Box Notation
This is the quickest way I know of to introduce children to reading rhythm notation. It's easily accessible and they can create their own rhythm compositions right away. Creativity doesn't have to wait!
An Approach to Staff Notation
First of all, it is possible to have a long fulfilling musical life without ever reading staff notation. I know that may sound blasphemous to those who have been trained in the European classical music tradition. But, it's true. Consider the many folk and popular musicians around the world who make music without reading notes on a staff. In fact, my guess is that "non-readers" make up the vast majority of musicians. When they do read music, it is often through iconic notation or tablature.
Second, the analogy between music literacy (reading notes on a staff) and language literacy (reading words) is far overdrawn. They are not the same thing. One simply cannot function optimally in today's developed societies without being able to read words. However, as stated previously, one can function musically in ways that are completely fulfilling without reading staff notation.
Third, for many musicians in the European classical tradition, staff notation is the only way they have learned to engage in music. Take the notes away, and they aren't able to play (play by ear, create songs, or improvise). So, the overall point is that staff notation should not constitute the central or end goal of elementary music. Much can be left to beginning band and orchestra directors in middle and junior high schools (especially the elements of "literacy" that include Italian terms for tempo and dynamics).
That being said, I offer here a basic sequence for teaching and learning staff notation.
1. Solfege and tablature. Establish a foundation for note reading. Just as with reading words, it is important to be able to speak first. Singing is integral, followed by solfege with hand signs.
2. Tablature. When learning an instrument, it is important that the experience is satisfying from the beginning. Improvisation, playing by ear, and tablature can help students play melodies and melodic ideas prior to reading music. The ocarina materials I have developed are aimed at these types of musical experience.
3. Note names. I suggest a direct approach to learning note names on the staff. Simply drill the students in the names of the notes at this point. Flash cards are excellent for this.
4. Familiar tunes (singing). Have the students sing the note names, from sight, for familiar tunes. I have sometimes altered the syllable for accidentals—"ba" for B flat, "oh" for E flat, "ah" for A flat, "fie" with a long i for F sharp—or the students can simply sing the full note name. The important point is that this gives the students a chance to sing note names for songs they already know.
5. Familiar tunes (playing). Play familiar tunes on a musical instrument from staff notation. This step can be combined with singing the note names. In fact, it can be helpful to have the students "sing and show" or, in other words, sing the notes names while showing the fingering. For variety, half the class can do this while the other half plays the song.
Second, the analogy between music literacy (reading notes on a staff) and language literacy (reading words) is far overdrawn. They are not the same thing. One simply cannot function optimally in today's developed societies without being able to read words. However, as stated previously, one can function musically in ways that are completely fulfilling without reading staff notation.
Third, for many musicians in the European classical tradition, staff notation is the only way they have learned to engage in music. Take the notes away, and they aren't able to play (play by ear, create songs, or improvise). So, the overall point is that staff notation should not constitute the central or end goal of elementary music. Much can be left to beginning band and orchestra directors in middle and junior high schools (especially the elements of "literacy" that include Italian terms for tempo and dynamics).
That being said, I offer here a basic sequence for teaching and learning staff notation.
1. Solfege and tablature. Establish a foundation for note reading. Just as with reading words, it is important to be able to speak first. Singing is integral, followed by solfege with hand signs.
2. Tablature. When learning an instrument, it is important that the experience is satisfying from the beginning. Improvisation, playing by ear, and tablature can help students play melodies and melodic ideas prior to reading music. The ocarina materials I have developed are aimed at these types of musical experience.
3. Note names. I suggest a direct approach to learning note names on the staff. Simply drill the students in the names of the notes at this point. Flash cards are excellent for this.
4. Familiar tunes (singing). Have the students sing the note names, from sight, for familiar tunes. I have sometimes altered the syllable for accidentals—"ba" for B flat, "oh" for E flat, "ah" for A flat, "fie" with a long i for F sharp—or the students can simply sing the full note name. The important point is that this gives the students a chance to sing note names for songs they already know.
5. Familiar tunes (playing). Play familiar tunes on a musical instrument from staff notation. This step can be combined with singing the note names. In fact, it can be helpful to have the students "sing and show" or, in other words, sing the notes names while showing the fingering. For variety, half the class can do this while the other half plays the song.