“BASIC CHORAL CONDUCTING” by: Grace L. Santos
“BASIC CHORAL CONDUCTING” Choral conducting is an art. Yes, there is art in conducting. Moreover, it can also be considered as a regime. Why? To conduct is to strictly impose orders. Conducting is following 100% the given directions of the conductor as commands. Likewise in the same manner, Martial Law has its own advantages and disadvantages. Many of us experienced and witnessed it. Choral conducting is like martial regime. There should be strong leadership. Command is at its strongest.
What and who is a good conductor? He/She makes or breaks a choir or any singing group. If you don’t have the time, money, skill and the opportunity to go to a university or even a scholarship program to study to be a good conductor, where can you learn those special skills that will help you lead singers towards achieving their excellence that is only buried within them, but unharnessed and undiscovered?
For us teachers, if we were not keenly developed and musically nurtured as conductors, how can we efficiently conduct? Can we really ably conduct with fitting feelings? How can we encourage communication or evoke the right sound and singing we are looking for? There are many ways with which we can count on or we can turn to in order to give the best in us as required to each and every one of us.
But before introducing some among these varied ways, it is important to note that our willingness to learn and to continually bloom where we are presently planted, plays a very notable factor. Let us be reminded that nothing is impossible to him whose yearning for a certain cause is intense. And to him who comforts himself with shallow satisfaction, anything is just okay and acceptable.
Today, we will review, learn and unlearn some basic conducting skills and techniques needed to conduct correctly, especially, the most sacred song of a great race, us, Filipinos- the Philippine national anthem, “Lupang Hinirang” and “Pilipinas Kong Mahal”.
Figuratively speaking, conducting is quite an easy activity. One ought to enjoy doing this musical activity, heartily and with creativity. In so doing, talent is discovered and honed; a skill starts to be developed and pushed into its heights. And there are numerous ways to achieve this. How?
AS A CONDUCTOR, WHAT MUST ONE REMEMBER? 1. When and when not to conduct 2. The conductor’s rolereview the fundamentals - the composer/s - know the piece from the score - key signature - time signature and meter - rehearsing communications
posture, breathing, tone, vowels, diction, phrasing, expression, score, beat/rhythm musicianship(you cannot impart it unless you have it, don’t hum the pitch, think it, give pitches from the lowest to the highest among others), ensemble and motivation(if you can hear yourself, you’re too loud, a choir is no better than its slowest/weakest earner, don’t compete, JOIN!) 3. Eliminating superfluous and excessive movements Generally, professionals conduct with refinement and clarity.
IN CONDUCTING, WHAT ARE THE DETAILS THE CONDUCTOR SHOULD BEAR IN MIND BEFORE THE ACTUAL PERFORMANCE?
1. Attire – clothing, jewelries- earrings, rings, necklaces, belt 2. Readiness – musicality, confidence, state of mind 3. Accompaniment / instrumental / background / is there (a) leading singer/s?
WHILE CONDUCTING, ARE THERE ANY DETAILS THE CONDUCTOR SHOULD BEAR IN MIND DURING THE ACTUAL PERFORMANCE? 1. Posture and physical stance Feet – At least 6 inches apart, toes pointing forward, left foot slightly ahead of right(keeps you from swaying and balances an extended right arm/hand), weight slightly forward, equally distributed Relax knees slightly – Do not pulse the beat with either the knee or toe Hips – Place hands over the hipbones with thumbs forward Rotate hips slightly under by tucking buttocks in-straightens spine
Raise sternum – Hands over head, lower arms to shoulders, roll thumbs back Shoulders – Back and down Head – Elevate Face – Vitally important part of leadership and musical interpretation DO NOT be afraid to move the feet to turn to face a particular section of the choir. (Optional- DO NOT mouth the words or sing when conducting- HARD HABIT TO BREAK!) 2. Entrances and exits 3. Command responsibility 4. Well-focused and with zest, with passion 5. Be observant of your singers’ tonality, their deportment and yours as well
CONDUCTING PATTERNS Patterns are based on the number of beats per measure as shown by the top number of the time signature. The most common 4-beat patterns in conducting are the following: 3-beat
pattern 4-beat pattern 2-beat pattern 6-beat pattern
THE DOWNBEAT
THE THREE-BEAT PATTERN
THE PREPARATORY BEAT
THE FINAL CUTOFF
THE CUTOFF BETWEEN VERSES
PICKUP BEATS
THE FOUR-BEAT PATTERN
THE FINAL CUTOFF
THE TWO-BEAT PATTERN
THE SIX-BEAT PATTERN
ALTERNATE SIX-BEAT PATTERN The Double Three-beat Pattern
THE ROLE OF THE CONDUCTOR 1. Empowering the student’s full musical potential 2. Usher singers in the real world of the composition 3. Justify the composition while injecting your own interpretation but not going out of bounds from the score itself. 4. Execute with refinement and dignity 5. Improving conducting through self-assessment 6. Constant guided practice
As a conductor, we should outline a new musical paradigm for choral teaching, rehearsing and conducting. Through emphasizing how to develop conducting strategies from the podium, we must also present a systematic, pragmatic approach in order for us and our colleagues to grow and flourish productively.
CONDUCTING NUISANCE “Little things” mean a lot! This saying sometimes contributes good, but at times, it serves as an harmful catalyst. Conducting nuisances focus on those awkward and cumbersome moments of particular challenge to conductors. These challenges give conductors the means to grow, creating opportunities to refine and improve their techniques.
THESE ARE DEFINITE “NONO’S” IN CONDUCTING: 1. Foot tapping 2. Finger snapping 3. Head banging 4. Hip swaying 5. Shoulder strut motion 6. Body language(non verbal communication) - body mannerisms, postures, facial expressions that can be interpreted as unconscious communicants of somebody’s feelings or psychological state
Refining one’s conducting technique is a never-ending process and the efficient use of physical gestures on the podium is a must for every conductor.
BASIC CONDUCTING TIPS Dss. Grace Mañalac de Leon-Santos
DO’S
DON’T’S
1. Basic Position and Posture(Head to foot)/body box 2. Poise
clumsy
3. Style
definite, clear
4. Hand Gestures 5. Focus
walking to and fro
confusing, too demonstrative more focused to the audience
6. Rapport with your performers(singers & accompanist) stoic facial expression, detached - do not follow you accompanist. let him/her follow you. 7. Creativity and adaptability sudden changes
find difficulty in adapting to
8. Confidence & emotional preparation
too mechanical and unmoved
9. Musical groundwork(astuteness in the score) - well-versed- entrances & exits KS(sudden changes)
kind of music, tempo &
10. Confidence & emotional preparation
too mechanical and unmoved
11. Musical groundwork(astuteness in the score) - well-versed- entrances & exits KS(sudden changes) 12. Internalization
lack of score background, form
lack of score background, form
kind of music, tempo & dynamics involved
In this light, let us remind ourselves of the fact that nothing comes easy, ever! If we want something, we have to work for it. Generally speaking, practice makes perfect. Most of the times, perfect practice does. Why? It is because we must not only practice until we get it right. Instead, we ought to rehearse and craft ourselves perseveringly until we can’t get it wrong. As teachers, it always boils down to attitude.
Complacency is a disease and the virus is the attitude... As perceived and commonly accepted or claimed, teachers are not musically gifted. Yes perhaps, a greater number of individuals did not receive sufficient music education, much more, specialized trainings and professional workshops. Yet, many already have IT. Remember, many have had fundamentals in Music. But what is more vital, we must all be willing to learn more, grow more and teach better in order to produce learned individuals challenged and pushed into the best of who they can be. The fun, enjoyment and self-expression our pupils, our singers, and other singers(fellow teachers, parents, community members) may experience through Music and Art, will co-achieve it.
In parting, in my opinion as a Music teacher and conductor since 1975, in conducting, just like in any other field, what we really hope to do with ease, we should learn first to do with diligence. This is the reason why an opponent who practiced 10k kicks is not feared by the late Bruce Lee, but who he feared most, was his opponent who practiced just one(1) kick, ten thousand(10k) times. Yes, repetition is the mother of learning, the father of action which makes it the architect of accomplishment. There are a lot, lot more to remember and bear in mind, but the most important thing-
CONDUCT WITH YOUR HEART! GLS/Summer 2014
CONDUCTING ACTIVITY “Lupang Hinirang”
Lyrics: Jose Palma Music: Julian Felipe
Score Analysis: Conducting Fundamentals Origin Stance - posture General Mood Preparatory position KSHand positioning TS Introductory cue/in between cueing Meter Preparatory beat Dynamics/Expressions Entrances and exits Other musical notations (Clear hand signals)
WHAT ARE THE NECESSARY STEPS IN CONDUCTING? 1. Introduction – instrumental 2. Preparatory beat – cue or sign for the tempo and brevity of voice asked from the singers. Upward position, “Ready” 3. Preliminary Beat 4. Attack (“ictus”) Beat 5. Release Beat
SOME TIPS ON CONDUCTING
