Browse the cumulative list of “Playing Music” suggestions, Levels 1, 2, & 3. Let them trigger your own playfulness, help you to create new ideas, and adopt or adapt favorites. You receive one suggestion for “Playing Music” with each Lesson. Here all of them are grouped by type of activity, categorized by difficulty level, and titled for easy reference. Check back occasionally for additions. Level 3 Activities are introduced in Classes 6-10 and present Rhythm and Tonal Syllables, and Rhythm and Tonal Discrimination. Level 3 Activities also include activities presented in Levels 1 and 2, but with more difficult content and with Rhythm and Tonal Syllables. This posting currently includes Activities through Class 12. CCS Curriculum Overview
Rhythm Syllables
Rhythm Syllables provide labels for what your little one knows in sound. They make your little one’s rhythm knowing more tangible. Rhythm Syllables make sense to your child’s little musical mind, whether or not they make sense to the thinking mind. Rhythm Syllables become a language for rhythm that ultimately provides a bridge to rhythm notation.
Rigatoni—A puppet makes a delightful “prop” for Rhythm Syllables. “Rigatoni,” who comes all the way from “Calamari,” speaks only in his language—Rhythm Syllables. You chant rhythm on “Bah,” but Rigatoni always chants only in Rhythm Syllables. You may find your little one “Babbling” Rhythm Syllables with Rigatoni. A sock puppet can be made with an old sock with a couple of eyes made with a marker.
Rigatoni Visit—“Rigatoni,” the puppet from “Calamari” introduced in the earlier Activity with Rhythm Syllables, visits again, singing in his language of Rhythm Syllables. You chant the meter on “bah,” and then Rigatoni takes over in his language, so that your child hears in sound the contrast between the meter on “Bah” and on Rhythm Syllables. The more your child hears Rigatoni chant in his language, the more your little one will begin to “Babble” in Rhythm Syllables.
Syllable Babble—Engage your little one in Rhythm Syllable Babble. Listen to a phrase of the chant and then try singing along on the repetition. Don’t worry about how close you or your little one gets, just stumlate Rhythm Syllable Babble.
Tonal Syllables
Tonal Syllables provide labels for what your little one knows in sound. They make your little one’s tonal knowing more tangible. Tonal Syllables make sense to your child’s little musical mind, whether or not they make sense to the thinking mind. Tonal Syllables become a language for tonal that ultimately provides a bridge to tonal notation.
Babushka—Using one puppet just for Tonal Syllables will delight your child and make the new language more friendly. You sing Tonal Activities on “Too,” but Babushka, who comes all the way from Begonia, sings in her language. Your little one may simply stare at Babushka, taking in the Tonal Syllables, or “Babble” Tonal Syllables right along with Babushka. A sock puppet can be made with an old sock with a couple of eyes made with a marker. It could be fun to attach a babushka on this one.
Babushka’s Visit—“Babushka,” the puppet who came all the way from Begonia to sing in her language, visits again, singing in her language of Tonal Syllables. You sing Tonal Activities on “Too,” and Babushka sings them in her language. The more your child hears Babushka sing in her language in the various tonalities, the more you are likely to hear “Babble” of Tonal Syllables. Babushka, and her Tonal Syllables, will be welcomed by your little one, as not only will the puppet become endearing, but the Tonal Syllables will “make sense” to your little one’s tonal knowing—musical sense.
Can’t Quite Get It!—Play with Tonal Syllables. Your occasional irreverent delivery of Tonal Syllables will encourage and give your child “permission” to “babble” Tonal Syllables. Your delight in “trying to get them right” will entice your little one to help you, and to play with Tonal Syllables as he does with speech, leading to greater precision.
Rhythm Dialogue
Rhythm Dialogue invites participation, encourages interaction, and stimulates “Music Babble.” Just as a young child’s meager attempts to speak can grow into high levels of language development and thinking, so can a child’s meager attempts at music dialogue grow into high levels of musical thinking and improvisation. The Dialogue Activities of Level 2 can apply to either Rhythm or Tonal. Level 3 Dialogue Activities are more specific to Rhythm or Tonal. Further, Level 3 Rhythm Dialogue Activities include Rhythm Syllables.
With/Without—Engage in Rhythm Dialogue without Rhythm syllables and then with Rhythm syllables. Pick up your child’s cue if he shows a preference. Do a few patterns in Rhythm Dialogue on “Bah” and then do the same or different patterns on Rhythm Syllables. The contrast, yet sameness between the patterns on “Bah” and on Rhythm Syllables will reinforce the connection between the two and encourage Rhythm Babble both with and without Rhythm Syllables.
Jumping Jack—Listen to each pattern and jump into the silence, landing on what would be the first beat of the pattern if you were echoing the pattern. You can jump with babe in arms, or engage your little one in jumping. Focus on jumping into the pattern rather than echoing the pattern. The process of the jump will mobilize your little one’s rhythm knowing.
It’s for You!—Call your child on the telephone when you are away from home and engage in a musical conversation long distance. Begin with rhythm dialogue that invites response, just as you do when you are with your child, and discover the delight of long distance musical dialogue. You may find that a child of few words on the phone will have much more to say in rhythm!
Copy Cat—Suggest to your little one that you play “Copy-Cat” with Tonal Dialogue. Repeat each Tonal Pattern during the silent space in the recording and encourage your little one to do the same. Simply labeling the interaction the “Copy-Cat Game,” can stimulate more willing response.
Jumping Rope—Place a rope on the floor and “jump into” Rhythm Dialogue. Deliver a rhythm pattern from one side of the rope, jump to the other side on the next beat and echo the pattern. Continue jumping from one side to the other on the first beat of each pattern. Encourage your little one to do the same. “Jumping Rope” can be a very rhythmic activity, and your little one can’t miss if the rope is lying on the floor!
Flashlight Dialogue—Play with a flashlight, giving your child another, so your two dancing lights can engage in Rhythm or Tonal Dialogue on the wall or ceiling. Deliver your part of the musical conversation with your light dancing, modeling for your little partner to respond in like kind. You might shine your lights on one wall for dialogue with “bah” or “too” and on another for dialogue with Rhythm or Tonal Syllables.
Duple Cookies—Set out a big bowl and provide wooden spoons for you and your little one to mix up some imaginary “Duple Cookies.” Dialogue with your little one, putting in your own Duple patterns and stirring them as you chant. Alternate turns with your child as you stir the imaginary dough and chant. Maybe you’ll add some “du de du, du de du,” and your child may add, “du de du de, du de du.” Keep the meter going without missing a beat from one turn to the next. That will be easiest to do if you each have a spoon and you avoid talking. Let the chant and the imagination carry the activity.
Order Please!—Place a cap or visor on your head and stand at a table or counter as if a “crew kid” at a fast food restaurant. Address your child in Rhythm Dialogue. Start with the pattern that establishes the meter and invites your little one to dialogue in the meter. Leave space for your child’s response and continue to dialogue as if your little one is a customer placing an order in a fast food restaurant! Avoid the temptation to use words. Let the entire transaction take place in Rhythm Dialogue. Your little one will feel so grown up, ordering all by himself!
Tonal Dialogue
Tonal Dialogue invites participation, encourages interaction, and stimulates “Music Babble.” Just as a young child’s meager attempts to speak can grow into high levels of language development and thinking, so can a child’s meager attempts at music dialogue grow into high levels of musical thinking and improvisation. The Dialogue Activities of Level 2 can apply to either Rhythm or Tonal. Level 3 Dialogue Activities are more specific to Rhythm or Tonal. Further, Level 3 Tonal Dialogue Activities introduce Tonal Syllables into Dialogue.
A Breath of Fresh Air—Listen for the deliberate breath before each silent space in the Tonal Activity. Let the recording sing the melodic segments and you simply “breathe along,” exaggerating each breath before the silence. Encourage your little one to play with you, engaging in only the breaths—whether with a breath or just a smile. The very act of breathing before the silent space will mobilize your child’s tonal imagination.
Think Before You Speak—Use breath as you might in language when your breath serves as a moment to think before speaking. Breathe with the recording before each silent space, as if contemplating, and then follow the breath with the Tonal Pattern just heard. In music, as with language, the breath helps to focus thinking—musical thinking.
Fun Funnels—Use a kitchen funnel, or one made of newspaper, to muffle your voice while engaging in Tonal or Rhythm Dialogue. Your little one is sure to want to do the same. The allure of creating the muffled voice sound will encourage Tonal or Rhythm Dialogue, and could become a “safe, private chamber” for the little voice that might otherwise be hesitant to deliver.
Sipping Silence—Use real straws or the imaginary straw of a fist with thumb and forefinger at the mouth. Take a deliberate breath with the recording before each silent space before repeating a Tonal Pattern. Encourage your little one to do the same. The breath, itself, will mobilize your little one’s developing sense of tonal.
On the Go—The car offers a nice little “practice room” for “playing music,” providing opportunity for rhythm and tonal dialogue with a captive partner. Your engagement with your child in “playing music” while driving or riding can sometimes elicit more musical response than when face-to-face, as your child has you to himself, yet with the “privacy” of his own response. Musical dialogue in the car can also make a long car ride more tolerable for an ansty little traveler!
Man On the Street—Use a microphone or use your hand as a microphone to Dialogue in a “Man on the Street” interview or news report. Preface your musical interview with a statement that honors the importance of your little one—“Mister, I wonder if you can answer my question,” or, “Here’s a special lady, let’s see if she can help me.” Start the Tonal Dialogue Activity, putting the microphone to your child’s mouth to respond during each silence.
Sound Chamber—Use a couple of deep plastic left-over containers as sound chambers. Deliver the musical invitation to Dialogue in the meter in your “sound chamber,” modeling for your little one to respond in his own. Continue to Dialogue in the meter, each in your own “sound chamber.” Your child might even appreciate the privacy for his own voice as well as the depth of sound.
Resting Tone
Resting Tone is to tonal what beat is to rhythm. It is the tonal center around which the tonality is organized. Perceiving the Resting Tone is important to developing a “sense of pitch.” These activities make the Resting Tone tangible so you and your child can play with it. Level 2 includes many Resting Tone Activities. Level 3 presents more difficult Resting Tone Activities and introduces Tonal Syllables into Resting Tone Activities.
Breathtaking Movement—With babe in arms, or at least in site, move dramatically with the breath preceding each Resting Tone. Move with the inhalation while you take an audible breath, whether or not you exhale audibly or sing the Resting Tone. Move with bended knees as if your whole body is inhaling. The very act of moving with the breath in the context of the Resting Tone Activity will mobilize your child’s perception of Resting Tone.
Resting Tone Rabbit—Name a puppet “Resting Tone Rabbit” and use that puppet only for Resting Tone Activities. The puppet will take on a personality of its own, complete with name and function, reinforcing Resting Tone in your child’s musical imagination. The allure of the narrowly defined puppet will stimulate independent play with the Resting Tone. A gentle invitation to “help Resting Tone Rabbit sing the Resting Tone” may stimulate greater tonal response. Resting Tone Rabbit becomes an endeared puppet when used consistently for Resting Tone Activities.
Under the Table—Play PeeK-a-Boo with the Resting Tone by hiding under a table, peeking your head out during the activity just to sing the Resting Tone. Encourage your little one to hide, popping out each time to sing the Resting Tone. You may hear more deliberate singing of the Resting Tone in the context of playing Peek-a-Boo.
Scooping the Air—Use your arms to cue a large breath before the Resting Tone, as if scooping up all the air into your arms on the breath and dropping it on the Resting Tone. Encourage your little one to do the same, using dynamic movement of the arms with the breath before singing the Resting Tone.
Bean Bag Jump—Use a large bean bag chair or favorite cushion as the landing for the Resting Tone. Set up a little platform that your little one can jump off of into the bean bag chair or cushion. Hold your little one’s hands during the Resting Tone Activity and support your child’s leap onto the bean bag chair or cushion with each Resting Tone. Again, again, again!
Singing Kitchen—Surprise your little one on a typical day in the kitchen. Start a Resting Tone Activity. Open a cabinet or drawer and sing the Resting Tone as if the cabinet is singing the Resting Tone. Close the cabinet door, opening again only for the Resting Tone. Different cabinets or drawers might take a turn singing the Resting Tone. Maybe the pot on the stove sings the Resting Tone when you lift the lid. You may discover that your refrigerator sings as well!
Macro/Micro Beats
Macro beats are the big beats. Micro beats are the divisions of Macro beats. The organization and relationship between Macro and Micro beats defines the various meters. A “sense of rhythm” is dependent upon perceiving both Macro and Micro beats. These activities aurally reinforce Macro and Micro beats, while bringing them to the foreground so you and your child can play with them. Level 2 includes many Macro/Micro Beat Activities which can still be used. Level 3 includes Rhythm Syllables in Macro/Micro Beat Activities.
Dancing Doggie—Name a puppet “Dancing Doggie” and use that puppet only with Macro/Micro Beat Activities. Make “Dancing Doggie” move up and down while you “Tongue” Micro beats, and across your body like windshield wipers while you tongue Macro Beats. The puppet will take on a personality of its own, complete with name and function, reinforcing Macro and Micro beats in your child’s musical imagination. The allure of the narrowly defined puppet will stimulate independent play with tonguing and movement with Macro and Micro beats, as you use “Dancing Doggie” consistently with Macro/Micro Beat Activities.
Pom-Pons—A pair of Pom-pons is a most delightful “musical instrument” for your child. With Pom-pons in hand, flick your wrists with “tonguing” on Micro beats. As you “tongue” Macro beats, raise arms alternately, so one Pom-pon goes up and the other goes down with each Macro beat. The “swishing” of the Pom-pons in the air amplify the “tonguing” and make Macro/Micro movement a most engaging activity. Your modeling can generate wonderful rhythm play. The value of Pom-pons for rhythm development merits having one set for you and one for your child. You can make Pom-pons with rolled up newspaper. Create a handle by putting a rubber band around one end several inches from the edge. Cut the newspaper from the other end up to the rubber band in ½ inch strips to create the Pom-pon.
More Pom-Pons—Pom-pons are among the best “musical instruments” for your child. The power of one in each hand rather than just one Pom-pon will stimulate a lot of self-initiated “practice” with Macro/Micro beats. Make a set of Pom-pons for your child and a set for yourself so you can engage together with Pom-pons in Macro/Micro play. Two people with Pom-pons make Macro/Micro play even more enticing. For Micro beats—with Pom-pons in hand, flick your wrists with tonguing on Micro beats. For Macro beats—raise arms alternately, so one Pom-pon goes up and the other goes down with each Macro beat. The “swishing” of the Pom-pons in the air accompany the tonguing and make Macro/Micro movement irresistible.
Pumping Station—Take your child’s hands while “tonguing” Macro/Micro Beat Activities. Hand in hand, with bent elbows, pull one of your little one’s hands forward while pushing the other back, alternating with each Micro beat. The forward arm straightens at the elbow, while the other elbow moves back. With Macro beats, rock back and forth from one leg to the other rather than moving arms. Tonguing Macro and Micro beats with the “pumping” motion of the arms with Micro beats, and the swaying motion with the legs with Macro beats will fully engage your little one’s body in the contrast between Macro and Micro beats.
Twist & Pump—Take your child’s hands while “tonguing” Macro/Micro Beat Activities. Hand in hand, with bent elbows, pull one of your little one’s hands forward while pushing the other back, alternating with each Micro beat. The forward arm straightens at the elbow, while the other elbow moves back. With Macro beats, rock back and forth from one leg to the other rather than moving arms. Tonguing Macro and Micro beats with the “pumping” motion of the arms with Micro beats, and the swaying motion with the legs with Macro beats will fully engage your little one’s body in the contrast between Macro and Micro beats. Move Micro beats with enough force that your partner’s little body twists with Micro beats.
Sweeping Macro and Micro Beats—Sweep up all the “bah bahs” or “du des” with a broom and invite your little one to do the same. Your chanting while sweeping essentially “defines” for your little one the act of sweeping as “Playing Music.” Sweep long strokes while tonguing Macro beats, and short strokes while tonguing Micro beats. A child-size broom is particularly effective as a “musical instrument” for your child. Don’t be surprised if your little one initiates a lot of sweeping—and chanting.
Megaphone Macro/Micros—Make two little megaphones out of rolled magazines or cardboard. “Tongue” Macro and Micro beats in the megaphone. The allure of the changed sound in the megaphone will encourage your little one to do more tonguing of Macro and Micro beats, and will define that megaphone as a “musical instrument” for your child.
Car Windshield—Pretend to be a car, moving about the room with your little one. Stop in place and turn on the windshield wipers with the tonguing of Macro/Micro beats. Use your arm and tongue to make the windshield wipers work, coordinating the movement of the wipers with the tonguing. Enjoy your road trip!
Dr. Meter—Use a toy stethoscope or makeshift stethoscope to listen to your little one’s heart. Vocalize what you hear—which, of course, is a meter! Chant the meter while moving the location of the stethoscope on your little one’s heart, arms, and legs, or use the stethoscope only to hear the Tonguing in Macro/Micro Beat Activities. Invite your little one to be the doctor who chants the rhythm of your heart!
Drumming and Tonguing—Use boxes or drums—one for you, one for your child. Tap Macro or Micro beats with a chant while chanting. Encourage your little one to tongue with the Macro/Micro Beat Activity, while playing the corresponding Macro beats or Micro beats on the drum. The body will follow the tongue, enabling your child to drum more precisely with the beats.
Movement
Movement embodies every aspect of music and is of prime importance in developing music skills. Level 3 takes your child further into movement on the beats and movement between the beats. Macro/Micro Beat Activities above address movement on the beat. These Activities expand “flowing movement,” the use of “space,” and the jump for music development. You will also find movement incorporated into Dialogue and Resting Tone Activities above. Levels 1 & 2 include many movement activities that can also be used at this level of development, with the more difficult content of Level 3.
Moon Dance—Hold a large ball with outstretched arms, as if you have a moon in your hands, and move the ball freely through space with the music. Flow with the ball as if it is floating in space, whether you are sitting or standing. Bend at the waist so the moon can flow down and then back up. Playing with the ball in a flowing manner can be a very attractive activity that encourages your little one to imitate your moon dance.
Flashlight Dance—A flashlight makes a most engaging experience in flowing movement with either Rhythm or Tonal. Shine the flashlight on the wall or ceiling and make the light dance to the music. Your model of the dancing light will set the stage for your little one to take command of the flashlight and dance with the light until heart’s content.
Handy Dance—Move a hand-sized ball or other small object through space with flowing movement. Make the ball move high and low, back and forth, seamlessly. Encourage your little one to do the same.
Jumping Patterns—Jump into your delivery of a rhythm pattern so that you land on the first beat. Jump into each pattern you deliver. Encourage your little one to do the same. The jump, itself will help to mobilize your child’s developing sense of meter.
Tissue Dance—Use a tissue as your “musical instrument” of choice for Flowing Movement, equipping your child with a tissue as well as yourself. Move the tissue through space, letting it flow with the music. Try moving with one tissue in each hand and engage in full-body flowing movement. Look for flowing movement in your little one during independent play.
Wrapped Up in Movement—Use tissue paper from gift wrappings for flowing movement—one for you and one for your little one. Hold the paper with two hands and move with the music, allowing the lightness of the tissue paper to flow with the bit of wind generated by your movement. Move your arms in all directions, while using your knees and hips to enhance flowing movement. You may find your child independently using tissue paper as a “very musical” instrument.
Pumping Rhythm—Take hold of your child’s feet when that little body is sitting in a big chair and pump those little legs to the meter, bending the knees in rhythm while singing or chanting. Be ready for smiles and giggles.
Choo Choo!—Start at the top of the stairs with your little one behind you. Hold your child’s hands on your hips and start chanting the meter in Rhythm Syllables while moving down the stairs in Macrobeats. Your little one’s delight in being part of the rhythm train might even get a slowpoke to move a little more efficiently!
Listening
Listening is a basic activity, throughout life. Little children are far more focused listeners than adults. At Level 3, your child brings much more to the listening experience, even with Activities of Levels 1 & 2. Just as your child at this stage understands more of favorite stories in language, your little one understands more music when “just listening.” At this stage, Rhythm and Tonal Syllable Activities can also be “simply Listening Activities.”
Listen!—Simply listen, without “doing anything,” and see how your little one responds. Your child’s growing musical maturity continues to bring greater understanding to listening. Rhythm and Tonal “dance” in your little one’s musical imagination. See how that “plays out” in “just” listening.
Wagon Ride—A wagon or other riding toy provides a delightful opportunity for “rides” that encourage listening. Pull your little one in the wagon with Rhythm or Tonal Activities for a verse or two. Change directions for the next verse or two. The aural anticipation of the change every couple of verses helps to develop a sense of phrase, while the joy of the ride itself makes the ongoing song or chant even more desirable. Engage in as many verses as you wish, with the end of the song or chant being the end of the ride.
Pour Music—Include a pitcher or empty bottle with bathtub play. Pour water from the pitcher while singing or chanting, ending the pouring at the end of a verse. Your little one will welcome continued repetition of both the chant or song, and the water play.
Rhythm Discrimination
Rhythm Discrimination Activities provide for your child to compare meters “next to each other” in sound. Just as a child learns one color from another by comparing colors, your child will differentiate one meter from another by comparing examples in sound. Discrimination Activities pave the way for music reading.
Feed the Meter—Play the Meter Game in the car or somewhere without the recording. Tell your child that Duple is going to sing, “Du de du, du de du,” and that Triple is going to sing “Du da di du, du da di du.” Then chant either Duple or Triple meter, followed by the other. Ask your child, “Did you find Duple, that sings, du de du, du de du?” Don’t expect an answer or try to “teach.” Simply chant one meter after another so they are “next to each other” in sound, and pose the question. Your little one’s musical mind will make the comparison.
How Does the Cow Go?—Chant Duple meter, followed by Triple, so they are “next to each other in sound. Ask your little one, “How does Duple sing?” Play the game as you do when you ask, “How does the cow go?” Rather than “correcting” your child, respond with, “Duple sings du de du, du de du.” How does Triple sing? Again, whatever the response, follow it with “Triple sings du da di du, du da di du.” If your little one does deliver the appropriate response, simply reinforce with, “Yes, Duple sings du de du, du de du.”
Tonal Discrimination
Tonal Discrimination Activities provide for your child to compare tonalities “next to each other” in sound. Just as a child learns to discriminate differences in size of stacking cups by comparing cups, your child will differentiate one tonality from another by comparing examples in sound. Discrimination Activities pave the way for music reading.
Tonality Game Puppets—Hold a puppet in each hand. Make one puppet sing the introduction with the first tonality in the “Tonality Game,” and the other with the second. Put both puppets to your ears with the game question, “I wonder who’s singing!” Keep the puppets to your ears with the first half of each tonality song, and then make the appropriate puppet sing openly the rest of its own song. The puppet goes back to your ear for the next tonality song, with the other puppet singing the last half of its tonality song. Avoid any verbalization. The puppets simply become visuals representing the sound, offering another way to play the game. Your little one will point to the puppet he thinks is singing while the puppets are at your ear, reinforced or challenged by the puppet that then opens in song.
Sing on the Resting Tone—Sing the Resting Tone after each line of the Tonality Game, reinforcing the difference, yet similarity between tonalities. For example, you may hear SUM as the Resting Tone of one line, and RUM or VUM as the Resting Tone of the next, even though the same pitch. Playing with the Resting Tone with each line will encourage your little one to better attend to the difference between tonalities, amidst their sameness.
Tonality Trucks—Use a couple of cars or trucks to represent the two different musical examples of a Discrimination Activity. Make each vehicle move with its corresponding intro. Then ask your child which car or truck is singing with each example. Once your child has a chance to choose the singing vehicle, make the appropriate vehicle move with the rest of the example.
