3. CHORAL- composed for or sung by a choir or
chorus
CONDUCTING- the art of directing a musical
performance, such as a concert, by way of
visible gestures with the hands, arms, face and
head.
4. CHORAL CONDUCTING
is a complex and multi-faceted leader
role.
It is leading a music through the
prominence of gestural communication,
and it is found everywhere across a
variety of social settings, musical
genres, and ensemble types.
5. What is conductor?
a person who conducts an orchestra,
chorus, opera company, ballet, or other
musical group in the performance and
interpretation of ensemble works.
must stress the musical pulse so that all
the performers can follow the same
metrical rhythm
6. Role of a Conductor
unify performers, set the tempo,
execute clear preparations and
beats, listen critically and shape
the sound of the ensemble, and to
control the interpretation and pacing
of the music
7. Skills needed to successfully
conduct a choir:
Effective preparatory beats
Meaningful facial expressions
Conducting with the left arm
Knowing when to use the baton
8. CONDUCTORS APPEARANCE AND
GESTURES
They way a conductor physically looks
has a direct influence on the vocal health
of the singers in the choir.
Non-verbal communication has a strong
and often unconscious effect upon
singers.
9. POSTURE
Stand with good alignment.
Avoid unnecessary physical
motions and tension, especially in
the neck and shoulders.
10. CONDUCTING PATTERN
Conducting with a very large pattern all
the time will make everyone feel tense
and tired.
Make sure that your conducting pattern
does not sway your body out of good
postural alignment.
11. CUES
nothing but a signal, a preparation for a
musical event.
Cues can be given with either hand,
a nod of the head, or a glance by the
conductor.
12. CUT-OFFS
used to block certain frequencies from a
sound
To achieve a cut off, move the hands in a
circular motion as diagrammed below.
Dynamics: To achieve a crescendo while
conducting, move your hands away from your
body, make a larger beat pattern and/or use your
left hand with the palm up. For a decrescendo,
reverse these motions.
13. HAND SHAPE
When conducting without a baton, choral
conductors should look carefully at the
shape of their hands.
shape may well change depending on the
tone quality desired.
For example, fully extended tense fingers
may result in a more tense, strident sound.
14. FACIAL EXPRESSIONS
Attempt to stay relaxed in your
face as you conduct.
Show your intensity, connect with
your singers, but avoid
demonstrating tension, especially
in articulators.
15. DIFFICULT PASSAGES
Often conductors do exactly the opposite of what their
singers need in technically difficult sections of the repertoire.
For example, for higher pitches, keep gestures low and
grounded near the support muscles (abdominals) to
encourage your singers to stay on their support.
If the repertoire is fast and rhythmic, keep gestures more
precise with little extraneous motion; be careful not to over-
conduct to help your singers avoid unnecessary tension.
