MUSICAL EXAMPLES FOR GYMNASTIC EXERCISES

Series 1

Ex. 1		[[audio/mpeg]]
Ex. 2		[[audio/mpeg]]
Ex. 3		[[audio/mpeg]]
Ex. 4		[[audio/mpeg]]
Ex. 5		[[audio/mpeg]]
Ex. 6		[[audio/mpeg]]
Ex. 7		[[audio/mpeg]]
Ex. 8		[[audio/mpeg]]
Ex. 9		[[audio/mpeg]]
Ex. 10		[[audio/mpeg]]

Apply these exercises to all figures of series 1.

Series 1

Series 2

Ex. 1		[[audio/mpeg]]
Ex. 2		[[audio/mpeg]]
Ex. 3		[[audio/mpeg]]
Ex. 4		[[audio/mpeg]]
Ex. 5		[[audio/mpeg]]
Ex. 6		[[audio/mpeg]]
Ex. 7		[[audio/mpeg]]
Ex. 8		[[audio/mpeg]]
Ex. 9		[[audio/mpeg]]

Apply these exercises to all figures of series 2

NOTE:—Each individual note corresponds to a gesture indicated in the figures by a N, E, S, W.

Series 2

The letter in the upper left corner indicates the starting point.	N—North Position.
	W—West Position.
	S—South Position.
	E—East Position.

‘N,’ or North position of Style A

1. Drop arm loosely to side.

2. Raise forearm forward until it forms a right angle with the upper arm.

3. Extend hand and fingers; keep the palm facing downwards.

4. Without moving the arm, raise the hand from the wrist-joint until almost at a right angle with the forearm.

Note.—The forearm maintains this position all through the exercises of Style A.

‘S,’ or South position of Style A

Without moving the forearm, lower the hand from the wrist-joint until at a right angle with the forearm.

‘E,’ or East position of Style A

Without moving the forearm, and always keeping the fingers extended and palm downward, move the hand to the right as far as possible.

‘W,’ or West position of Style A

Without moving the arm, and always keeping the fingers extended with the palm downward, move the hand to the left as far as it will go.

‘N,’ or North position of Style B

1. Drop arm loosely to side.

2. Raise forearm forward until it forms a right angle with the upper arm.

3. The fingers remain extended and the palm is turned so that the thumb is uppermost.

4. Without moving the forearm, raise the hand as far as possible, taking care to keep the fingers extended and palm inward.

Note.—The forearm maintains this position throughout the positions of Style B.

‘S,’ or South position of Style B

Without moving the arm, lower the hand as far as possible, taking care to keep the fingers extended and palm inward (facing to the left).

‘E,’ or East position of Style B

Without moving the arm, point the hand and fingers to the right until almost forming a right angle with the arm.

‘W,’ or West position of Style B

Without moving the arm, point the hand and fingers to the left until almost forming a right angle. The thumb still remains uppermost.

‘N,’ or North position of Style C

1. Drop arm loosely to side.

2. Raise forearm forward until it forms a right angle with the upper arm.

3. The palm is turned down.

4. Without moving the upper arm, raise the forearm upwards until the back of the hand almost touches the shoulder.

Note.—The upper arm maintains this position throughout the exercises in Style C.

‘S,’ or South position of Style C

Without moving the upper arm, lower the forearm until the palm of the hand is about 3 or 4 inches from the thigh.

‘E,’ or East position of Style C

Without moving upper arm, turn the forearm to the right about 40 degrees.

‘W,’ or West position of Style C

Without moving upper arm, turn the forearm to the left about 40 degrees, the palm of the hand facing forward.

‘S,’ or South position of Style D

Lower arm downward until the palm is about 4 inches from the thigh.

NOTE.—All motions in Style ‘D’ are described by the full arm.

‘W,’ or West position of Style D

Turn arm to the left about 40 degrees.

‘E,’ or East position of Style D

Turn arm to the right about 40 degrees.

‘N,’ or North position of Style D

Raise arm upwards with palm forward and fingers extended.

CHAPTER III-A
The General Attitude
of the Conductor

1. The general attitude of the conductor must be one of quiet, but commanding dignity.

2. He must not only know what he wants, but must be able to convey this knowledge to his musicians by a minimum of gesture.

3. His body must be as firm as the proverbial mighty oak which only sways in the fiercest storm. The head, knees and feet must remain quiet.

4. The length of the arm movement varies necessarily with the length of the individual arm. The increase or decrease in the tempo also calls for changes in motion. A quick tempo is conducted with a smaller motion than a slow tempo. Often the contrast of “fortissimo” to “pianissimo” is indicated by changing from large to small motions.

5. All gestures must be directed by the hand or forearm. Just as the singer is admonished to produce his tones “forward” so should the conductor place his center of energetic motive power as far into the tips of the fingers as possible. This produces the effect of the hand easily drawing the arm after it rather than pushing the dead weight of the arm by a movement that seems to begin in the shoulder.

6. The baton must not be held stiffly as this would effect the suppleness of the whole arm. The gesture must be described by the very tip of the baton, as if an imaginary brush were attached to it and one were painting the gesture on some imaginary surface. As a rule the palm of the hand should be held downward.

7. It is possible to beat time accurately and still use uneven and unrythmical motions. To avoid this, the greatest rare should be taken to move from one beat to another in a measured and symmetrical manner.

8. In a slow movement, accuracy can be obtained by ending each beat with an added sharp wrist movement in the same direction as the beat.

9. The function of the left arm is difficult to describe. Although it plays a more modest part than the right arm, it is nevertheless of much importance. It must ever be ready with preventive motions, indications of instrumental entrances (cues), and to add force to certain gestures of the right arm. But let it here be said that the habit of conducting constantly with both arms describing the motions is only to be condemned.

10. Although all general rules in conducting are dangerous, it is suggested that the principle of indicating each accent, entrance, sudden “forte” or “piano,” one beat in advance be adhered to.

CHAPTER III-B
Photographs Which Illustrate the Five Fundamental
Positions Used in Actual Conducting

No. 1. Preparatory position. 4/4 time.

Number 2

Position of the first beat in 4/4 time.

Number 3

Position of the second beat in 4/4 time.

Number 4

Position of the third beat in 4/4 time.

Number 5

Position of the fourth beat in 4/4 time.

CHAPTER III-C
Diagrams of Gestures Used in Conducting

The music examples are to illustrate the use of the gesture and have been found practical for class work.

In practising these gestures with the music examples, the movement must always be expressive of the character of the music.

Sharp and energetic movements for music of an accentuated character, and moderate, gentle movements for music of a corresponding nature.

The accent is executed by a sharp, quick arm movement. Great care must be taken to execute each movement, even the most gentle pianissimo, clearly and with authority.

In all the diagrams shown the following principles are adhered to:—

1. The heavy or accented beat is indicated by a dark arrow.

2. The light or unaccented beat is indicated by an unshaded arrow.

3. The semi-accented beat is indicated by a semi-shaded arrow.

4. All subdivisions are indicated by dotted lines.

5. The fundamental beats are described with the arm movement, while subdivisions are performed with the wrist. In this manner, a clear indication of the fundamental beat is always maintained.

DIAGRAM Nᵒ. 1

Fundamental method of beating 2/2, 2/4 time.

DIAGRAM Nᵒ. 2

Actual method of beating 2/2, 2/4,
and fast 6/8 and 6/4 time.

EXAMPLE Nᵒ. 1 for DIAGRAM Nᵒ. 2

Accented 1st beat:—		[[audio/mpeg]]
Accented 2nd beat:—		[[audio/mpeg]]

A—With accent on 1st beat.		[[audio/mpeg]]
B—With accent on 2nd beat.		[[audio/mpeg]]
C—With accent on 3rd beat.		[[audio/mpeg]]
D—With accent on 4th beat.		[[audio/mpeg]]
E—With accent on 5th beat.		[[audio/mpeg]]
F—With accent on 6th beat.		[[audio/mpeg]]
G—With accent on 1st and 4th beat.		[[audio/mpeg]]

B—With accent on 1st beat.		[[audio/mpeg]]
C—With accent on 2nd beat.		[[audio/mpeg]]
D—With accent on 3rd beat.		[[audio/mpeg]]
E—Accent on 1st and 3rd beat.		[[audio/mpeg]]
F—Waltz—Accent on 1st beat.		[[audio/mpeg]]
Polonaise G—Accent on all 3 beats.		[[audio/mpeg]]