2. Command actions should be moderate, don't exaggerate, minimize redundant actions, and be accurate and precise. Usually, the right hand grasps the beat and the left hand prompts various expressions, which has both division of labor and cooperation.
3. According to the content of the work, the conductor should have a dynamic law of "gravity downward, centrifugal outward" when dealing with the strength and action of the work, that is, re-shooting and strong shooting gestures downward, weak shooting and tapping outward. Don't lift your arms too high, basically on your chest. Minimize waving your big arms. Use the forearm to drive the wrist and elbow joint as the hinge to move up and down. Your wrist and finger joints should be flexible and elastic, so that the middle is soft and the middle is solid.
The central part of mastering movements is the wrist. Generally, the command of quick movements mainly depends on the wrist. The faster the speed, the smaller the movement. Arm is mainly used for slow, energetic, colorful and huge works. According to the change of work intensity and speed, forearm plays an important role.
4. The conductor's action lines should have certain skills and a sense of music, but they should not be too straightforward, too routine and simple. On the basis of learning schema, we must master certain command skills. Actions should complement your inner world, and feelings and actions are unified. This is called clapping your hands and being satisfied in your heart.
5. The conductor should be good at mobilizing the enthusiasm of each chorus member, tapping the greatest potential of the actors, and being original in the handling and performance of the works, thus reflecting the highest artistic conception of the music performance.
6. Command shots include open shots and dark shots. The open shot is a shot that the eyes can see, and the dark shot is a shot that is "hidden" in the heart. This "hidden" beat relies on your feelings and heartbeat rhythm to make the "point" in place, so that chorus members can understand both the intention of the open shot and the beat point, rhythm and emotion in your dark shot.
7. The conductor should have a desk job and be able to analyze the works, such as music structure, mode, tonality, changes and contrast between paragraphs, and the connotation rhythm, speed, strength, intensity and speed of the works. Don't "turn over every sentence and dig it again", so that the actors can't have any freshness in their works. This is a failure of your rehearsal.
8. Simply put, the art of conducting is the art of shooting and preparing for shooting, because preparing for shooting reminds actors of speed, strength and emotion. The clear beat point is
The soul of conductor is the accurate embodiment of the time value of music. The rhythm and figure of the conductor can never be changed, but the subjective initiative of the conductor and his great potential are endless. Regardless of the speed and alternation of various complex beats, as long as the conductor can master the beat point, the chorus can be unified and tidy.
9. Start shooting and close shooting.
Start shooting:
Starting a beat is a preparatory action before conducting music. No matter whether the work is passionate, lyrical, majestic and affectionate, when it makes a sound, it can best grasp and influence the emotions of the audience, and the power that causes these emotions is the best effect pursued by music art. "A good beginning is half the battle.
The conductor has the following contents about the starting action: accurate speed, slow or fast, medium or sharp, weak or strong, not weak or not. Rich expression, is it graceful lyricism or strength?
The preparatory action of the starting racket is a virtual racket. This virtual beat is a schematic diagram of the beat before the music starts, and it is also an accurate breathing opening for the actors to start singing, so that the actors can unify → inhale → open their mouths → sing, that is, the process of preparation → virtual beat → real beat. In some multi-voice singing, when the voices enter in turn, in addition to preparing for the action, other voices should be prompted to enter. Such as "ho! The Yellow River, its entrance order is male high, female low, female high and male low. ...
Give it a try:
It seems that the words are finished and the story is finished. Then, whether it is warm, intense, quiet, soft or mysterious, what is waiting is that the conductor clearly explains it with gestures, giving the audience a perfect sense of ending. On the other hand, if it is inaccurate, unclean, inappropriate and inappropriate, you will destroy the integrity of music and you may make music.
The artistic expression of the product is wasted, leaving regret and regret! Therefore, shooting is the key to the success and perfection of the performance.
10. Right-handed cooperation. Generally speaking, the left hand grasps feelings and the right hand grasps beats, so learn to preserve the function of each hand. For example, when conducting a single voice, try not to use both hands for tasks that can be completed with one hand. The right hand gives the beat accurately, and the left hand helps the right hand to start and stop the beat, which can strengthen the musical expression, help a certain part to extend without affecting the beat of the right hand, and help to instruct all parts to enter.
In short, the coordination of the two hands of the commander should be balanced, coordinated and unified. But remember, although the left hand is very important, the accurate tapping of the right hand still occupies the main position, and the main function of cooperation between the two hands still belongs to the right hand. The role of the conductor on the stage is as follows:
First, prompt the executor. A work is often large-scale, and players often can't remember all the details required in rehearsal when reading the score. At this time, the gesture of the conductor on the stage will play a role in prompting.
Second, decide some methods that cannot be quantified. For example, the player can remember whether to slow down or speed up in a certain place, how much slower and faster, where to start slow, where to return to the original speed and so on. It can't be quantified in spectrum, but can only be expressed by the conductor on the spot, because art needs emotion, not just writing it down.
Third, improvise. The performance itself will make people in a state of excitement, and the conductor often expresses his passion and ideas in the performance that he did not have during rehearsal. Therefore, the performer must pay attention to the action of the conductor on the stage and cooperate with the conductor tacitly. Once the conductor doesn't handle it in rehearsal, the performer should react quickly and show it immediately. This kind of improvisation is often quite wonderful and irreparable.
Fourth, expressive, enhance the appeal of the work. Not all conductors are like this. A conductor has his own style. Some conductors seem to be silent, with enthusiasm in their hearts and hands. Some conductors are very expressive. While music conveys feelings, the conductor himself is also conveying his feelings to the audience with his body movements. In other words, some conductors do command the audience, such as the most typical Japanese conductor Seiji Ozawa.
Extended data:
The basic task of chorus conductor:
The conductor is the soul of the band. The work of directing almost determines the overall situation of the team. Generally speaking, the task of command includes two aspects. The first is to reveal music works. The second is the second creation.
First, show music works.
The first task of a conductor is to reveal musical works. The important principle of revealing musical works is to be faithful to the original. No matter the musicians in the band or the singers in the chorus, they all sing and perform according to the conductor's interpretation of the composer's creative thoughts and intentions through the study of music scores.
Through this process, we hope to fully display the ideological connotation, sound conception and musical image of music works. Convert still music into real sound. Through acoustics, the thoughts, emotions, spirit and artistic conception existing in the music score are clearly and completely expressed and conveyed to the audience.
Second, second creation
Secondary creation is another part of the command task. Different conductors, due to their differences in age, experience, knowledge, aesthetic standards, aesthetic angles, ways of thinking and analytical methods, will have significant differences in their understanding, interpretation and processing methods of musical works in the whole artistic creation activities. Their unique musical thoughts and personality characteristics will deeply penetrate into the performance and sound shaping of musical works.
On the basis of respecting the original work and fully expressing the original music thoughts and music sounds, this kind of artistic activity and artistic achievements are skillfully and naturally integrated into the conductor's personal music thoughts and new creation, which is more conducive to profoundly expressing the original creative intention, expanding the musical expression and actual singing effect, and is the conductor's second creation.
References:
Baidu encyclopedia-command