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Technique
Technique 1
1.1 Posture
1.2 Preparatory gesture
1.3 Baton
1.4 Observing Different Preparatory Gestures
1.5 Basic Beat Patterns
1.5.1 Using the Arms Correctly
1.6 Stopping the Sound
1.7 Workbook Exercises
1.8 The Non-Baton Hand
Summary Technique 1
Technique 2
2.1 Active & Passive Beats
2.2 The problem of conducting in 2, and simple & compound patterns
2.3 Conducting in 1
2.4 Starting on beats other than 1
2.5 Summary
2.6 Supplementary Material
Technique 3
3.1 More posture and taking care of your body
3.2 Fermatas
3.3 Dynamics
3.4 Slowing Down & Speeding Up
3.5 Summary
3.6 Supplementary Material
Technique 4
4.1 Phrasing
4.2 Beat Patterns – 5 & 6
4.3 Beat Patterns – irregular time signatures
4.4 Beat Patterns – mixed meters
4.4.1 Mixed Meter Examples
4.5 Offbeats and Syncopation
4.6 Summary
4.7 Supplementary Material
Technique 5
5.1 Subdividing
5.2 Subdividing in 1.
5.3 Conducting Aleatoric Music
5.4 Accents and Other Articulations
5.5 Summary
5.6 Supplementary Material
Technique 6
6.1 Developing control between the beats
6.2 Making Choices
6.3 Transitions
6.4 Some Other Difficult Things to Conduct!
6.5 Summary
6.6 Supplementary Material
Rehearsal
Rehearsal 1
1.1 Communication
1.2 A Basic Strategy for Rehearsing
1.3 Journey Through the Score
Summary
Rehearsal 2
2.1 General Strategies for Improving Your Rehearsal Technique
2.2 Specific Situations
Rehearsal 3
3.1 Choirs
3.1.1 Technical Issues
3.1.2 Rehearsal
3.1.3 Warm-Ups
3.1.4 Interviews
3.2 Jazz Influence Music Series
3.2.1 Early jazz
3.2.2 Swing
3.2.3 Bebop
3.2.4 Steve Reich
3.2.5 Turnage & Simcock
3.2.6 Piazzola & Copland
3.2.7 Lollapalooza!
3.2.8 Wayne Shorter
3.3 Wind & Brass Bands
3.4 Opera
3.5 Contemporary Music
Rehearsal 4
4.1 String Playing Tips
4.2 Woodwind Playing Tips
4.3 De-mystifying Brass Instruments in the Modern Orchestra
4.4 Keeping the Percussion Section on Your Side
4.5 Make Friends With a Harpist
4.6 String Harmonics
Rehearsal 5
5.1 Improving your ear
5.2 Use an Assistant
5.3 Buying, Borrowing, or Hiring the Material
5.4 Preparing the Material and Bowings
5.5 Considerations of Layout and Size
Rehearsal 6
Performance
1 Dress Rehearsal
2 Etiquette
3 Presentation and Image
4 Conducting from Memory
5 Taking Risks?
6 Recording, Broadcasting & Streaming
7 Post-concert
Score Study, Preparation & Background
Scores
1. Choral Scores
2. Orchestral Scores
3. Band Scores
Transcriptions, Editions and Arrangements
Transpositions
1. Using Transpositions
2. Practising Transpositions
3. Transposed and Non-transposed Scores
The Score Study Process
1. Awareness
2. Investigation
3. Vision
References and Further Reading
Thoughts on Score Study
Careers Office
Menu Toggle
How to Become a Conductor
1. Being a Musician First
2. Becoming an Expert on Scores
3. Conducting Skills and Artistry
4. Professionalism and Leadership
5. The Long Conducting Journey
6. Educational Roadmap
6.1 Formal Training
6.2 Masterclasses and Competitions
6.3 Fellowships and Assistant Conductor Positions
6.4 Education Around the World
6.5 Resources and Lists
7. Early Career Conductors: video series
Chloé van Soeterstède
Gergely Madaras
Duncan Ward
Tabita Berglund
Harry Ogg
Felix Mildenberger
Ruth Reinhardt
Wilbur Lin
Alpesh Chauhan
Jamie Phillips
8. Ten Tips For Conductors
9. Further Resources
Career Paths
The Professional Industry
The Big Institutions
Chiefs and Directors
Guest Conductors
Other Professional Ensembles
Agencies and Managers
Artist Profiling & Entrepreneurship
Interviews with Professionals
The Non-professional Sector
Professionals vs. Amateurs
Conducting Amateur Ensembles
Differences in Rehearsal Strategies
Programming
Before Choosing Repertoire
How to Find Good Repertoire
Preparing for Band Competitions
Learning From the Best
Soft Skills
Leadership
Rehearsing
Improving Ourselves on the Podium
The Art of Programming
Advice From Jorma Panula
Developing Trust Through Music
A Conducting Clinic
Being a Cultural Advocate
The Past, Present and Future of Classical Music
Diversity in the Music Industry
More on Diversity
Perspectives on Gender
Are You Biased?
Interviews with Professionals
Conductors
Marin Alsop
Sir Mark Elder
Hannu Lintu
Leif Segerstam
Choral Conductors
James Burton
Justin Doyle
Simon Halsey
Musicians
Christina Åstrand
James Clark
Jennifer Langridge
David Chatwin
Rehearsal Studio
Menu Toggle
Classical Orchestra
Contemporary Orchestra
Choir and Extended Techniques
Jazz/Classical Crossover
Brass Band
Wind Orchestra
Library
Menu Toggle
ConductIT Workbook
Downtime Videos
Downloads & Resources
About
Menu Toggle
Partner Institutions
Team Members
Legal Notice
MOOC
Main Menu
Welcome
Study Room
Menu Toggle
Technique
Technique 1
1.1 Posture
1.2 Preparatory gesture
1.3 Baton
1.4 Observing Different Preparatory Gestures
1.5 Basic Beat Patterns
1.5.1 Using the Arms Correctly
1.6 Stopping the Sound
1.7 Workbook Exercises
1.8 The Non-Baton Hand
Summary Technique 1
Technique 2
2.1 Active & Passive Beats
2.2 The problem of conducting in 2, and simple & compound patterns
2.3 Conducting in 1
2.4 Starting on beats other than 1
2.5 Summary
2.6 Supplementary Material
Technique 3
3.1 More posture and taking care of your body
3.2 Fermatas
3.3 Dynamics
3.4 Slowing Down & Speeding Up
3.5 Summary
3.6 Supplementary Material
Technique 4
4.1 Phrasing
4.2 Beat Patterns – 5 & 6
4.3 Beat Patterns – irregular time signatures
4.4 Beat Patterns – mixed meters
4.4.1 Mixed Meter Examples
4.5 Offbeats and Syncopation
4.6 Summary
4.7 Supplementary Material
Technique 5
5.1 Subdividing
5.2 Subdividing in 1.
5.3 Conducting Aleatoric Music
5.4 Accents and Other Articulations
5.5 Summary
5.6 Supplementary Material
Technique 6
6.1 Developing control between the beats
6.2 Making Choices
6.3 Transitions
6.4 Some Other Difficult Things to Conduct!
6.5 Summary
6.6 Supplementary Material
Rehearsal
Rehearsal 1
1.1 Communication
1.2 A Basic Strategy for Rehearsing
1.3 Journey Through the Score
Summary
Rehearsal 2
2.1 General Strategies for Improving Your Rehearsal Technique
2.2 Specific Situations
Rehearsal 3
3.1 Choirs
3.1.1 Technical Issues
3.1.2 Rehearsal
3.1.3 Warm-Ups
3.1.4 Interviews
3.2 Jazz Influence Music Series
3.2.1 Early jazz
3.2.2 Swing
3.2.3 Bebop
3.2.4 Steve Reich
3.2.5 Turnage & Simcock
3.2.6 Piazzola & Copland
3.2.7 Lollapalooza!
3.2.8 Wayne Shorter
3.3 Wind & Brass Bands
3.4 Opera
3.5 Contemporary Music
Rehearsal 4
4.1 String Playing Tips
4.2 Woodwind Playing Tips
4.3 De-mystifying Brass Instruments in the Modern Orchestra
4.4 Keeping the Percussion Section on Your Side
4.5 Make Friends With a Harpist
4.6 String Harmonics
Rehearsal 5
5.1 Improving your ear
5.2 Use an Assistant
5.3 Buying, Borrowing, or Hiring the Material
5.4 Preparing the Material and Bowings
5.5 Considerations of Layout and Size
Rehearsal 6
Performance
1 Dress Rehearsal
2 Etiquette
3 Presentation and Image
4 Conducting from Memory
5 Taking Risks?
6 Recording, Broadcasting & Streaming
7 Post-concert
Score Study, Preparation & Background
Scores
1. Choral Scores
2. Orchestral Scores
3. Band Scores
Transcriptions, Editions and Arrangements
Transpositions
1. Using Transpositions
2. Practising Transpositions
3. Transposed and Non-transposed Scores
The Score Study Process
1. Awareness
2. Investigation
3. Vision
References and Further Reading
Thoughts on Score Study
Careers Office
Menu Toggle
How to Become a Conductor
1. Being a Musician First
2. Becoming an Expert on Scores
3. Conducting Skills and Artistry
4. Professionalism and Leadership
5. The Long Conducting Journey
6. Educational Roadmap
6.1 Formal Training
6.2 Masterclasses and Competitions
6.3 Fellowships and Assistant Conductor Positions
6.4 Education Around the World
6.5 Resources and Lists
7. Early Career Conductors: video series
Chloé van Soeterstède
Gergely Madaras
Duncan Ward
Tabita Berglund
Harry Ogg
Felix Mildenberger
Ruth Reinhardt
Wilbur Lin
Alpesh Chauhan
Jamie Phillips
8. Ten Tips For Conductors
9. Further Resources
Career Paths
The Professional Industry
The Big Institutions
Chiefs and Directors
Guest Conductors
Other Professional Ensembles
Agencies and Managers
Artist Profiling & Entrepreneurship
Interviews with Professionals
The Non-professional Sector
Professionals vs. Amateurs
Conducting Amateur Ensembles
Differences in Rehearsal Strategies
Programming
Before Choosing Repertoire
How to Find Good Repertoire
Preparing for Band Competitions
Learning From the Best
Soft Skills
Leadership
Rehearsing
Improving Ourselves on the Podium
The Art of Programming
Advice From Jorma Panula
Developing Trust Through Music
A Conducting Clinic
Being a Cultural Advocate
The Past, Present and Future of Classical Music
Diversity in the Music Industry
More on Diversity
Perspectives on Gender
Are You Biased?
Interviews with Professionals
Conductors
Marin Alsop
Sir Mark Elder
Hannu Lintu
Leif Segerstam
Choral Conductors
James Burton
Justin Doyle
Simon Halsey
Musicians
Christina Åstrand
James Clark
Jennifer Langridge
David Chatwin
Rehearsal Studio
Menu Toggle
Classical Orchestra
Contemporary Orchestra
Choir and Extended Techniques
Jazz/Classical Crossover
Brass Band
Wind Orchestra
Library
Menu Toggle
ConductIT Workbook
Downtime Videos
Downloads & Resources
About
Menu Toggle
Partner Institutions
Team Members
Legal Notice
MOOC
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3.6 Supplementary Material
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