The first interactions between adults and infants, especially in the preverbal period, are characterized by rhythmic and melodic exchanges, by the mutual synchronization of gestures and vocalizations and by a shared temporality (Trevarthen, 2008; Imberty & Gratier, 2008). These exchanges have been defined as proto-musical, and early musical practices recognizing their origins in these first exchanges between adults and children are increasingly widespread (Gratier & Filippa, 2020). The present contribution aims to investigate the imitation of sound gestures as a pedagogical tool to promote self-expression and relationship between peers. The simultaneous imitation with identical sound objects is configured as a particularly suitable tool for organizing, even at a very early age, the children's sound and musical productions. To observe the characteristics of sound imitation in a context of free improvisation of 2-3 year old children, we were inspired by the methodology of gestural imitation proposed by Jacqueline Nadel (2011). In this contribution, the general principles of imitation are outlined, with particular attention to the importance of the motor act in the learning processes, as well as its neuroscientific basis in early childhood. A case study, which uses the categories proposed by Nadel (2011) illustrates a possible adoption in a school context that promotes gestural and sound imitation during music education activities. A centrality of gestures and acts in the musical learning emerges from this contribution and the potential role of imitation of musical gestures is highlighted, with the aim of favoring, in particular, the process of inclusion among peers through the practice of sound imitation.