,transcrib]'s ,notes3 ,und]scores 80 be=e & aft] a ^w or phrase indicate italics 9 ! orig9al text4 ,equal signs 80 be=e & aft] a ^w or phrase indicate bold 9 ! orig9al text4 ,small capitals h be5 conv]t$ to ,,solid capitals4 ,illu/rations h be5 mov$ s !y d n break up p>agraphs4 ,old or antiquat$ spell+s h be5 pres]v$4 ,typographical & punctuation errors h be5 sil5tly correct$4 ,! ,te*nic ( ! ,baton ,a ,h&book = ,/ud5ts ( ,conduct+ by ,alb]t ,/oessel ,) a ,preface by ,walt] ,damros* ,copyright1 #aibj1 by ,,c>l ,,fis*]1 ,inc41 ,,new ,,york ,int]national ,copyright ,secur$ ,copyright1 #aibh1 by ,,c>l ,,fis*]1 ,inc41 ,,new ,,york ,int]national ,copyright ,secur$ ,,c>l ,,fis*]1 ,,inc4 ,,coop] ,,squ>e1 ,,new ,,york #c ,bo/on ,*icago ,dallas ,los ,angeles ,,preface ,conduct+ is an art1 & a difficult "o to ma/]4 ,x requires a special tal5t1 en?usiasm1 great n]v\s vitality2 a s]i\s /udy ( ! works writt5 by ! ma/]s ( music2 ! magnetic p[] ( =c+ ! executants to c>ry out ! conductor's dem&s2 inf9ite pati5ce1 great t5acity1 great self-control1 & absolute k ( ! te*nique ( ! baton4 ,! la/ is a complete sign language ?r\gh & by :i* ! conductor issues 8 comm&s & a*ieves 8 results4 ,) ! baton & an inf9ite v>iety ( movem5ts ( h&1 wri/ & arm1 ! conductor indicates ! tempo & its *anges1 ! dynamics1 ! expression1 & 9 fact all ! inn] _s & mean+ ( ! music4 ,he insures precision & unanimity :e!r 8 executants numb] "o hundr$ or "o ?\s&1 & plays ^u !m z ! piani/ ^u 8 keybo>d or ! viol9i/ ^u ! /r+s ( 8 ,cremona4 ,mu* ( ?is mu/ be inborn1 b mu* c be acquir$ by /udy4 ,mr4 ,alb]t ,/oessel's book w be ( great help to ! e>ne/ /ud5t4 ,mr4 ,/oessel 0 appo9t$ tea*] ( conduct+ 9 ! ,b&ma/]s' ,s*ool1 :i* ,i f\nd$ dur+ ! w> at ,g5]al ,p]%+'s reque/ at ,g4 ,h4 ,q41 ,*aumont1 ,france4 ,8 book is admirably plann$ & execut$4 ,x is cle>1 practical & /imulat+1 & ,i hope x w be g5]ally us$ ?r\gh\t ! c\ntry4 ,! lack ( r\t9e & ! ignorance ( ev5 ! simple/ rudim5ts ( ! art ( 8beat+ "t0 is appall+ among _m ( our conductors1 organi/s & *oir-ma/]s4 ,mr4 ,/oessel's book %\ld be ( great help to !m4 7,sign$7 ,,walt] ,,damros*4 ,july #d?1 #aibj ,,*apt] ,i ,a ,,brief ,,outl9e ,,( ,,! ,,developm5t ,,( ,,conduct+ 8,conduct+ is ! art ( direct+ ! simultane\s p]=mance ( sev]al play]s or s+]s by ! use ( ge/ure40 ,x is ?us t ,ralph ,vaughan-,williams heads 8 illum9at+ article on conduct+1 writt5 = ,grove's ,diction>y1 & :ile ?is r t]se def9ition is an admirable summ+ up ( ! mean+ ( conduct+1 x ne$s to be qualifi$4 ,9 music ! conductor is "o1 :o aft] assimilat+ 9 8 own consci\sness e phase ( a musical composition1 becomes ! supreme arbit] 9 ! process ( br++ t composition into actual be+4 ,music z an art is absolutely dep5d5t on ! int]pret]4 ,x lives only 9 ! p]=mance1 & ! int]pret]1 s5s+ 8 importance1 is (t5 tempt$ to place 8 own p]sonality betwe5 ! audi5ce & ! music itself4 ,x w\ld seem1 h[ev]1 t 9 ensemble music1 7music requir+ sev]al or m p]=m]s7 ?is opportunity = ! glorification ( ! p]sonality ( ! virtuoso w\ld be pres5t 9 a f> less degree4 ,& yet1 ! int]pretation by ! conductor ( ! score ( su* a piece dem&s a degree ( virtuosity transc5d+ by f> t :i* is requir$ 9 ! p]=mance ( an ord9>y solo composition4 ,x is ! conductor :o unlocks ! my/]ies ( ! score4 ,l wat] t w always rise to its own level1 x may safely be said t ! actual p]=mance ( an or*e/ral or *oral "w w only rise to ! level ( ! conductor's intellectual & spiritual conception4 ,a good conductor c get good results f play]s ( less] ability1 :ile a poor conductor c ?r[ ! f9e/ or*e/ra into confusion4 ,grant$ t ! conductor has a cle> & matur$ m5tal conception ( a musical "w1 !re is /ill a va/ di/ance betwe5 ?is conception & its f9al p]ception by ! li/5]4 ,an enum]ation ( ^! ob/acles & a description ( _! ov]com+ w con/itute a complete outl9e ( :at ! art ( conduct+ is4 ,a conductor ) a def9ite conception ( ! musical score 9 8 head is n unlike ! comm&] ( an army :o has work$ out a complete plan ( action4 ,ea* has to c>efully consid] ! limitation ( 8 =ces & equipm5t1 & h[ be/ to a*ieve ! objective4 ,ea* is work+ ?r\gh o!rs & 9 s do+ mu/ make due all[ance = ! unc]ta9ties ( human nature1 ! capacity & "* ( ea* individual z well z t intangible some?+ kn[n z 8esprit de corps40 ,ceaseless drill+ is necess>y to a*ieve t me*anical p]fection :i* =ms ! f\ndation ( lat] inspirational & arti/ic p]=mance4 ,a survey ( ! hi/ory ( conduct+ w %[ t ! art has evolv$ ?r\gh ?ree di/9ct p]iods :i* might be call$ ! 8"t-beat]10 8drill-ma/]0 & 8conductor0 phases4 ,! prep>ation & p]=mance ( any musical score requires ! assum+ ( all ?ree ( ^! roles by ! conductor4 ,! activity ( conduct+ is d\btless z old z music itself & 0 probably always employ$ :5ev] ! musical p]=mance call$ = sev]al or m p>ticipants4 ,! anci5t ,greeks indulg$ 9 two /yles ( conduct+3 ! conductor indicat+ ! beat by /amp+ 8 iron-sol$ foot or by resort+ to :at is kn[n z 8,*ironomy40 ,?is latt] 0 a sy/em ( indicat+ ! progress ( a musical composition by arm1 h&1 & f+] motions1 a def9ite movem5t correspond+ to e rise & fall ( ! melody4 ,x 0 f *ironomy1 9 connection ) v>i\s spee* acc5ts t ! notation sy/em ( neumes develop$4 ,an int]e/+ feature ( ?is e>ly conduct+ is ! fact t all d[n beats 7acc5t$7 7 indicat$ by up /rokes ( ! h& & ! up beats 7unacc5t$7 vice v]sa1 ) d[nw>d movem5ts4 ,?is is j ! opposite to mod]n practice4 ,?is mann] ( conduct+ 0 probably 9 vogue 9 ! e>ly ,gregorian s++ s*ools1 & ev5 a sup]ficial p]usal ( ! ,gregorian *ants w indicate ! intricate rhy?mical "* ( ! music taught & sung 9 ^! e/abli%m5ts4 ,^! e>ly *ants1 n unlike our mod]n op]atic recitative1 _h no regul> rhy?mic s*eme & ! s++ 0 a sort ( musical prose4 ,! s++ 0 lead by a prec5tor4 ,x 0 he :o gave ! pit* & lead ) 8voice & h&10 t is1 he gave ! *ironomic signs & help$ ! s+]s ov] ! r\gh spots by s++ along4 ,! *ur*1 h[ev]1 also knew /rict rhy?mical hymns & !re ! lead] /amp$ ! beat audibly4 ,) ! adv5t ( polyphony ! duties ( ! conductor increas$4 ,he (t5 f\nd x necess>y to lead bo? visibly & audibly4 ,m5delssohn 9 a lett] to 8 tea*]1 ,zelt]1 gives a description ( ?is manifold activity on ! "p ( ! conductor1 indicat+ t x p]si/$ ev5 to ! r late date ( #ahcj4 ,describ+ ! papal *oir 9 ,rome1 he writes3 8,!re is a *orus ( prie/s 7cl]icals7 :o s+ only 9 ! pres5ce ( ! ,pope or 8 repres5tative4 ,x numb]s ?irty-two regul> memb]s b !y are seldom all pres5t4 ,! director p]sonally s+s ) !m1 help+ ea* "p1 sometimes s++ ! deepe/ bass & aga9 jump+ ) a/\nd+ agility to ! highe/ falsetto soprano40 ,) ! introduction ( ! m5sural notation ! old *ironomic sy/em ceas$ to h a reason to exi/ & ! conductor in/ead ( indicat+ e fluctuation ( ! melodic l9e1 m]ely beat "t at c]ta9 ( ! acc5t$ divisions ( ! phrase4 ,?is 0 done usually ) a p>*m5t roll ( music 9 ! h&1 s t ! s+]s & ev] increas+ numb] ( in/rum5tali/s c\ld keep toge!r4 ,! transition f ! #af? to ! #ag? c5tury br\ght ab\t important innovations 9 music--! accompani$ solo numb]s ( ! op]a came into be+1 ! figur$ bass & b> l9e 7 introduc$ g5]ally into *oral & or*e/ral works4 ,&1 :5 9 ! c\rse ( ! #ag? c5tury ! dem& t ! conductor cease ?is me*anical beat+ ( ! "t & give ! tempo 9 a mann] comm5surate ) ! effect desir$ became insi/5t1 ! conductor took 8 place among ! p]=m]s & lead ! music f ! clavicembalo4 ,f ?is position he n only l$ ! p]=mance b also fill$ 9 ! h>monies accord+ to ! figur$ bass4 ,:5 ! rhy?m wav]$1 ! fir/ viol91 :om we call ! conc]tma/]1 gave ! beat4 ,al?\gh ?is me?od ( comb9$ lead]%ip 7cembalo & fir/ viol97 0 ! "o 9 g5]al use dur+ ! #ah? c5tury1 !re 7 o!r modes ( lead+4 ,r\sseau pokes fun at ! ,p>is op]a :]e mu* evil noise 0 made by p\nd+ ! floor ) a /ick 9 ord] to keep ! musical =ces toge!r4 ,x is a grotesque tru? t ,lully lo/ 8 life f an infection ( ! foot caus$ by a misdirect$ /roke ( ! cane ) :i* he 0 beat+ "t4 ,accord+ to ,gessn]1 ,ba* presid$ at ! organ or cembalo :ile conduct+ & ?is seems to h be5 ! me?od ( ,h&el & ,gluck likewise4 ,haydn conduct$ 8 ,london ,symphonies sitt+ at ! piano1 m z a sort ( public exhibition ?an z actual lead]4 ,! conduct+ 0 done by ,solomon1 ! viol9i/4 ,9 ! meantime ano!r revolution>y *ange _h tak5 place 9 music itself4 ,! g5]al or figur$ bass play+ clavi] or cembalo 0 r5d]$ sup]flu\s by ! incorporation ( ! full h>mony into ! or*e/ra itself4 ,! only place :]e x held its own 0 9 ! accompanim5t to ! recitative4 ,bee?ov5 conduct$ 8 8,eroica0 9 ! h\se ( ,pr9ce ,lobk[itz1 #ahjd1 /&+ at ! conductor's desk4 ,x is assum$ t he us$ a roll ( %eet music1 because 9 ,g]many ! use ( ! baton 0 fir/ introduc$ by ,mosel 9 #ahab4 ,spohr gives u an int]e/+ glimpse ( ,bee?ov5's conduct+ me?ods4 ,he says3 8,x 0 ,bee?ov5's cu/om to ins]t all sorts ( dynamic m>k+s 9 ! p>ts1 & rem9d 8 play]s ( ! m>ks by resort+ to ! mo/ curi\s bodily contortions4 ,at e #8s=zato' he w\ld ?ru/ 8 arms away f 8 brea/ :]e he held !m cross$4 ,:5 he desir$ a #8piano' he w\ld cr\* l[] & l[]2 :5 ! music grew l\d] into a #8=te'1 he w\ld lit]ally leap into ! air & at times gr[ s excit$ z to yell 9 ! mid/ ( a climax40 ,f ab\t ! ye> #ahab ! use ( ! baton spread rapidly4 ,we h records ( ,c>l ,m>ia von ,web] us+ ! baton 9 #ahag 9 ,dresd51 ,m5delssohn 9 #ahce 9 ,leipzig1 & ,spohr tells a mo/ amus+ anecdote ( h[ ! musicians ( ! ,london or*e/ra prote/$ mo/ vehem5tly :5 he fir/ propos$ to lead !m ) ! magic little /ick in/ead ( play+ ! viol9 ) !m4 ,! art ( conduct+ z we und]/& x c be said to date back to ?is triumvirate1 von ,web]1 ,spohr & ,m5delssohn4 ,al?\gh all creative musicians ( ! fir/ wat] 7& :o until ! era ( ! mod]n travell+ virtuoso 0 n prim>ily a creative musician71 ^! m5 grasp$ 9 ! greate/ measure ! trem5d\s importance ( ! prop] int]pretation ( a musical composition & ?r\gh _! p]sonal ef=t & skill z lead]s rais$ ! /&>d ( p]=mance :]ev] !y direct$4 ,!y realiz$ ! important diff]5ce betwe5 m]ely beat+ "t & giv+ ! liv+ pulse or tempo ( a composition4 ,al?\gh ,spohr is rememb]$ today *iefly z a compos] ( viol9 conc]ti & duos t all pupils play1 9 8 own "t 8 pre/ige 0 equal to1 if n great] ?an t ( ,bee?ov54 ,a man ( inflexible "* & peculi> critical me?ods1 he 0 n 9 full sympa?y ) ,bee?ov5 & von ,web] b on ! o!r h& he vigor\sly esp\s$ ! cause ( ! new ,g]man s*ool1 ev5 giv+ a p]=mance ( ,wagn]'s 8,fly+ ,dut*man0 at a "t :5 ,wagn] 0 n at all popul>4 ,wagn] nev] =got 8 indebt$ness to ,spohr1 :o 0 ! fir/ ,g]man musician to recognize him4 ,x 0 ,spohr :o introduc$ ! sy/em ( m>k+ ! score ) lett]s & numb]s to facilitate rehe>s+4 ,x is int]e/+ to read ,c>l ,m>ia von ,web]'s directions = "t beat+4 ,to quote him3 8,! beat mu/ n be l a tyrannical mill-hamm] b mu/ be to ! musical composition :at ! pulse beat is to ! life ( a human be+4 ,!re are no sl[ tempi 9 :i* places d n occur :i* dem& a fa/] movem5t 9 ord] to elim9ate ! t5d5cy to drag4 ,on ! o!r h& !re is no pre/o :i* has n contra/+ episodes t mu/ be play$ mu* sl[] to avoid ! slight+ ( ! expressive passages4--,all accel]&i z well z rit>d&i mu/ be made skillfully1 t is1 gradually40 ,?is is only a small example ( ! re=ms br\ght ab\t by ! compos] ( 8,ob]on40 ,m5delssohn might be said to h be5 a liv+ example ( ! r worn expression 8a born conductor40 ,br\ght up 9 ! mo/ musical ( h\seholds he 0 famili> ) ! or*e/ra f *ildhood & 9 8 life "t 0 equally fam\s z conductor & compos]4 ,al?\gh 8 conduct+ 0 n entirely free f c]ta9 traits ( sup]ficiality & rigid elegance1 ,wagn]'s bit+ criticism ( him mu/ be tak5 ) a gra9 ( salt4 ,o!r prom95t conductors ( ! romantic p]iod 7 ! compos]s ,mey]be] & ,spont9i4 ,x is possible to recon/ruct a picture ( ,hector ,b]lioz z conductor f 8 own words4 ,9 8 little book on ! 8,or*e/ral ,conductor0 he says3 8,! or*e/ral conductor %\ld see & he>2 he %\ld be active & vigor\s1 %\ld "k ! composition & ! nature & compass ( ! in/rum5ts1 %\ld be able to read ! score1 & possess--besides ! especial tal5t ( :i* we %all pres5tly endeavor to expla9 ! con/itu5t qualities--o!r indef9able gifts1 )\t :i* an invisible l9k _c e/abli% itself betwe5 him & ^? he directs2 o!rwise ! faculty ( transmitt+ to !m 8 feel+ is d5i$ him1 & p[]1 empire1 & guid+ influ5ce completely fail him4 ,he is !n no long] a conductor1 a director1 b a simple beat] ( ! "t--suppos+ he kn[s h[ to beat x1 & divide x1 regul>ly40 8,! p]=m]s %\ld feel t he feels1 compreh5ds1 & is mov$2 !n 8 emotion communicates itself to ^? :om he directs1 8 inw>d fire w>ms !m1 8 electric gl[ animates !m1 8 =ce ( impulse excites !m2 he ?r[s ar\nd him ! vital irradiations ( musical art4 ,if he is in]t & froz51 on ! contr>y1 he p>alyzes all ab\t him1 l ^? float+ masses ( ! pol> seas1 ! approa* ( :i* is s5s$ ?r\gh ! sudd5 cool+ ( ! atmosph]e40 8,8 task is a complicat$ "o4 ,he has n only to conduct1 9 ! _s ( ! au?or's int5tions1 a "w ) :i* ! p]=m]s h already become acqua9t$1 b he mu/ also introduce new compositions & help ! p]=m]s to ma/] !m4 ,he has to criticise ! errors & defects ( ea* dur+ ! rehe>sals1 & to organize ! res\rces at 8 disposal 9 su* a way z to make ! be/ use he c ( !m ) ! utmo/ promptitude2 =1 9 ! majority ( ,european cities n[adays1 musical artisan%ip is s ill di/ribut$1 p]=m]s s ill paid & ! necessity ( /udy s little und]/ood1 t economy ( "t %\ld be reckon$ among ! mo/ imp]ative requisites ( ! or*e/ral conductor's art40 ,franz ,liszt's position z compos] is too well kn[n to require fur!r elucidation "h1 b ,wagn]'s description ( 8 future fa!r-9-law's conduct+ is c]ta9ly wor? quot+4 ,wagn]1 pass+ ?r\gh ,weim> 9 8 flight f ! gov]nm5tal au?orities1 _h an opportunity to att5d "o ( ,liszt's rehe>sals ( 8,tannhus]40 ,he tells u3 8,:at ,i felt :5 ,i creat$ ?is music1 he felt 9 8 p]=mance ( x2 :at ,i want$ to say z ,i wrote x d[n1 he said 9 br++ x to p]=mance40 ,9 ! directions atta*$ to ! scores ( 8 ,symphonic ,poems1 ,liszt gives an int]e/+ picture ( 8 ideas on conduct+3 8,a p]=mance ( my or*e/ral works :i* measures up to ! /&>d & int5tions ( ! compos] & t w give !m ! prop] tone color1 rhy?m & life1 c be/ be br\ght ab\t by prelim9>y sectional rehe>sals4 ,) ?is 9 m9d ,i respectfully reque/ ( ! e/eem$ conductors :o int5d to p]=m my symphonic works t !y prec$e ! g5]al rehe>sal ) sep>ate rehe>sals = ! /r+s1 wood-w9d1 brass1 etc40 8,at ! same "t ,i w\ld l to rem>k t ! usual me*anical1 cut & dri$ p]=mance 7cu/om>y 9 _m cities7 be avoid$ & 9 its place ! #8new p]iod' /yle :i* /resses prop] acc5tuation1 ! r\nd+ (f ( melodic & rhy?mical nuances be sub/itut$4 ,! life-n]ve ( a symphonic production re/s 9 ! conductor's spiritual & intellectual conception ( ! composition1 x be+ assum$1 ( c\rse1 t ! or*e/ra possesses ! necess>y p[]s to realize ?is conception4 ,%\ld ! latt] condition be abs5t1 ,i recomm5d t my works be left unp]=m$40 8,al?\gh ,i h tri$ ?r\gh exact m>k+s ( ! dynamics1 ! accel]ations & sl[+ up ( ! tempo1 to cle>ly indicate my wi%es1 ,i mu/ confess t mu*1 ev5 t :i* is ( ! greate/ importance _c be express$ on pap]4 ,only a complete arti/ic equipm5t on ! "p ( ! conductor & play]s1 z well z a sympa!tic & spiritually enliv5$ p]=mance c br+ my works to _! prop] effect40 ,x 0 ,liszt's desire to free ! p]=mance ( or*e/ral & *oral works f ! limitations ( b> l9e rhy?m & to effect ?is *ange 8 /yle ( conduct+ became a sort ( mod]n *ironomy 9 :i* 8 ge/ures express$ ! 8melos0 & und]ly+ _s ( ! composition z well z fulfill+ _! me*anical function4 ,f ,liszt we easily trace ! l9e ( gr[? 9 ! art ( conduct+ to ,ri*>d ,wagn]1 & int]e/+ly en\gh1 ) ,ri*>d ,wagn] ! great l9e ( compos]-conductors /ops4 ,9 ?is day & g5]ation ! ev] increas+ t5d5cy ( specialization has br\ght ab\t an almo/ complete sep>ation ( creative activity f executive activity4 ,ev5 9 ! #ah? & e>ly #ai? c5tury ! virtuoso :o travell$ ar\nd 0 pr9cipally a compos] :o play$ 8 own works4 ,! conductor1 play]1 or s+] :o p]=ms only ! works ( o!rs is a mod]n product & 0 completely unkn[n until rec5tly4 ,b1 be=e review+ ! names & accompli%m5ts ( ! l9e ( purely virtuoso conductors1 we mu/ take "t to consid] ,ri*>d ,wagn]'s position z conductor4 ,t same unqu5*able re=matory fire :i* manife/$ itself 9 ,wagn]'s compos+ made him "o ( ! greate/ conductors 9 all musical hi/ory4 ,8 illum9at+ p]=mances ( ,web]'s 8,freis*uetz10 ,gluck's 8,iphig5ia10 ,pale/r9a's 8,/abat ,mat]10 ,bee?ov5's 8,n9? ,symphony0 /ill ca/ _! e*oes d[n ! corridors ( "t to ! influ5c+ ( p]=mances t are be+ giv5 today4 ,bee?ov5's 8,n9? ,symphony0 0 p]=m$ ?ree times by ,wagn] 79 #ahdf1 '#dg & '#di7 & n once did 8 "n appe> on ! program4 ,:at a contra/ to ^! days1 :5 (t5 9 ! advance ann\ncem5t only ! "n ( ! #8prima donna' conductor appe>s6 ,= ye>s ,bee?ov5's colossal "w 0 ! rock ^u :i* _m tal5t$ conductors _h f\nd]$4 ,only ! ,p>isian conductor1 ,hab5eck1 :o conduct$ f a viol9-"p1 _h ! pati5ce & "* to s drill 8 ,cons]vatoire or*e/ra t !y ma/]$ to a relatively high degree ! difficulties ( ! "w4 ,wagn] tells u 9 8 book on conduct+1 ( ! great disappo9tm5t t 0 8 :5 he he>d ! actual p]=mance 9 ,g]many ( works :i* he _h come to love ?r\gh ! /udy ( ! score4 ,9 fact1 8 book is almo/ entirely a diatribe aga9/ ! sup]ficial & consci5celess conductors ( ?is "t4 ,hab5eck's p]=mance ( ! 8,n9?0 op5$ 8 eyes & he did n re/ until he 0 likewise able to give p]=mances ( ,bee?ov5's immortal "w t 7 to m>k a new era & /&>d ( or*e/ral te*nic4 ,he plac$ little /ress on tempo m>ks1 agree+ ) ,ba* t a true musician is able to tell f ! "* ( ! music j h[ fa/ or sl[ a composition is to be tak54 ,tak+ 8 cue f ,hab5eck1 he made p]fection ( ensemble & correct r5dition ( ! notes 8 />t+ po9t & on ?is solid f\ndation he re>$ a /ructure ( ! highe/ poetic beauty & imag9ation4 ,! melos or spiritual melody ( ! artwork 0 s\ght by him 9 e measure & :5 f\nd he caus$ :i*ev] in/rum5t ?r\gh :i* x 0 express$ to s+ x ) ! utmo/ int5sity & conviction4 ,8 fanatical desire to always br+ out ! 8melos0 caus$ him at times to ev5 g s f> z to alt] ! in/rum5tation ( ! orig9al1 giv+ notes to ! trumpets & horns :i* !y 9 ,bee?ov5's "t did n possess1 & (t5 *ang+ awkw>d passages 9 ! woodw9ds :i* he consid]$ 7 dictat$ m by ,bee?ov5's deafness ?an 8 bett] musical judgm5t4 ,descriptions ( ,wagn]'s conduct+ tell u ( a man ( no m ?an m$ium height ) a r /ill deportm5t1 mod]ate b decisive movem5ts ( ! arms1 a great vivacity & a habit ( fix+ a pi]c+ glance on ! play]s ( ! or*e/ra :i* he rul$ imp]ially4 ,fr/5au1 ! fluti/1 relat$ to ,felix ,we+>tn] t :5 ,wagn] conduct$ !y _h no s5se ( be+ l$ & t ea* play] believ$ himself to be foll[+ freely 8 own feel+4 ,& yet ev]y?+ 0 b\nd toge!r s p[]fully by ,wagn]'s mighty w t ev]y?+ w5t ) wond]ful smoo?ness & precision4 ,wagn]'s epo*-mak+ works dem&$ a new s*ool ( conductors1 & gradually he 0 able to tra9 y\ng] m5 to c>ry out 8 ideas & to spread ! message ( ! new art4 ,*ief among ^! ,wagn] apo/les 0 ,hans von ,buel[1 a great piani/ & a musician :o might h be5 a creator 9 8 own "r _h he n he$$ ! call ( specialization1 dem&$ ( him z an int]pret]4 ,he t\r$ ,europe ) 8 small b highly-tra9$ ,me9+5 ,c\rt ,or*e/ra1 & completely revolutioniz$ ! /atus ( or*e/ral play+4 ,8 conduct+ ( 8,tri/an0 & 8 beautifully cle> piano score ( ! same1 te/ify ( 8 high und]/&+ ( ! ,wagn] _s4 ,& yet1 aft] 8 tragic break ) ! ,bayreu? ma/]1 he 0 able to esp\se ! cause ( ! classic compos]s &1 :at is all ! m a/oni%+1 become ! *ief expon5t ( ! anti-,wagn] s*ool1 ( :i* ,brahms 0 ! symbol4 ,9 ,bayreu? ,wagn] _h z 8 conductors m5 l ,hans ,ri*t]1 ,felix ,mottl & ,h]mann ,levi & ! names ( ^! m5 are indelibly connect$ ) ! glory t 0 ,bayreu?'s4 ,) ! adv5t ( ^! conductors we /& at ! ?re%old ( today4 ,?is brief sket* has l$ u f ! "t :5 ! conductor 0 little m ?an a "t-beat] function+ 9 ! mo/ me*anical mann]1 to our own "t :5 ! conductor has a*iev$ an importance 9 ! musical _w second only to ! creator himself1 & 9 "s cases ev5 transc5d+ ! position ( ! m]e creator ( ! music4 ,did n a great conductor ( today rec5tly ask a compos]3 8,h y ev] he>d me conduct y\r op]a80 8,no40 8,y %\ld1 y w\ldn't recognize x40 ,! conductor ( today is n m]ely ! "t-beat] & drill-ma/] :o a*ieves note-p]fection1 b he is ! g5ius :o frees music f all ! imp]fections ( mat]ial limitations1 8 rhy?m is no long] ! wallpap] patt]n ( ! b> l9e1 b takes on its orig9al mean+ 9 ! /ress+ ( ! fl[+ phrase2 8 ge/ure is no long] ! m]e beat b is ! pictorialization & visualization ( ! music itself4 ,9 ! new conductor1 ,liszt's ideal ( ! conductor or "t-beat] :o makes himself sup]flu\s is p>tially realiz$1 b n 9 ! way ,liszt ?\ght4 ,! conductor ( today has made ! old "t-beat]-drill-ma/] sup]flu\s by supplant+ him ) a sup]-be+1 "o :o ) 8 weal? ( subtle & int]pretative ge/ures has br\ght into be+ a new art ( *ironomy :i* does n m]ely indicate ! rise & fall ( ! melody1 b indicates t :i* no compos] has ev] succe$$ 9 putt+ on pap]--! liv+ s\l & _s ( ! artwork4 ,,*apt] ,,ii ,,! ,,physical ,,aspect ,,( ,,conduct+2 ,,analysis ,,( ,,arm ,,& ,,h& ,,movem5ts ,,us$ ,,9 ,,conduct+ ,?is *apt] is devot$ entirely to ! physical aspect ( conduct+4 ,analysis ( ! ge/ures us$ 9 conduct+ has %[n t !re are f\r fundam5tal movem5ts4 ,a--,wri/ movem5t 9 horizontal position4 7,) palm ( ! h& fac+ d[nw>d47 ,b--,wri/ movem5t 9 v]tical position4 7,) palm ( ! h& fac+ inw>d47 ,c--,=e-arm movem5t4 ,d--,full-arm movem5t4 ,! diagrams on pages #aa & #ac repres5t a set ( ex]cises = ! acquir+ ( complete control & suppl5ess ( ! wri/ & arm 9 all ^! f\r movem5ts4 ,on ! opposite pages sets ( music examples w be f\nd4 ,ea* individual note ( ^! examples repres5ts a movem5t4 ,! consci5ti\s /udy & practice ( ^! ex]cises w n only fully prep>e ! conductor = ! m complicat$ beat+ ( "t-indications1 b w give him t poise & confid5ce :i* come only ) a consci\sness ( absolute self-control4 ,?is physical self-control is "o ( ! greate/ ess5tials 9 ! art ( conduct+4 ,,description ,,( ,,ex]cises ,!re are two s]ies ( ex]cises1 ea* numb]+ #bd figures4 ,^! are to be p]=m$ 9 f\r diff]5t /yles1 correspond+ to ! f\r fundam5tal movem5ts4 ,a--,wri/ movem5t 9 horizontal position4 ,b--,wri/ movem5t 9 v]tical position4 ,c--,=e-arm movem5t4 ,d--,full-arm movem5t4 ,= ea* /yle1 !re are f\r diff]5t positions :i*1 = practical reasons1 h be5 nam$ aft] ! po9ts ( ! compass2 ,nor?1 ,s\?1 ,ea/1 & ,we/4 ,! draw+s conta9$ 9 ?is *apt] are ( ! f\r diff]5t positions1 = ea* /yle ( ex]cise4 ,9 ! diagram ( ex]cises ea* ( ^! po9ts is indicat$ by a lett]2 ,n--= ,nor?1 ,s--= ,s\?1 ,e--= ,ea/1 & ,w--= ,we/4 ,! small lett] 9 ! upp] left corn] indicates ! />t+ po9t4 ,! o!r lett]s indicate ! po9ts ( arrival4 ,ea* figure is to be execut$ 9 "t ) c]ta9 music examples ( :i* ea* individual note corresponds to a po9t ( arrival4 ,= in/ance1 figure #a w\ld be execut$ ) ,music ,ex4 #a ?us3 ,music ,s\? position correspond+ to ! note ,c4 ,nor? position correspond+ to ! note ,g4 ,! sf on a lett] indicates a %>p =ceful movem5t z oppos$ to a m relax$ motion4 ,9 ! ex]cises = ! wri/1 ! =e>m & upp] arm mu/ rema9 motionless4 ,likewise1 ! =e>m movem5t mu/ be execut$ )\t mov+ ! upp] arm4 ,great caution %\ld be tak5 n to ov]-tire ! wri/ & arm1 :5 fir/ practis+ ^! ex]cises4 ,^! ex]cises are to be practis$ by ! "r & left arm alt]natively4 ,x is sugge/$ = ! individual practise t ! /ud5t place ! music examples on "o side ( ! music /& & ! diagram ( ! ex]cises on ! o!r4 ,?us he may describe ! gymna/ic ex]cises :ile s++ or :i/l+ ! music4 ,,musical ,,examples ,,= ,,gymna/ic ,,ex]cises ,s]ies #a ,music3 ,ex4 #a ,music3 ,ex4 #b ,music3 ,ex4 #c ,music3 ,ex4 #d ,music3 ,ex4 #e ,music3 ,ex4 #f ,music3 ,ex4 #g ,music3 ,ex4 #h ,music3 ,ex4 #i ,music3 ,ex4 #aj ,apply ^! ex]cises to all figures ( s]ies #a4 ,illu/ration3 ,s]ies #a ,fig4 #a ,fig4 #b ,fig4 #c ,fig4 #d ,fig4 #e ,fig4 #f ,fig4 #g ,fig4 #h ,fig4 #i ,fig4 #aj ,fig4 #aa ,fig4 #ab ,fig4 #ac ,fig4 #ad ,fig4 #ae ,fig4 #af ,fig4 #ag ,fig4 #ah ,fig4 #ai ,fig4 #bj ,fig4 #ba ,fig4 #bb ,fig4 #bc ,fig4 #bd ,s]ies #b ,music3 ,ex4 #a ,music3 ,ex4 #b ,music3 ,ex4 #c ,music3 ,ex4 #d ,music3 ,ex4 #e ,music3 ,ex4 #f ,music3 ,ex4 #g ,music3 ,ex4 #h ,music3 ,ex4 #i ,apply ^! ex]cises to all figures ( s]ies #b ,,note3--,ea* individual note corresponds to a ge/ure indicat$ 9 ! figures by a ,n1 ,e1 ,s1 ,w4 ,illu/ration3 ,s]ies #b ,fig4 #a ,fig4 #b ,fig4 #c ,fig4 #d ,fig4 #e ,fig4 #f ,fig4 #g ,fig4 #h ,fig4 #i ,fig4 #aj ,fig4 #aa ,fig4 #ab ,fig4 #ac ,fig4 #ad ,fig4 #ae ,fig4 #af ,fig4 #ag ,fig4 #ah ,fig4 #ai ,fig4 #bj ,fig4 #ba ,fig4 #bb ,fig4 #bc ,fig4 #bd ,! lett] 9 ! upp] left corn] indicates ! />t+ po9t4 ,n--,nor? ,position4 ,w--,we/ ,position4 ,s--,s\? ,position4 ,e--,ea/ ,position4 ,illu/ration3 #8,n1' or ,nor? position ( ,/yle ,a #a4 ,drop arm loosely to side4 #b4 ,raise =e>m =w>d until x =ms a "r angle ) ! upp] arm4 #c4 ,ext5d h& & f+]s2 keep ! palm fac+ d[nw>ds4 #d4 ,)\t mov+ ! arm1 raise ! h& f ! wri/-jo9t until almo/ at a "r angle ) ! =e>m4 ,note4--,! =e>m ma9ta9s ?is position all ?r\gh ! ex]cises ( ,/yle ,a4 ,illu/ration3 #8,s1' or ,s\? position ( ,/yle ,a ,)\t mov+ ! =e>m1 l[] ! h& f ! wri/-jo9t until at a "r angle ) ! =e>m4 ,illu/ration3 #8,e1' or ,ea/ position ( ,/yle ,a ,)\t mov+ ! =e>m1 & always keep+ ! f+]s ext5d$ & palm d[nw>d1 move ! h& to ! "r z f> z possible4 ,illu/ration3 #8,w1' or ,we/ position ( ,/yle ,a ,)\t mov+ ! arm1 & always keep+ ! f+]s ext5d$ ) ! palm d[nw>d1 move ! h& to ! left z f> z x w g4 ,illu/ration3 #8,n1' or ,nor? position ( ,/yle ,b #a4 ,drop arm loosely to side4 #b4 ,raise =e>m =w>d until x =ms a "r angle ) ! upp] arm4 #c4 ,! f+]s rema9 ext5d$ & ! palm is turn$ s t ! ?umb is upp]mo/4 #d4 ,)\t mov+ ! =e>m1 raise ! h& z f> z possible1 tak+ c>e to keep ! f+]s ext5d$ & palm inw>d4 ,note4--,! =e>m ma9ta9s ?is position ?r\gh\t ! positions ( ,/yle ,b4 ,illu/ration3 #8,s1' or ,s\? position ( ,/yle ,b ,)\t mov+ ! arm1 l[] ! h& z f> z possible1 tak+ c>e to keep ! f+]s ext5d$ & palm inw>d 7fac+ to ! left74 ,illu/ration3 #8,e1' or ,ea/ position ( ,/yle ,b ,)\t mov+ ! arm1 po9t ! h& & f+]s to ! "r until almo/ =m+ a "r angle ) ! arm4 ,illu/ration3 #8,w1' or ,we/ position ( ,/yle ,b ,)\t mov+ ! arm1 po9t ! h& & f+]s to ! left until almo/ =m+ a "r angle4 ,! ?umb /ill rema9s upp]mo/4 ,illu/ration3 #8,n1' or ,nor? position ( ,/yle ,c #a4 ,drop arm loosely to side4 #b4 ,raise =e>m =w>d until x =ms a "r angle ) ! upp] arm4 #c4 ,! palm is turn$ d[n4 #d4 ,)\t mov+ ! upp] arm1 raise ! =e>m upw>ds until ! back ( ! h& almo/ t\*es ! %\ld]4 ,note4--,! upp] arm ma9ta9s ?is position ?r\gh\t ! ex]cises 9 ,/yle ,c4 ,illu/ration3 #8,s1' or ,s\? position ( ,/yle ,c ,)\t mov+ ! upp] arm1 l[] ! =e>m until ! palm ( ! h& is ab\t #c or #d in*es f ! ?igh4 ,illu/ration3 #8,e1' or ,ea/ position ( ,/yle ,c ,)\t mov+ upp] arm1 turn ! =e>m to ! "r ab\t #dj degrees4 ,illu/ration3 #8,w1' or ,we/ position ( ,/yle ,c ,)\t mov+ upp] arm1 turn ! =e>m to ! left ab\t #dj degrees1 ! palm ( ! h& fac+ =w>d4 ,illu/ration3 #8,s1' or ,s\? position ( ,/yle ,d ,l[] arm d[nw>d until ! palm is ab\t #d in*es f ! ?igh4 ,,note4--,all motions 9 ,/yle #8,d' are describ$ by ! full arm4 ,illu/ration3 #8,w1' or ,we/ position ( ,/yle ,d ,turn arm to ! left ab\t #dj degrees4 ,illu/ration3 #8,e1' or ,ea/ position ( ,/yle ,d ,turn arm to ! "r ab\t #dj degrees4 ,illu/ration3 #8,n1' or ,nor? position ( ,/yle ,d ,raise arm upw>ds ) palm =w>d & f+]s ext5d$4 ,,*apt] ,,iii-,a ,,! ,,g5]al ,,attitude ,,( ,,! ,,conductor #a4 ,! g5]al attitude ( ! conductor mu/ be "o ( quiet1 b comm&+ dignity4 #b4 ,he mu/ n only "k :at he wants1 b mu/ be able to convey ?is k to 8 musicians by a m9imum ( ge/ure4 #c4 ,8 body mu/ be z firm z ! prov]bial mighty oak :i* only sways 9 ! fi]ce/ /orm4 ,! head1 knees & feet mu/ rema9 quiet4 #d4 ,! l5g? ( ! arm movem5t v>ies necess>ily ) ! l5g? ( ! individual arm4 ,! increase or decrease 9 ! tempo also calls = *anges 9 motion4 ,a quick tempo is conduct$ ) a small] motion ?an a sl[ tempo4 ,(t5 ! contra/ ( 8=tissimo0 to 8pianissimo0 is indicat$ by *ang+ f l>ge to small motions4 #e4 ,all ge/ures mu/ be direct$ by ! h& or =e>m4 ,j z ! s+] is admoni%$ to produce 8 tones 8=w>d0 s %\ld ! conductor place 8 c5t] ( en]getic motive p[] z f> into ! tips ( ! f+]s z possible4 ,?is produces ! effect ( ! h& easily draw+ ! arm aft] x r ?an pu%+ ! dead weight ( ! arm by a movem5t t seems to beg9 9 ! %\ld]4 #f4 ,! baton mu/ n be held /iffly z ?is w\ld effect ! suppl5ess ( ! :ole arm4 ,! ge/ure mu/ be describ$ by ! v tip ( ! baton1 z if an imag9>y bru% 7 atta*$ to x & "o 7 pa9t+ ! ge/ure on "s imag9>y surface4 ,z a rule ! palm ( ! h& %\ld be held d[nw>d4 #g4 ,x is possible to beat "t accurately & /ill use unev5 & unry?mical motions4 ,to avoid ?is1 ! greate/ r>e %\ld be tak5 to move f "o beat to ano!r 9 a measur$ & symmetrical mann]4 #h4 ,9 a sl[ movem5t1 accuracy c be obta9$ by end+ ea* beat ) an add$ %>p wri/ movem5t 9 ! same direction z ! beat4 #i4 ,! function ( ! left arm is difficult to describe4 ,al?\gh x plays a m mode/ "p ?an ! "r arm1 x is nev]!less ( mu* importance4 ,x mu/ ev] be ready ) prev5tive motions1 indications ( in/rum5tal entrances 7cues71 & to add =ce to c]ta9 ge/ures ( ! "r arm4 ,b let x "h be said t ! habit ( conduct+ con/antly ) bo? arms describ+ ! motions is only to be condemn$4 #aj4 ,al?\gh all g5]al rules 9 conduct+ are dang]\s1 x is sugge/$ t ! pr9ciple ( indicat+ ea* acc5t1 entrance1 sudd5 8=te0 or 8piano10 "o beat 9 advance be adh]$ to4 ,,*apt] ,,iii-,b ,,photographs ,,:i* ,,illu/rate ,,! ,,five ,,fundam5tal ,,positions ,,us$ ,,9 ,,actual ,,conduct+ ,illu/ration3 ,no4 #a4 ,prep>atory position4 #d_/d "t4 ,illu/ration3 ,,numb] #b ,position ( ! fir/ beat 9 #d_/d "t4 ,illu/ration3 ,,numb] #c ,position ( ! second beat 9 #d_/d "t4 ,illu/ration3 ,,numb] #d ,position ( ! ?ird beat 9 #d_/d "t4 ,illu/ration3 ,,numb] #e ,position ( ! f\r? beat 9 #d_/d "t4 ,,*apt] ,,iii-,c ,,diagrams ,,( ,,ge/ures ,,us$ ,,9 ,,conduct+ ,! music examples are to illu/rate ! use ( ! ge/ure & h be5 f\nd practical = class "w4 ,9 practis+ ^! ge/ures ) ! music examples1 ! movem5t mu/ always be expressive ( ! "* ( ! music4 ,%>p & en]getic movem5ts = music ( an acc5tuat$ "*1 & mod]ate1 g5tle movem5ts = music ( a correspond+ nature4 ,! acc5t is execut$ by a %>p1 quick arm movem5t4 ,great c>e mu/ be tak5 to execute ea* movem5t1 ev5 ! mo/ g5tle pianissimo1 cle>ly & ) au?ority4 ,9 all ! diagrams %[n ! foll[+ pr9ciples are adh]$ to3-- #a4 ,! heavy or acc5t$ beat is indicat$ by a d>k arr[4 #b4 ,! light or unacc5t$ beat is indicat$ by an un%ad$ arr[4 #c4 ,! semi-acc5t$ beat is indicat$ by a semi-%ad$ arr[4 #d4 ,all subdivisions are indicat$ by dott$ l9es4 #e4 ,! fundam5tal beats are describ$ ) ! arm movem5t1 :ile subdivisions are p]=m$ ) ! wri/4 ,9 ?is mann]1 a cle> indication ( ! fundam5tal beat is always ma9ta9$4 ,illu/ration3 ,,diagram ,n4 #a ,fundam5tal me?od ( beat+ #b_/b1 #b_/d "t4 ,illu/ration3 ,,diagram ,n4 #b ,actual me?od ( beat+ #b_/b1 #b_/d1 & fa/ #f_/h & #f_/d "t4 ,,example ,n4 #a = ,,diagram ,n4 #b ,music ,acc5t$ #a/ beat3-- ,music ,acc5t$ #bnd beat3-- ,music ,illu/ration3 ,,diagram ,n4 #c ,normal subdivision ( #b_/b & #b_/d "t4 ,n4,b4 ,! subdivision ( ea* beat is indicat$ by ! ^w 8&04 ,music3 ,,example ,n4 #b = ,,diagram ,n4 #c ,a ,music3 ,b#a #a ,illu/ration ,?is =m ( six eight "t is indicat$ 9 ! above mann]4 ,illu/ration3 ,,diagram ,n4 #d ,me?od ( beat+ #f_/h1 #f_/d "t :5 only #b beats 9 a measure are requir$4 ,to be us$ also = sl[ #b_/d "t4 ,illu/ration3 ,,diagram ,n4 #e ,acc5t$ subdivision ( #b_/b & #b_/d "t4 ,music3 ,,example ,n4 #c = ,,diagram ,n4 #e ,illu/ration3 ,,diagram ,n4 #f #f_/d or #f_/h "t4 7,mod]n ,fr5* ,me?od7 #f_/d or #f_/h "t is a subdivision ( #b_/b or #b_/d "t4 ,illu/ration3 ,,diagram ,n4 #f;a ,old me?od ( beat+ sl[ #f_/h "t4 ,! disadvantage ( ?is me?od is t ! #f? beat is out ( proportion ) ! o!rs4 ,9 diagram ,n4 #f ! long beat comes on ! #d? or naturally acc5t$ beat ( ! measure1 :]eas 9 #f;a ! #f? or la/ beat 9 ! measure is apt to be unduly acc5t$4 ,music3 ,,example ,n4 #d = ,,diagram ,n4 #f & #f;a ,music3 ,a--,) acc5t on #a/ beat4 ,music3 ,b--,) acc5t on #bnd beat4 ,music3 ,c--,) acc5t on #crd beat4 ,music3 ,d--,) acc5t on #d? beat4 ,music3 ,e--,) acc5t on #e? beat4 ,music3 ,f--,) acc5t on #f? beat4 ,music3 ,g--,) acc5t on #a/ & #d? beat4 ,illu/ration3 ,,diagram ,n4 #g ,fundam5tal me?od ( beat+ #c_/b1 #c_/d or #c_/h "t4 ,illu/ration3 ,,diagram ,n4 #h ,actual me?od ( beat+ #c_/b1 #c_/d or #c_/h "t4 ,music3 ,,example ,n4 #e = ,,diagram ,n4 #h ,a ,music3 ,b--,) acc5t on #a/ beat4 ,music3 ,c--,) acc5t on #bnd beat4 ,music3 ,d--,) acc5t on #crd beat4 ,music3 ,e--,acc5t on #a/ & #crd beat4 ,music3 ,f--,waltz--,acc5t on #a/ beat4 ,music3 ,polonaise ,g--,acc5t on all #c beats4 ,illu/ration3 ,,diagram ,n4 #i ,normal subdivision ( #c_/b1 #c_/d or #c_/h "t4 ,music3 ,,example ,n4 #f = ,,diagram ,n4 #i ,illu/ration3 ,,diagram ,n4 #aj ,acc5t$ subdivision ( #c_/b1 #c_/d or #c_/h "t4 ,music3 ,,example ,n4 #g = ,,diagram ,n4 #aj ,illu/ration3 ,,diagram ,n4 #aa #i_/h ,"t4 ,only = v sl[ tempos4 ,o!rwise1 beat #c4 ,music3 ,,example ,n #h = ,,diagram ,n4 #aa ,illu/ration3 ,,diagram ,n4 #ab ,fundam5tal me?od ( beat+ #d_/b1 #d_/d & #d_/h "t4 ,illu/ration3 ,,diagram ,n4 #ac ,actual me?od ( beat+ #d_/b1 #d_/d & #d_/h "t4 ,music3 ,,example ,n4 #i = ,,diagram ,n4 #ac ,music3 ,a--,) acc5t on #a/ beat4 ,music3 ,b--,) acc5t on #bnd beat4 ,music3 ,c--,) acc5t on #crd beat4 ,music3 ,d--,) acc5t on #d? beat4 ,music3 ,e--,) acc5t on #a/ & #crd beat4 ,illu/ration3 ,,diagram ,n4 #ad ,normal subdivision ( #d_/b1 #d_/d & #d_/h "t4 ,music3 ,,example ,n4 #aj = ,,diagram ,n4 #ad ,illu/ration3 ,,diagram ,n4 #ae ,acc5t$ subdivision ( #d_/b1 #d_/d & #d_/h "t4 ,music3 ,,example ,n4 #aa = ,,diagram ,n4 #ae ,illu/ration3 ,,diagram ,n4 #af #ab_/d or #ab_/h "t4 #ab_/h "t is really a subdivision ( #d_/d "t4 ,music3 ,,example ,n4 #ab = ,,diagram ,n4 #af ,illu/ration3 ,,diagram ,n4 #ag #e_/d or #e_/h "t4 ,?is #e_/d or #e_/h "t is a comp\nd rhy?m ( 7#b-c7_/d or 7#b-c7_/h "t4 ,music3 ,,example ,n4 #ac = ,,diagram ,n4 #ag ,illu/ration3 ,,diagram ,n4 #ah #e_/h or #e_/d "t4 ,?is #e_/h or #e_/d "t is a comp\nd ( 7#c-b7_/h or 7#c-b7_/d "t4 ,music3 ,,example ,n4 #ad = ,,diagram ,n4 #ah ,illu/ration3 ,,diagram ,n4 #ai ,me?od ( conduct+ sl[ #e_/d "t :5 ! measure is n subdivid$ into 7#c-b7_/d or 7#b-c7_/d4 ,music3 ,,example ,n4 #ae = ,,diagram ,n4 #ai ,illu/ration3 ,,diagram ,n4 #bj #g_/d "t4 7#c-d7_/d or 7#c-d7_/h "t4 ,music3 ,,example ,n4 #af = ,,diagram ,n4 #bj ,illu/ration3 ,,diagram ,n4 #ba #g_/h or #g_/d "t4 7#c-d7_/d or 7#c-d7_/h "t4 ,music3 ,,example ,n4 #ag = ,,diagram ,n4 #ba ,,*apt] ,,iii-,d ,left ,h& ,signals #a4 8pp0 7,pianissimo7 is indicat$ by ext5d+ & rais+ ! left arm slightly ) ! h& at ! level ( ! %\ld]1 palm d[nw>d4 #b4 8p0 7,piano7 is indicat$ by rais+ ! left =e>m until ! back ( ! h& is directly 9 front ( ! left %\ld]4 #c4 ,coda ,sign--,raise left arm above ! head ) "o f+] ext5d$4 #d4 ,second ,end+--,raise left arm above ! head ) two f+]s ext5d$4 #e4 ,to /op 9 middle ( /ra9--,raise left arm above head1 ) all ! f+]s ext5d$1 & keep x !re until halt is desir$4 ,at ?is po9t1 br+ x d[n firmly & quickly4 ,,*apt] ,,iii-,e ,sugge/ions = ,practice ,at ! conclusion ( ?is *apt]1 a ^w or two on practice 9 ! art ( conduct+ may n be out ( place4 ,"o might read all ab\t ! art ( swimm+ & yet be entirely lo/ ! fir/ "t "o is actually ?r[n into ! wat]4 ,! tricky resi/ance & action ( ! wat] is n unlike :at ! tyro conductor feels :5 he fir/ takes 8 /&1 baton 9 h&1 9 front ( ! or*e/ra or *orus4 ,( c\rse1 :5 ! conductor has ev5 ! mo/ amateuri% or*e/ra or *orus ) :i* to practice1 no bett] me?od ne$ be recomm5d$4 ,b 9 ,engl& & ,am]ica ?is is all too seldom ! case1 & ! hapless beg9n] has to le>n 8 art ! be/ he c1 )\t ! aid ( ?is valuable exp]im5tal laboratory4 ,x is relat$ ( ,k\ssevitzky1 ! great ,russian conductor1 t 9 8 appr5tice%ip p]iod he ga9$ 8 practice ( baton te*nic on an imag9>y or*e/ra :i* consi/$ ( empty *airs ) signs on !m repres5t+ ! v>i\s in/rum5tal *oirs4 ,x requir$ imag9ation to d ?is1 & let x be said "r "h t imag9ation is "o ( ! fir/ requisites ( ! conductor4 ,! beg9n] 9 conduct+ c at lea/ famili>ize himself ) ! feel ( ! baton1 & practice ! ord9>y ge/ures until !y become z automatic z walk+ & brea?+4 ,conduct+ to a phonograph record is mo/ helpful4 ,aft] ! score has be5 ma/]$ 7see ,*apt] ,,vi7 x is a good plan = ! /ud5t to conduct an imag9>y p]=mance ( x1 giv+ ! prop] ge/ures & all necess>y cues4 ,m great conductors ?an w\ld ord9>ily admit ?is make a regul> practice ( ?is 8sil5t0 conduct+4 ,l ! great actors :om !y /rive to emulate1 !y make a detail$ /udy ( e ge/ure1 attitude &1 sometimes1 pose1 :i* might be expressive ( ! "* ( ! music !y are int]pret+4 ,,*apt] ,,iv ,,"s ,,basic ,,problems ,,( ,,baton ,,te*nic ,! 8attaque0 7/>t71 ! 8release01 ! 8f]mata0 7hold71 subdivision1 brea?+ places1 phras+4 ,! 8,attaque0 ,"o ( ! mo/ important & difficult results to obta9 is a clean cut & unit$ 8attaque0 or />t1 on ! "p ( ! play]s4 ,! foll[+ sugge/ions w aid t[>d an a*ievem5t ( ?is result4 ,:5 ! musical subject beg9s directly on ! fir/ beat ( ! measure1 "o beat be=e1 giv5 9 ! "t ( ! foll[+ measures & 9 ! position ( ! la/ beat 9 ! measure1 w suffice to assure a conc]t$ & clean-cut 8attaque40 ,! foll[+ measures1 f ! ,,prelude ,,to ,,! ,,ma/]s+]s by ,,wagn]1 illu/rate ?is pr9ciple4 ,illu/ration ,music 7,b7 ,:5 ! musical subject beg9s on ! la/ beat ( ! measure1 give ! prec$+ beat1 fir/4 ,?is beat %\ld be less m>k$ ?an ^? foll[+4 ,music3 ,ov]ture to ,tannhus]--,wagn] ,,note3 ,_m mod]n conductors disp5se ) ?is prec$+ beat4 ,h[ev]1 x is extremely valuable 9 e/abli%+ ! rhy?m & helpful to less exp]i5c$ or*e/ral or b& play]s4 7,c7 ,! pr9ciple ( ! prec$+ example is also applicable to cases 9 :i* ! musical subject beg9s on any fraction ( ! beat4 ,music3 ,m>*e ,hongroise--,b]lioz ,music 7,d7 ,9 a case :]e ! "t is 8"o0 9 a measure1 & ! musical subject beg9s on a fraction ( ! measure1 beat "o :ole measure be=e4 ,music3 ,symphony ,pa/orale--,bee?ov5 ,! 8,f]mata0 7,hold7 & 8,release0 ,execut+ ! ge/ure 9 a r high position 7above ! head7 beat only ! beg9n+ & end ( ! note4 #a--;,indicates ! />t4 #b--;,indicates ! culm9ation ( ! *ord :i* mu/ be br\ght ab\t ) a quick1 incisive movem5t to ! "r1 prec$$ by a %ort prep>atory movem5t to ! left4 ,music ,:5 ! 8f]mata0 7hold7 is at ! end ( ! piece1 t]m9ate ! *ord by a %>p second d[n-beat prec$$ only by a slight prep>atory curve4 ,! second d[n-beat mu/ be long en\gh to remove ! baton completely f ! sight ( ! audi5ce & to br+ x to su* a position t def9itely t]m9ates all fur!r conduct+4 ,music ,:5 ! 8f]mata0 or hold comes on a note 9 ! mid/ ( a phrase1 m]ely su/a9 t beat long] ?an ! o!rs4 ,music ,music ,9 example 7b7 hold ! 8f]mata0 on ! ?ird beat aft] beat+ 8"o0 & 8two04 ,,subdivision ,employm5t ( ! 8subdivision0 to emphasize & give weight to c]ta9 *>act]i/ic passages1 rit5uti1 etc4 ,by subdivid+ ! beats 9 ! f\r? measure ( ! foll[+ example1 =ce & acc5t are giv5 to ! phrase4 ,music3 ,n9? ,symphony--,bee?ov5 ,! %>ply acc5t$ beat z a means ( obta9+ precision 9 syncopat$ figures4 ,by acc5t+ ! fir/ & ?ird beats ( measures 7#a7 & 7#b7 ( ! foll[+ example1 a c]ta9 l+]+ on ! ti$ notes w be avoid$4 ,music3 ,prelude to 8,! ,ma/]s+]s0--,wagn] ,to secure a firm 8attaque0 ( ! horns 9 ! f\r? measure1 subdivide ! second beat ( ! measure4 ,illu/ration3 ,sl[ #d 9 a measure ,music3 ,symphony ,no4 #e-- ,dvorak ,to secure precision 9 ! syncopat$ entrances1 subdivide ! #d-;9-a-measure z indicat$ by ! numb]s1 us+ ge/ure ,no4 #ae4 7p #dg7 ,music ,to secure precision 9 ! unison pizzicato notes1 subdivide ! second beat 9 ! fir/ two measures1 giv+ all ! beats b ?is "o ) a small ge/ure4 ,music3 ,les ,preludes4 ,liszt ,to br+ out ! climax at lett] 7,c7 subdivide ! measure at 7,b7 ) heavy decisive /rokes on ea* #h? note4 ,music ,music3 ,les ,preludes4 ,liszt ,to indicate places = tak+ brea?1 conduct 9 ! mann] describ$ bel[4 ,! arm movem5t mu/ come to a complete /op j be=e ! brea?+ place4 ,illu/ration ,music ,,*apt] ,v ,"s ,special ,problems ( ,baton ,te*nic ,9 8 excell5t article ( 8,conduct+0 9 ,grove's ,diction>y1 ,ralph ,vaughan-,williams gives ! foll[+ rule3 8,z a g5]al rule no m /rokes %\ld be us$ ?an are absolutely necess>y to m>k ! "t02 = in/ance no b> %\ld be beat5 9 ?ree /rokes t c be beat5 9 "o1 no b> %\ld be beat5 9 f\r /rokes t c be beat5 9 two4 ,?is rule is unassailable b !re are times :5 x is difficult = ! conductor to judge :i* /yle ( "t-beat+ to use4 ,! ,adagio & ,allegro ( ! ,ov]ture to 8,! ,magic ,flute0 are good examples ( su* a difficulty4 ,! ,adagio is m>k$ symbol & is usually tak5 9 f\r mod]ate beats4 ,! ,allegro has no alla breve symbol m>k & yet %\ld be tak5 9 two mod]ate beats4 ,music ,music ,to beat ! ,allegro 9 f\r gives x precision b takes away f ! light & graceful air9ess ( ! figure by giv+ undue prom95ce to ! ?ird beat4 ,9 any #d_/d or #d_/h ge/ure ! ?ird beat is apt to get almo/ z /rong an acc5t z ! fir/4 ,! ,allegro ,vivace ( ,moz>t's 8,jupit] ,symphony0 is also tak5 alla breve in/ead ( 9 f\r beats z m>k$4 ,a numb] ( pres5t day conductors are tak+ ! ,m>* 9 ! 8,pa!tique ,symphony0 ( ,ts*aik[ski 9 alla breve "t ) v m>k$ success4 ,on ! o!r h& !re are types ( compositions t ne$ ! great] en]giz+ p[] ( ! f\r beats4 ,p]cy ,gra+]'s 8,molly on ! ,%ore0#b is a good example ( "o ( ^!4 ,he reque/s ! conductor to keep f\r equally acc5t$ beats hamm]+ away ?r\gh\t ! :ole piece4 ,music #b ,copyright #aiaa1 by ,g4 ,s*irm]1 ,inc4 ,n4 ,y4 ,9 conduct+ fa/ mov+ tempos "o-9-a-b>1 ! conductor w soon notice ! individual b>s gr\p+ !mselves toge!r 9 phrases & p]iods1 & x is mo/ helpful to ! musicians if "s slight indication ( ! gr\p+s be giv5 9 conduct+4 ,9 fa/ "o-9-a-b> movem5ts f\r s+le measures (t5 become "o l>ge measure ( f\r beats1 & if ! beg9n+ & t]m9ation ( ?is measure gr\p is indicat$ by a slightly l>g] beat1 ! musical composition becomes m intelligible to ! play] & li/5]4 ,?us ! beg9n+ ( ,bee?ov5's ,fif? ,symphony ,f ! six? measure on ,music might easily become3 ,music ,?is re>rang$ phrase gr\p+ %\ld 9 no way be misund]/ood to mean t ! tempo %\ld be beat5 9 #d_/d ,&ante4 ,m]ely1 ! m compact gr\p+ ( fa/] notes 9 a sl[] tempo is (t5 a m5tal help to bo? conductor & play] 9 br++ out ! prop] musical inflection4 ,a glance at ! foll[+ example w %[ h[ readily ! op5+ !me ( ! 8,eroica ,symphony0 falls into gr\ps ( f\r measures ea*4 ,music ,on ! o!r h&1 ! ,s*]zo ( ! same "w is unev5ly divid$ into phrases ( f\r & two measures4 ,music ,) ! adv5t ( ,/rav9sky & o!r mod]ns a new problem ( "t beat+ has aris5 9 connection ) ! attempt to free music entirely f ! =mal division ( ! b> l9e plac$ at regul> int]vals4 ,n t ^! compos]s disp5se ) ! b> l9e completely1 b !y place x 9 su* disconc]t+ly irregul> places t ! conductor's task is d\bly difficult ev5 :5 he attempts to indicate x m]ely ) a s+le d[n-beat4 ,! two foll[+ examples f ,igor ,/rav9sky's 8,petr\*ka0#c illu/rate ?is difficulty4 ,! tempo is too fa/ to p]mit ! use ( regul>ly divid$ ge/ures1 & yet x is v difficult to br+ 9 ! s+le beats ) su* metronomic precision t ! musicians c play all ( ! individual eigh? notes ev5ly & )\t hurry+4 #c ,copyright by ,russis*] ,musikv]lag1 ,b]l9 ,music3 ,,example ,n4 #a #c 9 a measure ,music ,music3 ,,example ,n4 #b ,! au?or1 9 8 conduct+ class at ,new ,york ,univ]sity has exp]im5t$ ) sev]al me?ods1 & has f9ally hit ^u ! foll[+ sy/em ( tea*+ ! intricate baton te*nic involv$ 9 ! conduct+ ( works l ,/rav9sky's 8,petr\*ka40 ,! /ud5t is made to sit at ! piano & play simple five f+] figures ) a s+le acc5t on ! fir/ note :i* is always play$ by ! ?umb4 ,music3 7a7 ,music3 7b7 ,music3 7c7 ,music3 7d7 ,music3 7e7 ,music3 7f7 ,music3 7g7 ,play+ ! eigh? notes 9 a r quick tempo ea* ex]cise is to be repeat$ until ! feel+ ( ! recurr5ce ( ! d[n-beat 7:i* corresponds to ! acc5t$ ?umb /roke7 becomes entirely automatic4 ,c>e mu/ be tak5 nev] to v>y ! spe$ ( ! eigh? notes & to acc5t only ! fir/ note4 ,translat$ into t]ms ( ?is ex]cise ! two examples f 8,petr\*ka0 w\ld be z foll[s3 ,music ,music ,! spe$ ( ! eigh? notes mu/ nev] v>y4 ,fractional or unev5 "t ,music ,beat #c-;9-a-measure1 m]ely mak+ ! ?ird beat "o-eigh? note long]4 ,music ,beat #b-;9-a-measure1 m]ely mak+ ! second beat "o-eigh? note long]4 ,music ,! ,hymn ( ,jesus3--,gu/ave ,hol/ 7,copyright #aibj by ,/a9] & ,bell1 ,london7 ,illu/ration ,music ,beat #d-;9-a-measure1 m]ely mak+ ! f\r? beat "o-eigh? note long]4 ,,on ,,! ,,conduct+ ,,( ,,waltzes ,to beg9 )1 a divid+ l9e mu/ be drawn betwe5 a waltz play$ = danc+ & ! conc]t waltz4 ,! =m] is p]=m$ 9 a regul> rhy?mic mann] ev]y:]e1 except 9 ,vi5na & ,s\? ,am]ica1 :]e ! danc]s are accu/om$ to little fre$oms ( tempo4 ,!re is s mu* really good music writt5 9 ?is =m1 t x is a pity to he> waltzes 8gr\nd out0 9 ! repreh5sible "o-beat-9-a-measure /yle ( s _m ( our ,milit>y ,b&ma/]s4 ,portions ( ,/rauss' 8,arti/'s ,life0 ,waltzes are giv5 9 ! foll[+ examples1 :i* also conta9 v>i\s modes ( beat+ waltz "t to con=m ) ! _s ( ! music4 ,!re are _m ways ( conduct+ waltz "t4 ,"s conductors beat all ! beats1 o!rs aga91 only "o beat to ! measure4 ,analysis ( "s ( ! me?ods ( ! great conductors :o h n disda9$ to play ! waltzes ( compos]s l ,waldteufel or ,johann ,/rauss1 has lead u to believe t ! ?ree /yles ( conduct+ expla9$ 9 ! foll[+ diagrams are ! ones mo/ g5]ally us$4 ,a--,! "o-beat-9-a-measure /yle = passages ( fl[+ melody & great v]ve4 ,9 ord] to avoid a monotony ( motion1 x is be/ to />t ! d[n-beats ( ea* measure1 alt]nately f ! left & ! "r4 ,! dott$ l9e 9 ! diagram indicates ! reflex or reb\nd movem5t1 :i* br+s ! h& & arm 9 a position to />t ! next beat4 ,illu/ration3 ,,diagram ,n4#a 7,/yle #a7 7,a7 ,/>t+ ! beat f left to "r4 ,illu/ration3 7,b7 ,/>t+ ! beat f ! "r4 ,b--,foll[+ ! heavy d[n-beat ( ! measure1 ! second beat w be indicat$ by a %>p sidew>d wri/ movem5t & 9 lieu ( ! ?ird beat1 ! h& & arm w be drawn up to ! orig9al position 9 a m relax$ mann]4 ,illu/ration3 ,,diagram ,n4 #b 7,/yle #b7 ,light & delicate rhy?mic figures are be/ indicat$ by ?is me?od4 ,c--,! ?ird me?od is ! regul> ge/ure us$ 9 any #c_/d or #c_/h "t & indicates ea* beat4 ,illu/ration3 ,,diagram ,n4#c 7,/yle #c7 ,same z #c_/d "t4 ,9 ! foll[+ extract f ,arti/s' ,life ,waltz by ,/rauss1 ! ?ree diff]5t /yles are appli$4 ,! v>i\s /ra9s & ! mann] ( beat+ ea* measure1 are indicat$ by ! ,roman ,num]als :i* correspond to ! diagrams4 ,i ,diagram #a ,,ii ,diagram #b ,,iii ,diagram #c ,music ,music ,f ,hector ,b]lioz' 8,treatise on ,conduct+0 ,a dilemma sometimes pres5ts itself :5 c]ta9 p>ts--= ! sake ( contra/--are giv5 a triple rhy?m1 :ile o!rs pres]ve ! dual rhy?m4 ,music ,if ! w9d-in/rum5t p>ts 9 ! above example are confid$ to play]s :o are good musicians1 !re w be no ne$ to *ange ! mann] ( m>k+ ! b>1 & ! conductor may cont9ue to subdivide x by six1 or to divide x simply by two4 ,! majority ( play]s1 h[ev]1 seem+ to hesitate at ! mom5t :51 by employ+ ! syncopat$ =m1 ! triple rhy?m cla%es ) ! dual rhy?m1 require assurance1 :i* c be giv5 by easy means4 ,! unc]ta9ty occasion$ !m by ! sudd5 appe>ance ( ! unexpect$ rhy?m1 contradict$ by ! re/ ( ! or*e/ra1 always leads ! p]=m]s to ca/ an in/9ctive glance t[>ds ! conductor1 z if seek+ 8 assi/ance4 ,he %\ld look at !m1 turn+ some:at t[>ds !m1 & m>k+ ! triple rhy?m by v slight ge/ures1 z if ! "t 7 really ?ree 9 a b>1 b 9 su* a way t ! viol9s & o!r in/rum5ts play+ 9 dual rhy?m may n obs]ve ! *ange1 :i* w\ld q put !m out4 ,f ?is compromise x results t ! new rhy?m ( ?ree-"t1 be+ m>k$ furtively by ! conductor1 is execut$ ) /ead9ess2 :ile ! two-"t rhy?m already firmly e/abli%$1 cont9ues )\t difficulty1 al?\gh no long] indicat$ by ! conductor4 ,on ! o!r h&1 no?+1 9 my op9ion c be m blamable1 or m contr>y to musical good s5se1 ?an ! application ( ?is proc$ure to passages :]e two rhy?ms ( opposite nature d n co-exi/1 & :]e m]ely syncopations are introduc$4 ,! conductor1 divid+ ! b> by ! numb] ( acc5ts he f9ds conta9$ 9 x1 !n de/roys 7= all ! auditors :o see him7 ! effect ( syncopation2 & sub/itutes a m]e *ange ( "t = a play ( rhy?m ( ! mo/ bewit*+ int]e/4 ,if ! acc5ts are m>k$1 in/ead ( ! beats1 9 ! foll[+ passage f ,bee?ov5's ,pa/oral ,symphony1 we h ! subjo9$3-- ,music :]eas ! f\r previ\sly ma9ta9$ display ! syncopation & make x bett] felt3-- ,music ,?is volunt>y submission to a rhy?mical =m :i* ! au?or int5d$ to ?w>t is "o ( ! grave/ faults 9 /yle t a beat] ( ! "t c commit4 ,!re is ano!r dilemma1 extremely tr\blesome = a conductor1 & dem&+ all 8 pres5ce ( m9d4 ,x is t pres5t$ by ! sup]-addition ( diff]5t b>s4 ,x is easy to conduct a b> 9 dual "t plac$ above or b5ea? ano!r b> 9 triple "t1 if bo? h ! same k9d ( movem5t4 ,_! *ief divisions are !n equal 9 duration1 & "o ne$s only to divide !m 9 half1 m>k+ ! two pr9cipal beats3-- ,music ,b if1 9 ! middle ( a piece sl[ 9 movem5t1 !re is introduc$ a new =m brisk 9 movem5t1 & if ! compos] 7ei!r = ! sake ( facilitat+ ! execution ( ! quick movem5t1 or because x 0 impossible to write o!rwise7 has adopt$ = ?is new movem5t ! %ort b> :i* corresponds ) x1 !re may !n occur two1 or ev5 ?ree %ort b>s sup]-add$ to a sl[ b>3-- ,music ,! conductor's task is to guide & keep toge!r ^! diff]5t b>s ( unequal numb] & dissimil> movem5t4 ,he atta9s ?is by divid+ ! beats 9 ! ,&ante b>1 ,no4 #a1 :i* prec$es ! entrance ( ! ,allegro 9 #f_/h1 & by cont9u+ to divide !m2 b tak+ c>e to m>k ! division m decid$ly4 ,! play]s ( ! ,allegro 9 #f_/h !n compreh5d t ! two ge/ures ( ! conductor repres5t ! two beats ( _! %ort b>1 :ile ! play]s ( ! ,&ante take ^! same ge/ures m]ely = a divid$ beat ( _! long b>4 ,illu/ration3 ,b> ,no4 #a ,illu/ration3 ,b>s ,nos4 #b1 #c1 & s on4 ,x w be se5 t ?is is really q simple1 because ! division ( ! %ort b>1 & ! subdivisions ( ! long "o1 mutually correspond4 ,! foll[+ example1 :]e a sl[ b> is sup]-add$ to ! %ort ones1 )\t ?is correspond5ce exi/+1 is m awkw>d3-- ,music ,music ,"h1 ! ?ree b>s ,allegro-assai prec$+ ! ,allegretto are beat5 9 simple two-"t1 z usual4 ,at ! mom5t :5 ! ,allegretto beg9s1 ! b> ( :i* is d\ble t ( ! prec$+1 & ( ! "o ma9ta9$ by ! violas1 ! conductor m>ks two divid$ beats = ! long b>1 by two equal ge/ures d[n1 & two o!rs up3-- ,illu/ration ,! two l>ge ge/ures divide ! long b> 9 half1 & expla9 its value to ! hautboys1 )\t p]plex+ ! violas1 :o ma9ta9 ! brisk movem5t1 on acc\nt ( ! little ge/ure :i* also divides 9 half _! %ort b>4 ,f b> ,no4 #c1 ! conductor ceases to divide ?us ! long b> by #d1 on acc\nt ( ! triple rhy?m ( ! melody 9 #f_/h1 :i* ?is ge/ure int]f]es )4 ,he !n conf9es himself to m>k+ ! two beats ( ! long b>2 :ile ! violas1 already laun*$ 9 _! rapid rhy?m1 cont9ue x )\t difficulty1 compreh5d+ exactly t ea* /roke ( ! conductor's /ick m>ks m]ely ! comm5cem5t ( _! %ort b>4 ,?is la/ obs]vation %[s ) :at c>e divid+ ! beats ( a b> %\ld be avoid$ :5 a portion ( ! in/rum5ts or voices has to execute triplets ^u ^! beats4 ,! division1 by cutt+ 9 half ! second note ( ! triplet1 r5d]s its execution unc]ta94 ,x is ev5 necess>y to ab/a9 f ?is division ( ! beats ( a b> j be=e ! mom5t :5 ! rhy?mical or melodic design is divid$ by ?ree1 9 ord] n to give to ! play]s ! impression ( a rhy?m contr>y to t :i* !y are ab\t to he>3-- ,music ,9 ?is example1 ! subdivision ( ! b> into six1 or ! division ( beats into two1 is useful2 & (f]s no inconv5i5ce dur+ b> ,no4 #a :5 ! foll[+ ge/ure is made3-- ,illu/ration ,b f ! beg9n+ ( b> ,no4 #b x is necess>y to make only ! simple ge/ures3-- ,illu/ration on acc\nt ( ! triplet on ! ?ird beat1 & on acc\nt ( ! "o foll[+ x :i* ! d\ble ge/ure w\ld mu* int]f]e )4 ,9 ! fam\s ball-sc5e ( ,moz>t's ,don ,giovanni1 ! difficulty ( keep+ toge!r ! ?ree or*e/ras1 writt5 9 ?ree diff]5t measures1 is less ?an might be ?\ght4 ,x is suffici5t to m>k d[nw>ds ea* beat ( ! tempo di m9uetto3-- ,music ,once ent]$ ^u ! comb9ation1 ! little allegro 9 #c_/h1 ( :i* a :ole b> repres5ts "o-?ird1 or "o beat ( t ( ! m9uetto1 & ! o!r allegro 9 #b_/d1 ( :i* a :ole b> repres5ts two-?irds1 or two beats1 correspond ) ea* o!r & ) ! pr9cipal !me2 :ile ! :ole proce$s )\t ! slighte/ confusion4 ,all t is requisite is to make !m come 9 prop]ly4 ,,*apt] ,,vi4 ,,h[ ,,to ,,prep>e ,a ,,score ,me?odical ma/]y ( ! full score1 m5tal read+1 use ( piano4 ,prep>+ a score = rehe>sal & p]=mance4 ,to ! av]age layman & ev5 a great _m musicians1 an or*e/ral score appe>s to be ab\t z intricate 9 appe>ance z a blue pr9t ( a complicat$ eng9e4 ,! simile ( ! blue pr9t & ! score is n inapt inasmu* z ! blue pr9t repres5ts on pap] e detail ( ! me*anical con/ruction ( ! eng9e1 &1 likewise1 ! musical score is an exact description on pap] ( e detail ( ! musical composition4 ,no attempt w be made 9 ?is book to describe ! developm5t ( ! core f ! days ( ! e>ly ,italian op]a compos]s :o did n ev5 write out p>ts = ! play]s1 to our own "t :5 h>dly any?+ is left to ! imag9ation ( ! musician1 & ev]y?+ is writt5 9 ! music4 ,likewise1 ! ae/hetic int]pretation & evaluation ( ! musical cont5t ( ! score w be left undiscuss$1 to make way = ! pres5tation ( ! practical aspect ( a me?odical sy/em ( le>n+ to read quickly & accurately ! m]e notes ( ! score4 ,x is relat$ t a celebrat$ pr(essional magician1 9 ord] to tra9 8 s5se ( vision1 quickness ( m5tal p]ception & memory1 us$ to practice look+ at a %[ w9d[ = exactly "o m9ute & !n writ+ d[n f memory ! "n ( e article he saw !re94 ,by practice he 0 enabl$ to increase ! numb] ( articles rememb]$ f a relatively small numb] to a total :i* includ$ ev]y?+ 9 ! w9d[4 ,n[1 :at ! magician did ) 8 s5se ( vision1 quickness ( m5tal p]ception1 & memory is precisely :at ! musician mu/ d 9 le>n+ to read ! full score4 ,possibly ! mo/ confus+ ?+ to ! beg9n] 9 score read+ is ! increas$ dem&s made ^u 8 vision4 ,accu/om$ to read+ music 9 "o or two /aves1 ! eye is n[ call$ ^u to compreh5d z _m z #bd to #cj /aves 9 a glance4 ,at fir/ ?is seems an impossible task b l _m o!r seem+ly impossible tasks x c be accompli%$ by pati5t & sy/ematic practice4 ,( c\rse1 e conductor has 8 own way ( ma/]+ a score & ! au?or c only give 8 p]sonal me?od4 ,h[ev]1 ?is me?od has be5 foll[$ successfully by /ud5ts1 & 9 practically e case has be5 f\nd successful4 ,x is assum$ t ! conductor has "s ability 9 piano-play+4 ,naturally1 ! m ! bett]1 al?\gh x is n necess>y to be equipp$ ) ! highe/ virtuoso te*nic4 ,a k ( ! scales & arpeggios1 ! ability to play ,ba*'s ,two & ,?ree ,"p ,inv5tions & ,well-,temp]$ ,clavi*ord might be consid]$ a work+ equipm5t = ! conductor4 ,let x be expla9$ "h1 t :ile ! ideal ( score read+ is to be able to read & he> e note ( ! p>titur )\t ! aid ( ! piano1 ! value ( ! use ( ! in/rum5t 9 ! process ( develop+ ?is ability & z a con/ant means ( *eck+ & prov+ "o's capacity is unque/ion$4 ,! be/ ex]cise = wid5+ or broad5+ ! s5se ( vision is to practice ! play+ ( ?ree or m "p vocal scores4 ,a collection ( e>ly *ur* music su* z 8,musica ,sacra10 publi%$ by ,pet]s1 conta9s ! mo/ practical mat]ial4 ,h]e9 are to be f\nd 9 two1 ?ree1 f\r1 five1 six1 eight1 t5 & twelve p>ts & /aves1 ! lovely old polyphonic works ( ! e>ly ,italian ma/]s & ! pati5t practice on ^!1 always add+ "o m "p1 w d mu* t[>d ! spread+ ( a s5se ( vision t has become limit$ by ! habitual p]usal ( j "o or two l9es4 ,! absolute indep5d5ce ( ea* individual "p makes ^! polyphonic *oruses highly valuable z practice mat]ial4 ,! second difficulty ( ! full score is ! fact t n all ( ! in/rum5ts are writt5 9 ! famili> clefs & _m ( !m are transpos$ into diff]5t keys because ( _! peculi> me*anical con/ruction4 ,foll[+ ! me?od employ$ 9 ! conduct+ classes ( ! ,high ,s*ool = ,music 9 ,b]l91 ! au?or has f\nd ! use ( ,ba*'s *orales ) ea* ( ! f\r p>ts writt5 9 a diff]5t clef1 mo/ effective 9 imp>t+ ! ability to transpose4 ,^! *orales %\ld be tak5 f ! v>i\s two-l9e editions 7,pet]s1 ,breitkopf ,hrtel1 ,c4 ,c4 ,bir*>d7 & copi$ by ! /ud5t on f\r sep>ate l9es1 us+ ! ,soprano1 ,alto1 ,t5or & ,bass clefs = ! respective p>ts4 ,! ,soprano clef1 ,illu/ration ,alto clef1 ,illu/ration & ! ,t5or clef1 ,illu/ration are ,c clefs1 i4e41 ! note on ! /aff indicat$ by ! clef is middle ,c2 ,illu/ration ) ! ,soprano clef ?is is ! fir/ l9e1 ) ! ,alto clef ! ?ird1 & ) ! ,t5or clef1 ! f\r?4 ,kn[+ ! position ( middle ,c x %\ld n be difficult to trace ! position ( ! o!r notes ( ! scales4 ,! foll[+ is an example ( ! old & new vocal scores3 ,passion ,*orale 7,ba*7 ,music ,illu/ration ,= v>iety1 ! /ud5t might make use ( ord9>y f\r "p hymn tunes 9 ! same mann]4 ,^! *orales & hymn tunes 9 ! old clefs mu/ n be m]ely play$ ?r\gh a few times1 b are to be practic$ daily until ! process ( play+ ! old clefs has become z automatic z play+ 9 ! treble & bass clefs4 ,?is w give ! /ud5t ! necess>y m5tal gymna/ics & make ! read+ & play+ ( ! v>i\s transpos+ in/rum5tal p>ts comp>atively easy4 ,s mu* = ! purely te*nical prep>ation 9 ! process ( le>n+ to read & transcribe scores4 ,! foll[+ head+s are descriptive ( a me?od ( score prep>ation g5]ally us$ by mod]n conductors3 #a4 ,! ,ar*itectural or ,g5]al ,impression4 #b4 ,detail$ /udy ( ! individual p>ts4 #c4 ,detail$ /udy ( individual sections 7/r+s1 woodw9ds1 brass1 & p]cussion74 #d4 ,m5tal he>+ ( ! composition 9 p>ts & z a :ole4 #e4 ,piano transcription z a means ( *eck+ up & ratify+ ! m5tal concept4 ,:5 a build+ is view$ = ! fir/ "t h>dly any?+ m ?an a g5]al impression ( ! type ( ar*itecture1 size1 symmetry1 & color is made ^u ! m9d4 ,! details ( con/ruction1 mat]ials us$1 numb] ( floors1 /yle ( w9d[s & doors are only compreh5d$ aft] clos] /udy4 ,at ! fir/ p]usal ( a score1 :i* %\ld always be away f ! piano1 ! impression made is j z g5]al z 9 view+ ! build+4 ,h>dly m ?an ! cont\r ( ! melody & bass1 out/&+ climaxes & g5]al "* c be grasp$ at ! fir/ read+4 ,next1 a read+ ?r\gh ei!r ) or )\t piano1 ( ea* individual "p reveals ! details ( con/ruction1 & ! play+ on ! piano ( ! v>i\s sections gives ! h>monic & polyphonic cont5t ( ! "w4 ,a practical k ( ,in/rum5tation is mo/ helpful at ?is /age ( ! "w4 ,aft] ?is detail$ /udy1 ! "w %\ld be read ?r\gh m5tally at ab\t ! spe$ ( actual p]=mance1 ! climaxes not$1 ! emotional cont5t det]m9$1 & a diagram ( ! =m fix$ 9 ! m9d4 ,!re is always a dang] ( los+ ! p]spective ( ! "w z a :ole if too mu* detail$ /udy is indulg$ 94 ,! ability to read & he> music )\t ! aid ( an in/rum5t is absolutely ess5tial = ! conductor4 ,x c be acquir$ to a degree by prop] /udy4 ,su* works z ,w$ge's 8,sight ,s++ & ,e> ,tra9+0 7,g4 ,s*irm]7 & ,rob9son's 8,aural ,h>mony0 7,g4 ,s*irm]7 are invaluable helps4 8,musical ,=m0 by ,h4 ,ang] 7,aug5]7 is a mo/ practical treatise on ! subject & conta9s cle> in/ructions = analyz+ ! piano ,sonatas ( ,bee?ov5 & ! ,fugues 9 ,ba*'s 8,well-temp]$ ,clavi*ord40 ,^u be+ que/ion$ z to 8 op9ion ( ! importance ( ! conductor's 8e>s0 or he>+1 ,wilhelm ,furtwngl]1 ! em95t ,g]man conductor1 made ! foll[+ reply3 8,g5]ally consid]$1 !re is no su* ?+ among conductors z a good or bad #8e>4' ,!re is only a great] or less] ma/]y ( ! mat]ial1 t is1 ! score & its e detail4 ,"o c only he> individual mi/akes 9 ! complicat$ mass ( s\nd :5 "o kn[s completely j :at ! compos] want$40 7,pult & ,tak/ock1 ,dec41 #aibe74 ,( c\rse !re are conductors :o le>n ! cont5t ( a score quickly f li/5+ to ! or*e/ra z !y rehe>se4 ,b1 x matt]s n h[ clev] ! conductor is1 8 or*e/ra always s5ses :5 x is be+ us$ z ! means ( _! lead]'s le>n+ ! score & _! respect = him is l[]$4 ,!re is a fable ( a "y conductor :o wi%$ to impress himself on 8 m5 by a display ( %>p he>+4 ,he secretly wrote 9 a false ,f 9 ! second bassoon "p ( a p>ticul>ly l\d & boi/]\s passage4 ,at ! rehe>sal 9 ! mid/ ( ! or*e/ral rumpus he sudd5ly /opp$ ! or*e/ra & cri$ out impati5tly1 8,f %>p1 ,f %>p 9 ! second bassoon is wrong10 only to be answ]$ by ! fir/ play]1 8,beg p>don1 ,sir1 ! second bassoon is abs5t today40 ,to play a full score accurately & flu5tly on ! piano1 is an art 9 itself & 9 ! c\rse ( musical hi/ory we he> ( only a few musicians :o really c\ld d ?is4 ,sa9t-,sans1 ,liszt1 & ,von ,buel[ 7 said to be pr(ici5t 9 ?is difficult art1 & und\bt$ly _! m>vel\s piano te*nique 0 a mo/ important factor 9 _! prima-vi/a score transcriptions4 ,to flu5tly play a pr9t$ pian(orte arrangem5t ( a ,bee?ov5 ,symphony takes z mu* te*nique z to play "o ( 8 sonatas4 ,we mu/ n =get ! comp>ative simplicity ( ev5 a ,wagn] score :5 comp>$ ) su* a "w z ,v>ese's 8,l',amriques0 or 8,! ,rites ( ,spr+0 by ,/rav9sky1 & x is j likely t any ( ! ?ree ma/]s j m5tion$ w\ld h great difficulty 9 read+ ,honegg]'s 8,pacific #bca0 at ! piano4 ,= ! av]age conductor !n1 ! piano does n become ! supreme *annel = express+ ! score1 b is us$ m]ely z an aid to 8 m5tal & spiritual ma/] ( its intricacies4 ,!re /ill rema9s = discussion "o phase 9 ! "w ( score prep>ation1 & t is--memory4 ,j z among conc]t play]s ! old cu/om ( play+ f ! pr9t$ page has giv5 way to ! "o ( play+ & s++ ev]y?+ f memory1 s h mod]n conductors tak5 to disp5s+ ) _! scores 9 p]=mance4 ,! increas$ am\nt ( prep>atory "w involv$ 9 memoriz+ a score c]ta9ly gives "o an increas$ insight into ! composition & to be fre$ f ! necessity ( read+ ! pr9t$ page gives a mu* great] au?ority & comm& 9 ! :ole attitude ( ! conductor at ! p]=mance4 ,we nev] read ( any great milit>y comm&] lead+ 8 troops to battle ) 8 eyes glu$ on ! map1 & we h all he>d ( ! conductors :o h _! heads 9 ! score :5 !y %\ld h ! score 9 _! heads4 ,arturo ,toscan9i memorizes e detail ( ! score be=e ! fir/ rehe>sal & conducts ev5 ! rehe>sals f memory4 ,?is1 ( c\rse1 is su* miracul\s a*ievem5t 9 ! ma/]y ( ! purely te*nical t x ceases to be te*nique & becomes an integral "p ( ! conductor's be+4 ,! improv$ gramophone ) ! new process records ( ! great or*e/ral1 *oral & op]atic ma/]works c be put to spl5did use by ! /ud5t ( conduct+4 ,score 9 h&1 ^! records %\ld be li/5$ to until completely absorb$ & !n !y %\ld be conduct$4 ,! op]atic arias are p>ticul>ly good practice = practis+ ! art ( conduct+ accompanim5ts4 ,9 conclud+ ?is *apt] ! foll[+ p>agraph f ,adrian ,b\lt's 8,h&book on ! ,te*nique ( ,conduct+0 is mo/ fitt+4 ,he says1 8,9 conduct+ !re is a d\ble m5tal process4 ,!re is ! process ( ?9k+ ahead & prep>+ ! or*e/ra = :at is to come1 t is to say1 ( driv+ x l a locomotive4 ,!re is also ! process ( li/5+ & not+ difficulties & po9ts t mu/ be alt]$1 9 fact ( wat*+ ! music1 z a gu>d wat*es 8 tra94 ,at rehe>sal ! second ( ^! is ! m important4 ,occasionally "o mu/ take hold & drive "o's =ces to ! top ( a climax1 j z a boat's crew on ! day be=e ! race does "o m9ute ( its h>de/ rac+1 b takes x pretty easy o!rwise4 ,! ma9 ?+ at a rehe>sal is to wat* results & to act on !m4 ,at a p]=mance x is ! o!r way ab\t--! conductor mu/ take ! lead4 ,x is !n too late to alt] ?+s l faulty balance or wrong expression1 b ! /ructure & balance ( ! "w z a :ole & ! "r _s are ! two ?+s ( p>am\nt importance40 ,,*apt] ,,vii ,,! ,,te*nic ,,( ,,! ,,baton ,,9 ,,*oral ,,conduct+ ,!re seems to be 9 ! m9ds ( "s musicians an idea t a va/ diff]5ce exi/s betwe5 *orus conduct+ & or*e/ra conduct+4 ,9 fact1 x is a v common fact t !re are _m f9e musicians :o obta9 excell5t results f _! *oruses b :o are completely at a loss :5 x comes to conduct+ ev5 ! or*e/ral accompanim5t ( ! *oral works !y are pres5t+4 ,! tales told by sophi/icat$ or*e/ral play]s on _! return f music fe/ivals 9 ! prov9ces ab\t ! antics ( _m *oral conductors w\ld be funny if !y 7 n tragic4 ,usually1 ! *oral conductor is a good musician & kn[s 8 musical subject matt] ?or\ghly4 ,?r\gh ! process ( mu* c>eful rehe>s+ & tea*+1 he succe$s 9 imp>t+ 8 ideas ( int]pretation to 8 *orus1 :i* 9 turn comes to und]/& ! mean+ ( 8 ge/ures4 ,up until ! fir/ or*e/ral rehe>sal1 :i* is usually ! only "o1 ev]y?+ goes smoo?ly2 b z soon z ! highly tra9$ & s5sitive or*e/ra tries to foll[ ! conductor's beat1 a /ate ( utt] *aos ensues4 ,mu* "t is wa/$1 ! conductor becomes irritable1 ! *orus demoraliz$1 ! or*e/ra scornful1 & 9 g5]al ! outlook = a successful conc]t beg9s to look v black4 ,f9ally1 ! m practical side ( ! or*e/ra rises above ! disgruntl$ & disillusion$ attitude & x rescues ! situation by play+ m 9 spite ( ! conductor r ?an because ( him4 ,?is picture is n exagg]at$ & has almo/ a univ]sal application4 ,! au?or1 9 8 or*e/ral play+ days1 has witness$ su* sc5es n only 9 ! ,unit$ ,/ates b also 9 ,france & ,g]many1 & has be5 told by compet5t au?orities t ! same conditions exi/ 9 ,engl&4 ,9 fact1 ?is little tale is "o t w be v]ifi$ by almo/ e exp]i5c$ or*e/ral musician4 ,! cause ( mu* ( ?is ineffective conduct+ is a pr(usion ( vague1 mean+less 7to ! or*e/ral play]7 ge/ures on ! "p ( ! *oral conductor1 :o has gott5 into ! habit ( mak+ _m motions because ( c]ta9 conditions peculi> to *oruses & *oral music4 ,fir/ ( ^! conditions is ! av]age *orus memb]'s r l[ /&>d ( musical ability1 79 comp>ison ) ! pr(essional or*e/ra7 :i* causes ! conductor to lead 8 *>ges ?r\gh intricate rhy?mical mazes by indicat+ e #cb;d note & beat+ out ! melodic cont\r r ?an giv+ ! basic beats & subdivision ( ! beats4 ,secondly1 ! conductor usually has ! assi/ance ( a good accompani/ :o plays ! piano arrangem5t ( ! or*e/ral score s effici5tly t ! conductor ceases to ev5 ?9k ab\t x1 & :o provides a firm rhy?mical backgr\nd by crisp & incisive m>k+ ( ! ma9 beats ( ! measure4 ,naturally1 ! conductor _c *ange ! habits acquir$ dur+ _m weeks ( rehe>sal & :5 he f9ally f9ds himself 9 front ( ! critical pr(essional or*e/ra1 he is confront$ ) ! task ( lead+ ?is complicat$ organization ) ge/ures eng5d]$ by ! peculi> weaknesses ( 8 *oral body & :i* are totally confus+ to ! /range or*e/ra4 ,!re is only "o rem$y = ?is condition4 ,directors ( *oruses mu/ rememb] t ess5tially !re is no diff]5ce betwe5 or*e/ral conduct+ & *oral conduct+1 al?\gh !re is a va/ diff]5ce betwe5 or*e/ral & *oral tra9+ & rehe>s+4 ,x is n necess>y to give ! *orus a special ge/ure = ea* #cb;d note ( ! melodic l9e4 ,*orus memb]s w give a rhy?mical p]=mance ( a "w only :5 !y are made to feel ! ma9 pulsations ( ! movem5t1 & ?is c be accompli%$ only by us+ su* e/abli%$ ge/ures :i* cle>ly m>k ! fundam5tal rhy?m4 ,naturally1 su* ge/ures w easily be und]/ood by ! or*e/ral musicians z well z by ! *orus s+]s4 ,( c\rse1 ?is ref]s def9itely to ! conduct+ ( comb9$ or*e/ral & *oral =ces4 ,! conduct+ ( "p songs accompani$ or unaccompani$ calls = a some:at diff]5t treatm5t4 ,9 ,a ,capella music1 ! conductor usually disp5ses ) ! baton 9 ord] to ga9 m expressive fre$om ( bo? h&s4 ,9 comp>ison ) a *oral-or*e/ral composition1 ^! "p songs & polyphonic *oruses h b few individual p>ts & ! conductor is n s mu* conc]n$ ) ! actual beat+ ( "t z ) ! subtle indication ( int]pretative %ades & mean+4 ,nev]!less1 ! au?or believes t ! fundam5tal ge/ures are a suffici5tly compreh5sive basis = ! mo/ expressive type ( conduct+4 ,x is n ! purpose ( ?is *apt] to ent] into ! details ( *oral tra9+ & int]pretation4 ,^? subjects h be5 admirably treat$ by o!r writ]s & = ! *orus ma/] seek+ truly au?oritative advice 9 ^! matt]s1 ! foll[+ books are recomm5d$3 ,,c[>d--,*oral ,te*nic & ,int]pretation 7,novello7 ,,russell--,engli% ,diction 7,ditson7 ,,h5d]son--,! ,s+]'s ,art4 ,,mees--,*oirs & ,*oir ,music ,,s*weitz]--,ba* ,,newman ,,fl[]--,h&el ,,pyne--,pale/r9a ,d',,indy--,bee?ov5 ,,pruni]es--,montev]di ,! la/ five give invaluable h9ts on ! prop] int]pretation ( ! works ( _! respective subjects4 ,= tea*+ a *orus sight s++ & prop] vocal habits3 ,,fri$l&]-,,davison--,*oral ,ex]cises 7,pet]s ,ed47 ,,/a9]--,*oral ,society ,vocalization 7,novello7 ,,graveure-,,treh>ne--,sup]diction 7,g4 ,s*irm]7 ,?is la/ gives ! conductor highly valuable sugge/ions ( me?ods to obta9 correct & effective diction4 ,,*apt] ,,viii 8,,! ,,po9t ,,( ,,! ,,baton0 ,a collection ( significant p>agraphs by v>i\s au?orities on ! ,art ( ,conduct+4 8,rhy?m4 ,:at is rhy?m8 ,we all "k t music moves 9 beats or pulses1 & at regul> int]vals--say1 at e two1 ?ree1 or f\r beats--"s ( ^! are /ress$ or acc5t$4 ,x is ^! acc5ts :i* produce rhy?m2 !re=e rhy?m may be def9$ z a patt]n ( acc5ts1 or a phrase ( pulses made *>act]i/ic by ! effect ( its contra/$ /rong & weak acc5ts4 ,rhy?ms may be obs]v$ ev5 9 /atu>y & ar*itecture4 ,rhy?ms may be regul>1 z :5 !y foll[ ! "t-signatures2 & irregul>1 z :5 _m syncopations are introduc$40 99 99 99 99 99 8,"o ( ! di/+ui%+ features ( mod]n *oral te*nique is :at ,i t]m #8*>act]ization1' or realism1 ( ! s5tim5t express$ 9 ! music4444 ,contra/s ( tone-color1 contra/s ( diff]5tly plac$ *oirs1 contra/s ( s5tim5t--love1 hate1 hope1 despair1 joy1 sorr[1 brightness1 gloom1 pity1 scorn1 pray]1 praise1 exaltation1 depression1 laught]1 te>s--9 fact all ! emotions & passions are n[ expect$ to be del9eat$ by ! voice alone4 ,x may be said1 9 pass+1 t 9 fulfill+ ^! expectations *oral s++ has ent]$ on a new lease ( life4 ,in/ead ( ! cry be+ rais$ t ! *oral societies are doom$1 we %all f9d t by absorb+ ! elixir ( *>act]ization !y h r5ew$ _! y\?2 & :5 ! %all[ pleasures ( ! picture !atre & ! empty elem5ts ( ! v>iety %[ h be5 discov]$ to be unsatisfy+ to ! normal aspirations ( intellectual1 moral be+s1 ! social1 heal?ful1 /imulat+1 intellectual1 moral & spiritual uplift ( ! *oral society w be appreciat$ m ?an ev]40 99 99 99 99 99 8,! fir/ ?+ a conductor requires is self-reliance1 born ( ma/]y ( ! subject he has to conduct & confid5ce 9 himself4 ,if he is n]v\s & apologetic1 if1 :5 he makes a slip1 he feels cru%$ & w\ld l to s9k ?r\gh ! floor1 he _h bett] leave conduct+ alone4 ,x is ! confid5t1 n-to-be-daunt$ man :o is fit to be a lead] ( m540 99 99 99 99 99 8,! conductor mu/ take e precaution to make ! rehe>sals int]e/+4 ,! te/ ( a society's success is ! popul>ity ( ! rehe>sals1 & ! te/ ( ! rehe>sals is ! feel+ t if "o be n att5d$ some?+ 9 ! way ( enlight5m5t or pleasure has be5 miss$40 99 99 99 99 99 8,! man :o lacks tact is n fit to be a conductor4 ,tact is ! lubricant t keeps ! adm9i/rative ma*9]y smoo?ly work+ :5 heat & friction w\ld o!rwise arise40 7,f 8,*oral ,te*nique & ,int]pretation0 by ,c[>d7 ,novello 8,f9ally1 "o ^w m on ! art ( conduct+ itself4 ,m & m ,i h come to ?9k t :at decides ! wor? ( conduct+ is ! degree ( sugge/ive p[] t ! conductor c ex]cise ov] ! p]=m]s4 ,at ! rehe>sals he is mo/ly no?+ m ?an a workman1 :o s*ools ! m5 "u him s consci5ti\sly & precisely t ea* ( !m kn[s 8 place & :at he has to d !re2 he fir/ becomes an arti/ :5 ! mom5t comes = ! production ( ! "w4 ,n ev5 ! mo/ assidu\s rehe>s+1 s necess>y a pre-requisite z ?is is1 c s /imulate ! capacities ( ! play]s z ! =ce imag9ation ( ! conductor4 ,x is n ! transf]5ce ( 8 p]sonal w1 b ! my/]i\s act ( creation t call$ ! "w itself into be+ takes place aga9 9 him1 &1 transc5d+ ! n>r[ limits ( reproduction1 he becomes a new-creator1 a self-creator4 ,! m h[ev] 8 p]sonality disappe>s s z to get q beh9d ! p]sonality t creat$ ! "w1--to id5tify itself1 inde$1 ) ?is--! great] w 8 p]=mance be40 7,f 8,on ,conduct+0 by ,we+>tn]7 ,breitkopf ,hrtel 99 99 99 99 99 ,f ,grove's ,diction>y 8,def9ition--,! ^w #8conduct+' z us$ 9 a musical s5se n[ ord9>ily ref]s to ! activities ( an or*e/ra or *orus lead] :o /&s be=e a gr\p ( p]=m]s & gives 8 entire "t & ef=t to direct+ _! play+ or s++1 to ! end t a musically effective ensemble p]=mance may result4 8,?is is accompli%$ by means ( c]ta9 conv5tional movem5ts ( a sl5d] /ick call$ a baton 7usually held 9 ! "r h&71 z well z ?r\gh su* *anges ( facial expression1 bodily po/ure1 et cet]a1 z w convey to ! s+]s or play]s ! conductor's wi%es conc]n+ ! r5dition ( ! music40 99 99 99 99 99 8,s*umann 0 sadly want+ 9 ! real tal5t = conduct+4 ,all :o ev] saw him conduct or play$ "u 8 direction are agre$ on ?is po9t4 ,irrespective ( ! fact t conduct+ = any l5g? ( "t tir$ him out1 he _h nei!r ! collect$ness & prompt pres5ce ( m9d1 nor ! sympa!tic faculty1 nor ! ent]pris+ da%1 )\t ea* ( :i* conduct+ 9 ! true s5se is impossible4 ,he ev5 f\nd difficulty 9 />t+ at a giv5 tempo2 nay1 he ev5 sometimes %rank f giv+ any initial beat1 s t "s en]getic pione] w\ld beg9 )\t wait+ = ! signal1 & )\t incurr+ ,s*umann's wra?6 ,besides ?is1 any ?or\gh practice1 bit by bit1 ) 8 or*e/ra1 ) in/ructive rem>ks by ! way z to ! mode ( execution1 0 impossible to ?is great arti/1 :o 9 ?is respect 0 a /rik+ contra/ to ,m5delssohn4 ,he w\ld h a piece play$ ?r\gh1 & x did n answ] to 8 wi%es1 h x repeat$4 ,if x w5t no bett] ! second or p]haps ?ird "t1 he w\ld be extremely angry at :at he consid]$ ! clums9ess1 or ev5 ! ill-w ( ! play]s1 b detail$ rem>ks he nev] made40 ,x mu/ n be imag9$ t if "o is =tunate en\gh to acquire ! /yle ( h&l+ ! baton :i* we h be5 advocat+1 "o w at once a*ieve success z a conductor4 ,! factors ( musical s*ol>%ip1 p]sonal magnetism1 et cet]a1 m5tion$ 9 prec$+ pages1 mu/ /ill con/itute ! real f\ndation ( conduct+4 ,b grant+ ! pres5ce ( ^! o!r factors ( end[m5t & prep>ation1 "o may (t5 a*ieve a high] degree ( success if "o has develop$ also a well-def9$ & easily-foll[$ beat4 ,x is = ?is reason t ! te*nique ( "t-beat+ is wor?y ( "s degree ( s]i\s inve/igation & ( a reasonable am\nt ( "t sp5t 9 practice ^u x4 99 99 99 99 99 ,z quot$ f ,wagn]-- 8,! :ole duty ( ! conductor is compris$ 9 8 ability always to indicate ! "r tempo4 ,8 *oice ( tempi w %[ :e!r he und]/&s ! piece or n4444 ,! true tempo induces correct =ce & expression4444 8,obvi\sly ! prop] pace ( a piece ( music is det]m9$ by ! p>ticul> "* ( ! r5d]+ x requires4 ,! "q !re=e comes to ?is3 ,does ! su/a9$1 ! cantil5a1 pr$om9ate1 or ! rhy?mical movem5t8 ,! conductor %\ld lead accord+ly40 99 99 99 99 99 ,z quot$ f ,we+>tn]4 8,he %\ld "k x 7! score7 s ?or\ghly t dur+ ! p]=mance ! score is m]ely a support = 8 memory1 n a fett] on 8 ?\ght40 99 99 99 99 99 8,a good rule to foll[ is ?is3 #8,talk little at ! rehe>sal1 b :5 y d talk1 be sure t e "o li/5s4'0 7,f 8,ess5tials 9 ,conduct+0 by ,gehrk5s47 ,oliv] ,ditson ,company4 99 99 99 99 99 ,rem>ks by ,dr4 ,h4 ,kretzs*m> 8,ev]y?+ dep5ds ^u ! "q z to :o /&s at ! head & h[ ! rehe>sals are conduct$4 ,:]ev] "o piece aft] ! o!r is dispos$ ( ) ! aid ( piano ?ump+1 s++ mu/ soon come to an end4 ,! tra9+1 or at lea/ ! sup]vision ( ! individual memb] mu/ =m ! f\ndation ( *oral activity1 & ! p]=mance & /udy ( accompani$ compositions mu/ con/itute only half ( ! "w4 ,con/ant practice 9 a capella s++ is indisp5sable4 ,x is ?is t tra9s ! e> & tea*es vocalisation j z well z1 if n bett] ?an ! /udy ( solos 9 :i* half ! faults are hidd5 & half ! tr\ble sav$ = ! less gift$ by ! piano4 8,a *oral society :i* n[ & !n s+s a few movem5ts by ,pale/r9a or a f9e madrigal w give a m beautiful p]=mance ( a ,h&el oratorio ?an "o ^: s5se = tone has n be5 indep5d5tly awak5$40 7,z quot$ 9 8,*oirs & ,*oral ,music0 by ,ar?ur ,mees7 99 99 99 99 99 8,a ,conductor :o desires to organize a *oral society mu/ be> 9 m9d3 ,fir/--t he ne$s to make _m fri5ds2 !n to d all 9 8 p[] to keep !m2 ,second--t he mu/ expect active opposition f o!r pr(essionals1 passive resi/ance f lazy s+]s1 & disc\ragem5t f a consid]able class ( p :o nev] c see h[ any?+ wor? :ile 9 *oral music c be done 9 _! community4 ,!y are sometimes #8dog-9-!-mang]' p2 usually pessimi/s4 ,?is la/ m5tion$ class 7! pessimi/s7 are p]haps ! mo/ dang]\s ( all4 ,!y %\ld be c>efully kept out ( ! ranks ( ! society1 = _! conv]sation & mann] are mo/ demoraliz+4 ,"o su* memb] c d m to kill a society ?an half a doz5 en?usia/s c d to keep x alive4 ,! ,conductor1 z organiz]1 %\ld be> 9 m9d t ! indol5t may be /irr$ ^u & possibly conv]t$ into will+ & effective work]s4 ,if ! ,conductor is made ( ! "r sort ( mat]ial ! pessimi/s w n disc\rage him1 :ile ! jeal\s opposition ( o!r pr(essionals w b /ir him to great] ef=ts40 7,f 8,*oir & ,*orus ,conduct+0 by ,f4 ,w4 ,wodell7 99 99 99 99 99 8,rememb]1 9 conduct+1 t y\r ?\ght & ge/ures w almo/ c]ta9ly be too late r ?an too e>ly4 ,anticipate ev]y?+4 8,:5 actually conduct+ nev] ?9k ( te*nique2 x is loo late by t "t4 ,x is y\r job to impress :at y want on ! or*e/ra & *oir someh[4 ,h[ y d x is a matt] = consid]ation aft]w>ds1 or bett] /ill1 be=eh&40 99 99 99 99 99 8,a great _m qualities are ne$$ to conduct rehe>sals successfully4 ,! two mo/ important ?+s are to see t ev]ybody is happy & com=table & to wa/e no "t4 ,nev] /op ! or*e/ra to say :at y c %[ ) a ge/ure4 ,if a passage is go+ v badly1 p]sev]e ) x to ! end ( ! section1 !n po9t out all ! mi/akes & take x "r ?r\gh aga9 if !re is "t4 ,cont9ual /oppages irritate ev]ybody & wa/e a great deal ( "t40 99 99 99 99 99 8,an enorm\s am\nt ( "t 9 rehe>s+ c be sav$ by prep>ation ( ! copies1 & "h ! conductor mu/ nev] sp>e 8 own "t 9 see+ t ! p>ts1 if 9 manuscript1 are cle> & _! expression m>ks uni=m1 t ! lett]+ is consi/5t & t ! lett]s are 9 places :]e !y w be want$ = rehe>sal4 ,ev]y?+ possible %\ld be m>k$ 9 ! p>ts be=eh&4 ,x is almo/ always ! conductor's fault if he has to ask ! or*e/ra to m>k any?+ at a rehe>sal1 unless he has unlimit$ "t = ?is40 7,f 8,a ,h&book on ! ,te*nique ( ,conduct+0 by ,adrian ,c4 ,b\lt47 ,,bibliography ,,books ,,ess5tial ,,to ,,! ,,broad] ,,musical ,,culture ,,( ,,! ,,conductor ,,on ,,conduct+ 7,g5]al7 ,,gehrk5s3 ,ess5tials 9 ,conduct+ ,o4 ,ditson ,,s*ro$]3 ,h&book ( ,conduct+ ,aug5] ,,wagn]3 ,on ,conduct+ ,reeves ,,we+>tn]3 ,on ,conduct+ ,breitkopf ,hrtel ,,b]lioz3 ,! ,or*e/ral ,conductor ,c>l ,fis*]1 ,inc4 ,,b\lt1 ,,adrian3 ,a ,h&book on ! ,te*nique ( ,conduct+ ,reeves ,,e>h>t3 ,! ,eloqu5t ,baton ,witm>k ,,s*mid3 ,! ,language ( ! ,baton ,s*irm] ,,s*]*53 ,h&book on ,conduct+ ,ox=d ,,on ,,score ,,read+ ,,gal1 ,h43 ,directions = ,score ,read+ ,philh>monia ,,riemann1 ,,hugo3 ,introduction to ,play+ f ,score ,aug5] ,,morris-,,f]guson3 ,prep>atory ,ex]cises 9 ,score ,read+ ,ox=d ,,on ,,*oral ,,conduct+ ,,c[>d3 ,*oral ,te*nique & ,int]pretation ,novello ,,wodell3 ,*oir & ,*orus ,conduct+ ,press] ,,br5nan3 ,words 9 ,s++ ,v9c5t ,music ,co4 ,,coleman3 ,amateur ,*oir ,tra9+ ,ox=d ,,coleman3 ,conduct+ = ,wom5's ,in/itutes ,ox=d ,,on ,,in/rum5tation ,,=sy?3 ,or*e/ration ,macmillan ,,jacob3 ,or*e/ral ,te*nique ,ox=d ,,kl+3 ,mod]n ,or*e/ration & ,in/rum5tation ,c>l ,fis*]1 ,inc4 ,,hi/ory ,,( ,,music ,,pratt3 ,! ,hi/ory ( ,music ,s*irm] ,,dick9son3 ,! ,/udy ( ! ,hi/ory ( ,music ,scribn] ,,colles3 ,! ,gr[? ( ,music ,ox=d ,,/an=d ,,=sy?3 ,a ,hi/ory ( ,music ,macmillan ,,p>ry3 ,! ,evolution ( ! ,art ( ,music ,appleton ,,bau] ,,peys]3 ,h[ ,music ,grew ,putnam ,,had[3 ,ox=d ,hi/ory ( ,music 7#g ,vols47 ,ox=d ,,p>khur/3 ,beg9n+s ( ! ,_w's ,music ,c>l ,fis*]1 ,inc4 ,,s*oles3 ,m9iature ,hi/ory ( ,music ,ox=d ,,biography ,d',,indy3 ,bee?ov5 ,bo/on ,music ,co4 ,,bekk]3 ,bee?ov5 ,dutton ,,?ay]-,,krehbiel3 ,bee?ov5 ,g4 ,s*irm] ,,p>ry3 ,ba* ,putnam ,,spitta3 ,ba* ,novello ,,h5d]son3 ,wagn] ,putnam ,,jahn3 ,moz>t ,novello ,,newm>*3 ,t*aikovsky ,*e/] ,,engel3 ,alla ,breve--,?umb ,nail ,sket*es ( ! ,great ,compos]s ,g4 ,s*irm] ,,pruni]es3 ,montev]di ,dutton ,,t]ry3 ,ba* ,ox=d ,,wotton3 ,b]lioz ,ox=d ,,gray3 ,sibelius ,ox=d ,,bonavia3 ,v]di ,ox=d ,,closson3 ,! ,flem+ 9 ,bee?ov5 ,ox=d ,,br5et3 ,haydn ,ox=d ,,int]pretation ,,mat?ay3 ,musical ,int]pretation ,b4 ,m4 ,c4 ,,appreciation ,,& ,,analysis ,,erb3 ,music ,appreciation = ! ,/ud5t ,g4 ,s*irm] ,,s*oles3 ,! ,li/5]'s ,guide ,ox=d ,,mason3 ,f ,song to ,symphony ,ditson ,,gehrk5s3 ,! ,fundam5tals ( ,music ,ditson ,,som]vell3 ,! ,musical ,pilgrim ,h&books ,ox=d ,,ang]3 ,musical ,=m ,v9c5t ,,calvocoressi3 ,musical ,criticism ,ox=d ,,s*oles-,,e>h>t3 ,book ( ,great ,musicians 79 #c ,vols1 or cplt4 9 #a ,vol47 ,ox=d ,,we/3 ,sign ,po/s to ,music ,c>l ,fis*]1 ,inc4 ,,we/3 ,"w ,book to above ,c>l ,fis*]1 ,inc4 ,,h>mony ,,kitson3 ,! ,evolution ( ,h>mony ,ox=d ,,b>nes3 ,practice 9 ,mod]n ,h>mony ,ox=d ,,p>khur/3 ,complete ,sy/em ( ,h>mony ,c>l ,fis*]1 ,inc4 ,,rimsky-,,korsak(f3 ,practical ,manual ( ,h>mony ,c>l ,fis*]1 ,inc4 ,,s*oles3 ,beg9n]'s ,guide to ,h>mony ,ox=d ,,c\nt]po9t ,,kitson3 ,! ,art ( ,c\nt]po9t ,ox=d ,,kitson3 ,appli$ ,/rict ,c\nt]po9t ,ox=d ,,morris3 ,contrapuntal ,te*nique 9 ! #af? ,c5tury ,ox=d ,,pr\t3 ,c\nt]po9t1 ,/rict & ,free ,aug5] ,,pr\t3 ,d\ble ,c\nt]po9t & ,canon ,aug5] ,,g5]al ,,hamilton3 ,s\nd & ,its ,relation to ,music ,ditson ,,buck3 ,! ,scope ( ,music ,ox=d ,,maddy ,,gidd+s3 ,in/rum5tal ,te*nique 7= ,s*ool ,b&s & ,or*e/ras7 ,willis ,,john/one3 ,in/rum5ts ( ! ,mod]n ,symphony ,or*e/ra & ,b& ,c>l ,fis*]1 ,inc4 ,,jacob3 ,musical ,h&writ+ ,ox=d ,,lloyd3 ,music & ,s\nd ,ox=d ,,table ,,( ,,cont5ts ,,*apt] ,i ,a ,brief ,outl9e ( ! ,developm5t ( ,conduct+ #a ,,*apt] ,,ii ,! physical aspect ( ,conduct+--analysis ( arm & h& movem5ts us$ 9 conduct+4 ,a me?od = ga9+ complete ma/]y ( ! arm & h& ge/ures by means ( practic+ rhy?mo-gymna/ic ex]cises4 ,diagram ( ex]cises & illu/rations ( ! v>i\s h& & arm movem5ts #h ,,*apt] ,,iii 7,a74 ,! g5]al attitude ( ! conductor1 ,t5 ,g5]al ,rules #bb 7,b74 ,illu/rations ( ! five fundam5tal positions us$ 9 conduct+ #bc 7,c74 ,diagrams ( ge/ures us$ 9 conduct+1 ) music illu/rations ( _! application #bh 7,d74 ,! function ( ! left h&4 7,left h& signals7 #ed 7,e74 ,sugge/ions = practice #ed ,,*apt] ,,iv ,"s ,basic ,problems ( ,baton ,te*nic4 ,! 8attaque0 7/>t71 ! 8conclusion0 7release71 ! 8f]mata0 7hold71 subdivision ( beats1 brea?+ places1 phras+ #ef ,,*apt] ,v ,"s ,special ,problems ( ,baton ,te*nic4 ,alla breve or f\r-f\r8 ,phrase-gr\ps 9 fa/ "o-9-a-b> "t4 ,unev5 measures 9 "o-9-a-b> "t4 ,me?od ( practis+ complex rhy?ms4 ,fractional "t4 ,on ! conduct+ ( ,waltzes4 ,extract f ,b]lioz' 8,or*e/ral ,conductor0 #fg ,,*apt] ,,vi ,h[ to ,prep>e a ,score #hi ,,*apt] ,,vii ,! ,te*nic ( ! ,baton 9 ,*oral ,conduct+ #ie ,,*apt] ,,viii ,! ,po9t ( ! ,baton #ig ,collect$ ,op9ions ( ,not$ ,au?orities on ,conduct+4 ,,bibliography #aja