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.