Introduction

The conducting practice more then other performing activities endures from extreme incongruities. The confusion is provoked by the bewilderments between the evident, and non-evident (hidden) elements of manual leading which originated by the dissimilarities of perception. Primarily, this inequality based on observer’s individual experience, artistic standards, and values rather then on the notion of rules of human interaction. Nowadays the predominant methodology based on artificial and enforced modes which were acquired, and preserved since the end of the eighteenth century. The existence and growth of predicaments in the orchestral milieu indicates the inner fundamental controversy and practical contradiction. 

"Emphasizing the beat by ‘clicking’ . . . . This is sharp, quick wrist motion, which speeds up the movement of the baton just before reaching a count. "

Max Rudolf, The Grammar of Conducting

The two centuries of manual orchestral leading revealed that the tradition of conducting “on the beat” (as an inherited “silent” rudiment of the audible time-beating) is subject to a variety of severe practical and artistic shortcomings. These become particularly obvious throughout the twentieth century with the increasing quality of symphony orchestra’s, which is facilitated by the musicians’ early acquaintance with the orchestral repertoire since youth through professional academic training in ensemble and orchestral “techniques” etc.

Some conductors of the past intuitively noted such shortcomings with an attempt to overcome the limitations of striking “on-the-beat”:

Arthur Nikish "… was conducting always before the time. That was the first example of what happened later with Furtwangler, who gave the beat and the moment after came the playing."

Conversations with Conductors, Ernest Ansermet

Today, all manually guided ensembles perform more or less afterward the beat-strike in order to have the ability to congregate and process the gesture. Some orchestras have a long tradition of considerable time-lag before appear with the sound (Berlin Philharmonic, St. Petersburg Philharmonic).

Despite insistent order to cope the occurrence of the sound with the beat-strike, in reality it is proceeded only at the start of the play - practically in the mode of anticipation of strike - and then to denote that orchestra  performing “ahead” of conductor’s actions, which defeats the purpose of the conductor! Such a “reality” imposes a permanent inner discomfort and oblige musician to switch their attention to orchestra‘s “hidden“ leaders - concertmaster, section principal or soloist. As a result, the “real” outcome of the musician’s inner discomfort and stress is heard in a rigid, harsh and unbalanced sound.

“ … Physical energy is anti-musical: music, the art of the spirit and spiritual tensions, cannot endure physical energy an end in itself.”

Heinrich Scherhen, Handbook of Conducting

“I was touched through my heart by one known saying: ‘The Art - it is something with absence of strain.’ ”

Bruno Walter, About Music and Musical Performance

The exact occurrence of temporal interval between the conductor’s action and the sound is the existence of the phase in natural human reaction on the visual stimulus required for the assessment of the motion originated by the conductor and the execution of ensemble’s combined response. The presence of temporal interval revealed the necessity to adjust the conducting methodology and to disclose conducting as a specific image-formative action.

Nevertheless the existence of such a seemingly obvious phenomenon as a “time-interval” is still widely disallowed by the protagonists of the “enforced” tradition. Such controversies are due to the lack of comprehension of natures of the conducting practice as an interactive process.
For developing a suitable accomplishment of anticipated techniques the suggested material requires a deep consideration. However it is necessary to caution that recommended technical approaches do not intend to be tide only to a certain musical material. As was noted by Nikolai Malko that, “a conductor’s gestures, even the most “masterly” ones, taken separately have no practical significance“

Nikolai Malko, The Fundamental Techniques of Conducting.

The direct connection between “illustrative” manifestation of arm movements and demonstration of the conductor’s expressive inner intentions is rather uncertain. For conducting non of any techniques, approaches or modes being taking separately are having predominant significance.

“Important the interconnection of all expressive elements possessed by conductor. As well as a certain musical occurrences which will conditioned the gesture’s perception in certain ways or meanings.”

Ilia Musin, The Technique of Conducting

Following lectures suited to assist in obtaining manual and mental practical techniques of anticipation. By acquiring this technique, partaker will be able to establish an artistically productive conductor-via-orchestra interaction, which becomes crucial for the conductor’s successful career. 

The External Apparatus

This chapter signifies the importance of suitable posture and a primary arms position for establishment of conductor’s external (manual) apparatus. 

“The apparatus includes typical motions meaningful as a basic for all modes of conducting techniques. The establishment of the apparatus entails of the development of such motions, which are the most rational, natural and based on the inner physical (muscular) relaxation. The arms and their diverse movements systematized in harmoniously shaped system are the means of apparatus by which conductor leads the orchestra. However the mimicry, body and head posture, and even feet disposition are not indifferent for conductor.”

Ilia Musin, The Technique of Conducting

 In fallowing chapters the apparatus will be revealed as an external component of the complex of interactive modes and techniques, which are characteristic for advanced methodology. 

Body Posture 

The body posture is an important part of conductor’s apparatus. The exercises presented in this chapter assist to locate a balanced and vertically stabilized body position, which facilitates body in appropriate posture. Practical accomplishment of those exercises assist to find an expressive body statue and to eliminate or avoid excessive tension. 

“Commonly known that person’s outward appearance and posture witness the mental abilities, emotional statue and temperament. The conductors outward appearance has to represent the possession of will, activity, determination and energy.”

Ilia Musin, The Technique of Conducting

Primary Arm Position

This chapter will disscuss the fundamental importance of proper positioning of arms. The suitable setting of arms position is an important part of conductor’s apparatus and a pledge of natural balance, physical freedom and the customary essence of the gestures.

Down-beat Position

The exercises presented in this chapter assist to find a balanced and suitable arm's primary position.  

“The arms position has to be median, that will grant an opportunity to perform motions to any side - up, down, toward and outward the body.”

Musin Ilia, The Technique of Conducting

Though there is a methodology suggesting a down-beat placed at the “center” of abdomen. Avoid the down-beat position when arm fully or partially covering your chest or abdomen. The interactive importance of arm’s linear position and presence of uncrossed chest is discussed in Chapter - Inner (Mental) Interactive Techniques of Conducting. At the end of each exercise there is a test given to check arms for excessive tension. Such examination is valuable for tension release and an re-assessment of active muscular relaxation.

Motion for Beats Connection (legato motion)

This chapter assist in establishing control over the wrist, which is the most flexible and agile part of the arm. 
“During conducting the arm works as a harmonious and well-coordinated apparatus where all part of it interacted with each other. Any motion of one or other part of arm can not proceed without participation of other parts. The most isolated (as could be seemed) wrist motion always supported by fore-arm and shoulder. Therefore seemingly isolated motion of wrist or fore-arm are rather just dominating throughout the motion. Each part of the arm has its own expressive potentials and specific functions.”

Musin Ilia, The Technique of Conducting

“The wrist is a transformer of a various impulses, gentle motion senses, which allows to decode conductor’s musical intentions into expressive gesture.”

Musin Ilia, The Technique of Conducting

For better result after every exercise in this lecture use the active relaxation exercise from Chapter - Active Muscular Relaxation.

Beats Connection (legato motion) throughout the Schemes

This chapter include exercises for beats connection within a schemes of conducting. 

Baton

The depiction of the conductor’s external apparatus will not be fulfilled without mentioning the baton. The baton’s technique has be so absolute that it should become the “live” element of the rest of arm as if it will be an extended part. The various position of baton will be disscussed in this chapter.

Vicinities of Sound

The occurrence of definite temporal interval between the action of the conductor and the sound... . The functional implication of such phenomena is principal for successful interactive conducting practice. This chapter disscussess the most crucial fact in modern conducting practice.

The Upbeat

The unity of ensemble, precision and embodiment of conductor’s artistic intensions entirely depends on significance, precision and definition of preparatory motion. This chapter will reveale the practical importance of various up-beats.

Beginning Primary Upbeat 

Differentiation of Doubled and Tripled Beginning Up-beats

Doubled Upbeat

Tripled Upbeat

Schemes of Conducting and the Inside-of-Scheme Upbeat

Suspended Upbeats

Converted Suspended Upbeat

Converted Upbeat

Various “Dimensions” of Conducting

In this chapter the use of various conducting “dimensions” will be discussed.

Inner (Mental) Interactive Techniques of Conducting

Paradoxically enough but traditional methodology mostly concentrate on external (visual) part of conducting - pattern of schemes, different kind of movements etc. In accordance with canons of human intercommunication the external (visual) act is a manifestation and extension of conductor’s mental activity (“mental” apparatus). Despite the visual complexity the manual apparatus is an important but still a secondary (sub-ordinary) part of conductor’s actions - similarly as tang and mouth serve as a physical “decoder“ of thoughts). Thus the assertion that -conductor conducts by the hands - incorrectly defines the complexity of action (despite the visual indisputable “reality“ of such fact).

Location of spot of orchesra's attention “gathering”

 Interactive modification of conventional schemes 

Advancing (anticipation) mode

The circle of interaction

Active Muscular Relaxation

For further assistance in obtaining the practical knowledge of interactive techniques interested colleagues may participate in our workshops. The dates for such events can be found on our web-site. If you would like to access to the rest of the lectures please proceed with the following information for payment.

Complete set of Lectures for 75 US Dollars
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