In actual practice however, the baton moves from point to point in a very much more complex fashion, and in order to aid the learner still further in his analysis of time beating an elaborated version of the foregoing figures is supplied. It is of course understood that such diagrams are of value only in giving a general idea of these more complex movements and that they are not to be followed minutely.
An examination of these figures will show that all baton movements are based upon four general principles:
1. The strongest pulse of a measure (the first one) is always marked by a down-beat. This principle is merely a specific application of the general fact that a downward stroke is stronger than an upward one (cf. driving a nail).
2. The last pulse of a measure is always marked by an up-beat, since it is generally the weakest part of the measure.
3. In three- and four-beat measures, the beats are so planned that there is never any danger of the hands colliding in conducting vigorous movements that call for the use of the free hand as well as the one holding the baton.
4. In compound measures the secondary accent is marked by a beat almost as strong as that given the primary accent.