A correct pattern has to guarantee to each of the single beats of the bar a character of independence and neutrality;
the conductor will then group them together again to produce the sound he wants and create the musical continuity. The patterns we have been discussing, guarantee a basic neutrality due to the fact that it is the same identical gesture repeated at the various points of the musical structure. (read the article)
Unfortunately, we often see patterns which do not have these characteristics : I must say, to my great surprise that , I have seen some of the best orchestras in the world, which can generally perform without paying too much attention to the conductor , unconsciously reflect these negative traits.
It would take us too long to draw up a list of all the incorrect patterns, but it is worthwhile examining the most common one.
This is the most popular of all the patterns of the staccato, unfortunately you can see it in almost all the handbooks of orchestral conducting technique and hundreds of clips available on youtube
it gives the impression of being very clear and simple but in fact is a bit confusing.
The chief fault of this variant is the absolute lack of percussion of the different points on the imaginary surface and so the eye does not perceive the beats as they are not there ;
actually the beats are there but they are not easy to identify as they “exist “ more in the conductor’s mind than in reality ,and they are not so evident as some might think. The best thing to do is avoid this pattern, as it can provoke bad synchronization of the players and rushing