The Anatomy of Conducting
EXERCISE 1A
This exercise in 4/4 shows two of the main principal elements mentioned earlier, the use of sideways movements and the stopbeats. Referring to the YouTube link above, one can observe that the use of sideways movements is visually clear, and the stop beats occur at the arrival points of the halfnotes (minims). As demonstrated, the sideways movement is a lift away from the previous (inner) pulse station and this lift is clearly apparent from 1 to 2 and 2 to 3. The exercise presents stop beats on either 1st, 2nd, 3rd or 4th beat during the exercise, and with both hands, mirror wise. The stopbeat “swallows” the visual length of the beat, and the consequence is that the following upbeat starts exactly at the point where the stopbeat arrived. This execution will clarify for the next necessary upbeat. Note that, when stopping on the 4th beat in the second last bar, the next movement will be an upbeat to the second beat in the last bar. In order to maintain a good sideways movement in the upbeat, it is necessary to straighten the arms from the elbow before going into the second beat in the last bar. Therefore, the arms will move away from each other before coming together in a lifting movement in the upbeat. This movement also helps keeping the shoulders low.
EXERCISE 1B
This exercise contains the same principles as the previous exercise. However, since it is an exercise in ¾, the stopbeats are more frequent. Worth mentioning is also that the two last bars make up a hemiola. However, most musicians do not like to watch conductors beating a big ¾ over two bars in connection with hemiolas. Because, one has to take into account the fact that some of the musicians might not be playing but counting bars! As the video shows, the stopbeat technique therefore demonstrates a practical and visually adequate execution of a hemiola over two bars in a ¾ pattern.
EXERCISE 1C
Exercise 1C treats 6 beats in a bar, divided in 3+3. The same principle of linear and sideways movements will be applied onto this exercise, as in the previous ones. A comment has to be made on a principle of subdividing which involves what I would call "station bouncing". In practical terms, this means that every subdivision remains at the main beat, or "main station" (the visual point where the pulse occurs) a certain number of beats, dependent on the number of subdivisions required. These beats should be executed with small wrist movements. Notice also the bouncing subdivision on the 4th beat in the first and second bar etc. However, after a stopbeat, the similar bounce will be increased to more than the double length in order to serve as an upbeat to the next melodic rhythm that is to be played. This can be observed especially when the bouncing upbeats occur on the 2nd and the 4th beat in the bar, throughout the whole exercise. A special comment must be made on the second last bar, which contains three halfnotes (minims), including the slurred minim fromthe 6th beat in the third last bar. Each stopbeat is followed by an upbeat to the next minim and then into the last bar. To facilitate the visual direction of each upbeat towards the arrival points, the technique is to twist the wrist during the upbeat, preparing for the direction to the next halfnote (minim). This will give the musicians a clear understanding on where in the bar the next halfnote (minim) should be played. Watch the link closely. * *An example of this somewhat peculiar technique is to be find in Stravinsky, Dumbarton Oaks (end of 1st. and 2nd movement)
EXERCISE 1D
In this exercise, another type of beat is being introduced: the "passive" beat. A "passive" beat appears between the stopbeat and the upbeat. The terminology "passive beat" (in Norwegian: blindslag) is however not the most precise, as the beat contains both rhythm and a "transport movement" towards the next upbeat. The beat should be executed with the wrists only and with a "click" or full stop at the end of each movement. The purpose of this click is to avoid the musicians from playing too early after a long note and to secure that they remain on the long note until the conductor’s next upbeat. The performance of the passive beat is therefore clearly different from the upbeat, in order to separate and isolate it from the coming upbeat. Notice that in the second bar, the passive beat occurs on the first beat, following a stopbeat on the fourth beat in bar one. The position of the wrists in the stopbeat in the first bar is more or less horizontal. However, this position will not be adequate or practical in a musical context, especially when using a baton, because it will forge the wrists to make a deep and downward movement on the passive beat in bar two. Therefore, the position of the stopbeat should be adjusted so that the passive beat in the second bar starts from an upward placed position with the wrist. The movement of the wrist from this position will be physically similar to the act of giving downbeats through for instance concertos and recitatives.
EXERCISE 1E
The next exercise is an etude that sums up some of the previous principles, in addition to integrating one of the “falling arms” exercises. As shown in the video, it is apparently a rigid etude. However, the etude covers essential technical aspects that can be applied into numerous musical contexts. Comments: 1. In bar 1, 2 and 6, it is possible to apply the same number of passive beats, due to the following: The stopbeat in each bar appears on the first beat The next played melodic rhythm appears on the first beat in the next bar The notation of the melodical progression is different in each of these bars but the principle is the same due to the idea of giving an upbeat to the successive melodic rhythm. However, the execution will, and should of course be performed differently and in accordance with the musical context and character. 2. Bars 5 and 7: The stopbeats occur on beat 1 and 3 in both bars* but because of the dotted rhythm in bar 7, the upbeats here (beat 2 and 4) need to be emphasized. This is executed by placing a concentrated energy in the wrist. *The melodic rhythm is sustained beyond the underlying quarter note pulse 3. Bar 9 is an "impossible" bar, and it actually requires an alternative technique. This is a bar where the “falling arms” exercise is coming into practical use. If one should follow the principle of applying stopbeat followed by passive beats before upbeats, that bar should come out as follows: Beat 1: Stopbeat Beat 2: Passive beat Beat 3: Upbeat to the offbeat. But this is awkward since the offbeat is tied to beat 4 AND to beat 1 in the next bar! Beat 4: Passive beat To perform this bar in a practical manner it is necessary to make the following adjustments: Beat 1: Stopbeat Beat 2: Lift arms softly up and towards each other, by narrowing the angle in the elbows. Then, release the weight of the lower arms as in the second part of Falling arms exercise no. 2. Beat 3: By releasing the gravity in the lower arms, the wrists will "hit the ground" exactly on the third beat. This energy will initiate a good and precise offbeat in the third beat. Beat 4: The same lift of lower arms as in beat 2 but keep arms parallel. Then release the weight of the lower arms, to give good offbeats to beat 1 and 2 in the next bar. The technique of making a soft arms lift followed by a falling lower arms movement needs a lot of training in order to be performed in a subtle way. The technique is highly applicable and a very useful element in the technical repertoire.
EXERCISE 2
The approach to and use of stopbeats in this exercise has a different purpose than the previous exercises. Here, the stopbeats do not reflect the presence of prolonged melodic rhythms, neither the use of passive beats. However, the stopbeat AND the upbeat is integrated in one beat that is being (sub)divided according to the context in which it appears, and this subdivision is not necessarily metrical. The intended use of stopbeat is to clarify for the coming musical event by introducing a stop and then continue with an upbeat movement as the second part of the beat. The exercise can be applied to a variety of musical contexts, and it is imperative to understand the essence and the basic use of this exercise. In the video, the technique is presented as if between phrases in a chorale*. However, the technique can be applied to contexts like change of character, tempo alterations, new dynamics, new orchestrations and textures etc. It is crucial that the use of sideways movements is apparent, as this will help the musicians to identify the musical progression and the musical alterations for which the technique is meant to support. There is also a link between the technique in this exercise and the use of essential elements in Exercise 6. *There is a tradition among especially choral conductors and organists to add a fifth beat at the end of every phrase, especially in Bach-chorales. I am questioning as to whether this tradition has been established through a conscious interpretational choice, or if it derives from the organists' inability to finish a phrase organically and then make an organic pick up to the next phrase. Therefore, this might has developed into an unspoken "tradition" over generations. Every beat on a gesture line through for instance a 4/4-bar can be considered as pulse stations or arrival points, as earlier mentioned. In this exercise, the direction of the movement away from the pulse station is naturally unique for every beat, but the timing and the energy of the upbeat gestures should keep the energy and speed of the quarter note and not the speed of the “normal” eight-note subdivision pulse. In the exercise, the stopbeat is demonstrated on the first beat in the first bar, on the second beat in the second bar and so on. In the example with chorale, the intention is to finish and pick up phrases smoothly and organically. This will take a little more time than the underlying metrical pulse, which would also be the musical intention and result. Therefore, to compensate for the extra time, it is necessary (see below) to implement a visual “short cut” when departing each pulse station in order to give the upbeat a timing and an energy as close to the quarter-note pulse as possible. This aspect of giving the music space and time so to say is also applicable to thousands of instances in the orchestral literature where changes between musical events would benefit from the use of this version of the stopbeat.
EXERCISE 3 - 5 INDEPENDENT HANDS
The goal with these exercises is to separate the movement in one hand from the other hand, so that each hand is performing independently. Therefore, each hand will be trained to give entries at any beat, to any section or soloist in whatever time signature. Through the exercise, the pulse is continuously being given with one hand, as the other hand (melodic hand) "rests" on the stopbeat according to the melodic rhythm at any time. NB! In exercises 3 and 4, it is important to change hands, so that both hands are trained to perform the continuous pulse AND the melodic rhythms. The videos demonstrate both versions.
EXERCISE 3A
It is essential to keep a good linear movement in the pulsation hand, especially when the "melodic" hand moves through the upbeat to the next stopbeat. The pulsation hand therefore has two main purposes: To help aligning the "melodic" hand into a mirror wise beating pattern (to the next stopbeat) that is easy for the musicians to identify. To enhance the conductor's rhythmical pace and precision, in order to integrate a steady pulse into the conducting body. The overall purpose therefore is to reduce the visual beating activity to a minimum and in accordance with the melodic rhythm. As on can observe in the video, the melodic hand demonstrates the similar movements as in Exercise 1A. Notice also the melodic (anatomical) hand in bar 6 and 7. Here, one can observe the same technique of straightening the arms from the elbow to keep a linear movement and to keeping the shoulders down.
EXERCISE 3B
Again, the same principles as in 3A are applied, but in ¾. Therefore, as in 1B, the stopbeats are more frequent.
EXERCISE 3C
Again, application of the same principals, but now in 2/4. Beating two in a bar can sometimes be a challenge for the conductor, but maybe even more for the musicians. Especially musicians sitting on each side, for instance 1st Violins and Cellos sometimes do have problems identifying the conductor’s beats. Many conductors have experienced getting the question: "Are you beating in two or in four?" Not necessarily because of a possible tempo ambiguity but mainly because of unclear beating pattern. A good beating pattern for 2/4 is to compare the 2/4 pattern more or less with a fishhook, or an umbrella handle. By drawing the umbrella handle and making a visual "short cut" through the second beat, the 2/4 will come out as clearly different from 4/4. Both versions with both hands showing either pulsation or melodic rhythm are demonstrated in the same video. The two last bars in the exercise are highly applicable in connection with syncopated rhythms. Therefore, the melodic / anatomical hand should be lifted and placed in a crooked position in the upbeat, to emphasize the syncopations. This seemingly unnatural position, however, helps keeping the shoulders low.
EXERCISE 3D
Exercise 1D in 6/4 and 3D in 6/8 are of course both meant to be beaten in six. The melodic / anatomical rhythm is almost identical in both exercises and by executing exercise 3D one should have obtained a kinesthetic memory through the practice of the previous exercises. That will, to a large extent benefit and facilitate the execution of 3D, both versions.
EXERCISE 4
The purpose of exercise no. 4 is again to increase the independency between left and right arm. The goal is to train the arms and especially the wrists to initiate a new upbeat anywhere in a bar in whatever time signature, with either left or right hand and with the adequate inner speed and in coherence with the underlying pulse. In this exercise, the “falling arms” exercises are introduced as an integrated component, and this appears always on the beat before the next upbeat. This is clearly apparent through the whole exercise. The idea of applying the use of weighted arms is that, when the arms fall to the side along the hips, the energy from the falling arm will initiate a sudden and slightly explosive reaction in the other hand (in the wrist), as if the energy is transferred from the falling arm to the other hand / arm. This is of course an illusion, but it is in fact a good illusion! Exercises no. 4 is a purely technical exercise for the conducting body. As one can see, there are several elements carried on from the previous exercises, and no. 4 is an exercise that explicitly demonstrates the use and integration of the three elements mentioned in the preface: Sideways movements Falling arms Anatomical conducting: Anatomical placement of upbeats according to the progression of the musical events. The mental presence so to say in the "new" hand must be focused on the explosive reaction mentioned, and physical presence must be in the wrist. If the placement of this subtle energy concentration is transferred towards the elbow or even further up in the arm, the entry will come out physically and visually as too big and heavy, which is not good for neither the conductor or the orchestra and the sections concerned. Therefore, it is important to be “present” in the wrist and the hand.
EXERCISE 4A – 4C
EXERCISE 4A
Exercise 4A is in 4/4 and symmetric, and it consists of two bars that are repeated.
EXERCISE 4B
Another purely technical exercise, consisting of one bar only. Version 1 starting on the right side, version 2 on left side. Notice, as mentioned in the introduction to EXERCISE 4, that the line through the first beat is "interrupted" by the falling arms movement just before the second beat, which is the upbeat to beat three. The linearity of the movement before the fall initiates musicians to play also the second beat. When this is executed adequately, the fall of the arm can be initiated, hence giving energy and impact to the upbeat in the new hand. The same use of impact and energy and the falling arm is applied on the third and fourth beat of the bar, and of course adapted to the gesture lines of the third and fourth beat. The essence of this exercise is highly applicable in situations where halfnotes are supposed to be emphasized. See the execution in the video link.
EXERCISE 4C
The same principle is applied in this exercise as the previous. Instead of two beats in each hand, a rhythmical pattern with three quarter notes in each hand over four 4/4-bars is demonstrated. During the exercise, falling beats and upbeats are practiced at every beat in a 4/4-bar, with both hands.
EXERCISE 4D
This exercise sums up elements from all the previous exercises. One can identify falling arms, stopbeats, passive beats with wrists in addition to upbeats. Some of the falling “beats” occur from a low position and this is due to previous stopbeats. This is especially apparent on the fourth beat in the last bar, after the passive beats. The lower the fall, the more mental presence is required in the wrist and lower arm. It is therefore imperative to train the falling arms exercises before performing the anatomical exercises.
EXERCISE 4E – 4G
EXERCISE 4E
Apart from the time signature, this exercise is like 4A.
EXERCISE 4F
This exercise is like 4B, however in 6/8. The falling arm element appears in the second beat in the bar leading to the third beat, after the subdivision gesture. This bouncing subdivision gesture is substantially higher and with more energy than an ordinary subdivision. The beat will therefore serve as an initiating gesture to the third beat and hence, the weight of the arm can be released. This is also with reference to EXERCISE 1C, about “station bouncing”.
EXERCISE 4G
Exercise 4G is complicated and, to obtain an equal practice for both arms (and the brain!) the exercise has to be executed in two versions, starting with either right or left arm. The exercise looks to some extent like traffic routing(!), especially towards the end of the exercise. However, if one considers the exercise within a conducting anatomical perspective, the exercise is an adequate reflection of a possible musical context, of course with adjustments according to musical character, tempo, dynamics etc.
EXERCISE 5
The purpose of this exercise the same as exercise 3 and 4. However, in exercise 5, the change of hands is implemented in the performance of the exercise. This is also clearly visible, as the three first bars are mirrored in the following three bars. This pattern goes through the whole exercise, in all the time signatures. It is important that the pulsation hand is keeping good and linear gestures at any time through the exercise. The hand giving upbeats, folds into the linear beating pattern, in order to make the upbeats clear and visual (sideways). Notice that the second last beat in each bar, the melodic hand ends with a “falling arm” gesture and this is especially apparent in 2/4. See YouTube link, bar 1 – 6. See also introduction to exercise 4.
EXERCISE 6
Exercise 6 is called “Dynamics”. However, the main purpose of this exercise is to clarify for any musical change in a musical context that needs an entry or attention from the conductor. In addition to changes in dynamics, the technique can be applied to changes in character, tempo, orchestration, texture, harmonic changes, and new melodic phrases. Having practiced exercise 4 and 5 thoroughly, the aspect of mental (and physical) presence in the wrist should now be a well internalized element when introducing the “new” hand in connection with upbeats and changes in the music. In practical terms, there are clear similarities between this Exercise and Exercise 2. Another purpose of the exercise is to train the arms and hands to perform falling gestures. Through exercises 6A -C, minims appear on all the beats in the bar in any time signature, which means that the falling arms gesture will have to be performed in different directions and not always vertically. The exercise is purely physical, and at the same time it is strongly attached to the underlying pulse. I stress that the execution of this exercise is by no means applicable to any practical performance of a musical progression or context. As on can see in the video, there is a strong emphasis on the falling arms gestures to all the beats in the bar in any time signatures, and the falling arms “ends” in a stopbeat on the halfnotes. Again, the stopbeat occurs on the beat before the (new) upbeat, so when approaching a piece or a movement in a conducting-anatomical perspective, one has to keep in mind that the stopbeat always should be applied two beats before the musical change.
EXERCISE 6A
The exercise is in 4/4 and demonstrates the change between forte and piano. The beats become more substantial in the forte passages by placing the hands out and away from the torso. This approach helps keeping shoulders low. When executing the upbeat to the forte, it is important to concentrate the energy in the wrists and this also partially applies to the piano upbeats. In the execution of the piano beats the mental and physical presence in the gestures are in the hands. This derives from the last part of Falling exercise no. 6, where the presence of the energy passes the wrists and establishes in the palms.
EXERCISE 6B
This exercise is in ¾ and emphasizes the same aspects as Exercise 6A. Due to the time signature, the various elements are compressed, as in Exercise 1B, 3B and 3C.
EXERCISE 6C
This exercise is in 6/4 and there are upbeats in piano and forte to every beat in the bar as in 6A and B. The same elements are emphasized and there is a resemblance between this exercise and the gestures in exercise 1C and 5. However, having reached this stage in the progression through the exercises, the arms will recognize the general positions due to the kinesthetic memory in the arms and hands. Because the general positions of the arms and the hands are getting internalized, this exercise can be experienced as easier than the previous ones.
EXERCISE 7
Exercise 7 is of a completely different character. Here, it is a matter of "pulling" the underlying pulse through an accelerando and ritardando, so that the temporal relationship is maintained throughout the exercise. It is a demanding exercise and each beat and time signature have its own characteristics, both with regards to metric transitions and in the gestural process through the bars. This is also a highly applicable exercise in preparing complicated time signature changes in contemporary music. The exercise is not exclusively anatomical. Anatomical aspects are integrated and will be described through an in-depth analysis bar by bar. The opening speed of the exercise is 84 to the eight-note. The speed is then increased gradually through the first line and slowed down accordingly in the next line. The bars with eight notes are to be beaten in eight, the bars with quarter notes in four and so on, both in the accelerando and in the ritardando. So, by looking at the printed version, one can see that the progression through the exercise is symmetrical. Therefore, one could also think that having performed the first line, the exact gestural movements could be reversed. However, performing the ritardando line implies gestural adjustments, both at the transition point and within the section of each time signature. It also needs to be stressed that, at the point of transition from one time signature to the next, there is no change of tempo. At this point, the tempos should remain steady to facilitate the visible clarity of the new time signature. It is also important to keep the underlying (subdivided) pulse at the beat before and after the transition point, in order NOT to interfere with the metric flow. Executing an accelerando or a ritardando is a challenge for the conductor. Very often one can see conductors trying to “force” the orchestra or ensemble to play faster by whipping the beats up and down, and at the same time making big movements with the torso. This makes it very difficult for the orchestra to make the intended accelerando. The main principle of performing a good accelerando is to make the beats smaller and smaller, and vice versa. Slowing down a tempo implies that the beats must get wider and wider. It is physically impossible to beat a quick tempo from the upper arm and shoulder. Therefore, during an accelerando, the beating must be executed further and further towards the hands and fingers. Consequently, the beats will be smaller, and one may think that smaller beats are more difficult for the orchestra to see and identify. However, the opposite is the case. In addition to eyes, the conductor’s hands (with or without baton) are an important “place” from where the musicians receive musical information and consequently produce an adequately musical response. To BEAT with, or I would say, to BE in the hands means that the movement area is concentrated and clearly visible for the musicians. In this context, the act of using sideways movements is a crucial and a very efficient element for producing a secure and clearly visible accelerando and ritardando. Not as an element for the sake of itself, but as a method and technical aid for the conductor’s (and the composer’s) musical intention. Exercise 7 is a demanding exercise, and it needs a lot of practice. When practicing, it is important to remember always to take the tempo and beating from the inner pulse, the inner metronome. An accelerando or a ritardando can be considered as a new musical element. Therefore, introducing a stopbeat in combination with an upbeat before this new element, brings attention and security to a good start of the accelerando or ritardando. This is the most apparent anatomical element of this exercise.
ANALYSIS OF EXERCISE 7
NB! The numbering of the bars below refers to the time signature sections shown in the video. In the printed version, the sections are organized as repeated bars.
ACCELERANDO
Bar 1 and 2 (Eight note bars)
The bars are to be beaten in eight. As one can observe, the bounce on each main beat is of considerable length, especially in the beginning of the first bar. Also notice the use of sideways movements through the off beats to the succeeding main beat. Then, the length of the bounce is gradually shortened in coherence with the accelerando. Third and fourth beat in bar 2: The bounces has now been reduced to almost points only and the eight-note speed is about to reach the speed in which the quarter notes in bar 3 are to be picked up. As a consequence of the increased tempo, the sideways movements through the off beats have also been shortened and the third and fourth beat are executed with wrists only. These beats should be identical to the passive beats, especially the fourth offbeat. (See execution explanation of Exercise 1D)
Bar 3, 4 and 5 (Quarter note bars)
The bars are to be beaten in four. When transferring from the last main beat in bar 2 into bar 3, it is crucial to keep the underlying eight note pulse going, for at least the two first beats. This is important, to keep the metric consistency. There are various aspects concerning minimizing the beats in 4/4 that should be noticed: The sideways movement from beat one to beat two and three should be of considerable length and the movements should start from the elbows. By establishing a rectangular sideways area, the prerequisites for minimizing the beats are adequately set. Coming from wrist movements in the end of bar 2, going into lengthy sideways movements in bar 3 clarifies visually the fact that a new time signature is introduced (4/4). By keeping the underlying pulse when going into the 4/4-time signature, the inner speed especially between beats one and two, will show that the time signatures are metrically related. The method now is to minimize the beats by narrowing the rectangular area and at the same time keeping the sideways beating pattern. As the tempo increases, the placement of the beating or with other words the physical and mental presence will be moved from the elbows and towards the hands / fingers. Again, there is an equivalency between this execution and Falling exercise no. 6. The two last beats in bar 5 should be executed with wrists only, otherwise these beats will easily come out too long. One of the main purposes of the exercise is to keep the metric consistency through the whole exercise, and if the upward movement on the fourth beat at this crucial point becomes too big, this can easily disturb the flow through the transition to the next time signature. This beat must be performed with writs only.
Bar 6 - 9 (Half note bars)
These bars are beaten in two. A practical “two in a bar” beating is described in exercise 3C, and with reference to this explanation, there will have to be adjustments in coherence with the tempo change. Again, I stress the importance of bringing the quarter notes from the previous 4/4 into the 2/2 beats as the underlying pulse to ensure the metric flow and continuous accelerando. The bar is repeated three times, so the 2/2 section comes out as four bars. The following adjustment must be made: Bar 6: When starting this beat, the wrists must start from an upward position because of the movement in the last beat in bar 5, which also is executed with the wrist. In order to project a clear change of time signature, the first beat in bar 6 should be conducted sideways, as if drawing the bottom of a rowing boat. The second beat should return to the top, according to the explanation in exercise 3C, however with a slightly higher ending point.
Bar 7, 8 and 9
The pattern in bar 7 and the following 2/2 bars are executed as described in 3C, with the following adjustment due to the accelerando: The top point must be lowered step by step from bar to bar, so that the “fishhook” or “umbrella handle” becomes smaller and smaller. At the same time, the point of the first beat is consistent. As earlier mentioned, the movement is taken from the elbow and moves towards the wrists / fingers in accordance with the increase of tempo. The last beat in bar 9 is executed with the wrist only, as the previous time signature transitions.
Bar 10 – 13 (Whole note bars)
The notation is a whole-note and should therefore be beaten in one, vertically. Bar 10: Coming from an upward position in the last beat in bar 9, the first beat / bar starts with a downward movement in the wrist and “bounces” back to the “top floor” so to say, as the second beat of bar 9. Bar 11 – 13: The technique of lowering the height of the beat as in the second beats in bar 7 – 9 is here applied. The bottom of the beat remains on the same place, as in the first beats of bar 7 – 9.
RITARDANDO
Bar 14 – 17 (Whole note bars)
These bars should also be beaten in one and the ritardando section starts with these four beats / bars. The beats are vertical and as mentioned in the introduction, creating a ritardando implies a visual extension of the beats in different ways, dependent on the time signature. When beating in one, the method is simply to reverse the beating by extending the height of the beat and keeping the same bottom point in each beat / bar. In bar 17, it is crucial to pick up the inner subdivision of the wholenote, to ensure a steady metric transition into the 2/2 bars starting in bar 18.
Bar 18 – 21 (Half note bars)
Here, and the “rowing boat” beating introduced in bar 6 will, in fact be applied to all the bars! This is since the lowering of the speed between the beats is much more visible by sideways movements than movements that are beaten according to the umbrella handle principle. The beating of bar 18 will have to be placed in the fingers, and during the three consecutive bars the movements/ presence in the arm will gradually move towards the elbow and the upper arm. Again, the principle of keeping the inner subdivided pulse must be established on the second beat of bar 21, as this subdivision equals the quarter-notes in the coming 4/4 bars.
Bar 22 – 24 (Quarter note bars)
In the beginning of the 4/4 section the beats are again produced in the wrists due to quick the tempo inherited from the previous 2/2. The underlying tempo is carried through almost the whole of bar 22 and the pulse starts slowing down on the first and second beat of bar 23, by widening the sideways beating pattern. From the third to the fourth beat in bar 23 the arms have to be “pulled“sideways, away from each other, in order to initiate and project a clear reduction of tempo. This continues through bar 24 and the gestures need to be active and in coherence with the inner pulse through the ritardando progression.
Bar 25 – 26 (Eight note bars)
When changing to eight-notes, the subdivisions on the first and second beat of bar 26 come out as points only. The tempo will be too quick for making bouncing movements, and there is an equivalency to these beats and the third and fourth beat of bar 2. The bouncing gestures which initiate the ritardando is introduced on beat three in bar 25. The bouncing gesture on the main beats is gradually increased in accordance with the ritardando and therefore bars 25 and 26 are reversely equal to bar 1 and 2.
EXERCISE 8 – 10
These exercises are not anatomical but exercises for practicing crescendos and diminuendos in various ways. However, in combination with the anatomical exercises, they make up a highly useful repertoire of tools that forms an important base for an adequate musical projection and communication. In this context, it is also appropriate to stress the importance of applying the use of three-dimensional conducting, by executing beats in front of the torso. As mentioned in the preface, all the exercises have a purpose beyond themselves. Through practicing, the exercises should be internalized into the musical body, to let the music flow without letting the instrument (the musical body) coming in the way. With other words, one should consider the body, the mind and the (emotional) presence as one integrated instrument.
EXERCISE 8A
EXERCISE 8B
EXERCISE 8C
EXERCISE 8D
Exercises 8A - D are for practicing long crescendos and diminuendos, 8 beats up, 8 beats down. The peak of the crescendo is placed on all the beats in a 4/4 bar through the exercises. Notice that, towards the peak the arms are also moving away from the torso as earlier mentioned in Exercise 6, to give space for the top point. The extension of the beats is visually getting three-dimensional rather than being executed with higher and higher beats. In this way, the beats will look big enough for projecting a good forte. As a result of this approach, the hands will come somewhat higher, but the aim should be to keep shoulders low and to ensure a big sound rather than a loud sound. The diminuendo is performed by returning hands to the torso and down to the hips. Each exercise should be repeated.
EXERCISE 9
This is also an exercise for a crescendo and diminuendo over eight beats. Through the exercise, the lowest and highest dynamic level is moved one beat forwards, so that the highest and the lowest dynamic level will occur on every beat within 4/4. The execution of the exercise should be as follows: The piano starts with hands close to the torso, at hip height. Through the crescendo, the left hand should move into the space in front of torso, while the right hand remains in a hip high position close to torso, beating normal 4/4 legato beats with good sideways movements. Through the diminuendo, the left hand is being returned to the hip / torso. During the crescendo, the left hand should of course be open, and it should also be open during most of the diminuendo. If you twist the hand and put the palm down too early. The diminuendo should be even and continuous. Then the exercise should be performed again, and by changing hands! This requires a lot of practice in order to obtain independency between the hands.
EXERCISE 10A
Exercise 10A shows two possible ways of executing a rapid crescendo and diminuendo, both with the use of 3-dimensional movements: 1.The first, by taking a short step forward to indicate a crescendo and a step backwards to secure the consecutive diminuendo. It may sound a bit weird to execute these moves, however, this is a conscious and practical use of movements to initiate and enhance a musical expression. This contrasts with movements that is made by parts of or the whole body because of a musical initiative or expression. One can say that in this exercise, the movement should come before and not because of a musical intension. The hands / arms should remain in the same height in front of the torso. 2.The second version of this exercise is executed by using the space in front of the torso, but with no step forwards or backwards. The peak of the dynamic level comes on every beat in 4/4 through the exercise and is executed by moving the arms into the space in front of the torso and then back consequently to secure the diminuendo. The crescendo is over one beat and so is the diminuendo. When performing this exercise, it is important to keep the visual 4/4-pattern. The exercise needs quite a lot of practice, since the use of the 3D-space in addition to maintaining the 4/4-pattern can be difficult. However, by mastering this technique the need to “go to the orchestra” or to lean forward towards the orchestra, will practically be eliminated.
EXERCISE 10B
The performance is the same as described in the Exercise 10A. Notice that both the crescendo and the diminuendo covers two beats. Also notice that, only the second crescendo – diminuendo version described above is applicable on exercise 10B.
FALL EXERCISES FOR CONDUCTORS
The purpose of the exercises is to be able to define a low center of gravity for the arms, thereby being able to avoid strain injuries in the arms and shoulder joints. The exercises will increase the understanding and experience of the whole body as an instrument and a technical aid in connection with conducting All exercises should be performed without lifting the shoulders. If you feel that the muscles in the shoulders and neck are tightened, you have raised your arms too high. You should not lift your arms higher than you can keep your shoulders down. However, the shoulders will not remain completely at rest, but as you practice the exercises, you will notice a clear difference between a shoulder lift and a shoulder movement as a consequence of moving your arms. Therefore, always use a mirror when you practice these exercises. The exercises should be performed standing, with in your knees slightly bent. In this position, your hip joint and lower back will become more flexible and thereby improve the breathing function.
Exercise 1
Lift your arms straight ahead, perpendicular to your body, while breathing in. Then, exhale and let your arms fall against your thighs (remove keys etc. from your front pockets!). Notice that the arms should be falling after you have started exhaling. Do the exercise 3 – 5 times.
Exercise 2
Lift your arms up and out to the side while breathing in. Make an angle of just over 90 degrees in the elbow so the thumbs are pointing backwards. Release the breathing, then immediately release the gravity in the arms as in the previous exercise while holding the angle in the arms. The back of the upper arms will be bouncing towards the side of the chest. * Then release the gravity from the elbows and allow the forearms to fall down to the side. * This is not supposed to cause pains. If you find that exercise is too physical, you can start from a lower position with your arms.
Exercise 3
This exercise is a continuation of Exercises 1 and 2 and requires that you have practiced the previous exercises thoroughly. Lift your arms up and out to the side while inhaling. Make an angle of just over 90 degrees in the elbow so the thumbs are pointing backwards. Then release the breath and gravity as in the previous exercises while keeping the angle in your arms. The back of the upper arms will be bouncing towards the side of the chest. Then, use this bouncing energy to bring your arms up and back to the starting positions in a circular motion. Once you have reached the "top" again, release the gravity in your arms, allowing a continuous circulation in your arms. Let this happen 4 - 5 times on one exhale before letting your arms fall to the side as at the end of exercise 2.
Exercise 4
Stand in a position with forward-bent upper body while folding your hands. In this position, you should produce a pendulum movement with your arms by moving your center of gravity back and forth between your toes and your heels, IN you shoes. You should NOT lift your toes and heels, and you should get into a rhythm where the pendulum is triggered because of the gravitational movement. Once you have found the pendulum rhythm, do the following: Push back and forth 3-4 times with heavy arms (fold your hands). As the arms move back towards the body, you should push the hips forward and almost straighten your body so that the arms are shooting upwards. These movements should bring your arms up and almost over your head. Then release the arms with full weight as in previous exercise.
Exercise 5
This exercise contains some of the same non-willed elements as in the previous exercises. Lift your arms straight out in front of you, let your arms fall. Immediately after releasing the gravity in your arms, make a small jump AND straighten your body as in the previous exercise, so that the energy from above (falling arms) «collides» with energy from beneath (straightening of body / push from hips). You must bend slightly in your knees to do the little jump but the less the better. To get back to your starting position, the energy collision and consequently the bouncing arms should be as natural as possible.
Exercise 6
This exercise embraces all the foregoing exercises and involves falling arms in combination with the bounces that you practiced in exercise 2 and 3. It can be used as a general warming up exercise before conducting and it exercise involves a gradual minimization of movements, ending up in a meditative state where the conducting is executed almost with the fingertips only. The exercise is performed in 4/4 and then it is repeated in 3/4.
6A
Beat 4/4 with almost straight arms. Let your arms fall onto the front of your thighs on the first beat, let them fall and cross at the second beat. On the third beat, you let your arms fall onto the same place as the first beat and on the fourth beat on the side, along your hips.
6B
Then follows four bars where you keep your elbows in a 90 degrees angle as in exercise 2. You will notice that the pulse will increase, since the arms will fall towards the side of the chest for each beat and not to the hips.
6C
Then comes four bars where you gradually lower your arms. The arms should be out and away from the body and forward into an open position, as if you introduce yourself to someone with a handshake with both hands. Through the four “transfer bars” you merge into legato conducting with good sideways movements. Try to make your arms / hands move at a constant speed without marking the beats in your hands. The beats should be manifested only through your inner pulse.
6D
The next step is the meditative part of the exercise, and it is individually how long this stage should last. Start by closing your eyes and be aware that you maintain a good breathing in and out through this part of the exercise. The beats are now supposed to become smaller and smaller by implementing the following mind set: Try to find an imaginative point inside the tip of your elbows and visualize that you are moving the points parallel towards the hands while you continue beating 4/4 (and 3/4). The pulse should be the same as in 6C, but the timing is completely individual. Your own pace is what is right, and you should give it enough time so you can feel the presence and placement of the moving points all the way through the rest of the exercise. Notice when the points pass the wrists and are entering into the palms. Try to hold on to the points when in the palms, and after a while you may feel that you get warm inside your hands, as if there is an almost a physical energy in the palms and between your hands.
6E
Try to split this energy / energy points into your finger roots and move it through your finger’s joints and all the way to your fingertips, while still beating. Imagine that your beating is always present where the points are at any time. Consequently, the beats are supposed to become smaller and smaller, and that at the very end of the exercise you are beating with your fingertips, full of energy!