WEBVTT - This file was automatically generated by VIMEO. Please email info@talestoolkit.com to report problems. So I just wanted to start off, so this is the first webinar of 2017. So I wanted to start off by saying a happy New Year. So happy new everybody, and I hope your term has started off well and your children are all settling in and you've got all the madness of Christmas activities out of the way. So I just wanted to make a quick note before we go any further about our forum. 'cause our forum is now up and running and we've got some new schools coming on board, which is really exciting. And we've had lots of you that have been working with us from September. So you've got lots of great expertise, brilliant stories. So we'd love it if you could get on the forum and share all of that with the other schools that are using it. Um, and if you've got any problems at all getting onto that, then get in touch and we can talk through that. So I'm really excited about today's webinar. We've got John Webb with us, and I've known John we for quite a long time now, haven't I, John? Yeah, That's fine. Yeah, good few years. I've been learning from John for years now, and so when I started Tels Toolkit, I was really excited about getting John on board. So I'm gonna hand over to you now, John, and let you take it from here. Okay, thank you. Well, hello everyone. It's really nice to, uh, to be here talking to you. So, um, and we'll talk a bit about, about music and, um, play some things and then I'm gonna take questions and, and take your thoughts really and see where we go from there. So here we go. Okay, there we go. Tail toolkit of music. So here we go. Um, music, my music is everywhere. You know, we hear it on film, um, tv, internet. We listen to it in the background at home and headphones on the radio as we travel around. And we've often got very strong views about what's good or bad. Even lots of people say they're not really musical, know what they like. And that's absolutely fantastic because they, because, um, really appreciate it. You've got strong music, that's great. And music is brilliant in stories. And if you think about films, particularly films, it's there to emphasize character. Emotion gives another dimension. It makes things feel bigger, um, if you like, um, when you use, and that's why it's in theater. That's why it's, it's on tv. That's why it's in film. Um, and with, with, um, using it with, with children, I think it adds something else as well because you get the repetition. Music needs needs a structure. You have to repeat elements to it. You think of Twinkle Twinkle Little Star. The last couple of phrases are the, are the same as the first ones. And so when children learn that, you can actually hear them discovering the structure. They learn the first bit, they learn the last bit at the same time. The middle bit is a bit wobbly to start with. Um, and when you repeat things over and over again, groups come on board gradually with it, and they come into the story or into the, into the thing that the music's about a bit more. And I think that's one of the reasons why music can be used a lot, um, as a sort of utility songs in, in schools, you know, songs for lining up, songs for the register. They make something which can be a little bit mundane and a bit boring if you're just speaking to it, speaking it, they make it a bit more fun, a bit more interesting, a bit more, a bit more lively. And, um, so song is great. Um, in early years, particularly music is great in early years particularly. And there's have wonderful phrases. And they use, um, children sing before they talk and they dance before they walk, which I think is absolutely right. If you start to look at the, the, um, um, search on this, um, that's absolutely what happens. So there's research on very young children, um, infants a couple of days old with their mothers, and there's kind of musical turn taking going on. They're matching each other's responses, mom and baby matching each other's pitches. So music is a very fundamental thing, which is why also with, with, um, people suffering from dementia later on in life, music's often one of the last things to go, um, because it's embedded so deeply. So, um, it's also actually quite simple. I think we go through music and, you know, take a sort of school experience of it. And it often seems fairly very complicated, but actually it's on a fundamental level. It's fast and slow, loud and quiet, high and low, long and short. And we combine all those different things in different ways and we are very perceptive. This is why people respond to music very well. They're very perceptive about what, how those things come together. For instance, illustrator film. So loud and slow music becomes majestic or can be majestic. Um, slow quiet with long notes might be peaceful, quiet, slow with short notes could be creepy. So we pick up the character of these things, um, very intuitively. 'cause see there's lots of quite simple stuff going on here. Um, and when, when we and children play around with these simple things, with our voices, with sound makers, we're kind of doing mark making in sound. And the beauty of Mark making on paper is you can see it's there and then you can stick it on the fridge or stick it on the wall. Um, whereas with music, you make something up and over the last two seconds and it's gone. So it's much harder to capture what's going on, but they're still, they're playing in very, in a very tiny sort of way, just like they're doing with Early Mark making, but playing in sound. Um, and then stories, particularly something like Tales. Toolkits is a great opportunity to try and explore music spontaneously. You're making up this tale spontaneously. So what music fits with it, how you can do that as well. And if you approach it in the same way as Mark, making, exploring, playing around with sounds, and there's loads and loads of different opportunities. And so we shouldn't have feel that we have to create musical masterpieces. Doesn't have to be wonderful singing, it doesn't have to be masterful choreography. Um, tales Toolkit is relying on children's ideas and our facilitation of them into a story shape. Music can be created in the same way. Um, and there's several different approaches which we're gonna explore. So you can chant. So not singing, just chanting words, you've still got a rhythm, enchanting, you've still got character, the way you use your voice. You can sing words, words to a tune you already know. You could create a completely new song. You could use your voice for sound effects and explore how that could become musical otherwise. So to, so take it away from just sound effects into kind of putting it into musical framework. And there's also movement, which is very, very important from dancing, gross motor skills, fine motor skills, um, actions with your hands. So we're gonna look at all those tonight. So this is an example of how of the different sorts of music you can have. So imagine we're going through the, the Grand Canyon, and there's three short clips of music here. Um, think of the effect that each of them has. Feel free to type away anything that you're feeling as well. So that's the first one. So, so how did that make you feel Now? I was imagining cowboys coming in on the horses. That's, it Sounds like a superhero appeal. Yeah. Cowboys. Yeah, absolutely. That's it. The range. Yes. So it's big. It's big and spacious and majestic, isn't it? Absolutely. That's it. I saloons and all sorts of whiskey, adventure, drinking people. That's it. Yeah. So you ready for the next one? Yeah. Something dramatic about to happen. Yeah, absolutely. It sets us up to think, oh, what's gonna happen next? Completely. Let's see what the next one is. Yeah, Absolutely. Yes. So big nasty bugs. Fantastic. Fearful, anticipating danger. Definitely a chase. A chase for the Grand Canyon. Absolutely dramatic. So the last one then, what's this? Are you for that one? No. Got a little bit of buffering going on here. Oh no. Hopefully it'll come in a minute. We might have to come back to this one. I think you should sing it, John. Okay, Well the next one, if, you know, it was meant to be the fly to the Bumblebee, which is very fast. So it could be a chase too, but it's slightly lovely to in character. So it's kind of a bit more like traveling quickly through the Grand Canyon. So it's quite an interesting thing to, to try, is to take a a bit of film and then put different music to it and see how it, how it makes, makes you feel. Um, so you can use that sort of feeling. We all have this feeling within us, I think of, of how music affects what we're doing or you know, what stories we had and we can use that knowledge ourselves or that feeling about it when we create music on sales toolkit when we're creating these stories with the children. See if we can come back to that one in a minute. Mm-Hmm. Yeah. Yep. Okay. And I can, I can add all of these onto the videos afterwards too. So the ones that get uploaded onto the the members area, they can have all of this footage in them, Right? So let's go through a few bits and pieces along those lines that I outlined. Um, so chanting spoken, chanting is simple, can be very effective. Effective and expressive. It's rhythmic, it uses dynamics which allow them quiet. And you can characterize your voice to suit a situational character in the story. So it's very, it's probably the simplest form of music making, really. You are using your voice and it's rhythmic and actually it becomes repetitive as well. So we created a chant for a, a crocodile creeping up on somebody, uh, of someone who, what words might be used. There's a crocodile in the story. It's creeping up on someone. What words might be used for that? Anyone got Any ideas? I've got one in my head. Oh, snappy, creepy, snappy. Oh, snaps. Yeah, we've got repetition already. Snap. So actually that'll do. Creepy, snappy. Snap, snap, snap. Creepy, snappy, snap, snap, snap. But you, when you do it, it's very simple. Um, again, you're not gonna do it too complicated because these young use these young children, but use your voice as well in a di in a, in a slightly creepy way. Creepy, creepy, snappy. Snap, snap, snap. Creepy, snap, snap, snap. Um, so whispered, um, would be great. Repetitive soldiers marching in a parade trying to impress the king. What might you use then? What words might you use there? This is slightly more tricky. Yeah. St stamp, stomp. Yep. So stamp, stomp stamp, stomp stamp, stomp stamp, stomp. Fantastic. What about small words? So again, that rub you one child, give you stamp another child, you might take a different, um, a different idea. Who's got another one? We've got some people coming in now and end of the day, John takes a little bit longer for everyone's brains to start working. March, March along, stamp, stomp, march along, and we've got some other people coming. Left, right, left, right. Yep. Knees up these down. Absolutely. This is all brilliant. Yeah. So you could set up a pulse Stamp, stomp stamp, stomp stamp, stomp stamp stomp march long stamp, stomp stamp, stomp stamp, stomp stamp stomp march. Uh, and it does, it takes a couple of ideas, put them together, repeat them, and that's enough. And with marching, you can also do the, you know, the gross motor skills marching around for a moment. If they're proud and they're trying to impress, perhaps it's quite loud, whereas the crocodile is gonna be quiet, then perhaps the crocodile might be quite slow as well. Snap, snap, snap, snap, snap, snap, snap, snap, snap, snap. So think about the speed, think about the volume, think about the co the character of your voice in the way you use that. And look around the whole group and bring everybody in on it. And I think it gives a chance then for people, for children who, um, it gives a chance for children to catch up with the story. You're all, you've all become the character. Mm-Hmm. Um, I, I am, I was, I was quite horrible to John. So when he first came into the details toolkit, um, I, he said to me, how do you want me to work this? But I said, how about you just come in and we tell stories together and I'll just throw things at you and you can make up songs. And you did a whole afternoon, John, didn't you, where the kid said any, anything at all. And we'd just throw it at John and he'd make up a song from it. And he, and it worked every time. It doesn't have to be a song. A chance is, is still music. It's still got these different musical element. It's the simplest way of music tunes, you know? So I'm sure, I mean, who, who, who does anyone do this actually? Does anyone use tunes and, uh, Michelle, what? You know, and make up songs as you go through the day. Does anyone do that? Yep. I I do. You do? Kate does. Okay. It's a great thing to Anybody else? Anyone else? Just us people Typing. Typing. Yeah. There they go. Mm-Hmm. Lots of people typing. Sometimes ities are lining up. Yep. Nursery rhyme, chance. Yep. Absolutely. Mm-Hmm. So lots of, yeah. Um, it can be, it can be quite tricky 'cause you end up trying to try to rhyme it like it does in the nursery rhyme. And you can't think of a good rhyme, but rhymes. You don't have to rhyme, things do tidy up and name songs use the same technique in stories. Um, so, um, wheels on the bus I found really, really helpful. Although some people are incredibly fed up. Is anyone fed up at the wheels on the bus? I certainly met some teachers who are, but because it's repetitive anyway, the wheels on the bus go round and round, round and round, round and round. You can use the repetition so you don't have to make up too many words. And it's very simply children. So what could we sing? The tunes of Tune of the wheels on the bus if we're excitedly going to the zoo. Has anyone got any words? That's the story. We're excitedly gonna the zoo and we're gonna sing a song that fits the wheels on the bus. Has anyone got any words for left that's coming, coming up here? A few people coming up. Yes. It's very simple as we go. We're we are going to the zoo. Two day zoo. Two day zoo. Two day we are going to the zoo. Two day zoo. Two day. Yep. The kids are going Hooray. Hip hooray. Hip hooray. Yeah, you've got a second verse as well. Very impressive. Exactly, exactly. So it kind of goes around, around this one. I mean, I've used also used, um, wheels on the bus for, um, the book. Dear Zoo, I wrote to the zoo to send me a pet, send me a pet, send me a pet to the zoo to send me a pet. Exactly. Lovely. We are going to see the lions do day, lions do day, lions do day. So it's very tune. And actually, if it's excited, it's gonna be quite fast and quite loud. Oh, we got loads of verses. We will eat our lunch outside. Lunch outside. Absolutely Loads of stuff. You've got a whole day's worth of activities with this one song. Um, what about differently then? If you on a desert islands, what words would fit with it? Now we're in the coming outta the settings bag. We're on a desert island. I'm lying down with a very large cocktail. Lying down with a great big drink. Great big drink. Great. We are stashing in the sea. We're going to sit on the beach all day. Yeah, absolutely. What about, we are slightly lonely on the desert island. That's actually, or perhaps, you know, somehow there's a problem on the island. Mm-Hmm. What would that, what we, what could we do there? We are searching for a boat, for a boat for, uh, we are searching for a boat. I one surf friends today. This is fantastic. You just type it in and I'll sing it. Um, so yeah, exactly. So actually then it changes excitedly going to the zoo, gets fast and loud, slightly lonely on a desert island is quiet and a bit slower, a bit calmer, and you put on your sad face and everyone joins in with that promotion. So music can also bring the emotion together with every Oh my home seems a long way, long way away. Absolutely. Fantastic. Okay, so now we move on to something else. Got excited, we've got lonely. What about a spider? Thinking about what it wants for dinner. I'm sure, I'm sure you can all do words for this, but how does it change? How would we sing it differently? Whatever the words are. Yes. What will I catch for dinner today? Fantastic words. That's a good one. I want to fly for dinner today. I would like to eat a fly. That's, it could be a really big spider that could be part of the story as well. Perhaps it's a giant sized spider that eats giants, which would change the song completely. So depending on what the, what size the spider is, you could go in all sorts of directions. But what's that? If going to the zoo is exciting, the desert was lonely, what's the character of the spider and how would we sing it? How would we sing this song for the spider menacing? Now what does menacing mean? Is it fast or slow? Loud or quiet? High or low? Slow. Slow. Creepy thought for excellent. So it's probably gonna be quiet, isn't it as well? Long pauses. Excellent. Yes. I want to eat a fly today. A fly today. Oh, we've got loud as well. Now why Jane? Shelly? Why do you think it would be loud? Giant spider. Giant spider. Yeah. Demanding. I, yes, absolutely. I wanna eat a fly day. A fly day. A flight day, absolutely. Um, so depending on the story, yes, it could be a quiet, creepy, slow, thoughtful spider menacing spider. Or it could be a loud, very hungry spider that's demanding its dinner. So that affects the way you sing the song. So we're talking really about acting here, actually, we're thinking about how the spider's feeling. And then it comes, I think hopefully it comes quite naturally to kind of sing or to speak the chant in a way that reflects that. Um, okay, let's go on to the next one. So creating your own tune. So this kind of sounds quite daunting possibly, um, but it doesn't have to be. Okay. So it's very simple. The, the, the cross-Culturally, it's the first few notes that children throughout the world learn to pitch accurately. And it's nah, nah, nah, nah, nah, nah, nah. So it's that tune. And if you sing that they'll be able to pick up on it. So it's your kind of, it can be a sort of default, um, tune that you can use. And anything will fit with it really. It could be a spider. Um, I want Madine, I want me, or it could be, I want Medina, I want to fly. It could be the Soldier Marching, marching to the King. So singing that can be, um, a very useful one. Um, there's also other, there's also some well-known songs that, uh, that fit with that. Does anyone know the Game? Doggy. Doggy Wears Your Bone. Does anyone use Doggy? Doggy Wears Your Bone. Great song. It's a really good song. It's, we're New. You One Me. Okay, I'll explain how it works. It starts off with, um, everyone. The song goes like this Doggy, doggy, where's Your Bone? Someone stole it from my home. Who stole your I stole Your Bone. I stole your, so it's basically like going round and round over again. And so you have the children all sitting in a circle and um, one of them's got a puppet dog. Someone else like the Biscuit Jar song. Yes. It's that kind of thing. Exactly. Um, who's stole? Who stole the cookie? From the cookie jar? Biscuit. From the biscuit jar. One person's got the dog, one person's got the bone. So everyone sings to the, to the dog. Doggy. Doggy. Where's your bone? And then the dog sings, someone stole it from my home in a very sad voice. Then everyone says Who stole your bone? And then the person with the dog sings, I Stole Your Bone, eyes Still Your bone. And then kind of that's the learning level. And then the, um, the next level up is for the doggy to have their eyes shut and that person has to work out just from hearing them who's got bone. So, and it's amazing actually. Kids usually know who, um, which other child is singing, uh, and has got the bone. Um, but it's using that tune. So it's a really good tune just to use. Um, and just keep it in the back of your mind. So some ways I think it's easier to use that tune and make something up than try and fit something to a tune you all, you know, be it wheels on the bus or twinkle the start or whatever. Um, so I, I kind of tend to do, tend to do that. And then I sometimes go off as well. Hello everybody, how are you today? And just kind of change the ends, do a couple of repeats and change it. But it depends on your confidence with it. So I mean, have a go have a go with that one and see what you can do if you know about notes and things. Um, and oh, hang on, can take a while for nurse, for children to get the hang up it. They love to shout the name and give them their game weight. Absolutely, yes. Been there many times. Yes, it really does take them a while. Um, and then, but that's, that's kind of the next challenge. You keep going. And then I think once it's clicked that that's the game. Once the penny is dropped, it's more fun to play it that way. Mm-Hmm. Then that's when it starts to come together. I think you have to keep trying with that game. Yeah, I know, I know. When you first talked to us about their No, no, no, no, no. Um, you were saying John, that those are the notes that they most easily remember. Yeah, it's the first ones. They start kind of to, to pitch across cultures. So they do. Um, so yeah, they sing them very naturally. And actually if you go round mm-Hmm. Um, and you listen to them very quietly singing. 'cause often you have, you hear children who are quietly playing and they're sort of singing to themselves and sometimes it's that kind of tune. Mm-Hmm. Sometimes it's kind of pokery songs, it's little snippets and lots of other tunes that they know. But that comes out quite a lot. Have a listen to what they're doing as well. Okay, next one. So creating your tune. Oh, here we go. Once you're comfortable using it, try changing the tune by adding new bits or leaving out notes. So let's, let's, um, create a song for a sad princess. I need some words. Who's got some words for a sad princess? I, Where can my be? I often say that lot, Doesn't it? I lost my dr. Where can my be? I can go round it. And then, um, a little bit. What about, and so that's gonna be quiet, gentle. Um, it might just be, you know, you singing it to them. It might not be a tune that you all join in with. Um, or it could be one of thing, one thing that the children seems. One person sings it. Um, but it's quiet and sad and slow and long notes. What about an angry monster? Then what could an angry monster sing? Munch. Munch, munch, crunch. Munch. Yes. Munch, munch, crunch. Ah, I will come and eat. Who stole? Who stole my, who stole my cookies? I will come and eat you up. Munch, munch, crunch. Crunch. I'll, I will come and eat you up. Who stole my cookies? Yeah. Who stole my cookies? Who stole my cookies? Who stole my cookies? Cookies. So I'm just kind of trying to add another note, really. Oh, where are you hiding? So you remember to slow down the tunes as well. Where are you hiding? Or even if you a declaimed question's quite slow to sort of make it more important. Who stole my, you don't have to rush through music either. Slowing it down. I can smell children. Excellent. Yeah, that would be a great one. Scare more. I think it might. That's kind of, that's kind of chitty bang bang child catcher going on. I can smell chill. Well I'm being scared. Smell chill. That'd be a great one. So it's very different from sad Princess. What about a rocket flying to space? Then zoom, zoom, zoom to the moon. Yes. See I mean the actual one for that would be zoom, zoom, zoom. Wouldn't it? It's a rocket flying to space. You can kind of get zoom, zoom, zoom. Do you know zoom? Zoom, zoom. Everybody. 5, 4, 3, 2, 1. Zoom, zoom, zoom. We're going to the moon. Zoom, zoom, zoom. We'll get there very soon. 5, 4, 3, 3, 2, 1. Blast off. So I mean, that would be the obvious one to put that if you didn't want to use zoom, zoom, zoom. Um, try, try this. Tune. So zoom, zoom, rock, zoom, zoom. We're going to the moon, we're going to the moon. 5, 4, 3, 2, 1, little off or whatever. So you can combine it with some spoken as well. We've got another comment coming. We are playing very fast. We are playing very fast. We are playing, we are playing, we are playing very fast. Exactly. So you're probably gonna do that one fast and loud, I should imagine. But the main thing is it's telling the story and it's very expressive. So let's keep crash. How, oh, brilliant. Crash blanc. How fantastic. Now actually think that crash blanc now I think takes us to the next category, which I put down. So, um, seeing is singing is just one way of using your voice. And I think young children, they're discovering all of them. They're discovering all the different ways we use our voices. But music teachers tend to come in and go, oh, you're not singing properly. And they're kind of, they're trying to work out what that is and how it compares with all the other things. So they whisper, they talk, they shout, they can make creaky voices, posh voices, robo voices, loads of others. And one of the, there's a, there's a nice activity which helps children to sort of work out the difference between these, which is, have you got your talking voice? So you say, have you got your talking voice? The answer is yes, I've got my talking. Ah, is it in phase one phonics? Yes. Yes. There's lots, lots of this that comes through. So it's, it's about, um, like voice sound and body percussion and um, kind of rhyme and alliteration and just, it's all about hearing sound and using them. Yeah. Yeah. Well I mean this, this is all about discovering how you do these sounds yourselves as well. How do you control 'em? How do you sing? What's the difference between singing loudly and shouting is the classic one that kids take quite a long time to, to try and figure out, sing louder and they start shouting because they haven't quite figured out the difference. Yes. Um, and actually trying to avoid, I think in singing, trying to avoid the word louder, actually, um, sing to me, go further away from them and then do sing to me instead. So then they have to project over a longer distance and be a way of, of helping them. Um, You had a great song, John, that you taught me that was, um, see how, um, see how, um, landing, landing or whatever, see how I'm wobbling, wobbling, wobbling. I never knew I could wobble, so Hi. Hi. I never knew I could wobble, so I dunno if that's a good one to teach everyone, because Should we do that at the end? Actually, it's a really useful one. Um, but I'll come back to it to remind me. Remind me, Kate. Um, so if we are using lots of different sorts of vocal sounds, um, that's great for stories as well. So use your voices to make sound effects. Um, and so going back to, um, have you got your talking voice? So have you got your talking voice? Yes, I've got my talking voice. Have you, have you got your whispering voice? Yes, I've got my whispering voice. Have you got your singing voice? Yes, I've got my singing voice. Have you got your, and then that call of response just helps to, to understand all these different things and explore, sorry, excuse me. Explore what voices can do. Um, so if we're using sound effects, we've got, actually haven't we crash plunk ow. A rocket crash, crash landing. Mm-Hmm. So Jane's crash plunk ow is brilliant. Um, but we could all go crash plunk. Ow. And that would be it. So how do you make it more musical? One of the things about music is watching and being together. So, um, using, um, sort of conducting it if you like. So ready and crash. So we all do it together. So being very, very obvious about when the crash is going to come. And in effect, you're being like an orchestra acquire something, you are waiting for the conductor to go Crash. And that in itself is a very musical thing. You are watching and being together rather than everyone doing their crash at the same time. Even doing a vocalized kind of buildup to it or crash. And then you can put the three of them together or crash plunk. Ow mm-Hmm. And that makes a very musical thing. You're using the rhythm. You are are leading everyone together and it's actually lots of fun as well. And then up doing it puts an action in for crash too. Jumping up and down. You are jump landing on the floor, still doing it at the same time. Um, crash blanc hour is a sort of one off thing. You don't generally get repetitive rockets crashing over and over again. So you've gotta kind of make the most of the weight and then doing it together, frogs jump over and over again. So it rub it, rub it, rib it, rib it, rib it, rub it, rub it, rub it. So just taking, taking that and repeating it again, like the chanting makes it a very musical thing. It's got, it's got rhythm there. Um, a jelly wobbling, uh, with a wobble, I suppose might be the thing. Whipple wobble, ble wobble, wib wobble ble. And if you do fast wobbling w wobble, wiggle wobble, wobble and slow wobbling wobble w wobble whipple. As soon as you start repeating that sound effect on those words, then it becomes musical. The, I suppose they're slightly different. The frog jumping and the jelly wobbling. The frog jumping becomes a definite rhythm. Rib it, rib it, rib it, rib it, rib it or rib it. Boy rib it, boy rib it boy rib it, boy it's got a real sort of rhythm about it. A jelly wobble could be wobble stop. So it could be a start and stop game. And so are we, when we gonna start, we gonna start. We're gonna start and go. And actually I'm kind of doing hand signals. Stop, go stop, go stop, go, stop. So actually you've got then got a kind of sound effect that goes on, but there's a stop and start twist. And getting the stop and start is kind of important and that's quite, quite easy. Um, so using movement to match the sound effect can be really helpful to crash landing, jumping on the floor, wobbling for your jelly, jumping up and down for your frog. And then you are controlling your movements, the kids controlling their movements to the sounds. So try and put the sounds, lead them, give a sort of build up to a big crash or repeat the sounds to get a little phrase that goes over and over again. And everyone else will kind of come into it and join in, um, with it. Um, in fact, actually we should do, we'll do, um, see. Hi, IM bouncing. So see. Hi, IM Bouncing is a song that, I mean, all the songs I've got, basically I other people. So this is one I learned from, um, a trainee who I had with me years ago. And he had just done a course in Del Crow's Del Crow's eurythmics, which is about music and movement. So it's not mine at all, but it's a really useful song. So you start off with your bouncing finger like this, um, and you sing, see how I'm bouncing, bouncing, bouncing, see how I'm bouncing like ball. I never knew you could reach so high. I never knew you could reach so low. I never knew you could stand. So still it's a great one for behavior, it's a great one for behavior, but still becomes really important. Mm-Hmm. Um, the silence day. It's not a silence of, oh, we finished, we can relax and fidget around. It's a silence which is held. So almost the silence is more exciting than the movement. And it's only when the excite, when the silence is more exciting is that when they read they'll really try and hold it. And I do a kind of, if I'm using that song, not necessarily a story, if I'm using that song, um, I will, um, look around and say, I'm gonna choose the person who's standing the stillest and that person is gonna show me a new movement or more, more often I say, can you think of your favorite animal? What animal could we be? So when you ask a group of nursery or or reception children, what animal would they like to be? Or what do they say? Let's see what we get. What answers would we get? Lion. So not burning, oh, elephant, lion, elephant. Um, Bernie, is the lion running around or is it creeping up? Stalking. Excellent. So stalking means it's gonna be quite slow and really quiet and perhaps quite creepy. How I'm stalking. Store. Store, see how I'm stall. And then actually if you're doing that as a move, moving around space, so on two feet and they're using their feet to move in time to the music. Hopefully elephants, I think tend to stamp, see how I'm stamping, stamping, stamping. Um, lizards move really quickly. See how I'm running, running, running, see how I'm running really fast. I never knew could reach so high, I never knew could reach so low. I never knew Stand so still. And it's really nice to have a fast one in that song. Everyone moves, everyone tries to do the high together. Everyone tries to do the low together and the stop together. So it becomes a very exciting one to do. Yes. See how I flu? I can't say it. See how I'm fluttering, fluttering, fluttering. And that's more arm movement with, with that one. So yeah, absolutely. So really good ideas. It's a very helpful song. And actually it's a nice one because it can be about anything. And we do the movement, it fits very well into a story, into a character in a story. Um, what's quite interesting with that one is, is the development as children get to know it better. 'cause they kind of, they do the movement first and they don't necessarily sing and they sort of look at you a bit blankly. And then the first, the first things they sing are I, um, hi. They come in, in those words, those important words a bit longer. And then they start to put the rest of the, of the, um, of the tune in and the words in Mm-Hmm. I find that a really easy one to Fit into story, John, because especially in the settings, I use it a lot in the settings where you'd be like, uh, say for example, your butterfly here, see how we're puttering on the lake? See how we're buttering into space? And it, you can fit it very easily into what's happening in the story. So yeah. So you can, you can fit it with your setting Yes. Really easily. And and with any part of the story. So I use that one a lot when I'm telling stories. Yeah, I I I found it incredibly useful song actually. Yeah. Especially for that stop just getting used to the stop Mm-Hmm. So that you can then move on to the next bit, um, is kind of, yeah. Inbuilt into the song. So music, I mean movement. So it's vital to music making and we can't make sounds without moving our bodies or play instruments about using movement. We are moving all the time. Even singing, you are still moving, you are moving your mouth as internal things going on. So controlling all that is really, is really important. Um, so you can create actions as you make the song, which can emphasize, I mean, there's, there's, i I I know sometimes it feels like you do some actions for a song that the children stop singing, which could be slightly frustrating. Um, I think trying to find actions that sort of emphasize, um, the feel of the song. So for instance, I never knew you could reach so high, so high becomes a long high action Mm-Hmm. Or if you are sort of something that's breathing is emphasizing movement out. If it's a long note, for instance, um, don't put too many actions, um, to, to a song. Very simple, just one or one or two for a short song, probably, probably one. So don't put too many in, um, use the movement to match the music, to match the sound effects. Um, and yeah, if you've got props in the story, you know, the prop could do the moving for you. You could all sing to the, to the prop in the story. Standing up is great. I mean sometimes, you know, sitting down doing the, doing a whole story and you can sort of tell you've been sitting for some time. So actually standing up at some point in the story and finding a way of doing some full body movements and jumping or something as part of the story is really helpful. And then sitting back down again. Um, so we could go back and see what other things or should we move on. Kate, what do you think? And I know the other thing as well that you do a lot, John, is that we use the setting like a parachute. Oh yes. Yeah. There's quite a lot of times when we told stories where you use it to bounce characters and move characters and Yeah. Yeah. Okay. So I'm a, I'm a, I was a few years ago, a great convert to Lycra and um, um, it's great. So Lycra a Lycra sheet that you can all hold, you can, you sit in a circle and you hold the edge of it and you pull it tight. Um, which I find better than a parachute. 'cause parachute doesn't have that tension. It used to be two way stretch, like so that it stretches both ways. Um, and then you can bounce things. So, um, sleeping bunnies, I use that for as a kind of, I'm just doing a music session, so see the sleeping buns sleeping till it's noon. Oh, shall I wake them with a maybe tune? Oh, so still are they? Ill wake up soon, nearly noon. So that's very gentle movement. And then hot little bunny, hot pop pop hot little bunny, hot pop pop. You of course hopping the bunny up and down much more energetically. You've got two ways of moving in that song. Um, I did find in that song that sometimes it feels like first part of it goes on for too long. So I started using, um, what should we do with the sleeping bunny? What should we do with the sleeping bunny? What should we do with a sleeping bunny early in the morning? Hooray and up and you throw it, throw the bunny up on the world up. And so when I started working with Kate in details talking, you've got a setting, you've got some material there, and it seems like just a prime opportunity to all hold onto it and bounce things up and down on it, which I mean, everyone loves. I've also, I've found parents love it. I've got a parent session, parents coming in big bit of like, crap, you are bouncing things. Suddenly the parents become much more childlike and then they find it really fun and exciting. You are aiming to get the bunny to hit the ceiling, for instance, um, of a group when it works. So it seemed like an actual thing to do with the setting, finding a way of using that sheet to put things on and move them, rock them gently to sleep, to bounce them. Perhaps everyone has a party at the end so all characters go on, go onto it and get bounced up and bounced. So yeah, it's, it's a nice way of move using movement. And I had one practitioner who I think had a, um, previously been a pediatric nurse, commented that actually the stretching of it, that kind of muscular tension of pulling it towards you and having to hold it was actually really good and quite unusual for them to, um, to do Mm-Hmm. Okay. 10 the bed's great, Bernie, uh, parents will know 10 in the bed. So good place to start for bouncing. Ted is on top of lip 10. Oh what? 10 in a bed and the little one said roll over. Do you mean that one? Mm-Hmm. Yeah. Yes. Yeah, absolutely. Yeah, that would be, that would be great. So you could actually start off with 10 and bounce 'em off. The thing is what you generally find when you put lots of things on there, they all get bounced off really quickly. Yeah. They, They've all disappeared almost instantly. Yeah. But, um, yeah, that's fine. That's great. We do weather on a sheet of material material. How do you do weather, Jane? I know, I know. Um, Jane has a lot of, um, a lot of stories where the children are really obsessed with, with weather watching the weatherman on the tv. I've heard her Oh yeah, yeah. Thunder. So shake fast or pat heavily. Yeah, absolutely. Yeah. So try and make a song or do some sort of musical chanting for the, for the shaking and the patting. Combine that with some music with the rhythm. Mm-Hmm. Yeah. Great. Yeah, That's a good one. Um, I'm just, just aware of time. John, we've got around about sort of 10 minutes left. Um, I'm just wondering if anybody's got any questions, anything they'd like to ask you while you're On, go for it. Give you a minute to type in there. And it can be about anything at all that John's chatted about or maybe things that you haven't covered. Anything else Yeah. And anything else at all. Yeah, we've got some typing coming through now. Is there anything you'd wanna talk about, John? Anything you think you've not covered? Um, not that strings to mind at the moment. Mm-Hmm. Let's see what, let's see what comes up. Yeah. And Bernie are writing. Yeah, that's right. Absolutely they do. So yeah, EAL children I think often, often do. And actually I was working yesterday in with, um, early years children in an autistic school with a man called Adam Alford, who's, um, uh, produced a whole, something called Sounds of Intent, which is for SEN children and his specialist in, in, in working with autistic children musically. And he was saying, actually they might not speak, but they, they, you might find they develop a phrase which means no or yes. So he started to write these, write little phrases. And, and one of the parts of the project that I'm working on working with him on is to go into, uh, an autistic school. And we're gonna start using some of these phrases to see if the children, so the less verbal children actually pick them up. So one of them is, no thank you. No thank you. No, thank you very much. And you know, you can do it quite, quite quickly. Um, and he, he's wants to see, I think whether they go, um, uh, uh, uh, uh, uh, they don't use the words, but the tune is a symbol for those words, for the no. And they start to use that. So yeah, absolutely. Yep. Is there any specific cd which is good to use? Um, oh, now there's a question. The thing is, I'm a composer by training, so I kind of tend to make things up rather than use CDs. Um, I mean, it depends, Jane. It depends what you want, what you want it for. Do you want it as a general listening, do you listen to different characters of music? Do you want it to be active within a story or what? I think if you, if it is something with entails toolkits, I think you need to make things up yourself with the children. So CDs aren't very helpful for that. However, if you made up, you know, um, some music for a princess or for a tiger or something, then perhaps you could find a piece of music which might, might represent that character on a cd. Is that the sort of thing you meet? I wonder if you reply. I'll come back to it, Bernie, I'm just, I'm just thinking John, if you're feeling very nice, maybe we could record a few of your tunes that you've done today and, and some of the other ones that you use. I thought you were recording it all. We, we've recorded all of it today, but I know you've got lots more. So we, we could, we could record a few of those. I could never remember the way I put on, put on the spot. Put on the spot. Yeah. Um, so Bernie was just asking about, um, yeah, other members of staff who are shy to sing. I think actually a starting point is the chanting. Let's just speak in rhythm. Yeah. And let's get that going first. That's kind of your first step. And then still it is musical, it's got character. You are doing it in a kind of characterful way. Um, I think that's a good starting point. Try to, as I had this talking to some people or talking to reception teachers last last week and they both kind of said, um, oh yeah, well it feels a bit weird 'cause it's just us singing. Mm-Hmm. And yeah, absolutely. If it's just you are the only adult who seems to be happy singing, then it becomes really hard. So kind of somehow, if you can create an environment where everybody feels comfortable to sing, which means everyone gives it a go, whatever level they are, then that's something to try and foster. Um, which might happen. Start, start within a sort of discussion. Yeah. With the, with the, all the people in the, in the nursery first to kind of commit to doing that. Okay. So I might have missed a couple Around. Yeah. Rachel, Rachel has a really good question here. I dunno if you can scoot up a little bit. And she's saying that children in her class love to join in with songs during group storytelling, but she'd like for them to feel confident to start using music in their own stories. So have you got any tips in terms of getting them independently creating songs? I think, I think, um, yeah, I, I think doing it yourself as part of the story, so making it up yourself is a good model. If you can, if you can, um, for you, well if you are in the story, you are making it up. That's this song didn't exist before you made the story, so therefore that adult must have made it up. If the adult made it up, then why couldn't children, if you are in other context, if you're just in the nursery, if you make up a song about what they're doing with their name in it, then also that becomes very personalized. It's not something that existed before that moment. So I think it's about doing it yourself and then seeing what happens. I've had sort of moments with, with them particularly boys, which have been quite funny, where I go up to them, they're playing the Lego and I start singing about what they're doing and they sort of look at me a bit, a bit weirdly like, what, what nurses, what else going on here? Um, and then, then after a while they can sometimes just kind of forget that they're not singing and they start singing. So it's kind of doing it yourself I think is a great model. Um, we try to play music in different cultures. Would you? Yes, absolutely. Mm-hmm, absolutely. Listen to all sorts of stuff. Um, I've also, you know, met teachers who use, if you want to kind of, um, whip them into a frenzy who kind of finds find very exciting music, who want to calm them down, you have come, you find some slow, slow music, so. Absolutely. Yeah, definitely. Um, I know it Story conversation. Sorry, story conversation with a child. Yes. So Kate, so hello Kate, how are you doing? Hello John. I'm doing great. So see if you can get a conversation going. Absolutely. Um, it could be about what they're doing so you could sort of build up a story about what they're playing with in the Lego or in the sand pit or wherever. Yeah. Um, And I know, um, John and one story, um, I went into a school and saw a story being done and I think there was a disco or a party at the end where they all celebrated and the teacher put on Bombo and all the characters were danced to Bombo. So there's no reason why you can't play songs. Short story as well. Absolutely. Yeah. It's finding then it's having it to hand, isn't it? It's having the right kind of bit of music you can just get and and slot it in, slot in there. Yeah. Um, so it's not, it's not something that I, I do. Yeah. Because I'm used, you know, I do lots and lots of music. Music is all I do, so I'm not dealing with any of the other stuff that all you guys have to deal with. So it's, I'm kind of very, very lucky in, in that way that I can just focus on the music. So it's slightly different world, but uh, when I do it, Mm-Hmm. Um, were there any other questions? I think you filled an hour there, John. Lots of singing. You Get time, you get time to enjoy. Yeah, absolutely. I mean, having fun is, is is the main thing about it and enjoying it and giving it characters and being a bit silly Mm-Hmm. Um, is all, is all brilliant. And when it's fun, that, and I think that's actually the nice thing about Tales toolkit is 'cause you get these absolutely wacky ideas coming through from the children. Mm-Hmm. And part of my head, what I do is going what? That's crazy, but actually really enjoying it as well. Mm-Hmm. So same thing with the music, really go, go for it and enjoy it and go for the silliness. Mm-Hmm. Yeah. We, we've had all sorts of crazy stuff. Yeah. Yeah. So really just put a last comment in there. Yeah. Makes sense. Yeah. Yes. Chance is good. I I chance you don't pitch and singing is, um, music doesn't have to be singing, music is repetition, rhythm, fundamentally. It doesn't, it doesn't have to be sung. So doing Chance is, is your basic kind of starting point or even just speaking and repeating. Yeah. That's, that's still musical 'cause you then build up, so Rhythm is burst, really. So go for that. Give it a go. Yeah. Fantastic. Big thank you John. You're welcome. It's been a pleasure. Thank Good today. No, I really enjoyed it. So, um, and I'll leave the chat on for a little while if anybody wants to share any comments, but, um, we'll switch our videos off now and enjoy the rest of your evening. Thank You everyone. Thanks. Bye. Thank you.