A correct pattern has to guarantee to EVERY single beat of the bar a character of independence and neutrality;
the conductor will then group them together again to produce the sound he wants and to create the musical continuity. The patterns we have been discussing, guarantee a basic neutrality due to the fact that the same identical gesture is repeated at the various points of the musical structure.
Unfortunately, we often see patterns which have not got these characteristics : I must say, to my great surprise that , I have seen some of the best orchestras in the world, (who can generally perform without paying too much attention to the conductor ), unconsciously reflect these negative traits.
Among the patterns of the staccato (many schools ignore the difference between pattern for staccato and legato) this is certainly the most popular , and unfortunately it is found in almost all of the handbooks and videos available on youtube
apparently it gives the impression of being very clear, actually in reality it provides a very a confusing indication of tempo.
THE GREAT DEFECT OF THIS PATTERN IS THE ABSOLUTE LACK OF IMPACT AT THE DIFFERENT POINTS ON THE IMAGINARY SURFACE,
therefore the eye of the musician engaged in reading his/her part does not detect the beats because in reality they are actually missing. They are there, but only at the level of the conductor’s mental intention, their externalisation is not as evident as one would like to believe (the players generally unconsciously correct this gap).
it is interesting to understand how the eye of the musician engaged in reading the score perceives gestures
Here you can see the 4 pattern in a famous passage
Because of this a wrong pattern can cause imbalances during perfomance , which happens in the following video
Next annual course in Italy, Palermo/Rome November’18 – June’19 in collaboration with Opera in Rome Symphony Orchestra