Preface | |
Introduction to the Art of Conducting | |
Purpose and Training of Conductors | |
Development of Conducting | |
Language of Conducting | |
Podium Posture | |
Stance Position of Arms and Hands | |
Conducting Position | |
Parts of the Baton | |
Baton Grip | |
Ready Position | |
Gesture Box | |
Preparatory Gestures | |
Three Pattern | |
Two Pattern | |
Four Pattern | |
Five and Seven Patterns | |
Six Pattern | |
Pick-up Beats | |
Basic Releases | |
Use of the Left Hand | |
Subdivision of Beats | |
Advanced Techniques | |
Articulation and Style | |
Dynamics Accented Pitches | |
Cues Fermata Tenuto Tempo Fluctuations | |
Syncopated Entrances | |
Mixed Patterns | |
Unmetered and Timed Passages | |
Use of the Left Hand | |
Facial Expressions | |
Posture and Body Language Hinges | |
Combining the Elements | |
Phrasal Conducting | |
Score Study | |
Types of Scores | |
Clefs and Transpositions | |
Score Study | |
Rehearsal Planning | |
Marking the Score | |
Sample Score Analyses, Mozart Symphony No. 35 | |
First Suite in E-Flat, Gustav Holst | |
Error Detection and Correction | |
Rhythmic and Tempo Errors | |
Pitch Errors | |
Intonation Errors | |
Dynamic Errors | |
Articulation Errors | |
Exercises, Rhythmic Errors and Errors of Pulse | |
Exercises, Note Errors | |
Exercises, Intonation Errors | |
Exercises, Dynamic and Articulation Errors | |
Exercises, Errors of All Types | |
Bibliography | |
Index | |
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