Page:Essentials in Conducting.djvu/44

32 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.

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 backstroke 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.

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 spaced beats, the size and general