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| imaginary plane where all icti fall, roughly chest high |
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| gesture used to control a response after the beat instead of on the beat |
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| precise instance of the rhythmic pulse |
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| steady reiteration of beat-points |
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| preparatory beat hat coincides with the breat of the performers and should indicate tempo, dynamic, style |
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| organized sound over time with intent |
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| the baton creates a focus of attention |
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| workplace of the conductor, begins and ends rehearsal |
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| the white baton shows better |
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| simple and plain conducting, cues stand out, easy to read |
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| primary role of conductor |
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| make performers’ job easier |
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| prep beat=starting beat – 1 |
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makes elements of piece musically significant.
difficult entrances.
not playing for a while |
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independent left had gestures
increasing/decreasing size of takt
facial gestures |
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| 1st rule of transposition |
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| when a transposing instrument plays a written C, it sounds the pitch for which the instrument is named |
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| 2 vowel sounds on the same syllable |
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| when the left hand conducts exactly like the right hand |
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| 2+2=5; the total is greater than the sum of the parts |
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| Tenor Trombone, Cello, Bassoon |
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| The note is held for an indeterminate length of time and the cut off is independent from the following prep beat. |
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| The note is held for an indeterminate length of time and the cut off is the prep beat. |
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| The note is held for an indeterminate length of time and there is no cutoff |
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| Instruments that do not transpose |
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| violin, viola, cello, flute, oboe, bassoon, trombone, euphonium (in bass clef), tuba |
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