SEN Instrument Cards

Rainsticks 20,40,60 ,80,100CM.

Sensor y and/ or physical needs Self -played: -

Gross motor skills required for ?twisting?from wrist Shoulder strength Stretching enhances muscular co-ordination Large arm muscle movements required

Pract it ioner -f acilit at ed play: -

Practitioner holds and student ?activates?by pushing or touching one end Progressively stronger push or touch required Progressive stretching to reach out to affect instrument

Social, em ot ional and m ent al healt h -

Listening Pleasant, sustaining sounds Sounds move from one place to another, enhancing auditory ?following' Show by picture or other visual cues helps self-esteem growth Can be used as a ?reward?instrument

Com m unicat ion and int eract ion Rainstick ?conversations?

Improve listening Improve turn taking Observe how others play Praise and appreciation upon task achievement

Cognit ion and lear ning Gentle, fun and challenging muscle lengthening can help improve relaxation, attention, focus and engagement ? all key functions related to stress-free learning

SEN I nst r um ent Car d: Rainst icks

KenKeni drums CAN STAND ON END OR SIDEWAYS OR BE HELD IN A VARIETY OF POSITIONS.

Sensor y and/ or physical needs Self -played: Tapping & Banging requiring -

Concentrated gross and fine motor skills, Grip exercise - hand-eye co-ordination - eye-teaming ? binocular vision - body positional control - effective postural self-management

Social, em ot ional and m ent al healt h ?You play one end, I?ll play the other = rhythmic conversations; call and response activities and games? ?

Explore ranges of emotional ?tones?? such as varying degrees of anger, frustration, assertion, celebration-joy, recognition of others?expressions, acknowledgement?

Com m unicat ion and int eract ion Powerful essence of tribal communication reaches deep into the psyche. And drums are amazing fun.

Over time, many students learn to listen and play with others in such a way that positively impacts their overall communication and interaction in other areas of life.

Cognit ion and lear ning Rhythmic ?conversation?can often result in wordplay and exploration of creativity.

The balance and rhythmic challenges, alongside muscle strengthening and co-ordination, stimulate body-brain activity and a willingness to ?seek organisation?within simple musical structures / beats / frameworks.

SEN I nst r um ent Car d: KenKeni dr um s

Djembe drums CAN BE HELD, WORN, STOOD UPRIGHT, OR EVEN STRADDLED WHILST ON THE FLOOR AND PLAYED BY HAND OR WITH A VERY SOFT BEATER. BAMBOO DJEMBES ARE LIGHTER AND STILL PACK A REAL BOOM-POP!

Sensor y and/ or physical needs Self -played: Can be helpful in challenging and exercising balance, proprioception, integrating multiple coordination, postural and positional self-management skills ? especially when wearing and walking/moving. As they are so robust they can handle a lot of interesting and eventful encounters! Can sit astride the larger drums when they are laid parallel to the floor, playing the head using different muscles than when seated or standing.

Pract it ioner -f acilit at ed play: Helping with posture and mobility - supporting walking and forward movement whilst student continues playing .

Self -Played: Requires a range of gross motor control skills from subtle side-to-side, forwards/backward, up/down twisting to vigorous shaking -increasing competence in motor control for dynamic playing including stop/start, soft/loud, fast/slow, getting louder, faster, softer, slower etc.

Social, em ot ional and m ent al healt h Sometimes there can be nothing better than everyone joining in a few very simple rhythms together. And it doesn?t matter whether you ?keep in time?or just hit it!

Feeling part of the group empowers individual and community/group cohesion.

Com m unicat ion and int eract ion A simple communication between groups can occur when you have a group of djembes or mixed drums together.

Beginning with very simple non-rhythmic beating of the drums ? one group plays, then another group plays in response. Have a conversation!

Over time, these skills can be adapted to groups playing other types of instruments ? for example, have shaker group conversations, scraper group conversations, chime bar group conversations and so forth.

The point is simply to communicate.

Follow the leader ? different students could have the opportunity to lead the conversations.

Cognit ion and lear ning Often, this can transfer into developing self-awareness by way of students determining preferences for certain types of rhythmic organization, songs, activities and so-on.

Learning to express these preferences and celebrate small achievements [such as joining in and feeling good about it, as well as perhaps understanding where a beat drops out, pauses and comes back in ? for some] are pinnacle moments that add huge value to celebratory self-growth and skills learning.

Begin in ?comfort zone?then gently challenge and ?stretch?by eg. playing different tempos [speeds] Begin with almost free play then add more structure over time. Helps to accept ordered rhythm, organization, pacing as a value.

SEN I nst r um ent Car d: Djem be dr um s

Ocean drums CAN BE HELD, SHAKEN, BEATEN, ROLLED, SHUFFLED, LOOPED ONTO ANKLE BRACELETS, SWUNG FROM TREES AND GENTLY WHACKED LIKE A PIÑATA?

Sensor y and/ or physical needs Self -played: Playing this instrument up high, whilst looking through the skin to see the little beads scampering across the surface, can exercise the shoulder muscles in a different way than is usual. Also, the head is tipped backwards and eyes raised, requiring varying degrees of shoulder and arm exercise and control. Be aware to shorten the time span if played this way.

Pract it ioner -f acilit at ed play: Sit facing each other and ?steer ?the ocean drum like a car steering wheel.

Swap leader/follower as you go along. Do the same action with a ?rowing? back and forth motion. Repeat with shaking, up and down motions.

Social, em ot ional and m ent al healt h It can feel wonderfully liberating to be led and then become leader yourself in an activity.

Feelings of self-esteem and self-confidence can arise from being acknowledged, trusted [by your follower] and liked [by your activity partner] through this activity.

Knowing, liking and trusting are essential qualities which can help when presenting more challenging activities in the future.

Com m unicat ion and int eract ion The body can experience communication through different actions. Pulling, pushing, tugging, lifting, lowering, are all communicating something and we are always interpreting what these actions mean to us, then we adapt and interact in order to form our own communications either in response or as an initiatory act.

Cognit ion and lear ning Looking up through the skin of an ocean drum teaches simple light and shade perception and playfulness.

Can help improve eye-teaming skills along with eye-ear integration.

SEN I nst r um ent Car d: Ocean dr um s

Shaman drums ARE TO BE HELD BY THE GRIPS ON THE REVERSE [LIKE A SHIELD] AND HAVE A RESONANCE THAT CAN BE FELT WHEN HELD CLOSE TO THE BODY.

Sensor y and/ or physical needs Self -played: Helps with grip and holding.

Motion is generally towards the self, compared to away from or down with other drums, requiring different motor control skills.

How does it feel to your body when you tap the drum gently and then when you beat it harder?

Pract it ioner -f acilit at ed play: Practitioner holds the drum, face outwards, into the back or solar plexus of the receiver. You can even take this all over different parts of the body [even above the head] but not too close to ears, then play with varying degrees of strength whilst the listener feels the vibration of the drum. If the body responds well to stimulus this can be a very more-ish activity for some.

Social, em ot ional and m ent al healt h Repetitive, gentle ?thuds?from the Shaman drum vibration that can be felt in the tummy or back area can help to give an emotional sense of stability and security, in a similar way that lullabies work.

Com m unicat ion and int eract ion The Shaman drum can be used in a similar way to a resonance board.

You can place it on a wheelchair or on a resonant floor and play it [as indeed you can with any drum] .

Look for the resulting responses.

If the practitioner holds the drum against themselves, students can beat the drum and practitioner can give feedback, in word and/or gesture ? this can help the student to temper their own playing [unless they want to give you a hard time by constantly playing hard and loud, of course].

Cognit ion and lear ning ?Reading?signals via words and gestures helps with understanding spoken and body language.

Learn about where the drum comes from.

Learn about what Shaman drums are used for, how and why they are used in specific ceremonies.

SEN I nst r um ent Car d: Sham an dr um s

Egg shakers HELD, SHAKEN, ROLLED, MASSAGED ONTO BODY

Sensor y and/ or physical needs Self -played: -

Strengthens grip Wrist twist exercise Improves arm co-ordination and exercises joints Gentle, non-threatening 'shuffle' sounds Move up through the size range to challenge grip development. Can you roll it up and down your other arm without dropping it?

Pract it ioner -f acilit at ed play: Shaking eggs around the back of the head, from side to side, over the top, from front to back, closer and further away. Can help ease head turning which is crucial for developing listening and balance skills. Although the dominant ear will almost always lead, it is essential to exercise both sides as much as possible.

Social, em ot ional and m ent al healt h Many songs afford the opportunity for everyone to join in all together with these simplest of instruments. The value here is that, even with everyone playing, the main song can still be easily heard! It 's so satisfying to be part of a playing community,without feeling the pressure of having to 'stand out ' or 'get it right.'.

Over time, students can learn to shake in time or close enough. The softer shake, as opposed to a sharp attack the [striking of a drum or chime with a beater] is less precise so demands less focus in order to 'fall in' with the beat. This, in turn, can make it easier for very sensitive. children to feel good about participating and more likely to join in again.

Soft on the ears. A lovely, safe entry-level instrument.

Com m unicat ion and int eract ion Interact between 'same' size and 'little and large'. Have 'loud' and 'quiet ' talking with each other. Have 'Mrs Big' [student shaking the biggest egg] in the middle shaking her rhythm and lots of Mr Littles on the outside of a circle chipping in their own responses.

Cognit ion and lear ning Gently encourages; -

Attention Participation Listening discrimination, particularly when playing games with ever-increasing/ decreasing size egg shakers.

SEN I nst r um ent Car d: Egg shaker s

Egg on stick USE HANDLE FOR HOLDING OR LOOP THEM ONTO THE SPECIALLY DESIGNED HAND / FOOT BRACELETS, BELTS AND TUNICS.

Sensor y and/ or physical needs Self -played: The handle gives extra gripping options or you can turn it into a "wearable" and shake using different parts of your body by combining with one of the BELTS, BRACELETS & TUNICS [see separate card] Encourages exercising of limbs. Can encourage reluctant dancers to join in.

Social, em ot ional and m ent al healt h For students with grip and holding issues, the design of these shakers is ideal.

Com m unicat ion and int eract ion Maybe someone else will spot you're wearing some instruments and come over to play with you, the giant real-life instrument?

Cognit ion and lear ning More opportunities to lengthen and control muscles; helping to encourage attention and focus.

SEN I nst r um ent Car d: Egg on st ick

Belt, Bracelet and Tunics YOU CAN WEAR YOUR INSTRUMENTS ON YOUR WRISTS, ANKLES, AROUND YOUR WAIST, OR EVEN ON YOUR TORSO! SIMPLE VELCRO LOOP GRIPS ALLOW INSTRUMENTS TO BE ATTACHED TO THE WEARER.

Sensor y and/ or physical needs Self -played: Who says you have to use your hands when playing instruments?

Shake, jump, twist, bounce, rock, roll and any other movements you feel like all whilst making terrific sounds.

Is it possible to move from one part of the room to another without making a sound?

How quiet can you make your movement?

How noisy can you make your movement?

Terrific fun especially for those who have mobility, grip and other motor control issues.

Pract it ioner -f acilit at ed play: Lie student on the floor, face up, with tunic covered in instruments, and play all of the instruments on the tunic. Student 'becomes' the instrument. The belt and the tunic can also facilitate torso twisting movements. The student can be twisted by practitioner before twisting themselves in order to help facilitate the movement.

Helps with spinal flexibility and mobility.

Social, em ot ional and m ent al healt h Relief from the constant challenge of always having to use hands to do things. Opens lots of opportunities for other types of play using more of your body to make music and sound.

Com m unicat ion and int eract ion Enables a variety of opportunities for participation in activities, especially for those with mobility and limb co-ordination challenges. Encourages exploration of controlled gross body movement activities and action song games not simply focused on limbs.

Cognit ion and lear ning More learning about "what can my body do when I wear these instruments?"

SEN I nst r um ent Car d: Belt , Bracelet and Tunics

Kenari, Pangi, Bento, Agogo and Bells strings CAN BE HELD OR LOOPED ONTO WEARABLES SUCH AS OUR HAND-MADE TUNICS AND BELTS

Sensor y and/ or physical needs Self played: Wearable - play with one or both hands.

Gently feed them onto drum heads from above to encourage slow, controlled gross motor movements.

Encourage sound-making through a multitude of methods including wearables.

Wear one sound on the front and a different sound on the back, can you [as the instrument stand] turn one way and then the other way whilst someone else plays them?

Pract it ioner -f acilit at ed play: Draw the sound-making strings over shoulders, legs, backs, feet?

Extremely tactile when drawn over hands and fingers, front and back.

Pull the strings between lightly-clasped fingers too.

Social, em ot ional and m ent al healt h Stringing them all together in a long snake and drawing them over everyone's laps who are seated in a circle, perhaps encouraging people to grip, hold, relax, let go and pass onwards (share) is a strong community experience. Tactile sensations can help people feel valued, relaxed, de-stressed, comfy, secure, centred

Com m unicat ion and int eract ion Draw around the circle in a kind of 'tugging' the anchor rope as if everyone is hauling anchor, all in it together, whilst singing,"what shall we do with the drunken sailor ".

Cognit ion and lear ning Strings are relatively easy for everyone to make sounds with. We can learn that everyone seems to enjoy making the same sounds as me in this game. We can learn the value of doing and listening and observing all in the same activity.

SEN I nst r um ent Car d: Kenar i, Pangi, Bent o, Agogo and Bells st r ings

Bento, Pangi, Kenari and Bell shakers HANDHELD OR WEARABLE SHAKERS AND JINGLE BELLS

Sensor y and/ or physical needs Self -played: The loops again enable the opportunity to play a wider array of instruments if gripping is an issue.

Pract it ioner -f acilit at ed play: Having people ?play me, I?m the instrument ?can fulfill the desire for tactile stimulation and positive attention.

Social, em ot ional and m ent al healt h Satisfaction of widening the array / portfolio of ?instruments I can play.?

Com m unicat ion and int eract ion Students back to back play different selections of these instruments. The player plays, the responder responds with the same instrument, changing selections as we go.

Cognit ion and lear ning The activity in this previous row is great for teaching listening, sound discrimination and dynamics [loud/soft, fast/slow, stop/start and so-on]

SEN I nst r um ent Car d: Bent o, Pangi, Kenar i and Bell shaker s

Jingle balls and Ball shakers FOR HOLDING, ROLLING AND SHAKING

Sensor y and/ or physical needs -

-

Roll across a circle or from person to person.

Roll them singly; roll two at a time, roll a whole bunch of them across the circle at the same time to enjoy the fun of ?missing?the other rolling jingle balls.

Superb for hand-eye co-ordination

Social, em ot ional and m ent al healt h Lots of socializing activities can be enjoyed with jingle balls rolling games.

Com m unicat ion and int eract ion If used as part of a ?skittles?type game, students can encourage each other to do well and celebrate each time someone aims and succeeds at rolling the jingle ball onto the drum head, for example.

Cognit ion and lear ning Understanding how to aim. Learning about weight and distance.

SEN I nst r um ent Car d: Jingle balls and Ball shaker s

?Boing-Boing?- Bamboo Buzzers JUST TAP ON THE RUBBER PAD AND BOING ? CRAZY, FUN SOUNDS ? BEAUTIFULLY TACTILE WITH A SIMILAR THOUGH LIGHTER FEEL TO RAINSTICKS

Sensor y and/ or physical needs -

Tapping the end of the tube produces a playful ?Boing?sound.

Challenge muscular extension, range of motion, hand-eye coordination and gross and fine motor skills by extending the range and distance of the accompanying rubber strike pad.

Social, em ot ional and m ent al healt h 'Silly sounds' help everyone to feel they can do it [make music sounds] and they don't have to be an expert to play it. Good for confidence, ice-breaker, conversation point.

Com m unicat ion and int eract ion Great for ?conversations,?call and response games, rhythm ?punctuation and emphasis,?or for simply being silly and having fun.

Cognit ion and lear ning These instruments can be excellent for adding further dimensions in understanding what can constitute music. They help to reinforce the value of ?sound play?? exploring sound contexts and awareness outside of the norm and expected, developing curiosity and a desire to play.

SEN I nst r um ent Car d: Boing-Boing (Bam boo Buzzer s)

Kenari, Bento and Pangi Bracelets MORE WONDERFUL, STRETCHABLE WEARABLES

Sensor y and/ or physical needs Opportunities to control eye foot co-ordination!

Using all limbs to create sound and even rhythms [for more advanced challenges] Can you shake your foot in the rhythm pause?

Can you shake both feet in the pause?

Can you shake one foot in one pause and the other foot in the other pause?

Wearable instruments create limitless opportunities for fun, participation AND add massive value to motor control experiences.

Social, em ot ional and m ent al healt h Do call and response with feet only, one foot only, one foot and one hand?

Involving all body extremities in making sound and music is challenging, satisfying, surprising and fulfilling.

Com m unicat ion and int eract ion If mobility is limited to specific limbs, you can still participate. These wearables are a great way in to music making and sound-play.

Cognit ion and lear ning Inspires activity and action in larger leg muscles when worn on ankles. This type of muscular activity, particularly lengthening, can help relieve learning stress by aiding loosening of the muscles related to the 'fight or flight ?stress mechanism.

SEN I nst r um ent Car d: Kenar i, Bent o and Pangi Bracelet s

Chime bars HIGH PITCHED NOTES TO ENGAGE, IMPROVE LISTENING AND GENTLE PLAY

Sensor y and/ or physical needs Hand-eye co-ordination. Particularly impacting on fine motor control

Social, em ot ional and m ent al healt h Pleasant high tone can help with reflective and even meditative experiences that produce sustaining tones.

Com m unicat ion and int eract ion Useful for signaling specific changes in music pieces, highlighting, or signifying calm and stabilize. beginnings and ends of events.

Cognit ion and lear ning Students listening for the high tone are often able to improve concentration.

Be sure to encourage smooth breathing whilst in enhanced listening status.

SEN I nst r um ent Car d: Chim e bar s

Mini wind chime CAN BE HELD, HUNG, SHAKEN, TAPPED, WINDBLOWN; RELAXINGLY MELT-WORTHY. ENCHANTING, LIGHT, TINKLING TONES TO BE STROKED AND GENTLY STIRRED

Sensor y and/ or physical needs -

Tapping and stroking motions challenging fine motor skills If you?re lying down and someone holds it over your feet, can you play it with your toes?

Social, em ot ional and m ent al healt h -

Calming Gentle Stabilising Reflective Soft Enchanting

Com m unicat ion and int eract ion Can encourage deeper awareness of nature / environment when hung outside and played by the wind. Perhaps create your own ?wind?by flapping large piece of card to stimulate movement, or pass chimes in front of stable electric fans.

Cognit ion and lear ning Understanding of stimulation and movement through non direct [physical] contact eg. ?It ?s the wind / air that plays it.?

SEN I nst r um ent Car d: Mini wind chim e

Ceng Ceng EASTERN CYMBAL-TYPE TONE, CAN BE HELD, TAPPED, CLANGED, RUBBED TOGETHER? THE CENG CENG TURTLE IS A MOST AMAZING CREATURE - VERY HAPPY TO BE REPETITIVELY CLANGED. TWO CENG CENG CYMBALS ARE HAND HELD AND CLANGED ONTO THE TURTLES 6-PIECE CYMBAL SHELL. ROBUST. PROVIDES A FANTASTIC FUN WORKOUT!

Sensor y and/ or physical needs Time to get loud and clanging!

Eye-teaming and hand-eye coordination benefit from playing these cymbals.

Must be played in an environment away from sound-hypersensitive listeners.

The turtle is great fun, enabling, alongside drums, expressions of frustration, anger to be quickly transformed. Improve grip and up/down hand/arm movement.

Social, em ot ional and m ent al healt h Safe expression of anger, frustration and other passionate emotions can provide an effective emotional health benefit. In turn, greater comfort with emotions can lead to clearer, unobstructed thinking and functioning

Com m unicat ion and int eract ion Lovely ?climactic?appeal for music pieces.

Happily sits on wheelchair table or even in lap without too much discomfort.

Cognit ion and lear ning Learning to express a wider range of emotions in a way that can also prove constructive. Eg. A ?tantrum?can become an explosive introduction/intervention in a rhythmic piece of music or a cue to ?play as if all of the animals were running really fast.?

SEN I nst r um ent Car d: Ceng Ceng

Owl sound SOUND. COULD BE AN OWL OR A CUCKOO OR A TRAIN ?

Sensor y and/ or physical needs -

Great for breath control, diaphragm exercise Gentle ear stimulation Soft tones help to relax and calm

Social, em ot ional and m ent al healt h Imagine being ?owls?and ?cuckoos?sitting in a tree, chatting; encourages softer, gentle and considered playing and listening.

Perhaps an old steam train flashes past and disturbs all the life in the hedgerow; in comes ceng ceng turtle to illustrate the disturbance. Then all returns to the previous calm chatting.

Music and sound-play is as much about soft and gentle as it is about pounding and beating.

Com m unicat ion and int eract ion Everyone plays their part in the ?Sound-scape?outlined in the previous column. Initiating, listening, responding.

Cognit ion and lear ning Broadening listening and playing skills.

SEN I nst r um ent Car d: Owl sound

Bambajam Pelangi CAN BE PLAYED AS A XYLOPHONE BY ONE OR MORE PLAYERS OR EACH KEY CAN BE REMOVED AND PLAYED AS A SINGLE INSTRUMENT.

Sensor y and/ or physical needs Self -played: - Easy to hold and play - Develops eye-hand coordination, dexterity and control - Movable keys for explorative play - Coloured keys with animal designs help children identify with each note - Library of music packs, backing track, flashcards and more - Ergonomic keys and mallets with shorter and wider handles Pract it ioner -f acilit at ed play: Using the unique double-sided frame, students sit opposite each other and play music together. This creates a bond as they communicate through the instruments as well as the music. As single pitched instruments, groups play together in an ensemble format, helping to develop a sense of focus and curiosity.

Social, em ot ional and m ent al healt h The natural sound of the bamboo soothes and calms whilst the movable keys encourage children to explore and learn for themselves. Share parts helps develop a bond with each other.

Com m unicat ion and int eract ion Designed for collective play, the Bambajam helps create a sense of achievement, joy and satisfaction from creating music with each other. Children build confidence in musical conversations with each other whilst active listening helps develop children's awareness of their own importance within the group.

Cognit ion and lear ning Inclusive, inquisitive and expressive play helps children explore music in a 'game-focused' way. Each feature is designed to encourage learning reflective of the children's age and ability.

SEN I nst r um ent Car d: Bam bajam Pelangi

Skoog AN ACCESSIBLE, INCLUSIVE, CREATIVE AND FUN TOOL FOR SUPPORTING ALL KINDS OF MUSIC MAKING ACTIVITIES IN SEN. IT CAN BE USED ON A TABLE TOP, FREE STANDING OR MOUNTED USING A SUCTION MOUNT / CLAMP.

Sensor y and/ or physical needs Self -played: -

Adjustable sensitivity and response to suit gross and fine motor skills.

Multi-sensory; acoustic, tactile and colour Play with different body parts; hands, feet, knees, elbow, head?

Pract it ioner -f acilit at ed play: -

Progressive Adjustable Sensitivity Imitate and elaborate ? lead/follow

Social, em ot ional and m ent al healt h Different instrument sounds to express different moods and emotions.

Com m unicat ion and int eract ion -

Improve listening, turn taking, attention and social communication skills Share and interact with music in iTunes and Spotify facilitates sequencing and turn taking with non verbal students

Cognit ion and lear ning -

Free playing and automatic key detection features support stress-free learning Truly multi-sensory learning; sound, colour, haptic and spatial learning Develop sequencing and matching

SEN I nst r um ent Car d: Skoog