Essentials in Conducting

by Karl Wilson Gehrkens

3. The climacteric tone of the phrase is often prolonged slightly as well as accented, in order to make its relationship to the other tones stand out clearly.

RHYTHM

Closely connected with phrasing is rhythm, and although the rhythmic factor should perhaps theoretically belong wholly to the composer, since he is able to express his rhythmic ideas in definite notation, yet in actual practice this does not prove to be the case because the amateur player or singer so often finds that "time is hard"; and there are consequently many occasions when the rhythm indicated by the composer is wholly distorted, either because the performers are weak in their rhythmic feeling or because the conductor is careless and does not see to it that the rhythmic response of his chorus or orchestra is accurate and incisive and yet elastic.

Rhythm is the oldest of the musical elements and there is no question but that the rhythmic appeal is still the strongest of all for the majority of people. Rhythm is the spark of life in music, therefore, woe to the composer who attempts to substitute ethereal harmonies for virile rhythms as a general principle of musical construction. Mere tones, even though beautiful both in themselves and through effective combination, are meaningless, and it is only through rhythm that they become vitalized. In order to have interesting performances of choral and orchestral music the conductor must see to it that the performers play or sing all rhythmic figures correctly, that long tones are sustained for their correct duration, and that in general the musical performance be permeated by that steady throb of regular pulsation which is the foundation of all rhythmic coherence.

Modern musical rhythm is so complex in its frequent employment of syncopations, "cross accents," et cetera, that the prospective conductor must study indefatigably if he is to unravel its apparently inextricably snarled-up threads. We assume, however, that detailed study of rhythm has constituted a part of the student's work in piano, singing, et cetera, and shall therefore not attempt to treat the matter further. Let us advise the would-be conductor, however, to continue his study of rhythm and phrasing unceasingly and never to allow himself to be deluded into believing that an accurate knowledge of these things is less necessary now than formerly. It has seemed to us that some public performers of the present day were cloaking their inability to play or sing with rhythmic accuracy under a pretense of being highly artistic and flexible in their rhythmic feeling. Needless to say, the existence of such a state of affairs is to be greatly deplored and the student is admonished to make sure that he is able to perform every detail of his music with metronomic accuracy before he attempts rubato effects.

MELODY, HARMONY, AND PITCH REGISTERS

The second, third, and fourth of the elements of expression as cited in our list on page [46] belong almost wholly to the composer since he is able to indicate them precisely, and the conductor's chief concern in dealing with melody, harmony, and pitch registers will be to make certain that the composer's wishes are carried out to the letter. For this reason no attempt will be made to discuss these matters further, the topic belonging to composition rather than to conducting.

PHYSICAL MEANS USED BY THE CONDUCTOR FOR INDICATING EXPRESSIONAL EFFECTS

Now that we have reviewed the elements of expression somewhat fully, what of the conductor? Shall we give him a set of specific directions for making his chorus or orchestra sing or play more loudly or more rapidly or more dramatically? Our reply is—no, not any more than we should attempt to show the student of acting or oratory exactly what gestures he is to make use of in playing upon the emotions of his audience. As implied at the outset, the thing that is necessary in both cases is that the interpreter have:

1. General scholarship.