The Score, the Orchestra, and the Conductor by Meier, Gustav -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright Page Dedication CONTENTS Introduction CHAPTER 1 The Beat

Introduction A. Basic Techniques

1. The Baton 2. Placement of the Beat 3. The Size of the Beat 4. System for Notating Beats

B. The Preparatory Beat

Introduction 1. Response to the Preparatory Beat 2. Influence of Orchestration on the Preparatory Beat 3. Preparatory Beat to Count 1 (without Setting Tempo) 4. Preparatory Beat to Count 1 (Setting Tempo): The Rebound 5. Beat Patterns 6. Preparatory Beat to Counts Other Than 1 7. Preparatory Beat to Upbeats

C. Types of Beats

1. Standard Beat 2. Staccato Beat 3. Legato Beat 4. Nonrebound Beat 5. Neutral Beat 6. Circular Beat

D. Other Preparatory Beats

1. Multiple Preparatory Beats 2. The Added Nondurational Preparatory Beat 3. No Preparatory Beat for Solo Entrances

E. Irregular Meters

1. Description of the Patterns 2. Preparatory Beat to Count 1 3. Preparatory Beat to Other Counts 4. Preparatory Beat to Upbeats

F. Subdivision

1. Full Subdivision 2. Modified Subdivision

G. Ritardando and Accelerando

1. Definition 2. Subdivision in Ritardandos 3. Compounding Beats in Accelerandos

H. Bars to Be Conducted in One

1. Individual Bars 2. Groups of Bars

I. Subito Tempo and Dynamic Changes

1. Subito Tempo Changes from Slow to Fast at the Same Dynamic Level 2. Subito Tempo Changes from Fast to Slow at the Same Dynamic Level 3. Combination Fast to Slow, Slow to Slower, and Slow to Fast 4. Subito Dynamic Changes from ff to p 5. Subito Dynamic Changes from p to ff 6. sfz and fp 7. Successive Preparatory Beats 8. Splitting a Single Preparatory Beat

J. Beat Options

1. Choosing the Beat Unit 2. Some Metrical Problems a. Hemiola and Rebarring b. Other Conflicting Patterns and Rebeaming c. Polyrhythmic Sections 3. Suppressing the Rebound 4. Dictating 5. Cutoffs and Exits 6. The Luftpause 7. Fermatas 8. Tied Notes 9. Syncopations 10. Tacet Bars and Grand Pauses 11. Sudden Silences and Their Continuation 12. Stopping the Beat 13. To Conduct or Not to Conduct 14. Composite Rhythmic Textures

CHAPTER 2 Reading the Score

A. Notation B. Rhythm and Tempo C. Metronome Markings D. The Common Denominator E. Dynamics F. Phrasing and Articulation

CHAPTER 3 Preparation of the Score for Conducting

A. Analysis B. Reading Through the Orchestral Part of Each Instrument C. Notation Issues D. Cuing E. Security F. Marking the Score for Irregular Meters

CHAPTER 4 Seating Arrangements: Symbols for a Cuing System

A. General and Historical Information B. The String Section C. The Woodwind Section D. The Brass Section E. The Percussion Section, Harp, Piano, and Celesta F. Symbols and Positions

1. The String Section 2. The Woodwind Section 3. The Brass Section

G. Using Numbers Instead of Symbols to Indicate the Order of Entrances

1. The String Section 2. The Woodwind Section 3. The Brass Section

H. Combined Traffic Patterns

CHAPTER 5 Sorting the Orchestration CHAPTER 6 TheZgzag Way

A. Leading the Orchestra B. The Zigzag Way

CHAPTER 7 Special Techniques

A. Accompanying B. Operatic Conducting

1. General Procedures 2. Casting an Opera 3. Voice Categorization 4. Voice Charts 5. Opera Chart 6. Recitative Conducting a. Opera b. Sample Zigzag Way: Mozart, The Magic Flute c. Oratorio d. Orchestra

C. Choral Conducting D. Band Conducting E. Ballet Conducting F. Backstage Conducting G. Cross-Rhythms

CHAPTER 8 Additional Concerns

A. Ear Training B. Memorization C. Specialization D. Cosmetics E. General Attitude and Behavior F. Orchestra Musicians on Probation G. Programming H. Auditions I. At the Rehearsal J. Intonation K. Bowings L. About Breathing

APPENDICES

A. Instrumental Charts B. Notation of Instruments C. Harmonics D. Harmonics Charts E. Cross-Rhythm Charts

Ackcnowledgments Index of Musical Examples General Index Footnotes

Ch01fn Ch02fn Ch04fn Ch05fn Ch06fn Ch07fn appcfn