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THE GRAMMAR OF CONDUCTING

THE GRAMMAR OF

CONDUCTING A

Practical Study of ^Modern Baton Jechnicjue

by

MAX RUDOLF

WITH A FOREWORD BY

GEORGE SZELL

G.

SCHIRMER, INC. NEW YORK

COPYRIGHT,. 1950 BY

G.

SCHIR.MER, INC.

INTERNATIONAL COPYRIGHT SECURED 41306

PRINTED IN THE UNITED STATES OF AMERICA

ACKNOWLEDGMENTS The

author

is

deeply indebted to

his friends,

Mr. George

Szell,

Dr. Irving Kaplan, and Mr. Leo Kraft. Without Mr. Szell's encourinterest, and helpful suggestions it is doubtful book would have been completed. Dr. Irving Kaplan

agement, continued

whether

this

contributed invaluable critical and literary assistance in the preparation of the text;

Mr. Leo Kraft gave highly competent

aid

and advice

in the preparation of the first draft.

Gratitude assisted

by

is

expressed to Mr. Nicolai Malko, who, in 1941, was

the author in his course in conducting. Mr. Malko's lectures

confirmed and broadened the author's

own

views and

his friendly co-

operation will always be remembered.

The

author also wishes to thank Mr. Felix Greissle for

lating discussions.

[v]

many

stimu-

FOREWORD Modern conducting technique is a comparatively recent musical development. The problems that the contemporary conductor has to face are very different

from those

of, say, fifty years ago.

to the general evolution of conducting

"keeping things together" to

a

This

is

due

from mere time-beating and

highly differentiated craft; to the

increasing intricacies and complexities of

symphonic and operatic

scores of the late nineteenth and twentieth centuries; and finally to

demand

the general

ness of orchestral

for a degree of clarity, precision, and smooth-

performance undreamed-of even

recently as

as

Richard Wagner's time. It

might be interesting to remember that

highly polished performances

and records. While

in

is

for

largely due to the influence of radio

former days exceptionally flawless perform-

ances could be heard only occasionally in a few

cities

of Europe and

America and only by those who were fortunate enough in the hall,

demand

this general

to be present

such performances have been disseminated during the past

few decades through mechanical reproduction of listeners

all

to an

immense number

over the world and have thereby created

new

stand-

ards of technical excellence. It

was, of course, at

all

times important for a conductor to possess

good technical equipment

so as to be able to

tions to the players in the

most effective manner. But under the new

conditions, and especially since the

demand

communicate

his inten-

for technical perfection

of performance has not always been accompanied

by

a proportionate

increase in rehearsal time, a high degree of virtuosity in the handling

of the baton

is

even more imperative than ever.

In most cases this virtuosity has been achieved through practical

apprenticeship and the advice and guidance of experienced colleagues,

and through the observation and emulation of distinguished conductors. Consequently

it

is

often assumed that baton technique can-

not be taught or learned systematically. For

this

reason textbooks on

THE GRAMMAR OF CONDUCTING

[viii]

conducting have been regarded

Such an

attitude

is

inadequate means of instruction.

as

just as fallacious as

would be

a similar attitude

toward textbooks on surgery. Obviously, no one would consider allowing a surgeon to operate without adequate practical experience.

But

even

it is

with

less

conceivable that a student of surgery could dispense

thorough study of textbooks dealing with

a

his special craft

or

art.

In any art

some time must

can be summarized in tions that

where

it

book.

It

only during the

is

last

two genera-

conducting technique has been developed to the point

can be systematized.

made up

The

a

elapse before accumulated experience

now

to

to write a

To my knowledge

no attempt has been

comprehensive book on

this

technique.

standard works by Berlioz, Wagner, \A"eingartner, and others,

deal almost exclusively with artistic and interpretational problems,

many

while the

other books either confine themselves to the most

elementary instruction, or

fail

more

to organize the

intricate

and

subtle details into a workable system.

my

In It

opinion the present book

seems to

describe

me

fills

admirably

a

widely

felt

need.

an unprecedented and brilliantly successful attempt to

and explain the complex technique of conducting

methodical and yet lively manner.

The approach

fascinating, because of the combination of

is

in

as novel as

a

it is

knowledge, experience,

and an extraordinary power of observation on the part of the author. This

is

particularly evident in the diagrams,

which

at first

may seem

surprising and unusual in their design, yet demonstrate with provable

accuracy the basic patterns of the motions every professional conductor employs. The author also has succeeded in putting down on paper much instructive and valuable material that is typical of "shop talk" among conductors. The student will get an insight into the crafts-

manship of recognized masters, while

book this

am

will be an invaluable reference

volume

to students, teachers,

inclined to think that

it

to the average music-lover,

ing

to the practising

unknown

except

will

who

work.

I

warmly recommend

and musicians

make most will

conductor the

in general,

and

I

interesting reading even

meet here an aspect of conduct-

in professional circles.

GEORGE SZELL

PREFACE Part musician,

which

part actor, the conductor pursues a craft

is

not easily defined. Probably very few people have more than a vague

man with

notion of what the

the baton

is

was assured by

actually doing.

Can

his art

well-known musician that

be taught? Years ago

I

in conducting there

really nothing to learn but the simple rule: the

first

is

beat in a bar goes

experience. This

down and

a

the last beat goes up; the rest

book would not have been written, had

I

is

thought

he was right. Without underestimating the value of practical experience,

feel certain that there ar'^

I

can and should be taught. After

many

why

fields,

should

we

all,

things in conducting

we

and

if

from each other

learn

a

number

of years in their

he had acquired conducting experience under

the eye of an authoritative director, he could

become

conductor without methodical instruction. Then

who

be comparable to that of a person

where

the country

sent,

in

The

had learned

Here (i)

a

a brief outline

One

his beat

first

a

is

is

of

little

language with-

many

years in

book

is

therefore to pre-

conductor should learn about

different

from that of most textbooks.

of the plan of the book. things that the student

must express the music, with

the advice

which

of the

would

his apprenticeship.

method of teaching is

intention of this

concentrated form, what

baton technique during

My

competent

spoken. However, few young musicians have

it is

chance today.

a

a

his position

out any formal study of the grammar, by living for

such

in so

the opportunity of observing several

accomplished conductors intensively for daily routine,

which

not in conducting?

young musician had had

If a

many

its

is

usually told

is

that

great variety of feelings. But

value unless he has the variety in his beat with

to project this variety of feelings. This cannot be achieved

the conductor has only one stance, only

way

of indicating the rhythm

one pattern for beating 4 beats

be impossible to teach

all

—for

in a measure. It

if

in-

would

the different gestures and their combina[ix]

THE GRAMMAR OF CONDUCTING

[x]

by a master conductor. However, certain fundamental which cover widely different musical situations can be taught

tions as used

patterns

methodically. Six patterns of beating each of the basic

rhythms are demonstrated

book: non-espressivo, light-staccato, full-staccato, espressivo-

in this

and temito. These patterns are based not only upon

legato, vmrcato,

my own

common

experience but upon the

practice of the foremost

conductors of our day. While each conductor has individual

manner of

own

his

highly

"good

directing, there are certain principles of

usage" in conducting. This book

trains the student in the application

of these principles and at the same time gives him opportunity to

develop an individual technique. Thus he will be equipped to be a musical leader and not merely a time-beater. (2)

me

seems to

It

that the diagrams

found

in

many

textbooks are

The

impractical because they are too small and inaccurate.

present

work

includes diagrams which are designed so that the student can

easily

copy them

The

in large size

on the blackboard or on

a large sheet.

enlarged diagrams can then be used in practising the actual beat,

by following

the lines with the point of the baton. This

method

is

useful for self-instruction and in the class room, and helps the student to learn a clear

(3)

and

incisive beat.

Perhaps more so in music than

must learn by

in

immediate practice, the book

is

the student

art,

provided with abundant examples

to be played while the student conducts. will learn

any other

doing. In order to put the techniques discussed into

more

readily

from short

attempt to master an entire piece

It

has been found that he

exercises than

in full

from

a

premature

score. For this reason

I

have

written short instructive examples which will enable the student to

concentrate entirely upon the mechanical problems. These should be practised at indicate the

many

different speeds, in order to train the student to

tempo unmistakably and

distinctly.

Other examples have been chosen carefully from musical and have been arranged so

as to offer the greatest aid to the

ducting student, not for their pianistic

effect.

important orchestral parts and the pianist slightly,

literature

may

They

include

con-

all

the

have to simplify them

always bringing out the main themes and preserving the

PREFACE

[xi]

rhythmic structure. They should be played by the teacher or by an experienced student who is able to react to the conducting gestures would. In the interest of economy the examples con-

as an orchestra

tain the fewest

number of

point under discussion.

and used often.

bars

The

It is also

which

will illustrate effectively the

full orchestral scores

recommended

should be consulted

that the teacher arrange

some

may

have

of the examples for a small ensemble, so that the students the advantage of conducting an orchestra.

The

(4)

material

is

presented in a manner which will enable the

student to learn quickly and thoroughly.

on conducting but rather reason

all

a

handbook

I

have not written

a treatise

to train conductors.

For

this

theoretical discussions have been immediately applied to

practical musical problems. Furthermore, these have

that the student naturally proceeds lating techniques as he goes on.

I

from one

am

been so arranged

to the next,

accumu-

quite conscious of the seem-

ingly improvised nature of certain chapters and of various repetitions,

and

I

realize that

in the brief

some of the most pertinent and useful advice

remarks on the musical examples.

of academic order well worth the material

The book

comes

I

consider this sacrifice

closest to personal teaching.

includes discussion of full scores and shows

individuals without the aid of an instructor, and

as a

found

while, because such an organization of

pare them from the point of view of baton technique.

by

is

textbook for colleges where conducting

is

how

can be used

It

it is

to pre-

also

planned

part of the curriculum.

Hints are given for the use of the book in classes in conducting. If

my

book

will contribute to the education of genuine

and diminish the number of time-beaters,

I

shall feel

conductors

amply rewarded.

MAX RUDOLF

CONTENTS PAGE

ACKNOWLEDGMENTS FOREWORD

by George

v

Szell

vii

PREFACE

ix

INTRODUCTION

^

Directing an orchestra

complex job; the technique of conducting; the use of the baton; conducting without is

a

baton; general explanation of the diagrams 1.

THE NON-ESPRESSIVO PATTERN

(4-BEAT)

...

5

General training of the right arm; the non-espnessivo pattern (4-beat); the preparatory beat at the start; applying the gestures to imisical exercises; emphasizing the beats by ''clicking"; applying the non-espressivo pattern to -musical

exa?nples 2.

STACCATO PATTERNS

(4-BEAT)

,6

Light-staccato; full-staccato 3.

4.

THE ESPRESSIVO-LEGATO PATTERN STARTING ON OTHER COUNTS Start

the 5.

THE

on the 4th count;

start

(4-BEAT)

24 31

on the 3rd count;

start

on

2nd count

3-BEAT

^o

Non-espressivo and espressivo-legato; light-staccato and full-staccato; start 6.

on the 2nd and 3rd counts

SUDDEN CHANGES OF DYNAMICS AND ARTICULATION Sudden change

fro?t/

^2

p

to f

and vice

versa;

(

i )

changing

the size of the beat; (2) using the left hand; (3) moving the right hand nearer to or farther from the body;

change

from legato

to staccato

and vice versa [xiii]

THE GRAMMAR OF CONDUCTING

[xiv]

PAGE 7.

CRESCENDO AND DECRESCENDO Changing the

8.

size

of the beat; using the left

58

hand

FACING THE ORCHESTRA

66

Orchestral seating arrangejnent; cuing; conducting a complete 9.

work

THE 2-BEAT

70

Non-espressivo and espressivo-legato; light-staccato and full-staccato; dynaniic changes;

change from legato to

staccato 10.

THE

1-BEAT

83

Non-espressivo;

espressivo-legato;

staccato;

dynamic

changes and change from legato to staccato; musical ex-

amples 1

1.

12.

THE MARCATO PATTERN

91

START AFTER THE COUNT

98

Start after the count; use of an extra beat 13.

THE

6-BEAT

German style; 14.

107 Italian style

SUBDIVISION

120

8 beats in a measure; 4 beats as a result of subdivision; 12 beats in a measure; p beats in a measure; 6 beats as a result

of subdivision; i-beat with subdivision 15.

RESTS

135

Rests; rests at the beginning of a piece; rests at the

end of

a piece; rests in accovrpaniment 16.

RITARDANDO AND ACCELERANDO

144

Ritardando and accelerando; tempo transitions by changing the 17.

number

of beats in a measure; ritenuto

THE TENUTO PATTERN

158

CONTENTS

[xv] PAGE

i8.

HOLDS

i66

(I)

Concluding holds; holds during a piece, not followed by a rest 19.

HOLDS

190

(II)

Holds followed by

holds on rests; different note

rests;

values under a fermata; interruptions 20.

ACCENTS AND SYNCOPATION

202

Accents; syncopation; accents on off-beats; fp 21.

PHRASING

216

Phrasing; sustained notes; rnelody building 22.

DIFFERENT USES FOR BASIC PATTERNS

229

Non-espressivo; espressivo-legato; light- and full-staccato;

marcato; tenuto; legato and staccato sinrultaneously ;

si-

multaneous different dyna?nics; proble?m of orchestration 23.

ACHIEVING COMPLETE PHYSICAL CONTROL. General appearance;

field of beating; use of the eyes; in-

dependence and use of the 24.

ON PREPARATION Techniques of

240

left

IN

hand

GENERAL

246

starting; entries; preparation in

its

broader

aspects; free preparatory gestures; preparation with sub-

division 25.

NUMBER OF BEATS

IN

A MEASURE

(I)

255

General considerations; sifmiltaneous different rhythms; irregular measures 16.

NUMBER OF BEATS

IN

A MEASURE

(II)

Changing the number of beats for one or more

266

bars; sub-

dividing a single count 27.

5-TIME

AND

7-TIME

J beats in a measure; ^-time with

measure; 7 beats in a

measure

278 i,

in a ineasure; -j-time

2,

or 5 beats in a

with

^, ^,

or ^ beats

THE GRAMMAR OF CONDUCTING

[xvi]

PAGE 28.

CHANGES OF RHYTHM AND TEMPO

288

Change of time-signature without change of tempo; change of tempo with rhy thyme relations ?mintained; change of tempo without rhythmic relation 29.

FREE STYLE

301

Free style of conducting; the art of accompaniment 30.

APPLICATION OF BATON TECHNIQUE Applying baton technique

308

to the score; adjustments while

in action

APPENDIX: 1.

2.

3.

4.

Discussion of Complete

Works

Movements

or

Edvard Grieg, The Death of Ase, from Peer Gynt ^o. I

Wolfgang Amadeus Mozart, Minuet No. S9 in E-flat (K. 5^5 j

Suite

315

Symphony

froDi

316

Johann Sebastian Bach, Air from Suite No. 5

in

D

major

Ludwig van Beethoven, Third Movement from Syynphony No.

7, in

A

major. Op. 92

319

5.

Michail Glinka, Overture to ''Russian and Ludmilla"

6.

Ludwig van Beethoven,

7.

Johann

("The 8.

Strauss,

.

.

Overttire to ''Egmont"

Overture to '"Die Fledermaus"

Claude Debussy, "Fetes" Nocturnes for Orchestra

certo in

E

322

324

Bat'')

9. Felix Mendelssohn, Third

10.

317

327 ("Festivals"'),

No.

2

from 332

Movement from

Violin

Con-

minor, Op. 6^

^ 33

Wolfgang Amadeus Alozart, Recitative, "E Susanna non from "The Marriage of Figaro", Act III

vie?i'\ 1

1.

Ruggiero Leoncavallo, Prologue

LIST OF

DIAGRAMS

INDEX OF MUSIC

to "Pagliacci"

337

339 344 ...

INTRODUCTION DIRECTING AN ORCHESTRA The conductor work with people

must be

musician, must

know how

and must be able to convey

by means of

tions to his players It is

a trained

in a group,

A COMPLEX JOB

IS

to

his inten-

gestures.

very important that the conductor have a thorough knowledge

of composition, and he should be familiar with various musical styles.

He

should also be aware of the problems of musical interpretation.

A

good working knowledge of instruments, both individually and

in

combination,

score, and,

if

is

The

indispensable.

necessary, play

ductor's equipment.

it

ability to read

on the piano

While absolute

pitch

is

is

an orchestral

a vital part of the

con-

not a prerequisite, the

conductor's ear should be keen enough to recognize inaccuracy in pitch and to maintain the proper balance.

elements will give him the authority to be

But

him

all

little

and get

his

The mastery a

of

all

these

genuine leader.

musicianship and thorough study of scores will help

unless he

results in a

knows how

work with them, manner. Knowledge of a few

to talk to people,

quick and direct

simple principles of group psychology

is

of great assistance in re-

hearsing efficiently and in stimulating the players to a

good per-

formance. Musicianship and knowledge of psychology, however,

make is

a

a

conductor. There

is

a

still

technique of conducting just

do not

as there

technique of playing the piano.

THE TECHNIQUE OF CONDUCTING This book deals with the technique of conducting, which involves the use of the right

arm

in wielding the baton, of the left

[i]

arm

to lend

THE GRAMMAR OF CONDUCTING

[2]

support, and the functions of the eyes.

by

indicated

gestures are

when

to start

The most elementary and

stop,

things

the tempo of

the

music, and the holds and interruptions. These are indispensable, but in

To

themselves are merely sufficient to keep the orchestra together.

obtain an artistic result the conductor must be able to communicate

nuances in dynamics,

details

of phrasing, articulation

staccato), and general expression.

For

this,

(legato

mere time-beating

is

and not

enough; the appropriate gesture for each musical expression must be

we

mastered, before

can speak of conducting.

If you watch an accomplished conductor, you will be impressed by the natural unity and coherence of his gestures. His motions seem

and direct means of evoking musical expression

to be such a simple

you may not

that

nature.

realize their

thoroughly planned and purposeful

These motions constitute

orchestra a large

a

technique for conveying to the

number of musical

details.

In order to teach this

technique, the various gestures that the conductor uses will be ana-

lyzed and discussed in this book. that appears so easy and natural

doubt whether

trial

so,

conductors have worked out their techniques

all

as

book proposes to do. Actually, if they have not they have attained the same end only by a long process of

methodically as

done

You may wonder why an activity must be dissected. You may also

this

and error.

Whether

a

conductor studies

in the

manner proposed by

this

book,

or whether his technique evolves in the course of his experience alone,

he will have to pass through a stage of development in which he be-

comes acutely conscious of technical problems. Most musicians rely at first on their natural feelings and may work for some time with little to guide them but their instinct. But presently they realize that technical control

is

indispensable to artistic mastery.

such control gives the goal of

all artistic

gestures

artist that

performance. For the conductor

become second nature and he can

the music.

Once

expressive simplicity this

attained,

which

is

means that

the his

give himself entirely to

INTRODUCTION

[

3

]

THE USE OF THE BATON A cise

who

conductor

fractured his left arm

complete control of

technique. This

much

would

still

be able to exer-

group, provided that he had

his

a

good baton

the most efficient tool at his disposal. Therefore,

is

of the emphasis of this course will be laid

upon

the use of the

baton.

The

handiest kind of baton

light in weight. it

It

is

about twenty inches long and fairly

should not be so thin that the point

hard to beat distinctly.

The

what

grip

is

of a good grip.

the thumb,

first,

of the hand.

The most

and second

You

You must also decide for yourThe conductor must be able

the most convenient.

to control the baton completely test

shaky, making

choice of a baton with or without a

handle depends upon the individual. self

is

will feel

and

feel perfectly at ease; this

advisable

fingers,

way

to hold the baton

is

is

the

with

and with the butt against the palm

more secure

in the energetic beats,

if

you

use an even fuller grip.

CONDUCTING WITHOUT BATON No

one can say that conducting without baton

is

"right" or

"wrong". This method has one obvious advantage in that there are

two expressive hands instead of one. But even though the baton takes some of the expressiveness from the right hand, there are advantages in using

it.

between

his

Remember

that the player's attention

music stand and the conductor.

player to follow the baton, especially part

is

technically difficult,

even more important

when

if

It is

the music

is

always divided

much is

or in accompaniments.

there

is

easier for the

unfamiliar or the

The baton is then many

a large ensemble, for

of the players are quite a distance from the conductor's stand. In the interest of clarity, therefore, the student should learn to a baton. Nevertheless, the

out one.

diagrams of

this

conduct with

course can be studied with-

THE GRAMMAR OF CONDUCTING

U]

GENERAL EXPLANATION OF THE DIAGRAMS In order to get the full benefit out of the course, the student should

enlarge the diagrams of at least the

first

the diagram represents one square inch. either

on

a

sheet of paper or

on

a

ten chapters.

The

Each square of

enlarged diagrams, drawn

blackboard, will

make

it

possible for

the student to practise with a life-size beat.

Because of the two-dimensional nature of the diagrams, different beats along the

same

can be indicated only by slight separation

line

of the beat-lines. Straight lines which run close together on the dia-

gram coincide

in actual practice.

All counts are

written count:

moves so

o D ATT There

marked

so that the played* beat coincides with the

the baton

is

at(l)when

the

as to arrive at ^2) at the start of the

ist

beat sounds, and

2nd beat

The baton

passes through without stopping.

The baton

stops at this point.

Position of attention.

are four kinds of lines in the diagrams:

indicates the field

of beating.

indicates deliberate

controlled movement.

indicates very

L

quick movement.

indicates bouncing.

:r

1

THE NON-ESPRESSIVO PATTERN

(4-Beat)

GENERAL TRAINING OF THE RIGHT ARM In directing

music

the

arm

right

which represent the rhythm. There

is

describes

certain

patterns

each

a different pattern for

rhythm, and the patterns are modified according to the musical expression.

The movements

of the baton are: up, down,

left, right,

and

their various combinations.

This diagram shows the up-down beating.

The

beating,

and the

beating

may

general area covered

hold

up-down and

slowly, then rapidly. it

To

firmly with the left

as large a

There

by

and the

these lines

of the

field.

left-right line used in is

The

called the field of size

of the field of

vary widely from one situation to another.

Practise the first

lines are the axes

line

left-right

motions with the wrist alone,

be sure that the forearm does not move,

hand. Avoid tension in the wrist and

make

gesture as possible. are

two

positions of the wrist:

palm downward and palm

wise. Practise with both positions. In practising the left-right

side-

move-

ment you may find the palm-downward position stiff. If so, do not try to force it on the wrist; just practise the palm-sidewise position. In [5]

THE GRAMMAR OF CONDUCTING

16]

actual conducting

it

is

between the two, or

to

most convenient to use

a position

you must take

In adding the forearm motion to the wrist motion,

cognizance of

a

half-way

change smoothly from one to the other.

general rule: the motion increases with the distance

of the moving part from the body. Thus, the point of the baton travels farther than the hand,

arm. Use the tising

left

which

in turn

moves more than the

hand to hold the arm above the elbow while prac-

with the forearm. In slow tempo

a special

precaution should be

taken in order to achieve smooth co-ordination of

motion should always be

a

little

tion.

For example, suppose the forearm

down, and

its

will

The

complete

its

hand

th& forearm changes direcis

moving upward and

upward motion while

the

arm

Similar relationships apply to both

the

way

already

is

up-down and

movements.

third preliminary exercise uses the

smooth motion

in

which

all

parts of the

extension of the arm;

its

This diagram shows

beat,

their

Think of

for a

movements,

the baton as an

motion should be smooth and steady.

five

swinging movements. Practise each with

wrist alone, then with wrist and forearm.

from

Work

whole arm.

arm blend

so that no one part sticks out awkwardly.

of your

parts: the

highest position; the hand will be pointing half

moving downward. left-right

all

behind that of the forearm. This

necessitates a turn of the wrist each time

wrist reaches

fore-

Vary

the size and the speed

a snap of the wrist to a slow turn.

These four preliminary

work

of each of the

use a

few warming-up

first

exercises should be practised before the

ten chapters. In addition, the student should exercises familiar to violinists

and

pianists:

THE NON-ESPRESSIVO PATTERN

(4-BEAT)

[j]

shaking the hands freely, hfting the arms and letting them drop suddenly, and so on.

THE NON-ESPRESSIVO PATTERN The a

(4-BEAT)

four chapters deal only with music that requires 4 beats in

first

measure. Several patterns of beating this rhythm will be shown,

beginning with the non-espressivo pattern.

The

non-espressivo beat

neutral in It is

is

a plain,

continuous ?notion.

character and therefore uses mostly straight

not large

in size

and

is

done with no

It is

lines.

intensity in the fore-

ar?fi niotiofi.

Put the enlarged Diagram wall.

Each

on the music stand or tack

i

student can find the height best suited to

it

onto the

him by standing

before the diagram with elbow relaxed, forearm slightly elevated, and

baton extended forward.

The

point of the baton should then be at

the level of the left-right Hue. (Use the same level for

Stand directly

in front

up-down and

intersection of the

let

count

First

diagrams!)

the baton point to the

left-right lines,

from the surface of the diagram,

inches

photograph on page

as

approximately three

demonstrated

in

the

9.

without

aloud

—66).

moderate tempo lished,

of the diagram and

all

One-Tivo-Three-Fotir

beating:

When you

feel that the

tempo

is

in

estab-

( J continue to count aloud and start moving the baton, follow-

ing the lines exactly so that the point of the baton passes through the

number corresponding

Always keep the baton a enough to follow the lines

to each count.

few inches from the diagram, but close Try to achieve a smooth motion and avoid stopping on

exactly.

the

counts.

A

wrist motion

is

sufficient for this pattern.

However, many

stu-

dents will find that they cannot use the wrist alone without feeling

some

strain.

Since

it is

of utmost importance to feel at ease while beat-

ing time, a slight forearm motion

motion. In the baton

this case

it

may

be used in addition to the wrist

should always be remembered that the point of

moves more than the hand, the hand more than the forearm.

181

THE GRAMMAR OF CONDUCTING

THE NON-ESPRESSIVO PATTERN

(4-BEAT)

[g]

THE PREPARATORY BEAT AT THE START It

h

a general rule that the conductor gives one extra beat,

strictly

m

tempo, be j are the music actually begins.

In other words, to start playing on the is

to say

shown

in

Diagram

4th beat, for

which it

starts

is

count you must

on Four. However,

beating one count earlier, that of preparation

ist

2 is

start

this beat

not merely the regular

from the position of "attention" and has the

quality of an invitation.

It is

equivalent to lifting the

instruments and to taking a breath in the winds.

ductor to get a clean and unified attack.

It

bow

in the string

enables the con-

THE GRAMMAR OF CONDUCTING

[lo]

Diagram

4-beat; start on the first count (legato) (Generally: start on the first count)

2.

Practise the preparatory beat in the following manner. Point the

baton to the attention space lATll on Diagram

2

and count aloud

the previous One-Tivo-Three-Fonr. Just before Four, let the baton

move

so that

it

(4^ as you count Four. Keeping strict you reach Q), where the music presum-

pas es through

tempo, follow the

line until

ably begins. Having mastered

this,

return to the mirror with both arms

down and relaxed. Lift the baton and assume the Try to feel that by doing this you would really your group. This forearm

slightly.

will be

Count

—

still

this

tory beat.

When

and beat for several

starting each time

the side.

effective

if

you

you reach Ql^, continue beating from

a

lift

elbow and

—and give the prepara-

time to yourself

Diagram

i

more

position of attention.

gain the attention of

bars.

Do

this

as

you did with

over again several times,

completely relaxed position with the arm

at

THE NON-ESPRESSIVO PATTERN

(^-BEAT)

[n]

APPLYING THE GESTURES TO MUSICAL EXERCISES Shice

it

players,

good

a

is

watch

habit for the conductor to

you should always memorize

the

first

few

his

bars

before starting.

Face your friend

at the

piano and take the position of attention.

Concentrate on the tempo and be sure that you fast

you

know

exactly

how

Then, using what you have learned so far, Repeat them several times in each of the tempos

are going to beat.

conduct Exx. indicated

by

a-c.

i

the

metronome markings. To end

the last note in each

of these exercises, simply stop the 4th beat emphatically on the leftright line.

(A

detailed explanation of the cutting-off gestures

on pp. 135 and strictly in time.

of

140.)

Do

Be sure that your friend

at the

piano

is

is

given

playing

not hesitate to correct him; develop the habit early

knowing exactly what you want and getting

it.

Ex. 1

J=80 J =100 ^ J

=120

•1-60

1

'

I

w

w*

~

In class \\ ork, Ex. should be not onlv played on the piano, but also sung by the group while you conduct. Here you will have to co-ordinate the actions of several people, exactly as you will have to do when you conduct an orchestra. Your preparatorv beat will work much better if you take a slight breath simultaneously. There are many exercises in this book that lend themselves to singing, with or without piano accompaniment. Whenever possible the class should sing the melodv in those exercises. Exx. 2 and 3 are to be played on the piano, or can be arranged for a small instrumental ensemble. Ex. 3 is marked 2/4, but use 4 beats in a i

measure because of the slow tempo. Ex. 2

THE GRAMMAR OF CONDUCTING

[I2]

Andante moderato, Adagio, J) = 66 I

J>

soHovDCe

So far you have conducted these exercises

To

do

this,

you

p.

will have to enlarge the size of

Now your

repeat them beat.

7fTf.

Make your

gestures about a third larger than those used for p, but do not change their proportions.

Keep checking

the smoothness and clarity of

your

beat with the mirror. For the larger beat, use the forearm in addition to the wrist motion.

EMPHASIZING THE BEATS BY "CLICKING" In Exx. 4 a-c

you

will find that

in

you want

to

make your

slow tempo the beats will have to be emphasized;

"cHcking". This

movement

is

beat very

rhythms and syncopations. Especially

precise, because of the dotted

this

is

done by

quick wrist motion which speeds up the

a sharp,

of the baton just before reaching a count. Immediately after

the count the motion continues at normal speed. Naturally this tech-

nique can be applied only the baton.

Remember

when

moving

that clicking always serves the purpose of

phasizing the beat, and that is

the forearm participates in

it

need not be used where

a

em-

smooth beat

sufficiently clear.

Use Diagram

3

for practice

(J =66). The

ist

count

is

now

located on the left-right line, to give space to continue the motion in the

same direction after the

click.

While

4 counts, you will feel that each beat

is

practising clicking

on

emphasized. Learn to do

all it

with ease and certainty, but do not get into the habit of clicking continually!

THE NON-ESPRESSIVO PATTERN

Diagram

3.

(4-BEAT)

[13]

4-beat: non-espressivo with clicking on the counts

Ex. 4 J J W J

=76 =108 =120 =58

A

i^^

i'«i:j. J

^r

'y

r

i

i)r

r

APPLYING THE NON-ESPRESSIVO PATTERN TO MUSICAL EXAMPLES By

learning the non-espressivo beat

first,

you

start

your

conducting without any emotional bias and you concentrate

upon

a clear presentation of the

educational value,

you

ivill

rhythm. But aside frojn

need

it

its

very often in actual

conducting. In practising Exx. 5-9,

melody before

it is

a

starting to beat.

good

habit to

This will

fix

hum

the

a few bars of the tempo firmly in your

THE GRAMMAR OF CONDUCTING

[i4l

mind and enable you

to give the preparatory beat strictly in time.

Otherwise the preparation might not be

in the

same tempo

as the

succeeding beats; the players will be confused and the rhythm will be rather shaky.

Do

not use the

left

hand

in directing these

examples;

its

use will

are those of the original scores

— except

be discussed in later chapters.

The metronome markings for those in parentheses,

Ex.

5:

The harp

which

needs only

flute solo certainly requires

are the ones traditionally used.

a clear indication

of the rhythm; the quiet

no dramatic gestures.

Andantino quasi Allegretto,

J FLjolo

= 88"

BIZET, C^nrnn

fffFW^

Ex. 6: Indicate the accent in the 3rd measure with a slightly larger Three, and click on Four but vvithout slowing down. You will feel that the enlarged 3rd beat

is

a preparation for the accented 4th.

Adagio,

Ex.

7:

J

=66

Since the orchestra has nothing but is quite adequate.

VERDI. L,

Traviala

pp accompaniment,

the non-

expressivo beat

Allegro

ma non

troppo,(j = 104)

BhETHOVEH,

Viilm Cmtirtt

THE NON-ESPRESSIVO PATTERN

(4-BEAT)

[15]

Ex. 8: A minimum of gesture will be sufficient to indicate the tempo for the English horn accompanied by the string section. Here is a good chance to practise keeping the baton in continuous motion in very slow tempo. DVOkjK.

By permissiun

Ex.

9:

These

first

J

Richard Scfiaucr, Londui

Cave set an atmosphere for the entire For this you need the unemotional non-

bars of FhigaPs

—more color than

piece

of

Symphony No

expression.

espressivo beat.

Allegro moderato,(J

•=

MESDELSSOHN, Ob

120) Clar.

Firnalj

Can ilvmur,

Additional examples for the study of the non-espressivo pattern (4-beat):

—

bars 16-24. 5, 2nd movement Haydn: The Creation, No. 12 (Recitative) bars 1-3. Nicolai: Overture to The Merry Wives of Windsor, bars 1-3, 6, 7. from No. Shostakovitch: The Golden Age, 2nd movement (Adagio)

Beethoven: Piano Concerto No.

—

—

Tchaikovsky:

Romeo and

Juliet (Overture-Fantasia), beginning.

Verdi: Prelude to A'ida, bars 18-23.

Wagner: Liebestod from Tristan

iind Isolde, bars 1-5.

43.

Chapter 2

STACCATO PATTERNS

(4-Beat)

LIGHT-STACCATO The

light-staccato beat

stop on each comit.

Diagram

4.

The

this pattern there is I

4

I

and

set the

a quick, straight

is

no rebound on the

tempo

at

J

motion with a

gestures are small.

light-staccato beat

stop at each count and

any

is

The

—

1

done by the wrist alone. In ist

count. Point the baton to

26 in your mind.

Then

move very quickly between

tension, especially in the forearm.

A

start beating:

the counts.

Avoid

review of the wrist exercises

on pp. 5 and 6 will limber you up so that your wrist will be flexand your forearm loose. Check your appearance in the mirror

ible

STACCATO PATTERNS to be sure that shoulder

J

Use Diagram j

must be

iminary beat

[17]

and elbow are not moving. Practise

light-

=160. The motion with which you reach 5 very quick and decisive: a snap of the wrist. The pre-

staccato also at

4

=

(4-BEAT)

is

io8 and

j

for the start.

little

larger than the other beats. Since this prepara-

tion indicates not only the

be sure to make a definite

tempo but t he staccato stop at 4 and not to |

quality,

you must

leave

until just

it

[

before the down-beat. Exx. 10-16 will give you practice in using this beat. Light-staccato is J =100 or faster. However, it can be very effective at slower tempos in pp passages (Ex. 13). In the latter case you must be very careful to give a precise preparation and to main-

generally used with tempos of

tain a steady

rhythm. Ex. 10 J

=116

J=84 J =100 J =144

p

staccalo

j)v

Jvjv Ji-

ffV^Jv

THE GRAMMAR OF CONDUCTING

[i8] Ex. 11 J =108 J =96

J =126

STACCATO PATTERNS Andante, (P = 84)

MOZART,

Vhil.

4^1

f

^

..f

f-

(4-BEAT)

f

[19] Sjmfhonj No. 33

THE GRAMMAR OF CONDUCTING

[20]

STOP

Note:

Because of the forearm

movement 6

Diagram

the

actual

— 10 inches above

stop

is

this point.

4-beat; lull-staccato

6.

hand continues downward and snaps up again immediately. This bouncing of the hand

is

a natural

muscular reaction and must not be

hindered by any tension in the wrist.

Diagram

6.

Execution

Practise at

in p:

The

J

=

size

enlargement of the diagram.

80 and

J

little

100.

of the beat corresponds to the usual

The

1st

count

bounce, and the stop immediately after very

=

is

is

On

the 4th beat

whip up

the

bottom of the

a slight twist will

Use make

arm immediately

after

on the

forearm for the 2nd and 3rd beats;

them snappier.

at the

left-right line.

the count.

Execution in

f:

Since the pattern

is

now

about one and one-half

times as large as in p, use an energetic motion of the forearm for the

2nd and 3rd

As

beats.

ind icated on

ISTOFI

at the top,

Diagram 6, the 4th count does not c oincide w ith though ^4) s only a split second from ISTOPI By -

STACCATO PATTERNS

(4-BEAT)

STOP

Note:

Because of the forearm

movement 6

Diagram

7.

the

actual

— 10 inches above

4-t)eat; start

on the

stop

is

this point.

first count(full-staccato)

[21]

THE GRAMMAR OF CONDUCTING

[22]

making the experiment of beating Four

at the very top, you will see that involves a special effort and thus indicates an accent on the 4th count (accented up-beat). However, this is an exceptional case (cf. Diagram 21)

it

and must be avoided

But remember that, in the comes on the highest stop because of

in the regular pattern.

light-staccato, the 4th count actually

the limited size of that beat.

Diagram it

shows the preliminary beat

7

to the exercises, always prepare the

counting before you

in full-staccato. In applying

tempo

in

your own mind by

start beating.

Exx. 17 and 18 (each of them to be repeated at least once), practised and dynamics, will train you in the full-staccato. You will help the players by beating very sharply on the rests, so that they can enter precisely on the small-value notes.

in the different speeds

Ex. 17 J =1001

Full-staccato

Andante,

J

is

applied in Exx.

= 80

1

9-2

1

TCHAIKOVSKY,

ObClar.

Ocirtur,

-UIV

Ex.

19

c

f^mK mm.i>.

\tBa«U-

^

P^

ED

.

Bin,!)-,

i

M2>, BJfiviK

STACCATO PATTERNS Tempo Ex. ~p-&\,. 20

di

marcia molto maestoso,

CtB

1

J

= 104

(4-BEAT)

[23] M£y£RB££R.

U Pnttttt

Chapter

3

THE ESPRESSIVO-LEGATO PATTERN (4-Beat) The

espressivo-legato beat

It is

done

a curved, continuozis viotion.

is

ivith a certain tension in the forearm.

sity

and degree of curve vary

the

ijrusic.

The

size

may

The

inten-

ivith the' emotional quality of

be anywhere from fairly

s?nall to

very large.

Diagram little

Diagram

Start with the preparatory beat of

8.

larger and with

more sweep.

Practise with

metronome

using wrist and forearm. Since the purpose of this pattern a

more or

in the

should

emotional melodic

less

forearm

move

as if it

were encountering some drawing of the

usual enlargement of

Diagram

violin

For

J

=72,

to express

feel the intensity

and

f

While you

ff use

resistance, a

bow and

f

motion

in a lyric passage.

8 gives the size of the

practise ?nf with a beat half again as large, as large.

but a

— without too much muscular tension! —and the baton

similar to the intense

The

you should

line,

is

2,

with

beat;

p

a beat

twice

your whole arm.

will have to ?fiove the elboiv, avoid the mistake

becofne the center of your conducting motion.

of letting

it

Only the

tip of the

baton offers a clear point of orientation

to the players, and movements of the ivrist, forearm, tmd elbow are subordinate to those of the baton. The shoulder

fnust remain

There

are

still

many

but never tense.

degrees of expression between non-espressivo and

molto espressivo, and you should have to indicate

all

the shades of intensity.

realize that the espressivo beat

beat.

For poco

a

is

a

wide enough variety of beats It is

therefore important to

development of the non-espressivo

espressivo, for instance, the pattern of the lines will

be bent only slightly, as suggested in Diagram 8a; 8 indicates more

[24]

THE ESPRESSIVO-LEGATO PATTERN

(4-BEAT)

[25]

THE GRAMMAR OF CONDUCTING

[26]

Diagram

intensity,

and 8b

is

8a.

4-beat; espressivo-legato (alternate style)

more

still

expressive.

A

highly passionate passage

needs an even larger and more curved gesture. Practise before the

p non-espressivo and, referring to Diagrams 8a and work up gradually to f molto espressivo. The relatively neutral patterns of the first two chapters have a

mirror; start with b,

quite similar appearance with different conductors. beat,

however,

is

more

individual;

its

The

espressivo

execution will differ from one

conductor to another, but the freedom you gain must not be misused.

The

clearly.

orchestra will be confused unless

There

vou

indicate the counts

when you will need clicking with slow tempo. The location oi (lj,C2j ,\2tJ

will be occasions

this beat, especially in

and (4) remains the same, even though the manner of connecting

them depends on the musical

interpretation.

The connecting

gestures

must' be flexible and varied to express the nuances of the melody,

which sometimes change from beat Since the execution of ful, a

this pattern

to beat in the same bar.

must be well balanced and grace-

conductor with very long arms will have to be more careful

THE ESPRESSIVO-LEGATO PATTERN

Diagram

last

one with relatively short arms.

bar in Ex. 22 needs special attention.

does not require an espressivo beat; non-espressivo playing

f,

however,

a

this gesture

The is

sustained note

sufficient.

When

gesture of the left hand

orchestra from playing the fingers are

[jy]

8b. 4-beat; espressivo-legato (alternate style)

to control the size of his beat than

The

(4-BEAT)

is needed to prevent the - The palm faces upward or inward, and

—

f=

somewhat

.

bent.

The

can be intensified by

quality of

a slight

demand contained

in

shaking of the forearm. In

other words, while the right hand just beats time (non-espressivo) in this bar, the gesture

beats in the

These

of the left hand maintains a steady

2nd measure of Ex. 23 are treated

exercises, like the others written

chance to develop your feeling for

The

skill yo7i

by

a definite

f.

The

last 2

similarly.

the author, give

you

and steady tempo.

gain by practising the same imisic at different

speeds will prove invaluable in your conducting experience. It is

worth while

beat; students

and

to

drag

to take great pains

have a tendency to rush

it

in fast

tempo.

with the preliminary it

in

very slow te?npo

a

THE GRAMMAR OF CONDUCTING

[28:

Ex. 22 = 80 = 6« = 96

J =108

^

THE ESPRESSIVO-LEGATO PATTERN

(4-BEAT)

[29]

—

Ex. 25: In the 2nd measure, use a very small gesture for Three then on Four prepare for the next bar. The intensity in the forearm, usually characteristic of the espressivo beat, would be too heavy for this graceful music. Therefore lead the melody with a light forearm, poco espressivo.

Adagio, (J) ^ 72)

HAYDN,

Symphony No. 92

caniaJhile

f-

^

Ex. 26: The conductor must devote as much attention to the counterpoint in the 'cellos as to the melody. All the beats must be espressivo and the intensity of the gesture should express the rise and fail of the melody.

WAGNER.

Ruhig, (J

=76)

Lahngrin

THE GRAMMAR OF CONDUCTING

[3o]

Ex. 7.7: While the espressivo beat will guide the strings in the melody, the winds need a very accurate indication of the rhythm (clicking may be used, but not necessarily on all the counts). The crescendo in the 4th

measure requires an increasing gesture. Andante molto, J = 76

bizet. VArUiimm suin No.

i

^Vln.I,^^

Ex. 28: ture.

The

character of this music indicates a light and graceful ges"feel" your forearm.

Here again you should not

Andantino,

J

= 84

BORODIN,

PoUvitxian

Damn

Additional examples for the study of the espressivo-legato pattern (4-beat):

Brahms: Elgar:

Symphony No.

Enigma

Franck:

3,

Variations,

Svmphony

in

D

—

2nd movement passage starting at F. Op. ^6, Variation No. 5 beginning.

minor,

1st

movement

Mascagni: Cavalleria Rusticana, Prelude La Boheme, ist act, Rodolfo's

—bars

—

Lento. 2-12.

{Andante lento). Verdi: Overture to La Forza del Destino, Andante mosso at C.

Puccini:

aria

Chapter 4

ON OTHER COUNTS

STARTING

According to the rule on one extra if

beat, strictly in

page

9,

you

tempo, before the

are supposed to give

first

"played" beat. Thus,

the music starts on the 4th count, start beating Three;

on the 3rd count, beating One.

start

beating Tivo;

if it starts

Your preparation must

larger gesture prepares

if it

starts

on the 2nd count,

also include the

start

dynamics: a

smaller gesture p. f, a

START ON THE 4TH COUNT Diagram cause of

its

9. It

has been pointed out that the preliminary beat, be-

quality of invitation,

Diagram

ft

is

not identical with the regular

4-beat; start on the fourth count (legato) (Generally: start on the last count)

[31]

THE GRAMMAR OF CONDUCTING

[32] pattern.

Even

straight line.

in non-espressivo

The more

it is

slightly curved, unlike the usual

expressive the music, the

preparation should be. But do not give too

liminary beat, which

is

more

expressive the

much weight

always gentler than the

first

to the pre-

played beat. Be

undue tension of the forearm will give too great an intensity to the preliminary beat and make it difficult for the players to start. Apply these ideas to your practice of especially careful in espressivo:

Ex. 29. Ex. 29 J J

-69 -84

J =108 J =116

•

STARTING ON OTHER COUNTS by making lost

a definite stop atl

3

and the players do not get

mind while

this in

Ex.

1

3

:

,

[33]

otherwise the staccato quality

is

Keep

a precise feeling of the tempo.

practising Ex. 30.

Use poco espressivo and LarghettO,(J

=

a small beat.

60) BEETHOVEH.Vidmanam

Ex. 32: For this very energetic start, raise the whole arm on the preparatorv beat (the baton pointing downward!.), while the elbow may go slightly backwards to increase the impetus of the start. Check in the mirror to be sure that the gesture appears convincing but not too violent. Beat staccato

ff.

Allegro molto moderato,

Ex. 247

(i

J

= 108

BIZET, Carmm

bar only): Accent the start in a similar but

less

violent

manner.

AIL u u c u Although the nrst phrase slurred, the theme does not have T^

Ex.

is

legato

3

3

character,

staccato.

end of

:

(C^. the

therefore

remark

this chapter.)

at

beat the

Molto agitatQ, Hd. i-

J

= 120

f*^^ >

>

SJKAVSS. D>r RoKn/br^/xr Reprinted by permiuion of the copyright ownera. Boowy 4 Hawkes, Inc. New York, N. Y

[34J

STARTING ON OTHER COUNTS

Diagram

12.

4-beat; start

on the

[35]

third count (staccato)

Ex. 36: Beat non-espressivo.

Andante,

=11

i

Eog.Hn. ,B£ii.

MOUSSOV.GSY.Y, Barn Godoumfj

2-beat is not appliEx. 37: Beat in 4 in spite of the time-signature

.fio»r No.

i

Vlnl Vln.n3

Exx. 43 and 44; p legato, poco espressivo. not affect the manner of preparation.

The

quarter rest on

SHOSTAKOVTTCH, Symphmy

Used by permission

Am-RuB

Andante,

of

N».

One

does

5

Leeds Music Corporanon New York, N Y

Edition.

(j

=

lOO)

Ex.

^

44 A

Vln.I.VTa vin.l.via

GLL'CK,

Ex. 45: the

f staccato,

Iphi^entt en Aulide

— Ovcrfurt

but not too sharp, since the music

bowing should not be too detached.

is

solemn and

STARTING 0\ OTHER COUNTS HASDEL,

Cmcrrto frssso

No

[39]

8

Grave, (J = 72)

Keep

in

baton do

mind

the various positions of attention!

not leave the position of attention until

paratory beat. Before lifting the baton, be sure

Remember

this

the baton to the right.

There

center.

when

simple rule:

is

To

start

the attack

on the

ist

count, point

on the other counts point

one exception. For

count, point the baton to the

is

Once you lift the you give the prewhere to point it.

left.

a spectacular attack

This position allows

preliminary beat (whole arm gesture).

Try

it,

a

it

to the

on the 4th very large

but do not use

it

too

—Aria

for

often.

Additional examples: Start

on the 4th count:

Svmphony No. 3, 2nd movement. Svmphony No. 2, 2nd movement. Haydn: The Creation, No. 24 Aria.

Beethoven:

Brahms:

—

—

Mozart: Die Zauberflote, No. 21 Finale. Puccini: Madama Butterfly, 2nd act— beginning. Verdi:

//

Trovatore, 2nd act (No. Start

4— Chorus).

on the 3rd count:

—

Haydn: The Seasons, No. 34 Cavatina. Symphony, 3rd movement.

Prokofieff: Classical

Start

Bach: Cantata No. 21 Soprano.

on the 2nd count:

(Ich hatte viel Bekiimmernis),

No.

3

Chapter 5

THE 3-BEAT NON-ESPRESSIVO

Apply the same procedure as for Dia gra m i. To start count, use Diagram 2 (changing the figure (jj to rSj) ^rid

Diagram on the

I

St

AND ESPRESSIVO-LEGATO

15.

practise before the mirror at diflferent tempos.

Diagram

16.

The

explanations of Chapter

3

apply to

this pattern.

Diagrams i6a and b show poco espressivo and molto Enlarge according to dynamics. Ex. 47: Practise with poco espressivo to molto espressivcf.

[40]

espressivo.

THE 3-BEAT

Diagram

15.

3-beat non-espressivo ;

[41]

[42

]

THE GRAMMAR OF CONDUCTING

Diagram

16.

3-beat espressivo-legato ;

THE GRAMMAR OF CONDUCTING

[44]

Ex. 48: Beat in 3, indicating each ^ Ex. 49: Very small non-espressivo.

Lento

Bass

(J

with one beat. Use non-espressivo.

i'.IUCH.INlVILLIAMS. a tonJon Sy^nphmy

=46)

VllL

-^ 'tJTyO M^^r

Kepfintetl bv permission of the copvripht owners. Slainer & Bell, Llcl., London

Allegro moderato,

=

(J

126j SCHUBERT,

Symphimy Ni. 8

Ex. 50: Molto espressivo.

Andante sostenuto,

J •=

MASCACNl,

36

Cai'jllma Kuilican.

Ex. 50

Uy permiMicm

i>(

Ljtia Musiiale Suniugno,

Milan

LIGHT-STACCATO AND FULL-STACCATO Diagrams

17

the start apply

and

18.

Diagram

Compare 5

cato), changing the figure] 4

For training

the explanations of Chapter

(lig ht -stac cato) I

to

I

in 3-beat staccato use

3

1.

and Diagram

2.

For

7 (full-stac-

Practise at different speeds.

Exx. 51 and

52.

THE s-BEAT

Diagram

17.

3-beat; light-staccato

Diagram

18.

3-beat; full-staccato

[45]

THE GRAMMAR OF CONDUCTING

Ml Ex.

n J =1001

J =76 •I

[

=noJ

p jnt4

/

Ex. 52 =96.1 / J. =80 \anJ i- =126] f

[~

ij

J.

^

rj

Ex. 53a: Light-staccato. the beat,

which remains

The

•

I

•

,

••

'

•

'

y

legato in the flutes (bar 4) does not aflFect This is justified not only by the staccato

staccato.

accompaniment, but because the staccato pattern

is often applied to fast out of the rhythm is indicated. bars full-staccato (not too large) followed by 2 bars light-

legato passages

Ex. 53b:

2

when

a strong pointing

staccato.

EXAMPLE

53 a-b

Andantino quasi Allegretto, Ex. 53

Jf'^

')

J

= 100

BIZET. Camiin

THE 3-BEAT

[47]

Ex. 54: Full-staccato, large gesture.

Tempo

di Bolero, J

= 76

RAVEL, Bclm

3

Permission granted bv Durand

&

Cie. Paris,

and

Elkan-Vogel Co'. Inc Philadelphia. Pa Copyright owners .

Ex. 55:

Make your preparation sufficiently fast. Here, Ex. 53a, the strings are playing pizzicato, which

Light-staccato.

as in the first 2 bars of

often requires staccato beating.

Tempo

di

Mazurka,

J

= 160

Copyriglit by

Kepnntcd by peimission

GRIEG,

C F

of tlie copynRlil

Ptcr

Gynt Sunt No

I'eter^

owner. Mr. Walic

START ON THE 2ND AND 3RD COUNTS Use Diagrams

19

and 20 for the

9 and 10 for the start Practise Exx. 56-59.

start

on the 2nd count, Diagrams

on the 3rd count (changing figures

as usual).

1

THE GRAMMAR OF CONDUCTING

Ex. 57 i =1161 / W =88 >anJ i =138j f

J>

=92

1

/

/ =l2o^^w Jl

=144j

t

THE 3-BEAT

Diagram

20.

[49]

3-beat; start on the second count (staccato)

Ex. 60: Full-Staccato. Ex. 61: Non-espressivo. /j _ I'lft) yiu-Ob. VhtOb.

GLUCK.Orpbff

J

•' •!

-I

et

Eundut

'l

—Chacaum

•.

Ex. 60 'Str.Hn.Bsn.

Andante tranquillo,(J = £.v.

72)

^^^

61

MENDELSSOHN,

M,Jj„mmir Nifii's Dr,m—Nocnirni

THE GRAMMAR OF CONDUCTING

[5o]

Ex. 62: Poco espressivo, al\\a)'s legato (a staccato beat would be inadequate for the eighth-note C in bar i, which is only slightly detached).

Andante con moto,

J>_=

92 (J>=_84) beethoven.

Sjmphmy n«

5

VU.Vc.

Biuspnz

Exx. 63 and 64: Full-staccato but not too large. Your preparation must be very precise to indicate the correct tempo: Allegretto in Ex. 63, Allegro in Ex. 64.

Allegretto, (J = 13^

HAYDN. Symfim} N.

II

Additional examples for the study of 3-beat: Non-espressivo: Beethoven:

—

Symphony No. 5, 2nd movement bars 39-46. Thane by Haydn, \''ariation No.

Brahms: Variations on a

—

Elgar: Enigma Variations, Op. 36, Variatit)n No. 9 Rimsky-Korsakov: Capriccio Espagvol, 2nd movement

Stravinsky: VOiseazi de Feu (Suite), Finale

—beginning.

—beginning.

Espressivo-legato:

Grieg: Piano Concerto, 2nd movement. Leoncavallo: Pagliacci,

ist act,

Cantabik {Uv

tal

8.

beginning.

gioco).

THE 3-BEAT The Sivan

[ji]

of Tvvncla,

3 bars after G. Tchaikovsky: Serenade for Strings, 3rd movement. Wagner: Overture to Tatiiihmser, bars 17-31.

Sibelius:

Light-staccato:

—

Dukas: L'Apprenti Sorcier, 3 bars before No. 2 ( Vif). Haydn: Symphony No. 97, 3rd movement Trio. Rossini: Overture to La Gnzza Ladra, Allegro. Stravinsky: Feu d' Artifice, beginning. Tchaikovsky: Nutcracker Suite, Daiise Arabe beginning.

—

—

Full-staccato:

Brahms:

Symphony No.

4,

4th

movement

—passage — — —

starting at C.

Moussorgsky: Polonaise from Boris Godoiinoff. Offenbach: Les Contes d'Hojfmanu, 2nd act Minuet in A ma)or. Shostakovitch: The Golden Age, ist movement passage starting at No. Strauss, Richard: Salome, Dance of the Seven Veils beginning. Start

on the 3rd count:

Symphony No. 8, 3rd movement. German Requiem, 2nd movement. Franck: Symphony in D minor, 2nd movement. Handel: Messiah, Aria The trumpet shall sound. Beethoven:

Brahms:

Purcell: Dido and Aeneas, Nos. 4, 11, 17, 23, and Schumann: Symphony No. i, 2nd movement.

31.

2.

Chapter 6

SUDDEN CHANGES OF DYNAMICS AND ARTICULATION SUDDEN CHANGE FROM It

has already been

can be expressed by the

TO

p

f

AND VICE VERSA

pointed out that the dynamics of the music size

of the gesture. There are

of indicating volume of sound, and

all

two other ways

three will be discussed in this

chapter.

(

I

)

Changing the Size of the Beat

Exx. 65 and 66: The danger here is that voii may over-emphasize the p beat, preparing for the f. This can be avoided bv^ using a field of beating in the p bars that is about 6 inches higher than the normal. You

last

The transition from sudden diminution of the simply done by a p down-beat. Use non-espressivo for p and espressivo for f. The prelimiwill

then have ample

room

(in the repeats!)

f to

nary gesture

is

for a large f down-beat.

is

small in Ex. 65, large in Ex. 66.

Ex. J -92 J =76 rf

=108

4-i

[52]

4-

•


Ex. 233: Indicate the crescendo

in the

BRUCKNER.

Symphony Nn. 7

2nd measure bv increasing rhe

expressiveness in the tenuto beat.

Adagio,

J

= 66

BEETHOVEN,

Fl

Ex. 234:

Same technique

as in

Ex. 227.

Symphony No. 4

THE TENUTO PATTERN

[165]

Lento, J = 50

Ex. 200: Tenuto beat will insure the note chords.

full

value of the closing ff eighth-

Chapter

18

HOLDS The propfr handling

(I)

of holds and interruptions

one of the

is

hardest problems confronting the student conductor. Although

it

is

hardly possible to establish simple general rules, some degree of systematization can be achieved. This that occur at the

end of

a piece;

lowed or not followed by by breaks.

rests;

is

done by dividing holds

into those

those during a piece, and either fol-

and holds followed or not followed

CONCLUDING HOLDS A4any pieces have

a

fermata on the

last

played note. Regardless of

the note value, beat only one count and sustain

music requires.

feel the

The manner

it

as

long

you

as

of execution depends upon the

orchestration and the dynamics.

The

effectiveness of a /

for the fermata.

sufficient to sustain a / or ff;

tain the

hand.

may make

was explained on

a similar gesture

by shaking

very slowly, the same

left

p. 27.

way

result.

not

is

Main-

The

right

hand

the baton, but do not exag-

indicate a continued f as in the ritenuto

simply stopping the baton on the fermata

/),

the baton

intensity with either the right or left

left-hand gesture

Some conductors

baton

raising the

only a diminuendo would

volume by indicating

The

gerate.

greatly increased b

is

Merely stopping the motion o

by moving

the baton

beat (Diagram 47). In is

sufficient. In pp, the

hand keeps the orchestra subdued.

The end

of the hold

is

indicated

by

a cut-off.

similar to those for a general cut-off, described

The

on

p.

gestures are 140.

Because

of the indefinite length of the hold, however, the cut-off must be especially decisive in order to insure the simultaneous stopping of all

the players. Although the gesture must be sudden and quick,

[166]

it

must

HOLDS still is

(I)

[167]

avoid any suggestion of an accent at the very end unless an accent

marked by the composer.

Ex. 235: left hand.

Do

not beat Four in the

last bar; sustain a

Alia breve, {d = 66) Kff -

u

Ex. 230: for the

The

-

BACH, Mass

ri-e e-le

-

-

in

moderate

f

with the

B minor

i - sott.

hold actually starts on the 2nd beat of bar

7;

do not beat

last bar.

236 and 237: While in 236 the last pizzicato chord will take care the ist violins in 237 need an extra gesture of the left hand for a cut-off. This gesture should be unobtrusive and clearly directed toward the violins, so that none of the wind players will mistake it for the concluding cut-off. Ex.x.

of

itself,

{6

=

69)

BKAHMS.

Symphony No

3

h68l

THE GRAMMAR OF CONDUCTING

Exx. 238 and 239: Both examples illustrate diminuendo on the fermata. first starts fff and is pla\ed b\^ the winds (the last string chord again takes care of itself), while the second starts softly and dies away in the strings. Indicate the diminuendo in 238 by gradually lowering both hands,

The

the right hand

was in a raised position; if not, use the left hand wind chord, no matter how soft, always requires a cut-off. The "morendo" in 239 may be expressed by a "d\ ing-away" gesture which is very effective for strings: both arms slow 1}- fall to the side with no if

alone.

A

definite cut-off.

Allegro

DVORAK,

Symfhon-i No. J

Timp, By permission

Andante,

(J

of Ri^liard Schauer.

= 72)

London

GRIEG.

Lust Spring

Copyright by C, F, Peters Reprinted by permission o( the copyrisht owner. Mr. Walter Hinnchsen

—=:=_,

Exx. 229 and 231: Two endings with expressed by raising and lowering both hands together, or the left hand alone. The size and intensity of the gesture depend upon the orchestra's response.

Ex. 240: The uplifted left hand sustains the jj tutti while the right hand directs the kettie-drum. The baton waits on One and cuts the drum-roll on Three, then joins the left

BEETHOVEN. D„ W„l„ J,s Hausis—OvMutt

hand for the

tutti cut-off.

HOLDS Ex. 241: Beat the

first 3

counts

fluous since the pizzicato needs

with the

left

no

(I)

[169]

in the last bar.

The

4th beat

is

super-

throughout

cut-off. Sustain the vioHns

hand. SHOSTAKOVrrCH,

Adagio,

Bais Used by pwrmission

Am-kue

Tt, Coldm Ag,

=11

i

Igva

g^

Leeds Music Corporation, Edition, New York, N. Yof

Ex. 242: Since only part of the orchestra has a fermata on the last chord, and the other part holds the 4th and 5th counts, you must beat all 6 counts. The 6th beat is small, so that it cuts off part of the orchestra and does not look like the concluding cut-off.

Andante, i = 108

TlfTlp

KEGEK,

Mo^artJ/ahations

.

Copyright by C. F. Peters Reprinted by permission of the copyright owner. Mr. Walter Hinrichsen

HOLDS DURING A

PIECE,

NOT FOLLOWED BY A REST

Such holds may or may not require

may

a cut-off. If

be only a short break for "breathing", or there

pause.

The

length of the pause often depends

interpretation. Consider

Spangled Banner

is

how

treated

they do, there

may

be a longer

upon the

differently the fermata in

by conductors! Only

individual

The

Star-

the techniques are

THE GRAMMAR OF CONDUCTING

[i7o

discussed here. Their application to the following examples

depending on the personal (

I

)

If there iy

Diagram the hold, In

most

The

52

all

shi, vvs

conductor.

also the preparation for the tiext count.

the technique of

On

making

a hold

each count the heat

is

and cut-o ff on

repeated: \

is

1

for

|

for the cut-off and also serves as preliminary to | 2

cases, click

on

-

j

the repeated count for a clear release.

principle of repeating the beat after the hold

3-beat, 2-beat,

to

is

in 4-beat.

njis

vary,

only a slight interruption after the hold, the

cut-off gesture

any count

taste of the

may

and i-beat

in

Diagrams 53-55.

It

is

applied to

can easily be applied

other patterns.

When count,

it

the note under the fermata is

is

of greater value than one

not necessary to repeat any beats,

as will

be seen in the

following examples. Ex. 243: The hold in bar 2 is treated according to Diagram 52. The fermata in the 4th measure, however, indijdes several counts; stop on Q] for the hold, then (skipping Two) beat fSJ, which serves the double pur pose of cutting off the hold and preparing 1^4^. Thus only gestures are an 3

^"^

used in this measure.

Chorale Setting by J.

JJJ..J.

Ex. 244: For the hold and preparation.

in the

2nd bar, stop onl

1

land

S.

Bach

J^.J

usc^)for

Chorale Setting by

cut-off

J. S.

Bach

HOLDS

(I)

[lyr]

[lj2]

T^^ GRAMMAR OF CONDUCTING

Diagram

53.

Hold and cut-off on each count (short break),

in

3-beat

Ex. 245: In bar 4 stop on [31 cut off and prepare with

(4^

Chorale Setting by

J. S.

Bach

HOLDS

Diagram

54.

Hold and

cut-off

(I)

on each count (short break),

[173]

in 2-beat

[174]

Diagram

THE GRAMMAR OF CONDUCTING

55.

Hold and

cut-off (short break),

in 1-beat

HOLDS

(I)

[175]

Ex. 246: Since the cut-off also serves as preparation, it must have all the different expressions of the preliminary beat. In bar 2 it is full-staccato. In the last measure the orchestra has a half-bar rest. After a sharp cut-off of the second fermata, use a neutral down-beat (synchronized with the first chord of the piano) and prepare the staccato chord with Two.

Allegro maestoso,

Ex. 247: In bar

J

I

=

LISZT, Piano 87";;;i

120^_

which prepares the

use a full-staccato cut-off,

2

CoiiCffto

No

I

tutti

attack.

ROBERT SCHUMASS, Sjmphmj

Andante un poco maestoso,

J

St.

= 66

Ex. 248: Stop on [T] in the 4th bar. Following the usual procedure by strictly in tempo results in a w hole-beat pause. beating the cut-off Considering the very slow tempo, the conductor may prefer to shorten the pause, perhaps by as much as half, using an eighth-note beat.

^

Adagio,

(J

HAYDN,

52)

Sjmfbimj No. 101

"^

VliLLOb.

Ob.Vlii.1

O

Ban.

Exx. 249-251: Use Diagram but small cut-off.

nite

^

54.

Change from

Vlnll

f

to

p

in 251

with

a defi-

1

[1761

THE GRAMMAR OF CONDUCTING Allegro giocoso,

Ex. 149

M^

hi

J-

= 80

SULLIVAN,

Th, M,k^J«

HOLDS Allegro, d

(I)

= 92

[177J BORODIN, Symphony

No.

2

Ex. 254: The two types of combined cut-ofF and preparation, one with and one without repeated beat, are illustrated in 254a and b. In the 3rd while 2 measure of 254a onlv two gestures are used: the hold is on 1 cuts off the winds and also prepares the string entrance (staccato gesture!). This way of beating does not follow the notation, for the dotted quarter should be held until after Two. However, it is 7wt iimisiial for the beat to contradict the notation under a fermata, provided the beat n convenient and will not confuse the players. In Ex. 254b the hold for the ist violins is on D, and not Eb as in many editions. The cut-off gesture (2nd beat repeated!) should be rather gentle and smooth, so as to have a very ,

slight break.

Allegro molto, J = 76 (

J

= 126)

BEETHOVEN.

Symphony No.

3

Strings col

8?__i

Ex. 255: All counts are subdivided except the very first. The ist eighthbeat on Two has two functions: it cuts off the fermata and prepares the entrance of oboes and bassoons. For the start cf. Ex. 141.

Adagio molto, J>= 84

\^ Bsn.

BEETHOVEN.

Symphony No. 2

THE GRAMMAR OF CONDUCTING

[i78]

The

following two examples have rests after the holds.

discussed here because the technique involved

is

They

are

the same as in the

previous examples, owing to the fact that the rest actually includes

only part of the count. Ex. 256a:

Beat I

Ex. 256b:

in bar 2 and wait for the lower instruments with [ beatr2)for cut-ofF and preparation.

1

their fermata, then

Wait on 2 |

;

a sharp

down-beat on One

in the

following bar

|

cuts off the fermata and prepares the next attack.

Vivace,

J

= 92

KOBEKT SCHUMANN. Symptm,

Ne. 4

Ex. 247 (bar 4): While the second fermata may be executed without repeating the 3rd beat, most conductors desire a longer break and therefore repeat Three. But if this is done, beat the repeated Three downward so that the players will not confuse it with Four.

Additional examples for the study of fermatas followed by a short break:

Beethoven:

Svmphony No.

Carpenter: Sea Drift,

Copland:

A

3

6, ist

movement No.

bars before

—bar

4.

5.

Lincoln Portrait, bar 211.

— —

Symphony in D minor, 2nd movement bar 100. Haydn: The Creation,'No. 32 (Duet)— ^//egro section. Rimsky-Korsakov: Scheherazade, 4th movement 11 bars from Franck:

(2) If the interruption after the hold

count, a different technique

is

gestures, one for the cut-off

used.

is

the end.

longer than one

There are two

sepcrrate

and one for the preparation.

HOLDS

(I)

[179]

The nature of this cut-off is similar to that The execution, however, is now determined by

at

the end of a piece.

the fact that the music

continues after the pause. Consequently, the cut-off gesture carries the baton

from one complete stop

most simple and direct manner.

(

To

/?\

)

to another

(

tATTI )

in the

prepare the attack after the pause,

use the position of attention and the regular preparatory beat just as at the start.

There can be no hard and gestures.

fast rule for the application of these

The procedure depends on

the position of the baton at the

fermata and on where you want the baton to be 56 shows some of the

more

useful of the

many

at attention.

possibilities.

Diagram

Whenever

an upward or sidewise cut-off could be mistaken for a direction to continue, use a

downward

cut-off.

Ex. 257a: The two fermatas can be done in three different ways: cut-off and preparation done with the same down-beat (difficult for the players); separate gestures for cut-off and preparation, strictly in time; separate gestures with a pause between. Most conductors treat the first 5 bars as an introduction, taking the cut-off and the down-beat after the first fermata in tempo, but making a pause after the second fermata, as shown in Ex. 257b. Eor the cut-off gesture after the first hold, consult Diagram 55. The cut-off after the second hold must carry the baton to where it can start the 2nd violins in the clearest and most comfortable way.

Allegro con brio, d = 108

BEETHOVEN. Sjmpbmy viii.n

No.

J

via.

Exx. 258 and 259: In these examples a definite break is made after the slow introduction before starting the fast movement. The conductor must feel for himself how long to wait on the pause. For the ist bar of Ex. 258 cf. what was said about Ex. 170. After the fermata in Ex. 259, the music continues with a start after the count, since the "vivace" goes alia breve.

THE GRAMMAR OF CONDUCTING

[i8o] Andante

maestoso,(J' = lOO) Allegro vivo,(d = lOO)-,.^

HAYDN.

Til Siaims

Ex. 260: The first ff is a kind of introduction in itself and is followed a short silence. Raise the baton for the fermata and use a strong downbeat for the cut-off. The p subito in bar 5 needs the sudden appearance

by

of the left hand. Be careful not to have the baton too high in cutting off the second hold, so as to be in a convenient position for the allegro attack.

Allegro molto,

Adag.o,

J)

= 63

_

gvB—.VI5I

d=S8(J

152-160)

.

BEETHOVEN.

Sympbimj Nt.

Exx. 261 and 262: Pauses indicated by the composers: in Ex. 261 by in Ex. 262 by inserting a fractional rest with a fermata.

using the sign /^

,

Andante tranquillo,

(J

MENDEUSOHN. Midwmmn

=

72)

Niihl's

Drtam-Socnm,

1

HOLDS

(I)

[i8i]

s ctf

a

•u

c

a)

tc

o s u « I

E

THE GRAMMAR OF CONDUCTING

[l82] Andantino,

J

=6 9^72

WILLIAM SCHUMAN,

Symphony N»,

3

Copyright. 1942, by G, Schirmer. Inc

Additional examples for the study of fermatas followed by

a

longer

pause:

Beethoven:

Symphony No.

Andante). Brahms: Symphony No.

i,

4th

3,

—bar

348

(before Poco

— before the beginning of the movement—before the beginning of the

movement

4th

Allegro section.

Haydn: Symphony No.

movement

103, ist

Allegro section. Rossini:

Overture to Tancredi, bar 121 (beginning of the recapitulation).

Sibelius:

Symphony No.

3,

ist

movement

—

3

bars

from the end.

Smetana: Dance of the Comedians from The Bartered Bride, 2nd bar. (3)

Even

cut-off

is

if

there

is

no interruption

required, a gesture

is

needed

after the hold to

and no

resume the progress

of the music.

The

type of gesture to be used depends on the notation, and the

different possibilities are illustrated in the examples.

Exx. 215, 263, and 264: Since the note under the fermata has a greater value than one count, wait on the first beat of the held note and use the second, or in general the last, for preparation with no cut-off. While this gesture leads unequivocally into the next count in strict tempo, it must

be smooth rather than sharp, so that players cannot mistake

Allegro di molto.W = 152) Ci.

ff,

^

poco

riteji

Bsn.

MENDEUSOHN,

Midsummtr

NiiJil'i

Dream

it

for a cut-off.

HOLDS Allegretto, (J

(I)

[183]

sullivan.hms.

=116)

He's hai-dfye.«rskkal

sea.

p,iaf,r,

Tben give three cheeri

Bridget D'Oyly Cai

Ex. 265: Sometimes the method of skipping beats on a fermata can lead and the continuation of the music. Whenever this may occur, it is necessary to beat all the counts. In the present example, the bass instnmients may enter prematurely unless the to misunderstanding about the release

4 counts in bar 3 are clearly indicated. Wait on T'wo for the hold; the preparatory 3rd beat should not be too large, while Four is done with an incisive motion. In the ist measure, do not neglect the correct indication of the rests; Tiiw and Three are neutral but distinct beats. Four is preparatory.

BMBER,

^ Copyright, 1943, by

G

Bsn.,BaM Schirmer, Inc

Symphony No.

r)

V

Tunp.

Ex. 266: When the same notes are tied over to the next count, with no instruments entering, no additional gesture is required; just continue beating after the hold according to the notation. In the 4th bar, release the winds with the left hand.

new

Allegretto grazioso, (J = 96)

Bass pizz

f

FU>^.^

*

'

'riti

BKAHMS,

Bass far

Symphony No.

2

THE GRAMMAR OF CONDUCTING

fi84l

In the following nine examples the beat used for the hold

peated.

However,

this is

is

re-

done differently from the cut-off and prep-

aration discussed under (i) and (2).

As you

see in

Diagram

57, the

baton leaves the hold without any special gesture and merely resumes the motion with

which

motion precludes the

entered the hold.

it

The smoothness

of this

possibility of clicking.

A

number of conductors use the pattern of Diagram 57 even to direct fermatas which are followed bv a short break, making the motion after the hold more emphatic to indicate the release. But this gesture lacks the incisiveness of Diagram 52, and the student conductor will do well to adhere to the method taught in section (1). Ex. 267: Stop on the 3rd beat in bar continue with the triplet.

2;

Three

the repeated

will tell the

clarinetist to

Molto moderato

J

=

^

GERSHWIN,

"' u

ypan^tiifi

CI

Khapiody

m

Blut

mosso

,

'"V

Copyright. Harms, Inc.. New York. N Y Reprinted in this book by permiseion of the copyright owners

Ex. 268: In 268a the beat after the hold can have the value of either a quarter or an eighth. By beating a quarter you will make the sixteenthnote a little calmer. In slow passages like 268b, subdivision of the last beat gives more control at the fermata. Lead into the next bar with either an eighth- or a quarter-beat.

Lento, (J

=

66)

OFFENBACH,

Orfhli

aux infirs—Otiimm

HOLDS

(I)

[185]

THE GRAMMAR OF CONDUCTING

[i86] Ex. 269:

The

repeated

Tuo

a small gesture to indicate the

is

change

to p.

Andante,

= 76)

(J"

^^

Bsn.

MOZART,

Die Entfuhrunf, aus Jem Serjtl

—

Overture

Ex. 270: The hrst two fermatas need an especially smooth continuation so that the various entries blend into one another. After the third, however, use a sharp staccato gesture to cut off, and to prepare the sudden

Allegro

ma non

troppo, d

= 80

=144)

( J

jj.

B^mvEt^^s^pb^N.i

cdS^ Ex. 271:

Hold on Tivo and continue with Largo

assai sostenuto, J

a preliminary eighth-beat.

= 50

MASCAGNI. By permission

of

Cm Musicals Soniogno.

CavalUrta Kiuttcana

Milan

Ex. 272: Use Diagram 57d, noting the difference between this technique and that used for Ex. 252 (Diagram 55). Prestissimo, t H

Ex. 272

101 lOb

yr

J-

=138

HOLDS

(I)

Ex. 273: Allow sufficient time for the the repeated 5th beat.

G

[187] without rushing

after the hold,

AndantinoJ/ = 93

RIMSKY-KORSAKOV. By permission

Ex. 274:

The

uf

Ediliuns

M

P

ScbitiraiaJc

BelaicR, copynglil owneis

beat after the hold (up-beat quality) must express the

change of tempo and dynamics. Use Diagram

Tempo

576.

di Valse,(J.= 69)

-PP J.

Ex.

timed

2

y;

While

STRAUSS,

Viirma BhaJ

the 'cellos and basses hold the B, give a small but wellwith no break.

preliiiiinary beat for the Allegro,

Adagio, =72) h

Allegro.W = 126)

(;>

O

Strings

FT BEETHOVEN.

Sometimes, especially regular preparatory beat.

w

in

Lionor, 0„rlur,

No

J

accompaniment, there

is

no time for

short smooth gesture

is

needed which,

A

ithout being in tempo, leads convincingly into the next count.

pattern for this

is

identical with the tenuto of

The

Diagrams 48 and 48a.

Ex. 276: Use this technique for connecting the a small 3rd beat serves as cut-off.

a

two fermatas

in

bar

2;

THE GRAMMAR OF CONDUCTING

[i88]

Andante,

—

(J

= 69) _&

MOZART,

U

NoTX< d, Figjn

Ex. 277: Stop on the 3rd beat and, using the short connecting motion, pick up Foia- with the singer.

Moderate con moto, Ex. 277

(J

= 9^

gershwin,

Wly wiihyo' looks, Bess, an'yo'

-way witiiuie boys

Copyright, 1935, by Gerehwin Publishing Corporation,

to

Ex. 213:

The

Ex. 261:

An

Two)

p,^sy ^nj b

>

>

>

TCHAIKOVSKY,

J-

= 132

Symfhcny N».

5

nliMi

>

BAKBEK.

Oiiirturi to

The School

[or

Scandal

Ex. 310

Copyright, 1941, by

G

Schirmer. Inc.

slight beat is needed on Owe in the 4Ch bar, so of gesture for the accent. Ex. 311b: Raise the baton only slightly to prepare the accents on One.

Ex. 311a:

as to use a

Only

a

very

minimum

Andantino,

=

(J

88)

SCHUBERT,

Rojatmtndr-Balltl Music

Vln

Ex. 312: Use large beats on Tuo to prepare the accents; use small gestures elsewhere so that the accents are more prominent. SOVSA, The

Stars

A

Marziale,

W

=

132)

Used by permiwioo of the copyright owners. The John Church Co.. Philadelphia. Pa-

and

Stripes Forcvtr

....

A

A

THE GRAMMAR OF CONDUCTING

[206]

Ex. 313: Because of the accents, carry the 2nd beat to the

left

and use

a smaller gesture than usual for the 4th beat.

Andante, (/ =88)

mozart,

s^mpbo«y Nt 40

.J l'n.P^

E.A>

i

373

Ex. 314: tern but

is

The a

beat in the 2nd measure does not follow the regular pat-

preliminary beat, just as

staccato for the

if

the piece started in bar

Allegro vivo,J.= 80

Beat

BIZET, Carmen

poco

crest:,

Ex. 296:

3.

sf.

The accents in bars The rebound in

sized staccato.

i

and

5

are

made with

a slightly emphamust be vigorous.

the 2nd measure

Ex. 127: Because the right hand indicates f in the 5th measure with a hand is needed for the accent in bar 6.

large gesture, the left

Ex. 156:

The

accent in //

is

expressed by marcato, the one in p by

tenuto.

Additional examples for the study of accents: Beethoven:

Symphony No.

2nd movement.

4,

Beethoven: Piano Concerto No. 5, ist movement. Borodin: Folovetzian Dances from Prince Igor.

Brahms:

Ac adenine

Festival Overture.

Gershwin: Rhapsody

in Blue.

Haydn: Symphony No. Haydn: Symphony No.

92,

ist

97,

ist

Tchaikovsky: Nutcracker (Trepak).

Wagner: Overture

movement (development movement (Vivace).

Suite,

to Tannhauser.

Oiiverture

miniature;

section).

Danse

russe

ACCENTS AND SYNCOPATION

[207]

SYNCOPATION no special beat. You must rhythm steady. The gestures must be very definite and the beat, so to speak, between the notes, not on them. DiscipHne your(1) Syticopated passages without accents require

self to

keep

ally

is

it

strictly in

tempo, neither rushing nor dragging. Occasion-

better to beat tenuto or staccato even in legato phrases, to

give the orchestra a solid feeling for the rhythm. Exx. 315-318, and 133: Syncopations in various rhythms. Ex. 318 requires special concentration and a beat that is very precise without becoming stiff. If two pianos are available, practise this entire section of the concerto; have the solo part played on one piano and the orchestra part on the other. Conducting this accompaniment is problem for any young conductor, and quite difficult.

cording

may

Allegro, .Vln.

a

very challenging

A

phonograph

J

= 104

-

* *

SIBELIUS. Fmlatulu

*: «:

poco

dim.

By permission of the copyright owners. Associated Music Publishera. Inc New York. ,

Allegro moderato,

J

N Y

138 TCHAIKOVSKY, Symphmy

Ex. ij^tf j"r^ r 316

re-

be used to advantage.

^

Nc.

5

THE GRAMMAR OF CONDUCTING

[208]

Allegro vivace,

= 72 R.

SCHUMANN, P,am Cmttru

Syncopated notes with accents are indicated on the preceding

(2) beat,

J.

which

is

staccato.

The

sharpness of the beat increases with the

degree of the accent. In contrast with an ordinary accent, which

on the count,

this staccato beat

is

not prepared.

The

beat

itself is

is

the

preparation for the syncopated note that comes after the count. Again,

never beat the syncopation, beat the rhythm! Be especially careful not to beat the count after the syncopated note too soon. Ex. 267: 4-beat. This demonstrates a staccato accent in a legato pasi, beat staccato on One and Three, legato on Tiro and Four.

sage; in bar

Exx. 319 and 320: 3-beat. In Ex. 320, bars 2 and 4, do not accent the 2nd beat or you will weaken the strong accent on the 3rd.

Allegro non troppo, (J = 120) Ex.

..

^in

^nu>i^i i^fM

'i

J=

BRAHMS.

^** I

fPr

168 STKAVINSKY. LO,„ju

BulHil

Timp. ol\ Pp Counoy Galaxy

iVI Chester. Ltd London Muiic Corporation, New York ,

d. Fa,

Sympbsf,} No. 1

ACCENTS AND SYNCOPATION

[209]

Exx. 152 and 321: 2-beat.

Allegro molto con brio,(d =152) ^

Fl.(8^|,^

''!

jdi

i

jjjjyj' BEETHOVEN,

Ex. 322:

Though

this

can be done

^

Promtlbcus—Ovtrtun

in free style (p. 304), practise

with

the syncopation beat, a vigorous staccato.

Allegro energico,(c). =72)

smetana.ti,, Ban^j Bnj,

Additional examples for the study of syncopations:

Without Beethoven:

Symphony No.

ist

4,

accents:

movement

Allegro vivace (also

N\'ith

accents).

Debuss\-: Nimges, 5 bars

from the end;

also strings pizzicato in the next

bar.

Mascagni: Cavalleria Riisticana, Arrival of Alfio {Allegretto 2/4). Alozart: Die Zmiberfldte, 2nd act,

Shostakovitch:

The Golden Age,

No.

4th

With

17

Puccini: Tosca,

SyinpJmny

ist act,

Weber: Overture

to

bar

Der

,

ist

3

at

bars

No.

from the end.

62.

accents:

Brahms: Symphony No. :, 4th movement Gershwin: Rl.mpsody in Blue. ProkofiefT: Classical

—Aria,

movement

at F.

movement

at

No.

17.

4.

Freischiitz, passage starting at bar 53.

THE GRAMMAR OF CONDUCTING

[2I0]

ACCENTS ON OFF-BEATS Accents on off-beats are indicated notes with accents,

i.e.,

by

a

in the

same way

as

syncopated

sharp staccato on the preceding beat.

Exx. 187b and 304b: These exercises, directed in 2-beat, are very inon and off the beat. Remember that the rests not used for preparation are neutral. In Ex. 187b, the short f chords on the ofF-beats are treated as though they were accented. Use a neutral beat for Tzi-o in bars and 2, and for One in bars 4 and 5.

structive for accents both

i

Ex. 305b: In music directed in i-beat with the accent on an oflF-count, use a sharper staccato with

a

larger and very quick rebound.

Exx. 197 and 323: While the indication of the accented off-beats in Ex. 197 offers no problems, the staccato chords in Ex. 323 require much concentration on the part of the conductor. The beat should be primarily

concerned with the chords and not the string passage. In the ist bar, One / staccato, Tuo, light-staccato, and Three is the preparation for Four. In the 2nd bar. One is a sharp down-beat for the off-beat chord, Tivo again is light-staccato, and so on. Use rather small gestures.

is

Allegro giusto, S tines

(J

=

144) TCHAIKOVSKY, Rmut amJ Julia

Tiiop-

Ex. 324: The f chords that end the phrases are treated like syncopations with accents. Allegro con brio, (^ =88) becthofen, c^w.,.. o»«.„

ACCENTS AND SYNCOPATION

[211]

Hn-Tpt

Exx. 325 and 320: For the beats that are followed by accents, use with a quick rebound on Two.

a

clear staccato

Allegro (J.

commodo non

= 80)(«

agitato

2 battute)

smetana. n,

Moida,

t^^^^ffl" Anime

Bau

et tres rude,

i

= 138

KAVEL,

Daphni!

it

ChloiSuiti No

;

Permission granted by Durand & Cie, Paris, and Elkan^VoKel Co. Inc. Philadelphia, Pa Copyright owners

Exx. 122 (bar 3) and 123 (bars 6 and 7):

The same

for i-beat.

Ex. 180 (bar 2): Accented off-beat in a subdivided pattern. Ex. 327: The off-beat accent is combined with sustained notes, but the technique remains the same. This is also true for the syncopated entr)^ on One in the 2nd measure.

THE GRAMMAR OF CONDUCTING

[2.2

Allegro

ma non

troppo, J

= 66

barber, s,mthon,

n«.

i

Bsn-fuba ^' Copyright, 1943. by

G

Schirmer. Inc

The

serenade from the 2nd act of Die Aleistershiger is difficult changing fermatas (with and without repeated beat) and accents (both on and off the beat). Repeat the beat on the fermata in the 1st and 3rd bars, but not in the 2nd bar in which Three (preparatory!) follows the hold directly. The accents in the 2nd Ex. 328:

to conduct, because of the continually

bar are on the beat, those in the

ist

and 3rd bars are after Three and Four

respectiveh'.

Moderate,

J

= 76 WAGNER,

Dit Miiilir,n!,tr

Additional examples for the study of accented ofT-beats:

Symphony No. i, 2nd and 3rd l)ars after No. Symphony No. 4, 3rd movement. Beethoven: Symphony No. 6, 4th movement. Barber:

50.

Beethoven:

Brahms: Variations on a Thevie by Haydn, \'ariation No. Brahms: \'iolin Concerto, 3rd movement. Mozart: Overture to Die Zauherfldte, Allegro.

Schuman, William: Symphony for

Strings, 3rd

movement

5.

—passage

start-

ing at bar 58.

Tchaikovsky: Rovieo

Wagner: Overture

arid Juliet (Overture-Fantasia),

to Tamihduser, Allegro.

3

bars

from the end.

ACCEXTS AXD SVXCOPATION

313]

Fp Fp

is

executed

much

in

the same

staccato beat, and the left hand

sudden drop

in the dynamics.

is

manner

It

requires a

This warning gesture (palm facing the

comes almost together with the fp

players)

an accent.

as

used often to secure a unified and

beat.

Exx. 42, 210, 220, and 239: fp on sustained chords. In anticipation of bounce of the baton is reduced to a minimum. The left hand should be used in Exx. 42 and 239. Ex. 329: fp in strings, tremolo, requires a very definite and unhesitating preparation. You get the best results with a clear sweep of the point of the baton. In the ist measure, the beats on One and Two indicate both the tutti chords and the tvmpani ffz on the off -beats; Three is non-espressivo, giving the tvmpani enough time to fade awav; Fonr is the precise preparation for the sharp down-beat (not too large) indicating the fpp. the p, the

Adagio,

Jl

= 126

Tiinp.^

Vln.

^p ^j^ p By

^"^g^°

Bassf"^

"'°'^°'

J

= 156 DyoUK.Srntl,on,N..i

^

permi5si.jn o( RiLliatd Stliaui-r,

Londui

Ex. 330: Control of the fp is especially important for the operatic conductor, because of the frequent occurrence of a soft accompaniment im-

mediately after

a

sharply attacked chord. Allegro,

Molto modcmto, \

J

= 84

i

= 116

rarmon le I'aime ,t>>

eidfi^'Biillajnrtrt me-ine, je re-pfe le

-

rai

que

jel*aL

-

me!

Ob.Hn

BIZET. Carmin

Exx. 331 and 332: The same technique is used for a change from f to p within one beat. Since the baton cannot indicate both f and p with one gesture, the left hand is needed.

THE GRAMMAR OF CONDUCTING

[2i4l

Allegretto, J

^HOSTAKOVITCH, Symphony

= 138

No.

5

Ww.

Used by permiasion

Am-Ru8

Vivacissimo,

=

(d-

of

Leeds Mufic Corporation, New York, N Y

Edition,

96)

,„

By ated

It

This

is

SIBELIUS, Sympbmy N..

permission of the cxipyright owners, Music Publishers, Inc New York, ,

sometimes happens that there

single beat.

_

2

*'"1

Vln.l

is

a

N

Y.

change from p to

f within a

not, strictly speaking, an accent, but

it

is

con-

venient to discuss in this chapter the technique for directing such a

change.

The

gesture used must bring out the element of surprise in-

herent in the music. Hence, in contrast to an accent, no preparation

should be

felt

on the preceding

beat.

The

denly enlarging the beat on which the

effect

is

achieved by sud-

f enters.

Fa'. 333: Start to beat the 4th measure as though the p would continue uninterrupted, but extend the down-beat sharply with the baton tipped downward. Use the left hand for the p subito in bar 5.

Allegro

ma non

troppo, d

Vlnl

Ex.

BEETHOVEN.

Symphony No.

6

Ex. 334: The 2nd beat in bars 3 and 7 is larger, but the ist beat must not give away the change prematurely. Left hand in the 5th measure. Allegro, (J = 160)

TCHAIKOl'SKY, Symphony No

Rass

4

ACCENTS AND SYNCOPATION

[215]

Additional examples for the study of fp: Barber: Essay for Orchestra, 4th bar after No.

19.

Symphony No. i, 3rd movement. Beethoven: Symphony No. 2, ist movement Franck: Symphony in D minor, 3rd movement ProkofieiT: Classical Symphony, ist movement Beethoven:

— Introduction. —bar also bar — bar before No. 5;

i

Overture to Giiillaimie Smetana: The Moldau, bar 126.

Tell, Allegro vivace 2/4.

Wagner: Lohengrin,

scene.

Rossini:

ist

act

ist

53. 9.

Chapter

21

PHRASING To INDICATE PHRASING, They the

different

several

techniques are used.

will be explained in connection with the examples.

methods of phrasing

differ,

they have

this in

decreased intensity at the end of a phrase, and

motion

at the

with no delay

beginning of in the

shorten slightly the Ex. 335: In the

a

new

one.

A

Although

common: there is a by contrast a fresh

slight

break results but

rhythm, which remains steady. Thus the players

last

note before the break.

ist bar,

beat tenuto (the "dry" tenuto) on Tivo, not

Three, so that the 3rd beat is somewhat hur2nd measure, go onlv half-wav to the right for Three, and immediately start Four with an espressivo gesture. In the 3rd bar, beat tenuto on Three in the manner described in Ex. 227. Refer to Diagram leaving

it

until just before

ried. In the

58a for details of the gestures.

The I

St

following

beat; the

six

examples show different phrase endings after the

method of directing them

varies.

Notice the difference

between the techniques used here and those used for interruptions (p. 198). In the latter case the

to be altered; in phrasing,

rhythmic structure of certain bars had

however, the rhythmic continuity

affected.

[216]

is

not

PHRASING

[217]

.p*,mj n..

3

Ex. 406

r::M°T» '

uV

''

^

»

/• + Irii

^

i

ii

i '1

jj

j

j> j,

;

f^^^f^^

j

'm

-

•

N

^

jT?r^

Ex. 407: Direct the opening with a very calm 3 -beat. In bar 2, however, change to subdivision to lead the flute passage and the harp chords. In the next bar return smoothly to the calm 3-beat.

Largamente

e

molto rubato, d = 48

GKiFFEs.Tb,wh,i,F,Mock

NUMBER OF BEATS

MEASURE

IN A

Copyrigl pyright renewal assigned, 1945. to

G

^ (II)

[271]

Schirmer. Inc

Ex. 408: Although this music is marked 2/2, 4-beat is advisable, even for the best orchestras, to secure precision in the violin and viola passages.

Change

to

2 -beat

Schnell,

Ex. 409: tion of this starting

in the 5th measure.

(J = 80)

way they lead the 12/8 secmeasure), there is no doubt that, bar, the beat must be subdivided.

Though conductors differ in movement (4 or 12 beats in a

from the

last

Adagio J = 60 , ^ ,^ ( ;> = 144) ,_^ .

IVAGNER. Truun ynJ hiUt

quarter of the

ist

the

BEETHOVEN. Symftm,

,

.-TTr^ ^

I

a

,

N..

9

THE GRAMMAR OF CONDUCTING

[272]

Ex. 410: In most orchestras the violin run in bar 3 will be muddy unless directed with 6 beats (Diagram 46), light-staccato. Return to 2-beat legato in the next measure.

Andantino,

J-

RIMSKY-KORSAKOV. Sih,h,r^xadi

= 52

vt.n

Fi.

By permission

Ex. 411: bar,

The rhythmic

change to

in bar

a

ol Bditiitns

M.

P. BdaJetl. copyright owners.

figure requires 8 beats in a measure. In the 4th

calm 4-beat, but return to subdivision on the 4th count

5.

Largo,

J

Ex. 412:

= 52

As

VERDI,

the

metronome marking

with i-beat. However, the

first violin

ordinate the 32nd-notes; subdivide the

Andante,

Ex. 411

Lei Vifrts Sicilirnnrs—Oi'rrturt

a.

fM\

r

J.

= 63

indicates, this

section ist

music

may need your

is

directed

help to cobar (Diagram 30b).

PROKOFIEFF,

Prrtr

anj

ih,

Wotj

NUMBER OF BEATS

MEASURE

IN A

Adagio, ^__^= 126

(II)

DVOR.JK, Symphony No

[273] 5

iVc

Bass

By permission

of

Richard Schauer. London.

Ex. 346: In case the ofF-beat accents (bars 3, 6, etc.) lack precision, on the preceding counts may give a satisfactory result.

skilful subdivision E.\.

414:

not necessary to use 4 strokes in bars 3 and 4, but many order to have the rhythmic figure played with more the alia breve in bar ^ for the natural flow of the music.

It is

conductors do elan.

Resume

so, in

Allegro con spirito,

(d

=

MOZAKT,

84)

Symphony Vo

Vln.1

Ex. 415: Here again, subdivision is not compulsory, but the use of 6 beats in bars 2 and 4 underhnes the expression of the melody. (J

= 40)

Sostenuco molto,

W

ppp

string's I

(J>= 120)

{^=

40) (J'= 120)

— j^

i-

J

'*P*°P

^jjl'lt^

[)

Copyright. 1896. by G. Ricordi

&

PUCCINI,

(J=

40)

ll U Bohimi

Co.. Milan

Ex. 416: The entire movement from w hich this passage is taken requires frequent change from regular to subdivided 3-beat, partly for technical reasons, partly for the sake of expressiveness. In the 4th measure, the eighth-note values must be indicated to secure a smooth execution of the dotted rhythm. Start to subdivide unobtrusively on the ist count in that measure. In bar 6, the subdivision is hardly noticeable since the rhythm is

now

established. In the next bar,

intensity to the lyric passage.

how ever,

subdivision helps greatly' to give

iS

THE GRAMMAR OF CONDUCTING

[2741

Andante sostenuto,

(J

= 56)

BRAHMS.

Symtbcmy Nc.

1

Vk.,

The

last part of this theme (bars 1-4), the second theme of the done with 3-beat. Some conductors continue to beat 3 at "a tempo". However, this pp section achieves its quality of lightness and suspense when directed with a small i-beat. This entire movement demands flexibility on the part of the conductor; he brings life into his interpretation with a skilful mixture of 3-beat, i-beat, and the subdivided pattern One- ( two- ) Three. Allegro vivace c con brio,

Ex. 417:

movement,

d.= 69

is

C J

= 152)

a tempo, d- =.63

fit.

IWiu

BEETHOVEN. Symphmy N.

S

Additional examples for the study of passages in which the conduc-

number of

tor usually changes the

beats for one or

more

bars:

Overture Le Carnaval Roniahi. Andante sostemito 3/4; whether \\ ith 3 beats or with subdivision depends on the individual conductor. Most conductors subdivide at the change to

Berlioz:

to direct the 3rd bar

E Brahms:

major, also at the change to

Symphony No.

211. Subdivision

return to 4-beat

i,

is

3

4th

A

major.

movement;

for the Introduction, cf. Ex.

necessary for the passages with 32nd-notes, but bars before

Piti

Andante. In the Allegro von

troppo, conductors change frequently to 2-beat, for instance at

NUMBER OF BEATS auimato

(

1

IN A

MEASURE

(II)

[275]

movement), but resume the 4-beat when-

i8th bar of the

ever necessary.

Dvorak: Symphony No.

5

{From

the

Neiv World), 4th movement. Use

4-beat at the start but change to 2-beat in bar lo; resume the 4-beat at

No.

2.

Similar changes are apphed to the rest of this

Leoncavallo: Pagliacci, Intermezzo. Subdivision Puccini:

La Boheme,

division

is

ist

act,

Rodolfo's

aria.

is

movement.

used in bars

In the

Andante

i

and

3.

lento, sub-

applied to the measure before the 2/4 bar.

Tchaikovsky: Symphony No. 6. In the 3rd movement, change to 2-beat for the concluding section. In the 4th movement, the beat changes frequently from regular to subdivided 3-beat. Verdi: A'ida,

ist act,

ist scene.

In Aida's aria {Ritorna vivcitor) 2-beat

used at Camabile, with subdivision for the triplet

Return to 4-heat

Wagner: Overture from 6-beat

to to

at

is

treviendo.

after the fermata.

Der Fliegeude Hollander. In 2 -heat at Animando mi poco.

the Andante, change

COUNT

SUBDIVIDING A SINGLE

Subdivision of single counts has been discussed as a means of directing ritardando.

It

may

be used occasionally, even though the tempo

does not change, either for secure playing or for the sake of intensity.

The

skilful application of this

technique adds vitality and expression

to the interpretation. Indeed, to use

it

without interrupting the flow

of the musical line or upsetting the clarity of the beat master.

However, young conductors

are

warned

subdivision of this kind, especially in espressivo; in a bar are

hard to

follo\\' if

is

the

mark of

a

against too frequent

many curved

they are not used in

vincing way. Perfect control of the baton

is

a

gestures

completely con-

required for the applica-

tion of such intermediate strokes.

On

the other hand, subdividing single counts can be very useful in

slow passages with dotted rhythm when larger one, as in Ex. 379. Beginning

a small

on Fo2ir

note-value follows

in the

2nd

a

bar, use sub-

division to secure correct playing of the 32nd-notes; subdivide only

on the counts on which the dotted rhythm occurs. Ex. 418: Subdivide on Four in bars 2 and 3; subdivision can also be applied to the first two counts in bar 4, to control the triplets.

[276:

THE GRAMMAR OF CONDUCTING

Sehr gehalten,(J

=

WAGNER,

52)

fauil Oiirturi

Vln.I

Ex. 419: Should there be any difficulty with the after-beat of the trill and violins, a skilful subdivision of the 3rd count in bar 2 will

in flutes

keep the instruments together. without any delay.

The

gesture must be small and precise,

Andante tranquillo,

(J

=

66)

Vln. .Fl.

MENDEUSUhN,

M,dsumm,iN,!i,hi-,

Driam-N,ct«m,

Ex. 420: Subdivision on Tvco in bar 5 leads the violins (C and Db played s! ) to indicate the tender expression of the phrase.

with two up-bo\\

Andanrino afFetcuoso poco = 69)

(J

PUCCINI, La ft>«m«

affntttindo

Copyrighe, 1896. by G. Ricordi

&

Co.. Milan

NUMBER OF BEATS

IN A

MEASURE

(II)

[277]

Ex. 42 1 The accented notes in bars 3 and 4 require subdivision so that each of these notes may be directed with great intensity-. To achieve a clear release of the dotted quarter-note, use an incisive beat on Tiro in each of :

these bars.

Andante soscenuto, (J =58)

By permission

MASCAGNI,

of

Casa Musicale Sonzogno. Milan

CavalUrta Rusticana

Chapter 27

AND

5-TIME There are two ways not too

fast,

of beating these odd counts.

each count receives one beat.

that this cannot be gesture.

7-TIME

done

When

the

If

the

tempo

tempo

is

so rapid

distinctly, several counts are included in

Such rapid successions of uneven bars

music of Stravinsky and has since

become

first

appeared

characteristic of

is

one

in the

modern

scores.

5

Several patterns

notes

fall

BEATS IN A MEASURE

may

be used, depending on the

A

within the bar.

alternation of 2/4 and 3/4, in (this easily

is

which

case

the groups of

stand for continual

Diagram 59a

is

apphcable

diagram indicates staccato, and the other types of gesture be deduced from

and 3-beat

gram

may

5/4 signature

way

in the

same

Some conductors

it).

size,

actually alternate

2

may -beat

but the 5-beat pattern shown on the dia-

has this advantage: since the second group (Three-Four-Five)

kept smaller and toward the top of the

field

beat on One stands out and the orchestra

of beating, the

down-

has a definite point of

orientation.

Ex. 422: Apply Diagram phony follows this beat.

Allegro con grazia,

J

59a.

The

entire third

movement

of the

TCHAIKOVSKY,

144

ci

pi? 7.

[278I

sym-

iymphony No.

t

j-r/.V/£

AND

--TIME

[279]

^

B,1^

THE GRAMMAR OF CONDUCTING

[zHol

notation indicates the rhythmic groups

The

Ex. 423:

Apply Diagram

(3/4+2/4).

59b. HANSON,

Andante lamcntando,

Symphony No.

3

=69

i

Vc.dKi.

Tlinp. Copyricht.

l'>41, by the Eastman School Carl Fischer. Inc Sole Agents L'sed by permission

ol

Music

.

No

Ex. 424:

gram 59c

division of the 5-group

the best

is

is

(4/4+1/4), because

apparent. it is

The

pattern of Dia-

close to the 4-beat of the

preceding and following bars. SHOSTAKOVnCH, Srmpkny So

Allegro,

(J

=

^^ r^^^S^S b^

138)

^ ^

Vlfl.Hn

Used by permission

Am-Rus

of

Leeds Mufic Corporation, New York. N Y.

Edition,

Ex. 425: The St measure follows the pattern of Diagram 59c, and the next three bars use that of Diagram 59d, which is simply 4-beat with a I

repeated downbeat (1/4+4/4). (J

=

92)

Hans Sachs

Eine Meisterweiie

Pi^i-'^

S

IVAGNER,

(Bass)

isi

i

Dii Minrcrjtn^rr

ge -lungen, von "junker Walter g-ediittel und ge -

E Strings

r

i

»

sunken: der jungeuWeise iebendcr V^ler

ludmitikunil die Pognarin-zuGe-

5

AND

^-TIME

-j-TIiME

[281]

Additional examples for the study of the 5-beat patterns: 2

+

3

beats:

No. before No.

Barber: Second Essay for Orchestra, 3rd bar after

Carpenter: Sea Drift, passage starting 3

The

Respighi:

(the pattern 4

+

+

i

II

Wae;ner: Tristan iind Isolde, 3rd

13th bar; also at Aiicora

2nd scene

act,

4+1

When

the

tempo

is

No.

1,

2,

OR

15.

bar

7.

Dance, bar

3

2.

30.

BEATS IN A MEASURE

too fast to beat clearly and easily on each count,

Diagram 59e there are 3 beats: includes One and T%vo, the 2nd Three and Four, and the 3rd,

fewer beats are used the ist

a small

quality. to

mosso

31st bar.

—bar

Strauss, Richard: Salome, Salome's

with

—

The White Peacock, passage starting at Symphony No. i, 2nd movement

WITH

piii

beats:

Shostakovitch:

5-TLME

15.

can also be applied).

Strauss, Richard: Salome, ist scene, passage starting at

Griffes:

25.

bet-ts:

2

Rome, Part

Pines of

bars

3

in a measure. In

turn of the wrist, indicates Five, which has a preparatory

There

are only

2

beats in

Diagrams 59f and

g, giving rise

an asymmetric pattern. W^hich pattern to use depends on the

rhythmic

stress of the

music and, to

you may prefer 59h

for bars in

upon what is most you have a flexible wrist,

a certain extent,

convenient for the individual conductor.

which

If

Foitr

is

accented.

Ex. 426: Execute the 4th measure according to Diagram 596, since the feeling

is

2/4-1-1/8.

THE GRAMMAR OF CONDUCTING

[282] Vivo,

(J

=138)

WALTON,

yitla

Conunc

Reprinted by permission of the Oxford University Press, London (U- S. A. Ajent.: Carl Fiwher. Inc.)

The 5/8 rhythm in bars 4-7 seems to conform to Diagrams But the entrance of the wood-wind passage in the 6th measure calls for an especially clear indication of the small rhythmic values. Since changing the pattern would disturb the players, direct these four bars according to Diagram 59a, using small gestures. Ex. 427:

59e or

f.

Andante,

(J.

=

72^

—

agitato

B/1RB£R, Siamd Esiay

ti

Copyright, 1945, by

is

G

/er

Onhtstra

Schirmer. Inc

Ex. 428 (bars 2, 3, and 5): Diagrams 59f or g could be used; if pattern used, the ff figure is felt as a syncopation, while with pattern

^^

the up-beat coincides with the attack of that figure.

f

g

-TIME

AND

-7

-TIME STRAVINSKY,

tTuba lJ»

7

J

.83]

U Sam Ju Pnnltmpt

[284]

THE GRAMMAR OF CONDUCTING

venient i-beat. Hence, use one of the Diagrams 59e-h. Next, dispense

with the metronome and increase the tempo until i-beat becomes convenient in 5-time.

Apply both procedures

( 3 )

to Exx. 429a

and

b.

Ex419

/d=56 \d=72

L

*

;

',

.

P

J=80 J-

= 100:

j-r/A/£

a^A

AND

-j-TlME

[285]

[286]

THE GRAMMAR OF CONDUCTING +

+

EF

^ + +

a-^

B

:

AND

S-TIME

7-TIME

WITH

3,

4,

OR

Diagrams 6oe-k. The 4th bar

-j-TIME

[287]

BEATS IN A MEASURE

5

in Ex.

428

is

best executed with 6og.

Ex. 434: For bars 2 and 5, use Diagram 6oe or f. The 6th measure can be done with pattern g. For the 5/8 (bar 4) use Diagram 59e. (J

= 120)

STRAVINSKY. LHiiKm

By

.>

Doppio movimento ^J

J..J

mezzo tempo

J.J

Vivace

j__j

Ex. 445: The marking 'Tempo stretto come avanti" indicates that equalsj"j~j' therefore the quarter-beat equals the previous half-

444 beat.

;

THE GRAMMAR OF CONDUCTING

[294J

Tempo Allegro non troppo,(cJ = 100)

come

stretto

avanti r^i

VIn.

FRANCKy

Symphony

tn

D

minor

Ex. 446: In the Presto (i-beat) the whole measure equals the quarterbeat of the previous tempo. Allegretto grazioso,(J FL^,,

=

9b)

Presto

I

ma

nori assai. d

=

J

BRAHMS, Symfhmy

No. 2

/

it

Ex. 447: For an unmistakable indication of the tempo change ( =J ) may be helpful to subdivide the last quarter-beat in bar 2. In any case,

"think" the eighth-note values "Doppio mosso".

in the

old

tempo

Doppio mosso,

J^= 66

Copynghl, 1943. by

G

= 132

Schirmer. Inc

Ex. 448: The quarter-beat of the Allegro value in the Lento. J

before starting the

f

b§

BaM8«'

Lento

J

just

= 76

is

'

twice

BARBER, Symphmy

as fast as

Reprinted by permiMion of the copyriRht owners, Boo«y k Ga.ke.. Inc New York. N. Y .

i^m^

1

the quarter-

J=d Subito allegro, J

rh

No.

r-M

= 152 '-

rnpV >*Vn AA Umoln l'.«r^I„ CUPLANU,

P„Jl^., Portrai,

CHANGES OF RHYTHM AND TEMPO

[295]

apply Diagram 59b; the eighth-beats are twice as fast The 2nd beat in each bar should be sufficiently sharp to bring out the syncopations. Ex. 449: For bar

2

as the c]uarter-beats in the preceding measure.

HANSON,

Symphon) N«.

5

Copyright, I''41. by the Eastman School of Music Carl Fischer. Inc Sole Agents Used by permission .

Ex. 450: Subdivide the 3rd i]uarter-bcat in bar 2; the second eighth of the subdivided beat serves as preparation for Fojir in the new tempo, \\ hich is twice as fast as the old tempo.

Largo,

(J

=

Allegro molto agitatCL,

60)

J

Via

i3g^

Vc.

^=—

P__

i'af (he previous tempo

•>

gj;

j:^

S^

\^si R. STRAUST,TcJ,.nJV,rkJarun, * Copyright by C, F Peters Reprinted by permission of the copyright owner, Mr. Walter Hinrichsen

Bass

V

Ex. 451: If the metronome markings are strictly observed, each of the slow beats in bar 5 equals fom- fast beats of the preceding tempo. Good control is needed to indicate the sudden change with calm, small gestures. Vit,

J».

= 176

M

'^

^

ffM^^JS ,

DUKAS, o(

Durand

8t

Cie Pads

L A^prenli

Somtr

THE GRAMMAR OF CONDUCTING

[296 Ex. 353:

The tempo change

is

in effect

Ex. 388: Change from slow to fast

j (

J*=^

=J

).

Additional examples for the study of tempo changes with rhythmic relation maintained:

Brahms: Academic Festival Overture, Maestoso 3/4. Kodaly: Psalvnis Hungaricus, transition to 4/^4 at No.

9.

Rimsky-Korsakov: Scheherazade, 2nd movement, Moderato assai 4/4 at F. Sibelius: Symphony No. 3, 2nd movement, 13th bar after No. 6, Tra?iquillo.

Strauss, Richard: Till Eidenspiegel, GeJiidchlich 2/4, 19th bar, doppelt so schnell, 25th bar, ivieder noch eim)ial so langsam.

UOiseau de Feu No. 19.

Stravinsky: at

Doppio Valore Maestoso

(Suite), Finale

CHANGE OF TEMPO WITHOUT RHYTHMIC RELATION Sometimes when the tempo changes, there the last beat in the old

tempo and the

an opportunity in the music for

a

first

is

no relationship between

beat in the new. If there

is

new tempo

is

preparatory beat, the

established just as at the beginning of a piece. This

is

the case in Exx.

141, 275, and 295 (after a fermata), Ex. 298 (after an interruption), Exx. 308b and 330 (after a rest), Ex. 329 (after a sustained note),

Ex. 293 (after the the slow

last

beat in the bar, but feasible only because of

tempo which allows subdivision on the

216 (at the end of

However,

a

count!), and Ex.

ritardando)

a

sudden transition

preparatory beat. This requires pecially for the

last

first

few

may

a clear

beats in the

leave

no opportunity for

and determined gesture,

a

es-

new tempo. The conductor must

be absolutely sure of the tempo and the players must be convinced of his certainty. Still,

some sudden changes

are so difficult that they can

be played satisfactorily only as a result of careful practice at rehearsal.

Ex. 452: The first three beats in the 2nd measure must be given without any hesitation or faltering, yet \\ ithout rushing, and not too heavily. (The same is true for the 3rd bar of Ex. 267.)

CHANGES OF RHYTHM AND TEMPO Un poco

Andantino moderato,(J =76)

piu animato,(J =100)

NICOLAI, Tkr Mirry Wins

No

Ex. 453:

new tempo on

interruption Three.

is

[297]

Wmistir—OpirtMrt

0/

intended in the 3rd bar; simply start the

Primo tempo,

Vivacissimo,(J = 138}

moderate,

= 84

J

ENESCO, Rovmaman Khapicdy By permission

of

Enoch &

Ex. 454: Use a simple and very clear wrist Presto, addressing the first violins. Allegro, (d = 126)

N».

I

Cie. Paris.

motion

at the start of the

Presto, (d

= 168)

Vlnl

BEETHOVEN, Uomr,

Ottnuri

No

3

subdivide for the sudden poco meno, but it the i-beat. Allow the instruments time for the 2nd and 3rd quarter-notes in your calm and graceful up-beat. Ex. 455:

is

better

Some conductors

just

to

Waltz,(d. = 72)

slow

down

poco meno, (J.

=

63)

,vin.a

/.

STRAUSS. Vaiai

oj

Sprmi

THE GRAMMAR OF CONDUCTING

[2981

Ex. 456: The transition to a quicker tempo in bar 5 must be indicated with particular certainty because of the syncopation; use a precise staccato.

Tempo

r.

d-= 100

VI11.1

BEETHOVEN.

The

following five examples

show change

Sjmfhiiny

N»

4

of tempo in combination

with change of the rhythmic pattern. Ex. 457: The gesture on Tiro in bar 5 uses the accented up-beat and as a preliminary beat in the slower tempo.

is

timed

I = 96

\t.Bass^,

HAKRIS, When Johnny

*

Timp

Bass

woio mosjo.

8^

J

= 80

^

Jllftlf

Comti Mjnhinl Heirc

^ f^

Jf scmotv pSxCopynght,

Ex. 458;

new tempo ^

=^°

19J5. by

G

Schlrmer, Inc

In the 4th measure, an incisive

Tiro

is

needed to establish the

firmly.

_

Rva_

Copyrigh,. 1942. b,

G

Sch,,™,.

Tempo

,„,W'i-"'«Al

I,

d=108

XHUMAN.

Sj^,b«., N..

3

CHANGES OF RHYTHM AND TEMPO Ex. 459:

d.= 66

An

energetic full-staccato beat

is

[299]

needed for the Vivo. V'vo. J = 144

^

RIMSKY-KORSAKOV.

Caprmio Eiflfl''

Ex. 460: In bar 3, the composer indicates not only a change of pattern -beat) but also a suddenly faster tempo. Therefore lead the first 2 bars of the Piu mosso with especially clear down-beats. The gradual increase of (

I

the tempo is interrupted by a sudden slowing down at iMeno. Direct this with a subdivided i-beat (Diagram 30b); 2 bars later, at molto ritenuto, change to regular 3-beat. For A tempo primo use staccato beats, not too large but very determined. ,

^

P"^ ""'°^^°

;.= 132-138 +CL

Ex. 400

^1

(jii lino)

""(I

^ewpri

nob.

P

Bass

m=

BsCl.

THE GRAMA4AR OF CONDUCTING

[300]

Additional examples for the study of sudden tempo changes without

rhythmic

relation:

Symphony No. (Tempo I). Beethoven: Symphony No.

Beethoven:

5,

2nd movement

—bars

205 (Piu mosso) and

218

Berlioz:

Menuet

6,

3rd

—

movement bar 234 (Presto). La Dcmmation de Faust,

des Feux-Follets from

several

changes from Moderato to Presto. 5 {From the New World), 3rd movement, No. 2. Enesco: Roinrraniaji Rhapsody No. i, several sudden changes. Schuman, William: Symphony No. 3, Part I, start of the Fugue (bar 146). Shostakovitch: The Golden Age, ist movement at Nos. 13 and 17; 3rd movement (Polka), 4 bars from the end. Tchaikovsky: Symphony No. 5, 2nd movement Moderato con anima

Dvorak: Symphony No. a

tempo

at

(bar 66). Verdi: Aida, 2nd act, 2nd scene (Gran Finale) {Piti

mosso)

—

start of the ballet

music

at E.

Study and practise scores Nos.

7

and

8 discussed in the

Appendix.

Chapter 29

FREE STYLE FREE STYLE OF CONDUCTING It

OFTEN HAPPENS

that a student attends a concert that

is

led

by an

eminent conductor and finds that the leader's gestures do not corre-

spond with the patterns and methods studied so arduously. Fie wonders

if

taught

he has been wasting his time, and whether conducting can be at

all. It

seems to him, indeed, that what he has learned has

little

application to actual conducting.

What

this

book has

called

traditional patterns, but

since there

is

room

it is

good usage

in

conducting conforms to the

not always easy to recognize the patterns,

for considerable variation. Furthermore, the ra-

which the gestures follow each other makes it difficult to discern them. The student's plight may be compared to that of a person with a good theoretical knowledge of a foreign language who, pidity with

entering the country where the language

is

spoken, has difficulty with

the swiftness of everyday speech. In both cases increasing experience

and familiarity

will clear

up the confusion.

Nevertheless, the student

is

correct in concluding that the con-

ductor uses some gestures that do not conform to any of the patterns.

This

is

due

to the fact that there are gestures that can be described as

"free style".

The result.

Some

of these gestures are discussed below.

direction of

any beat may be changed

For intense lyricism

in 4-beat,

it is

to secure a particular

effective to carry

r2)higher

than usual and to reaches) with a diagonal movement, especially the 3rd beat

is

be used on each count to

young conductor Ex. 461:

when may

emphasized. In very strong passages, down-beats stress the attack.

(This should not tempt the

to adopt an all-down-beat technique!

The chords

successive down-beats.

in bars 5-7 are

Use four strokes

[301J

done by many conductors with the 4th measure (subdivision).

in

THE GRAMMAR OF CONDUCTING

[302] ma

Allegro

noii troppo, J

= 88

BEETHOVEN. Symfhmy

No.

9

Ex. 462: These bars conclude the entire movement. Since it would be to end with an upward gesture, use a down-beat for Tivo in

awkward bar

4.

This down-beat

is

a

sharp motion to direct the accented ofF-beat. WALTON. Symphnr

N«.

I

Allegro assai, d = 116-120

f^eprintevl

In fast

lend

2

by permission of the Oxford I'niversiry Press, London (U. S A Agents: Carl Fischer. Inc.)

-beat, the gesture easily

itself to

becomes monotonous and does not

the directing of expressive passages. Therefore conductors

sometimes use curved motions, carrying the baton to the right on

and to the I

St beat,

on Two. This method avoids the continual

left

which

in certain lyric passages (cf.

stress

One

on the

Ex. 463) can become quite

disturbing. Presto, d

= 184

WILLIAM SCHVMAN. Symphom /or

Stri«it

Vln.1

Copyright, 194J. by

Also in

2

-beat,

it is

G

Schirmer. fnc

possible to emphasize

Two by

using

large but energetic sidewise stroke, preferably to the

upward

Two

would be inconvenient;

this

means

left,

a

not too

when

that the ist beat

an is

very small. Ex. 464: The beginning of this movement (bars and 3) can be done beating Two to the left with a strong but short gesture. i

by

FREE STYLE Allegro con brio,

= 138) BEETmvEN.symphm}Ho:i

=11C^

ei

[303]

r— has already been pointed out that certain beats

It

in order to emphasize others

may

by

may

be weakened

weakening

contrast. In free style the

be carried to the point where such beats disappear altogether. In

all cases,

however, the

no likelihood of

by counting ping

rests,

want bars

to I

bars,

which

make

and

a

2,

ist

beat should be omitted only

Many

misunderstanding.

when

there

is

players follow the music

and need the down-beat. The same applies to skipis

done

fairly often

because the conductor does not

gestures that are not essential. For instance, in Ex. 189,

the 5th eighth-beat

may

well be omitted, though the

rhythm must be maintained strictly. Generally, limited experience will do well to indicate all the slightest possibility of a

misunderstanding

a

conductor with

rests if there

—which

is

is

the

one of the most

frequent causes of mishaps. In orchestral accompaniments, a careful

when

handUng of

is

required

the orchestra pauses for several successive measures. In each of

these measures {general pauses) the

count should be indicated by

first

a clear down-stroke, omitting the other counts. In style procedure

Not

rests

to beat at

is

all

more secure than the during passages of

this

many

indication of

kind

is

cases this jree

all

the counts.

advisable only

if

the

which bar the conductor will resume the regular beat. This should generally be done in the measure which precedes the one in which the orchestra enters after the pause. {Cf. the players have been informed at

end of the

violin cadenza in the first

movement of Mendelssohn's

Violin Concerto; from the beginning of the cadenza do not beat for 35 bars, but resume the regular

of

first violins, first flute,

Whether in

accompanying

fall.

-beat one measure before the entrance

first

to beat or omit rests

tionally use a

they

and

2

recitatives.

down-beat for

This

is

all

oboe.) a particularly

is

Most

Italian

important problem

opera conductors tradi-

chords regardless of the count on which

practicable only

when

the orchestra parts include

THE GRAMMAR OF CONDUCTING

[304! the

words of the

and the

first

waiting during several

Not

must be very

recitative; otherwise the beats

clear

counts must be unmistakable, even while the orchestra

beating at

rests.

for a

all

is

number of

bars while the orchestra

ing must also be classified as a free style characteristic.

is

When

play-

not in-

this

can have a genuine musi-

cal purpose. Soft passages, similar in style to

chamber music, may need

dulged in for the sake of showmanship,

or no indication from the conductor.

little

may

given

The

fact that

no beat

is

challenge the players' initiative and result in an especially

well-balanced and delicate performance. Incidentally, helpful for the

young conductor

it

may

be very

on such occasions that the

to realize

musicians can to a certain extent play without him, and that he need

not control every single count. This realization

may

cure him of hold-

ing the reins too tightly, and increase his poise and relaxation. But the beat

is

stopped,

must be resumed smoothly

it

at

the proper

if

mo-

ment, or the performance will become shaky. It

may sometimes

be effective to beat with the

you may

the right. In Ex. 193

direct the

left

hand instead of

tympani solo (bar

5)

with

the left hand, saving the right for the tutti in the next measure. In certain syncopated passages in a

rhythm.

Do

this

when

only

all

which the syncopation

may

change of time-signature, you

is

Vou may

3

use

The

in

3

to return to the regular

ff

first two bars, beating on each though the music were written:

beats for the

bar

3,

as

J2J J^J f^J ff

him

if

|3 J J J 14 ),

lead to a

hesitation

Two

relatively light.

keep the passage co-ordinated must not

heavy

beat,

which hampers rather than

stimulates the players.

Bar

19

Because of the speed, the winds must be alerted

Bar

21

"Brillante"

ciently in advance so that they will not

come

suffi-

in late.

requires a highly stimulating preparatory

gesture for the attack.

APPENDIX Bar 25 Bar 45

Syncopation gesture. Because of the high position on the E-string, the violins

must be subdued or they

Bar 48

[323]

FF.

Throughout

will play f instead of ?nf.

this section the

fairly small,

even

motions should be kept

in ff, to secure the necessary pre-

cision. B.-VR

The

53

brass section expects a clear-cut

Owe.

A small, concise beat controls the off-beat entrances and

Bar 58

the pizzicato.

Bar 59

FF.

Gentle staccato

is

best for this passage.

Know

the cues

well!

Bar 62 Bar 68

Tivo f.

is

preparatory.

Address the brass instruments and immediately turn to the trumpets and horns (fp^-)-

Bar 77

Sudden change

Bar 79 Bar 81

Lead the

to

light-staccato

with very delicate

motions. violas.

may

FF.

Beat espressivo-legato; you

FF.

Bring out the accents and the phrasing.

use a free style gesture

(page 310).

Bar 85 Bar 97

The

third horn has had a long rest,

this

Bar

The

10

entrance

is

and a reminder

at

helpful.

gesture indicates only

mf

with the crescendo

stiU

to come.

Bar 19 Bar 20 Bar 133 1

Change

1

A clear One is needed for the violins. FF.

Use the

to light-staccato.

left

entrances.

Bar 139

A verv

hand for diminuendo. Cue

Use

energetic gesture

scendo

in

in the successive

small beats except for the is

sf.

needed to bring out the cre-

the strings within the short space of

2

measures.

Bar 141 Bar 143 FF. Bar 54 Bar 156 Bar 161 FF. 1

The trumpets enter after a long rest. Keep the tempo clear even during the rests. The 2nd violins must be watched for a unified pizzicato. Tympani cue. The music is moving rapidly and the cuing gestures must be very

clear.

Bar

APPENDIX Bar

2

Giving equal emphasis sult in the

[325] would

to eacii quarter-beat

rhythmic figure J

J ^

^

,

but the nota-

tion leads us to assume that Beethoven vi^anted JJ. y

.

manner

Bar

4

ist

and 3rd quarters; the 2nd quarter

used for a connecting gesture.

6th

The

is

y

Therefore use the tenuto technique, with strong

emphasis on the is

re-

The

4th

is

in the

of a cut-off, and the 5th relatively weak.

The

a strong preliminary beat.

6th beat

is

done with

a gentle staccato,

now

indi-

cating p.

Bar

5

Beat non-espressivo with clear subdivision; elaborate gestures

Bar

6

The

would be out of place

6th quarter

may have

here.

a slight staccato quality, to

bring out the separation from the following note. Clear separations of this kind are typical of classic

and should alwa\'S be carefully observed. Indicate the crescendo with the left hand; do not slow style

Bar

8

down Bar

9

the tempo, and use the accented up-beat on Six.

Using Six for preparation would cut the players

To

result in a quarter rest. as possible,

you may

us

i

off

and

hold the ff unison as long

a shortened preparation for

the next bar.

Bar

14

Do

not use too small

since

it is

must be

Bar

15 FF.

An

22

The pp

gesture

unobtrusive staccato beat on Six secures the rhythfor the motive in the 'cellos and basses. bars, a small espres-

After the previous non-espressivo

should be controlled 25

string entrance,

smaller.

sivo gesture will be sufficient.

Bar

^

played with some vibrato.

still

mic emphasis

Bar

a ge^ ure for the

if

The horn

entrances

necessary.

=60 —

76) starts without time dfor preparation, and therefore this bar requires an un-

The new tempo

(

mistakably clear beat.

Whether

4 bars only!) is a Indicate the crescendo by

or a slight subdivision (in the

matter of individual

taste.

to use straight i-beat

first

increasing the intensity, but not the

size,

of the beat.

THE GRAMMAR OF CONDUCTING

[326]

The

Bar 28

sfp

indicated

is

by

subdivision or

by

a sharp

up-

beat; legato beat follows.

Bar 42

Change

to staccato beat;

no crescendo

until

marked

in

the score!

Bar 47 Bars

FF.

58, 62

Bar 74

FF.

Gradual crescendo.

High rebound

for strong preparation.

Beat marcato.

By

this

time the tempo

may

have

in-

creased slightly, but the contrast to the second theme

(bar 82

)

must not be too obvious.

The tempo is slightly slower; the forceful chords on One and Tivo must be directed by using 3 -beat,

Bar 82

though not with the regular pattern, which would be too academic. Beat

Two

with

a

strong but quite

small motion, carrying only slightly to the right. Also,

Three should be comparatively small but sharp.

Bar 84 Bar 93

I

FF.

-beat legato.

Indicate the crescendo

the

first

by

intensity of gesture, saving

motion for preparation of the

large

// in bar

99.

Bar 100

FF.

The

sf

may

be indicated by a sharp upward motion on

Three, or by the

Bar

1

16

Sudden change

Bar

1

23

The p must

left

hand.

to legato gesture, leading into the lyric

movement. chords.

Bar 146

FF.

A

not be disturbed by the

Use

a

way you

lead the f

sudden staccato gesture.

legato gesture with clicking brings out both the

melody

in the

low

strings

and the rhythmic motive in

the violins.

Bar Bar

153 FF.

TTie beat must remain very steady.

163 FF.

Because of the changed orchestration (winds)

may

be

chords are important for the modulation.

A

it

necessary to add some staccato to the beat.

The wind

Bar 206

strong gesture should obtain the greatest possible

Bar 215 Bar 259

A FF.

volume from the winds. One must be addressed

strong

Use

to the ist violins.

a small but extremely intense gesture.

APPENDIX Bar 263

FF.

By

[327]

contrast the gesture must express the timid feeling

of these 4 bars.

Bar 266

Subdivide One-(t'wo-)Three; Three prepares the

Bar 278

Beat One-Three (Three with a sidewise motion) and

Bar 279 Bar 281 Bar 286

After the pause use a whole-beat preparation.

ff.

stop abruptly.

FF.

Indicate the entrances very quietly.

The

cut-off

—

is

usually the preliminary beat

which must express

184)

(J =168

the subdued excitement

of the beginning of the Allegro con brio.

Bar 287 Bar 294

FF.

Do 2

Bar 295 Bar 309

not make the crescendo too early.

Lead the trumpet (p

-ff) and beat a subdivided

-beat as transition to

Alia breve, but do not rush (not faster than FF.

Subdivision

may

g)

=

96).

be useful to keep the violins from hur-

rying.

Bar

At

313

this

point the gesture should not be too emphatic,

because of the crescendo which follows.

Bar 3 7 Bar 319 Bab 329 1

FF.

Use marcato

beats.

Bring out the trumpets.

The down-beat

is

also the preparation for the sf (cf.

Ex.99). 7-

Johann Strauss

OVERTURE TO

"DIE

FLEDERMAUS"

("THE BAT") Miniature Score: Eulenburg No. 1103 Recordings: Bruno Walter conducting the Paris Conservatory Orchestra —in Victor Album M-DM-805 (Record No. 13688) Bruno Walter conducting the Berlin State Opera Orches-

—

Columbia Record No. 9080-M tra Arthur Fiedler conducting the Boston "Pops" Orchestra Victor Record No. 12-0189 Eugene Ormandy conducting the Minneapolis Symphony Orchestra Victor Record No. 865

—

The

entrance cues will no longer be mentioned, since a thorough

THE GRAMMAR OF CONDUCTING

[328]

study of the score

presupposed and the techniques of cuing have

is

been amply demonstrated. As

a test for

himself the student should be

able to listen to a recording of the entire piece without being sur-

prised at

any entrance.

Conductors

differ

widely

among

being no unanimity even sion

of this work, there

in their interpretation

the Viennese.

The

following discus-

concerned mainly with baton technique and

is

is

based on the

general tradition.

Bar

iff.

d

=

is

large, as

motive

is

Two

J J J

{

^

in bar

Two

4

Here

Bar Bar

8

Use the

2

The

is

the preparatory beat

In this

2.

way you

direct the

strongly and indicate the rhythm

|

minimum

for the run with a

Bar

Only

132-138, full staccato.

of gesture.

not preparatory; the

ne.xt

preparation

is

on

Ow(? in the next measure.

I

left

hand for the

p.

cut-off gesture should leave the baton at a

medium

height, to allow a convenient preparation for the next

tempo.

= 84

^

B.\r

13

Bar

15

The conductor may

Bar Bar Bar

19

Address the

does,

(alia

breve), non-espressivo.

may

not lead the oboe solo;

if

he

any exaggeration should be avoided. ist violins

2

Two

22

Address the 2nd

27

Sudden change

is

or

with an espressivo-legato beat.

staccato to stimulate the piquant violin figure. violins; their staccato notes

must be

audible and played scherzando.

Bar Bar

3

1

F.

Some conductors make a transition back to the original tempo by means of a stringendo, although this is not necessary. In for the

Bar Bar

37

f.

41 ff.

to light staccato.

any event, an

intensive gesture

is

needed

p~^=ff.

Syncopation

beat.

—

58. Beat marcato on the fp, then use tenuto. The J tenuto pattern, with its connecting gestures, produces

a unified attack

bv

flutes,

oboe, and

bell,

which would

not respond very well to a legato motion.

Bar 47

J

=

100. Light staccato.

The

first 2

beats in the Alle-

APPENDIX

Bar

[329I

[330]

T^^^

GRAMMAR OF CONDUCTING

bar 126. For this you need a very agile beat, or the orchestra will

from

transition

Bar 126 Bar 128 Bar 3 1

165

3

behind; use subdivision for the

-beat to i-beat (cf. Ex. 218).

Address the double-basses strongly. Beat One-Three for the accent on the 3rd quarter.

The J^ same

Bar

fall

J

requires

J

The end

dynamic preparation. The

a

trombone attack

true for the

is

of the musical thought

in bar 141

indicated

is

ff.

by

a

strong marcato beat. Let a fraction of a second elapse

before the next attack.

Bar 66 1

Three (

1

different executions of this measure can be heard.

)

(2)

3

-beat with ritardando,

3-beat with /T\ on Oiie, the

eighth-notes

2

still

played with ritardando, (3)

I

on the half-note and repeated

-beat with /T\

beat without ritardando; the

2

eighth-notes are

thus strictly in tempo.

Bar

Beat One-Three in free

style.

=

which means

138. Use small J J.= cl Use a dry tenuto beat on One, indicating a ,

which

gestures. slight pause

gives the ist bassoonist time to breathe.

Then

stop on Tii'O for the fermata.

J •

=

Start beating non-espressivo

76.

and develop

gradually to espressivo.

Change to staccato Resume the legato

at "a

tempo".

beat, emphasizing

One

for the off-

beat accents.

Bar 215

A large gesture on

Bar

According

Three brings the melody into sharper

relief. 2

1

to tradition the

conductor

oboe plays poco rubato. The

may lead the accompaniment unobtrusively

or direct the melody, depending on his personality

and that of the

Bar 224

An

effect of

oboist.

comic exaggeration, intended by the com-

poser, can be secured with an expressive tenuto beat

on each count.

APPENDIX

[331]

A tempo.

Bar 225 Bar 228

Usually a pause theme. For

made before

is

this,

new

the start of the

cut off the violins with the left hand

Two.

so that the baton

is

Most conductors

lead the up-beat staccato and hesi-

spared for the preparatory

tate before attacking the next bar.

tion starts at

(J =

=

J

138)

is

Usually

this sec-

96-108, and the actual Allegro

not reached until bar 236.

The

ac-

melody always require an emphasized

cents in the beat.

Bar 248

FF.

Use

a light gesture to

keep the playing from becoming

too heavy. As a contrast, direct the motive J 4 ^ y (bars 252 and 254) with a vigorous beat.

Bar 260 Bar 269 Bar 278

Indicate the \p and bring out the horn. Precise up-beat so that the trumpet will not drag. ff.

Except for the change the same as

when

it

in orchestration, this section

occurred the

first

time

is

(tf. bar

74).

Bar 315

A

Bar

A slower tempo

smooth that J

351 ff.

transition can be

=

fil.

made by beating

Two

so

of the following waltz tempo. (

J

=

1

3 2 ) is

suggested because of the

tricky string passages. If these bars are taken too rapidly, the double-basses

may produce

disagreeable

sounds!

Bar 357 Bar 371

Resume ff.

the faster tempo.

Often conductors play slightly held

a ritardando,

back (not

as

much

with the theme

as the first time)

speeding up until bar 380. However, effective

when played

in

it is

and

at least as

tempo, accenting the octave

jumps sharply and playing the theme with

a

sudden

pp.

Bar 388 Bar 395

J Beat

=

One

fall

Bar 404

A

160,

with small gestures.

sharply in case the brass instruments tend to

behind.

definite indication

subito.

is

needed for

this contrasting

p

THE GRAMMAR OF CONDUCTING

[332] Bar

41

2 FF.

Bring out the syncopated motive

in the

horns and trom-

bones.

Bar 419

Lift the baton for a strong preparation so as to direct the

concluding measure with one energetic stroke.

8.

Claude Debussy

"FETES" ("FESTIVALS") (No. 2 ^roni Nocturnes for Orchestra) Kalmus No.

Miniature Scores: Recordings:

loi;

Boosey & Hawkes No. 577; Jobert;

Harcourr, Brace "Arrow" Scores; Hampton Vol. 7 Eugene Ormandy conducting the Philadelphia Orchestra

— —

in Columbia Album No. MX-247 (Record No. 2 loD) Leopold Stokowski conducting the Philadelphia Orchestra Victor Record No. 2034 (also in Album M-DiM-630) Desire Inghelbrecht conducting the Grand Orchestre des Festivals Debussy in Columbia Album M-MM-344 1

1

—

Because of the intricacy of

this score it is

recommended

that the

student listen to the phonograph record several times before practising the baton technique.

Bar

I

This

is

usually taken at J

=

176.

A

subdivided 2-beat

is

suggested because of the speed and the accents on the I

St

and 3rd quarters; prepare either with

a half -note

or a quarter-beat. Use the marcato gesture for the

beginning.

Bars

3, 7

There

is

tween three

marked

a

and

ff

/",

difference in intensity of beat be-

especially in the 3rd measure

wood-winds must be heard

where

against the entire

violin section.

Bar

Light-staccato, wrist motion only!

Use

a larger

beat on Three, but a smaller one on Four.

This brings out the crescendo and secures an immediate

pp

in the next bar.

Indicate the accents.

The tempo

is

twice as slow. Beat

this

bar with a strong

APPENDIX

[333J

marcato, using the regular 4-beat. Include in Three the preparation for the tympani.

Bar 24 Bar 25

Sustain the

Cut

ff.

wind chord sharply and keep

off the

p=—

strictly in

tempo during the of the tympani. Subdivide Four and use the last eighth-beat to prepare the harp entrance (original tempo,

Bar

The tempo

27

5 -beat,

is

is

slightly faster

grouped into

3

J> (

+

= j. 2

One, followed immediately by 3

-beat

(

J.

=

= by

and cymbal requires

sfz in strings

Bar 29

J*

J

!).

184).

pattern

The

a sharp gesture

on

light staccato.

After the accented

).

The

the composer.

One

use small

beats for a subdued accompaniment; the flutes and

oboes play

Bar 39 Bar 41

FF.

Keep

A

the

wrist

Keep

Bar 44

on

=:

own

their

tempo well

slight

tively

f

==—

initiative.

in hand.

of this sort can be indicated effec-

by adding a movement.

gentle motion of the forearm to the

the beat small and precise.

The

difficult passages

of

the English horn and oboes will be impossible to play

Bar 46

tempo has been hurried previously. Do not become so preoccupied with the main instruments that you forget the double-bass entrance!

Bar 49

The

if

the

larger gesture

on Three, which prepares the next

bar, will not disturb the flute passage.

Bar

Strong indication of the rapid diminuendo.

A slightly emphasized Two helps the oboe. A definite Ofie brings the trumpets in precisely. Weaken Two and Three

so as not to conflict with the

quadruplet.

Bar 70

FF.

Bring out the crescendo

in the

wood-winds by

address-

ing only this group.

Bar 82

Indicate the

pp subito

in the ist violins

with a sudden

left-hand gesture.

Bar 86

ff.

For

this

passage the beat must express both legato and

staccato. Beat a slight

marcato on One, but legato on

THE GRAMMAR OF CONDUCTING

[334]

Two-Three,

the pattern being the subdivided i-beat

rather than an actual

Bar 97 Bar 102

FF.

3

-beat.

The left hand may be used for the sfz on Three. The crescendo in the winds needs no indication; your gesture

Bar 116

^ 88

J

save

until bar 106.

(twice as slow as the quarter-beat in the open-

ing). Light-staccato.

Bar 24

FF.

The

Bar 38 Bar 5 Bar 70

FF.

Do not speed up

FF.

A

FF.

Use

1

precision of the gesture must not be felt as a re-

straint 1

1

1

1

on the Gallic

"esprit".

the tempo.

well-balanced climax requires

economy

of gesture.

heavy marcato gesture but without slowing down.

a

(A

steady tempo

is

necessary for the coming transi-

Tempo.) tempo has been maintained

tion to 1°

Bar 74

If the

1

2/4

= Bar 190

FF.

exactly as long as

is

2

strictly, the last

bars in the

new

bar in

6/8 {J'= J>

176).

The

violins play

3

notes against

2

beats;

therefore,

weaken Two.

Bar 202

Here,

as a rule, the faster

tempo

(

J*

=

184)

is

estab-

lished.

The cymbal

Bar 209

entrance

may

be indicated with the

left

hand.

Bar

Indicate the crescendo strongly.

Use

a sharp wrist

motion on Three for the pizzicato in

the violas.

Small gestures with the utmost precision.

Slower tempo immediately. Since no preparation sible,

the

I

St

to establish the

A

Bar 260

is

pos-

and 2nd beats must be decisive enough

new tempo.

well-prepared Three leads the pizzicato and the sf in the horns, and brings in the English horn, clarinet,

and

Bar 264

F.

The

I

horn.

St

3rd beat must be flexible enough to allow the flutes

and oboes time to play rushing.

Bar 266

Sudden "a tempo".

their triplet figure

without

APPENDIX Bar 269

[335]

Delicate handling of the baton and a clear

FF.

needed for directing the

mind

are

fleeting notes of the close.

9-

Felix

Mendelssohn

VIOLIN CONCERTO-THIRD

MOVEMENT

Baron No. 209; Boosey & Hawkes No. 239; Eulenburg No. 702; Kalmus No. 145; Longmans Green "Ar-

Miniature Scores:

row" Scores Recordings:

Nathan

Milstein, with

New

of

Philharmonic-Symphony Orchestra in Columbia

York, Bruno Walter conductor

—

Album M-MM-577 Joseph Szigeti, with London Philharmonic Orchestra, Sir Thomas Beecham conductor in Columbia Album M-

—

MM-190 London Philharmonic Orchestra, Sir Landon Ronald conductor in Victor Album M-DM-277

Fritz Kreisler, with

— —

Yehudi Menuhin, with L'Orchestre des Concerts Colonne, Georges Enesco conductor in Victor Album M-DM53'

non troppo. This short transition fermata. Whether there is a pause, caused by applause or

Start practising at the Allegretto

follows a

tuning, or whether the violinist proceeds directly, be ready for the solo entry. If

you do not

lift

your arm

until he starts playing,

Keep

will not arrive at the ist beat in time.

as the violinist attacks the up-beat,

of attention, and just

you

the baton in the position

make

the

preparatory gesture without hesitation. Follow the traditional rubato in bars 9

and

10,

synchronizing Three

In the 13 th measure the soloist

is

Hence, delay the 3rd beat and follow the violin

bow so as

in bar 10 exactly

likely to

slow

1

This

is

movement

often done with

paration.

2

watch

soloist.

is

beat, although in certain places a subdivided beat

Bar

with the A.

before the pp.

delicately. In the next bar,

to end the fermata with the

Allegro molto vivace. Most of this

down

conducted with is

2-

used.

-beat, using a half-note pre-

The rhythm may

be more incisive with a

subdivided beat, in which case the preliminary beat

would be

a quarter-note.

Bar

GRAMMAR OF CONDUCTING

T^^E

[336] 2

Most

4

Use

9 FF.

Precision of gesture must be

ductor keeps

Bar Bar

hurry

violinists like to

2 -beat

his

from

but the con-

this figure,

tempo.

here.

and elegance; too tense

combined with

lightness

would hamper

the fluent

a beat

movement. Bars

18, 20

and

The

to prevent

any rest.

B.'\R

23

Neutral beats on the

Bar

24

Be on the

alert to

a skilful preparation

25

f.

Two

late;

keep the beat

hesitation.

catch the pizzicato exactly with the

The

DJt in the solo.

Bar

must not be

entries after 0;?e

moving

2

depends on

efi^ectiveness of this

on One.

in this bar prepares the next attack

slightly hastened, using a gesture

and may be

which

not too

is

may seem to contradict when such transparent pas-

sharp but rather flexible. This previous suggestions, but

sages occur in accompaniment, the conductor must

some extent upon

rely to

tentive ear.

An

which

players

30

The

35

Use

41 FF.

The

best

way

a slight

when Bar

of

the

individual

essential here.

violin.

The

is

to think

clarinets will follow.

syncopation beat without delaying.

soloist's

strained

is

participation

to secure a perfect ensemble

with the solo

Bar Bar

musicians having an at-

academic beat would not arouse the

"chamber music"

Bar

his

freedom of playing should not be

by the accompaniment; pick up

re-

the beat

necessary.

Cf. Ex. 374. In catching up with the violin the prepara-

55

tion for the Tutti

would be unduly

may become so fast that the tempo hastened. You can use a clear-cut

subdivided beat to prevent

this,

but return to 2-beat

for bars 57 and 58 so as not to lose the grazioso quality

of the music.

Bars

63, 65

Bar

7

1

FF.

fp beat on One.

A

lively gesture

must maintain the swift pace of the

movement and prevent late.

the

wind entrances from being

APPENDIX Bar

75 FF.

The

[337]

beat must build the crescendo and prepare the bass

entrance, leading to a strong

One

in bar 76.

Change

to legato in bar 77.

Bar 80 Bar 8 1

A ff.

slight ritardando

The

is

traditional; follow the soloist.

violin resumes the fast

tempo; concentrate upon the

runs to be with the soloist

Bar 98

FF.

Watch drag.

all

the time.

the runs again and do not let the

The

violins also

wind entrances

need some indication

in bar 100

so as not to be late after the sustained note.

Bar 29 1

Slightly slower for the tranquillo. Beat

with the

A in

Two

exactly

the violin to get the following pizzicato

precisely in time.

Bar Bar

Beat the

rests,

Follow the

following the soloist

slight rubato

which

strictly.

is

customary and syn-

chronize T1V0 with the A, but catch up immediately in the next measure.

The

soloist usually speeds

up

at this point;

be sure to

follow.

Subdue

the

accompaniment by using

a small gesture

(the crescendo in bar 206 applies only to the solo).

Follow the

soloist closely, since

he needs time to attack

the high E.

Bar 222

Indicate fp strongly, then

ment of

go along with the rapid move-

the solo instrument.

The

violinist will

be

grateful for not being hurried in bars 226-229.

10.

Wolfgang Amadeus Mozart

RECITATIVE: "E SUSANNA From Le Nozze Vocal Scores: Recordings:

di Figaro,

NON

Act

VIEN"

III

G. Schirmer; Boosey and Hawkes; Novello Maria Cebotari, with Philharmonia Orchestra conducted by Record No. G-DA1875 Josef Krips— Aulikki Rautawaara, with Glyndebourne Festival Orchestra conducted by Fritz Busch in Victor Album M-DM-315

HMV

—

TtlE

[338]

GRAMMAR OF CONDUCTING

The remarks made on page words

as

knows on which counts

the conductor

No

141 are pertinent to this discussion.

The

well as the music of the vocal part should be studied so that

matter what

the syllables

liberties the singer takes

ductor must always give a clear

Owe

in

fall.

with the rhythm, the con-

each bar. Whether or not to

upon the

beat the other counts during sustained notes or rests depends

speed of the music. Beating on

counts

all

practicable in moderate

is

tempo, using small and smooth gestures. In faster tempo or when the singer hurries, too it is

many

advisable to skip

When

all

beats

beats

may become

which

confusing, in which case

are not necessary.

the beat follows the singer's liberties

it is

bound

to

become

irregular and to affect the various preparatory beats. Therefore, since

the conductor

must be on time with the entrances, he

will have to use

free preparations.

For students

who

use a piano score: only the strings play in this

recitative.

Bar

I

Synchronize Three with the singer. Beat

(J ^ first

2

60) on Three-Four, no matter

Bar

2

A

quarters were.

Three brings

in

how

tempo fast the

gentle syncopation beat on

in the orchestra.

Indicate the counts clearly with a slight gesture, unless the soprano rushes

unduly so that you must hurry

to the next down-beat.

Bar

3

Use

a

clear

down-beat and cut

preferably with the

Bars

Bar

4, 6 7

Same procedure

as in

If the singer hurries,

left

bar

8

Do

on Four,

hand.

i

it is

better to skip

so as to be ready for the sharp

Bar

off quietly

Three and Four

down-beat

bar

in

not beat Three before the singer reaches

it.

8.

The

tempo changes without preparation, so use a sharp Three, beating clearly in the

new tempo

(

J

== 100). B.\R

Wait on Four. Down-beat only. Use 4 beats, synchronizing Three. If the singer's tempo is steady, the preparation

for the ^p

APPENDIX is

easy; but

if

[339]

she hesitates,

you must wait on

Two and

then give a quick free preparation. Beat Three and

Four

be ready for the next

in rapid succession, to

down-beat.

Bar

1

Here

5 F.

again, be sure not to fall behind the singer.

The

2nd beat in bar 16 must coincide with the soprano's

CS

Bar

(the violas change to A!).

18

Beat the

19

If necessary,

21 F.

The

ist

and 4th counts only, following the vocal

part.

Bar Bar

wait on Tivo and Four.

preparatory beats on

One

in

each bar introduce

contrasting accompaniment figures; the

first is

wistful,

the second very dramatic.

Bar

The conductor takes the

2 3

identical

Bar 24

lead in this bar, the

tempo being

with the previous Andante.

A

Indicate fp strongly and follow the singer closely. smooth and convincing gesture brings in the closing

F.

E-major chord, helped perhaps by the

I

left

hand.

I.

Ruggiero Leoncavallo

PROLOGUE TO Vocal Scores: Recordings:

^^AGLIACCI"

G. Schirmer; Sonzogno Leonard Warren, with R( A-Victor Orchestra conducted by Frieder Weissmann— \'ictor Record No. 11-9790 Lawrence Tibbett, with irchestra Victor Record No.

—

6587

Robert Weede, with orchestra conducted bv Frieder Weissmann Columbia Record No. 71261-D

—

When the Prologue is performed on begins 44 bars before the

first

vocal entry.

in this discussion starts at that point.

tioned because

it is

the concert stage, the orchestra

not included

The

The numbering orchestration

in the vocal scores,

would do well to mark it in his copy. Bar Str.Cl.B71.Hn. I

I

-beat

(J. =88), marca to

gesture.

is

of the bars also

men-

and the student

Bar

APPENDIX Bar 60 Bar 64

[341]

Vln. i tnelody ,

Tenuto

best for this type of chordal

is

accompaniment;

the quick connecting gestures enable the singer

Bar

65

from one chord

you

to follow

to the next.

Either separate cut-off and preparation, or do both with the same gesture.

Bar 66 Bar 67 Bar 74 Bar 88

Vc.Bn.

Cue

in the singer.

Vln.1,2,

con sord.

"A tempo" here means maintain a steady tempo. The sudden change to slower tempo is accomplished by retarding the rebound.

Bar 90 Bar 91

Vc.D.B. Via.

added

There

is

pause on the eighth-rest in the vocal part;

a

beat tenuto, the

upward motion

leading into the next

bar.

Bar

Cl.Bn. added If

the singer

is

very slow, the i-beat

may

be subdivided

or changed to 3-beat.

Cut the chord; for the execution of the pause

see bar 50.

Str.

The tempo

is

faster (i-beat).

Follow the singer with

sharp and distinct beats until bar 105, then stop as

though there were

Watch Bar Bar Bar

1 1

1 1

1

17

1

^ over

the

rest,

and wait.

the singer again.

Ob.Cl.Bn. added

Fl.Hv.Harp enter ov the p-d eighth-note 3-beat; prepare the entrance on Three

Vc, melody; Use

Bar 121 Bar 122 Bar 24 Bar 125

a

Vln.1,2,

carefully.

accomp.

a calm, flexible espressivo 3-beat.

Ob.Cl.Bn.V la. added

Change to a non-espressivo Harp added Cut

the chord with tenuto

2

-beat.

on Tvjo and use

gesture to prepare the next bar.

a separate

"^^^

[342] Bar 126 Bar 128

Sir. Harp

Bn. added

A Bar 129

GRAMMAR OF CONDUCTING

FF.

tempo.

melody ;Vla.Vc.D.B.Bn.Hn., lower part

Vln.i,2,Cl.,

In these bars the

tempo

increases gradually as

instruments enter, and the espressivo

changing gradually to marcato by bar

Bar 139

Give the singer time for

Bar 140

Tutti

1

more

intensified,

is

37.

a

good breath on the eighth-

Use an energetic marcato

gesture, but not so large that

rest.

the orchestra

play too loudly and cover the

will

voice.

Bar

142 FF.

Execute the heavy ritardando with clear subdivided beats and

do not be confused by the syncopations.

Beat the cut-ofF (bar 143) with saving the

upward motion

a sidewise gesture,

for the following prepara-

tory beat.

Bar 144

Vln.i,2,Fl.,melody;Vta.Vc.D.B.Cl.Bii.Hn.Harp,accovrp.

Here again the beat

is

very expressive, but should keep

the orchestra subordinated to the singer.

Bar Bar

148 1

5

E.H. Hn., melody Hesitate slightly before to breathe,

Bar 152 Bar 156

One

to give the singer a chance

and attack the beat with him.

The sudden p needs a definite indication. Beat tenuto on One and subdivide the other counts. fermata

is

customarily made on the

of Three; keep the baton perfectly ing the singer!

)

first still

A

eighth-note

and (watch-

use a swift connecting gesture leading

to the next eighth-beat. These last

3

eighth-beats

should not be too slow.

Bar

157

Only Tivo

is

subdivided; wait for the singer and use the

subdivision to prepare Three.

Bar 158

Bn. enter on the jrd count

Cut the hold and Three.

use

Two

to prepare the

chord on

APPENDIX Bar

161

[343]

Tiitti

Energetic full-staccato; beat the

rests

with small and

relaxed gestures.

Bar

162

After the chord on Three do not beat Fovr until the singer

is

then use

about to slur it

to prepare

down to Tempo

1°

his

concluding note,

(i-beat).

LIST OF

DIAGRAMS

4-BEAT No. No. No.

I

No. No. No. No.

.

PACK

Non-espressivo

on the

8

count (legato)

2.

Start

3.

Non-espressivo with clicking on the counts

13

4.

Light-staccato

16

5.

Start

6.

Full-staccato

7.

Start

8.

Espressivo-legato

No. No. No. No. No. No.

1.

12.

No.

on the on the

ist

lo

ist

count (light staccato)

17

ist

count (full-staccato)

21

20

25, 26, 27

on the 4th count (legato)

31

on the 4th count (staccato)

32

Start

on the 3rd count (legato)

34

Start

on the 3rd count (staccato)

35

13.

Start

on the 2nd count (legato)

36

14.

Start

on the 2nd count (staccato)

37

9. Start

10. Start 1

3-BEAT No. No. No. No. No.

No. No.

15.

Non-espressivo

16.

Espressivo-legato

I

Light-staccato

J.

41 42, 43

45

18.

Full-staccato

19.

Start

on the 2nd count (legato)

48

20.

Start

on the 2nd count (staccato)

49

2

Accented up-beat

1

.

45

64

2-BEAT No. No. No. No. No. No.

22.

Non-espressivo

70

23. Espressivo-legato 24. Start

72

on the 2nd count (legato)

73

25. Light-staccato

74

26. Full-staccato

75

27. Start

on the 2nd count (staccato)

76

1-BEAT No. No. No.

28.

Non-espressivo

84

29. Start (legato)

84

30. Espressivo-legato

84, 85

[344]

LIST OF

DIAGRAMS

[345] PAGE

No. No. No.

3

1

Staccato

.

3 3.

Marcato

34.

Non-espressivo

6-BEAT No. No. No. No.

85

32. Start (staccato)

85

92

GERMAN STYLE 108

35. Espressivo-Iegato

109,

no,

1

1

36. Light-staccato

112

37. Full-staccato

113

6-BEAT ITALIAN STYLE No. No. No.

38.

Non-espressivo

114

39. Light-staccato

115

40. Full-staccato

116

SUBDIVISIONS No. 4 4-beat subdivided No. 42. 2-beat subdivided 1

.

122

in 8

in

124

4

No. No. No.

43. 4-beat subdivided in 12

45. 3-beat subdivided in 6

129

No.

46. 2-beat subdivided in 6

1

44.

126, 127

128

3-beat subdivided in 9

30

VARIOUS PATTERNS No. 47. Ritenuto on each count, 4-beat No. 48. No. 49. No. 50. No. 51. No. 52. No. 53. No. 54. No. 55. No. 56. No. 57. No. 58. No. 59. No. 60.

Tenuto, 4-beat

"Dry"

tenuto, 4-beat

Tenuto, 2-beat

156 1

59,

1

60

160 i "^

"Dry" tenuto, 2-beat Hold and cut-off on each count, 4-beat Hold and cut-off on each count, 3-beat Hold and cut-off on each count, 2-beat Hold and cut-off, i-beat

161

Fermata, cut-off and pause

181

Holds without cut-off Phrasing

171

172 173

i74

185 217, 218

5-time

^79

7-time

28^

INDEX OF MUSIC (Figures in

roman

indicate musical passages referred to in the text;

figures in italics indicate musical illustrations.)

Bach, Johann Sebastian Brandenbnrg Concertos:

No. No. No.

I,

No.

No. No. No.

82, 97

3,

^3

4,

132

Cantatas:

No.

(Lohet Gott II Reichen) 119

in

seine?!

ilch

21

hatte viel

Bekiinnner-

Matthew

La

3 in

D,

142,

Romeo

152, 20J,

237,

i,

18}, 212, 212, 291,

Piano Concerto No.

Bizet,

et Juliette, 186, 291

Fantastique,

119,

90,

189,

294

23,

30,

14, 33, 46, 78, 82, 87, 89, 149, 152, 196, 206, 213, 238

65,

143,

Borodin, Alexander Polovetzian Dances from Prince Igor, 30, 206

Symphony No.

2,

81, 177, 188, 189, 191

Brahms, Johannes

German Requiem,

5,

15,

S4, 61,

206,

iSo, 215, 22f, 249, 255

I,

ff,

65, 65,

3,

39, 102, is6, i-n, 182, 225, 25^,

No. I, 134 No. 2, 97 Symphonies: No. I, 38, No.

2^2, 291

2,

39,

237.

133, 140, 164, 186, 206, 209,

212, 239, 298

'•^^,

23, 206,

296

118, 119, 133, 148, 182, 231,

2^2, 274, 274

105, /77, 215

JO, 50, 55, 89, 90, 96, 97,

51, 97, 105

Overtures: Acade^nic Festival, Tragic, 291 Piano Concertos:

2,

'S4, 179, 225.

1,

'34. '43

Symphonies: t)0,

Georges

L'Arlesienne Suite No.

264,

Coriolamis, i}j, 210, 239, 2^8 Eirniojit, 324 Leotiore No. 5, 80, /8j, 224, 2^1 Prometheus, 2og Die Weihe des Ha/ises, 168, i(i6

5,

82, 235, 274

Carmen,

299

Beethoven, Ludwig van Fidelia, 105, 268 Overtures:

4, 82,

65, 300

'93, 237

281, 282, 287

Svniphonv No.

198

Lear, 193

Sy?npho7iie

4 in D, 105

105,

de Faust:

Da?ii?iatioi2

King

317

-jS,

2$4

14, Si, 143,

Overtures: Le Carnaval Rojnain,

Passion, 105, 133

Second Essay for Orchestra,

No.

152, i-j6, 199, 2-ji,

Hector

82, 106,

Barber, Samuel Essay for Orchestra, 88, 155, 215 Overture to The School for Scandal,

No.

9, 90, 123, 138,

Memiet des Feux-Follets, Harold en Italic, 130, 263

Orchestral Suites: No. 2 in B minor, 82

No. No. No.

188, 212, 214,

Marche Hongroise (Rakoczy March),

Chorale settmgs, 770, 772, /5/0 Concerto for Two Violins, 2$8 Mass in B minor, 118, 143, /(Jy St. John Passion, 12$

No. No.

178,

77, 116, 229, 2si, 303, 319 19, 51, 82, 142, 198, 24s, 214

Violin Concerto, Berlioz,

niss), 39, 121

St.

7, 8,

82,

H9, 300

302 ,

No.

6, 65, 80,

^3',

106,

No. No.

3,

55, 82,

152,

30, 167, 222, 244,

[347]

270

4, 51, 81, 105, 117, 197, 199,

Variations

225

on a The?ne by Haydn,

152, 201, 212, 264

300

183, 208, 209,

294

50,

THE GRAMMAR OF CONDUCTING

[348]

Grieg, Edvard Last Spring, 168 Peer Gynt Suite No.

Violin Concerto, 212 Bruckner, Anton

Symphonies:

No. No.

257 164

4, 81, 7,

i,

19, ^7, 19,

155,

3'5

Piano Concerto, 50, 143, 164 T. The White Peacock, 261, 2-ju, 281, 287

Griffes, Charles

Carpenter, John Alden

Sea Drift, 128, 178, 220, 281 Cimarosa, Domenico // Matrijnonio Segreto (Overture), jp Copland, Aaron A Lincohi Portrait, 133, 178, 19J, 265, 290, 294

Handel, George Prideric Concerti Grossi:

No. No. No. No.

5,

8,

Fetes, 332 Prelude a VApres-jnidi d'lin faune, 128,

Harris,

105

280, 29$

3,

Roy

When

johnny Comes .Marching Home, 152, 262,

133

298

Haydn, Josef

Dukas, Paul Sorcier, 51, 90, 142, 152, ^pf

Dvorak, Antonin Carneval Overture, 82, 106 Scherzo Capriccioso, 90, 106, 293 Slavonic Dances: Op. 46, No. I, 90 Op. 46, No. 3, 152 Symphony No. 5 (Fro7H the Ne-w World), /J, 65, 134, 148, 168, !iphony, 39, 209, 215, 222 Peter and the Wolf, 152, 239, 272

Symphony

for Strings,

239, 302, 309

Schumann, Robert Overture to Manfred, 105 Piano Concerto, 208 Symphonies: No. 1,51, ns, >9S, 'V*

No.

4, 97, 178,

192

130,

212,

223,

THE GRAMMAR OF CONDUCTING

[35o]

Sliostakovitch, Dmitri

The

Golde7i Age, 15, 51, too, joo Piano Concerto, Op. 35, 505

Symphonies: No. I, 19, 143,

No. Sibelius,

5,

i6

No.

3,

133, 182, 296

Smetana, Bedfich The Bartered Bride,

The Moldmt,

102, 124,

81, 211, 215,

182, 209

2^4

134

Vienna Blood, i8j, 199 Voices of Spring, 189, 2