When clinicing middle and high school band programs, I have noticed some common conducting issues that hinder an ensemble’s musical potential. Below are suggestions that address these common issues (which I am also continuously improving on) in ways that will better your ensemble’s musicianship.
I draw on The Elements of Expressive Conducting by Michael Haithcock, Brian Doyle, Kevin Geraldi, and Jerald Schwiebert and am grateful to Dr. Geraldi for introducing me to this pedagogy. The below terminology is from the textbook with some of my own comments.
Action Point – “the point in space where the revealed intent of a gesture sparks action as a result of effort. The place in space at which a prepared gestural event occurs.” This is the “Now” part of a gesture that describes the intended sound through motion and is often called the “ictus.”
Even Flow of Motion – “the evenness of motion through space over time with consistent velocity.”
Follow Through – “the manner in which sound is sustained as it shapes motion toward silence or prepares for continued movement.” This is often called the “rebound.”
Kinesphere – “the space made available by the trained body and how the body moves through space.”
Preparation – “a motion that defines the intended result through a combination of speed, space, and weight toward the action point.” This is the “How” part of a gesture that prepares the intended sound.
Even Flow of Motion
One fundamental aspect of conducting is even flow of motion, in which gesture communicates an even flow of tempo. One frequent issue I see is the “hot stove” rebound, where speed quickly increases after the beat then slows down to the next beat. This “hot stove” movement creates the illusion of uneven tempo, even if the conductor is conducting metronomic time. I also see conductors add extra subdivisions or hitches that visually clouds their even flow of motion.
One way to improve even flow of motion is have the ensemble count out loud while conducting various meters and tempi. Initially, ensembles often count sluggishly and slightly behind the pulse. After a few measures, students connect their counting to the exact placement of the action point and unify tempo, emphasizing ensemble tempo awareness without resorting to a metronome. I also vary dynamics and articulations to reinforce ensemble sensitivity to gesture. This exercise keeps us honest—if they are not counting with an even flow of tempo, it is likely due to our lack of even flow of motion.
Less Says More
Common gestural feedback for conductors of all levels is that “less is more.” My qualification is that less says more when a gesture is framed with economy of motion. The kinesphere is the canvas of gesture and often I see conductors use too much canvas too quickly, leading to conductors using more space to emphasize musical changes. Consider how much space used when conducting at mezzo-forte or when showing an accent. Try using less space for these gestures. Economy of movement frees up space for more emphatic gestures and reduces visual “noise” for the ensemble, like how reducing hitches and other extraneous movement clarifies even flow of motion.
Be Descriptive with the Baton
The baton amplifies any gesture from the wrist joint and should be the most descriptive motion in our conducting. One way to build a more descriptive baton is to isolate the tip of the baton. Conduct a musical passage with the baton hand resting on a flat object (table, chair arm, or music stand) and the wrist hanging over the object’s edge. Watch the tip of the baton while you conduct and look for descriptive gestures, which will illustrate if expressive intent is clear at the tip of the baton. This also quiets movement in the elbow and shoulder joints, which are often overused and prevent expressive intent from reaching the wrist.
Teach Gesture to the Ensemble
If ensemble members cannot understand our gestures, that hampers expressive potential. I support my verbal rehearsal feedback with the corresponding gesture, which helps the ensemble connect the gesture to the expressive intent. I also occasionally teach conducting concepts to the ensemble and have them “mirror me” to learn the gesture. This changes rehearsal flow and engages all ensemble members while sensitizing them to gestural vocabulary. Plus, it may inspire a student to be interested in conducting!
I like the “now” exercise to sensitize ensembles to my gestural vocabulary. I ask the ensemble to say the word “now” in the style of my gesture. I use no verbal “count off” and start with simple gestures, connecting gesture to breath support and facial expression. I progressively change gestural space, speed and expression, insisting the ensemble says “now” precisely together with the shown musical intent at the established action point. The key is that their verbal expression matches the shown gestural intent. This aligns the ensemble on initiation of sound and release points while also sensitizing ensemble response to gestural vocabulary.
Conclusion
As conductors, we communicate our expressive intent through specific non-verbal gestures that are interpretable by the ensemble. We can enhance our ensemble’s musicianship through greater awareness of even flow of motion, economy of movement, attention to expressive baton technique and sensitizing the ensemble to gestural vocabulary. I encourage you to try these exercises in your upcoming rehearsals and hope it helps connect your expressive intention to the ensemble’s musicianship.
