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Conducting Bootcamp
Start Here!
Welcome & How to Use This Course
Ensemble Issues Index
Conductor Issues Index
Acknowledgements
Set Up
Introduction (2:15)
Stance (11:40)
Stand Placement & Using A Podium (2:50)
Arms (8:59)
Baton Grip & Right Hand Position (10:30)
Left Hand Placement (3:59)
Hinges (7:00)
Head and Face (10:35)
Parts of the Beat
Three Parts of the Beat (5:21)
Forecasting - Being Ahead of Your Time (2:24)
Starting the Sound - Part 1: The Breath
Connecting Your Breath to Your Gesture - Preparing the Sound (7:30)
The Double Prep - Application & Avoidance (4:27)
Stopping the Sound - Part 1: Releases
Releases - Ways to Enter Silence (3:39)
Articulation
U beats ('d' articulation) vs. V beats ('t' articulation) (1:37)
Connecting the Notes - Horizontal vs. Vertical Conducting (2:07)
Using Resistance to Create Tone (3:00)
Effort Actions - 8 Gestures for Creating Contrast (3:36)
Basic Articulations (3:02)
Simple Beat Patterns
The Danger of Beat Patterns (1:01)
The Two Common Approaches to Beat Patterns (1:15)
Conducting 2/4 (0:56)
Conducting in 3/4 (2:05)
Conducting in 4/4 (3:02)
Conducting in 5/4 and 6/4 (2:41)
Compound and Irregular Beat Patterns
Conducting in 1 (3:49)
Compound Meters (6/8, 9/8 etc.) (1:28)
Irregular Meters (5/8, 7/8 etc.) (2:30)
Starting the Sound - Part 2: Starting in Different Parts of the Bar
General Principles of Starting on Different Beats (2:07)
In 2/4, 3/4, 4/4 and 5/4 (3:06)
In Compound and Irregular Meters (2:54)
Multiple Preparatory Gestures - When & How (2:34)
Stopping the Sound - Part 2: Fermatas and Transitions
The three types of fermatas (3:35)
Complex Transitions (2:10)
Dynamics
Physical space, weight and dynamics (1:59)
Creating Instant Contrast: Canvas Selection (3:32)
Using the Left Hand
Position, Movement, Shape & Proximity (1:23)
Independence Exercise (2:46)
Cueing
Expressive Cueing & Common Mistakes (4:42)
Tempo Changes
Principles of Tempo Changes (1:34)
How to Speed Up (1:14)
How to Slow Down (0:53)
Subdivision (2:01)
Transitions eg. 4/4 into 2/2 (1:05)
Creating Instant Contrast: Canvas Selection
In this lecture you'll learn:
The concept of
canvas selection & hinges
to create ppp to fff
Powerful
alternatives to the bland "up down" textbook crescendo
gesture
Common issues
when conducting crescendi & diminuendi and
how to solve them
Why You Need To Learn It
Create compelling gestures for dynamic change
What Happens If You Don't Learn It
Ineffective gestures, low contrast, too big
Canvas Selection
pp = postage stamp (fingers)
p/mp = business card size (wrist)
mf = A/4 or Letter size (elbow)
f = 8.5"x11" or A3 size
ff = billboard size (shoulder)
'Up and Down' Textbook Gesture
Not real or believable
Means nothing, irrelevant
Changing Canvas Size
Use a diagonal axis instead to make things bigger
Hands further apart for big canvas
Hands closer together for small canvas
Remember to keep hands out in front, when putting hands closer togehter
Keep torso smiling when getting smaller, avoid collapsing the torso (ensemble loses support and pitch)
Complete and Continue
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