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Sue Trainor: Home

Sue's work with children who have special needs is featured in the video "Beautiful Surprises." 

https://www.youtube.com/watch?v=upq6sp-HmDo&list=UUpG6xkCux0enjfy8VI0eD0Q&index=16

Winner of the 2014 "Artist of the Year" Award from Young Audiences of Maryland.   http://www.youtube.com/watch?v=TpiUPvgG7jE

Sue Trainor inspires creativity in concert and in workshops. Her participant-centered, experiential programs motivate children and adults to explore new skills and ideas. Sue’s energy and enthusiasm capture everyone’s attention and her sense of humor and down-to-earth approach keep it.

Go to the VIDEO/PHOTO section (below) to see video from Benfield Elementary's songwriting residency closing concert. Three fourth grade classes sing the songs they composed about cells, Maryland history, and summer vacation.

School Assembly Video below, from Roland Park School, Baltimore:   http://www.youtube.com/watch?v=gEVewNAy06w

 

Kipp DC - July 26, 2019

Thanks for a great workshop today! I really enjoy working with you all!

Here are the major strategies that aren't in the handout. The animals sounds lesson description below is more elaborate than what I showed you. Do you know "pop tubes"? They are tubes that expand and contract; you can find them online. "Slider" is just a little puppet; you could use any small animal prop.

Please remember to check out education.wolftrap.org for more lesson plans, music and videos. I'll be happy to hear about how all this is working for you!

Best, Sue

 

WIGGLE YOUR FINGERS

By Jamaal “Mr. Root” Collier, WT teaching artist

 

This is a syncopated chant that uses words in rhythm. Every stanza has 16 beats, except the last, which has 8.  Movements are as described in the lyric. 

 

Wiggle your FINgers (rest, rest)

Wiggle your FINgers (rest, rest)

Wiggle your FINgers (rest, rest)

Wiggle your FINgers, (rest, rest)

 

Shake your wrists, just like this

Shake your wrists, just like this

Shake your wrists, just like this

Shake your wrists, just like this

 

MOVE your elbows 

MOVE your elbows

MOVE your elbows 

MOVE your elbows

 

Pop your SHOULders, HUNH (rest)

Pop your SHOULders, HUNH (rest)

Pop your SHOULders, HUNH (rest)

Pop your SHOULders, HUNH (rest)

 

HANDS in the air – SHAKE ‘em up

HANDS in the air – SHAKE ‘em up

HANDS in the air – SHAKE ‘em up

HANDS in the air – SHAKE ‘em up

 

 

SHAKE ‘em up, SHAKE ‘em up, SHAKE ‘em up, SHAKE ‘em up

SHAKE ‘em up, SHAKE ‘em up, SHAKE ‘em up, SHAKE ‘em up

FREEZE!!

Drop your hands.

 

 

RHYTHM PATTERNS WITH ANIMAL SOUNDS

-Sue Trainor

VOCABULARY:

Music: long sound, short sound, rhythm pattern

Numeracy: Pattern

 

EXPERIENCE PROCEDURES

 

Step One: 

-Introduce Slider and the pop tubes. "Slider likes to slide and sing. At the end, he stops." Demonstrate with a short straight tube held horizontally. Is the tube long or short? Did you sing for a long time or a short time?

 

-Extend the tube.  Repeat. Is the tube long or short? Did you sing for a long time or a short time?

 

-Offer children the opportunity to explore the tube; make Slider sound for the duration of the ride.

 

Step Two: 

I’ve noticed that some animals make short sounds and some animals make long sounds. Here is a cow.  What sound does she make?

 

Moooo Moooo  

 

What do you notice about that sound? Was it long or short? 

Let’s use this long rectangle to show the cow’s long sound. (Stick rectangle on a flat surface, by the words “cow” and “long.”)

 

Here’s a pig. What sound does she make? 

 

Oink oink oink oink   

 

What do you notice about that sound? 

Was it long or short?  

Let’s use this short rectangle to show the pig’s short sound. (Stick rectangle on a flat surface, by the words “pig” and “short.”)

 

Step Three: 

We know from our story that the animals had a big party in the farmer’s house. They must have had music! Let’s make the Cow and Pig song.

 

Who sings first? (Put up the marker.) Does that animal sing again or is it the other one’s turn? How does the song go so far? (Create a core for the pattern, then invite children to extend it.)

 

Show the pattern several times using short and long rectangles. Chant it, for example:

pig pig cow      oink oink moo

pig pig cow      oink oink moo

pig pig cow      oink oink moo

pig pig cow      oink oink moo 

 

Closure: 

The cows and pigs are great songwriters! Do you think other animals could write songs? We’ll find out soon. Right now, say goodbye to the cows and pigs. Time for them to go back to the barn.

 

 

Music and Special Needs @ Montgomery College - May 25, 2019

Hello, Friends! Thanks for spending your Friday afternoon before the long, holiday weekend exploring how we can use music in the classroom, especially with regard to supporting children who have special needs. The lyrics for the songs and chants we used are shown below. 

Some of you were concerned about whether you had my handout. I'm told that if you didn't get a paper copy at the workshop, you can request an electronic version through the college office. 

Also, let me encourage you to visit Wolf Trap's website education.wolftrap.org for videos and lesson plans created by master teaching artists that demonstrate many strategies like the ones Maria and I showed you in our workshops.

Best wishes for the rest of your school year!

Sue

 

Thumb Piano     

(descending scale) 

Time to sing, time sing

All my friends it’s

(rising scale) time to sing

 

 

Give Me the Beat

Chant by Yvette Holt

 

1.    Set up: Leader taps knees in steady beat.  Everyone taps knees in steady beat.

  1. Leader chants:  

Give me the beat, beat, beat

Give me the beat, beat, beat

Give me the beat, give me the beat

Give me the beat, beat, beat

 

  1. Repeat; everyone joins the chant
  2. Change motion to clapping hands. Everyone chants.

Clap your hands, hands, hands

Clap your hands, hands, hands

Clap your hands, clap your hands

Clap your hands, hands, hands

 

  1. Change motion to tapping the head. Everyone chants.

Touch your head, head, head

Touch your head, head, head

Touch your head, touch your head

Touch your head, head, head

 

6. Use other parts of the body.

 

How could we adapt this to use senses more?

Visual: Leader’s model, icons of possible choices, leader chair icon (“Bear Chair”), photos of students to choose from in picking next leader

Aural: Chant, leader’s cues and spoken choices (use children’s devices as appropriate)

Movement: Beat movement, change from sitting to standing position, change to bigger movements (jump, twist, punch, stomp), move through space (walk, tiptoe, gallop)

Tactile: Feeling of the beat, teddy bear (to designate the leader), everyone has a doll or a stuffed animal to keep the beat on

Imagination: Pat the baby, rock the baby, bounce the baby, jump the baby

 

 

Slide Whistle

Sequence by Sue Trainor

 

Procedure: 

1.  Leader demonstrates the slide whistle.  

 

2. Everyone pretends to play a slide whistle. Pretend to hold the whistle and imitate the sound of the slide whistle vocally. (Discuss why the slide whistle is an instrument we can’t share.)

 

3. Everyone imitates the sound of the slide whistle and shows the high and low movement with their hands  Play low to high pitch, until everyone makes the connection between the vocal and physical representations. 

 

4.  Play high to low; everyone imitates the sound vocally and shows the movement of the sound with their hands. 

 

5. Play a sound; ask children if it is low or high. Ask them to show you with their hands and sing the answer in their voices. Repeat, alternating high and low.

 

6.Follow the sound with other parts of the body (not vocally). Elbows, head, feet, whole body, etc. Stop moving when the sound stops. Move quickly when the pitch changes quickly and slowly when the pitch changes slowly.

 

How can we adapt this to use senses more?

Visual: We see the manipulation of the whistle, we see how others move.  Other visuals. Leader should model the movements at first, but then stop so children have to move from listening and not from watching. Take a video of children so they can see themselves moving. Move in front of a mirror. Play with mirror movement: children face each other and move together to the whistle sound.

Aural: The sound of the slide whistle (or our voices) is the focus. NOTE: if children have sound sensitivity, this strategy should be used with a mellower, metal whistle rather than a plastic one.

Movement: Move to the sound of the whistle. Use a variety of body parts: hand, elbow, head, shoulder, knee, foot, whole body. Use the whistle to walk through general space: toot the whistle in steady beat as children take one step for each toot. If the pitch changes, children crouch as they walk or walk taller.

Tactile: Move an object to the sound of the whistle.

Imagination:Use slide whistle as accompaniment to movement in a role play.

 

 

Here’s What I Learned Chant 

By Sue Trainor

Here’s what I learned, oh yeah

Here’s what I learned, oh yeah

Here’s what I learned in our lesson today

Here’s what I learned, oh yeah

Here’s what I learned, oh yeah

Here’s what I learned in our lesson today

 

How could we adapt this to use senses more?

Aural: Chant

Visual: Leader motions, icons for lesson concepts or segments

Movement: Create movements to go with it. I roll my arms and tap my knees

Tactile: Feel of the beat

Imagination: Recall of what we’ve done

 

 

Shake Those Eggs (streamers)

By Val Carroll

  1. Transition: Hand one egg to each child, singing a transition song such as (to “Skip to My Lou”) – “Here’s an egg for you and you, here’s an egg for you and you….”

 

  1. Slowly sing the song and model the motions described. Give children time to imitate.  Note the “C*” means C above middle C.

 

G          G          E    E      G       G        C*

Shake those eggs and shake them high

 

 F         F         F         F    A       G        D

Shake those eggs and shake them low

 

G          G          E    E      G       G       C*

Shake those eggs and shake them high

 

D            F     E            D   C        E   C    

Round and round and round we go

 

(same melody)

Shake and shake and shake and stop (3x) 

Then we’ll shake and shake some more

 

How could we adapt this to use senses more?

Visual: We see the leader’s model, we could use a song icon

Aural: The song, the sound of the shakers or blocks 

Movement: Moving with the shakers (blocks, streamers, scarves). We could add other movements and spatial directions. (also, see tactile)

Tactile: The feeling of the shaker and the sensation of the movement inside the shaker. Could substitute other instruments (tap that drum or blocks and tap it fast, tap that drum and tap it slow….) or things like scarves.

Imagination: Could be adapted into storytelling. We could be retelling “Giraffes Can’t Dance,” for example:

Giraffes in the circle now, dance up high

Giraffes in the circle now, dance down low

Giraffes in the circle now, dance up high

Now round and round and round you go

Dance and dance and dance and stop (3x)

Then the giraffes can sit back down.

 

We’re Going Shopping

 

 C          C   D    E       G       D      G        E  C

We’re going shopping, shopping, shopping

C            C   D   E       G

We’re going shopping

D          D      G    C

What will we buy?

 

Use the same melody to give directions. 

“Juan buys two tomatoes” or

“Juan buys two red foods” etc. …

“And puts them in his bag”

 

How could we adapt this to use senses more?

Visual: Show a picture of a market, show pictures of things we see in the market,  

Aural:  song

Movement: walk around the room

Tactile: Use food props, costumes, bags or baskets, plates to “serve” food back in the circle

Imagination:  Imagine that we’re going to the market; imagine that some children are (in the role of) grocers

 

Adaptation: This song can be adapted for any purpose involving moving through general space.

-Walking through the park, the hallway, to the bathroom, etc.

-Swimming through the ocean

-Exploring in the forest / walking to our seats

 

Funky Duck Chant

By Sue Trainor

 

I’m Funky Duck, hey hey

I’m Funky Duck, hey hey

I want to know 

Can you find my ___ today

 

How could we adapt this to use senses more?

Visual:  Puppet duck (or other animal) to which Velcro will stick. The puppet is the visual to draw children’s attention to learning content, such as colors, shapes, letters. numbers, etc.

Aural:  the chant

Movement: Because children are being asked to focus on an object, movement is not part of this strategy, aside from the puppet moving from child to child.

Tactile: the child is asked to take a picture or shape from the duck and replace it.

Imagination: when children have learned the strategy, they can take the role of Funky Duck and take leadership with the puppet. 

 

 

 

I HAVE A BOX

Adapted from Katherine Lyons’ version

 

Dramatically, chant:

 

I have a box

The box has a top

Let’s oooooopen it    (open the box slowly and dramatically, pitch rising on “ooopen”

And STOP! (loudly close the box)

 

I have a box

The box has a top

Let’s oooooopen it 

And see what we’ve got

 

How could we adapt this to use senses more?

Visual:  The box is dramatic visual play, based on what we can see and what we can’t. Notice that the presenter’s visual expression and expressive gesture are also part of this visual.

Aural:  the chant, the rising pitch corresponding with opening, excited tone of voice, the box may be shaken to see what the object sounds like.

Movement: Because children are being asked to focus on an object, children’s movement is not part of this strategy, although they may imitate the box gestures.

Tactile: The box may be passed around the circle so children can have a sense of its weight. A child may be asked to help open the box once the sequence is familiar. There may be objects inside for everyone to touch.

Imagination: Children may be  asked to predict what’s in the box. We may use imagination in connection with what comes out of the box.

 

 

 Hello Toes, How Do You Do?

Collected from Mary Gresock

Objectives:       Singing Voice

                                    Matching Pitch

                                    Creative movement

                                    Identify Body parts, clothing, other things

 

 

Procedure:

 

1. Set up the starting pitch and beat with a cue phrase like “Let’s all sing”

 

2. Sing the song. Children will join as they learn it.

 

G  G    E      G        G    G   E

Hello toes, how do you do? (tap toes)

 

G      G     E       A    A     G    E    C

I’m just fine and I’m dancing, too  (wiggle toes and sing in a character voice)

 

G     G     G     E

Ah doo doo doo  (make the toes dance and keep singing in character voice through the rest of the song)

 

G     G     E

Doo doo doo

 

G       G      E     A   A    G    E      C

Doo doo doo do-do doo doo doo

 

Model the first few times, then invite children to choose.

Hello knees…

Hello tummy….

Hello hands….

Hello tummy…..

Hello head….

 

Extension: 

  • Substitute clothing (Hello shoes, socks, pants, etc.)
  • Greet friends, puppets or animal props. How do they move?
  • Substitute people’s names (Hello Lee… and Lee gets to answer and lead a dance motion.)

 

How could we adapt this to use senses more?

Visual:  Visual model, or the puppet or the person to be focused on

Aural:  the song

Movement: Dancing movements

Tactile: tapping body parts

Imagination: Wbat should we do next?

 

 

Who’s a Good Watcher

Source:           by Mary Gresock, extension by Sue Trainor

Objectives:       Steady Beat 

                        Focus

                        Visual discrimination / Imitation

                        Recognizing body parts

                        Prediction

 

Procedure:

1. Leader taps her head in steady beat and chants:

 

Who’s a good watcher, watcher, watcher

Who’s a good watcher, show me now

Ooops!

 

2. On “oops,” change the body part that’s being tapped – to shoulders, for example. (The strategy is more fun if “oops” is fast - NOT said in steady beat.)

3.  After several repetitions, the children should be able to join the chant and predict when the change will take place, but not necessarily predict what the new motion will be. 

 

Extension: 

  • First, begin tapping a body part (often head or shoulders), clearly keeping steady beat with a slow tempo and a big motion. Then, begin the chant. On “oops,” throw the lead to another person. That person ‘catches’ the throw and puts the beat on a new body part. On “oops” that person passes to someone new.  
  • Who’s a Good Listener (created by Mary Armstrong’s K class, VA):  Follow the chant pattern with “Who’s a good listener…. “ but finish with “touch your ___.” Leader says one body part buttouches a different body part.  Listeners have to touch what they hear, not what they see.

THINK LIKE A SCIENTIST

 

Source:  Sue Trainor

Objectives:           Retain the sequence of scientific thinking process

                  Singing voice

 

 

  G        G     F  G      D

Think like a scientist 

      (chant: what’s the question? Ask the question!)

  G        G     F  G      D

Think like a scientist

      (chant:  observe, measure, compare,  repeat – Hunh!)

 

 

 

Movements

 

Think like a scientist:  Move hands around the head

What’s the question?:  Shrug

Ask the question!    Point 

Think like a scientist:  Move hands around the head

Observe:  Hand horizontal above eyes (“look”)

Measure:  Hands apart, palms facing each other (demonstrating a distance)

Compare:   Hands palm up, alternating bounce, like weighing something

Repeat:  Roll hands

Hunh!:  Hands in fists, head high, then pull down (victory gesture)

 

 

 Strategy:

 

1. We are going to be scientists.  In order to be scientists, we have to think like scientists.   

2. Sing song

 

 

 

 

NoVA Family Services - March 22, 2019

Hi, all! I really enjoyed working with you at Wolf Trap. Hope you all got home safely after that hail storm! Whew! Happy Spring.... 

Anyway, here's the repertoire we explored during our time together. Please let me know if you have any concerns or questions. Also remember to check out Wolf Trap's website education.wolftrap.org for videos and lesson plans with many more strategies appropriate for children aged 1-3 and for special needs.

Best regards,

Sue

 

Thumb Piano     

(descending scale) 

Time to sing, time sing

All my friends it’s

(rising scale) time to sing

 

 

Give Me the Beat

Chant by Yvette Holt

 

1.    Set up: Leader taps knees in steady beat.  Everyone taps knees in steady beat.

  1. Leader chants:  

Give me the beat, beat, beat

Give me the beat, beat, beat

Give me the beat, give me the beat

Give me the beat, beat, beat

 

  1. Repeat; everyone joins the chant
  2. Change motion to clapping hands. Everyone chants.

Clap your hands, hands, hands

Clap your hands, hands, hands

Clap your hands, clap your hands

Clap your hands, hands, hands

 

  1. Change motion to tapping the head. Everyone chants.

Touch your head, head, head

Touch your head, head, head

Touch your head, touch your head

Touch your head, head, head

 

6. Use other parts of the body.

 

How could we adapt this to use senses more?

Visual: Leader’s model, icons of possible choices, leader chair icon (“Bear Chair”), photos of students to choose from in picking next leader

Aural: Chant, leader’s cues and spoken choices (use children’s devices as appropriate)

Movement: Beat movement, change from sitting to standing position, change to bigger movements (jump, twist, punch, stomp), move through space (walk, tiptoe, gallop)

Tactile: Feeling of the beat, teddy bear (to designate the leader), everyone has a doll or a stuffed animal to keep the beat on

Imagination: Pat the baby, rock the baby, bounce the baby, jump the baby

 

 

Slide Whistle

Sequence by Sue Trainor

 

Procedure: 

1.  Leader demonstrates the slide whistle.  

 

2. Everyone pretends to play a slide whistle. Pretend to hold the whistle and imitate the sound of the slide whistle vocally. (Discuss why the slide whistle is an instrument we can’t share.)

 

3. Everyone imitates the sound of the slide whistle and shows the high and low movement with their hands  Play low to high pitch, until everyone makes the connection between the vocal and physical representations. 

 

4.  Play high to low; everyone imitates the sound vocally and shows the movement of the sound with their hands. 

 

5. Play a sound; ask children if it is low or high. Ask them to show you with their hands and sing the answer in their voices. Repeat, alternating high and low.

 

6.Follow the sound with other parts of the body (not vocally). Elbows, head, feet, whole body, etc. Stop moving when the sound stops. Move quickly when the pitch changes quickly and slowly when the pitch changes slowly.

 

How can we adapt this to use senses more?

Visual: We see the manipulation of the whistle, we see how others move.  Other visuals. Leader should model the movements at first, but then stop so children have to move from listening and not from watching. Take a video of children so they can see themselves moving. Move in front of a mirror. Play with mirror movement: children face each other and move together to the whistle sound.

Aural: The sound of the slide whistle (or our voices) is the focus. NOTE: if children have sound sensitivity, this strategy should be used with a mellower, metal whistle rather than a plastic one.

Movement: Move to the sound of the whistle. Use a variety of body parts: hand, elbow, head, shoulder, knee, foot, whole body. Use the whistle to walk through general space: toot the whistle in steady beat as children take one step for each toot. If the pitch changes, children crouch as they walk or walk taller.

Tactile: Move an object to the sound of the whistle.

Imagination:Use slide whistle as accompaniment to movement in a role play.

 

Hand-Hand Chant

By Sue Trainor

 

As the leader chants, voice pitch should climb higher and higher, then slide slowly from high to low on “down.” 

 

Hand, hand

Reach, reach

Up, up, up, up

Down!

 

How could we adapt this to use senses more?

Because this is a simple strategy, designed for developmentally young children, I recommend keeping it just this simple. Use hand over hand support as needed.

 

 

Here’s What I Learned Chant 

By Sue Trainor

Here’s what I learned, oh yeah

Here’s what I learned, oh yeah

Here’s what I learned in our lesson today

Here’s what I learned, oh yeah

Here’s what I learned, oh yeah

Here’s what I learned in our lesson today

 

How could we adapt this to use senses more?

Aural: Chant

Visual: Leader motions, icons for lesson concepts or segments

Movement: Create movements to go with it. I roll my arms and tap my knees

Tactile: Feel of the beat

Imagination: Recall of what we’ve done

 

 

Shake Those Eggs (streamers)

By Val Carroll

  1. Transition: Hand one egg to each child, singing a transition song such as (to “Skip to My Lou”) – “Here’s an egg for you and you, here’s an egg for you and you….”

 

  1. Slowly sing the song and model the motions described. Give children time to imitate.  Note the “C*” means C above middle C.

 

G          G          E    E      G       G        C*

Shake those eggs and shake them high

 

 F         F         F         F    A       G        D

Shake those eggs and shake them low

 

G          G          E    E      G       G       C*

Shake those eggs and shake them high

 

D            F     E            D   C        E   C    

Round and round and round we go

 

(same melody)

Shake and shake and shake and stop (3x) 

Then we’ll shake and shake some more

 

How could we adapt this to use senses more?

Visual: We see the leader’s model, we could use a song icon

Aural: The song, the sound of the shakers or blocks 

Movement: Moving with the shakers (blocks, streamers, scarves). We could add other movements and spatial directions. (also, see tactile)

Tactile: The feeling of the shaker and the sensation of the movement inside the shaker. Could substitute other instruments (tap that drum or blocks and tap it fast, tap that drum and tap it slow….) or things like scarves.

Imagination: Could be adapted into storytelling. We could be retelling “Giraffes Can’t Dance,” for example:

Giraffes in the circle now, dance up high

Giraffes in the circle now, dance down low

Giraffes in the circle now, dance up high

Now round and round and round you go

Dance and dance and dance and stop (3x)

Then the giraffes can sit back down.

 

We’re Going Shopping

 

 C          C   D    E       G       D      G        E  C

We’re going shopping, shopping, shopping

C            C   D   E       G

We’re going shopping

D          D      G    C

What will we buy?

 

Use the same melody to give directions. 

“Juan buys two tomatoes” or

“Juan buys two red foods” etc. …

“And puts them in his bag”

 

How could we adapt this to use senses more?

Visual: Show a picture of a market, show pictures of things we see in the market,  

Aural:  song

Movement: walk around the room

Tactile: Use food props, costumes, bags or baskets, plates to “serve” food back in the circle

Imagination:  Imagine that we’re going to the market; imagine that some children are (in the role of) grocers

 

Adaptation: This song can be adapted for any purpose involving moving through general space.

-Walking through the park, the hallway, to the bathroom, etc.

-Swimming through the ocean

-Exploring in the forest / walking to our seats

 

Funky Duck Chant

By Sue Trainor

 

I’m Funky Duck, hey hey

I’m Funky Duck, hey hey

I want to know 

Can you find my ___ today

 

How could we adapt this to use senses more?

Visual:  Puppet duck (or other animal) to which Velcro will stick. The puppet is the visual to draw children’s attention to learning content, such as colors, shapes, letters. numbers, etc.

Aural:  the chant

Movement: Because children are being asked to focus on an object, movement is not part of this strategy, aside from the puppet moving from child to child.

Tactile: the child is asked to take a picture or shape from the duck and replace it.

Imagination: when children have learned the strategy, they can take the role of Funky Duck and take leadership with the puppet. 

 

 

 

I HAVE A BOX

Adapted from Katherine Lyons’ version

 

Dramatically, chant:

 

I have a box

The box has a top

Let’s oooooopen it    (open the box slowly and dramatically, pitch rising on “ooopen”

And STOP! (loudly close the box)

 

I have a box

The box has a top

Let’s oooooopen it 

And see what we’ve got

 

How could we adapt this to use senses more?

Visual:  The box is dramatic visual play, based on what we can see and what we can’t. Notice that the presenter’s visual expression and expressive gesture are also part of this visual.

Aural:  the chant, the rising pitch corresponding with opening, excited tone of voice, the box may be shaken to see what the object sounds like.

Movement: Because children are being asked to focus on an object, children’s movement is not part of this strategy, although they may imitate the box gestures.

Tactile: The box may be passed around the circle so children can have a sense of its weight. A child may be asked to help open the box once the sequence is familiar. There may be objects inside for everyone to touch.

Imagination: Children may be  asked to predict what’s in the box. We may use imagination in connection with what comes out of the box.

 

 

 Hello Toes, How Do You Do?

Collected from Mary Gresock

Objectives:       Singing Voice

                                    Matching Pitch

                                    Creative movement

                                    Identify Body parts, clothing, other things

 

 

Procedure:

 

1. Set up the starting pitch and beat with a cue phrase like “Let’s all sing”

 

2. Sing the song. Children will join as they learn it.

 

G  G    E      G        G    G   E

Hello toes, how do you do? (tap toes)

 

G      G     E       A    A     G    E    C

I’m just fine and I’m dancing, too  (wiggle toes and sing in a character voice)

 

G     G     G     E

Ah doo doo doo  (make the toes dance and keep singing in character voice through the rest of the song)

 

G     G     E

Doo doo doo

 

G       G      E     A   A    G    E      C

Doo doo doo do-do doo doo doo

 

Model the first few times, then invite children to choose.

Hello knees…

Hello tummy….

Hello hands….

Hello tummy…..

Hello head….

 

Extension: 

  • Substitute clothing (Hello shoes, socks, pants, etc.)
  • Greet friends, puppets or animal props. How do they move?
  • Substitute people’s names (Hello Lee… and Lee gets to answer and lead a dance motion.)

 

How could we adapt this to use senses more?

Visual:  Visual model, or the puppet or the person to be focused on

Aural:  the song

Movement: Dancing movements

Tactile: tapping body parts

Imagination: Wbat should we do next?

 

 

CAN YOU SIT ON YOUR SPOT?

By Sue Trainor

1.  Everyone is sitting on a designated spot. Leader calls; children respond.

Call:Can you sit on your spot ?   Response:Yes I can!

Call:Can you sit on your spot ?   Response:Yes I can!

Call:What are you doing?          Response:Sitting on the spot

Call:What are you doing?          Response:Sitting on the spot

 

Call:Can you clap on your spot ?   Response:Yes I can!  (clap in steady beat)

Call:Can you clap on your spot ?   Response:Yes I can!  (clap in steady beat)

Call:What are you doing?          Response:Clapping on the spot

Call:What are you doing?          Response:Clapping on the spot

 

2. Try another sitting motion or two. If everyone is holding their spot, try standing.

Call:Can you stand on your spot ?   Response:Yes I can!  (etc.)

 

3.  Call:Can you jump on your spot?  Response:Yes I can!  (etc.)

4. Ask for children’s suggestions for movement and substitute those actions into the chant.

5. End with:  Call:“Can You Sit on Your Spot”   Response:Yes I can!  (etc.)

 

How could we adapt this to use senses more?

Visual: Leader’s model, could use picture icons as appropriate for leader to choose the next movement. Another visual component of this is judging one’s own self-space. Can I see that I am in my place?

Aural: Chant.

Movement: Movement in self-space as described. Movement also can be extended to other positional concepts – stand in front, beside, behind, next to, under… Spots could be self-space in the context of a larger game  – like musical chairs

Tactile: Can use spots with a prop or stuffed animal. Is the monkey on the spot? Clean-up – I often ask children to put the spot on some part of their body (head, shoulder, elbow…) and pick up the spots from there.

Imagination: Spots could be self-space in a storytelling sequence; for example, as the character’s “house” or safe space.

 

 

Passing Game

Tune “Ninety-Nine Bottles of Beer On the Wall” – oh my!

Collected from special needs school

 

Objectives:

Following directions, taking turns, wait time, letting go – plus whatever is involved in manipulating the object

 

All sit in a circle. Sing:

 

Juanhas a (ball, hat… whatever prop you want to pass)

What do you think about that?

Juan takes  the (or does something) (object)

And passes it to ____

 

 

Visual: The object; watching other children with the object.

Aural: Song

Movement: As described in the lyric directions

Tactile: Whatever the object is

Imagination: What can we do with the object?

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