Teaching with Halloween Songs

Although I’ve found myself acknowledging fewer holidays in my classes over the years, many students are still looking to make connections to some of the more popular holidays. Halloween is one.

Last year I wrote about a silly song you could sing with your students, and in this post I want to highlight a few other songs that could fit into your curriculum.

A few songs that are fun for children to sing:

  • Five Little Pumpkins (Raffi version) – great to reinforce the scales and stepwise motion
  • Skin and Bones – teach the children to sing piano and forte while maintaining good tone
  • Pick a Pumpkin – introduce sixteenth notes (tika tika)
  • This is Halloween – perhaps just sing the chorus, which is great for teaching “tika ti”


And some songs for listening and moving:

  • Theme from The Addams Family – snap or get out some claves to play along
  • Monster Mash – great for dancing, have the students create their own “monster mash”
  • Thriller – you know you want to teach them part of this dance…
  • Ghostbusters theme – great for adding some actions or dramatic play

In Music, this is a great time of year to explore that beautiful instrument known as the human voice. Do some vocalizing through ghostly wails. Practice dynamic range with sneaky monsters and surprised victims. Explore the different timbres of the voice, and discuss the incredible effects of changing timbres, dynamics, and pitch ranges. For younger children, try this book.

Finally, check out this post or this other post for some great classical music ideas to accompany the season of ghouls and spirits.

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Making Mistakes

I recently dedicated some time to closing some of the 86 tabs I had open, and I finally had a chance to read an Edutopia article that I’d opened long ago. As inquiry teachers, and certainly as music teachers as well, I think it is fairly intuitive to use mistakes as opportunities to reflect and improve, rather than simply labeling them as “wrong.” There were a few ideas that I’ve taken into my classroom this week with a heightened awareness of how I react to “wrong” answers, and I feel like they have helped to keep interest and momentum going.

The first was to respond with a clarifying question or a “What makes you say that? If you could ask yourself a question about that answer, what would it be?” Not only does this encourage the student to think more deeply, it also makes the student’s misconceptions more visible to me as the teacher.


Another interesting idea—and one that seemed pretty far out there when I first read it—is to have a wall or a class discussion where students focus on mistakes they’ve made and how they learned from them. I am still wrapping my head around the best way to frame that, but I like the concept!

The bottom line is that the more transparent we are about mistakes and how useful they can be to all of us (teachers and students), the more students will feel comfortable taking risks, trying new things, and learning from their mistakes instead of trying to hide them.

What kinds of things do you do to redirect mistakes into learning?

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Composition and Notation, Part II: Moving to Traditional Notation

If you haven’t read Part I, have a look there first.

At some point, the graphic notation will start to prove difficult. Students who are making more conscious, precise decisions about dynamics, pitch, and rhythm will need an equally precise system for notating their sounds. “Prep” the transition early on, and often, by exposing them to traditional notation and pointing out what you can see (familiar rhythms, pitch relationships, clefs, etc.). This way the symbols are already familiar and it just becomes a matter of taking it to the next level.

Students can begin by using the notation that they DO know. For example, they might write quarter notes and eighth notes higher and lower across a graphic score before they understand fixed pitch notation. As they gain literacy in traditional Western notation, they can incorporate more and more elements into their graphic scores.


As a final note, decide what your priorities are. Over the years, I have spent less and less time on explicitly teaching traditional Western notation. Students who need it are learning it in their private lessons. Many of the other students find it tedious and discouraging when they should be learning to understand the purpose of music, to enjoy listening to and making music, and to interpret music within its context. I present my students with many kinds of notation, and I expose them to traditional Western notation whenever it’s appropriate. And don’t get me wrong, I still ask students to try to notate compositions now and then; it is a skill that I want to develop in y students. But I am no longer pulling my hair out trying to get every single child to document their creativity in this specific way, I am no longer drilling students on lines and spaces, and I have a happier, more creative classroom because of it.

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Composition and Notation, Part I: Don’t Sweat the Small Staff

I used to get very frustrated trying to teach notation or getting students to accurately notate their compositions on the staff. But I’ve changed, and so can you!*

Don’t get bogged down with notating compositions. It kills the creative flow. Young composers know what they want their music to sound like. They can often remember it without writing anything down. If not, record it, and they can probably reproduce it.

As students start writing more complex music, or even just lengthier music, they can create a “musical map” of their piece. They should create symbols that another person can understand (i.e., there should be some logic behind them), and the map should show us the time relationships (i.e., where to begin and end, where there may be spaces, and some sense of relative duration).


Parallel to language literacy, young students can speak and think at a much higher level than they can fluently write. By not requiring students to notate in a specific way, you are allowing them to focus their energy on creating interesting musical compositions that are not limited by their notation abilities.

*Note: I’m not suggesting that students shouldn’t notate–or be able to notate–music. I’m simply saying that we shouldn’t let it be an obstacle to creativity. I no longer think that notation is as important for every student, from an early age, as I used to believe it was. Ready to move on to notation? Read Part II here.

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Tweet Your Learning

A great “exit ticket” for older students: At the end of class, give your students a few minutes to tweet a summary of the lesson (in 140 characters or less) using a designated hashtag, like #<CLASSNAMEdate> or #<schoolabbreviation>music<date>. Encourage them to engage further by reading each other’s tweets, and replying, between now and the next lesson. student-learning-twitter-social-media

Follow me on Twitter!

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Using Music to Develop Critical Thinking

For many teachers, making the change to PYP can be overwhelming, not only with all the jargon, but the complete shift in thinking. It’s not that the concepts are strange—it’s not even that we weren’t already doing these things. The change is in the focus, and one of the big focus points is in developing critical thinking.

Critical thinking isn’t just for PYP teachers, of course. It is one of the most important skills we need to develop in our students (and one of the ubiquitous 21st century skills that have come to the forefront of educational discussion). And it isn’t limited to a set of subjects; we can and should apply it to everything we do. So today I’m writing about some ways to develop critical thinking in your music class OR some ways to incorporate music into your classroom. You can make some great connections to literacy learning, using lyrics—or even music without words—in the context of making text-to-self / text-to-text / text-to-world connections. pyp-critical-thinking-music-listening-language-arts

Music is wonderful fodder for critical thinking because it speaks to us in ways that we can’t always explain or even understand. Instrumental music requires some level of critical thinking simply to translate it into words! Even the youngest students can do this successfully.

Any kind of music can be a starting point for thoughtful discussion: any genre, any language, any culture, solo or ensemble… You might choose music that speaks to you as the teacher. You might let students offer suggestions. Choose something familiar or unfamiliar, tonal or atonal, composed or improvised, recorded or live. Use some of the questions below (or see this post for more) to start your discussion, and off you go!

  • Why do you think the composer wrote this piece? (Perspective, Function)
  • How does the music make you feel? (Reflection, Connection)
  • How would it change if the performer played a trumpet instead of a violin? (Change, Connection)
  • How does the mood of the instrumental music support (or contrast) the mood of the lyrics? (Function, Connection)
  • What do the lyrics mean to you? (Reflection, Connection)
  • What does it make you think of from your own life? (Connection, Reflection)
  • What other music does it remind you of? (Connection, Perspective)
  • Why is this music memorable? Why has it stood the test of time? (Form, Causation, Perspective)


Once students have shared their initial thoughts, follow up with questions that encourage them to support their ideas (“What makes you say that?”) or think from different perspectives (“Why might ___ think differently?”). Older students might discuss in groups first, then share their already-developed thoughts with the class. You can take these discussions as far and as deep as you wish. No matter how far you go, simply modelling this kind of questioning and encouraging new ways of thinking will help your students to become better thinkers and learners.

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Response-ability: I was introduced to this term in a workshop with Cathryn Berger Kaye, a former teacher who focuses on service learning, and it has really stuck with me.


Instead of “responsibility” we think about “response-ability”: Anyone has the power to respond to the issues in the world, to address and solve problems. Maybe we can’t change everything overnight, but we ALL have the ability to do SOMETHING. I really like this way of thinking: empowering students to take action rather than burdening them with a job. Children want to do good, and they want to make a difference. Responsibility can sound like something big and overwhelming. Instead, we can focus on the things we can already do right now to make the world a better place.

How do you integrate a service mindset in your students?

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Up Close and Personal with the Instruments

I stumbled across this and just had to share. The Netherlands Philarmonic played Peter and the Wolf with GoPro cameras on several of the instruments, and put together this fantastic video! The camera on the trombone was my favorite.

This video would be great for students to get a close view of the instruments and a different perspective on how they are played. I know that when I share this with my students, many of them will just go watch it at home because it’s novel and fun.

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Responding to “I don’t know”

“I don’t know.” It’s a common response from students, particularly on those days when I make a point of calling on students who are avoiding eye contact and trying to hide behind someone. And I will start by saying this: It’s OKAY to not know. The tricky thing is trying to assess the reason for the “I don’t know.” Sometimes they know a bit, but can’t synthesize it or articulate it. Sometimes they know a bit, but not enough. Sometimes they know, but don’t know they know! In any case, here are a few of the ways I try to stretch that ubiquitous response out of the realm of a shoulder shrug and into the realm of critical thinking and metacognition.

“If you DID know, what do you think you would say?”

“Tell me one thing that you do know.”

“How could you think through it?”

“What questions could you ask to find out?”

“What are some of the possible answers?”

“What part of it do you know?”

“Where are you stuck?” / “Which part are you struggling with?”

I picked up the first one at a workshop (about something totally different) several years ago. It seemed ridiculous to me at the time, but students actually respond to it!

Other times, I might tell a student that I will take some other ideas while he or she thinks about it more. Some students just need a bit more time to consolidate the information. Sometimes a student can better synthesize and formulate a response after hearing it in the context of what other students are thinking.


But again, sometimes students really don’t know. We have to allow students to be comfortable saying they don’t know, because that is clear feedback for us as teachers. As Confucius and Socrates have suggested, knowing what you don’t know is really important. And from there, we can use our thinking and questioning skills, our research strategies, and our networks to practice the ultimate skill: how to learn. So another important response to have in your repertoire is, “Okay. How can we figure it out?”

If you are hearing a lot of “I don’t know” in your class, you might want to give your students some actionable ways to respond instead. You can also download a free poster with some prompts here.

How often do you hear “I don’t know”? What strategies do you use to coach your students forward?

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Earth Day

April brings Earth Day, which is observed by people in countries all over the world. For the most part, our students have some awareness about the environment, and they quite naturally feel the need to take care of it. No matter what your subject focus is, you can take some time this month to explore what actions we, as individuals, can take towards sustainability.

In Music, I plan to analyze a few environmental songs, and I am hoping that at least some of my classes will have time to share the songs with the rest of the school during break times.

A bit of song analysis works not only in Music, but connects to Language Arts and Social Studies/Social Sciences as well. Younger students may only be able to touch the surface of what a song is about, but even older primary students can dig deeper into the lyrics, making connections to systemic problems, social structures, and world views that might contribute to a problem. This kind of thinking not only creates awareness of the greater complexities with the problem, but can prompt thinking and action for steps toward solutions. With my Grade 5 students, I have gone as far as to ask them to think about why—when so many people know that we need to “save the environment”—does the problem continue? How does a minority view win? The students have been trying to read between the lines and look for references in the song lyrics as well, which has really drawn them in! (So much that we didn’t get any further with the lesson I’d planned!)


In past years, I have asked students to respond to quotes about the environment, through music or just through discussion. I find that quotes are an interesting way to get children thinking about different views, about language, and about social issues. The way we interpret and contextualize them really lends itself to developing critical thinking skills! If you want to try it, have a look at my Earth Day poster and activity set, which has set quotations (related to the environment, but also to social action in general) on beautiful photos. It also offers some transdisciplinary ideas for how you might use the posters or just the quotes to stimulate critical thinking, action.

How do you recognize Earth Day in your classes? Is it a big deal at your school?

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