Chapter III: A

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 he wants, but must be
able to convey this knowledge to his musicians by a
minimum of gesture.

3. His body must be as firm as the proverbial mighty
oak which only sways in the fiercest storm. The
head, knees and feet must remain quiet.

4. The length of the arm movement varies 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 smaller
motion than a slow tempo. Often the contrast of
“fortissimo” to “pianissimo” is indicated by
changing from large to small motions.

5. All gestures must be directed by the hand or
forearm. Just as the singer is admonished to produce
his tones “forward” so should the conductor place
his center of energetic motive power as far into the
tips of the fingers as possible. This produces the
effect of the hand easily drawing the arm after it
rather than pushing the dead weight of the arm by a
movement that seems to begin in the shoulder.

6. The baton must not be held stiffly as this would
effect the suppleness of the whole arm. The gesture
must be described by the very tip of the baton, as
if an imaginary brush were attached to it and one
were painting the gesture on some imaginary surface.
As a rule the palm of the hand should be held
downward.

7. It is possible to beat time accurately and still use
uneven and unrythmical motions. To avoid this, the
greatest rare should be taken to move from one beat
to another in a measured and symmetrical manner.

8. In a slow movement, accuracy can be obtained by
ending each beat with an added sharp wrist movement
in the same direction as the beat.

9. The function of the left arm is difficult to
describe. Although it plays a more modest part
than the right arm, it is nevertheless of much
importance. It must ever be ready with preventive
motions, indications of instrumental entrances
(cues), and to add force to certain gestures of the
right arm. But let it here be said that the habit of
conducting constantly with both arms describing the
motions is only to be condemned.

10. Although all general rules in conducting are
dangerous, it is suggested that the principle of
indicating each accent, entrance, sudden “forte” or
“piano,” one beat in advance be adhered to.

CHAPTER III-B

PHOTOGRAPHS WHICH ILLUSTRATE THE FIVE FUNDAMENTAL POSITIONS USED IN ACTUAL CONDUCTING

Position of the first beat in 4/4 time.]

Position of the second beat in 4/4 time.]

Position of the third beat in 4/4 time.]

Position of the fourth beat in 4/4 time.]