So far the issues of technique and pulse have been discussed only in relation to the right hand. (Left-handed conductors will make the appropriate mirror interpretation.) It would be dogmatic to prescribe technical procedures for the left hand. Of all characteristics in conducting, this is an element which should relate entirely to the body language and character of individual conductors.

There are many good conductors who mirror-beat most of the time. Their performances in standard repertoire prove that this can be a positive approach. This cannot be said of the requirements for the music central to this book, especially those works analysed in Part Three. Mirror-beating at a rapid tempo with an irregular pulse divides the attention of players from the central focus of the conductor’s beat and eyes. The function of the left hand has parallels with standard repertoire in relation to cueing, emphasis and characterisation. But there is a case for being able to perform those functions when beating with the right hand alone. I witnessed a good example of this in my first post as principal oboist in Sadler’s Wells Opera (now ENO) when Sir Colin Davis was the Director. He arrived at a Sitzprobe rehearsal with all the cast and orchestra present and asked us to allow him to practise by keeping his left arm behind his back throughout the rehearsal. It was impressive and successful. He did not use his left hand at all. I recommend this as a good test for the capability of any conductor. The work in question was Gounod’s Faust. However, it has to be said that this exercise could not succeed in works by composers such as Carter or Stockhausen. But the principle of keeping the arms independent was very much in the mind of Davis, even in standard repertoire. Providing an independent use of the left hand creates a wide range of gestural vocabulary to induce variations of colour, characterisation, expression, dynamic inflexion, vitality and calmness; all of which enhance the effectiveness of a performance.

Freedom from tension in the arms is absolutely essential in any circumstance. It is also the foundation for developing independence of each arm. A good test for measuring is to practise beating three with the right hand against two in the left, using standard shapes.