The Complete Idiot''s Guide to Music Theory

Tuneup
You need to take a few minutes to get an instrumental group in
tune with itself.
3.
Warmup
It’s especially important for nonprofessional players—both
vocalists and instrumentalists—to “limber up,” musically before they
tackle the hard stuff. Have them play or sing some scales, or run through a
simple and familiar piece of music, to help them stretch their musical
muscles, so to speak.
4.
Play-through
Once everyone is set up, tuned up, warmed up, and ready
to go, you can start rehearsing your music. You might want to start by
playing the piece all the way through, to give everyone a feel for the piece.
Then you can go back and rehearse specific sections, focusing on those
parts of the music that are particularly tricky, or that seemed to give the
musicians problems on the first play-through. Remember to end the
rehearsal with a final play-through of the entire piece.
How to Conduct Yourself
If you’ve composed or arranged a piece of music, you’ll probably be expected to
lead the band or orchestra or choir when it’s time for that music to be played.
Your rehearsal time
will inevitably be limited—
and less than what you’d
ideally like to have. Plan
out your rehearsal routine
in advance to take best
advantage of the time you
have. Don’t spend so
much time on the begin-
ning of the piece that you
never get a chance to
rehearse the end!
Warning

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Chapter 20:
Performing Your Music
259
That means you need to know a little bit about conducting—at least enough to
get everybody started and stopped at the same time!
At its most basic, conducting is about setting the correct tempo, counting in the
musicians, and leading the way through any important changes in tempo or
dynamics throughout the music. Professional conductors also shape the flow of
the music, and can turn a generic orchestral or choral performance into a per-
sonal statement and a moving work of art.
However, when you’re first starting out you’ll have your hands full just finding
the downbeat. Fortunately, better musicians can soldier through, even if you’re
busy waving your arms around like a broken Dutch windmill.
The thing is, conducting is pretty simple. There are a few set patterns you need
to learn, then it all falls into place.
Conducting in Four
Most music is written in 4/4 time, so it’s very important to learn the pattern for
conducting in four.
You work through this pattern using your right hand—unless you’re left-
handed, of course. For the four-beat pattern, your hand has to move to four dif-
ferent positions. You don’t have to use huge movements, but your hand has to
move enough for the musicians to tell what the heck you’re doing. Try moving
your arm from the elbow, directly in front of your chest.
The four positions of this pattern describe a cross—up, down, left, right, like
this:
You can use a
baton (a short
wooden or plastic
stick) for conduct-
ing, but you don’t have to.
It’s perfectly acceptable to
conduct using nothing but
your bare hands.
Tip
The right hand is
typically used to
conduct the beat;
your left hand is
used to add emphasis or
point out specific parts. You
also can just stick your left
hand in your pocket, or mir-
ror your right-hand move-
ment with your left hand.
Tip
1
4
2
3
Conducting in four.
You start with the 4 position. This is the upward-most movement, and actually
serves as a kind of preparatory (or “get ready”) beat before the downbeat of one.
You move your arm up to a point, coinciding with the fourth beat of the meas-
ure (or the upbeat before the first measure of the song).

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