Lesson 1  Ari Carrillo 

Grade Level​: 5th and 6th Grade Choir 
​Dynamics and Performance  Content Area​: Music Theory and Performance 

Central Focus 
Students will learn about dynamics and how they are used to make music more expressive in the context of 
composition. 

National Standards 
● MU:Pr4.3.E.IIa​ Demonstrate how understanding the style, genre, and context of a varied repertoire of 
music influences prepared and improvised performances as well as performers’ technical skill to connect 
to the audience. 
● MU:Pr5.3.E.IIa​ Develop and apply appropriate rehearsal strategies to address individual and ensemble 
challenges in a varied repertoire of music, and evaluate their success. 
● MU.Pr6.1.E.IIb​ Demonstrate an understanding of intent as a means for connecting with an audience 
through prepared performances. 
● MU:Re8.1.E.IIa​ Support interpretations of the expressive intent and meaning of musical works citing as 
evidence the treatment of the elements of music, contexts (when appropriate) the setting of the text, and 
varied researched sources. 
● MU:Cn10.0.H.IIa​ Demonstrate how interests, knowledge, and skills relate to personal choices and intent 
when creating, performing, and responding to music. 

Learning Objectives  Assessments 

   
Behavioral  Formative 
1. Students will be able to label and define the  ● Cognitive (3) - Students will repeatedly 
dynamics in order from softest to loudest with  perform the song both collectively and in 
a success rate of 80 percent.  smaller groups. After each performance, 
2. Students will be able to analyze “How Far I’ll  students will be asked to evaluate their own 
Go” from the film M​ oana​ based on  performance of the song and how it can be 
components of text, accompaniment, and style.  improved. Their responses will be discussed as 
Cognitive  a class and will be used to assess the student’s 
3. Students will understand the importance of  knowledge of the relationship between 
contrast when performing with dynamics.  dynamics 
4. Students will understand the relationship  ● Behavioral (2) - Students will use their group 
between text, dynamics, and musical  analysis of the song to apply it in a 
expression in performance of vocal music.  performance that includes contrasting 
dynamics and an adoption of style. 
Materials  Summative 
● Piano or guitar  ● Behavioral (1) - Students will be asked to 
● Computer and projector  complete an exit ticket asking them to label 
● Speakers  the dynamics from softest to loudest. 
● Blank sheets of paper  ● Cognitive (4) - Students will be asked to reflect 
● Whiteboard and markers  on what they learned about dynamics at the 
● Recording of “How Far I’ll Go” from ​Moana  end of the lesson in a group discussion.  
● Sheet music for “How Far I’ll Go” 
● Exit ticket (see attached) 
● Lead sheet for “How Far I’ll Go” 

Teaching Sequence 

1. Introduction 
a. Ask students to sing along if they recognize the song being played, then play the recording of 
“How Far I’ll Go” from M ​ oana. 
b. Have the sing-a-long video up on screen and ask the students to stand and sing along to the 
track. Stop after the end of the first chorus (“...​there’s no telling how far I’ll go​”). 
2. Evaluation of performance and comparison 
a. Ask students to evaluate the piece. 
i. What is going on in this song? What is the context? 
ii. What makes this song so exciting? What is the most exciting part? Why? 
1. Make a list on the board​ of musical components: melodic line (singing higher 
or lower), driving rhythm, details in accompaniment, texture, text, etc. 
2. Lead the students to understand that the most exciting part of this song is the 
 build-up from the beginning of this section to the chorus. 
iii. What word do we use in music to describe loudness or softness? (Dynamics) 
1. Write the dynamics on the board and ask the students to turn to a partner and 
write the dynamics in order on a piece of paper.  
2. Have students come to the board and write them in order. 
3. Include definitions: “-issimo” means “very” and “mezzo-” means “moderately” 
and “messa di voce” which means to swell the dynamics. 
4. Discuss crescendo and diminuendo 
5. Once the final order is generated on the board, ask students to correct their 
papers if there is a difference.  
iv. More questions for critical thought:  
1. Based on the lyrics and the building of excitement, “what is the ​most​ ​important 
moment in this section?” 
b. Perform the song again, but ask students to consider the most important section they identified 
when singing. Meaning you cannot start loudly! 
i. Ask students to evaluate their performance. “Were we quiet enough in the beginning? 
Were we loud enough at the peak of the song?” 
ii. Ask students to place some dynamic markings in the score to help guide our singing. 
3. Group performances  
a. Divide the class into four groups. Have the groups stand in jumbles in different corners of the 
room in order (if teaching with cooperating teachers, add them to each group). 
b. Divide the score into four sections (go off of prepared score on iPad, see attached). Explain to the 
students that each group will sing their part in order as we go around the room according to the 
dynamics we labeled on the board (as well as crescendi and diminuendi)  
i. Remind students that you have to sing based off of the previous group. So if group 1 
decides to belt it out, group 2 has a tough job! P
​ lan ahead ​with your sound. 
c. Perform the song in groups. Ask students to evaluate their performance based on dynamics. 
“How could we do this b​ etter​?” 
i. Lead the students to understand that it is all about dynamic ​contrast​. 
d. Switch groups! Group 1s become 2s, 2s become 3s, 3s become 4s, and 4s become 1s. Perform the 
song again. “How did we do this time?” 
4. Reflection and exit ticket 
a. Ask students to sit back down in their seats. “What new knowledge do we have about 
dynamics?” 
b. Hand out exit ticket to the students. Explain that this will not be graded! 
5. For next class… 
a. Have students bring in their iPads or other internet-searching technology into class 
b. Ask students to write down their favorite songs and artists on the back of the exit ticket 

Evaluation Criteria  Relevant Educational Theories/Practices Applied 

● The number of correct responses on the exit  Green’s (2005) framework for music education, based on 
ticket  what she calls “informal music learning” contains a 
● Responses in group discussion and group  primary principle of music learning beginning with 
evaluations that are based on text, expression,  music chosen by the learners themselves and therefore 
dynamic contrast  the students will be much more inclined to learn about 
● Each performance getting progressively more  the material. Through an evaluation of the class, I chose 
expressive and dynamically interesting.  to use a song that is popular for the large majority of 
the students in this classroom based on this principle. 
Similarly, one of the tenets Abraham’s (2006) Critical 
Pedagogy for Music Education states that music 
education is a “conversation” where the music that is 
taught is based in the contexts of who the students are 
and the world they live in. For a similar reason, this 
tenet is also applied here.  
 
 
Pencils 
Exit tickets (60, 30 total pages) 
Blank pieces of paper (half sheets) 
Bring scissors to school