Tuning In Music Book

by the same author

Tuning In Cards
Activities in Music and Sound for Children with Complex Needs and
Visual Impairment to Foster Learning, Communication and Wellbeing
Adam Ockelford
ISBN 978 1 78592 518 4
eISBN 978 1 78450 962 0

Music, Language and Autism

Exceptional Strategies for Exceptional Minds
Adam Ockelford
ISBN 978 1 84905 197 2
eISBN 978 0 85700 428 4

First published in 2019

by Jessica Kingsley Publishers
73 Collier Street
London N1 9BE, UK
and
400 Market Street, Suite 400
Philadelphia, PA 19106, USA

www.jkp.com

Copyright © Adam Ockelford 2019

Illustrations copyright © David O’Connell 2019

All rights reserved. No part of this publication may be reproduced in any material
form (including photocopying, storing in any medium by electronic means or
transmitting) without the written permission of the copyright owner except in
accordance with the provisions of the law or under terms of a licence issued in the
UK by the Copyright Licensing Agency Ltd. www.cla.co.uk or in overseas territories
by the relevant reproduction rights organisation, for details see www.ifrro.org.
Applications for the copyright owner’s written permission to reproduce any part of
this publication should be addressed to the publisher.

Warning: The doing of an unauthorised act in relation to a copyright work may result
in both a civil claim for damages and criminal prosecution.

Library of Congress Cataloging in Publication Data

A CIP catalog record for this book is available from the Library of Congress

British Library Cataloguing in Publication Data

A CIP catalogue record for this book is available from the British Library

ISBN 978 1 78592 517 7

eISBN 978 1 78450 955 2
 Tuning In
Music Book
Sixty-Four Songs for Children with Complex Needs and Visual Impairment
to Promote Language, Social Interaction and Wider Development

Adam Ockelford
Illustrated by David O’Connell
 With thanks to the MariaMarina Foundation whose generous
support made this publication possible, and to Sally Zimmermann
and Anni Martin for their specialist advice.
Introduction

The Tuning In Music Book is a set of 64 songs links on The Amber Trust website. Other copies
designed for children and young people who of the Tuning In Music Book and Tuning In Cards,
are blind or partially sighted and have learning which are published by Jessica Kingsley Publishers,
difficulties, whether moderate, severe or profound.1 can be purchased from the usual online and
They are suitable for the full spread of musical retail outlets.
abilities that is to be found among this group,
ranging from Sounds of Intent Level 1 to Level 6
(see www.soundsofintent.org). The materials
represent a development and expansion of All join
in!, which was published in the UK by the Royal
National Institute of Blind People in 1996. The
songs are complemented with a deck of 48 cards,
the Tuning In Cards, which set out around 300
activities involving music and sound. These are
targeted at visually impaired children and young
people with complex needs, who are engaging
with music at Sounds of Intent Levels 1 to 4.
All the resources, including recordings of the
songs, are freely available in digital form on The
Amber Trust website (www.ambertrust.org) for
anyone to use. Those caring for or working with
visually impaired children and young people with
learning difficulties in the UK will also receive a
free copy of this book and the cards when they are
accepted on the AmberPlus scheme. AmberPlus
provides funded termly visits from specially
trained practitioners to support parents and staff
at schools and centres who work with a blind or
partially sighted child or young person with severe
or profound learning difficulties. Parents can apply
on behalf of their son or daughter by following the

1 The Tuning In Music Book may also be of benefit to those without visual difficulties, including children on the
autism spectrum.

5
How will children engage
with the songs?
Children and young people will engage with the
songs in different ways, depending on their level
of musical development, which can be ascertained
using the Sounds of Intent framework. This
identifies six potential stages in the development
of musical understanding, and three domains of
engagement: reactive (listening and responding),
proactive (creating or re-creating sounds and
music) and interactive (playing or singing with
others). The six levels and three domains give 18
‘headlines’ of musical engagement, which can be
represented as shown in the diagram opposite.
At Sounds of Intent Level 1, children and
young people will show no response to the songs
(or, indeed, any sounds at all). However, that
does not mean parents, therapists, teachers and
carers should not try to engage them: it may be
that a person’s ability to process sound and music
is still developing, or is recovering after trauma,
and musical exposure and interaction may be an
important feature of either of those journeys. It may
also be the case that responses are occurring on a
neurological level that are not apparent through
clinical or functional observation.
Children and young people functioning at
Sounds of Intent Level 2 will experience the
songs in a purely sensory way, and may join in
by vocalising or making other sounds in response
to what they hear. It is important to acknowledge
whatever the children contribute, and to offer
praise and show enthusiasm for their efforts. Be
careful not to interrupt what they are doing,
however. Allow plenty of time for them to process
what they have heard, and remember that silence
6
and stillness are as valid a response as any other,
which may indicate concentration and enjoyment.
Children and young people at Level 3 will be
able to catch on to the simple, moment-to-moment
rhythmic and melodic patterns that characterise
many of the songs, and they may well try to emulate
these themselves. Again, give young people time
to respond. And don’t be afraid of repetition,
repetition, repetition: what you find tedious may
be just what is required to spark a young brain into
action. It is at this stage of musical development
that a child may first grasp that sounds can be used
symbolically – to stand for something else: an idea,
a person, a place or an activity.
At Level 4, children and young people will
start to learn, recognise and perhaps reproduce
the main motifs from the songs: the short phrases
that kick off many of the melodies, to which key
words are set, and which are repeated often. In
response, children may combine motifs in new
ways to form ‘pot pourri’ songs, made up of
fragments of familiar material. The motifs can
also be used symbolically in their own right –
with or without their accompanying words – to
facilitate understanding and open up a channel of
expressive communication, when language alone
may not do the trick. This is generally the highest
level of musical accomplishment that those with
profound and multiple difficulties attain, and the
strategies detailed on the Tuning In Cards do not
move beyond this.
Level 5 is about complete songs being learnt,
recognised and reproduced, at which stage
children and young people may be able to join in
 by singing and perhaps playing melody or harmony
instruments as well. It is important to remember
that those with moderate or severe learning
difficulties may be able to function musically as
well as – or, in some cases, even better than – their
‘neurotypical’ peers.
At Level 6 children and young people will be
able to perform the songs persuasively for others –
perhaps leading music sessions not only for friends,
but for strangers too, in unfamiliar contexts; able
to adapt their performance and modes of musical
interaction to suit different audiences.

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7
Using the materials in music
sessions and beyond
The Tuning In Music Book songs are intended to
serve two functions: as one element in a music
curriculum or programme; and to promote wider
learning, development and wellbeing, with a
particular focus on language and communication.
They can be used as the basis of formal music
sessions, or in a wide range of everyday situations
– at school, at home, when out and about – with or
without accompaniments: music can inform and
enrich living and learning throughout the day.
Music sessions with visually impaired children
and young people with learning difficulties tend
to be most effective when small numbers are
involved: getting together six pupils or students
and their helpers, for example, permits the
feeling of belonging to a group without being
overwhelmed by it. Sitting in a circle can enhance
the sense of being one among others and provides
the opportunity for making appropriate physical
contact, which can be so important for those
with little or no sight. One way of reinforcing this
contact is to use equipment such as a resonance
board or a giant scrunchy. The music sessions are
likely to be most effective if they occur regularly
and often; preferably at a set time each day. There
are two sample sessions on the next page:
The songs in the Tuning In Music Book are
designed to meet a range of needs and musical
preferences. Inevitably, though, some songs will
appeal to certain individuals more than others, and
enjoyment is the best fuel for motivation. Whatever
the level of participation, parents and carers should
offer just enough support to enable children and
young people to make the most of their abilities.
8
This support can be faded if and when the desire
and capacity for independent action grows.
The idea of choosing is central to the Tuning
In Music Book – its flexible structure and content
enabling participants to exert control over
songs, actions, people and the order in which
events occur. All the songs can be augmented
with communication in other modes, such as
signing and using objects of reference. Whatever
communication strategy is employed, it is
important to remember that receptive language
develops before the capacity to express thoughts
and feelings. That is to say, simply listening is as
valid a form of participation as any other – an
essential developmental stage.
When singing on behalf of an individual, it will
make more sense with names and pronouns, and
therefore assist understanding, if only one person
performs, effectively functioning as the voice of the
youngster concerned. At other times, everyone can
join in. Throughout, enthusiasm and commitment
on the part of supporting adults are more important
than musical precision!
Sample music session 1
For a group of six cortically blind children with profound and multiple learning difficulties, aged 5–6.

Song Function Time

To give the children a sense of what is about to

‘Music, time to sing and play’ 5 min
happen
To give the children a sense of who else is in
‘Hello!’ 5 min
the group
Nursery rhymes, with words adapted To use music to promote body awareness and
10 min
for physiotherapy movement
‘All join in!’ (using percussion
To give the children the opportunity to
instruments and touchscreen 5 min
participate together and alone
technology)
To encourage the children to wind down, and to
‘Now it’s time to rest’ 2 min
signal to them that the session will soon end
‘Music has finished, what shall we do To tell the children that the session is over, and
3 min
next?’ (using sensory cues) to offer a transition into the next activity

Total 30 min

Sample music session 2

For a group of eight young people with severe learning difficulties and visual impairment, aged 13–14.

Song Function Time

To prime the young people as to what is going

‘Music, time to sing and play’
‘Who’s sitting next to me?’
‘Wiggle!’ (actions determined by
participants)
‘Together and alone’ (using percussion
instruments and a keyboard)
Listening to and then playing along
with a piece of one participant’s
choice
‘Can you copy me?’ (using voices and
instruments)
‘Now it’s time to rest’
‘Music has finished, what shall we do
next?’ (using objects of reference)
5 min
to happen
To let the young people know who else is in
5 min
the group
To use music to promote body awareness and
5 min
movement, choosing and taking turns
To practise playing instruments, taking turns and
5 min
listening to others
To become familiar with a range of music, and
7 min
to learn to share musical interests
To practise musical ‘call and response’ 8 min
To help the young people to relax, and to affirm
2 min
that the session will soon be over
To signal that the session is over, and to offer a
3 min
transition into the next activity

Total 40 min

9
Concepts and language used

The concepts introduced in the songs are presented

through a range of activities that children and
young people who are visually impaired and have
learning difficulties can experience first hand –
that will therefore be of immediate relevance
and potential interest to them. Although these
concepts and the language through which they
are expressed are suitable for those in the early
stages of development, the songs are designed to
be appropriate for people of all ages.
Everyday words and phrases are employed
with the aim of promoting their understanding and
use. Where possible, they are fitted into regular
metrical structures and made to rhyme, and there
is a good deal of repetition, all of which facilitates
learning and recall.

The texts of many of the songs are meant to

be customised to take into account the names of
the participants or the activity chosen, and so they
may vary from one occasion to another. It is even
possible to make up new sets of words to fit the
tunes. These may be sung unaccompanied or using
the guitar or keyboard arrangements provided.
Parallel versions can be produced in languages
other than English if required.

10
 The link between language
and music in the songs

Throughout the Tuning In Music Book, music is
subservient to text. The rhythm of the tunes, for
example, reinforces any metrical symmetry that is
used in the language, and settings largely adhere to
the principle of one or two notes per syllable. Key
words and phrases are consistently allocated the
same rhythm and, where possible, melodic shape.
This is intended to enhance verbal recognition
and opens up the possibility of musical fragments
acquiring symbolic meaning in their own right. For
example, the melodic motifs for ‘No thank you’ and
‘Yes please!’ may come to acquire the meaning of
the words, and could be used to convey the idea
of ‘no’ and ‘yes’ purely through being hummed or
played on an instrument.
This feature may be beneficial receptively too
for children who find understanding language
challenging, as their ability to handle musical
information may nonetheless be intact. Others
who have a general developmental delay may also
benefit from music being used in a symbolic way,
since simple musical structures, which convey a
relatively small amount of auditory information,
are perceptually easier to process than most
spoken language, in all its richness and complexity.

## j ## j b jb j
& & œ œœ œœ
œ & b b &œ b b œ™œ œ™
No thank
No you
thank you Yes please
Yes please

11
Musical style

The songs were written primarily with ease of

participation in mind. The versions available
for download never move along at more than a
moderate pace and each tune is limited to a range
that is comfortable for most voices. The melodies
are based on simple patterns of notes whose
structure is easy for the ear to follow, and which
are particularly suitable, therefore, for children
and young people who are in the early stages of
musical development (Sounds of Intent Levels 1–4).
The accompaniments to the songs are more
sophisticated, however, introducing a wide range
of instrumental colours and combinations, and
couched in a variety of Western mainstream styles
– ‘classical’, ‘jazz’, ‘pop’, ‘folk’, etc. The versions
in this book are intended to be relatively easy to
play, and include chords in addition to standard
notation.
The songs and their arrangements are designed
so that the most straightforward musical gesture
on the part of a child or young person – vocalising
or tapping a tambourine, for example – can make
a fitting contribution to a potentially complex and
aesthetically satisfying musical whole. However,
the melodies are also suitable for unaccompanied
use (in everyday situations, for instance).
It is expected that the diversity of musical styles
presented in the Tuning In Music Book will be
extended with supplementary material that reflects
participants’ individual preferences and cultural
backgrounds.

12
Using the songs to promote
wider learning and development,
and wellbeing
As well as nurturing musical engagement, the songs
in the Tuning In Music Book can be used to foster
learning and development in other areas too, and
promote wellbeing. In this respect, the materials
fall into two main categories: ‘Songs for language’
and ‘Songs for action’. There are 35 short ‘Songs
for language’ (known as ‘micro-songs’), which fall
into the following groups: ‘Key words and phrases’,
‘About me’, ‘My needs and wants’, ‘Activities’,
‘Other people’ and ‘Places’. Each song begins with
a motif to which the key word or phrase is set.
These songs can be introduced during music
sessions (perhaps as part of a game, or a choosing
activity, which adults could initially model), but
their main function is to support language and
communication throughout the day. For children
and young people with no expressive language, it
may be best to start by introducing one or two of
the ‘Key words and phrases’ (such as ‘Yes please’
and ‘No thank you’, or ‘Hello’ and ‘Goodbye’).
Support these musical symbols with gestures,
signing, objects of reference or picture symbols.
The micro-songs devised for the Tuning In Music
Book are only intended as a starting point: try
making up other songs yourself that have particular
relevance to your child, and use them consistently.
There are 29 ‘Songs for action’, that fall into one
of four categories (although some of the songs can
fulfil two functions or more). The songs in ‘Moving
to music’ are based on the principle that music
can provide a framework for movement (both
reactively and proactively), principally through
rhythm, but also through the ups and downs of the
melody. The songs in ‘Learning through music’,
take advantage of the fact music can have certain
concepts associated with it, such as ‘loud’ and
‘quiet’, and ‘fast’ and ‘slow’. The songs in ‘Using
music to structure other learning’ provide a script
for other educational and developmental activities
as well as imbuing them with a sense of fun! The
songs in ‘Interacting with others through music’
are designed to build and strengthen relationships
with adults and other children, by offering a secure
and predictable space within which interactions
can take place. The ‘Songs for action’ are generally
more substantial than the micro-songs designed to
promote language.
Again, these songs can be introduced as part
of music sessions, but can be used more widely
too – in physiotherapy, for example, or as part of
work in class on concepts such as cause and effect,
opposites and numeracy.
Further reading
The Tuning In Music Book is based on many years
of research. To find out more, the following books
offer a starting point.
Music for Children and Young People with Complex
Needs, published by Oxford University Press in 2008.
Applied Musicology: Using Zygonic Theory to Inform
Music Education, Therapy, and Psychology Research,
published by Oxford University Press in 2012.
Music, Language and Autism: Exceptional Strategies
for Exceptional Minds, published by Jessica Kingsley
Publishers in 2013.
Comparing Notes: How We Make Sense of Music,
published by Profile Books in 2017.
13
 ?
o see Ho
w
t t Mum are
wan yo
u u
yo [Teacher’s name] Happy fe
el
do

in
ho

ABOUT ME

g?
OTHER PEOPLE
W

Sad
Dad
Not so good
[Friend’s name 1] Well
[Relative’s name]
Angry
[Friend’s name 2] Tired
KEY WORDS
AND PHRASES
Swimming Thank you Something to eat
Yes please
No thank you
Music More A drink
What do

want?
Hello Finished
Shopping
Toilet MY NEEDS
ACTIVITIES Goodbye
you

AND WANTS

you
wan

o
Watch movies

at d
Class Bed
t to

Wh
Hall
do

Listen to a story Shower

?

School

Outside
Home

PLACES
Where ?
do you want to go

The ‘micro-songs’ in the Tuning In Music Book, which

can promote, scaffold or substitute for language

14
 Round and round
Counting

Stretch and bend

Quiet and loud

MOVING TO MUSIC
LEARNING THROUGH
Forwards, backwards MUSIC
Wiggle
Up and down
To and fro Sound and silence
Left, right
Time to rest Fast and slow

Who’s sitting next to me? Find the...

All join in! Where is the...?

What can you see?

INTERACTING WITH
OTHERS THROUGH What is it? USING MUSIC TO
MUSIC STRUCTURE OTHER
In the circle LEARNING

Can you copy me? What are we having for lunch?

Can you find your...?

Together and alone

Listen! What day is it?

The ‘songs for action’ in the

Tuning In Music Book

15
 Key words and phrases
motif map

Key words and phrases

motif map

b
&b b œ p. 18
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Hel – lo
p. 17
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Yes please
&#œ œ œ p. 17
No thank you
j
&bœ Œ œ ‰ œ œ œ œ p. 17

More, more, I’d like some more

b
## &b b œ œ œ p. 19
& œ™ œ p. 17
Thank you Fin – ished

&œ œ œ p. 19

Good- bye

16
 Key words and phrases

{
Key words and phrases
Yes please

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17
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&b b œ œ œ œ œ œ œ™ œ
‰ Œ œ

‰ Œ™
___ you have a real – ly good day to – day.

Ϫ
? bb j
b ˙™ œ œ œ œ œ
J
œ œ
J

{
&b b œ™ ‰ Œ™
j
Bb Bbsus2 Bb Eb Ab/Eb Eb
b œ œ œ œ œ œ™ œ™ œ

? bb œ j œ™ ‰ Œ™
œ œ œ
b œ œ œ œ œ œ
J J

18
{
Goodbye

& 34 ˙ ™ œ ˙œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Dmin7sus4 Dmin7/F Gsus4 G C C/B Amin7 F9 G

Œ Œ œ œ

œ ˙™
Good- bye, good - bye, good -bye a-

? 3 Œ ˙∑ ˙™ ˙
˙ Œ ˙

{
4 œ ˙ œ ˙ œ
C FM7 Emin7 Dmin9 F Gsus4

& œ œ œ œœ œœ œ œ ˙˙œ
˙ œ œ œ œ œ œ œ

˙™
- gain, We’ll see you [to - mor - row] and so un – til then, Good –

?˙ Œ ˙™ œ œ œ œ ˙ Œ

{
Emin FM7 C/E Emin Amin Dminsus4 Emin G7 C

&œ œœ œ œ Œ
œ œ œ œœ œ œ œ œ ˙
œ œ ˙
bye, good – bye, good – bye a – gain.
?œ œ œ Œ
œ œ œ œ œ œ
œ ˙

{
Finished
b 3
Eb
&b b4 ∑ œœœ Œ ∑ œ œ œ œ œ œ œœœ Œ
œ
Fin – ished. Fin – ished. Now [mu-sic] has fin - ished,

? bb 43
b ˙ œ ˙ œ œ ˙ œ œ ˙ œœ

{
˙ ˙
Gmin Bbmin/F C7/E Fmin Bb7 Eb
b œ œ œ œŒ œ œ Œ Œ
& b b œ̇ œ bœœ œ ™ nJœ œ œ œ Œ ∑
œ ˙™ ˙
˙
[mu-sic] has fin - ished, What’s hap - pen - ing next?
? bb œœœ Œ
b˙ œ nœ ™ j nœ œ œ œ ˙
œœ ˙ œ
œ
19
 About me
motif map

About me
motif map

& e Ϫ
#
p. 21
Hap – py

& ˙™ ˙™
p. 21
œ
Sad

& ˙ œ
p. 21

&œ œ œ œ œ
Tired
p. 21
How are you feel –ing?
# j
& œ œ œ œ œ œ œ p. 22
I am feel-ing an – gry

& œ œ œ œ œ p. 22

b
Ve – ry well, thank you

&b b œ œ œ
œ
p. 22

I’m not so good

20
{
About me
About me
How are you feeling?
G7 C Dm7 Em6 F9 G
4
&4 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
How are you feel –ing? How are you feel–ing? How are you feel–ing to – day?

˙˙ ˙˙ œœ œœ ˙˙
? 4 ˙˙˙ Ó ˙ Ó ˙ Ó œ œ
4

{
Happy

e œ™ e œ™ Ó e œ™ Œ œ
D13
#4
G G

& 4 ∑ Ó œ Œ Ó
Hap – py, hap – py, hap – py, that’s me.

?# 4 œ œ œ œ œ œ
œ œ Œ
4 Ϫ J Ϫ
œ
J
œ
Ϫ
œ
J
œ
Ϫ
œ
J
œ ™
œ J

{
Sad
Am9 Am Am9 Am

& 44
˙™ ˙™ ˙™
∑ Œ
œ œ
Sad, sad.
˙ ˙

{
?4 œ œ ˙ œ œ ˙
4œ œ œ œ
Am9 Dm9 Gsus2 G Am Am9

& ™
˙™ ˙™
Œ Œ
˙ ˙ ˙ ˙ ˙ œ
I am feel – ing sad.

? ˙ œ ˙ ˙
œ œ œ œ œ œ
œ ˙ œ ˙ œ

{
Tired
C (omit 3)
4
&4 ∑ ˙ Œ ˙ Œ œ œ œ œ ˙ Œ
œ œ œ
˙˙™™ ˙˙™™ ˙˙™™
Tired, tired, I am feel–ing tired.
? 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
21
{
I am feeling angry
#4
Notes: B Bb F E B Bb F E B
Œ ∑ j
& 4 œ œ œ œ œ œ œ ‰
I am feel – ing an – gry,

? # 44 œ œ

{
œ bœ nœ nœ bœ nœ nœ

# j
Bb F E B Bb F E B Bb F E

& œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ Œ Œ
I am feel–ing an – gry, I am feel–ing an – gry.

? # bœ œ nœ bœ œ nœ bœ nœ œ
nœ nœ

{
Very well thank you
C CM7 Dm7
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
Ve – ry well, thank you, ve – ry well, thank you,

˙ ˙

{
? 44 ∑ ˙ Ó ˙ Ó
Em7 FM7 CM7

& œ œ œ œ œ œ Ó
œ œ œ
ve – ry well, ve – ry well, ve – ry well.
˙ ˙˙ ˙˙
? ˙ ˙ Ó

{
I’m not so good
b
G7 Cm7 Ab m7 Fm7 Gsus4 G7 Cm
& b b 44 œ œ
œ nœ ˙ ™
œ œ œ œ œ œ œ œ̇ œ
œ nœ œ œ
I’m not so good, I’m not so good, I’m not so good to – day.

˙˙ ™™
? bb 44 Œ ˙ b˙ b˙ ˙
b Ó ˙ Ó ˙ Ó
˙ ˙ ˙

22
 My needs and wants
motif map

My needs and wants

motif map

j j
&b œ œ p. 24
A drink

j
&b œ œ œ p. 25
The toi - let

&b œ œ œ œ p. 24
&b œ œ œ œ p. 24
What do you want?
Some - thing to eat

j
& b œJ œ œ p. 25
A show – er

j
& b œ œ œ œ œ œ p. 25
I want to go to bed

23
 MyMyneeds andwants
needs and wants

{
What do you want?
F C7 F Dmin Amin7 C7 F
4
& b4 œ œ œ ˙ œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ
œ Œ Ó
œ
œ œ
What do you want? What do you want? Tell me what it is.
œœ œ œ
? 44
b Ó Œ œ Ó œ Ó œ œ œ œœ Œ œ Œ Œ Ó
œ

{
A drink
F Dmin Bb F/A C7/G F

& b 44 Œ ‰ œj œj ‰ œj œj ‰ ‰
Ó j ‰ j ‰
œ œ œ
œ œ œ œ œ œ
J J œ
J
A drink, a drink, I would like a drink, please!

? b 44 œ œ ‰ œœ œ ‰ Œ œœ ‰ Œ œj ‰ Œ œj ‰ Œ œj ‰
J J J œ œ œ

{
Something to eat
C7 C7 C7

& b 44
F F F
∑ Œ Œ
œ œ œ œ œ œ œ œ
Some - thing to eat, Some - thing to eat,

? b 44 œ œ œ œ Œ œ
œ
œ œ Œ œ
œ
œ œ Œ

{
F C7 F

&b œ œ œ œ œ œ Œ œ Œ
I’d like some – thing to eat, please.

?b œ œ œ
Ó œ Œ Œ
œ

24
{
Toilet
F7 Bb7 F7 C13
4 j j j j
F

& b 4 Œ bœœ ‰ ‰ œœ ‰ œ œ bœœ ‰ œ œ œœ Œ œ œ œ œ œ Œ

œ œ
The toi - let, the toi - let, I need the toi - let.

? 4 j ‰ bœ bœ j
b4 œ œ œ œ Œ j ‰ Œ œ ‰ œ œ œ Œ
œ nœ œ œ œ

{
Bed
C13 Bb7 C7 Bb7 C7 Gmin9 Amin7 Bb7 C7 Fsus4 F
j j j
F F F
4
& 4 ™œ œ
b œ̇ ‰ œ œ̇ œ œ œ œœ ‰ œ œ̇ œ œ œ œœ ‰ œ œ œ œ œ̇ œ œ œ ˙ Ó
œ œ ˙
I want to go to bed, I want to go to bed, I’m tired and I want to go to bed.

™ Œ
? b 4 œ̇ œ œœ Œ œœ œ œœ œ œ œœ œ œ œ œ ˙˙ œ
4 œ Œ œ œ Œ œ œ œ œ

{
Shower
Bb9
& b 44 ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ
F Dmin F
Ó Œ
A show – er, a show – er, I’d like to take a show – er. A

œ œ œ œ œ œ œ
? b 44 ‰ œ J ‰ ‰ œ J ‰ ‰ œ J ‰ ‰ œ J ‰ ‰ œbœJ ‰ ‰ œ œ ‰
œ

{
œ œ J
Bb9
j
œ œ œ œ œ œ œ œ
F Dmin F
&b œ œ œ œ ‰
show – er, a show – er, I’d like to take a show - er.

œ œ nœ
œ
bœ
?b ‰ œ J ‰ ‰ œ J ‰ ‰ œ œ J ‰ ‰ œ œ œJ ‰

25
 Activities
motif map

Activities
motif map

#
& #œ ˙ p. 27
Swim-ming

#
& #œ
œ ˙
p. 28

Mu – sic

# ##
& #œ œ œ œ œ ˙ p. 27
& œ œ œ œ p. 28
What do you want to do?
Shop-ping, shop-ping

##
& œ™ œ œ™ œ œ œ p. 29
Lis - ten to a sto - ry

#
&# j œ œ œ
œ œ œ œ
p. 27

I want to watch mov – ies

26
 Activities
Activities

{
What do you want to do?
Chord: Asus2
## 4
Note: A

& 4˙ Ó œ œ œ œ œ ˙ Ó œ œ œ œ œ ˙ Ó
What do you want to do? What do you want to do?

{
? ## 44 Ó œ Œ œ
∑ Ó œ Œ ∑ Ó œ Œ

#
Asus4 œ
&#œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ œ ˙ œœœ Œ
What do you want, what do you want, what do you want to do?

œœœ œœœœ
? ## Ó Œ Ó Œ ∑ Œ ˙ Œ

{
Swimming
D7 Asus2 A G/B D/A Emin7 G7
#
D/A Emin D D A D/A Emin D

& # 43 Ó
œ
˙
œ
Ϫ j
œ œ™
j
œ œ œ œ ˙
œ œ œ nœ œ
Swim-ming, swim-ming, I’d like to go swim-ming.

? ## 3 œ œ œ œ œ #œœ œ œ œ œ
œ
œ œ œ œ œ
4 œ œ œ œ œ œ œ œ

{
Watch movies

Ϊ Ϊ
## 9 D Œ
D/C#

& 8 j œ œ œ œ œ œ
œ œ œ œ

Ϊ
I want to watch mov – ies, mov – ies,
? ## 9 œ ‰ ‰ j
j ‰ ‰ œ ‰ ‰ j ‰ ‰ œœ ‰ ‰

{
8J J
œ œ

Œ™ œœ œ œ œœj ‰ ‰ œœ ‰ ‰ œj ‰ ‰ Œ ™ Œ™
##
Bmin Bmin/A G7 Asus2 A7 D

& j
œœ œ œ œ œ œ
mov – ies, mov – ies, mov – ies are for me.
œ œ
? ## œj ‰ ‰ œJ ‰ ‰ œœJ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ j ‰ ‰ Œ ™
j
œ œJ œJ J œ

27
{
Shopping
F#min7
## 4
A D

& 4 ‰ Œ œ œ œ œ Ó œ œ œ œ Ó
Shop-ping, shop-ping, Shop-ping, shop-ping,

{
? ## 44 j œ œ œ œ œ œ œ œj œ œ œ œ
œ ‰ Œ ‰ Œ
J œ
## Gj j A
9 A 13 D

& œ œ œ œ œ œ œ Œ ‰
Œ œ Œ œ œ
Shop - ping is what I want to do!

? ## j
Œ Œ Œ œ œ œ

{
œ œ œ œ œ
Music
## 4 Emin7
j A
13

™ œ œ̇ œ œ œ œj œj œ™
D Bmin A D Bmin

& 4 j
œ̇ œ ˙ œ œ˙˙ œ ˙œ œ
Ϊ
œ
J
Sing and play, a - long,

Ϫ
Mu – sic, time to sing and play.

™ œ œ™
? ## 44
time.
Œ œ j j

{
‰ œ œ œ ˙ œ
˙

## Emin
7 F#7/A# Eminsus4 A13
j j
œ˙ ™
A Bmin

& œ˙ œ œ™ j j
˙ œ œ
œ œ œ™
˙ œ œ™
˙ œ œ̇ œ œ œ

Ϫ
Come and join us in the cir - cle
Œ œ™ œ j
Œ œ™ œ
come and join us.
œ

{
‰ #œ ™
? ## œ Œ œ ‰
œ œ œ œ ‰ Œ œ

## ™™
D Bmin Emin7 A7 D
& œ œœ œ œœ œ œ w
˙ œ œ œ̇ œ w
now.
w

œ œ œ œ ™™
In the cir – cle, now it’s mu – sic time.
? ## œ̇ œ œ œ œ
œ œ œ ˙ w
28
{
Listen to a story
D D7
? ## 44 œœ ‰ œœ ‰ œœ ‰ œœ ‰ ‰ j
J J J & œ™ œ œ™ œ œ œ œj œ œ œ™ œ œ™ œ œ œ œ œ œ
Lis - ten to a sto- ry, I’d like to lis- ten to a sto-ry, I’d like to

? ## 44 œ œ nœ œ
Ó ‰ œj œ œ ‰ œœ ‰ œœ ‰ œœ œ œ
‰ œ‰œ ‰ œ

{
œ œ œ J J J œ J J J

& # œ™ œ œ™ œ œ œ ‰ œ œ œ
#
G D
j
œ™ œ œ™ œ œ œ ‰ œj œ œ
lis - ten to a sto - ry, I’d like to lis - ten to a sto - ry, I’d like to

œœ œ œ œ œœ
? ##
œ ‰ œJ ‰ œJ ‰ œJ ‰ œœ ‰ œœ ‰ œœ

{
œ J J J

Asus2 Gsus2 D
##
& œ™ œ ‰ Œ œ™ œ ‰ Œ œ™ œ œ™ œ œ œ Ó

œœœœ ™™™™ œœœœ œœœœ ™™™™ œœœœ œœœœ

lis - ten! Lis - ten! Lis - ten to a sto - ry.

œœœœ œœ
? ## ‰ J ‰ J ‰ œœ ‰ œj j ‰
œ œ J
œ œ

29
 Other people
motif map

Other people
motif map

#
& œ œ œ p. 31

#
Mum
j
& œ œ œ p. 31

Dad

& Ϫ
#
œ œ p. 32
#
& œ œ œ œ œ œ ˙
[Aun – ty Flo]
p. 31

# Ϫ
Who do you want to___ see?
j
& œ œj p. 32
[Mel – a - nie]

& œ œ œ™ p. 33

# j
& œ œ œ œ œ
[John – ny]
p. 33
[Mis – ter Stir – ling]

30
 Other people

{
Other people
Who do you want to see?
#4 G Ó
& 4 œ œ œ œ œ œ ˙ Ó
Who do you want to see?

? # 44 j ‰ ‰ œ œJ ‰ œ ‰ œ œ

{
j ‰ ‰ œ J ‰ œ ‰ j‰‰œ J‰ œ ‰
œ J J œ J J œ J J
# C G D

& œ œ œ œ œ œ ˙ Ó œ œ œ œ Œ
Tell me who it ‘ll be. Tell me who,
œ

{
?# j ‰ ‰ œj œJ ‰ œj ‰ j ‰ ‰ œ J ‰ œ ‰ j ‰ ‰ œj œ ‰ œj ‰
œ J J J
œ œ
# C G
œœ
& œ œ œ œ Œ œ œ œ œ œ œ ˙ Œ œœ ‰
J
tell me who, tell me who it ‘ll be.

? # j ‰ ‰ j œ ‰ j ‰ j ‰ ‰ œ œJ ‰ œ ‰ j ‰ ‰ œ œJ ‰ j ‰
œ œ J œ œ J J œ J œ

{
Mum
G G Emin C G C D13 G
#4 œ œ œ Œ œœ œœ œ
& 4
œ œ œ œ œ œ œ œ œ œ œ œ̇ œ œœ œœ œœ Œ
Mum, Mum, I’d like to see my Mum.

? # 44 œ œ œ œ ˙™ œ ˙™ ˙œ
œ œ œ œ ˙ œ Œ

{
Dad
#4 G
j j
C/G G

& 4 ∑ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰
Dad, Dad, I’d like to see my Dad.

? # 44 œ œ œ ‰ œœ™ œ œj ‰ œœ™ œ œj ‰ œœ™ œ œj ‰ œœ™ œ œj

‰
J

31
{
Relative
#4 œ™ œ œ ‰ ™ j ‰ œ™
D G Gsus2 G

œœ ™™
& 4 Œ Œ J œ œ œ œ
œœ œœ

œœ ™™
[Aun - ty Flo], [Aun - ty

? # 4 œ ™ œ œj ‰ œœ œœ ‰

{
4 Œ Ó Œ J Œ

œœœ ™™™ œœœ œœœ

#
C9 D Emin/D D7 G6

™
j ‰ Œ
bœ ™ œ œ œ ™ œ œ
& œ œ œ œ œ œ œ œ œ

œœœ™™™ œœœ œœœ ‰ œœœ ™™™ œœœ œœœ ‰

Flo], I’d like to see my [Aun - ty Flo].
œœ œ
œ™ œ œ
?# Œ Œ Œ œ ‰
J J J

{
Friend

œ™ œœ ™™
G/B G Emin G/B
#4 j j j
& 4 ∑
œ™ œ œj ‰ Œ œœ œœ ‰ œ
œ œ
[Mel – a - nie], [Mel – a - nie], I’d

? # 4 œ™ œ œ ‰ œJ ‰ œJ œ œ Œ ‰ œ ‰ œ œ ‰ œj

{
4 J œ Œ J J œ

Ϫ
C G/B C D13 G
# j j
Ϫ
& œ œ œ œ ‰ Œ
œ œ œ œ
œ
like to see [Mel – a - nie].

? # ‰ œj ‰ j
œ œ ‰ œ ‰ œ ‰ œ œ Œ
J J J œ
œ

32
{
Friend

Ϫ
#4 G
∑
& 4 œ̇ ™ ‰
œ

{
[John – ny],

? # 44 œJ ‰ ‰ œ
J ‰ œ œ ‰
J J
œ
J ‰ ‰ œ ‰
J
œ œ ‰
J J

Ϫ Ϫ
# C7
j
G
‰
b ™ œ̇ ™
& œ̇ œ œ n œ̇ œ œ œ
œ
[John – ny], I’d like to see [John – ny]

? # œj ‰ ‰ œj ‰ œj œj ‰ œ ‰ ‰ œ ‰ œ œ ‰ j ‰ ‰ j‰ j j‰
J J J J œ œ œ œ

{
Teacher
#4 G ∑ j
& 4 œ œ œ œ œ ‰
[Mis – ter Stir – ling],

j j œj ‰ œj ‰
? # 44 œJ ‰ œ ‰ œ ‰ œ

{
‰ œ J ‰ ‰ œ
œ œ J œ œ J

#
Emin C D G

& œ œ œ œ œj ‰ œ œ œ œ œ œ œ œj ‰
œ
[Mis – ter Stir – ling], can I see [Mis – ter Stir – ling].

j j
? # œ ‰ œj ‰ œj ‰ ‰ œ œj ‰ œj ‰ œj ‰ ‰ œ œJ ‰ œ ‰ œ ‰ Œ
J œ œ J J œ œ
œ œ

33
 Places
motif map

Places
motif map

b
& b b œ œ™ œ œ œ œ p. 35
I want to go to school

bbb œj j
& œ œ œ p. 36

Out – side

bb œj ‰ Œ œj ‰ Œ œ œ b
& b œ œ œj p. 35 & b b œ ™ œ œj p. 36
Where? Where? Where d’you want to go?
Class

b j j
&b b œ œ œ p. 36
The hall

b
&b b œ œ ˙ p. 35
Home

34
 Places

{
Places
Where do you want to go?

b 2 j ‰ œ ‰ œj œ‰ Œ œj œ‰ Œ
Eb Bb Eb

b
& b4 œ J œ œ œ œ œ œ œ œ j ‰ œJ ‰
œ
Where? Where? Where d’you want to go?

?b2œ œœ‰ œ œ œ œ œ œ œ œ œ œ œ ‰
bb4 J ΠΠJ

{
Home
Eb Bb7/Eb Eb Bb7/Eb Eb Bb7/Eb Eb Ab9 Bb13

œ‰ ™
Eb Eb Eb
b3 j
&b b4 ∑ œ œ œ̇ œ œ œ œ̇ œ œ œ œ ˙ Œ
œ œ œ
J
j j ‰ œj œ œ ‰ œœj œœ œ
Home, home, time to go home.
‰ œ
œ
? bb 43 ˙™ œ œ œ ‰ œ œ œ
b ˙™ ˙™ œ ˙™
˙

{
School
Eb Bb (no chord) Bb Bb Cmin7 Bb7 Eb
b4
œ œ ™ œ nœ œ œ™ œ œ œ œ
Ó Œ Ó œ
&b b4 œ œ™ œ œ œ œ Œ Ó
I want to go to school, I want to go to school.

? bb 44 œ™ œ Ó œ œœ œœ œœ™
œ
b œ œ™ nœ œ œ œ™ œ#œ œ œ œ™ œ œj ‰ Œ

35
{
Class
Bb7/Eb
b4
&b b4 œ™ œ ™ œ œ œ ™ œ œ ™ œ œ™ œ œ™ œ œ ™ œ œ
Eb Eb
‰ j ‰ j‰
Class, class, I’d like to go to class.

™
j œ™ œ œj j j
?b4 œ™ œ œ œ œ œ œ™ œ œ
b b 4 ™ œ œJ ‰ œ™ ‰ œ™ ‰ œ™ ‰ œ™ ‰
œ

{
Hall
Bb7 Eb Bb7 Eb Bb7 Eb Fmin Bb7 Eb
b2 ‰ œj œ j
&b b4 Œ
œ œ œ œœ œœ œ œœ œœ ™ œ œ œœ œ œœ œ ‰
œ œ J œ
The hall, the hall, I’d like to go to the hall.

? bb 42 œ œ œ
3 3 3
œ œ œ œ 3

b œ œœœœ œœœœ œœœ j‰

œ

{
Outside
j
Bb13 Eb/G Bb13 Eb/G
b
Ϫ
Eb F min/Ab F min/Ab

& b b 42 Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

œœ ™™ œœ ™™
Out – side, out – side, out – side, out – side.

? bb 42 œ œ œ
œ œ œœ™™ œ
J œ œœ™™
b J J ‰

36
 Moving to music
song map
Moving to music
song map

Stretch and bend

#### ˙
& œ œ œ œ p. 39
Stretch your [arms]
Left, right
& œ ™ Œ œj œ ™ œ ™ p. 43
Up and down

& œ œ œ Œ Œœ p. 42
Left, right œ
Go - ing up and down

Wiggle
& b œj œ j
œ œ œ œ œ pp. 44–45

[Wig – gle] your [toes],

Round and round

&œ œ œ œ œ
Forwards, backwards
p. 38
& œ œ œ
œ œ
Round and round p. 46
To and fro For-wards, back-wards
& œ œ œ pp. 40–41
œ
We’re [rock – ing]

Time to rest

& ˙ ˙ ˙ œ œ ˙ p. 47

Now it’s time to rest

37
 Round and round
Aim: to provide a musical scaffolding for turning movements.

This song can accompany rotation of the hands, wrists, arms, legs, feet or head – or the whole body – rolling
or dancing, for example. Props (a decorated stick, a shaker, a pom-pom, wrist or ankle bells) can be used to
add an extra multisensory dimension, and to increase the physicality of the task.

{
Round and round
Aim: to provide a musical scaffolding for turning movements

j ™
G7 Dmin7 G7

œ œ œœ œ œ ™ œœ ™ œ œ œœ™ œ œ œœ ™ œ œ œœ™ œ œ
G C Emin

& 68 œ œ œ
œ œ œ œ œ
Round and round your [hand] is turn – ing,
œ
Œ™ œ œ œ œ œ ™ œ™

{
œ œ œ ™ œ™ œ™
? 68 Ϫ

C Amin D7/F# G7/F Emin A7

& œ œ
œ™ œ œœ ™ œ œ œ™œ œ œ œ œ œ œœ™ œ œ # œœ ™ œ œ
Turn [it] round with me. Round and round your

{
? Ϫ
œ™ #œ ™ nœ ™ œ™ œ™

Œ™ ™™
Dmin Fmin/Ab C/G G7 1C 2C

Ϫ Ϫ
& œ œ œ nœ ™ œ œ œ ™ œ œ œ j ‰‰
œ™ œ œ
œ™ œ œ™
œ
Ϫ
œ
œ

bœ ™
[hand] is turn – ing, turn it stea – di – ly. ly.

? œ™ œ™ œ œ ™™ j ‰‰
œ™ œœœ
œ
œœ œ
œ

This song can accompany rotation of the hands, wrists, arms, legs, feet or head ... or
the whole body – rolling or dancing, for example. Props (a decorated stick, a shaker,
a pom-pom, wrist or ankle bells) can be used to add a an extra multisensory
dimension, and to increase the physicality of the task.

38
 Stretch and bend
Aim: to encourage movement and body awareness through music.

This song can be used within music sessions or to support physiotherapy as an activity in its own right. The
stretching and bending may involve arms, legs or fingers. The movements may be undertaken coactively with
adult helpers, or children and young people may work in pairs if they are able to. Props may be used, such as
a large scrunchy or wrist or ankle bells, to add additional sensory input.

{
Stretch and bend
Aim: to encourage movement and body awareness through music.

œ œ ˙
™™
B E
#### 2 œ œ œ œ ˙ ˙
& 4
œ œ œ œ œœ œœ ˙
Stretch your [arms].

œ ™™
? #### 42 œ œ ˙ œ œ œ œœ œœ
∑ œœ œ

{
œ œ œ

E/G# G#min7 A9 B13 Esus4

œ œ™ œ œ™ ™™
B E
#### œ j j
œ œ œ œ œ
& œ œ œ ˙˙ ˙˙
œ œ ‰ Jœ œ œ
Then bend [them] back a – gain.

? #### œœ Œ œ œ̇ œ œœ œ
œ œ ˙˙ ˙˙ ™™
œ œ ˙

This song can be used within music sessions or to support physiotherapy as an

activity its own right. The stretching and bending may involve arms, legs or fingers.
The movements may be undertaken coactively with adult helpers, or children and
young people may work in pairs if they able to. Props may be used, such as a large
scrunchy or wrist or ankle bells, to add additional sensory input.

39
 To and fro
Aim: to provide music to stimulate and accompany smooth rocking and swaying movements.

This song provides a regular rhythmic scaffold for rocking and swaying movements. Children and young
people can engage coactively with adults, or could potentially be supported to work in pairs. Activities could
involve gross motor and balance apparatus.
To and fro

{
Aim: to provide music to stimulate and accompany smooth rocking and swaying
movements.

3 ™™ œ œ
C

&4 œ œ œ œ œ œ

{
? 43 œ œ œ œ œ ™™ œ œ
œ œ œ œ

Amin F

&œ œ œ œ œ œ œ œ
œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ
We’re [rock – ing, rock – ing] to and

{
? œœ
˙ œ ˙ œ ˙™
Gsus4 G C Amin F

& ˙œ œ Œ œ œ œ
œ œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
fro, [rock – ing, rock – ing], here we

˙™
? ˙ œ ˙ œ ˙™

40
{
Gsus4 G7/F Emin Amin G F

œ ˙œ œ
& ˙œ œ œ ˙œ œ œœ œœ
œ œ œ œœ œ œ œ œ œ œ œ œ
go, so smooth and slow, We’re [rock – ing,

{
?
˙ œ ˙™ ˙ œ ˙™

™
Emin Amin Dmin G7 C

& ˙œ œ
œ œ œ œ ˙™ œ œ œ œ œ œ œœ œ œ œ œ œ ˙ œ œ ™

rock – ing] to and fro.

{
œ œ ™™
˙™
? œ œ
˙ œ ˙™

& œ œ ˙
œ œ œ œ œ ˙

? œ œ œ
œ œ œ œ
˙

This song provides a regular rhythmic scaffold for rocking and swaying movements.
Children and young people can engage coactively with adults, or could potentially
be supported to work in pairs. Activities could involve gross motor and balance
apparatus.

41
 Up and down
Aim: to provide a musical representation of up and down movements.

This song can be used to encourage children to move their arms, legs or head. Indicate to them first (perhaps
using touch as well as other forms of communication) which part of the body it is to be. Children and young
people may be able to choose which part of their body they wish to move up and down next. The effect can
be enhanced by raising something bright or rustly. The movements can be made with any degree of support

{
Up and down
that is necessary. For visually impaired children, songs such as this are particularly important in that they
provide
Aim: to anprovide
auditory representation of movement. of up and down movements.
a musical representation

& C œ œ œ œ œ œ ™™ œ̇ œ œ̇˙ œ
C F G7 C FM7
œœ
œ
Œ Œ œ ‰ œ™
œ œ ˙ œ œ

™™ œ ™ œ œ™ œœ ™™ œœ Œ
Go - ing up and down, and
œ œœœœœœ

{
?C œ Œ Œ œ J œ œ Œ
J J

œ œ™
FM7 F9
j
C C

& œœœ Œ Œ œ
œ
j
œ
j œœ Œ Œ œ
œ
œ œ œ œ œ

? œ œ œ œ œ œ œ œ œ ‰ œœ ™™ œœ ™™ œœ œœ ™™
up and down, and up and down, and

˙˙ œ œ
J œ

{
œ J œ ‰ J

‰ œj œ ™
C FM7 Dmin7 G7 G13
œ œ
& œœ Œ Œ œ J œ
j
œ ˙˙ œ œ j
œ ˙
œ
™
J œ œ ˙˙ ™ œ œ™
œ œ
up and down. Up and

{
?œ œ w
w
w œ œ
J œ J

™™ œ̇ œ
C F G7 C

& ™ ‰ Ó œ̇ œ œ œ
œ ˙ ˙ œ œ œj ‰ Œ
down.

? œ œ œ œ œ œ œ œ ™™ œ ™ œ œ™ œ œ œ œ œ œ ‰
J J œ œj

This song can be used to encourage children to move their arms, legs or head.
Indicate to them first (perhaps using touch as well as other forms of communication)
which part of the body it is to be. Children and young people may be able to
42
choose which part of their body they wish to move up and down next. The effect
can be enhanced by raising something bright or rustly. The movements can be
 Left and right
Aim: to promote the understanding of left and right.

The idea of left and right can be enhanced by moving or touching the appropriate arm, elbow, hand, leg, knee,
foot, ear or eye. Different soundmakers can be used consistently to reinforce the concept – for example, bells
on the right wrist and a rattle in the left hand.

{
Left and right
Aim: to promote the understanding of left and right

œœ œœ ™™ œ ™
C Amin G C Amin G C Amin G

& 12 j
Ϫ
8 ∑ ∑ Œ
Left, right,

œ™ œ™ Œ œj œ œj œ ™
? 12
8 œ™ Œ œj œ™ œ™ Œ œj œ™ ™

{
œ

Ϊ
j œj œ™
œ™ œ œ œ œj œ ™
C Amin G F F/E Dmin F G
j j
& ™ Œ œj œ ™™ œw ™ œ œ œ œ
w™ œ œ œ œ œ™
œ œ œ J J
left, right, lis - ten to the mus - ic, feel the beat.

œ œ œ œ™ j œ œj
˙™
? Ϫ Πj j
Ϫ

{
œ™ œ™ œ™ œ œ

Ϫ Ϫ
C Amin G C Amin G

œœ œœ ™™ œœ œœ ™™
& Ϫ j j
Ϫ
Œ Œ
Left, right, left, right,

œ™ œ œ™
? Ϫ Πj Ϫ Πj j
œ œ™ œ œ

{
œ ™™ œ œ ™™ Œ™ ™™
j
G7 G7
j
F Dmin G C C

˙˙ ™™
& œ™ œ
j
œ œ œ œœ™™ œœ
œ™ œ œ œ

Œ™ ™™
one side the oth - er and then re – peat.

Ϫ
? j Ϫ
œ œ™
œ™ œ œ œ j
Ϫ

The idea of left and right can be enhanced by moving or touching the appropriate
arm, elbow, hand, leg, knee, foot, ear or eye. Different soundmakers can be used 43
consistently to reinforce the concept – for example, bells on the right wrist and a
rattle in the left hand.
 Wiggle
Aim: to provide a musical framework for shaking movements and others similar.

This song can accompany shaking, wiggling or flapping of hands, toes, the head, and so on. Something can be
shaken that is glittery or rattles – providing additional visual or auditory stimulation.

Wiggle

{
Aim: to provide a musical framework for shaking movements and others similar.

œ
œœ ™ œ
j œ Gsus4
j C7
j
Gsus4
j
œ™™
œœ œ œœ ™ œ œœ œ œœ ™ œ
Ϫ
& b c œœ œœ ‰ J Ó
œ œ™ œ œ œ™
œ™ œœ œœ™™ œ œœ™™ œœ œœ™™
? b c Ϫ

{
Œ ‰ j Œ
œ

‰™ ™™ j œ
C7 F6 Bb9
j j
& b œœœ Œ œ œ™ œ œœJœ œœJ œœJ œ
œ œ œ œ ‰ bœ œ œ Œ
œJ œ
b œœ

?b œ ‰ ™™

{
[Wig – gle] your [toes],

Ó œ œ œ œ œ œ
j œ œ
œ
œœj œœ
F6 F7 F6
j j j j
&b œœ œ œœ œ œœ œ œœœ ‰ œ Œ œ œ œ œ œ œ
œJ œJ œJ œœJ œœJ œœJ
[wig – gle] your [toes], [wig – gle] your

{
?b œ œ œ œ bœ œ œ œ œ œ
œ œ

n œœ Gœœ
7
Abdim F6/C A7 Dmin7

& b œœ ‰ œj bœœ nœ Œ œœj œ œœ œ œœj œ ‰ J nœ Œ

nœ œJ œJ œJ œœœœ
toes, [wig – gle] your [toes],

? b bœ œ œ œ œ #œ œ
œ œ bœ œ nœ

44
{
Notes:
C7 Bb9 1 F A Bb Bn C
j j j j j
& b œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ
j
œJ œJ œJ b œJ œJ œJ œ œ nœ
[wig – gle] your, [wig – gle] your [toes].

? b œj ‰ ‰ ‰ œj Œ j j œ j

{
j œ Œ j ‰ œ Œ J œ œ nœ œ
œ œ
œ
& b j ‰ ‰ J ‰ ™ r œ™ ™™ œ bœ œ bœ j ™ œ œ ™ œ œj ‰ œœJ ‰
2C
œœ
C F7 Bb Db7 C7
j
F F6

œ œ œ œ œ œ™ œ œ
[toes].
J

? b œj ‰ ‰ Ó ™™ œ œ
j
œ j ‰ j ‰
Ϫ
j J œ œ nœ œ œ œ
œ

This song can accompany shaking, wiggling or flapping of hands, toes, the head,
and so on. Something can be shaken that is glittery or rattles – providing additional
visual or auditory stimulation.

45
 Forwards, backwards
Aim: to encourage back and forth movement and an understanding of the associated concepts.

This back and forth movement can be done in a number of ways: sitting opposite a partner, for example, or in
a wheelchair. The sense of changing direction can be enhanced with a sound in front of the child or young
person and one behind. The song can be sung at different speeds to suit the physical attributes of different
Forwards, backwards
participants.

{
Aim: to encourage back and forth movement and an understanding of the associated
concepts.

Csus4 C C/B Amin

& 44
wœ œ œ œ œ wœ œ œ œ œ
For - wards, back- wards, for - wards, back-wards.
? 44 œ œ œ œ œ œ œ œ œ w w

{
œ

j j j
Csus4/G Csus4/G F7 F9

œœ ™ œ œœ œ
C/G C/G
j œ j œ œ
& œ œ œ ˙œ œ œ œ œ œ ˙œ œ œ œ
œ œ œ
This way and that, this way and that. For - wards and back,
?

{
w w w

j
œœ ™
Csus4 C
œ œ œ
Ϫ
& œ œ œ œ J
œ ˙ w
for - wards and back. This way and that.

? œ œ œ œ œ ˙
w ˙

This back and forth movements can be done in a number of ways: sitting opposite a
partner, for example, or in a wheelchair. The sense of changing direction can be
enhanced with a sound in front of the child or young person and one behind. The
song can be sung at different speeds to suit the physical attributes of different
participants.

46
 Time to rest
Aim: to promote relaxation through listening to music.

This song can be used in conjunction with other relaxation techniques. When used as part of a formal music
session, the song may be used consistently to introduce other relaxing music, and to indicate that the session
will be ending shortly.
Time to rest

{
Aim: to promote relaxation through listening to music.

C F Dmin G Emin7 Amin

& 22 ˙ ˙
˙ ˙
˙ œ œ ˙ ˙
˙ ˙˙ œ̇ œ ˙
˙˙
Now it’s time to rest, by stay – ing still, and

˙™
? 22
˙ œ ˙ ˙ œ œ ˙

{
w ˙

™™
Dmin Dmin/F G Csus2 C

& œ œ œ œ ˙ ˙˙ ˙
w ˙ ˙ ˙ ˙˙

™™
listen-ing to the mu – sic play – ing.
? ˙
˙ œ œ œ œ w

This song can be used in conjunction with other relaxation techniques. When used
as part of a formal music session, the song may be used consistently to introduce
other relaxing music, and to indicate the the session will ending shortly.

47
 Learning through music
song map

Learning through music

song map

Sound and silence

& œ ™ œ œ ™ #œ œ ™ œ œ ™ nœ œ™
j
pp. 50–51
You’re play- ing with the mus - ic

Slowly and quickly

j j
&
œ œ ‰ œ œ p. 49

Slow - ly, slow - ly Quiet and loud

& œ œ œ œ œj p. 54

Play ve-ry quiet-ly,

Counting
#
& œ Œ œ Œ œ Œ œ Œ ˙ pp. 52–53
One, two, three, four, five.

48
 Slowly and quickly
Aim: to give the experience and promote the understanding of slow and fast.

This song can be used as a group or individual activity. Different soundmakers can be used, including gesture
and beam technologies, potentially involving a range of different types of movement.

Slowly and quickly

{
Aim: to give the experience and promote the understanding of slow and fast.

G G13 C Dmin G7 C Dmin G7 C

&c ˙ œœœœ j‰ j‰ ‰ j‰
œ œ œ œ œ œ
œœ œ œ œ œ œ
œœ œ œ œ œ
slowly Slow-ly, slow-ly, go – ing slow-ly, ve – ry slow-ly,

˙ j j j
œœ™ œ ‰ œœ™ œ ‰ œœ™ œ ‰ œœ™ œ ‰
Œ ˙™
?c Ó œ œ
œ œ œ œ

{
œ œ œ œ œ ™™42 œ œ œ œ œ œ œ œ œ œ œ œ
Dminsus4 G7
j ‰ j ‰U ™ ‰ Œ ‰ j
No chord C G F/A F 7 C/E Amin

& œœ œœ œœ ™
J J Ϫ And then it will be quick-ly, quick-ly, play-ing quick-ly, quick-ly goes the
j
™™42 ˙˙ Œ
One, two, three.
j œ
speeding up fast
bœ ˙ œ
? œœ ‰ œ ‰ œ™ ‰
J J Ϫ
∑ Œ œ œ

{
œ
‰ ™™ œ J ‰
D7/F# G7/F C/E C7 F/A F#dim C/G G 1C 2C
œ œ™
& œ™œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ
œ œ
song. Quick-ly, quick-ly, play-ing quick-ly, hur-ry-ing a - long. long.

œ œ b#œ
œ n œ̇ œ œ œ œ
bœ œ ™ œ j‰
? #œ nœ œ œ œ
Œ Œ ™ œ

This song can be used as a group or individual activity. Different soundmakers can
be used, including gesture and beam technologies, potentially involving a range of
different types of movement.

49
 Sound and silence
Aim: to help the understanding of sound and its absence – of playing or not playing.

This song can be used with the group playing together or with children and young people on their own. Any
soundmakers can be used. The pauses can be held for increasing lengths of time, as participants’ capacity to
anticipate what is coming next grows.
Sound and silence

{
Aim: to help the understanding of sound and its absence – of playing or not playing.

& c œ œ ‰ ‰ ™ œ œ ‰ ‰ ™ œ œ ™ œ œ ™ œ œ ‰ œ ™ œ ™™ œ ™ #œ œ ™ œ œ ™ nœ œ™ ≈
G Gsus2 Gdim G C A7/C#
r j r j r j j
œ # œ œJ You’re play - ing with the mus -ic,
? c ≈ ‰™ r j ‰ ‰™ r j ‰ j ‰ Œ ™™ œj ‰ j ‰ #œj ‰ j ‰

{
œœ œœ ˙ œ œ #œ

& nœ ™ œ œ ™ œ œ™j ≈ ‰ ™ œr œ™ œ œ™ œ œ™ œ œ ™ œ œ ™ œ œ™
Dmin G7 Gsus2 Bbmin G/B C G7

œ œ œ™ œ
When you hear the song start, you be – gin.
join -ing in, A lit – tle bit of rhy- thm and a lot of swing.
Mak –ing lots of noise, what a din.

? œj ‰ j ‰ œ ™ nœ œ ™ j j j j
œ œj ‰ œ ‰ #œ ‰ œ ‰ œ ‰ œj ‰ j ‰ œj ‰
œ

{
œ

nœ ™ œ œ ™ œ œ™j ≈‰ ™ œr œ™ œœ™ œ œ™ œ œ ™ œ œ ™ œ œ™ œ œ œ ™ œ
A7/C# G7 Gsus2 Bbmin G/B C G13

™ ™ ™
j≈
C Dmin

& œ #œ œ œ œ œ œ™
But

? œj ‰ j ‰ #œj ‰ j ‰ œj ‰ j ‰ œ ™nœœ ™ j ‰ j ‰ j ‰ œj ‰ œj ‰ j ‰ j ‰ j ‰
œ œ œ œ #œ œ œ œ
œ #œ

50
{
j
C C/E B/D# Emin No chord 1,2

œ ‰ Œ #œ̇ œ œœ Œ j j
& œ œ œ œ œ œ Œ œ ‰œ ‰œ ‰œ
œ œ œ ˙ œ
when it stops, You stop too. Lis-ten all a -round. Not a sound. And

{
? œ Œ œ ‰ Œ #˙ œ Œ ∑ ∑
J

œ ™ œ œ ™ œ œ ™ œ œ ™ œ œ ™ œ œ ‰ œ ™ œ ™™ œ ‰ Œ œj ‰ Œ œj ‰ Œ Ó
Dminsus4 Gsus2 Gdim G 3 No chord
j j
& œ
œ # œ Jœ
then when you’re read-y to get go - ing a - gain. You’ll be Not a sound.

™ j
w
œ ‰ Œ ™ œ ‰ Œ œ ‰ Œ œj
? w
w j j ‰Œ Ó
˙

This song can be used with the group playing together or with children and young
people on their own. Any soundmakers can be used. The pauses can be held for
increasing lengths of time, as paricipants’ capacity to anticipate what is coming next
grows.

51
 Counting
Aim: to provide a motivating context to practise counting from one to five and back.

This song can be taken at different speeds – as slowly as required at first for children and young people to
be able to participate reactively or proactively. Begin by numbering fingers. For those who are unable to see,
each finger can be given a squeeze and a wiggle to enhance its identity, and helping children to anticipate
which will be next. Later, it may be possible to count objects.

{
Counting
Aim: to provide a motivating context to practise counting from one to five and back.

# Emin
Ó Ó
Emin9 Emin

& c œœ
Œ Ó ∑ œœ
Œ œ Œ ∑
œ œ œœ
One. One, two.
?# c œ ‰ ≈œ œ œ Œ œ ‰≈ œ œ œ Œ œ ‰≈ œ œ œ Œ
R ™ R ™ R œ™ œ

{
œœ œ œ œ œ œ œ œœ

#
Emin9 A9 Emin Emin9 A9 A7 Emin Emin9 A9 A7

& œ Œ œ Œ œ ŒÓ Œ Œ Œ Œ œ Œ œœ Œ
œœ œœ # œœ œœ Œ œœ Œ # œœœ œœœ œœ œœ # œœ œ
œ œ œ œ
One, two, three. One, two, three, four. One, two, three, four,

?# œ ‰ ≈œ œ œ œ œ
œ œ Œ œ œ ‰ ≈ R œ œ Œ œ œ ‰≈ R œ œ Œ
œ™ œ œ™ œ œ™ œ
œœ R

{
# ˙
B5b Emin Emin9 A9 A7 Bb5
Ó ∑ œœ Œ œœ Œ
& #n˙˙ Œ œœ Œ n˙˙ Ó
œ œ # œœœ œ #˙
five. One, two, three, four, five.

?# r œ ‰ ≈œ r
œ ‰≈ œ œ œ Œ œ œ Œ œ ‰ ≈ œ
œ™ œ ™
œ œ R
œ œ œ œ œ œ

52
{
B13 A7/B E3b/B Bb5 C#min#3
#
∑ œ Œ Œ Œ nœ Œ Ó ∑
& #œœ # œœœ n nœœ # œœ n ˙˙
#œ #˙
Five, four, three, two, one.

?# r r
œ Œ œ ‰ ≈œ Œ #œ ‰≈ œ #œ œ Œ
#œ ™ œ
œ œ œ

{
œ™ œ œ œ œ™ œ œ # œ œ

B13 A7/B E3b/B Bb5 Emin A7

#
Emin

& #œœœ Œ œœ Œ n nœœ Œ #nœœ Œ ˙ Ó ∑ ∑ ∑

#œ #œ œ n ˙˙
Five, four, three, two, one.

?# r œ ‰≈œ œ œ Œ œ‰≈ œ œ œ Œ
œ ‰≈œ œ œŒ R œ™ œ
™
R
œ œ œ™ œ œ œ œ œ œ
œœ

This song can be taken at different speeds – as slowly as required at first for children
and young people to be able to participate reactively or proactively. Begin by
numbering fingers. For those who are unable to see, each finger can be given a
squeeze and a wiggle to enhance its identity, and helping children to anticipate
which will be next. Later, it may be possible to count objects.

53
 Quiet and loud
Aim: to promote the understanding of quiet and loud and to experience making quiet and loud sounds.

Vocalising and singing may be involved as well as instruments or other soundmakers. Children and young
people may make contrasting movements: tapping gently with their toes and then stamping their feet, for
Quiet and loud
example.

Aim: to promote the understanding of quiet and loud and to experience making

{
quiet and loud sounds.

Notes: Chords: Notes: Chords: Notes:

œ œ œ œ œ œ œ œ œ œ œ œ
œ™ J ‰J ‰ J ‰ J ‰
G G G G C C/G G G G G G C Amin G G G G G
4 J ‰ J ‰ J ‰ J ‰ j ‰ J ‰ J ‰ J ‰ J ‰ ‰
Ϫ
&4 œœ œ œ œœ œœ œ œ œ
œ œ
Play ve-ry quiet-ly, hard-ly make a sound.
j
? 44 ∑ œ Œ œ™ ‰ ∑ œ ‰ œj ‰ œ ™ ‰ ∑

{
Chords: Notes: Chords: Notes:

œ œ œ œ
œ™ ‰
C C/G G G G G G C Amin G G G G
j ‰
& œ œ œ œ œ œ J‰J‰ J‰J‰ Œ œj ‰ œj ‰ œj ‰
œ œ œ œ œ œœ œ œ ™
And then you

Ϫ
Real-ly just a whis-per, e - cho-ing a - round.

? œœ j getting louder

œ™ œ ‰ œj ‰ œ ™ ‰
Œ ‰ ∑ ∑

{
Notes:
Notes: Chords:
œ œ œ œ
Chords: C C C C
j ‰ œ‰ œ‰ œ ‰ œ ‰
C G G G G G G7 C

& œ œ œ œœ œ œ œ œ œ œ œœ œ œœ œœ œœ œJ ‰ œJ ‰ œJ ‰ œJ ‰
œ œ œ œ J J J J
play as loud-ly as you can, here a crash and there a bang.

? œj ‰ j ‰ j ‰ ‰ j ‰ j ‰ j ‰ j ‰ œœ œœ œœ ‰ œœ ‰ œœ ‰ œœ ‰
very loud
œ ‰
œ œ j œ œ œ œ œ œ J J J J J
œ

{
Notes:
Chords: Notes: Chords:
œ œœœ
C C C C
œ œ œ œ
C C G G G G G G7
j‰ ‰ ‰ ‰ ‰
& œ œ œ œœ œ œ œ œ œ œ œœ œ œœ œœ œœ œ œ œ œJ ‰ Ó
œ œ œ œ J J J J
Make a rack-et, make a din, bet-ter put your ear-plugs in!

? œj ‰ j ‰ j ‰ ‰ j ‰ j ‰ j ‰ j ‰ œ ‰ œœ œœ œ œ œ œj ‰ Ó
œ œ j œ œ œ œ œ œ J
œ œ œœœ

Vocalising
54 and singing may be involved as well as instruments or other
soundmakers. Children and young people may make contrasting movements:
tapping gently with their toes and then stamping their feet, for example.
 Using music to structure other learning
song map

Using music to structure other learning

song map

What day is it today?

j
& b j œ œ œ œj œ pp. 62–63
œ
What day is it to - day?

What’s for lunch?

œ™ œ œ œ™ œ œ
& œ œ™ œ œ p. 61 What can you see?
What are we hav -ing for lunch to - day? & œ œ œ œ™
p. 58

What can you see?

Where is it?
b
&b b œ œ œ œ œ p. 59

Where is the [ball]?

What is it?
Can you find your ...? & Ϫ Ϫ Ϫ
œ
p. 57
& œ œ œ œ œ ˙ p. 60 What is it?

Can you find your [nose]?

Finding and giving

&b ˙ œ ˙ p. 56
Find the [brush]

55
 Finding and giving
Aim: to provide a musical framework for encouraging children and young people to find things and hand
them to someone else.

Sing the song first and then do the action, or keep repeating the song as required. Use everyday objects. Only
Finding and giving
one object need be available at first or the choice may be limited to two or more things as appropriate. Give

{
support
Aim: toas provide
necessary atomusical
achieve the task. It mayfor
framework be encouraging
possible to facilitate children
children andworking
younginpeople
pairs. to find
things and hand them to someone else.

œ ˙œ œ œœ ˙ ™
C7

™™
F Bb F F

b 3 œ™œ
& 4 œœ œœœ™œ œ œ œ œ œ œ œ œ ˙™ œ
Œ̇ œ œ œ̇ œ Œ œ

œ™ ˙™
˙ œ ™™ ˙ ™
Find the [brush] and
œ œ œ̇ ™ œ œ œœœ

{
? b 43 œ™ œ œ œ

C7 Gminsus4 C7

& b œ œ œ œ œ œ ˙ ™œ œ œ œ œ ˙œ œ œ œ
Gmin F Bb

œ œ œ œ œ œ œ œ ˙œ œ œ œ œœ œ
give it to me. Thank you ve – ry much in -

?b œ œ œ œ™
œ œ œ™ œ œ Œ œ œ

{
œ ˙™
œ

™™ œ™œ œ œ™œ œ œ œ œ œ œ œ ˙œ œ œ œœ œ ˙˙™™

F C7 F Bb F

& b ˙™
˙™ œ œ œ

œ™ œ̇ ™ ˙™
- deed
œ
œ ™™ œ™
?b ˙ œ œ œ
œ ˙
˙™

Sing the song first and then do the action, or keep repeating the song as required.
Use everyday objects. Only one object need be available at first or the choice may
be limited to two or more things as appropriate. Give support as necessary to
achieve the task. It may be possible to facilitate children working in pairs.

56
 What is it?
Aim: to provide a musical framework within which objects are recognised and named.

Have a small selection of objects ready (just two – or even a single item – to start with). A helper may answer
on behalf of the child or young person, or alternative forms of communication may be used.
What is it?
Aim: to provide a musical framework within which objects are recognised and named.

{
Notes: Chords:

& 8 Œ™ œ™ Œ ‰ ™ Œ™ œ™ Œ™
G E G Csus2 C G/B Csus2 C G/B

œœ ™™ œ™ œ™ ™ ™
12
œ™ œ ™ œ™
œ œ œ
What is it? What is it?

? 12 œ™ Œ ™ œ™ Œ ™ œ™ Œ ™ j
œ œJ œ™ Œ œj œ œ œ œJ œ™ Œ œj œ œ
j
8

{
Notes: Chords:

& ™ œœ œœ œœ œ™ œ ™ œ™ œ ™ Œ ™ œ™ Œ ™ œ™ Œ ™ œ™ Œ ™ œ™
Csus2 A13/C# Dmin A F A Dmin G7
j
Ϫ
œ œ™
œ œ™ œ œ œ™
Œ̇ J J Œ b Jœ œ œJ J
Ϊ Ϫ Ϫ Ϫ Ϊ Ϫ Ϊ Ϫ
What have you got? A [whis - tle], A

? ˙™ #˙ ™ ˙™ Œ™ Œ™ œ™ Œ™

{
™ œ ™
G7 Dminsus4 G7

™ œ™ œ™ ™ J ‰ ‰ Œ
Dmin C
j
& œ œj œ™ j
Œ œ œ™
œ™ œ œ œ œ œ œ œ œ œ™
˙™ œ™
[whis - tle], You
J have got a [whis - tle].

? œ™ Œ™ Œ™ ™™
œ™ ˙™ ˙™ j ‰ ‰ Œ™
˙™ œ

Have a small selection of objects ready (just two – or even a single item – to start
with). A helper may answer on behalf of the child or young person, or alternative
forms of communication may be used.

57
 What can you see?
Aim: to provide a musical framework within which objects are seen and named.

Have a picture or object ready to be viewed and (if possible) named. A teacher, carer or parent may answer
on behalf of the child or young person.

What can you see?

{
Aim: to provide a musical framework within which objects are seen and named.

Notes: Chords:
Gsus4 Gsus4 G

& 42 œ
E C C G C

œ̇ œ œ j œ̇˙ œ œ œ ‰
œ ˙ œ™
œœ œ œ œœœ™ œ
What can you see? What - ev - er can it be?

? 42 œ œ ˙ œ ˙ œ
œ œ

{
Notes: Chords: Notes:
E C C Gsus4 G E C

& œ ∑ œ j
œ œ̇ œ œœœ™ œ œ œ œ
˙
Tell me! I can see a [paint brush].

? œ ∑ œ œ
œ ˙ œ œ

Have a picture or object ready to be viewed and (if possible) named. A teacher,
carer or parent may answer on behalf of the child or young person.

58
 Where is it?
Aim: to provide a musical framework within which the locations of things can be identified and that
information can be shared with others.

Have an object ready to be noticed (or found by touch). Subsequently, try using two objects or more.

Where is it?

{
Aim: to provide a musical framework within which the locations of things can be
identified and that information shared with others.

Bb Bb13 Eb Bb13 Eb/G Eb Ab/C Bb/D

b2 Ó œ œ œ œ
& b b4 œ œ œ œ
œ
œ œ
Where is the [ball]? Can you show me where it

? bb 42 œ œ œ œ œ
œ œ œ œ œ œ œ

{
b œ

Bb13 Bb7
b
Eb Bb Eb Bb Eb

&b b œ Œ
œ
Œ
œ
Œ
œ œ œ œ œ œ
is? Here’s the [ball]. Here it is.

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ

Have an object ready to be noticed (or found by touch). Subsequently, try using two
objects or more.

59
 Can you find your...?
Aim: to provide a musical framework for encouraging children and young people to become more aware of
themselves and their bodies.

Offer physical prompts at the appropriate level for the child or young person concerned. Be particularly
sensitive with those with no sight at all, who may find it difficult to anticipate what is coming next.
Can you find your ...?

{
Aim: to provide a musical framework for encouraging children and young people to find
things and hand them to someone else.

™™
G C G C

&C œ œ œ œ ˙˙ œ œ œ œ œ ˙ Œ
œ œ
œ ˙

™™ œ™
Can you find your [nose]?
œ Œ
Ϫ
?C ∑ œ
œ œ œ œ

{
œ
˙
Emin Amin9 Amin Dmin Dmin Amin G

&œ œ œ œœ ˙
˙˙ ˙ œ™ œ ™ œ œ™ œ ™ œ œ œ œ œ œj j
œ

œ œ œ œ Œ œ ™ œ œ œ œw™ œ œ ™
œ Œ ™
Show me where it is? Find your [nose].

? œ™ œ œ™ œ
˙ œœ

{
G/B C G C Emin Amin9 Amin

& œ œ ˙ Œ
˙
œ œœ ˙ œœ ˙ œ œ œ ˙˙
˙ ˙
Here’s my [nose]. Here it is.

? œœ œ Œ œ j œ œ™ œ
œ̇ œ œ œ œ œ˙ œ ˙ œœœ
œ

{
˙

Œ œ œ œ ™™
Dmin G7 1C G/B 2C

& ˙˙ Ó ˙ Ó Ó Ó ∑
˙ ˙
Here’s my [nose]. [nose].

™
œ œ ™ œ̇ œ œ œ
? ˙ œ œ œJ Ó ˙ œ̇ œ œ œ œ ˙ Œ Ó
J ˙ œ œ

60
Singthe song first and then do the action, or keep repeating the song as required.
Use everyday objects. Only one object need to be available at first or the choice
may be limited to two things or more as appropriate. Give support as necessary to
 What’s for lunch?
Aim: to provide a musical framework for encouraging children and young people to anticipate what they will
be having to eat at their next meal.

Initially, the song can be used at lunch time with an item of food present in front of the child. Subsequently,
it may be possible to use the song to anticipate what there will be to eat (from a selection of two possibilities
What’s for lunch?
or more).

{
Aim: to provide a musical framework for encouraging children and young people to find
things and hand them to someone else.

C Amin Dmin G C Amin F G7 C

œ™ œ œ œ™ œ œ
&c ∑ ∑ œ œ™ œ œ Œ

œ™ œ œ œ œ
œ™ œ œ œ
What are we hav -ing for lunch to - day?

?c œ œ

{
œ œ œ œ œ œ œ

& œ™ œ Œ œœ ™™ œ Œ œœ ™™ œ nœ
Gsus2

œ ™ nœ Œ
G Gdim G G C
Œ Œ
Ϫ Ϫ # Ϫ
# œœ œ
œ
[Pas - ta?] [Sa - lad?] [Bang- ers and mash?] It’s [pas - ta].

? œ œ œ œ Œ Œ œ Œ
œ œ œ œ

Initially, the song can be used at lunch time with an item of food present in front of
the child. Subsequently, it may be possible to use the song anticipate what there
will be to eat (from a selection of two possibilities or more).

61
 What day is it today?
Aim: to reinforce the concept of days of the week – their sequence and which day it is today.

This song can be used in conjunction with special signs, objects of reference, activities or even fragrances that
characterise the day. The song can lead to a consideration of what is to happen today (or this morning or this
afternoon) using, where appropriate, signs, an object timetable, or songs to indicate particular activities.
What day is it today?

{
Aim: to reinforce the concept of days of the week - their sequence and which day it is
today.

œœ ™™ œœ ™™
Csus2 C7

& b 12
C

8 œj œ™ œ
œ
j œ™ œ
œ
j œ™ Œ
œ
j
What

? b 12
8 Œ j œ™ œ j œ™ œ jœ jœ j Œ™

{
œ œ œ œ œ

j ™ Œ™ Œ j
jC j ‰ Œ j j
7 7
j
F/A F C C F/A F C
&b œ œœ œ œ j œ œœ œ œ ‰œ œ
œ œ œ œ œ
day is it to - day? What day is it to - day? Is it Mon-day? Or

?b
œ œ œ œ œ œ™ j ‰ ‰ œ œ œ œ œ œ j Œ™ œ œ œ™ Œ ™ Œ œ
j j
œ œ

{
œ œ

& b œ œj œ™ Œ ™ Œ œj # œœ ™
œœ œœ ™™ Œ Œ œœ œœ œœ œœ ™™ Œ ™ Œ œœ
j j
Bb A Dmin
j j

œœ œœ ™™ Œ ™ Œ œœ
Tues - day? Or Wednes-day? Or Thurs - day Or

œ œ œ™ Œ™ Œ œ œ ™ j œœ
?b j j j Œ Œ
œ œ™ œ J J

62
{
& b œ œ œ ™ Œ ™ Œ œ œ œ œ œ ™™ Œ ™ Œ œœ œœ™™ œœ™™ œœ™™ Œ œJ
G7/D
j
F/C Bb/D Bbmin/Db
j j
nœ œ œ ™ œ œ œ œ œ J

Ϊ
Fri - day? Or Sat - ur - day? Or Sun - day? What

? b œœ œœ œœ ™™ Œ ™ Œ œœ œœ œœ œœ œœ™™ Œ ™ Œ œ ˙ ™ œ ™ bœœ ™™ Œ bœœ

J J J J

{
F/A C7 F/A C7 F/A C7 F
j j j j j j œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ™ J
day is it, what day is it, what day is it to - day?

?b œ œ
œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰

This song can be used in conjunction with special signs, objects of reference,
activities or even fragrances that characterise the day. The song can lead to a
consideration of what is to happen today (or this morning or this afternoon) using,
where appropriate, signs, an object timetable, or songs to indicate particular
activities.

63
 Interacting with others through music
song map

Interacting with others through music

song map

Who’s sitting next to me?

####
& œ œ œ œ œ œ p. 65
Who’s sit- ting next to me

In the circle
All join in!
& #œ œ œ œ pp. 66–67
&œ œ œ œ p. 68
In the cir - cle
[Clap your hands]

Can you copy me?

b
&b b œ œ œ œ œ œ œ p. 69

Can youmake the sound I make?

Listen!

& p. 72
œ œ Together and alone

&œ œ œ ˙
Lis - ten!
pp. 70–71
œ
Lis - ten to [The - o]

64
 Who’s sitting next to me?
Aim: to provide a musical framework for greeting, giving the opportunity to touch or shake hands; to foster
awareness of the group and of everyone’s position within it.

This singing moves round a circle of participants, from the left or the right (it is good to be consistent from
day to day). Children and young people reinforce the musical greeting with physical contact, by touching
Who’s sitting next to me?
or shaking hands. In songs such as this, where helpers may be singing on behalf of individuals, participants’
feeling of identity may be enhanced if only one person performs on their behalf. The concept of individuality
Aim: to provide a musical framework for greeting, giving the opportunity to touch or
may be further strengthened by using personal soundmakers.

{
shake hands; to foster awareness of the group and of everyone’s position within it.

F#min/A C#min/A B7 A

#### œœ œœœ
B F#min/B E/B B7
œœ
E E/D# C#min
œœ œ œœ œœœ œœ œœ
& œ œ̇ œ œ œ̇ œ œ
Who’s sit- ting next to me,
#### œ j

{
& œ œ œ œ œ œ ? œ œ™ œ
œ œ œ œ œ œ
G#min7 C#min
œ̇
B7 G#min7
œ
F#min/A E C#min
#### œ̇ Œ
œ
œ Œ
& œœ œ œ Œ œ œœ
œ œ

œœ
on my [right]? Shake my hand.
˙
? #### ‰ jœ œ ˙ œœ ˙

{
œ œ Œ Œ
œ ˙
F#min7sus4 Bsus4 B
F#min7sus4 F#min7 Bsus4 B
œ̇ œ œ ˙
#### œ̇ ™
E B7/F# E/G# B7/F# E

& œ ˙ œ Œ Ó
˙ œ œ œ œ ˙
œ œ œ ˙

˙™
What’s your name? My name is [Jack].

? #### ˙™ ˙ ˙ œ
˙ œ œ œ Ó
˙ œ œ ˙

This singing moves round a circle of participants, from the left or the right (it is good
to be consistent from day to day). Children and young people reinforce the musical
greeting with physical contact, by touching or shaking hands. In songs such as this,
where helpers may be singing on behalf of individuals, participants’ feeling of
identity may be enhanced if only one person performs on their behalf. The concept65
of individuality may be further strengthened by using personal soundmakers.
 In the circle
Aim: to use the structure of a song to scaffold social engagement – taking turns, copying, listening to others
and making a contribution.

The sound that is conveyed from one participant to another could be a vocalisation, made by a traditional
In the circle
instrument, or controlled using beam or gesture technology. Teachers, carers and parents can offer whatever

{
Aim:
level of to use the
support structure
is needed of a the
to ensure song to scaffold
social social
interactions engagement – taking turns, copying,
take place.
listening to others and making a contribution.

C G7 C5# C7 C/E Emin7 F7 Emin7 Dmin G13 G7

& 44 œ œ Œ œ œ ‰ #œ œ œ œ #œ œ œ œ nœ ™ j
œ œ œ œ œœ
œ œ
In the cir - cle, can you hear? The sound goes round and

œ œ bœ œœ œbœ nœ œ œ
? 44 Œ œ Œ ‰ œj ‰ œ‰ œ ‰ œ‰ œ ‰ œœ‰ œ œ

{
œ

C G7 C5# C7 C/E Emin7 F7 Emin7 Dmin G13 G7

&˙ œ œ ‰ #œ œ œ œ #œ œ œ œ nœ ™ j
œ œ œ œ œœœ
œ
round. It’s still mov - ing, lis - ten hard, cos soon it’s go-ing to

œ b œ œœ œbœ nœ œ œ
œ
?‰ œ œ Œ ‰ j ‰ ‰ œ ‰ œ ‰ œ ‰ œœ‰ œ œ
œ œ œ

{
F7 D13/F# D7/F#

#œ œ œ œ nœ ™
C F C/E F C/E

& j‰Œ Ó œ œ ‰ œ œ œ œ
œ œ œ
stop. Can you make the sound your - self? Let’s all lis - ten

œ œbœ #œ nœ
? œj ‰ Œ Ó œ Œ œ Œ œ Œ ‰ œ œ ‰ œ ‰ #œ
J

66
{
G C5# C7 C/E Emin7
œ œ œ œ Œ ∑ œ
& œ #œ œ œ

œ œ
care - ful - ly Now it’s time to

? Œ œ œ œ œ œ bœ
∑ ‰ œ ‰ œ

{
œ
F7 Emin7 Dmin G13 G7 C

& #œ œ œ œ nœ ™ j
œ œ œ œ œ œ ˙ Ó
œ
start a - gain, the sound goes round and round.
œ bœ nœ œ œ
? ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ Œ
œ œ œ œ œ œj

The sound that is conveyed from one participant to another could be a vocalisation,
made by an traditional instrument, or controlled used beam or gesture technology.
teachers, carers and parents can offer whatever level of support is needed to ensure
the social interactions taken place.

67
 All join in!
Aim: to provide a simple musical structure suitable for accompanying a wide range of sound-making and other
actions.

Possibilities include clapping hands, slapping knees, stamping feet, scratching head, tickling tummy, touching
the ground, tapping the chair, banging the drum, shaking the shaker, and making sounds using gesture or
All join in!
beam technology. Children and young people can make the sounds and do the actions individually or as a

{
Aim:ortothe
group, provide a simple
group can musical
copy what structure
an individual suitable
decides to do.for accompanying a wide range of
sound-making and other actions.
Notes: Chords:

Œ ‰ ™ œrœ ™ œ ™ ™™ œ Œ œ Œ
G A G G G A G G G13 Csus2 A/C#

&C ∑ ∑ ∑
œ œ Œ œœ Œ œ

{
™™ Œ œ Œ #œ
[Clap your

?C Œ Œ œ Ó œ Œ œ Œ œ Œ
œ œ œ œ œ
Dmin Dmin7 G5# C Csus2 A9b/C#
Ó Œ Œ œ œ œœ ™™ œ œ œ ™
‰™ œ œ ™ œ ‰™ ‰™ b œ œ
&œ œ œ œœ œ #œ œ œ Œ
Œ Œ
hands], while we sing. [Clap your

?œ Œ œ œ Œ œ Œ œ Ó ‰ ™ œ œ™ nœ Œ Œ
œ

{
œ #œ

œ œ™ œ
œ
œ™ œ œ œ™ œ œ™ œœ œ#œ nœœ œœ ™™ œœ Œ
Dmin Dmin/F G9 G7 1C/E Ebdim Dmin G7 2C

j
&œ œ R≈ Œ
‰™ œ œ ‰™ œ œ 3
œ

™
hands], all join in! in!

œ ™ œ
? Œ œ œ œ Œ Œ œ bœ œ Œ Œ
œ œ
œ

Possibilities include clapping hands, slapping knees, stamping feet, scratching head,
tickling tummy, touching the ground, tapping the chair, banging the drum, shaking
the shaker, and making sounds using gesture or beam technology. Children and
young people can make the sounds and do the actions individually or as a group, or
the group can copy what an individual decides to do.

68
 Can you copy me?
Aim: to promote the understanding of copying in sound; to provide a musical framework for utilising this
knowledge.

This song is intended to be sung first to introduce a copying activity. Any sounds can be used, including body-
Can you copy me?
sounds, vocalising, and sounds made with instruments or everyday soundmakers. To begin with, helpers can
copy participants, or one member of staff can copy another on behalf of a pupil or student. This modelling of

{
Aim: to promote the understanding of copying in sound; to provide a musical framework
the activity may assist in children’s developing the concept of imitation.
for utilising this knowledge.

Eb(omit 3)
b2
&b b4 œ œ œ œ œ œ œ
œ œ œ œ
Can you make the sound I make? I can make the

? bb 42 ˙˙ ˙˙ ˙˙

{
b

b
&b b œ œ œ œ œ œ œ
œ
œ œ œ œ
˙
œ
sound you make. Can you co - py me, oh? I can co - py you.

? bb ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
b

This song is intended to be sung first to introduce a copying activity. Any sounds can
be used, including body-sounds, vocalising, and sounds made with instruments or
everyday soundmakers. To begin with, helpers can copy participants, or one
member of staff can copy another on behalf of a pupil or student. This modelling of
the activity may assist in children’s developing the concept of imitation.

69
 Together and alone
Aim: to provide a musical framework for introducing the idea of doing something on your own, listening to
others, and playing with the group.

A wide range of everyday soundmakers and instruments can be used, and children and young people may
Together and alone
join in using switches or other assistive technology. This is an activity that can be done in a relatively large

{
group.
Aim: to ptovide a musical framework for introducing the idea of doing something on
your own, listening to others, and playing with the group.

Csus2 C C/Gsus2 C Csus2 C C/Gsus2 C Csus2 C Csus4 C G G7 Csus4 C

& 43 Œ ˙˙œ Œ ˙˙œ Œ ˙˙œ Œ ˙˙œ œ œ œ ˙

œ œ œ œ œ œ œ œ ˙™
Lis - ten to [The - o] on his own,

? 43 œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ ˙œ œ Œ ˙œ œ Œ œ̇ œ Œ ˙œ œ

{
œ œ

‰ œj œ œ ™™ ˙
Csus2 C Csus4 C G G7 C C7/E F Bmin5b Emin
j
œ œ œ œ œ̇ œ™ œ
™
&œ œ œ ˙ œ œ œ
œ œ
Play-ing the [cym - bal] all a - lone.

? Œ ˙œ œ Œ ˙œ œ Œ œ̇ œ Œ Œ̇ bœ ™™ œœ œ œ œ œ œ

{
œ œ œ

™ ™
Amin Dmin D7/F# G Cmin/G G Gsus2

& ˙˙ œ ˙˙ œ ˙˙ œ œ œ œ œ™ œ œ œ Œ˙ œ œ Œ̇ œœ œœ

˙™ ˙™
? Œ œ Œ b˙ Œ ˙
œ #œ ˙ ™ ˙™
œ œ œ Œ
œ

70
{
Gdim G 1

& ™ œ™ œ™
Dminsus4 G9 G7 C

˙˙ œ œ œ œ ˙™
Œ̇ ## œœ ˙™
œœ Œ̇ Œ œ œ œ œ œ
Then ev – ery – one to – ge –

˙™ ˙™
? œ œ
˙ œ œ

{
˙™

‰ œj œ œ ™™ œ ™ œ ™ œ™ œ œ ™ œ ™ œ œ
2 Dminsus4 G9 G7
C C7 C

& œœ Œ Œ
œ Œ œ œ Œ œ œ Œ̇ œ œ œ

™™
ther. ev – ery – one to – ge – ther.
Œ̇ bœ œ™
Ϫ
? ˙ Œ Œ
œ ˙™ œ œ

A wide range of everyday soundmakers and instruments can be used, and children
and young people may join in using switches or other assistive technology. This is an
activity that can be done in a relatively large group.

71
 Listen!
Aim: to provide a musical framework for taking turns, listening to others, making sounds and playing
instruments.

Any instrument can be used: a drum, scraper, bells, tambourine, shaker, claves and so on. Other sounds may
Listen!
be accessed through switches, or movement or gesture technology. Everyday soundmakers can also be used.

{
Where appropriate, participants can be asked to choose the instrument that they would like to play. The group
Aim: to provide a musical framework for taking turns, listening to others, making sounds
can play together.
and playing instruments.

Notes: Chords:
G13 C6
j
G G G F# G F# G G

&C ‰ j j ‰ Œ œœ ‰ Œ œ œ Œ Ó Œ Ó
œ œ œ #œ œ œ œ œ œ œ œ œœ œœ
Lis - ten! Lis - ten!

{
?C ‰ j j ‰ Œ nœ ‰ Œ œœœ œœœ Œ ‰ j œ œ œœœ œœœ Œ ‰ j œ œ
œ œ œ #œ œ œ œ œ œJ œ œ
Amin F G C F6

& œ œ ‰ œj œ œ œ œ j‰ Œ Ó œœœ œœœ Œ Ó œœœ œœœ Œ Ó

œ œ œ œ œ œ œ œ
[Der - ek] is play - ing the [drum]. Lis - ten! Lis - ten!

{
? œœœ œœœ j ‰ j ‰ j ‰ œœ ‰ Œ ‰ bœj Œ ‰ j Œ ‰ œJ œ œ
œ œ œ œ œ œ œ
J œ œœ œ œ
Dmin G G7sus2 G7 No chord
j j
& œœœ œœœ ‰ œ œ œ œ œ œ ‰ œœœ œœœ ‰ œœœ œœ ‰ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
[Der - ek] is play - ing the [drum]. Lis - ten, lis - ten, lis - ten, lis - ten,

œ œ œ œ

{
? Œ j ‰ œ œ‰ œ œ‰
œ œ j ‰ Œ œ œ œ œ œ
Ó
œ
Ab6# Gsus4 G7 G13 C
œ œ j
& œ œ œ œ b œ œ
b œ œ œœ œœ ‰ nœ œ œ nœ œ j ‰ Œ œJ ‰ Œ
œ œ
lis - ten, lis - ten, lis - ten, lis - ten, [Der - ek] is play - ing the [drum].

œ œ œ œ
? œ œ œ œ œ œ #œ œ œ œ Œ nœj ‰ Œ j
œœ ‰ Œ j ‰ Œ
œJ J œ
Any
72 instrument can be used: a drum, scraper, bells, tambourine, shaker, bells,
claves and so on. Other sounds may be accessed through switches, or movement or
gesture technology. Everyday soundmakers can also be used. Where appropriate,