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 A
t
Instructor of Conducting the A E. F. Bandmasters
'
.
and Musicians'
School, C.hauniont, France
With
a Preface
by
Walter Damrosch
boston
CARL FISCHER,
380-382 Boylston
St.
NEW YORK
Cooper Square
430-432 So.
Chicago 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 magnetic power of forcing the executants to carry out the conductor's demands, infinite patience, great tenacity, great self-control, and absolute 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 dynamics, 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. Stoessel's book will be of great help to the earnest student.
Mr. Albert
Mr. Stoessel was appointed teacher of conducting in the Bandmasters' School, which I founded during the war at General Pershing's request at G. H. Q., Chaumont, France.
cal
His book is admirably planned and executed. It is clear, practiand stimulating, and I hope it will be generally used throughout
the country.
The
lack of routine and the ignorance of even the simplest rudiart 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.
ments of the
(Signed)
Walter Damrosch.
July 4th, 1920.
MNIV OF CALIF LIBRARY. LOS ANGELES
AUTHORS PREFACE outcome of a need felt by the author in conducting at the A. E. F. Bandmasters' and Musicians' School. Chaumont, France. It was the author's priviwith Mr. lege to have been able to exchange opinions on this subject This
little
book
is
the direct
his capacity as instructor of
Caplet, to whom he is indebted for the idea of the rhythmogymnastic exercises and many of the gesture-diagrams. Although the author could not hope to treat so limitless a subject with any measure
Andre
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. the elements, both human and mechanical, which 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
In
summing up comprise a modern
upon
this
instrument and through
it,
interprets the composer's thought.
only of thoroughly understanding the qualities, limitations of the instruments individually and tone-color and range, method of indicating to the players of these the best but also grouped,
His
art consists not
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 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.
ability to
fust as a fine player can get excellent results with a poor instrument, good conductor secure equally good results with players of
so can a
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 incompetent leader.
The modern method
of conducting
is
of comparatively recent origin.
In the days of Haydn (1732-1809) and Mozart (1756-1791) the conductor's place was at the clavicin or harpsichord, and his chief function
was
to
perform the accompaniment
II
to the recitatives of
the singers.
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
The possidirecting of the correspondingly more intricate rhythms. bilities of indicating the proper interpretation of a musical composition by gesture were soon perceived, and more and more did the art of conducting 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
the realm of interpretative music and naturally made it their means of expression.
Upon analysis three basic phases
we
many
find that the conductor's art
may
in
great musicians
be classified in
:
1.
Mental assimilation of the musical composition
2.
Practical knowledge of the orchestra or band and the best of securing results by proper rehearsing.
3.
Actual interpretation
in
concert by
means
to be played.
of rhythmic
means
and ex-
pressive gesture.
As
first two of these phases embrace the study of music and instrumentation in particular, we shall confine ourselves general
the
this treatise to the third aspect.
ALBERT STOESSEL. Chaumont, France, Max,
1919.
in
in in
TABLE OF CONTENTS CHAPTER Preface by Walter
I
Damrosch
I
II
Author's Preface
PAGE
—
The used
physical aspect of conducting analysis of arm and hand movements in conducting diagram of exercises for promoting control of these
—
—
—
music-examples illustrating exercises illustrations and descriptions of the positions in each of the four styles of fundamental move-
movements ments
1
CHAPTER
II
—
—
The general attitude of the conductor twelve general rules left-hand illustrations of the five fundamental positions used in actual consignals
—
24
ducting
CHAPTER
III
conducting — music
—
examples explanatory Diagrams of gestures used in 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-
no te
—
—
— —
—
—
— —
division of 4/2, 4/4 or 4/8
—
—
—
—
time— 12/8 time— 5/4 or 5/8 time— 7/4 or 31
7/8 time
CHAPTER "attaque" — the
IV
"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
The
—
—
indication of breathing places or the beginning and termination of a phrase extract from Berlioz's treatise on conducting on the conducting of
—
—
55
waltzes
APPENDIX The bandleader
—
band the training of the individual 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
— player the
—
as instructor of his
—
—
81
CHAPTER
I
This chapter is devoted entirely to the physical aspect of conducting. Analysis of the gestures used in conducting has shown that there are four fundamental movements.
— — — —
A Wrist movement in horizontal position. (With palm hand facing downward.) B Wrist movement in vertical position. (With palm hand facing inward.) C Fore-arm movement. D Full-arm movement.
of the
of the
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
The diagrams on pages
represents a
movement
of the wrist or arm.
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
The
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 C Fore-arm movement.
—
D — Full-arm
position.
movement.
For each style, there are four different positions which, for been named alter the points of the compractical reasons, have and West. The photographs contained Easl South. pass; North, different positions, lor each style of of four are the in this chapter
the diagram of exercises each of these positions
In
exercise.
indicated by
a letter;
X — for
is
North, S — for South, E — for East, and
W—for West.
The small letter in the upper left corner indicates point. The other letters indicate the points of arrival. Each
figure
is
to be
executed
in
the starting
time with certain music-examples
of which each individual note corresponds to a point of arrival.
For instance, thus
figure
1
would he executed with Music Ex.1
:
Pi*r^ ^r^ m rf^"
South position corresponding to the note C.
North position corresponding to the note G.
The
on a
sharp forceful movement as opposed to a more relaxed motion. In the exercises for the wrist, the fore-arm and upper-arm must remain motionless. Likewise, the */
fore-arm
letter indicates a
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
„
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T n rr
i
L
,
^y
Ex
Ex
Ex '
^ ^
XT
f—f^f
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Ex.7
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sJ
VII Ex.e
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i
^T^^J^i^ J
ex.8
^S JJr^J-
I/-II
Ex.lO
-^-^Tlj^
|/fl
if
Ex.9
*>
J.
^1 J.-
if Apply these exercises to
if all
figures of series
1.
Series
Fig. 1 Ex.1
Fi-. 2
1
Series
ex.
i
I
^1
4
^
/•'
J
Ex.3
^IP
^^*
Ex.9
|
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3fc
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Ex.4
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Ex.
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Ex.8
^ur-n
Apply these exercises
NOTE :—
; |
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Ex.5
Ex
I
2
|g J J |
|/
:||
6^^
(ft
fi.
I
=E
.
=5£=f
r«-i
to all figures of series
Each individual note corresponds in the figures by a N, E, S, W.
to
2
a gesture indicated
Series
Fig. I
Fig:
I'
2
Fill:
3
Illustrations
the
and Descriptions of the Positions
Four
Styles of the
in
Each
Fundamental Movements
of
4
1.
Drop arm
N,' or North position of Style
A
loosely to side.
forms a right angle with the upper arm.
2.
Raise forearm forward until
3. 4.
Extend hand and fingers keep the palm facing downwards. Without moving the arm, raise the hand from the wrist-joint
it
;
angle with the forearm. Note. The forearm maintains this position
—
8
all
until almost at a right
through the exercises of Style A.
'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 move the hand to the left as
with the palm downward,
11
fingers far as
extended it
will go.
k
1.
Drop arm
2. 3.
The
N,' or North position of Style
B
loosely to side.
Raise forearm forward until it forms a right angle with the upper arm. fingers remain extended and the palm is turned so that the thumb
is
upper-
most.
Without moving the forearm, raise the hand as keep the fingers extended and palm inward. 4.
Note. — The
far
as
possible,
taking care
forearm maintains this position throughout the positions of Style B. 12
to
'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
Without moving the arm, point the hand and almost forming a right angle with the arm.
until
14
B
fingers to the right
YV,' or
West
position of Style
B
Without moving the arm, point the hand and fingers to the left almost forming a right angle. The thumb still remains uppermost.
until
15
N,' or North position of Style
1.
Drop arm
2. 3. 4.
The palm
loosely to side.
Raise forearm forward until is turned down.
it
forms
Without moving the upper arm,
a right
C
angle with 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 16
Style C.
'S,'
or South position of Style
C
Without moving the upper arm, lower the forearm hand is about 3 or 4 inches from the thigh.
of the
17
until the
palm
'E,'
or East position of Style
Without moving upper arm, turn the forearm degrees. 18
C
to the right about
40
'W,' or
West
position of Style
Without moving upper arm, turn the forearm palm of the hand facing forward.
degrees, the
10
C
to the left about
40
'S,'
or South position of Style
Lower arm downward
NOTE. — All
until the
palm
is
D
about 4 inches from the
thigh.
motions
in Style 'D' are 20
described by the full arm.
'W,' or
West
Turn arm
position of Style
to the left about 21
D
40 degrees.
'E,'
or East position of Style
Turn arm
to the right about 22
D
40 degrees.
'N,' or
North
position of Style
D
Chapter The General Attitude
II
of the
attitude of the conductor
Conductor must be one of
quiet, but
1.
The general
2.
commanding" dignity. 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.
4. 5.
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. The head, knees and feet must remain especially quiet. 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. quick tempo is conducted with a much smaller motion than a slow tempo.
A
6.
7.
8.
from large to small motions. There are three degrees of muscular control: (1) Relaxed; the first (2) Firm; (3) Stiffened or Locked. In conducting, two are mostly used. 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. The baton must not be held stiffly, as this would effect the It must serve as a sort of suppleness of the whole arm. extended
9.
finger. role of the left
arm is very difficult to accurately describe. modest part than the right arm, it is more a plays 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 is constantly with both arms describing the same motions The
Altho
it
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.
11.
12.
must not be forgotten that it is possible to beat time accurately and still use uneven and un-rhythmic motions. The beat to the greatest care must be taken to move from one other, in a manner, measured and symmetrical. 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. Altho general rules in conducting are extremely hard to lay It
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 1.
Hand
Signals
is indicated by extending and raising the left hand at the level of the shoulder, palm with the slightly
"pp" (Pianissimo)
arm
downward. 2.
3.
"p" (Piano) is indicated by raising the left forearm until the back of the hand is directly in front of the left shoulder.
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.
—
middle of strain Raise left arm above head, with all the fingers extended, and keep it there until halt is desired. At
To
stop
in
this point, bring
it
down
firmlj
25
and quickly.
The
five
photographs which positions used
No.
1.
illustrate the live
in actual
conducting
Preparatory position. 26
fundamental
4/4 time.
Number
Position of the
first
27
2
beat in 4/4 time.
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 Diagrams
ture
Used
of Gestures
The music examples
III in
Conducting
are to illustrate the use of the ges
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 a corresponding nature.
The accent
of
executed by a sharp quick arm movement. Great care must be taken to execute each movement, even is
the most gentle pianissimo, clearly
In all the
and with authority.
diagrams the following principles are maintained
1
— The heavy
2
— The
or accented beat
light or
is
unaccented beat
indicated by a dark arrow. is
indicated by an unshad-
ed arrow.
3—
The semi-accented beat
is
indicated by a semi-shaded
arrow.
4—
All subdivisions are
5—
The fundamental
indicated by dotted lines.
beats are described with
the
arm
movement, while subdivisions are performed with
the
manner, a very clear indication of fundamental beat is always maintained.
the
wrist.
21788-
In this
32
1st
beat begins here
2nd beat ends
T
Jy
here
1st
beat ends he re
T
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
21788-
a/2
and
A time.
2
M EXAMPLE N?
DIAGRAM N9
for
1
2
Moderato
m -rr
PP
P
fe£
^
§£=» ¥
^
S
? £
5
i
i
1st beat:-
ft)
Accented 2nd be at:g)
I
j
I
s
:Sz
f
^
£
Accented
£
m
P
7
^
yI
7 [
J
5^
«M
J
7
± JT
in
etc.
etc.
=F
35
and
DIAGRAM N?
Normal subdivision
21788-
of
3
%
and
/4 time.
:?6
EXAMPLE No
2 for
DIAGRAM N? 3
Adagio
r ~—r
£==^ or ~*
4
S
J^ #
fee $ jJTj
'
B
«=#
Q.J
i
n jj n n
S
J
i
*^~
i
«
Moderato
B*
fr>
B
fggfrmWi mJXt p^
sj-»>y
frfr c fr i
fl?
Allegretto fez=R *=£ H
a
l
— I <
i
^3 I P
^
£--** and
and
This form of six eight time ner.
is
indicated in the above man-
37
and
DIAGRAM N9 4
^2
Accented subdivision of
EXAMPLE N9 Andante
J"
^ ^^ 4
21788-
U ^r
\
P^
time.
P Lfiufrir
i
7^
/JJ
/k
DIAGRAM N9 4
3 for
jW^
%
pJP
and
I
J
!
\
ta
ge
}
1/Tj
i
i
tnjru
38
DIAGRAM N?
A
6
or is
G
/8 time.
a
5
(Modern French Method)
subdivision of */% or
/*k
time.
^4
or
6
/8 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
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 of proportion with the others.
unduly accented.
21788-
40
EXAMPLE N? 4
for
DIAGRAM N?
5 and 5a
Slowly
$&i
r^
i
jTiJfl
i
jnJXi
i
qD
1
'
j'
uTILj-
1 1
A- With
accent on 1st beat,
B— With
accent on 2nd beat.
C—
i
iTljj-
With
accent on 3rd beat.
D— With
accent on 4th beat.
.(k
\>\>
-^ rr %
|
i
-g:.'
i
j-
7]J4^ — """JJjj^
f''i.;s
$np ]fim
f
$l$\$l&
j^
jjff jjaff
\
V'i
\
i
— With
accent on 5th beat.
^HjffljjJ^
F- With
accent on 6th beat,
fe
G — With
accent on 1st and 4th
E
beat.
gig
1
J3J^
J :
J
JJJ^.
-
-fvi; j.Jffl jflfll i
41
i^2
DIAGRAM N? Fundamental method of beating
DIAGRAM N? Actual method of beating 21788-
6 3 /4
3 /2,
or
3/8 time.
7
3 /2,
A
3
or
3 /s time.
4'J
EXAMPLE NO
T
Moderato 1
^
8
j
,
j
if
5 for
i
I
I
r
DIAGRAM N°
fJ>
7
Tf h^S
I
r
X
P^P
£
^^gPS^
3
*=#
Allegro
B— With
accent on
beat.
1st
#s yr y
C — With
accent on 2nd beat.
D— With
j
s vr
h
h
1
1
J
accent on^
;
i'
2
r, i
=2=
W
3rd beat.
EE5
Mazurka - Tempo
E— Accent on
tet
=3=
:jnr
and 3rd beat.
j.J
Tempo F — Waltz— Acce 1st
beat
Polonaise 3
beats.
^i
i
r
i
i
m& Mazurka
di Valse
1 rvnrp
^^|
Tempo
all
di
' 1
'
j77yrJTjT37i^ n
P
G — Accent on
i
di Polacco
43
and
fiand
DIAGRAM N? Normal subdivision
EXAMPLE N?
of
6 for
/2,
8 /4
or
18
DIAGRAM N?
time.
8
Slowly
i
21788 -
1
m
j *m*
**
+-*
44
and
and
DIAGRAM N? 3 /2,
Accented subdivision of
EXAMPLE N?
7 for
9
A
3
% time.
or
DIAGRAM N?
9
Slowly, but with energy
^rnjrm j $*t-n jtjjt
]
P*
r
Pus
\i:
n^fr
i
3
^
m VTi
'
45
DIAGRAM N9
10
/8 Time. Only for very slow tempos. Otherwise, beat
EXAMPLE N? 8
for
DIAGRAM N?
Adagio
l»
I^rrr
r
@ii
3
10
M
r
4^W&ttflfi^ P Urtfi 2
\
4 21788 -
Cj}i
CT
[_c_f
r^r r i^
46
£>3
DIAGRAM NO
11
Fundamental method of beating V2, 4/4 and
DIAGRAM N9 Actual method of beating Vs,
Vs
time
12
A
4
and Vs
time.
47
EXAMPLE N°
9 for
DIAGRAM N?
11
Moderato
B a
rrr r
m
< *.
J
J
beat.
(M
J
i
accent on
B—With
accent on 2nd beat.
Z
J
1;
^'-i,
C-With accent on 3rd
beat,
(k
accent on 4th beat.
E-With
accent on 1st and Srd jf
21788 -
EEj
J
£rJ
J
*=s
*=-*g
^Pf
^jj^j^l^ J
K7
J
j
JV
J
mm w^
D— With
beat.
5
I
f
g
r
Ik r
J ^
A—With
1st
i^?
g>
l
1*
!
I
j'
i.
.
JU.
^h
£E
i
g
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and
4
and
DIAGRAM N9 Normal subdivision
EXAMPLE N?
of
10 for
72,
13
V4 and
DIAGRAM N?
/& time.
13
Adagio
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and
DIAGRAM N?14 Accented subdivision of 72,
EXAMPLE N?
11
for
/4
and 78 time.
DIAGRAM N?
14
Slowly
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DIAGRAM N9 12/4
15
or 13/8 time.
v8 time
is
really a subdivision of
EXAMPLE N?
12 for
74
time.
DIAGRAM N?
15
Adagio.
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DIAGRAM N?
A
5
or 5
This
5
/s
/4 or
16
time. 5
/8 time is a
compound rhythm of 2^3 4
EXAMPLE N9
13 for
DIAGRAM N9
or 2-3 time 8
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Allegretto
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or °/4 time
is
a
EXAMPLE N?
compound
14 for
of 3-2 or 3-2 time. 4 8
DIAGRAM N?
17
Allegretto
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DIAGRAM N? Vl
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3-4 or 3-4 time. 4
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DIAGRAM N? Vs
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time.
3-4 or 3-4 time. 4
8
EXAMPLE N?
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55
CHAPTER
1.
The
'attaque'
2.
The
'pause'
3.
Employment
of subdivision to emphasize and give weight
to certain characteristic
4.
IV
passages, ritardandi, etc.
The sharply accented beat
as the
means of securing
pre-
cision in syncopated passages.
(Indication
of).
5.
Breathing places.
6.
Extract from Berlioz's Treatise on Conducting.
7.
On
the
tenfel.
21788
Conducting of Waltzes
of
Strauss
and Wald-
56
Chapter N? IV The "Attaque"
One
of the most important and difficult results for a conis a clean-cut and united attaque, or start, on
ductor to obtain
The following suggestions part of his instrumentalists. to an easier achievement of this result. will give the key tite
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 The following measures, from the PRELUDE taque. THE MASTERSINGERS by WAGNER, illustrate this
TO
principle.
etc.
Moderato molto
3 j
molto vigoroso e tenuto
5
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57
When
(B)
the musical subject begins on the last beat of the
measure, give the preceding beat,
first.
This beat should
be
marked than those following.
less
Overture to Tannhauser - Wagner
ate
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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
to cases in
also applicable
is
which the musical subject begins on any fraction of
the beat.
EXAMPLES
Marche Hongroise -
Berlioz
ii ii
4
segue
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59
(D)
In a special case, like the beginning of theAllegro in the
Overture to Tancredi by Rossini, entire measure, in
it is
best to beat
out
,
the
which the phrase enters.
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commencing
3=?= 5 in the 3rd beat.
60 In a case where the time ical
is
"one"
in
a meaure, and the mus-
beat one whole subject begins on a fraction of the measure,
measure before.
EXAMPLE
Symphony
Pastorale - Beetho ven y
X)
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segue
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Allegro J. = 108. IE
if
35
2
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segue
f etc.
61
'
Notes sustained by
2-
The Pause"
(A)
Beat the beginning and termination not a part of a phrase.
of the note
when
it
always well to mentally count and determine the length of a note held by a pause. is
1— 2—
It is
Indicates the beginning of note. Indicates ending of note. There must be a distinct stop between these notes.
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(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
appears.
pause
63 Ill
SUBDIVISION Employment
of the "subdivision" to emphasize and give weight
to certain characteristic passages,
By subdividing ing example, force
ritenuti,
etc.
the beats in the fourth measure of the followand accent are given to the phrase.
Ninth Symphony - Beethoven ii
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Allegro!
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64
The sharply accented beat
as a
means
of obtaining precision
in syncopated figures.
accenting the first and third beats of measures 6 and 7 of the following example, a certain lingering on the tied notes
By
will be avoided.
Prelude
to
Mastersingers" - Wagner
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To indicate places
for taking breath,
ner described below. The arm
complete stop
just
conduct
in
the
movement must come
manto
before the breathing place.
m Moderato
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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 passages, An extract is given here.
'A dilemma sometimes presents
itself
when
score
in a
are given, for the sake of contrast,
certain parts
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
divide
ever,
will
it
to subdivide
by six,
it
or
simply by two; the majority of players, how-
hesitate
at the
moment
the
triple
rhythm in-
tervenes amidst the dual
rhythm, requiring assurance, which can be given by this means. The uncertainty occasioned them by the sudden appearance of this unex -
pected rhythm, and which the rest of the orchestra tradicts, always
leads the performers to
a glance towards the conductor, as tance.
He
them,
and
should
also look at
marking, by very
if
cast
-
instinctively
seeking his assis
them turning slight
con
-
rather towards
gestures
the
67
were really three in a bar, in such a way that the violins and other instruments playing in dual triple rhythm, as
there
if
may not observe this change, which would put them out. From this compromise, it results that the new rhythm,
rhythm of three -time being marked furtively by the conis
ductor,
then executed with steadiness; while the two-time
rhythm, already firmly established, continues without difficulty,
no longer indicated by the conductor
although
the other hand, nothing, in able or
my
.
On
opinion, can be more blam-
more contrary to musical good sense, than
the ap-
of this procedure to passages where two
rhythms
plication
and where merely synThe Conductor, dividing the bar
of opposite nature do not co-exist;
copations are introduced
by the number of accents he finds contained stroys (for
all
the auditors
who see him)
syncopation; and substitutes a flat change of rhythm of the
takes place,
if
most bewitching
it,
then de-
the effect
of the
in
of time, for a play
interest. This
is
the accents be marked, instead of the
in the following
passages from Beethoven's
what beats,
Pastoral Sym-
phony.
I
Andante
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This voluntary submission to rhythmical form which the author intended to be thwarted is one of the gravest faults in style
that a conductor can
There
is
and which demands
ductor
commit.
another dilemma, extremely troublesome for a conall his
presence of mind.
It is
that
easy to conduct a bar in two dual times placed above or beneath an» of other bar in two triple times, if both be in the same kind presented by the super- addition of different bars.
movement; they to divide them
are then equal in duration,
It is
and there needs only
marking the two principal beats.
in half,
Allegro
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But
if,
ms
1
in the
sake of
facilitating- the
movement, or because has
adopted responds with short
movement, there be movement, and if the composer
middle of a piece slow
introduced a new form, brisk in (either for the
i
p
r
for this it,
it
bars super- added
in
execution of the
quick
was impossible to write otherwise)
new movement
there
I
the short
may then occur two to a
slow bar.
bar which cor-
or even
three
69
N9
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a
a
Andante
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1
a
Allegro
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Sempre Andante
S
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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 Alleg6
and by continuing to divide them still; but taking care to mark this division yet more. The players of the 'allegro" in 6/8, then comprehend that the two gestures of the conductor represent the two beats of their short bar, while the players of the "andante" take these same gestures merely for ro in
/s,
(
a divided beat of their long bar.
21788-
70
This,
it
will be seen, is quite simple, because the division and the subdivisions of the long one, mutual-
of the short bar,
The following example, where a slow bar is ly correspond. superadded to the short ones, without this correspondence existing, is
more awkward.
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Here the three bars "allegro-assai" which
the
precede
At
"allegretto", are beaten in simple two-time, as usual.
moment when
the
the "allegretto" begins, the bar of
which
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. is
The two explain las,
its
value to the hautboys, without perplexing the vio-
who maintain
little
and
large gestures divide the long bar in half,
the brisk movement, on account
gesture which also divides
From bar No.
3, the
the
of
in half their short bar.
conductor ceases
to divide thus
the
long bar by four, on account of the triple rhythm of the mel6/ '8, with
ody in
fines himself to
the violas it
which
He then con
this gesture interferes.
marking
the two beats of the
-
long bar, and
already launched in their rapid rhythm continue
without difficulty, comprehending exactly that each down-
ward
stroke
of the conductor's
commencement of
And
this last
their short
stick
marks
the
merely
bar.
observation exhibits the necessity of great
care in dividing the beats
of the bar,
when
come
to execute
triplets
instruments or voices
beats. This division, by cutting the triplet, would render
sary even to abstain
its
from
in
half the
a portion of the
these
upon
second note, of
execution uncertain.lt
this division of the
is
beats
necesof
a
bar into two, just before the movement when the rhythmical or
melodic
not to give
21788-
design
is
about to be divided by three; in order
previously to
the
players, the impression of
a
72
which they are going- to hear
contrary to that
rhythm
Subdivide the
first (1)
and fourth
and beat measures 2 and
six beats
(4
1
given.
measures
3 with
straight
into 4 time.
Adagio
N?3
N?4
# •
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Tr
We
will
P
r
now speak
ing, in recitatives.
reciting,
of the conductor's
Here as the singer or instrumentalist
and being no longer subject
of the bar,
it
method of beat
is requisite,
make the orchestra
is
to the regular division
while following him attentively,
strike
with precision, and together,
to
the
chords or instrumental passages, with which the recitative intermingled; and to the
proper instant.
either
make
When
-
the change in the recitative
harmony occur is
is
at
accompanied
by sustained tones or tremolo and a change of harmony
73
occurs in some of the voices, attention to
special
In
following
the
the viola part,-
ment,
between
"E"
the
which,
at the
as this
ists
playing in longer than the
the conductor
must give
these voices.
the conductor, while to to has attend recitative, especially and to make it move, at the proper mo the first and second beat, from the F to commencement of the second bar,- without part is executed by several instrumental the F' unison, some of them would hold others, and a transient discord be thence
this
example,
produced.
Many orchestra
conductors have the habit, when directing the 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 bar:
chord occurs on an unaccented part of
-
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the
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In a passage
such as this, they raise the
which commences the bar, and lower
it
arm
at
the rest
at the time of
the
chord. I
fies,
cannot approve of such a method, which nothing justi
and which may frequently occasion
accidents
-
in the ex-
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
ecution.
advise
1
- for
the preceding
made down,
be
as usual,
example that the first beats and the stick carried to the
should left,
for striking the
chord upon the second beat; and* so on, for
other analogous
cases; always dividing the bar regularly.
is
to divide
very important, moreover,
it
according to
It
the
time previously indicated by the author; and not to forget, or maestoso,' and if the reciting part if this time be "allegro
been sometime
has
reciting,
unaccompanied,
when the orchestra comes
the beats,
in again, the value
of a maestoso.
or
tra plays
generally plays in time,
out
it
measured time only when
it
of
For when the orches-
those of an allegro alone,
to give to all
it
plays with-
accompanies a voice
or
instrument in recitative. In the exceptional
for the
case where the recitative
requisite to keep toor in harmony, but without reg-
orchestra or chorus, as
gether, whether
ular time-, a*
in
unison, certain number of
conductor himself who to
written
orchestra itself, or for the chorus, or for a portion
of either
gives
is
becomes
it
is
performers, then the real
it is
reciter and who
each beat of the bar the duration he judges
According
to the
the
fit.
form of the phrase, he now divides and
75
subdivides the beats, if
quavers stick the
form
melodic
is
It
now marks
the
accents, now the semi-
there be any; and, in short, indicates
an understood
with
his
of the recitative. thing, that the
performers, know-
almost by heart, keep their eye constantly upon him; otherwise, neither security nor unity can be obing their parts
tained. In general, even
for
timed music, the conductor should
require the players he directs, to look towards him as often as
possible.
An stick,
conductor's
orchestra which does not watch the
has no conductor'.'
instance, the conductor ing the decisive gesture
Often, after a pause or hold
obliged to refrain from mark-
is
which
is
to determine the
ing in of the orchestra until he sees the eyes
performers fixed upon him. during rehearsal, to
simultaneously
at
Mi
If. in
prolonged
31788
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It
is
com
of all
r
the
him
moment.
r r-r=i //
above bar, of which the
indefinitely, the
-
the duty of the conductor,
accustom them to look towards
the important
pfa
for
rule
first
beat,
may
were not observed
In-
that
76
I
have just
indicated, the passage
could not be uttered with firmness and unity; the players, not conductor's stick, could not
watching the
decides the second the
pended by
beat,
pause
or
know where
and resumes the movement sus
to let himself
may
implies
the centre
be well seen by them.
He
should,
on
conpart
whatever
rows
of
himself so as to form
horizontal plane, place of all
at their
an equal obligation on his
be the disposal of the orchestra, whether
steps, or on
-
hold.
This obligation for the performers to look ductor, necessarily
he
surrounding eyes.
A
conductor requires an especial platform, elevated in proportion to the number of performers. His desk should not shall be so high, that the portion holding the score has hide his face. The expression of his countenance much to. do with the influence he exercises; and if the
orchestra it
is
does
not
virtually without
watch, or can not
see the conductor,
one.
Hector Berlioz
"Treatise on Conducting"
77
CONDUCTING OF WALTZES
ON THE
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
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 in
'ground out'
reprehensible one -beat -in-a-measure style
in the
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 conform with the spirit of the music.
There are so many ways of conducting waltz time. conductors
beat
to
Some
the beats, others again, only one beat to the measure. Analysis of some of the methods of the great all
conductors who have not disdained to play the waltzes of composers 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 ing
The one-beat-in -a- measure melody and great verve. -
In order to avoid
for
style
passages of flow-
a
monotony of motion, it is best to start 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 the down- beats of each
tion to start the next
beat.
DIAGRAM (A) Starting
N91 (Style 1)
the heat from left
to right.
(/})
Starting the heat from the v gh t i
.
A
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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 drawn up
to the original position
U
in
(Style 2)
and
2> and delicate /hythmic
Light
-
hand and arm will be a more relaxed manner.
in lieu of the third beat, the
DIAGRAM N9 2
this
-
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by
method.
C -The third method is the regular gesture used in any or '8 time and indicates each beat. DIAGRAM N°
Same
as
3 (Style S)
v4 iime
In the following extract
Strauss, the three strains
'4
from
different styles
Artists'
Life
are applied.
Waltz
by The various
and the manner of beating each measure, are indi
cated by the
Roman Numerals which
correspond
diagrams.
I
.
II
.
III
.
Diagram 1 Diagram 2 Diagram 3
to the
-
79
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81
Appendix A.
The
Bandleader as Instructor
Band. B.
21788-
A
few hints on
rehearsing
of his
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 is problem of training and instructing the unit, most apparent. Very, very few bandleaders are fortunate
of the
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 that
said, its
by ful.
the standard
of a
band
is
as
much influenced
weakest member as by the efforts of the most skillThe efforts of the conscientious Bandleader should
be
constantly directed towards the strengthening of these weaker elements, and he must make every effort to establish all
a
scheme of study and instruction that will lend them
possible assistance.
THE TRAINING OF THE INDIVIDUAL Assuming ledge of for each
all
that the
Bandleader has a theoretical know
wind instruments and
group of instruments,
at
there
least one is
-
good player
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 and articulation), mastery of all scales and arpeggios, standard exercises, and the repertoire of marching and concert pieces used by the band. of tone, breathing,
These player — students should receive at least two sons weekly and the head of the section should be held
les
di
-
responsible for the amount of practice and study required of them.
rectly
The playing
and quartets with more exan excellent means of encouraging and
of duets,
perienced players
is
trios,
It not only promoting the progress of these weaker players. awakens ambition but affords also a profitable relaxation.
THE TRAINING OF THE BAND AS A UNIT In professional bands and orchestras, the rehearsal
merely the study and mastery of some composition. player is supposed to have done his daily practice have mastered the technic of his instrumu he
is
nt.
means
Every and to
In other words
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
nical proficiency bandleaders.
is
problem of promoting their tech a problem that must ever be before the
There are a number
works published for the instruction and practice of the entire band. An hour a day of excellent
devoted to the study of these cannot but help to develop
the
amongthe individual players and a
clear
greatest proficiency
and clean-cut ensemble.
From time immemorial,
we have heard
practicing long sustained tones.
method
of acquiring a powerful
of the efficacy of
Certainly there
embouchure
to the
The
average student.
no better
and breath
lip
control than by this method, but again, nothing
is
is
so tiresome
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) arrangements which are en-
has published a series of Choral
ormously effective for the study of sustained -tones.
They are
arranged by Laurendeau.
These Chorals are beautiful music and develop a harmonic sense in the player which helps him to play in tune. For individual practice,
They
are published
G.
Pares Daily exercises are
by Carl
Fischer,
New
excellent.
York.
STUDY OF STANDARD REPERTOIRE In order to
make up
keep the interest of the many minds
a band or orchestra
it
is
which
absolutely necessary to de-
vise a scientifically well arranged plan of rehearsing.
It
is
85
down any
not possible to lay
and
set
fast rules for rehears-
ing, because of the existing divergencies of each organization.
The Bandleader must study his men, as he would a musical as instrument. He must know their strong points as well must also know their likes and dislikes
their weaknesses. He
and have some idea
summing up
of their individual education.
of these conclusions he
is
By
then able to form
careful
some
plan of attack.
The following plan
1—
of rehearsing has
Tuning, long tones
(Chorals)
been generally adapted.
)
Tongueing, Fingering, (Scales)
one fourth of rehears 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 There are many splendid American stimulant of interest.
and Foriegn Marches that are well worth studying.
The following French Marches
are published by Carl Fischer
Ganne Ganne
Marche Lorraine
Marche Russe L'Pere la Victoire
French
........
The Bandleader must ever keep
Ganne Turlet
National Defile in
mind
that
function of his organization is to play for the
band
the
prime
March.
It
of its greatest Military usefulness. really the connecting link between the soldier
here,
that the
band
is
is
is
The 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 while.
21788-
is
well
worth
SH
There are as many marches as there are grains of sand the sea, but let ones.
good
It
suffice to say that there
it
would be
a
in
only a very few
arc-
breach of good taste to try
to in
-
dicate in these pages which marches should or should not be
played.
Every Bandleader has
own
his
ideas and
guided by the standard of ability found
less
The same
tion.
rule of discretion
is
is
more or
in his organiza
-
also applicable to sug-
gestions of concert numbers. It
should be the constant aim of the Bandleader
pro This does not mean that he
mote the cause of good music. should not bend occasionally to the proper diplomacy
is
to
of the masses.
taste
If
used, real appreciation for the good mus-
often aroused by quietly slipping in a well performed
ic is
composition of real merit between the more popular tunes of the minute.
A
few books on certain subjects should be
The following
list
in
every band
library.
includes those which are of the greatest
value for both the leader and his players.
— Groves, Musical Dictionary. 2 — Clappe, The Bandleaders Guide. (Carl Fischer) 3 — Clappe, The Windband and its Instruments. (Holt) 4- Miller, The Military Band. (Novello) 1
5-
Safranek,
678~
Goldman, The Amateur Band Guide. (Carl Fischer) Lake, The American Band Arranger. (Carl Fischer) Clappe, Principles of Wind -Band Transcription .(Carl Fischer)
Complete instructive manual and Drum. (Carl Fischer)
These works may be secured through Carl
Fischer,
New
York.
for the
trumpet
the publishing house of
87
A FEW HINTS ON REHEARSING 1
Treat each player as a
2
Be absolutely
man and gentleman.
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
every
and
correct
mistake, even those due to slips in tongueing.
establishes a sense
This
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
want before asking for 5
you
it.
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
one when any one section or stand 7
being rehearsed
.
Explain the relation of one part to the other. frequent-
ly ask various listen to the
ers
is
every
should
21788
players to effect
do this
of
come
the
to
whole.
most often.
the front of the band
Drummers and Bass
to
play-
88
8
Do
not indulge in unnecessary verbiage
more hateful
Nothing
is
to the average player.
9 Take the band to let
.
into
your confidence.
Do
not be ashamed
them know how much you depend on them. Do
ever forget that the
band
and that every instrument treatment, else
it
gives
is
the instrument
of the
must receive proper care
not
leader
and
no response.
10 Do not forget your sense of humor. often clears the most dense
rehearsal
A good
joke
room atmosphere.
AN UP TO DATE
LIST OF
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A
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A. Clappi
The Bai A com
iable hints
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A. Clappi
Band T i
acknowl-
Practii ai
edged
nizations.
Constitv
ns.
A
gen
Arranging )scar Coon
Harmor
Mu One
o
.aurendeau
ThePn
en.
As
Clear,
its
to the p
New C A nei
./.
ei
J scar Coon
Pocket The
a
F. Richter
Manual The
1
English euuiun.
hh^^m^
Books of Additional
Exercises to the
to the Exercises
Key
d faultless
Manual of Harmony.
concise, practical
and
complete treatise on' Admirable English edition.
An
..A. Richter
H. Weber
very useful text book.
Excellent for self-instruction.
Composition
A
.
Oscar Coon
by
Text Book for the Study of Harmony
A
Lobe
Parkhurst
Comple An
S.
harmony by one of the
greatest
Marx -Mendelssohn German authorities.
Abridged Treatise On Modern Instrumentation and Orchestration.
Hector Berlioz
The best-known work on instrumentation
Technic of the Baton An invaluable aid to the bandsman who
in concise
and abridged form.
Albert Stoessel
ambitious to lead as well as play, at Chaumont, France, where written by the head of the Bandmasters' College received instruction. most of tne band leaders of the American Army
Principles of
A
Wind Band work
is
Transcription
A. A. Clappi
for the student of arranging with especial reference
serious instructive to the requirements of the band.
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