Essentials in Conducting Part 2

[Sidenote: THE CONDUCTOR'S MUSIC STAND]

A word about the music desk may also be in order at this time. It should be made of wood or heavy metal so that in conducting one need not constantly feel that it is likely to be knocked over. The ordinary folding music stand made of light metal is altogether unsuitable for a conductor's use. A good substantial stand with a metal base and standard and wood top can be purchased for from three to five dollars from any dealer in musical instruments. If no money is available and the stand is constructed at home, it may be well to note that the base should be heavy, the upright about three and a half feet high, and the top or desk about fourteen by twenty inches. This top should tilt only slightly, so that the conductor may glance from it to his performers without too much change of focus. Our reason for mentioning apparently trivial matters of this kind is to guard against any possible distraction of the conductor's mind by unimportant things. If these details are well provided for in advance, he will be able while conducting to give his entire attention to the real work in hand.

[Sidenote: HOLDING AND WIELDING THE BATON]

The baton is ordinarily held between the thumb and first, second and third fingers, but the conductor's grasp upon it varies with the emotional quality of the music. Thus in a dainty _pianissimo_ pa.s.sage, it is often held very lightly between the thumb and the first two fingers, while in a _fortissimo_ one it is grasped tightly in the closed fist, the tension of the muscles being symbolic of the excitement expressed in the music at that point. All muscles must be relaxed unless a contraction occurs because of the conductor's response to emotional tension in the music. The wrist should be loose and flexible, and the entire beat so full of grace that the attention of the audience is never for an instant distracted from listening to the music by the conspicuous awkwardness of the conductor's hand movements. This grace in baton-manipulation need not interfere in any way with the definiteness or precision of the beat. In fact an easy, graceful beat usually results in a firmer rhythmic response than a jerky, awkward one. For the first beat of the measure the entire arm (upper as well as lower) moves vigorously downward, but for the remaining beats the movement is mostly confined to the elbow and wrist. In the case of a divided beat (see pages 23 and 24) the movement comes almost entirely from the wrist.

[Sidenote: POSITION OF THE BATON]

The hand manipulating the baton must always be held sufficiently high so as to be easily seen by all performers, the elbow being kept well away from the body, almost level with the shoulder. The elevation of the baton, of course, depends upon the size of the group being conducted, upon the manner in which the performers are arranged, and upon whether they are sitting or standing. The conductor will accordingly vary its position according to the exigencies of the occasion, always remembering that a beat that cannot be easily seen will not be readily followed.

[Sidenote: PRINCIPLES AND METHODS OF TIME BEATING]

If one observes the work of a number of conductors, it soon becomes evident that, although at first they appear to have absolutely different methods, there are nevertheless certain fundamental underlying principles in accordance with which each beats time, and it is these general principles that we are to deal with in the remainder of this chapter. It should be noted that _principles_ rather than _methods_ are to be discussed, since principles are universal, while methods are individual and usually only local in their application.

[Sidenote: DIAGRAMS OF BATON MOVEMENTS]

The general direction of the baton movements now in universal use is shown in the following figures.

[Ill.u.s.tration]

In actual practice however, the baton moves from point to point in a very much more complex fashion, and in order to aid the learner still further in his a.n.a.lysis of time beating an elaborated version of the foregoing figures is supplied. It is of course understood that such diagrams are of value only in giving a general idea of these more complex movements and that they are not to be followed minutely.

[Ill.u.s.tration: TWO-BEAT MEASURE]

[Ill.u.s.tration: THREE-BEAT MEASURE]

[Ill.u.s.tration: FOUR-BEAT MEASURE]

[Ill.u.s.tration: SIX-BEAT MEASURE]

[Ill.u.s.tration: VERY SLOW TWO-BEAT MEASURE]

[Ill.u.s.tration: VERY SLOW THREE-BEAT MEASURE]

[Ill.u.s.tration: SLOW FOUR-BEAT MEASURE]

[Ill.u.s.tration: SLOW NINE-BEAT MEASURE]

[Ill.u.s.tration: SLOW TWELVE-BEAT MEASURE]

An examination of these figures will show that all baton movements are based upon four general principles:

1. The strongest pulse of a measure (the first one) is always marked by a down-beat. This principle is merely a specific application of the general fact that a downward stroke is stronger than an upward one (_cf._ driving a nail).

2. The last pulse of a measure is always marked by an up-beat, since it is generally the weakest part of the measure.

3. In three- and four-beat measures, the beats are so planned that there is never any danger of the hands colliding in conducting vigorous movements that call for the use of the free hand as well as the one holding the baton.

4. In compound measures the secondary accent is marked by a beat almost as strong as that given the primary accent.

[Sidenote: NUMBER OF BEATS DETERMINED BY TEMPO]

The fact that a composition is in 4-4 measure does not necessarily mean that every measure is to be directed by being given four actual beats, and one of the things that the conductor must learn is when to give more beats and when fewer.

If the tempo is very rapid, the 4-4 measure will probably be given only two beats, but in an _adagio_ movement, as, _e.g._, the first part of the _Messiah_ overture, it may be necessary to beat eight for each measure in order to insure rhythmic continuity. There are many examples of triple measure in which the movement is so rapid as to make it impracticable to beat three in a measure, and the conductor is therefore content merely to give a down-beat at the beginning of each measure; waltzes are commonly conducted by giving a down-beat for the first measure, an up-beat for the second, _et cetera_; a six-part measure in rapid tempo receives but two beats; while 9-8 and 12-8 are ordinarily given but three and four beats respectively.

It is not only annoying but absolutely fatiguing to see a conductor go through all manner of contortions in trying to give a separate beat to each pulse of the measure in rapid tempos; and the effect upon the performers is even worse than upon the audience, for a stronger rhythmic reaction will always be stimulated if the rhythm is felt in larger units rather than in smaller ones. But on the other hand, the tempo is sometimes so very slow that no sense of continuity can be aroused by giving only one beat for each pulse; hence, as already noted, it is often best to give _double_ the number of beats indicated by the measure sign. In general, these two ideas may be summarized in the following rule: _As the tempo becomes more rapid, decrease the number of beats; but as it becomes slower, increase the number, at the same time elaborating the beat so as to express more tangibly the idea of a steady forward movement._

By carefully studying the second series of figures given on pages 23 and 24 and by making certain that the principle of "continuous movement" explained on page 28 is observed, the student will be able to learn the more highly elaborated beats employed in slower tempos without very much difficulty. These diagrams, like the first set, are, of course, intended to be suggestive only.

[Sidenote: SHALL WE BEAT THE RHYTHM OR THE PULSE?]

In this same connection, the amateur may perhaps raise the question as to whether it is wise to beat the rhythm or the pulse in such a measure as [music notation]. In other words, is it well to give a down-beat on 1, two small beats toward the left for 2, while 3 and 4 are treated in the ordinary way? This question may be answered by referring to the rule given on page 25, but perhaps it will be safer to make the application more specific by advising the young conductor to adhere fairly closely to beating the pulse unless a much slower tempo makes extra beats necessary. The additional movements may be of some service in certain cases, but in general they tend to confuse rather than to clarify, this being especially true in the case of syncopated rhythms. The only exceptions to this principle are:

1. When a phrase begins with a tone that is on a fractional part of the beat; _e.g._, if the preceding phrase ends with an eighth, thus: [music notation]; for in this case the phrasing cannot be indicated clearly without dividing the beat.

2. When there is a _ritardando_ and it becomes necessary to give a larger number of beats in order to show just how much slower the tempo is to be. The second point is of course covered by the general rule already referred to.

The conductor must train himself to change instantly from two beats in the measure to four or six; from one to three, _et cetera_, so that he may be able at any time to suit the number of beats to the character of the music at that particular point. This is particularly necessary in places where a _ritardando_ makes it desirable from the standpoint of the performers to have a larger number of beats.

[Sidenote: THE DOTTED-QUARTER AS A BEAT NOTE]

Although covered in general by the preceding discussion, it may perhaps be well to state specifically that the compound measures 6-8, 9-8, and 12-8 are ordinarily taken as duple, triple, and quadruple measures, respectively. In other words, the dotted-quarter-note ([dotted quarter-note symbol]) is thought of as the beat note, some modern editors going so far as to write [2 over dotted quarter symbol]

in place of 6-8 as the measure sign; [3 over dotted quarter symbol] in place of 9-8; and [4 over dotted quarter symbol] in place of 12-8. In conducting these various types of measure, the general principle given on page 25 again applies, and if the tempo is very slow, the conductor beats 6, 9, or 12, to the measure, but if it is rapid, the flow of the rhythm is much better indicated by 2, 3, and 4 beats respectively.

[Sidenote: FIVE- AND SEVEN-BEAT MEASURES]

Although only occasionally encountered by the amateur, five- and seven-beat measures are now made use of frequently enough by composers to make some explanation of their treatment appropriate. A five-beat measure (quintuple) is a compound measure comprising a two-beat and a three-beat one. Sometimes the two-beat group is first, and sometimes the three-beat one. If the former, then the conductor's beat will be down-up, down-right-up. But if it is the other way about, then the beat will naturally be down-right-up, down-up. "But how am I to know which comes first?" asks the tyro. And our answer is, "Study the music, and if you cannot find out in this way, you ought not to be conducting the composition."

Just as quintuple measure is a compound measure comprising two pulse-groups, one of three and the other of two beats, so seven-beat measure (septuple) consists of a four-beat group plus a three-beat one. If the four-beat measure is first, the conductor's beat will be down-left-right-up, down-right-up; _i.e._, the regular movements for quadruple measure followed by those for triple; but if the combination is three plus four, it will be the other way about. Sometimes the composer helps the conductor by placing a dotted bar between the two parts of the septuple measure, thus: [music notation]

[Sidenote: AN IMPORTANT PRINCIPLE OF TIME BEATING]

The most fundamental principle of time beating, and the one concerning which the young conductor is apt to be most ignorant, is the following: _The baton must not usually come to a standstill at the points marking the beats, neither must it move in a straight line from one point to another, except in the case of the down beat; for it is the free and varying movement of the baton between any two beats that gives the singers or players their cue as to where the second of the two is to come._ We may go further and say that the preliminary movement made before the baton arrives at what might be termed the "bottom" of the beat is actually more important than the "bottom" of the beat itself. When the baton is brought down for the first beat of the measure, the muscles contract until the imaginary point which the baton is to strike has been reached, relaxing while the hand moves on to the next point (_i.e._, the second beat) gradually contracting again as this point is reached, and relaxing immediately afterward as the hand moves on to the third beat. In the diagrams of baton movements given on preceding pages, the acc.u.mulating force of muscular contraction is shown by the gradually increasing thickness of the line, proceeding from the initial part of the stroke to its culmination; while the light curved line immediately following this culmination indicates the so-called "back-stroke," the muscular relaxation. It is easy to see that this muscular contraction is what gives the beat its definiteness, its "bottom," while the relaxation is what gives the effect of continuity or flow. It will be noticed that when the baton is brought down on an accented beat, the beginning of the back-stroke is felt by the conductor as a sort of "rebound" of the baton from the bottom of the beat, and this sensation of rebounding helps greatly in giving "point" to these accented beats.

In order to understand fully the principle that we have just been discussing, it must be recalled that rhythm is not a succession of jerks, but is basically a steady flow, a regular succession of similar impulses, the word _rhythm_ itself coming from a Greek stem meaning "flow." Like all other good things, this theory of continuous movement may be carried to excess, and one occasionally sees conducting that has so much "back-stroke" that there is no definiteness of beat whatsoever; in other words there is no "bottom" to the beat, and consequently no precision in the conducting. But on the other hand, there is to be observed also a great deal of conducting in which the beats seem to be thought of as imaginary points, the conductor apparently feeling that it is his business to get from one to another of these points in as straight a line as possible, and with no relaxation of muscle whatever. Such conductors often imagine that they are being very definite and very precise indeed in their directing, and have sometimes been heard to remark that the singers or players whom they were leading seemed exceedingly stupid about following the beat, especially in the attacks. The real reason for sluggish rhythmic response and poor attacks is, however, more often to be laid at the door of a poorly executed beat by the conductor than to the stupidity of the chorus or orchestra.[7]

[Footnote 7: It is but a step from the conclusions arrived at above to a corollary relating to conducting from the organ bench. How does it happen that most choirs directed by an organist-conductor do not attack promptly, do not follow tempo changes readily, and do not in general present examples of good ensemble performance? Is it not because the organist is using his hands and feet for other purposes, and cannot therefore indicate to his singers the "continuous flow of rhythm" above referred to? When a conductor directing with a baton wishes to indicate a _ritardando_, he does so not merely by making the beats follow one another at longer intervals, but even more by making a more elaborate and more extensive movement between the beat culminations; and the musicians have no difficulty in following the baton, because it is kept continuously in motion, the points where the muscular contractions come being easily felt by the performers, because they can thus follow the rhythm in their own muscles by instinctive imitation. But when the organist-conductor wishes a _ritardando_, he merely plays more slowly, and the singers must get their idea of the slower tempo entirely through the ear. Since rhythm is a matter of muscle rather than of ear, it will be readily understood that conducting and organ-playing will never go hand in hand to any very great extent. There is, of course, another reason for the failure of many organists who try to play and conduct simultaneously, _viz._, that they are not able to do two things successfully at the same time, so that the chorus is often left to work out its own salvation as best it may; while, if the conducting is done by using the left hand, the organ end of the combination is not usually managed with any degree of distinction. Because of this and certain other well-known reasons, the writer believes that choral music in general, and church music in particular, would be greatly benefited by a widespread return to the mixed chorus, led by a conductor with baton in hand, and accompanied by an organist.]

[Sidenote: HOW TO SECURE A FIRM ATTACK]

Coordinate with the discussion of continuous movement and back-stroke, the following principle should be noted: _A preliminary movement sufficiently ample to be easily followed by the eye must be made before actually giving the beat upon which the singers or players are to begin the tone, if the attack is to be delivered with precision and confidence._ Thus in the case of a composition beginning upon the first beat of a measure, the conductor holds the baton poised in full view of all performers, then, before actually bringing it down for the attack, he raises it slightly, this upward movement often corresponding to the back-stroke between an imaginary preceding beat and the actual beat with which the composition begins. When a composition begins upon the weak beat (_e.g._, the fourth beat of a four-pulse measure), the preceding strong beat itself, together with the back-stroke accompanying it, is often given as the preparation for the actual initial beat. In case this is done the conductor must guard against making this preliminary strong beat so prominent as to cause the performers to mistake it for the actual signal to begin. If the first phrase begins with an eighth-note ([music notation]), give a short beat for 4 and an extra up-beat for the first note of the phrase. If it begins with a sixteenth-note, do the same thing, but make the extra up-beat with which the first tone is to be coincident shorter and quicker. If a good attack cannot be secured in any other way, beat an entire preliminary measure until the attack goes well, then adopt some such plan as has just been suggested.

[Sidenote: THE RELEASE]

The preliminary up-beat which has just been discussed is equally valuable as a preparation for the "release" or "cut-off." The movement for the release is usually a down stroke to right or left, or even upward. It is customary not to beat out the final measure of a composition or a complete final section of a composition, but to bring the baton down a few inches for the first beat of the measure, and then to hold it poised in this position, either counting the beats mentally, or trusting to feeling to determine the time for stopping. A slight upward movement is then made just before the tone is to be released, and it is the warning conveyed by this preliminary movement that enables the performers to release the tone at the precise instant when the baton is brought down for the cut-off. It should be noted that the release must come at the _end_ of the duration value of the final note. In 4-4 a final [dotted half-note symbol] would therefore be held up to the _beginning_ of the fourth beat, _i.e._, until one is on the point of counting _four_; a final [whole note symbol], until the beginning of the first beat of the following measure. It is because of carelessness or ignorance on this point that composers now sometimes resort to such devices as [music notation] to show that the final tone has four full beats. In such a case, the ending [music notation] means exactly the same thing as [music notation], the tone being released precisely on _one_ of the following measure, in either case.

[Sidenote: THE HOLD]