Vertical Plane Focal Point Conducting

Vertical Plane Focal Point Conducting

Leonard Atherton

BALL STATE MONOGRAPH NUMBER THIRTY-THREE

Vertical Plane Focal Point Conducting

Leonard Atherton Director of Orchestras and Professor of Musical Performance

BALL STATE MONOGRAPH NUMBER THIRTY-THREE Ball State University, Muncie, Indiana 47306 1989

This publication is not for sale.

©1989 by Leonard Atherton Library of Congress Catalog Card Number: 89-61750

89384

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Contents Foreword Preface

v

vii

Chapter One: The Physical Rationale behind

Conducting Patterns

3

Chapter Two: The Application of Gravity

6

Chapter Three: The Baton

8

Chapter Four: Starting and Stopping

12

Chapter Five: One Beat to a Measure

14

Chapter Six: Two Beats to a Measure

15

Chapter Seven: Three Beats to a Measure

16

Chapter Eight: Four Beats to a Measure

18

Chapter Nine: The Application of Varying Baton Speeds

20

Chapter Ten: Duple Subdivision

21

Chapter Eleven: Triple Subdivision

23

Chapter Twelve: The French Six and the Regular Six

24

Chapter Thirteen: Irregular Rhythms—Slower Tempi

29

Chapter Fourteen: The Raised and Lowered Ictus

32

Chapter Fifteen: Irregular Rhythms—Quicker Tempi

34

Chapter Sixteen: The Fermata

36

Chapter Seventeen: Changing Tempi

37

111

Chapter Eighteen: Pattern Modification

38

Chapter Nineteen: The Non-Baton-Holding Hand

40

Chapter Twenty: The Cue

41

Afterword

42

Appendix

Index

iv

Exercises for Chapter Five

43

Exercises for Chapter Six

43

Exercises for Chapter Seven

44

Exercises for Chapter Eight

44

Exercises for Chapter Ten

45

Exercises for Chapter Twelve

46

Exercises for Chapter Thirteen

47

Exercises for Chapter Fourteen

48

Exercises for Chapter Fifteen

48 49

Foreword The notion of passing all beats through a consistently fixed and relatively located focal point is not new. It struck me more than thirty years ago that the conductor's beat should be disciplined by that imaginary "x" which makes all strokes clear to each performer. Subsequent years of observing the effectiveness of great conductors have served only to confirm this early observation and make it an integral part of my own teaching. Imagine then the surprise and joy with which I found Leonard Atherton's text, with its theory of "focal-point" as its primary thesis! Here, in clear prose and faithful diagrams, is exactly what is meant by passing all beats through a central location. The book's companion computer disk makes these diagrams all the more clear through examples in motion, approaching the difficult training of legato through the initial introduction of the staccato pulse. For the classroom or your personal library, here is a text for both the beginning conductor and the stronger, more experienced one, which will provide logic, system, and practice to the art of conducting. John P. Paynter Chairman, Department of Conducting Director of Bands Northwestern University Evanston, Illinois

V

Preface Through many years of conducting ensembles that required clarity of technique for musicality and ensemble security, I have developed further technical ideas that I first learned from George Hurst. During master classes held at the Guildhall School of Music in London, England, Maestro Hurst imparted his concepts of maintaining the ictus—the definable point at which sound begins—in a single place and using gravity. The teaching of technical conducting skills is one part of my responsibility as a faculty member of Ball State University's School of Music. The students' backgrounds and aspirations include performing, teaching, recording, and other aspects of music. It became apparent that a lot of information had to be given quickly and effectively, especially to those going into teaching, since conducting generally becomes one of their major career activities. I teach this technique because it is capable of great clarity and rhythmic integrity. Since each step logically builds on the one before, it is easily understood in the relatively short time students have to spend on this part of their studies. This monograph is intended to introduce the reader to vertical plane focal point technique, which may help those early in their conducting training as a basis, serve as a broadening influence on my colleagues, and be of interest to music lovers who want to know more about the mysteries of the conductor's sign language.

vii

Vertical Plane Focal Point Conducting

Chapter One:

The Physical Rationale behind Conducting Patterns Focal point conducting technique is based on a number of simple premises, the major of which are as follows: Each beat consists of three parts: a. a preparation b. an ictus—the point at which the precise beginning of a beat is marked c. a rebound These three parts are found in many physical activities, such as swinging a golf club or a tennis racquet or kicking a ball. The "ictus" is the point at which the ball is hit. In conducting, it is the moment when the ensemble "sounds." To give rhythmic consistency and clarity to the ensemble, a. the preparation stroke is the same length to the ictus as the rebound stroke is from the ictus. b. all beats pass through the same ictus position. Every physical activity shares the features of a. tension b. relaxation. Since conducting, and indeed all music-making, is a physical activity, basic physical laws apply. The musician should be as coordinated and physically prepared as an athlete. Whereas the athlete has only to propel the body or an object, the musical artist has to use physical skills in conjunction with intellectual and emotional demands. Regrettably, would-be musicians often consider that physical preparation is not of particular importance, and as a result technical skills suffer. Good sports for conductors are badminton, table tennis, and squash. All require a flexible wrist and quick reactions. Unhelpful sports are those, like tennis and racketball, that require a stiffer wrist. Great athletes have had their physical abilities analyzed to minute degrees so that science can understand how one person can run faster than another. It can then assist others to better their times. Great musicians also pass their technical secrets along and share with the athlete a way of performing that appears effortless and natural. A natural technique generally has to be taught, but once acquired and maintained, it leaves the performer free to concentrate on musical demands. Conduct3

ing is a healthy upper-body exercise—probably one reason why conductors tend to live a long time! Effective conducting should transmit the correct amount of tension and relaxation to the ensemble. An overabundance of tension, generally seen in younger conductors, will lead to a cramped sound and exhausted players. When these symptoms appear, the inexperienced conductor will often redouble effort and energy, of course compounding the problem. The answer is to "lighten up." The right amount of tension and relaxation is a matter of score interpretation based on the conductor's understanding of the composer's demands. These degrees of tension and relaxation should be visible to the ensemble, which will react accordingly. Since conducting is a physical activity, naturally left-handed people should obviously conduct left-handed. No one insists that a lefthanded tennis player convert to the other hand! A superficial argument is made that it is the direction that counts, not the physical rationale behind the direction. However, the forehand of a right-handed tennis player looks like the forehand of a left-handed player. Both share the same physical characteristics. Left-handers reading this text should apply the basic rules in the manner set out here, but they will need to reverse the diagrams. Posture and stance are important too. Do not stand with the feet spread apart, because this is an unbalanced position and the knees can easily lock. Adopt a stance in which the foot under the baton hand is ahead of the other foot (the heel of the forward foot should be even with or slightly ahead of the toes of the back foot). Weight should be forward so that the heels are almost off the floor. From this position, it is easy to move when necessary and difficult to lock the knees, as happens sometimes under nervous pressure. Such a stance also provides a stable platform for the baton hand. Stance is as important in conducting as it is in everyday social behavior. Conducting, after all, is a form of body language. Leaning forward tends to crowd or threaten the person one is addressing. It denotes an inward intensity also. Standing naturally and "tall" shows confidence and assuredness. Leaning away invites others to come forward and close the space you have caused. One's stance elicits similar responses from the musicians. Leaning forward can elicit an intense "espressivo," but this effect will pall if used too often. A confident upright stance will give the ensemble the feeling that it is in good hands; for that extra surge of sound that is is occasionally needed, leaning back will get that response. The basic upright stance will serve almost all conducting needs. Any use of the other

4

stances should be made only for the occasional moments when no other way seems to get quite the sound one believes a passage should have. There will be many times when it is necessary to depart from the rules. These times come as a result of musical dictates from the score or from practical considerations of the performers and the performing environment. However, a good understanding of a sensible and logical technique is a prerequisite for the self-confidence needed to lead an ensemble. By understanding the rationale of one's technique, one will be able to find logical solutions to any problems found in scores.

5

Chapter Two: The Application of Gravity As with all physical activity, efficiency is considered to be the least amount of effort required to get the job done. Too much is wasteful, too little will not gain the required result. Efficient conducting technique will allow one to conduct for hours at a time, yet not allow physical fatigue to interfere with the other aspects of making music. It also allows more of the mind to concentrate on other matters of interpretation. In order to maximize efficiency, a conscious use of gravity will allow a lot to happen with little or no expenditure of physical effort. This principle is hard to comprehend at first because it feels "too easy" and most people have the mistaken impression that conducting must be physically exhausting to be "honest." As with many things, external impressions are at odds with internal reality. Gravity is used in the basic technique on the preparation part of every beat, all of which are downward motions, as you will see in later chapters. Using this natural physical law and harnessing its energy gives conducting a natural look and a sense of inevitability without which ensembles will find it difficult to be confident of what their conductor is intending they should do. Things are caused to move in two ways: either effort is applied to cause movement, or gravity is allowed to take over. When you hold a ball, you have the choice of throwing it to the ground using energy, or just letting go and allowing the ball to drop naturally. Obviously, you can choose to do one or the other, or use a combination of the two if you want the ball to fall somewhat faster than gravity alone would take it. To feel the strength of gravitational force, hold an arm out to your side at a right angle to the body. Keep it there for long enough to feel the muscles beginning to work hard at keeping the arm in that position. The force of gravity, trying to bring the arm down, is pitted against muscular strength, which is working to keep the arm lifted. Without letting the arm "break," allow it to fall by suddenly ceasing all muscular effort. The fingertips should describe a quarter-circle as the arm falls. Do not prevent your hand from slapping your thigh! There is a very natural tendency to want to "put the brakes on." If you followed the instructions properly, you will have received a stinging slap. You will also have been surprised at the force of the blow occasioned without the slightest amount of personal effort. This force has a most important contribution to make to conducting technique. 6

A further natural phenomenon results from the interruption of the gravitational pull. This will be of importance when dealing with the rebound part of the beat. To experience this effect, put your arm straight out in front of you and raise it forty-five degrees. Remember that it is necessary to release muscular tension suddenly, which allows the hand to fall, and also remember not to allow the arm to "break." Allow the arm to free-fall until your hand is at thigh level, then suddenly stop the fall. This will require substantial muscular effort—so much that once the fall is stopped, the muscular effort will cause your hand to rise slightly. This is the rebound sensation. The free-fall of the arm is the preparation The stopping of the free-fall is an ictus The rise of the hand caused by the sudden stop is the rebound.

7

Chapter Three: The Baton Batonless conducting has been in vogue from time to time. There are some moments when not using a baton can be very effective musically, and when in close-quarters—with a small chorus, for example—the baton may not be necessary. However, some do not use it because it takes time to feel comfortable with it. These people will forever cause their ensembles difficulties, and only because they are not willing to overcome their own difficulty! Batons that are between twelve and sixteen inches in length will be the most useful size for the average build and other concerns such as the size of the room, the size of the ensemble, and the style of the composition. Generally, the smaller any of those elements are, the smaller the baton may be. To establish the basic grip, let your hand hang down to the side and let the fingers curve inward as though you were gently holding a tennis ball. Keeping the elbow still, raise the hand out in front and, with the other hand, place the baton so that it balances on the upper joint of the index finger. The heel of the baton should be under the thumb. The baton should point straight out and not across the body. Change the angle of the wrist to accomplish this if necessary. Move the elbow so that it is not cramped against the body. Check to see that the baton is still pointing directly out in front. With the other hand, upset the balance of the baton slightly by moving it away from the body so that it just begins to fall. Rest the thumb lightly on the shaft of the baton. If the baton cannot "float" lightly because the heel is too long or the shaft is too long or heavy, then you should change to another baton. Cause the baton to rise and fall using a slight wrist motion. The wrist action is that used when opening a door. Do as little as possible and learn the feeling of the baton as it takes on a pendulum motion of its own. The more the baton does on its own, the less physical work the conductor has to do. Turning the palm down may be used in heavier passages such as pesantes. To train the wrist, the arm can be placed on a table top or similar flat surface so that the wrist hangs over the edge. Take the baton and move it in all directions without lifting the arm from the table. This will ensure the development of the wrist pivot.

8

The baton is used for two major purposes: a. to give clarity. b. to give magnitude. The baton tip is much more precise than fingers. When being used for clarity, the baton should be used within "natural" boundaries. To establish those boundaries, try the following steps: 1. Standing in front of a mirror without the baton, conduct an easy up-and-down motion that does not go above the eyes or below the waist. Use a piece of tape to mark the upper and lower points. 2. Now, at the middle of the two points, form a cross, with each arm the same distance from the center. Mark the right and left ends. 3. Take the baton and conduct an up-and-down motion. Do not allow the tip to go outside the marked boundaries! 4. Now do the same exercise, but from side to side. You will experience a very limited and cramped feeling. This sensation must be understood and allowed to become natural. The natural feel obtained without the baton also looks natural, but the baton is an unnatural extension of your arm. Therefore, to appear natural with the baton requires that the baton tip stay within those natural limits. The conducting arm has three pivot points: the shoulder, the elbow, and the wrist. Without a baton, the most detailed work is done by the wrist, with the elbow coming into play for the average tasks and the shoulder used for heavy effects. With a baton, the pivot points change. What was done by the wrist is now done by the index finger's upper joint. What was done by the elbow is now done by the wrist, and what was done by the shoulder is now done by the elbow. This leaves the shoulder for use at times when magnitude is called for. In all work with the baton, the tip of the baton must lead. It is most confusing when the real beat seems to be in the wrist or elbow and the baton tip follows imprecisely. Therefore, think of the baton tip as causing movement to happen rather than following movement begun by the wrist or other pivot. When used for magnification, the baton tip is allowed outside the natural boundaries. This point can be demonstrated by standing in front of a mirror and, with baton in hand, conducting the same motions as before. Allow the hand to go to the original limits. Notice how large the area is that the baton now covers! Now experiment with gradually reducing the covered area until you come back to the natural size.

9

Using the baton for magnitude is done in large places where musicians are a long way from the conductor. Then, the size still looks natural from a distance. There is a danger that those closest to the conductor will respond to the large beat and cause balance problems by being too loud. The conductor is at liberty to ask those musicians to underplay because the beat size is to assist those farther away. The large beat size is also used for particularly loud passages. The baton tip initiates each physical movement, and when magnitude is of importance, the pivot points can extend even beyond the shoulder. In some instances, the energy of the baton can be such that it moves the whole body side-toside, causing it to pivot at the hips, or lifting it onto the tips of the toes or even off the floor. Look into a mirror and make the smallest possible up-and-down motion of the baton tip. Now extend the arm to its fullest length while pointing the baton tip at the sky and standing on tiptoe. Bring the arm down so that the baton tip is pointing at the floor. Now do the same with side-to-side movement, first with a tiny range, then as wide as you can extend. You can see that a huge physical range is available. Remember that the boundaries are for the most extreme effects. Remember too that the goal is to get the desired result with the least movement. In general, make sure that the tip of the baton stays above the waistline and clear of the music stand. The stand itself should be at a height where pages can be turned securely with the arm extended fully and should not be reversed so that the lip of the stand faces the ensemble, giving the negative impression of having a wall between the conductor and the players. The notion that the reverse position makes it easier to turn pages is not sufficient reason to erect this barrier. Actually, it does not make turning pages easier. In fact, it may cause problems because the score no longer has contact with anything but its back, and hence may slide around more easily. Allow your baton to fall freely, using gravity. Remember that the baton's balance should be such that it will slowly fall. Use of the wrist will stop the fall and guide the direction of the rebound. This brings us to other natural rules: a. Each preparation speeds up. b. Each rebound slows down. These, as with all rules, are of course modified for musical or technical reasons. You will notice that a constant baton speed appears contrived and also has no feeling of inevitability, without which musicians will feel insecure. Therefore, although the ictus comes at a regular pace, the baton changes speed before and after each ictus. Think of what happens to a

10

ball thrown straight up into the air. It leaves the hand with energy, but immediately begins to slow down because of the gravitational pull. At the highest point, the ball comes to a stop and then begins to fall, picking up speed as it does so. This point of rest will be one of the most important parts of your technical skill. c. Each preparation begins from rest. d. Each rebound finishes at a point of rest. Since each preparation speeds up, and each rebound slows down, e. the tip of the baton is moving fastest at the ictus. A major conducting problem is the use of too large a pattern. This practice causes the ensemble to overwork and leads to such inherent problems as coarse tone and poor intonation. It is more important to appear natural to the ensemble than to feel natural yourself. With experience, belief, and self-confidence, the unnatural feeling will be replaced by a natural one. After all, a golf club or a tennis racquet is also an unnatural extension of the arm, and it takes practice and time to get the desired result from them.

11

Chapter Four:

Starting and Stopping Starting Tempo is set by the baton leaving the ictus and travelling through a rebound (half of a beat) and a preparation (half of a beat) as it returns to the ictus. The time that is taken should equal the tempo of the required rhythmic pulse. The upbeat, as it is often called, is shown in figure 1. Figure 1.

Step One

Step Two

baton leaves ictus

baton returns to ictus

You should notice that all of the drawings are diagrammed for the right-handed conductor to be able to use without needing to reverse the image. Left-handed conductors should treat the diagrams as a mirror-image. The upbeat is clinically effective and gives a clean start, which may lack warmth, because the ensemble's reaction time may be sufficient for sound to be made but insufficient for sound quality to be considered. At such times, the use of a pre-preparation may be very effective: the conductor takes a readiness motion that shows the placement of the ictus, and in the same motion, moves slightly away from it as shown in figure 2. Figure 2.

• baton at ictus

baton moves away and pauses

The baton pauses, returns to the ictus point "out of tempo" (figure 3), then gives a whole upbeat (from an ictus location to the next 12

ictus "in tempo"). This additional small gesture will be useful in such other ways as helping start a passage that has a pick-up of less than a whole beat. Figure 3.

Step One



Step Two

Step Three

Stopping There are two basic types of release. The first type is made at the ictus point of the next beat. The second type is made by a small, circular gesture at the top of the rebound. You will recall that the baton comes to a point of rest at the end of the rebound. To make a release gesture, the point of rest now will act as a new location of the ictus. The relocation of the ictus has great value in certain circumstances that will be detailed in later chapters. Trace a circle that slows as it goes up, gathers speed as it passes the top until it reaches the new ictus, and passes through for a small rebound (see figure 4): if a secco release is required, there is no rebound. Figure 4. release at the end of the rebound preparation rebound upper ictus

rebound

ictus

It is essential that the baton finish in a position from which it can continue without any excess motions caused by repositioning. Another rule: Always finish in a position from which you can readily continue. This rule may require that the circle be made in the direction opposite to the one shown in figure 4. 13

Chapter Five: One Beat to a Measure In some ways, conducting in one is very difficult. The basic technique is the most simple, but this simplicity can cause a lack of subtlety. The pattern is a lift from the ictus and then a return that falls to the same point (see figure 5). Figure 5. preparation

rebound i ctu s

The downward motion is used to signal the beginning of a measure in any time signature and is used by instrumentalists for counting measures of rest. It is extremely important that the downstroke be obvious at all times. The downstroke (ax-chop) motion is the strongest physical motion available to us, which is why this direction is chosen for the first and generally the strongest beat in a measure. If there are solo passages when the ensemble is not actively accompanying, it is important that a small downstroke be shown. This is called "marking." Such motions should not be seen readily by the audience, who will be concentrating on the soloist's performance and should not be disturbed. The purpose of marking is solely to show the ensemble the passing of each measure.

14

Chapter Six:

Two Beats to a Measure The two-beat pattern is built up by using the standard final-beat pattern common to all measures of more than one beat. The upbeat pattern, used here for the second beat, is shown in figure 6. Figure 6.

Beat Two rebound

preparation

i ctus

The rebound sets up the preparation of the first beat of the measure. The rebound of the first beat in turn sets up the preparation of beat two, as is shown in figure 7. Figure 7.

Beat One preparation

rebound

15

Chapter Seven: Three Beats to a Measure The three-beat pattern, like all patterns except one to a measure, is built up from the standard final-beat pattern (see figure 8). Figure 8.

Beat Three rebound

preparation

i ctu s

Since the position of the ictus is now established as well as the position where the preparation of beat three begins, the direction of beat two can be established. The rebound of beat two will finish where beat three's preparation begins, and the preparation of beat two therefore begins at an equidistant point on the other side of the ictus (see figure 9). Figure 9.

Beat Two preparation rebound

ictus

To decide on beat one is now simple. The rebound of beat three finishes high, and it is a given that the preparation of the first beat is a downward ax-chop movement. Hence, the preparation comes down to the ictus. Now you can see where the preparation of beat two begins, and this position dictates the direction of the first beat's rebound (see figure 10).

16

Figure 10. Beat One preparation

rebound ,,.

ict u s

17

Chapter Eight: Four Beats to a Measure Four beats to a bar are frequently rhythmically designed as strongweak, strong-weak. Although this analysis is simplistic, the gestures used follow this format. The pattern is obtained by starting with the standard final-beat pattern for beat four (see figure 11). Figure 11.

Beat Four rebound

preparation

.,,-C- "

- ---

ictus

Since the beginning of the preparation of beat four is known, the rebound direction of beat three is obvious. Since each beat has the same travel distance, the preparation of beat three can now be drawn on the other side of the ictus (see figure 12). Figure 12.

Beat Three

preparation

--4.-_•,----)-

---

rebound

-----

ic t u s

With the third beat set, it should be observed that its direction is "strong." It is in the direction of the "karate chop." The second beat's direction can be deduced from the knowledge that where the third beat begins, the second finishes. The rebound can be obtained, and following the rule of equidistance, the preparation can be completed (see figure 13).

18

Figure 13.

Beat Two

preparation

rebound .---.(---

0----.(-----.

ictus

The first beat remains to be completed. It begins at the end of the fourth beat's rebound and falls to the ictus before moving across to set up the preparation of beat two. Beat one therefore looks like figure 14. Figure 14.

Beat One preparation

rebound

ictus

19

Chapter Nine: The Application of Varying Baton Speeds The speed of the baton will vary according to musical dictates. Generally, the shorter and more accented the note, the faster the baton speed toward and away from the ictus. To maintain rhythmical accuracy, it will be necessary to wait a little longer at the end of the rebound. This technique is also useful in helping to clarify pizzicato notes. The angle used to and from the ictus will be a sharp one. Conversely, when gentleness is needed, the preparation will be slower. The angle will be softened also, making more of a U than a V. For an entry that begins on the second half of a beat, the preparation should be as for a staccato note on the beat. You may find that a slight push away from the body at the ictus will give a sense of inevitability. The rebound should also be staccato, and the baton must then pause at the top of the rebound and wait until the entry is made. This momentary pause will be unnerving at first, but if the initial ictus has had a sufficient sense of inevitability, a definite entry will be made. Beat speeds need to be analysed constantly. In an fp where the p is sustained, the baton will speed quickly toward the ictus showing strength, and rebound gently and slowly to show the held p. It is important at times to prevent sound from happening. At such times, the baton should show no sign of inevitability; rather it should trace the pattern in a completely even and legato fashion. Silence can also be maintained by coming to a dead stop at the top of the rebound. You can conduct syncopated entries, dynamic effects, and releases using a rebound that leaves the ictus at a decidedly quick speed. The closer the "effect" is to the beat, the quicker the baton travels from the ictus. The feeling of inevitability occasioned by the suddenly more rapid movement will cause the syncopation to occur.

20

Chapter Ten: Duple Subdivision The subdivision technique is used in tempi that are so slow that to beat the "major" beats in the bar would be too slow for accuracy and for control. Inexperienced conductors use it too much. Major beats should be shown wherever possible. Do not subdivide just because it feels easier. Remember that when you subdivide, you give two or three times as many signals. Further, lesssignificant decorative notes and harmonies may be given too much importance. The term "major beat" does not imply that inner beats are always of less musical importance. I use the term only for explanation. All subdividing must outline the major beats clearly. This is done by using the preparation direction for the major beat; the "and" ( +) uses the major beat's rebound direction. This leaves the rebound of one and the preparation of the + to be used to show the subdivision. The rebound of the major beat returns along the path of the preparation but does not rise as far. The preparation of the + falls to the ictus and appears as a small version of the preparation for the major beat. This technique uses a rebound based on the concept of using gravity. When a ball is dropped to the ground, it speeds up, hits the ground, and rebounds. There is energy used at the moment of impact, and with gravity also slowing the rising ball, the rebound does not reach the point of release. Recall the exercise used to stop the falling arm. The arm rose naturally when stopped suddenly. Allow the baton to fall and rebound along the same path. Use the preparation direction of each of the beats of the four-to-a-measure shown in the previous chapter, and practice the rebound of each major beat. Figures 15-20 show how to arrive at a subdivided three.

21

Figure 15.

Figure 18. Beat One

Beat One +

preparation

height of natural rebound

preparation

rebound to — •

rebound i ctu s

ictus Figure 16.

Figure 19. Beat Two

Beat Two + rebound

preparation

preparation rebound to —

ic tus

Figure 17.

l otus

Figure 20. Beat Three

Beat Three + rebound

preparation

i ctus

preparation ic tus

You must use more physical control when subdividing. Because there are two differing sizes of strokes being used, it becomes necessary to control the smaller strokes physically so that they do not arrive at the ictus early or late at the end of the rebound. A definite physical effort on the part of the conductor is required to keep the rebound of the + beat from being too slow. Since the preparation of the + is small, effort is needed to send the baton to the end of a major beat's rebound. The gravitational effect will be small leading to the ictus, and a physical boost is required to send the baton the rest of the way. The ability to use the moment of rest at the end of the major beat's rebound will prevent the inner beat's preparation from arriving at the ictus too soon. 22

Chapter Eleven: Triple Subdivision Triple subdivision is accomplished in the same way as duple subdivision. There are now two rebounds and the first has to be generous to allow room for the second. The analogy of the dropped ball applies again. If the ball is allowed to bounce twice after initially hitting the ground, the second bounce does not reach the same height as the first. Obviously, there will be yet more physical control needed because there are now three different stroke sizes. Another rule has implications for this system of triple sub-division. Do not use signals that have other meanings in our society. This covers all kinds of signals such as "thumbs up" or a "teacup pinky" position. In triple subdividing, the final beat of the bar appears patronizing if the subdivision technique is logically followed. It results in motions that are the same as the little pats on the head that are given to young children. This pattern does not comfortably allow for a musical anticipation of the first beat of the following measure, a basic necessity of musical movement. To overcome this unmusical situation, the second part of the "French Six" pattern is used. This movement of physical beauty allows flow and control. It is introduced in the next chapter.

23

Chapter Twelve: The French Six and the Regular Six Depending on musical and tempo considerations, six beats to a measure can be conducted in two basic ways. The French Six pattern is derived from the regular two-beat pattern and the triple subdivision technique (see figures 21-24). Figure 21.

Figure 22. Regular First Beat

preparation

Same but subdivided

preparation (1) rebound (1) rebound

.,--.->---

preparation (2)

ictus

rebound (2)

preparation (3)

ictus

Figure 24.

Figure 23.

Special Pattern

Regular Second Beat

rebound (6)

rebound

preparation (6)

preparation

•,,k- ' ' -

preparation (5) ictus (6)

..

i ctu s

ictus (5) preparation (4)

rebound (4) ictus (4)

24

rebound (5)

On the left is the regular two-beat pattern. On the right is the French Six. In Chapter Four, I introduced the concept of changing the ictus position. Here, the ictus moves vertically yet is reached by a curving stroke that has preparation and rebound of equal distance. This is achieved by the rebound stroke climbing at a sharper angle than the angle of the preparation stroke. In this motion, height is achieved from which the preparation stroke can fall. The regular six pattern introduces the concept of using major beats along with occasional subdivisions. This concept is important since it is used to arrive at the beat patterns for all irregular meters of slower speeds. In six beats to the measure, the usual arrangement is of two groups of strong-weak-weak. Whereas the "French Six" is based on the regular two-beat pattern and triple subdivision, the regular pattern is based on the four-beat pattern and uses two duple subdivisions to arrive at a count of six. The four-beat pattern has strength on beat one (ax chop) and beat three (karate chop). In six, the strong beats are on beats one and four. The karate chop must therefore be delayed one beat, which is accomplished by subdividing the second beat of the four-beat pattern. Whenever possible the final beat of the bar is not divided so that it is both clear and not cramped. The following beats are now in place: beat one (ax chop) beats two and three (subdivisions of the second beat of the regular four pattern) beat six (regular pattern for the final beat of a measure) Since beat four is the other strong beat of the measure, the other strong gesture should be applied, and so the karate chop is used here. Since beats one and six are best left as major beats, the other two beats of the regular four-beat pattern are subdivided so that the total of six is arrived at. In order to obtain beat five, the third beat of the regular four-beat pattern is subdivided. The result of the above discussion is diagrammed in figures 25-34.

25

Figure 26. Regular Six-beat Pattern

Figure 25. Regular Four-beat Pattern Beat One

Beat One

the "ax chop"

preparation

preparation

rebound

rebound

ictus

ictus

Figure 28.

Figure 27.

Beat Two

Beat Two

preparation

rebound

rebound

preparation

fetus

f etu s

this beat is subdivided Figure 29. Beat Three preparation rebound

fe tus

Figure 31.

Figure 30. Beat Three preparation



rebound

ietus

26

the "karate chop" preparation

Beat Four rebound

fetus

Figure 32. Beat Five preparation

rebound

ictuS

Figure 33. Beat Four

Figure 34. regular final beat

rebound

Beat Six

rebound

preparation

preparation

i ctus

i c tus

There is another pattern that will be of use in this meter since sixes are often subject to the rhythmic variation known as the hemiola. This variation is best conducted using a duple subdivided three-beat pattern, which reflects the nature of the hemiola. With the information from these last two chapters, a diagram may be developed for twelve beats to a bar. This is done by using a regular four-beat pattern and applying the triple subdivision technique (with the final beat being the same as the ending of the French Six). Compare figures 35-38 with the regular fourbeat pattern illustrated in Chapter Eight (see figures 11 - 14). Figure 35.

Beats One-Two-Three Noe preparation (1) rebound (1) preparation (2) Ny rebound (2) preparation (3) NY rebound (3) ictus

27

Figure 36. Beats Four-Five-Six preparation (4) preparation (5) preparation (6)

rebound (4)

rebound (6) ictus rebound (5) Figure 37.

Beats Seven-Eight-Nine

preparations 7

rebounds Figure 38.



8

9 7

8

Beats Ten-Eleven-Twelve rebound (12)

preparation (12)

preparation (11)

rebound (11)

preparation (10) rising ictus

Maintaining control in a tempo that is very slow and majestic is hard. Long notes may be present during which a number of subdivided beats may appear fussy and out of character. At such times, the major beat may prolong its contact at the ictus and move on the +. This later, quicker motion will be much clearer to the ensemble. To help releases, entries, accents, and other musical events that happen after the beat, the baton should perform a motion that sets up a rebound sense of inevitability. This motion involves speeding up the rebound after giving a deliberate bounce at the ictus. The speed and bounce will depend on the quality of the syncopated event. A degree of experimentation will be required before you feel comfortable with this movement. Generally, the louder or sooner the event is after the beat, the faster the rebound will be, and the bounce will be more pronounced. 28

Chapter Thirteen Irregular Rhythms—Slower Tempi The Slow Five Fives are generally made up of two groups, either 3 + 2 or 2 + 3. The regular six above was built on a regular four pattern but two beats were subdivided to give a count of six. Therefore, five can also be built on the regular four pattern. Only one major beat needs to be subdivided to bring the count to five. In the 3 + 2 format, the first beat is the strongest and so the axchop motion is applied to it. The next strongest beat is the fourth beat, and the next strongest physical motion, the karate chop, is applied to it. The final beat is left as a major beat, and that leaves beats two and three that can be obtained by using the duple subdivision technique on the regular four-beat pattern's second beat. The same approach is used when the format is 2 + 3. Here the karate chop is used for beat three. However, the third beat of the regular four-beat pattern is subdivided to give beat four as well. This allows beat five to remain as a regular final-beat pattern. Figures 39-52 show the principles at work: Regular Four-Beat Pattern 3 + 2 Five-Beat Pattern 2 + 3 Five-Beat Pattern Figure 39. Figure 43. Figure 48. Beat One Beat One Beat One

preparation

preparation

preparation

rebound

rebound

rebound

.„..----)---.-----''

iCtUS

i ctus

Figure 40. Beat Two preparation

rebound

----(---

Figure 44. Beat Two rebound

10 ,....—(-----

IOUS

ictus

Figure 49. Beat Two preparation

rebound

----

f-____.

preparation

-----E

----

I Ct US

29

Figure 45. Beat Three preparation

rebound

Figure 41. Beat Three rebound

preparation

fetus



Figure 50. Beat Three

Figure 46. Beat Four preparation

preparation

rebound

le tUS



i CtuS

Figure 51. Beat Four rebound

preparation

fetus

Figure 42. Beat Four

Figure 47. Beat Five

rebound

rebound

rebound



30

preparation

preparation

preparation

I CU'S

Figure 52. Beat Five

le tUS



i ctuS

The Slow Seven Generally, there are three groupings in measures of seven beats. To obtain a beat pattern for this meter, the following steps are taken. Since there are three groupings, the three-beat pattern is considered as a base. When this pattern has duple subdivision applied to it, there are six counts. To make seven, one more count is needed, which can be obtained by using one triple subdivision. Remember that if the grouping is 2 + 2 + 3, the final beat uses the French Six ending. The reason for using the subdivision technique for odd meter patterns is that the basic groupings are readily shown by the major beats, and when changing tempi a new pattern does not have to be used. Instead, subdivisions are easily incorporated into the major beat pattern as tempi slow or they can be left out as tempi get faster. In triple subdivision, it may be helpful to leave the second + out in the accelerando one beat before going into the regular beat pattern. In a ritenuto, incorporate the second + into the pattern one beat before triple subdividing each beat. Other irregular meters in slower tempi are dealt with using the same principles. Ten/eight for instance is basically a four-beat pattern. For example, in the grouping 2 + 2 + 3 + 3, duple subdivision technique would be used for the first two major beats and triple subdivision for the last two. Since the final major beat requires triple subdivision, the French Six ending must be used. In passages of frequent meter changes, it may be difficult to keep referring to the score's time signatures. A clear marking of twos and threes can be invaluable. For twos, use a bracket. For threes, use a triangle. Bracket is a two-syllable word; triangle is a three-syllable word. By keeping the speed of each syllable constant, the rhythm can be easily felt and heard. Say triangle for every group of three and bracket for every group of two. Then conduct and speak at the same time before conducting without speaking.

31

Chapter Fourteen: Raising and Lowering the Ictus The concept of raising the ictus was introduced by the French Six pattern's final beat, and the concept of changing its location was shown in the technique for releasing at the end of the rebound. Two other uses for relocating the ictus are for certain dynamic effects and to keep a proportional baton speed during quick irregular rhythms. The use for dynamic purposes is similar to that in rebounds. It is not easy to show fp followed by a continuing piano dynamic; it can be done best by relocating the ictus at the top, or close to the top, of the rebound, and continuing to conduct, using this new, higher ictus for lighter sounds, dynamics, and moods (see figure 53). Figure 53.

•

raised ictus position

•

regular ictus position

This is done by reaching the top of the rebound and, instead of falling, regarding this position as the new ictus location and giving a full preparation to the next beat. In faster tempi this becomes unmanageable. Then the other hand may be used to show the new position near the top of the rebound, and the preparation falls only as far as that position. For a subito (sudden) forte that continues with a forte dynamic level, reverse the procedure. The new location of the ictus will be lower. The level of the location can be shown by the other hand; drop the baton tip quickly to the lower position during the preparation part of the beat. Maintaining a proportional baton speed in irregular meters is helpful to the ensemble. Instead of returning to a constant ictus location when the grouping is 2 + 3 (which means that the second group is onethird longer), the second ictus should be placed lower so that the baton has one-third longer to travel. The sight of a baton speeding up and 32

slowing down while an ensemble does its best to maintain a constant speed of inner beats is distracting. A strong feature of quicker irregular meters is the rhythmic power of a continuing, even, and constant pulse. This feature cannot be achieved if the ictus stays in the same place, because the baton will be forced to vary its speed by one-third every other beat while keeping a constant distance from the ictus, or the baton will have to travel onethird longer or shorter every other beat. Dropping the ictus vertically one-third farther allows the baton to maintain a constant speed and keep the same distance on either side of the ictus. This is the clearest way to deal with irregular meters, since the only irregularity is the vertically changing ictus point. However, the location is still central and on a known vertical plane. The ensemble will now have a conductor whose proportional beat pattern mirrors the constancy of rhythm in their parts and whose ictus happens every time the baton reaches the constant vertical plane.

33

Chapter Fifteen:

Irregular Rhythms—Quicker Tempi These meters have traditionally posed the biggest technical problems for conductors. The vertical plane focal point technique reduces the problems to a minimum, offering the greatest potential for clarity. By relocating the ictus, you alter the travel distance, thus allowing the baton to maintain a constant speed while you are conducting irregular meters. Five/eight meter At a quick tempo, five/eight is basically a two-beat pattern with one beat that is one-third longer than the other. Use of the movable ictus discussed in Chapter Twelve is made here (see figures 54 and 55). Figure 54.

Figure 55. (a) 3 + 2 preparation (1)

preparation (1)

rebound (2)

rebound (1)

preparation (2)

ictus (1)

ictus (2) rebound (1)

ictus (1)

(b) 2 + 3

rebound (2)

preparation (2)

ictus (2)

In figure 54, the ictus has moved higher for the second beat because that beat is one-third shorter than the first beat. In figure 55, the ictus is one-third lower for the second beat because that beat is one-third longer. Seven/eight meter This meter uses a basic three-beat pattern and generally has two groups of two and one group of three. The same procedure is followed for determining the conducting pattern as above. 34

Figure 56 shows the pattern for seven/eight (2 + 2 + 3) Figure 56.

preparation (1) rebound (1) rebound (2)

preparation (2) lotus (1 + 2)

preparation (3)

rebound (3)

lotus (3)

The third beat's ictus position is one-third lower than that of the other two beats. Other similar meters are dealt with in the same way. For example, ten/eight uses the basic four pattern and, if arranged as 2 + 2 + 3 + 3, would use a lower ictus position for beats three and four. The use of brackets and triangles will be most helpful here. As outlined in Chapter Thirteen, the bracket signifies a higher ictus position and the triangle a lower one.

35

Chapter Sixteen: The Fermata Fermatas generally bring a halt to rhythmic impulse. However, it is most important that the baton not be frozen when fermatas require that sound continue. The baton has to continue a slow rebound until the release. If the fermata is silent, the baton should remain still so that no false entries will occur. The timing and nature of the release of a fermata depend on the musical situation. There are many variables, and what the conductor decides to do is a matter of interpretation. It is hoped that this will be an informed, musical decision that has been thought through and that is solidly based on musical, stylistic, and practical grounds. There are three common ways of releasing a fermata that consists of held sound. One can use the release technique at the end of the rebound as shown in Chapter Four, a practice that is most useful when there is a period of silence after the fermata and particularly effective for quiet morendo (dying away) endings. The second method uses the ictus of the next beat as a release for stopping or for continuing. This is bigger, more dramatic, and more visible to larger ensembles. The third approach is used for setting a new tempo after the fermata, reestablishing a tempo, or helping a difficult entry. This release requires that you conduct again the beat on which the fermata is placed, using the subdivision concept of returning along the path of the prior beat. Pause at the top of the rebound and then make the preparation fall in tempo. It may even be necessary to give two beats before a particularly awkward moment. Whatever choice is made, it is of paramount importance that the baton always finish in a position from which it can restart. When the fermata is silent, the baton should remain still until giving a clear and obvious upbeat for continuation. If the fermata is very short and the rhythmic feel is not lost by the ensemble, a preparation or a rebound may be all that is necessary.

36

Chapter Seventeen:

Changing Tempi Some of the most important moments for maintaining ensemble occur when tempi change, especially if the change is sudden. This activity alone is a prime reason why conductors exist, because a large ensemble could never make such changes without assistance. Small chamber orchestras, choirs, and groups can change tempi effectively, but once a certain ensemble size is reached, a central beat is needed. It is obvious that every part of a composition requires decisions made by the conductor to be shown clearly to the ensemble. Therefore, upcoming changes in tempi must be very clearly set in the conductor's mind. Any doubt will lead to poor ensemble, and tempi not intended by either conductor or composer will result. Once decided upon, tempo changes may be made by observing the following suggestions: When going from a slower to a faster tempo, stop at the top of the rebound (as though making a fermata), then from that point (a raised ictus position) give a complete upbeat in the new tempo. This occurs during the completion of the last beat in the slower tempo by the ensemble. When going from a faster to a slower tempo, it is less easy to forewarn the ensemble. In this case, it is the rebound that must take the responsibility for the change. Continue the faster tempo right up to the first ictus of the new tempo, then ensure that the rebound accurately reflects the new slower tempo. When the tempo is slowing down (ritenuto), it is the rebound that controls the change until the tempo requires subdivision. When the tempo is speeding up (accelerando), the preparation controls the changes. If the tempo was subdivided, a smooth transition into major beats is all that will be needed.

Before the advent of the modern conductor, music was written in such a way that ensemble could be maintained by deciding on a tactus and having each section of the work relate to that central pulse. The hemiola was used for the same purpose. The modern conductor can benefit from this technique. When making a change of tempo, you should see whether there is a way of setting up the new tempo by relating it to the previous one. There will be a more definite feel that the new tempo is right if you do this. However, if such an attempt results in a tempo that is not credible musically, then do not apply it. 37

Chapter Eighteen: Pattern Modification There will be constant need to adapt the conducting pattern from the basic one expected by the time signature to what is required by the musical demands. Do not be adamant about your changes, since you may find ensemble members who prefer that you stay in a basic pattern to help them with counting or for other reasons. If your changes work, it is better to show the shape of the line but not at the expense of losing the rhythmic pulse or becoming unclear. In a fast one-beat pattern, it may be beneficial to show groupings of bars for phrasing by using two-, three-, four-, or other beat patterns. This practice should not become an alternative to being able to beat in one clearly. The greatest test of pattern modification is dealing with accompanied recitative. Many large ensembles with experience in playing the romantic repertory play "behind the beat." This is strange and unnerving the first time it is experienced by either a member or a conductor new to that ensemble. What takes place is that the entire beat is demonstrated before the ensemble responds—the preparation, ictus, and rebound are all observed. The ensemble then has all of the information about the approach to the note, the quality of the attack, and how to continue once the note is sounded. Then the ensemble plays. By this time, the conductor may have almost completed the next beat! When it is necessary, such ensembles do tie themselves to the beat, especially during passages of rhythmic difficulty. This type of mature musicianship can produce a special quality, and it will be found that for passages of great warmth of expression, on-the-beat (ictus) playing will give too "clinical" a sound. In all diagrams, I have used a simple basic shape. Modifications may occur for reasons of articulation and musical requirements. The angle. can be made sharply for staccato passages, or softened for smoother legato passages. Since music may require strength or weakness on any part of the bar, the diagrams should be treated like an umbrella. The sides can be folded up. One of the hardest beats with which to convey real strength is the second in a four-beat pattern, since it generally consists of the most naturally weak physical motion (see figures 57-59).

38

Figure 57. Regular Beat Pattern

rebound

preparation

-----*---- ---9--

÷

ictus

Figure 58. Strong Beat Two

preparation

rebound

ictus

Figure 59. Closed Umbrella

. . . ._

••••......

'N

/ I L ._ _ .. _ __. ___ I

-

ic tus

The closure allows the second beat to borrow the strength of the first beat. Once used for the intended effect, the pattern should be made regular as quickly as possible. The pattern may also be "opened," which is useful for legatissimo or marking while accompanying. In general, the higher the preparation starts, the stronger the demand, and conversely, the lower the preparation begins, the weaker the demand.

39

Chapter Nineteen: The Non-Baton-Holding Hand There has been much discussion regarding "the other hand." Some advocate no use, others advocate occasional purposeful use, but all agree that

the empty hand should not constantly mirror the baton in size or on the same plane. The most important instrument for the conductor is the tip of the baton. All other activity is used to reinforce its signals. The whole body is engaged in this reinforcement to a greater or lesser degree, depending on the musical demands. The batonless hand reinforces dynamics and articulation, gives cues, signals warnings, and is used for a variety of special purposes such as non-crescendo (palm down showing that the "lid" is on dynamically), wait (a "traffic cop's stop" with the palm held high facing the musicians), and intonation information. With a choir, the palm down position results in flatness or at best a very dull quality of sound. Turning the palm over, then relaxing into a comfortable forty-five-degree angle by rotating the palm clockwise will often solve this dangerous problem. However, for a string group, some wonderful effects, especially long fading-to-silence passages, are best obtained with the palm face down. It works because the strings are not relying on breath support to maintain pitch. In order for the hand to be an active participant in the musical activity, its motion should mirror the baton's, but be smaller in area, on a lower plane, and closer to the body. In this way, the hand is always available instead of suddenly "darting out" at the ensemble each time it is used in a special function. Thus the hand engages in specific purposeful activity from a point of involvement rather than from a point of disengagement. It can take over the main beating function when the baton is not visible to a part of the ensemble, e.g., when turning toward the cellos so that the baton is hidden from the violins by the conductor's body, It can be of great use for showing new ictus locations and giving hand or register signals as in the KodAly method.

40

Chapter Twenty: The Cue Cueing in a helpful timely manner is one of the major responsibilities of the conductor. It is not necessary to cue every single entry of every single person, and it may even be detrimental to put someone in the spotlight at the moment of an exposed and difficult entry. Better to set up the entry, then allow the musician to play. A nod or smile of acknowledgment afterwards will be gratefully received. Cues can be all-encompassing tutti entries, obvious entries such as the arrival of a cymbal crash, or the most common kind of all, the cue that starts someone, after a long wait, on an entry that is not of major musical importance. This may be no more than a glance in the player's direction or a small private gesture, but it serves to reinforce the player's sense of being right. Cues are made with the head, the eyes, or either hand. The cue should not interfere with the continuing musical flow but should be incorporated within it. Nothing is more disturbing than the overemphasized cue, both to the players, who will be insulted, and the audience, who will expect something highly dramatic to happen. If all they get is a barely noticeable addition to the music, they will feel let down. Cues are made with the baton on the "baton side" of the ensemble, and with the hand to the other half. It is confusing, and possibly dangerous, to give a cue with the hand to the baton side of the ensemble! .

41

Afterword Technique is a means to an end. Without it, the end will be flawed, just as technique without musicianship will not result in an artistic achievement. I have witnessed many musicians who were unable to impart to their audiences the fruits of their study, their musicianship, and their love of the scores they wished to conduct. This publication is dedicated to those musicians in the hope that they can find the help needed so that their technique will accurately reflect all they have to offer. I have felt since 1983 that "focal point" is an unfortunate name for this versatile technique. It seems to me that its real strength is in making it possible to control preparations and rebounds by strokes that are of equal length. The fact that the ictus is in the same place is almost a side effect. "Focal point technique" takes the focus away from what I see as the raison d'être of the entire system—and I think in some cases the name has caused people to dismiss the technique before they really know how well it works.

42

Appendix People who would like to try using the focal point technique should attempt these exercises. All exercises should be done using the baton for clarity, at moderate tempi and an mp dynamic. Exercises for Chapter Five Execute a release after four measures. The release should be made at the top of the rebound. Make sure your release ictus is reached rhythmically. Vary the beat speed and discover at what speed the upper ictus release can no longer be done. You must then take the alternative of using the next beat's ictus. In the one-beat pattern, this will mean returning to the original ictus by means of a circle rather than a straight line. Remember, the baton speeds up as it falls during the preparation and slows up as it rises during the rebound. Exercises for Chapter Six Conduct, using an upbeat first without and then with pre-preparation, ten measures in two, starting on the first beat. Pay particular attention to keeping the ictus consistently in the same position, and make sure that during the rebound of beat one and the preparation of beat two the tip of the baton does not rise so high as to cause confusion about which beat is which, especially for anyone sitting toward the sides of the ensemble rather than in front. Now, conduct the same number of measures, but begin on beat two. The upbeat is now part of beat one. Recall that an upbeat consists of the distance from one ictus to the next—the second one being the ictus on which the ensemble begins. Set the baton tip at the ictus point, move in the direction of the rebound of beat one (half a beat), pause, and return in the direction of the preparation of beat two. See figures 60 and 61.

43

Upbeat to Beat Two Figure 60.

Figure 61.

Now practice making releases at the end of the rebounds of both beats. First conduct several measures before releasing after beat one. When this becomes comfortable, conduct several measures and then release after beat two. Exercises for Chapter Seven Conduct ten measures of three beats to a measure, beginning with both plain and pre-prepared upbeats. Make sure that the baton tip stays low on the second and third beats so that the first beat is clear from all sides of the ensemble. Conduct ten more measures, but start on beat two of the first measure. Now conduct ten more measures, the first of which is preceded by an upbeat of one beat. Conduct a number of measures and make a release after beat one. When that is comfortable conduct again, practicing releases after beat two, then after beat three. Exercises for Chapter Eight Conduct ten measures of four, using both types of upbeat. Conduct ten measures of four but beginning with a. the second beat of the bar b. the third beat of the bar c. an upbeat of one beat before the first measure Use the rule discussed in Chapter Four. Now conduct a few measures and release after a. b. c. d.

44

beat one beat two beat three beat four



Exercises for Chapter Ten Draw the diagrams for subdividing four. Refer to figures 15-20 in Chapter Ten for assistance. Beat

One

Beat One +

Beat Two

Beat Two +

Beat Three

Beat Three +

Beat Four

Beat Four +

45

The technique works for every meter except one-to-a-measure, which is subdivided by using a regular two-beat pattern. Generally, a subdivided two is better shown using a regular four-beat pattern. Conduct five measures of a subdivided three-to-a-measure. Now conduct the same but start on the second major beat. (Use the same rule for starting as before.) Conduct the five measures once again but this time precede the first full measure with an upbeat of major beat. Exercises for Chapter Twelve Draw the diagram for nine/eight meter. Base it on the regular three-beat pattern shown in Chapter Seven. Remember to use the French Six ending. Beats One-Two-Three

Beats Four-Five-Six

Beats Seven-Eight-Nine

Conduct five measures, beginning on the first beat, of a. twelve/eight b. nine/eight c. six/eight (regular pattern) d. six/eight (French Six) Conduct five measures of each of the above meters beginning on a. the second major beat (beat four) b. the third major beat (beat seven)—a and b only. c. the fourth major beat (beat ten)—a only 46

Exercises for Chapter Thirteen

Conduct three measures of three beats to a measure. Continue conducting for another three measures but add a duple subdivision on beat one (keep each stroke the same speed). Now add a duple subdivision to beat two for three more measures and finally duple subdivide beat three. Conduct this duple subdivided three pattern for three more measures. Continue for three more measures, but triple subdivide the first major beat. Draw the pattern for 3 + 2 + 2 Beats One-Two-Three

Beats Four-Five

Beats Six-Seven

Continue for three more measures, but duple subdivide the first and third major beats and triple subdivide the second major beat. Draw the pattern for 2 + 3 + 2. Beats One-Two

Beats Three-Four-Five

47

Beats Six-Seven

Continue for three more measures with duple subdivisions of beats one and two and a triple of the third and final beat. Use the French Six ending. Practice conducting measures of five and seven using different subdivisions. Write your own exercises. Exercises for Chapter Fourteen Conduct a two-beat pattern for four measures in a slow tempo. Then conduct an fp and continue piano for four more measures before conducting a subito f and continuing forte for two measures. Use your other hand to show the new ictus locations. At this slow tempo, do a full preparation (upbeat-downbeat) for the fp. Now do the same exercise at a faster tempo using the other hand in the same manner. However, the baton will not begin the fp by going up, but by pausing at the top of the rebound before falling to the new ictus location. Write your own fp and subito f exercises using the different time signatures covered so far, and change dynamics in a variety of different places. Note: Control the wait at the top of the rebound. Do not head for the next beat too soon. Exercises for Chapter Fifteen Conduct ten measures of a quick five/eight, five grouped 3 + 2, then five grouped 2 + 3. Conduct fifteen measures of a quick seven/eight; five grouped 2 + 2 + 3, followed by five grouped 2 + 3 + 2 and five grouped 3 + 2 + 2. Conduct twenty measures of a quick ten/eight changing each five measures from 3 + 3 + 2 + 2, to 3 + 2 + 3 + 2, to 2 + 3 + 2 + 3, and finally to 2 + 2 + 3 + 3. Write your own exercises mixing time signatures and dynamics. 48

Index accent 20, 28 ax chop 14, 16, 25, 26, 29 baton 3, 8-13, 20, 21, 28, 32, 33, 36, 40, 41 angle 20 grip 8 pivot points 9 range 9 size 8, 10 speed 10, H, 20, 28, 32, 33, 36 tip 9, 10, 11, 32, 40 wrist action 8, 9, 10 batonless hand 40, 41 beat patterns one 14 two 15 three 16 four 18 five (fast tempi) 34 five (slow tempi) 29 six 24, 25 seven (fast tempi) 34 seven (slow tempi) 31 ten 31 twelve 27 cue 40, 41 downstroke (ax chop) 14 fermata 36 French Six 23, 24, 25, 27, 31, 46, 48 gravity 6, 7, 10, 11, 21 hemiola 27, 37 ictus 2, 7, 10, 11, 12, 13, 14, 16, 19, 20, 22, 25, 28, 32, 33, 34, 35, 37, 38, 43, 48 inevitability 6, 10, 20, 28

49

karate chop 18, 25, 29 left-handed 4 marking 14, 39 music stand 10 pattern modification 38 patterns (see beat patterns) physical laws 3 pivot points 9 posture 4 preparation 3, 7, 10, 11, 12, 15, 16, 18, 20, 21, 22, 25, 32, 36, 37, 38, 39, 43, 44, 48 rebound 3, 7, 10, 11, 12, 15, 16, 18, 19, 20, 21, 22, 25, 28, 32, 36, 37, 38, 43, 44, 48 recitative 38 relaxation 3, 4 release 13, 20, 21, 36, 43, 44 ritenuto 31, 37 stance 4, 5 starting 12 ensemble reaction 12, 38 pre-preparation 12 stopping 13, 36 subdivision 21-25, 27-29, 31, 36 triple 23, 24, 25, 27, 31 duple 21, 25, 27, 29, 31 tension 3, 4, 7 upbeat 12, 15, 37

50

,,

,