THE BOOK OF KIRK

PRINCIPLES AND TECHNIQUES IN THE ART OF CONDUCTING (

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lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

u u U U LJ LJ UTlrU 0 0

k U

4 1Mtgt (Jv moreuro -emv kk b 3 c

4- s

L m) f J J j r m m sf- -

JYfTlf JfmJl) I J

o

M

o

1 o

tU LFUIUUrr f

gtf D -)J

IkJ

iJ

gt 3 [7 r -

i- r Grbtt OU(

gtbull -

7r )-

b 7 i lwe (j1tWLo)

T )- )-

ampOr altW

[ r)7r --__-- --ff --

t IJV 10

f U Jr -----

omiddot

Jf

-----------------

7

r -

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

o

M

o

1 o

tU LFUIUUrr f

gtf D -)J

IkJ

iJ

gt 3 [7 r -

i- r Grbtt OU(

gtbull -

7r )-

b 7 i lwe (j1tWLo)

T )- )-

ampOr altW

[ r)7r --__-- --ff --

t IJV 10

f U Jr -----

omiddot

Jf

-----------------

7

r -

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

tU LFUIUUrr f

gtf D -)J

IkJ

iJ

gt 3 [7 r -

i- r Grbtt OU(

gtbull -

7r )-

b 7 i lwe (j1tWLo)

T )- )-

ampOr altW

[ r)7r --__-- --ff --

t IJV 10

f U Jr -----

omiddot

Jf

-----------------

7

r -

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

iJ

gt 3 [7 r -

i- r Grbtt OU(

gtbull -

7r )-

b 7 i lwe (j1tWLo)

T )- )-

ampOr altW

[ r)7r --__-- --ff --

t IJV 10

f U Jr -----

omiddot

Jf

-----------------

7

r -

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

-----------------

7

r -

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

pl 1 24-r+CYaew tbJmiddotLJ - - - -oJ -fi-J oC3Jl=JpoundltjLmiddotmiddottjJQ1lC UOW MARK

fhMK fUJtotM wta tt U n bkt (( tint a-liMJ4t rifwn tk td(e

Mttkt Pk wilit It- -r4 rv Pi poundPit 1 10 Uk ib(J( v-- wttt

v6 If )Cu Pv luke well J anJ ff

fn4ke k J bUu 4wttrk- hteoI

i If IktMld eJ

CtJpound1 NCr

oUt f k elaquoeri IhMkd IIh1 $ WeM fa IIIV Ik 4CtJYe- - fJpaI

lip if fk - p 4Mf k ft4trveJ f ItK waJ k IF

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

oj z tJbd(r

Aorn z mtK

bttsgt dMvWk 1j z bCt5S00N

cJ 1

S-rkiNers tyen (utraquo

1(7

TO A iM4

KJ

fM

OJ1Mt 4 o x -fylMnpds

z

T e liJa

xif 0 1deg de

eel

1 iM 4 C ltfYsectP foaM Xjl

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

THOUGHTS FOR THE BOOK OF KIRK Stand on one leg

Let the energy flow through you and out of you towards the orchestra

Pull hips up and be tall

Spaghetti and chop suey for subdivided 1 in a bar

Left hand should follow a road somewhere no helicopter rides Lie on the floor and conduct Feel the weight going up and away from you then it will feel easy when you stand up and let the arm fall Lie on a table in front of the orchestra Conduct with your back to the wall

Pull your hands forward out into zone 3 Create shelves for planes

bull TENSION VERSUS INTENSITY CHECK YOUR UPPER SHOULDER TO NECK TENDONS FOR TENSION AS WELL AS THE TWO SHOULDER MUSCLES FEEL THE MUSCLES IN THE LOWER ARM FOR INTENSITY

bull HOW SHOULD WE LEARN A SCORE 1 IN OUR HEAD 2 IN OUR BODY 3 IN OUR HANDS

bull CLARITY AND SIMPLICITY Foundation first

bull INVOLVEMENT Involve yourself with the primary line Take the baton to the main voice Feel that the melodic Instruments that pass the main melodic materials do not want to let go of the melody unless you take it from them and pass it to the next instrumental group

bull PREPARATION OF GESTURE IL Preparation of musical gesture relative to its degree of surprise and relative to the strength of the line you

41 are conducting at the time Think of the Storm from Pastoral What kind of gesture depends on how much of a surprise you want it to be and how much weight of sound you want to lift into the subito forte

bull GROUNDED IN LOWER BODY Keep the two feet slightly apart - not more than the width of your shoulders and think of a pyramid upwards to your head The grounding must be at the base

bull LET THE MUSIC SING YOU React through sound moving you body

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (

----YOU HAVE GOT TO LOOK LIKE THE SOUND YOU ARE CONDUCTING

bull THE WAY YOU HOLD YOUR BODY - HOLD YOUR ARMS

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER YOUR ENERGY GOES BACK TO YOU THEREFORE YOU MUST TRY TO FIND A WAY TO SEND THE ENERGY OUT AND NOT TAKE IT BACK

bull

bull VISUALIZE THE SOUND frs IF

bull VOCALISE INNER PULSE

bull BODY UP TO FULL HEIGHT MAKES THE HANDS WORK BEITER

bull PUT YOUR LEFT HAND IN THE PENAL TV BOX FOR TWO MINUTES AND SEE WHAT YOUR RIGHT HAND DEFENSE CAN DO Misha If you are a mirror conductor or a pounder with the left hand put it in the penalty box by putting it behind your box or at your side and dont let it come back into the game until the next page tum Alternate two pages with left hand and two pages without and see what your right hand will do on its own and how many of the left hand functions the right hand can take over

bull LET YOUR EYES BE THE THREAD

bull DONT LET THE THREAD OF CONNECTION BETWEEN YOUR EMOTIONAL 4 SELF AND YOUR PHYSICAL SELF GET BROKEN

bull ZING AND BOING

bull SMELLY SOCKS BEAT (BATON HELD TOO FAR AWAY FROM THE BODY Ian

bull DOWNSIZE THE MOTIONS Mathius

ADRESS OF BATON MAKER IN LONDON

JPGUIVIER amp Co 99 Mortimer Street London W1 N ITA Ph 44 -171 - 580 - 2560 Fax 44 - 171 - 436 - 1461 Ask for model MM 16 inches (bigger handle) Or Mode-P 16 inches (same shape handle a little thinner pear)

ADRESS OF THE CONDUCTORS GUILD POBox 3361 west Chester PA 19381 Phone 610 430 6010

bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

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bull COLOR AND CHARACTER OF THE BEAT Its not always about being together but rather what character personality and color of the music you can show in the beat

bull DYNAMIC SCALE How wide the scale is is usually determined by how small the

bull UNDERLINE MUSICAL IDEAS

bull DETERMINE THE PULSE

bull ACTIVE OR PASSIVE BEATS bull QUALITY OF BEATS Be aware of which beats have nothing to say and are therefor treated as passive beats They may start life as passive beats and then become active after the beat has started

bull LAYERS OF INTERPRETATION Just as we can look at people with varying degrees of depth from a superficial glance to a soul- penetrating stare so can your interpretation seem to have that same wide spectrum of depth Try to get to the point at which your interpretation at least appears to be looking at somebody and speaking

bull PULSE AND RHYTHM IS SOMETHING ALL OF US CAN COMMUNICATE TO AN ORCHESTRA DONT QUIT IN THE FIRST MOVEMENT OF BEETHOVEN 5

bull EMPOWER THE HANDS WATCH YOUR OWN HANDS MORE One of the best ways to get an orchestra to look at your hands is for you to look at your own hands at very important pOints It might be at soft cutoffs or maybe soft pizzicatos in the whole orchestra

bull RHYTHMIC NARRATION

bull I WENT TO THE STORE TO BUY SOME BREAD Moveable accents Think of the various meanings of this phrase as you put the accent on a different word each time

bull WHAT IS THE COMPOSERS INTENTION bull WHAT ARE WE SHOWING Think of what the relationship between these two statements are

bull PRISONERS OF WAR This is conducting with no direction or line in the music WE IN THE ORCHESTRA DONT KNOW WHERE WE ARE GOING - YOU JUST PROD US ALONG TOWARDS CAMP

bull WHAT STOPS THE IDEA - A PERIOD WHAT MAKES A BREATH A COMMA A SEMICOLON

bull TR+O FIND THE PLACE WHERE IS STILLNESS (Joe Gifford)

bull RHAPSODIC VERSUS LYRICAL ---_

MNLltJ t tmiddotl

I f____ r (