The conductor standing on the podium should have his head upright, chest straight, waist straight, and shoulders level, so that the whole person presents a free, generous, relaxed and stable posture. The elbows are slightly away from the body and naturally droop on both sides of the chest, and the forearms are flat or slightly raised; the feet are slightly apart, slightly splayed, and can be slightly forward and backward to support the stability of the body and the rotation of the upper body; the legs are upright And the muscles are not overly tense to avoid fatigue. [
If the conductor’s movements are relaxed, the orchestra will play easily; if the conductor’s movements are stiff, the orchestra will be tense. The relaxation of the command movement should include his eyes, facial expressions, arms and even the whole body. The arms are the most frequent and obvious active parts in command movements. You can start here to practice relaxing the wrists, forearms, elbows, upper arms and even shoulder joints. When practicing relaxing your arms, you can imagine the movements of a painter painting a wall, first dragging vertically up and down, and then horizontally, and then feel the existence of the shooting point from various slow-speed beat patterns. The goal of relaxing the wrist is to make it flexible left, right, and up and down. It can be practiced in different positions of the forearm drooping, flat raising, and raising (low, medium, and high).
When learning relaxation postures, students can relax their arms and place them gently on the teacher's arms. The teacher will make relaxation movements and let the students move their arms accordingly to experience the feeling of relaxation. After mastering relaxation, you can choose music with various emotions to follow the music according to different conditions of each person. First use relaxed and happy music, such as the dance of the four little swans in the dance drama "Swan Lake"; secondly use more exciting and lively works, such as Li Huanzhi's "Spring Festival Overture"; and again choose more enthusiastic and passionate works, such as Dvo?ák No. 8 and No. 1 of "Slavonic Dances" (one beat in the first measure). When practicing, pay attention to letting the forearm drop naturally first, then make a slight tapping shape with the forearm, and finally learn to strike powerfully or even perform actions like "cutting".
On the other hand, the conductor must also learn to "controlled" tapping. For example, the subtitle of the overture of Li Huanzhi's "Spring Festival Suite" and Liu Tianhua's "Good Night" should be more controlled; in Dvo?ák's "New There is even more control in the second movement of "World Symphony". Many slow lyrical ditties can also be used as teaching materials for practicing time control, such as the "Song of Solveig" in Grieg's "Peer Gynt Suite" and the beginning of He Luting's "Sengidema". It is an ideal teaching material.