Vertical PlaneFocal PointConducting

Leonard Atherton

BALL STATE MONOGRAPH NUMBER THIRTY-THREE

Vertical PlaneFocal PointConducting

Leonard AthertonDirector of Orchestras

and Professor of Musical Performance

BALL STATE MONOGRAPH NUMBER THIRTY-THREEBall State University, Muncie, Indiana 47306

1989

This publication is not for sale.

1989 by Leonard AthertonLibrary of Congress Catalog Card Number: 89-61750

89384 Lp

Contents

Foreword v

Preface vii

Chapter One: The Physical Rationale behindConducting 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 RhythmsSlower Tempi 29

Chapter Fourteen: The Raised and Lowered Ictus 32

Chapter Fifteen: Irregular RhythmsQuicker Tempi 34Chapter 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

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

Index 49

iv

Foreword

The notion of passing all beats through a consistently fixed and rela-tively located focal point is not new. It struck me more than thirty yearsago 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 conductorshave served only to confirm this early observation and make it an in-tegral part of my own teaching.

Imagine then the surprise and joy with which I found LeonardAtherton's text, with its theory of "focal-point" as its primary thesis!Here, in clear prose and faithful diagrams, is exactly what is meant bypassing all beats through a central location. The book's companion com-puter disk makes these diagrams all the more clear through examples inmotion, approaching the difficult training of legato through the initialintroduction of the staccato pulse.

For the classroom or your personal library, here is a text for boththe beginning conductor and the stronger, more experienced one, whichwill provide logic, system, and practice to the art of conducting.

John P. PaynterChairman, Department of ConductingDirector of BandsNorthwestern UniversityEvanston, Illinois

V

PrefaceThrough many years of conducting ensembles that required clarity oftechnique for musicality and ensemble security, I have developed fur-ther technical ideas that I first learned from George Hurst. During mas-ter classes held at the Guildhall School of Music in London, England,Maestro Hurst imparted his concepts of maintaining the ictusthedefinable point at which sound beginsin a single place and usinggravity.

The teaching of technical conducting skills is one part of myresponsibility as a faculty member of Ball State University's School ofMusic. The students' backgrounds and aspirations include performing,teaching, recording, and other aspects of music. It became apparentthat a lot of information had to be given quickly and effectively, espe-cially to those going into teaching, since conducting generally becomesone of their major career activities. I teach this technique because it iscapable of great clarity and rhythmic integrity. Since each step logicallybuilds on the one before, it is easily understood in the relatively shorttime students have to spend on this part of their studies.

This monograph is intended to introduce the reader to verticalplane focal point technique, which may help those early in their con-ducting training as a basis, serve as a broadening influence on my col-leagues, and be of interest to music lovers who want to know more aboutthe mysteries of the conductor's sign language.

vii

Vertical PlaneFocal PointConducting

Chapter One:The Physical Rationale

behind Conducting Patterns

Focal point conducting technique is based on a number of simplepremises, the major of which are as follows:

Each beat consists of three parts:a. a preparationb. an ictusthe point at which the precise beginning of a beat is

markedc. a rebound

These three parts are found in many physical activities, such asswinging a golf club or a tennis racquet or kicking a ball. The "ictus" isthe point at which the ball is hit. In conducting, it is the moment whenthe ensemble "sounds."

To give rhythmic consistency and clarity to the ensemble,a. the preparation stroke is the same length to the ictus as the re-

bound stroke is from the ictus.b. all beats pass through the same ictus position.

Every physical activity shares the features ofa. tensionb. relaxation.

Since conducting, and indeed all music-making, is a physical ac-tivity, basic physical laws apply. The musician should be as coordinatedand physically prepared as an athlete. Whereas the athlete has only topropel the body or an object, the musical artist has to use physical skillsin conjunction with intellectual and emotional demands.

Regrettably, would-be musicians often consider that physicalpreparation is not of particular importance, and as a result technicalskills suffer. Good sports for conductors are badminton, table tennis,and squash. All require a flexible wrist and quick reactions. Unhelpfulsports are those, like tennis and racketball, that require a stiffer wrist.

Great athletes have had their physical abilities analyzed to minutedegrees so that science can understand how one person can run fasterthan another. It can then assist others to better their times. Great musi-cians also pass their technical secrets along and share with the athlete away of performing that appears effortless and natural. A natural tech-nique generally has to be taught, but once acquired and maintained, itleaves the performer free to concentrate on musical demands. Conduct-

3

ing is a healthy upper-body exerciseprobably one reason why conduc-tors tend to live a long time!

Effective conducting should transmit the correct amount of tensionand relaxation to the ensemble. An overabundance of tension, generallyseen in younger conductors, will lead to a cramped sound and exhaustedplayers. When these symptoms appear, the inexperienced conductorwill often redouble effort and energy, of course compounding the prob-lem. The answer is to "lighten up."

The right amount of tension and relaxation is a matter of score in-terpretation based on the conductor's understanding of the composer'sdemands. These degrees of tension and relaxation should be visible tothe ensemble, which will react accordingly.

Since conducting is a physical activity, naturally left-handedpeople should obviously conduct left-handed. No one insists that a left-handed tennis player convert to the other hand! A superficial argumentis made that it is the direction that counts, not the physical rationale be-hind the direction. However, the forehand of a right-handed tennisplayer looks like the forehand of a left-handed player. Both share thesame physical characteristics. Left-handers reading this text shouldapply the basic rules in the manner set out here, but they will need to re-verse the diagrams.

Posture and stance are important too. Do not stand with the feetspread apart, because this is an unbalanced position and the knees caneasily lock. Adopt a stance in which the foot under the baton hand isahead of the other foot (the heel of the forward foot should be even withor slightly ahead of the toes of the back foot). Weight should be forwardso that the heels are almost off the floor. From this position, it is easy tomove when necessary and difficult to lock the knees, as happens some-times under nervous pressure. Such a stance also provides a stable plat-form for the baton hand.

Stance is as important in conducting as it is in everyday social be-havior. Conducting, after all, is a form of body language. Leaning for-ward tends to crowd or threaten the person one is addressing. It denotesan inward intensity also. Standing naturally and "tall" shows confidenceand assuredness. Leaning away invites others to come forward and closethe space you have caused.

One's stance elicits similar responses from the musicians. Leaningforward can elicit an intense "espressivo," but this effect will pall if usedtoo often. A confident upright stance will give the ensemble the feelingthat it is in good hands; for that extra surge of sound that is is occasion-ally needed, leaning back will get that response. The basic uprightstance will serve almost all conducting needs. Any use of the other

4

stances should be made only for the occasional moments when no otherway seems to get quite the sound one believes a passage should have.

There will be many times when it is necessary to depart from therules. These times come as a result of musical dictates from the score orfrom practical considerations of the performers and the performing en-vironment. However, a good understanding of a sensible and logicaltechnique is a prerequisite for the self-confidence needed to lead an en-semble. By understanding the rationale of one's technique, one will beable 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 leastamount of effort required to get the job done. Too much is wasteful, toolittle will not gain the required result. Efficient conducting techniquewill allow one to conduct for hours at a time, yet not allow physical fa-tigue to interfere with the other aspects of making music. It also allowsmore of the mind to concentrate on other matters of interpretation.

In order to maximize efficiency, a conscious use of gravity will al-low a lot to happen with little or no expenditure of physical effort. Thisprinciple is hard to comprehend at first because it feels "too easy" andmost people have the mistaken impression that conducting must bephysically exhausting to be "honest." As with many things, external im-pressions are at odds with internal reality.

Gravity is used in the basic technique on the preparation part of ev-ery beat, all of which are downward motions, as you will see in laterchapters. Using this natural physical law and harnessing its energy givesconducting a natural look and a sense of inevitability without which en-sembles will find it difficult to be confident of what their conductor isintending they should do.

Things are caused to move in two ways: either effort is applied tocause movement, or gravity is allowed to take over. When you hold aball, you have the choice of throwing it to the ground using energy, orjust letting go and allowing the ball to drop naturally. Obviously, youcan choose to do one or the other, or use a combination of the two if youwant the ball to fall somewhat faster than gravity alone would take it.

To feel the strength of gravitational force, hold an arm out to yourside at a right angle to the body. Keep it there for long enough to feel themuscles beginning to work hard at keeping the arm in that position. Theforce of gravity, trying to bring the arm down, is pitted against muscu-lar strength, which is working to keep the arm lifted.

Without letting the arm "break," allow it to fall by suddenly ceas-ing all muscular effort. The fingertips should describe a quarter-circleas 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 astinging slap. You will also have been surprised at the force of the blowoccasioned without the slightest amount of personal effort. This forcehas a most important contribution to make to conducting technique.

6

A further natural phenomenon results from the interruption of thegravitational pull. This will be of importance when dealing with the re-bound part of the beat. To experience this effect, put your arm straightout in front of you and raise it forty-five degrees. Remember that it isnecessary to release muscular tension suddenly, which allows the handto fall, and also remember not to allow the arm to "break." Allow thearm to free-fall until your hand is at thigh level, then suddenly stop thefall. This will require substantial muscular effortso much that oncethe fall is stopped, the muscular effort will cause your hand to riseslightly. This is the rebound sensation.

The free-fall of the arm is the preparationThe stopping of the free-fall is an ictusThe 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 aresome moments when not using a baton can be very effective musically,and when in close-quarterswith a small chorus, for examplethe ba-ton may not be necessary. However, some do not use it because it takestime to feel comfortable with it. These people will forever cause theirensembles difficulties, and only because they are not willing to over-come their own difficulty!

Batons that are between twelve and sixteen inches in length will bethe most useful size for the average build and other concerns such as thesize of the room, the size of the ensemble, and the style of the composi-tion. Generally, the smaller any of those elements are, the smaller thebaton may be.

To establish the basic grip, let your hand hang down to the side andlet the fingers curve inward as though you were gently holding a tennisball. Keeping the elbow still, raise the hand out in front and, with theother hand, place the baton so that it balances on the upper joint of theindex finger. The heel of the baton should be under the thumb. The ba-ton should point straight out and not across the body. Change the angleof the wrist to accomplish this if necessary. Move the elbow so that it isnot cramped against the body. Check to see that the baton is still point-ing directly out in front.

With the other hand, upset the balance of the baton slightly bymoving it away from the body so that it just begins to fall. Rest thethumb 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, thenyou should change to another baton.

Cause the baton to rise and fall using a slight wrist motion. Thewrist action is that used when opening a door. Do as little as possibleand learn the feeling of the baton as it takes on a pendulum motion of itsown. The more the baton does on its own, the less physical work theconductor has to do. Turning the palm down may be used in heavierpassages such as pesantes.

To train the wrist, the arm can be placed on a table top or similarflat surface so that the wrist hangs over the edge. Take the baton andmove it in all directions without lifting the arm from the table. This willensure 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 forclarity, the baton should be used within "natural" boundaries. To estab-lish those boundaries, try the following steps:

1. Standing in front of a mirror without the baton, conduct aneasy up-and-down motion that does not go above the eyes orbelow the waist. Use a piece of tape to mark the upper andlower points.

2. Now, at the middle of the two points, form a cross, with eacharm the same distance from the center. Mark the right andleft ends.

3. Take the baton and conduct an up-and-down motion. Do notallow 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 sensa-

tion must be understood and allowed to become natural. The naturalfeel obtained without the baton also looks natural, but the baton is anunnatural extension of your arm. Therefore, to appear natural with thebaton 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 thewrist, with the elbow coming into play for the average tasks and theshoulder used for heavy effects.

With a baton, the pivot points change. What was done by the wristis now done by the index finger's upper joint. What was done by the el-bow is now done by the wrist, and what was done by the shoulder is nowdone by the elbow. This leaves the shoulder for use at times when mag-nitude is called for.

In all work with the baton, the tip of the baton must lead. It is mostconfusing when the real beat seems to be in the wrist or elbow and thebaton tip follows imprecisely. Therefore, think of the baton tip as caus-ing movement to happen rather than following movement begun by thewrist or other pivot.

When used for magnification, the baton tip is allowed outside thenatural boundaries. This point can be demonstrated by standing infront of a mirror and, with baton in hand, conducting the same motionsas before. Allow the hand to go to the original limits. Notice how largethe area is that the baton now covers! Now experiment with graduallyreducing the covered area until you come back to the natural size.

9

Using the baton for magnitude is done in large places where musi-cians are a long way from the conductor. Then, the size still looks natu-ral from a distance. There is a danger that those closest to the conductorwill respond to the large beat and cause balance problems by being tooloud. The conductor is at liberty to ask those musicians to underplay be-cause the beat size is to assist those farther away. The large beat size isalso used for particularly loud passages. The baton tip initiates eachphysical movement, and when magnitude is of importance, the pivotpoints can extend even beyond the shoulder. In some instances, theenergy of the baton can be such that it moves the whole body side-to-side, causing it to pivot at the hips, or lifting it onto the tips of the toes oreven off the floor.

Look into a mirror and make the smallest possible up-and-downmotion of the baton tip. Now extend the arm to its fullest length whilepointing the baton tip at the sky and standing on tiptoe. Bring the armdown so that the baton tip is pointing at the floor. Now do the samewith side-to-side movement, first with a tiny range, then as wide as youcan extend. You can see that a huge physical range is available. Remem-ber that the boundaries are for the most extreme effects. Remember toothat the goal is to get the desired result with the least movement.

In general, make sure that the tip of the baton stays above thewaistline and clear of the music stand. The stand itself should be at aheight where pages can be turned securely with the arm extended fullyand should not be reversed so that the lip of the stand faces the en-semble, giving the negative impression of having a wall between theconductor and the players. The notion that the reverse position makes iteasier 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 be-cause the score no longer has contact with anything but its back, andhence may slide around more easily.

Allow your baton to fall freely, using gravity. Remember that thebaton's balance should be such that it will slowly fall. Use of the wristwill stop the fall and guide the direction of the rebound. This brings usto 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 tech-nical reasons. You will notice that a constant baton speed appears con-trived and also has no feeling of inevitability, without which musicianswill feel insecure.

Therefore, although the ictus comes at a regular pace, the batonchanges 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, butimmediately begins to slow down because of the gravitational pull. Atthe highest point, the ball comes to a stop and then begins to fall, pick-ing up speed as it does so.

This point of rest will be one of the most important parts of yourtechnical 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. Thispractice causes the ensemble to overwork and leads to such inherentproblems as coarse tone and poor intonation. It is more important to ap-pear natural to the ensemble than to feel natural yourself. With ex-perience, belief, and self-confidence, the unnatural feeling will bereplaced by a natural one. After all, a golf club or a tennis racquet is alsoan unnatural extension of the arm, and it takes practice and time to getthe desired result from them.

11

Chapter Four:Starting and Stopping

StartingTempo is set by the baton leaving the ictus and travelling through a re-bound (half of a beat) and a preparation (half of a beat) as it returns tothe ictus. The time that is taken should equal the tempo of the requiredrhythmic 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 theright-handed conductor to be able to use without needing to reverse theimage. Left-handed conductors should treat the diagrams as amirror-image.

The upbeat is clinically effective and gives a clean start, which maylack warmth, because the ensemble's reaction time may be sufficient forsound to be made but insufficient for sound quality to be considered. Atsuch times, the use of a pre-preparation may be very effective: the con-ductor takes a readiness motion that shows the placement of the ictus,and in the same motion, moves slightly away from it as shown infigure 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

preparationrebound

upper ictus

rebound

ictus "in tempo"). This additional small gesture will be useful in suchother ways as helping start a passage that has a pick-up of less than awhole 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 theend of the rebound. To make a release gesture, the point of rest now willact as a new location of the ictus. The relocation of the ictus has greatvalue in certain circumstances that will be detailed in later chapters.

Trace a circle that slows as it goes up, gathers speed as it passes thetop until it reaches the new ictus, and passes through for a small re-bound (see figure 4): if a secco release is required, there is no rebound.Figure 4.

release at the end of the rebound

ictus

It is essential that the baton finish in a position from which it cancontinue 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 oppo-site 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 isthe 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 thesame point (see figure 5).

Figure 5.

preparation

rebound

ictu s

The downward motion is used to signal the beginning of a measurein any time signature and is used by instrumentalists for counting meas-ures of rest. It is extremely important that the downstroke be obvious atall times.

The downstroke (ax-chop) motion is the strongest physical motionavailable to us, which is why this direction is chosen for the first andgenerally the strongest beat in a measure.

If there are solo passages when the ensemble is not actively accom-panying, 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 notbe disturbed. The purpose of marking is solely to show the ensemble thepassing of each measure.

14

Chapter Six:Two Beats to a Measure

The two-beat pattern is built up by using the standard final-beat pat-tern common to all measures of more than one beat. The upbeat pat-tern, 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 meas-ure. The rebound of the first beat in turn sets up the preparation of beattwo, 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 builtup from the standard final-beat pattern (see figure 8).

Figure 8.Beat Three

rebound

preparation

i ctus

Since the position of the ictus is now established as well as the posi-tion where the preparation of beat three begins, the direction of beattwo can be established.

The rebound of beat two will finish where beat three's preparationbegins, and the preparation of beat two therefore begins at an equidis-tant 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 fin-ishes high, and it is a given that the preparation of the first beat is adownward ax-chop movement. Hence, the preparation comes down tothe ictus. Now you can see where the preparation of beat two begins,and this position dictates the direction of the first beat's rebound (seefigure 10).

16

Figure 10.Beat One

preparation

rebound,,.

ictus

17

Chapter Eight:Four Beats to a Measure

Four beats to a bar are frequently rhythmically designed as strong-weak, strong-weak. Although this analysis is simplistic, the gestures usedfollow this format. The pattern is obtained by starting with the stan-dard 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, therebound direction of beat three is obvious. Since each beat has the sametravel distance, the preparation of beat three can now be drawn on theother side of the ictus (see figure 12).

Figure 12. Beat Three

preparation -----4.-_,----)------ rebound

ict 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'sdirection can be deduced from the knowledge that where the third beatbegins, the second finishes. The rebound can be obtained, and followingthe rule of equidistance, the preparation can be completed (seefigure 13).

18

Figure 13.Beat Two

rebound preparation

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

ictus

The first beat remains to be completed. It begins at the end of thefourth beat's rebound and falls to the ictus before moving across to setup 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. Gener-ally, the shorter and more accented the note, the faster the baton speedtoward and away from the ictus. To maintain rhythmical accuracy, itwill be necessary to wait a little longer at the end of the rebound. Thistechnique is also useful in helping to clarify pizzicato notes. The angleused to and from the ictus will be a sharp one.

Conversely, when gentleness is needed, the preparation will beslower. 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 prepara-tion should be as for a staccato note on the beat. You may find that aslight push away from the body at the ictus will give a sense of inevita-bility. The rebound should also be staccato, and the baton must thenpause at the top of the rebound and wait until the entry is made. Thismomentary pause will be unnerving at first, but if the initial ictus hashad a sufficient sense of inevitability, a definite entry will be made.

Beat speeds need to be analysed constantly. In an fp where the p issustained, the baton will speed quickly toward the ictus showingstrength, and rebound gently and slowly to show the held p.

It is important at times to prevent sound from happening. At suchtimes, the baton should show no sign of inevitability; rather it shouldtrace the pattern in a completely even and legato fashion. Silence canalso be maintained by coming to a dead stop at the top of the rebound.

You can conduct syncopated entries, dynamic effects, and releasesusing a rebound that leaves the ictus at a decidedly quick speed. Thecloser the "effect" is to the beat, the quicker the baton travels from theictus. The feeling of inevitability occasioned by the suddenly more rapidmovement will cause the syncopation to occur.

20

Chapter Ten:Duple Subdivision

The subdivision technique is used in tempi that are so slow that to beatthe "major" beats in the bar would be too slow for accuracy and for con-trol. Inexperienced conductors use it too much. Major beats should beshown wherever possible.

Do not subdivide just because it feels easier. Remember that whenyou subdivide, you give two or three times as many signals. Further, less-significant decorative notes and harmonies may be given too muchimportance.

The term "major beat" does not imply that inner beats are alwaysof less musical importance. I use the term only for explanation.

All subdividing must outline the major beats clearly. This is doneby using the preparation direction for the major beat; the "and" ( +) usesthe major beat's rebound direction. This leaves the rebound of one andthe preparation of the + to be used to show the subdivision.

The rebound of the major beat returns along the path of the prepa-ration but does not rise as far.

The preparation of the + falls to the ictus and appears as a smallversion of the preparation for the major beat.

This technique uses a rebound based on the concept of usinggravity. When a ball is dropped to the ground, it speeds up, hits theground, and rebounds. There is energy used at the moment of impact,and with gravity also slowing the rising ball, the rebound does not reachthe point of release. Recall the exercise used to stop the falling arm. Thearm rose naturally when stopped suddenly.

Allow the baton to fall and rebound along the same path. Use thepreparation direction of each of the beats of the four-to-a-measureshown in the previous chapter, and practice the rebound of each majorbeat.

Figures 15-20 show how to arrive at a subdivided three.

21

Figure 15. Figure 18.Beat One Beat One +

preparation

Figure 16.

ictus

Beat Two Beat Two +

preparation

reboundi ctus

Figure 19.

height ofnatural rebound

rebound to

preparation

rebound to

ictus

preparation rebound

l otus

Figure 17. Figure 20.Beat Three Beat Three +

rebound

preparation preparation

i ctus ictus

You must use more physical control when subdividing. Becausethere are two differing sizes of strokes being used, it becomes necessaryto control the smaller strokes physically so that they do not arrive at theictus early or late at the end of the rebound.

A definite physical effort on the part of the conductor is required tokeep the rebound of the + beat from being too slow. Since the prepara-tion of the + is small, effort is needed to send the baton to the end of amajor beat's rebound. The gravitational effect will be small leading tothe ictus, and a physical boost is required to send the baton the rest ofthe way. The ability to use the moment of rest at the end of the majorbeat's rebound will prevent the inner beat's preparation from arriving atthe ictus too soon.

22

Chapter Eleven:Triple Subdivision

Triple subdivision is accomplished in the same way as duple sub-division. There are now two rebounds and the first has to be generous toallow room for the second. The analogy of the dropped ball appliesagain. If the ball is allowed to bounce twice after initially hitting theground, the second bounce does not reach the same height as the first.

Obviously, there will be yet more physical control needed becausethere 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 "teacuppinky" position.

In triple subdividing, the final beat of the bar appears patronizingif the subdivision technique is logically followed. It results in motionsthat are the same as the little pats on the head that are given to youngchildren. This pattern does not comfortably allow for a musical antici-pation of the first beat of the following measure, a basic necessity of mu-sical movement.

To overcome this unmusical situation, the second part of the"French Six" pattern is used. This movement of physical beauty allowsflow and control. It is introduced in the next chapter.

23

rebound (6)rebound

preparation

,,k--'..'

i ctu s

preparation (5)

rebound (4)

preparation (6)

rebound (5)

preparation (4)

ictus (6)

ictus (5)

ictus (4)

Chapter Twelve:The French Six and

the Regular Six

Depending on musical and tempo considerations, six beats to a measurecan be conducted in two basic ways.

The French Six pattern is derived from the regular two-beat pat-tern and the triple subdivision technique (see figures 21-24).

Figure 21. Figure 22.Regular First Beat Same but subdivided

preparation preparation (1)

rebound (1)

rebound

.,--.->---ictus rebound (2)

preparation (2)

preparation (3)

ictus

Figure 23. Figure 24.Regular Second Beat Special Pattern

24

On the left is the regular two-beat pattern. On the right is theFrench Six.

In Chapter Four, I introduced the concept of changing the ictus po-sition. Here, the ictus moves vertically yet is reached by a curving strokethat has preparation and rebound of equal distance. This is achieved bythe rebound stroke climbing at a sharper angle than the angle of thepreparation stroke. In this motion, height is achieved from which thepreparation stroke can fall.

The regular six pattern introduces the concept of using major beatsalong with occasional subdivisions. This concept is important since it isused to arrive at the beat patterns for all irregular meters of slowerspeeds.

In six beats to the measure, the usual arrangement is of two groupsof strong-weak-weak. Whereas the "French Six" is based on the regulartwo-beat pattern and triple subdivision, the regular pattern is based onthe four-beat pattern and uses two duple subdivisions to arrive at acount of six.

The four-beat pattern has strength on beat one (ax chop) and beatthree (karate chop). In six, the strong beats are on beats one and four.The karate chop must therefore be delayed one beat, which is accom-plished by subdividing the second beat of the four-beat pattern.

Whenever possible the final beat of the bar is not divided so that itis 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 otherstrong 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 twobeats of the regular four-beat pattern are subdivided so that the total ofsix is arrived at.

In order to obtain beat five, the third beat of the regular four-beatpattern is subdivided.

The result of the above discussion is diagrammed in figures 25-34.

25

Beat Two

rebound

fetus

this beat is subdivided

Figure 27. Figure 28.Beat Two

rebound

preparation

f etu s

Figure 25. Figure 26.Regular Four-beat Pattern Regular Six-beat Pattern

Beat One the "ax chop" Beat One

preparation preparation

rebound rebound

ictus ictus

preparation

Figure 29.Beat Three

preparationrebound

fe tus

Figure 30. Figure 31.Beat Three the "karate chop"

preparation rebound preparation

Beat Four

rebound

fetusietus

26

rebound (2)

Figure 32.Beat Five

preparation rebound

ictuS

Figure 33. Figure 34.Beat Four regular final beat Beat Six

rebound rebound

preparation preparation

i ctus

i ctus

There is another pattern that will be of use in this meter since sixesare often subject to the rhythmic variation known as the hemiola. Thisvariation is best conducted using a duple subdivided three-beat pattern,which reflects the nature of the hemiola. With the information fromthese last two chapters, a diagram may be developed for twelve beats toa bar.

This is done by using a regular four-beat pattern and applying thetriple subdivision technique (with the final beat being the same as theending of the French Six). Compare figures 35-38 with the regular four-beat pattern illustrated in Chapter Eight (see figures 11-14).

Figure 35.Beats One-Two-Three

Noe

preparation (1)

rebound (1)

preparation (2) Ny

preparation (3)NY

ictus

rebound (3)

27

preparation (11)rebound (11)

preparation (12)

preparation (10)

Figure 36.Beats Four-Five-Six

preparation (4)

preparation (5)

preparation (6)

rebound (6)

Figure 37.

preparations

78

rebound (4)

ictus rebound (5)

Beats Seven-Eight-Nine

9

rebounds 7

8

Figure 38.Beats Ten-Eleven-Twelve

rebound (12)

rising ictus

Maintaining control in a tempo that is very slow and majestic ishard. Long notes may be present during which a number of subdividedbeats may appear fussy and out of character. At such times, the majorbeat 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 thathappen after the beat, the baton should perform a motion that sets up arebound sense of inevitability. This motion involves speeding up the re-bound after giving a deliberate bounce at the ictus. The speed andbounce will depend on the quality of the syncopated event. A degree ofexperimentation will be required before you feel comfortable with thismovement. 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 ThirteenIrregular RhythmsSlower Tempi

The Slow Five

Fives are generally made up of two groups, either 3 + 2 or 2 + 3. Theregular six above was built on a regular four pattern but two beats weresubdivided to give a count of six. Therefore, five can also be built on theregular four pattern. Only one major beat needs to be subdivided tobring the count to five.

In the 3 + 2 format, the first beat is the strongest and so the ax-chop 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 threethat can be obtained by using the duple subdivision technique on theregular four-beat pattern's second beat.

The same approach is used when the format is 2 + 3. Here thekarate chop is used for beat three. However, the third beat of the regularfour-beat pattern is subdivided to give beat four as well. This allowsbeat five to remain as a regular final-beat pattern. Figures 39-52 showthe 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

.-----''

i ctus

...----)----iCtUS ictus

Figure 40.Beat Two

Figure 44. Figure 49.Beat Two Beat Two

rebound preparation rebound preparation rebound preparation

----(---10,....(----- ----f-____.-----E----IOUS I Ct US

29

Figure 45.Beat Three

rebound preparation

Figure 41.Beat Three

Figure 46. Figure 50.Beat Four Beat Three

preparation rebound preparation rebound preparation

fetus le tUS

i CtuS

Figure 51.Beat Four

preparation rebound

fetus

Figure 42.Beat Four

Figure 47. Figure 52.Beat Five Beat Five

rebound rebound rebound

preparation preparationpreparation

ICU'S letUS

i ctuS

30

The Slow SevenGenerally, there are three groupings in measures of seven beats. To ob-tain a beat pattern for this meter, the following steps are taken.

Since there are three groupings, the three-beat pattern is consid-ered as a base. When this pattern has duple subdivision applied to it,there are six counts. To make seven, one more count is needed, whichcan be obtained by using one triple subdivision.

Remember that if the grouping is 2 + 2 + 3, the final beat uses theFrench Six ending.

The reason for using the subdivision technique for odd meter pat-terns 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. In-stead, subdivisions are easily incorporated into the major beat pattern astempi slow or they can be left out as tempi get faster. In triple subdivi-sion, it may be helpful to leave the second + out in the accelerando onebeat before going into the regular beat pattern. In a ritenuto, incor-porate the second + into the pattern one beat before triple subdividingeach beat.

Other irregular meters in slower tempi are dealt with using thesame principles. Ten/eight for instance is basically a four-beat pattern.For example, in the grouping 2 + 2 + 3 + 3, duple subdivision tech-nique would be used for the first two major beats and triple subdivisionfor 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 keepreferring to the score's time signatures. A clear marking of twos andthrees 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. Bykeeping the speed of each syllable constant, the rhythm can be easily feltand heard. Say triangle for every group of three and bracket for everygroup of two. Then conduct and speak at the same time before conduct-ing without speaking.

31

Chapter Fourteen:Raising and Lowering the Ictus

The concept of raising the ictus was introduced by the French Six pat-tern's final beat, and the concept of changing its location was shown inthe technique for releasing at the end of the rebound. Two other uses forrelocating the ictus are for certain dynamic effects and to keep a propor-tional baton speed during quick irregular rhythms.

The use for dynamic purposes is similar to that in rebounds. It isnot easy to show fp followed by a continuing piano dynamic; it can bedone best by relocating the ictus at the top, or close to the top, of the re-bound, and continuing to conduct, using this new, higher ictus forlighter 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 fall-ing, regarding this position as the new ictus location and giving a fullpreparation to the next beat. In faster tempi this becomes unmanage-able. Then the other hand may be used to show the new position nearthe top of the rebound, and the preparation falls only as far as thatposition.

For a subito (sudden) forte that continues with a forte dynamiclevel, 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 batontip quickly to the lower position during the preparation part of the beat.

Maintaining a proportional baton speed in irregular meters is help-ful to the ensemble. Instead of returning to a constant ictus locationwhen the grouping is 2 + 3 (which means that the second group is one-third longer), the second ictus should be placed lower so that the batonhas 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 constantspeed of inner beats is distracting.

A strong feature of quicker irregular meters is the rhythmic powerof a continuing, even, and constant pulse. This feature cannot beachieved if the ictus stays in the same place, because the baton will beforced to vary its speed by one-third every other beat while keeping aconstant distance from the ictus, or the baton will have to travel one-third longer or shorter every other beat. Dropping the ictus verticallyone-third farther allows the baton to maintain a constant speed andkeep the same distance on either side of the ictus. This is the clearest wayto deal with irregular meters, since the only irregularity is the verticallychanging ictus point. However, the location is still central and on aknown vertical plane. The ensemble will now have a conductor whoseproportional beat pattern mirrors the constancy of rhythm in their partsand whose ictus happens every time the baton reaches the constant ver-tical plane.

33

(b) 2 + 3

rebound (1)

preparation (2)

Chapter Fifteen:Irregular RhythmsQuicker Tempi

These meters have traditionally posed the biggest technical problems forconductors. The vertical plane focal point technique reduces the prob-lems to a minimum, offering the greatest potential for clarity. Byrelocating the ictus, you alter the travel distance, thus allowing the ba-ton to maintain a constant speed while you are conducting irregularmeters.

Five/eight meterAt 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.

preparation (1)

rebound (2)

ictus (2)

ictus (1)

(a) 3 + 2

preparation (2)

rebound (1)

preparation (1)

ictus (1)

rebound (2)

ictus (2)

In figure 54, the ictus has moved higher for the second beat becausethat beat is one-third shorter than the first beat.

In figure 55, the ictus is one-third lower for the second beat becausethat beat is one-third longer.

Seven/eight meterThis meter uses a basic three-beat pattern and generally has two

groups of two and one group of three. The same procedure is followedfor determining the conducting pattern as above.

34

preparation (1)

rebound (1)

preparation (2)

lotus (1 + 2)

rebound (3)

rebound (2)

preparation (3)

lotus (3)

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

The third beat's ictus position is one-third lower than that of theother 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 mostimportant that the baton not be frozen when fermatas require thatsound continue. The baton has to continue a slow rebound until the re-lease. If the fermata is silent, the baton should remain still so that nofalse entries will occur.

The timing and nature of the release of a fermata depend on themusical situation. There are many variables, and what the conductordecides to do is a matter of interpretation. It is hoped that this will be aninformed, musical decision that has been thought through and that issolidly based on musical, stylistic, and practical grounds.

There are three common ways of releasing a fermata that consistsof held sound. One can use the release technique at the end of the re-bound as shown in Chapter Four, a practice that is most useful whenthere is a period of silence after the fermata and particularly effectivefor quiet morendo (dying away) endings. The second method uses theictus of the next beat as a release for stopping or for continuing. This isbigger, more dramatic, and more visible to larger ensembles. The thirdapproach is used for setting a new tempo after the fermata, reestablish-ing a tempo, or helping a difficult entry. This release requires that youconduct again the beat on which the fermata is placed, using the subdi-vision concept of returning along the path of the prior beat. Pause at thetop of the rebound and then make the preparation fall in tempo. It mayeven be necessary to give two beats before a particularly awkwardmoment.

Whatever choice is made, it is of paramount importance that thebaton always finish in a position from which it can restart. When thefermata is silent, the baton should remain still until giving a clear andobvious upbeat for continuation. If the fermata is very short and therhythmic feel is not lost by the ensemble, a preparation or a reboundmay be all that is necessary.

36

Chapter Seventeen:Changing Tempi

Some of the most important moments for maintaining ensemble occurwhen tempi change, especially if the change is sudden. This activityalone is a prime reason why conductors exist, because a large ensemblecould never make such changes without assistance. Small chamber or-chestras, choirs, and groups can change tempi effectively, but once acertain ensemble size is reached, a central beat is needed.

It is obvious that every part of a composition requires decisionsmade by the conductor to be shown clearly to the ensemble. Therefore,upcoming changes in tempi must be very clearly set in the conductor'smind. Any doubt will lead to poor ensemble, and tempi not intended byeither conductor or composer will result.

Once decided upon, tempo changes may be made by observing thefollowing suggestions:

When going from a slower to a faster tempo, stop at the top ofthe rebound (as though making a fermata), then from that point (araised ictus position) give a complete upbeat in the new tempo. Thisoccurs during the completion of the last beat in the slower tempo bythe ensemble.

When going from a faster to a slower tempo, it is less easy toforewarn the ensemble. In this case, it is the rebound that must takethe responsibility for the change. Continue the faster tempo rightup to the first ictus of the new tempo, then ensure that the reboundaccurately reflects the new slower tempo.

When the tempo is slowing down (ritenuto), it is the reboundthat controls the change until the tempo requires subdivision.

When the tempo is speeding up (accelerando), the preparationcontrols the changes. If the tempo was subdivided, a smooth transi-tion into major beats is all that will be needed.

Before the advent of the modern conductor, music was written insuch a way that ensemble could be maintained by deciding on a tactusand having each section of the work relate to that central pulse. Thehemiola was used for the same purpose. The modern conductor canbenefit from this technique. When making a change of tempo, youshould see whether there is a way of setting up the new tempo by relat-ing it to the previous one. There will be a more definite feel that the newtempo is right if you do this. However, if such an attempt results in atempo 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 thebasic one expected by the time signature to what is required by the musi-cal demands.

Do not be adamant about your changes, since you may find en-semble members who prefer that you stay in a basic pattern to helpthem with counting or for other reasons. If your changes work, it is bet-ter to show the shape of the line but not at the expense of losing therhythmic pulse or becoming unclear.

In a fast one-beat pattern, it may be beneficial to show groupingsof bars for phrasing by using two-, three-, four-, or other beat patterns.This practice should not become an alternative to being able to beat inone clearly.

The greatest test of pattern modification is dealing with accompa-nied recitative.

Many large ensembles with experience in playing the romanticrepertory play "behind the beat." This is strange and unnerving the firsttime it is experienced by either a member or a conductor new to that en-semble. What takes place is that the entire beat is demonstrated beforethe ensemble respondsthe preparation, ictus, and rebound are all ob-served. The ensemble then has all of the information about the ap-proach to the note, the quality of the attack, and how to continue oncethe note is sounded. Then the ensemble plays. By this time, the conduc-tor may have almost completed the next beat! When it is necessary, suchensembles do tie themselves to the beat, especially during passages ofrhythmic difficulty. This type of mature musicianship can produce aspecial quality, and it will be found that for passages of great warmth ofexpression, on-the-beat (ictus) playing will give too "clinical" a sound.

In all diagrams, I have used a simple basic shape. Modificationsmay occur for reasons of articulation and musical requirements. Theangle. can be made sharply for staccato passages, or softened forsmoother legato passages.

Since music may require strength or weakness on any part of thebar, the diagrams should be treated like an umbrella. The sides can befolded up. One of the hardest beats with which to convey real strength isthe second in a four-beat pattern, since it generally consists of the mostnaturally weak physical motion (see figures 57-59).

38

'N

-

......._......

I/IL ._ _ .. _ __. ___

Figure 57.Regular Beat Pattern

rebound preparation

-----*-----9-----ictus

Figure 58.Strong Beat Two

preparation

rebound

ictus

Figure 59.Closed Umbrella

ic tus

The closure allows the second beat to borrow the strength of thefirst beat. Once used for the intended effect, the pattern should be maderegular as quickly as possible. The pattern may also be "opened," whichis useful for legatissimo or marking while accompanying. In general, thehigher 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 advo-cate no use, others advocate occasional purposeful use, but all agree thatthe empty hand should not constantly mirror the baton in size or on thesame plane.

The most important instrument for the conductor is the tip of thebaton. All other activity is used to reinforce its signals. The whole bodyis engaged in this reinforcement to a greater or lesser degree, dependingon the musical demands.

The batonless hand reinforces dynamics and articulation, givescues, signals warnings, and is used for a variety of special purposes suchas non-crescendo (palm down showing that the "lid" is on dynamically),wait (a "traffic cop's stop" with the palm held high facing the musi-cians), and intonation information.

With a choir, the palm down position results in flatness or at best avery dull quality of sound. Turning the palm over, then relaxing into acomfortable forty-five-degree angle by rotating the palm clockwise willoften solve this dangerous problem. However, for a string group, somewonderful effects, especially long fading-to-silence passages, are bestobtained with the palm face down. It works because the strings are notrelying on breath support to maintain pitch.

In order for the hand to be an active participant in the musical ac-tivity, its motion should mirror the baton's, but be smaller in area, on alower plane, and closer to the body. In this way, the hand is alwaysavailable instead of suddenly "darting out" at the ensemble each time itis used in a special function. Thus the hand engages in specific purpose-ful activity from a point of involvement rather than from a point of dis-engagement. It can take over the main beating function when the batonis not visible to a part of the ensemble, e.g., when turning toward thecellos so that the baton is hidden from the violins by the conductor'sbody, It can be of great use for showing new ictus locations and givinghand 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 ofthe conductor. It is not necessary to cue every single entry of every singleperson, and it may even be detrimental to put someone in the spotlightat the moment of an exposed and difficult entry. Better to set up the en-try, then allow the musician to play. A nod or smile of acknowledgmentafterwards will be gratefully received.

Cues can be all-encompassing tutti entries, obvious entries such asthe arrival of a cymbal crash, or the most common kind of all, the cuethat starts someone, after a long wait, on an entry that is not of majormusical importance. This may be no more than a glance in the player'sdirection or a small private gesture, but it serves to reinforce the player'ssense of being right.

Cues are made with the head, the eyes, or either hand. The cueshould not interfere with the continuing musical flow but should be in-corporated within it. Nothing is more disturbing than the overempha-sized cue, both to the players, who will be insulted, and the audience,who will expect something highly dramatic to happen. If all they get isa 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 dan-gerous, to give a cue with the hand to the baton side of the ensemble!

41

AfterwordTechnique is a means to an end. Without it, the end will be flawed, justas technique without musicianship will not result in an artistic achieve-ment. I have witnessed many musicians who were unable to impart totheir audiences the fruits of their study, their musicianship, and theirlove of the scores they wished to conduct. This publication is dedicatedto those musicians in the hope that they can find the help needed so thattheir technique will accurately reflect all they have to offer.

I have felt since 1983 that "focal point" is an unfortunate name forthis versatile technique. It seems to me that its real strength is in makingit possible to control preparations and rebounds by strokes that are ofequal length. The fact that the ictus is in the same place is almost a sideeffect. "Focal point technique" takes the focus away from what I see asthe raison d'tre of the entire systemand I think in some cases thename has caused people to dismiss the technique before they reallyknow how well it works.

42

Appendix

People who would like to try using the focal point technique should at-tempt these exercises.

All exercises should be done using the baton for clarity, at moderatetempi and an mp dynamic.

Exercises for Chapter Five

Execute a release after four measures. The release should be made at thetop of the rebound. Make sure your release ictus is reached rhythmically.Vary the beat speed and discover at what speed the upper ictus releasecan no longer be done. You must then take the alternative of using thenext beat's ictus. In the one-beat pattern, this will mean returning to theoriginal ictus by means of a circle rather than a straight line.

Remember, the baton speeds up as it falls during the preparationand 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 attentionto keeping the ictus consistently in the same position, and make surethat during the rebound of beat one and the preparation of beat two thetip of the baton does not rise so high as to cause confusion about whichbeat is which, especially for anyone sitting toward the sides of the en-semble rather than in front.

Now, conduct the same number of measures, but begin on beattwo. The upbeat is now part of beat one. Recall that an upbeat consistsof the distance from one ictus to the nextthe second one being theictus on which the ensemble begins.

Set the baton tip at the ictus point, move in the direction of the re-bound of beat one (half a beat), pause, and return in the direction of thepreparation of beat two. See figures 60 and 61.

43

Upbeat to Beat TwoFigure 60. Figure 61.

Now practice making releases at the end of the rebounds of bothbeats. First conduct several measures before releasing after beat one.When this becomes comfortable, conduct several measures and then re-lease after beat two.

Exercises for Chapter Seven

Conduct ten measures of three beats to a measure, beginning with bothplain and pre-prepared upbeats. Make sure that the baton tip stays lowon the second and third beats so that the first beat is clear from all sidesof the ensemble.

Conduct ten more measures, but start on beat two of the firstmeasure.

Now conduct ten more measures, the first of which is preceded byan 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 barb. the third beat of the barc. 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. beat oneb. beat twoc. beat threed. beat four

44

Exercises for Chapter Ten

Draw the diagrams for subdividing four. Refer to figures 15-20 in Chap-ter 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, asubdivided 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-beatpattern shown in Chapter Seven. Remember to use the French Sixending.

Beats One-Two-Three Beats Four-Five-Six

Beats Seven-Eight-Nine

Conduct five measures, beginning on the first beat, ofa. twelve/eightb. nine/eightc. six/eight (regular pattern)d. six/eight (French Six)

Conduct five measures of each of the above meters beginning ona. 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 conduct-ing for another three measures but add a duple subdivision on beat one(keep each stroke the same speed). Now add a duple subdivision to beattwo 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 firstmajor beat.

Draw the pattern for 3 + 2 + 2Beats One-Two-Three Beats Four-Five

Beats Six-Seven

Continue for three more measures, but duple subdivide the firstand 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 beatsone and two and a triple of the third and final beat. Use the French Sixending.

Practice conducting measures of five and seven using differentsubdivisions.

Write your own exercises.

Exercises for Chapter Fourteen

Conduct a two-beat pattern for four measures in a slow tempo. Thenconduct an fp and continue piano for four more measures before con-ducting a subito f and continuing forte for two measures. Use your otherhand to show the new ictus locations. At this slow tempo, do a fullpreparation (upbeat-downbeat) for the fp.

Now do the same exercise at a faster tempo using the other hand inthe 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 ictuslocation.

Write your own fp and subito f exercises using the different timesignatures covered so far, and change dynamics in a variety of differentplaces.

Note: Control the wait at the top of the rebound. Do not head forthe next beat too soon.

Exercises for Chapter Fifteen

Conduct ten measures of a quick five/eight, five grouped 3 + 2, thenfive 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 fivemeasures 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, 28ax chop 14, 16, 25, 26, 29baton 3, 8-13, 20, 21, 28, 32, 33, 36, 40, 41

angle 20grip 8pivot points 9range 9size 8, 10speed 10, H, 20, 28, 32, 33, 36tip 9, 10, 11, 32, 40wrist action 8, 9, 10

batonless hand 40, 41beat patterns

one 14two 15three 16four 18five (fast tempi) 34five (slow tempi) 29six 24, 25seven (fast tempi) 34seven (slow tempi) 31ten 31twelve 27

cue 40, 41downstroke (ax chop) 14fermata 36French Six 23, 24, 25, 27, 31, 46, 48gravity 6, 7, 10, 11, 21hemiola 27, 37ictus 2, 7, 10, 11, 12, 13, 14, 16, 19, 20, 22, 25, 28, 32, 33, 34, 35,

37, 38, 43, 48inevitability 6, 10, 20, 28

49

karate chop 18, 25, 29left-handed 4marking 14, 39music stand 10pattern modification 38patterns (see beat patterns)physical laws 3pivot points 9posture 4preparation 3, 7, 10, 11, 12, 15, 16, 18, 20, 21, 22, 25, 32, 36,

37, 38, 39, 43, 44, 48rebound 3, 7, 10, 11, 12, 15, 16, 18, 19, 20, 21, 22, 25, 28, 32,

36, 37, 38, 43, 44, 48recitative 38relaxation 3, 4release 13, 20, 21, 36, 43, 44ritenuto 31, 37stance 4, 5starting 12

ensemble reaction 12, 38pre-preparation 12

stopping 13, 36subdivision 21-25, 27-29, 31, 36

triple 23, 24, 25, 27, 31duple 21, 25, 27, 29, 31

tension 3, 4, 7upbeat 12, 15, 37

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