Dynamics In Relation to Tempo to Convey Emotional Intent

How Crescendos, Decrescendos, Expressive Tempo Markings,

and Use of pp-ff convey the composer’s emotional intent.

High School Select Advanced Choir

By: Zane Kazmarski

Course: MUS149
Professor: Dr. Talbot

I affirm that I have upheld the highest principles of honesty and integrity in my
academic work and have not witnessed a violation of the Honor Code-
Zane Kazmarski
 Essential Question: How can the use of different dynamic concepts to help convey a composers
emotional intent to the audience and the performer?

Context: The select High School Advanced Choral Ensemble is preparing for their next concert.
They had begun working on Let My Love Be Heard, Earth Song, and The Road Home in
previous rehearsals to learn the notes and work on the tempo markings, and now they are ready
to begin working on the expressive elements of the pieces. This is the second out of four choir
concerts that the high school does in the school year. The theme of the concert is Home, finding
where you belong. All three of the pieces selected connect to a sense of home and belonging,
finding solace in one another.

Standards:
1. MU:Cr1.1.E.IIIa Compose and improvise musical ideas for a variety of purposes and
contexts.
2. MU:Pr4.2.E.IIIa Examine, evaluate, and critique, using music reading skills where
appropriate, how the structure and context impact and inform prepared and
improvised performances.
3. MU:Pr4.3.E.IIIa Demonstrate how understanding the style, genre, and context of a
varied repertoire of music informs prepared and improvised performances as well as
performers’ technical skill to connect with the audience
4. MU:Pr6.1.E.IIIb Demonstrate an ability to connect with audience members before
and during the process of engaging with and responding to them through prepared
and improvised performances.
5. MU:Re7.2.E.IIIa Demonstrate and justify how the analysis of structures, contexts,
and performance decisions inform the response to music.
6. MU:Re8.1.E.IIIa Justify interpretations of the expressive intent and meaning of
musical works by comparing and synthesizing varied researched sources, including
reference to other art forms.
7. MU:Cn10.0.H.IIIa Demonstrate how interests, knowledge, and skills relate to
personal choices and intent when creating, performing, and responding to music.
8. MU:Cn11.0.T.IIIa Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life.

Daily Goals and Review

Day 1 Day 2 Day 3 Day 4 Day 5 Day 6
Review Context of the piece Review Review Review Review Final
Crescendos/Decrescendo Poco Pianissimo- Days 1-4 Preparations
s Ritardando Fortissimo
Main Crescendos/Decrescendo Poco Ritardando Pianissimo Poco Molto Performanc
Concep s -Fortissimo Accelerand Ritardand e
t o o

Key Terms:
Crescendo- A directive to a performer to smoothly increase the volume of a
particular phrase or passage. This can be designated with the word crescendo at the
beginning of the passage or with the crescendo symbol consisting of two horizontal lines
that start together at a point at the left and spread apart to the right. There is typically
a dynamic mark at either end of the symbol indicating the desired volume before and
after the crescendo. This is often seen in its abbreviated form cresc. The symbol is often
refered to as a hairpin or a wedge.

Decrescendo- A directive to a performer  to smoothly decrease the volume of the

specific passage. This can be designated with the word decrescendo at the beginning of
the passage or with the decrescendo symbol consisting of two horizontal lines that start
apart at the left and come together to a point at the right. There is typically a dynamic
mark at either end of the symbol indicating the desired volume before and after
the decrescendo. This is often seen in its abbreviated form decresc. The symbol is often
refered to as a hairpin or a wedge. This term is functionally the same
as diminuendo  and its abbreviations dim. and dimin.

Ritardando-A directive to perform the indicated passage of a composition with a

gradual slowing of the tempo, or to gradually delay the tempo. The abbreviation
is rit or ritard.

Accelerando- Gradually accelerating or getting faster. Abbreviated

by accel. or accelº.

Poco-  Italian term for a little. Typically used to modify tempo markings as in

"accelerando poco a poco" meaning "getting faster little by little."

Molto- An expression used to augment the directive to which it is applied. This

term is often used to modify tempo markings in a composition. For example, the
term allegro molto would mean that the indicated passage would
be performed a very fast tempo, faster than allegro.

Pianissimo- A directive to perform the indicated passage of a composition  very

softly, even softer than piano (p), but not as soft as pianississimo (ppp). The
abbreviation for pianissimo is pp.

Fortissimo- A directive to perform the indicated passage very loudly symbolized

by "ff". Louder than forte "f".

Fermata- A notation marking directing the performer or ensemble to sustain the

note of a composition affecting all parts and lasting as long as the artistic interpretation
of the conductor allows. The fermata is marked above the note or rest to be held.
Pieces:
Let My Love Be Heard by Jake Runestad
Earth Song by Frank Ticheli
The Road Home by Stephen Paulus

References:

OnMusic Dictionary -. (n.d.). Retrieved On April 21, 2020 from

http://dictionary.onmusic.org/
Let My Love Be Heard.pdf. (n.d.). Retrieved On April 21, 2020 from
https://www.scribd.com/document/428786653/Let-My-Love-Be-Heard-pdf
 Daily Breakdown
Time Day 1 Day 2 Day 3 Day 4 Day 5 Day 6
5 Min Warm Up Warm Up Focusing on Warm up Warm up Warm up Warm up
Focusing on Decrescendo Focusing Focusing on using each of focusing on
Crescendo on Tempo the previous connecting each
Dynamics changes warm ups key concept from
days 1-5
5-10 Min Discuss Discuss Composers Discuss Discuss Discuss Final Discussion
Context of Intent of Ritardando Composers Composers Composers on Context and
the Let My Intent of Intent of Intent of Composers Intent
Love Be Dynamic Accelerando Molto
Heard Selections Ritardando
15-20 Min Rehearse Let Rehearse Let My Love Rehearse Rehearse Rehearse The Rehearse and
My Love Be Be Heard & The Road Earth Earth Song, Road Home perform Let My
Heard & Home focusing on the Song & The Road & Let My Love Be Heard,
Earth Song poco ritardando, Let My Home, & Love Be Earth Song, &
focusing on working to connect the Love Be Let My Heard, The Road Home
the crescendos/decrescendo Heard, Love Be focusing on combing all
crescendos s focusing Heard, the molto concepts from
and on the way focusing on ritardando days 1-5
decrescendos the the and
in the piece composer accelerando understandin
built the maintaining g the
dynamics proper difference
starting in dynamics compared to
measure while other
31 pushing the ritardando
tempo sections
forward
Day 1
Focus: Context and Crescendos/Decrescendos
Review: Review parts that were learned in previous classes.

Learning Outcomes:
Students will discuss the context of Let My Love Be Heard
Students will identify crescendos and decrescendos shown throughout the piece
Students will define crescendos and decrescendos
Students will create crescendos/decrescendos in a warm up
Procedure:
 After greeting students upon arrival, ask them to stand up and stretch in their spots for a
moment.
 Begin warming up, using arpeggiating patterns on ‘yah’ starting in C Major and ending in
C Major one octave up from the starting point.
  Ask for a volunteer to come to the front of the classroom to guide the class in a warm up
focused around crescendos and decrescendos
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
 Read the context of the piece provided on the sheet music.
 Discuss the meaning of the context; what emotions is Runestad trying to convey with this
piece? How do you think he is conveying them?
 Ask the students to identify the crescendos and decrescendos throughout the piece by
pointing to them on each page.
 Ask the students collectively to define crescendo and decrescendo in their own words,
writing down the definition that they come up with on the board.
 After identifying the crescendos/decrescendos, ask the students to begin the piece making
sure to keep the crescendos and decrescendos in mind. (Work from measures 1-14)
 If needed, review any parts that may need touched up with their pitches.
 Take the first three measures and have the group exaggerate the crescendo/decrescendo
swell as much as possible, asking them to follow your gestures as you motion for them to
get louder and softer.
 Ask them to apply the same idea to each measure as you move on, this time making sure
not to make the soft and loud gestures as dramatic.
 Turn to Earth Song, asking the students to note similar crescendo/decrescendo patterns
throughout the piece.
 Sing measures 1-16 of Earth Song, noting the difference in the length of the
crescendos/decrescendos compared to Let My Love Be Heard.
 Ask the students what the purpose of the swells in Earth Song could be and compare
them to the swells in Let My Love Be Heard.
 Ask students if they have any questions, address any questions that come up.
Assessments:
Teacher will aurally assess students’ thoughts and ideas in the discussion of the context.
Teacher will visually assess students’ identification of the crescendos and decrescendos
by asking them to point to the measures in which they occur.
Teacher will visually and aurally assess students’ definition of crescendo and
decrescendo by listening and writing the class definition on the board.
Teacher will visually and aurally assess students creation of crescendo/decrescendo warm
up using a +/- scale (check if satisfactory).
+/- Criteria + -
Student gave clear motion for crescendo/decrescendo
Ensemble followed students motions

Day 2
Focus: Ritardando and connecting to the crescendos/decrescendos.
Review: Crescendo/Decrescendo

Learning Outcomes:
 Students will define Ritardando
Students will discuss composer’s intent for ritardandos
Students will connect crescendo/decrescendos to the ritardando sections
Procedure:
 Once students are in their appropriate sections, ask them to stand and stretch.
 Ask for new volunteers to lead the crescendo/day crescendo warm up from day 1.
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
 Ask the students to identify and define Ritardando as a class, putting the definition that
they came up with on the board.
 Discuss what ‘poco ritardando’ means.
 Ask the students to sing measures 9-30, asking them to pay close attention to how you
conduct the passage as you will be slowing down and speeding up at certain points.
 If needed, review any parts that need touched up with their pitches.
 Demonstrate for the students exactly how you are conducting the sections, giving clear
breaths and motioning the crescendos/decrescendos.
 Ask the students to once again sing measures 9-30, this time focusing on the Ritardandos
as well as the crescendos/decrescendos.
 Explain how the crescendos/decrescendos need to occur in time even as the tempo
momentarily slows down.
 Ask the students why they think the composer wanted to us the Ritardanos; how do they
enhance the composer’s intent of the piece?
 Start from the beginning and rehearse up to measure 30, asking students to actively think
about their dynamics throughout.
 Take out The Road Home, discussing that the primary focus of this piece is to work on
the ritardandos and fermatas.
 Sing from measure 4 to 20, going back and taking the repeat at the appropriate time.
 Experimenting with different pushes and pulls of the tempo, allow the students to discuss
how the changes in tempo affect the overall context of the piece.
 Discuss how the feel of the ritardandos is different in both pieces, noting how one is
much more dramatic than the other.
 Discuss the context of both pieces, how does the use of the ritardandos help convey the
emotional intent of the piece?
Assessments:
Teacher will visually and aurally assess students’ definition of Ritardando by listening
and writing the class definition on the board.
Teacher will aurally assess students’ thoughts and ideas in the discussion of the purpose
for the Ritardando.
Teacher will aurally assess students connecting crescendos/decrescendos to the
Ritardando sections by listening to see if they are following conducting, using a great, needs
improvement, or not quite scale to evaluate their overall sound. Check under the level of
satisfactory.
Criteria Great Needs Improvement Not Quite
Ensemble displayed accuracy in combing
Crescendos/decrescendos with Ritardandos.

Day 3
Focus: Dynamic markings
Review: Crescendos/decrescendos, Ritardando

Learning Outcomes:
Students will identify the various dynamic markings (focusing on the loudest and softest).
Students will define pianissimo and fortissimo.
Students will explore composer’s intent with pianissimo and fortissimo.
Procedure:
 Once students are in their appropriate sections, ask them to stand and stretch.
 Ask for new volunteers to lead the crescendo/day crescendo warm up from day 1, this
time incorporating slower movement through the crescendos/decrescendos to reflect the
ritardandos.
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
 Ask the students to identify the loudest and softest dynamic markings in the piece.
 Ask the students to circle all dynamic changes from measures 31-45.
 Ask students to define as a collective fortissimo and pianissimo, writing their definitions
on the board.
 Provide each sections pitches for measure 31 (basses and tenors can sing the altos C
where it is comfortable for them).
o Once each section has their pitch, ask them to sing the note as softly as possible
and sustain.
o Students will gradually get louder as you gesture a slow crescendo.
o Still holding their pitch, ask the students to sing as loud as possible (making sure
to maintain good tone quality).
o Students will gradually get softer as you gesture a slow decrescendo.
 Once the ensemble finds a comfortable representation of pianissimo and fortissimo, begin
working on measures 31-45.
 If needed, review any parts that need touched up on their pitches.
 Work through measures 31-45 again, this time making sure to incorporate all concepts of
crescendos/decrescendos and ritardandos when appropriate.
 Discuss how ‘slowly emerging’ and ‘soaring’ tempo markings connect to the dynamic
buildup of measures 31-45.
 Taking out Earth Song, as the students to identify where the loudest and softest dynamics
are in the piece.
 Sing from measure 29- the end, noting all of the dynamics in that section of the piece.
 Discuss the usage of the different dynamics in Earth Song, how are they similar to Let
My Love Be Heard? How are they different?
  Experiment with dynamics throughout measures 29-end. How could adding in a
crescendo from 29-32 help enhance the following crescendo?
 Discuss what the composers aretrying to convey with these building dynamics in these
sections; how is the emotion of the piece changing?
 Rehearse from the beginning to measure 45 of Let My Love Be Heard again.
Assessments:
Teacher will aurally assess students discovery of the softest and loudest dynamics in the
piece using a +/- scale to check off whether or not they identified them.

Teacher will visually and aurally assess students’ definition of pianissimo and fortissimo
by listening and writing the class definition on the board.

Teacher will aurally assess students’ thoughts and ideas in the discussion of the purpose
for the wide range of dynamics used.
Day 4
Focus: Accelerando
Review: Crescendo/Decrescendo, Ritardando, Pianissimo/Fortissimo

Learning Outcomes:
Students will identify the accelerandos
Students will define accelerando
Students will explore composer’s intent of the accelerando
Procedure:
 Once students are in their appropriate sections, ask them to stand and stretch.
 Ask for new volunteers to lead the crescendo/day crescendo warm up from day 1, this
time incorporating slower movement through the crescendos/decrescendos to reflect the
ritardandos.
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
 Review pianissimo and fortissimo using the same exercise from yesterday.
o Provide each sections pitches for measure 31 (basses and tenors can sing the altos
C where it is comfortable for them).
o Once each section has their pitch, ask them to sing the note as softly as possible
and sustain.
o Students will gradually get louder as you gesture a slow crescendo.
o Still holding their pitch, ask the students to sing as loud as possible (making sure
to maintain good tone quality).
o Students will gradually get softer as you gesture a slow decrescendo
 Run through Earth Song, keeping in mind the swells at the beginning as well as the
various crescendos/decrescendos throughout the piece.
 Run through The Road Home, asking the students to focus on the dynamics in relation to
the push and pull of the tempo.
  Ask the students to describe how the dynamics can be affected by the tempo and vice
versa.
 Take out Let My Love Be Heard
 Ask the students to identify where the accelerandos occur, asking them to circle them in
their music.
 Ask the students to collectively define accelerando, writing their definition on the board.
 Starting in measure 26 and going through 38, ask the students to follow your conducting
as you lead them through the section showing them what to expect with the ritardandos
and accelerandos so they know how they feel.
 Discuss what the composer’s intent is with the accelerandos; how do they help change the
emotion? Why do you think they were used in these specific sections?
 Rehearse from the beginning to measure 45, making sure to remind students that they
need to focus on dynamic markings and pay attention to changes in tempo.

Assessments:

Teacher will visually assess students’ recognition of accelerandos by watching them

circle the measures in their scores.

Teacher will visually and aurally assess students’ definition of accelerando by listening
and writing the class definition on the board.

Teacher will aurally assess students’ thoughts and ideas in the discussion of the purpose
for the use of the accelerando
Day 5

Focus: Molto Ritardando and how it is different from Poco Ritardando

Review: Crescendo/Decrescendo, Ritardando, Pianissimo/Fortissimo, Accelerando

Learning Outcomes:

Students will identify the difference between molto ritardando and poco ritardando.

Students will define molto ritardando.

Procedure:

 Once students are in their appropriate sections, ask them to stand and stretch.
 Ask for new volunteers to lead the crescendo/day crescendo warm up from day 1, this
time incorporating slower and faster movement through the crescendos/decrescendos to
reflect the ritardandos and accelerandos.
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
  Review pianissimo and fortissimo using the same exercise from yesterday.
o Provide each sections pitches for measure 31 (basses and tenors can sing the altos
C where it is comfortable for them).
o Once each section has their pitch, ask them to sing the note as softly as possible
and sustain.
o Students will gradually get louder as you gesture a slow crescendo.
o Still holding their pitch, ask the students to sing as loud as possible (making sure
to maintain good tone quality).
o Students will gradually get softer as you gesture a slow decrescendo
 Sing through The Road Home, allowing the students to feel the push and pull of the
tempo throughout the piece.
 Ask the students to describe the difference in the tempo markings in The Road Home
compared to Let My Love Be Heard. What were the composers trying to convey with
these markings?
 Take out Let My Love Be Heard.
 Ask the students to identify the molto ritardando sections, asking them to mark them in
their scores.
 Ask the students to collectively define molto ritardando, writing their definition on the
board.
 Have the students sing from measure 45-the end, keeping in mind everything that they
talked about throughout the week and applying it.
 Make sure students can clearly follow the molto ritardando sections, noting that they are
slower than the other ritardando sections.
 Discuss the purpose of the different forms of ritardando used throughout the piece.
 Have the students sing through the entire piece, stopping to fix problems if they arise.
 Once again discuss the context of the piece, this time discussing all of the ways in which
the context and intent is clearly displayed to the audience and performer.
Assessments:
Teacher will visually assess students’ recognition of molto ritardando by watching them
circle the measures in their scores.

Teacher will visually and aurally assess students’ definition of molto ritardando by
listening and writing the class definition on the board.

Day 6

Focus: Performance

Review: Crescendo/Decrescendo, Ritardando, Pianissimo/Fortissimo, Accelerando, Molto

Ritardando

Learning Outcomes:

Students will perform Let My Love Be Heard, Earth Song, and The Road Home
 Students will discuss how the musical elements in the three pieces convey the composer’s
emotional intent of the piece

Procedure:

 Once students are in their appropriate sections, ask them to stand and stretch.
 Ask for new volunteers to lead the crescendo/day crescendo warm up from day 1, this
time incorporating slower and faster movement through the crescendos/decrescendos to
reflect the ritardandos and accelerandos.
o Provide pitches to each section to build an E Major chord, allowing students to
choose their note (basses will sing E), asking them to sing on ‘do’.
o Student volunteer will gesture through high and low hand motions various
crescendo/decrescendo patterns as the ensemble follows their lead.
 Review pianissimo and fortissimo using the same exercise from yesterday.
o Provide each sections pitches for measure 31 (basses and tenors can sing the altos
C where it is comfortable for them).
o Once each section has their pitch, ask them to sing the note as softly as possible
and sustain.
o Students will gradually get louder as you gesture a slow crescendo.
o Still holding their pitch, ask the students to sing as loud as possible (making sure
to maintain good tone quality).
o Students will gradually get softer as you gesture a slow decrescendo
 Sing through Let My Love Be Heard, Earth Song, and The Road Home one last time
before the concert.
 Hand out the post-concert reflection worksheet for the students to fill out after the
concert.
 Perform in the concert, making sure to apply all of the expressive elements they learned
throughout the week.
 Tell the students that they are great 

Assessment:

Post-Concert Reflection Paper

Name________________ Date______________

1. What do you think the ensemble did well during this performance?

2. What could be improved for the next performance?

3. How did the musical concepts that we discussed this week (Crescendo/Decrescendo,
Ritardando, Pianissimo/Fortissimo, Accelerando, Molto Ritardando) impact the
emotional intent of this piece?

4. Define at least one of the key concepts from the week, listed above, in your own
words.

5. How did Let My Love Be Heard make you feel as we performed the piece in front of
the audience?