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Early Drills for Young Children

Work on a drill for no more than 5 minutes. Do no more than 3 or 4 drills in a single training session. A training session should never be more than 15 minutes and for the very young less than that. Make drills fun and aim for a sense of accomplishment for the child. When a drill is easy go to next drill. It is very important not to continue a drill that is too easy for child. It is possible that child will immediately succeed on a given drill. Always do a drill at least 3 or 4 repetitions, but once child shows mastery, validate child’s ability, acknowledge their accomplishment and go on to next drill (or end training session if appropriate.) Observe child and never continue a drill when child is bored or disinterested. Never go to the next drill when child has not mastered a previous drill. If child struggles too long on a drill, go back to the previous drill (the last drill child was doing really well at.) End training session on that drill and resume next training session on that drill before going to next drill in sequence (that drill that child was having trouble with.)

Drill #1: Where am I (created by Louise Fletcher) (child and one adult)

Child Closes Eyes and points to location of parent.

Drill #2: Who Am I (created by Louise Fletcher) (child and two or more parties such a parents, sister, etc.)

Child Closes Eyes, party says “Who am I?” and child says Mommy or Daddy or Gram-ma, etc.

Drill #3 : Disguised Who Am I (created by Louise Fletcher) (child and two or more parties such a parents, sister, etc.) This drill may be skipped for very young children.

Child Closes Eyes, party disguising voice says “Who Am I” and child says Mommy or Daddy or Gram-ma, etc.

If child has trouble with this drill, simplify disguises so child can win. Keep variance of voice minimal and gradually get a little tougher. If child struggles with this drill, don’t disguise voice very much. Important for child to notice that the same person can sound different, but yet be able to identify person. Purpose of drill is not to trick child but to raise awareness of sounds being different but same.

Fourth Drill: Hi or Lo

Teacher plays the lowest note and highest note on piano or other instrument (stay with same instrument) and works with child to identify this note as “Lo” and this note as “Hi” – only the highest and lowest notes are used. Don’t switch the note associated with “Hi” or the note associated with “Lo” ever.

Drill #5a: One or Two – tapping (Can be skipped for older children)

Child must be able to count up to 2. Counting is an abstract concept and should be taught first before doing drill. This can be done visually (one or two fingers, one or two toys, one or two softballs, etc.) Have child close eyes and tap once or twice lightly on their hand — ask them if “one” or “two” taps.

Drill #5b: One or Two – given note with child watching

Communicate to child that instead of tapping on hand you will be tapping on the piano (or other keyboard instrument, guitar, etc– any instrument can be used)

Pick a given note on the piano and either play that note once or twice. Have child identify if you played it once or twice.

Drill #5b: One or Two – given note with child not watching (turned in opposite direction from instrument or with eyes closed.)

Communicate to child that instead of tapping on hand you will be tapping on the piano (or tapping on other keyboard instrument, plucking guitar, blowing on clarinet, etc– any instrument can be used)

Pick a given note on the piano and either play that note once or twice. Have child identify if you played it once or twice.

Drill #5c: One or Two — different notes with child watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.)

Tell child you will by using different sounds or notes now. Play either one note (One) by itself or one note followed by another (Two.) Start with notes far apart and proceed with notes closer and closer together.

Drill #5d: One or Two — different notes with child not watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.)

Tell child you will by using different sounds or notes now. Play either one note (One) by itself or one note followed by another (Two.) Start with notes far apart and proceed with notes closer and closer together.

Drill #6a: One or Two Together — different notes with child watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.) When playing two notes play them together (not sequentially.) This drill can be skipped for older children; however useful to use step as an explanatory process if not done as a drill.

Drill #6b: One or Two Together — different notes with not child watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.) When playing two notes play them together (not sequentially.)

Drill #7a: One, Two or Three together — different notes with child watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.) When playing two or three notes play them together (not sequentially.) This drill can be skipped for older children; however useful to use step as an explanatory process if not done as a drill.

Drill #7b: One, Two or Three Together — different notes with not child watching – start with notes that are far apart and progress to notes a semitone apart (adjacent notes.) When playing two or three notes play them together (not sequentially.)

Drill #8: Different or Same. Demonstrate to Child with child watching what you are about to do before starting drill (with child not watching.) Play one note on piano. Count to 5 and then play same note or different note. Ask child if Same or Different. Start with notes far apart and move to notes closer together. Avoid playing the different notes that are the same note names (same pitch “chroma”; same pitch class – in other words all C’s are in the same pitch class or of the same pitch chroma) in different octaves. If notes of same name are accidently played an octave (or several octaves) apart accept whatever answer the child provides as either can be viewed as correct.

Drill #9: Different or Same on Different Instruments. Same Drill as number 8 but on two different instruments. Important that the two instruments are in tune. Inexpensive recorders (a musical instrument like a flute) and harmonicas can be purchased online or at music stores for $15 or $20. If a electronic keyboard is available the different instrument settings can be used but keep choices simple (piano, organ harpsichord, flute, acoustic guitar, violin, clarinet, saxophone, trumpet, French horn) Computers with speakers can provide different instrumental sounds. Download a program like Functional Ear Trainer at http://www.miles.be and use the midi setup under tools to chose different instruments. One can progress on to three instruments if drill is easy for child.

Drill #10 Octave displacement. Explain to child how notes kind of re-occur at different levels. Best to use a keyboard for this. Start in the middle of the Keyboard on middle C and play the white notes in sequence from that C up to the next C. Note are the first and last notes have more in common in terms of sound than the other notes played in between. See if child can hear this. If child has trouble with this concept, continue to demonstrate this over several sessions until child grasps this. Once child can hear similarities at the octave, then play either two different notes of different pitch classes (like C and E) or two notes of the same pitch class (for example, C) at different octaves. Avoid very high or very low notes – stay within a couple of octaves of middle C. Ask child if “like” (similar, matching) or different. Once child is good at this, move to another instrument. If possible do this on several different instruments.

Drill #11 Find Me “C” Explain to child “I am going to play a sound on the piano (guitar, etc.) and then tell me when I play that same sound again. Here’s the sound (play middle C). Is it okay, if we call this sound ‘C’ (If child agrees go with C, if child disagrees or if child volunteers a different name, go with the name child gives it unless it is a letter – if a letter negotiate for child to provide another name of their choosing.) ‘C’ sounds different than its neighbors, (Play another couple of notes, but not any C. To start with, play the A below middle C and then the E above middle C. Show the child C and show the child A and E.) Can you pick out C from this (play A) or this (play E.) (If child is very young start with child watching, then when child is comfortable continue with child not watching.)

With Child Not watching continue. “Here is our friend ‘C’ Now let’s see — is this C? (play same note or the A or E previously chosen) If child gets it correct, validate child (“Yes, that is ‘C’!!!) If one has just played C and child has indicated it is not C. Play C again and show child. If child doesn’t recognize it is the same note, child may be inattentive or not interested and it is probably best to do something else and come back at a later time or the next day. If one has played a different note and child incorrectly identifies that note as C , then play C and the previous note to show difference. Keep this drill light and simple.

Once child masters identifying ‘C’ from the ‘A’ and ‘E’ above it, then expand to include “B” below middle C, D above middle C and then later F and G above middle C. If at any point child asks the name of one of the other notes or asks to name one of the other notes, grant child’s request.

Once child masters identifying ‘C” from the other notes above and below, then tell child you will play two sounds together and child is to guess if C is being played. Start by showing child that you are playing C and E together – “See how here is “C” and here is another sound. And then play A and E – here are two sounds but not our C sound. Do this a few time until child seems to get this. And then try to do with child not watching. If child struggles, come back frequently to visually showing child. Always keep drills fun and light and go on to some other non-related game with child if hitting an impasse. Every tiny bit of exposure to the sounds of notes translates to some small progress.

Early Drills For Developing Perfect Pitch

Perfect pitch (also known as absolute pitch) can be developed in most children with some studies aimed at doing just that indicating over 90% success rate. Perfect pitch is a useful skill for anyone pursuing music as a hobby or vocation. Quite simply perfect pitch is the ability to identify any pitch or sing that pitch when asked to.

The catch to teaching a child perfect pitch, is that the window for doing this is rather narrow: some children can start as early as three years old, the remainder at four — but the catch here is that few can learn perfect pitch after the age of seven. After nine years of age, it is still possible for some children, but these are the exceptions.

Drills for perfect pitch

The key to teaching perfect pitch to children between three and six years old is to make it a fun, play-based experience that integrates music into their daily lives.

• Labeling Pitches:
  • “Note Naming Game” with an instrument: Play a single note on a piano or keyboard (starting with C, then adding G, then F, etc., gradually expanding). Immediately name the note aloud and have the child repeat the name. You can use large, colorful flashcards with the note names.
  • Singing Note Names: Sing simple songs (like “Mary Had a Little Lamb” or “Twinkle, Twinkle Little Star”) while singing the letter names of the notes. For example, “C-D-E-C, E-D-C-G…”.
  • “What’s That Note?” with household sounds: Play a note on an instrument, then have the child listen for that same pitch in everyday sounds (e.g., a doorbell, a phone ringing, a car horn). This helps generalize the concept of a pitch beyond a specific instrument.
• Pitch Matching and Reproduction:
  • Singing Back: Play a note and have the child try to sing that exact note back. Start with comfortable vocal ranges.
  • “High and Low” Games: Use an instrument or your voice to make high and low sounds, asking the child to identify which is which. You can also have them move their hands up for high and down for low.
  • Pitch Sorting: Prepare several glasses of water with different water levels (which will produce different pitches when tapped). Have the child tap them and try to put them in order from lowest to highest pitch.
• Associating Pitch with Color/Animals/Stories:
  • Color-coded notes: Assign a color to each note (e.g., C is red, D is blue). When you play a note, show the corresponding color.
  • Animal Sounds: Associate pitches with animal sounds (e.g., a high pitch for a bird, a low pitch for a bear).
  • Storytelling with Pitch: Create simple stories where different characters are represented by different pitches or melodic fragments.
• Consistent Exposure:
  • Fill the home with music: Play classical music, jazz, and other “high-information” music regularly.
  • Encourage singing: Sing with your child often, focusing on singing in tune.
  • Regular, short “play” sessions: Instead of long, formal lessons, incorporate 5-10 minute pitch-related games multiple times a day.

Early Drills For Developing Relative Pitch

Relative pitch can be developed in almost any child at any age. Relative pitch is a very useful skill for anyone pursuing music as a hobby or vocation. Relative pitch is the ability to identify or sing the relationships between pitches. When one pitch is played after another, someone with relative pitch can identify the interval between those pitches. When two pitches are played together someone with decent relative pitch can identify the intervals between these two pitches. As relative pitch is developed, one can identify relationships between three, four or more pitches. This is very useful for identifying chords. With relative pitch one can hear the performance of a song, and play it back on their instrument — if they are skilled at guitar, they can play the chords for that song and sing the melody and if skilled at piano, they can play the chords and the melody.)

Below are some drills for teaching children relative pitch.

I. High vs. Low (Basic Pitch Direction)

• Silly Voice Game: Make high-pitched, squeaky voices and low-pitched, growly voices. Ask the child to imitate you.
• Animal Sounds: Associate high pitches with small animals (mouse, bird) and low pitches with large animals (bear, elephant). Make the sounds and have them guess the animal.
• Body Movement:
  • Play a low note on an instrument (piano, keyboard, even a single drum). Have the child crouch down low.
  • Play a high note. Have the child stand on tiptoes and reach high.
  • Gradually move from low to high (a scale) and have them slowly rise up.
  • Play “up” or “down” melodies and have them move their hands or body accordingly.
• “Pitch Slide” Drawing: Draw a line on a whiteboard or paper that goes up and down. As you play a note that goes up or down, trace the line with your finger and have the child sing or hum along. Let them draw their own lines and sing them!

II. Steps vs. Skips (Melodic Movement)

Once they grasp high/low, introduce the idea of moving notes in small steps (like walking) or larger skips (like jumping).

• Finger Ladders/Steps:
  • On a piano, play two notes right next to each other (a step, like C to D). Have the child place two fingers side-by-side.
  • Play two notes with a note in between (a skip, like C to E). Have the child place two fingers with a gap in between.
  • Ask: “Did my fingers step or skip?” after you play two notes.
• “Musical Stairs”: Draw a simple staircase. Play a scale up the “stairs,” touching each step as you play. Then play a skip and point out that you “jumped” over a step.
• Familiar Melody Analysis (Simple): Sing or play parts of familiar songs. Ask the child, “Did the notes go up a step, down a step, or stay the same?” Start with very simple phrases.
  • Example: For “Twinkle, Twinkle Little Star”: “Twinkle, twinkle…” (notes stay the same, then go up a step).

III. Interval Recognition (The “Distance” Between Notes)

This is a more advanced aspect of relative pitch, where children start to distinguish specific distances. Start with easily recognizable intervals.

• “Interval Friends” (Singing and Naming):
  • Unison (same note): “Two notes that sound exactly the same, like best friends!” Play the same note twice. Sing “same, same.”
  • Major Second (step up, “Happy Birthday” opening): Play a major second. Sing “Do-Re.” Associate it with the start of “Happy Birthday” (first two notes).
  • Major Third (skip up, “Oh, Canada” opening): Play a major third. Sing “Do-Mi.” Associate it with “Oh, Canada” (first two notes) or “When the Saints Go Marching In.”
  • Perfect Fourth (“Here Comes the Bride”): Play a perfect fourth. Sing “Do-Fa.” Associate it with “Here Comes the Bride.”
  • Perfect Fifth (“Twinkle, Twinkle” or “Star Wars” opening): Play a perfect fifth. Sing “Do-Sol.” This is a very strong, stable sound. Associate it with the opening of “Twinkle, Twinkle” (“Twinkle, Twin-kle”) or the “Star Wars” theme.
• Interval Matching Game:
  1. Play a reference note (e.g., C).
  2. Play a second note, creating an interval (e.g., C to G, a perfect fifth).
  3. Ask the child to identify the “sound” of the interval. You can give them options (e.g., “Is that the ‘Twinkle’ sound or the ‘Happy Birthday’ sound?”).
  4. Vary the starting note (e.g., play F to C, also a perfect fifth) to ensure they are hearing the relationship, not the specific notes.
• “Call and Response” Intervals: You play an interval, and the child sings it back or finds it on an instrument.

IV. Melodic Dictation (Playing by Ear)

This involves reproducing melodies after hearing them, which is the practical application of relative pitch.

• “Echo Me”:
  • Play a short, simple melody (2-3 notes) on an instrument.
  • Have the child echo you by singing or playing the melody back.
  • Start with notes that are steps apart, then introduce skips.
• “Missing Note”:
  • Play a familiar melody but pause on one note.
  • Ask the child to sing or play the missing note.
• “Guess the Song”:
  • Play the first few notes of a very familiar song.
  • Have the child guess the song.
  • Then, encourage them to play or sing the rest of the song.
• Simple Composition: Encourage the child to make up their own short tunes and sing or play them. This builds their internal musical ear.

Tips for the Adult when working with children

Be Patient and Encouraging: Celebrate small successes. Some children will grasp these concepts more quickly than others. The goal is to build a strong musical foundation and love for music.

Keep it Playful: Avoid formal “drills” that feel like schoolwork. Frame activities as games.

Short and Frequent: Little and often is better than long, infrequent sessions. 5-10 minutes a few times a day is highly effective.

Use Visuals and Movement: Children learn through their senses. Connect high/low with physical actions (standing, crouching), and use visual aids (lines, stairs).

Sing, Sing, Sing: Singing is one of the most powerful tools for developing relative pitch. Sing scales, arpeggios, and familiar songs.

Use a Variety of Sounds: While a piano or keyboard is excellent for clear, consistent pitches, also use your voice, a glockenspiel, a recorder, or even apps that generate tones.

Focus on how Pitches (Perfect Pitch) or Intervals or Chords (Relative Pitch) are perceived or felt by the child: Encourage children to describe how the different intervals “feel” to them. Do not correct the child. How something feels to them is good enough.

Integrate with Instrument Learning: If the child is learning an instrument, directly apply perfect pitch or relative pitch concepts to their playing. For example, when they learn a new song, help them identify if notes are going up, down, or staying the same, and what “steps” or “skips” they are making.