OpenStax-CNX module: m20735 1

Introduction to Conducting
Techniques *

Gordon Lamb
This work is produced by OpenStax-CNX and licensed under the
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Creative Commons Attribution License 2.0

Abstract
This module represents an introduction to the chapter on conducting techniques. It includes a dis-
cussion of the conducting techniques necessary and how to develop them.

1 CONDUCTING TECHNIQUES
The art of conducting has become a more rened and exacting art over a period of many years. Yet,
conductors dier considerably in the gestures they use and, to a degree, in the fundamental beat patterns.
Beginning conductors are often confused as to the necessity of a four pattern, for instance, that requires
the second beat to be to the left of the rst. It is true that if a conductor can spend enough time with an
ensemble and the music is not complex, he could keep them together and probably obtain a musical response
with gestures that are altogether foreign to the usual conducting patterns. However, if one wishes to conduct
more than one ensemble, prepare singers to also perform under the baton of other conductors, or conduct
complex scores, it will be found that standard conducting patterns will serve best.
A clear understanding of the basic conducting patterns is necessary before one can expand them into
a personal conducting style. Without a solid technique, a "personal style" will be quite meaninglessarm
waving without a purpose. After the basic fundamentals are mastered, students will want to adapt them to
their own conducting personalities and musical temperaments.
The study of conducting itself rst involves physical coordination. One must become comfortable phys-
ically in conducting the basic patterns. This is accomplished as all muscular training is accomplished, by
repetition. Just as golfers practice their swing thousands of times (some without striking a ball), conductors
must also practice conducting the basic patterns, and much of it without conducting a choir or orchestra.
One must practice until the patterns become automatic and are easily conducted with metric accuracy while
also doing something else (do not practice while driving a car). There is a discrepancy at the outset of
knowing exactly where to start, with the full pattern or by learning the preparatory beat, because without
the other either is incomplete. Although the preparatory beat section is placed rst here, it is anticipated
that the patterns themselves will be coupled with the appropriate preparatory beat for practice and learning
purposes.
Conducting examples are integrated in the chapter near appropriate text material rather than clustered
at the end. Conductors will want to refer back and forth as necessary but soon will turn to the examples
for private and in-class practice. Of course, these examples may also be used for the purpose of practicing
rehearsal techniques later.
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The ability to reproduce the patterns physically is easily within the grasp of any average person with
normal coordination. Interpretation of the music, however, lies far beyond the mere reproduction of the
beat patterns. A good technique is of value only to those who study and understand the musical score, who
establish a good rapport with their ensemble, and are able to transmit the ultimate beauty of music with
sensitivity.
An excellent aid to the teaching of conducting is the videotape. This allows the student and teacher to
review the conducting and most important, lets the student view himself as a conductor. The videotape
shows the student as he actually appears when conducting, which is often dierent from the appearance the
student believes he makes. The videotape reinforces the teacher's comments, and has the advantage of being
viewed many times. A teacher may comment during the taping itself so the comments are on the tape for
review by the student alone, or the student and teacher may review the tape together with comments made
at that time. A combination of both methods is also quite eective. Dr. James Stegall, Director of Choral
Activities at Western Illinois University demonstrates the conducting patterns and gestures and conducts
"Laudamus Te and Gloria". This is an excellent demonstration of an experienced conductor's ability to
conduct numerous changing meter patterns while bring out the musicality of the composition. Dr. Stegall's
conducting gestures are precise, controlled and communicate exactly the necessary rhythmic and musical
essence to the ensemble. It is worth a persons time to watch the video several times with the score.
1.1 DISCUSSION QUESTIONS

1. Recall the various conductors, both instrumental and choral, under whom you have performed. What
facets of their technique were enviable? What facets were not?
2. When do you feel it is most appropriate to use a baton?
3. Must a conductor of choral groups understand the principles of singing technique?
4. What are the personal attributes of a good conductor?
5. How much eect will the style, tempo, dynamics, and mood of the text have on the basic conducting
gestures?
6. In how many dierent ways can a conductor show the character of the composition?
7. Is it more important to conduct the score as one believes that the composer would have wanted it
performed, or should a conductor add his own interpretation to the score? Can conductors ever disagree
about the interpretation of a score, and yet the results of both conductors be musical?
8. What are the problems of alternations in Praetorious's In Dulci Jubilo?
1.2 PROJECTS

1. Observe several conductors both rst hand and on television, (public television provides outstanding
opportunities to observe dierent conductors). What are the individual characteristics of each conductor?
What are the common characteristics?
2. View one of the many conductors of concerts on public television as a class. Discuss the conductor's
characteristics.
3. One of the best vantage points from which to observe a conductor is as a member of an ensemble. As
a member of an ensemble carefully note the characteristics of your conductor. Are there any instances in
which greater clarity would have improved the rehearsal or performance?
1.3 SUGGESTED READINGS

Ehmann, Wilhelm. Choral Directing. Minneapolis: Augsburg Publishing House, 1968.

Green, Elizabeth A. H. The Modern Conductor. 2d ed., sec. 1. Englewood Clis, N.J.: Prentice-Hall,
1969.
Heernan, Charles W. Choral Music. Englewood Clis, N.J.: Prentice-Hall, 1982.
Marple, Hugo D. The Beginning Conductor. New York: McGraw-Hill Book Company, 1972.

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McElheran, Brock. Conducting Techniques: For Beginners and Professionals. New York: Oxford Uni-
versity Press, 1966.
Simons, Harriet. Choral Conducting: A Leadership Teaching Approach. Champaign: Mark Foster Music
Company, 1983.
Thomas, Kurt. The Choral Conductor, chap. 2. New York: Associated Music Publishers, 1971.

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