Orchestral conducting technique: The incorrect patterns

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

(from my book/DVD)

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 ;

(from my book/DVD)

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

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