and a fourth, obliquely, from down to up, indicates the fourth beat (second unaccented part). The combination of these four gestures may be figured thus:—
It is of importance that the conductor, in thus delivering his different directions, should not move his arm much; and consequently, not allow his stick to pass over much space; for each of these gestures should operate nearly instantaneously; or at least, take but so slight a movement as to be imperceptible. If the movement becomes perceptible, on the contrary, and multiplied by the number of times that the gesture is repeated, it ends by throwing the conductor behind in the time he is beating, and by giving to his conducting a tardiness that proves injurious. This defect, moreover, has the result of needlessly fatiguing the conductor, and of producing exaggerated evolutions, verging on the ridiculous, which attract the spectators' attention, and become very disagreeable to witness.
In the time, three in a bar, the first gesture made, from up to down, is likewise universally adopted for marking the first beat; but there are two ways of marking the second. The majority of orchestral conductors indicate it by a gesture from left to right; thus:—
Some German Kapel-meisters do the contrary; and carry the stick from right to left; thus:—
This way has the disadvantage—when the conductor turns his back to the orchestra, as in theatres—of permitting only a small number of musicians to perceive the very important indication of the second beat; the body of the conductor then hiding the movement of his arm. The other method of proceeding is preferable; since the conductor stretches his arm outwards, withdrawing it from his chest; and his stick, which he takes care to raise slightly above the level of his shoulder, remains perfectly visible to all eyes. When the conductor faces the players, it is immaterial whether he marks the second beat to the right, or to the left.
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