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Mastery
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This section contains musical exce{pts that are rnore complete and generally more
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complex musically, if not technically, than those included with the chapters. They are
) designed to challenge student conductors yet rernain playable by performers in a
classwith limited instrumentation. Students are encouraged to analyze, conduct, and
) rehearsethese exceqptsto demonstratemasteryof the conducting competencies.
) Students should apply tlieir knowledge of historical periods and perfor-
mance practice to the compositions they conduct. By studying Appendix F,
) "Musical Stqle Chaft," and other more complete historical style sources,students
a can work toward a valid musical interpretation. They should demonstrate their
knowledge of musical expressionthrough conducting. By studying Appendix H,
a
, ExpressioeConduaing, they can strive for a more musical and meaningful perfor-
a mance of the excelpts.
, Students can use the presentations and assignments in Chapter 12 as
a
, models for the three-step approach to analysisand score preparation.
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7
M-l Symphonyno. 78, ftrst movement J. HlroN
Conduct Vioace in one with a staccato prep and beat. Prep the subito changes of dynamics and style in the rests with your left
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r hand (mm 4, 5). Refer to Chapter g, Subito contrasts. Cue the bass line (m f 0). The rhythm of part I (top staff, m 7, beat 3) is
performed as four sixteenth notes. Start the trill (part Z, m 7) from above on the trill note. This excerpt can be conducted in

tr three to work out any difliculties.

Vivace

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O Inmm Gottesunchulcling
M-2 ChoralePrelude, J. Pecrnr,nnr
typ_eof cue for eachentrance'
This is a wonderfulexampleof Baroquestyle.Studyit carefully,decidingthe mostappropriate
hJIp p".for*"n play s6me tricky syncopltions.Do not atternptto give off-
Keep your beat steadyu,'6 y;"; p"ttl* cie"r to

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b"utr.'S"" Chapter9,'syncopatioi,ffieat accents,oid onbrot cues.Standtall andbe a

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M-3 Concerto Grosso in D Minor A. Vrver-or 9
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Begininasloweight,holdingon{ive.Releaseandpause (caesura)aftereacltfennata,IJseatwo-count,four-one,dead-live
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preiparation (m 4)lvhile facirig the bass-line players. Conduct this Allegro as a stately, Baroque movernent, not as a Classical t{.
io-p. fo. Baroque style, have players r"p"r"t" the quarter notes but not the sirteenth notes. (Refer to Appendix F, Baroque
Pedonutnce Praaice.i Use a crisp, unprepared downbeat to cue each entrance on the of{beat. Maintain eye contact and lead. t-a
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'fhis Andante should stroll along unhurried rvhile you conduct the expressivephrasing and dynarnic contrasts.Slightly hold vj
back tlre plrraseending (m 5) to resolvethe half cadence;then give a quick crescendoto forte o tenryo (m 6). Again, hold back
tlre atrtlrentic cirdence(m 10) to resolve fully on the eighth note. Use your left hanclfor the subito dyramic changesand nu-
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- M-5 Symphony no. 5, third movement, Menuetto
F. Scnunnnr
Conduct as a scherzo in one that begins in aforte-mnrcato style. Use
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J nbito-piano staccato with your left hand after the downbeat
im 4). Note that thefp is to be played as an accent at the piano
level; do not let the musicians overdo it. The overall effect should
alternate betweenforte nrnrcato and.pianostaccato, then
crescendn (m 19) toforte ntnrcato.

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254 Musical Excerpts

M-6 OrlandoPalanclrinoOverture
J. Heron
Conduct ablazingforte fitllstaccato until rn 8, where you give the count ofone as a release gesture and stop. Since
the ternpo
is established,conduct a one-count prep to resurle (m 8), using apiano s;,ncopationgesturein tempo on
count two. Conduct I
lig:htstaccato(mm 9-16); the musicianswill play thelegato no-t"r'", alegati stylewill tend to lose the
characteristic lilt and will not keep the accompaniment moving.) -a.k"d.lcondicting {
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This Adagioservesas a very expressiveintroduction, with its chromatic
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ment that follows in the cJmpiete composition 1r"" n*l"1pt 6-3). conduct
Iouder than the pianocontext-a slight sting, not an explJsive attack. Employ
in a very slow three, and play the s/only slightly
yor-t. l"ft hand throughout for dlmamics and l
the lower parts (m 5), and work for expression'
nuance. you may choose the cut-prep or caesura-ty,pt.fir^oto. cue "tti"ti.tg :
balance. and blend.
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H A charmingand clevermovetnenttypicalof Haydn.


Rernemberhow to conductpick-upnoteson the
J. HA'DN
countof two in a two
f meter:Treat the two pattern asyou would the three
the samemodifiedpreparatoryposition,arc to the
or four pattern;ao not rr" a straightdownbeatfor
the prep; that is, use

r staccatotwo pattern Placethe gracenotesbeforelght


staccatos"with separationin the stringsense-s
asy,i, l*",rr" t", startthe ,r,r!i" o,.,the last count,
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then beat a light-
playersshouldperform the,,sluied.
H do not rush the tempo,andput abit olftenutoon
taccatoplayedin ,rr"?*" J.""tion of bow-- notas
legatotonguing. However,

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258 Musical Excerpts

Itd-9 EnigrnaVariations,"Nirnrod" E. Ercen


This beautiful excerPt consists oftwo long phrases. The expressivechallenge is to pull and shape the long line. you are a con-
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260 Musical Excerpts

M-ll Tristanand lsold.e,


Prelude
A wonderful,expressive challengein a slowsix,Iegatostyle.Handscenteredfor prep position;swingto the right for prep beat.
Useyour left handto conductthe dynamicshadings.Cue enteringparts,and phrasethe expressive musicalline asit movesto
t}le climax(m I7). Be a leader:intensifu!

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A wonderful excerptto practiceexpressiveconductingand phrasemovement.The openingB-flat trumpet solo need not be
conducted,only signaledto start,but cue and conductthe bassline. The expressivenuances(mm 14-18) leadinto the theme
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(m f 9). Conduct a "hanging"rubato for the first two phrasesof the theme (mm 19-26)with expressivenuances(mm 22 and 1
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26). The followingphrasesrequire a "push-on"rubato.Referto Chapter lL, Rubato.Useyour left hand to control the expres-
sive dynamics,and give a clear phrasingbeat for everyphraseending.
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MusicalExceryts

G. Vrnor
This piece is operatic, drarnatic, and very expressive.Execute phrase endings with a diminuendo and subtle releasegesture,
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and conduct neutral beats for the rests. Make sure you achieve a four-measure phrase (mm S{); do not allow a break after the
dotted lralf note (m 6). Keep up the expressiveintensity through the measure. The staccato notes at the cadence (m 7) release I
the tension; conduct them. Give a subito fortissinw on the "and" of count four, and watch for correct rhythrns at the fanfare I
(mm 9-12). Use a divided pattern (measure before Allegro) as you ritard. The Allegro is conducted in two. You should be able
to start the group on count two with one soft, staccato prep.
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266 Musical Excerpts
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M-f4 Symphonyno. I in C Major,secondmovement G. Bvnr
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To beat nine, use the three pattern pulsatingthree times on eachcount: 111222333,stroke-wrist-wrist,stroke-wrist-wrist,
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Conductthe nuancewith the left hand,and cuet}reentranceon beatsixwith a headnod. Balancethe parts.
stroke-wrist-wrist.
(Youmay haveworked out theseintroductorymeasuresasExcelpt 5-5.) Keep the accompanimenttogetherduring the oboe
solowith a clearstaccatobeat.
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M-15 CarminaBurana,"UfdemAnger' C. Onm


W hat awon d e rfu l c o n d u c ti n g e x p e ri eTnhceie!ntroducti oni ssl ow ;beatml andm2i ntw o,mS i ndoubl e-ti m et hr ee, and
m 4 in double-timetwo. To keepthe eveneighthnotesofthe introductionin mind, you canthink 12341234L2312 at eighth- T
note speed.Referto the asymrnetrical countingdrills found in AppendixE to count out the rhythmsof theAllegro.When you
feel securewith rhythm and tempo,signalthe subitopiano (m 15) and thesubitofortissinn (m 25). T
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l,l-16 The Sold:ier'sTale,"Creat Chorale" I. SrnAvrNsril


Intelpret this music asyou would a Bach choralewi& a breath pause,cut-prepfermata. In the stagedpresentationof this
work,wordsare reciteddunngthefermnfi. Noticethat the dissonantharmonictensionin eachphraseis resolvedat thefemtata
by a consonantmajor chord.Analyze,Iisten,and tune.

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M-18 "The Star-Spangled
Banner" Tneorrrouer,, Wonos rv F. S. Krv
Most conductors will be required to lead the National Anthem many times in their careers. However, this piece almost deffes a
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musical interpretation. Conduct at least four-measure phrases; to be more musical, try for eight-measure phrases. Start with a t
solid nurcato style and then an expressivelegato in the B section for contrast. Use your left hand for shading, and give a subito
forte nwrcato prep into m 25. The cutgep is the most appropiatefermata. SeeFigureT-2. i
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