Early Years: Age 0–5

A programme for teaching

musical skills through singing

A new edition by Katie Neilson

(includes CD and MP3 for all songs)
This book is a handbook for early years practitioners and group and alone, and acquire those habits that make
forms part of the Inside Music programme. It provides voice development possible. Performance also includes
a practical guide for teaching music to children up to movement and instrumental work, both of which
the age of 5. It aims to establish confidence in both contribute to a multi-sensory, playful and enjoyable
teacher and child and to lay strong foundations for the music curriculum.
progression of teaching and learning that follows.
Listening is at the heart of musical learning and, as an
Central to the learning process is performing. Performing activity, it has many branches; listening to learn, to
gives the child the essential tactile experience of being support communication, to appraise and to differentiate
a musician. At the very heart of performing is the sounds. Listening in music lessons carries great intrinsic
emotional experience of singing. It is a collective and value whilst at the same time supporting learning across
personal activity, one to be shared and enjoyed with the whole curriculum.
friends and it is right that singing should be the dominant
We are all born musical. Babies begin developing musical
performing medium at this stage of the child’s musical
abilities and interests in the womb and, from then on,
education. The voice is a human instrument to be ‘found’,
their musical development is nurtured by the adults
fostered and developed. The singer needs to discover
around them. Children’s relationship with sound and
their singing voice, gain confidence when singing in a
music can be thought about in three areas: listening and
responding; performing and creating; and interacting
and communicating with others. Given the right support
and opportunities, young children quickly gain a deep,
subconscious understanding of musical concepts and skills.
Skills & Concepts 2a Listening and copying
This guidance is provided to help practitioners develop Listening and matching in voice play
their own subject knowledge. It contains information
Voice play matching games help young children to
about how babies and children develop musical skills and
develop the skills they eventually need for learning songs.
provides teaching ideas.
Play sound games similar to ‘The magic pencil’. Sound
For the purpose of this guidance, ‘babies’ refers to children effects in stories can also be created and copied.
from birth to one year old. ‘Young children’ refers to 1–3
„„ The magic pencil game
year olds and ‘older children’ refers to 3–5 year olds.
Echo songs: listening and matching
1 Exploring vocal sounds Sing call and response echo songs that require children to
Voice play listen to and then echo short phrases sung by a leader.
Encourage babies and children to explore their voices „„ Hey, hey, look at me
through ‘voice play’ activities. Use the singing or speaking
„„ Clap, clap, clap your hands
voice to explore higher, lower, louder and quieter
sounds. Slides (between high and low sounds) are „„ I see you
particularly useful for anyone still developing their singing
„„ Charlie over the ocean
voice. Adults should imitate and communicate with
babies through voice play. Question and answer songs: matching
„„ Ha ha ha, hee hee hee melodies
„„ Johnny Johnny Give older children the opportunity to match melodies in
question and answer songs.
„„ The magic pencil game
„„ Who has the penny?
„„ There’s a spider on my toe
„„ Going on a picnic
Finding the singing voice
„„ Doggie, doggie
Help children become conscious of the differences
between singing and speaking. Activities that switch Listening to learn songs
between singing and speaking voices are particularly useful. Encourage children to listen carefully when learning songs.
„„ Five little monkeys Provide a focus for their listening: some enjoy being
‘listening statues’; others respond well to questions, eg ‘tell
„„ Have you brought? me how many times I sing ‘upside down’ in this song.’
Short, simple songs can be demonstrated by the teacher
several times before the children are invited to sing.
More complex songs could be taught by rote (line by line)
to older children.
The introduction of actions early on in the learning
process helps visual and kinaesthetic learners.

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
10
© The Voices Foundation 2016
The impact of music on all Communication and
areas of learning language
Anyone who has ever watched young children engaging Music is a language which even very young babies like to
in musical learning will understand the positive and explore. Children and babies delight in interacting with
powerful impact it has on a child’s whole development. each other and with adults through musical activity. Songs
and rhymes provide opportunities for communication
Through music, children build confidence and self- through words, voice play, movement and body language,
esteem, develop language and communication skills, all of which aid comprehension and support children as
explore patterns and structure, learn to share and take language develops. Listening is a crucial part of music
turns, develop motor control and, what’s more, music learning and its impact on language development should
brings them joy. A growing body of research bears not be underestimated.
this out. We are told that music is the only subject that
reaches every part of a child’s brain1 and that good quality Songs and rhymes support language acquisition, in
music learning actually increases children’s capacity to part because words are usually slower in song than in
learn in nearly all areas2. For these reasons many teachers speech. As a result, words are easier to hear and easier
and parents believe that music should be at the very to articulate. Repetition is a feature of many songs and
heart of learning for young children. rhymes and this particularly benefits children who are
learning new vocabulary. Alliteration and rhyme in
There are endless ways in which music can be part of lyrics foster a love of language and inspire children to
the wider curriculum and each song page includes one experiment with sounds.
or two ideas to inspire practitioners. The following
information looks at each early years curriculum area in Children and babies should have
more detail. opportunities to:
1 The Music Miracle: The Scientific Secret to Unlocking Your „„ listen to live music (including music sung or performed
Child’s Full Potential. Liisa Henriksson-Macaulay. by their parents or teachers)
2 The Power of Music - a research synthesis of the impact of
„„ listen to recorded music
actively making music on the intellectual, social and personal
development of children and young people. Professor Susan „„ take part in action songs or rhymes
Hallam MBE, UCL Institute of Education.
„„ imitate sounds that they hear
„„ improvise melodies and make up new versions of songs
„„ improvise patterns and melodies on instruments
„„ take part in vocal and instrumental conversations
within songs and in improvisation
„„ sing in a group and on their own

Early years practitioners should:

„„ sing songs, books and lullabies
„„ play instruments
„„ invite visitors to sing and play instruments
„„ use songs and instrumental music to support transition
and classroom management
„„ improvise melodies and make up new versions of songs
„„ improvise patterns and melodies on instruments
„„ listen to, watch and interact with children and babies
as they make music throughout the day
„„ imitate and improvise answers to babies as they create
vocal sounds

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
18
© The Voices Foundation 2016
Chop, chop, choppety chop Track 10

TYPE: RHYME ACTIVITY: ROLE-PLAY

Chop, chop, choppety chop. What there is left we will put in the pot,
Chop off the bottom and chop off the top, Chop, chop, choppety chop.

DESCRIPTION OF GAME, ACTION OR ACTIVITY SUGGESTED AGE

„„ This rhyme is spoken as hands or claves tap out the 0–1 Years
pulse in a chopping action. 1–3 Years
„„ The rhyme can be used as part of a real or imaginary 3–5 Years
cooking session. Try making fruit salads, soups,
potions or spells. MUSICAL LEARNING
„„ Vary the tempo of the chopping according to the 1 Exploring vocal sounds
item. A watermelon might require a slow pulse
with large chopping movements. Grapes could be 2 Listening
chopped quickly with smaller movements. 3 Singing
„„ Some ingredients might not need to be chopped. 4 Solo singing
Vocal or instrumental sounds could be used to 5 Thinking voice
represent sprinkling or pouring.
6 Pulse
„„ Pretend to taste the imaginary food as you go along. 7 Pitch
Create sounds to show how tasty the food is.
8 Dynamics
„„ This piece’s rhythmic structure could be 9 Tempo
experienced by allocating the first and fourth phrase
to one group and the second and third to another. 10 Phrase
11 Rhythm
FURTHER INFORMATION 12 Timbre
„„ Young children may participate in different ways. 13 Playing instruments
Some will perform actions only. Others may speak 14 Being creative
some or all of the words.
15 Structure

THE WIDER CURRICULUM

This rhyme provides opportunities for introducing
vocabulary linked to fruit and vegetables.

RESOURCES
Lucky dip card, claves, real or plastic food items,
instruments

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
53
© The Voices Foundation 2016
Clap, clap, clap your hands Track 11

TYPE: CORE SONG ACTIVITY: ACTION SONG TONESET: l-s-m

2
soh

&4 œ œ œ œ œ œ œ œ œ œ œ
Clap, clap, clap your hands, Clap your hands to - ge - ther.

DESCRIPTION OF GAME, ACTION OR ACTIVITY SUGGESTED AGE

„„ The leader (adult or child) chooses an action 0–1 Years
and sings the song. The rest of the group copies 1–3 Years
immediately. Encourage the group to listen to the
leader and the leader to listen to the group. 3–5 Years

„„ Include other actions such as “Wave, wave, wave MUSICAL LEARNING

your arms, wave your arms together” or “Tap, tap,
tap your head, tap your head together.” 1 Exploring vocal sounds
2 Listening
„„ Less confident children could be asked to participate
by selecting a new action for someone else to sing. 3 Singing

„„ Most musical skills can be developed through this

4 Solo singing
song depending on the choices the leader makes. 5 Thinking voice
The leader might show the pulse or the rhythm with 6 Pulse
the actions. He could also change the tempo, pitch
7 Pitch
or dynamics.
8 Dynamics
FURTHER INFORMATION 9 Tempo
„„ This song is ideal for developing pitch-matching and 10 Phrase
good singing: ensure the leader changes the starting 11 Rhythm
pitch regularly and that it is sung at a fairly high pitch.
12 Timbre
13 Playing instruments
cla 14 Being creative
p
.30
22

p 15 Structure
a
cl
THE WIDER CURRICULUM
Try introducing new vocabulary and movements.
lap p
c cla RESOURCES
Lucky dip card

clap
c lap
cla
p

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
54
© The Voices Foundation 2016
Dance of the Sugar Plum Fairy Track 15

TYPE: LISTENING TRACK SUGGESTED AGE

Composer: Peter Ilyich Tchaikovsky 0–1 Years
Performer: Slovak PO conducted by Michael Halász 1–3 Years
Time: 1:48 minutes 3–5 Years
Source: Naxos 8.120704
MUSICAL LEARNING
DESCRIPTION OF GAME, ACTION OR ACTIVITY 1 Exploring vocal sounds

„„ Play with a baby’s fingers or toes in time to the pulse

2 Listening
or rhythm. 3 Singing
„„ Allow children to dance freely: they could also 4 Solo singing
create dances for puppets and toys. 5 Thinking voice
„„ Watch a clip of a ballet dancer. Encourage the 6 Pulse
children to move in a similar way. 7 Pitch
„„ Explore the timbre of a glockenspiel in adult-led and 8 Dynamics
child-initiated learning. Play from low to high and 9 Tempo
high to low. Create movements to connect the pitch
changes to the words higher and lower. 10 Phrase
11 Rhythm
FURTHER INFORMATION 12 Timbre
„„ The bell-like sound is created by a celeste which 13 Playing instruments
looks like a small piano. It is high pitched and sounds 14 Being creative
like a glockenspiel. The celeste also features in jazz
and pop music. 15 Structure

„„ This piece is from ‘The Nutcracker’ ballet

THE WIDER CURRICULUM
premiered in 1892.
Dance fingers lightly on a baby’s toes, fingers and
tummy in response to the music.

RESOURCES
Lucky dip card, glockenspiel (or chime bars)

FURTHER LISTENING
Other music featuring the celeste:
„„ Every Day – Buddy Holly
„„ Someday You’ll Be Sorry – Louis Armstrong
„„ Pure Imagination from the film ‘Charlie and the
Chocolate Factory’ – Leslie Bricusse and Anthony
Newley sung by Gene Wilder
Videos and recordings of listening materials are
available via the following links:
„„ YouTube: www.bit.ly/youtube-vf-ey
„„ Spotify: www.bit.ly/spotify-vf-ey

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
58
© The Voices Foundation 2016
Going on a picnic Track 24

TYPE: SONG ACTIVITY: ROLE-PLAY TONESET: s-m-r-d-l,-s,

4 œ œ
doh

& b 4 œ™ œ œ™ œ œ œ™ œ œ ™ œ œ Œ œ™ œ œ™ œ œ
Go - ing on a pic - nic, leav - ing right a - way. If it does - n't rain we'll

&b œ œ œ Œ ™™ œ™ œ œ™ œ œ œ
stay all day. Have you brought the ap - ple?

& b œ™ œ œ™ œ œ œ
œ™ œ œ œ œ™ œ œ™ œ œ™ œ œ Œ
™™
Yes, I've brought the ap - ple. Go - ing on a pic - nic on a love - ly day.

DESCRIPTION OF GAME, ACTION OR ACTIVITY SUGGESTED AGE

„„ Build new verses by adding more food to the picnic. 0–1 Years
Use real or pretend food to support the learning. 1–3 Years
„„ Improvise new melodies for some of the questions 3–5 Years
and see if the children are able to copy the melody
in their answer. MUSICAL LEARNING
1 Exploring vocal sounds
FURTHER INFORMATION
2 Listening
„„ This song is perfect for adapting to just about any
topic, eg “Going to the seaside”, “Going on a 3 Singing
Spring walk.” 4 Solo singing
5 Thinking voice
6 Pulse
7 Pitch
8 Dynamics
9 Tempo
10 Phrase
11 Rhythm
12 Timbre
13 Playing instruments
cream 14 Being creative
15 Structure

THE WIDER CURRICULUM

If some children find the question and answer format
challenging, try adapting the language to form a series
of statements that are repeated eg “first we ate a cherry”.

RESOURCES
Lucky dip card, play food

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
67
© The Voices Foundation 2016
Lullaby my baby Track 47

TYPE: LISTENING SONG ACTIVITY: LULLABY TONESET: m-r-d-t,-l,

# 4 lah œ ˙
& 4œ œ œ œ œ œ œ œ œ
Lul - la - by my ba by, Soft - ly sleeps my child.
#
-

& œ œ œ œ œ œ œ œ œ œ ˙
Sis - ter gent - ly rocks you, Light her hands and mild.

DESCRIPTION OF GAME, ACTION OR ACTIVITY SUGGESTED AGE

„„ Sing this song gently and slowly to soothe babies and 0–1 Years
children or to send them to sleep.
1–3 Years
„„ Replace “sister” with the name of the adult who is 3–5 Years
singing.
„„ Replace “baby” with the baby or child’s name. MUSICAL LEARNING
1 Exploring vocal sounds
FURTHER INFORMATION
2 Listening
„„ This lullaby originates from Latvia.
3 Singing
4 Solo singing
5 Thinking voice
6 Pulse
7 Pitch
8 Dynamics
9 Tempo
10 Phrase
11 Rhythm
12 Timbre
13 Playing instruments
14 Being creative
15 Structure

THE WIDER CURRICULUM

There is much research showing that lullabies have a
therapeutic effect on babies.

RESOURCES
Lucky dip card

Published by The Voices Foundation and Alfred Publishing Co. (UK) Ltd.
90
© The Voices Foundation 2016