Materials Spotlight: The Montessori Bells
November 15, 2024

Music is a form of language. Because our young children effortlessly absorb language, we, of course, provide them with opportunities to express themselves musically! One key material we use for this is the Montessori Bells. 


The bells are perfectly tuned, each designed to deliver a distinct, pure tone when gently played with a mallet. Also aesthetically pleasing, the bells invite children into the world of music. This helps children develop a keen ear for pitch and tone, while encouraging an appreciation of musical instruments and expression.


The Montessori Bells


In our primary classrooms, the Montessori Bells are easily accessible on a specially designed wooden stand or table, each bell arranged in order according to its pitch. 


There are two sets of 13 bells. One set has black and white stands and is set up in the back to serve as a control and is arranged like a piano keyboard (the white bells represent whole notes, while the black bells serve as the sharps and flats). The other set of bells has stands of natural, varnished wood, so we call them the brown bells. Each brown bell is paired with a white or black bell, and these 13 pairs of bells comprise the chromatic scale beginning at middle C. 


The bells sit on boards that also serve as guides. The brown bells rest on a pattern of black and white rectangles corresponding to the keys of a piano.


Playing One or Two Bells


After our youngest children have learned how to care for materials and have had plenty of experience discriminating sounds with our sound cylinders, we show them how to play a single bell. This is a multi-part process: how to carry the bell, use a mallet to gently strike the bell to make a tone, appreciate the sound the bell makes, use a damper to stop the tone, and return the bell to its proper place in the set.


Returning the bell to its proper place prepares children for future work of pairing and grading the bells. So, we take time to model how to check that the tone of the brown bell matches the corresponding white (or black) bell behind it.


Once children learn these steps, they can select any of the brown bells to play. Eventually, we also show children how to choose and play two different brown bells. This experience helps children focus on the fact that the two bells look the same but sound different. Then, upon returning the bells to the set, children also get to work on finding where each brown bells goes (because there are two empty spaces) by matching the tone of the brown bells to the white or black bells in the back. 

 

This may seem like quite an elaborate process for just “playing a bell or two.” However, we carefully break down each step so that even our youngest children can learn how to use this delicate instrument with precision while also beginning to hone in on the slight variations in each bell’s pitch. 


Pairing 


When we observe children’s success with this initial process, we introduce the challenge of pairing. This experience begins with the adult letting the child know in the lesson that the bells are on their boards in a particular order. We play up the brown bells and down the white bells so the child can hear the gradation and experience the impression of the C scale. Next we model how to remove four brown bells from their boards, mix them, and place them in an open space off to the side.


While showing this process, we reflect aloud how we could match the brown bells to their pairs when we had just two bells. We point out that we can use the same technique to find the matching pairs of the bells we just mixed up and moved to the side. 


We start by moving one of the brown bells to a space in front of the first empty white space (always working from left to right). We play the white (control) bell and then the brown bell. If they sound the same, we move the bell up onto the white space on the board. If they sound different, we slide the bell to the right to be in front of the next empty white space and we repeat the process until finding the brown bell’s match and location. When all the brown bells are paired, we again play up the brown bells and down the white bells to check they are in the correct order.


Once we finish modeling, we select the same four bells, mix them to the side of the workspace, and invite the child to pair the bells. We stay long enough to see successful matching of the first bell, then we fade into the background and observe. If the child is successful, we remove the same four and invite the child to do it again. If the first round was successful, we invite the child to remove all the brown bells and pair them!


Grading the Diatonic and Chromatic Scale


After children can pair all eight bells successfully, we introduce grading. This time, children learn how to put all the brown bells in order by paying attention to the degree of difference between each tone. This time, rather than using the white control bells to determine the order of the scale, children mix up and play the brown bells, using their awareness of the change in pitch to compare and reorder the bells. This requires children to have an acute awareness of each tone and how they differ. We start with just the white bells which represent the whole notes, and later introduce mixing in the black bells to make the chromatic scale (with sharps and flats).


Language Material

 

After children have successfully paired and graded the diatonic scale, we also introduce the “writing and reading” component of the bells. Children learn the symbols and names for the pitches and match the pitches with their notes.


When writing in language, we have thoughts we want to express and we can write them down. Composers have melodies in their heads and they write those melodies by using the notes of the staff. 


We use beautiful staff boards with small wooden circles so that children can learn how to place the notes on the staff and eventually even write their own music, similarly to how they write with the moveable alphabet. Like with spoken language, children first explore through writing and then reading melodies.


Musical expression is woven into our primary classrooms. Schedule a tour to hear for yourself!



Teacher reading to seated children in a bright classroom circle time

From Wonder to Wisdom: How Montessori Builds the Imagination That Lasts a Lifetime (Part 1)

By Gabriela León • June 23, 2026
Of all the aspects of Montessori philosophy that raise eyebrows, the topic of fantasy and imagination might be the most misunderstood. Parents sometimes hear that Montessori discourages imaginative play, or that it takes a dim view of fairy tales and make-believe. The reality is both more nuanced and more fascinating than that. Dr. Maria Montessori didn't distrust imagination. Actually, she revered it! She was deeply interested in understanding how imagination develops and what kinds of experiences feed it most richly. Imagination Is a Force for Truth Dr. Montessori believed that imagination is one of humanity's greatest powers. It allows us to reach beyond what is directly in front of us, to envision what we cannot see, to understand what we cannot touch, and to create what does not yet exist. It is imagination, Dr. Montessori argued, that drives scientific discovery, artistic expression, and human progress. But here is the key insight: imagination doesn't grow in a vacuum. It grows from reality. The richer and more precise children's experience of the real world, the more powerful and genuine their imaginative capacity becomes. As Dr. Montessori wrote in The Absorbent Mind, "imagination is a force for the discovery of truth," not an escape from it. For this very reason, we fill Montessori classrooms with real objects, real experiences, and real information about the world. Wonder, to be truly nourishing, needs real and wonderful things from which to emerge. The Difference Between Child-Led and Adult-Imposed Fantasy One of the most important distinctions Dr. Montessori made is the difference between fantasy that children create themselves and fantasy that adults impose on them. When young children pick up a stick and pretend it is a horse or transform a cardboard box into a spaceship, they are using their accumulated knowledge of the real world to construct a creative, imaginary one. This kind of pretend play is entirely natural and valuable. The children are in control of the fantasy, and they know, on some level, that it is fantasy. What is more complicated is when adults introduce elaborate fictions as though they were real. When we encourage children to believe things that aren’t true, we are essentially presenting misinformation to minds that are actively trying to make sense of reality. Young children in the first years of life are working hard to understand what is real and what is not. And when they are uncertain, they look to trusted adults for guidance. When those adults confirm a fantasy as reality, children's natural process of distinguishing truth from fiction is interrupted. Dr. Montessori called this state credulity: a characteristic of the immature mind that hasn't yet developed the tools to distinguish the true from the false, or the possible from the impossible. The adult's role, she believed, is not to extend credulity but to gently support children in building accurate, grounded knowledge of the world. What This Looks Like in Practice It's worth pausing here, because this aspect of Montessori philosophy can feel startling at first, especially in a culture that places enormous value on the magic of childhood and the traditions that come with it. Families navigate this in different ways, and Montessori doesn't prescribe a single approach to handling holidays or family traditions at home. What Montessori does suggest is that children are far more capable of genuine wonder than we sometimes give them credit for, and that the real world, offered to them with beauty and depth, provides more than enough magic to satisfy even the most imaginative child. Dr. Montessori gave striking examples of this. She noticed how a simple chart showing the relative sizes of the sun and the earth left young children full of astonishment, and more astonished, she observed, than any fairy tale had managed to make them. The actual scale of the universe, presented clearly and beautifully, opened something in their minds that no invented story could have reached. As she wrote in To Educate the Human Potential, by offering the story of the universe, "we give him something a thousand times more infinite and mysterious to reconstruct with his imagination, a drama no fable can reveal." Similarly, Dr. Montessori noted that children are often far more satisfied when they can engage with the real version of something rather than a pretend substitute. Washing real dishes rather than toy ones. Riding a real horse rather than a stick. Using a globe to find America rather than hearing it mentioned vaguely in conversation. The real thing, it turns out, is often more engaging, not less, than the pretend version. Reality as the Launchpad This is perhaps the most beautiful way to understand the Montessori approach to imagination. Reality is not the opposite of imagination. It is its launchpad. When children have rich, precise, hands-on experience of the world — through sensorial materials, through nature, through meaningful work, through real information about science, history, and the cosmos — their imagination has something extraordinary to work with. They can envision what they cannot see because they understand what they can. They can reach toward the abstract because they are grounded in the concrete. As Montessorian Sarah Werner Andrews described it, the development of imagination begins with children's understanding of how the real world works. And far from being an immature stage that children grow out of, this grounded imagination is "the entry into the uniquely human, lifelong capacity to imagine alternatives to reality." In other words, Montessori isn't asking children to imagine less. It is giving them everything they need to imagine more — more vividly, more truthfully, and more powerfully — for the rest of their lives. In Part Two of this series, we'll explore exactly how the early childhood materials build that foundation, and what happens to imagination when children carry it into the elementary years. 
Child painting at a table in a cozy home, focused on colorful artwork.

Summer Is the Perfect Canvas: Why Process Matters More Than Product

By Gabriela León • June 16, 2026
With the slower pace of summer, more time at home and outdoors, and more unstructured hours to fill, it’s a perfect time to pull art supplies out fo the closet, cover tables with paper, and unleash some creative energy! What happens in these creative moments matters more than most of us realize. And how we respond to what children make matters just as much as the making itself. The Process Is the Point A foundational principle behind Montessori's approach to children's artmaking is that the process of making art is far more important than the product. This can be difficult for us to internalize, because the product is what we most often see. It’s not that we don’t care about our children’s experience. But the painting is what comes home. The drawing gets taped to the refrigerator. We get handed the collage at pickup. So it’s natural to focus on what is right in front of us. But it is the moments when children are deeply absorbed in moving paint across paper, pressing clay between their fingers, or scribbling long, looping lines with a crayon that something essential is happening. This is a deep form of creative expression and an outlet for feelings children may not yet have words for. Plus, children are developing visual-spatial skills, fine motor coordination, and the capacity for innovative thinking. During art-making, children are problem-solving in real time, making decisions about color, form, pressure, and space. And they are experiencing the deep satisfaction of following an internal creative impulse all the way through to its end. What Not to Say and What to Say Instead One of the most important things we can do to support young children's creative process is to be thoughtful in our comments. Even well-meaning responses can shift children's focus from their own inner experience to an adult's reaction. Once that shift happens, children begin making art for the audience rather than for themselves. Comments like, "That's beautiful!" or "What is it?" or "Can you make one for Grandma?" are all, in different ways, asking children to produce something for someone else or to explain and justify what they've made. Neither of these supports genuine creative development. Instead, focus on objective, process-focused observations. For example, "I can see you used a lot of green and purple today," or "Your lines extend all the way to the edge of the paper," or "It looks like you really enjoyed making that." These responses acknowledge children's work without judging it, and they communicate that what they made matters, and what they experienced while making it also matters. Young children often cannot (and should not have to) explain their art. The experience of making art is enough. A Summer Opportunity: Freedom to Explore Summer is an ideal time to offer children a real variety of creative materials and the freedom to choose what calls to them. Different children will be drawn to different media, and what each child gets from a new experience will be entirely their own. Variety is important precisely because it sparks different kinds of interest and expression in different children. Here are some starting points for summer art exploration, appropriate for toddlers and young children: Offer crayons and large paper for open-ended scribbling and mark-making. It’s best to begin by offering large spaces before moving to smaller ones. Large paper means that children's bodies have room to move freely. Easel painting or watercolors offer the joy of color mixing and the experience of a brush moving across a surface. Play-dough and clay can satisfy children's deep need to manipulate, press, and build with their hands. Collage materials (paper scraps, leaves, fabric, natural objects) invite children to arrange and compose in ways that feel both free and purposeful. Chalk on pavement (or dark paper, if the weather isn’t cooperating) is especially magical outdoors on a summer morning. From a practical standpoint, it’s helpful to protect clothing and surfaces before beginning, so children can work freely without worry (theirs or ours!). Choose non-toxic materials, particularly for the youngest children who may still explore things with their mouths. And resist the urge to direct the outcome. Children who cover their paper entirely in black paint are not doing it wrong. They are doing exactly what they need to do. What to Do With What They Make Not every piece of art needs to be saved or displayed. Saving a selection of artwork from across the summer (early pieces, middle-of-summer pieces, late-summer pieces) can serve as a timeline or record of your children's creative development and a meaningful way to look back together at the end of the season. If there isn’t room to display selected pieces, a simple folder or large envelope can also work perfectly for this. When you look through the artwork together, let your child lead the conversation or simply look at it together without words. The goal is never gallery-ready products. The goal is children who trust their own creative impulses, who feel free to experiment and make a mess and start over, and who carry the confidence of someone who has been allowed to make things in their own way. Summer is long, and the canvas is wide! Let children fill it however best suits their needs! We'd love to hear how your family is spending the summer months. And we always love to share how we support creative exploration in our prepared environments in our school. Contact us to learn more!