Early Childhood Final Project

Early Childhood Final Project
Acculturation
Materials Needed:
Bean bags
Ladybugs
Scarves
Pompoms
Bungee
Rubber rhythm sticks
Donkey
1. Hello Song
1.
2. 4/4 in D Major
3. Teaching Instructions
To be used at the beginning of a class period
Sitting in a circle, sing the hello song with flow as many times
as it takes to personally say hello to each child. More than one
child may be said hello to at the end of each repetition of the
song
Before repeating back to the beginning, sing V with hands in
the air and I when hands make contact with the ground. May
leave space for children to fill in I. yum ba da dum
bum.bum
4. Objectives:
Curricular
o Flow
o V-I tonic establishment
o Personal sense of engagement through saying hello to a

child individually
o Creation of a sense of routine that allows children to
settle into class more quickly
Planning
o Place at the beginning of every class to settle children
into a sense of routine and recognize them as valuable
class members and participants
2. Swimming Fish
1. Using the first two lines of number 67.
2. 6/8 in F major
3. Teaching instructions
Using pitches V and I exclusively, explain that we are little
fish swimming in our little pond. Can you swim with me?
Swim through the pond while singing the song. End song by
singing V with hands raised in air and I when they make
contact with the ground.
Do tonal patterns, leaving spaces for response
Repeat activity, this time swimming like something else in the
river (tadpole, frog, turtle, river snake)
End the song by singing V as our hands go up in the air and I
when they make contact with the ground
Can vary activity by asking Should we be swimming away
fast!? From a shark? Or slow, like were hanging out?
Examples of tonal patterns:
4. Objectives
Curricular goals
o Exposure to 6/8
o Bound flow
o Student Input
o V-I
o Tonal pattern imitation
o Movement through space
Planning
o I may plan this activity in between activities with lots of
fast movement or between activities with props.
3. Flowing with Bean Bags

Pickles
1. Number 8 in Early Childhood Book
2. D Mixolydian in 6/8
Pass out bean bags (Sing V-I, with I being every time a
bean bag hits the floor.)
Balance beanbags on a part of the body and flow while the
song is being sung.
Drop bean bags after and establish dominant-tonic as they
fall
Do tonal patterns (including flow), leaving plenty of space
for response
Finish with a repeat of the song and by singing 5 with your
hands in the air and I when you touch the floor.
4. Objectives:
Curricular goals:
o Exposure to Mixolydian
o Body awareness
o Flow
o Placing the macro beat
o Establishing tonic/V-I
Planning:
o If were not very high energy in a class, I might start
with this. Its a good way to ease into movement and
get us started for the rest of the activities.
4. Bugs
1.
2. Usual 4/4
Pass out Ladybugs (Can chant on ba-bas while doing
this)
Fly ladybugs with flow around room while doing the chant
Do rhythm patterns with space for responses
Can ask if they want to fly ladybugs high or low
Repeat Chant again
Examples of rhythm patterns:
4. Objectives:
Curricular
o Flow through space
o Rhythm imitation in duple
o Space awareness (high, low straight lines, etc)
o Student input
Planning
o This activity would definitely be used to get kids up and
moving! Perhaps pulled out of a back pocket if were
seeming sluggish, or very high energy with a need to
move!
5. Animal Movement
2. 6/8 in F major
Only on pitches V and I, sing these instructions Lets move
around the room like animalswhat animal should we be?
(Some ideas are, cheetah, bird, frog, snake, dog, cow)
Sing through song while moving around the room as chosen
animal. End song by singing V as hands are in the air and I
when they make contact with the ground.
Do tonal patterns leaving enough space for responses
Bookend the tonal patterns with a repeat of the original
activity and song and then the V-I movement from before.
Examples of tonal patterns (1 bar each):
4. Objectives:
Curricular
o Exposure to 6/8
o Weight: strong-gentle depending on animal
o Movement: quick-sustained depending on animal
o Establishing tonic
o Accurate tonal pattern imitation
o Student input
Planning
o I would pull this activity if I felt like the kids were
restless. It gives them a lot of opportunity to move and
make decisions about what animal were going to be,
exercising both their brains and their bodies. For
planning, I would probably put this activity somewhere
in the middle. Because it involves so much, it is pretty
meaty and therefore would fit when were in the full
swing of the class.
6. Floating, floating
1.
2. 2/4 in E Locrian
Get out bean bags and pass out
Singing on pitches V and I only Set your sailboat (bean bag)
on your hand and lets float it down the river Flow the
sailboat hand through the area around you in a seated
position
Do tonal patterns with flow, leaving space for response
Repeat activity, and then end with the song
Example of tonal patterns
4. Objectives:
Planning
o I would plan this activity maybe for the end of class,
especially if its a later evening class. Or if kids are
getting a little too rowdy, you could use this as a way to
calm them down.
Curricular goals
o Exposure to Locrian
o Flow
o Tonal pattern imitation
7. Bumpy Road
1.
2. Unusual Paired 7/8 and 5/8 in D Dorian

Get out and pass out beanbags. Sing V as you drop them and I
when they make contact with the floor.
As the song is sung, seated students should be using one
isolated body part to flow their beanbag. At the end of the
song, singing V as they drop their beanbag, and I when it
makes contact with the floor.
Ask students where else they would like the bean bag to float
(hand, arm, elbow, head, shoulder, foot, face, etc)
End each time with the same original V-I content of dropping
beanbag and establishing tonic.
4. Objectives:
Curricular goals
o V-I
o Body awareness
o Student input
o Exposure to unusual meters 7/8 and 5/8
o Flow
o Exposure to dorian
Planning
o Although this is a seated activity, the song is fairly
upbeat, so I might place this activity somewhere in the
middle of class. Maybe after we have done a lot of
moving or dancing to kind of give us a break while still
keeping tempo and pulse going.
8. Dance Break
1. Choose one of these songs as a song to dance to with scarves to
encourage flow. As you pass out scarves, sing V as they fall and I
when the make contact with the ground or childrens hands:
1. Jai Ho A.R.Rahman
a. Exposure to World Music, Westernized version of
Indian Pop
2. Mvmt III The Great from Schuberts Symphony No. 9 in
C Major
a. Classical repertoire exposure. Very dance like,
encouraging movement with pulsation, perhaps.
3. Muita Bobeira Luciana Souza and Romero Lubambo
a. Exposure to World Music, Latin Dance Music
4. A Night In Tunisia: Hot Mallets Dizzy Gillespie
a. Exposure to Jazz and mallet instruments which

may be a different sound from what theyre used
to hearing
5. Hasapikos Milese Mou
a. Exposure to World Music, Greek Folk/Dance,
Mixolydian
6. Oye Como Va Carlos Santana
a. Exposure to World Music, Dorian
7. A-B-C Jackson 5
a. Exposure to Classic pop, also categorized as
soul and rock
8. Third Stone from the Sun Jimi Hendrix
a. Exposure to Mixolydian, Blues/Soul, Classic Rock
9. La Negra No Quiere Grupo Niche
a. Exposure to World Music, Salsa
10. Drunken Sailor Irish Folk Song, Instrumental Version
2. Objectives:
Curriculum
o Flow with scarves
o Also see the above listed exposures
Planning
o Because this activity is so movement intensive, I would
almost always plan it for somewhere in the middle, and I
think we would have to work our way up to it. I might
pull it out if I think kids are super high energy and
wanting to just move!
o Gives teacher time to make any last minute
adjustments to lesson plan or write down behaviors they
have seen
9. Popcorn!
1.
2. Usual duple meter 2/4

3. Teaching instructions:
Start this chant from lying position and gently move our feet
to the rhythm of the chant a.k.a. the popcorn.
You can ask older children what else would love to feel the
rhythm of the popcorn. Hands, ears, nose, head, legs, elbows,
are all examples of options.
Parents with very young children should gently swim babys
designated area to the rhythm of the popcorn.
You may choose to do rhythm patterns with this, leaving
ample space in between to allow for responses. You will want
to bookend any rhythm patterns with another repeat through
the songchant, however.
4. Objectives:
Curricular
o Continuous flow with pulsation
o Stationary space movement
Planning
o I have seen and think that this activity is a good one to
start out with. Most kids really enjoy it and therefore it
gets them very engaged from the start. I would
definitely plan it towards the beginning. It could go after
a hello song.
10. Painting
1. Number 73 in Experimental Songs and Chants
3. Teaching Instructions:
Pass out pompoms singing V as they fall to the floor or are
handed out and I when they make contact with the floor or a
childs hands.
On pitches V and I only, sing we are going to paint today.
Grab your paintbrush and lets paint our feet yellow
Sing through song. End song by singing V with hands in the air
and I when hands and paintbrush touch the ground.
Repeat the activity several times, each time asking children
what they would like to paint and what color they would like to
use.
Can interject rhythm patterns between activities if you would
like, leaving adequate space for response. Always end with
activity and V-I motion with action.
4. Objectives:
Curricular
o Body awareness
o Flow
o 6/8 Rhythm imitation and audiation
Planning
o I really like this activity because I think it is pretty
versatile. If kids are feeling high energy, we can stand
and paint the ceiling rainbow! If the kids are pretty
chilled out, we lay and paint our tummies. In my
opinion, it could go pretty much anywhere because of
the variety within the activity.
11. Clean Up
2. E Phrygian in 12/8
On pitches V and I only, sing instructions Oh mytheres so
much paint on my (insert somewhere you just painted). Wed
better scrub it off.
Sing through song while scrubbing the designated area.
End by singing V with hands in the air and I when they make
Repeat the activity several times, asking children if theyre all
clean or where there is still paint on them. Each time, cleaning
the paint off of a designated area.
End each time through the song by singing V with hands in
the air and I when they make contact with the ground.
4. Objectives:
Curricular
o Continuous flow
o Body Awareness
o Color consciousness
Planning
o This activity would come directly after the painting
activity as a follow-up and a way to clean up from our
messy painting party Its a great way to continue to
keep kids thinking about body awareness but in a new
context.
12. Rocket Ship

1.
2.
Unusual paired 10/8
Singing V, pass out the scarves, and sing I when they land on
the floor or in a childs hand.
Ball up a couple of scarves in your hand a do the chant in a
regular voice while moving the rocketship in your hand
along with the beat, releasing the scarves up into the air on
the Wooo! which will siren down in pitch as the scarves
come down.
Repeat this activity several times, each time asking specific
students if they want to make a big rocket ship (done in a
loudy, boomy voice) or a small rocket ship (done in a shrill,
quiet voice).
Depending on what type of rocket ship they choose, the whole
activity will be done in that voice.
4. Objectives:
Curricular
o Exposure to unusual 10/8
o Voice exploration
o Beat competency and movement
Planning
o In my experience, kids love this chant and it works in a
lot of places. For planning purposes, Id probably place it
before or after another activity with scarves to make
things easier. This chant is a great go-to, usually to get
kids focused and involved. If I were trying a new activity
that I wasnt sure would go over well, I might place this
one right after it, to make sure I could pull their
attention back in afterwards.
13. Bungee fun
Get out the bungee and have children sit in a circle, holding a
small portion of the bungee in their lap.
Sing through the song, bouncing the bungee on their laps on
the macro beats. (Parents should be intermixed, to help with
keeping the bungee moving).
End song by pulling way back on the bungee and singing V,
giving it a moment so the kids can feel the tension, then
sitting back up/releasing the bungee by making it smaller and
singing I. You can repeat this several times if you would like
and think the children are benefitting from it.
Repeat the entirety of this activity several times. Each time
you can vary something such as dynamics or articulation to
keep it interesting.
4. Objectives
Curriculum
o Beat competency
o Exposure to 12/8
o Establishing tonic V-I
o Tension and release with bungee
Planning
o Because this song is upbeat and kids usually like when
the bungee is pulled out, I would probably do this
towards the end of a class. Almost as a special treat.
Something to get them excited and moving through the
end of the class period that can sometimes get tiring.
14. Freeze!
On pitches V and I only sing instructions were going to do
some moving and freezing.
This song should be sung quickly, pausing every four
measures for children to freeze!
During the final four measures, however, teachers can
example strong or gentle weight walking on the downbeats by
changing the dynamic they sing the last four measures in.
End song by singing V with hands in the air, and I when they
make contact with the ground.
Vary the activity by asking if we should move in ways like slow
motion, really fast, normal speed, etc. Let the children choose.
Teachers may choose to do rhythm patterns with this activity
if they would like. Leaving adequate room for responses and
always bookending rhythm patterns with another time

through the activity and V-I action.
4. Objectives
Curriculum
o Rhythm pattern audiation and imitation
o Body awareness
o Movement through space direct indirect
o Quick and sustained movement
Planning
o I really enjoy this activity, because it gets children up,
moving around, and thinking (freezing is hard! ). I
might put it somewhere near the front of the lesson
plan, to get them physically and mentally engaged early
on in the class.
15. Witches and Wizards, oh my!

A Halloween activity
1. Number 29 in the Early Childhood book
2. D Lydian in 6/8
Pass out rubber rhythm sticks, singing V and then, 1 when you
hand the stick to the child and the stick makes physical
contact)
Explain that today we are witches and wizards casting our
spells around the room with our magic wand!
Using flow with beat pulsation in our wand hand, we will walk
around casting our spells during the song.
End song by singing V with hands raised in air, and I when our
wands and hands make contact with the ground.
Do rhythm patterns accompanied with flow and beat pulsation
of our wand hand, leaving space for responses
Bookend the the rhythm patterns with another time through
the chant. Ending by singing V as our hands and sticks are in
the air and I when they make contact with the ground.
Examples of Rhythm patterns (1 bar each):
4. Objectives:
Curriculum
o Exposure to Lydian
o V-I
o Placing the macro beat in one body part (wand hand)
o Flow with pulsations
o 6/8 Exposure
o Rhythm imitation
Planning
o I would use this activity in a fall semester class around
Halloween.
o I think this activity would fit nicely in a lot of places.
Perhaps before the donkey song so that our wands could
magically turn into carrots!
16. Donkey Song
1.
2. D Major, Usual Duple, 4/4

On pitches V and I, pass out rubber rhythm sticks, singing V
until they hit the ground or a childs hand.
With the donkey puppet on, sing the donkey song sitting
down.
After the song, children can come feed the donkey their
carrot. Sing V on ahhh and I when the donkey says yum
yum yum yum and munches on the carrot.
End by singing V with donkey and carrots and hands in the air,
and I when they make contact with the ground.
Repeat this activity several times, giving all students a chance
to feed the donkey and perhaps approaching more shy
students to help them feed him.
End activity with a big V-I with movement.
4. Objectives
Curriculum
o Dominant-tonic establishment
Planning
o If I were doing the witches and wizards activities, I
would put this after, because the rubber wands could
magically turn into carrots.
o This song is all about tonic-dominant establishment. It
would probably be good to put next to another song
that establishes tonic and dominant, so that maybe
children will see that relationship carry over. On the
contrary though, maybe you would want to do it after a
rhythm heavy activity, to reestablish tonic and
dominant before getting into a tonal activity. Both could
be useful, and are good to think about.
17. Stop and Freeze with Listening
1. Choose one of the following songs to listen to
Indian Pop
C Major
to hearing
Mixolydian
7. A-B-C Jackson 5
soul and rock
Let the song start and children dance free-flow.
Stop the song after a short amount of time, and make a good
freeze position, indicating that the children should also
freeze! When they notice that the music has stopped
Repeat this process several times for an appropriate amount
of time
3. Objectives
Curriculum
o Body Awareness
o Could incorporate all of the laban movements
depending on what the song is like
Planning
o I would probably do this activity somewhere near the
middle of the class. It is a nice break for the teacher to
cognitively organize, write down response/behaviors,
adjust lesson plan, etc,
o a great way to keep the energy going for the second
half of the class in the kids. It gets them mentally and
physically very involved.
18. Big Animals
1.
2. D Dorian, multi-metric 7/8 & 5/8

On pitches V and I only, sing I know a song that makes me
want to move like a big animal, but Im having trouble
thinking of one. Can you help me think of a really really big
animal? (Elephants, hippos, polar bears, horse)
Great! Can we all try to move like the Elephant?
Sing through song twice, stomping our feet with strong
weight.
End song singing V and raising our long Elephant nose (or
hands) to the sky, and then I when they make contact with
the ground.
Repeat activity asking each time if the children can think of
other big animals to be. End each time with V-I.
4. Objectives
Curriculum
o Dominant-tonic establishment
o Movement heavy
o Exposure to 7/8 & 5/8
o Exposure to Dorian
Planning
o I think I might place this activity in the beginning of the
class. Its got a lot of metric variety and is also in dorian.
I think that leaving kids with chants that they remember
easily is something to consider, therefore I would NOT
put it near the end.
19. Peek-a-boo
1.
Pass out scarves. Singing V as they float to the ground and I
when they land
Place scarf over head and rock back and forth while singing
this song
At end of the song, sing Peek-a on V and BOO on I when
you pull the scarf off your face.
Place the scarf back on your face, sing ah on V and bum
on I as you pull the scarf off your face again
Play and interact with children and parents. Singing on V and
I, Where did Janes mom go? Oh no, I really liked her I hope
she comes back soon. Oh (on I) there she is! when someone
pulls the scarf off of her.
Repeat this activity several times. Playing peek-a-boo with
different kids and parents.
End with V-I with the scarf motion
4. Objectives
Curriculum
o Establishing tonic with V-I
o Establishing macro beat with rocking
o Flow with upper body in rocking
o Exposure to Mixolydian
Planning
o I might plan this song towards the end. It is a great way
to sort of bring things down for the very end of class. I
also might pull it out if I think the class needs to chill

out a little bit.
20. Nap Time
2. E Locrian in 2/4
After an activity thats been movement heavy with scarves,
suggest that it might be time for a nap on pitches V and I.
As you begin to sing the song, model what naptime behavior
looks like. I.e. laying down, gathering scarves for your pillow,
quiet (maybe some snoring).
Lay quietly for a few moments and then move onto the wake
up activity!
(May come back and repeat naptime activity)
4. Objectives
Curricular
o Exposure to locrian
o Tonic establishment (only in instruction)
o Observing atmosphere around you
Planning
o This activity would happen after an activity with a lot of
scarf movement. Then you already have the prop out
and youre tired from all of the moving you just did, so
it makes sense to take a nap at this point.
21. Wake up!
1.
2. Chant in Usual Duple 4/4

During the nap time activity, after everyone has been
sleeping for awhile, take a sustained, audible inhale, then
begin this chant as you sit up/wake up.
The Wooo at the end can be done on a lip buzz, if desired,
and it is a glissando from any high note you choose to any low
note you choose
After finished, ask kids if they are still feeling tired, and you
can go back through the nap activity and wake up activity one
more time.
4. Objectives:
Curriculum
o Voice exploration
o Preparatory breathing for audition
Planning
o I might put these two activities towards the end of the
class, again after something with lots of movement and
scarves so we are tired out for our naps.
22. Scarves away

1.
2. D Major in 4/4
This activity is simply used as a nice easy filler while the
scarves are being put away because they usually take such a
long time. An assistant or teacher can sing it while the
scarves are being put into the basket by the children
4. Objectives:
Curricular
o Continues to reestablish tonic through dominant-tonic
reinforcement, but in a different context than just
singing yum ba da dum bum.bum
Planning
o This could really be used for any of the props, just
substituting the name of the prop in and it could be
thrown anywhere in a lesson plan where youre putting
things away.
23. Swimming through the syrup
1.
2. D harmonic minor in 6/8

Singing only on pitches V and I, explain that someone has
filled the room with a whole lot of syrup and that although
sweet, it is rather hard to move around! But, lets still swim

around in the syrup and eat it!
Sing through song and swim through the syrup with bound
tension
Once done with song, sing V as hands are in the air, and I
when they FINALLY get to the ground.
Repeat activity, asking which way we should swimforwards,
sideways, backwards. Can also try swimming through other
substances such as yogurt, water, jello, etc.
End activity with V and hands in the air and I as they finally
make their way to the ground through the syrup.
4. Objectives:
Curriculum
o Exposure to harmonic minor
o Exposure to 6/8
o Movement with variety of flow depending on substance
(free-bound)
Planning
o This could be placed really anywhere in a lesson plan. I
might place it after something with very free flow so
children could get an immediate feel for the difference
between free and bound flow.
24. Goodbye Song
1.
2. 4/4 in D Mixolydian
To be used at the end of a class period
Sitting in a circle, sing the goodbye song with flow as many
times as it takes to personally say good-bye to each child.
More than one child may be said goodbye to at the end of
each repetition of the song
Before repeating back to the beginning, do the V-I yum ba da
dum bum.bum
4. Objectives:
Curricular goals
o Exposure to mixolydian
o Flow
o V-I
o Personal engagement through naming each child
individually
o Creates a sense of routine that makes the children more
comfortable in the environment
Planning
o This would go at the end of every class. It helps develop
a sense of community and trust within the children as
well as habit and regularity
________________________________________________________________________
_________________________
Imitation Stage
Props Needed:
Ladybugs
Scarves
Bean bags
Bungee
1. Hello Song
1.
2. 4/4 in D Major

song
bum.bum
4. Objectives:
Curricular
o Flow
child individually
Planning
2. Goodbye Song
1.
dum bum.bum
4. Objectives:
Curricular goals
o Flow
o V-I

individually
Planning
3. Swimming through the syrup

1.
2. D harmonic minor in 6/8

Singing only on pitches V and I, explain that someone has
filled the room with a whole lot of syrup and that although
sweet, it is rather hard to move around! But, lets still swim
around in the syrup and eat it!
Sing through song and swim through the syrup with bound
tension
Once done with song, sing V as hands are in the air, and I
when they FINALLY get to the ground.
Choosing a child specifically, do V-I with flow. If the child gives
an incorrect response, imitate their noise as closely as
possible without flow, and then repeat the original V-I with
flow. If a child gives a correct response, continue with other
patterns within tonic and dominant triads. After what feels like
a sufficient dialogue or attempted dialogue with a child,
move on to another specific child, repeating the process.
Bookend the tonal patterns with another time through the
activity, ending by singing V when hands are in air and I when
they make contact with the ground.
If a repeat of activity is wanted or necessary, you can try
swimming through other substances such as yogurt, water,
and jello, and swimming in different directions such as
forwards, backwards, and sideways.
4. Objectives:
Curriculum
o Exposure to 6/8
o Imitation of tonic and subdominant patterns in harmonic

minor
o Movement with variety of flow depending on substance
(free-bound)
Planning
o This could be placed really anywhere in a lesson plan. I
might place it after something with very free flow so
children could get an immediate feel for the difference
between free and bound flow.
4. Toy Soldiers
1. Number 130 in the Early Childhood Book
2. Usual Triple 3/4
On pitches V and I only sing and explain that we are all little
toy soldiers and we are going to march to the beat
Chant number 130 while marching on every quarter note
Do rhythm patterns accompanied with flow to a specific child,
leaving space for response. If the child gives an incorrect
response, imitate their noise as closely as possible without
flow, and then repeat your original pattern with flow. If a child
gives a correct response, continue with other patterns. After
what feels like a sufficient dialogue or attempted dialogue
with a child, move on to another specific child.
Bookend rhythm patterns with by repeating the chant either
one or two more times to end the activity.
Example rhythm patterns:
4. Objectives
Curricular goals
o Placing the micro beat
o Rhythmic imitation
5. Bugs
Planning
o I might pull this out if I feel like were in an acting or
character mood. I think its easy for children to
pretend to act very serious as if they were a soldier.
1.
2. Usual 4/4
Pass out Ladybugs (Can chant on ba-bas while doing
this)
On pitches V and I, ask if they want to fly their ladybugs
high (in a high voice and quiet) or low (in a low and loud
voice). From the childrens choosing, fly ladybugs with flow
around room in that voice while doing the chant
Do rhythm patterns accompanied with flow to a specific
child, leaving space for response. If the child gives an
incorrect response, imitate their noise as closely as
possible without flow, and then repeat your original pattern
with flow. If a child gives a correct response, continue with
other patterns. After what feels like a sufficient dialogue
or attempted dialogue with a child, move on to another
specific child.
Bookend rhythm patterns with by repeating the chant
either one or two more times to end the activity.
Examples of rhythm patterns (1 bar each):
4. Objectives:
Curricular
o Rhythm imitation in duple
o Space awareness (high, low straight lines, etc)
o Voice exploration through high and low voices and

buzzing
o Preparatory breath gesture
Planning
o This activity would definitely be used to get kids up and
moving! Perhaps pulled out of a back pocket if were
seeming sluggish, or very high energy with a need to
move!
6. Nap Time
2. E Locrian in 2/4
up activity!
4. Objectives
Curricular
o Exposure to locrian
Planning
7. Wake up!
1.


note you choose
more time.
4. Objectives:
Curriculum
o Voice exploration
Planning
8. Bumpy Road
1.
2. Unusual Paired 7/8 and 5/8 in D Dorian

Get out and pass out beanbags. Sing V as you drop them and I
when they make contact with the floor.
As the song is sung, seated students should be using one
isolated body part to flow their beanbag. At the end of the
song, singing V as they drop their beanbag, and I when it
makes contact with the floor.
Ask students where else they would like the bean bag to float
(hand, arm, elbow, head, shoulder, foot, face, etc.)
End each time with the same original V-I content of dropping
beanbag and establishing tonic.
4. Objectives:
Curricular goals
o V-I
o Body awareness
o Exposure to unusual meters 7/8 and 5/8
o Flow
o Exposure to dorian
o Student Input
Planning
o Although this is a seated activity, the song is fairly
upbeat, so I might place this activity somewhere in the
middle of class. Maybe after we have done a lot of
moving or dancing to kind of give us a break while still
keeping tempo and pulse going.
9. I cant see you.

2. Eb Major in 3/4
Pass out scarves, singing dominant as they float to the
floor and tonic when they land.
Singing on only tonic and dominant I am invisible, and so
are you, place scarf on head so it is covering eyes, and
sneak/tiptoe around while singing the song.
After song, sing dominant and then pull scarf off of face
and sing tonic once face is revealed/were found.
Using the scarf in the same way as the previous
instruction, sing V-I to a specific child, leaving space for a
response. If the child gives you something wrong back,
repeat what they have done without scarf, and then sing VI again with scarf. If the child sings V-I accurately, then you
can move on to other tonal patterns that are within tonic or
dominant patterns. Do these patterns with normal flow.
After what feels like sufficient dialogue (or attempted
dialogue) with the child, move on to other children
individually and repeat the process.
Bookend the patterns by singing through the song once or
twice more and ending with the same V-I scarf gesture
from above.
4. Objectives:
Curricular goals
o Exposure to 3/4
o Gentle weight
o Imitation of tonic and dominant tonal patterns in Major
Planning
o This is a quiet song with scarves, so I would probably

place it sometime toward the end of the class and then
go into the nap time and wake up activities
10. Dance Break

Indian Pop
C Major
to hearing
Mixolydian
7. A-B-C Jackson 5
soul and rock
2. Objectives:
Curriculum
o Flow with scarves
Planning

have see
11. Popcorn!
1.
2. Usual duple meter 2/4

Start this chant with a sustained audible breath in from a
sitting position and move our feet to the rhythm of the chant
a.k.a. the popcorn.
You can ask children what else would love to feel the rhythm
of the popcorn. Hands, ears, nose, head, legs, elbows, are all
examples of options.
Between repeating the activity, do rhythm patterns
accompanied with flow to a specific child, leaving space for
response. If the child gives an incorrect response, imitate
their noise as closely as possible without flow, and then
repeat your original pattern with flow. If a child gives a correct
response, continue with other patterns. After what feels like a
sufficient dialogue or attempted dialogue with a child,
move on to another specific child.
Bookend the patterns with a last time through the activity
4. Objectives:
Curricular
o Continuous flow with pulsation
o Stationary space movement
o Imitation of rhythm patterns in duple meter
o Student input
o Preparatory audiation breath
Planning
o I have seen and think that this activity is a good one to
start out with. Most kids really enjoy it and therefore it
gets them very engaged from the start. I would
definitely plan it towards the beginning. It could go after
a hello song.
12. Scarves away

1.
2. D Major in 4/4
4. Objectives:
Curricular
Planning
things away.
13. Bouncy Ball
2. Duple, 2/4
On pitches V and I only, sing these instructions, I have a
bouncy ball here in my hand, and you do tooLets bounce
the ball on our hand
Palm up, bounce the invisible bouncy ball on every macro

beat as you do chant number 121. On the last macro beat
pretend to grab the bouncy ball.
Do rhythm patterns accompanied with flow to a specific
child, leaving space for response. If the child gives an
incorrect response, imitate their noise as closely as
possible without flow, and then repeat your original pattern
other patterns. After what feels like a sufficient dialogue
or attempted dialogue with a child, move on to another
specific child.
Between every couple of children, repeat the original
activity, each time asking for another place could be for us
to bounce our bouncy balls. (Shoulder, head, foot, arm, leg,
etc) .You can also alternate between asking where and
asking what it should sound like. Would a bouncing ball
sound like a high pitched bop bop bop or a low boo
boo. Experiment with doing the chant on different
syllables and noises.
After an appropriate amount of time, bookend the rhythm
patterns with a last time through the song.
Examples of rhythm patterns (1 bar each):
4. Objectives
Planning
o Because this activity has no props, but has a lot of
stationary physical activity (arms, legs, standing, etc) I
think it would fit nicely in the beginning or end of class. For
me, it makes sense to have the heavy movement stuff in
the middle, bookended by stuff to ease our way into or out
of it.
Curricular goals:
o Establish tonic (only in instructions)
o Accurately imitate rhythm patterns in time in duple
o Body awareness
o Voice exploration
14. Animal Movements
2. 6/8 in F major
Choosing a child specifically, do V-I with flow. If the child gives
an incorrect response, imitate their noise as closely as
possible without flow, and then repeat the original V-I with
flow. If a child gives a correct response, continue with other
patterns within tonic and dominant triads. After what feels like
a sufficient dialogue or attempted dialogue with a child,
move on to another specific child, repeating the process.
4. Curricular goals
Exposure to 6/8
Weight: strong-gentle depending on animal
Movement: quick-sustained depending on animal
Establishing tonic
Accurate tonal pattern imitation
15. Freeze!

changing the dynamic they sing in the last four measures.
Bookend rhythm patterns with by repeating the chant either
one or two more times to end the activity.
Examples of rhythm patterns (2 bars each):
8. Objectives
Curriculum
o Body awareness
o Student input
Planning
on in the class.
Indian Pop
12. Mvmt III The Great from Schuberts Symphony No.
9 in C Major
13.
14.
15.
16.
17.
18.
19.
20.

Muita Bobeira Luciana Souza and Romero Lubambo
A Night In Tunisia: Hot Mallets Dizzy Gillespie
to hearing
Hasapikos Milese Mou
Mixolydian
Oye Como Va Carlos Santana
A-B-C Jackson 5
soul and rock
Third Stone from the Sun Jimi Hendrix
La Negra No Quiere Grupo Niche
Drunken Sailor Irish Folk Song, Instrumental Version
of time
3. Objectives
Curriculum
o Body Awareness
o Could incorporate all of the Laban movements
Planning
adjust lesson plan, etc.
o This is a great way to keep the energy going for the
second half of the class. It gets the kids very involved
both mentally and physically
17. Halloween Activity for October:

Mummies and Zombies
2. D Aeolian in 6/8
Singing on pitches V and I only, Find the hands of mom or
dad (or grandparent/babysitter/caregiver depending on who is
in class that day), Halloween is close and there are lots of
mummies and zombies out. They move sort of like this, with
their arms out straight
Sing through song two to three times, with arms out straight
and body slightly stiff, shifting weight from leg to the other on
every downbeat (mimicking the typical zombie or mummy
movement). End by singing V while the weight is on one foot
and I when you place the weight on the other.
Bookend the rhythm patterns by repeating the original song
and movement one or two more times. Ending with the same
original V-I establishment.
Examples of rhythm patterns (2 bars each):
4. Objectives
Curricular goals:
o Exposure to Aeolian
o Exposure to 6/8
o Feeling beat without creating tension
o Awareness of weight and body movement
o Accurate rhythm imitation in 6/8
Planning
o This sort of activity would be fun in the Fall session
during the month of October
o I would probably put it towards the end of a lesson, as

its a semi-seasonal activity and usually you end with
the fun stuff.
18. Bean bags a bouncin
1. Number 62 in Experimental Songs and Chants Book
2. E Phrygian 2/4
Passing out beanbags and sing V as you hand them to
children and I when they make contact with their hands or the
ground
Singing on pitches V and I, ask that Mom or Dad faces the
child in a sitting position. Explain that as you sing the song,
they will be tapping on the opposite persons knees the micro
beat
Sing through the song several times while students and
parents tap micro beat. End this by singing V with hands in
the air and I when they reach the ground.
Bookend the rhythm patterns by repeating the original song
and movement one or two more times, including the V-I
motion.
Example rhythm patterns (1 bar each):
4. Objectives:
Curriculum
o Exposure to Phrygian
Planning
o I would place this song next to another activity with
bean bags for the sake of making things easy
o I would also place this song either towards the
beginning or the end of the class. This would help us get
into or ease out of any big movement that might come
in the middle of class. Or it could be pulled out of a back

pocket if kids need to focus. Having mom or dad right in
front of them and the physical touch from their bean
bag might help.
20. Lets Make Rainbows!

2. D Harmonic Minor in 6/8
Pass Out scarves singing pitch V as they float to the ground
and I as they land
Singing on pitches V and I only We are going to paint
rainbows in the sky today. Make sure you have a scarf for
each hand
Singing the activity and alternating hands, make a rainbow
in the sky (can be done sitting or standing and moving) on
every macro beat. For later repetitions you could ask if
they want to make a big rainbow and then make them on
every downbeat instead. End by singing V while hands are
stretched up, and I when they make contact with the floor.
Choosing a child specifically, do V-I with flow. If the child
gives an incorrect response, imitate their noise as closely
as possible without flow, and then repeat the original V-I
other patterns within tonic and dominant triads. After what
feels like a sufficient dialogue or attempted dialogue
with a child, move on to another specific child, repeating
the process.
Bookend the tonal patterns by repeating the initial activity
including singing V with hands towards the sky and I when
they make contact with the floor.
4. Examples of tonal patterns:
5. Objectives:
Curricular goals
o Exposure to Harmonic Minor
o Exposure to 6/8
o Accurate tonic and dominant pattern imitation in D
Harmonic Minor
o Flow
Planning
o I would use this activity when the kid are ready to get
up and move. Theres a lot of big, drawn out movement
in it (reaching towards the sky, arms outstretched, etc)
so it would be a good one if theyre feeling antsy.
21. Spinning Circles!

2. D Major, 2/4
Singing only on pitches V and I You are a spinning master
can you spin very slowly while I sing my song?
While singing song, spin very slowly around the room. End
by singing V with hands in air and I when they make
contact with the ground
the process.
Between every couple of repeat the original activity, this
time letting children choose if they want to spin fast or
slow. Bookend any final tonal patterns with the original
activity and by singing V with hands reaching upwards, and
I when they make contact with the ground.
4. Objectives:
Curricular
o Movement: quick to slow
o Accurate imitation of tonic and dominant patterns in D
Major
Planning
o Similar to the last activity, I would place this somewhere

where I thought they might need a break from sitting or
being mostly still. Spinning is a full body engagement so
it would help to get us warmed up for a class, also.
22. John, Jane, and the magic jumping powder!

2. Eb major 5/8
On pitches V and I only, sing the following instructions I
have two friends named John and Jane. John and Jane have
given me some magic jumping powder. Im going to blow it
all over this room. (Sustained, audible inhale, then
sustained blow/breath out). Here we go!
Singing through the song, jump around the room on the
macro beats. End with hands in the air singing V and sing I
when hands make contact with the ground.
the process.
activity, ending by singing V when hands are in air and I
4. Objectives:
Curricular
o Exposure to 5/8
o Accurate tonal imitation of tonic and dominant patterns
in E Major
o Quick movement with jumping
Planning
o I would place this activity near the beginning of a
lesson plan. It involves jumping, which is a nice way
to warm the body up for the rest of the class
23. Up and down

2. D Major in 6/8
Singing on pitches V-I only the instructions Can you listen
to my song and dance with me
While singing song, the whole body physically moves down
for mm. 1-4, then up for mm. 5-8, and dances naturally for
mm. 9-11 (matching the contour of the song).
Reaching upwards for the sky sing dominant (V) and then bending down,
when hands touch the floor, sing tonic (I).
With flow, sing V-I to a specific child, leaving space for a
response. If the child gives you something wrong back,
repeat what they have done without flow, and then sing V-I
again with flow. If the child sings V-I accurately, then you
can move on to other tonal patterns that are within tonic or
dominant patterns. After what feels like sufficient
dialogue (or attempted dialogue) with the child, move on
to other children individually and repeat the process.
Bookend the patterns by singing through the song once or
twice more and ending with the same V-I with gesture from
above.
4. Curricular goals:
Exposure to 6/8
Body Awareness
Movement imitation
Establishing V-I
Correct imitation of tonic and dominant tonal patterns in
Major
24. Choo Choo Train

1.
2. 6/8
Getting out the bungee, instruct students to stand inside of
it, forming a line
Start the adults in the room doing a single choo on every
macro beat.
While this continues, teacher and children will do the chant
as the leader of the train leads everyone else. The choo
choos in the chant should essentially be in a singing voice.
While the macro beat choo choo continues, give patterns
to the whole class on choo choo
Example rhythm patterns could be as such:
4. Objectives
Curricular
o Feeling beat without creating tension (through the
pull of the bungee and the walking)
o Internalizing macro beat placement through parents
o Correct rhythm imitation
o Voice exploration with choo choo
Planning
o I have found that in general, children like this activity
and respond well to it, so I would either place it at
the end as a sort of fun send off, or keep it in my
back pocket for if I needed their attention to be
brought back.
Assimilation
Props Needed:
Shakers
Pompoms
Bean Bags
Scrunchee
Scarves
Hobermans sphere
1. Hello Song
1.
2. 4/4 in D Major
song
bum.bum
4. Objectives:
Curricular
o Flow
child individually
Planning
2. Goodbye Song
1.
dum bum.bum
4. Objectives:
Curricular goals
o Flow
o V-I
individually
Planning
3. Flying a plane
1. Number 24 in Experimental Chants and Songs
Singing on pitches V and I only, give the following
instructions: Everyone strap in, were going to fly our own
plane today
Lip Buzz the song, moving in a new direction every two
measures (which feels like every macro beat if the song is
moving fast enough). This movement could be simple be
turning your hands and leaning one way, then going the
other way.
End the song with hands in the air singing V (yum ba da

dum bum) and I when your hands make contact with the
floor (bum).
On pitches V and I, sing the instructions We are now going
to talk through the walkie talkies on our planes. Im going
to give you a rhythm pattern over the walkie talkie and
then Id like you to give me a different one
Close your eyes and with one finger over mouth in shush
position and other hand up in stop position, establish the
meter for yourself and students in the following pattern:
Micro-micro-macro. Micro-micro-macro.
Pretending to hold a walkie-talkie to your mouth, give
rhythm patterns and on the last macro beat, give a clear
gesture to a specific child to give you a different one back.
Eye contact should be made with the child before the
gesture. Repeat this with each child.
Book end the rhythm patterns with a repeat of the song.
You could add something about asking whether our planes
are going to fly in straight lines, loop-d-loops, slow, fast
etc. if desired. End activity with hands in air singing on V
and when they make contact with the floor, I.
Establish meter:
Examples of rhythm patterns (2 bars):
4. Objectives:
Curricular Goals:
o Tonic Establishment
o Establishing macrobeat
o Lip Buzz air/breath support
o Creativity in rhythm
Planning
o This activity would be well suited at the end of a lesson
plan. It incorporates a lot of different components that
could be done in smaller segments earlier in the lesson.
4. Choo Choo Train

5.
6. 6/8
Getting out the bungee, instruct students to stand inside of
it, forming a line
Start the adults in the room doing a single choo on every
macro beat.
While this continues, teacher and children will do the chant
as the leader of the train leads everyone else. The choo
choos in the chant should essentially be in a singing voice.
Also, children will now move the bungee they are holding in
time with the adults macro beat patterns.
When the chant ends close your eyes and with one finger
over mouth in shush position and other hand up in stop
position, establish the meter for yourself and students in
the following pattern: Micro-micro-micro-macro. Micromicro-micro-macro.
Starting in time and staying in time, do rhythm patterns of
4 macro beats. On the fourth beat, clearly indicate with a
gesture who should be repeating the pattern back. Two
hand gestures mean the whole class is repeating the
pattern. One hand gesture and eye contact means a
specific child is repeating the pattern back. At least a hand
(two if its a class repeat) should stay steady and up during
patterns. Mostly, you will start with the whole class
repeating the first one or two to get everyone comfortable.
Establish meter:
Example rhythm patterns (2 bars):
8. Objectives
Curricular
o Internalizing macro beat placement through bungee
o Correct rhythm imitation
o Voice exploration with choo choo
Planning
o I have found that in general, children like this activity
and respond well to it, so I would either place it at
the end as a sort of fun send off, or keep it in my
back pocket for if I needed their attention to be
brought back.
5. Sea Animals
2. D Major in 7/8
Pass out scarves. Children should have two, one for each
hand. As you pass them out sing V when the scarves are
floating to ground and I when they land.
On pitches V and I, sing these instructions Today, we are
going to travel deep under the sea. While were down here,
you will be an octopus. Can you show me your long, flowy
tentacles!? Great! Lets swim around with the fish
Sing through song twice, as we flow around the room with our
long tentacles waving everywhere.
End by singing V with tentacles up in the air, waving around,
and I when they make contact with the floor.
On pitches V and I, sing the following instructions I am going
to make up a pattern and when its your turn, I would like you
to give me a different one
position and other hand up in stop position, establish
tonality for yourself and students (Pitches 5, 6, 5, 4, 3, 2, 7, 1)
Choosing from mostly tonic and dominant chords (depending
on student development, you could also pull from
subdominant chords), give examples of tonal patterns that are
staccato, not in time, and with your hand steadily up. Allow a
momento for cognitive organization and processing, then
clearly indicate with a prep breath, eye contact, and gesture
who should be giving you a new, original pattern. Repeat this

process with different children for an appropriate length of
time.
Bookend tonal patterns with a repeat of the song and original
movements.
End by singing V with tentacles in the air and I when they
Establish tonality:
4. Objectives:
Planning
o I would place this activity towards the beginning of a
lesson plan. It is focused a lot on flow with the imagery
of the octopus and that is a huge foundation for
everything we do and build upon, so it makes sense to
start with an activity like this.
Curricular Goals:
o Audiation in Major
o Creativity in Major tonal patterns
o Exposure to Unusual meter 7/8
o Flow
6. Bouncy Ball
2. Duple, 2/4
On pitches V and I only, sing these instructions, I have a
bouncy ball here in my hand, and you do tooLets bounce
the ball on our hand
Take a sustained, audible breath as you throw the ball up
and wait for it to come down onto your up-facing palm for
the first bounce of invisible bouncy ball. Move palm
upwards in a bouncing motion on every macro beat as you

do chant number 121. On the macro beat after the last
measure of the chant pretend to catch the bouncy ball.
Starting in time and staying in time, do rhythm patterns of
4 macro beats. On the fourth beat, clearly indicate with a
gesture who should be repeating the pattern back. Two
hand gestures mean the whole class is repeating the
pattern. One hand gesture and eye contact means a
specific child is repeating the pattern back. At least a hand
(two if its a class repeat) should stay steady and up during
patterns. Mostly, you will start with the whole class
repeating the first one or two to get everyone comfortable.
Between a set of rhythm patterns, repeat the original
activity, each time asking where another place could be for
us to bounce our bouncy balls. (Shoulder, head, foot, arm,
leg, etc)
Establish meter:
Examples of rhythm patterns (4 macro beats each):
4. Objectives:
Planning
o
Curricular goals
o Establish tonic (only in instructions)
o Accurately imitate rhythm patterns in time in duple
o Body awareness
o Micro/macro beat establishment
7. Hot Summer Day
On pitches I and V only, sing the following instructions, Oh

boy, its a very very hot day out. You know what I LOVE to do
on a hot day? I love to go swimming! Lets gather around the
outside of the room(swiftly begin to move to outside of
room)..and get ready to take a big jump into our pool for a
swim
Standing around edges of room, take a sustained, audible
inhale and then jump into the pool (towards center of room).
When feet make contact with floor, immediately start song
and begin to move around the room in any sort of swimming
motion.
Finish song by raising hands in air and singing V and when
they make contact with the ground, sing I.
Micro-micro-micro-macro. Micro-micro-micro-macro.
Starting in time and staying in time, do rhythm patterns of 4
macro beats. On the fourth beat, clearly indicate with a
gesture who should be repeating the pattern back. Two hand
gestures mean the whole class is repeating the pattern. One
hand gesture and eye contact means a specific child is
repeating the pattern back. At least a hand (two if its a class
repeat) should stay steady and up during patterns. Mostly,
you will start with the whole class repeating the first one or
two to get everyone comfortable.
Again, end song with hands in air singing V, then singing I
Establish meter:
Examples of rhythm patterns (4 macro beats):
8. Objectives:
Curricular
o Exposure to phrygian
o Preparatory auditory breath

o Breath support
Planning
o I think this song would be well suited somewhere in the
middle of a lesson plan. There is a lot of movement
incorporated and it feels sort of meaty.
8. John, Jane, and the magic jumping powder!

2. Eb major 5/8
On pitches V and I only, sing the following instructions I
have two friends named John and Jane. John and Jane have
given me some magic jumping powder. Im going to blow it
all over this room. Sustained, audible inhale, then
sustained blow/breath out. Look at self, observing the
magic jumping powder all over. Here we go!
Singing through the song, jump around the room on the
macro beats using your whole body (including hands) End
with hands in the air singing V and sing I when hands make
tonality for yourself and students (Pitches 5, 6, 5, 4, 3, 2, 7,
1)
Choosing from mostly tonic and dominant chords
(depending on student development, you could also pull
from subdominant chords), give examples of tonal patterns
that are staccato, not in time, and with your hand(s)
steadily up. Allow a moment for cognitive organization and
processing, then clearly indicate with a prep breath, eye
contact, and gesture who should be repeating the pattern
back. Two hands up gesture means the whole class is
repeating. One hand up with eye contact signifies which
single child is repeating the pattern back. Repeat this
time. Typically, you will start with the whole class repeating
back at least the first pattern to make sure children are
comfortable as well as give them a model.
Establishing tonality:
4. Objectives:
Planning
o This also feels like an activity that should go
somewhere in the middle of a lesson plan. There are
no props for it, but there is a lot of continuous
movement. If a class was lacking energy, you could
also pull this out.
Curricular
o Exposure to 5/8
o Accurate tonal imitation of tonic and dominant patterns
in E Major
o Quick movement
o Preparation breath
o Supported singing
9. Drone
2. D Harmonic Minor in 6/8
On pitches V and I, sing the following instructions We are
going to form a very very long Snake. Parents, youre going
to form a separate one. Parents, you are also going to only
sing this note, while the children and I sing the song and
snake around the room (sing resting tone, D).
While parents, accompanied by assistants, sing the resting
tone and snake around room, children snake around the
room singing the song. Repeat. At end of song, take a
sustained, audible inhale, and release on an ssss or
snake sound.
End song by singing V with hands in air and I when hands
make contact with floor.
tonality for yourself and students (Pitches 5, 6, 5, 4, 3, 2, 7,
1)
Choosing from mostly tonic and dominant chords

(depending on student development, you could also pull
from subdominant chords), give examples of tonal patterns
that are staccato, not in time, and with your hand(s)
steadily up. Allow a moment for cognitive organization and
processing, then clearly indicate with a prep breath, eye
contact, and gesture who should be repeating the pattern
back. Two hands up gesture means the whole class is
repeating. One hand up with eye contact signifies which
single child is repeating the pattern back. Repeat this
time. Typically, you will start with the whole class repeating
back at least the first pattern to make sure children are
comfortable as well as give them a model.
Establish tonality:
4. Objectives:
Curricular
o Moving with a group
o Audiating tonic
o Accurate imitation of tonic and dominant patterns in
D harmonic minor
o Preparatory breathing
o Breath support
Planning
o I would plan to have an activity like this towards the
end of class and probably not for the first couple
weeks of the semester, either. Parents (like children)
need to feel comfortable, tooand in fact, it might
take them longer to do that than their child.
10. Cell phone talk
1.
2. Usual duple, 4/4

Pretending that you are talking on a cell phone, do the
chant twice.
Explain to students that you are going to have a
conversation on the phone with rhythm patterns. Youre
going to give them a rhythm pattern and then they are
going to give a different one back.
Pretending to hold the cell phone in one hand, give rhythm
patterns and on the last macro beat, give a clear gesture to
a specific child to give you a different one back. Eye
contact should be made with the child before the gesture.
With the rhythm patterns, make them as conversational as
possible by adding emotions in your face/inflection. Repeat
this with each child.
Book end the rhythm patterns by doing the chant once
more.
Establish meter:
Example rhythm patterns:
4. Objectives:
Curricular
o Audition in duple
o Repeat accurate duple rhythms
Planning
o This sort of activity could work at a lot of different

times. Its rather short and gets straight to the point.
It would be an easy transition out of almost anything.
Just pick up your cell phone and gojust like kids are
used to seeing..haha
11. Jump over the Ocean
1.
2. Usual Triple Meter

Pass out hula hoops to each child
Instruct children to lay their hula hoops on the floor
Then, with a sustained preparatory, audible, breath, start
the chant, physically jumping into the hula hoop when you
say the word jump.
Make sure children are using their arms to help them jump
You can vary the activity by replacing jump with swim or
splash, and instead embody those movements.
4. Objectives
Curricular
o Strong and gentle weight
o Flow
Planning
o Similar to the jumping activity before, this could go in
the middle of a lesson plan because there is so much
movement. However, you could also do it as a sort of
warm up towards the beginning of your lesson.
Indian Pop

9 in C Major
to hearing
Mixolydian
27.
A-B-C Jackson 5
soul and rock
of time
6. Objectives
Curriculum
o Body Awareness
o Could incorporate all of the Laban movements
Planning
adjust lesson plan, etc.
o This is a great way to keep the energy going for the

second half of the class. It gets the kids very involved
both mentally and physically
13. Freeze!
changing the dynamic they sing the last four measures in.
Teachers may choose to do rhythm patterns with this activity
if they would like.
Micro-micro-micro- macro. Micro-micro-micro-macro.
Establish meter:
Examples of rhythm patterns
4. Objectives
Curriculum
o Body awareness
Planning
on in the class.
14. Scarves away

5.
6. D Major in 4/4
8. Objectives:
Curricular
Planning
things away.
15. Dance Break

11.
Jai Ho A.R.Rahman
Indian Pop
9 in C Major
to hearing
Mixolydian
17.
A-B-C Jackson 5
soul and rock
4. Objectives:
Curriculum
o Flow with scarves
Planning

have seen
16. Our families

1.
2. Usual duple, 4/4

Explain to the parents that they will be creating the micro
beat by repeating fa-ther mo-ther sis-ter bro-ther, fa-ther
mo-ther sis-ter bro-ther Example this with great
annunciation and precision.
Have parents start that quietly and quickly.
Over the parents, children and teacher do the chant.
Motions can be added for the words tall, small, eating,
yours, and mine.
Explain to children that you are now going to have a
conversation about your families. Youll say something on
ba-bas and theyll say something different when its
their turn.
Give rhythm patterns and on the last macro beat, give a
clear gesture to a specific child to give you a different one
back. Eye contact should be made with the child before the
gesture. Repeat this with each child.
Bookend the rhythm patterns with another time through
the chant.
Establish Rhythm
4. Objectives:
Planning
o I think this would be a nice activity to end on. Its
nothing crazy in terms of movement and it sends a
great message.
Curricular goals:
o Micro beat placement
o Macro beat placement
o Audiation in usual duple
o Inclusion and Acceptance!
o Word and movement association
17. Rocket Ship

1.
2.
Unusual paired 10/8
Singing V, pass out the scarves, and sing I when they land on
the floor or in a childs hand.
Ball up a couple of scarves in your hand a do the chant in a
regular voice while moving the rocketship in your hand
along with the beat, releasing the scarves up into the air on
the Wooo! which will siren down in pitch as the scarves
come down.
Repeat this activity several times, each time asking specific
students if they want to make a big rocket ship (done in a
loudy, boomy voice) or a small rocket ship (done in a shrill,
quiet voice).
Depending on what type of rocket ship they choose, the whole
activity will be done in that voice.
4. Objectives:
Curricular
o Exposure to unusual 10/8
o Voice exploration
o Beat competency and movement
Planning
o In my experience, kids love this chant and it works in a
lot of places. For planning purposes, Id probably place it
before or after another activity with scarves to make
things easier. This chant is a great go-to, usually to get
kids focused and involved. If I were trying a new activity
that I wasnt sure would go over well, I might place this
one right after it, to make sure I could pull their
attention back in afterwards.
o Perhaps Im getting a little ambitious having this in the
assimilation category but I think its super great and will
never get boring.
18. Tip-Toe
1. Number 24 in the Experimental Songs and Chants Books
Pass out shakers, singing V as you hand them out and I as the
child or the floor makes contact with it.
Sitting in a circle, parents and children should sing the melody
while tapping macro beats with the shakers on their own
knees
Each four measures gets louder in vocal dynamic as well as
shaker dynamic
Repeat activity
Micro-micro-micro- macro. Micro-micro-micro-macro.

Establish meter:
Examples of rhythm patterns
4. Objectives
Curricular
o Audiation and accurate imitation in 3/4
o Dynamic contrast
o Vocal exploration in dynamics
o Feeling beat without tension
Planning
o If the class has been rowdy or out of control, I would
definitely pull this out to use because it starts quiet to
get their attention, and shakers usually do that too
19. Nap Time
6. E Locrian in 2/4
up activity!
8. Objectives
Curricular
o Exposure to Locrian
Planning
o Same with this activity I dont know if students are too
old for this or if they will now find humor in it? I like the
wooo of the nap and the wake up chant so Id like to still
use them, especially because theyre relatively short too
(and secretly I like the naptime itself)
20. Wake up!

1.

note you choose
more time.
4. Objectives:
Curriculum
o Vocal exploration
Planning
21. Cloud Conversation
2. D Harmonic minor in 3/4
Pass out the pompoms singing V until they make contact with
a childs hand or floor, and then sing I
Have children stand and flow around the room with their
pompoms to the song
Finish by singing V with hands in the air and I when they make
Explain to the children that you are going to give them a tonal
pattern and you would like them to give you a different one
back.
staccato, not in time, and with your hand(s) steadily up. Allow
a moment for cognitive organization and processing, then
who should be giving you a new pattern back.
Switch between flowing around the room with pom poms and
having pattern conversations.
End with a bookend of the song accompanied by V-I.
Establish tonic:
4. Objectives
Curricular
o Audiating in D Harmonic Minor
o Being creative in D Harmonic minor
o Flow
Planning
o I would put this activity near the end, because it is an
improvisational activity so it would benefit the children
to have some lead-ins to it earlier in the class.
22. Hobermans Sphere

1.
2. Usual duple
With the sphere in the center of the room, the teacher should
instruct that the students are needed to help blow up the
sphere.
The chant is very slow and starts relatively soft.
Before each number (aside from 1) there is a grand pause,
and a sustained, audible inhale is taken and a long exhale is
released.
Each one blows up the sphere a little more until 5 finally fills it
up all the way and it POPS! and goes back down.
The activity may be repeated this time, with individual
children doing each of the breaths as indicated by the teacher.
23. Animal Movements
2. 6/8 in F major
Explain to the children that you are going to give them a tonal
pattern and you would like them to give you a different one
back.

staccato, not in time, and with your hand(s) steadily up. Allow
a moment for cognitive organization and processing, then
who should be giving you a new pattern back.
Establishing tonality:
4. Curricular goals
Exposure to 6/8
Weight: strong-gentle depending on animal
Movement: quick-sustained depending on animal
Establishing tonic
Creativity in F Major tonal pattern composition
24. Winter Day

2. D harmonic minor
Get out bungee and sit with it in a circle
Sing through the chant together two times, pulsing the
bungee on every macro beat
Before the third time, explain by singing on pitches V and I,
that we will go in a circle now, each person pulsing one macro
beat.
If this does not work, the teacher can go back to everyone
doing it together and then give some tonal patterns to the
group to repeat back to her.
End by singing V and pulling the scrunchee back until you
finally release and sing I
Example of tonal patterns:
4. Objectives:
Curricular
o The point of this activity is to see if we are internalizing
unusual meters on our own yet.
o Reinforces tonic
o Accurate imitation of tonal patterns in harmonic minor
Planning
o This is an activity I would use towards the end of the
semester. It might end up being a disaster, or it could
be a surprise to see who can do it on their own.

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Early Childhood Final Project

o Personal sense of engagement through saying hello to a

3. Flowing with Bean Bags

2. Unusual Paired 7/8 and 5/8 in D Dorian

a. Exposure to Jazz and mallet instruments which

2. Usual duple meter 2/4

12. Rocket Ship

always bookending rhythm patterns with another time

15. Witches and Wizards, oh my!

2. D Major, Usual Duple, 4/4

2. D Dorian, multi-metric 7/8 & 5/8

also might pull it out if I think the class needs to chill

2. Chant in Usual Duple 4/4

22. Scarves away

2. D harmonic minor in 6/8

sweet, it is rather hard to move around! But, lets still swim

child may be said hello to at the end of each repetition of the

o Personal engagement through naming each child

3. Swimming through the syrup

2. D harmonic minor in 6/8

o Imitation of tonic and subdominant patterns in harmonic

o Voice exploration through high and low voices and

2. Chant in Usual Duple 4/4

During the nap time activity, after everyone has been

2. Unusual Paired 7/8 and 5/8 in D Dorian

9. I cant see you.

o This is a quiet song with scarves, so I would probably

10. Dance Break

think we would have to work our way up to it. I might

2. Usual duple meter 2/4

12. Scarves away

Palm up, bounce the invisible bouncy ball on every macro

During the final four measures, however, teachers can

a. Classical repertoire exposure. Very dance like,

17. Halloween Activity for October:

o I would probably put it towards the end of a lesson, as

in the middle of class. Or it could be pulled out of a back

20. Lets Make Rainbows!

21. Spinning Circles!

o Similar to the last activity, I would place this somewhere

22. John, Jane, and the magic jumping powder!

23. Up and down

24. Choo Choo Train

End the song with hands in the air singing V (yum ba da

Examples of rhythm patterns (2 bars):

4. Choo Choo Train

Example rhythm patterns (2 bars):

who should be giving you a new, original pattern. Repeat this

Examples of tonal patterns:

upwards in a bouncing motion on every macro beat as you

Examples of rhythm patterns (4 macro beats each):

On pitches I and V only, sing the following instructions, Oh

Examples of rhythm patterns (4 macro beats):

o Preparatory auditory breath

8. John, Jane, and the magic jumping powder!

Examples of tonal patterns:

Choosing from mostly tonic and dominant chords

Examples of tonal patterns:

10. Cell phone talk

2. Usual duple, 4/4

Example rhythm patterns:

o This sort of activity could work at a lot of different