Suggestions for exploring the contents of the video at home or in the classroom:

Games for “small” sounds at close range

1. In a circle, ask the children to explore the “small” sounds (bass, piano) in their bodies: mouth, tongue, teeth, cheeks, fingers, hands, face, etc. (still no voice) preferably one by one to also challenge listening and concentration.

2. Place them two by two, one in front with eyes closed, the other behind with eyes open; the one in the back chooses a sound and explores it, softly, next to the ears and around the colleague's head; then, on the back of the same colleague, he draws with his fingers and hands the type of sound he produced (if it was short and insistent, if it was long and smooth, etc.), giving it a physical shape/feel. Finally they exchange. You can repeat the exercise several times with different sounds.

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Game for exploration of “medium” sounds at medium distance

1. In a circle, ask the children to explore the “middle” sounds (mezzo piano, mezzo forte) of their body: mouth, tongue, teeth, cheeks, fingers, hands, face, voice, etc.

2. Place them in a circle as wide as possible with a child in the center with eyes closed; the teacher points to each child in the circle; one at a time produces a sound (must be very clear); the child in the middle must guess who made the sound; when guessing, exchange with the child who made the sound.

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Long-distance loud sound exploration games

1. In the playground or in a garden, a third of the group hides (each in a different place) and emits a loud sound that can be heard in the distance; the rest of the group follows the sound until they find the hidden colleague; whoever is found joins the group he is looking for; after everyone is found, the group that hides is changed.

2. Place two children at two distant points; place the rest of the class in a space between these two points; the two children placed at a distance experiment with ways of communicating: if they work better with high sounds, with low sounds, fast, slow, which vowels travel better through space, if the content is understood, how to make one understand when the other has finished your communication, etc.

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Communicate only with the expressiveness of the body and voice

1. Invented Languages Game – With the children in a circle, start a conversation in an invented language. Many children have difficulty playing this game because they feel so ashamed. Start with small meaningless words and ask them to try to build sentences. In the first phase, any sound will do, but as they feel more comfortable, it may be interesting to condition the characteristics of the language (higher, lower, with mouth sounds, only with the voice, etc.). It can also help to listen to languages that exist to realize that there are many possibilities. Then they can imitate some of the sounds they heard in those languages even without knowing how to speak them.

2. Telling short stories in an invented language – each child thinks of a short story and tries to tell it with words that don't exist, trying to make everyone understand the content of their speech. At the end, say in Portuguese what you wanted to express; one or two children can try to say what they understood from their partner's speech.

3. Explore animal communication sounds and phrases; watch the examples in the video, look for and remember others, and try them out. They can try to communicate as if they were animals (of the same species or different species: cat/cat; dog/cat, etc…

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Transform and organize sounds to make music

1. Listen and learn the four melodies illustrated in the video. Try different ways of drawing the same phrase. Note that of the 4 phrases we explore in the video, it is only possible to articulate two by two, since they are in different time signatures. They appear defined in the score as follows: ostinato 1 (melody and body percussion) ostinato 2 (melody and body percussion); First part (binary rhythm); Second part (compound rhythm) – exactly as we illustrate in the video.

2. Sing the phrases with body percussion performed in the video; repeat each phrase until completely memorized; divide the group in two and experiment with overlapping the two phrases that match (Ostinatos 1 and 2 of the First part; Ostinatos 1 and 2 of the Second part).

3. Decide as a group on the number of repetitions of each sentence illustrating this structure on the board in the room (with the drawings).

4. Create a rhythmic phrase with body percussion or sounds that fits the first part of the song; create a rhythmic phrase with body percussion or sounds that fits into the second part of the song.

5. Create 3 groups: group 1 maintains a rhythmic base (created in the previous point); group 2 sings and plays ostinato 1; group 3 sings and plays the ostinato 2. Do the exercise with the two parts of music (binary and composite);

6. Improve this structure and carry it out during break for colleagues from other classes.

7. In small groups of 4 or 5 children, create small rhythmic or melodic phrases based on experiences with body and voice sounds in the context of communication between living beings; learn all the phrases and illustrate them on the board (or on sheets); choose an execution order (phrase 1, phrase 2, phrase 3, phrase 1, etc); define the number of repetitions per sentence and finally try, together, to do everything from start to finish. If it is too difficult to articulate them afterwards, add small connecting moments between phrases (for example, 4 claps, two steps or other sounds you prefer). As exemplified in the video, the phrases can be superimposed (with small adaptations), you can make a canon (make the same phrase starting at different times), etc.