NUMBER OF BEATS DETERMINED BY TEMPO
The fact that a composition is in 4-4 measure does not necessarily mean that every measure is to be directed by being given four actual beats, and one of the things that the conductor must learn is when to give more beats and when fewer.
If the tempo is very rapid, the 4-4 measure will probably be given only two beats, but in an adagio movement, as, e.g., the first part of the Messiah overture, it may be necessary to beat eight for each measure in order to insure rhythmic continuity. There are many examples of triple measure in which the movement is so rapid as to make it impracticable to beat three in a measure, and the conductor is therefore content merely to give a down-beat at the beginning of each measure; waltzes are commonly conducted by giving a down-beat for the first measure, an up-beat for the second, et cetera; a six-part measure in rapid tempo receives but two beats; while 9-8 and 12-8 are ordinarily given but three and four beats respectively.
It is not only annoying but absolutely fatiguing to see a conductor go through all manner of contortions in trying to give a separate beat to each pulse of the measure in rapid tempos; and the effect upon the performers is even worse than upon the audience, for a stronger rhythmic reaction will always be stimulated if the rhythm is felt in larger units rather than in smaller ones. But on the other hand, the tempo is sometimes so very slow that no sense of continuity can be aroused by giving only one beat for each pulse; hence, as already noted, it is often best to give double the number of beats indicated by the measure sign. In general, these two ideas may be summarized in the following rule: As the tempo becomes more rapid, decrease the number of beats; but as it becomes slower, increase the number, at the same time elaborating the beat so as to express more tangibly the idea of a steady forward movement.
By carefully studying the second series of figures given on pages [23] and [24] and by making certain that the principle of "continuous movement" explained on page [28] is observed, the student will be able to learn the more highly elaborated beats employed in slower tempos without very much difficulty. These diagrams, like the first set, are, of course, intended to be suggestive only.
SHALL WE BEAT THE RHYTHM OR THE PULSE?
In this same connection, the amateur may perhaps raise the question as to whether it is wise to beat the rhythm or the pulse in such a measure as
. In other words, is it well to give a down-beat on 1, two small beats toward the left for 2, while 3 and 4 are treated in the ordinary way? This question may be answered by referring to the rule given on page [25], but perhaps it will be safer to make the application more specific by advising the young conductor to adhere fairly closely to beating the pulse unless a much slower tempo makes extra beats necessary. The additional movements may be of some service in certain cases, but in general they tend to confuse rather than to clarify, this being especially true in the case of syncopated rhythms. The only exceptions to this principle are:
1. When a phrase begins with a tone that is on a fractional part of the beat; e.g., if the preceding phrase ends with an eighth, thus: