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How to conduct
1. Conducting The meaning of
Let’s first look at the meaning of the word “command”. From the Xinhua Dictionary, "command" means to issue orders and dispatch, or to instruct the person who issues orders and dispatch, and also means to tell others how to act. So "conductor" here should refer to the person who sings (plays). Their task is to tell the singer (performer) how to sing (play), including when to start singing (playing), when to end singing (playing), whether to sing (playing) strongly or weakly (playing), etc. wait. However, these little conductors did not tell the teachers and students "how to act" at all.
2. The conductor’s tasks and conditions
The conductor’s mission is to organize the chorus members (band members) to recreate musical works in a collective form. Some people think that the job of a conductor is not a big deal, just go up and down in the air and beat the time. It's very simple. In fact, people who think this way don’t understand how much work remains to be done before it can be beaten with a racket!
“Conducting mainly relies on self-taught, and only those with talent and musicality can succeed,” Toscanini said. The conductor should have a good ear for music, an accurate sense of rhythm and speed, a rich imagination and great interest in music, and basic music knowledge. In addition, the conductor mainly realizes his command intention through various parts of the human body such as hands, arms, head, facial expressions, eyes, torso and other tools, so a healthy body, good body language and body shape are essential.
3. The overall requirements of command
The conductor’s movements must be concise, accurate, and beautiful, which are commonly referred to as “saving, accurate, and beautiful.”
"Economic" means that the conductor's movements should be economical and appropriate, and redundant movements should be avoided. Such as unnecessary twisting, shaking elbows, shaking the body, nodding and shrugging along with the music, etc. The movements should be designed according to the content of the work. The size of the movements should be moderate, not overly exaggerated, but not without expressiveness. "The commanding technique must be concise, capable, simple, frank and expressive," Toscanini said. Shao En’s explanation is “Simplicity is the best!”.
"Accurate" refers to the conductor's foreshadowing movements, such as the various starting and closing movements of the music, which should be clean and accurate, and the swinging movements should be accurately pinched at the beat point of the music. If this is not done, it would be really sad to see.
"Beauty" means that the conductor's movements must be beautiful, contagious and in line with people's appreciation habits. "Appreciating a conductor, the beauty of the environment is enough to make you drunk. When you listen to a conductor, you can listen deeply, and you can hear the works, the band, the conductor's style, and you can also hear the conductor's personality, inspiration, cultivation, type and philosophy; when you look at the conductor, you can hear If you look deeply, you can see whether the conductor and the orchestra have a tacit understanding of cooperation, and you can also see the conductor's skills, which are varied and each has its own strengths." This is the beauty of the art of conducting! Of course, it takes more than a few words to achieve this point.
2. How to train young conductors
1. First, practice the conductor’s posture
Teach students to look straight ahead, tighten their abdomen, hold their chest up, and act naturally , generous, beautiful and stable. The feet should be separated in a splayed shape, one in front of the other and one in the back. They should not be too far apart or too narrow together. They should be almost as wide as the shoulders. Keep the body stable. You can practice in front of a mirror when practicing. The teacher should give more demonstrations to prevent the formation of bad habits.
2. Practice the swing movements of both hands
This is also very important. Let students know what it means to relax and to have a point when swinging the racket. First, let’s take a look at “relaxation”. People who study music are probably familiar with these two words, because we often talk about and often study what relaxation is. It can be said that "relaxation" is the mantra in music learning. In fact, you can tell by looking at the shape of your hands. We know that when walking, the hands hang down naturally. At this time, the hand shape is that the fingers are naturally bent, the knuckles are naturally protruding and arc-shaped. It should be said that this is the best example of relaxation in life. Therefore, students should try to figure out this life situation, let them take a few steps, and then lift their hands in the same shape as when walking. Just practice it a few times. Let's take a look at the "shooting point". When practicing, we can use the table to let the hand fall on the table and bounce up from the table at the same time. Pay attention to being flexible. In addition, we should pay attention to the division of labor and cooperation between the two hands. Generally speaking, the left hand is for emotions and the right hand is for rhythm, so the position of the left hand is higher than that of the right hand.
3. Be familiar with the command patterns of some commonly used beats
For the command patterns, you can use formulas to master them.
For example, we can say that the two beats are down and up; the three beats can be said to be down, outside, and up; the four beats can be said to be down, inside, outside, and up. The "inside" mentioned here refers to the direction close to the body, and the "outside" refers to the direction away from our body. Then you can start practicing from the second beat, and then master it one by one.
4. Master the starting, closing, and breathing styles
The starting beat is what we often call the preview beat. It refers to the speed, intensity, mood, etc. of the music that will be performed. important action. If the starting beat does not start well, it will at least cause the music to enter unevenly. When starting to shoot, relax your arms naturally, let your upper arms droop naturally, stretch your forearms forward and tilt them slightly upward, with your palms facing forward and downward. When hitting, there is a reflective line, which is usually in the opposite direction to the movement of the racquet at the start of the shot.
Closing refers to the closing cue movement used when the music is about to end in order to end the music neatly. Usually on the penultimate beat at the end of the music, hit it upward and outward to make a strong fist shape or make a circle with your thumb, index finger, and middle finger, etc. It is best for teachers to demonstrate correctly.
The breath mouth refers to a prominent movement made to make the breathing uniform between musical phrases. This is generally more obvious and prominent than other actions. When doing it, you can reduce the range of the action line in the last beat of the previous sentence, and then accelerate and lift it up to give people the feeling of inhaling
Generally, symphony orchestras and choirs have conductors.
The band conductor guides the music performance of the entire band so that the performances of multiple parts can become a whole. He can be said to be the soul of a band. Conducting the orchestra is also a kind of interpretation and re-creation of music. Conductor James Levine once said: "The conductor's baton is also an instrument." Some people say that by listening to music, you can know the conductor's temperament.
In the 17th and 18th centuries, most musical works were performed in the form of small ensembles. There are active members in the orchestra who are responsible for the organization, and the orchestra can perform very well without a conductor. The profession of conducting began to take shape in the 19th century. At that time, as the size of the musical works for the band continued to increase, it became very difficult for the band to perform without a conductor. So the profession of conducting came into being.
One of the earliest conductors in China was Zheng Zhisheng.
World-famous female conductors include Nadia Boulanger, China’s first female conductor Zheng Xiaoying, and Hong Kong female conductor Yip Wing-shi.
In ancient law, it is the abbreviation of "approval command" and is a legal form in the Song Dynasty. It is an instruction issued by central government offices such as the Shangshu Province and the Privy Council to lower-level government offices on specific official matters. It is mainly used to guide the administrative management and judicial trials of lower-level government offices. In the Southern Song Dynasty, Qin Hui had exclusive power and abused his command. The legal status of command was improved and even stood side by side with the imperial edict.
The role of a conductor is like the director of a movie. The director of the movie controls the effect and style of the movie he wants to shoot. Everything expressed in the movie is in the director's mind.
The same goes for conductors. The effect, style, and emotions to be expressed of a musical work are also in the hands of the conductor. You may ask, if there is music score and everyone can just read it, what should I conduct? Then I would also ask, the movie has a script, and everyone can just act according to it. What does a director do?
In the same way, works of art are not mathematical formulas. What is written on paper is never everything. It requires human understanding and expression. The same "The Condor", "Dragon" and so on, the books are all the same, but the TV series produced are different in different versions, and the different styles mainly depend on the director.
The same goes for music. The scores are the same, but the differences in expression such as strength and weakness, speed and slowness are not completely written in the scores. The conductor has the right to express according to his ideas and understanding. If you are interested, you can listen carefully. The recordings of the same work by different conductors will definitely be different.
Everyone has a different understanding and grasp of musical works. This is rooted in the abstract nature of musical works. No matter how scripts or novels are, they still have plots. Music does not even have a story, it is purely an emotion. So how to express this emotion and how it is expressed is not included in the score. This is It all depends on the conductor.
To put it figuratively, the conductor is the soul of a band, and he is the decision-maker for the expression of musical works. The orchestra is a mirror of the conductor. The conductor always has his back to the audience on stage, and his ideas must be reflected to the audience through the mirror of the orchestra.
Or, another less complete statement is that the conductor is doing the work that is not written in the score. It also makes sense.
So, conducting is definitely not as simple as moving his hands like a backup dancer, the music is all in his hands.
How does the conductor operate specifically? In most cases, the conductor's time is spent off the stage. A musical work only takes a few minutes or dozens of minutes to perform on stage, but it takes days or months to rehearse off stage. The rehearsal process is the conductor's performance. The process of conveying his understanding of the work to the orchestra is the process of the orchestra practicing according to the conductor’s understanding. Only after careful and repeated rehearsals can the conductor's ideas be understood and implemented by the band can he perform on stage.
However, this does not mean that the conductor is useless on stage.
The conductor's role on stage has the following points: 1. Prompt the performers. A work is often large in scale, and performers often cannot remember all the details required during rehearsal while reading the score. At this time, the conductor's gestures on the stage will serve as a reminder. 2. Decide on some treatments that cannot be quantified. For example, if a performer remembers that a certain conductor asked for a slow down or a fast pace, how much slower or faster, where to start slowing down, where to return to the original speed, etc., these cannot be quantified on the music score. They can only be seen. Conduct on-the-spot expression, because art requires emotion, and it cannot be written down. Third, act on the spot. The performance itself will put people in a state of excitement. The conductor often bursts out passion and ideas during the performance that have not been seen in rehearsals. Therefore, the performer must pay attention to the conductor's movements on the stage and cooperate with the conductor tacitly. Once the conductor comes up with something that has not been done in the rehearsal, the performers should react quickly and express it immediately. This kind of improvisation is often quite wonderful and unrepeatable. Fourth, expressiveness enhances the appeal of the work. This is not the case for all conductors. Each conductor has his or her own style. Some conductors appear silent and their passion is in their hearts and hands. Some conductors are very performative. While the music conveys emotions, the conductor himself also They are using body movements to convey their emotions to the audience. In other words, some conductors do have the element of conducting for the audience, such as the most typical Japanese conductor Seiji Ozawa.
To sum up, the role of the conductor is important and irreplaceable. Don’t think that the conductor is useless. Bands with dozens or hundreds of people all have music because of the conductor. If Without a conductor, an orchestra is useless.