Beat Patterns and Preparations in Tempo, Dynamic, and Basic Style Overview This chapter is designed to help you learn the standard conducting patterns for the meters of one, two, three, and four. You will conduct music in these meters maintaining a steady and appropriate tempo. ‘The chapter also instructs you to conduct preparatory beats that indicate tempo, dynamic level, and style for entrances on the count of one, Always make music! STANDARD CONDUCTING PATTERNS. COMPETENCY 6 Demonstrate the standard beat patterns, maintaining a steady tempo ‘The standard conducting patterns evolved with metrie music. Ideally, these hand motions serve to portray visually the sounding strueture of the meter, placing strong and weal metric accents appropriately in the pattern. For example, the first beat gesture is longer and stronger and in all eases must move straight down. Conducting patterns have other advantages. Musicians know thein and can follow them more easily than random gestures. The consistent downbeat is cer: tainly helpful when players are insecure or lost. Yet beat patterns do have certain limitations, and itis possible for a conductor to become little more tham a time- beater. Interpretation suflers when beat patterns are overemphasized and phras- ing and expression are slighted. The solation to the problem is to infuse beat pattems with expressive qualities to facilitate phrasing, style, and expression (see Chapters 6 and 9) Instruction ‘The standard conchucting patterns present a visual image of meter structure to ‘nnusieians, and you must ase then if you are to gain clarity and consistency. A few general principles govern all beat patterns, as Figure 2-1 illustrates, L. The frst and strongest beat is down, 2. The penultimate (second to last) heat moves vut to the right. 8, ‘The last beat swings into the left, then up. 4. Al beats hit an imaginary, horizontal surface located above waist level. This plane of beating may be elevated or lowered to express the style and dynamic level of the musie, (See Chapter 6.)Boot Pottorns and Proparations in Tempo, Dynamic, and Basic Style 23 7 pa T First Penaltimate Tat : Natural secondary 7 agoent io r s § meter r 1 Penultimate B21 6 4 5 = FIGURE 2-1 Basic Rules of Pattern Construction r 3 : : C | ow m Saeed ao T FIGURE 2-2 5. Additional beats are placed laterally on the plane of beating with secondary recents given the most emphasis by longer gestures. Many traditional conducting diagrams are misleading, because either they do not depict the rebound from the point of beat, or they place the number rep- resenting the point of beat atthe wrong location, usually atthe end of the rebound ! (Gee Figure 2-2), r “This hook provides diagrams with arrows to indicate the exact points of beat ‘within two basie pattern shapes or motions: the “V” shape and the “U” shape (see Figure 2-8). Note that the point of beat is always atthe bottom of these motions Pr on the plane of beating. Thus, every beat is a type of downward motion fol lowed by a rebound. "The tip ofthe haton taps the innaginary plane with wrist uction to define the 3 exact point of beat, If your wrists stiff and tense, the Focal point of the beat wil be centered incorrectly and unclearly in yoor hand or forearm. Although you must use forearm movement from the elbow to enlarge wrist motion and trace patterns, - ‘do not allow the elbow to move excessively. Conduct with the baton atthe froat of your body, not out to the side, while maintsining a steady, even tempo.Condueting Technique Y YY Beat point Beat point FIGURE 2-3 ‘The V.Shaped and U-Shaped Conducting Motions ONE Two 1 rs ra two swine (alternative) \ > 12 ry ese rs Uahed “Vs At LL mos Ps FIGURE 2-4 Basie Conducting Patterns In Figure 2-4, each pattern is drawn to represent the two base styles of legato and staceato. Ifthe beats in a pattern are connected by smooth, flowing gestures, they express legato style Ifthe gestures are choppy and disconnected, they express staccato style.Beat Patterns and Preparations in Tempo, Dynamic, and Basic Style 25 ‘The plane of beating also may be placed at a higher or lower level to repre- sent the dynamies and style of the music. For example, a low plane adds weight and body to a forte marcato or espressico legato, and a higher phine is appropriate fora light staccato or soft legato, (Refer to Chapter 6.) Conducting Activities 1. Practice all conducting patterns until they become automatic. Do this often, at any odd times you can find, to develop complete technical mas- tery. For two, think “down—rebound, in—rebound.” For tree, think “down—rebound, right—rebound, in—rebound,” For for, think “down — rebound, left—rebound, right—rebound., in—rebound.” 2. Check the clatity and style of your patterns in the mirror. It appears to be helpful to have a mental image of the beat patterns to guide your physical ‘motions and define the exact point of beat 3. Practice tapping the tip of the baton on a music stand or cabinet that stands above waist level to get a feeling for the proper, flexible wrist uction in a pat- tern on a plane of beating. Move directly into beats with a tap: never float down and poke at them with the hand and forearm. 4. Ifyou have difficulty feeling and maintaining a steady pulse in your baton ‘motions, practice with a metronome at various tempo settings, especially the ubiquitous MM. 60, 96, 120, 132, and 160. Practice simultaneously walking ‘aud conducting to put the physical fel for the beat into the baton, ‘THE PREPARATORY BEAT COMPETENCY 32 Demonstrate the preparatory boot for the count of one that Indicates appropriate tempo, ame lee, a ile of embed ‘A competent conductor is able to start a gronp with precision by using a single ‘count of preparation. The one-count preparation must also couvey the exuet tempo, dynamic level, and style of the music to follow. However, the conducting gesture consists of more than arm movement; t includes inhalation, physiognomy {facial expression), and chin motion (subtle head nod) on the beginning upbeat, {and it should radiate tempo and expression. This section is designed to help you develop the complete preparatory gesture for the count of one. Instruction ‘The speed of your prepatatory motion sets the tempo. Be certain that the tempo of your preparatory beat matchés the tempo of the music. Student conductors tend to five one tempo of preparation and then conduct at another, either short: changing the preparatory motion or following the group instead of leading it. Swing up and move directly nto and through the downbeat; do not hesitate atthe top, and do not float down and poke at the beat. “To assure the exact tempo ofthe preparatory beat for the music that follows, {eel inwardly the pulse of the music; think it and count it to yourself. This does not mean that you should hesitate or fidget around awkwardly before you start: Have Conviction and confidence so that you radiate the temipa in your preparatory ges- ture, which is roinforced by inhalation and a subtle head nod. Then you will be convincing as well as exacting. ‘Dynamically, a forceful, aggressive preparation results in a forte attack. A smaller less aggressive preparation achieves a softer dynamic response. Stylisti- cally, a crisp, chopped preparatory motion indicates staceato; a sinooth, lowing26 Conducting Teohnique 1 prep Legato Staccato Straight disconnected lines FIGURE 2-5 Preparation Styles ‘one, legato; and a heavy forceful one, marcato (see Figure 2-5 and Chapter 6) Remember thatthe level ofthe plane of beating and preparation may be moved up or down to match the dynaraic and style of the music. In general, do not count off orally or visually to begin performing unless you need to reestablish rhythmic flow within a composition ina rehearsal setting Conducting Activities 1, Practice preparatory beats in varions tempos, dynamic levels, styles, and eters. Check gestures, breathing, and physiognomy inthe mirror. 2, Prepare and conduct Excerpts 2-1 through 2-15 in Part TT. SELF-CHECK MASTERY TEST 1. Conduct Excerpts 2-1 Uurough 2-1 record your class performance. 2. Use the single preparatory beat that indicates tempo, dynamic, and style of ‘the music you are requested to conduct. 3. Rate your video performance using the following checklist. 5 as requested by the instructor, Video- PREPARATORY BEATS Preparatory beats executed in appropriate tempo Dynamic level indicated Style indicated Group attack is precise and reflects desired tempo, dynamic, and styleBeat Patterns and Preparstions in Tempo, Dynamic, and Basic Style 2 BEAT PATTERNS AND TEMPO Beats are well defined; ictus is clear Musicians respond exactly to beat pulsations. Beats bounce off plane of beating located above waist level Wrist, forearm, and elbow function appropriately Beats are even and steady, tempo appropriate and consistent Beat patterns are clear and well defined Pattern is positioned in front of body (not to one side) Pattern is proportioned properly (not lopsided; certain beats not overemphasized) ize of pattern is appropriate for dynamics Character of pattern reflects the style and expression of music,1999779d09 Beat Patterns and Preparations in Tempo, Dynamic, and Basic Style ‘As you study Chapter 2, practice the basic conducting patterns in Figure 2-4 and styles of preparatory beats in Figure 2-5, Use a music dictionary to define and apply all foreign terms found in the excerpts for interpretation and expression, The Glossary, Appendix G, provides a quick reference. 241 Xernes, “Largo” GF Haxper Start the group with a clear preparatory beat that indicates larghetto tempo plano dynamic, and legato syle. T subito dynamic changes, prep the forte (m5) with a large, strong gesture as you swing up on the offbeat aft (on); conversely pull back with a smal “and” of three (m 6) to signal the piano (m 7) pattern for piano and a larger, more forceful on contact through the dynamic changes.18 Musical Bsoonpes 2-2 Symphony No.8 (Unfinished), First Movement F Scuunenr Conduct the accompaniment in staccato style, keeping a cleay, steady beut. Let the musicians perform the offbests. Cue the theme entrance, but continue to eanduct the accompaniment to maintain precision. See Chapters 8 for euing and Chapters 9 for syncopstion. Stand up tall anc ead. Allegro moderatoBeat Patterns and Preparations in Tempo, Dynami and Basie Style 119 243 Symphony No. 8, Fist Movement F. Scuunerr Phrase this beautiful horn melody line. An accent at piano dynamic level i only a nudge: do not overdo it, Prepare the echo (m7 and m 15) on the offbeat preceding, Cue entrances (m 8). Concentrate on keeping the piczicato accompaniment together with clearly defined beat points 2-4 Enigma Variations, Theme E. Ecan ‘entering melodic. Conduct tenito; stretch the bent, Direct your tenuto preparatory beat toward the lower parts and look atthe entering line performers to cue a precise entrance. Use your left hand for the nuance (m 3). See Chapters 9, Nuanee, Look ike the music Andante rit.a Musteal Bscompts 25 Le Prophéte, “Coronation March” G. MEVERBEER Interpret this march style as full, heavy, and majestic, approaching a true marcato. The staccato marks indicate separation. ‘Work for a solid ataek on the first note with a preparatory beat that clearly projets the style, tempo, and dynamic level. See (Chapter 2, Preparatory Beat, and Chapter 6, Marcato. Tempo di marcia maestosoBeat Patterns and Preparations In Tompo, Dynsmic, and Basie Style or 2.6 Symphony No. 104, Firs Movement Je Baron Conducta piano, light staceato at Allegro tempo, sing ony the wrist to get the bouncy fel of the Classical style. Do not let the bossngs ofthis segment hare you int legato beating. Refer to Appendis F, Classical Spl, Swing up aggressively to prepare the fortsime, marcato (mn 16)122 Musical Ezoonsts 2-7 Ruslan ant Ludmilla Overture M. GUINKA, Conduct fil, heavy staccato. Keep tempo moving with a steady beet. Do not conduct too low stay above the walt. ‘sempre staccato sempre staccato sempre staccato £ sempre staccato. = =Beat Petterns and Preparations in Tempo, Dynamic, and Basie Style 123 2.8 Emperor Waltz J.Smavss Beat one tothe bar, but donot change your preparatory postion; come in fom the right as with previous excerpts with a one count—in this case one-measure—staocato preperatory beat. Conduct an uneven, down-up-up pattern at pianisimo dynarrie, using a smal, clear patter, Prep the fortissimo with an aggressive upstroke, and continue with a larger, more intense patter. ‘Tempo di valse (in one)124 Musical Exconpts 29 Symphony No, 4, Scherzo P. Tonaiwovsiy ‘The sane preparatory position and motion applies—one count, in and up from the right-—but conduct an even down-up pat- tem ina light-stacento style, Increase the size and intensity of your heats forthe crescendoldiminuendo, Ty to use your left hand for shading as. Allegro (in one) izz. sempre P preele pizz. sempre _ 2P pizz. sempre PBeat Patterns and Preparations in Tempo, Dynamic, and Basie Style 128 2-10 Symphony No. 2, Second Movement A. Bononin Conduct an even down-up pattern starting forte. Use your left hund to signal diminvondo, with a sudden aggressive upswing to prep the sforzando, Immediately use the left hand for subito piano, and cue entering pats as you give the ereseendor mich todo ina short time. Prestissimo (© = 108) (in one) Fd f dim. g 2 oo.126 Musica! Excerpts 211 America ‘Tapmonat, Work for along, sixemeasure phrase, giving a phrase release on “sing” you can, Cut off and breathe with the singers, See (Chapters 9, Phrase and phrasing beat. Use dynamics to shape the phrases, and move the second phrase tothe climax (m 13) Sweet land of lib -er-ty, Of thee 1 sing: Land where my fathers died, Land of the pil-grims pride, From ey_< ‘ry moun-tain-side Let free-dom ring! AS a 2-12 Chester W. Bruunes lt the style and mood ofthe words. Shape the four phrases and give clear phrase endings for expression and precision ‘consonants; release and breathe with the singers. Build to the climax (m 12), 7 E 12 Let y-ranta shake their Ling chains. We fear them not ——~ all aBeat Patterns and Preparations in Tempo, Dynamic, and Basic Style 7 7 218 O Light Divine A. ARCHANGELSKY _ ‘Start witha sof, legato syle. Intensify your pattern, and use your lft hand to give the erescendas. Refer to Chapters 9, Crescendo. Do not try to give the offbeat notes in the syncnpated rhythms; keep a clear, steady beat, See Chapters 9, Syneopstion ‘Moderato128 Musteal Excerpts 2-14 Symphony No.9, Fourth Movement, Ode to Jour 1. AN BEETHOVEN ‘The fourth movement consists ofa series of variations om the Ode to Joy theme. It bursts forth (mn 212) in a straightforward choral statement with fll-orchestra accompaniment. Only the choral parts, as harmonized by Beethoven, are qioted her. Conduct forte marcato style to achieve the fll choral tone and the mart effect. The excerpt is transposed from the original D major for a mare manageable tesirura Freu - de Praise to ether | Gat ter [fin en, | Teh ter aus EB - Joy the | God de -|seend-ed’ | Daughter [of E — | 9 v v wir be -| tre- ten | feu-er -|trun-ken |Himm-li -| sche, dein | Hei - ‘Thom! ray of, mirth and | rap- ture |blend-ed [God -dess| to "thy | Shrine we | come! tf vw w, f Dei-ne |Zau-ber | bin- den |wic-der | was dio | Mo-de | stengy ge - | teile;al~ By. thy |ma-gie is night-ed | what « custom | part - ed, | wide; all- wf 25, ¥, swer- don | Brit der,|wo dein | sanf- ter ‘broth-ers | plight ed,'|where thy | gen - tle tp SfBeat Patterns and Preparations in Tempo, Dynamic, and Basic Style 129 2415 Golden Slumbers ‘Tuxprnoxn. ‘Use the same preparatory position und preparatory motion. The preparatory best is one count—a measure’s worth—in und up {rom the right, Conduct one to a measure with a small, even, down-up-up patter forthe piano dynamic level Slowly flowing, in one Gold ~~ en slum = bers Kiss your eyes, Smiles a | Sleep lit - dePreparations and Releases for All Counts Overview In this chapter, you learn to start and stop the group on any required count of music, You will use a mod- ified preparatory position, from which you ean give a preparatory beat in the appropriate direction to Jead into any count of any meter pattern at the point where the music begins. You will also learn to give releases on any ending beat. ‘THE MODIFIED PREPARATORY POSITION COMPETENCY 2.2 Demonstrate the preparatory position for starting on cours other than one 28 (Chapter 1 described the basic attention position to start on the count of one: You raise your arms upward and outward in position for the preparatory beat, which ‘begins in and up on the final count ofall meters. However, for entrances on a beat other than the count of one, you must adjust the basic preparatory position so that the baton is centered in the appropriate location to initiate the preparatory beat to the left or the right. Instruction ‘To start on a beat other than the count of one, place your right hand so that the baton is atthe center of your body; or somewhat left of center, at about chest level (See Photograph 3-1.) Use the center or leftof-center position as needed to con- duct the preparatory beats described in the next section of the chapter, “The way you move into and maintain the position of attention is eritical Many conducting students do not immediately take the appropriate preparatory pposition, and they subsequently attempt to make adjustinents just before giving ‘the preparatory beat. This action causes players to make false entrances. Remem= ber that musicians react almost instinctively to any upswing motion as a prepara- tory gesture. In other words, the effect of the last-minute accommodation Is to prepare the preparatory beat and elicit early responses from the players. Never ‘wing up before a preparatory beat; always stand motionless, and move directly into the actual preparatory gesture.Preparations and Relesses for All Counts 29 PHOTOGRAPH 3-1 ‘The Preparatory Position for Starting Music on Counts other than One PREPARATORY BEATS FOR OTHER COUNTS: COMPETENCY 3.3 Demonstrate the preparatory beat for couras other than one ‘Compositions often begin on a beat other than one—for instance, after ress or on pickup notes of one or more counts. A problem may arise for beginning conduc tors in these cases, because the basi last-count preparatory gesture does not fit into the subsequent meter scheme. The solution offered by most authorities is logical although somewhat pedantic: “Because a preparatory beat consists of one extra count before the first count of music, you should use the direction of the preceding beat of the conducting patter as the gesture of preparation Instruction ‘As a general rule, use the preceding beat in the meter pattern as the preparatory beat for an entrance. That is, use three ifthe pickup is on four, tse two if the pickup is on threo; and so on. The preparatory motion will usually ‘occur in the opposite direction from the first sounding beat, However, merely tracing a prescribed direction with the baton will not necessarily result in a.con- vineing preparation. A prep beat mast ook like a prep beat, that i, a breathing gesture. Put yourself in the position ofthe performer, and breathe as if you were playing or singing the musi. All preparatory beats are executed by giving an ictus, a flick with the wrist to define the exact point of beat, and then swinging up in tempo while breathing in for preparation, Next, move the baton to the count in the pattern where the music begins. As the count of one has a consistent prep so the preparation forthe last count of all meters is Figure $-), Figures 3-2 and 3-3 ilustrate other consistent preparatory motions, sory beat direction (see Chapter 1), ays the same: tothe right (see= Conducting Technique NIE Breathe — wy 7 cs ay AQ ob wet C)d db ctus = wrist flick ‘Tctus = wrist flick poche =e nares maune 92 ty Be m iG DL liens REE ene FIGURE 3-3 Starting on Beats to the Left of One Conducting Activities 1, Practice attention positions and preparatory beats forall counts in all meters. Check your positions and preperations in the mirror for appropriate pattern rection, tempo, dynamics, and style, 2. Prepare Excerpts 3-1 through 9-12 in Part II 8. Conduct excerpts in class and use the video checklist to evaluate your performance. CompETENCYs2 RELEASES ON ALL BEATS Demonstrate the release con all counts ofall meters You must be able to execute a clear, precise cutoff wherever one is written in the score, Fortunately, any count of the pattern can be given as a release gesture.Preparations and Releases for All Counts an 1 must always be prepared and the exact point of the cutoff defined by an fetus. ‘The release should also match the tempo, dynamic, and style ofthe musie. Except in the case of final notes, the cutoff should be exeented so that the baton ends up in position to begin the preparation for the next entrance of music. Instruction ‘You can conduet any count of any meter as a release gesture. Use a small circular ‘motion with a fick atthe bottom of the are to define the exact point of release. Figure 3-f provides examples of typical releases on a final eighth note in a meter of four. ‘You may reinforce the baton release by mirroring the gesture with the Ieft hand or by closing the fingers against the thumb at the cutoff point. Give the release in the tempo, dynamic level, and style ofthe musical context. Plan the di- rection of the release gesture in advance, so that you will end the baton motion in position to give the preparatory beat for the next count of music (see Figure 3.5) Note that the release gestuze may move clockwise or counterclockwise depending on the desired ending position. A release may be a V-shaped flick of the baton. ) (3) a) w cc tees ul _ Plorea dco doe be AL: | tole. Il FIGURE 3-4 Releases on All Counts of the Four Petter, 2 1S eat a) AL | FIGURE 35 Release on Four in Position to Prepare OneConducting Technique Conducting Activities 1, Practice the release gesture on all counts ofall meters. Follow the release ‘with the appropriate preparation for the next count. Think: “one, cut, prep, two, three, four; one, two, cut, prep, three, four; one, two, three, cut, prep, four,” and so on in all meters, 2. Diagram releases if you have trouble visualizing them, 8. Check for clarity, dynamic, and style of your releases using a mirror. 4. Prepare Excerpts 3-4 through 3-12 in Part ID. ‘SELF-CHECK MASTERY TEST 1. Conduct Excerpts 3-1 through 3-12 as requested by the instructor. Make a video of your class performance. Use the single preparatory beat that indicates the tempo, dynamic, and style of the music you are asked to conduct. 4, Use an appropriate release gesture for the ending count 4. Rate your video performance with the following checklist. PREPARATION Preparatory position suitable for prep beat to follow ________ Preparatory beat executed in an appropriate direction and ——— ____ intempo of music —— ____ in dynamic tevel of musie —— ___instyle of music Group response precise RELEASES Releases clear and in tempo Releases prepared properly Releases in dynamic level of musical context Releases in style of musical context Releases followed by appropriate and clear preparatory beatsPreparations and Releases for All Counts SAL Alda, “March” G. Vexor Prep right with « good march style for this trumpet theme, Let the trumpets play the dynamic nuances as you concentrate on the accompaniment with a precise vlascato beat to ensuce prevsion. Refer to Chapter 6, Staccato, Be in command. JJ JI JG Jy sd) }D Preparations and Releases for All Counts 131 3.2. A Midownmer Nights Dream, “Nocturne” MENDELSSOHN Start center and prep tothe right in sot, legato style, Look atthe bass instruments after preparing the opening, Work for = phrasing and musical line, (See Chapter 9, Phrase and phrasiag beat.) Listen carefully and enmret outeoF-ley notes, Andante tranquil = pedolee132 Musical Excempts 38 La Lyra Suit ellenne avec Cadenze" 6. Tamu Start center and prep to the right ina rather soft legato style. Cuo entrances (m 1). Note thatthe “itl” sixteenth notes are to be played on the beat as eighth notes, not before the beat. See Appendix F, Berogue.Preparations and Releases for All Counts 133 ‘34 Symphony No. , Second Movement F Scavnent Hore is asx pattem just fora challenge, Start the same way—to the right from the modified preparatory postion. Conduct a legato si pattem with expression. See Chapter 5. Give a release gesture forthe rests (au 2 6, and 8) = Andante con moto134 Musica! Excerpts 35 Suite No. 3, “Chaconne” JCF Fiscuren From the modified preparatory position, give beat one as the prep, breathing in on the rehound. The music begins on the see- ‘ond count ofthe three pattern, (J = 139) af Ae 3-6 Suite No, 3, “Gavotte” J.C. B. Fiscuen ‘Treat the preparation for the two pattern es you would the three or four patter do not use a straight downbeat for the prep. Thats, use the same modified preparatory position, are to the eight as you breathe in, start the musie onthe last count, then beat a two patter, (J = 80-88)Preparations and Roleases for All Counts 135 Bo La Lyra Suite, ig From the modified preparatory postion, are tothe left in preparation, breathing in wth the gesture; then move ight ta count three to start the music: See Chapter 3, Figure 3-1 6. Tenewany136 Musical Excerpts = 3-8 Londonderry Air ‘Taaprrion, Start center Give the count of one in a smooth are asthe prep, breathing in on the rebound, Then move to the left to count = ‘so where the music begins. Conduct « soft, gato style us you give expressive phasing and shape the melodie line. Refer to = Figure 33,Preparations and Ri 1506 for All Counts 137 869 America, the Becutifel 8. Wann Start center. Are to the right as you breathe in for preparation. The music starts onthe count of four Work on phrasing with appropriate dynamics, building to the climax on 9) 5 tiful for sparcious skies, For am-ber waves of grain, For pur-ple mountain a. = Sr maj - Gs-ties A - hove the fruit-ed plain! pan A+ mer - iveal Ae mor - iseal God =F tt shed His grace en thee And crown thy good with broth-er-hood From sea to shin-ing soa! TY 3-10 When Jonus Wope W. Bruises Start center and prep to the right. Conduct this four part round in an expressive style. 2 3 L a When Je - sus wept the fill = Ing tear In mor-ey flowed be-yond all bound; When a 4 = ay Je - sus groaned a trom-bling fear seized all the guil - ty world = @ - round,138 Musical Excerpts S411 Finland J. Sioenis Star contr with the modified preparatory postion, To bring in the music on count two, gve count one in an arc asthe prep, breathing in on the rebound. Refer to Chapter 3, Figure 3.3. Ths is a wonderful song to work for an expressive performance, ‘emphasizing phrasing andl dynamics, Vary the size of your conducting patter, and use your left hand. Espressivo mp nature newly born A-lome with thee in qui-et ver-dant mea-dowPreparations and Roleases for All Counts 139 12, In the calm dow and fresh-neas of the qui-et ver-dantmea-dow. Tn the calm dew and fresh-neas of the morn.140 Musical Excerpes ‘S12 Slabat Mater, “Quando corpus” (Hear Us, Lord) GC. Rossini ‘Conduct two counts of preparation to avoid confusion. Since the opening res is included in all part by the composer, conduct beat one as a“dead,” neutral count (refer to Chapter 6) and beat two asa "ive" prep. Phrase expressively Give accurate eues to entering parts Soprano Alto Tenor Bass P i } juan-do corpus mo - ri - @- tur, mo-ri-@ = tun, Peer ae, tat WE alt dhe namo ‘OF Sur Hesdeem Sat oral We Uwe the “name “af cor- pus moni = @- ton, Lord! We bless the name ofPreparations and Releases for All Counts a 1 e- tur, fae ut deem-er, and his great and won-drous mer-cies) all is e- tur, fac ut a. ni-mae do - ne-tun deem-er, and his great and won-drous mer-cies,