Ut Queant Laxis ascribed to Paulus Diaconus (Paul the Deacon) around AD 774 (used for teaching [the basis of solfa] by Guido D'Arezzo in the 11th century) Re - so - Mm - te fb - tis SSS = ———— moe - Sum = = = Fo - mi - & . - oo ram. EO 1 Soop = = = | la - tio - i re a fim, | Sa jo - am - mes Ut Queant Laxis, which first appeared in a paper called Micrologus in 1023, is of great interest historically as shows the initial origin of tonic solfa (Ut Re Mi Fa So La) with the first sylable of each line producing the six notes of the C major hexachord. ‘Ui’ was later changed to ‘Do' as the open vowel sound is better for singing. When the seventh degree of the scale was needed the possibility of using 'Bi' (fiom ‘Labii reatium in the line) was considered but eventually the initials from Sancte Joannes were used and ‘Si became the seventh degree of the scale. (I and J were interposible in these times). In more modem times ‘Si became "T?' in many countries in order to allow more use of chromatics (Si' was then available to became the sharpened 'So’). Tris not uncommon to find instrumental parts marked as Trumpet in Ut’ (Trumpet in C), or Clarinet in Sib or Mib (Clarinet in Bb or Eb) as a relic of the days when the solfa sounds were used as the names of the C major scale within a ‘fixed Do' solfa system. Such systems are still to be found in some countries e.g. France, Portugal, Italy.s-m Songs (stick notation) —ea 8 eg eae is mmch to late, 14, ts 8 74. ssmm os m Stretchyourhomsout snail snail I beg you, mos ‘twill 3 8 if you1-s-m Songs (stick notation) Compiled by Len Tyler ‘Here sits a mousie det bi bt pt Pb ky los ‘name! m s s “e-ly bumblebee, _canyousingyour s ssmmm s Hick-e-tyti Rain rain ily pid om asm OO, f ssml Au iat fd Rainzain go away, comeagaina-notherday. lit deSusie wantoplay, rainrain go away. [Compiled by Len Tyier - Classroom and mstrumental teacher trainie - 15 Pine Drive, Hawiey, Camberley, Surrey, GU17 SEG} oH (01276 34820 - lentylerlentyler freeserve.co-uk - wwww lentylermusicschool:co-ukm-t-d Songs (stick notation) tee "a Hotcross buns, hotcross bums, one a pen-ny two a pen-ny hotcross bums. hte Aaa meee ge a h vel] a ot B 5 Bet & a a ge ge i Have you ev-er, ev-er, ev-er, im your Jong leg-ged met a No ive _ne-ver ev-er see oo ee a | {14 Bee ™ § ee Ridiy' ina Rid in! im a bug-gymiss Ma-ry Jane,miss Ma-ry Jane, miss Ma-ry Jane. amonnm. nm fm Rid in’ in a bug-gymiss Ma-ry Janeyourea long way ftom home. (Compiled by Len Tyler - Classroom and instrumental teacher Waining- 15 Pine Drive, Hawley, Camberley, Surrey, GUI7 SBG| (01276 34820 - len(@lentylermusicschool.co.uk - warw lenfylermusicschool.coukPISS VIPS VIPS PISSVOOY VO? VOOY VOOYHi - Bonjour ACTIONS First line - walk in a circle (holding hands) Second line - Face centre and clap the pulse . Third line touch toes (Buenos) and reach up (Dias) twice following the melodic rhythm 4. Having repeated 1 - 3 above, all jump up on final Hi! woe * This song works as a canon in up to six parts if performed at one bar interval Compiled by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Surrey, GUI7 9BG 01276 34820 - lentyler@lentyler.freeserve.co.uk - wwww-lentylermusicschool.co.ukGoodbye everyone Brightly (in 2) Good-bye eve-ryone goodbye eve-ryone glad that youwere here Good bye eve-ryone good bye eve-ryone glad that you were here L L LLL glad that you were here L L LoL .- glad that you were here. ACTIONS Lines 1 & 2 - Pat on laps (two pats to a bar) Lines 3 - Clap rhythm for 2 bars (L,I...) with hands rising as with the melody, then pat pulse on laps. Line 4 - As for line 3 * Please note that this song works well in canon (2 bars interval). The actions make it even more memorable. [Compiled by Len Tyier - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Suey, GUL7 9BG 01276 34820 - lentyler@lentyier freeserve.co.uk- wwww.leatylemmsicschooL.co-uk(ince the some is Tearned the following activities can be i 1._Children form circle. Teacher goes round the circle durinz the 3/4 section and shakes hands with exch child in jrura on the words "You" and "cu". Alternatively the teacher could shake hands with the children on the first beat of the bar during the 3/4 section. }2. Teacher then performs two actions in time with the music throughout the 2/4 section (e.g. clap -pat knees). All ton copy the teachers actions. }3. Song is repeated and the teacher continue: shaking hands around the circle and performing various actions until all hands have been shaken. ]4. Once the above is extablished then the routine is repeated, bur this time whichever child is the final one that the teacher "shakes hands" with becomes the new leader and the new "Jeades” choses which action to perform. Everyone| else copies. The sequence is then repeated as before, but with a new leader being selected for each time the song is sung. This continues until all have had a turn at being the leader. This is much more difficult as the mew leader will need to have mn action already prepared to perform. There are other variations that could be performed with this song. For example children could be formed into pairs and shake hands on the first best of each bar. They then walk the pulse for the 2/4 section finding a:new partner for he beeinnine of the sone when they shake hands azain on the first beat af the tar. A further development could be at any child that doen't find a pariner then claps the pulse at a tempo of their choosing, or perhaps the tescher could| [give 2 hand drum to someone wile they are walking the 2/4 section and the nominated child sets the pulse Ball Game - Children form 2 circle with the teacher (lender) in the middle. Leader bounces on first beat, catches {ite bell on the second best and throws (toa child in the circle) on the third beat. The child does the same pattem | ounce - Catch - Throw) throwing the ball back to the leader. The leader then continues round the circle to the next [child and soon When the song changes to 2/4 the "catch" element is removed and the ball is bounced to the next [person in the sequence producine a "bounce - extch bounce - catch" sequence a: it zoes round the circle, When [boing back to the bezianing of the song the "bounce - catch - throw” sequence is retumed. (Compiled by Len Tyler - Classroom and instrumental teacher Taming 15 Pine Drive, Hawiey, Camberley, Surrey, GU17 9BG_ lo1276 34820 lentyieralentyterseeserve com — ewww: lentylermusicsebooL co.ukClap and clap and clap together Clap and clap and clap to-geth-er clap and clap and clap and stop [This simple actly & good for teaching starting and stopping fo gether. Having done the rai vere then ode] actions can be used: Pat and pa and pat together... | Shake (shake fingers) Stamp (stamp feet) Creap (ceep slong) wriggle (hey should Sind this one easy .2!) ]Once established this can then be transferred to instruments and the following wards used Piay and play and play together. Tap and tap... [Shake and shake... FTingand tag .. ec, [Be imaginitive - make up your own actions to co with this activity Cuckoo Where are You Echo Teacher Cuck - 00 where are you? —Cuck - 00 where are you? [The teacher sings the song "Gudkoo where are you" and the class copies as enecho | This activity is very usefal for encouraging young children to sing. |Crhildren are arranged in a group. .A small soft cuckoo toy is used as 2 prop. |The cuckoo is given to a confident child |All sing "Cuckoo where are you?” |The child holding the cuckoo copies |The cuckoo is passed on and the sequence continues until all have bad a eo. | There is value in a child just holding the cuckoo even if they don’t sing (teacher could sing for them).| [irotton takes 2 lot for a shy young child just to be "it" and actually be the ane holding the cuckoo. Let's Take a Walk ‘Let'stake a walk.take a walktake a walk, and see what we can see there. [Thisitem is uselal for moving children around the room Lt is useful for linkine together s number of short activitis| [Compiled by Len Tyler - Classroom and instrumental teacher waining [15 Pine Drive, Hawley, Camberley, Surrey, GUIT SBC 01276 34820- lentyler @lemyler freeserve.covuk - wwww lentylermmsicschool.coukTommy Tucker's Dog Tred = = - - Bow, wow, wow. Who'se dog art thou? a 2 os ° - Lit - tle Tom-my Tuck-ers dog, bow, wow, wow. CONTENT Rhythm q iq sh Pitch - Ismrd (pentatonic) Game Children form a circle of partners facing each other. All odd numbered children will be facing one way round the circle and all even numbered children will be facing the other way. First line - all clap parmers hands three times Second line - wag finger at partner three times ‘Third line - all tum round on the spot (four steps) to face a new partner Forth line - all clap own hands three times More advanced movements As above but on third line. instead of tuming round to a new partner behind the children walk round the circle pasing thei partner (night shoulder to nght shoulder) to meet a new partner. Other actions remain the same ‘This song also works as a four part canon (Collated by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Surrey, GU17 9BG 101276 34820 - lentyler@lentyier freeserve.co.uk - wwww lentylermusicschool.co.uikPease pudding hot ease pud - ding hot pease pud - ding cold, d d Tr nm m r r d Pease pud - ding in the pot nine days old. Some like it in the pot nine days old. itch content: fmrd ythm content: J J ¢ * Useful for teaching crotchet rest (sh) * Useful for practicing the semitone (me-fa). Particularly useful in strings teaching) * Pupils can suggest different activities to go in the rest * Can be sung/played in mixed keys e.g. C Maj and G Maj at the same time gives the effect of the perfect Sth. If sung in C, E and G will give the effect of consecutive Major triads. If sung in C, D and E will give he effect of being sung using a ‘do re mi' tone cluster) * Can be sung/played in canon at one bar interval (This gives experience of the semitone (mi against fa). This| is not easy and needs much concentration to keep in tune.) (Compiled by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Surrey, GU17 9BG 101276.34820 - lentyler @lentyler.froeserve.co.uk - wwww.lentylermusicschool.co.ukDown the Road Down the road, down the road, eve -ry bo-dy walk to - ger - ther down the road d Tt Down the road, Down the road, MA tts nmmommMm ier eve -1y bo -dy walk to per-ther down the road ghd de adie Children sit in any order and begin to sing the song Teacher (or child) then walks ‘Down the road’ while selecting children by touching them gently on the head. Once a child is selected then that child stands and joins by holding hands initially with the leader, and then by joining the end of the line. This activity ends up with the entire class singing the song while walking the pulse and forming a snake. The teacher (leader) can then manouver the snake into any formation required. Circle - arc etc, This activity is useful for putting children into a specific order as the leader decides which order they will join the line. Careful use of this song can help place a weak singer between two strong singers, or place a number of well settled children between two lively ones. Compiled by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley. Camberley, Surrey, GU17 9BG 01276 34820 - lentyler@lentyler. freeserve.co.uk - wwww_lentylermusicschool,co.ukWelcome Everybody [actions [First rwo linos - Children form a circle holding hands and walk round in time to the music | Third Line - All face contre and clap the pulse while counting up to 10 [Fourth Line - Stop clapping and stand sll (prepare for second verse) | Actions can be developed for the third line e.g. pat knees, tap toe, bond knees etc. | Actions can be discussed and created to support basic musical concepts eg. stamp (on |the spot for loud, pat head for quiet, wave hands for silence, sung in solfa with hand sigas| =) etc. Cuckoo where are you TEACHER, PUPIL = SSS Cuc - koo where are you? © Cue - koo where are you? [This simple activity is good for encouraging solo singing im very young children There area number of ways to play this, lgamerusing a cuckoo prop. It can also be deue without a prop if uacessary, but the prop mikes this one more fim. 1. Teacher givas the cuckoo to a child and sings the first Cuckoo where are you. The child then "zaakes the cuckoo sing” in response, Teacher then chooses another child etc. This version gives the teacher control over who has ‘the cuckoo and can therefore make sure that it begins with a confident child With very young children it may be ‘the parent who responds. I>. Chilkinem sit ina circle and take turns passing the cuckoo round the circle. All children sing the first “Cuckoo where sre you" and the child with the cuckoo responds |3. ‘This version is for older children. All st in a circle with one child in the centre. The child in the centre has to hida ‘hishher eyes. The teacher then passes the cuckoo to one of the children im the circle. All sing the first "Cuckoo ‘where are you!" and the child with the cuckoo responds. The child in the centre then has to euess who has cot ‘the cuckoo. Afters successful euess the eames repeated with the original solo sinzer taking a tum in the centre ‘ofthe circle. [Compiled by Len Tyler - Classroom and instrumental teacher taining - 15 Pine Drive, Hawley, Camberley, Surrey, GUIT 9BG| (01276, 34820 - lentyter@Blentyler.freeserve.co.uk - warew lentylermsicschool.co.ukSome - one stole —it from my home. s s m m s s m \ te 2 z EB 4 Who'se got the bone? s m 1 s m r 1 Tve got the bone’ s m 1 s m Children sit in a circle with one child in the centre being the "Doggy". The “Doggy” mmst hide bis eyes. A bone is then given to one of the children in the circle to hide behind their back. |All children in the circle sing the first line The "Doggy" sings the second line |All children in the circle sing the third line The child with the bone sings the fourth line The "Doggy" child then has to guess by listening only who has the bone, and the game then starts again with the child that had the bone becoming the new "Doggy" This activity is very useful for encouraging solo singing, and singing generally. The game aspect makes it very enjoyable, and the fact that the song only contains three notes (Ism) means that all children are able to sing this song once they get used to it. Older children that have done this activity when younger often ask to do it again, because itis such good fun. This situation is very useful if there are still some children within the up that have not yet found their voice. (Compiled by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Suey, GUI7 9BG 101276 34820 - lentyler@lentyler freeserve.co.uk - wwww_lentylermusicschool.co.ukCharlie over the ocean ECHO ECHO ECHO Voice ECHO Bass ‘Metalaphone Children form a circle One child walks round the outside of the circle and sings the song line by line Children in the circle echo each line. On the last:note (Can't catch me) the child walking round the circle taps someone on the shoulder. The person tapped then chases the singer round the circle The chaser becomes the new singer and the game continues Throughout the whole of the song a child could play an ostinato on a bass instrument| eeRS Taw (Conapiled by Len Tyler - Classroom and instrumental teacher taining - 15 Pine Drive, Hawiey, Camberley, Surrey, GUI79BG] 101276 34820 - lentylerilentvier Sreazerve.co.uk - WwWRhymes (1-8 simple time, 9 - 14 compound time) i. Engine, Engine, number Nine Engine, engine, number Nine, Going down Chicago line, If the train should jump the track, Will I get my money back? ‘Yes, no, maybe so. 2. Once I found a cherry stone Once I found a cherry stone. I putt in the ground. When I came to look at it, a tiny shoot I found. The shoot grew up and up each day and soon became a tree I picked the rosy cherries then and ate them for my tea. 3. Buster Buster Buster buster climb the tree (climb tree actions) Buster buster pat your knee (pat knees to pulse) Buster buster blow a kiss (blow a kiss) Buster buster do not miss (wag finger to pulse) 4. Two Little Dickey Birds Two little dickey birds sitting on a wall One named Peter one named Paul Fly away Peter, Fly away Paul Come back Peter, come back Paul 5. Criss Cross Criss, cross, apple sauce Spiders crawling up your back, Cool breeze, tight squeeze ‘And now you’ve got the shivers. NB With actions. Can also get children to stand behind parents & do it to them. 6. Mice, Mice Mice, mice Eating all the rice Nibble, nibble, nibble, nibble Nice, nice, nice 71. Flutter Flutter Butterfly Flutter flutter butterfly Flutter off into the sky Flutter flutter very past Wave to me as you go past Bye bye butterfly8. A Mouse Lived in a Little Hole ‘A mouse lived in a little hole Lived sofily in a little hole When all was quiet as quiet could be - Ssshh! When all was quiet as quiet could be - Ssshh! (pause) Out popped he! 9. Rain on the Green Grass Rain on the green grass (pulse an knees) Rain on the trees (pulse on tummy) Rain on the housetop _(pulse on shoulders) But not on me (pulse on head, then hands out after me — rest) N.B. “Rain on the green grass” could be performed in compound time or in simple time using a dotted quaver semiquaver (Tim-ki) rhythm. 10. A Little Green Frog am I A little green frog on a pond am I, Hoppity, hoppity, hop. Isit oma little leaf, high and dry And watch all the fishes as they swim by. Splash! how I make the waters fly! Hoppity, hoppity, hop. 11. Pussy eat, Pussy Cat Pussy cat, pussy cat where have you been? Fve been to London to look at the Queen Pussy cat, pussy cat what did you there? Tsaw a little mouse under her chair 12. Here is the beehive Here is the beehive, but where are the bees? Hidden away where nobody sees. Wait and you sce them come out of the hive 1,2,3,4, 5....Buzzzzzz 13. Chop, chop, choppity chop. Chop, chop, choppity chop Chop off the bottom and chop off the top What there is left we will put in the pot. Chop, chop, choppity chop. 14, Rickety Rickety Rocking Horse Rickety rickety rocking horse Over the fields we go Rickety rickety rocking horse Giddy up, giddy up, whoa,Music Games There are a number of musical games that children find good fun and the teacher is able to use as a vehicle for teaching. Making music leaming fim sa very good way to teach It is vital that the teacher keeps in mind musical objectives and makes them the real aim of the activity tftentce thee sane have me depth or mean The following are some of the best known games. Switch Teacher (or leader) performs a four beat rhythm pattern (say Ta Ta Titi Ta) as a repeating ostinato. Children join in Once the rhythm is established with the children the teacher stops performing the rhythm and the children continue with the repeating pattern. The teacher (or leader) then calls “Switch” and performs a different four beat rhythm patter (eg. Titi Ta Ta Ta) and the children change to the new pattern. Initially the teacher can just say the rhythm. The next step would be to say and clap the rhythm, and the next step would be just to clap the rhythm. This game is easy to transfer to instrumental teaching. Delayed Switch This game is played in the same basic way as switch except that once the children have a pattern established they continue with that pattern while the teacher goes to the next pattem. Only when the teacher calls “switch” do the children move to the teacher's pattem. Once this routine is established the skill level can be progressed if the teacher stops doing the pattern as soon as they have called “switch”. This leaves the children to do the second pattern having learned it while performing the first pattern. ‘The variation is a powerful tool in developing two-part hearing. Rhythm Domino Game Child A performs a four beat rhythm. Child B then repeats beats three and four that become beats one and two and child B then adds two further shymic elements to make a new four beat pattem. This sequence continues with Child C copying beats three and four of child B and than adding a further two rhythmic elements to complete the sequence. A typical example could sound like this Tint] Ali 3 TP dal [| ete [All the above games be performed with pitch elements instead of rhythm elements. With delayed switch teachers will need to give careful consideration to which pitch elements to use if they are to harmonise during the delayed switch variation of this activity.Rhythm Flash Card Games The following are a list of activities and games that can be played using shythm flash cards. This approach can help to make leaning fun for children Flash cards can be selected to include any rhythm that is currently being worked on. or any rhythm that will be coming up in the future that the pupils might need help with. Elash Card Reading Teacher (or leader) holds up a flash card and all say (or clap) the rhythm. afier a count of 1234. This flash card is put down on the last beat, and a new flash card is shown and performed again after a count of 1 2 3 4. The next dash card in the sequence should be displayed on the 1 of the count in. This activity should be done in strict time so that the flash cards appear in sequence with a count of 1 23 4 in between each card. It takes a little practice to get the tuming over of the flash cards to be slick. Once established this routine can then be done with the counting removed so that the flash cards are just tumed over in sequence. This takes more practice from the teacher (or leader) to be able to handle the flash cards Once established, the flash card can be put down on the third beat and the next one in the sequence shown straight away. This part of the sequence can be brought forward so that the flash cards change on the second beat, and then on the first beat. At this point the pupils are performing a flash card while reading the next one in the sequence. At this level this activity strikes at the heart of sight reading by making the pupil read and remember a four beat rhythm while performing the previous one. Di ing Rhvth Lay a series of four rhythm flash cards om the floor and have the pupils read them in rhythm solfa (Ta, Te-te etc.) or clap them Tum one over or remove it altogether and have the sequence performed again, including the removed flash card. Continue the sequence until all flash cards are removed or overturned. Once the pupils are good at this exercise it can be extended once all flash cards are removed, by having the children read the sequence backwards (fom end to beginning). Another variation of this game is to have a rhythm written up on a white board. All ead the rhythm. Every so often during the lesson one element is erased and all read the rhythm again including the missing notes. By the end of the lesson the white board can be empty and all will have memorised the music.Ican drink my tea withoutS UGAR - a a ‘ I can drink my tea with-out su - gar su - gar. a o oe 1 I candrink my tea with-ott S U G AR - 7 s U GAR Ss U GAR - I candrink my tea without S U G A R GAMES WITH DRUM STICKS The following games can be performed using drum sticks. They can also be done using claves or| even just hands, but drumsticks (or claves) are amch more fun. Game 1 [Children have two drumsticks each. They tap the rhythm of the words on the floor for "Ican Jdcink my tea without". They tap sticks together for the shythm "sugar" or the letters "SU GA IR. Once established a letter is missed out of SUG AR to give anew shythm. Sometimes more than one letter is omitted. Once well established some of the singing can be omitted to leave just the required shythm being performed on the clicking drum sticks - and intemalised by the children. Game 2 |Children sit in a circle with one dram stick each. During the singing of "I can drink my tea withou!" The drumstick is passed to the child to the right and a new stick is picked up each time. For the word "sugar" or the spelling "S U G AR" the child taps the shythm on the floor. Game 3 |As for game 2 except that each child has two drum sticks. The stick in the left hand remains /where itis, but the stick in the sight hand is passed to the sight as in game 2. The rhythm for the }word "sugar" or the spelling of "S U GAR” is tapped out on the floor with the sticks or can be /done by clicking the sticks im the air IN.B. Also works quite well in canon at 4, 2 or 1 beat interval. As the melody is pentatonic it [can also work in mmlti canon up to 64 parts. This would take a very high level of skill (Collated by Len Tyler (Rodaly specialist) Available for workshops, insets and teacher taining 101276 34820 - www Jentylermusicschool co.uk - courses@lentyler freeserve.co:ukLi' Liza Jane Z dé Ls do 1rdd1d m fmm fm content: 1 0 (dod) J ‘itch content (in the song): d’Ismrd ible rhymic elements: (2220501) dL dL 5 \-4 dl is song works well with an ostinato. Three are shown here. of the extractable thymic elements could be used as a ostinato, or even played on a single note as a pitch ostinato. this song is pentatonic it also works in canon at various intervals. also in augmentation or diminution with itself. children in a circle sitting cross legged. Each child has two sticks. 2224.1 the stick in the left hand is held while the stick in the right is passed to the right. 21.) J the chythm is tapped with the sticks in the air. 4 34J J thessticks are tapped high on J. then tap the floor on ) and the right hand stick is passed to the right on the last two beats (J J) is is quite a complicated structure and may need simplifying for younger children] ‘Compiled by Len Tyler - Classroom and instrumental teacher training 15 Pine Drive, Hawley, Camberley, Surrey, GU17 9BG 01276 34820 - lentyler@lentyler freeserve.co.uk -wwww_lentylermusicschool.co-ukNaka Naka Hoi ‘Traditional Japanese Nakana-kahoi, — so-to'so-to hoi, Na-kaso-tona-kaso-to, na-kana-ka hoi, So-to so-to hai, na-ka na-ka hoi, ‘So-to ma-ka so-to na-ka, so-to so-to hoi, (CONTENT Patch smrd_ Rhythm Titi- Ta-Sh hecrions. Arrange children in a circle and carry out the following actions JOn "Naka" - alll point to the middle of the circ: (Naka means "in" or "inside") JOn "Hoi" all point up (Hoi means roughly the same ax "Hoy") Jon "Soto" - all point thumbs over the shoulder (Soto means "out" or "outside") [The sctions for this simple song convey the actual meaning of this traditional Japanese childrens (Collated by Len Tyler- Claswoom and instrumental teacher (raining 15 Pine Drive, Blackwater, Camberley, Surrey, GUIT9BG - 07429 275765 01276 504666 - enquiries @ lenty lermusicschoolco.uk - www. Jentylermusicschool.co.uk|All around the buttercup Or- Ail around the playing field (or teaching room) All a - round the but - wr cup, one two three. If you want a pret - spec maid, just choose me, friend) Rinythm content: sm rd Useful melodic tums: do-m, m--d sr Rhythm content: J 2 3 ‘Sussesedachions 1. Arrange the children in acircle with one child in the centre of the circle }2. Children sing the song while walking round in a circle with child no. | imthe centre. 3. Child no.1 chooses a partner (child no 2) and the song/action 2 is repeated with children 1 & 2 going round on their own, 4. Atthe endof the second time child I takes up a place in the circle and child 2 chooses another partner. 5. Child 2 take a place hack in the circle and then child 3 chooses another partner J6. This sequence continues until all childien have hada go 17. With very young children it migth be enough for themto take turns of just being in the middle and just being a buttercup| 8. This song is very useful for older children as the ml and dim elements are easy to extract. For older children the words [can be adapted to make it feel more suitable e.g, “All around the teaching room”, or "A around the playing field” ete. NEB. Thore are many other ways of doing this sort of rootine INET. "This song is extremely useful for working on or extracting drm (one bvo three) and aso for working on or extracting wr-d (just choose me) INB 2. This-song also contains the s- (g down to d in C Majp interval twice (atthe end of the first and third har). ‘This interval is not soeasy to sing in tune, and this song wil help [Colisted by Len Tyler - Classroom and instrumental ieacher training 15 Pine Drive, Blackwater, Camberly, Surrey, GUIT 9BG - 07429275765 101276 504666 - enquiries@ lenty lermusicschaol.ca uk - www.Jonty lermusieschool.co.uk