Ready, Begin!
The well-rounded musician should be familiar with and be able to demonstrate the basics of traditional conducting technique. Directors should be able to clearly indicate tempo, volume levels, phrasing, accents, etc. by their gestures. Performers who understand conducting patterns will be able to better understand and follow the gestures of a competent music director.
Print Outline: Download PDF
Audio File: Download MP3
Suggested Homework:
1. Practice standing like a singer.
On at least 5 different occasions, practice using a singer’s stance.
1. Feet about a foot apart, one slightly ahead of the other
2. Knees relaxed and slightly bent
3. Pelvis tucked under slightly
4. Back tall and straight
5. Shoulders held firmly back and down
6. Arms relaxed and slightly bent at elbows
7. Back of neck tall, chin parallel with floor
2. Practice holding the right hand correctly
On at least 5 different occasions, practice holding your main conducting hand correctly.
1. Hold your hand out, palm downward
2. Bring the thumb and end of index finger together
3. Allow middle, ring and little fingers to remain curved and relaxed
4. Allow the wrist to remain relaxed and flexible
3. Memorize the parts of the conducting pattern
Memorize all six parts of the conducting pattern and be able to identify their names, descriptions and parts of the diagram.
4. Study for quiz
Review the outline and notes taken during the video lesson. The quiz will consist of 10 multiple choice questions taken mainly from the lesson outline.
Review Questions:
1. According to Dr. Lee Roberson, “Everything rises or falls on _____.”
| a. Singers |
b. Spirituality |
| c. Leadership |
d. Fellowship |
| e. Management |
f. Conductors |
|
2. Which of these is NOT a purpose of conducting?
| a. Unify the presentation |
b. Ensure variety and vitality |
| c. Encourage excellence |
d. Provide musical direction |
| e. Distract the audience from mistakes |
f. Interpret inherent expression |
|
3. The conductor should direct primarily with _____.
| a. The head |
b. Both hands |
| c. The left hand |
d. Either hand |
| e. An open hand |
f. The right hand |
|
4. The conductor should _____ like a singer.
| a. Walk |
b. Smile |
| c. Sing |
d. Sit |
| e. Wave |
f. Stand |
|
5. The preparatory beat _____.
| a. Is a bounce or flick of the wrist |
b. Cuts off the sound |
| c. Indicates the end of the song |
d. Always precedes the downbeat |
| e. Causes the performers to breathe together |
f. Indicates the first beat of the measure |
|
6. The conductor’s hand should NOT be held primarily _____.
| a. With relaxed fingers |
b. Palm downward |
| c. With curved fingers |
d. Palm upward |
| e. With a flexible wrist |
f. Thumb and index finger together |
|
7. The word “takt” refers to the _____ of the music.
| a. Pitch |
b. Tone |
| c. Pattern |
d. Pulse |
| e. Length |
f. Timbre |
|
8. The upward bounce following the ictus is the _____.
| a. Cut-off |
b. Rebound |
| c. Flick of the wrist |
d. Lead-in |
| e. Preparatory beat |
f. Takt |
|
9. The precise instant of the rhythmic beat-point is indicated by the _____.
| a. Takt |
b. Cut-off |
| c. Pulse |
d. Lead-in |
| e. Rebound |
f. Ictus |
|
10. The primary cut-off motion looks like _____.
| a. Half the height of a downbeat |
b. A rebound |
| c. An upward bounce |
d. A takt |
| e. A looping or pinching motion |
f. A vertical or downward motion |
|
Answers: (1) c. Leadership (2) e. Distract the audience from mistakes (3) f. The right hand (4) f. Stand (5) e. Causes the performers to breathe together (6) d. Palm upward (7) d. Pulse (8) b. Rebound (9) f. Ictus (10) e. A looping or pinching motion
