HE 
 ECHNIC OF 
 HE BATON 
 
 By 
 
 ALBERT STOESSEL 
 
 
 With a Preface by 
 WALTER DAMROSCH 
 
 CARL FISCHER 
 
 NEW YORK 
 
 BOSTON 
 
 CHICAGO
 
 Th, 
 
 Technic 
 
 of the 
 
 Baton 
 
 By 
 
 ALBERT STOESSEL 
 
 Instructor of Conducting 
 
 A t the A . E. F. Bandmasters ' 
 
 and Musicians' School, 
 
 C.hauniont, France 
 
 With a Preface 
 
 by 
 
 Walter Damrosch 
 
 boston CARL FISCHER, NEW YORK Chicago 
 
 380-382 Boylston St. Cooper Square 430-432 So. Wabash Ave.
 
 Copyright, 1D20 
 
 by 
 
 CARL FISCHER, 
 
 New York 
 
 Internationa] Copyright Secured
 
 iviusjc Uba* 
 
 MT" 
 SUA 
 
 PREFACE 
 
 Conducting is an art, and a difficult one to master. 
 
 It requires a special talent, enthusiasm, great nervous vitality, a 
 serious study of the works written by the masters of music, the mag- 
 netic power of forcing the executants to carry out the conductor's 
 demands, infinite patience, great tenacity, great self-control, and abso- 
 lute knowledge of the technique of the baton. 
 
 The last is a complete sign language through and by which the 
 conductor issues his commands and achieves his results. 
 
 With the baton and an infinite variety of movements of hand, wrist 
 and arm, the conductor indicates the tempo and its changes, the dyna- 
 mics, the expression, and in fact all the inner spirit and meaning of 
 the music. 
 
 He insures precision and unanimity whether his executants number 
 one hundred or one thousand, and plays upon them as the pianist 
 upon his keyboard or the violinist upon the strings of his Cremona. 
 
 Much of this must be inborn, but much can be acquired by study. 
 Mr. Albert Stoessel's book will be of great help to the earnest student. 
 
 Mr. Stoessel was appointed teacher of conducting in the Band- 
 masters' School, which I founded during the war at General Pershing's 
 request at G. H. Q., Chaumont, France. 
 
 His book is admirably planned and executed. It is clear, practi- 
 cal and stimulating, and I hope it will be generally used throughout 
 the country. 
 
 The lack of routine and the ignorance of even the simplest rudi- 
 ments of the art of "beating time" is appalling among many of our 
 conductors, organists and choir-masters. Mr. Stoessel's book should 
 be of great help to them. 
 
 (Signed) Walter Damrosch. 
 July 4th, 1920. 
 
 MNIV OF CALIF LIBRARY. LOS ANGELES
 
 AUTHORS PREFACE 
 
 This little book is the direct outcome of a need felt by the author in 
 his capacity as instructor of conducting at the A. E. F. Bandmasters' 
 and Musicians' School. Chaumont, France. It was the author's privi- 
 lege to have been able to exchange opinions on this subject with Mr. 
 Andre Caplet, to whom he is indebted for the idea of the rhythmo- 
 gymnastic exercises and many of the gesture-diagrams. Although the 
 author could not hope to treat so limitless a subject with any measure 
 of completeness, he is nevertheless convinced that the contents of this 
 book will be of value to those seeking for guidance in the intricate art 
 of conducting. 
 
 In summing up the elements, both human and mechanical, which 
 comprise a modern orchestra or military hand, we must arrive at the 
 conclusion that, collectively considered, these elements form one huge 
 and many-voiced instrument. The conductor is the virtuoso who plays 
 upon this instrument and through it, interprets the composer's thought. 
 His art consists not only of thoroughly understanding the qualities, 
 range, tone-color and limitations of the instruments individually and 
 grouped, but also the best method of indicating to the players of these 
 instruments his conception of the composer's creation. 
 
 To understand the component parts of this huge instrument a 
 thorough knowledge of the theory of instrumentation is necessary. The 
 ability to express by gesture just what is desired of the many human 
 minds controlling these component parts or instruments, is by far the 
 most complicated and important side of the art of conducting. 
 
 fust as a fine player can get excellent results with a poor instrument, 
 so can a good conductor secure equally good results with players of 
 lesser ability. On the other hand, it is so frequently experienced that 
 the efforts of the very finest group of musicians are spoiled by an in- 
 competent leader. 
 
 The modern method of conducting is of comparatively recent origin. 
 In the days of Haydn (1732-1809) and Mozart (1756-1791) the con- 
 ductor's place was at the clavicin or harpsichord, and his chief function 
 was to perform the accompaniment to the recitatives of the singers. 
 
 II
 
 When the rhythm wavered, the first violinist steadied the beat with his 
 bow, and to this day the solo violinists of orchestras are called leaders 
 and concert masters. 
 
 As long as the music remained of a more or less simple formal 
 nature, this method was entirely satisfactory. But with the coming of 
 Beethoven and his new and unexpected rhythmic demands, it was found 
 necessary to have a leader who. could devote his entire efforts to the 
 directing of the correspondingly more intricate rhythms. The possi- 
 bilities of indicating the proper interpretation of a musical composition 
 by gesture were soon perceived, and more and more did the art of con- 
 ducting add to the once simple process of time-beating until it became 
 the means of expressing every shade of nuance and every sublety of 
 rhythm. The art of conducting suddenly became the most important in 
 the realm of interpretative music and naturally many great musicians 
 made it their means of expression. 
 
 Upon analysis we find that the conductor's art may be classified in 
 three basic phases : 
 
 1. Mental assimilation of the musical composition to be played. 
 
 2. Practical knowledge of the orchestra or band and the best means 
 of securing results by proper rehearsing. 
 
 3. Actual interpretation in concert by means of rhythmic and ex- 
 pressive gesture. 
 
 As the first two of these phases embrace the study of music in 
 general and instrumentation in particular, we shall confine ourselves in 
 this treatise to the third aspect. 
 
 ALBERT STOESSEL. 
 
 Chaumont, France, 
 Max, 1919. 
 
 in
 
 TABLE OF CONTENTS 
 
 CHAPTER I 
 
 Preface by Walter Damrosch I 
 
 Author's Preface II 
 
 PAGE 
 
 The physical aspect of conducting — analysis of arm and hand movements 
 used in conducting — diagram of exercises for promoting control of these 
 movements — music-examples illustrating exercises — illustrations and de- 
 scriptions of the positions in each of the four styles of fundamental move- 
 ments 1 
 
 CHAPTER II 
 
 The general attitude of the conductor — twelve general rules — left-hand 
 signals — illustrations of the five fundamental positions used in actual con- 
 ducting 24 
 
 CHAPTER III 
 
 Diagrams of gestures used in conducting — music examples — explanatory 
 no te — fundamental method of beating 2/2, 2/4 time — actual method of 
 beating 2/2, 2/4 time — normal subdivision of 2/2 and 2/4 time — accented 
 subdivision of 2/2 and 2/4 time — 6/4 or 6/8 time (modern method) — 
 6/4 or 6/8 time (older method) — fundamental method of beating 3/2, 3/4 
 or 3/8 time — actual method of beating 3/2, 3/4 or 3/8 time — normal and 
 accented subdivision of 3/2, 3/4 or 3/8 time — 9/8 time — fundamental and 
 actual method of beating 4/2, 4/4 or 4/8 time — normal and accented sub- 
 division of 4/2, 4/4 or 4/8 time— 12/8 time— 5/4 or 5/8 time— 7/4 or 
 7/8 time 31 
 
 CHAPTER IV 
 
 The "attaque" — the "pause" — employment of subdivision to emphasize and 
 give weight to certain characteristic passages, ritardandi, etc. — the sharply 
 accented beat as a means of securing precision in syncopated passages — 
 indication of breathing places or the beginning and termination of a phrase 
 — extract from Berlioz's treatise on conducting — on the conducting of 
 waltzes 55 
 
 APPENDIX 
 
 The bandleader as instructor of his band — the training of the individual 
 player — the training of the band as a unit — the study of four-part chorals 
 to promote good intonation and a strong embouchure — study of standard 
 repertoire — a few hints on rehearsing 81
 
 CHAPTER I 
 
 This chapter is devoted entirely to the physical aspect of con- 
 ducting. Analysis of the gestures used in conducting has shown 
 that there are four fundamental movements. 
 
 A — Wrist movement in horizontal position. (With palm of the 
 hand facing downward.) 
 
 B — Wrist movement in vertical position. (With palm of the 
 hand facing inward.) 
 
 C — Fore-arm movement. 
 
 D — Full-arm movement. 
 
 The diagrams on pages 4 and 6 represent a set of exercises for 
 the acquiring of complete control and suppleness of the wrist and 
 arm in all these four movements. On the opposite pages sets of 
 music examples may be found. Each individual note of these examples 
 represents a movement of the wrist or arm. 
 
 The conscientious study and practice of these exercises will not 
 only fully prepare the conductor for the more complicated beating 
 of time-indications, but will give him that poise and confidence 
 which come only with a consciousness of absolute self-control. This 
 physical self-control is one of the greatest essentials in the art of 
 conducting:. 
 
 ■&• 
 
 DESCRIPTION OF EXERCISES 
 
 There are two series of exercises, each numbering 24 figures. 
 These are to be performed in four different styles, corresponding 
 to the four fundamental movements. 
 
 A — Wrist movement in horizontal position. 
 B — Wrist movement in vertical position. 
 C — Fore-arm movement. 
 D — Full-arm movement. 
 
 For each style, there are four different positions which, for 
 practical reasons, have been named alter the points of the com- 
 pass; North, South. Easl and West. The photographs contained 
 in this chapter are of the four different positions, lor each style of
 
 exercise. In the diagram of exercises each of these positions is 
 indicated by a letter; X — for North, S — for South, E — for East, and 
 W— for West. 
 
 The small letter in the upper left corner indicates the starting 
 point. The other letters indicate the points of arrival. 
 
 Each figure is to be executed in time with certain music-examples 
 of which each individual note corresponds to a point of arrival. 
 
 For instance, figure 1 would he executed with Music Ex.1 
 thus : 
 
 Pi 
 
 m 
 
 *r^ ^r^ rf^" 
 
 South position corresponding to the note C. 
 North position corresponding to the note G. 
 
 The */ on a letter indicates a sharp forceful movement as op- 
 posed to a more relaxed motion. In the exercises for the wrist, the 
 fore-arm and upper-arm must remain motionless. Likewise, the 
 fore-arm movement must be executed without moving the upper 
 arm. 
 
 Great caution should be taken not to over-tire the wrist and 
 arm, when first practising these exercises. 
 
 These exercises are to be practised by the right and left arm 
 alternatively. 
 
 It is suggested for the individual practise that the student place 
 the music examples on one side of the music stand and the diagram 
 of the exercises on the other. 
 
 Thus he may describe the gymnastic exercises while singing or 
 whistling the music.
 
 MUSICAL EXAMPLES FOR GYMNASTIC EXERCISES 
 
 Series 1 
 
 Ex 
 
 „ r T n L r r i , ^y 
 
 
 Ex 
 
 XT ^ ^ 
 
 Ex 
 
 f—f^f 
 
 ■' ftUJ,,:, i 
 
 v_^ \> >> 
 
 Ex.5 (£4 J KJ sJ VII Ex.e ^T^^J^i^ J 
 
 Ex.7 
 
 ^ JJJ J- a ex.8 ^S JJr^J- I/-II 
 
 y£ if 
 
 
 Ex.9 
 
 *> 
 
 if 
 
 J. J.- 
 
 ^1 Ex.lO -^-^Tlj^ |/fl 
 
 if 
 
 Apply these exercises to all figures of series 1.
 
 Series 1 
 
 Fig. 1 
 
 Fi-. 2 
 
 Ex.1 
 
 N 
 
 s 
 
 N 
 
 Fig. 
 
 •* 
 
 
 
 9 
 10 
 
 S 
 \ 
 
 SN S 
 >- 
 
 /Vg\ 
 
 
 
 
 - 
 
 4 
 
 8 
 
 W 
 
 ] 
 
 2W 
 
 EW 
 
 /Yg\ 
 
 10 
 
 
 
 i 
 
 6 
 
 s 
 
 E 
 
 S 
 
 Fig. 
 
 /.s 
 
 
 
 1 
 
 • » 
 
 3 
 
 N 
 
 E 
 
 N 
 
 /'/- 
 
 /6' 
 
 
 
 9 
 10 
 
 E 
 
 I 
 
 S T E 
 
 N E 
 
 Fig. 
 
 19 
 
 
 
 7 
 8 
 
 W 
 
 iW 
 
 SW 
 
 A?- 
 
 £4 
 
 > 
 
 
 4 
 ;> 
 6 
 
 W 
 
 N W 
 
 Ex.4 
 
 5 
 
 6 
 
 S N 
 
 S 
 
 Fig. 
 
 5 
 
 
 l 
 
 O 
 
 3 
 
 ^ E 
 
 W 
 
 /Y# 
 
 6' 
 
 
 9 
 10 
 
 E 
 WE 
 
 WE 
 
 Fig. 
 
 11 
 
 
 7 
 
 8 
 
 SE 
 
 SE 
 
 Fig. 
 1 
 
 6 
 
 14 
 
 
 U N 
 
 E 
 
 17 
 
 
 1 
 
 2 
 3 
 
 F s 
 
 W 
 
 /Vg\ 
 
 £0 
 
 
 9 
 10 
 
 s 
 ws 
 
 WS 
 
 Fig. 
 
 £5 
 
 
 7 
 
 N 
 WN 
 
 WN 
 
 /v# «? 
 
 Ex.7 
 8 
 
 N 
 S 
 
 X S N 
 
 Fig. 
 
 6 
 
 
 
 4 
 
 5 
 
 6 
 
 E 
 
 w 
 
 E 
 
 />£. 
 
 .9 
 
 
 
 1 
 2 
 3 
 
 E 
 
 s 
 
 E 
 
 /v^. 
 
 12 
 
 
 
 9 
 10 
 
 s 
 
 E£ 
 
 1 
 
 ES 
 
 Fig. 
 
 15 
 
 
 
 7 
 8 
 
 N 
 E N 
 
 E N 
 
 /Y<sr. 
 
 IS' 
 
 
 
 4 
 5 
 
 6 
 
 s 
 
 w 
 
 S 
 
 /Yg\ 
 
 21 
 
 
 
 1 
 
 2 
 3 
 
 N 
 
 w 
 
 N 
 
 /V^\ 
 
 24 
 
 
 
 9 
 10 
 
 W 
 
 NW 
 
 NW
 
 Series 2 
 
 ex. i <j| I ^1 J I /•' ; | | 
 
 .\ 
 
 
 3fc 
 
 Ex.3 
 
 4 ^ jM* 1 Ex.4 |g J J | |/ :|| 
 
 Ex.5 
 
 ^1 Ex. 6^^ 
 
 Ex 
 
 ^IP 
 
 ^^* 
 
 ^j Ex.8 (ft I fi. =E . 
 
 =5£=f 
 
 Ex.9 
 
 ^ur-n r«-i 
 
 Apply these exercises to all figures of series 2 
 
 NOTE :— Each individual note corresponds to a gesture indicated 
 
 in the figures by a N, E, S, W.
 
 Series 2 
 
 Fig. I 
 
 Fig: I' 
 
 Fill: 3 
 
 
 N 
 S 
 
 E 
 
 N 
 
 Fig: 
 
 4 
 
 
 
 
 E 
 S 
 
 W 
 
 E 
 
 Fig. 
 
 7 
 
 
 
 
 N 
 W 
 
 E 
 
 N 
 
 Fig: 
 
 10 
 
 
 
 
 E 
 W 
 
 s 
 
 E 
 
 Fig: 
 
 13 
 
 
 
 
 w 
 
 E 
 
 N 
 
 W 
 
 Fig: 
 
 76" 
 
 
 
 
 S 
 E 
 
 W 
 
 S 
 
 Fig. 
 
 19 
 
 
 
 
 S 
 
 N 
 
 w 
 
 8 
 
 Fig. 
 
 22 
 
 
 
 
 W 
 
 N 
 
 s 
 
 W 
 
 
 S 
 
 W 
 
 N 
 
 /?£; 
 
 o 
 
 
 
 
 E 
 
 S 
 
 N 
 
 E 
 
 Fig. 
 
 8 
 
 
 
 
 N 
 W 
 
 S 
 
 N 
 
 Fig: 
 
 11 
 
 
 
 
 s 
 w 
 
 N 
 
 S 
 
 Fig 
 
 14 
 
 
 
 
 w| 
 
 E 
 
 s 
 
 w 
 
 Fig. 
 
 /? 
 
 
 
 
 N 
 E 
 
 w 
 
 N 
 
 Fig: 
 
 £0 
 
 
 
 
 S 
 
 N 
 
 E 
 
 S 
 
 Fig. 
 
 £5 
 
 
 
 
 E 
 
 N W 
 
 E 
 
 
 W 
 
 S 
 
 E 
 
 w 
 
 Fig. 
 
 6 
 
 
 
 
 W 
 
 S 
 
 N 
 
 w 
 
 Fig 
 
 9 
 
 
 
 
 E 
 
 w 
 
 XT 
 
 
 Fig:. 
 
 12 
 
 
 
 
 S 
 
 w 
 
 E 
 
 s 
 
 Fig. 
 
 /.■; 
 
 
 
 
 s 
 
 E 
 
 N 
 
 s 
 
 Fig 
 
 18 
 
 
 
 
 N 
 
 E 
 
 S 
 
 N 
 
 Fig 
 
 £/ 
 
 
 
 
 W 
 
 N 
 
 E 
 
 w 
 
 Fig. 
 
 24 
 
 
 
 
 E 
 
 N 
 
 S 
 
 E 
 
 The letter in the upper left corner 
 indicates the starting' point. 
 
 N — North Position. 
 
 W- West Position. 
 
 S — South Position. 
 
 E — East Position.
 
 Illustrations and Descriptions of the Positions in Each of 
 the Four Styles of the Fundamental Movements
 
 4 N,' or North position of Style A 
 
 1. Drop arm loosely to side. 
 
 2. Raise forearm forward until it forms a right angle with the upper arm. 
 
 3. Extend hand and fingers ; keep the palm facing downwards. 
 
 4. Without moving the arm, raise the hand from the wrist-joint until almost at a right 
 angle with the forearm. 
 
 Note. — The forearm maintains this position all through the exercises of Style A. 
 
 8
 
 'S,' or South position of Style A 
 
 Without moving the forearm, lower the hand from the wrist-joint 
 until at a right angle with the forearm.
 
 'E,' or East position of Style A 
 
 Without moving the forearm, and always keeping the fingers 
 extended and palm downward, move the hand to the right as far as 
 possible. 
 
 10
 
 '\V7 or West position of Style A 
 
 Without moving the arm, and always keeping the fingers extended 
 with the palm downward, move the hand to the left as far as it will go. 
 
 11
 
 k N,' or North position of Style B 
 
 1. Drop arm loosely to side. 
 
 2. Raise forearm forward until it forms a right angle with the upper arm. 
 
 3. The fingers remain extended and the palm is turned so that the thumb is upper- 
 most. 
 
 4. Without moving the forearm, raise the hand as far as possible, taking care to 
 keep the fingers extended and palm inward. 
 
 Note. — The forearm maintains this position throughout the positions of Style B. 
 
 12
 
 'S,' or South position of Style B 
 
 Without moving the arm, lower the hand as far as possible, taking 
 care to keep the fingers extended and palm inward (facing to the left). 
 
 13
 
 'E,' or East position of Style B 
 
 Without moving the arm, point the hand and fingers to the right 
 until almost forming a right angle with the arm. 
 
 14
 
 YV,' or West position of Style B 
 
 Without moving the arm, point the hand and fingers to the left 
 until almost forming a right angle. The thumb still remains uppermost. 
 
 15
 
 N,' or North position of Style C 
 
 1. Drop arm loosely to side. 
 
 2. Raise forearm forward until it forms a right angle with the upper arm. 
 
 3. The palm is turned down. 
 
 4. Without moving the upper arm, raise the forearm upwards until the back of the 
 hand almost touches the shoulder. 
 
 Note. — The upper arm maintains this position throughout the exercises in Style C. 
 
 16
 
 'S,' or South position of Style C 
 
 Without moving the upper arm, lower the forearm until the palm 
 of the hand is about 3 or 4 inches from the thigh. 
 
 17
 
 'E,' or East position of Style C 
 
 Without moving upper arm, turn the forearm to the right about 40 
 degrees. 
 
 18
 
 'W,' or West position of Style C 
 
 Without moving upper arm, turn the forearm to the left about 40 
 degrees, the palm of the hand facing forward. 
 
 10
 
 'S,' or South position of Style D 
 
 Lower arm downward until the palm is about 4 inches from the 
 thigh. 
 
 NOTE. — All motions in Style 'D' are described by the full arm. 
 
 20
 
 'W,' or West position of Style D 
 
 Turn arm to the left about 40 degrees. 
 
 21
 
 'E,' or East position of Style D 
 
 Turn arm to the right about 40 degrees. 
 
 22
 
 'N,' or North position of Style D 
 
 
 
 
 1 
 
 
 
 J 
 
 
 
 
 
 || 
 
 
 l^m 
 
 
 
 3fe, ' 1 
 
 1 ■> 
 
 
 14* ' 
 
 B> **■■ 
 
 
 ^^■^^^ 
 
 (I 7 
 
 
 W 
 
 
 Raise arm upwards with palm forward and fingers extended. 
 
 22
 
 Chapter II 
 
 The General Attitude of the Conductor 
 
 1. The general attitude of the conductor must be one of quiet, but 
 commanding" dignity. 
 
 2. He must not only know what lie wants, but he must be able to 
 convev this knowledge to his orchestra or band by a minimum 
 of gesture. 
 
 3. I lis body must be as firm as the proverbial mighty oak, whidi 
 only sways in the fiercest storm. The orchestra or band must 
 never become unconscious of the fact that the conductor sees, 
 feels, and hears everything that goes on. 
 
 4. The head, knees and feet must remain especially quiet. 
 
 5. The length of the arm movement varies very necessarily with 
 the length of the individual arm. The increase or decrease in 
 the tempo also calls for changes in motion. A quick tempo is 
 conducted with a much smaller motion than a slow tempo. 
 Often the contrast of <l FF" and "PP" is indicated by changing 
 from large to small motions. 
 
 6. There are three degrees of muscular control: (1) Relaxed; 
 (2) Firm; (3) Stiffened or Locked. In conducting, the first 
 two are mostly used. 
 
 7. All gestures must be directed by the hand or forearm. That 
 is to say, the center of the motive power must seem to be in 
 the hand, which draws the rest of the arm after it. 
 
 8. The baton must not be held stiffly, as this would effect the 
 suppleness of the whole arm. It must serve as a sort of 
 extended finger. 
 
 9. The role of the left arm is very difficult to accurately describe. 
 Altho it plays a more modest part than the right arm, it is 
 nevertheless of the greatest importance. It must ever be ready 
 with preventive motions, indications of instrumental entrances, 
 and to add force to certain heavily-accented movements of its 
 neighbor. But let it here be said that the habit of conducting 
 constantly with both arms describing the same motions is 
 about as foolish and ill-advised as anything can be. Should 
 the conductor be left-handed, this paragraph will pertain to 
 his right arm. 
 
 10. It must not be forgotten that it is possible to beat time 
 accurately and still use uneven and un-rhythmic motions. The 
 greatest care must be taken to move from one beat to the 
 other, in a manner, measured and symmetrical. 
 
 11. In a very slow movement, accuracy can be obtained by ending 
 each movement with a sharp wrist motion in the same direction 
 as the arm movement. 
 
 12. Altho general rules in conducting are extremely hard to lay 
 down, it might be suggested that the principle of indicating 
 each accent, entrance, sudden forte or piano, one beat ahead 
 be adhered to, 
 
 24
 
 Left Hand Signals 
 
 1. "pp" (Pianissimo) is indicated by extending and raising the left 
 arm slightly with the hand at the level of the shoulder, palm 
 downward. 
 
 2. "p" (Piano) is indicated by raising the left forearm until the 
 back of the hand is directly in front of the left shoulder. 
 
 3. Code Sign — Raise left arm above the head with one finger ex- 
 tended. 
 
 4. Second Ending — Raise left arm above the head with two fingers 
 extended. 
 
 5. To stop in middle of strain — Raise left arm above head, with all 
 the fingers extended, and keep it there until halt is desired. At 
 this point, bring it down firmlj and quickly. 
 
 25
 
 The five photographs which illustrate the live fundamental 
 positions used in actual conducting 
 
 No. 1. Preparatory position. 4/4 time. 
 
 26
 
 Number 2 
 
 Position of the first beat in 4/4 time. 
 
 27
 
 Number 3 
 
 Position of the second beat in 4/4 time. 
 
 28
 
 Number 4 
 
 
 Position of the third beat in 4/4 time. 
 
 29
 
 Number 5 
 
 ••; 
 
 Position of the fourth beat in 4/4 time. 
 
 30
 
 31 
 
 CHAPTER III 
 
 Diagrams of Gestures Used in Conducting 
 
 The music examples are to illustrate the use of the ges - 
 ture and have been found practical for class work. 
 
 In practising these gestures with the music examples, the 
 movement must always be expressive of the character of the 
 music. 
 
 Sharp and energetic movements for music of an accentu- 
 ated character, and moderate, gentle movements for music of 
 a corresponding nature. 
 
 The accent is executed by a sharp quick arm movement. 
 Great care must be taken to execute each movement, even 
 the most gentle pianissimo, clearly and with authority. 
 
 In all the diagrams the following principles are 
 
 maintained 
 
 1 — The heavy or accented beat is indicated by a dark arrow. 
 
 2 — The light or unaccented beat is indicated by an unshad- 
 
 ed arrow. 
 
 3— The semi-accented beat is indicated by a semi-shaded 
 arrow. 
 
 4 — All subdivisions are indicated by dotted lines. 
 
 5— The fundamental beats are described with the arm 
 
 movement, while subdivisions are performed with the 
 
 wrist. In this manner, a very clear indication of the 
 fundamental beat is always maintained. 
 
 21788-
 
 ■32 
 
 1st beat begins here T 
 
 1st beat ends he 
 
 re T 
 
 Jy 2nd beat ends 
 here 
 
 Q 
 
 2nd beat begins 
 here 
 
 DIAGRAM N?1 
 
 Fundamental method of beating 2 /'Z, /4 time.
 
 33 
 
 2 
 
 A 
 
 DIAGRAM N?2 
 
 Actual method of beating a /2 and 2 A time. 
 
 21788-
 
 ■M 
 
 EXAMPLE N? 1 for DIAGRAM N9 2 
 
 Moderato 
 
 -rr 
 
 m 
 
 PP 
 
 P 
 
 fe£ 
 
 ^ 
 
 §£=» 
 
 ¥ 
 
 £ 
 
 ^ 
 
 S 
 
 :Sz 
 
 ? 
 
 £ 
 
 5 
 
 s 
 
 i 
 
 £ 
 
 ^ 
 
 i 
 
 f 
 
 P 
 
 m 
 
 Accented 1st beat:- ft) I I 7 ^ [ J 7 «M J 7 JT 
 
 ± etc. 
 
 Accented 2nd be 
 
 at:- g) j y I 
 
 5^ 
 
 in 
 
 =F 
 
 etc.
 
 35 
 
 and 
 
 DIAGRAM N? 3 
 
 Normal subdivision of % and /4 time. 
 
 21788-
 
 :?6 
 
 EXAMPLE No 2 for DIAGRAM N? 3 
 
 Adagio 
 
 £==^ 
 
 r ~ — r 
 
 «=# 
 
 or 
 
 B 
 
 4 ~* S 
 
 J^ # 
 
 fee 
 
 Q.J i n jj i n n i 
 
 $ jJTj ' J 
 
 S 
 
 « 
 
 *^~ 
 
 B* fr> B 
 
 Moderato 
 
 fggfrmWi mJXt 
 
 p^ 
 
 sj-»>y 
 
 frfr i c fr fl? i ^3 I P 
 
 fez=R 
 
 Allegretto 
 
 ^ 
 
 *=£ 
 
 H a l 
 
 I 
 
 £--** 
 
 — < 
 
 and 
 
 and 
 
 This form of six eight time is indicated in the above man- 
 ner.
 
 37 
 
 and 
 
 DIAGRAM N9 4 
 
 Accented subdivision of ^2 and /k time. 
 
 EXAMPLE N9 3 for DIAGRAM N9 4 
 
 Andante 
 
 J" jW^ i P Lfiufrir 
 
 % 
 
 7^ 
 
 ta 
 
 U ^r I ge 
 
 ^ 
 
 ^^ 
 
 /JJ ! J 1/Tj i i 
 
 4 pJP \ P^ \ } tnjru 
 
 21788-
 
 38 
 
 DIAGRAM N? 5 
 
 6 A or G /8 time. (Modern French Method) ^4 or 6 /8 time 
 is a subdivision of */% or /*k time.
 
 39 
 
 DIAGRAM N9 5a 
 
 Old method of beating slow Q /8 time. 
 
 The disadvantage of this method is that the 6th beat is out 
 of proportion with the others. In diagram N9 5 the long beat 
 comes on the 4th or naturally accented beat of the measure, 
 whereas in 5a the 6th or last beat in the measure is apt to be 
 
 unduly accented. 
 
 21788-
 
 40 
 
 EXAMPLE N? 4 for DIAGRAM N? 5 and 5a 
 
 Slowly 
 
 $&i r^ i jTiJfl i jnJXi i qD 
 
 j' 1 ' uTILj- 1 1 iTljj- i -^ rr i -g:.' j- i 
 
 A- With accent on 1st beat, .(k \>\> % | 7]J4^ — """JJjj^ 
 
 B— With accent on 2nd beat. 
 
 f''i.;s $np \ ]fim 
 
 C— With accent on 3rd beat. 
 
 f V'i $l$\$l& \ 
 
 D— With accent on 4th beat. 
 
 j^ jjff i jjaff 
 
 E — With accent on 5th beat. 
 
 ^H jffljjJ^ 
 
 F- With accent on 6th beat, fe gig 1 J3J^ J : J JJJ^. - 
 
 G — With accent on 1st and 4th 
 beat. 
 
 -fvi; j.Jffl i jflfll
 
 41 
 
 i^2 
 
 DIAGRAM N? 6 
 Fundamental method of beating 3 /2, 3 /4 or 3 /8 time. 
 
 DIAGRAM N? 7 
 Actual method of beating 3 /2, 3 A or 3 /s time. 
 
 21788-
 
 4'J 
 
 EXAMPLE NO 5 for DIAGRAM N° 7 
 
 Moderato 
 
 ^ 1 8 j j , i I T r I fJ> I r Tf h^S 
 
 if 
 
 X 
 
 P^P 
 
 £ 
 
 3 
 
 gPS^ 
 
 ^^ 
 
 *=# 
 
 B— With accent on 
 1st beat. 
 
 #s 
 
 Allegro 
 
 y yr j vr 
 
 s 
 
 i 
 
 C — With accent on 
 2nd beat. 
 
 J 1 1 ; i' 2 r, i h h ' i 1 ' r i 
 
 D— With accent on^ 
 3rd beat. 
 
 =2= 
 
 W 
 
 EE5 
 
 m 
 
 & 
 
 E— Accent on 
 and 3rd beat. 
 
 Mazurka - Tempo di Mazurka 
 =3= 
 
 tet :jnr j.J j77yrJTjT37i^ n 
 
 F — Waltz— Acce 
 1st beat 
 
 
 Tempo di Valse 
 
 Polonaise 
 
 G — Accent on all 
 3 beats. 
 
 P 
 
 Tempo di Polacco 
 
 1 
 
 rvnrp 
 
 ^i i ^ ^ |
 
 43 
 
 and 
 
 fiand 
 
 DIAGRAM N? 8 
 Normal subdivision of /2, /4 or 18 time. 
 
 EXAMPLE N? 6 for DIAGRAM N? 8 
 
 i 
 
 Slowly 
 
 1 
 
 m 
 
 j * m * 
 
 ** 
 
 +-* 
 
 21788 -
 
 44 
 
 and 
 
 and 
 
 DIAGRAM N? 9 
 Accented subdivision of 3 /2, 3 A or % time. 
 
 EXAMPLE N? 7 for DIAGRAM N? 9 
 
 Slowly, but with energy 
 
 ^rnjrm j i r 3 m 
 
 $*t-n jtjj t ] \i: Pus ^ VTi ' 
 
 P* n^fr
 
 45 
 
 DIAGRAM N9 10 
 /8 Time. Only for very slow tempos. Otherwise, beat 3 
 
 EXAMPLE N? 8 for DIAGRAM N? 10 
 
 Adagio 
 
 l» I^rrr r <r r @ii M r 
 
 4^W&ttflfi^ \ P 2 Urtfi 
 
 4 
 
 Cj }i CT [_c_f r^r r i^ 
 
 21788 -
 
 46 
 
 £>3 
 
 DIAGRAM NO 11 
 Fundamental method of beating V2, 4 /4 and Vs time 
 
 DIAGRAM N9 12 
 Actual method of beating Vs, 4 A and Vs time.
 
 47 
 
 EXAMPLE N° 9 for DIAGRAM N? 11 
 
 Moderato 
 
 i 
 
 B < *. 
 
 m 
 
 ? 
 
 f 
 
 ^ r g 
 
 a r r J J Ik J J J I J J rJ 
 
 rr J ^ i r 
 
 £ 
 
 *=s 
 
 A— With accent on 1st beat. (M Z 1; EEj 
 
 ^Pf 
 
 *=-* 
 
 g 
 
 B— With accent on 2nd beat. 
 
 ^'-i, ^jj^j^l^ 
 
 C-With accent on 3rd beat, (k 5 J K7 j J J JV J- ^h 
 
 D— With accent on 4th beat. 
 
 mm 
 
 w^ 
 
 £E 
 
 i 
 
 E-With accent on 1st and Srd jf l 1 * ! I i. . I I h t - 
 
 beat. g> g j' JU. J)» J" Eg p 
 
 21788 -
 
 48 
 
 4 and 
 
 and 
 
 DIAGRAM N9 13 
 Normal subdivision of 72, V4 and /& time. 
 
 EXAMPLE N? 10 for DIAGRAM N? 13 
 
 $ 
 
 Adagio 
 
 J g S PI 
 
 I J J J J J 
 
 -*-* 
 
 BE 
 
 JTJ1 . i j 1 1 tuj JTJ] |
 
 49 
 
 and 
 
 and 
 
 DIAGRAM N?14 
 Accented subdivision of 72, /4 and 78 time. 
 
 EXAMPLE N? 11 for DIAGRAM N? 14 
 
 Slowly 
 
 ^3 
 
 m 
 
 j u .j j.j jjj 
 
 • m • 
 
 f 
 
 "k^' \ > J~?3"3JJ J J i r3T]JJ j J i l£.rj**^'li i 
 
 $ 
 
 p 
 
 s 
 
 Si 
 
 gzd: 
 
 21788-
 
 50 
 
 DIAGRAM N9 15 
 
 12/4 or 13/ 8 time. 
 
 v8 time is really a subdivision of 74 time. 
 
 EXAMPLE N? 12 for DIAGRAM N? 15 
 
 Adagio. 
 
 ^is> « .m _ r h JJJ c£r i r cr r cr -r^ ■ rn ' 
 
 M>= 
 
 s 
 
 ^jWQ7 
 
 iSBfesefii
 
 51 
 
 5^4 
 
 DIAGRAM N? 16 
 
 5 A or 5 /s time. 
 
 This 5 /4 or 5 /8 time is a compound rhythm of 2^3 or 2-3 time 
 
 4 8 
 
 EXAMPLE N9 13 for DIAGRAM N9 16 
 
 Allegretto 
 
 5 I | ==z: 
 
 r> I a 
 
 1 1 1 ■ wg 
 
 i 
 
 ■ i 
 
 P 
 
 I 
 
 -f5> <S^- 
 
 21788-
 
 52 
 
 DIAGRAM N? 17 
 
 % or 5 /i time. 
 
 This °/8 or °/4 time is a compound of 3-2 or 3-2 time. 
 
 8 4 
 
 EXAMPLE N? 14 for DIAGRAM N? 17 
 
 I 
 
 1 
 
 Allegretto 
 5 I I | ~ 
 
 ■#-*: 
 
 3
 
 53 
 
 Vl time. 
 
 3-4 or 3-4 time. 
 4 8 
 
 DIAGRAM N? 18 
 
 EXAMPLE N9 15 for DIAGRAM N9 18 
 
 Eg k J- pr j i l /i r § > ' ! E 
 
 r~ r ij ;j^j j i j^TV 
 
 21788
 
 54 
 
 Vs or 7 A time. 
 
 3-4 or 3-4 time. 
 4 8 
 
 DIAGRAM N? 19 
 
 EXAMPLE N? 16 for DIAGRAM N? 19 
 
 j'UJ J jJ Pff 
 
 r r J ~flffii 
 
 * 
 
 i 
 
 iff^? i ri7 j jmf 
 
 * 
 
 C r f r r 
 
 s: 
 
 P^P
 
 55 
 
 CHAPTER IV 
 
 1. The 'attaque' 
 
 2. The 'pause' 
 
 3. Employment of subdivision to emphasize and give weight 
 to certain characteristic passages, ritardandi, etc. 
 
 4. The sharply accented beat as the means of securing pre- 
 cision in syncopated passages. 
 
 5. Breathing places. (Indication of). 
 
 6. Extract from Berlioz's Treatise on Conducting. 
 
 7. On the Conducting of Waltzes of Strauss and Wald- 
 tenfel. 
 
 21788
 
 56 
 
 Chapter N? IV 
 
 The "Attaque" 
 
 One of the most important and difficult results for a con- 
 ductor to obtain is a clean-cut and united attaque, or start, on 
 tite part of his instrumentalists. The following suggestions 
 will give the key to an easier achievement of this result. 
 
 EXAMPLE I 
 
 When the musical subject begins directly on the first beat 
 of the measure, one beat before, given in the rhythm of the 
 following measures and in the position of the last beat in the 
 measure, will suffice to assure a concerted and clean-cut at - 
 taque. The following measures, from the PRELUDE TO 
 THE MASTERSINGERS by WAGNER, illustrate this 
 principle. 
 
 etc. 
 
 Moderato molto 
 
 5 
 
 i nn\ 
 
 3 
 
 j molto vigoroso e tenuto
 
 57 
 
 (B) When the musical subject begins on the last beat of the 
 measure, give the preceding beat, first. This beat should be 
 less marked than those following. 
 
 Overture to Tannhauser - Wagner 
 
 ate 
 
 i 
 
 ibfefc 
 
 3 
 
 E 
 
 S 
 
 r 
 
 *# 
 
 s 
 
 ^^ 
 
 j i i 
 
 ttk J -J ^sd 
 
 r r r 
 
 r 
 
 NOTE 
 
 Many modern conductors dispense with this preceding 
 beat. However, it is extremely valuable in establishing 
 the rhythm and helpful to less experienced orchestral or 
 
 band players. 
 
 21788-
 
 58 
 
 (C) The principle of the preceding example is also applicable 
 to cases in which the musical subject begins on any fraction of 
 the beat. 
 
 EXAMPLES 
 Marche Hongroise - Berlioz 
 
 ii 
 
 ii 
 
 4 
 
 Allegro moderato 
 Trumpets 
 
 \ 
 
 3£ 
 
 4 4 4 
 
 f 
 
 uu 
 
 3 az 
 
 i m 
 
 segue 
 
 i 
 
 i g 
 
 segue 
 
 segue 
 
 segue 
 
 segue 
 
 ,i 
 
 a a 
 
 
 1 
 
 3: 
 
 4 4 & ' 
 
 :m 
 
 -o- 
 
 *rf 
 
 -S>-i- 
 
 a
 
 59 
 
 (D) In a special case, like the beginning of theAllegro in the 
 Overture to Tancredi by Rossini, it is best to beat out , the 
 entire measure, in which the phrase enters. 
 
 Overture to Tancredi - Jtossini 
 
 -<j?m 
 
 $ 
 
 Se 
 
 r\ 
 
 i i 7 i> 7 
 
 i 
 
 # 
 
 3^S 
 
 5 
 
 b .b 
 
 i'y t i 
 
 i 
 
 £ 
 
 g V 3=?= 5 
 
 At 'A" beat 1, 2, 3, 4, the phrase commencing in the 3rd beat. 
 
 21788-
 
 60 
 
 In a case where the time is "one" in a meaure, and the mus- 
 ical subject begins on a fraction of the measure, beat one whole 
 
 measure before. 
 
 EXAMPLE 
 
 Symphony Pastorale - Beetho 
 
 ven 
 
 f 
 
 0/ 
 
 t I J 
 
 y 
 
 J J J 
 
 i 
 
 Allegro J. = 108. 
 
 IE 
 
 m 
 
 m 
 
 pp 
 
 k 
 
 X) 
 
 J J J 
 
 
 
 J J J 
 
 segue 
 
 segue 
 
 segue 
 
 segue 
 
 ;n r rr 
 
 ^ 
 
 if 
 
 35 
 
 2 
 
 ^ 
 
 
 f 
 
 etc.
 
 61 
 
 Notes sustained by ' The Pause" 
 
 2- (A) 
 
 Beat the beginning and termination of the note when it 
 is not a part of a phrase. It is always well to mentally count 
 and determine the length of a note held by a pause. 
 
 1— Indicates the beginning of note. 
 2 — Indicates ending of note. 
 
 There must be a distinct stop between these notes. 
 
 A 
 
 v 
 
 i 
 
 Du 
 
 I 
 
 .—._ — — — ~ 1 
 
 
 /?\ 
 
 "c 
 
 i 
 
 V 
 
 / \ 
 
 I 
 
 ^T=^ 
 
 -»- 
 
 :& 
 
 <> 
 
 o 
 o 
 
 5S 
 
 3 
 
 BE 
 
 S 
 
 /T\ 
 
 TT 
 
 21788-
 
 62 
 
 (B) When the pause is on a note which is a part of a phrase, 
 sustain the note by delaying the beat upon which the pause 
 appears.
 
 Ill 
 
 63 
 
 SUBDIVISION 
 
 Employment of the "subdivision" to emphasize and give weight 
 to certain characteristic passages, ritenuti, etc. 
 
 By subdividing the beats in the fourth measure of the follow- 
 ing example, force and accent are given to the phrase. 
 
 Ninth Symphony - Beethoven 
 
 Allegro! 
 
 ii 
 
 ® ^ 
 
 ma non troppo, un 
 
 n 
 k 
 
 poco maestoso 
 
 21788-
 
 64 
 
 The sharply accented beat as a means of obtaining precision 
 in syncopated figures. 
 
 By accenting the first and third beats of measures 6 and 7 
 of the following example, a certain lingering on the tied notes 
 will be avoided. 
 
 Prelude to "The Mastersingers" - Wagner 
 
 q\ do Ice 
 
 $ 
 
 fl J ^ 
 
 w 
 
 £ 
 
 &3 
 
 ggi 
 
 m 
 
 i 
 
 m 
 
 dolce^ 
 
 piii p di?n. 
 
 Cello. 
 
 S 
 
 i 
 
 ^ 
 
 £ 
 
 j ^ gaahSB 
 
 P! 
 
 i 
 
 r 
 
 © © 
 
 Viol. 
 
 ^ / ~r~poco ra il. 
 
 fe§ 
 
 5 a 'lUf B 
 
 if* 
 
 ^ 
 
 jfTjgk *TO 
 
 piu p 
 
 1 
 
 J ■ JT^l 
 
 r 
 
 I II III IV 
 
 J J J J 
 
 Tempo 
 
 r 
 
 © 
 
 $ ''f^ ? fer 
 
 cresc. 
 
 m 
 
 i 
 
 t*t 
 
 i 
 
 *iCj 
 
 ^ 
 
 rfcccr r D:f-f I 
 
 ©
 
 65 
 
 To indicate places for taking breath, conduct in the man- 
 ner described below. The arm movement must come to a 
 complete stop just before the breathing place. 
 
 m 
 
 Moderato 
 
 S 
 
 21788-
 
 66 
 
 Extract from Hector Berlioz's Treatise on Conducting 
 
 Hector Berlioz, in his book on conducting, gives some very 
 splendid suggestions for the conducting of complicated pass- 
 ages, An extract is given here. 
 
 'A dilemma sometimes presents itself in a score when 
 certain parts are given, for the sake of contrast, a triple 
 rhythm while others preserve the dual rhythm. 
 
 Andante 
 
 No doubt, if the wind instrument parts in the above ex- 
 ample be intrusted to players who are good musicians, there 
 will be no need to change the manner of marking the bar, 
 and the conductor may continue to subdivide it by six, or 
 to divide it simply by two; the majority of players, how- 
 ever, will hesitate at the moment the triple rhythm in- 
 tervenes amidst the dual rhythm, requiring assurance, 
 which can be given by this means. The uncertainty oc- 
 casioned them by the sudden appearance of this unex - 
 pected rhythm, and which the rest of the orchestra con - 
 tradicts, always leads the performers to cast instinctively 
 a glance towards the conductor, as if seeking his assis - 
 tance. He should also look at them turning rather towards 
 them, and marking, by very slight gestures the
 
 67 
 
 triple rhythm, as if there were really three in a bar, in such a 
 way that the violins and other instruments playing in dual 
 rhythm, may not observe this change, which would put 
 them out. From this compromise, it results that the new 
 rhythm of three -time being marked furtively by the con- 
 ductor, is then executed with steadiness; while the two-time 
 rhythm, already firmly established, continues without diffi- 
 culty, although no longer indicated by the conductor . On 
 the other hand, nothing, in my opinion, can be more blam- 
 able or more contrary to musical good sense, than the ap- 
 plication of this procedure to passages where two rhythms 
 of opposite nature do not co-exist; and where merely syn- 
 copations are introduced The Conductor, dividing the bar 
 by the number of accents he finds contained in it, then de- 
 stroys (for all the auditors who see him) the effect of the 
 syncopation; and substitutes a flat change of time, for a play 
 of rhythm of the most bewitching interest. This is what 
 takes place, if the accents be marked, instead of the beats, 
 in the following passages from Beethoven's Pastoral Sym- 
 phony. 
 
 # 
 
 I II 
 
 Andante 
 
 HI 
 
 IV 
 
 VI 
 
 itES 
 
 ir 
 
 8: 
 
 21788-
 
 68 
 
 II 
 
 III 
 
 IV 
 
 Andante 
 
 $ 
 
 b=I& 
 
 ir 
 
 & 
 
 This voluntary submission to rhythmical form which the au- 
 thor intended to be thwarted is one of the gravest faults in 
 style that a conductor can commit. 
 
 There is another dilemma, extremely troublesome for a con- 
 ductor and which demands all his presence of mind. It is that 
 presented by the super- addition of different bars. It is easy to 
 
 conduct a bar in two dual times placed above or beneath an- 
 
 » 
 other bar in two triple times, if both be in the same kind of 
 
 movement; they are then equal in duration, and there needs only 
 
 to divide them in half, marking the two principal beats. 
 
 # 
 
 Allegro 
 
 * 
 
 1 
 
 I 
 
 E 
 
 ms 
 
 r p i 
 
 ^p^ 
 
 § 
 
 *=* 
 
 ■K-^- 
 
 But if, in the middle of a piece slow in movement, there be 
 introduced a new form, brisk in movement, and if the composer 
 (either for the sake of facilitating- the execution of the quick 
 movement, or because it was impossible to write otherwise) 
 has adopted for this new movement the short bar which cor- 
 responds with it, there may then occur two or even three 
 short bars super- added to a slow bar.
 
 69 
 
 N9 1 
 
 a 
 
 Andante 
 
 ggjgg 
 
 i§ 
 
 1 
 
 a 
 
 a 
 
 Ne 2 Allegro 
 
 ^^N 
 
 iM 
 
 wm 
 
 Sempre Andante 
 
 S 
 
 Z 
 
 7 
 
 N9 3 
 
 The conductor's task is to guide and keep together these 
 different bars of unequal number and dissimilar movement. He 
 attains this, by commencing with dividing the beats in the 
 "andante" bar No. 1, which precedes the entrance of the Alleg- 
 ro in 6 /s, and by continuing to divide them still; but taking 
 care to mark this division yet more. The players of the ( 'alleg- 
 ro" in 6 /8, then comprehend that the two gestures of the con- 
 ductor represent the two beats of their short bar, while the 
 players of the "andante" take these same gestures merely for 
 a divided beat of their long bar. 
 
 21788-
 
 70 
 
 This, it will be seen, is quite simple, because the division 
 of the short bar, and the subdivisions of the long one, mutual- 
 ly correspond. The following example, where a slow bar is 
 superadded to the short ones, without this correspondence ex- 
 isting, is more awkward. 
 
 * 
 
 Hautboy k\ 
 
 £sbs£ 
 
 iL J 
 
 r r i rj 
 
 & 
 
 Allegro assai 
 
 Violas 
 
 us us ' r p r p i Lu rj 
 
 ^ 
 
 * 
 
 Allegretto 
 
 i 
 
 doubly slow 
 
 £ 
 
 * 
 
 N9 1 
 
 NQ 2. 
 
 Maintain in the same movement 
 
 V^^ 
 
 B 
 
 1 
 
 a 
 
 a-^—i:^-! — ■ 
 
 i 
 
 fag 
 
 i 
 
 i 
 
 i 
 
 N?3 
 
 1 
 
 s 
 
 £ 
 
 s 
 
 5i : I J . S=jj 
 
 IZ13HZ3!] 
 
 j>O i rTr 
 
 ^^ 
 
 g 
 
 i 
 
 I K ^ iWJ>'i:i-'JddJMil^iJM '
 
 71 
 
 Here the three bars "allegro-assai" which precede the 
 "allegretto", are beaten in simple two-time, as usual. At 
 the moment when the "allegretto" begins, the bar of which 
 is double that of the preceding, and of the one maintained 
 by the violas, the conductor marks "two divided beats" for 
 the long bar, by two equal gestures down, and two others up. 
 
 The two large gestures divide the long bar in half, and 
 explain its value to the hautboys, without perplexing the vio- 
 las, who maintain the brisk movement, on account of the 
 little gesture which also divides in half their short bar. 
 
 From bar No. 3, the conductor ceases to divide thus the 
 
 long bar by four, on account of the triple rhythm of the mel- 
 6/ 
 
 ody in '8, with which this gesture interferes. He then con - 
 fines himself to marking the two beats of the long bar, and 
 the violas already launched in their rapid rhythm continue 
 it without difficulty, comprehending exactly that each down- 
 ward stroke of the conductor's stick marks merely the 
 commencement of their short bar. 
 
 And this last observation exhibits the necessity of great 
 care in dividing the beats of the bar, when a portion of the 
 instruments or voices come to execute triplets upon these 
 beats. This division, by cutting in half the second note, of 
 the triplet, would render its execution uncertain.lt is neces- 
 sary even to abstain from this division of the beats of a 
 bar into two, just before the movement when the rhythmical 
 or melodic design is about to be divided by three; in order 
 not to give previously to the players, the impression of a 
 
 21788-
 
 72 
 
 rhythm contrary to that which they are going- to hear given. 
 
 Subdivide the first (1) and fourth (4 1 measures into 
 
 six beats and beat measures 2 and 3 with straight 4 time. 
 
 Adagio 
 
 N?3 
 
 N?4 
 
 # 
 
 • r Tr r 
 
 P 
 
 We will now speak of the conductor's method of beat - 
 ing, in recitatives. Here as the singer or instrumentalist is 
 reciting, and being no longer subject to the regular division 
 of the bar, it is requisite, while following him attentively, to 
 make the orchestra strike with precision, and together, the 
 chords or instrumental passages, with which the recitative is 
 intermingled; and to make the change in harmony occur at 
 the proper instant. When the recitative is accompanied 
 either by sustained tones or tremolo and a change of harmony
 
 73 
 
 occurs in some of the voices, the conductor must give 
 special attention to these voices. 
 
 In this example, the conductor, while 
 
 following the recitative, has especially to attend to 
 the viola part,- and to make it move, at the proper mo - 
 ment, between the first and second beat, from the F to 
 the "E" at the commencement of the second bar,- without 
 which, as this part is executed by several instrumental - 
 ists playing in unison, some of them would hold the F' 
 longer than the others, and a transient discord be thence 
 produced. 
 
 Many conductors have the habit, when directing the 
 orchestra in recitatives, of paying no heed to the written 
 division of the bar; and of marking an up-beat before a 
 brief chord occurs which the orchestra has to strike, 
 even when this chord occurs on an unaccented part of the 
 bar: - 
 
 ^ 
 
 $ 
 
 Par - lez! 
 
 ^=y 
 
 I 
 
 *E=E 
 
 21788
 
 "4 
 
 In a passage such as this, they raise the arm at the rest 
 which commences the bar, and lower it at the time of the 
 chord. 
 
 I cannot approve of such a method, which nothing justi - 
 fies, and which may frequently occasion accidents in the ex- 
 ecution. 1 do not see why, either, in recitatives, the bar should 
 no longer be divided regularly, and the real beats be marked 
 in their place, as is music that is kept time to. I therefore 
 advise - for the preceding example that the first beats should 
 be made down, as usual, and the stick carried to the left, 
 for striking the chord upon the second beat; and* so on, for 
 other analogous cases; always dividing the bar regularly. It 
 is very important, moreover, to divide it according to the 
 time previously indicated by the author; and not to forget, 
 if this time be "allegro or maestoso,' and if the reciting part 
 has been sometime reciting, unaccompanied, to give to all 
 the beats, when the orchestra comes in again, the value of 
 those of an allegro or of a maestoso. For when the orches- 
 tra plays alone, it generally plays in time, it plays with- 
 out measured time only when it accompanies a voice or 
 instrument in recitative. 
 
 In the exceptional case where the recitative is written 
 for the orchestra itself, or for the chorus, or for a portion 
 of either orchestra or chorus, as it is requisite to keep to- 
 gether, whether in unison, or in harmony, but without reg- 
 ular time-, a* certain number of performers, then it is the 
 conductor himself who becomes the real reciter and who 
 gives to each beat of the bar the duration he judges fit. 
 According to the form of the phrase, he now divides and
 
 75 
 
 subdivides the beats, now marks the accents, now the semi- 
 quavers if there be any; and, in short, indicates with his 
 stick the melodic form of the recitative. 
 
 It is an understood thing, that the performers, know- 
 ing their parts almost by heart, keep their eye constantly 
 upon him; otherwise, neither security nor unity can be ob- 
 tained. 
 
 In general, even for timed music, the conductor should 
 require the players he directs, to look towards him as of- 
 ten as possible. 
 
 An orchestra which does not watch the conductor's 
 stick, has no conductor'.' Often, after a pause or hold for 
 instance, the conductor is obliged to refrain from mark- 
 ing the decisive gesture which is to determine the com - 
 ing in of the orchestra until he sees the eyes of all the 
 performers fixed upon him. It is the duty of the conductor, 
 during rehearsal, to accustom them to look towards him 
 simultaneously at the important moment. 
 
 Mi ■ r r r-r =i 
 
 pfa 
 
 // 
 
 If. in the above bar, of which the first beat, may In- 
 prolonged indefinitely, the rule were not observed that 
 
 31788
 
 76 
 
 I have just indicated, the passage 
 
 could not be uttered with firmness and unity; the players, not 
 watching the conductor's stick, could not know where he 
 decides the second beat, and resumes the movement sus - 
 pended by the pause or hold. 
 
 This obligation for the performers to look at their con- 
 ductor, necessarily implies an equal obligation on his part 
 to let himself be well seen by them. He should, whatever 
 may be the disposal of the orchestra, whether on rows of 
 steps, or on horizontal plane, place himself so as to form 
 the centre of all surrounding eyes. 
 
 A conductor requires an especial platform, elevated in pro- 
 portion to the number of performers. His desk should not 
 be so high, that the portion holding the score shall 
 hide his face. The expression of his countenance has 
 much to. do with the influence he exercises; and if the 
 orchestra does not watch, or can not see the conductor, 
 it is virtually without one. 
 
 Hector Berlioz "Treatise on Conducting"
 
 77 
 
 ON THE CONDUCTING OF WALTZES 
 
 ( Strauss and Waldtenfel ) 
 To begin with, a dividing line must be drawn between a 
 waltz played for dancing and the concert waltz. The former 
 ns performed in a regular rhythmic manner everywhere, except 
 in Vienna and South America, where the dancers are accus - 
 tomed to little freedoms of tempo. There is so much really good 
 music written in this form, that it is a pity to hear waltzes 
 'ground out' in the reprehensible one -beat -in-a-measure style 
 of so many of our Military Band-masters. Portions of Strauss 
 Artists Life Waltzes are given in the following examples, 
 which also contain various modes of beating waltz time to 
 conform with the spirit of the music. 
 
 There are so many ways of conducting waltz time. Some 
 conductors beat all the beats, others again, only one beat to 
 the measure. Analysis of some of the methods of the great 
 conductors who have not disdained to play the waltzes of com- 
 posers like Waldteufel or Johann Strauss, has lead us to believe 
 that the three styles of conducting explained in the following di- 
 agrams are the ones most generally used. 
 
 A - The one-beat-in -a- measure style for passages of flow- 
 ing melody and great verve. 
 
 In order to avoid a monotony of motion, it is best to start 
 the down- beats of each measure, alternately from the left and 
 the right. The dotted line in the diagram indicates the reflex or 
 rebound movement, which brings the hand and arm in a posi - 
 tion to start the next beat. 
 
 DIAGRAM N91 (Style 1) 
 
 (A) Starting the heat from left 
 to right. 
 
 A 
 
 
 
 
 . v, -Tr 
 
 (/}) Starting the heat from the 
 v i gh t . 
 
 #& 
 
 * c- < 
 
 H. 
 
 < v \ 
 3- 
 
 21788
 
 78 
 
 SUBDIVISION OF ONE- IN - A- ME ASURE 
 
 B- Following- the heavy down beat of the measure, the se - 
 cond beat will be indicated by a sharp sideward wrist move - 
 ment and in lieu of the third beat, the hand and arm will be 
 drawn up to the original position in a more relaxed manner. 
 
 DIAGRAM N9 2 (Style 2) 
 
 U and 
 
 2> 
 
 -£*U 
 
 Light and delicate /hythmic figures are best indicated by 
 this method. 
 
 C -The third method is the regular gesture used in any '4 
 or '8 time and indicates each beat. 
 
 DIAGRAM N° 3 (Style S) 
 
 Same as v4 iime 
 
 In the following extract from Artists' Life Waltz by 
 Strauss, the three different styles are applied. The various 
 strains and the manner of beating each measure, are indi - 
 cated by the Roman Numerals which correspond to the 
 diagrams. 
 
 I . 
 
 II . 
 
 III . 
 
 Diagram 1 
 Diagram 2 
 Diagram 3
 
 79 
 
 NO 2 
 
 a tempo 
 
 Bar. 
 
 t 
 i 
 
 jTj./^ ,JTj,^ 
 
 f 
 
 £ 
 
 
 t 
 
 di 
 
 Trombes 
 
 i 
 
 Pp 
 
 ^L^ x 5-^ ni ni m 
 
 444 4^~44i i^— : iii 4-j^ 
 
 sps i p- . — t -r > > i ik i 
 
 ±5 
 
 44 
 
 5E 
 
 Drs. , 
 
 Hi 
 
 P 
 
 m 
 
 rit. 
 
 S 
 
 1 
 
 ?W<gft0 mOSSO'CcTS. 
 
 -J- 
 
 ^ 
 
 ^ 
 
 1 
 
 ^ 
 
 4 
 
 » 
 
 =*-¥- 
 
 rTr 7fTT 
 
 ru ro m 
 
 ni 
 
 444 
 
 I 
 
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 81 
 
 Appendix 
 
 A. The Bandleader as Instructor of his 
 Band. 
 
 B. A few hints on rehearsing 
 
 21788-
 
 82 
 
 APPENDIX 
 
 THE BANDLEADER AS INSTRUCTOR 
 OF HIS UNIT 
 
 To any one, who has had any experience with existing 
 conditions in the American Army Bands, the difficulty 
 of the problem of training and instructing the unit, is 
 most apparent. Very, very few bandleaders are fortunate 
 enough to have a band completely equipped with efficient 
 and experienced players. There are always those players 
 who, altho more or less guided by good will, are in great 
 need of instruction and assistance. It may be truthfully 
 said, that the standard of a band is as much influenced 
 by its weakest member as by the efforts of the most skill- 
 ful. The efforts of the conscientious Bandleader should 
 be constantly directed towards the strengthening of these 
 weaker elements, and he must make every effort to estab- 
 lish a scheme of study and instruction that will lend them 
 all possible assistance. 
 
 THE TRAINING OF THE INDIVIDUAL 
 
 Assuming that the Bandleader has a theoretical know - 
 ledge of all wind instruments and at least one good player 
 for each group of instruments, there is no reason why a 
 system of individual instruction can not be organized that 
 would not only be a means of obtaining a splendid band, 
 but also of inducing talented and desirable young men to 
 enter the service.
 
 83 
 
 These embryo players should be given either Cornets 
 (Trumpets) or Clarinets, as the mastery to a certain degree, 
 of these instruments enables them later, to adapt themselves 
 to other brass or reed instruments. 
 
 Instruction should include.-— Elements of music — The 
 general technique of the instrument (fingering, production 
 of tone, breathing, and articulation), mastery of all scales 
 and arpeggios, standard exercises, and the repertoire of march- 
 ing and concert pieces used by the band. 
 
 These player — students should receive at least two les - 
 sons weekly and the head of the section should be held di - 
 rectly responsible for the amount of practice and study re- 
 quired of them. 
 
 The playing of duets, trios, and quartets with more ex- 
 perienced players is an excellent means of encouraging and 
 promoting the progress of these weaker players. It not only 
 awakens ambition but affords also a profitable relaxation. 
 
 THE TRAINING OF THE BAND AS A UNIT 
 
 In professional bands and orchestras, the rehearsal means 
 merely the study and mastery of some composition. Every 
 player is supposed to have done his daily practice and to 
 have mastered the technic of his instrumu nt. In other words 
 he is fully prepared to grant the wishes of the conductor and 
 composer. 
 
 In the average military band this condition does not exist 
 and much time must be spent in preparing the players for the 
 difficulties to be encountered in any standard repertoire. 
 
 21788-
 
 84 
 
 Not only this, but also the problem of promoting their tech - 
 nical proficiency is a problem that must ever be before the 
 bandleaders. 
 
 There are a number of excellent works published for the 
 instruction and practice of the entire band. An hour a day 
 devoted to the study of these cannot but help to develop the 
 greatest proficiency amongthe individual players and a clear 
 and clean-cut ensemble. 
 
 From time immemorial, we have heard of the efficacy of 
 practicing long sustained tones. Certainly there is no better 
 method of acquiring a powerful embouchure lip and breath 
 control than by this method, but again, nothing is so tiresome 
 to the average student. The writer has experimented with 
 many methods regarding long tones and finds that there is 
 no better way than the practice of ancient 4 part Chorals. 
 The American publishing house of Carl Fischer (New York) 
 has published a series of Choral arrangements which are en- 
 ormously effective for the study of sustained -tones. They are 
 arranged by Laurendeau. 
 
 These Chorals are beautiful music and develop a harm- 
 onic sense in the player which helps him to play in tune. For 
 individual practice, G. Pares Daily exercises are excellent. 
 They are published by Carl Fischer, New York. 
 
 STUDY OF STANDARD REPERTOIRE 
 
 In order to keep the interest of the many minds which 
 make up a band or orchestra it is absolutely necessary to de- 
 vise a scientifically well arranged plan of rehearsing. It is
 
 85 
 
 not possible to lay down any set and fast rules for rehears- 
 ing, because of the existing divergencies of each organization. 
 The Bandleader must study his men, as he would a musical 
 instrument. He must know their strong points as well as 
 their weaknesses. He must also know their likes and dislikes 
 and have some idea of their individual education. By careful 
 summing up of these conclusions he is then able to form some 
 plan of attack. 
 The following plan of rehearsing has been generally adapted. 
 
 1— Tuning, long tones (Chorals) ) one fourth of rehears - 
 Tongueing, Fingering, (Scales) \ in S Period. 
 
 2— Light March, Popular piece or Waltz, one fourth period. 
 
 3— Overture or Selection. one half period. 
 
 Playing a March before the heavier number is a good 
 stimulant of interest. There are many splendid American 
 and Foriegn Marches that are well worth studying. 
 
 The following French Marches are published by Carl Fischer 
 
 Marche Lorraine Ganne 
 
 Marche Russe Ganne 
 
 L'Pere la Victoire ........ Ganne 
 
 French National Defile Turlet 
 
 The Bandleader must ever keep in mind that the prime 
 function of his organization is to play for the March. It is 
 here, that the band is of its greatest Military usefulness. The 
 band is really the connecting link between the soldier and 
 the civilian population and no one fails to feel the thrill that 
 an enthusiastically played Military march is capable of giving. 
 Therefore any study in this particular direction is well worth 
 while. 
 
 21788-
 
 SH 
 
 There are as many marches as there are grains of sand in 
 the sea, but let it suffice to say that there arc- only a very few 
 good ones. It would be a breach of good taste to try to in - 
 dicate in these pages which marches should or should not be 
 played. Every Bandleader has his own ideas and is more or 
 less guided by the standard of ability found in his organiza - 
 tion. The same rule of discretion is also applicable to sug- 
 gestions of concert numbers. 
 
 It should be the constant aim of the Bandleader to pro - 
 mote the cause of good music. This does not mean that he 
 should not bend occasionally to the taste of the masses. If 
 proper diplomacy is used, real appreciation for the good mus- 
 ic is often aroused by quietly slipping in a well performed 
 composition of real merit between the more popular tunes of 
 the minute. 
 
 A few books on certain subjects should be in every band library. 
 
 The following list includes those which are of the greatest 
 value for both the leader and his players. 
 
 1 — Groves, Musical Dictionary. 
 
 2 — Clappe, The Bandleaders Guide. (Carl Fischer) 
 
 3 — Clappe, The Windband and its Instruments. (Holt) 
 
 4- Miller, The Military Band. (Novello) 
 
 5- Safranek, Complete instructive manual for the trumpet 
 
 and Drum. (Carl Fischer) 
 
 6- Goldman, The Amateur Band Guide. (Carl Fischer) 
 
 7- Lake, The American Band Arranger. (Carl Fischer) 
 
 8~ Clappe, Principles of Wind -Band Transcription .(Carl Fischer) 
 These works may be secured through the publishing house of 
 Carl Fischer, New York.
 
 87 
 
 A FEW HINTS ON REHEARSING 
 
 1 Treat each player as a man and gentleman. 
 
 2 Be absolutely relentless in the endeavor to obtain good 
 intonation, refined quality of tone, accurate time values, dy - 
 namic marks and correct phrasing. 
 
 3 In the first portion of the rehearsal, stop and correct 
 every mistake, even those due to slips in tongueing. This 
 establishes a sense of musical discipline quicker than any 
 other method and the rest of the rehearsal goes as smoothly 
 as oil. 
 
 4 Be consistent. Do not ask or tell a man to do one thing 
 one day and another on another day. Be sure of what you 
 want before asking for it. 
 
 5 Explain your method of conducting complicated pass- 
 ages so as to leave no one in the dark as to your intentions. 
 
 6 Insist upon absolute quiet and attention from every 
 one when any one section or stand is being rehearsed . 
 
 7 Explain the relation of one part to the other. frequent- 
 ly ask various players to come to the front of the band to 
 listen to the effect of the whole. Drummers and Bass play- 
 ers should do this most often. 
 
 21788
 
 88 
 
 8 Do not indulge in unnecessary verbiage . Nothing is 
 more hateful to the average player. 
 
 9 Take the band into your confidence. Do not be ashamed 
 to let them know how much you depend on them. Do not 
 ever forget that the band is the instrument of the leader 
 and that every instrument must receive proper care and 
 treatment, else it gives no response. 
 
 10 Do not forget your sense of humor. A good joke 
 often clears the most dense rehearsal room atmosphere.
 
 AN UP TO DATE LIST OF THE 
 
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 Amateui 
 
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 on band 
 
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 Practii 
 edged ai 
 
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 A gen 
 
 Harmor 
 Mu 
 
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 ThePn 
 
 As its 
 
 to the p 
 
 New C 
 
 A nei 
 
 Comple 
 
 An ei 
 
 Pocket 
 
 The a 
 
 Manual 
 
 The 1 
 English euuiun. ■hh^^m^ 
 
 Books of Additional Exercises to the Manual of Harmony. . ..A. Richter 
 Key to the Exercises by Oscar Coon 
 
 Text Book for the Study of Harmony H. Weber 
 
 A concise, practical and very useful text book. Excellent for self-instruction. 
 
 Composition Marx -Mendelssohn 
 
 A complete treatise on' harmony by one of the greatest German authorities. 
 Admirable English edition. 
 
 An Abridged Treatise On Modern Instrumentation and Orchestration. 
 
 Hector Berlioz 
 
 The best-known work on instrumentation in concise and abridged form. 
 
 Technic of the Baton Albert Stoessel 
 
 An invaluable aid to the bandsman who is ambitious to lead as well as play, 
 written by the head of the Bandmasters' College at Chaumont, France, where 
 most of tne band leaders of the American Army received instruction. 
 
 Principles of Wind Band Transcription A. A. Clappi 
 
 A serious instructive work for the student of arranging with especial reference 
 to the requirements of the band. 
 
 i Goldman 
 nstruction 
 
 A. Clappi 
 
 iable hints 
 
 A. Clappi 
 i acknowl- 
 
 nizations. 
 
 ns. 
 
 Arranging 
 
 )scar Coon 
 
 .aurendeau 
 en. Clear, 
 
 ./. S. Lobe 
 
 Parkhurst 
 
 J scar Coon 
 
 F. Richter 
 d faultless
 
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