How to Teach Music to Children - for teachers, parents, educators and facilitators | SoundBox MusicLab | Skillshare

How to Teach Music to Children - for teachers, parents, educators and facilitators

SoundBox MusicLab, Music for everyone

How to Teach Music to Children - for teachers, parents, educators and facilitators

SoundBox MusicLab, Music for everyone

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29 Lessons (1h 23m)
    • 1. How to teach music to children?

      3:00
    • 2. Welcome Song

      2:21
    • 3. Time to Listen and Repeat (a)

      2:02
    • 4. Time to Listen and Repeat (b)

      1:18
    • 5. Song-Twister

      1:26
    • 6. Shake and Dance

      3:54
    • 7. Balloon's Dance

      2:29
    • 8. Bubbles

      3:36
    • 9. Color the Sound

      4:00
    • 10. Time to Relax

      2:04
    • 11. The End Song

      2:28
    • 12. How to teach music to children - Topic Outline

      1:49
    • 13. Principles - Variety and contrast

      4:03
    • 14. Principles - Don't talk too much

      2:05
    • 15. Principles - Embrace Students mistakes and create a good atmosphere

      1:55
    • 16. Principles - Be a model

      4:11
    • 17. Methods and Strategies - Hands on!

      4:38
    • 18. Methods and Strategies - Whole-Part-Whole

      2:28
    • 19. Methods and Strategies - Learning friendly classroom

      1:11
    • 20. Methods and Strategies - Interdisciplinarity

      3:14
    • 21. How to Plan a Music Lesson

      1:29
    • 22. Routine activities

      5:33
    • 23. Surprise activities

      5:01
    • 24. Recap and example of a music class plan

      2:15
    • 25. Repertoire

      4:40
    • 26. FAQ I

      2:41
    • 27. FAQ II

      4:11
    • 28. FAQ III

      1:26
    • 29. Class Project

      1:31
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About This Class

In this class, we will teach you how to plan a Music Lesson for children based on student-centered learning methods.

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Meet Your Teacher

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SoundBox MusicLab

Music for everyone

Teacher

 

SoundBox MusicLab is a music project founded by two music teachers: Inês and Miguel.

 

Inês Teixeira
conductor and music teacher

Inês Teixeira, from Braga, Portugal, is hailed by Ludo Claesen as a “very talented and driven conductor”. She currently collaborates with Opera Zuid (The Netherlands) and conducts the Crossed Paths of Maastricht and Female Voices of Maastricht, both based in Maastricht. As a music teacher, she founded the community music project SoundBox MusicLab.

This year Inês was awarded a grant by the GDA Foundation (Portugal) to study her last year of the master's degree in Choral Conducting at the Conservatorium Maastricht, in Ludo Claesen’s class.

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Transcripts

1. How to teach music to children?: - Hi , everyone. My name's in If you go and fierce on both music lab on and we're both specialized music teachers. We both have a master degree in music education and in a performance on we've been teaching people off all age groups for the past five years. This class is for everyone that works with Children. I know, like teachers, parents, facilitators, indicators. It doesn't matter as long as you work with Children and you can use it even if you don't teach music. So we will talk about music and chair our methods, our activities and our ideas how to teach music Children. And although this is about music, uh, the strategist can be adapted to any other subject. So if you're not a music teacher, you can also have some ideas from this class. The main goal is that you can create your own music class on. We are giving you the tools you need before we start. We just want to tell you that everything you're going to hear is science based. We we studied an additional psychology and we learned a lot about it before with our teaching, and we're still learning about your feel reading a lot about it. So everything as science based everything is proved by science and we are sharing it because it really works. It works for us as teachers. It works from students off course. And we wanted Teoh share with you because it really works. And so the first part of this glass is a selection of exercises and activities that we usually used to teach music. We invited to watch it before we share the theory with you so you can understand better. What are the concepts that we are talking about? So here we go. Thank you for watching on and let's go. 2. Welcome Song: - way , - No . 3. Time to Listen and Repeat (a): time to listen. Any repeat. Listen. Repeat. Bye Bye bye back. But the back bad Baba. Uh huh. Oh! Oh, Look, But that that back? Uh huh. Bob, Uh, that Oh. 4. Time to Listen and Repeat (b): time to listen and repeat time. Listen and repeat. 5. Song-Twister: t get sick way , way. 6. Shake and Dance: No ready, I think Thing of Theo . 7. Balloon's Dance: - thing . 8. Bubbles: I just so just 9. Color the Sound: Scream Spring for Me Spring, Spring, - spring , Spring, Spring Spree Spring , spring, spring, spring. 10. Time to Relax: you, - you 11. The End Song: - thanks . It was next time. Thank you. Thank you for being here. Thank you for listening to our songs. Figure for making music Way to see you. Way Hope Okay around. 12. How to teach music to children - Topic Outline: As I said, you just watched a compilation off exercises. We usually using our lessons. These exercises are just examples that we wanted to share with you before we tell you more about how to teach music to Children on, and we will used his examples to explain you better how it works to make it easier, we organize discourse in different topics. We will start by telling you the principles that we use when we learned our lessons, then the methods and strategies that we use as well, um, how to plan your classes and finally, how to choose the representing house organized the repertoire. These are the things we we believe are the most important when you are teaching kids on and , um, it we decided to include a final section off answering questions because we know that some of these things bring questions to your mind. So we decided to anticipate your questions and try to answer it, but feel free in the end. If you want to ask questions or to share your thoughts, just feel free to do it 13. Principles - Variety and contrast: let's start by the principles that we follow in our lessons. Variety and contrast. Variety and contrast for me is one of the most important things when you work not only with kids but when you teach. In general, it's not a music thing. It isn't general thing. It's a principle that you can apply to your physical education lesson, science lessons. It doesn't really matter. It's a really important principle that makes the lessons easier for the people that they're learning not only kids, but paddles everyone. The contrast highlights the things you want to teach. You can teach what forte ease without teaching what piano means. So this is a pretty simple yes, and this is also what makes the lessons not boring, because we know that kids usually get bored easily. So this is one of the principles we used to make the lessons more more exciting on. It's also a very important thing Teoh have in your mind when you were put very music lesson for kids because one of the things that exist the most is that teachers sometimes only use Children songs because they're teaching Children so they only choose Children songs. The problem is that the Children songs are more or less all the same, so they have the same characteristics. You can see the same patterns in many, many Children songs on when you only use Children songs you are only using. You are only sharing with the kids, a small part off the music world. That's the same as when they're learning to talk, to speak. That's the same off only speaking with them with the present and the past sins, for example, because their kids and they don't understand that, too, speak. I don't know. We'd all the grammar and everything. So this is a very important things. Kids need to be stimulated, and that means that we should not only use Children songs we should be. We should consider that they're learning, so they need the best music possible. So remember, Children can sing more than Children songs. Children can sing anything. They can sing difficult rhythms. They can Bence in difficult metrics, taken Dickenman, singing different languages. They can't do anything. Gets can improvise. Kids can compose, kids can do many things. They don't need to just sing Children, so they're able to do much more than that Yes, and most of this is up to the teacher. And that's why we were talking about all these things. And we're going to teach you how to plan a lesson in order to be able to accomplish this. This kind of things, some studies show that gets developed, their music aptitude until their nine year old. That's means that it's up to US teachers educators to stimulate them. Teoh develop That's music aptitude. And that doesn't happen if we don't give them the most complex, UH, sounds or genders or re thumbs, or as it's about using their or the right tools to teach them properly. 14. Principles - Don't talk too much: this leads us to the second principle that is, don't talk too much. We see this all the time. Teachers talk too much. Teachers explain and explain again and re explain again everything. And sometimes it's too much. So don't talk too much. Let Children experiments led Children dry. Let the Children do the things on and use only clear on a few words to explain what they need. Yes, and don't be afraid to try and to do things on. Wait for them Teoh, to answer to what you're doing. So this is going to make sense out off the situation. Sometimes you provoked them to do something, and they answer, and sometimes you are building an activity. We don't talking too much, and that's what we mean. Don't talk different because some signs kids are just tired off so many words. So when we're saying yeah, you can use a variety and contrast. You can include the modes. You can include complex scales and rhythms. It doesn't mean that you have to explain the kids. If we are talking about the three year old, we're not teaching them the music theory that that just means that you can include that in , um, experimental way in a way that they try it without explaining it. Just doing this is very important. If you want to explain something, imagine that they're older on. They can already learn the theory. Don't tell too much again. Let em. It's let let them dry. Let them experiment. And then when they already know it, because it's it's there. They already understand it by experience. Then you can at the label, get other theory. 15. Principles - Embrace Students mistakes and create a good atmosphere: so the next two principles are related to each other. Uh, so we're talking about embraced students mistakes and to create the best learning environment possible. So in this way, students learn that even if they do a mistake, it's not pointed out immediately, and they are more. They have more freedom to try things. When we point out the students mistakes all the time, we are teaching them that they have to be perfect and nobody's perfect. So we don't want them Teoh to have that thing over them because overwhelming to try to be perfect all the time in every subject. So I like to think about our lessons as like a lab where they can try and fail and try and feel and try and feel, and then they will try and, well, it worked. So this is a very important, very, very important principle for us. Embrace the students mistakes because many times their mistakes are the best way to to learn them the things you want them to learn. So sometimes he thought about a way off teaching them the things and it didn't work. But then they tried and they made a mistake and then that was the right way to get to the point you wanted. So that's very important to understand what's going on. Also, because you need to understand what's the problem. To fix the problem so they don't commit them the same mistake? Yes, And this this way of seeing mistakes as a in a positive way well, for sure create a better learning environment in your classroom. 16. Principles - Be a model: finally be a model. Be a model for your students. Remember that only a portion off. What they learn is by what you said. So most off, the things they learn is because they have Senate somewhere because their parents do it because you as a teacher, you did it because they are learning, basically, by imitating what they see. So I'm trying several times to see what happens if they do, and we have things. We have an example that we see all the time. We have seen it in many cultures in many different institutions. We were seeing all the time, and it's a PD. So many times teachers are screaming with those students. Teachers are screaming, asking for the students to stop screaming. This So that's that. That's it. That's bad. We cannot be perfect. I know we cannot be perfect. I said that before. We don't want the students to learn that we need to be perfect, but we can be extra careful about our attitudes and about our words. Because, for example, if I am disrespectful with someone, we don't believe we had a student in front of other students for, for example, if I point outs and miss, take off my students in a harsh way. I'm showing on telling and teaching my students that's they can do that. They can do that. So although we cannot be perfect, it's better if we try to think about your words carefully. Onda about our attitudes so we can actually teach the Stevens better. In musical terms, that means that, uh, you cannot, for example, use a bad technique to sink because then you are teaching your students how to sing in a wrong way, and they will. For sure, you meet a to. And it's not the first time, for example, that I start working with the class on and they all say with the weird Librado, it's very important that in this kind of lessons that the students are very focused on the teacher, at least in the beginning, when they are starting to imitate. It's very important that you do things in the right way, because even if you've done it 1000 times, you have to. They have to see it like it's the first time you're doing it. It's amazing. It's very important that you are expressive. For example, it's very important that you used the correct turns to describe something because those are the things they will learn. So let's be expressive if we want them to be expressive. Let's use the correct technique to sing if we want them to develop the correct unhealthy technique to sing. And let's be extra careful about our acts about our words about everything we do. And one suggestion I have is to record yourself, record yourself teaching once in a while just to check out, just to see how, what am I doing and you will see. You will ask yourself like Why did I do that? Why? There's a lot of things that we do that we don't realize, and that's that's very important to to analyze into correct if it's possible or wherever we need to do. It's It's very important that we watch ourselves, and that sets so the next step is methods and strategies. We'll tell you more about our strategies and our methods that we use in our lessons. So that's it. 17. Methods and Strategies - Hands on!: methods and strategies. Our methods and strategies are all students entered. We want the learning to be student centers. So we don't We cut with the teacher thing that the teacher is the the one who knows everything and the students are there just to listen. We said it before. We want the students to try it, to make the mistakes too. And everything we do is about them is about the students. And we are more like facilitators and nose teachers in a way. So we'll start with hands on, hands on. It's It's about learning through through it experience and we've said it before. But it's really important that you let your students then see electricity seeing alleged students just try everything and see how they react and also go from there. And even if you plan a lesson learnt how to see what they are doing and adapt your lesson in small steps that you can use what they are, what they are giving you, because sometimes they give you a really nice things that you can use. This is another thing that works with kids but works with anyone adults, elderly It doesn't matter it words with everyone. Most of the people that come to me because they have problems with music theory is because they learned through theory and that's it. They never experienced the things. So it doesn't matter what age are. Your students. They have to dry before they learn the theory. They have to do the things they have to experiment so they can label the knowledge they have acquired two in a easy way. So you mentioned the situation. You have to teach them the major in the minor scale. And we are now talking about maybe older students. Okay, we have to learn the major and the minor scale their teachers. That might teach the theory the intervals between the notes and expect the students to understand its. Maybe some students will understand it, but they will not really. Uh, no. It's like in their souls, they will not really understand. It doesn't know the theory. Yes, until they experience, it just won't happen on with the major. And minor Scale is very is not so complex because it's just two things, and by the contrast, it's moralists easy. But when it comes to more complicated things like Moz, there are more moves than major and minor scale. And when it comes to more complex things, students need to do it before they label it. So before they learned the Dorian mode, or whatever moved they need to sing songs in Korea, they need to play songs in Durian. They need Teoh no, to be familiar with the Dorian that makes the league, and it doesn't matter before day label. It's as, oh, this is the 1,000,000,000 moves because when this is a process, when the process is to experiment and then learning the theory, it is natural, as so natural as learning to speak in your mother, your mother, it's on. You learn to speak by imitating you, aiming mutate your parents and your siblings and love a black and done. You learn the theory. You learn the grammar or you learn Teoh right on to read years after you learn to speak. So it's the same thing with music. This is the most organic and natural process First hands on, then the theory 18. Methods and Strategies - Whole-Part-Whole: whole part whole is a wide concept. You can use it again. This strategies are vory that you can use it in many different fields the whole part whole strategy. Um, it's OK if it says that you have to start by the whole and then teach the parts on then the again the whole in a meaningful way. So the whole the first hole would be experience. Try and fail. Um, giving it a context, making some sense out off something that they don't know yet. Then you explain it part by part. You give it some sense. You teach them how to how to play, how to be disseminated. You teach them the activity part by part and then the last hole will be meaningful. It will be much interesting than the 1st 1 But the 1st 1 was very important to reach that second hole. Yes, because if you start immediately, buy parts, for example. It's usually very confusing for Children and they don't have the context. Yes, they don't have the context. It's like you start singing a song. For example. I will give you one on example. I want to teach you a song and I say repeat after me, but, uh, and he repeats. You have no idea if I if I'm seeing us a major, some minor? Some, um I don't know. You don't You have no idea what I'm doing. But if I If I sing the whole song when you repeat the third idea, you already know the context. And actually, I will not have to do with in such a small parts because they already know the context. Probably they sang like a sultan a major aqui before. So they will bring their previous knowledge to this new learning. So that's a 19. Methods and Strategies - Learning friendly classroom: learning friendly classroom. Learning from the friendly glass room is very curious, Um, thing. Sometimes we get to the schools and we entered the rooms on there. It's a well, everything is tables and chairs everywhere on we have no space to teach music. And we cannot teach music if we don't have space, because music is movements. So the disposal of the room is very, very important for this kind of lessons. So you should really adapter classroom to what you are doing to the lesson that you were giving totally and one of the things I will talk about that later. But make sure that everything is ready for the lesson. You don't want Teoh get in the room and then change the furniture with everything, so make sure everything is ready. So as soon as the students get in the classroom, everything is ready. You can start making music from the first minutes 20. Methods and Strategies - Interdisciplinarity: interdisciplinary. You can use interdisciplinary ity as a strategy to make your lessons more interesting. So with not all about music and all about the same but also to bring force some learnings from other subjects on. You can do this, work together in collaboration without other teachers. So maybe, uh, I don't know. The Spanish teacher can can use some music teach Spanish on you can, maybe seeing a Spanish song and you are helping the Spanish teacher. So this collaborative work between teachers, it can make your lessons much better and much interesting. And it's actually really important because then the students are not like putting the new things that they're learning in different boxes. But they will understand that everything is related so you can add some maths. Teoh your lesson by doing an activity that includes I don't know, calculations that they have Teoh make a team like five students and want me that they have one minute to gather five the five groups off five people, for example. And these guys are really little things off interdisciplinary t. But you can go much further. We'd project based things dads, you prepare among your call their teachers. Yeah, there are many other strategies, such as team based learning, problem solving challenges, games. There are many ways off teaching on, and one of the most important things is to be creative, to be flexible, to see what your students need. Teoh be aware that every students is different on every kid is different, and we have so many different methods, so many different strategies that we can use on. It's a pity that we always use the same 34 approaches. So let's be creative and let's make the most out off these variety that we have, yes, and it's okay to have a base that you work on. But it's really important that you improve that and that you can adapt to what's happening around in your in your lessons. So the base that you have to work is great, but if you only work with the base for the whole year, then your lessons will just get boring, that's for sure. To you need to adapt and see what the students you have in front of you and what can you do with them, how how they react to one thing or to another thing, and use that, uh, to make your lessons better 21. How to Plan a Music Lesson: Now let's talk about how to plan music lessons. Su plan is very important. You have to plan in short, medium and long alter, and we cannot blend the next lesson in the same week. You will give the lesson because it doesn't work. It doesn't work. Maybe it works in a short turn, but in long term it doesn't work because there are some skills that the students can only learn in the long term. So if you don't think about it before then it's too late. Then you will feel does they could have learned so much more. So it's very important to have a long term blend. We the skills you want them to learn and to develop ends. Then you're It's much easier to blend your glasses because those will be orientated. Teoh your aim so and you can adapt your main goals through the year. It's just a thing that you have to work on, and if you see that it's too ambitious or it's too easy for them, whatever it is, you can just adapt during the year. But it's very important that you have goals that you can reach at the end of you 22. Routine activities: so one of the most important thing for us as to create a routine we we showed before some of exercises that we we do like every lesson. Like the welcome song. The welcome song for us is a routine active activity. They entered the room, they sit down or it depends about in the depending on the class in the school and the ages of the kids. But most of the time they seats in a circle and we sing the welcome song on, and they know the lesson is starting. So this is very important because it's a routine and because from the moment of the welcome song, until the end of the lesson, the rules of the music lessons our own. So they know what rules to follow. They know what's going on. It's not confusing. It's very methodical. We don't want you to have only like routine activities. We suggested to have routine activities and surprise activities. So what activities are like the time to listen and repeat one that IHS It can be done every every lesson and it's infinite. You can do so much out of that activity that you can really use it every lesson on and it's not boring. But there are other activities that you might want to include in your routine for a short term or all their activities that you would like to include. For a medium term, you can be flexible. We tried Teoh O B C. The contrast and variety principle again because it's very boards and on because it makes your lesson interesting, productive, effective. Do not worry and you can also have the same routine or basically the same routine for the whole year. This doesn't mean that your lessons will be all the same. This means that you can add layers to your own activities so you can do the same activity in the beginning of the year and at the end of the year is the same activity, but much more complex, and you can see how they evolved through the years. We can give an example, maybe the stop and go activity for someone in silence. I don't know. How do you call it That's game that when there's sounds, they then so they move and when their silence they stop. This activity, for example, could be a routine activity off course If you do this, someone silence activity all over the year. It becomes boring. But what we do is to add layers to the same activity, and they become more and more complex. Sometimes the layers are added by the students because they are spontaneous and they bring new ideas and they bring new layer sickness. That's when that's where you need to be really sharp and be ready to adapt your moment lesson. So what? What the Children give you that is very important because if you're just going to follow what you want to do, and they're not listening to what they're doing, you were excluding a very important part of the lesson, which is their input, which is but many times very, very good. So, for example, you start to decide this home. That sounds if we listen to it. They know, for example, that they can walk like, really, really slow, like they were would be fairies, for example. So at this moment they know they have to march, for example, and then you already have four things that you can use. You have music, you have silence. You have the very high notes in a very low notes and this is already something more complex and it can just keep adding and adding things during the year as they get good at doing this activity. And they many times want to add characters emotions on and and you can use it also to teach the things you want to teach, like the piano on the 40 the dynamics in general, you can use it to teach many things. You can use interdisciplinary ity here. Yes, everything is possible with the sec 70. It depends on how creative you are. And if you are really creative, you will see that your students are even more creative and they will bring you so many possibilities. So use them because, done, you haven't infinite activity. 23. Surprise activities: about the surprise activities it can be anything, sometimes really did to music, sometimes with music, but not only with music, for example, you can ring a new instrument so they can play. You can bring a new dance you can bring. Um so, bubbles we showed you the soap bubble before you can bring balloons you can bring. I don't know anything that moody. What motivates your Children, anything that is surprising. Otherwise it doesn't work and anything. That off course, uh, is, um, in line with your aims because one of the most important things is that we don't forget what we want to teach. Sometimes it's easy, like you see on the Internet a very cool exercise, and you are like I'm using this next glass. But then you'd even ask yourself, What do I want to teach you this activity, and that's very important. Don't forget holding wanted teach with what you do. We haven't advice. So about the surprise activities when a surprise activity is very exciting and surprising. Maybe you want to put its Indian about the lesson like not the last activity, but maybe before that, because even before a relaxing activity yeah, Sometimes we finish with a relaxing activity. And then the final song, for example, I would put the surprising So we're exciting activity before. That's because a super exciting activity brings their energy of that. They will be, like, super unstoppable. Yes, so it's very important that you use It's, uh, you know, wise way. Otherwise, it can be very imaginative uses in the beginning. Then their energy drops because they already had that moment of excitement and everything. And then everything looks boring because the first thing was so cool. So maybe use it in the of course, wise way. So it's like the climax of your lesson. Instead off I didn't know instead of, uh, super exciting welcome. And then everything looks that yes, it's important that you you build your your routine in a way that it has a beginning in the end and has something in the middle that grows. So you need to be very clever how to do this. That's why we're giving all this advice is and all all our experience. So you know that, for example, a surprising activity in the beginning can be a problem. So you shoot avoided if it's too exciting and it should live into the end way. Work with babies many times and toddlers on. And this is the only way off working with them. Because as soon as you give them their for favorite thing, you cannot take it away. So you cannot give them the survives activity and then do something else because it will start crying. And you gonna do anything anymore. So it's very important to build up on if they understand if if they come to your lessons every week, for example and they understand that you are taking something away to giving them to give them something better. You will never have problems with managing this. I mean, sometimes they can cry a bit because you are taking away the bubbles. But they know you will give the balloons. I don't know, for example, and they learn how to share with each other also, which is also very important. Yeah, and to be patient and to you. And they understand the roof at some point. So off course, these routines take time. This take time. This takes time to for the students to adopt for you to that, because sometimes you you think? OK, this is my routine, but it doesn't work with those kids, so you have to be flexible again. Intention? So yeah, it's It can be tricky, but as soon as you understand. Okay, this is my routine. This works. It's very pleasing it as a teacher and, of course, for the students as well. And again, if you have any doubts, you can always send us email or contact us to know more about what you're trying to do. And we will help you as much as we can. Yeah. 24. Recap and example of a music class plan: So here's a recap of what he just said and the little example of routine that you can use your classes. So we like to start by a welcome song. Then you can use a repetition exercise. In this repetition exercise, you can had emotions. Character is some acting exercises, so you could be very creating creative and build up the sex since last and you can teach and you sell, for example, then become so instruments, for example, every lesson you showed them a different instrument, for example. Then you can use, for example, the same song and play the game. Uh, stop and go. That's a good idea. Sometimes we like to reuse the same material in the same lesson. So we are bringing, forcing dullard earning, and at the same time we're using it to another exercise. So that's Ah, win, win, Andi. Yeah, and after this again, you can add, for example, a surprise activity like bubbles or anything. It is really anything and finally have the good bye song. That's how you finish your routine. Sometimes the goodbye song doesn't need to be a good song. It could be a relaxed saying. Exercise, relaxation, exercise Sometimes it can be meditation. I think it depends also on what you working too. So, for example, I like with my students to ask for a few seconds off. Salads and Teoh teach them the the value off the palace so they cannot be Thailand for look for a long time. But this is something we can teach in our music lessons. Dio being silent for I know a few seconds and then finally have the goodbye song. And next time we'll have more seconds and it becomes longer and longer and it's its rightful. 25. Repertoire: how to truth repertoire When we say repertoire were were talking about all this songs and all the pieces of music you use in your classroom. That means that is not only the songs the kids must sing, but also the some of you want them to them. The songs, the recording you use in your stuff and go activity. The songs you choose can be very a burden for the before the motivation and for the interest off this the students. If you always bring the same kind of some kind of songs, they will lose their interest. It's very important that you don't focus on Lee on classical music or Children's music. It's very important that you show everything and everything all styles from folk to classical to just Teoh. I don't know relaxing music. It doesn't matter. It's very warning, important that your lessons are stimulating and that you include a wide range off repertoire and you should should think of all the routine as all the music that you're using. You should think about it. It shouldn't just choose it because you like it or because he found it funny. You should see what do you want to teach with that or what do you want to show their different? Or if it's contrasting with other things that you're doing the same lesson? Whatever it is, the way each is the music's, it's It's also very, very important off course. Don't forget that you are not teaching them just for now. For the moment, you are not teaching them things that we are just having an impact on their on their lives now. But you are teaching them things that will be very important in the future. So if you give them a big variety off pieces off music, then they will have white brains off repertoire in their minds. That means that it will be much easier toe learn music later. That means that they will learn the music theory much easier, and it's they don't want to learn the music theory later. It doesn't matter. Probably they will be more able to sink into to dance in the correct rhythm. You know, you never know what they will be in the future. Maybe you have a ballerina in your classroom. Maybe you'll have the next. I don't know. The world s so in this way, you should give them as much input as you can. Yeah, you don't want to overwhelm them off course. But that's why we say you have to speak your repertoire wisely so you can give them all these routes and at the same time, keep the motivation and the interest they have in your lessons. But if there's so much repertoire in this world, how do we is it? How do we organize it? We This is a very personal choice. Wait, like to organize. Our referees were in, like, project by Project. So right now we are teaching our classes world songs, world music. So they're learning something from all over the world, like folks homes. And that's what they're learning, though, Um, off course, we they're still there. Still many, many songs that we could pick. We are picking the songs that a fit our aims. That's what we pick the songs, of course, because we have, we want them to develop specific skills. So we have a theme, the subject, and besides that, we pick the songs that feet our aims. But for us, this is a easy way of organizing things we like to organize things by themes by subjects we like Teoh put things in boxes in this case is so they don't get overwhelmed. 26. FAQ I: Finally, we bring you a few frequently asked questions on And of course, we bring you the answers. Um, and we wanted Teoh. You anticipate some off the doubt you might have. So if you have any other questions, feel free to ask, cause we're totally available. Teoh, help you. I understand more about how to check. Teach Children either music or anything else that you might flying Team Miller. So we're available. Just contact us. First question. You are telling me to repeat the same activities every week. But if I do that, I'm sure the kids will get bored. How can we avoid that? I think we bro Liel over the answered. But we want Teoh. Yeah, answer again. Because sometimes people ask it on and it can be It can be, uh, challenging. Challenging. That's the word sometimes. So when you tell you to repeat the same activity as a routine, we want you to reuse the same idea. The same material, same activity, but nothing the same way. This is the key. You use the same thing, but not in the same way. Wing. Before we gave you deem the example about the starting stop exercise where you add layers and your kids can add layers themselves. This is just an example, but you can do that with all the exercises. For example, time to listen. Angry Pete exercise. You can start by clubbing. You clap, they clap, you clap, they flap. The next time you can add Billy here, you can add I don't know this next time you can tap your feet the next time you can add your voice the next time you can add emotions to this. The next time you can ask your kids, too, be the the ones that create the rhythm, and the others have to repeat, so it doesn't need to be every time the same thing. It just has to be the same idea so that there's rules to follow. 27. FAQ II: What can I do if a child refuses to follow the instructions or the rules? So this could be very tricky because this is not very music related, But people ask this because, uh, we are so student orientated. So didn't center that sometimes people Moscow's. So if you embrace everything they do, how do you deal with this situations? So there are two different things. One thing is to embrace their mistakes. Another totally different thing is to, uh except, ah, bad behavior, naughty behavior. So we deal with the the skin in different ways, depending on the care different, depending on the environment, depending on many things. So first off, all try to understand why Why is there scared doing this? Because sometimes they want to call your attention because sometimes you are not giving. Paying them attention. Uh, are the attention they might need, or sometimes they had a tough day. Sometimes they already have a label because the other kids already think that that one is the naughty one. That happens a lot because the kids yeah, get labeled very easily. And this is the smart one. This is the This is the eso. It's very drinking for me. I try to be very sensitive with this questions because I think it's very bad to label from the students and because then they will become bill able. Then they will behave as the label. So you should always look for the The main thing that is, is the beginning of this behavior and then just find ways to motivate them and just figure out what motivates them and use that in your favor. So for Ellis, one very easy thing to do when they misbehave is to put them aside, for example. So, for example, we have this routine on the students participates in every single part of this routine, so they usually don't have time to misbehave because they are always doing things, even the transitions. We make it musical so they don't really have time. Teoh misbehave, but when they do, we put them aside for for a while on, and they will want to join the others so they will stop with the misbehavior. But it depends a lot because some kids want to be put aside to call your attention. So if you do that, you are like giving them what they want, So you need to see a case by case and learn what is what is the origin of the problem and just trying to solve it in the best way possible. But the most important message is that you can not mistake student centred learning by embracing naughty behavior. That's not the same. We embrace the innocent mistakes we embrace there. Normal mistakes there, casual mistakes when they didn't learn something yet. But we cannot embrace for, uh, like, award them for a for not following the rules. So again, this is a very tricky situation. You really have to see case by case and know where students know what motivates them and use it. 28. FAQ III: you said we need to be models, but nobody can be perfect all the time. Isn't that unrealistic? Yeah, we it was one of the first things, he said. Nobody can be perfect all the time, but we can always improve. We're approaches our gestures, our way of speaking everything. There's always something that can improve. So like we said before, one of the best ways to to see what you're doing is just to record yourself while you're teaching and then analyze it at home and see what you can improve. What things are you doing that you didn't know that you were doing and might be misleading your students to things that you don't want them to do, and you don't know why they are doing it? And suddenly you just see yourself doing those things that you do realize so it's very important that you see what you're doing and to make it a Z best as you can. If you have any other questions, you know what to do. Contact us. We are available to help you with anything, everything you need. Andi, if you have all your thoughts, if you have a different idea, just share it with us. We'll love Teoh, learn other methods, all their strategies, other teachers in general, so feel free to change with us. 29. Class Project: Thank you very much for watching. Thank you for being there. We hope that this is useful for you as a teacher. Parents dedicate their facilitator. We really want you to use this to feel free, to use the material we just share with you. And remember that this is science based. This is something that is more than studied, improved by the educational psychology. So if you want to read more about it, we can share with you the the Bulls and the article that the research that is done about it so you can ask us contact us so we can send it to you. We have a challenge for you. We want you, Teoh, create your own blood, short, medium or loan whatever you would like to do and to share it with us so we can help you better. We can advise you on. What can you improve on? What can you do? Better? Yeah, just share. We does your projects that so we can help you improve what you're doing. And we are eager to listen to your creative ideas. And if you want our advice is just contact us and we are very happy to help you with your lessons. Thank you very much. Thank you very much for watching. Thank you very much for being there on D C. You in the next list, my