Book contents
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- PART ONE The Conductor's Mind
- 1 Background
- 2 Harmony
- 3 Memory
- 4 Perfect Pitch
- 5 Training Conductors
- 6 Youth Orchestras
- PART TWO The Conductor's Skills
- PART THREE The Conductor's Hands
- PART FOUR The Conductor and the Musicians
- PART FIVE The Conductor and the Instruments
- PART SIX The Conductor, the Composer, and the Score
- PART SEVEN The Conductor and the Audience
- PART EIGHT The Conductor and “the Business”
- PART NINE Inside the Conductor
- Suggested Reading
- Musical Example Credits
- A Note on the Illustrations
- Index of Conductors
1 - Background
from PART ONE - The Conductor's Mind
Published online by Cambridge University Press: 05 September 2013
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- PART ONE The Conductor's Mind
- 1 Background
- 2 Harmony
- 3 Memory
- 4 Perfect Pitch
- 5 Training Conductors
- 6 Youth Orchestras
- PART TWO The Conductor's Skills
- PART THREE The Conductor's Hands
- PART FOUR The Conductor and the Musicians
- PART FIVE The Conductor and the Instruments
- PART SIX The Conductor, the Composer, and the Score
- PART SEVEN The Conductor and the Audience
- PART EIGHT The Conductor and “the Business”
- PART NINE Inside the Conductor
- Suggested Reading
- Musical Example Credits
- A Note on the Illustrations
- Index of Conductors
Summary
“Bravo, Christopher, you did a good job. You know, I think you should give up music and take up conducting!”
A London Philharmonic colleague jokingly made this suggestion after playing in a small concert I conducted while still a member of the orchestra.
Conductors come from a wide variety of musical backgrounds. A tiny handful have so much talent and aptitude that they can shortcut parts of a traditional training and produce superb work by sheer musical instinct. But the vast majority need training and experience in a number of key areas.
Playing an instrument at a high standard is vital as it develops physical coordination, discipline, a good ear, and the ability to create a performance. Keyboard skills are useful, even if the piano isn't your main instrument. In a traditional European opera house, most staff conductors began as pianists (répétiteurs) before working their way up to conducting. Playing the piano gives you a strong sense of harmony, a key ingredient in the shape and structure of a piece. Learning piano music by great composers helps you better understand their orchestral music. Keyboard skills are also useful in studying scores, especially in the early stages while you're learning the notes. Working as an accompanist heightens sensitivity and quickens reactions. You learn a lot from playing for instrumentalists and singers; breathing with them teaches you to breathe with a whole orchestra.
- Type
- Chapter
- Information
- Inside Conducting , pp. 3 - 5Publisher: Boydell & BrewerPrint publication year: 2013