ConductIT Workbook

You will find most of the excerpts from the Workbook within the Technique chapters of the Study Room, with detailed explanations of the context for which they are designed.

First, here you will find in tab 1, a list of the excerpts contained in the workbook with a brief explanation of the purpose of each. Tab 2 shows all the scores collected in downloadable pdf files. Three of the excerpts are written for a larger ensemble (although there are quartet or quartet + piano versions of these as well). The parts for those larger ensemble versions are shown in Workbook 45, 46 and 47.

Each workbook excerpt has video demonstrations, and you can find them in this playlist.

YouTube playlist of all excerpts: ConductIT Workbook Playlist

Tip: YouTube doesn’t make it easy to search within a playlist, but if you type ctrl+F on a PC or command+F on a Mac, you can search by the workbook number, or excerpt title.

1. TchaikovskyOverture from Romeo and Juliet
Basic: Legato beating in 4/4 time
Advanced: conducting the rhythm of the music, not the pattern; phrasing
2. MendelssohnSymphony No.3, 1st movement
Basic: Leagto beating in 3/4 time, crescendo and diminuendo
Advanced: considering dynamic structure and articulation
3. TchaikovskyOverture from the Nutcracker
Basic: Staccato beating in 2/4 time
Advanced: Indicating accents; considering if all beats are necessary
4. DvořákSymphony No.8, 1st movement
Basic: Legato beating in 2 pattern
Advanced: phrasing; phrases beginning with anacrusis
5. Mussorgsky‘The Old Castle’ from Pictures at an Exhibition
Basic: legato beating in compound time
Advanced: conducting accompaniment lines
6. Hesketh‘Catching of Quails’ from Danceries
Basic: conducting in 1,
Advanced: syncopations; considering articulations when in 1
7. BeethovenSymphony No.2, 3rd movement
Basic: conducting in 1,
: subito dynamic changes
8. ShostakovichSymphony No.5, 3rd movement
Basic: beginning on beat 2 of the measure
Advanced: soft dynamics in slow tempo; clarity of intention in a musical sense rather than a beating sense
9. BizetPrelude from L’Arlésienne Suite No.1
Basic: beginning on beat 3 of the measure
Advanced: conducting the same music in different characters
10. HolstSuite No.1 in Eb, 3rd movement
Basic: beginning on beat 2 of alla breve
Advanced: accents on weak beats
11. Grainger‘The Brisk Young Sailor’ from Lincolnshire Posy
Basic: beginning on an offbeat
Advanced: rapidly changing articulations
12. MozartSymphony No.40, 3rd movement
Basic: beginning in 1 with an upbeat
Advanced: phrasing in 1
13. BachEin fest Burg ist unser Gott, 8th movement
Basic: dealing with fermatas in different ways
Advanced: phrasing and interpretation of music with very little notation
14. SmithThe Star Spangled Banner
Basic: fermatas
15. Mussorgsky‘Catacombs’ from Pictures at an Exhibition
Basic: fermatasAdvanced: sustaining loud dynamics; subito dynamic changes
16. HaydnSymphony No.94, ‘Surprise’, 2nd movement
Basic: sudden and surprising dynamic changes
Advanced: co-ordinating arco and pizzicato
17. MozartOverture from The Magic Flute
Basic: subito dynamic changes on offbeats
Advanced: the difference between forte and sforzato
18. ElgarPomp and Circumstance March No.1
Basic: slowing down and establishing a new tempo
Advanced: articulation; beginning loud on an offbeat
19. Grieg‘In the Hall of the Mountain King’ from Peer Gynt Suite No.1
Basic: speeding up and transitioning into a new pattern 
20. HolstSuite No.2 in F, 2nd movement, ‘Song without words’
Basic: phrasing when very little information is given by the composer
Advanced: accompanying a solo line
21. ElgarTheme from Enigma Variations
Basic: tempo rubato
Advanced: articulation; knowing a particular composer’s language
22. ShostakovichWaltz 2 from Jazz Suite No.2
Basic: conducting a waltz
Advanced: ‘dancing’ with a soloist and interpreting
23. MahlerSymphony No.1, 2nd movement
Basic: conducting in 1 in quite a slow tempo
Advanced: articulation and dynamics; hinting at subdivision within the pattern
24. Mussorgsky‘Promenade I’ from Pictures at an Exhibition
Basic: 5 and 6 patterns
Advanced: the different dynamics and characters of the 3 Promenades
25. Mussorgsky‘Promenade II’ from Pictures at an Exhibition
26. Mussorgsky‘Promenade III’ from Pictures at an Exhibition
27. Hesketh‘My Lady’s Rest’ from Danceries
Basic: slow music in 6
Advanced: decision making about which line to conduct; rehearsal strategy
28. BernsteinSlava!
Basic: beating in 7/8 
Advanced: what value of preparatory beat to give; rehearsal strategy
29. TchaikovskySymphony No.6, 2nd movement
Basic: beating a 5 pattern in 2
Advanced: decision making; conducting expressively in irregular meters
30. HolstSuite No.2 in F, 3rd movement, ‘Song of the Blacksmith’
Basic: mixed meters
Advanced: controlling music with many beats that nobody plays on
31. Bernstein‘America’ from West Side Story
Basic: mixed meters
Advanced: what value of preparatory beat to give; rehearsal strategy; characterisation
32. ConductITMocktet
Basic: complex mixed meters
Advanced: marking the score; transition to a new tempo
33. RossiniOverture from The Barber of Seville
Basic: subdividing
Advanced: combining subdivision with bigger beats; placement of very short upbeat notes
34. DebussyPrélude à l’après-midi d’un faune
Basic: subdividing
Advanced: leaving a soloist to be free but everyone else knowing where they are; mix of subdividing and not
35. Grainger‘Lord Melbourne’ from Lincolnshire Posy
Basic: aleatoric music
Advanced: decision making; clarity
36. ConductITAccents and Augurs
Basic: accents on and off the beat
37. SibeliusFinlandia
Basic: accents on weak beats
Advanced: structuring loud dynamcs and accents
38. BrahmsHungarian Dance No.5
Basic: changing between beating in 2 and 1
Advanced: accompanying a solo line; interpretations and traditions
39. BeethovenSymphony No.1, 4th movement
Basic: transition from slow introduction to fast section
Advanced: how the preparatory gesture can connect to a variety of rhythmic ideas
40. BeethovenSymphony No.3, 1st movement
Basic: decision making about tempo and what to beat
Advanced: interpretation; trusting the musicians; loud dynamics versus accents
41. BeethovenSymphony No.5, 1st movement
Basic: starting Beethoven 5
Advanced: starting Beethoven 5!
42. DvořákSymphony No.9, 1st movement
Basic: decisions about subdividing
Advanced: wide variety of dynamic and articulation 
43. Strauss IIThe Blue Danube
Basic: conducting Viennese waltzes
Advanced: unwritten traditions
44. VerdiOverture from La Forza del Destino (abridged quartet version)Basic: transitions
Advanced: characterising such dramatic music that is constantly changing character
45. BrahmsSymphony No.1, 4th movement (ensemble version)Basic: transitions
Advanced: tempo decisions; rubato
45b. BrahmsSymphony No.1, 4th movement (quartet & piano version)
46. BrahmsSymphony No.3, 1st movement (ensemble version)
Basic: controlling music in big beats which has a lot of inner rhythm
Advanced: conducting the line that helps the music the most
46b. BrahmsSymphony No.3, 1st movement (quartet & piano version)
47. VerdiOverture from La Forza del Destino (complete ensemble version)
48. ConductITL’histoire du Brahms
Basic: complex meters where the ‘groove’ doesn’t match the patterns
Advanced: characterising complex music
49. BrahmsSymphony No.1, 1st movement
Basic: keeping a sense of line when there are many beats
Advanced: who to conduct; tempo decisions and their effect
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