Inhalt
Basic figure
Applications of ONE in a bar
ONE in a bar with upbeat
Upbeat sub. p/f
Structuring musical phrases
Menuett -> Trio
Dialogue of instrumental groups
Trio -> Menuett
First upbeat
Fermatas
Basic figure
- how to conduct ONE in a bar
- lifting and falling down
- modifications for slow and fast tempi
Applications of ONE in a bar
- "My hat it has three corners"
- meter and upbeat explained
- applications of ONE in a bar
ONE in a bar with upbeat
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- ubpeat explained
- how to indicate different tempi with the upbeat
- how to show cresc.
Upbeat sub. p/f
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- how to show subito piano und subito forte
- practise tempo and performance tempo
Structuring musical phrases
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- structuring multi-bar phrases with ONE in a bar
- simultaneously leading different instrumental groups
- practise tempo and performance tempo
Menuett -> Trio
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- transition from the Menuet to the Trio
- keeping the same tempo
- changing the tempo
Dialogue of instrumental groups
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- showing the dialogue of instrumental groups in the Trio using both hands
Trio -> Menuett
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- transition from the Trio back to the Menuet
- accents at the end of the Trio
- transition without caesura
- transition with caesura and change of tempo
First upbeat
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- the first upbeat
- dry preparatory beat explained
- different tempi
Fermatas
- BEETHOVEN Symphony Nr. 1. , 3. mvt
- fermatas during the first motive
- to cut off or not to cut off after the fermata
- continuing after the fermata in piano: to show a caesura or to go on directly
- the influence of acoustics into your interpretation
--:-- / --:--
Basic figure
Fermatas in the first bar
Accelerando at the beginning
Imagination of the tempo
Basic figure
- theory of the waltz beat
- circling beat showing different accentuations through a further click with your wrist
- the direction of the circle in a waltz beat
Fermatas in the first bar
- Strauss "The blue Danube Waltz"
- beginning with fermatas in the first bar
Accelerando at the beginning
- Strauss "The blue Danube Waltz"
- accelerando in the beginning
- starting in THREE
- how to accelerate the tempo with the ensemble
- changing from THREE in a bar to ONE with the faster tempo
- how to delay or to emphasize specific bars
Imagination of the tempo
- Saint-Saens "Danse macabre"
- imagination of tempo
- ginving entries and cutting off during the first bars
- accompanying the violin solo
- conducting the first theme
--:-- / --:--
Basic figure
Legato
Staccato
Fast tempo
Work with singers
6/8 in TWO
Showing forte in a fast tempo
Dynamics
Basic figure
- TWO in a bar explained
- clear distinction between both beats
- as seen from the front and from the side
Legato
- TWO in a bar
- how to beat legato
- round gestures seen from the front and the side
- with and without baton
Staccato
- TWO in a bar
- how to beat staccato
- pointed gestures seen from the front and the side
- do not stop and keep the flow during staccato
Fast tempo
- TWO in a bar in a fast tempo
- usage of a baton in fast tempi
- how to show staccato
Work with singers
- BEETHOVEN Ode to joy
- how to breathe with the singer
- how to give upbeats for singers
- stay relaxed and release your diaphragm
6/8 in TWO
- GRIEG Peer Gynt Morning Mood
- Six-eight in a bar conducted as a TWO
- how to show crescendo
- accelerando in forte
Showing forte in a fast tempo
- BIZET Carmen Ouverture
- how to show forte in a fast tempo through changing the position of your gestures
- how to conduct the syncopations of the accompagnement
Dynamics
- BIZET Carmen Ouverture
- showing the dynamics
- changing into ONE in a bar for the lyrical passages at figure 1
- how to show subito forte
--:-- / --:--
Basic figure
Legato
Staccato
Happy Birthday
Rubato vs. steady tempo
Rubato
Basic figure
- THREE in a bar explained
- as seen from the front and from the side
- with and without baton
Legato
- THREE - legato with round gestures
- as seen from the front and from the side
- with and without baton
Staccato
- THREE - staccato with pointed gestures
- as seen from the front and from the side
- with and without baton
- very fast tempo in THREE compared to ONE in a bar
Happy Birthday
- Happy birthday
- upbeat for THREE in a bar starting from the third beat
Rubato vs. steady tempo
- RAVEL Bolero
- rubato of the melody and steady tempo of the drum
- the drum as a second conductor
Rubato
- PROKOFIEFF "Peter and the wolf" - the duck
- how to conduct and control rubato with your hands only
--:-- / --:--
Basic figure
Gestures
Brother Jacob
Tchaikovsky: dynamics from letter A
Orchestra plays late
Change of meter
Basic figure
- FOUR in a bar explained
- how to get accustomed to the gestures
Gestures
- FOUR in a bar round gestures with and without baton
- pointed gestures with and without baton
- from the front and from the side
- the impuls has to point downwards
- use gravity on your way down
Brother Jacob
Tchaikovsky: dynamics from letter A
- TCHAIKOVSKY Symphony Nr. 5., 1. mvt
- how to show the nuances of dynamics at letter A
- transition into the Allegro con anima
Orchestra plays late
- GRIEG Peer Gynt. Ases Death
- how to imagine the tempo
- the orchestra plays late
- keep the tempo although the orchestra plays late, conduct ahead of the time
- how to lead the orchestra from one beat to the next
Change of meter
- MOZART Symphony Nr. 41., 1. mvt
- change of meter between TWO and FOUR
- how to show dynamics and phrasings
--:-- / --:--
Basic figure
Modification of the basic figure
Basic figure
- Six in a bar - explained
- modification of the basic figure
- the main emphasized beat crosses the middle axis
- with a baton the gesture needs to be small as the baton augments the hand gesture
Modification of the basic figure
- Mozart piano sonata KV 331
- beating all quavers
- 6/8 as a modified figure of FOUR
- 6/8 in TWO
- 6/8 with TWO with two additional quavers
--:-- / --:--
Subdivided FOUR/THREE
Figures with triplets
5/8
7/8
8/8
10/8
11/8
Uneven THREE
Latin
Subdivided FOUR/THREE
- augmented figures
- the FOUR subdivided in 8
- modification of the last two quavers
- the THREE subdivided in 6
- how to beat clearly by using arm and wrist alternately
- subdivided TWO ist beaten like a FOUR
Figures with triplets
- figures with triplets
- FOUR as 12/8
- THREE as 9/8
- TWO as 6/8
- change of meter on the upbeat and not on the downbeat
5/8
- augmented figures derived from the basic conducting figures
- 5/8 as two plus three or as three plus two
- changing between those variations
7/8
- 7/8 derived from sudivided THREE in a bar
- 2+2+3 or 2+3+2 or 3+2+2
8/8
- 8/8 derived from THREE in a bar
- 3+3+2 or 3+2+3 or 2+3+3
10/8
- 10/8 derived from FOUR in a bar
- 3+3+2+2 or 2+2+3+3 etc.
- how to find the right combinations in the score
11/8
- 11/8 derived from FOUR in a bar
- moving the group of two quavers through all the beats
Uneven THREE
- 7/8 as an uneven THREE
Latin
- 8/8 as an uneven THREE in Latin music 3+3+2
--:-- / --:--