I was at an orchestral music course last week, and went over to the dark side for a couple of sessions - as a conductor.
I conducted a run-through of my own reduction of the Brahms Serenade in D, arranged for 13 wind instruments, and then on another afternoon, took a session conducting the Mozart Gran Partita serenade. Conducting is fun! The power! :-) You change a bit the way you wave your right arm, and people play differently, they get faster or slower, louder or softer. Not just 1 player, but lots of them, all at once! :-) And you don't have to worry about accidentals! I've done very little conducting myself, but have played under a great many conductors, including one or two from the top rank. Before I took up the stick last week, I had a think about what I have found makes a good conductor for amateurs and/or students. (I wouldn't presume to know what makes a good conductor of professional musicians.) This is what I came up with and tried to apply during last week.I've decided to share it for the benefit of any students who might want to do some conducting. If any more experienced conductors want to add to the list or correct anything they think is wrong, then feel free to do so. 1. You must have a clear beat. In particular, the downbeat has to be easily distinguishable from the other beats, and your arm must keep moving in some reasonably predictable way so that when doing accels or ralls, the players can easily see by how much you are speeding up or slowing down. 2. People like to play. So let them. Speak as little as reasonably possible and conduct as much as possible. In many cases, fluffed notes and entries can be sorted just by running the passage again, if necessary more slowly once or twice to let people overcome panic over a difficult passage. Dynamics can often be handled on the fly either by a larger or smaller beat, by gestures with the left hand to players concerned, or by a quick word while continuing to play. Only in relatively rare occasions do you need to stop and talk to the players about what they should play, for instance to assure players that they really are supposed to be off the beat relative to their neighbours. 3. If someone gets lost, if at all possible try to help them back into place without stopping the whole group. That can be by giving them a clear cue at their next entry, singing their part for a bar or two or calling out a rehearsal letter when it comes up. If they get repeatedly lost at the same point, briefly point out some musical landmark they can use for navigation before running the passage again. 4. When asking for changes in how people play, describe them as that - changes. There's usually no need to say they were playing wrong, even if they were. Protect their dignity by phrasing it in terms of how you want it in order to get the best from the group as a whole. This applies particularly when asking people to play quieter. Where necessary, blame the composer for writing inappropriate dynamic markings (unless he/she is alive and present!). 5. When starting a piece or a movement for the first time, announce the speed and the beat before you start, and if it changes partway through the movement, say at the start what you intend doing at that point, or call it out a few bars ahead while playing. 6. As far as familiarity with the piece will allow, look as little as possible at the score and as much as possible at the players. Particularly at entries, players are incredibly reassured by a bit of eye contact when playing. 7. Be encouraging. Take the trouble to praise a particularly good bit of playing by an individual, a section or the group as a whole, or a significant improvement in a previously dodgy passage. People like to be told when they have finally started to get things right. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
