The sforzato is based upon the principle of the held-back attack (see previous article). This means that if we want to produce a sforzato we have to give a preparatory gesture just in front of the passage for which we want it Keep in mind that the earlier you make this gesture the more… Continua a leggere Orchestral conducting technique : The Sforzato
An exact basic position is essential if we want to develop correct gestures. The freedom, naturalness and character of our arm movements, grow from this basic position. The most natural and spontaneous position of them all is with the arm parallel to the floor, forming an angle of about 100°, between the arm and the… Continua a leggere Orchestral conducting technique: Exact position of the arm in front of the orchestra
In the second movement of the first symphony of Beethoven the phrasing can be understood in different ways. Obviously each type of phrasing is realised technically in a different way. By looking and listening very carefully to the video, we can see the differences and see how the gesture changes according to the phrasing that is being suggested.… Continua a leggere Different ways of understanding the phrasing.
What definitely disturbs the sleep of many conductors, young and old, is undoubtedly the notorious start of the fifth symphony of Beethoven. Here we have seen, we see and we will see, all sorts of things. It would be interesting to do a medley of videos with the most convoluted solutions. Ilya Musin recounted of… Continua a leggere Beethoven: How do you conduct the start of the Fifth Symphony?
Many of you will surely have found yourselves in the situation of having to conduct a rallentando or allargando. Most probably at first, you will have tried to hold back the orchestra by suddenly conducting the beats more slowly in a big and flashy way, and separated from each other; even in some cases by… Continua a leggere Do you also make this error when you conduct a rallentando?
This video, together with the previous, confirms the pitfalls that lurk using the pattern of two in quick time. The pattern of two is characterized by the presence in a measure of two impulses, strong and weak (thesis / arsis), this sequence must be clearly visible by the players. The attack is a signal to… Continua a leggere The importance of showing a clear downbeat
The absence of control on the rebounce of hand -and arm- after the beat is one of the most frequent defects and difficult to eradicate. My students very well know this problem. The pattern of two in animated tempos is undoubtedly the most difficult, and the rebounce after second impulse potentially can create more problems.… Continua a leggere Control on the rebounce of the hand
Ennio Nicotra 28/09/2016 In the technique of the orchestra conducting there are dozens of basic gestures which can be applied in corresponding contexts.The codification of these gestures by Ilya Musin is of great help to resolve certain moments. Solutions that aren’t banalities or arid technicalities , but always stand out for being able… Continua a leggere How (and when) to realise the split or stressed attack?