Sunday, December 25, 2011
Saturday, December 24, 2011
സംയുക്ത ക്രിസ്മസ് കരോള്‍
ഇന്ന് ഡിസംബര്‍ 23 വെള്ളിയാഴ്ച ....
സംയുക്ത ക്രിസ്മസ് കരോള്‍
ഇന്ന് കോട്ടയം തിരുനക്കര മൈതാനത്ത് നടത്തപ്പെട്ട സംയുക്ത ക്രിസ്മസ് കരോള്‍ പരിപാടിയില്‍ നമ്മുടെ ഗായകസംഘവും പാട്ടുകള്‍ അവതരിപ്പിച്ചു. ഇതിനു അവസരമൊരുക്കിയ ഇടവക വികാരി ജേക്കബ്‌ ഡാനിയേല്‍ അച്ചന്‍ ,ടിറ്റി, സാറാ, മേജര്‍ തോമസ്‌ വര്‍ഗീസ്‌ എന്നിവരോടുള്ള നന്ദി അറിയിക്കുന്നു.
നാല് പാട്ടുകള്‍ പാടി.അവ The Angel Gabriel, Sans day Carol, ദേവകുമാരനാം രാജാധിരാജനിഹെ ,,,.ബേതലഹേമില്‍ ഉണ്ണി പിറന്നു ... എന്നീ ഗാനങ്ങളായിരുന്നു.
Saturday, December 17, 2011
Sunday, November 27, 2011
Saturday, November 26, 2011
Sunday, October 30, 2011
Sunday, October 9, 2011
We Wish You a Merry Christmas- Enya
ഈ ഗാനം ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Silent Night, holy Night
ഈ ഗാനം ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
SILENT NIGHT with Choir Voice Stop, Strings, Chimes & Organ - CHRISTMAS ...
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Silent Night, Holy Night - Stille Nacht, Heilige Nacht ORGAN & CHIMES
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Westminster Choir "O Come All Ye Faithful"
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Thursday, September 29, 2011
ഗായക സംഘ ഓണ്‍ ലൈന്‍ പരിശീലന ബ്ലോഗ്
നൂറ്റിഎഴുപത്തിമൂന്നാമത് പ്രതിഷ്ടാദിന ശുശ്രൂഷ
ഇന്ന് വൈകുന്നേരം നടത്തപ്പെട്ടു.
മഹായിടവകയുടെ
അഭിവന്ദ്യ തോമസ്‌ കെ ഉമ്മന്‍ ബിഷപ്പ്
നമ്മുടെ
ഗായകസംഘ ഓണ്‍ലൈന്‍ പരിശീലന ബ്ലോഗ്
ഉദ്ഘാടനം ചെയ്തു.
വിദേശ ഗായക സംഘങ്ങളുടെ
ആലാപനരീതി മനസിലാക്കുന്നതിനും
സംഗീതത്തിന്റെ ശാസ്ത്രീയ സംഗതികള്‍
മനസിലാക്കുന്നതിനും വേണ്ടിയാണ്
ഈ ബ്ലോഗ് രൂപീകരിച്ചത്.
Wednesday, September 28, 2011
ഹാ കൂടി നാമെല്ലാരും ചേര്‍ന്നു പുകള്‍ കൊണ്ടാടണം....
ഹാ കൂടി നാമെല്ലാരും ചേര്‍ന്നു പുകള്‍ കൊണ്ടാടണം....
സ്വര്‍ഗ്ഗവാതിലാകും യേശുനാഥനെ
വാഴ്ത്തിപ്പാടെണം
സ്വര്‍ഗ്ഗവാതിലാകും യേശുനാഥനെ
വാഴ്ത്തിപ്പാടെണം ....
സ്വര്‍ഗ്ഗവാതിലാകും യേശുനാഥനെ
വാഴ്ത്തിപ്പാടെണം
സ്വര്‍ഗ്ഗവാതിലാകും യേശുനാഥനെ
വാഴ്ത്തിപ്പാടെണം ....
Wednesday, September 21, 2011
Oh Come, Oh Come Emmanuel
This is added in this page for a visual study.
all of you can see the style of singing...!
Monday, September 19, 2011
Ding! Dong! Merrily on High (King's College Choir)
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
King's College Cambridge Hark the Herald Angels Sing
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Sunday, September 18, 2011
O Holy Night : Kings College, Cambridge
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
ക്വയര്‍ മെമ്പര്‍മാര്‍ക്ക് കേട്ടും കണ്ടും മനസ്സിലാക്കുവാന്‍ വേണ്ടിയാണ്
ഈ ഗാനം ഇവിടെ ചെര്ത്തിരിക്കുന്നത്.
Saturday, September 10, 2011
Welcome...!
Introduction to Conducting Choir
Conducting is more than waving your arms in front of the Choir. The conductor has two primary responsibilities:
1. To start the ensemble, to establish a clear, uniform tempo, and keep it throughout the performance.
2. To help the musical quality of the piece (expression, dynamics, cues).
There are many different conducting styles. The one presented below is a very basic style, suitable for beginning conductors. It is recommended that beginners start at the beginning of this page and look at the practice tips as they continue.
The Starting Position
The starting position is important because it not only sets the correct conducting posture, it sets the focal point as well. The focal point is where the heels of your hands rest when in the starting position.
Your upper arms should be away from your body. They should be slightly in front. Your forearms should be parallel to the ground. Your palms should show a little bit and your fingers should be up.
Your upper arms should be slightly away from your sides, elbows out, but not too far. (If you feel like you are doing the little birdie dance, you are out too far). Your hands should come in and should line up with your arm pits.
Conducting a Down Beat
Moving your arms from the shoulder, bring your hands straight up, so that your wrists are at about eye level. All of the palms of your hands should show. Your elbow should not change position much, if at all. This is the preparation position to conduct the down beat. To conduct the down beat simply bring your hands back to the starting position. Quickly flick your fingers down to hit the focal point. This little flicking motion determines the actual beat.
This is the basic down pattern simplified.
The solid line is the down beat.
The dotted line is the rebound.
5 Rules for Conducting
These rules should be kept in mind when conducting. They are very important for clear and consistent conducting.
1. All beats are down beats.
2. All beats strike the focal point.
3. All beats rebound.
4. All rebounds are equal in all ways to the down beat.
5. The size of the rebound depends on the speed of the music.
A good conductor is mindful of the rebound. If the rebound is too large, the conductor must rush to get back to the focal point. If the rebound is too small, the conductor may be forced to pause to get back in tempo, confusing the beat and the musicians. Rebounds, and thus downbeats, determine the speed of the music. Smaller downbeats are used for faster music, larger downbeats are used for slower music. The reason for this is because in fast music you don't have time to move your hands too far, and in slow music you do. To try otherwise is a waste of energy.
Welcome to The Method Behind the Music
It is a common misunderstanding that music is a freeform, random art. This is not the case. Almost without exception the great musical works of our history are bound by special rules that make their beauty more organized and understandable without dimming their brilliance. These rules and techniques are called music theory. Music theory is the product of over a millennium of work and innovation. It is possibly the greatest unsung achievement we have created as a species.
In this site we hope to educate audiophiles of all ages and levels of prior knowledge. It is our mission with this site to increase the level of enjoyment that can be attained by listening to the classics by allowing people to understand how the music they hear works, both practically, technically and historically. Our site is dedicated to answering questions like: "How does a person conduct music?" "How do I know what key signature a song is in?" "What the is a time signature?" and "What does physics have to do with music?".
Practically: We have made a short course in music theory to help take the mystery out of how music goes from a sheet of paper to a magical performance. Also we have a created a guide to conducting music, for all the aspiring Bachs and Bernsteins out there.
Technically: We have provided examples of how instruments work using cutting-edge FLASH technology.
Historically: To fully understand and appraise classical music, you must know its roots and creators. We have assembled a pre-history of classical music, an easy-to-use explanation of the different genres, and a guide to some of the most popular composers, to elevate knowledge of this artform's roots.
So please come in, look around, and learn something. Learn the method behind the music.
Basic Patterns
Conducting a Two Pattern
When conducting a two pattern, conduct the down beat but instead of coming straight back up, veer to the side. Beat two brings the hands back to the focal point and then straight up again.(practice techniques)
Conducting a Three Pattern
The Down-Down-Reverse-Around Pattern
The three pattern, also known as 'down-out-up' is a combination of the two pattern and the one pattern. The first beat is a one pattern, which goes down and rebounds staright up. The second beat goes out, similar to the beginning of the two pattern. The third beat
This is another variation on the three pattern. This is a more classical pattern.
Conducting a Four Pattern
four pattern
The' down-in-out-up' pattern is a variation on the four pattern. The first beat is a normal down beat. The second beat comes down, hits the focal point and goes across the chest at a 45 degree angle. The third beat retraces the second beat's path across the chest, hits the focal point and veers out at another 45 degree angle, this time away from the body. The fourth beat come back to the focal point and rebounds up. The pattern looks like a down pointed arrow .Be mindful of keeping the focal point and using your arm rather than the wrist.
Softening the sharp arrow into more free swinging pattern is great for just that: swing beats. This can be done by turning the 45 degree angles into slight curves (the arrow will look more like an anchor).
This is a difficult pattern to mirror the hands on since the hands would both come in towards the chest on beat two and possibly hit each other. Even if they don't touch, the proximity of the two hands could cause the conductor to slow beat two and speed up beat three to compensate, and thus mess up the tempo.
Watch Kate doing a down-in-out-up pattern! Notice how she accents the last beat with her left hand.
This is the 'down-in-out-up' pattern.
The Thump Pattern
The 'thump' pattern is good for very fast music. The first beat comes to the focal point at an angle. The second beat slides in on a plane with the focal point. The third beat slides back across the focal plane to where the first beat ended. The fourth beat retraces the first beat back up. The pattern doesn't rebound, but still accentuates all the beats, hitting the first beat especially strongly (freeze on beat 1 for a moment).
This pattern is mostly wrist movement (because of the fast speed). Because your hands go in, watch out that your arms stay apart (or your hands will run together and mess up the tempo).
Never use this pattern to change tempo.
This is the 'thump' pattern illustrated above.
Moving Focal Points
In these next patterns, the focal point moves. These patterns are very expressive in nature, serving to not only keep time but to also guide the musicians through phrasing. They are good patterns for conducting musical ensembles other than a marching band. They can be used in that capacity, however due to the nature of the marching band and marching band music, rarely will a drum major or field commander find these patterns as useful, or as effective as another more structured pattern.
This is another four pattern. This is a larger pattern, one good for moderate and slow music. Beat one comes down and, instead of rebounding up, goes across the chest, curving up (think 'over a hill' ) and down (think 'into a valley') then hangs a bit at beat two. The right hand then slides in a long curve into beat three which is out, away from the body on the other side of the conductor. Beat four slides in and up to prepare for beat one.
DO NOT MIRROR HANDS, at least for the entire pattern. (Crossing hands is a no-no.)
If you want to use the left hand, only use it for beats three and four. After beat four drop the left hand to your side or stomach to leave room for the right hand, which will shortly be crossing your body.
This is a pattern good for more formal groups, orchestras, choirs, and symphonic bands. This pattern can be used in marching band for, say, a ballad.
The legato pattern is another four pattern. It is good for legato music with soaring phrases.
When conducting, this expressive pattern uses only the right hand (don't mirror). The pattern is similar to the above pattern in that it crosses the body for beat two and extends away from the body on beat three.
The wrist is much more relaxed for this pattern. From beats two to three the wrist leads, 'pulling' the pattern out. The wrist leads again from three to four, 'pulling' the pattern up.
The size of the pattern is fairly large since most legato music has a slow or moderate tempo.
A marching band conductor would most likely never use this pattern on the field. This is another pattern which is suited better for symphonic bands, vocal groups and orchestras.
Practice Techniques
These are some easy practice techniques which help with conducting form. Included are also some tips, tricks, hints and interesting points of note to help the beginning conductor.
Downbeats
To refine arm movement and make sure you are correctly hitting the focal point, tape some paper to a wall. Hold a pen in each hand and stand before the wall. Move your arms as if you were conducting the down beat. Try to keep the strokes in relatively the same place and all hitting the focal point.
To find your focal point, stand in front of a table with a height approximately where your focal point would be. Mark Xs on the table where your finger tips should hit. Conduct in front of the table and try to tap the Xs briefly every down beat. (Substitute the table with a friend's open palms if your can't find a good table).
*Helpful Hint* Think of the focal point as a hot-plate. It's hot so you only want to touch it briefly. Flick the focal point quickly, avoid slapping it.
To get the flicking motion down, get a big rubber band and loop it around your middle finger. Pull the band back to your elbow and conduct down beats with one hand. Feel the rubber band pulling your finger back as you flick downwards. Try to remember this feeling and copy it without the rubber band.
To check whether your hands move in towards your chest, stand in front of a mirror in the starting position. Have someone mark on the mirror (with post-it notes or tape) the edge of your chest starting from under your arm pits. Next conduct downbeats in front of the marked mirror, trying to keep your hands from crossing the marked line.
*Helpful hint* When conducting, think 'down'. Often one can begin to emphasize up as the beat. Severe emphasis on the up beat turns into hitches, or little accents at the top of the patterns. Thinking 'down' helps to eliminate this. Raise your arms, but focus on them dropping to the focal point.
Conducting two
*Helpful Hint* At the end of beat one, the hands and arms should remain in front of the body, not way out to the sides on a plane with the body.
Be mindful that on the swing up, the hands stay out and do not come back in. (Quick check: at the end of beat one, if your hands are anywhere closer to your body than your elbows are, your hands came in.)
Be mindful of spreading your hands too far apart in the 'out' part of the pattern. If your throw your hands way out, you will rush to bring them in again, and the beat will not be consistent.
*Interesting note* Most marches are conducted in two. Why? Well, you have two feet right? Some songs in four can be conducted in two. Since four can be divided into two, marching bands can play songs in four even though normal band members have two feet.
Conducting three
A further step-by-step explanation:
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
*Tip* the 'Star Spangled Banner', the national anthem of the United States, is conducted in three, NOT in four, a common mistake.
*Interesting note* Waltzes are also conducted in three.
Conducting four
Down: bring arms down, hit focal point, go back up.
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
This is a great teaching pattern since much music is in four and since it can be broken down into the three, two and one patterns very easily. The basic four pattern works with a variety of patterns, making it the best pattern for conducting a tempo change or for recovery when the band falls apart.
Fast tempo
Remember, the fast tempo pattern is the same but much smaller to accommodate the lack of time. Keep the upper arm relatively still; the elbow replaces the shoulder as a pivot point, so try to eliminate extra motion in the shoulder and upper arms to conserve energy and keep a consistent beat. Conduct with the forearms. Any extra movements in the arms must be with the hands to keep the beat clear.
Conducting with small relaxed patterns conserves energy and prevents much frustration.
Remember: The key to conducting a tempo change is the rebound.
Slow pattern
In a slow pattern, most of the arm movement is from the shoulder. Make sure you have a straight, even rebound on beat one, to maintain tempo consistency. Slow patterns are bigger than fast tempo patterns.
Important Extras
Tempo Changes
Remember to conduct especially clearly during tempo changes and to pay particular attention to these areas of the music. Tempo changes are potentially hazardous areas. As the tempo changes, change the size of your rebound, but strike the same focal point. This change in the pattern clearly indicates to the musicians that the tempo has changed instantly. The rebound size will indicate to them that the tempo is faster or slower.
Fast Tempo tips.
Using Two Hands
Never cross your hands, it confuses the band and slows the pattern and thus the tempo.
When using two hands, the conductor has two options.
The first option is to mirror the hands. In this case each hand does the same thing, but in the opposite direction. When conducting with mirrored hands, never cross your hands. The advantage to using mirrored hands is increased visibility. This is very useful for drum majors and field conductors.
The basic four beat pattern is the best for mirrored hands.
The second option is to use the right hand to conduct and use the left hand to cue the musicians, show dynamics and phrasing. When this is done, the left hand generally remains at the side or at the stomach except when it is being used.
The more complicated the music, the simpler the pattern required. There are many different styles of conducting, and many different ways to conduct the same music, even with the same pattern.
Conducting is more than waving your arms in front of the Choir. The conductor has two primary responsibilities:
1. To start the ensemble, to establish a clear, uniform tempo, and keep it throughout the performance.
2. To help the musical quality of the piece (expression, dynamics, cues).
There are many different conducting styles. The one presented below is a very basic style, suitable for beginning conductors. It is recommended that beginners start at the beginning of this page and look at the practice tips as they continue.
The Starting Position
The starting position is important because it not only sets the correct conducting posture, it sets the focal point as well. The focal point is where the heels of your hands rest when in the starting position.
Your upper arms should be away from your body. They should be slightly in front. Your forearms should be parallel to the ground. Your palms should show a little bit and your fingers should be up.
Your upper arms should be slightly away from your sides, elbows out, but not too far. (If you feel like you are doing the little birdie dance, you are out too far). Your hands should come in and should line up with your arm pits.
Conducting a Down Beat
Moving your arms from the shoulder, bring your hands straight up, so that your wrists are at about eye level. All of the palms of your hands should show. Your elbow should not change position much, if at all. This is the preparation position to conduct the down beat. To conduct the down beat simply bring your hands back to the starting position. Quickly flick your fingers down to hit the focal point. This little flicking motion determines the actual beat.
This is the basic down pattern simplified.
The solid line is the down beat.
The dotted line is the rebound.
5 Rules for Conducting
These rules should be kept in mind when conducting. They are very important for clear and consistent conducting.
1. All beats are down beats.
2. All beats strike the focal point.
3. All beats rebound.
4. All rebounds are equal in all ways to the down beat.
5. The size of the rebound depends on the speed of the music.
A good conductor is mindful of the rebound. If the rebound is too large, the conductor must rush to get back to the focal point. If the rebound is too small, the conductor may be forced to pause to get back in tempo, confusing the beat and the musicians. Rebounds, and thus downbeats, determine the speed of the music. Smaller downbeats are used for faster music, larger downbeats are used for slower music. The reason for this is because in fast music you don't have time to move your hands too far, and in slow music you do. To try otherwise is a waste of energy.
Welcome to The Method Behind the Music
It is a common misunderstanding that music is a freeform, random art. This is not the case. Almost without exception the great musical works of our history are bound by special rules that make their beauty more organized and understandable without dimming their brilliance. These rules and techniques are called music theory. Music theory is the product of over a millennium of work and innovation. It is possibly the greatest unsung achievement we have created as a species.
In this site we hope to educate audiophiles of all ages and levels of prior knowledge. It is our mission with this site to increase the level of enjoyment that can be attained by listening to the classics by allowing people to understand how the music they hear works, both practically, technically and historically. Our site is dedicated to answering questions like: "How does a person conduct music?" "How do I know what key signature a song is in?" "What the is a time signature?" and "What does physics have to do with music?".
Practically: We have made a short course in music theory to help take the mystery out of how music goes from a sheet of paper to a magical performance. Also we have a created a guide to conducting music, for all the aspiring Bachs and Bernsteins out there.
Technically: We have provided examples of how instruments work using cutting-edge FLASH technology.
Historically: To fully understand and appraise classical music, you must know its roots and creators. We have assembled a pre-history of classical music, an easy-to-use explanation of the different genres, and a guide to some of the most popular composers, to elevate knowledge of this artform's roots.
So please come in, look around, and learn something. Learn the method behind the music.
Basic Patterns
Conducting a Two Pattern
When conducting a two pattern, conduct the down beat but instead of coming straight back up, veer to the side. Beat two brings the hands back to the focal point and then straight up again.(practice techniques)
Conducting a Three Pattern
The Down-Down-Reverse-Around Pattern
The three pattern, also known as 'down-out-up' is a combination of the two pattern and the one pattern. The first beat is a one pattern, which goes down and rebounds staright up. The second beat goes out, similar to the beginning of the two pattern. The third beat
This is another variation on the three pattern. This is a more classical pattern.
Conducting a Four Pattern
four pattern
The' down-in-out-up' pattern is a variation on the four pattern. The first beat is a normal down beat. The second beat comes down, hits the focal point and goes across the chest at a 45 degree angle. The third beat retraces the second beat's path across the chest, hits the focal point and veers out at another 45 degree angle, this time away from the body. The fourth beat come back to the focal point and rebounds up. The pattern looks like a down pointed arrow .Be mindful of keeping the focal point and using your arm rather than the wrist.
Softening the sharp arrow into more free swinging pattern is great for just that: swing beats. This can be done by turning the 45 degree angles into slight curves (the arrow will look more like an anchor).
This is a difficult pattern to mirror the hands on since the hands would both come in towards the chest on beat two and possibly hit each other. Even if they don't touch, the proximity of the two hands could cause the conductor to slow beat two and speed up beat three to compensate, and thus mess up the tempo.
Watch Kate doing a down-in-out-up pattern! Notice how she accents the last beat with her left hand.
This is the 'down-in-out-up' pattern.
The Thump Pattern
The 'thump' pattern is good for very fast music. The first beat comes to the focal point at an angle. The second beat slides in on a plane with the focal point. The third beat slides back across the focal plane to where the first beat ended. The fourth beat retraces the first beat back up. The pattern doesn't rebound, but still accentuates all the beats, hitting the first beat especially strongly (freeze on beat 1 for a moment).
This pattern is mostly wrist movement (because of the fast speed). Because your hands go in, watch out that your arms stay apart (or your hands will run together and mess up the tempo).
Never use this pattern to change tempo.
This is the 'thump' pattern illustrated above.
Moving Focal Points
In these next patterns, the focal point moves. These patterns are very expressive in nature, serving to not only keep time but to also guide the musicians through phrasing. They are good patterns for conducting musical ensembles other than a marching band. They can be used in that capacity, however due to the nature of the marching band and marching band music, rarely will a drum major or field commander find these patterns as useful, or as effective as another more structured pattern.
This is another four pattern. This is a larger pattern, one good for moderate and slow music. Beat one comes down and, instead of rebounding up, goes across the chest, curving up (think 'over a hill' ) and down (think 'into a valley') then hangs a bit at beat two. The right hand then slides in a long curve into beat three which is out, away from the body on the other side of the conductor. Beat four slides in and up to prepare for beat one.
DO NOT MIRROR HANDS, at least for the entire pattern. (Crossing hands is a no-no.)
If you want to use the left hand, only use it for beats three and four. After beat four drop the left hand to your side or stomach to leave room for the right hand, which will shortly be crossing your body.
This is a pattern good for more formal groups, orchestras, choirs, and symphonic bands. This pattern can be used in marching band for, say, a ballad.
The legato pattern is another four pattern. It is good for legato music with soaring phrases.
When conducting, this expressive pattern uses only the right hand (don't mirror). The pattern is similar to the above pattern in that it crosses the body for beat two and extends away from the body on beat three.
The wrist is much more relaxed for this pattern. From beats two to three the wrist leads, 'pulling' the pattern out. The wrist leads again from three to four, 'pulling' the pattern up.
The size of the pattern is fairly large since most legato music has a slow or moderate tempo.
A marching band conductor would most likely never use this pattern on the field. This is another pattern which is suited better for symphonic bands, vocal groups and orchestras.
Practice Techniques
These are some easy practice techniques which help with conducting form. Included are also some tips, tricks, hints and interesting points of note to help the beginning conductor.
Downbeats
To refine arm movement and make sure you are correctly hitting the focal point, tape some paper to a wall. Hold a pen in each hand and stand before the wall. Move your arms as if you were conducting the down beat. Try to keep the strokes in relatively the same place and all hitting the focal point.
To find your focal point, stand in front of a table with a height approximately where your focal point would be. Mark Xs on the table where your finger tips should hit. Conduct in front of the table and try to tap the Xs briefly every down beat. (Substitute the table with a friend's open palms if your can't find a good table).
*Helpful Hint* Think of the focal point as a hot-plate. It's hot so you only want to touch it briefly. Flick the focal point quickly, avoid slapping it.
To get the flicking motion down, get a big rubber band and loop it around your middle finger. Pull the band back to your elbow and conduct down beats with one hand. Feel the rubber band pulling your finger back as you flick downwards. Try to remember this feeling and copy it without the rubber band.
To check whether your hands move in towards your chest, stand in front of a mirror in the starting position. Have someone mark on the mirror (with post-it notes or tape) the edge of your chest starting from under your arm pits. Next conduct downbeats in front of the marked mirror, trying to keep your hands from crossing the marked line.
*Helpful hint* When conducting, think 'down'. Often one can begin to emphasize up as the beat. Severe emphasis on the up beat turns into hitches, or little accents at the top of the patterns. Thinking 'down' helps to eliminate this. Raise your arms, but focus on them dropping to the focal point.
Conducting two
*Helpful Hint* At the end of beat one, the hands and arms should remain in front of the body, not way out to the sides on a plane with the body.
Be mindful that on the swing up, the hands stay out and do not come back in. (Quick check: at the end of beat one, if your hands are anywhere closer to your body than your elbows are, your hands came in.)
Be mindful of spreading your hands too far apart in the 'out' part of the pattern. If your throw your hands way out, you will rush to bring them in again, and the beat will not be consistent.
*Interesting note* Most marches are conducted in two. Why? Well, you have two feet right? Some songs in four can be conducted in two. Since four can be divided into two, marching bands can play songs in four even though normal band members have two feet.
Conducting three
A further step-by-step explanation:
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
*Tip* the 'Star Spangled Banner', the national anthem of the United States, is conducted in three, NOT in four, a common mistake.
*Interesting note* Waltzes are also conducted in three.
Conducting four
Down: bring arms down, hit focal point, go back up.
Down: bring arms down, hit focal point, go back up.
Out: bring arms down hit focal point, go out.
Up: bring arms down and in, hit focal point, go straight up.
This is a great teaching pattern since much music is in four and since it can be broken down into the three, two and one patterns very easily. The basic four pattern works with a variety of patterns, making it the best pattern for conducting a tempo change or for recovery when the band falls apart.
Fast tempo
Remember, the fast tempo pattern is the same but much smaller to accommodate the lack of time. Keep the upper arm relatively still; the elbow replaces the shoulder as a pivot point, so try to eliminate extra motion in the shoulder and upper arms to conserve energy and keep a consistent beat. Conduct with the forearms. Any extra movements in the arms must be with the hands to keep the beat clear.
Conducting with small relaxed patterns conserves energy and prevents much frustration.
Remember: The key to conducting a tempo change is the rebound.
Slow pattern
In a slow pattern, most of the arm movement is from the shoulder. Make sure you have a straight, even rebound on beat one, to maintain tempo consistency. Slow patterns are bigger than fast tempo patterns.
Important Extras
Tempo Changes
Remember to conduct especially clearly during tempo changes and to pay particular attention to these areas of the music. Tempo changes are potentially hazardous areas. As the tempo changes, change the size of your rebound, but strike the same focal point. This change in the pattern clearly indicates to the musicians that the tempo has changed instantly. The rebound size will indicate to them that the tempo is faster or slower.
Fast Tempo tips.
Using Two Hands
Never cross your hands, it confuses the band and slows the pattern and thus the tempo.
When using two hands, the conductor has two options.
The first option is to mirror the hands. In this case each hand does the same thing, but in the opposite direction. When conducting with mirrored hands, never cross your hands. The advantage to using mirrored hands is increased visibility. This is very useful for drum majors and field conductors.
The basic four beat pattern is the best for mirrored hands.
The second option is to use the right hand to conduct and use the left hand to cue the musicians, show dynamics and phrasing. When this is done, the left hand generally remains at the side or at the stomach except when it is being used.
The more complicated the music, the simpler the pattern required. There are many different styles of conducting, and many different ways to conduct the same music, even with the same pattern.
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