice play ideas into the daily classroom routine.
2. Use soft and loud for transitions.
3. Animal sounds work great, too when moving into an animal sound such as “Noisy and Quiet.”

Modifying the Lesson Plan:

You can elongate the lesson plan by incorporating more repetition. See the extended ideas or variations with activities. The same applies for shortening the lesson plan. Do fewer variations.

Musical Play with Ages 1-2s – The Basics

The following techniques can be used throughout many of the suggested activities to encourage or stimulate movement from within the child. Even though these lesson plans are geared for children, ages 1-2, we do need to allow for differences in learning styles and in all developmental areas. Below are some variations in music play that can be helpful in encouraging a response from even the youngest child in this age grouping.

Moving to the beat:

1. To assist the children with beat, the teacher or assistant may provide tactile stimulation by tapping the child’s back, head, feet or shoulders on the beat. This technique is especially helpful for the non-mobile child.
2.  For the early one year old, the teacher or assistant can place the child’s palms on top of their palms bouncing palms to provide the beat.  Allow the child freedom of movement.
3. Observe the children throughout movement activities. These are opportunities to observe responses and gather new ideas.
4. Once you observe a response, call the child by name and say, “Let’s move like John.”  Imitation is the highest form of flattery and letting the child know something great just happened encouraging confidence and a repeat contribution.
5. Not all of the children will imitate your movements as presented.  This is normal and to be expected. They will make their own interpretation of the gesture responding to the developmental level.
6. Do not attempt to adjust a movement to what you think is the “right” way.  The goal to inspire children to keep moving to develop beat competence.  They will make their own adaptations of what you present.
7. Remember, you are helping these children to develop a movement vocabulary that will take them into the next musical experiences.

Rhythm and Tonal Patterns:

1. Even though there are prerecorded examples of rhythm patterns and tonal pattern do try and either memorize the patterns on the recording or create your own when able. It is best to sing tonal patterns and say rhythm patterns in your own voice. Children learn best from live models.
2. Due to the limitation of this age group they may not respond immediately to the tonal or rhythm. Continue to repeat the patterns softly to allow the children to hear the patterns and become used to the routine. When they are able, they will respond naturally.
3. Presenting patterns: Sing a tonal pattern and say a rhythm pattern. Gesture an open palm toward the children as you say, “Your turn” and repeat the pattern.  Continue in this manner until all patterns from the recording have been chanted and echoed.  Musically competent teachers can create their own four-beat rhythm patterns in place of the prerecorded ones.
4.  Always become familiar with the patterns ahead of time even if you are using the pre-recorded examples.
5. Since many of these children will be sitting or up roaming you can sing tonal patterns during the instrument collection.  These children will be placing instruments into a storage container.  The teacher can be both the leader and responder or the assistants can respond.  The children are hearing the patterns and absorbing them just as they do with language.
6. Do not be discouraged if the children do not respond to the tonal or rhythm patterns due to the limitations of this age group. Continue to repeat the patterns softly to allow the children to hear the patterns and become used to the routine. When they are able, they will then respond naturally.

Learning:

1. Repetition allows the children the time to watch and imitate.
2. Repetition is instrumental to learning in early childhood.
3. Repetition creates lasting memories in the brain.
4. Children are not bored with repetition.  Adjust the number of variations by what you are observing the in the classroom.  Keep things exciting and new with variation and exciting, engaging facial expressions.
5. Being eye level with the children is helpful.
6. Establish consistent routines.  These plans follow a predictable pattern.
7. There are no wrong answers.  Old MacDonald’s Farm certainly has more than one duck!
8. Take into consideration all learning styles.  Some visual and auditory children may just watch. Classroom teachers are good resources to inquire about specific learning styles.

Vocal:

1. Any vocal responses from the children are welcome and should be repeated to encourage confidence and a repeat contribution.
2. Use nonsense syllables as much as possible rather than the words. Due to the limited language of this age group, it will be easier for the children to join in.
3. Older two year olds may be willing to contribute ideas for new lyrics and nonsense syllables
4. When singing on nonsense syllables incorporate a sound or syllable one of the children is intoning.  This encourages the child to do it again creating positive reinforcement.

Transitions:

1. Use voice play for seamless transitions from one activity to another. Classroom teachers may be able to utilize some of the voice play ideas into the daily classroom routine.
2. Use soft and loud for transitions.
3. Animal sounds work great, too when moving into an animal sound such as “Noisy and Quiet.”

Modifying the Lesson Plan:

You can elongate the lesson plan by incorporating more repetition. See the extended ideas or variations with activities.  The same applies for shortening the lesson plan.  Do fewer variations.

Musical Play with Ages 3-4 – The Basics

The following techniques can be used throughout many of the suggested activities to encourage or stimulate movement from within the child.   Even though these lesson plans are geared for children ages 3-4, we do need to allow for differences in learning styles and in all developmental areas.  Below are some variations in music play that can be helpful in encouraging a response from even the youngest child in this age grouping.

Movement and Leadership:

1. Move your body throughout all activities. If you are tapping your lap, be sure you are tapping and rocking. If you’re singing a lullaby behind the piano, rock as you sing.
2. To assist the children with beat, the teacher or assistant may provide tactile stimulation by tapping the child’s back, feet or shoulders on the beat. The children will show you whether this is ok with them through their actions. If they move the body part, try another technique. They are telling you to please stop touching them, and this is something we always want to respect.
3. Encourage accurate beat keeping by playing hand clapping and rocking games, if children are willing. You might hold hands and rock side to side, bounce a child gently on your lap, or clap hands (pat a cake style). Always allow the child to maintain freedom of movement. Do not manipulate their bodies for them. (Ex: Clapping for the child is as helpful as teaching them to walk by moving their legs for them.)
4. Movement comes from the inside out. This is also true of physical development. It will be easier for children to move closer to their core. If you notice that children are struggling with a particular movement, adjust it to be closer to the center of the body. For example, it is easier to bounce your body up and down than to clap your hands.
5. Children must go through various stages of music development before they are competent. You may see a child moving steadily to a beat that is different than the beat in the music. This is great! It is the stage before beat competency. Do not draw attention to these behaviors with the children, as they may feel self-conscious. These are great things to share with parents, though.
6. Once you observe a response, call the child by name and say, “Let’s move like John.”  Imitation is the highest form of flattery and letting the child know something great just happened encouraging confidence and a repeat contribution.
7. Not all of the children will imitate your movements as presented.  This is normal and to be expected. They will make their own interpretation of the gesture responding to the developmental level.
8. Do not attempt to adjust a movement to what you think is the “right” way.  The goal to inspire children to keep moving to develop beat competence.  They will make their own adaptations of what you present.
9. Remember, you are helping these children to develop a movement vocabulary that will take them into the next musical experiences.
10. Children learn best from live models. Always be sure you are audibly singing along and leading the activities with strength and enthusiasm. Children will benefit from having you share a love of music and engage joyfully in the music making process.
11. Be expressive with your face.
12. Use your whole body
13. Always rock or bounce to the beat
14. Use your body to reflect what’s happening in the music. For example, if the music is quiet, crouch low and use smaller movements. Use larger, dramatic movements for louder music.

Rhythm and Tonal Patterns – General Tips:

1. Rhythm and tonal patterns are an essential component of each plan. If you are running short on time, skip an activity that does not include the patterns or create patterns to match an activity you will be leading.
2. Sing tonal patterns. Say rhythm patterns while tapping to the beat.
3. Even though there are prerecorded examples of rhythm patterns and tonal patterns, it is important with this age group that you either memorize the patterns on the recording or create your own when able. It is best to sing tonal patterns and say rhythm patterns in your own voice, and the children will need this modeling for when you ask them to create and lead their own.
4. Always become familiar with the patterns ahead of time even if you are using the pre-recorded examples.
5. Short on time? Lead the patterns as you are collecting instruments or as you transition from sitting to standing.
6. Do not be discouraged if some of the children do not respond to the tonal or rhythm patterns, especially if the program is new to them. Continue to repeat the patterns to allow the children to hear them and become used to the routine. In a couple weeks, they will be ready to join in.

Rhythm and Tonal Pattern Goals:

Rhythm and tonal patterns are like musical words. Children must become familiar with the patterns they will experience in various musical compositions to help them become fluent in the language of music.

As we work with the various patterns, we want children to feel confident in owning them. Our long-term goal is for children to eventually incorporate these same patterns into complicated musical pieces if they so desire and feel comfortable and confident participating in community music experiences in any culture. Our short-term goal is for the children to be able to lead the patterns that are found within various songs and rhythmic rhymes within the curriculum. The music is intentionally varied to promote successful attainment of the long-term goals simply by participating in the process.

Rhythm and Tonal Pattern Routines:

Stage 1:

1. Sing or say the pattern.
2. Gesture to the children with an open palm. At first, you will need to say: Your turn.
3. Children repeat the pattern.

Stage 2 (around week 12, depending on student’s skill levels):

1. Follow procedures in Stage 1.
2. Give patterns to small groups and eventually individuals (always volunteer, never forced).

Stage 3:

Follow the same routines, but transition the patterns to movement. Example: clap the pattern

Stage 4:

Children lead the patterns. This is always volunteer, never forced.

Having fun with Rhythm and Tonal Patterns:

• Use sounds associated with the song or rhythmic rhyme. Example: after Old MacDonald, sing tonal patterns on “quack”
• Change the volume of your patterns
• Use a silly voice when saying the patterns (not too often or they may become too silly)
• Give patterns to ensembles:
• Stay in the spirit of the song or rhythmic rhyme. For example, if the song is about sleeping, fall asleep after your patterns. At the end of an animal song, pretend to be animals.
• Use different groupings:
  • Boys
  • Girls
  • Right side of the room
  • People who like cats
  • People who hate broccoli
  • People wearing shoes with laces
  • People who like to run
  • People wearing purple
  • People in Mr. Xxx class
  • People who have brothers
• Use different kinds of movement for rhythm patterns:
  • Clap
  • Stomp
  • Tap on various body parts
  • Tap 2 fingers
• Have half the class tap the beat and the other half clap the pattern. Switch to allow each group to do both.

Learning through repetition:

1. Repetition allows the children the time to watch and imitate.
2. Repetition is instrumental to learning in early childhood.
3. Repetition creates lasting memories in the brain.
4. Children are not bored with repetition.  Adjust the number of variations by what you are observing the in the classroom.  Keep things exciting and new with variation.
5. Being eye level with the children is helpful.
6. Establish consistent routines.  These plans follow a predictable pattern.
7. There are no wrong answers.  Old MacDonald’s Farm certainly has more than one duck!
8. Take into consideration all learning styles. Some visual and auditory children may just watch. Classroom teachers are good resources to inquire about specific learning styles.

Vocal

1. Any vocal responses from the children are welcome and should be repeated to encourage confidence and a repeat contribution.
2. Use nonsense syllables in addition to the words. Incorporate several sounds with the same beginning or ending to build pre-reading skills for this age group.
3. Accept any “school appropriate” ideas when children offer them. Perhaps they have a new syllable or silly word they would like to use in place of a nonsense syllable.
4. Sometimes children make suggestions simply by doing. If you hear a child singing something different, say, “let’s all try that!”

Transitions:

1. Use voice play for seamless transitions from one activity to another. Classroom teachers may be able to utilize some of the voice play ideas into the daily classroom routine.
2. Use soft and loud for transitions.
3. Animal sounds work great too when moving into an animal sound such as “Noisy and Quiet.”

Modifying the lesson plan:

Short on time?

• Eliminate some of the repetition
• Eliminate the a cappella portion of last activity
• Eliminate second prop, JamRound, Sing Share, or lullaby
• Sing a general farewell instead of incorporating names

Running early?

• Incorporate more variations
  • Rhythmic Rhymes: loud, soft, high, low
  • Small Movement Songs: additional body parts, dynamic changes
• Add an extra activity
  • Old MacDonald is a good extra anytime
  • Allow the children to choose a favorite song or chant to add before you sing goodbye
  • Do a Sing Share
• Add a verse to your farewell. Try adding the echo you hear on the CD.

Want to trade songs?

You can change any of the material provided. Be sure to consider the following:

• Include the objective in another activity
• Tonality: at least 2 that aren’t major
• Meter: at least 2 that aren’t duple
• Movement: be sure your lesson plan flow still works – replace large movement with large movement and small movement with small movement

Practicing for a traditional performance?

• Use the same objectives with the performance material you have selected
• Use the songs you need to practice in different ways (incorporate large and small movement)
• Be sure your concert program is balanced. This will benefit the children in the performance and the classroom and will show the adults just how much the children are learning.
• Allow children to choose whether to perform. You will have greater participation as they get older and fewer tears if you allow them to join in when they are ready.

Resting Tone Play

General Information:

Games using the resting tone are essential to our music classes. They help children feel where the resting tone (also known as do or the tonic) are. For children, this gives them the feeling of home base in the music. Because songs are built around the home base, it is important for children to be able to find it.

Activities:

With Sticks, Shakers, Chickitas:

• After your activity, tap quickly on the floor with your prop. Sing the resting tone on “baaaaaa”.
• Raise your arms and follow with a, “Wheeee!” vocal play. With Sticks: Do not raise your arms too high. Stop them in an x in front of you for safety reasons.
• Repeat several times. Be silly!
• Sing loudly and softly.
• Sing for long and short periods of time.
• Invite a child to lead the resting tone play.
• Change where you are tapping (ex: sing the resting tone as you tap on various body parts)

After the train song or a circle dance – The Bum Bum Game:

• Sing the resting tone on Bum Bum Bum and back

Small Movement Ideas

• Tap body parts
• Clap hands
• Rock (side to side with arms extended)
• Tickle
• Hug
• Wiggle
• Sway
• Push hands forward and back (like rolling a ball)
• Raise and lower arms
• Tap floor
• Rub (fingers on arms and legs)
• Ride a horse
• Act like an animal
• Peek a Boo
• Rowboat
• Stir the soup
• Laugh (tap your stomach)
• Make a funny face
• Open/close hands
• Rock a baby
• Drive
• Roll hands around each other
• Click feet together
• Tiptoe fingers up and down body
• Tap pointer fingers together

Large Movement Ideas

• Hop
• Gallop or skip (Perfect for the triple meter of 6/8.)
• Jump
• Fly
• Reach
• Rock
• Creep
• Tiptoe
• Dance
• Twist
• Run
• March
• Stomp
• Wiggle
• Swim
• Kick
• Walk
• High to low (Move in all areas of space.)
• Place hands high over your head and wave left to right. Keep a full bounce in your body to maintain a large movement activity.
• Ice skate
• Swing arms left to right
• Chug like a train
• Drive
• Trot
• Spin

Materials Distribution and Collection 1-2s