Basic Graduate Conducting Directives:

1. Know the music – have the integrity and humility to be incredibly well prepared.

2. Know how you want it to go (sound) – every note and phrase – thoroughly. 3. Be the music – look like it – completely “feel it”...again, every note and

phrase.4. Intensely bring out melodic passages with your gestures and entire being –

especially with strings and/or voices – and even more so in high passages5. Memorize the structure over Christmas break for the Sym. Orch.6. Force yourself to “think structure” when conducting – so you can more

easily and effectively do your job.7. Although conducting completely by memory is not necessary, look up the

majority of the time – your eyes in their eyes.8. Conduct the back stands of the string sections ---9. Be, however, aware of the entire room of musicians.10.Conducting strings is usually a priority over winds and percussion.11.Use larger, extremely clear conducting gestures in early rehearsals (do not

simply conduct in front of you with small, subtle gestures. – serve the ensemble.

12.Use these larger, extremely clear gestures every time the ensemble needs them – and know (pre-determine) when that is – also be able to do this spontaneously.

13.Make every effort to discipline your beat patterns to match the A.) diagrams in the book pp. 219-223 (keeping “action” low), and B) styles on p.224

14.Be extremely obvious to the ensemble re everything (!) – Especially musical changes.

15.Passion is crucial (except when rehearsing only for note-accuracy).16.Precision is crucial (except in obvious exceptions).

17.Make great use of the baton “speaking for itself” when clarity is needed – often with very high up-beats (in which case, the baton is no longer an extension of your arm – but its own conducting entity).

18.Often conduct as though the ensemble just did it poorly, and you’re repeating it - with greater intensity and more obvious movement (gestures).

19.Never bring un-resolved conducting problems to the ensemble - solve and master them at home!!!

20.Look up and be in complete control of “seams” - and fermati , ral., rit., a tempo, tempo and meter changes – everything that is momentarily “different”...this also includes beginnings and endings.

21.Avoid “train-wrecks” - do not allow them to happen - if necessary, teach them before playing or singing them, then conduct with great clarity, helpfulness and confidence.

22.Do not talk much (especially with an orchestra)... use musical terminology as often as possible.

23.Do not begin – or begin speaking, until the situation is in order – not while some are still arriving, talking or tuning.

24.Speak with good vocal tone, slowly, and loud enough for everyone to hear. 25.Say what is to be said in a manner that will be immediately understood by

everyone – repeat: immediately understood – both the words and their meaning. Practice speaking at home – even reading something aloud.

26.Seldom conduct everyone, never conduct no one, and usually conduct a specific section, then another specific section, etc.

27.Know exactly whom you should be conducting/inspiring at all times – in a pre-determined manner – don’t miss anything of importance.

28.Mark you score fully – bar lines, equations, cues and special marks and notes to yourself.

29.Make your markings heavy...so you can easily and quickly see and interpret them under the pressure of rehearsals and concerts

30.Always see through the eyes of the ensemble – hear through the ears of the ensemble – think through the minds of the ensemble. This is absolutely essential for a successful conductor/teacher.

31.Hear perfection in your mind – and, at the same time, hear the reality/imperfection of the ensemble - and continually bring the reality to the perfection by consistently teaching the ensemble to do so.

32.Establish the “appropriate” tempo as you begin to study - write it in the score – then study with a metronome “on” – know the tempi throughout – and how to very clearly indicate it to the entire ensemble

33.Know when the ensemble needs to take a difficult passage slowly...then be extremely clear concerning your explanation of the new, slower tempo – then extremely clear when beginning to move faster again

34.Usually sub-divide one measure – or ½ measure - before the subdivision is needed...and be incredibly clear (to the entire ensemble) when changing from one to the other.

35.Only sub-divide when necessary – for very slow passages or endings - sometimes simply use a flowing, broadened expressive beat --- pre-determine which you’re going to do, and then do in with clarity and confidence to always insure success.

36.Use lots of air-space when going through a rallentando...again, with great clarity...”take” the ensemble successfully through it...

37.I n a slow tempo, move slowly through the air from beat to beat...be patient with you gestures...don ‘t get to the beat too soon – use space

38.When practicing at home, sing as you conduct – sing in the manner in which you will want it played or sung by the ensemble.

39.Discipline the left hand to use its own language – consistently ...especially for releases, cresc., dim., and across-the-body sustaining gestures. Only rarely duplicate the right hand with the left...at times (often), use only the right hand for perfect clarity, or when both hands simply are not needed.

40.When in-1, do not over conduct, make the ensemble watch you – and keep the spirit and tempo going ---- often use a 2, 3, or 4 beat pattern over 2, 3, or 4 measures (but not at the beginning).

41.In 6/8, 9/8 or 12/8, keep a dance-like lilt “alive and moving” – don’t let it become heavy and slow down

42.Know when to focus on the “big picture”, and less on minute details – establish confidence first, then refine toward perfection.

43.Move throughout the rehearsal with a fast pace – keeping the ensemble alert and interested in what’s going on.

44.After stopping to “fix” something, go back and begin at the nearest bar line – never in the middle of a phrase, or back too far for common sense.

45.Keep technical accuracy, expression and musicality always in the front of your mind --- study and practice sufficiently so that you can do that - and not have to be focused on yourself and your possible mistakes.

46.In choral music, be constantly aware of syllable and word inflection, diction and word-meaning emphasis...always indicate support with the left hand for high passages...be aware of specific section characteristics and tone.

47.Always inspire ....always inspire ....always inspire. We are not simply “metronomes of mechanical accuracy”.

48.Organize & plan rehearsals to accomplish your goals in the allotted time ! 49.To conduct is an honor and a privilege – we must live up to the

responsibility of leadership that goes along with that – and it is enormous.

50.Take the things/concepts/ideas/techniques that you have been taught very seriously – from the very first moment you are taught them....absorb them, embrace them, retain them, prioritize them...and do them – consistently and relentlessly. No “forgetting” and no excuses...we are allowed to “be human”, but not “casual”, lazy or thoughtless. Do not rely on your talent. Rely on your intelligence, awareness and very, very hard work.