UNIT 1 ON THE PODIUM PosTURE AND STANCE Establishing a proper stance and posture on the podium isthe erucal first step forthe beginning conductor. A proper position for the legs and fee «+ will be comfortable and easily maintained over long periods on the podium + will establish a neutral and natural appearance + will help prevent extraneous side-to-side and front-to-back movernent thar could draw attention away from the ictus and make it difficule eo focus on beat pattern and gesture A proper position for arms and hands «+ will be comfortable and easily maintained over long periods «+ will establish a ne al and natural appearance «will enable players to focus simultaneously on the baton and the Positions of the hands and feet depend on body type and build. Strive for fa relaxed position. Follow these steps to establish a personal conducting position: 1 Take several steps forward and stop with feet parallel. Observe the distance between the feet: This is a natural distance; spacing much ilferent from this may cause excessive swaying or lack of balance Pt equal weight on both feet and spread that weight evenly from heel to toe. Uneven weight disteibution isan her majr cause of one of the hoviee conductor's worst enemies: swaying 5, Rest your arms comfortably at your sides. Relax the Lower body, and do rot lock the knees. Feel the ground in the soles of your fect fel the weight of the boy in the pelvis. This grounded state will contribute 0 stahility and help to maintain an upright posture with a straight but relaxed backMerHons AND MATERIALS FoR ConDUCTING When a relaxed and natural lower body position is achieved, only then should you proceed to the next steps, which place your arms and hands in the proper ready postion. Correct arm and hand placement are the frst keys t0 successful communication between conductor and player—this cannot be ‘overemphasized 1. Raise your right arm as if to shake someone’s hand. The shoulder should be no higher than i is when your arm is at your side. The upper arm should not contact any part of the torso. The elbow should be tN FRONT of the body and to the side with a comfortable bend. The lower atm should angle up from the elbow soa to be beyond. sound as well as angle slightly in toward the center of the body ‘Turn your wrist just inward and drop the hand slightly, Stop just BEFORE your palm is pazallel to the ground, Keep all fingers together and your hhand ane! wrist relaxed. Raise the left atm to mirror the right. This isa natural READY POSITION, When the baton is added to the right hand, the conductor is in Position to establish player eye contact with the baton in view CHOOSING A BATON Choosing a baton is more than 3 personal matter of comfort or style. Ie is important to select ahaton that does more than simply look and feel goo A baton must aso fit the hand in such way as to allow fora grip that * can be maintained over along period without fatigue allows for flexibility in fingers and wrist * allows the haton to he held with indes finger and thumb a the balance point «+ allows the shaft of rhe haton 1 exit the hand in the proper direction «allows for control of the haton with the second, third aml possibly fourth fingers of the hand Bacon handles sre usually pear-shaped. straight, or steaueht witha ight caper. The shape and sce of your banal aaa gers determine which ofthese shapes best full, the tics above The best lensth five your baton he se of sour forcarn Ravan length will appar ment natural for your af the length ot the shaft i torcatny. Try this ts approximately eal that ofUnit 1: OW THE Pooium 1. Place the baton in your hand with the handle in your palm or fingers at the point you would grip the baton, 2, Lay the baton handle along the hack of your forearm toward the back of your elbow. 5. A baton that reaches the inside bend of the elbow without passing it is mos likely to look natural for your body size Most batons are made of wood, either left natural or painted white, or are ‘made of fiberglass, usally an off-white color. Although fiberglass batons are les likely to warp or break, theie somewhat blue tinge makes them difficult ro see, especially in fluorescent light. The choice of natural color or white for ‘wood baton should be based on the conducting environment —do not use a white baton if conducting against a white backdrop; do not use a brown/ natural baton if your backdrop is close to that color. HOLDING THE BATON ‘The baton grip should be firm and secure. Ensure that: + the range of motion. ist and fingers remain relaxed and flexible, allowing for a full * the baton-hand combination presents only one point of focus (the baton tip) * the tip of the baton remains within an imaginary line drawn from the conductor’ to the player's eyes (the communication line) Follow these steps fora proper baton grip 1. Grip the baton lightly at its balance point between the thumb and the first joint ofthe forefinger. 2, Bend the thumb with the knuckle slightly oueward, 3. Wrap the remaining fingers down and around the baton handle such thar the fingertips come in contact with the palm without squeezing. ‘The size and shape of the baton handle should be determined in large part by the size of the hand. If the grip described above cannot be achieved comfortably and securely with a particular handle, try another. Very often the conductor cannot achieve the proper grip while maintaining thumb and forefinger contact at the balance point of the baton. Again, another baton ‘may solve this problem.MerHops AND MATERIALS Fox ConpucriNG The length of the baton should be such that with the proper grip or arm and hand position the tip ofthe baton is place hetween the conductor's eye and those of the players. This is the all-important communication line. Placing the beat pattern in or near this line isthe most efficient method of ‘communicating musical gestures co an ensemble, The communication line is * proper atm and hand position * proper grip with a baton of proper length © proper ictus placement With the baton now held in the right hand, repeat the six steps establishing proper body, atm, snd hand position, Im you and check: Is the up of the baton in ne an ensemble seated in front of ‘The tip of the baton must le in an imaginary line drawn between ye ces and the eyes of your ensemble players. If this is not the case, check your arm and hand position, To raise the haton, move the upper arm and elbow forward (away) from your torso. To move the baton tip closer to the centerline of your body, rotate the wrist. MAINTAINING STRAIGHT-LINE MOVEMENT Human beings were nor designed to he good communicators withthe baton (Our physiology causes our bodies to move in circular paths, but circular paths do not present equally clear and visible lines of communication eo al members of an ensemble. All joint, or hinge, movements describe an ate— part of circle. Communication between player and conductor is much mone efficient if the arm can move in straight lines, not curves. The proper combined use of the boys hinges—fingers, wrist, elhoss, and shoulder—il create straight-line movement, Straght-line arm movement will ensure that hear patterns remain in horizontal and vertical planes, which allow for ‘maximum visibility by all players resndles of thei nition in the ensemble Consider how the combined movement of your hinges can create straight-line arm movement. Lelt and right anny movement must ase the shouller amd the elbows Ith right ethos does nt open as the sem moves toed the fight 4 cnc mation (atonal the sole hy created, taking the baton typ out ofthe horontal plane must esUnir 1: OW THE Poolum EXERCISE 1.1, Left and Right Arm Movement ‘© Place both hand in the READY POSITION with palms facing the floor. ‘= Slowly move both hands out, then back to ready, ar all rimes keeping the hands parallel to the floor with palms down, The hands should move along a straight line; do not curve around the body * Allow the wrist to move as wel with the fingers pointing more inward while the hands move out and with the fingers pointing outward when hands move in, Up and down arm movement must use the shoulder, elbow; and wrist in order to create straight-line vertical movement. If any one hinge is locked, circular motion results. Circular motion takes the baton out ofthe area most visible to the players. [EXERCISE 1.2, Up and Down Arm Movement « Place both hands in the READY POSITION with palm facing the flor. + Slowly move both hands up then back to ready, a all rimes Keeping the hhands parallel ro each other. The hands should move ina straight line, perpendicular to the floor at all times. ‘Bese that the wrist move as wel, keeping the palms facing the floor ata vies. Practice these exercises close to a wall or other vertical, flat surface. As the arms move right and left or up and down, the fingers should remain in contact with the wall at all times. For a test of relaxed and flexible wrist movement, place a coin on the back of your hands i shoul not fall off asthe wrist moves! Practice these horizontal and vertical movements until they feel natural ig steady speed with smooth ‘ranstions indirection changes. A few minutes of practice each day will help develop straight-line movement chat can then be adapted to traditional beat patzems and clearly present the ictus point to the entire ensemble, Use a full range of motion while maint Tue Ictus ‘The ictus (or beat) point is created by the movement of hinges. Proper hinge movement places the ictus atthe tip ofthe baton. As the novice conductor experiments with arm, wrist, and hand movement, he or she must keep in mind thatthe ictus is perceived to be a the largest hinge that does not move.Merwo0s AND MATERIALS FoR CONDUCTING * If the shouller moves up and down but the elbow does not open and close, the ictus is ereated at the elbow * If the shoulder and elbow move, but the wise s lacked, the wrist (or hand) creates the ictus If the shoulder, elbow, and wrist are flexible, the ‘etus point is transferred to the tip of the baton ‘The novice conductor can practice hinge movement with a simple exercise Te will enable the student c© gain control of each hinge, a skill erucial t0 effective non-verbal communication. A bit of practice each day will ensure shat all hinges remain flexible and work in concert to create expressive beat pattems and ici appropriate to the style of the musie being conducted, Establish good posture, stance, and arm postion. Grip the baton lightly, and ensure that the baton tip is in the communication line 2. Set a metronome to a moderately slow tempo (eg, quarter note = 72). 3. Using only your wrist, move the tip of the baton up and down in time onome. Maintain a smooth, creatingan ictus with each pulse ofthe me and even movement, being sute to keep your wrist relaxed 4. Continue creating ictus points, adding elbow movement, Be sure to keep the wrist moving as well! After time, al shoulder movement, As hinges are added, the ictus point should remain in the same place ‘even asthe beat sie increases. After reaching a moderately lage heat size using all of your hinges reverse the process. First remove shoulder movement and then elbow |As these movements hecime more natural, the conductor may want to adape this exercise for ase with various traditional heat patterns, Bein by conducting a 3/4 pattern the size of postage stamp using ony the smallest we. Aller yo gin a menkrite level of ne and hinges as explained comfort using te 3/4 pattern ald 44 sed 2/4 patterns PREPARATIONS, DOWNBEATS, AND RELEASES lonenkeout mavements Be sure to keep the technigiks Ht hinge cement am jparatwany at thy busminmg if pees must estas pparatvan hsUnit I: OW THE PooiwH * the ictus plane © the tempo (when to play) * the dynamic * the style (how to play) ‘The preparation and frst downbeat take as much mental as physical effort. A conductor must have the tempo, dynamic, and style established mentally before making the first move. A good preparation will set the music in motion with the conductor's conception of tempo and style firmly established in the ‘minds ofthe players. Follow these steps to star the music in motion: 1. Establish your conducting stance with good body, arm, and baton Position. Create the communication line and the ictus plane with proper arm and hand position. Ifconducting with the baton arm alone, place the tip of the baton in line with the center of your body. If ‘mirroring, place each hand equidistant from that centerline. Remain still fora moment to make eye contact with the ensemble 3. With a slight click or push-off from the ictus plane, move the atm (or arms, if mirroring) steaight up, then straight down to the ictus plane as smoothly as possible, ending with another click. Be sure to keep your ‘head up! The time from click or push-off to the return to the ictus plane should equal one beat. Be sure to return to the precise starting point. (like striking a match). Push off from the ictus plane with shoulder and elbow movement. Avoid giving beats with your head or knees! “lick” the fetus to start the preparation with a quick wrist flick 4. A release gesture can look exactly like a preparation because release festutes show similar information. Preparations show when and how to start, and release gestures show when and how to stop. icusplane sacle point FIGURE 1.1. Preparation and Attack/ReleaseMetHoDs ANo MATPRIALS FoR ConDucTING AA more emphatic release gesture is accomplished with a circular gesture Avoid using this type of release for all occasions. The best release gestures remain in the style of the music Qe |, F 2hslsGe FicURE 1.2. Emphatic Release Practice giving preparations and release gestures with varius tempos, dynamics, ang articulations using either one hand or two, Be sre to establish the watkous ‘musical parameters in your mind before moving. EXERCISE 1.3. Preparations and Releases m. Every action a conductor wishes £0 All conducting & prepara elicit from performers using physical gesture must he_ prepared. Consider how you would like your players to release a sound, just as you consider how they should stat a sound. You must prepare both releases and entrances. In the fitst exercise helow, determine dynamic snd style (arcu lation) foreach note. Prepare and ve the entrance with the desired stain, and then prepare articulation or attack, allow the player ore. Remember, attack and release wesures can and give a release look PxACTIY the same. (This exereie can be sung or aye) f a sn Largs hinges tor hake danni Use the west tbl iatUnit 1: ON THE Popium articulation; use a relaxed wrist for legato attack and stiffer or quicker wrist movements fora more marcato or accented articulation, In the staccato exercise, practice the wrist “ick” alone, with no ‘other hinge movement. Practice each line first with the baton hand alone, then with both hands (mirroring). Do not use beat patterns with these ‘exercises—practice straight up-and-down movements and the use of the wrist to maintain straight-line movement. In this inal exercise, follow the diagram below. Give the preparation ‘and initial attack desired, allow the players to sustain (as arms move ‘out from the centerline), and then give the final emphatic release. Practice with the baton alone, left hand alone (in a mirror image of this diagram), and mirrored with both hands. La ETF veseracae wear FIGURE 1.3. Half Note Fermata with Emphatic ReleaseUNIT 2 CONDUCTING IN THREE, Four, Two, AND ONE ‘Standing on the podium and beating time does not make one @ conductor. However, developing and internalising basic time-beating skills is the necessary frst step to becoming a conductor. The communication of musical ‘ideas must be accompanied by clear beat pattems, In this unit, the beginning student should concentrate on recreating the pattems pictured here with the baton and baton arm. Do not move too quickly to two-handed conducting; the left hand has its own language and should not simply mirror the right unless specific musical communication is intended, The more advanced student can add musical direction as indicated in the excerpts. BEAT PLACEMENT AND COMMUNICATION OF STYLE For each meter, a relative few patterns have evolved over time to become the standards. Conducting students should work to internalize each pattern so they can eventually work on automatic pilot. Relate each pattern to the ictus plane (established by atm and hand position before che preparation) and the centerline. Remember, the ictus plane should be high enough to maintain the visual communication line between conductor and player. When conducting with one hand, the centerline should be close to the center of your body. If you choose to mitror the right-hand pattern in your left hand, move the centerline of each hand's pattern off-center enough to ensure that the right and left hands do not cross Pattern clarity isthe fist goal of time beating. Keep in mind: * the placement of each beat, specific ro meter «the style ofthe beat within the continuum from staccato through legato © the direction of approach to each beat * the direction of each rebound © the speed of horizontal movement 2BMernops aND MATERIALS Fox ConoucriN For maximum clarity, approach each beat from above the étus plane and rebound upward and toward the next ictus point. Avoid scooping up to any beat Im meters with an even number of beats, maintain the symmetry of the patter. Ifthe distance traveled between beats is not equal, you must adjust the speed of movement so that the time between beats remains constant For example, in 4/4 meter the baton must travel twice as far when noving from beat two to three a it does between any other two heats. To ‘maintain a smooth pattern with no hiccups or backbeats, the conductor must Jouble the arm motion speed when moving from nwo to thece as compared with the speed bets A articulation. As your arms move ular pattems show @ more marked through these angular motions, the baton (using the wrist) taps each beat slightly, creating a very specific heat point. If the baton motion comes dicates the a point (on the beat), it necessarily stops, This stop ind the more marked articulation. Stopping the on at the ictus can also show space between the notes. A stopped-bea ch ictus (to show a stop in sound) and then continues pattern pauses at along the beat pattern path to prepare the next ictus. The resumption of movement after a stop serves as the preparation forthe next event indicate a more legato articulation, avoid coming to a point at the fetus. Do not flick the wrist, bur instead ensure thatthe wrist i relaxes and can move freely: Smooth wrist movement at the ictus helps indicate a smoother articulation. Maintain fluid anal continuous motion ofthe ants to indicate a fluid and continuous sound Te may be helpful at this early stage of conductor training €0 make a correlation between haton movement and sound. Think of the haton’s ‘movement through the air as a representation of the sound and how i is sustaines. w the baton tip strikes the ttus as equivalent to how players in a sound. The hiton in continuvass mation (iat with ngous sem motion) indicates continuation of wun. By sing the wrist cether actively (et, the weit flick or ual “Skap” oF tap a the sets) « passively (allowing the wrist to be relaved erwazh tom momentum of the arms), the constr cats represent atts fom band and pont to stand sinth Alton Tow they might mee the arm, west, ikl Baton ts skescrdbe sonal with physi yestUntr 2: Conouctine IN THREE, FouR, Two. AND ONE TIME BEATING IN THREE Start with time beating in three. This pattern concentrates solely on motion fon one side of the centerline with the distance berween each beat point roughly equal so the speed of the arm movement is constant from beat to beat. For a marked style, use the wrist with a tapping motion to create a pointed ictus as the arm moves through the pattern with constant motion. Fora staccato (separated) styl, experiment using the pointed ictus pattemn with a stopped beat. Ficune 2.1, Pointed letus in Three Fora marked style, relax the wrist and let it move up and down naturally with the momentum of the arm. Keep the arm moving with constant motion and speed. Within the constraints of the basic pattern, modify the motion near the beat point to avoid a pointed attack. This will show a more legato FIGURE 2.2. Legato letus in ThreeMetiops ao MaTeRiats ror ConpuctiNa When practicing time heating in three, work to maintain a consistent pattern. Be sure to open the elbow hinge when moving to beat rwo and close ‘ie when moving to beat three. This ensures that the ict rouncl the body, affording every player a good view of each beat. To begin working on independence of hands, practice each excerpt (1) right hand alone, (2) left hand alone, and (3) both hands (mirrored). EXERCISE 2.1. Practice in Three For practice with « pointed ictus and stopped beat: — a: eo q nn Alges by Goch Rosin. (Seepage 14 or 1 with a legato ictus Fro Visions ona Koran Fu Si Rares Cha, copys © 1967 Bey & Hawkes le, Used by perm TIME BEATING IN Four Time beating in four prevents challenges that tine heating in three dees now maintaining patter symmetry and varying specds of sem movement as the distance between beat points varies, Clarity and precision in the fourbeat patter are maintained by ensuring respect tn the centerline fn the diagram below, oe thatthe distance from the proportionally whet novay fa two te thts As with tne heat a thgce. work ts mamta steatlittine Foahy mw thw ihe, lfvn an wrist huge, AIL at pons shoul beUnit 2: Conpucrine IN THRE, Four, Two, AND OnE *+ When moving toward beat two, reach out to the ictus plane * When moving from beat two to beat three, open the elbow: Practice both staccato and legato styles within the basic fout-beat patter, v7 7 el Ficure 2.3. Fioune 2.4. Pointed lerus in Four Legato lets in Four OTHER Four-BEAT PATTERNS Many other four-beat pattems are acceptable in various situations. Each sactifices some amount of clarity in favor of other musical or technical benefits Ina focal point patter, the ictus for each beat is place in the same location; performers will know exactly where to expect ictus information. This pattern (Figure 2.5), however, can be dificult to follow. The modified four pattern (Figute 2.6) shown here allows for speed though the pattern (there ate fewer direction changes) while specific ictus points for beets three and four are more difcule co indicate. Figure 2.5, Ficure 2.6. Focal Point Four-Beat Pattem Modified Movement to Beat TheceMetiops Avo MariRiats rok ConoucTina Exercise 2.2. Patterns in Four Practice with a legato ictus; experiment with varying beat sies £0 indicate dynamic changes From Shun Ie Crst by Pavel Tchad Compan Ue by permision, (Seep righ © 1945 Nell A. Kos Mai 14 forall vein) Practice in a range of styles from legato to marcato, Use the wrist. move the tip of the baton in the style of articulation desired. Maintain constant arm movement to show a continuation of sound between articulations eS From Chef Wim fin (Se ae ral ei) Practice both exercises: (1) right hand alone, (2) left hand alone te hands (mireored) TIME BEATING IN Two There are many way of heating time an iichoar measures. Avoud pattem that are tow vertical or cireular. The amount of movement in the horontal dhrection can have great apaet om styke mm tube plcees. Keep Ih rebvaind of the preceling eat sake the preparation for theUnit 2: Conpucting 1 THaEs, Four, Two. AND ONE ‘the height of the rebound reflects the weight of the next beat + vertical patterns appear more staccato, mareato, of accented + horizontal patterns appear more legato or connected 4 ai " iH ‘ x " nB AQ Mm | FIGURE 2.7. Legato in Two FLOURE 2.8. Staceato in Two FiGune 2.9. Ultra Legato in Two FIGURE 2.10. Ulta Staccato in Two EXERCISE 2.3. Practice in Two For practice with a legato ictus: From Sea Song by Ralph Vaughan Wiliams, copyright © 1924 Boosey & Co, Used by ermision, (Se page 198 frill version) 19Methons AND MATERIALS FoR ConDUCTING For practice with pointed ictus (as vw eS w + @eonepebotrptaopeetet SS rm Manharan Bech March by Jobo Philp Sis See pas 186 rl version) TIME BEATING IN ONE When conducting one beat to the bar, the conductor has several options © simple straight up and down gesture © a rounded or oval gesture * supermetric patterns (tw, three, four, ete.) When using relatively straight up anid down motion, the conductor must be aware ofthe placement of the ictus In such patterns the ictus point ean have the tendency to move lower with each pulse, The ictus point may sometimes, move so low thar it hecomes impossible for players to see. When using this pattern, be sure to establish a visible andl consistent ictus plane ard work to place exch ictus on that plane A more rounded or oval one-beat pattern is better suited to fe ‘or music that does nor require a pointed ictus. The more the pattern moves toward being circular, the less iets Inall on oportion of upward to downward arm/bat at patterns the movement must be considered Upasind puke. Movin intensity of the gesture (a well as the sain) ad may case phyer to mace too soon tothe subsesuent ut In onesheat patterns, maintain the upscial motion as long as possible wutbour changing tempo. For example, for work wy 3 time eon Fa te the Far, move upward during all thos anier sare mate pues of the menue making the move destnwaed jst heir the nest puke raven, Think Mp pape Le 2.9%, thew quickly dono (ater 9. A slight pe apaUnit 2: Conpucring I THREE, FOUR, Two, AND ONE ‘The conductor should not overlook the possibility of onducting music in| fone supermetrcally. By choosing a beat pattern that reflects the phrasing of the music (e.., four-beat pattems for four-bar phrases), the conductor can avoid the problem inherent in conducting in one: all beats (and measures) Took alike! EXERCISE 2.4. Practice in One Consider the style of each excerpt to determine the shape of your ‘one-beat pattern. Use a more vertical shape to show a more marked style, Work to maintain an upward motion for as long as possible within each pulse, From “The Loss Lay Found by Fey AlUsdge Graig, copyright © 1966 G. Schirmer. Used by permission (Seepage 100 fo fll esion) From Stvonie Dances, Op 46, No.1 by Antonin Dvoti: (Seepage 99 fr fl version) SUGGESTED EXCERPTS (indicates those recommended for begining level conductors) Time Beating in Three Bach: Du Lebensfirst, Her Jesu Christ, BWV 173 Chances Variations om a Korean Folk Song Holst: I Vow to Thee My Country a |MerHoDs AND MATERIALS Fox ConucriNG Rossini: The Vaughan Williams: "My Bonnie Boy" fom English Folk Song Suite li in Ales Time Beating in Four Bach: Wachee anf, ruft uns de Sune, BWV 645 Billings: Chester* Grainger: Irish Tine from County B Holst: *Song Without Words: [Il Love My Love” from Se in Op. 28, No, 2 / Strauss: Serenaale, Op. 7 i i Beating in Two / Holst: *March’ from First Suite in E-lat, Op. 28, No. 1 Holst: "March" fom Second Saite in F,Op, 28, No. 2 st: Manhattan Beach M Susato: La Mousque SSusato: Ronde—Mon Amy Vaughan Williams: Se Vaughan Williams Songs fenteen Come Sunday fom English Folk Sing Suite eating in One Dvottk: Slavonie Dances, Op. 46, No Grainger: “The Lost Lady Found!” from Lincolnshine Posy ‘Vaughan Williams: “Green Bushes” from Engh Folk Song SuiteUNIT 3 PICK-UPS, RELEASES, AND FERMATAS ENTRANCES AND RELEASES ON BEATs OTHER THAN ONE Unit I described the procedure for indicacing starts and stops on beat one as fan up-and-down movement. For entrances or releases on beats other than fone, however, the conductor must alter three aspects of this procedure: the starting point of the gesture * the direction of movement from the starting point ro the first entrance * the position of the baton at the end of the release gesture To determine the starting point of che gesture, consider the meter of the music and on which beat the sound begins, Within the metrical pattern, place the baton near the ictus point one beat before the fist beat to be played. Ifthe ‘rusie start on beat three in a four-beat piece, place the baton near beat two: if the music stats on beat five ofa six-beat piece, place the baton on beat five Notes less than one beat long preceding this starting beat may be ignored the procedure is the same with a quarter note pickup or an eighth-plus- {quarter pickup rhythm. This isnot a hard and fast rule. Ifthe pickup is more ‘than half the basic pulse (for example, three sixteenth notes preceding a beat in 4/4 time), two preparatory beats may be required forall players to make their entrance together. From this starting postion, follow the preparation procedure outlined in Unie 1. With a slight click or push-off from the ictus plane, move the arm (or arms, if mirtoring) toward the beat to be played. As in all preparations, the time from click or push-off ro the return co the ictus plane should equal one beat of tempo. Be sure to stay within the pattern, ‘As mentioned in Unie I, release gestures can look exactly like preparations because they show similar information (when and how to stop of start), When indicating a release after which another entrance follows, the conductor must be aware of where the release gesture ends. In order to avoid unnecessary movement between a release gesture and the following aetack, the release 23-MeTHoDs AND MATERIALS FoR Conouctine ture should end such thar the baton is eal ro give the next preparation. For pl, ina fou-beat meter with a release on beat ewo and the next attack on beat four, the release gesture should end with the haton ear the ictus point of beat three. In 3/4 meter with a release on beat two and the next attack on beat ee, the release gesture should end near beat tw. In his way, the conductor is ready to give the next preparation. Both the stright line and the (more emphatic) circular release gestures can he used. PRACTICE WITH ENTRANCES IN 4/4 METER “LN \pushof or ‘ek™ FIGURE 3.1. Entrance on Two in 44 EXERCISE 3.1. Practice release gestures (om heat one) and e theeUNIT 3: PICK-UPS, RELEASES, AND FERMATAS ‘puto 4 FloURE 3.2, Entrance on Three in 4/4 Exexcise 3.2, Give release gestures on beat rwo and entrances on beat three. oe ~ purest play | Flo URE 3.3. Entrance on Four in 4/4 Exercise 3.3. Give release gestures on beat three and entrances on beat four f 2sMerioos AND MarsRIALs FoR CONDUCTING PRACTICE WITH ENTRANCES IN 3/4 METER Figure 3.4, Entrance on Two in 3/4 EXERCISE 3.4 Practice preparations and releases as before FicURE 3.5. Entrance on Three in 3 EXERCISE 35. grin geeUnit 3: PIcK-UPS, RELEASES, AND FERMATAS FERMATAS Fermata gestures fall into three basic categories: 1. Those showing a continuation of the sound through the fermata to the next attack (no release, simply a “stretching of time,” shown here a) Those showing a break in the sound with the release serving as the preparation for the next attack (a release and attack in time, shown here as") 3. Those showing a pause of longer duration before the next attack (a caesura, of cessation of time and meter, shown here as /) Al fermatas are approached as you would anyother bet to be played: fom within the pattern. Move to the fermata without any unusual change in tempo or direction, giving che ictus ofthat beat (or par ofthe beat, if the fermata does not begin on a beat). ‘As with all other releases, when moving through or releasing a fermaca the conductor must frst consider where the baton should be at the end of the movement. The baton should be in a position to give an appropriate preparatory gesture, NOo-RELEASE FERMATAS For fermatas that stretch time between beats or have no release before the next attack: 1. Move to the first beat ofthe fermata 2. With continuous motion, continue in a more upward (more tension) oF mote outward (less tension) direction, delaying the move toward the next ictus point as long as desired 3. Prepare the next ietus by increasing baton speed while moving to the ing the desired attack. next itus point, indi 27Mettops asia Mateniats FoR Conpucrise: én FicuRE 3.6. Stretching Time on a Whole Note in 414 nS FIGURE 3.8, Stctebny Tine on Beat Toa 84Untr 3: Prek-urs, ReLeases IN-TIME FERMATAS For fermatas in which the release is also the preparation for the next attack |. Move to the frst beat of the fermata, 2. With continuous motion, continue in the ditection of the last beat within the fermata, 3. In one motion, release the fermata (with a click, push-off, or quick circular motion), and move to the next ictus point. Yamane FIGURE 3.10. In-Time Fermata on Beats One and Two in 3/4 AND Fenmaras 29Mrrons axo MATERIALS FoR ConoUucTING pocprse FicURE 3.11. In-Time Fermata on Beat One in 4/4 CAESURA FERMATAS For fermatas in which a longer pause or eaesura is desired! Move to the fist beat ofthe fermata, 2. With continuous motion, continue in the direction of the last beat within the fermata 3. Having reached the ictus location of the last beat within the Ferm prepare and give the release gesture (with a click or quick circular motion, if desied) would ae the stare of a work, Se bea Ge FIGURE 361.2, Caesins ons Bests One thneaals Thice a 4Unit 3: PrcK-UFS, RELEASES, AND FERMATAS pesin the mera , ether fc ae Sessa ‘push FIGURE 3.14. Cacsura on Beats One through Three in 4/4 (Before a Rest) ‘Additional Practice EXERCISE 3.6, Determine in advance the type of fermata to be used, and indicate it with the appropriate symbol (>, or /). Practice ceach with a variety of fermatas. These examples can also be used for additional practice with pick-ups. From Du Leese, Her Joshi, BWV 173 by .S. Bach (Seepage 69 ffl version.) 31Merwoas aND MATERIALS FoR CONDUCTING SSS SS Fe Sa Sa SUGGESTED EXCERPTS (indicates those recommended fr the binning level conductor) Entrances and Releases on Beats Other than One 1, BWV 173 af, nufe wns de Stimme, BWV 645 on a Korean Fo Song Bach Du Lebensfirst, Herr Jesu Ch Bach: Wack ‘Chances Veriton Grainger: Irish Tan Holst: Vow to Thee My Counery* im County Bach: Du Lebensfirse, Her Jesu Christ, BWV 173% imme, BWV 645" Bach: Wachee auf re uns die Grainger: The Sussex Mummers’ Christmas C Romane” from Serenade K. 361UNIT 4 DIVIDED AND CHANGING METERS CONDUCTING DIVIDED METERS Divided meter patterns can be used in a variety of musical contexts: * for compound meters such as 6/8, 8/8, etc * to indicate ubvlivisions in slow tempos * to facilitate a vitardando All divided beat patterns are subdivisions of other pattems: 8/8 isa subdivided 4/4 pattern; 9/8 is a subdivided 3/4 pattern; 6/4 can be indicated with a subdivided two-beat or three-beat patter, depending on the musical context Follow this simple procedure to create a clear and easy-to-follow subdivided patter for any desited meter: 1, Determine which pattern will serve as the framework (4/4, 3/4, etc) 2, For each subdivision needing an ictus, move in the direction opposite the next “main” beat. 3. For compound meters (9/8, 12/8, etc.) continue moving away from the ‘next main beat for ll needed subdivisions of the eurrent beat. 4. For the last subdivided beat, each subdivision should move toward the centerline of the pattern in preparation forthe next downbeat, [Nor all subdivisions must be of the same size; the musical context can help determine the relative sizeof each beat and subdivision, For example, in 8/8 ‘meter main beats and their subdivisions equal in sie to each other will show ight equal stresses in the measure, Large main beats followed by very small subdivisions will show four stesses per measure In the diagrams below, no musical inference is made—the size of the beats and subdivisions shown here are simply schematic, Before conducting each ‘exercise, make a musical determination regarding the relative strength of ceach beat and subdivision 33Meriops AND MATERIALS 60% ConDUCTING SIMPLE SUBDIVIDED METERS Although you may technically subdivide «wo into four pulses, che result is identical co conducting in a standard four FIGURE 4.1. Subdivided Two Conduct the following pattern in six using the three-patem framework re 4.2. illstated in F Fran Romans" Soom K. 3618700 y W. A. Mca (Sse ag 175 ford wen)Unit 4: DIVIDED ANDO CHANGING METERS Conduct the following excerpt in eight using the four-pattemn framework illustrated in Figure 43, aad al a Fran “Pavan” fr Walla Bye Sut by Gordon Jaco Copyright © 1924 by Booty & Co, Le. Ue by persion, (See page 170 fr l vein.) COMPOUND SuBDIVIDED METERS From The Bons O" Dao by Robert Bums, (Seepage 85 fr fll eso) 35Mer#oos AND MATERIALS FOR CONDUCTINGUnit 4: DiVviDED AND CHANGING METERS SIMPLE ASYMMETRICAL METERS Patterns for simple asymmetrical meters such as 5/4 and 7/4 (or 5/8 and 7/8, where eighth notes serve asthe pulse) are created in much the same way as slivided meters. Fist, the framework pattem should be determined, This determination can be based on * the number of major stresses the measures contains (a 7/4 measure may hhave three major stresses, on one, three, and six; thus, a three-beat framework of 2 + 3 + 2 beats is used) * the hythm of the measure(s) * the melodie shape of the measure(s) Following the procedures outlined above for subsiding beats, an asymmetrical pattern is created. In 5/4 meter conducted as 2 + 3, for example, a subdivided two patter can be used, FIGURE 4.7. Five Beats (2 + 3) For a 5/4 measure divided 3 + 2, beats two and three ate created by subiv the first half of the pater, FicuRE 4.8, Five Beats (3 + 2) Using this subdivision method, any simple asymmetrical pattern can be created. 7/4 and 7/8 patterns are based on a hree-beat frameworks LI/4 is based on a four-beae patter, 37FioURE 4.9. Subvivided Three ~ Seven Beats (3 + 2 + 2) Ficune 4.10. Subdived Three - Eight Beats (3 + 2+ 3) CHANGING METERS All beat patterns wow streses within the measure, A standard four pattern has a major stress on beat one and secondary stress on heat thrve when the pattern roses over the centerline, Befire conduct the conductor must determine the location of any secandary stresses within those micisures and chowwe a patter that reflects these steses. Far example to 5/4 menue, the secondary sess may be ont heat three (use at 24 3 Pattern) oron best fae (use a 8+ 2 paetern)Untr 4: DiviDeD AND CHANGING METERS EXERCISE 4.3. Asymmetrical and Changing Meters For each 5/4 measure, determine if the secondary stress is on beat three (then conduct 2 + 3) or on beat four (then conduct 3 + 2), For «each 6/4 measure, determine if there are ewo main stresses (conduct 3 + 3) or thtee stresses (conduct 2 + 2 + 2), For practice purposes, conduct a variety of 2 + 3/3 +2 and 2+2+2/3 +3 in these EXERCISE 4.4, From “Horktow Grange” by Petey Aldridge Granger, copyright © 1966 G. Schirmer, Ine (ASCAP), Use by perison. (Se page 94 for il version) ‘When changing meters also include measures with different units of pulse, the conductor should work to ensure thatthe underlying pulse common toll ‘meters remains steady. For example, when 3/8 measures are interspersed among 4/4 or 3/4 measures, the eighth note division ofeach beat must remain steady. Whether to conduct eighths in such 3/8 measures (rather than one ‘beat to the bar) is determined by tempo. Slower tempos may require beating cighths in 3/8 bars and beating quarters in 4/4 or 3/4 bars, 39Merions AND Mareniats fox ConpuctiNe EXERCISE 4.5, Conduct 6/8 in two and 3/4 in chee See te ae From “Ameria! by LeoatdBersei, copyright © 1955, 1957, 958, 1959 Amber Hogs LLC and Sc en Sone. Used hy permison (Seepage 8 rl vr Exercise 4 Conduct each of these lines separately. Practice 3/8 measures in one and From Low Melbourne’ by ery Alige Gres porighe © 1966 G. Schirmer, Inc. (ASCAP) SUGGESTED EXCERPTS (+ indicates those recommended fo the beginning level conductor) Simple Subivided Meters jacob: "Pavane” from Wiliam Byrd Suite® Grainger: The Sussex Mummers’ Christmas Carl M Strauss Serenade, Op. 7 ts Romance" from Serene K. 36 Vaughan Williams: Rhosymedre® (Componua Subced Meters Barns: The Banks 0" Dae Rank athe Scichrasae, Op. 35UNIT 1: OW THE PootuM Simple Asymmetrical Meters Grainger: “Horkstow Grange" from Lincolnshire Posy Holst: “Mats—The Bringer of War" from The Planets, Op. 32* Mussorgsky: “Promenade” from Pictures at an Exhibition Williams: Symphonic Dance No, 3 (Changing Meters Bernstein: “America" from West Side Story* Besnstein: Overture to Candide Holst: “Intermezzo” from First Suite in E-lat, Op. 28, No. L Holst: “The Song of the Blacksmith’ from Second Suite in F, Op. 28, No. 2 41UNIT 5 ASYMMETRICAL METERS ‘The first step in conducting fast asymmetrical meters (such as 5/8 and 7/8) is the same as when conducting divided meters: determine the standard pattern that will be used as the framework. This involves determining the number ‘of pulses in each measure and choosing the pattern that most clearly shows these pulses. For example, an 8/8 meter calls for a 4/4 patter if four pulses are Present, but 3/4 pattem if three pulses are evident, In these lopsided patterns, itis important to maintain a strict mental subdivision within the larger pattern, adjusting the speed of the gesture to ‘maintain an accurate temporal relationship between all beats and their subdivisions. The subdivision framework must never waver; only the speed of the gesture changes to accommodate the changing time of the beat. Two-BEAT MEASURES Use a two-beat pattem for 5/8 meter, Practice the following exercise using an ‘extended gesture with constant movement for the “long” beats containing three eighth notes. Just as when conducting one beat tothe bar, continue the upward movement as long as possible hefore giving the next beat (see Unit 2). Fora mote aggressive or marcato approach, move an equal distance (and speed) for both beats, creating a “stopped” beat effect. Isolate each measure (A, B, C, and D) before conducting combinations ‘of measures (A +B, B+ C+D, etc,) EXERCISE 5.1. Two-Beat Measures eomy4am,moaymny, poomwmnymoam, 43MUTHODS AND MATERIALS foR ConDUcTING THREE-BEAT MEASURES EXERCISE 5,2. Three-Beat Meas a 8/8. Practice at various tempos with a metronome set to cick eighth notes (eighth note = 160 to eighth note = 180), Four-BEAT MEASURES EXERCISE 5.3. Four-Beat Measures Use a fourrbeat pattern for 918 and 10/8 al Meters These cwo lines combune asymmetrical meters ina way that kes and mental skills. For alitional p tice, conduct the 7/8 har + 24 Ssconduct the 5/8 har as 2Unit 5: ASYMMETRICAL METERS EXERCISE 5.5. Combined Asymmetrical Meters “Two beats for each measure: Fram Ammenion Danes by Aled Ree copyright © 1974 Sam Fox Publishing Company, Ie ‘Used by permision. (Seepage 179 fo fll version) Additional Practice copyright © 1970 Galaxy Maske ‘Cenporation Used by permission (See page 172 fr al version) very From Sinfonia nda (Symphony No.2) by Cal Chives, copyright © 1950 G, Schumer, In. (ASCAP). Used hy permision, (Sc pags Afr fl version.) SUGGESTED EXCERPTS Fives Grainger: "Rufford Park Poachers" from Lincolnshine Posy Reed: Armenian Dances Sevens, Eights, and Nines CChivez: Sinfia India (Symphony No. 2) Makris: Aegean Festival Overture 45UNIT 6 Use OF THE LEFT HAND ‘Asthe novice conductor begin to learn the principles of beat pattems and how touse the baton to convey musical meaning, instruction in the independent use of the lefe hand should also begin, Before attempting the use ofthe left hand in ‘musical context, several practice exercises should frst be mastered CUEING EXERCISE Using standard beat pattems (two, three, and four), practice using the left hand to cue imaginary players in various places around an imaginary ensemble. First, establish a pattern. The more the novice conductor can ‘make this pattern work on autopilot, the better. After a steady beat pattern is established, give cues on the various beats. Begin with cues on downbeats, as these are the easiest to coordinate with baton movement. Consider the position of the fingers and the shape of left hand. The fingers should be held close together without squeezing. Fingers should never be spread. The left hand should remain in a natural cupped shape, never ‘extended flat, Work to keep the left hand relaxed and natural in appearance. For this cueing exercise, keep the left palm facing the floor, and indicate ‘cues stright down, starting and ending at the ictus plane. Do not flatten the hhand or use a pointing gesture. Practice each measure separately before creating exercises using various ‘combinations of measures. Arrows indicate cues, EXERCISE 6.1. CucingMetiops ako MATERIALS FOR CONDUCTING VOLUME EXERCISE patterns, establish a steady pulse. Then wse the lft hand to indicate» crescendo with an upward movement of che band and arm, followed by a diminuendo with a downward movement. Begin with 4/4 meter, fminuendo, then repeat sever times in sequence. The goal isa smooth up-and-down movement of the left hand without arm movement no matter the tempo or meter Asin the cueing exercise, keep the fingers of the left hand together and the hand in a natural cupped shape. When moving up, turn the hand such that the index finger points to ten o'clock. When the top of the gesture is reached (no higher than the level of your eyes), tum the hand slowly and smoothly until the palm is down and then complete the downward movement, Work to integnite this hand turn into the completion of the upward motion and the start of the downward motion for one continuous movement, Start and end at the tus plane Practice the following in a varity of tempos, articulations, and dynamic high and low points (eas plano to fort, m additional practice, ad cues on selected beats EXERCISE 6.2. Condlucting dynamic changes Abia eecbees biedeeaei decd (SSS SSS] a SUSTAIN AND RELEASE EXERCISE Inv addition to eves and dynamics, the indication of breaths sid phrase rsdn lo he practice, Une the lett hand either sith sae horizontal Carr) flaws by ts release geste (hrcath stk)Unit 6: Use oF THE Lert HaNo EXERCISE 6.3. Sustain and Release MIRRORING ‘The use of the left hand to beat time with the right is an acceptable practice when a specific musical intent is desired. Do not misro simply so that the left hand will have something to do. This only diminishes the impact of the left hand for other purposes. A cue, crescendo, ot release buried within a mirrored patter will be much harder for players to pick out from the surrounding (continuous) motion. A left-hand gesture given when that hand was not previously moving has much greater impact because it will not be lost in the clutter of motion. Mirroring can have musical meaning when used sparingly and carefully toshow the breadth of a musical line * to show strength and impact for particular attack or phrase point * to show more volume by looking lager than one arm can show * to focus player attention toward a specific point in space (especially when the mirrored pattern is smaller and close ro the conductor) *+ 0 impare more confidence to players (especially at entrances or in softer passages) The conductor should keep in mind that misrored patterns do not in themselves show a louder dynamic level. Ifehe pattem i kept low, emphasizing the horizontal rather than the vertical, the result can be a soft but well supported and sustained sound, (OF course, mitroring is often used in louder passages to show increased Aynamic. A particularly good se of mirroring is asthe music neats the height ‘of a crescendo, After lft hand indicat upper limit (in relation to the height of the conductor and eye line of the players), moving into a mirrored pattern can show a continuing crescendo with the increase size ofthe patter, Return to Exercise 6.2 and practice with mirrored hands. In sections C and D of Exercise 6.2, use the baton hand alone to start each group at piano, add the left hand to mirror atthe top of the crescendo, and then remove the lefe hand as the pian is approached again. mn ofa crescendo reaches a comfortableMarnops AND MarERIAts ror ConbucrING Additional Practice Practice these exercises fist without any mirroring. Use the lefe hand to indicate dynamic shape. Later, mirroring can be adds, but be sure to consider the musical intent of mirroring at all rimes EXERCIse 6.4. Use of the Lefe Hand cae Fram “Ela Proeson othe Caedal by Richa! Wages (See page 213 fr fil vee Frm Satin fs Creat by Pavel Ts fi. copyeihe © 1945 Nol A, Kjos Ms any Used ty permission. (Se page 194 for all version) In Used hy pmo. Se re 2Unit 6: Use oF THE LerY Has SUGGESTED EXCERPTS Cues Bernstein: Overture to Candide Jacob: “Pavane” from Wiliam Byrd Suite ‘Chaves: Sifonia India (Symphony No. 2) Holst: “Chaconne” from First Suite in E-lat, Op. 28, No. 1 Holst: “Intermezzo” from Fitst Suite in E-lat, Op. 28, No. 1 Holst: *March” from First Sute in E-lat, Op. 28, No. 1 Holst: “Song Without Words: I'll Love My Love" from Second S in, Op. 28, No. 2 Jacob: “Finale” from An Original Suite Reed: Armenian Dances Vaughan Williams: “My Bonnie Boy" from English Folk Song Suite Releases Billings: Chester ‘Chance: Variations on a Korean Folk: Song Elgar: “Theme” from Enigma Variations, Op. 36 Holst: 1 Vow to Thee My Country Dynamics Elgar: “Theme” from Enigma Variations, Op. 36 Grainger: “Horkstow Grange” from Lincolnshire Posy Holst: "Chaconne" from Fist Suite in E-flat, Op. 28, No. 1 Strauss: Serenade, Op. 7 ‘Susato: Ronde—Mon Amy Techesnokoff Saleaton Is Created ‘Wagner: "Els Procession to the Cathedral” from Lohengrin Wagner: Riensi Overture Wagner: Trauersinfonie stUNIT 7 CHANGING DYNAMICS AND TEMPO (CONDUCTING CHANGES IN DYNAMICS. Conducting gradual changes in dynamics is accomplished through the use of an independent left hand effectively combined with mirroring. The conductor should work to make the use of the left hand a seamless part of conducting and as natural in appearance as posible. The subtle use of the left hand will effectively show changes in dynamics and intensity ‘moving not only up and down, but side to side and at other angles ‘© moving toward and away from the player * tuning the hand to show more or less palm to the player ‘opening and closing the hand (moving the fingers out and in) ‘As security and finesse in left hand independence continue t0 grow, the conductor should also work toward mastering control of the baton to create ‘beat patterns ranging from the very smallest baton-tip only movement to the langest two-arm mirrored patterns. Consistent practice of the ictus exercise from Unit I with various beac patterns will help the conductor gain this control. When control of beat sie is combined with effective independent tue of the left hand, the indication of gradual dynamic changes can be successfully accomplished Showing sudden changes in dynamics can also be accomplished with the left hand. However, additional control of the baton is also required. As dliscussed in Unit 1, the beat preparation can control the dynamic level ofan entrance or attack. A lange preparation indicates a louder attack; a smaller preparation indicates a softer one. ‘Within the heat pattern, every rebound is a preparation. The rebound from beat one is the preparation for beat two, and so on. The conductor ‘must be able to control each rebound such that it indicates the necessary information for the upcoming beat; he i fee to indicate this upcoming beat after the previous ictus, Sudden changes in dynamics, then, can be shown by controlling the rebound immediately preceding the change. 33Metiops AND MATERIALS fox ConDUcTiNe To indicate a subito change from forte to piano (assuming langer ofthe rebound, thus showing a small rebounds in fore), limit the Preparation for the next er * To indicate a subito change from piano to fore (assuming smaller Febounds in piano), pull the baton up from the previous icts to show a suddenly lager preparation EXERCISE 7.1. Subito Dynamic Change Arrows indicate where rebounds should change Fram Se Sons by Ralph Vaughan Williams, pict ©1926 Boney & Ca eee fledUNIT 7: CHANGING DyNaMICS AND TEMPO CONDUCTING TEMPO CHANGES Indication of gradual tempo changes equires control of beat fof an accelerando, gradually decrease the beat size (smaller rebounds). For ritardandos, gradually increase the beat size (larger rebounds), Conductors should he ready for a bit of discomfort when indicating gradual tempo changes. The ensemble may lag behind the beat atthe start of Acthestart accelerations, especially those that increase in speed quickly. However, the ‘ensemble will eventually catch up, and the conductor mast be willing to be ahead of the ensemble until this happens. The accelerando will not be successfully achieved ifthe conductor falls back to the ensemble. Similarly, ensembles will play ahead of the conductor at the stare of many rtardandos, Maintain the desired rate of change, and the ensemble will catch up. Do not overuse subdivided beats co show rtardandos. Only the most molto of ‘muardandos requite the indications of subvivisions. Effective communication of rubato is accomplished by the control of rebounds and preparations. Do not hesitate to pull ot push tempos by changing the time and distance between icti. To delay a beat, move away from that ictus point for the majority of the time between beats. For example, todelay beat one in 44 time, move upward uncl just hefore beat one; to delay beat three in 4/4 time, continue movement to the left (beat two) as long as possible. Movement toward the next beat too soon may indicate an earlier entrance to some players. When stretching beats in this manner, lead with the hand and allow the tip of the baton to drag behind. Practice various beat patterns with combinations of accelerandos and ritardandos by establishing the three necessary parameters: starting tempo duration of activity ending tempo Return to the exercises at the end of Unit 6 for practice with rubato. Susito Temro CHANGES ‘Sudden tempo changes, such as those encountered berween discreet sections of piece of music, can be effectively controlled though the rebound and the preparation, As stated earlier, every rebound i the preparation for the following The clearest rempo change preparations move in the new tempo from a stopped position. Whenever possible, follow this simple procedure 1. Come to a stop after a slight rebound of the las pulse before the tempo change with hands in position to prepare the next beat. 5s