The Score, the Orchestra, and the Conductor

Cover
 Contents
 Introduction
 CHAPTER 1The Beat
 Introduction
 A. Basic Techniques
 1. The Baton
 2. Placement of the Beat
 3. The Size of the Beat
 4. A System for Notating Beats
 B. The Preparatory Beat
 Introduction
 1. Response to the Preparatory Beat
 2. Influence of Orchestration on the Preparatory Beat
 3. Preparatory Beat to Count 1 (without Setting Tempo)
 4. Preparatory Beat to Count 1 (Setting Tempo): The Rebound
 5. Beat Patterns
 6. Preparatory Beat to Counts Other Than 1
 7. Preparatory Beat to Upbeats
 C. Types of Beats
 1. Standard Beat
 2. Staccato Beat
 3. Legato Beat. 4. Nonrebound Beat5. Neutral Beat
 6. Circular Beat
 D. Other Preparatory Beats
 1. Multiple Preparatory Beats
 2. The Added Nondurational Preparatory Beat
 3. No Preparatory Beat for Solo Entrances
 E. Irregular Meters
 1. Description of the Patterns
 2. Preparatory Beat to Count 1
 3. Preparatory Beat to Other Counts
 4. Preparatory Beat to Upbeats
 F. Subdivision
 1. Full Subdivision
 2. Modified Subdivision
 G. Ritardando and Accelerando
 1. Definition
 2. Subdivision in Ritardandos
 3. Compounding Beats in Accelerandos
 H. Bars to Be Conducted in One
 1. Individual Bars. 2. Groups of BarsI. Subito Tempo and Dynamic Changes
 1. Subito Tempo Changes from Slow to Fast at the Same Dynamic Level
 2. Subito Tempo Changes from Fast to Slow at the Same Dynamic Level
 3. Combination Fast to Slow, Slow to Slower, and Slow to Fast
 4. Subito Dynamic Changes from ff.to p
 5. Subito Dynamic Changes from p to ff
 6.sfz and fp
 7. Successive Preparatory Beats
 8. Splitting a Single Preparatory Beat
 J. Beat Options
 1. Choosing the Beat Unit
 2. Some Metrical Problems
 3. Suppressing the Rebound
 4. Dictating
 5. Cutoffs and Exits
 6. The Luftpause
 7. Fermatas. 8. Tied Notes9. Syncopations
 10. Tacet Bars and Grand Pauses
 11. Sudden Silences and Their Continuation
 12. Stopping the Beat
 13. To Conduct or Not to Conduct
 14. Composite Rhythmic Textures
 CHAPTER 2 Reading the Score
 A. Notation
 B. Rhythm and Tempo
 C. Metronome Markings
 D. The Common Denominator
 E. Dynamics
 F. Phrasing and Articulation
 CHAPTER 3 Preparation of the Score for Conducting
 A. Analysis
 B. Reading Through the Orchestral Part of Each Instrument
 C. Notation Issues
 D. Cuing
 E. Security
 F. Marking the Score for Irregular Meters. CHAPTER 4 Seating Arrangements: Symbols for a Cuing SystemA. General and Historical Information
 B. The String Section
 C. The Woodwind Section
 D. The Brass Section
 E. The Percussion Section, Harp, Piano, and Celesta
 F. Symbols and Positions
 1. The String Section
 2. The Woodwind Section
 3. The Brass Section
 G. Using Numbers Instead of Symbols to Indicate the Order of Entrances
 1. The String Section
 2. The Woodwind Section
 3. The Brass Section
 H. Combined Traffic Patterns
 CHAPTER 5 Sorting the Orchestration
 CHAPTER 6 The Zigzag Way
 A. Leading the Orchestra
 B. The Zigzag Way.