Chapter III: C

DIAGRAMS OF GESTURES USED IN CONDUCTING

The music examples are to illustrate the use of the gesture 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 accentuated 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 shown the following principles are adhered to:—

1. The heavy or accented beat is indicated by a dark
arrow.

2. The light or unaccented beat is indicated by an
unshaded 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 clear indication of the
fundamental beat is always maintained.

Fundamental method of beating 2/2, 2/4 time.

Actual method of beating 2/2, 2/4, and fast 6/8 and 6/4 time.

EXAMPLE Nᵒ. 1 for DIAGRAM Nᵒ. 2

[Music]

Accented 1st beat:—

[Music]

Accented 2nd beat:—

[Music]

Normal subdivision of 2/2 and 2/4 time.]

=N.B.= The subdivision of each beat is indicated by the word “and”.

[Music: EXAMPLE Nᵒ. 2 for DIAGRAM Nᵒ. 3 A]

[Music: B[1]]

[1]

This form of six eight time is indicated in the above manner.

Method of beating 6/8, 6/4 time when only 2 beats in a measure are required. To be used also for slow 2/4 time.]

Accented subdivision of 2/2 and 2/4 time.]

[Music: EXAMPLE Nᵒ. 3 for DIAGRAM Nᵒ. 5]

6/4 or 6/8 time. (Modern French Method) 6/4 or 6/8 time is a subdivision of 2/2 or 2/4 time.]

Old method of beating slow 6/8 time.

The disadvantage of this method is that the 6th beat is out of proportion with the others. In diagram Nᵒ. 6 the long beat comes on the 4th or naturally accented beat of the measure, whereas in 6a the 6th or last beat in the measure is apt to be unduly accented.]

[Music: EXAMPLE Nᵒ. 4 for DIAGRAM Nᵒ. 6 and 6a]

[Music: =A=—With accent on 1st beat.]

[Music: =B=—With accent on 2nd beat.]

[Music: =C=—With accent on 3rd beat.]

[Music: =D=—With accent on 4th beat.]

[Music: =E=—With accent on 5th beat.]

[Music: =F=—With accent on 6th beat.]

[Music: =G=—With accent on 1st and 4th beat.]

Fundamental method of beating 3/2, 3/4 or 3/8 time.]

Actual method of beating 3/2, 3/4 or 3/8 time.]

[Music: EXAMPLE Nᵒ. 5 for DIAGRAM Nᵒ. 8

=A=]

[Music: =B=—With accent on 1st beat.]

[Music: =C=—With accent on 2nd beat.]

[Music: =D=—With accent on 3rd beat.]

[Music: =E=—Accent on 1st and 3rd beat.]

[Music: =F=—Waltz—Accent on 1st beat.]

[Music: Polonaise

=G=—Accent on all 3 beats.]

Normal subdivision of 3/2, 3/4 or 3/8 time.]

[Music: EXAMPLE Nᵒ. 6 for DIAGRAM Nᵒ. 9]

Accented subdivision of 3/2, 3/4 or 3/8 time.]

[Music: EXAMPLE Nᵒ. 7 for DIAGRAM Nᵒ. 10]

9/8 Time. Only for very slow tempos. Otherwise, beat 3.]

[Music: EXAMPLE Nᵒ 8 for DIAGRAM Nᵒ. 11]

Fundamental method of beating 4/2, 4/4 and 4/8 time.]

Actual method of beating 4/2, 4/4 and 4/8 time.]

[Music: EXAMPLE Nᵒ. 9 for DIAGRAM Nᵒ. 13]

[Music: =A=—With accent on 1st beat.]

[Music: =B=—With accent on 2nd beat.]

[Music: =C=—With accent on 3rd beat.]

[Music: =D=—With accent on 4th beat.]

[Music: =E=—With accent on 1st and 3rd beat.]

Normal subdivision of 4/2, 4/4 and 4/8 time.]

[Music: EXAMPLE Nᵒ. 10 for DIAGRAM Nᵒ. 14]

Accented subdivision of 4/2, 4/4 and 4/8 time.]

[Music: EXAMPLE Nᵒ. 11 for DIAGRAM Nᵒ. 15]

12/4 or 12/8 time.

12/8 time is really a subdivision of 4/4 time.]

[Music: EXAMPLE Nᵒ. 12 for DIAGRAM Nᵒ. 16]

5/4 or 5/8 time.

This 5/4 or 5/8 time is a compound rhythm of (2-3)/4 or (2-3)/8 time.]

[Music: EXAMPLE Nᵒ. 13 for DIAGRAM Nᵒ. 17]

5/8 or 5/4 time.

This 5/8 or 5/4 time is a compound of (3-2)/8 or (3-2)/4 time.]

[Music: EXAMPLE Nᵒ. 14 for DIAGRAM Nᵒ. 18]

Method of conducting slow 5/4 time when the measure is not subdivided into (3-2)/4 or (2-3)/4.]

[Music: EXAMPLE Nᵒ. 15 for DIAGRAM Nᵒ. 19]

7/4 time.

(3-4)/4 or (3-4)/8 time.]

[Music: EXAMPLE Nᵒ. 16 for DIAGRAM Nᵒ. 20]

7/8 or 7/4 time.

(3-4)/4 or (3-4)/8 time.]

[Music: EXAMPLE Nᵒ. 17 for DIAGRAM Nᵒ. 21]

CHAPTER III-D

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. Coda Sign—Raise left arm above the head with one
finger extended.

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 firmly and quickly.