Basic Elements of Conducting and Score Reading by Dr. James Neilson
The best conductors are those who can, with a minimum of effort, keep everything under control within the confines of a beat pattern.
To save time during rehearsals and make successful concert performances easier to accomplish, a good conductor endeavors to place as many directives as needed into both his baton technique and podium presence in a way that will describe what is happening in music at the moment, without impeding the flow of music. Some conductors are prone to indulge in podium antics that not only impede music's flow, but also distract the attention of listeners to the point where they cease to listen and begin to watch. The best conductors are those who can, with a minimum of effort, keep everything under control within the confines of a beat pattern.
A complete and intense power of concentration is at the root of every conductor's success. Giving a convincing interpretation of music is reserved for the conductor whose psyche, spirit, mind and body is totally involved in the process of re-creating music. Insofar as podium technique and action of presence is concerned, there is no other way.
The basic elements of baton technique and full score study are offered here in outline form as a 'checklist' for experienced conductors who wish to review their craft.
I. The Beat of Preparation
a. Podium posture in anticipation of the preparatory beat
b. Position of hands, arms and elbows in anticipation of the preparatory beat
c. Method of holding the baton during preparatory beat.
d. Indicating speeds, styles and dynamics during the preparatory beat.
e. Securing precision of attack at the conclusion of the preparatory beat.
f. Preparatory beat for initial attacks not on the first beat of a measure.
g. The flexible wrist during the preparatory beat
h. Problems of the batonless conductor in "d," "e," and "g."
II. The Continuing Beat
a. Establishing a frame of reference.
b. Making every beat a down beat within that frame.
c. Terminating each beat in a measure with that frame.
d. The point of beat termination with and without the "bounce."
e. Beat patterns for routine meter signatures.
f. Beat patterns for odd meter signatures.
g. Beat patterns for multi-meter passages.
h. Patterns for divided beats.
III. The Expressive Beat
a. Altering the size of the frame of reference to secure dynamic gradations.
b. Securing a long crescendo or diminuendo without using the left hand and arm.
c. Securing a long crescendo or diminuendo with the sometime use of the left hand and arm.
d. Conducting techniques for securing sudden dynamic changes.
e. Conducting techniques for securing accents.
f. Conducting techniques for securing ensemble balance.
g. Conducting techniques for securing emotional expressivity.
h. Conducting techniques for securing expressive vibrato.
i. How and when to use the flexible wrist for securing expressivity
IV. The Phrase Beat
a. Conducting techniques for securing precise phrase attacks and releases.
b. Conducting techniques for securing precision at period and sentence endings.
c. Conducting techniques for securing precisely designed dynamic levels at peak climax points within phrase contours.
d. Conducting techniques for obeying the "law of motion" when confronted by the fermata
e. Conducting techniques for using bar line and pulse beats to shape phrase contours in faster music.
f. Conducting techniques for use when "across bar line" articulation prevails.
V. Cueing Individual Performers and Sections
a. By eye contact
b. With the baton and within the frame of reference
c. By integrating movements of the left hand and arm with those of the baton, within the frame of reference
d. By the sometime use of the left hand and arm only, outside the frame of reference
e. By the use of "body" English
VI. Non-Verbal Communication–"The Action of Presence"
a. The nature of a disciplined podium presence
b. Commanding podium posture and its disciplined readiness.
c. The mask of the face and its varied expressiveness
d. Communicative hand signals.
e. Integrating movements of the arms and body with baton beat patterns in a way to secure expressive performance.
f. Integrating movements of the head with baton beat patterns in a way to secure a more precise accentuation and articulation.
g. Suddenly shifting the focus of the frame of reference to create dynamic impulse or change the style of attacks and releases, or call to the attention of performers the need for intense concentration of sensitive elements of interpretation.
VII. Semantics in Rehearsal
a. Apt verbal descriptions of melodies and their phrasing, timbres, sonorities, and the nature of attacks, releases, accents, et al
b. Apt verbal descriptions of emotional content in music
c. Apt verbal descriptions for use when correction errors of commission or omission, or prevailing misconceptions regarding performance practices in areas of accents, dynamics, ensemble balance, and the like.
d. Apt verbal descriptions of various performance styles
VIII. The Conductor Studies the Full Score
a. By isolating and singing all melodies and melodic arcs inherent therein, and then analyzing their harmonic background.
b. By penciling in phrase contours and marking correct breathing places, especially in longer phrases where some performers must, of necessity, take a breath during the life of a phrase.
c. By analyzing the rhythmic design of the work's individual movements. Then relating these analyses to an overall rhythmic concept of the entire work if, indeed, one exists.
d. By determining the nature of modalities and key relationships, and the various ways in which modulations come to their denouement.
e. By probing for the work's intellectual and emotional content, and making value judgments concerning its form.
f. By penciling in subtleties of nuance, which are not a part of the original score.
g. By deciding when, why, and how to resolve rehearsal problems through using the singing voice h. By placing the work into rehearsal.
i. After first rehearsal, by returning to the full score for additional study, and to reflect on initial interpretive concepts which may need revising in order to remain viable in the work's interpretation.
j. By repeating "h" and "i" until both conductor and performers possess the work musically, intellectually, and emotionally, and are able to give the music a convincing performance.
k. By placing the work into the repertory for a public hearing.
l. If it is a new work, and a good one, by repeating "l" as often as is necessary to establish its place in the permanent repertory.
Dr. James Neilson was the Director of Education for the G. Leblanc Corporation from 1962 to1985. This article is an edited version of the original publication.
