by Laura Tam | Jun 27, 2018 | Resources
This week’s application pairs a classic rock song with instrument play to target a variety of objectives in several different domains. With just a little lyrical adaptation, we’re able to address clients’ needs while also maintaining the original flavor of the song.
Possible Goals Addressed:
- Impulse control
- Choice making
- Discrimination between slow and fast
- Discrimination between high and low
- Gross motor skills
- Creative expression
Music used:
https://www.youtube.com/watch?v=BN1WwnEDWAM
Headon, T., Jones, M., Simonon, P. & Strummer, J. (1982). Should i stay or should i go [ recorded by The clash]. On Combat Rock [CD]. Los Angeles, California: Epic Records.
Materials needed:
Hand instruments (rhythm sticks, shakers, etc., visual aids if appropriate)
Application:
The music therapist will adapt the lyrics to the song “Should I Stay or Should I Go”, by The Clash. Repeat the song as appropriate to include various clients choosing different options. Additional resources such as visual aides or the use of body percussion can also be added to fit the individual needs of clients.
Choices that the music therapist can insert into the adapted lyrics include the following:
- Should we play fast or play slow? (proceed to the chorus while playing fast or slow)
- Should we play high or down low? (proceed to play the chorus tapping/shaking high or low
- Should we stop or should we go? (if client says stop, pause and then cue the group to say “go” and proceed to the chorus. If the client says go, immediately proceed to the chorus)
Lyrics:
Should I Stay or Should I Go (Adapted Version)
Verse 1
[name], you got to let me know
Should I stay or should I go?
If you say that you are mine
I’ll be here till the end of time
So you got to let me know
Should I [insert action] or should I [insert action]?
Chorus
Should I stay or should I go now?
Should I stay or should I go now?
If I go, there will be trouble
And if I stay it will be double
So come on and let me know
Should I [insert action or should I [insert action]
Verse 2
Now [shake/tap] down by your knees, knees, knees
Come on, let’s [shake/tap] down by by your knees, knees, knees
One day it’s fine and next it’s black
Well, come on and let me know
Should I [insert action or should I [insert action]?
Chorus
Should I stay or should I go now?
Should I stay or should I go now?
If I go, there will be trouble
And if I stay it will be double
So come on and let me know
Should I [insert action or should I [insert action]
by Laura Tam | Jun 7, 2018 | Reflections, Resources
Song discussion and songwriting can be beneficial and fascinating practices. Not only do they give an opportunity for the client to respond to a song in a real and genuine way, but they are also exercises in expecting the unexpected.
It can be scary to never really know how the client will respond. Thankfully, through many hours of clinical training, embracing the uncomfortable has become easier. I’ve come to appreciate the moments where my clients feel empowered to express themselves through song lyrics in a safe space.
How do I validate emotions that can’t exactly be defined?
One song discussion and songwriting intervention that I have recently used involved goals of discriminating and processing emotions, increasing self expression, increasing reminiscence, and strengthening coping skills.
The application began when I played a song that was requested by my client. Once the song ended, I asked my client how it made her feel. After a long pause, my client answered, “somewhat in between.”
In my head, I was pondering: how do I validate emotions that can’t exactly be defined? Do they need to be defined to be valid? All of a sudden, this intervention popped up in my head that both honored my client’s response and could be a starting point in helping my client increase her coping skills and emotional processing.
My client mentioned that the song made her feel both sad and happy. I grabbed my white board and used a dry erase marker to draw a happy face on the left side of the board, a sad face on the right side, and a neutral face in the middle.
With each experience, I validated what was shared and made her know that it was a safe place to share only what she felt comfortable with.
Next, I went through the lyrics, two lines at a time, and asked my client to place the lines under each emotion that best matched how the lyrics made her feel.
After we finished placing the lyrics under the various emotions, we took a look at the board and saw just how mixed a song could make someone feel. Not only was this helpful for my client to visually see the diversity of emotions, but it also helped the her to see that it was okay to not feel strictly “happy” or “sad” all the time.
To make this intervention more personal and to further allow my client to discriminate emotions based on her own experiences, I prompted my client to describe moments in her life where she felt happy, sad, and in between. With each experience shared, I validated what she said and again stated that it was a safe place to share only what she felt comfortable with.
We didn’t have time to put her experiences to music yet, but we are excited to finish our original song during our next session.
Song discussion and songwriting can be a very personal experience, and therefore can look different for each client. What are ways that you have incorporated emotional goals and coping skills in song discussion and songwriting? We’d love to hear from your experiences, so let us know in the comments below!
by Laura Tam | May 9, 2018 | Resources
This past Sunday, Music Therapy Connections hosted an open house, and it was a blast! We invited the Springfield community to step through our doors, meet our music therapists and teachers, and spend time making music together.
Seeing new faces and familiar faces connect with each other and explore our facility was such a thrill, especially with everyone being from all different walks of life.
One of my favorite moments during the open house was when we invited everyone into our big room for some group drumming. From little infants to teens, parents of young children to older adults, we shared the time exploring our creativity, playing together, and best of all, enjoying music.
I would love to share with you how we structured our drum circle to incorporate a wide range of ages, needs, and comfortability level.
Drum Circle Age considerations:
- For our little ones, we used low floor drums and encouraged caregivers to sit on the floor so they would have a greater range of movement to support, hold, model, and do hand-over-hand movements with their young children.
- For young children who didn’t need the motor guidance of a caregiver, we encouraged participation and empowered their independence by giving them choices (i.e., Big drum or small drum? Floor drum or hand drum? Mallets or no mallets?).
- For our children, teens, and adults, we encouraged creativity by asking for options of how to play (i.e., Asking participants to come up with hand motions, asking participants whether they want to play fast or slow, etc.).
Comfortability Level Considerations:
- This might be the first time a lot of participants have ever played an instrument, let alone a drum! Encouraging choices for all participants is big. You should structure songs to include a variety of different styles, motions, volumes. Once everyone has a better idea of different options, structure the song to include parts where people can explore their creative side without feeling insecure or exposed.
- How can you do this? Have half the group tap a basic beat while the other half freely improvises and then have the two sides switch.
- Include songs that are have chants, sequenced portions, or repetition so that participants have a predictable structure to follow. Once everyone is comfortable with the familiar section, gradually add new components.
- I like to have a cycle of familiar/predictable sections, new sections, and then a return to familiar/predictable sections.
- Don’t forget to validate! A simple “I hear you!” or “Wow, I like your energy!” can go a long way in encouraging new players throughout.
- Drumming can be loud. Model as much as you can! Sometimes over explaining can overcomplicate things, and a lot of times, people can’t hear you over their own drumming. Try minimizing verbal explanation and instead, replace it with concise and direct language, or eliminate verbal directions all together and use your drum, exaggerated facial expressions, and exaggerated body language to motivate everyone to have greater focus and jump right in.
I hope you found these drum circle considerations helpful! If you’d like to share some drumming ideas with us, or ways you’ve adapted drumming experiences for individuals of all ages, we’d love to hear from you in the comments below!
And if you’d like to learn more ideas about how to incorporate drumming into your sessions, check out Kalani Music. For songs and chants that can be adapted for all ages, check out Ella Jenkins! These have been great resources and inspirations to me as I keep growing as a music therapist. Best of luck in your journey!
by Laura Tam | May 3, 2018 | Resources
One of my client’s favorite things to do is choose a song to listen to or sing together. Recently, my client chose the song “Seven Years” by Lukas Graham. I had heard the song on the radio before, but never really took the time to listen to the lyrics. The song talks about memories the singer had at age 7, 11, and 20 years old, as well as his thoughts about turning 30, and later, 60 years old.
“Seven Years” was a very poignant song that helped me realize that at every moment, we can look back and see ways in which we’ve changed. In the present, we can reflect on the things we’re feeling and learning, while also looking ahead to who we might be in the future.
I love this song because it has certain ages already put in place where the client can share about the times when he or she was (or will be) 7, 11, 20, 30, and 60…or any age, for that matter.
As a music therapist, my mind immediately started forming ways in which I could turn this song (or similar songs that have to do with growing up) into a songwriting activity.
How I go about starting a songwriting activity:
With any songwriting activity, I like to begin with asking a mix of open-ended and closed questions. For “Seven Years,” some sample questions I may ask a client include:
- Can you remember the earliest memory you’ve ever had?
- What do you remember about being that age?
- How does that memory make you feel?
- What are some things about yourself that you think have changed?
- What are some things about yourself that that you think have stayed the same?
- What are some things about yourself that you think might change or stay the same in the next 5 years? 10 years?
As my client answers these questions, I write down the responses with the exact words that he or she uses. I then do my best to fit their responses within the song structure, and if I need to adapt their response, I always give them choices of how they prefer to rephrase their lyrics to fit the song.
My favorite moment during the songwriting experience is after new lyrics are written. This is when I get to sing through the song and see the look on my client’s face when their thoughts, feelings, and creativity become validated. Sometimes the moment we share together is so meaningful that I try to extend these songwriting experiences from session to session, or make recordings so that clients have something tangible to take away from our time together.
The best thing about songs like “Seven Years” is that they encompass the entire life span of the individual. Whether you are working with a young child, adolescent, young or older adult, songs similar to “Seven Years” can be an outlet for the client to share and process thoughts and experiences from their past, during the present, and as they look towards the future.
As I close out this post, I’ve included two more songs that would work well with songwriting throughout one’s life journey. Feel free to try out this songwriting intervention with your clients, and let me know in the comments your experience in using them in your sessions!
“100 Years” – Five for Fighting
“Seasons of Love” – from RENT
by Alisabeth Hopper | Apr 9, 2018 | Resources
Last January, I began the journey of creating a thorough resource to take you from knowing no sign language to knowing over 100 signs, 8 songs, and practical advice for how to apply this knowledge every day in your practice. One year and two CMTE courses later, I believe that we have done it!
Functional Sign Language for Music Therapists (3 CMTE credits) was built to give you a strong foundation in sign language. We start the process of understanding cultural considerations, exploring application and signing with songs, all while diving deep into building your sign dictionary. Each participant will learn over 100 signs! These signs are what I consider the must-have, go-to, can’t-go-without signs, and they are packaged up for you in one comprehensive course.
The Functional Sign Language Song Crate (3 CMTE credits) was the natural successor to the first course. In this course, we expand on cultural considerations and offer a variety of applications, goals, and objectives for varying clinical settings. The core content of this course teaches you how to sign to 8 different songs, and walks you through a tutorial on how to break down, learn, and sign any song!
We are offering a discounted rate of 25% off when you register for both courses. The registration deadline is April 10, so register today here!
Once you register, you will have an entire year to complete the self-paced courses and receive credit, but you never lose access to the course materials! You can look to this course as a resource for years to come.
by Laura Tam | Apr 4, 2018 | Resources, Tips & Tricks
One of the most surprising things I’ve learned about myself coming out of internship is that I love drumming interventions! With a little bit of practice playing a consistent steady beat and embracing improvisation, drumming with clients of all ages and who have a variety of needs can be extremely effective and versatile when it comes to addressing goals related to:
- Emotional wellness
- Physical motor skills
- Expressive communication
- Cognitive skills
- Academic skills
I’m excited to share how I’ve used drumming in the past to meet the needs listed above, and to encourage those who may not feel comfortable with rhythm or drums that rhythmic competence is not the ultimate goal. Rather, the goal is to create opportunities for your client to maximally participate and engage through the structure of a steady beat and through tactile and auditory feedback.
Drumming for Emotional Wellness
Improvising a drum solo or using call and response activity can be effective in validating a client’s emotional state, or when used as a creative outlet, it can assist the client in coping with certain emotions.
Physical Motor Skills
A steady beat primes muscles to coordinate and move at consistent times and for greater durations. Drumming (and placement of the drum) can encourage muscle movement and coordination for clients with physical needs.
Expressive Communication
Improvising a drum solo or call and response activity can be a great way for nonverbal communicators to express a dialogue with a therapist or convey a musical message.
Cognitive Skills
Drumming allows the incorporation of memory and sequencing skills through call and response activities.
Academic Skills
Drums can come in different shapes and colors, which can assist with learning pre-academic concepts. Also, drumming and counting can go hand in hand, which is another important skill for early childhood learners.
These are some of my go-to drumming applications that can be adapted for individuals of all ages and needs. Regardless of whether you’re rhythmically challenged or not, I hope that you find ways to add drums into your sessions!
If you want to share how you’ve used drumming in your sessions, leave a comment below, and if you want to learn more about music therapy, check out MTC’s services!
