Technic of Baton by Stoessel

HE ECHNIC OF HE BATON

By

ALBERT STOESSEL

With

a Preface by

WALTER DAMROSCH

CARL FISCHER NEW YORK BOSTON CHICAGO

Th,

Technic of the

Baton By

ALBERT STOESSEL A

t

Instructor of Conducting the A E. F. Bandmasters

'

.

and Musicians'

School, C.hauniont, France

With

a Preface

by

Walter Damrosch

boston

CARL FISCHER,

380-382 Boylston

St.

NEW YORK

Cooper Square

430-432 So.

Chicago Wabash Ave.

Copyright, 1D20 by

CARL FISCHER, New York Internationa] Copyright

Secured

iviusjc

Uba*

MT"

SUA PREFACE Conducting

is

an

art,

and a

difficult

one to master.

It requires a special talent, enthusiasm, great nervous vitality, a serious study of the works written by the masters of music, the magnetic power of forcing the executants to carry out the conductor's demands, infinite patience, great tenacity, great self-control, and absolute knowledge of the technique of the baton.

The last is a complete sign language through and by which the conductor issues his commands and achieves his results. With the baton and an infinite variety of movements of hand, wrist and arm, the conductor indicates the tempo and its changes, the dynamics, the expression, and in fact all the inner spirit and meaning of the music.

He insures precision and unanimity whether his executants number one hundred or one thousand, and plays upon them as the pianist upon his keyboard or the violinist upon the strings of his Cremona. Much

of this must be inborn, but much can be acquired by study. Stoessel's book will be of great help to the earnest student.

Mr. Albert

Mr. Stoessel was appointed teacher of conducting in the Bandmasters' School, which I founded during the war at General Pershing's request at G. H. Q., Chaumont, France.

cal

His book is admirably planned and executed. It is clear, practiand stimulating, and I hope it will be generally used throughout

the country.

The

lack of routine and the ignorance of even the simplest rudiart of "beating time" is appalling among many of our conductors, organists and choir-masters. Mr. Stoessel's book should be of great help to them.

ments of the

(Signed)

Walter Damrosch.

July 4th, 1920.

MNIV OF CALIF LIBRARY. LOS ANGELES

AUTHORS PREFACE outcome of a need felt by the author in conducting at the A. E. F. Bandmasters' and Musicians' School. Chaumont, France. It was the author's priviwith Mr. lege to have been able to exchange opinions on this subject This

little

book

is

the direct

his capacity as instructor of

Caplet, to whom he is indebted for the idea of the rhythmogymnastic exercises and many of the gesture-diagrams. Although the author could not hope to treat so limitless a subject with any measure

Andre

of completeness, he is nevertheless convinced that the contents of this book will be of value to those seeking for guidance in the intricate art

of conducting. the elements, both human and mechanical, which orchestra or military hand, we must arrive at the conclusion that, collectively considered, these elements form one huge and many-voiced instrument. The conductor is the virtuoso who plays

In

summing up comprise a modern

upon

this

instrument and through

it,

interprets the composer's thought.

only of thoroughly understanding the qualities, limitations of the instruments individually and tone-color and range, method of indicating to the players of these the best but also grouped,

His

art consists not

instruments his conception of the composer's creation.

To

understand the component parts of this huge instrument a thorough knowledge of the theory of instrumentation is necessary. The express by gesture just what is desired of the many human minds controlling these component parts or instruments, is by far the most complicated and important side of the art of conducting.

ability to

fust as a fine player can get excellent results with a poor instrument, good conductor secure equally good results with players of

so can a

lesser ability.

On

the other hand,

it

is

so frequently experienced that

the efforts of the very finest group of musicians are spoiled by an incompetent leader.

The modern method

of conducting

is

of comparatively recent origin.

In the days of Haydn (1732-1809) and Mozart (1756-1791) the conductor's place was at the clavicin or harpsichord, and his chief function

was

to

perform the accompaniment

II

to the recitatives of

the singers.

When

the rhythm wavered, the first violinist steadied the beat with his bow, and to this day the solo violinists of orchestras are called leaders and concert masters.

As

long as the music remained of a more or less simple formal nature, this method was entirely satisfactory. But with the coming of

Beethoven and his new and unexpected rhythmic demands, it was found necessary to have a leader who. could devote his entire efforts to the

The possidirecting of the correspondingly more intricate rhythms. bilities of indicating the proper interpretation of a musical composition by gesture were soon perceived, and more and more did the art of conducting add to the once simple process of time-beating until it became the means of expressing every shade of nuance and every sublety of

rhythm.

The

art of conducting suddenly

became the most important

the realm of interpretative music and naturally made it their means of expression.

Upon analysis three basic phases

we

many

find that the conductor's art

may

in

great musicians

be classified in

:

1.

Mental assimilation of the musical composition

2.

Practical knowledge of the orchestra or band and the best of securing results by proper rehearsing.

3.

Actual interpretation

in

concert by

means

to be played.

of rhythmic

means

and ex-

pressive gesture.

As

first two of these phases embrace the study of music and instrumentation in particular, we shall confine ourselves general

the

this treatise to the third aspect.

ALBERT STOESSEL. Chaumont, France, Max,

1919.

in

in in

TABLE OF CONTENTS CHAPTER Preface by Walter

I

Damrosch

I

II

Author's Preface

PAGE

—

The used

physical aspect of conducting analysis of arm and hand movements in conducting diagram of exercises for promoting control of these

—

—

—

music-examples illustrating exercises illustrations and descriptions of the positions in each of the four styles of fundamental move-

movements ments

1

CHAPTER

II

—

—

The general attitude of the conductor twelve general rules left-hand illustrations of the five fundamental positions used in actual consignals

—

24

ducting

CHAPTER

III

conducting — music

—

examples explanatory Diagrams of gestures used in fundamental method of beating 2/2, 2/4 time actual method of beating 2/2, 2/4 time normal subdivision of 2/2 and 2/4 time accented subdivision of 2/2 and 2/4 time 6/4 or 6/8 time (modern method) 6/4 or 6/8 time (older method) fundamental method of beating 3/2, 3/4 or 3/8 time actual method of beating 3/2, 3/4 or 3/8 time normal and accented subdivision of 3/2, 3/4 or 3/8 time 9/8 time fundamental and actual method of beating 4/2, 4/4 or 4/8 time normal and accented sub-

no te

—

—

— —

—

—

— —

division of 4/2, 4/4 or 4/8

—

—

—

—

time— 12/8 time— 5/4 or 5/8 time— 7/4 or 31

7/8 time

CHAPTER "attaque" — the

IV

"pause" — employment

of subdivision to emphasize and give weight to certain characteristic passages, ritardandi, etc. the sharply accented beat as a means of securing precision in syncopated passages

The

—

—

indication of breathing places or the beginning and termination of a phrase extract from Berlioz's treatise on conducting on the conducting of

—

—

55

waltzes

APPENDIX The bandleader

—

band the training of the individual training of the band as a unit the study of four-part chorals to promote good intonation and a strong embouchure study of standard repertoire a few hints on rehearsing

— player the

—

as instructor of his

—

—

81

CHAPTER

I

This chapter is devoted entirely to the physical aspect of conducting. Analysis of the gestures used in conducting has shown that there are four fundamental movements.

— — — —

A Wrist movement in horizontal position. (With palm hand facing downward.) B Wrist movement in vertical position. (With palm hand facing inward.) C Fore-arm movement. D Full-arm movement.

of the

of the

4 and 6 represent a set of exercises for the acquiring of complete control and suppleness of the wrist and arm in all these four movements. On the opposite pages sets of music examples may be found. Each individual note of these examples

The diagrams on pages

represents a

movement

of the wrist or arm.

conscientious study and practice of these exercises will not only fully prepare the conductor for the more complicated beating of time-indications, but will give him that poise and confidence which come only with a consciousness of absolute self-control. This physical self-control is one of the greatest essentials in the art of

The

conducting:. &•

DESCRIPTION OF EXERCISES There are two series of exercises, each numbering 24 figures. These are to be performed in four different styles, corresponding to the four fundamental movements.

A — Wrist movement

in

horizontal position.

B — Wrist movement in vertical C Fore-arm movement.

—

D — Full-arm

position.

movement.

For each style, there are four different positions which, for been named alter the points of the compractical reasons, have and West. The photographs contained Easl South. pass; North, different positions, lor each style of of four are the in this chapter

the diagram of exercises each of these positions

In

exercise.

indicated by

a letter;

X — for

is

North, S — for South, E — for East, and

W—for West.

The small letter in the upper left corner indicates point. The other letters indicate the points of arrival. Each

figure

is

to be

executed

in

the starting

time with certain music-examples

of which each individual note corresponds to a point of arrival.

For instance, thus

figure

1

would he executed with Music Ex.1

:

Pi*r^ ^r^ m rf^"

South position corresponding to the note C.

North position corresponding to the note G.

The

on a

sharp forceful movement as opposed to a more relaxed motion. In the exercises for the wrist, the fore-arm and upper-arm must remain motionless. Likewise, the */

fore-arm

letter indicates a

movement must be executed without moving

the upper

arm. Great caution should be taken not to over-tire the wrist and arm, when

first

practising these exercises.

These exercises are

to be practised

by the right and

left

arm

alternatively. It is suggested for the individual practise that the student place the music examples on one side of the music stand and the diagram

of the exercises on the other.

Thus he may

describe the gymnastic exercises while singing or

whistling the music.

MUSICAL EXAMPLES FOR GYMNASTIC EXERCISES

Series

1

„

r

T n rr

i

L

,

^y

Ex

Ex

Ex '

^ ^

XT

f—f^f

Ex.5

(£4

Ex.7

^y£JJJ a

KJ

J

sJ

VII Ex.e

J-

ftUJ,,:, v_^ \> >>

i

^T^^J^i^ J

ex.8

^S JJr^J-

I/-II

Ex.lO

-^-^Tlj^

|/fl

if

Ex.9

*>

J.

^1 J.-

if Apply these exercises to

if all

figures of series

1.

Series

Fig. 1 Ex.1

Fi-. 2

1

Series

ex.

i

I

^1

4

^

/•'

J



B

fggfrmWi mJXt p^

sj-»>y

frfr c fr i

fl?

Allegretto fez=R *=£ H

a

l

— I <

i

^3 I P

^

£--** and

and

This form of six eight time ner.

is

indicated in the above man-

37

and

DIAGRAM N9 4

^2

Accented subdivision of

EXAMPLE N9 Andante

J"

^ ^^ 4

21788-

U ^r

\

P^

time.

P Lfiufrir

i

7^

/JJ

/k

DIAGRAM N9 4

3 for

jW^

%

pJP

and

I

J

!

\

ta

ge

}

1/Tj

i

i

tnjru

38

DIAGRAM N?

A

6

or is

G

/8 time.

a

5

(Modern French Method)

subdivision of */% or

/*k

time.

^4

or

6

/8 time

39

DIAGRAM N9 5a Old method of beating slow Q/8 time. The disadvantage of this method is that the 6th beat

is

out

In diagram N9 5 the long beat comes on the 4th or naturally accented beat of the measure, whereas in 5a the 6th or last beat in the measure is apt to be of proportion with the others.

unduly accented.

21788-

40

EXAMPLE N? 4

for

DIAGRAM N?

5 and 5a

Slowly

$&i

r^

i

jTiJfl

i

jnJXi

i

qD

1

'

j'

uTILj-

1 1

A- With

accent on 1st beat,

B— With

accent on 2nd beat.

C—

i

iTljj-

With

accent on 3rd beat.

D— With

accent on 4th beat.

.(k

\>\>

-^ rr %

|

i

-g:.'

i

j-

7]J4^ — """JJjj^

f''i.;s

$np ]fim

f

$l$\$l&

j^

jjff jjaff

\

V'i

\

i

— With

accent on 5th beat.

^HjffljjJ^

F- With

accent on 6th beat,

fe

G — With

accent on 1st and 4th

E

beat.

gig

1

J3J^

J :

J

JJJ^.

-

-fvi; j.Jffl jflfll i

41

i^2

DIAGRAM N? Fundamental method of beating

DIAGRAM N? Actual method of beating 21788-

6 3 /4

3 /2,

or

3/8 time.

7

3 /2,

A

3

or

3 /s time.

4'J

EXAMPLE NO

T

Moderato 1

^

8

j

,

j

if

5 for

i

I

I

r

DIAGRAM N°

fJ>

7

Tf h^S

I

r

X

P^P

£

^^gPS^

3

*=#

Allegro

B— With

accent on

beat.

1st

#s yr y

C — With

accent on 2nd beat.

D— With

j

s vr

h

h

1

1

J

accent on^

;

i'

2

r, i

=2=

W

3rd beat.

EE5

Mazurka - Tempo

E— Accent on

tet

=3=

:jnr

and 3rd beat.

j.J

Tempo F — Waltz— Acce 1st

beat

Polonaise 3

beats.

^i

i

r

i

i

m& Mazurka

di Valse

1 rvnrp

^^|

Tempo

all

di

' 1

'

j77yrJTjT37i^ n

P

G — Accent on

i

di Polacco

43

and

fiand

DIAGRAM N? Normal subdivision

EXAMPLE N?

of

6 for

/2,

8 /4

or

18

DIAGRAM N?

time.

8

Slowly

i

21788 -

1

m

j *m*

**

+-*

44

and

and

DIAGRAM N? 3 /2,

Accented subdivision of

EXAMPLE N?

7 for

9

A

3

% time.

or

DIAGRAM N?

9

Slowly, but with energy

^rnjrm j $*t-n jtjjt

]

P*

r

Pus

\i:

n^fr

i

3

^

m VTi

'

45

DIAGRAM N9

10

/8 Time. Only for very slow tempos. Otherwise, beat

EXAMPLE N? 8

for

DIAGRAM N?

Adagio

l»

I^rrr

r 3

DIAGRAM NO

11

Fundamental method of beating V2, 4/4 and

DIAGRAM N9 Actual method of beating Vs,

Vs

time

12

A

4

and Vs

time.

47

EXAMPLE N°

9 for

DIAGRAM N?

11

Moderato

B a

rrr r

m

< *.

J

J

beat.

(M

J

i

accent on

B—With

accent on 2nd beat.

Z

J

1;

^'-i,

C-With accent on 3rd

beat,

(k

accent on 4th beat.

E-With

accent on 1st and Srd jf

21788 -

EEj

J

£rJ

J

*=s

*=-*g

^Pf

^jj^j^l^ J

K7

J

j

JV

J

mm w^

D— With

beat.

5

I

f

g

r

Ik r

J ^

A—With

1st

i^?

g>

l

1*

!

I

j'

i.

.

JU.

^h

£E

i

g

J-

I

J)»

I

J"

h

t

Eg p

48

and

4

and

DIAGRAM N9 Normal subdivision

EXAMPLE N?

of

10 for

72,

13

V4 and

DIAGRAM N?

/& time.

13

Adagio

$ BE

J

g

S PI

-*-*

JTJ1 .

I

i

J J J J J

j tuj JTJ] 1

1

|

49

and

and

DIAGRAM N?14 Accented subdivision of 72,

EXAMPLE N?

11

for

/4

and 78 time.

DIAGRAM N?

14

Slowly

^3

m

m •

•

f

"k^'

$p 21788-

\

>

J~?3"3JJ

J J

i

j

u .j j.j jjj

r3T]JJ j

s Si

J

i

gzd:

l£.rj**^'li

i

50

DIAGRAM N9 12/4

15

or 13/8 time.

v8 time

is

really a subdivision of

EXAMPLE N?

12 for

74

time.

DIAGRAM N?

15

Adagio.

« .m ^is>

_

r

h JJJ c£r

i

r cr r

-r^ cr

rn

iSBfesefii s ^jWQ7 M>=

'

51

5^4

DIAGRAM N?

A

5

or 5

This

5

/s

/4 or

16

time. 5

/8 time is a

compound rhythm of 2^3 4

EXAMPLE N9

13 for

DIAGRAM N9

or 2-3 time 8

16

Allegretto

==z:

5 I

1

1

1 wg

P 21788-

|

r>

I

i

I

a i

-f5>

-i-

59

(D)

In a special case, like the beginning of theAllegro in the

Overture to Tancredi by Rossini, entire measure, in

it is

best to beat

out

,

the

which the phrase enters.

Overture to Tancredi -

Jtossini

- and delicate /hythmic

Light

-

hand and arm will be a more relaxed manner.

in lieu of the third beat, the

DIAGRAM N9 2

this

-

-£*U figures are best indicated

by

method.

C -The third method is the regular gesture used in any or '8 time and indicates each beat. DIAGRAM N°

Same

as

3 (Style S)

v4 iime

In the following extract

Strauss, the three strains

'4

from

different styles

Artists'

Life

are applied.

Waltz

by The various

and the manner of beating each measure, are indi

cated by the

Roman Numerals which

correspond

diagrams.

I

.

II

.

III

.

Diagram 1 Diagram 2 Diagram 3

to the

-

79

a tempo

jTj./^ ,JTj,^ NO 2

tBar.

f

t

i

£

di

x

^L^

— m

444 4^~44i

Pp44 sps

p- .

i

5E

t

Drs.

-r >

P

>

?Wr

#fc??Z0

r

^i—

.

^

m=^& 21788-

^ ^4 m Clar

in

ii 4

i

-J-

ru ro m

7fTT

«

i

mOSSO'CcTS.

=*-¥-

444

4-j^

:

Hi » rTr S ^ ±5

,

m

i^—ikiii

i

i

ni

ni

5-^

Trombes

in

in

mOSSOCors

M Jti 4 i

j*f**

Tutti

4 i^4

fM ru

m

/ $

80 in

m

.

£

I

p

m&4

rr in

III

zgg

cresc.

a

poco

poco

n