Part 3 (1/2)
In the case of a hold (_fermata_), the movement for the cut-off depends upon the nature of what follows. If the tone to be prolonged forms the end of a phrase or section, the baton is brought down vigorously as at the end of a composition; but if the hold occurs at the end of a phrase in such a way as not to form a decided closing point, or if it occurs in the midst of the phrase itself, the cut-off is not nearly so p.r.o.nounced, and the conductor must exercise care to move his baton in such a direction as to insure its being ready to give a clear signal for the attack of the tone following the hold.
Thus, with a hold on the third beat, [music notation] the cut-off would probably be toward the right and upward, this movement then serving also as a preliminary for the fourth beat to follow.
[Sidenote: THE ATTACK IN READING NEW MUSIC]
For working in rehearsal it is convenient to use some such exclamation as ”Ready--Sing,” or ”Ready--Play,” in order that amateur musicians may be enabled to attack the first chord promptly, even in reading new music. In this case the word ”Ready” comes just before the preliminary movement; the word ”Sing” or ”Play” being coincident with the actual preliminary movement. In preparing for a public performance, however, the conductor should be careful not to use these words so much in rehearsing that his musicians will have difficulty in making their attacks without hearing them.
[Sidenote: LENGTH OF THE STROKE]
The length and general character of the baton movement depend upon the emotional quality of the music being conducted. A bright, snappy _Scherzo_ in rapid tempo will demand a short, vigorous beat, with almost no elaboration of back-stroke; while for a slow and stately _Choral_, a long, flowing beat with a highly-elaborated back-stroke will be appropriate. The first beat of the phrase in any kind of music is usually longer and more prominent, in order that the various divisions of the design may be clearly marked. It is in the length of the stroke that the greatest diversity in time beating will occur in the case of various individual conductors, and it is neither possible nor advisable to give specific directions to the amateur. Suffice it to say, that if he understands clearly the foregoing principles of handling the baton, and if his musical feeling is genuine, there will be little difficulty at this point.
[Sidenote: NON-MEASURED MUSIC]
The directions for beating time thus far given have, of course, referred exclusively to what is termed ”measured music,” _i.e._, music in which the rhythm consists of groups of regularly s.p.a.ced beats, the size and general characteristics of the group depending upon the number and position of the accents in each measure. There exists, however, a certain amount of non-measured vocal music, and a word concerning the most common varieties (recitative and Anglican chant) will perhaps be in order before closing our discussion of beating time.
[Sidenote: RECITATIVE]
In conducting the accompaniment of a vocal solo of the recitative style, and particularly that variety referred to as _recitativo secco_, the most important baton movement is a down-beat after each bar. The conductor usually follows the soloist through the group of words found between two bars with the conventional baton movements, but this does not imply regularly s.p.a.ced pulses as in the case of measured music, and the beats do not correspond in any way to those of the ordinary measure of rhythmic music. They merely enable the accompanying players to tell at approximately what point in the measure the singer is at any given time, the up-beat at the end of the group giving warning of the near approach of the next group.
[Sidenote: THE ANGLICAN CHANT]
In the case of the Anglican chant, it should be noted that there are two parts to each verse: one, a reciting portion in which there is no measured rhythm; the other, a rhythmic portion in which the pulses occur as in measured music. In the reciting portion of the chant, the rhythm is that of ordinary prose speech, punctuation marks being observed as in conventional language reading. This makes it far more difficult to keep the singers together, and in order to secure uniformity, some conductors give a slight movement of the baton for each syllable; others depend upon a down-beat at the beginning of each measure together with the lip movements made by the conductor himself and followed minutely by the chorus.
The beginning of the second part of the chant is indicated by printing its first syllable in italics, by placing an accent mark over it, or by some other similar device. This syllable is then regarded as the first accented tone of the metrical division of the chant, and, beginning with it, the conductor beats time as in ordinary measured music. If no other syllable follows the accented one before a bar occurs, it is understood that the accented syllable is to be held for two beats, _i.e._, a measure's duration. Final _ed_ is always p.r.o.nounced as a separate syllable.
The most important thing for an amateur to learn about conducting the Anglican chant is that before he can successfully direct others in singing this type of choral music, he must himself practically memorize each chant. The amateur should perhaps also be warned not to have the words of the first part of the chant recited too rapidly. All too frequently there is so much hurrying that only a few of the most prominent words are distinguishable, most of the connecting words being entirely lost. A more deliberate style of chanting than that in ordinary use would be much more in keeping with the idea of dignified wors.h.i.+p. Before asking the choir to sing a new chant, it is often well to have the members _recite_ it, thus emphasizing the fact that the meaning of the text must be brought out in the singing. In inaugurating chanting in churches where this form of music has not previously formed a part of the service, it will be well to have both choir and congregation sing the melody in unison for a considerable period before attempting to chant in parts.
[Sidenote: THE NECESSITY OF PRACTICE IN HANDLING THE BATON]
Now that we have laid down the principles upon the basis of which our prospective conductor is to beat time, let us warn him once more that here, as in other things, it is intelligent practice that makes perfect, and that if he is to learn to handle the baton successfully, and particularly if he is to learn to do it so well that he need never give the slightest thought to his baton while actually conducting, hours of practice in beating time will be necessary. This practising should sometimes take place before a mirror, or better still, in the presence of some critical friend, so that a graceful rather than a grotesque style of handling the baton may result; it should also be done with the metronome clicking or with some one playing the piano much of the time, in order that the habit of maintaining an absolutely steady, even tempo may evolve. The phonograph may also be utilized for this purpose, and may well become an indispensable factor in training conductors in the future, it being possible in this way to study the elements of interpretation as well as to practise beating time.
[Sidenote: BATON TECHNIQUE NOT SUFFICIENT FOR SUCCESS IN CONDUCTING]
It must not be imagined that if one is fortunate enough to acquire the style of handling the baton which we have been advocating one will at once achieve success as a conductor. The factors of musical scholars.h.i.+p, personal magnetism, _et cetera_, mentioned in preceding pages, must still const.i.tute the real foundation of conducting. But granting the presence of these other factors of endowment and preparation, one may often achieve a higher degree of success if one has developed also a well-defined and easily-followed beat. It is for this reason that the technique of time beating is worthy of some degree of serious investigation and of a reasonable amount of time spent in practice upon it.
CHAPTER IV
INTERPRETATION IN CONDUCTING
INTRODUCTORY
[Sidenote: THE CONDUCTOR AS INTERPRETER]
Interpretation from the standpoint of the conductor differs from interpretation in singing and playing in that the conductor must necessarily convey ideas or emotions to his audience through an intermediary, _viz._, the orchestra or chorus. He furthermore labors under the disadvantage of having to stand with his back (certainly the least expressive part of man's physique) to the audience. The pianist, singer, and violinist, on the other hand, face their audiences; and because they themselves actually do the performing, are able to work much more directly upon the minds and emotions of their hearers. For this reason, interpretation must be studied by the conductor from a twofold basis:
1. From the standpoint of the expressive rendition of music in general.
2. From the standpoint of securing the expressive rendition of music from a group of players or singers.
We shall devote this and the three following chapters to a discussion of these two phases of interpretation.