- Fall 2025 -
Fall 2025 Baby & Toddler
Family Songbook
Written by Bryce Tempest for Patterson Park Academy of Music
(click on the sections below to read the songbook)
(click on the sections below to read the songbook)
1) BENEFITS OF EARLY CHILDHOOD MUSIC
Community music making is a powerful way to support child development. Movement, instrument play, and vocalizing are exciting but behind the fun, children are developing cognitive skills. Steady beat, tonal awareness, motor skills and responding to contrast, exercise brain pathways and promote growth. Notably, these developments extend beyond music class, laying the foundation for executive functioning skills like working memory, impulse control, and adapting to changes.
Teachers are consciously cultivating a learning environment that challenges but does not overwhelm. The consistency of the lesson structure and classroom routines establishes a sense of familiarity, a consistent cohort of classmates and caregivers promotes a sense of belonging, while a charismatic song leader motivates participation. This environment encourages social awareness as children observe each other, grownups, and respond to transitions.
Beyond the cognitive development and social-emotional potential, music class provides an opportunity to get the wiggles out. Children have energy to exhaust, ideas to share, and emotions to express, and music class is a container for all of it. Teachers plan lessons that balance active participation with self-regulation so that children leave class full of ideas to experiment with and ready to transition to the next part of their day.
Music class is an environment for children and caregivers to bond. For some, the shared experiences of dancing, playing instruments, and singing are unique to this class. However, the goal of this songbook is to inspire families to engage with music outside of class. While the group dynamic has specific potential, all activities can be recreated at home. Use this songbook as a starting point, lead with your own creativity, and apply these strategies to your own preferred music.
Teachers are consciously cultivating a learning environment that challenges but does not overwhelm. The consistency of the lesson structure and classroom routines establishes a sense of familiarity, a consistent cohort of classmates and caregivers promotes a sense of belonging, while a charismatic song leader motivates participation. This environment encourages social awareness as children observe each other, grownups, and respond to transitions.
Beyond the cognitive development and social-emotional potential, music class provides an opportunity to get the wiggles out. Children have energy to exhaust, ideas to share, and emotions to express, and music class is a container for all of it. Teachers plan lessons that balance active participation with self-regulation so that children leave class full of ideas to experiment with and ready to transition to the next part of their day.
Music class is an environment for children and caregivers to bond. For some, the shared experiences of dancing, playing instruments, and singing are unique to this class. However, the goal of this songbook is to inspire families to engage with music outside of class. While the group dynamic has specific potential, all activities can be recreated at home. Use this songbook as a starting point, lead with your own creativity, and apply these strategies to your own preferred music.
2) GROWNUP PARTICIPATION IN CLASS
Children learn more from their caregivers than anyone else. You are their blueprint for how to be a person. Everything from fine motor skills to personal preferences (what is fun, who to rely on, how to play), children are observing and learning by osmosis. As a result, every moment spent in music class is an opportunity for grownups to model pro-social musical engagement. Passion signals a green light for children to participate and experiment, while reserved affect and engagement communicates caution.
Teachers know that the most effective way to engage the children is by engaging the grownups. Subtlety is difficult for children to interpret; your teacher will encourage you to not just follow the prompts but project an enthusiasm that children can understand. Exaggerated physical gestures, stark contrasts, and theatrical voices may feel silly but are necessary for communicating clearly. This is a call to action for caregivers: adopt a music class persona that is active and animated, and children will get the most out of the experience.
Teachers know that the most effective way to engage the children is by engaging the grownups. Subtlety is difficult for children to interpret; your teacher will encourage you to not just follow the prompts but project an enthusiasm that children can understand. Exaggerated physical gestures, stark contrasts, and theatrical voices may feel silly but are necessary for communicating clearly. This is a call to action for caregivers: adopt a music class persona that is active and animated, and children will get the most out of the experience.
3) DEVELOPMENTAL PACE
All children are unique, and developmental milestones don’t follow a strict timeline. Observation proceeds participation and children need to observe A LOT before they feel prepared to experiment. Some grownups are eager to see children participate in movement and instrument play, but this process may be slower for some. Trust that consistent exposure to music and the group dynamic will develop their comfort and motivation to explore.
Observing is a complicated process that adult brains take for granted. When responding to the prompt ‘shake’, children are stringing together several steps of cognition: identify the mechanism (fingers-hand-arm), identify the objective (movement-sound), and coordinate visual/kinesthetic senses to make an attempt. While there is some benefit to providing hand-over-hand guidance (caregivers using their hands to help children dance/play), be careful not to overuse this technique. Moving their body takes over their awareness, distracting from the vital work of observing. The most effective tool for promoting active participation is modeling and patience.
Observing is a complicated process that adult brains take for granted. When responding to the prompt ‘shake’, children are stringing together several steps of cognition: identify the mechanism (fingers-hand-arm), identify the objective (movement-sound), and coordinate visual/kinesthetic senses to make an attempt. While there is some benefit to providing hand-over-hand guidance (caregivers using their hands to help children dance/play), be careful not to overuse this technique. Moving their body takes over their awareness, distracting from the vital work of observing. The most effective tool for promoting active participation is modeling and patience.
4) HOW TO USE THIS SONGBOOK
The goal of this songbook is to increase children’s music engagement at home. Additionally, a crossover between songs from class and songs at home will expand the learning potential. This book provides grownups with tools to bridge the gap between music class and music at home. This text covers ten songs that will be featured in classes throughout Fall Session 1. Each song has four sections: context, lyrics, learning goal, and activity. The context provides background on the origin of the song as well as a description of what makes the song unique. The learning goal highlights a feature of the song requiring additional explanation/practice and the activity recommends ways to explore and customize the song at home.
Your familiarity with the songs and their learning potential is vital to achieving this class-to-home crossover. Therefore, the learning goal and activity sections are for grownups to read AND participate in. You may notice that the practice methods and creative prompts are above your child’s developmental level, however, this is not a reason to discount them. For some, music engagement at home may mean grownups develop and perform their customized dance/lyrics in front of the children. Even as spectators of your creative exploration, children are developing connections with the songs. Ultimately, these connections will result in more comfort and participation in the group class.
For activities prompting choices, engage children in the decision-making process as much as possible. This will look different depending on age:
- responding to open prompts (what animal sound should we make next)
- choose between two options (should we dance like Grandma or Dad)
- grownups mimic what children do naturally when listening to the song
- grownups perform their own ideas for the children
Regardless of how independent your child is with making choices, grownups should always model first and narrate their process: “The theme of my dance is ice cream. I’m going to start by scooping ice cream, next I’m going to eat my ice cream while turning in a circle, then I’m going to wash my hands.”
Your familiarity with the songs and their learning potential is vital to achieving this class-to-home crossover. Therefore, the learning goal and activity sections are for grownups to read AND participate in. You may notice that the practice methods and creative prompts are above your child’s developmental level, however, this is not a reason to discount them. For some, music engagement at home may mean grownups develop and perform their customized dance/lyrics in front of the children. Even as spectators of your creative exploration, children are developing connections with the songs. Ultimately, these connections will result in more comfort and participation in the group class.
For activities prompting choices, engage children in the decision-making process as much as possible. This will look different depending on age:
- responding to open prompts (what animal sound should we make next)
- choose between two options (should we dance like Grandma or Dad)
- grownups mimic what children do naturally when listening to the song
- grownups perform their own ideas for the children
Regardless of how independent your child is with making choices, grownups should always model first and narrate their process: “The theme of my dance is ice cream. I’m going to start by scooping ice cream, next I’m going to eat my ice cream while turning in a circle, then I’m going to wash my hands.”
5) CLARIFYING MUSICAL TERMS
- Form is the structure of a piece of music. This includes the number of distinct sections and the length of each section. Popular music terms like verse, chorus, bridge, intro/outro are used to discuss form. In this text, capital letters A, B, C will be used to label and refer to the different sections.
- Tonality is based on the collection of notes that make up a song. The relationship between these notes determines the song’s tonality. The majority of children’s music has Major tonality. You don’t need to know what note relationships make something Major vs Minor to accept that variety is important for learning. Songs in this collection are assumed Major unless introduced as Minor.
- Levels of beat refer to the different proportions used to divide up time. The steady beat is what feels most natural, what you instinctually identify as the beat. The micro beat is half the duration of the steady beat and therefore more active. The macro beat is twice the duration of the steady beat, with more space between beats.
- Syncopation is a rhythmic feature where sounds are played/sung on the ‘offbeat’. All music listeners experience this phenomenon on a subconscious level and don’t need an intellectual understanding of ‘why’, to know that it makes music feel good.
- Downbeat-stop is when the accompaniment plays on the first beat of a bar/section and waits to resume activity. This is used to emphasize an arrival point in the music. This stop applies to the accompaniment only, the melody/singing continues uninterrupted.
- Asymmetric meter characterizes music that can’t be divided into small symmetrical units. Most music can be divided into groups of two (duple meter) and other music into groups of three (triple meter). Music that divides up unevenly can feel ‘off-balance’.
- Tonality is based on the collection of notes that make up a song. The relationship between these notes determines the song’s tonality. The majority of children’s music has Major tonality. You don’t need to know what note relationships make something Major vs Minor to accept that variety is important for learning. Songs in this collection are assumed Major unless introduced as Minor.
- Levels of beat refer to the different proportions used to divide up time. The steady beat is what feels most natural, what you instinctually identify as the beat. The micro beat is half the duration of the steady beat and therefore more active. The macro beat is twice the duration of the steady beat, with more space between beats.
- Syncopation is a rhythmic feature where sounds are played/sung on the ‘offbeat’. All music listeners experience this phenomenon on a subconscious level and don’t need an intellectual understanding of ‘why’, to know that it makes music feel good.
- Downbeat-stop is when the accompaniment plays on the first beat of a bar/section and waits to resume activity. This is used to emphasize an arrival point in the music. This stop applies to the accompaniment only, the melody/singing continues uninterrupted.
- Asymmetric meter characterizes music that can’t be divided into small symmetrical units. Most music can be divided into groups of two (duple meter) and other music into groups of three (triple meter). Music that divides up unevenly can feel ‘off-balance’.
6) GLOSSARY
- Ajde Jano
- Fais Do Do
- Ging Gang Goolie
- Humpty Dumpty
- Inanay
- Kwaheri
- Lukey’s Boat
- Mi Chacra
- Silver Moon Boat
- Un Poquito Cantas
- Additional recordings
- AJdE JANO
Context
Ajde Jano is a Serbian folk song from Kosovo, traditionally danced at weddings. This song has Minor tonality and an asymmetric 7/8 meter. Dances in 7/8 are common in folk music from the Middle East and Eastern Europe. Many metaphors are used to describe the feeling of asymmetric meter: a wobbly wheel, skipping heartbeat, stormy sea, flickering flame, windy path.
Phonetic transcription and translation
Ay-deh yah-no ko-lo da ee-grah-mo.
Ay-deh yah-no, ay-deh du-sho ko-lo da ee-grah-mo.
Ay-deh yah-no, ay-deh du-sho ko-lo da ee-grah-mo.
Learning the first verse allows the class to experience the song in its original language.
When singing along to the recording, pick a singing syllable for remaining verses (dee, bum, la, too, hey).
Come on children let’s all dance the kolo.
Come on children, ev’rybody let’s all dance the kolo.
Come on children, ev’rybody let’s all dance the kolo.
Learning goal
Play/clap/tap 7/8 as divided into:
Ajde Jano is a Serbian folk song from Kosovo, traditionally danced at weddings. This song has Minor tonality and an asymmetric 7/8 meter. Dances in 7/8 are common in folk music from the Middle East and Eastern Europe. Many metaphors are used to describe the feeling of asymmetric meter: a wobbly wheel, skipping heartbeat, stormy sea, flickering flame, windy path.
Phonetic transcription and translation
Ay-deh yah-no ko-lo da ee-grah-mo.
Ay-deh yah-no, ay-deh du-sho ko-lo da ee-grah-mo.
Ay-deh yah-no, ay-deh du-sho ko-lo da ee-grah-mo.
Learning the first verse allows the class to experience the song in its original language.
When singing along to the recording, pick a singing syllable for remaining verses (dee, bum, la, too, hey).
Come on children let’s all dance the kolo.
Come on children, ev’rybody let’s all dance the kolo.
Come on children, ev’rybody let’s all dance the kolo.
Learning goal
Play/clap/tap 7/8 as divided into:
Practice sequence:
-speak and clap all numbers
-speak all numbers, clap only on 1
-practice with three-word phrases:
go – to-school, eat – ice-cream, it’s – cold-out
-incorporate movement: stomp – clap-clap, step – bounce-bounce
Activity
Create animal themed variations
Change lyrics and dance/move accordingly.
Start by choosing an animal and an action.
What do frogs like to do? – hop/eat/swim
“come on children, let’s all hop like frogs”
Once the prompt is introduced, simplify the language by repeating a related word: hop, froggy, ribbit.
Other categories to explore: types of vehicles, types of jobs, sports.
-come on children, let’s all ride the tractor
-come on children, let’s do math like scientists
-come on children, let’s all kick the soccer ball
-speak and clap all numbers
-speak all numbers, clap only on 1
-practice with three-word phrases:
go – to-school, eat – ice-cream, it’s – cold-out
-incorporate movement: stomp – clap-clap, step – bounce-bounce
Activity
Create animal themed variations
Change lyrics and dance/move accordingly.
Start by choosing an animal and an action.
What do frogs like to do? – hop/eat/swim
“come on children, let’s all hop like frogs”
Once the prompt is introduced, simplify the language by repeating a related word: hop, froggy, ribbit.
Other categories to explore: types of vehicles, types of jobs, sports.
-come on children, let’s all ride the tractor
-come on children, let’s do math like scientists
-come on children, let’s all kick the soccer ball
- Fais do do
Context
Fais Do Do is a French lullaby dating back to the 19th century and the title translates to ‘go to sleep’. Like many lullabies this song is in triple meter, which is naturally felt by rocking/swinging/swaying. In French cultures the syllables ‘do do’ are repeated to help babies settle for sleep. This is an example of a ‘motherly coo’: a gentle, low-pitched vocalization used to communicate security and safety to the baby.
Phonetic transcription and translation
A Feh do-do, Colin mohn ti fre-rer,
feh do-do, toh-rah du lo-lo.
B Mama e/on hoht, ki feh doo gya-toh,
Papa e/on bah, ki feh doo cho-co-lat.
This song has two parts, with the first part repeated at the end.
A Go to sleep Nicolas my brother,
go to sleep tomorrow you’ll eat.
B Mama is upstairs, she’s baking some sweets,
Papa is downstairs, he’s making a treat.
A Go to sleep Nicolas my brother,
go to sleep tomorrow you’ll eat.
Learning goal
Play/clap/tap triple meter:
| 1 – 2 – 3 | 1 – 2 – 3 | 1 – 2 – 3 | 1 – 2 – 3 |
Practice sequence:
-speak and clap all numbers
-speak all numbers, clap only on 1
-practice with three syllable words (ba-na-na, um-bre-lla, kan-ga-roo)
-speak all numbers, clap only on 1 and 3
-incorporate movement: use large sweeping gestures, moving on 1
Fais Do Do is a French lullaby dating back to the 19th century and the title translates to ‘go to sleep’. Like many lullabies this song is in triple meter, which is naturally felt by rocking/swinging/swaying. In French cultures the syllables ‘do do’ are repeated to help babies settle for sleep. This is an example of a ‘motherly coo’: a gentle, low-pitched vocalization used to communicate security and safety to the baby.
Phonetic transcription and translation
A Feh do-do, Colin mohn ti fre-rer,
feh do-do, toh-rah du lo-lo.
B Mama e/on hoht, ki feh doo gya-toh,
Papa e/on bah, ki feh doo cho-co-lat.
This song has two parts, with the first part repeated at the end.
A Go to sleep Nicolas my brother,
go to sleep tomorrow you’ll eat.
B Mama is upstairs, she’s baking some sweets,
Papa is downstairs, he’s making a treat.
A Go to sleep Nicolas my brother,
go to sleep tomorrow you’ll eat.
Learning goal
Play/clap/tap triple meter:
| 1 – 2 – 3 | 1 – 2 – 3 | 1 – 2 – 3 | 1 – 2 – 3 |
Practice sequence:
-speak and clap all numbers
-speak all numbers, clap only on 1
-practice with three syllable words (ba-na-na, um-bre-lla, kan-ga-roo)
-speak all numbers, clap only on 1 and 3
-incorporate movement: use large sweeping gestures, moving on 1
Activity
Create a dance that matches form and phrasing
Choreography that highlights form: use two contrasting gestures to distinguish between the A and B sections.
-clap during A, stomp during B
-gallop during A, tip-toe during B
-fly during A, swim during B
Choreography that highlights form and phrasing: use two gestures, one that is long/open-ended, and one that is short/has a clear end.
-wave during A, bow during B (four separate times)
-hop during A, turn during B (four separate times)
-wiggle during A, stretch during B (four separate times)
Create a dance that matches form and phrasing
Choreography that highlights form: use two contrasting gestures to distinguish between the A and B sections.
-clap during A, stomp during B
-gallop during A, tip-toe during B
-fly during A, swim during B
Choreography that highlights form and phrasing: use two gestures, one that is long/open-ended, and one that is short/has a clear end.
-wave during A, bow during B (four separate times)
-hop during A, turn during B (four separate times)
-wiggle during A, stretch during B (four separate times)
- Ging gang goolie
Context
Ging Gang Goolie is a Scandinavian gibberish song made up by kids. In the early 20th century the song became popular in Scandinavian Youth Scout groups. Later in the century it was used in scout organizations all around the world. This song is evidence that music is not a static artifact; it is constantly recreated and reinterpreted. The international scope of this song has led to several variations in pronunciation, lyrics, and form.
Lyrics
A Ging gang goolie, goolie, goolie, goolie watcha, ging gang goo, ging gang goo.
Ging gang goolie, goolie, goolie, goolie watcha, ging gang goo, ging gang goo.
B Hayla, hayla shayla, hayla shayla hayla ho__.
Hayla, hayla shayla, hayla shayla hayla ho.
C Shally wally, shally wally, shally wally, shally wally oompa oompa oompa oompa.
Shally wally, shally wally, shally wally, shally wally oompa oompa oom-pa pa.
Learning goal
Change movement/instrument technique when a new section starts:
This song has three sections each distinct in lyrics and melody.
Reinforce this contrast with three distinct movements and/or instrument techniques.
- seated movement: tap head / rub tummy / tickle feet
- rhythm sticks: click / roll / drumroll on floor
Fun fact:
The B section is twice as long as the A and C sections (eight bars instead of four).
Activity
Create a dance based on a theme
Choosing a theme helps to focus creative decision making, inspire imagination, and make language connections.
1. Choose a theme (any noun or category).
2. Choose three things related to that theme.
3. Choose movements that correspond to your choices.
- penguins: waddle, eat fish, shiver in the cold
- things to do at the beach: play in the water, make sandcastles, suntan
- racecar: driving, pit stop tire change, finish line flag waving
Making a ‘final draft’, with distinct movement choices and a consistent sequence will help to practice memory recall.
Ging Gang Goolie is a Scandinavian gibberish song made up by kids. In the early 20th century the song became popular in Scandinavian Youth Scout groups. Later in the century it was used in scout organizations all around the world. This song is evidence that music is not a static artifact; it is constantly recreated and reinterpreted. The international scope of this song has led to several variations in pronunciation, lyrics, and form.
Lyrics
A Ging gang goolie, goolie, goolie, goolie watcha, ging gang goo, ging gang goo.
Ging gang goolie, goolie, goolie, goolie watcha, ging gang goo, ging gang goo.
B Hayla, hayla shayla, hayla shayla hayla ho__.
Hayla, hayla shayla, hayla shayla hayla ho.
C Shally wally, shally wally, shally wally, shally wally oompa oompa oompa oompa.
Shally wally, shally wally, shally wally, shally wally oompa oompa oom-pa pa.
Learning goal
Change movement/instrument technique when a new section starts:
This song has three sections each distinct in lyrics and melody.
Reinforce this contrast with three distinct movements and/or instrument techniques.
- seated movement: tap head / rub tummy / tickle feet
- rhythm sticks: click / roll / drumroll on floor
Fun fact:
The B section is twice as long as the A and C sections (eight bars instead of four).
Activity
Create a dance based on a theme
Choosing a theme helps to focus creative decision making, inspire imagination, and make language connections.
1. Choose a theme (any noun or category).
2. Choose three things related to that theme.
3. Choose movements that correspond to your choices.
- penguins: waddle, eat fish, shiver in the cold
- things to do at the beach: play in the water, make sandcastles, suntan
- racecar: driving, pit stop tire change, finish line flag waving
Making a ‘final draft’, with distinct movement choices and a consistent sequence will help to practice memory recall.
- Humpty Dumpty
Context
Humpty Dumpty is a nursery rhyme from 18th century England. Over time and international use, this text has been paired with several melodies. The melody used in class was chosen because of its potential as a round. A round is when two or more groups sing the same melody but start at different times. This displacement creates a musical texture that is thrilling to be apart of and engaging to listen to. This song is an example of how triple meter projects calm and comfort. Humpty Dumpty is injured but the feeling of 1-2-3 1-2-3 makes the song feel peaceful.
Lyrics and Alternate verses
Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men,
couldn’t put Humpty together again.
Humpty Dumpty sat on the ground,
Humpty Dumpty looked all around.
Gone were the chimneys, gone were the roofs,
all he could see were horses and hooves.
Humpty Dumpty counted to ten,
Humpty Dumpty got up again.
All the king’s horses and all the king’s men,
were happy to see him smiling again.
Learning goal
Chant different lyrics/rhythms than your partner:
Practice the exercise using rhythmic chant, no melody.
Below are micro phrases organized according to the three different rhythms of the text. First, chant lyrics that share the same rhythm side-by-side. Next, practice switching between rhythms at random.
Humpty Dumpty is a nursery rhyme from 18th century England. Over time and international use, this text has been paired with several melodies. The melody used in class was chosen because of its potential as a round. A round is when two or more groups sing the same melody but start at different times. This displacement creates a musical texture that is thrilling to be apart of and engaging to listen to. This song is an example of how triple meter projects calm and comfort. Humpty Dumpty is injured but the feeling of 1-2-3 1-2-3 makes the song feel peaceful.
Lyrics and Alternate verses
Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men,
couldn’t put Humpty together again.
Humpty Dumpty sat on the ground,
Humpty Dumpty looked all around.
Gone were the chimneys, gone were the roofs,
all he could see were horses and hooves.
Humpty Dumpty counted to ten,
Humpty Dumpty got up again.
All the king’s horses and all the king’s men,
were happy to see him smiling again.
Learning goal
Chant different lyrics/rhythms than your partner:
Practice the exercise using rhythmic chant, no melody.
Below are micro phrases organized according to the three different rhythms of the text. First, chant lyrics that share the same rhythm side-by-side. Next, practice switching between rhythms at random.
With a partner, practice lyric independence by repeating different phrases that have the same rhythm. Then, practice rhythmic independence by repeating phrases that have different rhythms.
Activity
Practice singing a round:
People respond with a different level of focus when asked to do something more independent. The added challenge typically results in a greater sense of accomplishment and camaraderie. Exchange encouragement with your partner and respond to mistakes with smiles and laughter.
Scaffold difficulty:
-each person sings one phrase on loop (swap phrases)
-each person sings two phrases on loop (swap phrases)
-each person sings entire song on loop, staggered entrances
Activity
Practice singing a round:
People respond with a different level of focus when asked to do something more independent. The added challenge typically results in a greater sense of accomplishment and camaraderie. Exchange encouragement with your partner and respond to mistakes with smiles and laughter.
Scaffold difficulty:
-each person sings one phrase on loop (swap phrases)
-each person sings two phrases on loop (swap phrases)
-each person sings entire song on loop, staggered entrances
- inanay
Context
Inanay is from the Torres Strait Islanders, an indigenous group in Australia. The song is about shooing away a lizard (goanna) with the exclamation ‘choo’. There is contrast between the melodies of each section: the B section is rhythmically active and repetitive, the A section is melo and spacious. The A section of this song has an atypical phrase structure: 14 measures long, made up of an eight measure and six measure phrase.
Lyrics
A Inanay gupu wana, inanay gupu wana.
Ay ay ay oola.
Oola oola.
Oola ay yippy yay yippy yay.
B Goowana goowana goowana goowana goowa_ choo!
Goowana goowana goowana goowana goowa_ choo!
Learning goal
Play/clap/tap different levels of beat for section A and B:
Exaggerate the melodic differences between sections by playing steady beat for ‘inanay’ and micro beat for ‘goowana’.
Use short excerpts to experience this contrast side-by-side.
Inanay is from the Torres Strait Islanders, an indigenous group in Australia. The song is about shooing away a lizard (goanna) with the exclamation ‘choo’. There is contrast between the melodies of each section: the B section is rhythmically active and repetitive, the A section is melo and spacious. The A section of this song has an atypical phrase structure: 14 measures long, made up of an eight measure and six measure phrase.
Lyrics
A Inanay gupu wana, inanay gupu wana.
Ay ay ay oola.
Oola oola.
Oola ay yippy yay yippy yay.
B Goowana goowana goowana goowana goowa_ choo!
Goowana goowana goowana goowana goowa_ choo!
Learning goal
Play/clap/tap different levels of beat for section A and B:
Exaggerate the melodic differences between sections by playing steady beat for ‘inanay’ and micro beat for ‘goowana’.
Use short excerpts to experience this contrast side-by-side.
Activity
Create Goowana variations:
The B section is simple, fun and theatrical. It has incredible potential for movement/instrument variations.
Choose a movement, build energy, finish with a climactic gesture.
- rub hands together + spin
- crouch + jump
- fast feet + stretch up
Choose an instrument technique, build energy, finish with downbeat-stop on ‘choo’.
- eggs: spin + pickup
- sticks: scratch + tap floor
- drums: peeka + boo
The B section is also well suited for lyric variations. Choose a repeated word, four syllables or less, and a related word to end on (one syllable).
- strawberry, strawberry, strawberry, strawberry, strawberry, JAM!
- kitty cat, kitty cat, kitty cat, kitty cat, kitty cat, MEOW!
- big truck, big truck, big truck, big truck, big truck HONK!
Create Goowana variations:
The B section is simple, fun and theatrical. It has incredible potential for movement/instrument variations.
Choose a movement, build energy, finish with a climactic gesture.
- rub hands together + spin
- crouch + jump
- fast feet + stretch up
Choose an instrument technique, build energy, finish with downbeat-stop on ‘choo’.
- eggs: spin + pickup
- sticks: scratch + tap floor
- drums: peeka + boo
The B section is also well suited for lyric variations. Choose a repeated word, four syllables or less, and a related word to end on (one syllable).
- strawberry, strawberry, strawberry, strawberry, strawberry, JAM!
- kitty cat, kitty cat, kitty cat, kitty cat, kitty cat, MEOW!
- big truck, big truck, big truck, big truck, big truck HONK!
- Kwaheri
Context
Kwaheri is a Swahili word for goodbye. In East Africa the song is sung at going away parties, expressing hope for a future reunion. However, like the dual use of ‘aloha’ in Hawaiian culture, ‘kwaheri’ is used as both a greeting and a farewell. This song has Minor tonality and provides a great example of syncopation. When tapping a steady beat and chanting the rhythm of kwa-he-ri, the syllable ‘ri’ is spoken in between the steady beat, on the ‘offbeat’.
Phonetic transcription and translation (repeat all lines two times)
Kwa-heri, kwa-heri, mm-pen-si kwa-heri.
Tu-ta-na-na tena, tu-kee-ja-lee-wa.
Goodbye, goodbye, dear loved one goodbye.
We will meet again, be happy to reunite.
Learning goal
Change instrument technique when the melody/phrase changes:
Choose two contrasting instrument techniques.
- eggs: shake/click, tap/roll, spin/hide
- sticks: click/scratch, drumroll/fly, roll/tip-toe
- drums: roll/drum, hat/rub, peek-a-boo/spider-fingers
Activity
Practice daily living skills
Brainstorm tasks/actions with two or four distinct steps.
Two steps:
- put on shoes: put on, tie/velcro/buckle
- go to sleep: yawn, sleep
- eat an orange: peel, eat
Four steps:
- drink a juice box: separate straw, unwrap straw, straw in juice box, drink
- drive a car: seatbelt, start car, hands on steering wheel, drive
- wash hands: soap pump, scrub, rinse, dry
Alternate between gestures in intervals of four/two/one bars.
Kwaheri is a Swahili word for goodbye. In East Africa the song is sung at going away parties, expressing hope for a future reunion. However, like the dual use of ‘aloha’ in Hawaiian culture, ‘kwaheri’ is used as both a greeting and a farewell. This song has Minor tonality and provides a great example of syncopation. When tapping a steady beat and chanting the rhythm of kwa-he-ri, the syllable ‘ri’ is spoken in between the steady beat, on the ‘offbeat’.
Phonetic transcription and translation (repeat all lines two times)
Kwa-heri, kwa-heri, mm-pen-si kwa-heri.
Tu-ta-na-na tena, tu-kee-ja-lee-wa.
Goodbye, goodbye, dear loved one goodbye.
We will meet again, be happy to reunite.
Learning goal
Change instrument technique when the melody/phrase changes:
Choose two contrasting instrument techniques.
- eggs: shake/click, tap/roll, spin/hide
- sticks: click/scratch, drumroll/fly, roll/tip-toe
- drums: roll/drum, hat/rub, peek-a-boo/spider-fingers
Activity
Practice daily living skills
Brainstorm tasks/actions with two or four distinct steps.
Two steps:
- put on shoes: put on, tie/velcro/buckle
- go to sleep: yawn, sleep
- eat an orange: peel, eat
Four steps:
- drink a juice box: separate straw, unwrap straw, straw in juice box, drink
- drive a car: seatbelt, start car, hands on steering wheel, drive
- wash hands: soap pump, scrub, rinse, dry
Alternate between gestures in intervals of four/two/one bars.
- Lukey's boat
Context
Lukey’s Boat is a song from Newfoundland with many different verses, all discussing features of a boat. Written in the style of a sea shanty, the song was written to mock someone named Lukey about being obsessed with his boat. The form of this song is unique, twelve bars long with a rhyme in the second phrase. In this song, the first and third phrases don’t move the plot, all the action happens in the second phrase.
Lyrics
Well Lukey’s boat is painted green, ha__ me boys.
Lukey’s boat is painted green, it’s the prettiest boat that you’ve ever seen.
Uh-huh, me boys a-riddle-i-day.
While the song has many other verses, direct your energy toward creating new lyrics (details in the Activity section).
Learning goal
Clap/stomp/freeze halfway through the second phrase:
Lukey’s Boat is a song from Newfoundland with many different verses, all discussing features of a boat. Written in the style of a sea shanty, the song was written to mock someone named Lukey about being obsessed with his boat. The form of this song is unique, twelve bars long with a rhyme in the second phrase. In this song, the first and third phrases don’t move the plot, all the action happens in the second phrase.
Lyrics
Well Lukey’s boat is painted green, ha__ me boys.
Lukey’s boat is painted green, it’s the prettiest boat that you’ve ever seen.
Uh-huh, me boys a-riddle-i-day.
While the song has many other verses, direct your energy toward creating new lyrics (details in the Activity section).
Learning goal
Clap/stomp/freeze halfway through the second phrase:
Lukey’s boat is painted green, it’s the prettiest boat that you’ve ever seen.
This is a downbeat-stop, emphasized by a dramatic sound or gesture.
Activity
Write original lyrics that follow the original rhyme scheme
Lukey’s boat is painted green
It’s the prettiest boat you’ve ever seen
Start by keeping the first line, changing the color, and choosing a word that rhymes with
your selected color. Use this rhyming word to inspire the remaining lyrics for line two.
Lukey’s boat is painted red
- I like to sleep when I’m in bed
- Help me find my needle and thread
- I can’t eat toast, I’m out of bread
The lyrics do not need to make sense in context with Lukey’s boat, this step to practice identifying rhymes and affiliated lyrics.
Examples of original lyrics:
This is a downbeat-stop, emphasized by a dramatic sound or gesture.
Activity
Write original lyrics that follow the original rhyme scheme
Lukey’s boat is painted green
It’s the prettiest boat you’ve ever seen
Start by keeping the first line, changing the color, and choosing a word that rhymes with
your selected color. Use this rhyming word to inspire the remaining lyrics for line two.
Lukey’s boat is painted red
- I like to sleep when I’m in bed
- Help me find my needle and thread
- I can’t eat toast, I’m out of bread
The lyrics do not need to make sense in context with Lukey’s boat, this step to practice identifying rhymes and affiliated lyrics.
Examples of original lyrics:
- I ate mac and cheese today
- Playing games is so much fun
- Ride the horsey into town
- I have some cozy socks
- Mi Chacra
Context
Mi Chacra is a song from Argentina, and the title translates to ‘my farm’. This song introduces the sounds of different farm animals. Some recordings treat this as a cumulative song, repeating the middle section to review the animals introduced in previous verses. Cumulative songs are great for practicing working memory. This song challenges us to recall the animals, their corresponding movements/sounds, and the order they were introduced.
Lyrics and translation (repeat all lines two times)
A Vengan a ver mi chacra que es hermosa.
B El pollito hace asi, peep peep.
C O va camarado, va camarado, va o va o va.
Come and see my farm it is so beautiful.
Little chicken goes like this, peep peep.
Oh come my friend, oh come my friend, oh come oh come oh come.
Other animals and lyrics from the recording:
el patito – little duckling
el caballo – oh the horsey
y la vaca – and the cow
y el burro – and the donkey
el gatito – little kitten
Learning goal
Play/clap/tap the rhythm score below:
Mi Chacra is a song from Argentina, and the title translates to ‘my farm’. This song introduces the sounds of different farm animals. Some recordings treat this as a cumulative song, repeating the middle section to review the animals introduced in previous verses. Cumulative songs are great for practicing working memory. This song challenges us to recall the animals, their corresponding movements/sounds, and the order they were introduced.
Lyrics and translation (repeat all lines two times)
A Vengan a ver mi chacra que es hermosa.
B El pollito hace asi, peep peep.
C O va camarado, va camarado, va o va o va.
Come and see my farm it is so beautiful.
Little chicken goes like this, peep peep.
Oh come my friend, oh come my friend, oh come oh come oh come.
Other animals and lyrics from the recording:
el patito – little duckling
el caballo – oh the horsey
y la vaca – and the cow
y el burro – and the donkey
el gatito – little kitten
Learning goal
Play/clap/tap the rhythm score below:
Activity
Practice the cumulative part:
Focus only on the B section.
Choose an animal (expand beyond farm animals) and sing or chant
“little ___ goes like this ___, ___”.
Make animal demonstrations silly and exaggerated so they are memorable.
Add animals and review the previous ones.
Practicing memory recall requires lots of repetition and pauses to prompt “what comes next” – celebrate any information that is recalled: a movement, a sound, even if it’s out of order
Practice the cumulative part:
Focus only on the B section.
Choose an animal (expand beyond farm animals) and sing or chant
“little ___ goes like this ___, ___”.
Make animal demonstrations silly and exaggerated so they are memorable.
Add animals and review the previous ones.
Practicing memory recall requires lots of repetition and pauses to prompt “what comes next” – celebrate any information that is recalled: a movement, a sound, even if it’s out of order
- Silver moon boat
Context
Silver Moon Boat is a folk song from China that is not popular in China. The song was found in a book by an American music educator, translated, and popularized among educators in the US. This song has Minor tonality. While Minor is often described as sad or mournful, this can be an oversimplification. Minor can imply shadowy, thoughtful, uncertain and much more. In this song, the Minor tonality evokes the stillness and introspection of nighttime. The two phrases in section A are melodically identical and the two phrases in section B are nearly identical.
Lyrics
A Little silver moon rides the sky like a boat,
past the twinkling stars it will float, lightly float.
B Sail little moon boat to the west,
Sail little moon boat while I rest.
Learning goal
Play/clap/tap and alternate every four/two/one bars:
Choose two contrasting ways to keep a steady beat.
- clap / stomp
- tap nose / pat lap
- pat chest / nod head
- pat head / pull ears
Change the pace at which you alternate (four/two/one bars).
Activity
Create a story dance:
The four phrases of this song have an narrative arc.
1-introduction, 2-rising action, 3-climax, 4-resolution
Start by choosing a theme, imagine a narrative related to that theme, and divide that narrative into four distinct stages.
- butterfly life cycle
1-caterpillar, 2-cacoon, 3-butterfly flies, 4-butterfly lands
- trick or treat
1-put on costume, 2-knock on doors, 3-show off candy, 4-eat candy
- making dinner
1-chop ingredients, 2-cook ingredients, 3-eat dinner, 4-do dishes
Silver Moon Boat is a folk song from China that is not popular in China. The song was found in a book by an American music educator, translated, and popularized among educators in the US. This song has Minor tonality. While Minor is often described as sad or mournful, this can be an oversimplification. Minor can imply shadowy, thoughtful, uncertain and much more. In this song, the Minor tonality evokes the stillness and introspection of nighttime. The two phrases in section A are melodically identical and the two phrases in section B are nearly identical.
Lyrics
A Little silver moon rides the sky like a boat,
past the twinkling stars it will float, lightly float.
B Sail little moon boat to the west,
Sail little moon boat while I rest.
Learning goal
Play/clap/tap and alternate every four/two/one bars:
Choose two contrasting ways to keep a steady beat.
- clap / stomp
- tap nose / pat lap
- pat chest / nod head
- pat head / pull ears
Change the pace at which you alternate (four/two/one bars).
Activity
Create a story dance:
The four phrases of this song have an narrative arc.
1-introduction, 2-rising action, 3-climax, 4-resolution
Start by choosing a theme, imagine a narrative related to that theme, and divide that narrative into four distinct stages.
- butterfly life cycle
1-caterpillar, 2-cacoon, 3-butterfly flies, 4-butterfly lands
- trick or treat
1-put on costume, 2-knock on doors, 3-show off candy, 4-eat candy
- making dinner
1-chop ingredients, 2-cook ingredients, 3-eat dinner, 4-do dishes
- un poquito cantas
Context
Un Poquito Cantas is a song from Spain that celebrates life’s simple pleasures. The song invokes a canary as a role model for how to live life joyfully and repeats the nonsense word ‘lelola’ to project silliness. The song has Minor tonality, challenging the narrative that Minor only implies sadness. The song also has syncopation, with the lyrics “un poquito” coming off a short rest on the downbeat.
Lyrics and translation
Un poquito cantas, un poquito bailas,
un poquito lelola__ como un canario.
Lelola, lelola, lelo, lelo, lelola.
Lelola, lelola, lelo, lelo, la.
A little singing, a little dancing,
a little silly, just like a canary.
Lelola… (same as original)
Learning goal
Play/clap/tap the downbeat and speak “un poquito”:
‘Jumping off the downbeat’ is a method that improves the accuracy of the lyric entrance. In addition to play/clap/tap, try a sharp breath in through the nose.
Un Poquito Cantas is a song from Spain that celebrates life’s simple pleasures. The song invokes a canary as a role model for how to live life joyfully and repeats the nonsense word ‘lelola’ to project silliness. The song has Minor tonality, challenging the narrative that Minor only implies sadness. The song also has syncopation, with the lyrics “un poquito” coming off a short rest on the downbeat.
Lyrics and translation
Un poquito cantas, un poquito bailas,
un poquito lelola__ como un canario.
Lelola, lelola, lelo, lelo, lelola.
Lelola, lelola, lelo, lelo, la.
A little singing, a little dancing,
a little silly, just like a canary.
Lelola… (same as original)
Learning goal
Play/clap/tap the downbeat and speak “un poquito”:
‘Jumping off the downbeat’ is a method that improves the accuracy of the lyric entrance. In addition to play/clap/tap, try a sharp breath in through the nose.
Fun fact:
Translations often result in syllabic differences from the original melody. Either the melody is modified to accommodate fewer syllables, or a syllable is stretched across additional notes to maintain the original melody.
“un poquito” is four syllables while “a little” is only three syllables
Translations often result in syllabic differences from the original melody. Either the melody is modified to accommodate fewer syllables, or a syllable is stretched across additional notes to maintain the original melody.
“un poquito” is four syllables while “a little” is only three syllables
Activity
Create lyrics based on a theme:
This song has no rhyme scheme, allowing us to sing about thematic choices without concern for rhyming.
Choose a theme, choose three things, plug them in and sing. Writing a concluding lyric is optional and easily replaced by a singing syllable (dee, bum, la, too, hey).
- a little green, a little yellow, a little red
the colors of a traffic light
- a little sunshine, a little clouds, a little rain
that’s the weather today
- a little turkey, a little stuffing, a little pumpkin pie,
yummy yummy yummy yum
Create lyrics based on a theme:
This song has no rhyme scheme, allowing us to sing about thematic choices without concern for rhyming.
Choose a theme, choose three things, plug them in and sing. Writing a concluding lyric is optional and easily replaced by a singing syllable (dee, bum, la, too, hey).
- a little green, a little yellow, a little red
the colors of a traffic light
- a little sunshine, a little clouds, a little rain
that’s the weather today
- a little turkey, a little stuffing, a little pumpkin pie,
yummy yummy yummy yum
