Class___3rd grade___________Lesson#_____4_____
The lesson will focus on dynamic integration with melodies.
Key
Tone
Set
Materials
D=Do
Do-Sol
N/A
Musical Engagement
Include what questions you
will ask (and some possible
responses and how you will
respond to those questions)
Goals
Assessment
(formative)
Good morning song (2 min)
Lead the class in singing the
Morning regiment. Instruct
them to sing it with a soft
voice, be sure to quickly
address any breathy whisper
singing, but do not dwell.
Sets the tone for the
lesson subject
matter, being
dynamics
integrated with
melodies.
Pay mind to
those
deliberately
singing in a
whisper
voice.
.
Refresh the
memory of
dynamic markings
for the students.
Reinforce the idea
of contrast in
volume.
Gauge the
understanding
of two
opposite
dynamic
markings for
the students.
Bee bee bumble bee (5-10
min)
As a familiar chant, it will be
set as the base for dynamic
preparation. Organize the
chant in tah and titi on the
board and chant the chant. Get
the class to join you as soon as
possible and move on to the
board. Write a Forte symbol
on bar 1 and a piano symbol
on bar 3. Ask the class if they
remember what the symbols
mean, if theyre unspecific as
loud and soft and dont
seem to remember the names
(unlikely) then remind them
the f is Forte, loud, and the p
is Piano, soft. Chant the chant
again, this time taking the
dynamics into account, the
first two bars slightly
exaggerated loudly and the
last two mildly soft. After the
model, have them chant it
back with the dynamics. Then
place the forte and piano
dynamics in different order
placements on the bars.
Straight forward, have them
read and chant without your
primary assistance to gauge
where the class understanding
is. After two different patterns
transition into twinkle twinkle.
Twinkle twinkle (10 min)
Start singing twinkle twinkle
D=Do
Do-La
little star and have the class
join you. After two runs, draw
an arc on the board like the
melodic contour. Sing twinkle
twinkle going up in dynamic
as the arc rises and down
when it arcs downward. Ask
what you did with the drawing
on the board. After the answer
tell the class to join you, and
once they understand the base
concept draw an inverted arc,
starting loud and going
downward. Just as before, sing
it with the class.
The idea should be simple
enough to follow, so then ask
for two or three students
depending on constraints to
come up to the board and
draw a flow. Sing it with the
class as before once or twice,
three times at most if the class
have a difficult time
interpreting it.
2468 (10 min)
In place of bee bee bumble
bee, erase and write the tah
and titi form for 2468, then
chant it and ask if the class
remembers the chant. Then
ask them to chant it with you.
Then draw the markings for
crescendo from bar 1 to 3 and
decrescendo from 3 to the end
of 4. Now chant it following
the dynamic markings, then
draw a smaller arc like the one
in twinkle twinkle little star
and explain that these
crescendo and decrescendo
markings act like the arc for
dynamics. Now have the class
chant it with the layout. Erase
the arc and draw a different
pattern of dynamic alterations.
Mark the dynamic landing
points with forte and piano
markings. (ex. Crescendo up
to a forte) As before, have
some students who didnt
come up during the last
activities come up, being
simple enough means most or
all students can handle
Prepare for the next
activity which will
introduce the
crescendo and
decrescendo by
giving a grand
visual and getting
the students to
practice bridging
from piano to forte
and vice versa.
Whos
engaged and
paying
attention to the
lesson? Who
understands
the subject and
doesnt
exaggerate the
dynamics to
extremes?
Finalize the idea of
dynamic marking
and alteration in
music and set up
for the final part
incorporating
melody, rhythm,
and proper
dynamics.
Are students
getting thrown
off by the
rhythmic
complexity
coupled with
dynamic
awareness?
Who needs
assistance with
the
incorporation?
Consider small
group
activities if the
activity goes
well.
organizing the writing. If
corrections are needed to the
finished student work, do so
but this time only leave the
beginning dynamic on the
board, leaving the students to
infer the landing point
themselves. This can go on for
several repetitions, and near
the end, string two or three
different lines of dynamic
patterns together and run
through it.
D=Do
Peas Porridge
A familiar melody to
incorporate the previous two
factors of music, pure music
with dynamic contrast.
Instead of writing the rhythm
on the board, simply put four
slashes per bar representing
the beat. Sing peas porridge
with the class before
beginning the incorporation.
Tell the class were now
putting everything weve
worked on in this lesson
together to sing a complex
song with dynamics. Explain
the slashes represent the beat
and tell them to keep the beat
while singing peas porridge.
Begin with a simple dynamic
form. Forte, Piano, Crescendo,
Forte. This incorporates the
base of all the ideas weve
gone through today, so dont
model it for them before hand
and simply sing with them as
they read it. There may be
some getting used to and will
result in some mistakes. Do it
once more and then alter the
markings, getting more
complex with each run. By the
end of the activity, there
should be a cemented idea of
relation between markings and
their effect on musical
interpretation.
The activities have
kept the same key
to simplify the
thinking process
while following the
dynamic learning
process. Peas
Porridge is used as
the base melody for
the ideas weve
worked on in the
lesson. This is to
cultivate the
multiple factors
into a finished
product that should
hopefully cement
the idea of dynamic
markings
incorporated in
melodic lines.
This is the
final product,
you can assess
how the
process has
affected the
students. Do
the students
understand
and
demonstrate
their
understanding
of the dynamic
markings? Did
the process of
building upon
basics work
well or does it
require
tweaking to
become more
effective?
Take note and
alter the plan
with the
results in
mind.
