Divided Meters

5-l Symphonyno.T, first movement J. IlernruThe preparatory beat in divided meter should be the value of the smallest unit you are actually beating. In this excerpt, it is aneighth note. Here, the prep is the count of eight in Adagio tempo, forte, and separated. Conduct a four-pattern, pulsating twiceon each count to articulate the eight beats. Think: l.I,2-2,3-3,4-4; stroke-wrist, stroke-wrist, and so on. Refer to Chapter 5,Figure 5-1. Employ the left hand to signal the subito style changes fromforte-mnrcato to piano-staccato. Vary the size and styleofyour conducting pattern. See Chapter 9, Subito, contrasts and Figure 9-1.

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Divided Meters

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Concluct a divicled three pattem, pulsating hvice on each connt of a thlee patterr to afticulate the six beats. Note that the sec--.e' io' e

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150

5-3 Military Symphony, second movement

Musical Excerpts

F. J. GossrcConduct the German or Italian six pattern, since the secondary accent falls on count four. See Figure 5-1. Since the eighthnote gets one beat, conduct an eighth-note's worth of prep. Use your left hand to signal the subito d;'namic changes.

5-4 'Ye Banks and Braes O'Bonnie Doon" P. GnerucrnA beautiful folk song setting for you to conduct with phrasing and expression . Keep alegato flow in the four phrases. The con-trasting B section builds intensity with dynamics, an active bass line, and more dissonant harmonization. It also builds tensionthrough an intensiffcation of tempo and then a broadening of tempo at the climax. The last A section releases the tension. I be-lieve Grainger used the question mark and parentheses (slightly faster?) to implant the idea of subtle tempo intensification andto keep the fess sensitive conductor from giving an out-and-out accelerando. This composition can be conducted in a flowingtwo, although the intent here is to demonstrate the technique of a flowing six: 123456, stroke-wrist-wrist, stroke-wrist-wrist,where both the stroke and wrist motion must be subtle and not chop up the flow of the line.

Slowly flowing

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152

5-5 Symphony no. I in C Major, second movement

Adagio

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Musical Exceryts

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To beat nine, use the three pattern pulsating three times on each count: 111222333, stroke-wrist-wrist, stroke-wrist-wrist,stroke-wrist-wrist. Conduct ih" ,rrrui"" with the left hand, and cue the entrance on beat six with a head nod. The voicing ofparts is based on the original orchestration. See ifyou can achieve balance during each altack,crescendo' anddiminuendo' Af-ier mastering this introdirctory passage, conduct excelpt M-I4, which continues with the beautiful, expressive oboe melody.

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5-6 Tlte Rotlal Firercorks Mttsic, "Alla SicilianaThe flow of this Inusic is maintained by the use of wrist only ol the secondary beats when conducting in 12 nleter. Use a fourpattenr witlr three pulsations on each beat placernent:111,222333444, stroke-wrist-rvrist, stroke-wriit-wrist, and so on. Indi-cate clearly the beat position in the basic pattern, but rnake your pattern flow instead of chop.

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5-7 "Greensleeves"

Musical Ercewts

T[,lomoN.lrA lovely song to sing and phrase. Although the music may be expressed better by alegato two pattem, you can keep it flowingin six at a slower tempo by using wrist only for the secondary accents. Think: 123456, stroke-wrist-wrist, stroke-wrist-wrist, in alegato, expressive style without too much emphasis on the stroke. Prepare the effective subito forte (mm 9 and 13) with aphrase release and aggressive upswing prep. Use your left hand to indicate the diminuendn.

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5-8 "Drink To Me Only With Thine Eyes"Conduct this setting of the "Old English Air" as a slow, expressive song. Use your imagination and make music: Intensif thereiterated notes. Use "push-on" phrasing in the A sections and "hanging" phrasing in the B section. (Refer to Chapter 11,Rubata.) Pay special attention to the contrasting B section. For a more expressive and interesting inteqpretation, bring the newmaterial forward to emphasize the tension and contrast ofnew ideas. The lyrics date back to the third-century poet, Philostra-tus of Athens, with English translation by Ben ]ohnson in 1616.

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5-9 "Beautiful Dreamer"

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Wake un - to me,

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Wake un - to me,

Musical Excerpts

S. FosrrnAlthough this traditional stephen Foster song may be interpreted best using a legato_threepattern, you can keep it flowing innine at a slow,-expressive temPo by usingthJwrist only for'the beat divisio?s. conduct l234567ggwith a stroke-wrist-wristlegato fTotxt, following the beat points of a'three pattern.

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Beau- ti - firl dream

Beau- ti - fiil dream

Beau- ti - ful dream

and dew- drops are wait - ing for

Star- light and dew- drops are

Star-light and dew-drops are

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Sounds of the rude

Sounds of the rude

Sounds of the rude

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Lull'd by the moon-light have all passed a way!

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