The Baton, Preparation, Downbeat, and Release Overview By the end of this chapter, you will conduct live musical ensemble, even if you have no previous con- ducting experience. To make certain you succeed at this task, you must concentrate on beat prepara- tion, The sharply defined and well-executed preparatory beat is the basic gesture you must develop to establish competent musical leadership from the podinm. All effective conducting is preparatory in fanction, in that musicians can only respond or react fo a gesture; they cannot react sirmultaneously with an unprepared gesture. It must signal “ready—go," not just “go.” To forget this basic fact invites con- ‘ducting failure. Based on the preeminence of preparation, this chapter provides a solid foundation for all that is to come. Your first conducting assignment isto secure a precise, unified attack from the group, followed by asl equally precise release. In this chapter, you will lea to hold a baton, assume the preparatory post- tion, execute the preparatory beat and downbeat with rebound, and give a release. You can make the best use of the analysis of conducting motions provided throughout the book when your aural concep- tion, or “inner hearing,” of desired musical results guides and controls your physical action pattorns. HOLDING THE BATON ‘comperency 1 ‘The baton isthe symbol of leadership authority for the conductor. I is also a con- Demonstrate appropriate ductors technical, fnot musical, instrument. By extending the forearm, a baton baton grip gives clarity to the beat and the conducting pattern. By providing better visibility for performers, it facilitates precision in ensemble performance. Although some authorities argue that the baton limits expressiveness, the skilled conductor can use itt infuse beat patterns with stylistic qualities while using the left hand to in- dicate phrasing and expression (see Chapters 6 and 9). Every conducting student should use a baton and should hold it in the right hand. Students may, of course, defer to custom and conduct the choral repertory without a baton. However, it seems more difficult to begin using a baton after learning to conduet without one than to take the opposite approach. "2 Conducting Technique Instruction To hold the baton most effectively, rest the ball end against the palm of the hand with the shaft held securely, yet flexibly, between the tip ofthe thumb and the side of tho index finger atthe frst joint, Do not grip the baton tightly or squecee it The thumb should curve slightly, and the fingers also should curve naturally around the stick without touching it. (See Photographs 1-1 and 1-2.) This provides for wrist flexibility quite similar to that found in holding and playing a drumstick with the palm of the hand facing downward. Although you should foe! that the baton extends straight out from the arm, it will point slightly to the left when the ball i centered properly in the palm Conducting Activities 1, Obsain a ball-end baton between 12 and 14 inches in length. Practice hold- Ing the baton as deseribed. 2. Use a mirror to check holding position and baton angle, PHOTOGRAPH 1-1 Holding the BatonThe Baton, Preparation, Downbeat, and Release 13 PHOTOGRAPH 1-2 Holding the Baton Viewed from Below 3. Tap the tip of the baton lightly on a ches flexibility high object to practice wrist ‘THE PREPARATORY POSITION COMPETENCY 2.1 Conductors must use the preparatory position as a signal for the group to get Demonstrate the preparatory ready to start playing. It secures inital attention and gives musicians time to raise position for storting on the their instraments to playing position. Use a podium for optimal vistbility, Make count of one i al store cortain the players” stands ate adjusted to the proper height and positioned direetly between you and them. When the stands are positioned properly, the players can see you easily with both direct and peripheral vision. Have singers hold their music'up about eye level in thes left hand so that they can watch you as _ they read and use their right hand to turn pages. Adjust the conductor's stand to an aluiost lat postion at waist height soit does not hide your beats or patterns. 7 Instruction Ascend the podium in a confident, authoritative manner. Stand erect and bal: anced, with fet slightly separated; you should be poised, not tensed. Ralse your farms upward and outward with elbows slightly away from your body. (See Photograph 1-3.) This preparatory position should be easily visible, and it should“ Conducting Technsque PHOTOGRAPH 1-3 The Preparatory Position for Starting Music on the Count of One in Ali Meters (here the loft hand signals a softer entrance} be commanding and positive in appearance. It is the signal for the group to get ready. Allow several seconds for a quick visual check to make certain all instru ments are in playing position and all musicians are looking at you. Maintain visual contact through the downbeat. Musicians and conductor should have the first few measures in mind to assure a precise attack. Never talk with your hands in preparatory position and never wait too long before beg musicians’ attention to wander, and they may lower their instruments from ready ning. This eauses Conducting Activities 1, Ascend podium and practice the preparatory position. Repeat this impor tant exercise several times to become secure and confident und baton Use a mirror to cheek the position of body, arms, hands, ‘THE PREPARATORY BEAT ComPeTENcY 3.1° All effective conducting involves preparation. Preparat Denunstvate the preparatory give inevitability to conducting. tha beat forthe count of one that ts the downbeat i all meters or anticipatory gestures ‘sults in ensemble precision, Musicians uta ther coreet numbed s— ‘Tho Baton, Preparstion, Downbeat, and Release 5 cannot respond at the instant of a single gesture: they respond to a prepared gesture, Thus, effective conducting always signals “teady—go,” never just “go.” The preparatory beat is one extra beat that precedes the first beat of music. 1 is a breathing beat. You should always inhale when you expect the musicians to breathe. Their response seems alost instinctive. Even strings and percussion will breathe with you to achieve greater precision and expression. A preparatory ges- ture, then, must precede every initial entrance and every resumption of the 7 ‘musical line, r Instruction To prepare the count of one in any meter, assume the preparatory position fick a a point of beat with your wrist, and breathe in as you swing up on the offbeat. Do not hesitate at the top but move straight down to the count of one (see Figure 1-1 p and Photographs 1-4, 15, 16, and 1-7) | Upowing \ il you send) (Conducting plane i ttabove otto pron hk wrod FIGURE 1-1 ‘The Preparatory Best for One = PHOTOGRAPH 1-4 PHOTOGRAPH 1-5 Proparatory Position Preparatory ictus on Plane PHOTOGRAPH 1-5 PHOTOGRAPH 1-7 = ‘Top of Rebound Arc Downbeat to Plane18 Conducting Technique PHOTOGRAPH 1.8 Arm Position in Front of Shoulder In general, position your hand to conduct infront of your right shoulder so {hat the tip ofthe baton, not your hand, is centered infront of your body during the downbeat. Do not conduct out to the side, away from your body. and never tuck your elbows in close to your side. (See Photographs 1-8 and 1-9.) Always maintain eye contact through tho performance of the downbeat, Avoid unnecessary mirroring of the right hand by the left hand through the downbeat, However, you may signal a dynamic level or style such as marcato with aefthand clenched fist or aptano entrance as illustrated in Photograph 1-3 Conducting Activities 1. Practice the preparatory beat for the count of one, Think “prep-—one” in various tempos. Do not hesitate at the top; to do so will disrupt the in- evitable fall of the gesture to its termination at the count of one. Never float down and poke at the beat: go directly to the beat pla 2. ‘The best way to illustrate beat inevitability is to use a key-toss example: take a set of keys or some other object, toss it up in the air, and catch it. Have musicians perform a chord at the point of contact. A precise attack results because the performers know exactly when the keys will hit. Good condue- tors develop this type of inevitability in the ares of their beats and pate: by beating on a consistent level and using a follow-through as natural as a bouneing ballThe Baton, Preparation, Downbeat, and Release ” PHOTOGRAPH 1.9 ‘Arm Position from Above The effective conductor will position the conducting plane at a higher or lower - level to match the “weight” (light or heavy) of the style and expression of the rusic. Do not mirror with the left hand unless there is an expressive purpose such as adding weight toaforte marcato entrance, (See Chapter 6, Marcato WRIST ACTION COMPETENCY + ‘The consummation of the preparatory gesture as it arrives through the down _ Demonstrate proper wrt stroke is the count of one. This point is defined precisely by a small snap of the action to define the exact point wrist, a subtle but vital wrist action varionsly deseribed as a rebound, fick, click, feat bounce, recoil, tap, or iotus. The beat, a a point in time, must be exactly identi- fied hy the tip of the baton through flexible and suitable wrist action. If you do not tuse a baton, place the point of beat at the tip of the index finger. : Instruction Give the preparatory gesture and rebound off the plane of beating atthe count of cone, using a flexible wrist action (see Figure 1-2), Do not excessively flop or turn your wrist, You should keep your palm facing downward and rebound no more than one-fousth the distance of the downbeat1 Conducting Technique YA 1 fick Sick FIGURE 1-2 The Rebound on One Conducting Activities 1. Practice the preparation for one with a rebound on the count of one. Think “prep—tap” in various tempos, rebounding off the plane of beating 2. Ifyou have trouble with wrist flexibility, think of flicking something off the end of the baton or of hitting an imaginary plane. You can actually tap a chest-high bookcase or musie stand to get the feel of correct wrist action for the rebound. (Refer to Photograph 1-10.) A common error isto lead with PHOTOGRAPH 1-10 Tapping the Stand to Develop Correct Wrist Action‘The Baton, Preparation, Downbeat, and Release 19 the wrist, letting the baton follow behind, which causes the beat to be cen: tered in the palm of the hand instead of the tip of the baton. Again, tapping the plane wil eliminate chi stiffs problen. segs ‘THE RELEASE COMPETENCY 5.1 Demonstrate the base release ‘gesture ‘The release gesture is a concise cutoff @ precise signal to cease playing. To secure precision, a preparatory gesture, usually « circular motion, must precede it Just as ‘a"ready—go” must be given at the heginning of « composition, soa “ready_—stop” ust be indicated at the end. (See Chapter 3, Releases.) Instruction Execute the release gesture with a small circular motion; the cutoff comes at the end of the preparatory are with a flick of the wrist, Give the circular motion in a clockwise or a counterclockwise direction, depending on the starting position re- quired for any succeeding preparatory beat (see Figure 1-3). Be careful not to overemphasize the cutoff for the sake of clarity. Match the cutoff to the music. Clockwise Counterclockwise FIGURE 1.3 Circular Preparation and Cutot Flick ‘To conduct the release after the count of one, start with the preparatory beat, follow through with a downbeat to the count of one, and execute a cutoff in tempo (see Figure I-4). Make sure you end up in position to repeat the preparation, Conducting Activities 1, Practice the preparatory beat for the count of one, followed by a release ges- ture as illustrated in Figure 1-4. Think “prep—one—e,” keeping the beat steady and pausing briefly between each repetition. he tee cut I prepfort 1 prep fori FIGURE 1-4 Proparing One and Releesing20 Conducting Toohnique 2. Use diferent metronome settings as you work on this technique. 3. Conduct the class or some colleagues in a series of one-count notes and releases, Work for clear, effective gestures in your conducting and precise attacks from the performers ‘SELF-CHECK MASTERY TEST 1, Conduct Excerpt 1-1 and Excespt 1-2 in Part IIT as requested by the in- structor. Conduct each excerpt using a preparatory beat, a downbeat, and a release gesture. Think “prep—one—cut” in tempo, with a pause between each note, Repeat in any tempo given by the instructor, and make a video of ‘your performances. 2. Rate your video performances withthe following checklist. * If video equip- ‘ment is unavailable, have colleagues or your instructor complete the form Yes BATON-HOLDING POSITION No Baton held between thumb and index finger Grip firm but flexible, not tense ____ Fingers curved naturally Palm facing down Baton extends almost straight from the arm PREPARATORY POSITION Posture erect, poised, relaxed Stance commanding, positive ‘Arms raised, easily visible ____ Baton in position for preparatory beat to follow Visual check made to ensure readiness of group Sufficient time allowed for group to get instruments in position, set embouchures, end generally get ready to perform ___ Never talks with hands in preparatory position or takes: ‘too much time By using penis o pen of different clos you should be able to use tis celta numberof times‘The Baton, Preparstion, Downbeat, and Release a PREPARATORY BEAT, DOWNBEAT, AND REBOUND No Preparatory beat initiated on plane with wri Breathes in with upswing of baton Prep executed without hesitation Downbeat straight down in front of body Point of beat defined with rebound Wrist action flexible; palm facing down Rebound proper height (about one-quarter downbeat) Visual contact maintained through downbeat Group attack precise flick THE RELEASE No Properly prepared with small circular motion Cutoff indicated by wrist flick Clear, accurate, but not overconducted( ( CCC-OCOCCE Cf ( Ctr eCtCE CoC COCCC et CECLCOCECEOC SE The Baton, Preparation, Downbeat, and Release Your first conducting gestures start and stop the ensemble, At the same time, you get your first feeling for the group's response to your gestures. Assume the preparatory position; then, tap the conducting plane and breathe with the swing- up preparatory beat. Follow with a downbeat and circular release to the left ot right that ends up back in the preparatory position. Repeat. Refer to Figure 1-4 in Part 1-1 Prep-downbeat-release Study 1 ADAPTED FROM BEETHOVEN a a 1816 Musical Excerpts Remember to take the podium in a confident, authoritative manner; look direetly atthe musicians, especially those who do not appear alert and ready: 1.2 Prep-dowabeat-release Study 1 ADAETED FxoM DvobAK. a A A a