Philosophical Approach to Teaching Conducting
Over the years I have observed different methods of teaching conducting to beginning conductors. Generally speaking, I found that the first thing many young conductors are taught are proper body carriage and how to hold a baton. While these are essential elements of conducting, teaching them first often encouraged rigidity in students. They tried to perfect a particular way of standing: feet slightly apart, shoulders back, elbows out, head up. The same is true of baton technique: grip between the thumb and forefinger on the top of or just above the handle of the baton, tip of the baton angled in and up slightly. Once these positions are acceptable, they are then asked to create patterns within this stance.
This approach allows beginning conductors freedom of bodily movement, and this prepares them to be able to better express music of all different expressive content. As each student is unique in their body type, so must their technique reflect the strengths and limitations of their physical being. First and foremost young conductors should be taught to move freely to music, to outwardly reflect time and motion in ways they may not be comfortable initially. Once this is understood, then should stance and baton technique be introduced. In this method, the technique is done in the service of the music, not as a means of control.
This approach allows beginning conductors freedom of bodily movement, and this prepares them to be able to better express music of all different expressive content. As each student is unique in their body type, so must their technique reflect the strengths and limitations of their physical being. First and foremost young conductors should be taught to move freely to music, to outwardly reflect time and motion in ways they may not be comfortable initially. Once this is understood, then should stance and baton technique be introduced. In this method, the technique is done in the service of the music, not as a means of control.
Techniques for Teaching Bodily Freedom
There are several exercises that can be done to promote fluidity and bodily freedom in young and/or beginning conducting students. These are not original ideas; many are adapted from Elizabeth Green's seminal text The Modern Conductor. Others were introduced to me by my first conducting teacher, Dr. Elwood Smith, Director of Choral Activities at Northern Illinois University from the 1960s through the 1990s. Dr. Smith taught us how to move our bodies before imposing patterns and structure. I am forever indebted to him for his methods that I continue to employ to this day.
Step 1 - The Difference between Tension and Relaxation
Most people do not realize how much tension they carry in their bodies. We unconsciously raise our shoulders, or hunch over as we all aggressively through the hallway. Though thee is tension in some aspects of conducting, constant tension is detrimental and can be physically harmful. There are two exercises I use to illustrate the difference between tension and relaxation.
1. The "Penguin"
Students stand rigidly with shoulders raised as high as possible. Their arms are planted to the sides of their bodies, with wrists facing toward the body and anchored on the thighs (or wherever his or her arms hang). Remaining rigid, students flap their hands as fast as possible for 30 seconds. Most students find the exercise exhausting very quickly as it places stress and tension in the arms and throughout the body.
2. Swinging Arms
This is followed immediately by an exercise to show them how to relax - or how they are not relaxing. Students stand erect, shoulders relaxed but not slumped forward. Arms hang loosely at their sides. By pivoting from their hips, students swing their arms for 30 seconds, gaining momentum as the exercise progresses. After 30 seconds, they begin to slow their arms by slowing the pivot. This exercise often illustrates how difficult it is for students to allow their bodies to move as opposed to trying to control them. This may need to be done several time to work out common problems: stiff shoulders, rigid arms, unnatural movement, students dictating how their arms move.
Step 1 - The Difference between Tension and Relaxation
Most people do not realize how much tension they carry in their bodies. We unconsciously raise our shoulders, or hunch over as we all aggressively through the hallway. Though thee is tension in some aspects of conducting, constant tension is detrimental and can be physically harmful. There are two exercises I use to illustrate the difference between tension and relaxation.
1. The "Penguin"
Students stand rigidly with shoulders raised as high as possible. Their arms are planted to the sides of their bodies, with wrists facing toward the body and anchored on the thighs (or wherever his or her arms hang). Remaining rigid, students flap their hands as fast as possible for 30 seconds. Most students find the exercise exhausting very quickly as it places stress and tension in the arms and throughout the body.
2. Swinging Arms
This is followed immediately by an exercise to show them how to relax - or how they are not relaxing. Students stand erect, shoulders relaxed but not slumped forward. Arms hang loosely at their sides. By pivoting from their hips, students swing their arms for 30 seconds, gaining momentum as the exercise progresses. After 30 seconds, they begin to slow their arms by slowing the pivot. This exercise often illustrates how difficult it is for students to allow their bodies to move as opposed to trying to control them. This may need to be done several time to work out common problems: stiff shoulders, rigid arms, unnatural movement, students dictating how their arms move.