Over: we {n this chapter, you are instructed to conduct divided patterns in simple and compound meters. You also lear traditional and effective applications of beat division in relation to major pattern counts. CONDUCTING DIVIDED METER ‘comperency 7 A conductor should conduct beats rather than attempt to beat out the rhythm of ceppiatrte beat divisions tn notes, even in the slowest tempos. Therefore, you should resort to dived pat- ‘imple end compound meter” terns only when the tempo is too slow to maintain a steady, regular flow of the main counts INSTRUCTION Employ divided patterns to achieve clarity and intensity of shythmic flow for slow movements, traditional adagto introductions, and for passages where the tempo slows gradually (rtardando} or suddenly (ritenuto). As a general rule, consider beat division when the metronome marking approaches 50. You will conduct divi- sions of simple meters and compound meters. Traditionally, simple meters such as 2/4, 5/4, 4/4, or C divide in twos: compound meters such as 6/8, 9/8, or 12/8 divide in threes. (Exceptions are discussed in Chapter 10, Asymmetrical Meters.) To conduct beat divisions, keep the shape of the basic pattern of the ‘meter—two, three, four, and so forth—but beat two counts at each beat point for ‘imple meters or three counts at each beat point for compound meters. Study Figure 5-1, Start with the basic pattern of four in avery slow tempo. Then, put ‘two pulses at euch beat point ofthe 4/4 pattern to produce a divided four or eight counts of slow, simple meter, Next, lock at the twelve pattern, the compound di vided four. Again, conduct the four pattern. Then, put three pulses at each beat point: hit-tap-tap on every count of the basic four pattern, You are now conduct- {ng twelve counts of slow compound meter. Note the exception to the last-count rule: Several eounits must now go into the lef. Make use of longer strokes to emphasize main beats, and use shorter, lighter strokes for subordinate beats, Think “hit-tap,” using only your wrist to define the subordinate divisions. You ean also clarify the pattern by turning the right wrist, 36Divided Meters 2” Simple meters 1 & K1e& 328 wo 1e e498 Divided Two Divided Three Divided Four (or use Four pattern) guide Compound meters 321645 129 921957456 654125 2110759 German six tala six ‘Nine Twelve FIGURE 5-1 Divided Patterns slightly in the direction of lateral beating, and by turning the wrist in the middle of the measure to emphasize the direction of change and the natural secondary accent, asin the simple divided meter of four: down-down, left-left, (eurn wrist) right-right, nin. ‘Use the smallest unit you are actually beating as the preparatory beat for divided meter. For example, use the eighth note in divided 4/4 meter for one count of preparation Conducting Activities 1. Practice dividing all simple meters until the gestures become automatic Slightly emphasize the major beats of the basic, skeletal patterns of three and four, For example, in divided four, think “ONE-and, TWO-and, THREE-and, FOUR-and” or, “ONE-two, THREE-four, FIVE-six, SEVEN-eight.” 2. Practice the compound meters of si, nine, and twelve until they are auto- matic; slightly emphasize the major beats of the basic two, three, or four pattern, For example, in the nine meter, think "ONE-two-three, FOUR- five-six, SEVEN-eight-nine.” In the six and twelve patterns, turn the right ‘wrist position slightly in the middle of the measure to emphasize the diree- tion of change. 8, Use a mirror to check clarity of beat and pattern, For preparation, give one count of the smallest unit you are actually beating. 4, Prepare Excerpts 5-1 through 5-10 in Part ITConducting Technique AN ADVANCED SPECIAL TECHNIQUE WITH LIMITED APPLICATION IN SIMPLE METERS. You ean use an effective alternative technique for dividing meters, but only in cer- tain circumstances, When the tempo slows gradually (rallentando) or abruptly (ritenuto}, you must often divide beats for clarity. The patterns seen in Figure 5-2 seem easier to sip into and to indicate the amount af slowing by means ofthe sel- emphasizing rebounds, This special technique is most suitable for marcato and staceato styles, because the rebound gestures tend to be too angular to express legato style. In general, the patteras are not suitable for extended seetions in divided tempos, Practice rallentandos and ritenutos in simple meters by gradually emphasizing the rebounds. Broaden the ending of the National Anthem (Excerpt 1M-18) with this technique. 14 Divided Four FIGURE 5-2 Divided Patterns—Alternative Form for Retarding Simple Meters ‘SELF-CHECK MASTERY TEST 1. Conduct Excerpts 5-1 through 5-10 in Part II, as requested by the instruc- tor Videoreeord your class performance. 2. Rate your performance using the following checklist. DIVIDED PATTERNS Yes No ______ Beats are well defined; ictus is clear ______ Appropriate preparatory beat is used Boats are in tempo, even, and steady _____ Pattern is appropriate for music Pattern is clear and well defined; subordinate divisions n with wrist Pattern reflects dynamics and style of music Musicians respond to beat, tempo, dynamics, and styleDivided Meters Sel Symphony no. 7, fist movement J Hay ‘The preparatory beat in divided meter should be the vale af the smallest uni you are actually bestng, a this excerpt, itis aa ight note Here, the prep isthe count of eight in Adagio tei forte, and separated, Condsct a four patter, palsatng | ‘on cach count to articulate the eight beats. Think: I-, 2-2, 33, 44 stfoke-wrist, strokesurist, and 30 on, Refer 10 Chap Figure 5-1. Employ the lft hand to signal the eubita style chases fom forte marcato t pano-steccato, Vary the size and syle of your conducting pattern. See Chapter 9, Subito, contra aid FlEyre 91. 48Divided Meters 19 J 134 } | 5.2 Prelude in G Minor J-8. Bact Conducta divided three patter, pulsating twice on each count ofa three patter to articulate the six beats, Note that the see- . ‘ondary accents fall on beats 1, 3, and 5. The quarter note gets one beat, so use a guarter-note-length prep. Think: 1.1, 2-2, 33; stroko-wrist, stroke -weist, strokeswrist Grave150 Musical Excerpts 58 Military Symphony, second movement EJ. Cossec ‘Conduct the German or Italian six pattern, since the secondary accent falls ox count four. See Figure 5-1. Since the eighth note gets one beat, conduct an eighth-note’s worth of prep. Use your left hand to signal the subito dynamic changes. Larghetto [B+4 "Ve Banks and Braes 0° Bonnie Doon” P.Gnarncen A beautiful fll song setting for you to conduct with phrasing and expression, Keep a legato low in the four phrases. The con- ‘rasting B section builds intensity with dynamics, an active bassline, and more dissonant harmonization. It also builds tension through un intensification of tempo and then « broadening of tempo atthe climax. The lst A section releases the tension. I be- lieve Grainger used the question mark and parentheses (lightly faster?) to implant the idea of subtle tempo intensification and ta keep the less sensitive conductor from giving an out-and-out accelerando. This compostion can be conducted in « lowing tho although the intent here isto demonstrate the technique ofa flawing six: 125456, stroke-wist-wrist,stoke-wvist-wris, sshere both the strake and wrist motion must be subtle and not chop up the low ofthe lie. Slowly flowing afDivided Meters 151 (slightly faster?) slacken ge S Copyright © 1919 G Schirmer: In. Used hy Permission.182 Musical Exoorpts 5.5 Symphony no. Lin © Major, second movement G. Baer ‘To beat nine, use the three pattem pulsating three times on each count: 111222333, stroke-wrist-wrist,stroke-wrist-wtst, stroke-wrist-wrist. Conduct the nuance with the let hand, and eve the entrance on beat six with a head nod. The voicing of parts is based on the original orchestration. See if you can achieve balance during each attack, crescendo, and dhminuendo. A {er mastering this introductory passage, conduct excerpt M-14, which continues with the heautful, expressive oboe melody. Adagio ten. ten, zen. ton.Divided Meters 153 5-6 The Royal Fireworks Music, “Alla Scan G.F Hawpe, ‘The flow of this musi is maintained by the use of wrist only on the secondary beats when conducting n 12 meter. Use a four pattern with three pulsations on each beat placement: 111922833444, stroke-wristavrist, stroke-wrstwrst, and so on. [adie ‘ate clearly the heat postin in the hasie pattern, but make your pattern flow instoad of chop. Molto tranquillo154 Musical Excerpts 5. “Greonsleeves" ‘Taaprtionat, ‘Alovely song to sing and phrase. Although the music may be expressed better by alegato two pattern, you can keep it owing in sic at aslower tempo by using wrist only forthe secondary accents. Think: 123456, stroke-wrist wrist, stroke-wrist-wnis, in 8 legato, expressive style without too much emphasis on the stroke. Prepare the effective subito forte (mm 9 and 13) with a phase release and aggressive upswing prep. Use your left and to indicate the diminuendla Andante (in 6) = z mp’ ‘A+ las, my love,— you do me wrong— to cast me off dis - cour-teous-Iy, And Groon - slevees watmy heart of gold_and who but My La dy Green - sleeves, seDivided Meters 155 5.8 “Drink To Me Only With Thine Eyes” ‘Taapmiona, ‘Conduct this setting ofthe "Old English Air" as alow, expressive song. Use your imagination and make musi: Intensify the reiterated notes. Use “push-on” phrasing in the A sections and “hanging” phrasing in the B section. (Refer to Chapter 11, ‘ubato.) Pay special atenton tothe contrasting B section. Fora more expressive and intresting interpretation, bring the new material forward to emphasize the tension and contrast of new ideas. The Iris date back to the third-century poet, Philostra tus of Athens, with English translation by Ben Johnson in 1616. Andante pie oo ‘The thirst that from the soul - doth rise 2 s/FAIe Dd But might 1 of156 Musical Excerpts 5.9 “Beautiful Dreamer” S.Fosten Although this traditional Stephen Foster song may be interpreted best using legato thre pattern, you can keep it owing in nine a alow, expressive tempo by using the weit only for the beat divisions. Conduct 123456789 with a stoke-wristavist, legato flow. flowing te beat pont ofa thee patter. Slowly and expressively (in 9) Soprano| == Beau ti - ful dream "Tenor Beau: ti - ful dream Piano Star-light and dew-drops are Star-light and dew. drops are Star-light and dow-drops are Weke un - to me, Sur = light wait ing forDivided Metors 187 T Sounds of the rade heard in the day, ~ ———s hheard in the day, — Sounds of ‘the rade ‘heard in the day, the moonlight have the moon- light have158 Music Excerpts 5-10 Messiah, “He Shall Feed His Flock Like a Shepherd” C.F Haven, ‘This beautiful aria may be sung_by the class im unison for conducting and ensemble experience. Remember the preparation for the last count: start venter; are tothe right as you inhale: swing into the left, and the music begins on the eighth note; count toeelve, Conduct allowing, legato ine in a four pattern with three pulsations on each beat point: stroke-wristwrst. Be subtle and smooth, Cue the solo entrances on the rebound of beat eleven ia the style and dynamics of the legato-pleno contest am 4, 10,18) Larghetto, e piano ('= 112) alt or fr shall feed His Boeke ther the lambs, with His arm,Divided Meters 159 — 10 He___ shall feed His flock like a shop - herd, and ~ r = r lang’ — ad gunaly led thw’ aed gen = > Uy JOR tot are with oun r == 2 : i r rt? aa