PaNiBe goes around the world!

Dear teachers and parents,

PaNiBe goes around the world!

Currently Raquel is working on the publication of her music method: “Learning music with PaNiBe”.

Raquel is currently on the other side of the Atlantic but you can always contact Raquel at: or

Musical greetings and keep the music alive in your heart!




And the testing period was a success!

The testing period of PaNiBe at CBS De Fontein has successfully come to a closure.

The children have showed all they have learned and it is beautiful to see how much they do love music and making music with each other. I am very proud of them!

I have been busy already with the next step which is developing learning material so that many children from all around the world can benefit from learning music from ‘Sound to Symbol’ in a fun and pedagogically appropriate way.

Can’t wait to see what the future brings!

I am posting this mini-report video showing the development and activities we did in class at the hand of our welkom song: ‘Welkom Iedereen’. We worked in this way with many other songs and rhymes during our three years together. And…We also danced!

This experience has been most enriching for all of us. The children LOVED the testing materials and that inspires me to keep on the good work.

Thank you dear children and thank you to the Christian School De Fontein!

PaNiBe video singing: “Lluvia, para ya” or “Rain Rain go away”

On the following example we see how to sing the traditional song: “Lluvia, para ya”, or “Rain, rain, go away” using the new relative system: PaNiBe.

The song is sung using hand signs and body signs coupled to PaNiBe. On the previous post called: “PaNiBe lesson example” we see how this song can be introduced and taught using PaNiBe. On this video we can see how singing with PaNiBe makes it easy to understand that the same musical pattern is called the same way when singing from any starting pitch. This is one of the most valuable features of using PaNiBe: What you hear is called by the same name according to the sound- relations that compose the musical pattern independently of the starting note or the ‘key’ we decide to sing or play a song. Sharps, flats and fingerings are set according to the instrument one plays and to the choice of key one makes.



En el ejemplo del video, vemos cómo cantar usando PaNiBe la canción tradicional: “Lluvia, para ya”. En el mismo vemos cómo los signos de mano y los signos corporales son usados de acuerdo a su sonido y al patrón musical de la canción. Es claro ver cómo el cantar con PaNiBe simplifica la audición de la canción independientemente de la altura escogida para interpretarla: el mismo patrón es cantado con los mismos nombres porque la relación entre sus sonidos es la misma. Esto facilita el aprendizaje musical. Gracias al PaNiBe podemos aislar los patrones musicales y llamarlos por lo que son sin tener que preocuparnos por ‘el tono’ o la digitación que requiera el instrumento musical que toquemos. La cantidad de sostenidos o de bemoles y los dedos que debemos usar para tocar nuestro instrumento musical quedaría a la elección del maestro (o estudiante), de acuerdo al instrumento que se toque, y al tono en que se decida tocar o cantar la pieza.



PaNiBe Lesson example


PaNiBe Lesson Example

 Sample Lesson using Panibe sound-relational system when teaching a traditional children’s song: ‘Rain, rain go away’.



Pa   Ni   Be   Lo   Da  Ce  Di   Pa

(1)   (2)  (3)   (4)  (5)  (6) (7)  (8/1)

PaNiBe Body Signs





Text:                        Rain, Rain Go a – way

PaNiBe:                    Da    Be   Da – Da Be

Scale degrees:           5       3      5 – 5    3

In C major:               G        E     G – G    E

In Do Major:             Sol    Mi  Sol-Sol Mi

Text:                       Come    a – gain a-   no- ther day!

PaNiBe                      Da  – Da   Be – Be  Da – Da  Be

Scale degrees:            5   –  5       3 – 3      5  –   5   3

In C Major:                G  – G        E – E     G  –  G   E

In Do Major:            Sol- Sol     Mi-Mi   Sol – Sol  Mi


  1. Song introduction, making an emotional connection: Talking about the weather and maybe pretending to go on a picnic or playing outside.


2. The song is sung in a game context (picnic, playing in the playground or in a field). Children are already familiar with the ‘Drum walk’ where they walk rhythms to drum and chanted cues such as Ta (beat:walk/loop/tren) and Ta-di (sub-division of the beat: run-ing/ren-nen/co-rre). These rhythmic cues can also be integrated in the game context.


3. Teacher and children sit down, and now the teacher gives a melodic context in ‘lu-lu’ before singing the song (scale degrees: 1 2 3 4 5 4 3 2 1/ 1 3 5 3 1/ 1 7 1/ 1 5 1). Children learn the song by rote, first listening to the teacher sing and joining in the movement, then singing along and eventually singing alone, and even a solo.

4. Pulse (tapping on lap) and rhythm (clapping): What do you feel? Establishing a difference between pulse and rhythm. How can we recognize this song from another? By its rhythm. How many heart-beats did you feel/hear? How many claps are in one heartbeat? In which words are there two claps in one heartbeat?

‘Rain, Rain go Away’ heartbeats and stick notation inside each beat.


5. Melodic contour: Who can show me how the -melody of the- song goes? Children can use free body-hand-arm gestures. Teacher notices how the children have perceived the melody of the song (phrasing and melodic direction). Reflect about the interpretations. Which part of the song goes high and which part goes down? More specifically: on which word the sound/pitch is higher and on which word/syllable is lower? Which pitches are repeated? Are all parts of the song the same or is there a different part?

Example of dots indicating melodic contour:


6. Experimenting: How can the song be different? Here, children and experiment varying articulation (legato/ staccato) and dynamics, etc. Visual cues at this stage are only given kinaesthetically. The song can also be sung leaving some words (singing on text) or pitches (when singing on ‘lu-lu’). For example the higher pitch is left out at one time, or the lower pitch notes are left out and sung inside (inner singing).

7. Creating Rain music: Children are given the assignment to create rain music that could be related to the song or not. They may create own rain instruments or put together instruments for a ‘rain ensemble.’ This can be done in groups. Then, children perform their compositions. Children appraise each other’s work.

8. Children listen to a (classical) piece that resembles rain and draw/ notate ‘rainy weather’: rain-lots, little-, wind, thunder-sun at the end or not. Perceptions are discussed and compared.

9. The next time the song is sung and played again, children visualise the melodic and rhythmic patterns of the song first using Body Signs and then on the board, for example. Dots for showing melodic contour can be used and line for phrasing. Rhythmic content is first chanted and clapped (together) and then shown in for example, heart or stick notation. Children then ‘read’ together with the teacher the rhythm and melody of the song. A simplified two-line staff can be used for further melodic reading. Children then, move to reading alone.

Example: Rhythm using Takadimi


Ta      Ta   Ta-di  Ta       Ta-di   Ta-di  Ta-di  Ta

Example of a child’s own writing of rhythm on dotted melodic contour:


Visual connection with sound on a two-line staff:


Da                  Be

10. As a fun activity, children can be ‘jumping notes’ on a floor staff made or ropes and sing and jump their note. Boomwackers can also be used: children take turns to play and sing their note Da or Be, scale degrees 5 -3.


11. Practice same melodic and rhythmic content in other songs. Let children improvise rhythmic and melodic patterns.



For more information contact Raquel at:


All images and texts are copyright protected @ Raquel Lopez

Illustrations by Silvia Lopez Chavez:

PaNiBe song example



PaNiBe in action: singing a traditional melody which contains the descending major third pattern, using ‘Body Signs’: Be Ni Pa, scale degrees 3 -2- 1. ‘Pa’ (1) is the tonic.

¿Cómo funciona PaNiBe?

Ejemplo de la melodia tradicional ‘Ay, ay, ay’ cantada en PaNiBe partiendo de dos notas diferentes, pero llamando dichas notas de la misma manera, ya que el patrón musical es el mismo.



Same pattern, different starting pitch:





Contact Raquel @:

Welcome to Pa Ni Be I Hear, I see!


PaNiBe I hear, I see is a wonderful way to enjoy music and music making all the way!

PaNiBe I hear, I see is a new relative system that can be used by anyone to teach and learn music. PaNiBe I hear, I see is based on research and pedagogies concerning music learning and teaching from the sound to its representation- ‘Sound to Symbol’- or from what you hear to what you see and the other way around!

PaNiBe, I hear, I see’ introduces to the world a new aural-based relative system for music teaching and learning music developed by Raquel López, currently being tested for more than two years in schools and music studios in The Nehterlands. ‘PaNiBe, I hear, I see’ makes music learning easy and fun!

Be part of our musical venture!

Musical greetings,

Raquel López

IMG_8988 - Version 3

Contact Raquel at: