The “attaque” (start), the “release”, the “fermata” (hold), subdivision, breathing places, phrasing.
The “Attaque”
One of the most important and difficult results to obtain is a clean cut and united “attaque” or start, on the part of the players. The following suggestions will aid toward an achievement of this result.
When the musical subject begins directly on the first beat of the measure, one beat before, given in the time of the following measures and in the position of the last beat in the measure, will suffice to assure a concerted and clean-cut “attaque.” The following measures, from the PRELUDE TO THE MASTERSINGERS by WAGNER, illustrate this principle.
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(B) When the musical subject begins on the last beat of the measure, give the preceding beat, first. This beat should be less marked than those following.
Overture to Tannhäuser—Wagner
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NOTE: Many modern conductors dispense with this preceding beat. However, it is extremely valuable in establishing the rhythm and helpful to less experienced orchestral or band players.
(C) The principle of the preceding example is also applicable to cases in which the musical subject begins on any fraction of the beat.
Marche Hongroise—Berlioz
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(D) In a case where the time is “one” in a measure, and the musical subject begins on a fraction of the measure, beat one whole measure before.
Symphony Pastorale—Beethoven
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The “Fermata”
(Hold) and “Release”
Executing the gesture in a rather high position (above the head) beat only the beginning and end of the note.
1—Indicates the start.
2—Indicates the culmination of the chord which must be brought about with a quick, incisive movement to the right, preceded by a short preparatory movement to the left
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When the “fermata” (hold) is at the end of the piece, terminate the chord by a sharp second down-beat preceded only by a slight preparatory curve. The second down-beat must be long enough to remove the baton completely from the sight of the audience and to bring it to such a position that definitely terminates all further conducting.
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When the “fermata” or hold comes on a note in the midst of a phrase, merely sustain that beat longer than the others.
In example (b) hold the “fermata” on the third beat after beating “one” and “two”.
SUBDIVISION
Employment of the “subdivision” to emphasize and give weight to certain characteristic passages, ritenuti, etc.
By subdividing the beats in the fourth measure of the following example, force and accent are given to the phrase.
Ninth Symphony—Beethoven
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The sharply accented beat as a means of obtaining precision in syncopated figures.
By accenting the first and third beats of measures (1) and (2) of the following example, a certain lingering on the tied notes will be avoided.
Prelude to “The Mastersingers”—Wagner
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To secure a firm “attaque” of the horns in the fourth measure, subdivide the second beat of the measure.
To secure precision in the syncopated entrances, subdivide the 4-in-a-measure as indicated by the numbers, using gesture No. 15. (p 47)
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To secure precision in the unison pizzicato notes, subdivide the second beat in the first two measures, giving all the beats but this one with a small gesture.
Les Preludes. Liszt
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To bring out the climax at letter (C) subdivide the measure at (B) with heavy decisive strokes on each 8th note.
To indicate places for taking breath, conduct in the manner described below. The arm movement must come to a complete stop just before the breathing place.
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