In the case of a hold (fermata), the movement for the cut-off depends upon the nature of what follows. If the tone to be prolonged forms the end of a phrase or section, the baton is brought down vigorously as at the end of a composition; but if the hold occurs at the end of a phrase in such a way as not to form a decided closing point, or if it occurs in the midst of the phrase itself, the cut-off is not nearly so pronounced, and the conductor must exercise care to move his baton in such a direction as to insure its being ready to give a clear signal for the attack of the tone following the hold. Thus, with a hold on the third beat,
the cut-off would probably be toward the right and upward, this movement then serving also as a preliminary for the fourth beat to follow.
THE ATTACK IN READING NEW MUSIC
For working in rehearsal it is convenient to use some such exclamation as "Ready—Sing," or "Ready—Play," in order that amateur musicians may be enabled to attack the first chord promptly, even in reading new music. In this case the word "Ready" comes just before the preliminary movement; the word "Sing" or "Play" being coincident with the actual preliminary movement. In preparing for a public performance, however, the conductor should be careful not to use these words so much in rehearsing that his musicians will have difficulty in making their attacks without hearing them.
LENGTH OF THE STROKE
The length and general character of the baton movement depend upon the emotional quality of the music being conducted. A bright, snappy Scherzo in rapid tempo will demand a short, vigorous beat, with almost no elaboration of back-stroke; while for a slow and stately Choral, a long, flowing beat with a highly-elaborated back-stroke will be appropriate. The first beat of the phrase in any kind of music is usually longer and more prominent, in order that the various divisions of the design may be clearly marked. It is in the length of the stroke that the greatest diversity in time beating will occur in the case of various individual conductors, and it is neither possible nor advisable to give specific directions to the amateur. Suffice it to say, that if he understands clearly the foregoing principles of handling the baton, and if his musical feeling is genuine, there will be little difficulty at this point.
NON-MEASURED MUSIC
The directions for beating time thus far given have, of course, referred exclusively to what is termed "measured music," i.e., music in which the rhythm consists of groups of regularly spaced beats, the size and general characteristics of the group depending upon the number and position of the accents in each measure. There exists, however, a certain amount of non-measured vocal music, and a word concerning the most common varieties (recitative and Anglican chant) will perhaps be in order before closing our discussion of beating time.
RECITATIVE