Vertical Plane

Focal Point
Conducting

Leonard Atherton

BALL STATE MONOGRAPH NUMBER THIRTY-THREE

Vertical Plane
Focal Point
Conducting

Leonard Atherton
Director of Orchestras
and Professor of Musical Performance

BALL STATE MONOGRAPH NUMBER THIRTY-THREE

Ball State University, Muncie, Indiana 47306
1989

This publication is not for sale.

1989 by Leonard Atherton

Library of Congress Catalog Card Number: 89-61750

89384

Lp

Contents
Foreword
Preface

vii

Chapter One: The Physical Rationale behind

Conducting Patterns

Chapter Two: The Application of Gravity

Chapter Three: The Baton

Chapter Four: Starting and Stopping

12

Chapter Five: One Beat to a Measure

14

Chapter Six: Two Beats to a Measure

15

Chapter Seven: Three Beats to a Measure

16

Chapter Eight: Four Beats to a Measure

18

Chapter Nine: The Application of Varying Baton Speeds

20

Chapter Ten: Duple Subdivision

21

Chapter Eleven: Triple Subdivision

23

Chapter Twelve: The French Six and the Regular Six

24

Chapter Thirteen: Irregular RhythmsSlower Tempi

29

Chapter Fourteen: The Raised and Lowered Ictus

32

Chapter Fifteen: Irregular RhythmsQuicker Tempi

34

Chapter Sixteen: The Fermata

36

Chapter Seventeen: Changing Tempi

37

111

Chapter Eighteen: Pattern Modification

38

Chapter Nineteen: The Non-Baton-Holding Hand

40

Chapter Twenty: The Cue

41

Afterword

42

Appendix

Index

iv

Exercises for Chapter Five

43

Exercises for Chapter Six

43

Exercises for Chapter Seven

44

Exercises for Chapter Eight

44

Exercises for Chapter Ten

45

Exercises for Chapter Twelve

46

Exercises for Chapter Thirteen

47

Exercises for Chapter Fourteen

48

Exercises for Chapter Fifteen

48
49

Foreword
The notion of passing all beats through a consistently fixed and relatively located focal point is not new. It struck me more than thirty years
ago that the conductor's beat should be disciplined by that imaginary
"x" which makes all strokes clear to each performer.
Subsequent years of observing the effectiveness of great conductors
have served only to confirm this early observation and make it an integral part of my own teaching.
Imagine then the surprise and joy with which I found Leonard
Atherton's text, with its theory of "focal-point" as its primary thesis!
Here, in clear prose and faithful diagrams, is exactly what is meant by
passing all beats through a central location. The book's companion computer disk makes these diagrams all the more clear through examples in
motion, approaching the difficult training of legato through the initial
introduction of the staccato pulse.
For the classroom or your personal library, here is a text for both
the beginning conductor and the stronger, more experienced one, which
will provide logic, system, and practice to the art of conducting.
John P. Paynter
Chairman, Department of Conducting
Director of Bands
Northwestern University
Evanston, Illinois

Preface
Through many years of conducting ensembles that required clarity of
technique for musicality and ensemble security, I have developed further technical ideas that I first learned from George Hurst. During master classes held at the Guildhall School of Music in London, England,
Maestro Hurst imparted his concepts of maintaining the ictusthe
definable point at which sound beginsin a single place and using
gravity.
The teaching of technical conducting skills is one part of my
responsibility as a faculty member of Ball State University's School of
Music. The students' backgrounds and aspirations include performing,
teaching, recording, and other aspects of music. It became apparent
that a lot of information had to be given quickly and effectively, especially to those going into teaching, since conducting generally becomes
one of their major career activities. I teach this technique because it is
capable of great clarity and rhythmic integrity. Since each step logically
builds on the one before, it is easily understood in the relatively short
time students have to spend on this part of their studies.
This monograph is intended to introduce the reader to vertical
plane focal point technique, which may help those early in their conducting training as a basis, serve as a broadening influence on my colleagues, and be of interest to music lovers who want to know more about
the mysteries of the conductor's sign language.

vii

Vertical Plane
Focal Point
Conducting

Chapter One:

The Physical Rationale

behind Conducting Patterns
Focal point conducting technique is based on a number of simple
premises, the major of which are as follows:
Each beat consists of three parts:
a. a preparation
b. an ictusthe point at which the precise beginning of a beat is
marked
c. a rebound
These three parts are found in many physical activities, such as
swinging a golf club or a tennis racquet or kicking a ball. The "ictus" is
the point at which the ball is hit. In conducting, it is the moment when
the ensemble "sounds."
To give rhythmic consistency and clarity to the ensemble,
a. the preparation stroke is the same length to the ictus as the rebound stroke is from the ictus.
b. all beats pass through the same ictus position.
Every physical activity shares the features of
a. tension
b. relaxation.
Since conducting, and indeed all music-making, is a physical activity, basic physical laws apply. The musician should be as coordinated
and physically prepared as an athlete. Whereas the athlete has only to
propel the body or an object, the musical artist has to use physical skills
in conjunction with intellectual and emotional demands.
Regrettably, would-be musicians often consider that physical
preparation is not of particular importance, and as a result technical
skills suffer. Good sports for conductors are badminton, table tennis,
and squash. All require a flexible wrist and quick reactions. Unhelpful
sports are those, like tennis and racketball, that require a stiffer wrist.
Great athletes have had their physical abilities analyzed to minute
degrees so that science can understand how one person can run faster
than another. It can then assist others to better their times. Great musicians also pass their technical secrets along and share with the athlete a
way of performing that appears effortless and natural. A natural technique generally has to be taught, but once acquired and maintained, it
leaves the performer free to concentrate on musical demands. Conduct3

ing is a healthy upper-body exerciseprobably one reason why conductors tend to live a long time!
Effective conducting should transmit the correct amount of tension
and relaxation to the ensemble. An overabundance of tension, generally
seen in younger conductors, will lead to a cramped sound and exhausted
players. When these symptoms appear, the inexperienced conductor
will often redouble effort and energy, of course compounding the problem. The answer is to "lighten up."
The right amount of tension and relaxation is a matter of score interpretation based on the conductor's understanding of the composer's
demands. These degrees of tension and relaxation should be visible to
the ensemble, which will react accordingly.
Since conducting is a physical activity, naturally left-handed
people should obviously conduct left-handed. No one insists that a lefthanded tennis player convert to the other hand! A superficial argument
is made that it is the direction that counts, not the physical rationale behind the direction. However, the forehand of a right-handed tennis
player looks like the forehand of a left-handed player. Both share the
same physical characteristics. Left-handers reading this text should
apply the basic rules in the manner set out here, but they will need to reverse the diagrams.
Posture and stance are important too. Do not stand with the feet
spread apart, because this is an unbalanced position and the knees can
easily lock. Adopt a stance in which the foot under the baton hand is
ahead of the other foot (the heel of the forward foot should be even with
or slightly ahead of the toes of the back foot). Weight should be forward
so that the heels are almost off the floor. From this position, it is easy to
move when necessary and difficult to lock the knees, as happens sometimes under nervous pressure. Such a stance also provides a stable platform for the baton hand.
Stance is as important in conducting as it is in everyday social behavior. Conducting, after all, is a form of body language. Leaning forward tends to crowd or threaten the person one is addressing. It denotes
an inward intensity also. Standing naturally and "tall" shows confidence
and assuredness. Leaning away invites others to come forward and close
the space you have caused.
One's stance elicits similar responses from the musicians. Leaning
forward can elicit an intense "espressivo," but this effect will pall if used
too often. A confident upright stance will give the ensemble the feeling
that it is in good hands; for that extra surge of sound that is is occasionally needed, leaning back will get that response. The basic upright
stance will serve almost all conducting needs. Any use of the other

stances should be made only for the occasional moments when no other
way seems to get quite the sound one believes a passage should have.
There will be many times when it is necessary to depart from the
rules. These times come as a result of musical dictates from the score or
from practical considerations of the performers and the performing environment. However, a good understanding of a sensible and logical
technique is a prerequisite for the self-confidence needed to lead an ensemble. By understanding the rationale of one's technique, one will be
able to find logical solutions to any problems found in scores.

Chapter Two:
The Application of Gravity
As with all physical activity, efficiency is considered to be the least
amount of effort required to get the job done. Too much is wasteful, too
little will not gain the required result. Efficient conducting technique
will allow one to conduct for hours at a time, yet not allow physical fatigue to interfere with the other aspects of making music. It also allows
more of the mind to concentrate on other matters of interpretation.
In order to maximize efficiency, a conscious use of gravity will allow a lot to happen with little or no expenditure of physical effort. This
principle is hard to comprehend at first because it feels "too easy" and
most people have the mistaken impression that conducting must be
physically exhausting to be "honest." As with many things, external impressions are at odds with internal reality.
Gravity is used in the basic technique on the preparation part of every beat, all of which are downward motions, as you will see in later
chapters. Using this natural physical law and harnessing its energy gives
conducting a natural look and a sense of inevitability without which ensembles will find it difficult to be confident of what their conductor is
intending they should do.
Things are caused to move in two ways: either effort is applied to
cause movement, or gravity is allowed to take over. When you hold a
ball, you have the choice of throwing it to the ground using energy, or
just letting go and allowing the ball to drop naturally. Obviously, you
can choose to do one or the other, or use a combination of the two if you
want the ball to fall somewhat faster than gravity alone would take it.
To feel the strength of gravitational force, hold an arm out to your
side at a right angle to the body. Keep it there for long enough to feel the
muscles beginning to work hard at keeping the arm in that position. The
force of gravity, trying to bring the arm down, is pitted against muscular strength, which is working to keep the arm lifted.
Without letting the arm "break," allow it to fall by suddenly ceasing all muscular effort. The fingertips should describe a quarter-circle
as the arm falls. Do not prevent your hand from slapping your thigh!
There is a very natural tendency to want to "put the brakes on."
If you followed the instructions properly, you will have received a
stinging slap. You will also have been surprised at the force of the blow
occasioned without the slightest amount of personal effort. This force
has a most important contribution to make to conducting technique.
6

A further natural phenomenon results from the interruption of the

gravitational pull. This will be of importance when dealing with the rebound part of the beat. To experience this effect, put your arm straight
out in front of you and raise it forty-five degrees. Remember that it is
necessary to release muscular tension suddenly, which allows the hand
to fall, and also remember not to allow the arm to "break." Allow the
arm to free-fall until your hand is at thigh level, then suddenly stop the
fall. This will require substantial muscular effortso much that once
the fall is stopped, the muscular effort will cause your hand to rise
slightly. This is the rebound sensation.
The free-fall of the arm is the preparation
The stopping of the free-fall is an ictus
The rise of the hand caused by the sudden stop is the rebound.

Chapter Three:
The Baton
Batonless conducting has been in vogue from time to time. There are
some moments when not using a baton can be very effective musically,
and when in close-quarterswith a small chorus, for examplethe baton may not be necessary. However, some do not use it because it takes
time to feel comfortable with it. These people will forever cause their
ensembles difficulties, and only because they are not willing to overcome their own difficulty!
Batons that are between twelve and sixteen inches in length will be
the most useful size for the average build and other concerns such as the
size of the room, the size of the ensemble, and the style of the composition. Generally, the smaller any of those elements are, the smaller the
baton may be.
To establish the basic grip, let your hand hang down to the side and
let the fingers curve inward as though you were gently holding a tennis
ball. Keeping the elbow still, raise the hand out in front and, with the
other hand, place the baton so that it balances on the upper joint of the
index finger. The heel of the baton should be under the thumb. The baton should point straight out and not across the body. Change the angle
of the wrist to accomplish this if necessary. Move the elbow so that it is
not cramped against the body. Check to see that the baton is still pointing directly out in front.
With the other hand, upset the balance of the baton slightly by
moving it away from the body so that it just begins to fall. Rest the
thumb lightly on the shaft of the baton. If the baton cannot "float"
lightly because the heel is too long or the shaft is too long or heavy, then
you should change to another baton.
Cause the baton to rise and fall using a slight wrist motion. The
wrist action is that used when opening a door. Do as little as possible
and learn the feeling of the baton as it takes on a pendulum motion of its
own. The more the baton does on its own, the less physical work the
conductor has to do. Turning the palm down may be used in heavier
passages such as pesantes.
To train the wrist, the arm can be placed on a table top or similar
flat surface so that the wrist hangs over the edge. Take the baton and
move it in all directions without lifting the arm from the table. This will
ensure the development of the wrist pivot.

The baton is used for two major purposes:

a. to give clarity.
b. to give magnitude.
The baton tip is much more precise than fingers. When being used for
clarity, the baton should be used within "natural" boundaries. To establish those boundaries, try the following steps:
1. Standing in front of a mirror without the baton, conduct an
easy up-and-down motion that does not go above the eyes or
below the waist. Use a piece of tape to mark the upper and
lower points.
2. Now, at the middle of the two points, form a cross, with each
arm the same distance from the center. Mark the right and
left ends.
3. Take the baton and conduct an up-and-down motion. Do not
allow the tip to go outside the marked boundaries!
4. Now do the same exercise, but from side to side.
You will experience a very limited and cramped feeling. This sensation must be understood and allowed to become natural. The natural
feel obtained without the baton also looks natural, but the baton is an
unnatural extension of your arm. Therefore, to appear natural with the
baton requires that the baton tip stay within those natural limits.
The conducting arm has three pivot points: the shoulder, the elbow,
and the wrist. Without a baton, the most detailed work is done by the
wrist, with the elbow coming into play for the average tasks and the
shoulder used for heavy effects.
With a baton, the pivot points change. What was done by the wrist
is now done by the index finger's upper joint. What was done by the elbow is now done by the wrist, and what was done by the shoulder is now
done by the elbow. This leaves the shoulder for use at times when magnitude is called for.
In all work with the baton, the tip of the baton must lead. It is most
confusing when the real beat seems to be in the wrist or elbow and the
baton tip follows imprecisely. Therefore, think of the baton tip as causing movement to happen rather than following movement begun by the
wrist or other pivot.
When used for magnification, the baton tip is allowed outside the
natural boundaries. This point can be demonstrated by standing in
front of a mirror and, with baton in hand, conducting the same motions
as before. Allow the hand to go to the original limits. Notice how large
the area is that the baton now covers! Now experiment with gradually
reducing the covered area until you come back to the natural size.

Using the baton for magnitude is done in large places where musicians are a long way from the conductor. Then, the size still looks natural from a distance. There is a danger that those closest to the conductor
will respond to the large beat and cause balance problems by being too
loud. The conductor is at liberty to ask those musicians to underplay because the beat size is to assist those farther away. The large beat size is
also used for particularly loud passages. The baton tip initiates each
physical movement, and when magnitude is of importance, the pivot
points can extend even beyond the shoulder. In some instances, the
energy of the baton can be such that it moves the whole body side-toside, causing it to pivot at the hips, or lifting it onto the tips of the toes or
even off the floor.
Look into a mirror and make the smallest possible up-and-down
motion of the baton tip. Now extend the arm to its fullest length while
pointing the baton tip at the sky and standing on tiptoe. Bring the arm
down so that the baton tip is pointing at the floor. Now do the same
with side-to-side movement, first with a tiny range, then as wide as you
can extend. You can see that a huge physical range is available. Remember that the boundaries are for the most extreme effects. Remember too
that the goal is to get the desired result with the least movement.
In general, make sure that the tip of the baton stays above the
waistline and clear of the music stand. The stand itself should be at a
height where pages can be turned securely with the arm extended fully
and should not be reversed so that the lip of the stand faces the ensemble, giving the negative impression of having a wall between the
conductor and the players. The notion that the reverse position makes it
easier to turn pages is not sufficient reason to erect this barrier. Actually,
it does not make turning pages easier. In fact, it may cause problems because the score no longer has contact with anything but its back, and
hence may slide around more easily.
Allow your baton to fall freely, using gravity. Remember that the
baton's balance should be such that it will slowly fall. Use of the wrist
will stop the fall and guide the direction of the rebound. This brings us
to other natural rules:
a. Each preparation speeds up.
b. Each rebound slows down.
These, as with all rules, are of course modified for musical or technical reasons. You will notice that a constant baton speed appears contrived and also has no feeling of inevitability, without which musicians
will feel insecure.
Therefore, although the ictus comes at a regular pace, the baton
changes speed before and after each ictus. Think of what happens to a

10

ball thrown straight up into the air. It leaves the hand with energy, but
immediately begins to slow down because of the gravitational pull. At
the highest point, the ball comes to a stop and then begins to fall, picking up speed as it does so.
This point of rest will be one of the most important parts of your
technical skill.
c. Each preparation begins from rest.
d. Each rebound finishes at a point of rest.
Since each preparation speeds up, and each rebound slows down,
e. the tip of the baton is moving fastest at the ictus.
A major conducting problem is the use of too large a pattern. This
practice causes the ensemble to overwork and leads to such inherent
problems as coarse tone and poor intonation. It is more important to appear natural to the ensemble than to feel natural yourself. With experience, belief, and self-confidence, the unnatural feeling will be
replaced by a natural one. After all, a golf club or a tennis racquet is also
an unnatural extension of the arm, and it takes practice and time to get
the desired result from them.

11

Chapter Four:

Starting and Stopping

Starting
Tempo is set by the baton leaving the ictus and travelling through a rebound (half of a beat) and a preparation (half of a beat) as it returns to
the ictus. The time that is taken should equal the tempo of the required
rhythmic pulse.
The upbeat, as it is often called, is shown in figure 1.
Figure 1.

Step One

Step Two

baton leaves ictus

baton returns to ictus

You should notice that all of the drawings are diagrammed for the
right-handed conductor to be able to use without needing to reverse the
image. Left-handed conductors should treat the diagrams as a
mirror-image.
The upbeat is clinically effective and gives a clean start, which may
lack warmth, because the ensemble's reaction time may be sufficient for
sound to be made but insufficient for sound quality to be considered. At
such times, the use of a pre-preparation may be very effective: the conductor takes a readiness motion that shows the placement of the ictus,
and in the same motion, moves slightly away from it as shown in
figure 2.
Figure 2.

baton at ictus

baton moves away and pauses

The baton pauses, returns to the ictus point "out of tempo"

(figure 3), then gives a whole upbeat (from an ictus location to the next
12

ictus "in tempo"). This additional small gesture will be useful in such
other ways as helping start a passage that has a pick-up of less than a
whole beat.
Figure 3.

Step One

Step Two

Step Three

Stopping
There are two basic types of release.
The first type is made at the ictus point of the next beat.
The second type is made by a small, circular gesture at the top of
the rebound. You will recall that the baton comes to a point of rest at the
end of the rebound. To make a release gesture, the point of rest now will
act as a new location of the ictus. The relocation of the ictus has great
value in certain circumstances that will be detailed in later chapters.
Trace a circle that slows as it goes up, gathers speed as it passes the
top until it reaches the new ictus, and passes through for a small rebound (see figure 4): if a secco release is required, there is no rebound.
Figure 4.
release at the end of the rebound
preparation
rebound
upper ictus

rebound

ictus

It is essential that the baton finish in a position from which it can

continue without any excess motions caused by repositioning.
Another rule:
Always finish in a position from which you can readily continue.
This rule may require that the circle be made in the direction opposite to the one shown in figure 4.
13

Chapter Five:
One Beat to a Measure
In some ways, conducting in one is very difficult. The basic technique is
the most simple, but this simplicity can cause a lack of subtlety.
The pattern is a lift from the ictus and then a return that falls to the
same point (see figure 5).
Figure 5.
preparation

rebound
i ctu s

The downward motion is used to signal the beginning of a measure

in any time signature and is used by instrumentalists for counting measures of rest. It is extremely important that the downstroke be obvious at
all times.
The downstroke (ax-chop) motion is the strongest physical motion
available to us, which is why this direction is chosen for the first and
generally the strongest beat in a measure.
If there are solo passages when the ensemble is not actively accompanying, it is important that a small downstroke be shown. This is called
"marking." Such motions should not be seen readily by the audience,
who will be concentrating on the soloist's performance and should not
be disturbed. The purpose of marking is solely to show the ensemble the
passing of each measure.

14

Chapter Six:

Two Beats to a Measure

The two-beat pattern is built up by using the standard final-beat pattern common to all measures of more than one beat. The upbeat pattern, used here for the second beat, is shown in figure 6.
Figure 6.

Beat Two
rebound

preparation

i ctus

The rebound sets up the preparation of the first beat of the measure. The rebound of the first beat in turn sets up the preparation of beat
two, as is shown in figure 7.
Figure 7.

Beat One
preparation

rebound

15

Chapter Seven:
Three Beats to a Measure
The three-beat pattern, like all patterns except one to a measure, is built
up from the standard final-beat pattern (see figure 8).
Figure 8.

Beat Three
rebound

preparation

i ctu s

Since the position of the ictus is now established as well as the position where the preparation of beat three begins, the direction of beat
two can be established.
The rebound of beat two will finish where beat three's preparation
begins, and the preparation of beat two therefore begins at an equidistant point on the other side of the ictus (see figure 9).
Figure 9.

Beat Two
preparation rebound

ictus

To decide on beat one is now simple. The rebound of beat three finishes high, and it is a given that the preparation of the first beat is a
downward ax-chop movement. Hence, the preparation comes down to
the ictus. Now you can see where the preparation of beat two begins,
and this position dictates the direction of the first beat's rebound (see
figure 10).

16

Figure 10.
Beat One
preparation

rebound
,,.

ict u s

17

Chapter Eight:
Four Beats to a Measure
Four beats to a bar are frequently rhythmically designed as strongweak, strong-weak. Although this analysis is simplistic, the gestures used
follow this format. The pattern is obtained by starting with the standard final-beat pattern for beat four (see figure 11).
Figure 11.

Beat Four
rebound

preparation

.,,-C- "

- ---

ictus

Since the beginning of the preparation of beat four is known, the

rebound direction of beat three is obvious. Since each beat has the same
travel distance, the preparation of beat three can now be drawn on the
other side of the ictus (see figure 12).
Figure 12.

Beat Three

preparation

--4.-_,----)-

---

rebound

-----

ic t u s

With the third beat set, it should be observed that its direction is
"strong." It is in the direction of the "karate chop." The second beat's
direction can be deduced from the knowledge that where the third beat
begins, the second finishes. The rebound can be obtained, and following
the rule of equidistance, the preparation can be completed (see
figure 13).

18

Figure 13.

Beat Two

preparation

rebound
.---.(---

0----.(-----.

ictus

The first beat remains to be completed. It begins at the end of the

fourth beat's rebound and falls to the ictus before moving across to set
up the preparation of beat two.
Beat one therefore looks like figure 14.
Figure 14.

Beat One
preparation

rebound

ictus

19

Chapter Nine:
The Application of
Varying Baton Speeds
The speed of the baton will vary according to musical dictates. Generally, the shorter and more accented the note, the faster the baton speed
toward and away from the ictus. To maintain rhythmical accuracy, it
will be necessary to wait a little longer at the end of the rebound. This
technique is also useful in helping to clarify pizzicato notes. The angle
used to and from the ictus will be a sharp one.
Conversely, when gentleness is needed, the preparation will be
slower. The angle will be softened also, making more of a U than a V.
For an entry that begins on the second half of a beat, the preparation should be as for a staccato note on the beat. You may find that a
slight push away from the body at the ictus will give a sense of inevitability. The rebound should also be staccato, and the baton must then
pause at the top of the rebound and wait until the entry is made. This
momentary pause will be unnerving at first, but if the initial ictus has
had a sufficient sense of inevitability, a definite entry will be made.
Beat speeds need to be analysed constantly. In an fp where the p is
sustained, the baton will speed quickly toward the ictus showing
strength, and rebound gently and slowly to show the held p.
It is important at times to prevent sound from happening. At such
times, the baton should show no sign of inevitability; rather it should
trace the pattern in a completely even and legato fashion. Silence can
also be maintained by coming to a dead stop at the top of the rebound.
You can conduct syncopated entries, dynamic effects, and releases
using a rebound that leaves the ictus at a decidedly quick speed. The
closer the "effect" is to the beat, the quicker the baton travels from the
ictus. The feeling of inevitability occasioned by the suddenly more rapid
movement will cause the syncopation to occur.

20

Chapter Ten:
Duple Subdivision
The subdivision technique is used in tempi that are so slow that to beat
the "major" beats in the bar would be too slow for accuracy and for control. Inexperienced conductors use it too much. Major beats should be
shown wherever possible.
Do not subdivide just because it feels easier. Remember that when
you subdivide, you give two or three times as many signals. Further, lesssignificant decorative notes and harmonies may be given too much
importance.
The term "major beat" does not imply that inner beats are always
of less musical importance. I use the term only for explanation.
All subdividing must outline the major beats clearly. This is done
by using the preparation direction for the major beat; the "and" ( +) uses
the major beat's rebound direction. This leaves the rebound of one and
the preparation of the + to be used to show the subdivision.
The rebound of the major beat returns along the path of the preparation but does not rise as far.
The preparation of the + falls to the ictus and appears as a small
version of the preparation for the major beat.
This technique uses a rebound based on the concept of using
gravity. When a ball is dropped to the ground, it speeds up, hits the
ground, and rebounds. There is energy used at the moment of impact,
and with gravity also slowing the rising ball, the rebound does not reach
the point of release. Recall the exercise used to stop the falling arm. The
arm rose naturally when stopped suddenly.
Allow the baton to fall and rebound along the same path. Use the
preparation direction of each of the beats of the four-to-a-measure
shown in the previous chapter, and practice the rebound of each major
beat.
Figures 15-20 show how to arrive at a subdivided three.

21

Figure 15.

Figure 18.
Beat One

Beat One +

preparation

height of
natural rebound

preparation

rebound to

rebound
i ctu s

ictus
Figure 16.

Figure 19.
Beat Two

Beat Two +
rebound

preparation

preparation
rebound to

ic tus

Figure 17.

l otus

Figure 20.
Beat Three

Beat Three +
rebound

preparation

i ctus

preparation
ic tus

You must use more physical control when subdividing. Because

there are two differing sizes of strokes being used, it becomes necessary
to control the smaller strokes physically so that they do not arrive at the
ictus early or late at the end of the rebound.
A definite physical effort on the part of the conductor is required to
keep the rebound of the + beat from being too slow. Since the preparation of the + is small, effort is needed to send the baton to the end of a
major beat's rebound. The gravitational effect will be small leading to
the ictus, and a physical boost is required to send the baton the rest of
the way. The ability to use the moment of rest at the end of the major
beat's rebound will prevent the inner beat's preparation from arriving at
the ictus too soon.
22

Chapter Eleven:
Triple Subdivision
Triple subdivision is accomplished in the same way as duple subdivision. There are now two rebounds and the first has to be generous to
allow room for the second. The analogy of the dropped ball applies
again. If the ball is allowed to bounce twice after initially hitting the
ground, the second bounce does not reach the same height as the first.
Obviously, there will be yet more physical control needed because
there are now three different stroke sizes.
Another rule has implications for this system of triple sub-division.
Do not use signals that have other meanings in our society.
This covers all kinds of signals such as "thumbs up" or a "teacup
pinky" position.
In triple subdividing, the final beat of the bar appears patronizing
if the subdivision technique is logically followed. It results in motions
that are the same as the little pats on the head that are given to young
children. This pattern does not comfortably allow for a musical anticipation of the first beat of the following measure, a basic necessity of musical movement.
To overcome this unmusical situation, the second part of the
"French Six" pattern is used. This movement of physical beauty allows
flow and control. It is introduced in the next chapter.

23

Chapter Twelve:
The French Six and
the Regular Six
Depending on musical and tempo considerations, six beats to a measure
can be conducted in two basic ways.
The French Six pattern is derived from the regular two-beat pattern and the triple subdivision technique (see figures 21-24).
Figure 21.

Figure 22.
Regular First Beat

preparation

Same but subdivided

preparation (1)
rebound (1)
rebound

.,--.->---

preparation (2)

ictus

rebound (2)

preparation (3)

ictus

Figure 24.

Figure 23.

Special Pattern

Regular Second Beat

rebound (6)

rebound

preparation (6)

preparation

,,k- ' '

-

preparation (5)
ictus (6)

..

i ctu s

ictus (5)
preparation (4)

rebound (4)
ictus (4)

24

rebound (5)

On the left is the regular two-beat pattern. On the right is the

French Six.
In Chapter Four, I introduced the concept of changing the ictus position. Here, the ictus moves vertically yet is reached by a curving stroke
that has preparation and rebound of equal distance. This is achieved by
the rebound stroke climbing at a sharper angle than the angle of the
preparation stroke. In this motion, height is achieved from which the
preparation stroke can fall.
The regular six pattern introduces the concept of using major beats
along with occasional subdivisions. This concept is important since it is
used to arrive at the beat patterns for all irregular meters of slower
speeds.
In six beats to the measure, the usual arrangement is of two groups
of strong-weak-weak. Whereas the "French Six" is based on the regular
two-beat pattern and triple subdivision, the regular pattern is based on
the four-beat pattern and uses two duple subdivisions to arrive at a
count of six.
The four-beat pattern has strength on beat one (ax chop) and beat
three (karate chop). In six, the strong beats are on beats one and four.
The karate chop must therefore be delayed one beat, which is accomplished by subdividing the second beat of the four-beat pattern.
Whenever possible the final beat of the bar is not divided so that it
is both clear and not cramped. The following beats are now in place:
beat one (ax chop)
beats two and three (subdivisions of the second beat of the
regular four pattern)
beat six (regular pattern for the final beat of a measure)
Since beat four is the other strong beat of the measure, the other
strong gesture should be applied, and so the karate chop is used here.
Since beats one and six are best left as major beats, the other two
beats of the regular four-beat pattern are subdivided so that the total of
six is arrived at.
In order to obtain beat five, the third beat of the regular four-beat
pattern is subdivided.
The result of the above discussion is diagrammed in figures 25-34.

25

Figure 26.
Regular Six-beat Pattern

Figure 25.
Regular Four-beat Pattern
Beat One

Beat One

the "ax chop"

preparation

preparation

rebound

rebound

ictus

ictus

Figure 28.

Figure 27.

Beat Two

Beat Two

preparation

rebound

rebound

preparation

fetus

f etu s

this beat is subdivided

Figure 29.
Beat Three
preparation
rebound

fe tus

Figure 31.

Figure 30.
Beat Three
preparation

rebound

ietus

26

the "karate chop"

preparation

Beat Four
rebound

fetus

Figure 32.
Beat Five
preparation

rebound

ictuS

Figure 33.
Beat Four

Figure 34.
regular final beat

rebound

Beat Six

rebound

preparation

preparation

i ctus

i c tus

There is another pattern that will be of use in this meter since sixes
are often subject to the rhythmic variation known as the hemiola. This
variation is best conducted using a duple subdivided three-beat pattern,
which reflects the nature of the hemiola. With the information from
these last two chapters, a diagram may be developed for twelve beats to
a bar.
This is done by using a regular four-beat pattern and applying the
triple subdivision technique (with the final beat being the same as the
ending of the French Six). Compare figures 35-38 with the regular fourbeat pattern illustrated in Chapter Eight (see figures 11 - 14).
Figure 35.

Beats One-Two-Three
Noe
preparation (1)
rebound (1)
preparation (2) Ny
rebound (2)
preparation (3)
NY
rebound (3)
ictus

27

Figure 36.
Beats Four-Five-Six
preparation (4)
preparation (5)
preparation (6)

rebound (4)

rebound (6)
ictus rebound (5)
Figure 37.

Beats Seven-Eight-Nine

preparations
7

rebounds
Figure 38.

9
7

Beats Ten-Eleven-Twelve
rebound (12)

preparation (12)

preparation (11)

rebound (11)

preparation (10)
rising ictus

Maintaining control in a tempo that is very slow and majestic is

hard. Long notes may be present during which a number of subdivided
beats may appear fussy and out of character. At such times, the major
beat may prolong its contact at the ictus and move on the +. This later,
quicker motion will be much clearer to the ensemble.
To help releases, entries, accents, and other musical events that
happen after the beat, the baton should perform a motion that sets up a
rebound sense of inevitability. This motion involves speeding up the rebound after giving a deliberate bounce at the ictus. The speed and
bounce will depend on the quality of the syncopated event. A degree of
experimentation will be required before you feel comfortable with this
movement. Generally, the louder or sooner the event is after the beat,
the faster the rebound will be, and the bounce will be more pronounced.
28

Chapter Thirteen
Irregular RhythmsSlower Tempi
The Slow Five
Fives are generally made up of two groups, either 3 + 2 or 2 + 3. The
regular six above was built on a regular four pattern but two beats were
subdivided to give a count of six. Therefore, five can also be built on the
regular four pattern. Only one major beat needs to be subdivided to
bring the count to five.
In the 3 + 2 format, the first beat is the strongest and so the axchop motion is applied to it. The next strongest beat is the fourth beat,
and the next strongest physical motion, the karate chop, is applied to it.
The final beat is left as a major beat, and that leaves beats two and three
that can be obtained by using the duple subdivision technique on the
regular four-beat pattern's second beat.
The same approach is used when the format is 2 + 3. Here the
karate chop is used for beat three. However, the third beat of the regular
four-beat pattern is subdivided to give beat four as well. This allows
beat five to remain as a regular final-beat pattern. Figures 39-52 show
the principles at work:
Regular Four-Beat Pattern 3 + 2 Five-Beat Pattern 2 + 3 Five-Beat Pattern
Figure 39. Figure 43. Figure 48.
Beat One
Beat One
Beat One

preparation

preparation

preparation

rebound

rebound

rebound

...----)---.-----''

iCtUS

i ctus

Figure 40.
Beat Two
preparation

rebound

----(---

Figure 44.
Beat Two
rebound

10 ,....(-----

IOUS

ictus

Figure 49.
Beat Two
preparation

rebound

----

f-____.

preparation

-----E

----

I Ct US

29

Figure 45.
Beat Three
preparation

rebound

Figure 41.
Beat Three
rebound

preparation

fetus

Figure 50.
Beat Three

Figure 46.
Beat Four
preparation

preparation

rebound

le tUS

i CtuS

Figure 51.
Beat Four
rebound

preparation

fetus

Figure 42.
Beat Four

Figure 47.
Beat Five

rebound

rebound

rebound

30

preparation

preparation

preparation

I CU'S

Figure 52.
Beat Five

le tUS

i ctuS

The Slow Seven

Generally, there are three groupings in measures of seven beats. To obtain a beat pattern for this meter, the following steps are taken.
Since there are three groupings, the three-beat pattern is considered as a base. When this pattern has duple subdivision applied to it,
there are six counts. To make seven, one more count is needed, which
can be obtained by using one triple subdivision.
Remember that if the grouping is 2 + 2 + 3, the final beat uses the
French Six ending.
The reason for using the subdivision technique for odd meter patterns is that the basic groupings are readily shown by the major beats,
and when changing tempi a new pattern does not have to be used. Instead, subdivisions are easily incorporated into the major beat pattern as
tempi slow or they can be left out as tempi get faster. In triple subdivision, it may be helpful to leave the second + out in the accelerando one
beat before going into the regular beat pattern. In a ritenuto, incorporate the second + into the pattern one beat before triple subdividing
each beat.
Other irregular meters in slower tempi are dealt with using the
same principles. Ten/eight for instance is basically a four-beat pattern.
For example, in the grouping 2 + 2 + 3 + 3, duple subdivision technique would be used for the first two major beats and triple subdivision
for the last two. Since the final major beat requires triple subdivision,
the French Six ending must be used.
In passages of frequent meter changes, it may be difficult to keep
referring to the score's time signatures. A clear marking of twos and
threes can be invaluable.
For twos, use a bracket.
For threes, use a triangle.
Bracket is a two-syllable word; triangle is a three-syllable word. By
keeping the speed of each syllable constant, the rhythm can be easily felt
and heard. Say triangle for every group of three and bracket for every
group of two. Then conduct and speak at the same time before conducting without speaking.

31

Chapter Fourteen:
Raising and Lowering the Ictus
The concept of raising the ictus was introduced by the French Six pattern's final beat, and the concept of changing its location was shown in
the technique for releasing at the end of the rebound. Two other uses for
relocating the ictus are for certain dynamic effects and to keep a proportional baton speed during quick irregular rhythms.
The use for dynamic purposes is similar to that in rebounds. It is
not easy to show fp followed by a continuing piano dynamic; it can be
done best by relocating the ictus at the top, or close to the top, of the rebound, and continuing to conduct, using this new, higher ictus for
lighter sounds, dynamics, and moods (see figure 53).
Figure 53.

raised ictus position

regular ictus position

This is done by reaching the top of the rebound and, instead of falling, regarding this position as the new ictus location and giving a full
preparation to the next beat. In faster tempi this becomes unmanageable. Then the other hand may be used to show the new position near
the top of the rebound, and the preparation falls only as far as that
position.
For a subito (sudden) forte that continues with a forte dynamic
level, reverse the procedure. The new location of the ictus will be lower.
The level of the location can be shown by the other hand; drop the baton
tip quickly to the lower position during the preparation part of the beat.
Maintaining a proportional baton speed in irregular meters is helpful to the ensemble. Instead of returning to a constant ictus location
when the grouping is 2 + 3 (which means that the second group is onethird longer), the second ictus should be placed lower so that the baton
has one-third longer to travel. The sight of a baton speeding up and
32

slowing down while an ensemble does its best to maintain a constant

speed of inner beats is distracting.
A strong feature of quicker irregular meters is the rhythmic power
of a continuing, even, and constant pulse. This feature cannot be
achieved if the ictus stays in the same place, because the baton will be
forced to vary its speed by one-third every other beat while keeping a
constant distance from the ictus, or the baton will have to travel onethird longer or shorter every other beat. Dropping the ictus vertically
one-third farther allows the baton to maintain a constant speed and
keep the same distance on either side of the ictus. This is the clearest way
to deal with irregular meters, since the only irregularity is the vertically
changing ictus point. However, the location is still central and on a
known vertical plane. The ensemble will now have a conductor whose
proportional beat pattern mirrors the constancy of rhythm in their parts
and whose ictus happens every time the baton reaches the constant vertical plane.

33

Chapter Fifteen:

Irregular RhythmsQuicker Tempi

These meters have traditionally posed the biggest technical problems for
conductors. The vertical plane focal point technique reduces the problems to a minimum, offering the greatest potential for clarity. By
relocating the ictus, you alter the travel distance, thus allowing the baton to maintain a constant speed while you are conducting irregular
meters.
Five/eight meter
At a quick tempo, five/eight is basically a two-beat pattern with
one beat that is one-third longer than the other.
Use of the movable ictus discussed in Chapter Twelve is made here
(see figures 54 and 55).
Figure 54.

Figure 55.
(a) 3 + 2
preparation (1)

preparation (1)

rebound (2)

rebound (1)

preparation (2)

ictus (1)

ictus (2)
rebound (1)

ictus (1)

(b) 2 + 3

rebound (2)

preparation (2)

ictus (2)

In figure 54, the ictus has moved higher for the second beat because
that beat is one-third shorter than the first beat.
In figure 55, the ictus is one-third lower for the second beat because
that beat is one-third longer.
Seven/eight meter
This meter uses a basic three-beat pattern and generally has two
groups of two and one group of three. The same procedure is followed
for determining the conducting pattern as above.
34

Figure 56 shows the pattern for seven/eight (2 + 2 + 3)

Figure 56.

preparation (1)
rebound (1)
rebound (2)

preparation (2)
lotus (1 + 2)

preparation (3)

rebound (3)

lotus (3)

The third beat's ictus position is one-third lower than that of the
other two beats.
Other similar meters are dealt with in the same way. For example,
ten/eight uses the basic four pattern and, if arranged as 2 + 2 + 3 + 3,
would use a lower ictus position for beats three and four.
The use of brackets and triangles will be most helpful here.
As outlined in Chapter Thirteen, the bracket signifies a higher ictus
position and the triangle a lower one.

35

Chapter Sixteen:
The Fermata
Fermatas generally bring a halt to rhythmic impulse. However, it is most
important that the baton not be frozen when fermatas require that
sound continue. The baton has to continue a slow rebound until the release. If the fermata is silent, the baton should remain still so that no
false entries will occur.
The timing and nature of the release of a fermata depend on the
musical situation. There are many variables, and what the conductor
decides to do is a matter of interpretation. It is hoped that this will be an
informed, musical decision that has been thought through and that is
solidly based on musical, stylistic, and practical grounds.
There are three common ways of releasing a fermata that consists
of held sound. One can use the release technique at the end of the rebound as shown in Chapter Four, a practice that is most useful when
there is a period of silence after the fermata and particularly effective
for quiet morendo (dying away) endings. The second method uses the
ictus of the next beat as a release for stopping or for continuing. This is
bigger, more dramatic, and more visible to larger ensembles. The third
approach is used for setting a new tempo after the fermata, reestablishing a tempo, or helping a difficult entry. This release requires that you
conduct again the beat on which the fermata is placed, using the subdivision concept of returning along the path of the prior beat. Pause at the
top of the rebound and then make the preparation fall in tempo. It may
even be necessary to give two beats before a particularly awkward
moment.
Whatever choice is made, it is of paramount importance that the
baton always finish in a position from which it can restart. When the
fermata is silent, the baton should remain still until giving a clear and
obvious upbeat for continuation. If the fermata is very short and the
rhythmic feel is not lost by the ensemble, a preparation or a rebound
may be all that is necessary.

36

Chapter Seventeen:

Changing Tempi
Some of the most important moments for maintaining ensemble occur
when tempi change, especially if the change is sudden. This activity
alone is a prime reason why conductors exist, because a large ensemble
could never make such changes without assistance. Small chamber orchestras, choirs, and groups can change tempi effectively, but once a
certain ensemble size is reached, a central beat is needed.
It is obvious that every part of a composition requires decisions
made by the conductor to be shown clearly to the ensemble. Therefore,
upcoming changes in tempi must be very clearly set in the conductor's
mind. Any doubt will lead to poor ensemble, and tempi not intended by
either conductor or composer will result.
Once decided upon, tempo changes may be made by observing the
following suggestions:
When going from a slower to a faster tempo, stop at the top of
the rebound (as though making a fermata), then from that point (a
raised ictus position) give a complete upbeat in the new tempo. This
occurs during the completion of the last beat in the slower tempo by
the ensemble.
When going from a faster to a slower tempo, it is less easy to
forewarn the ensemble. In this case, it is the rebound that must take
the responsibility for the change. Continue the faster tempo right
up to the first ictus of the new tempo, then ensure that the rebound
accurately reflects the new slower tempo.
When the tempo is slowing down (ritenuto), it is the rebound
that controls the change until the tempo requires subdivision.
When the tempo is speeding up (accelerando), the preparation
controls the changes. If the tempo was subdivided, a smooth transition into major beats is all that will be needed.

Before the advent of the modern conductor, music was written in

such a way that ensemble could be maintained by deciding on a tactus
and having each section of the work relate to that central pulse. The
hemiola was used for the same purpose. The modern conductor can
benefit from this technique. When making a change of tempo, you
should see whether there is a way of setting up the new tempo by relating it to the previous one. There will be a more definite feel that the new
tempo is right if you do this. However, if such an attempt results in a
tempo that is not credible musically, then do not apply it.
37

Chapter Eighteen:
Pattern Modification
There will be constant need to adapt the conducting pattern from the
basic one expected by the time signature to what is required by the musical demands.
Do not be adamant about your changes, since you may find ensemble members who prefer that you stay in a basic pattern to help
them with counting or for other reasons. If your changes work, it is better to show the shape of the line but not at the expense of losing the
rhythmic pulse or becoming unclear.
In a fast one-beat pattern, it may be beneficial to show groupings
of bars for phrasing by using two-, three-, four-, or other beat patterns.
This practice should not become an alternative to being able to beat in
one clearly.
The greatest test of pattern modification is dealing with accompanied recitative.
Many large ensembles with experience in playing the romantic
repertory play "behind the beat." This is strange and unnerving the first
time it is experienced by either a member or a conductor new to that ensemble. What takes place is that the entire beat is demonstrated before
the ensemble respondsthe preparation, ictus, and rebound are all observed. The ensemble then has all of the information about the approach to the note, the quality of the attack, and how to continue once
the note is sounded. Then the ensemble plays. By this time, the conductor may have almost completed the next beat! When it is necessary, such
ensembles do tie themselves to the beat, especially during passages of
rhythmic difficulty. This type of mature musicianship can produce a
special quality, and it will be found that for passages of great warmth of
expression, on-the-beat (ictus) playing will give too "clinical" a sound.
In all diagrams, I have used a simple basic shape. Modifications
may occur for reasons of articulation and musical requirements. The
angle. can be made sharply for staccato passages, or softened for
smoother legato passages.
Since music may require strength or weakness on any part of the
bar, the diagrams should be treated like an umbrella. The sides can be
folded up. One of the hardest beats with which to convey real strength is
the second in a four-beat pattern, since it generally consists of the most
naturally weak physical motion (see figures 57-59).

38

Figure 57.
Regular Beat Pattern

rebound

preparation

-----*---- ---9--

ictus

Figure 58.
Strong Beat Two

preparation

rebound

ictus

Figure 59.
Closed Umbrella

. . . ._

......

'N

/
I
L ._ _ .. _ __. ___
I

ic tus

The closure allows the second beat to borrow the strength of the
first beat. Once used for the intended effect, the pattern should be made
regular as quickly as possible. The pattern may also be "opened," which
is useful for legatissimo or marking while accompanying. In general, the
higher the preparation starts, the stronger the demand, and conversely,
the lower the preparation begins, the weaker the demand.

39

Chapter Nineteen:
The Non-Baton-Holding Hand
There has been much discussion regarding "the other hand." Some advocate no use, others advocate occasional purposeful use, but all agree that

the empty hand should not constantly mirror the baton in size or on the
same plane.
The most important instrument for the conductor is the tip of the
baton. All other activity is used to reinforce its signals. The whole body
is engaged in this reinforcement to a greater or lesser degree, depending
on the musical demands.
The batonless hand reinforces dynamics and articulation, gives
cues, signals warnings, and is used for a variety of special purposes such
as non-crescendo (palm down showing that the "lid" is on dynamically),
wait (a "traffic cop's stop" with the palm held high facing the musicians), and intonation information.
With a choir, the palm down position results in flatness or at best a
very dull quality of sound. Turning the palm over, then relaxing into a
comfortable forty-five-degree angle by rotating the palm clockwise will
often solve this dangerous problem. However, for a string group, some
wonderful effects, especially long fading-to-silence passages, are best
obtained with the palm face down. It works because the strings are not
relying on breath support to maintain pitch.
In order for the hand to be an active participant in the musical activity, its motion should mirror the baton's, but be smaller in area, on a
lower plane, and closer to the body. In this way, the hand is always
available instead of suddenly "darting out" at the ensemble each time it
is used in a special function. Thus the hand engages in specific purposeful activity from a point of involvement rather than from a point of disengagement. It can take over the main beating function when the baton
is not visible to a part of the ensemble, e.g., when turning toward the
cellos so that the baton is hidden from the violins by the conductor's
body, It can be of great use for showing new ictus locations and giving
hand or register signals as in the KodAly method.

40

Chapter Twenty:
The Cue
Cueing in a helpful timely manner is one of the major responsibilities of
the conductor. It is not necessary to cue every single entry of every single
person, and it may even be detrimental to put someone in the spotlight
at the moment of an exposed and difficult entry. Better to set up the entry, then allow the musician to play. A nod or smile of acknowledgment
afterwards will be gratefully received.
Cues can be all-encompassing tutti entries, obvious entries such as
the arrival of a cymbal crash, or the most common kind of all, the cue
that starts someone, after a long wait, on an entry that is not of major
musical importance. This may be no more than a glance in the player's
direction or a small private gesture, but it serves to reinforce the player's
sense of being right.
Cues are made with the head, the eyes, or either hand. The cue
should not interfere with the continuing musical flow but should be incorporated within it. Nothing is more disturbing than the overemphasized cue, both to the players, who will be insulted, and the audience,
who will expect something highly dramatic to happen. If all they get is
a barely noticeable addition to the music, they will feel let down.
Cues are made with the baton on the "baton side" of the ensemble,
and with the hand to the other half. It is confusing, and possibly dangerous, to give a cue with the hand to the baton side of the ensemble!
.

41

Afterword
Technique is a means to an end. Without it, the end will be flawed, just
as technique without musicianship will not result in an artistic achievement. I have witnessed many musicians who were unable to impart to
their audiences the fruits of their study, their musicianship, and their
love of the scores they wished to conduct. This publication is dedicated
to those musicians in the hope that they can find the help needed so that
their technique will accurately reflect all they have to offer.
I have felt since 1983 that "focal point" is an unfortunate name for
this versatile technique. It seems to me that its real strength is in making
it possible to control preparations and rebounds by strokes that are of
equal length. The fact that the ictus is in the same place is almost a side
effect. "Focal point technique" takes the focus away from what I see as
the raison d'tre of the entire systemand I think in some cases the
name has caused people to dismiss the technique before they really
know how well it works.

42

Appendix
People who would like to try using the focal point technique should attempt these exercises.
All exercises should be done using the baton for clarity, at moderate
tempi and an mp dynamic.
Exercises for Chapter Five
Execute a release after four measures. The release should be made at the
top of the rebound. Make sure your release ictus is reached rhythmically.
Vary the beat speed and discover at what speed the upper ictus release
can no longer be done. You must then take the alternative of using the
next beat's ictus. In the one-beat pattern, this will mean returning to the
original ictus by means of a circle rather than a straight line.
Remember, the baton speeds up as it falls during the preparation
and slows up as it rises during the rebound.
Exercises for Chapter Six
Conduct, using an upbeat first without and then with pre-preparation,
ten measures in two, starting on the first beat. Pay particular attention
to keeping the ictus consistently in the same position, and make sure
that during the rebound of beat one and the preparation of beat two the
tip of the baton does not rise so high as to cause confusion about which
beat is which, especially for anyone sitting toward the sides of the ensemble rather than in front.
Now, conduct the same number of measures, but begin on beat
two. The upbeat is now part of beat one. Recall that an upbeat consists
of the distance from one ictus to the nextthe second one being the
ictus on which the ensemble begins.
Set the baton tip at the ictus point, move in the direction of the rebound of beat one (half a beat), pause, and return in the direction of the
preparation of beat two. See figures 60 and 61.

43

Upbeat to Beat Two

Figure 60.

Figure 61.

Now practice making releases at the end of the rebounds of both

beats. First conduct several measures before releasing after beat one.
When this becomes comfortable, conduct several measures and then release after beat two.
Exercises for Chapter Seven
Conduct ten measures of three beats to a measure, beginning with both
plain and pre-prepared upbeats. Make sure that the baton tip stays low
on the second and third beats so that the first beat is clear from all sides
of the ensemble.
Conduct ten more measures, but start on beat two of the first
measure.
Now conduct ten more measures, the first of which is preceded by
an upbeat of one beat.
Conduct a number of measures and make a release after beat one.
When that is comfortable conduct again, practicing releases after
beat two, then after beat three.
Exercises for Chapter Eight
Conduct ten measures of four, using both types of upbeat.
Conduct ten measures of four but beginning with
a. the second beat of the bar
b. the third beat of the bar
c. an upbeat of one beat before the first measure
Use the rule discussed in Chapter Four.
Now conduct a few measures and release after
a.
b.
c.
d.

44

beat one
beat two
beat three
beat four

Exercises for Chapter Ten

Draw the diagrams for subdividing four. Refer to figures 15-20 in Chapter Ten for assistance.
Beat

One

Beat One +

Beat Two

Beat Two +

Beat Three

Beat Three +

Beat Four

Beat Four +

45

The technique works for every meter except one-to-a-measure,

which is subdivided by using a regular two-beat pattern. Generally, a
subdivided two is better shown using a regular four-beat pattern.
Conduct five measures of a subdivided three-to-a-measure.
Now conduct the same but start on the second major beat. (Use the
same rule for starting as before.)
Conduct the five measures once again but this time precede the
first full measure with an upbeat of major beat.
Exercises for Chapter Twelve
Draw the diagram for nine/eight meter. Base it on the regular three-beat
pattern shown in Chapter Seven. Remember to use the French Six
ending.
Beats One-Two-Three

Beats Four-Five-Six

Beats Seven-Eight-Nine

Conduct five measures, beginning on the first beat, of

a. twelve/eight
b. nine/eight
c. six/eight (regular pattern)
d. six/eight (French Six)
Conduct five measures of each of the above meters beginning on
a. the second major beat (beat four)
b. the third major beat (beat seven)a and b only.
c. the fourth major beat (beat ten)a only
46

Exercises for Chapter Thirteen

Conduct three measures of three beats to a measure. Continue conducting for another three measures but add a duple subdivision on beat one
(keep each stroke the same speed). Now add a duple subdivision to beat
two for three more measures and finally duple subdivide beat three.
Conduct this duple subdivided three pattern for three more measures.
Continue for three more measures, but triple subdivide the first
major beat.
Draw the pattern for 3 + 2 + 2
Beats One-Two-Three

Beats Four-Five

Beats Six-Seven

Continue for three more measures, but duple subdivide the first
and third major beats and triple subdivide the second major beat.
Draw the pattern for 2 + 3 + 2.
Beats One-Two

Beats Three-Four-Five

47

Beats Six-Seven

Continue for three more measures with duple subdivisions of beats

one and two and a triple of the third and final beat. Use the French Six
ending.
Practice conducting measures of five and seven using different
subdivisions.
Write your own exercises.
Exercises for Chapter Fourteen
Conduct a two-beat pattern for four measures in a slow tempo. Then
conduct an fp and continue piano for four more measures before conducting a subito f and continuing forte for two measures. Use your other
hand to show the new ictus locations. At this slow tempo, do a full
preparation (upbeat-downbeat) for the fp.
Now do the same exercise at a faster tempo using the other hand in
the same manner. However, the baton will not begin the fp by going up,
but by pausing at the top of the rebound before falling to the new ictus
location.
Write your own fp and subito f exercises using the different time
signatures covered so far, and change dynamics in a variety of different
places.
Note: Control the wait at the top of the rebound. Do not head for
the next beat too soon.
Exercises for Chapter Fifteen
Conduct ten measures of a quick five/eight, five grouped 3 + 2, then
five grouped 2 + 3.
Conduct fifteen measures of a quick seven/eight; five grouped 2 + 2
+ 3, followed by five grouped 2 + 3 + 2 and five grouped 3 + 2 + 2.
Conduct twenty measures of a quick ten/eight changing each five
measures from 3 + 3 + 2 + 2, to 3 + 2 + 3 + 2, to 2 + 3 + 2 + 3,
and finally to 2 + 2 + 3 + 3.
Write your own exercises mixing time signatures and dynamics.
48

Index
accent 20, 28
ax chop 14, 16, 25, 26, 29
baton 3, 8-13, 20, 21, 28, 32, 33, 36, 40, 41
angle 20
grip 8
pivot points 9
range 9
size 8, 10
speed 10, H, 20, 28, 32, 33, 36
tip 9, 10, 11, 32, 40
wrist action 8, 9, 10
batonless hand 40, 41
beat patterns
one 14
two 15
three 16
four 18
five (fast tempi) 34
five (slow tempi) 29
six 24, 25
seven (fast tempi) 34
seven (slow tempi) 31
ten 31
twelve 27
cue 40, 41
downstroke (ax chop) 14
fermata 36
French Six 23, 24, 25, 27, 31, 46, 48
gravity 6, 7, 10, 11, 21
hemiola 27, 37
ictus 2, 7, 10, 11, 12, 13, 14, 16, 19, 20, 22, 25, 28, 32, 33, 34, 35,
37, 38, 43, 48
inevitability 6, 10, 20, 28

49

karate chop 18, 25, 29

left-handed 4
marking 14, 39
music stand 10
pattern modification 38
patterns (see beat patterns)
physical laws 3
pivot points 9
posture 4
preparation 3, 7, 10, 11, 12, 15, 16, 18, 20, 21, 22, 25, 32, 36,
37, 38, 39, 43, 44, 48
rebound 3, 7, 10, 11, 12, 15, 16, 18, 19, 20, 21, 22, 25, 28, 32,
36, 37, 38, 43, 44, 48
recitative 38
relaxation 3, 4
release 13, 20, 21, 36, 43, 44
ritenuto 31, 37
stance 4, 5
starting 12
ensemble reaction 12, 38
pre-preparation 12
stopping 13, 36
subdivision 21-25, 27-29, 31, 36
triple 23, 24, 25, 27, 31
duple 21, 25, 27, 29, 31
tension 3, 4, 7
upbeat 12, 15, 37

50

,,