of the volumes: I-II-III-IV-V as opposed to I-II-IV-III-V. Volume III introduces Major Dominant and Subdominant triads (That is to say: functional harmony). However Volume IV can be viewed as more logically the next step as it introduces Dorian, Aeolian and Phrygian modes with similar shifting drones and triads to those found previously in Vol II. Vol IV, Part One: Minor-Drone Bass Triads. Aeolian, Dorian and Phrygian mode, i-ii shifting drones and triads. Part Two: Tonic and Leading Note triads, i-IV and decoration of the third. Vol III Major Dominant and Subdominant Triads. This harmonic world is more challenging for children and improvising than the modes, hence the importance of leaving until skills have developed appropriately. Volume V follows III, but explores Minor Dominant and Subdominant Chords. And finally, almost as an afterthought, Paralipomena which explores the worlds of Lydian I-II, and Mixolydian I-VII. When interesting original music has been generated by the groups or individual child a desire to record it may arise. Thus, the desire to develop musical skills emerges by itself and the child may be intrinsically propelled to learn formal music. Instruments and tools Orff considered the percussive rhythm as a natural basic form of human expression. Carl Orff and colleague Gunild Keetman co-composed much of the music for the five volume series, Music for Children. These volumes, first published in 1950, are still available and used today. Music played on Orff instruments is often very simple and easy to play even for first time musicians. Some of the instruments within the approach include miniature xylophones, marimbas, glockenspiels, and metallophones; all of which have removable bars, resonating columns to project the sound, and are easily transported and stored. Orff teachers also use different sized drums, recorders, and non-pitched percussion instruments "to round out the songs that are sung and played". The Orff approach also requires that children sing, chant, clap, dance, pat, and snap fingers along to melodies and rhythms. Spread In 1923 Carl Orff met Dorothee Günther while working at a theater in Munich. Günther "believed that most students did not get enough chances to do art and music and movement activities". Because of his extensive background in gymnastics and the arts Gunter was able to open the Gunter-Schule in 1924. Even though Carl Orff never worked with the students of the Gunter-Schule directly, this was the first institution to teach what would later be known