The Fermata Overview This chapter is designed to help you conduct compositions that include the fermata (hold). It provides a sound basis for solving the interpretative and conducting problems created by the various kinds of holds ‘The paragraphs that follow present important background information to prepare you for the conduct ing activities. Definition ‘The fermate is usually defined as a temporary interruption or cessation in the regular flow of rhythm, ARhough composers have used fermatas frequently to underscore the effect of a concluding chord in a section, or ofa final tonic reso- lution, the fermata functions differently within a passage. It requires a performer to stretch a note long enough to create stress or tension by thwarting our expec- tation of continuing movement. It is more than an interruption; it is an expres- sive device Interpretation ‘You should always think of the fermata expressively, in terms of its agogie func- tion; that is, to emphasize by lengthening. It isa climactic, prolonged, and highly tensional focal point in the musical line. Such factors as phrase shape, fermata location, form, style, and tradition determine the appropriate method of exect- tion, You must consider all three parts of a fermata to guide your interpretation and develop your manual technique: attack, duration, and termination. ‘Aitack Remember that the fermata begins at a point of beat, or in some in- stances ata fractional part of beat. You must move the baton directly to that point in the pattern at the appropriate tempo, as ifthe fermata were not there. Do not hesitate of fail to provide an fous (wrist ick) for a prevse attack. Duration The length of the fermata and the inteusity of tone depend on structural and historical context. Conductors must base their final interpretation on score study and on the feeling of rightness they have for the particular com- position. To maintain intensity, you should keep the baton moving slowly withThe Formate a3 appropriate tension in the forearm. If the fermata is to be sustained for along duration, you should also use your left hand—thumb side wp, palm at an upward tangle—to support the dynamic level. Termination Context also determines the way you should terminate the hold. “The formata at the end of a section or before a rest must be released. After a long pause or cacsura, the release must be followed by an independent preparatory hheat. The formata at the end of a phrase is usually given a phasing gesture. Here the release motion also functions as a preparatory beat. A fermata within a phrase for with u leading, upbeat quality s usually not released but requires a preparatory gesture to restart the rhythmie flow. As a competent conductor, ou must master all three types of termination Although most releases in the boxed figures in this chapter are drawn clock wise to the right they can be executed also in a counterclockwise direction. A sub tle fick of the baton is another method of signaling release. FERMATA WITH CAESURA. COMPETENCY 9.1 "The first type of fermata requires a cutoff followed by a rather long pause before Each seme the next preparatory beat. You should stop the group afler a fermata (1) when the ee ate lengih and {fermata ends a section, (2) when it precedes a rest, and (3) when it requires & ee ee opbent —caneura (thats, a complete break that is written or implied. To interpret cor- a rectly, you must use ttoo separate gestures: one to release the hold and, after & pe- riod of silence, another to prepare the next entrance, Instruction Follow these steps to conduct the fermata with eaesura: 1. Move directly into the hold. 2, Sustain it for an appropriate length with proper tension. 3. Give a release gesture; decide in advance where you want to stop your ba- ton after the cutoff so that you will be in position to give a preparatory beat for the next count of music, (See Chapter 3, Releases.) 4. Alter a suitable duration of silence (motionless baton), conduct the prepara tory beat. Give it as if you are starting a new piece. It must indicate tempo, dynamic level, and style, (See Figure 7-1.) FERMATA WITH BREATH PAUSE COMPETENCY 9.2 “The second type of fermata requires only one gesture to cutoff the group and pre- coemcrrte the fermatatcth pare for the next entry Itis used when the intepretation calls fora breath after enlenegestare used asthe release for dramatic effect or for phrasing, Give a release gesture with a wrist preparatory beat snap and upward rebound; the upward moving cutoff also serves as a preparatory beat for the next count of musi. “This reloase_prep motion consists of one extra beat in tempo; that Is, the count of the hnld is given a second time as a cutoff, and the baton motion coatin~ tis upward asa preparation during the one-count period of silence, The cut-pseP feseure must also indicate the tempo, dynamic level, and aye of the music shat follows it.4 Conducting Technique Bach, Chorale No, 323 (ex. 7-1) Haycn, Symphony No. lb, Ist Movement (ex. 7-4) Adagio (ing) a > 1 5 ant 43 Beethoven, Symphony No.2, Ist Movement Hols in series with caesura Adagio (in) 12.5 67.8) AY AIRY ge 1 FIGURE 7-1 Formata with Caesura Instruction Follow these steps to exceute the fermata with breath release: 1. Move directly into the hol. 2. Sustain it for an appropriate length 3. Glve a release gesture that swings up to function as a one-count preparatory beat for the following entrance. Breathe in during this upward swing, Keep the baton in tempo and move without hestation into the next count of the ineter pattern where the masie resumes. (See Figure 7-2.)a The Fermata National Anthem (ex. M-22) Herbert, “I Want What I Want” (ex. 7-13) T Qe popes ay 3 he = | 4 ‘cute a _ reo? ceutiprep 2 1 3 2) r Bach, Chorale No, 172 (ex. 7-3) Ives-Schuimann, Variations on “America” (ex. 7-12) - (ind) as a - © Copyright 1949, 1964 end 1968 by Merion Masi, ie ed permission of Thodore Presser Company 7 | couprep @2 cutiprep @ 2 14 3 I r Holds in series with breath pause ‘The cutoff serves as the preparation cr 2 (a) cuvbreP ceutlprep FIGURE 7-2 i Fermata with Breath PauseConducting Techntque FERMATA WITHOUT RELEASE COMPETENCY 9.3 Demonstrate the formate without release but with « preparatory esture to signal resumption The third type of fermata is needed when the music continues without a stop. You usually do not release a fermata when it is located within a phrase or when itis used expressively to lead into another note, phrase, or section, However, you must give a preparatory motion to indicate resumption. This gesture should be either a ‘one-count or a half-count preparation, depending on the tempo of the music that follows. Watch that you do not make a jerky prep motion, or the musicians will release. Just lift up smoothly in tempo, using your left hand to indicate connec tion, and move to the next count in the patter. Instruction Follow these steps to execute the nonreleased fermata: 1. Move directly into the hold, 2 Sustain it for an appropriate length. ‘3 Swing up smoothly for a one or one-half count resumption gesture, then ove to the next count of mnsie, This preparatory baton lift must not look like a release. Use the left hand im a sustaining gesture during the right-hand preparation. (See Figure 7-3.) Conducting Activities 41. Practice holds on each count of all meters in each of the three types of ter- mination. Remember that all first counts are the same—down, All last counts are also the same—across to the left. For every fermata on the last count in any meter, move the baton horizontally to the left aeross the body rather than upward; this will put you in position to swing up forthe prepara- tory beat. (See Figure 7-4) 2, When practicing the fermata in the various pattems, you may find it help- ful to count the beats out loud, repeating the beat number of the hold for the preparatory beat (or gesture of resumption). Thus, a fermata on the bbeat of three in a four pattern would be counted “one-two-three-three- four,” where the repeated number indicates first the beat held and then the preparatory beat. 3. Prepare a “quarter-note drill” using the three types of fermatas to check the clarity of your gestures. To create this drill, write outa series of quar- ter notes using several meters with holds of different types on various counts (see Figure 7-5 for an example]. The purpose of this exercise is to elicit the desired response from the pexformers by means of gesture alone. ‘They should not see the music, Use « mirror for initial practice. Then, ask a fellow musician to respond to your conducting by playing or singing {quarter notes on one pitch, Your colleague's hesitations and false starts wall give clues as to possible conducting problems. If he or she does not respond correctly to what you are conducting, ask for an opinion as to what is wrong with your gestures. Show your quarter-note drill to your colleague and ask if he or she thinks that your conducting agrees with ‘the notation, 4. Conduct the class through a quarternote drill to determine sf the group can follow your gestures. Videorecord and review the performance.‘The Fermata a1 1 Want Wat I Want” ex. 7-13) 1 pep @ Mendelssohn, Overture for Band (ex. 7-8) sees Grainger, "Ye Banks and Braos O” Bonnie" (ex. 5-4) aA Holds in series without release AAA 4 ewprep =X 2 FIGURE 7-3. Fermata Without Release Ae ke All est counts of all moters Al counts ofall meters A last count with prep following, FIGURE 7-4 Consistency of Holds on First and Last CountsConducting Technique a ar wa TT Td id ~ aan al Uis D700 0 94 7 = cleave and breale (motionless baton) with a subsequent, independent preparatory beat > = cotiprep, phrasing beat (baton motion continues since the release gesture becomes the preparatory beat) = no break, with a one-half eount resumption gestuce FIGURE 7-5 Sample Quarter-Note Drill for the Fermata 5. Aualyze, prepare, and practice Excerpts 7-1 through 7-15 in Part IIL. Use Ue appropriate interpretation and type of hold indicated by the musical contest, Note that more than one interpretation may be acceptable. Be pre- pared to justify your choice. Conduct the class, and then evaluate your performance by using the checklist provided in this chapter. 6, Rule of last resort: when imder pressure and in doubt about what to do as you sustain a fermata, do not panic; swing up in preparation, and head for the next count of musie. It works every time, SELF-CHECK MASTERY TEST 1, Demonstrate the fermata on all beats and divisions of beats in all meters as requested by your instructor. a. With release and subsequent preparatory beat , With release used as a preparatory beat €. Without release but with a preparatory gesture 2. Lead the class through a quarter-note drill that you devise. Include various eters with holds of different types on various counts. To determine if the group can follow, only you and the instructor should have the music. Per- form this drill on a predetermined pitch 3. Conduct the excerpts from Past [11 as requested by your instructor. Video- record your class performance. Use the appropriate types of holds required for each example. 4. Rate your video performance with the following checklist.The Fermata Yes CONDUCTING FeAMaTas Fermatas clearly and correctly executed (e.g., attacked directly, sustained, and terminated appropriately) Baton moves slowly with intensity to maintain tone Comments Length appropriate Comments Releases concise, in style and dynamic level of music Comments __ Preparatory beats clear and in the tempo, dynamic level, and style of music Comments Cut-prep breathing beat used appropriately and executed properly Comments Ifno release, resumption indicated by an anticipatory motion of one or one-half count in tempo Comments Left hand used for support CommentsThe Fermata ‘The fermata was used in chorales (Excespts 7-1, 7-2, 7-3) to indieate phrase ‘endings and breathing points, Thus, the breath-pause, “cut-prep” fermata (single gesture, release/preparation) is most appropriate. Refer to Chapter 7, Fermata with Breath Pause and Figure 7-2, (Also Figure 7-1 for Excerpt 7-1.) A sure-fire rule: fin doubt. cut off swinging up in preparation, and head for the next count of music inthe beat pattern Tel. Chorale, Wie schin leuchtet der Morgenstem 3-8. Bac. rastons see and bail Hom love - ly eines the earn ~ ing a-Bonn spong— hale io oe eg ei light in d= ah sin = Pa =The Fermata 3 72 Chorale, Sei gegrisset, Jesu gitig 1.8. Brew. Jove T treas-ure, Gen-tle far be - yond all__meas ~ Hear my pray's, Thy love T_treas-ure, Gen-tle far—be - yond all mous - a : a ‘ure, Oh, how Thou were made to a lon-guish, Aa Thy bo - dy bung in an ~ guish, a a made to lan-guish, As Thy bo - dy hung in am ~ guigh. a jm Fs Grant that I Thy love in-her-it, And in death Thy bless - ing mer a Se © bey Grant that I Thy love in-her-it, And in death Thy bless - ing mer1 74 Musical Excerpts 78 Chorale, Ack Gott und Herr J-. Ben a A = a ===: a — ot Ss f $ SS a | ‘A+ Tes! My God! My sins are great, My con-science doth up = braid me; And md A-- last My—Godl My sins are great, My con-selenge doth up - braid a a £>r ae * a a now T find, that at—mystrait,No man hath pow to a a now I find, that at mystvait,No man hath powr a aThe Fermate 175 7A. Symphony no, 104, fest movement J. Hay Conduct sol in eight, giving a fordssimo, marcato preparatory bea the eighth note is the prep value. Cutoff and wait ater the fernat. This allws tne in a big concer hal for the reverberation to subside andthe frst pana notes tobe heard (an 3). Refer to Figure 7-4. Guo the fist vikins (m3) Adagio a a er176 Msi cots 15 Symphony no 2, fst movement A. Bonoors {se the et-pep frmat, aught oseure spose. The yucopatingestre is ceded (5) he et-pep Allegro 4 = 92 a a f 80a bassa7 The Fermata wm 7-6 Oberon Overture ©.M. von Wenex Beatin eight, Most conductors do not conduct the solo hom in the first and third measures, although they may give the downbeat, Cuing is help in the secoud and fourth measures. The fermatt tn these measutes should be held on count seven and released with casstra. _ Adagio sostenuto (+ = 52) oF F pdolee Tr PEP PP T 7-7 Symphony no. frst movernent R. Scucmany r Stars on count four with a heavy prep on thre, Use cut-prep format. Not that alter the second fermata, the music starts on r the “and” of four (except the bass that begins 22nd later) Here, release the frmata wit a sharp ward geste to set up the offbeat attack See Chapter 9, Syncopation. offbeat accents, and offbeat cues, a Andante un poco maestoso ( = 66) = aa i8 Musical Excorpts 7.8 Overture for Band Mupeassons ‘The fist formate is slurred and must not break (m 4) so swing up smoothly without release to prep and move tothe second fermata on beat two, This fermata is atthe phrase ending, so gve a sharp phrasing cut-peep (beat two again to prepare the ‘offbeat pick-up notes nto the next phrase. See Figure 7-3 for a diagram of this interpretation. Do not worry thatthe fermata does not fellow zhythinially in the lower pars (m 4). As long as you do not release, performers will keep sustaining, Note the “expressive intensity-zelease accentuation (mm 5 and 6), the sforzando (m 8) and turns (mm 3 and 9), All sbould receive a slight slackening of tempo after a slight push. See Chapter 11, Rubuto, Andante con moto‘The Fermata 179 7.9 Symphony no. 5, frst movernent 1, VAN BEETHOVEN Conduct in one. While you may find many solutions prescribed for this famous opening passage, this one works, Size each ‘measure consists of only one count, give a dead “one” with the wrist, followed in tempo by alive “one” preparatory beat. Use the release from the first fermata as the dead “one,” and follow in tempo withthe nest prep. The effec is a secure “cut-one” with the group responding on the “e-and-.” Conduct this system throughout, signaling dynamics and cuing imitaive entrances. Allegro (in one)180 Musical Excerpts 7-10 Variations on “America CLE. Ives ‘The following short excerpts seve as an introduction to this wonderful Charles Ives work. You should study the full score, and if possible, conduct the complete composition with its musical and conducting challenges. The first excerpt quotes the end of the introduction andl che start ofthe theme. Use your left hand to creado the formata, then ext off and wait Tor the reverber- ation to subside. Prep softly and attend tothe eighth-note, grace-note players with clear, steady beats to hold them together ‘The legato lines will lw without dB, (4 = €0, 126) poco rit. Moderato mp {© Copyright 1949, 196, ancl 1968 by Merion Msi, Je. Used by pension of Theowone Presser Company.‘The Fermata 181 CLE Ives ‘This excerpt contains a between-section fermata; use acaesura interpretation, Be sure to give the fermata on the count of three toaccommodate the inner parts. Ives’ bitonal, harmonized canon isan innovative and aural challenge when conducting the ‘complete work, (ee 72) (4 = ca. 60) uf ‘© Copyright 1949, 196, and 1968 by Meron Music, Ine. Used by permission of Theodore Presse Compeny. 7-12. Variations on “America” C.B. Ives, ‘Use the cut-prep here. See Figure 7-2 fora diagram of its exeention Cd. =a, 84) a4 =r P © Copyright 104, 1964, ond 1968 by Merion Muse, ne, Used by pennision of ThoodorePreser Company.182 Musical Excerpts 7-13 Mlle. Modiste, “T Want What 1 Want Whea I Want Ie" V. Hennes Here is a excellent examination piece. The opening fermata should not break; i leads natually into the theme asa pick-up note, Start eenter, swing aeross tothe right solidly for a forte prep, and hold—in and across, not up. From this position you are ready to swing up in tempo without release to prep the group. See Figure 7-8 and Figure T-4. Conduet marcato with heasy ‘ffe#until the subito mp legato (pick-up to m 3), Pull back with your lft hand to signal the change; then give the crescendo (sn 6). Atthe fourth count before m 8, signal the subito piano and conduct the accompaniment staccato; gradually crescendo to the formate climas (m 12), Use the eul-prep here, holding on count three and releasing inward sharply om four. This allows the :nclodic line to eatch the eighth-note pick-up from the syacopation gesture. (See Chapter 9, Syncapation, offbeat accents, anal beat cues.) Use your left hand to diminuendo tothe fermata (m 14), bold, release, and pause (caestra). Be sure you end up centered after the release so that you are in position to swing aeross and then infor the heavy, marcato pick-up. Use a eut-prep forthe fermata (m 17). See Figure 7-2. Broaden the ending and conduct the fnal note with a release gesture, Ro» S|” marcato oO - aan (f mareato Fmarcato £ ye ote 5 pit eantabite‘The Fermata ‘poco a poco crese. poco @ poco crese, Poco a poco erese. (poco a poco eres. mareato marcato” geass PPP FF aud, marcato © offs pit pesante D © MP pi pesante— F a “OP pin pesante oft = BaD aif pla ponte $ 183, molto ‘molto altargando a184 Musical Excorpts TAA “The Heav'ns Are Telling” 1. van BEETHOVEN Start forte marcato, aud use your left hand to conduct the dintnuendo into the holds. ‘The fist fermate (m 4) cannot brea ‘The second should end piano with an agressive cut-prep leading back into fore marcato, The nent fermata (m 8) can be exe- cuted asa caesura or cxt-prep, but be certain to signal the plano legato style, and gradually feed the crescendo. You wall want to perform all of tis powerful anthem, but only the choral parts are quoted here. (Legato?) (Mareato) =— p(Marcato) Sf ‘The heaving are tell - ing the Lord's endless Jo - ry. Through all the » 11 (Tenuto) (Marcato) ss Fa = peat at glo = nfoun aout a? es = —=The Formata 195, TS “Passing By” . Purcens. ‘This lowly song bythe other Purcell provides the opportunity ta practice phrasing and expression. Use the phrasing boat, wrist snap, to mark phrase endings and secure precision of final consonants, See Chapter 9, Phrase and phrasing beats, The fermata {av 14) marks the climax ofthe piee, Although its poston inthe middle ofthe phrase suggests a no break nterpretaon, the cul-prep creates a dramatio “if pause” effect. see her pag: ing by, And yet Tove her eS = inp ee ee ea