Heard a song on the radio recently and can’t remember the name of it? This happens to me all the time because even though I wait, half the time no one ever says which band played the song or the name of the song! Luckily, you can just search for lyrics online and find out instantly the name of the song and the band.
If you can remember a line or two from the song, probably just performing a simple Google search will bring up all the info you need without having to go to a lyrics search site. A simple search like “it doesn’t even matter” on Google will give you the correct band, Linkin Park and the correct song title, In the End.
As you can see, the first result is from a lyrics site called azlyrics.com. Since all of those sites are indexed by Google, performing a search on Google for song lyrics will give you the correct answer most of the time. On top of that, you get links to YouTube videos, etc in case you were searching for that also.
You can also just add the word “lyrics” to the end of your search in Google and you are almost guaranteed to get the correct answer.
However, if the search is not working in Google because the lyrics are common, then you can try out a couple of useful lyric sites. There are literally hundreds of them, but I’ll only mention two here since I’ve never had to use any other service beyond the three I mention below. Also, I tried to stick with ones that weren’t full of ads or simply indexed other lyric sites.
MetroLyrics.com is probably my favorite site for searching for lyrics because it gives you a lot more information beyond what you were even looking for. The search feature is also pretty awesome in that it will search your keywords in not only lyrics, but also artists, song names, videos, album names and even the news.
I clicked on Lyrics just to see those results and as you can see, it found the song I was looking for plus a whole bunch of other songs. Sometimes having too many results can be overwhelming, but MetroLyrics does a good job of showing the best matches at the top and then showing the less relevant results below. Also, I really like their search because there are a lot of times I can’t remember the exact words from the song, so I end up searching for the wrong lyrics. This site shows exact matches, but also shows close matches, so if you don’t get every word right, you should still be able to find the song.
On the actual lyrics page, you can print the lyrics if you like, watch the music video if it’s available and even correct the lyrics since it’s community edited like Wikipedia. I also like the fact that it tells you who actually wrote the song, an item most lyric sites don’t mention.
Overall, this site is fine if you only want to search for lyrics, but it’s really good at keeping you engaged with a lot of other info if you’re someone who is interested in music.
SongLyrics.com isn’t as nice looking as MetroLyrics, but it still returns very good results. Firstly, go ahead perform a search using the search box at the top.
As with MetroLyrics, you can search on Artist, Album, Song Title and Within Lyrics. You can also do an exact match search if you want. In my case, I went ahead and checked only Within Lyrics and then I got the Linkin Park result I was looking for:
If you click on the link, you’ll get the lyrics page. One nice feature is the ability to listen to the song while you have the lyrics up. It doesn’t require you to sign up or anything, a simple web player pops up and starts playing the song.
I’m not really sure what people did before the Internet, but now when you hear a song on the radio and if you didn’t already Shazam it while driving, then you can easily do a search to find any song, old or new, in just a few seconds. Enjoy!
Founder of Online Tech Tips and managing editor. He began blogging in 2007 and quit his job in 2010 to blog full-time. He has over 15 years of industry experience in IT and holds several technical certifications. Read Aseem’s Full Bio
Whether you want to write a song to pitch to music publishers, TV shows and commercials, or record them yourself as an artist, here’s a songwriting method that will help you get your message across and make sure your listeners stay involved from beginning to end. Of course, this is just one approach to songwriting but it’s used by many songwriting pros and it works.
Create the raw material for your lyric
1. Start with the title. Starting with a title will help you stay focused on a single idea in your song. Create a phrase of one to six words that sums up the heart of what you want to say. Or look for an interesting phrase that suggests a situation or emotion to you. Try using an image in your title to give it more interest or an action word to give it energy. For more tips on writing song titles read Write a Memorable Title or watch this video.
2. Make a list of questions suggested by the title. Start by asking yourself what you want to say about your title and what you think your listeners might want to know. Make list of questions. Your list might include: What does the title mean? How do you feel about it? What happened to cause this? What do you think or hope will happen next? You’ll need three to four questions. Check out this video for more information.
3. Choose a song structure. Many of today’s biggest hits rely on a song structure like this: Verse / Chorus / Verse / Chorus / Bridge / Chorus. Some add a short section called a “pre-chorus” or “lift” between the verse and chorus to build anticipation. The verse, pre-chorus, and chorus each have an identifiable melody, one that the listener can recognize when it comes around. Here’s a tip that will tell you more about song structure. Or watch this video to learn the basics.
4. Choose one question to answer in the chorus and one for each verse. We’ll focus on the chorus first since it’s the most important part of your song. Select the question you want to answer in your chorus. Write down a short phrase that expresses your answer. Look for images and action words to bring your answers to life. What is the singer feeling, thinking, or saying? What emotion is the singer feeling and how would you describe it? Is it warm or cold? Dark or light? Read more about adding emotion to your lyrics here.
Go to work on your melody & chords
5. Find the melody in your lyric. Choose one or two of the phrases you came up with in Step 4. Say them out loud. Now say them again with LOTS of emotion. Exaggerate the emotion in the lines. Notice the natural rhythm and melody of your speech when you say the lines with lots of feeling. This is the beginning of your chorus melody. Play with it until it feels comfortable. Here’s more on using your lyric to create a melody.
6. Begin to add chords to your chorus melody. Try a simple, repeated chord pattern. You’ll find a several chord progressions you can use here. (Scroll down to the section on Chord Progressions.) Play with the melody and chords until you find something you like. Record yourself singing and playing (or just singing) – even if it’s only on your smartphone. Be sure you get it down so you don’t forget it.
Develop your song in sections
7. Work on the lyric in your first verse. Focus on the question you chose in Step 4. Make your first line something that will get listeners interested: an intriguing statement, a question, or a description of the situation. In your second line, consider restating the first line in a different way or adding more information. Don’t move on too quickly; your listeners need time to understand what’s happening in the song. In Verse 1, be sure to give listeners enough information so they can understand the chorus when you get there. Go through Steps 5 and 6 with your verse melody and chords.
8. Connect your verse and chorus. After you have a verse and chorus, create a transition between them so that they flow naturally. You may need to raise or lower your verse melody or change the last line to get to your chorus smoothly. TIP: Chorus melodies are usually in a higher note range than verses because they’re more emotional, and when we get emotional our voices tend to rise.
9. Build your second verse and bridge. Choose another of your questions to answer in your second verse. Use Step 7 to work through the lyric. Your second chorus will have the same melody and lyric as your first chorus, so you are now almost finished with your song. You just need to add a bridge.
The bridge section adds a peak emotional moment to your song, a realization, or an “aha!” moment. Try two or three lyric lines that give the listener the best insight you can into the situation or emotion the singer is feeling. The melody should be different from both verse and chorus. Try using a chord you haven’t used before or changing the phrase lengths or motion of the melody. A bridge isn’t a requirement but it can add a lot of strength to your song.
Record a rough idea of your song
10. Record your song. A simple piano/vocal or guitar/vocal can often be the most effective emotional statement of your song. If you wrote a Rock song, do an “unplugged” version. You don’t need lots of strings or drums – in fact, these can detract. Practice both the instrumental and vocal parts until you are comfortable with them. The less you have to focus on when playing or singing, the more you can let go and feel the emotion in the song. Try singing it as if you are speaking it to someone. Record for short periods then take a break. Keep the song and the emotion fresh! Here’s a tip that will give you more ideas on how to record a rough demo.
Now that you know how to write a song in ten steps, here are some great Song Starters – titles, themes, chord progressions, and more – to get you going.
by Joe Runge, Esq.
updated June 09, 2021 · 2 min read
How to Get a Song Copyrighted
- To reproduce the copyrighted work in copies. This excludes others from making copies of your recordings or sheet music.
- To prepare derivative works. Excludes others from taking elements of your song to make new ones.
- To distribute copies. Excludes others from selling copies of your song out of the trunk of a car or on the internet.
- To perform the copyrighted work publicly. Excludes others from performing your song.
- To perform the copyrighted work publicly by means of digital audio transmission. Excludes others from playing a recording of your song.
How to Use Copyright to Protect Your Work
When it comes to lyrics, writing them in your notebook grants you instant legal music rights. Once the ink hits the page, you can assert any of the exclusive rights above the lyrics you’ve written. But what if someone in another city, several months later, writes very similar or even the same lyrics? How can you prove that you wrote them first?
But you can know what is and is not protected—in your work and in the works of others. Before you pick up your guitar to strum a new tune, take a moment to recognize what parts of that song are your property and how to find out if any of it is someone else’s.
Today, we’re excited to announce the beta of songwriter pages, a new way to share the songs you’ve written on Spotify and get discovered by potential collaborators and fans.
Since we began publicly displaying song credits on Spotify in 2018, we’ve seen a 60% increase in how often labels and distributors credit songwriters on their new releases — allowing artists and fans to dig deeper and recognize your work. With the launch of songwriter pages we’re continuing to evolve how your music is discovered, appreciated, and enjoyed by the world.
Get discovered through clickable credits
Labels, publishers, music supervisors, and artists at all levels of the industry tell us that they’re constantly scouring Spotify song credits. When songwriters included in the beta are credited on a track, listeners can click songwriters’ names to view a page showcasing the songs they’ve written.
Clickable song credits are available on Spotify’s iOS, Android, and desktop apps.
Showcase the songs you’ve written // Share your compositions with the world
If you’re included in the beta, your page will feature a list of the songs you’ve written and your most frequent artist collaborators. You can share a link to your page on social media or your website so anyone can check out your music, whether they’re a Spotify user or not.
Songwriter pages showcase all the tracks you’ve written and more.
Listen on Spotify
We want collaborators and fans to not just see all your music, but listen, too. That’s why each songwriter page features a new “ Written By ” playlist of your songs. Spotify listeners will be able to discover these playlists via search and follow them, too.
To celebrate the debut of songwriter pages, we’re featuring these “Written By” playlists on the home tab for all Spotify listeners.
"Written By” playlists link back to your songwriter pages for easier discovery
So what’s next and how do I get involved?
As part of this launch, we’re proud to debut songwriter pages for Meghan Trainor , Fraser T Smith , Missy Elliott , Teddy Geiger , Ben Billions and Justin Tranter , among many others. In beta, these pages are enabled by publishers and Spotify in partnership with songwriters. You can express your interest via this form and we’ll reach out with more info soon.
To keep updated, be sure to follow @SpotifyforArtists on Instagram to see some of the other songwriters we’re working with, and hear about other opportunities to work with our team. We can’t wait to see how you make the most of these pages.
—Spotify Publishing and Songwriters Team
Spotify for Artists helps you to develop the fanbase you need to reach your goals.
There seems to be a lot of confusion out there over the question “As a songwriter, how do I submit songs to the music business?”
The truth of the matter is that there is no one way to “submit” songs to the music business. When you simplify the “song submission” idea, there are basically three categories of song submissions that a songwriter should educate themselves about. I’ll cover each of those here.
1. Educational Submissions
Educational song submissions are “safe” ways to submit songs that you aren’t sure about because the person you are submitting the song to knows that you are just trying to learn. You aren’t going to burn a bridge if the song isn’t there. These would include song critiques or feedback like we have in the pro forum on SongTown. They would also include mentoring sessions with one of our pros. None of the pros are going to close the door on you if you submit something that isn’t great. You’re there to learn and they are there to help you. The quality of your demo doesn’t matter much at all here as long as it’s easy to understand the lyrics and hear the melody. Simple work tapes are fine.
2. Submitting songs to publishers or PROs- ASCAP, BMI, or SESAC.
These include more risk. If I waste a publisher’s or PRO rep’s time, I risk getting on their “do not work with” list. Most of them don’t have time to give you a second chance. These opportunities are not places to experiment or test the waters. You need to be confident that you are giving a publisher or PRO rep quality songs that they think they could get recorded in the current market unless you are meeting with them in a mentoring typesetting. Otherwise, you are wasting their time. Pitching or submitting songs to publishers is much different than pitching to artists.
Publishers are looking at the quality of your song, not so much the quality of the recording.
The only way a publisher makes money is if they get a song recorded. So, if they can’t get your song(s) recorded, they aren’t going to be interested. If you get an opportunity to meet with and pitch to a publisher, you need to research what that publisher does, who their writers are, etc. That information will help you submit songs that the publisher is more apt to like. If you need help with learning to pitch your songs…
SongTown Edge Groups are monthly online writer meetings run by top industry publishers.
It’s a great program for learning to target write and pitch to artists. And you’ll get your songs heard in a legit fashion.
PRO reps can call publishers and get you meetings if they like what you do.
Even though they personally are not trying to get songs recorded, their job is to help writers with their organization succeed. They can be great advocates for you if they love your music. Again, your demo quality needs to convey the song well and be easy to understand, but it doesn’t have to be a full studio demo or track.
3. Submitting songs to recording artists.
This is the highest risk pitch. I have Keith Urban’s e-mail. I’ve only sent him 3 songs in over a year. He has passed on all of them. I feel like I’m at a tipping point. If I keep sending him songs he doesn’t LOVE, he’s going to quit opening my e-mails. Kieth doesn’t have time to keep fooling with someone that isn’t giving him what he needs. So, I’m going to be super careful with my next pitch. Even if he doesn’t cut it, I want him to think it’s an amazing song so that I can keep pitching to him. Whether you are submitting songs to the artist, a manager, a producer, or a record label, you want to be REALLY confident in the song you are pitching AND the quality of the demo.
The closer your song demo can sound to something that would be on the radio, the better your chances will be.
BUT if you have a simple ballad, you may be able to get by with a guitar or piano vocal demo. Otherwise, you probably need a really good quality demo. You don’t get many of these direct-to-artist chances, so you need to really blow them away.
If you can’t afford full demos, that’s fine. Stick to the first two kinds of pitches as you work on improving your writing.
These days you can set up a pretty killer home studio on an affordable budget.
Publishers can help pay for demos if they love your song. Don’t worry that you aren’t able to get to artists. Just make the most of your situation. And, I always recommend waiting until you get a “WOW” response from one of the safe opportunities before you climb up the ladder. If you get a “WOW” response in the SongTown Pro Feedback Forum, book a mentoring session with our pro publisher. When you get a “WOW” response there, you know you’ve got something. If not, you avoid burning a bridge by pitching in one of the more risky situations.
Many writers pitch songs WAY too soon and leave burning bridges smoking behind them. Don’t do that. Be patient. Keep writing and improving. That’s the ticket to success when you submit songs to the music business.
How do you write a hit song? Through the decades, many books have been written on the subject – usually by people who aren’t songwriters themselves – using analyses of previous hits to come up with solutions. Music industry publication Billboard recently revealed the stats of all the songs that had featured in the magazine’s Hot 100 charts.
Since the 50s, songs have become longer, from an average of 2.36 minutes to 4.26 minutes this decade. If you want a hit, it may be best to stay away from writing ballads – ever since the 40s, the average tempo of chart entrants has hovered between 117bpm and 122bpm (ballads usually play at around 90bpm). You should also stick to major keys, with C major being the most popular. Of the top 10 most successful songs of all time, only Kanye West’s Gold Digger is in a minor key.
Billboard shows it has become increasingly important to get a cut with artists who are already successful. The number of hits in this category has steadily risen, and is now 25% higher than in the 50s. The most successful artist of all time, chart-wise, is Mariah Carey – followed by Madonna, Elvis Presley, Michael Jackson and someone called Patti Page (glad to see Hall & Oates coming in eighth).
Author Jay Frank says the way people consume music in the digital age has changed what makes a hit. In his book Future Hit.DNA he argues that people are discovering music online and not always via radio, so song intros need to be shorter. He recently used Adele’s Someone Like You as an example of how the theories in his book are correct. “The intro is five seconds long, it’s at walking tempo (105bpm), contains repetition of many lyrics with a choral counter-chorus, has a very sly shift in the chord progression at the bridge, and contains many dynamic shifts throughout the song,” he concludes.
This doesn’t exactly tally with stats provided by Billboard, although Adele’s hit is in a major key. So who’s right? Maybe it makes more sense to look to songwriters who have had plenty of hits. BBC2’s brilliant current series Secrets of the Pop Song is trying to shed light on the issue. In it, successful songwriters talk about the craft, and we see hit-maker Guy Chambers in action as he co-writes with a selection of artists.
If anyone was hoping to stumble on a secret formula, that hope was quickly shattered. As Motown legend Lamont Dozier once said: “I’ve written about 78 top 10 songs, and I still don’t know what a hit is. I can only go by what I feel.” His point was brought home as Chambers got together with Mark Ronson (most famous for his collaboration with Amy Winehouse) and budding artist Thalia to write her a breakthrough hit. After trying out a few ideas they settled on an African highlife sound. Ronson noted that very few hits had that particular sound, bar Vampire Weekend, which probably should have been a reason to abandon the idea. A view echoed by the radio pluggers who thought it could possibly be a fourth single, adding: “It’s not bad, but it’s not great.”
As a fellow songwriter once told me: “The world doesn’t need any more good songs. What we need are great songs.” Or, to take the idea a bit further, the enemy of great is good.
One of the advantages of being a songwriter instead of a performer is that, while artists have a hard time recovering their reputation when a record bombs, the only time the public pays attention to who wrote a song is when it’s a hit. Most people don’t realise that, even for successful writers, the good-v-great ratio is low: Chambers has written more than 1,000 songs in the last 15 years, of which 21 ranked in the top 10 – that’s one hit for every 47 songs. That may sound like a frustrating process, but most writers would agree it’s necessary to write non-hits to get to the nuggets. As with athletes, it’s important to exercise the writing muscle.
It can also be detrimental to throw away the seed of a song too early. “As you get older, your filters are much more refined,” Sting has said. “The critical mind takes over from the creative mind, and I think they are opposed.” He admits that, nowadays, it can take him months – even years – to write one song, as he feels every idea he has is too much like something else he or somebody else has written.
When I first heard of the BBC’s intention to film the process of songwriting, I wondered if it could work. The creative process is intensely personal, and you need to feel relaxed and comfortable enough to talk about intimate experiences, and to throw some ridiculous ideas into the mix. The prospect of being judged by a TV audience would surely make writers curb their ideas.
But while I found the Ronson session quite painful to watch, the Rufus Wainwright session – in which the goal was to write a ballad – was inspiring. He started out playing some ideas he’d recorded on his Blackberry, including a rap called Everybody Wants a Piece of the Action, and so proved my fear about filtering unfounded. Even though he’d just met Chambers, he revealed personal things, which later were incorporated into a beautiful ballad called World War Three (shame that ballads rate so low on Billboard’s hit barometer). He used an old songwriter saying as the first line of the chorus – “don’t bore us, get to the chorus” – as a metaphor for life.
In the third and final episode, to be broadcast this Saturday, Chambers and the Noisettes attempt to write an anthem. It features some of the songwriters behind past anthems, analysing why they think their songs became so popular. What is apparent is that none of them knew they were writing an anthem at the time. I Will Survive, for example, was originally a B-side track before a Studio 54 DJ picked up on it. Yet it ended up generating over $100m. Many songs have been written with the same ingredients – a hook that makes people feel good, a repetitive chorus, basic chords – and yet they’ve failed to set the world alight.
There’s one thing successful songwriters have in common: they all love the music they write. They’re not cynical about their craft. But while there are tricks of the trade to deliver songs in a more palatable way, other key ingredients are more elusive. Don Black believes lyrics should say something new about the human condition; Björn and Benny of Abba said you should have at least five hooks in a track. But how do you come up with a great hook? If Black or the guys from Abba knew that, they might still be churning out hits.
Even if Secrets of the Pop Song had been able to capture the moment Björn and Benny came up with The Winner Takes It All, we’d be none the wiser as to how to write a hit song – and neither would they.
The question I am most often asked by songwriters is, “How do I sell my songs?” The misconception underlying this question is that recording artists purchase the songs they record. But that is not the way it works. The more appropriate question would be, “How do I get my songs recorded by artists and included in TV shows and movies?” Songwriters typically achieve these goals by publishing and licensing the rights to their songs—not by “selling” them.
The relatively rare instances in which writers create songs or instrumental pieces with the intention of selling them outright are designated as works made for hire. As it applies to songwriting, a work for hire (as it is typically called) can be defined as a song, melody, or lyric specifically created on someone else’s behalf in exchange for payment. In these instances, the creator relinquishes all rights to ownership, and may or may not forego any revenue the work might generate.
Works for hire are sometimes created by the employees of advertising agencies, jingle production companies, in-house composers, and theme park employees. There are also instances in which someone is commissioned to create music on a work-for-hire basis for a television show, movie, video game, website, or another audiovisual work.
There is an additional scenario in which songwriters sell their work. Writers with a proven track record of hits might sell their back catalog—existing songs that may or may not have been commercially released—to a music publishing company. But these scenarios are not what most people have in mind when they ask me how they can sell their songs.
As stated above, successful songwriters typically publish and license their work, as opposed to selling it. A common fallacy is that by publishing a song a writer will become wealthy, the song will be recorded by a successful artist, and sheet music will be produced and sold. Publishing might indeed be the first step toward achieving these outcomes, but they are neither guaranteed nor typical.
What publishing a song really means is conferring specific rights to the publisher—primarily, the right to issue licenses and collect income on the writer’s behalf. The licenses that publishers issue include mechanical licenses (sometimes referred to as recording licenses), synchronization licenses (to grant the right to have a song included in a film or TV show), and print licenses (which permit reprinting sheet music and/or lyrics). Publishers earn all—or a portion—of the publishers’ share of most of the income a song generates. In the U.S. the publishers’ share is typically 50%. The writers retain the writers’ share, the remaining 50% of the income.
One of a music publisher’s primary functions is to market and pitch the songs they represent to recording artists, and in some instances to those who choose music for television, film and other uses. When a publisher places a song with an artist they grant a mechanical license, which specifies, among other things, the royalty that will be paid for each unit that is sold.
Songwriters also earn money from the public performance of their works, for example, performances on radio, television, Internet, and additional venues where music is performed or broadcast. By affiliating with a performing rights organization (sometimes referred to as a PRO), such as BMI, the writer engages the PRO to issue licenses and collect performance royalties on their behalf.
In summation, songwriters rarely “sell” their songs. They (or their publishers) issue licenses permitting the sale and public performance of their work. Their income is derived from royalties earned as a result of sales and public performances.
As a Kindergarten teacher, I spent years collecting songs and name games that were winners for breaking the ice in a new class during circle time at the beginning of the year. I kept a large stack of index cards of my favorite songs and added to the box as I learned new songs from other teachers.
I now am the proud owner of an index box ridiculously full of hundreds of songs appropriate for the 18mo-6yo crowd. Because music is meant to be shared, I pulled together some of my favorite chants and songs. Who knows. maybe you’ll learn a new one to add to your own collection!
1. Hicklety Picklety Bumblebee
For this name game, sit cross-legged on the floor and pat your knees while you chant in a regular, somewhat emphatic voice . It’s not an easy one for little ones, so it will be mostly the adult chanting. You want their attention to draw toward you as you get softer so that by the time you are mouthing the name silently, the children are totally focused on your mouth and you have their full attention.
Hicklety picklety bumblebee
Who can say their name for me?
All-i-son. (mouthed without vocalizing)
2. Johnny Whoops
This is a name game that starts with your index finger pointing to each finger in succession. Start by pointing at the pinky and when you get to the index finger, “whoops” toward your thumb, say the name on the thumb, then whoops backwards again toward your pinky. The sillier and more drawn out your “whoooooooops” the more laughter and excitement you’ll generate. This is a real crowd pleaser. Every child loves to hear his/her own name whoopsing back and forth.
Johnny Johnny Johnny Johnny
Johnny Johnny Johnny!
3. Jack in the Box
For this name game, the child sits on the floor all curled up hiding his head (the yoga “child’s pose”). When you shout, “Yes, he will!” the child pops up. just like a jack in the box, arms up overhead as if to say, “Ta-da!”
Christopher in the box, sits soooooo still.
Will he come out?
4. Willoughby Wallaby Woo
First listen to and learn the tune to Willoughby Wallaby Woo by Raffi. Then just sing this short verse below, substituting in the child’s name. If you have an elephant puppet or little stuffed elephant to literally “walk” over and “sit” on the child, all the more giggle-inducing!
Willoughby wallaby woo
An elephant sat on YOU (point finger toward child whose name will be used)
Willoughby Wallaby Wistopher
An elephant sat on Christopher!
5. Pig On Her Head
First listen to and learn the song Pig On Her Head by Laurie Berkner. Fill a bag with small toy animals. Let the child reach in and take one out of the mystery bag and place the animal on his head. Switch the song up by choosing another animal out of the bag or by placing it on another body part. This is a delightfully goofy song.
George has a sheep on his neck,
George has a sheep on his neck,
George has a sheep on his neck,
And he’ll keep it there all day!
6. Who Is Missing?
Lay out a blanket or very large scarf on the floor. Ask the child to curl up (child’s pose) on the floor, and make a dramatic point of draping the blanket carefully on top. It then becomes a game of peek-a-boo. It’s so foolishly simple, but always a winner! I never had a child who didn’t want to take a turn hiding after this game was played a few times and everyone was comfortable. Sometimes you have to speak quickly because the child won’t want to wait for the dramatic pause and will swoosh the blanket off him/herself very quickly. That’s just part of the fun.
Hmmm. someone is missing! Who is it? Who’s missing? It’s. (pull off blanket in a big swooosh). Kaitlyn!”
7. Yoo Hoo!
I learned this one back in my college music education class and I have no idea who wrote or published it, so feel free to link up the tune if you find it. Until then, make up your own little tune to sing to the words. This time the child hides behind something in the room (a desk? the couch?). You begin by singing and “hunting” with your eyes.
Somebody’s hiding inside the closet.
I wonder who it could be. Yoo hoo. You hoo. (child sings back from the hiding place)
I wonder who it could be. . It’s Evan!
8. Clapping Names
So simple but also fun! Just go around the circle clapping each child’s name with each syllable.
Let’s clap Harriet. Harr-i-et!
Now let’s clap Kathy. Ka-thy!
9. Who Do We Appreciate?
Be forewarned. This is not a quiet chant. It’s a rile-em-up and make them feel like a million bucks chant. For this one, you’re going to put on your very best cheerleader voice and grin, clap your hands and at the end wiggle your fingers up in the air like you’ve won the game!