Thoughts on Conducting

I was watching my 2 students work yesterday and I truly feel what I learnt from a lot of conducting teachers from Amercia stands true! There are 4 pivot points along the conducting hand. They are the shoulder, elbow, wrist and fingers. These 4 act harmoniously to allow the conductor to communicate his thoughts and direction to the playing musicians. most of the time, we lock one or a couple of these points thus preventing a smooth flow in our conducting technique.

05 Mar 2011

I was watching a few videos of Lauridsen’s O Magnum Mysterium for band on youtube and I noticed that quite a number of the performances were by grad students who did the piece for their final concert. I must say I like some of thier stick work but I felt that there was something missing. I then watched a video by an experienced conductor of the same piece and of course, the band sounded different. I looked at this hands and they were saying things. Yup. I think this is the main difference. A more experienced conductor would be able to “say” what he wants to the group more clearly than a less experienced conductor. Does age matter? I guess age matters when it comes to experience but experience does not necessarily mean that one must be aged. Now that is a point worth pondering over.

I think talent and ability play an important part too. Dudamel, for instance, is a great artist but he is only in his 30s? My goodness! Can you imagine what he would be like at 40? 50? or even 60? I hope one day I can have the opportunity to witness this talent at work.

I have seen many conductors here in Singapore who I feel should spend some time working on their art. This is especially true when working with a group of students who have limited strengths and ability in music making. The level at which the conductor works has a direct influence on the quality of the band and the result that they produce.

06 Mar 2011

What should I do today that will challenge both the band and me?

I have taken out from the library Hindemith Symphony in Bb! Super exciting and much to think about when we read it. We are also doing Divertimento for 11 Wind Instruments by Gary D. Ziek. Interesting piece. I thought there were many good moments to “train” the musicians and I am now looking at a time for us to perform it.

I learn today to conduct smaller so that I do not intrude in the music making. I think this is true especially when dealing with a small ensemble. They are small and close enough to listen to each other and I think what they do not need is a person in front who disturbs the flow and experience. I came in only when the tempo started to get unstable and also to help shape some of the lines. Great experience all around 🙂

28 Mar 2011

Did not realise it has been so long since my last proper full band..

A few days ago I was thinking about a music programme that I would like to perform for my farewell concert with the SAF Central Band. I came out with the following theme and list:

Music from Around The World

Fanfare pour preceder La Peri

Paul Dukas (France)

First Suite in Eb

Gustav Holst (England)

Concerto for Clarinet K.622

W.A. Mozart (Austria)/Rumbelow

Soloist: ME1 Stanley Sim

Danse Fumabulesque Op. 12

Jules Strens (Belgium)

Intermission

Symphonie Bombastique

Zechariah Goh Toh Chai (Singapore)

Gloriosa

Yasuhide Ito (Japan)

Encore:

Hymn to a Blue Hour

John Mackey (USA)

I guess the above programme is a first draft. But I kind of feel that it speaks of who I am as a Conductor right now. So 75% confirmed but maybe come next year, I will change my mind?

02 Apr 2011

Last night, we performed for the Army Certificate Presentation Ceremony (ACPC) and I thought the band played really well. I learnt that even for performances, there are rooms to try new conducting techniques and the band (if well-trained) will response accordingly. It was a really wonderful moment to see and hear the result. I was also proud of the soloists especially my tuba player. He memorised his piece for the performance; something I never thought he would be brave enough to do. I am proud of his achievement. Well done Hafiz!

12 Apr 2011

What I learnt tonight was that nothing beats a good warm up and tuning after. I spent about 15 minutes on breathing and long-note exercises and thereafter tuning the group and I realised that they sounded far better than if I were to to the breathing and long-note exercises separately. What a time saver if time is not a luxury we can afford. We missed a couple of members tonight and their absence were felt. Though this is not really a point about conducting, this simply puts across the point that every one matters in a group and music making is simply not the same when some members are not there.

Back to conducting! I did not use a stick today. What were the difficulties?

1) I could not give precise beats to the group and that caused some entrances to be messy and unfocused.
2) I was not able to cue sections in effectively
3) I felt as though my “power wand” was missing and I felt weak inside.

However,

4) Conducting without stick allowed me moments of freedom not possible with a grip
5) I was provided moments of extreme expression

So I guess it is really up to you if you want to or not want to use the baton. I actually, in all honesty, forgot to bring mine to the rehearsal :$

17 Apr

Concert Programme

In my readings and past experience, I realised that a good concert programme is like a really good dinner. What do I mean by a really good dinner. This differs for all of us and it is important for the “cook” to plan the menu appropriately. You would not plan a 4-course western dinner for a crowd that really needs a good meal from Mac’s right? So I guess it is important to know your crowd and design accordingly.

Let’s look at some possible set menus:

1) Serious Concert Programme

Staters:
Fanfare for the Common Man by Aaron Copland

Soup:
Symphonies of Wind Instruments by Igor Stavinsky

Main Course:
Symphony No. 4 by David Maslanka

Dessert:
A march by John Philip Sousa

The above is just a sample. You can actually add Soup Part 1 and 2 etc… What would your programme be? Feel free to comment!

07 May

Today the band worked with Mr Bert Aalders from the Netherlands in a Conducting Masterclass set-up at the CCAB. 7 of my musicians conducted and Mr Aalders shared with those present conducting techniques, part balancing and overall performance requirements from both the conductor and the band. It was a joy to watch and I took away from this session a better understanding of the roles and responsibilities expected from the conductor during rehearsal and performance. I will be adding to this the thoughts from my 7 musicians. We will see what their takeaways will be.

06 Jun

OK. A little late with updating it seems? Been really busy with the concert that I did not have time for pretty much other things. Just wanted to pen down my thoughts from watching Prof McMurray at work with the Central Band.

1) He came prepared. When I said prepared, I meant with all the necessary stories to back up his requests from the band. He knows each piece so well to the point of conception to performance. Blur? I mean he knows what went on in the composer’s mind when he was writing the piece of music he is rehearsing. He always manages to find an interesting way to describe to the band exactly want he wants or how he wants the band to play.

2) He has a really clear conducting technique. He is able to get what he wants from the band and varies it throughout the rehearsals and even the performance. I was glued to see what he would be doing next for each part of the score. That is something that is not common for me. I usually would enter a rehearsal room and depart within 5mins as there would be something in the office that urgently needed my attention. With Prof McMurray, I find myself trying to delay my work so that I can learn what was being shared.

3) He presented the concert himself and added his own quirky moments. I do this all the time and I totally agree with it. This kind of sharing makes the concert more personal and the audience will learn a lot more from the sharing. The trick is to make sure you have the right facts! It would be embarrasing if the facts were wrong…

4) He has so much energy! At 64, he conducts as though he is 21! I find that amazing. I get so tired sometimes and just want to go back to the office, shut the door for 30mins for a nap! He had so much energy. I really do not know where he got it from.

5) he is always keen to try out things that the musicians are not fully comfortable with. I think this is a good takeaway for me.

That’s all for now.. Share again soon.

15 Aug 2011

I was just thinking…
Effective Conducting Technique: A Science or an Art?

We always argue that conducting is an Art form and indeed there have been many lectures on the subject. But have we considered the opposite? Conducting technique has a Science to it and that it can be taught effectively and the result could be similar to the school of thought that conducting is an Art. I think this deserves a little study and research.

What do you think?

20 Sep 2011

Do you know about the Alexander Technique? I was introduced to it when I attended the Canford Summer School in 2004 in UK. I did not actually attend sessions but I saw the effects that the system had on one of the conductors. He was, before attending the session, stiff and rigid on the podium. I almost thought he having a fit! Haha… But, after he was “Alexander-ed” he was more relaxed and focused. The band played better under him. So! Maybe I should have some lessons too?

There is a practitioner who is based in KL. His name is Gabe Evens. Maybe you should contact him too.

You can get more information about Alexander Technique and its benefits from the following website: http://alexandertechnique.com/
http://www.alexandertechnique.com/musicians.htm

21 Sep 2011

I found something written by Mark Heron and Russell Cowieson that may be helpful for young and inexerienced conductors. Have a read!

Click to access 06spring_conducting.pdf

Click to access 06autumn_conducting_young.pdf

16 Oct 2011

The 3rd WYCW was a great success! The level of conducting in the young conductors is much higher this time as compared to previous workshops. I am indeed really happy of lessons learnt and shared during the sessions.

Some of them have feedback that there needed to be more communication and discussion between the participants about the works and professional practices. I will try to plan that into the next one! For now, here are a couple of students at work during the workshops.

Daniel Bonaventure Lim