Conducting Test 1

Front 1

Knowledge of posture will lead to

Back 1

maximum flexibility and will give a general imperssion of confident leadership and artistic elegance

Front 2

Describe posture starting with feet

Back 2

Toes slightly pointed out with feet shoulder with apart

Hint 2

book says feet 5 to 6 inches apart

Front 3

Posture at knees

Back 3

Knees straight but not locked. Distribute weight evenly.

Hint 3

weight distribution

Front 4

Posture: shoulders

Back 4

Shoulders back but not stiff or rigid

Front 5

Posture: head

Back 5

head high and neck relaxed

Front 6

Posture: upper body

Back 6

when you turn upper body to face sections of the ensemble, don't give the impression that you feet are immobile or fastened to the floor

Hint 6

Should feel natural

Front 7

Describe the conducting area

Back 7

Remember the box. from head to the waist and side to side equally. Center is at the sternum

Hint 7

remember the box

Front 8

Describe arm position

Back 8

Arms extended slightly and at 4 and 8 oclock.

Front 9

Hand position

Back 9

Knuckles up and with a natural artistic curve

Front 10

4 things a prep gesture gives

Back 10

1 - Exact beginning of first tone
2 - dynamics
3 - articulation
4 - tempo

Front 11

Define ictus

Back 11

Precise moment the metric pulse is felt and the tone begins

Front 12

Define preparatory ictus

Back 12

end of the prep - specific point in time. time between prep ictus and downbeat ictus defines the pulse

Hint 12

look at figure 1-7 on page 7

Front 13

The size of the release should be ...

Back 13

consistent with the dynamic level and style of the music

Hint 13

think of how you want the release to sound and make a visual represation with the gesture

Front 14

Define Amplitude

Back 14

intensity of travel - up/down

Front 15

Define Breadth

Back 15

tonal weight - left/right

Front 16

Two common problems with beat pattern clarity

Back 16

rebound control and insufficient horizontal motion

Front 17

distance of the rebound should be

Back 17

less than half the distance of the beat itself

Front 18

Define travel

Back 18

movement from ictus to ictus

Front 19

define click beat

Back 19

quick flicking of the wrist

Hint 19

nearly always used with staccato

Front 20

in legato style, the motion between ictuses should convey

Back 20

the desired breadth of sound and flowing quality

Front 21

4 problems with excessive shoulder motions

Back 21

1 - pianissimo is much easier to read from the wrist 2- constant shoulder conducting creates stiff appearance 3 - flexibility and expressiveness limited 4 - sore muscles

Front 22

3 ways to convey legato ictus

Back 22

1 - definite change in direction
2- stopping or starting the travel
3 - change in speed of travel with change in direction

Hint 22

see figure 2-12

Front 23

4 styles

Back 23

modified classical - extremes
classical - horizontal
focal plane - vertical points
focal point - single point

Front 24

baton is used with

Back 24

large ensembles

Front 25

grip 1

Back 25

thumb and first finger on the tip of the handle

Front 26

grip 2

Back 26

thumb and 2nd finger on tip of handle - butt touching palm

Hint 26

good for staccato

Front 27

light grip

Back 27

thumb and first finger - butt not touching palm

Hint 27

good for light legato style

Front 28

using baton magnifies

Back 28

beat pattern but can also magnify conducting problems