SWC First Class Study

Conducting window

The area in which the conducting patterns are executed; size determined by the size of the beat pattern

Window size for fast tempos or soft dynamics

Smaller window

Window size for slow tempos or loud dynamics

Larger window

Window placement, one hand

Centered in front of the body

Window placement, two hands

Two windows placed symmetrically on each side of the body

Elbow position when conducting

45 degrees away from the side, slightly in front of the body

Arm position for COUNT 1

Parallel with the ground, palms down, wrists straight, fingers slightly bent and slightly spread

Baton grip

Between the first joint of the first finger and the ball of the thumb; remaining fingers lightly curved around the base; wrist straight, baton an extension of the arm

3 basic elements of each beat

1. Preparatory movement (not 'beat') 2. Ictus 3. Rebound gesture

Preparatory movement

Precedes the ictus; determines tempo, style, and volume, and prepares the initiation of sound

Ictus

The exact point at which sound commences

Rebound

The motion that occurs following the ictus; its intensity and timing partially determine style and expression

Marcato gesture

Heavy ictus with a QUICK rebound; heavy attack with space between the notes; tighter grip, fist or fingers together, straight rigid wrist, movement from the forearm

Accent gesture

Heavy ictus with a SLOW rebound; encourages players to accent the attack and sustain the notes for full value

Legato gesture

Fingers extended and slightly curved; rounded beat pattern; lead with the wrist for a smooth flowing action

How is a slurred pattern conducted?

Same manner as legato

Staccato gesture

First finger and thumb form the 'O.K.' sign, remaining fingers curved and slightly apart, wrist slightly bent; conduct with wrists and fingers, a 'flick' — like flicking a drop of water off the fingertips; crisp and light

Most common use of the left hand in a marching situation

To mirror the right hand beat patterns

Primary function of the right hand

To indicate the pulse

Left hand functions besides mirroring

Cues, dynamics, articulations, phrasing, attacks, releases, and 'watch me' signals

Where does the left hand go when not needed?

In front of the body slightly above the waist, parallel to the ground, or hanging naturally at the side

Is constant left hand mirroring desirable in concert situations?

No — overuse reduces its significance to the ensemble

Traditional hand signal: first or second ending

Use 1 or 2 fingers

Traditional hand signal: go to the beginning of the piece

Tap the top of the head

Traditional hand signal: prepare for a sudden cutoff

Clenched fist held up

Left hand: soft volume

Turn palm of left hand down, arm extended, or toward the players with the hand close to the face

Left hand: loud volume

Turn palm of the left hand up, arm extended toward the players

Left hand: cues

Point with the left hand, emphasize a beat, or nod with the head; use the eyes to reinforce

Left hand: releases

Use a circular beat with either or both hands

Left hand: continuous phrases

Use the left hand to smoothly connect two phrases; use the eyes and face to convey mood

Left hand: sustaining long notes

Move the left hand gradually through the appropriate counts; flex the knees, exaggerate accents, create new beat patterns that visually complement the music

Cutoff

Indicates the end of a major musical phrase or a fermata (hold); must be clear and precise

3 parts to conducting a basic hold and cutoff

1. A gesture moving smoothly through the note to encourage sustaining the hold 2. A gesture that prepares the release 3. The cutoff gesture (usually a circular movement) indicating cessation of sound

What determines the direction of the cutoff?

The count on which the next phrase begins

Where should the hand conclude after a release?

On the count which precedes the next preparatory (2 counts before the next entrance)

3 basic types of cutoffs

1. Complete cutoff 2. Semi-pause 3. Continuous hold

Complete cutoff

Used when more than 1-count silence separates the hold and the next entrance (grand pauses, caesuras, slight pauses); two separate gestures — a cutoff to stop the sound, then a regular preparatory beat

Continuous hold

Used when the held note moves into the next phrase without a break; slowly conduct through the last count of the hold, then move smoothly to the next phrase with a clear ictus on beat 1

What does a properly executed preparatory beat indicate?

When the sound begins, plus the tempo, volume, and style of the music

When does the preparatory beat occur?

The count immediately preceding the beginning of the music (entrance on count 3 = prep on count 2)

Good habits for an accurate preparatory gesture

Mentally 'singing' the music before conducting, and breathing in tempo on the preparatory beat

Double preparatory beat

Used if the tempo is very fast and/or the first entrance note does not occur on the beginning of a count; the first gesture is smaller and with less emphasis than the primary prep; use sparingly or it causes false entrances

Beat pattern size and tempo/volume

Small patterns for soft volume and fast tempos; large patterns for loud and slow tempos

7 basic patterns every beginning conductor should master

1, 2, 3, 4, 5 (two versions), and 6 — focus on accuracy and consistency, not style

Stance for formal music (Star Spangled Banner)

Feet together in first position, body stretched upward, head held high

Stance for less formal music

Feet about shoulder-width apart

Upper body when conducting the National Anthem

Conduct primarily with the arms and hands; avoid excessive movement of the upper body

Showmanship

The visual contribution of the drum major to the band's performance; a creative outgrowth of the fundamentals

3 parts to every salute

Pre-salute, salute, post-salute

Pre-salute

Any movement preceding the salute position; for military style, a snappy movement to the salute position held 3-5 seconds

Post-salute

The conclusion of the salute; a recoil from the original salute position, then quickly snapping to the attention position

Closed spacing

Individuals or forms spaced 22.5" apart; used only in front positions

Regular spacing

Individuals or forms spaced 45" apart

Open spacing

Individuals or forms spaced 90" apart

Cover

Command used to check vertical alignment

Dress or guide

Command used to check horizontal alignment

Freeze

A command used to encourage no movement at the end of a drill

Axis

The point from which a form rotates

Pivot

Person nearest the axis; a fixed pivot is off the axis, a moving pivot is on the axis

Adjacent forms

Groups combined in horizontal planes

Stacked forms

Grouping of forms combined in vertical planes

Horizontal form

Forms appearing mostly horizontal on paper, or to the audience

Vertical form

Forms appearing mostly vertical on paper, or to the audience

File

Two or more individuals placed one behind another

Front

Two or more individuals placed beside each other

Rank

Grouping of two or more individuals into a unit, usually within a block formation

Squad

Grouping of two or more individuals into a unit; usually four individuals

Intermeshed

Two different forms passing through, or placed in between, each other

Offset position

Forms not positioned between the planes of the zero points

Stage

The total visual picture of a static form

Grid system

A mathematical subdivision of measurements on paper

Zero points

Reference marks placed on the field creating a 180-degree visual grid system

Even positions

Individuals or forms placed on the grids; even number positions using two- or four-step grid

Odd positions

Individuals or forms placed between the grids; odd number positions using a two-step grid

Conversion

An organized drill connection between two predetermined forms

Fanning

The opening up of intervals during movement

Sagging

The closing of intervals during movement

Drifting

Gradually shifting left or right from the intended direction during movement

Leaning

Hips not in line and square with the shoulders

Sequence

The same movement executed at different times

Timing (drill)

The movement which occurs between the starting and ending positions

Phasing

Lack of rhythmic precision between sections within an ensemble

Control

Maintaining good tone quality at all dynamic levels

Precision

The uniformity of sound and/or movement

Smooth (drill term)

A movement executed in ratio to the tempo

Snap

A movement executed as quickly as possible, regardless of the tempo

Choreography (drill term)

Any movement or visual effect other than drill

Distance

Space between individuals or forms placed one behind another

Interval

Space between individuals or forms placed beside each other

Diagonal

Two or more individuals placed in an angle

Diagonal space

Space between individuals or forms in an angle

Style

The overall characteristic sound and/or appearance of an ensemble

Execution

Movement and/or music in action

Point 'a'

The clearly defined starting position of any movement

Point 'b'

The clearly defined ending position of any movement

Anticipation

Beginning movement and/or sound before the proper time

Hesitation

Beginning movement and/or sound after the proper time

Dragging

Executing movement and/or music increasingly slower than the established tempo

Rushing

Executing movement and/or music increasingly faster than the established tempo

Smooth movement

Moving from point 'a' to point 'b' evenly, in ratio to the tempo