A conductor standing on the podium should have his head straight, his chest straight, his waist straight and his shoulders flat, so that the whole person can present a posture of freedom, generosity, relaxation and stability. The elbow is slightly away from the body and naturally hangs on both sides of the chest, and the forearm is flat or slightly raised; The feet are slightly apart, slightly outside the eight characters, 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 too tense to avoid fatigue. [
When the conductor's movements are relaxed, the band will be easy to play, and when the conductor's movements are stiff, the band will be nervous. The relaxation of command action should include his eyes, facial expressions, arms and even his whole body. The arm is the most frequent and obvious moving part in command action, so we can practice the relaxation of wrist, forearm, elbow, upper arm and shoulder joint from this. When practicing arm relaxation, you can imagine the painter painting the wall, first vertically up and down, then horizontally dragging, and then feel the existence of the beat point from various slow beat patterns. The goal of wrist relaxation is to be flexible from left to right, up and down, and can be practiced in different positions of forearm drooping, flat lifting and upward lifting (low, middle and high) respectively.
When learning relaxation posture, students can relax their arms and put them on the teachers' arms, and the teachers can make relaxation movements, so that students' arms can move with them to experience the feeling of relaxation. After mastering relaxation, you can choose music of various emotions in turn to beat the music according to different conditions of each person. First, use relaxed and happy music, such as the dance of four little swans in the dance drama Swan Lake; Second, use more exciting and lively works, such as Li Huanzhi's Spring Festival Overture; Once again, choose more enthusiastic and passionate works, such as dvorak's Slavic Dance, the eighth and the first (beat the first bar). In practice, pay attention to let the forearm fall naturally first, then knock the forearm slightly, and finally learn to knock hard or even "chop".
On the other hand, the conductor must learn to strike and beat in a "controlled" way, for example, the subtitle of the overture of Li Huanzhi's Spring Festival Suite and Liu Tianhua's "Good Night" should be controlled more; There is even more control in the second movement of dvorak's New World Symphony. Many slow lyrics can also be used as teaching materials to practice beat control. For example, the Song of Solvig in Grieg's Pearl Gint Suite and the beginning of He Lvting's Senjidema are ideal teaching materials.