Conducting the first beat of a choir or orchestra or band piece is an act of absolute faith. The conductor's job is to instill enough confidence in the players and/or singers to do their jobs. The conductor must positively exude confidence -- enough for the performers to hang on to. But that's just the first part of the job. The second part is just as important. The conductor must draw the performer's eyes to him in order to keep everyone together aesthetically, rhythmically and spiritually. He must be able to channel that mythical power to charge each performer with the enthusiasm and strength to give a great performance. That's a lofty responsibility. One that many casual conductor's do not do justice to. Perhaps they lack the faith. More likely they lack the PREPARATION.
Developing the skill to conduct beat patterns is just the tip of the iceberg when it comes to conducting. A good conductor will study the music inside and out. He will likely be able to sing or play any and all of the parts. He will analyze the chordal structures so well that he will hear any wayward notes and immediately know who the culprit is at any instant. He will have an array of analogies and metaphors to use to coax the performers to make the sounds he expects. He will anticipate where the traps in the music will be so that he can skillfully guide his performers to take care before they make mistakes. He will know the strengths and weaknesses of his performers so that he will know just how hard he can push to get the results he wants. In essence, a good conductor will not step onto the conductor's stand unless he has prepared for any and all contingencies.
As a singer, I have often been in awe of the talents and abilities and PREPARATION of the conductors I have been privileged to sing with. They seem to be able to hear things I cannot. For example, when you are busy singing your own part in a large section of singers, you just don't get the full effect. You cannot hear what the conductor hears. (You may also be glad that what you hear in the voices around you, he cannot hear the way you do!) He gets the "blended" effect and listens particularly to intonation, diction, rhythm, nuance, and harmonic overtones. When the overtones are engaged the resonance of the group is boosted and he knows that the singing or playing is in tune. Anything less and the product is dull and lifeless, particularly in choir singing.
I was struck by a comment our conductor made yesterday. He said, "This melody is particularly fragile because it starts with irregular pick up notes. You will need to be careful and watch me closely for the cues so that we can keep together." That comment is also a metaphor for a conductor's job. Without particular care and preparation, what they hope to accomplish can fall apart. In that sense, any piece can be fragile.
Life itself can be fragile without attention to proper preparation. As we go into a new year, I hope we can pay close attention to our preparation for all of the challenges we might face. May we look ahead and avoid the "traps" that may come our way. And like the many wonderful conductors tell us, "Be careful, it's fragile!"
Developing the skill to conduct beat patterns is just the tip of the iceberg when it comes to conducting. A good conductor will study the music inside and out. He will likely be able to sing or play any and all of the parts. He will analyze the chordal structures so well that he will hear any wayward notes and immediately know who the culprit is at any instant. He will have an array of analogies and metaphors to use to coax the performers to make the sounds he expects. He will anticipate where the traps in the music will be so that he can skillfully guide his performers to take care before they make mistakes. He will know the strengths and weaknesses of his performers so that he will know just how hard he can push to get the results he wants. In essence, a good conductor will not step onto the conductor's stand unless he has prepared for any and all contingencies.
As a singer, I have often been in awe of the talents and abilities and PREPARATION of the conductors I have been privileged to sing with. They seem to be able to hear things I cannot. For example, when you are busy singing your own part in a large section of singers, you just don't get the full effect. You cannot hear what the conductor hears. (You may also be glad that what you hear in the voices around you, he cannot hear the way you do!) He gets the "blended" effect and listens particularly to intonation, diction, rhythm, nuance, and harmonic overtones. When the overtones are engaged the resonance of the group is boosted and he knows that the singing or playing is in tune. Anything less and the product is dull and lifeless, particularly in choir singing.
I was struck by a comment our conductor made yesterday. He said, "This melody is particularly fragile because it starts with irregular pick up notes. You will need to be careful and watch me closely for the cues so that we can keep together." That comment is also a metaphor for a conductor's job. Without particular care and preparation, what they hope to accomplish can fall apart. In that sense, any piece can be fragile.
Life itself can be fragile without attention to proper preparation. As we go into a new year, I hope we can pay close attention to our preparation for all of the challenges we might face. May we look ahead and avoid the "traps" that may come our way. And like the many wonderful conductors tell us, "Be careful, it's fragile!"
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